Before I begin, I want to qualify this by saying that it’s been a LONG time since I genuinely enjoyed a new “banger.” I’ve been way too wrapped up in repeat—nonstop—listenings of The Strokes discography. Sure, there are still club hitz I hold dear to my heart (ALL of Tiesto’s Kaleidescope — not ashamed), but that’s more or less because they elicit ecstasy flashbacks, not because they’re what I’m actively pulling up on Spotify. But when Mansions On The Moon sends me a new track, I listen. I listen good.
Ok. So. Somewhere Else Tonight is kind of a banger. One thing is for sure: it isn’t the MOTM I first met. It’s actually a far cry from the type of music that drew me to the band years ago. While they’ve always had electro sensibilities — even their earliest tracks included some heavy synth work — the initial incarnation of the band was markedly more tepid, characterized by a whole lot of falsetto and feelings. Somewhere Else Tonight sees them retain the lilting, melodic vocal lines that initially attracted me to the band, and undercuts it with a bass so booming I can Feel It In My Bones. (Yeah that was another Tiesto reference. Fuck with me.) There’s even a breakdown of sorts. But you know what? It works. It’s great. And after working with the likes of N.E.R.D., Diplo, and Mac Miller, who can blame them for leaning more towards a radio-friendly sound? And after all, there’s a reason the teens are into bangers. Bangers can be glorious.
As for this? This is pretty glorious.
Somewhere Else Tonight will be released on Mansions On The Moon’s debut album, due out in October. You can pre-order it here.
FINALLY! I've been waiting for this day for a long long time, much akin to how I felt in regards to the Monsieur Adi song we posted a few weeks back. Today finally marks the official release of Cat Covers Vol. 1, a project started by Angel Riba, known professionally as CatComplex. Riba sought to promote the musical talent of his native Barcelona by providing them with an outlet through which they could showcase their skill. Cat Covers Vol. 1 is the result of this. It sees 13 artists re-interpreting Daft Punk's classic Discovery, to various degrees of success.
The Amplid cover of Veridis Quo (spelled Verdis Quo on the tracklist--not sure if this is a typo or intentional) is by far and away the best track on the album, and by extension possibly one of the best tracks of the year. The Amplid take one of Daft Punk's most subtle songs and mercilessly throttle it. Using the original piece as a reference rather than a template, the Amplid turn the track up to 11 (dare I say 12), and transform it into a commanding, stomping, electro tour-de-force. This is, quite simply, an absolute banger. Whereas many of the covers on the CD fall short, with this reinterpretation the Amplid prove that they alone could carry the future of the Barcelona music scene on their backs. It is that good.
The entire Cat Covers album is being graciously offered for free download here. Get the Amplid track below, and be sure to download the rest of the CD, it's worth the space on your hard drive. Viva Barcelona.
*Big thanks to the boys at Tracasseur who sent us these tracks (and the Adi one, for that matter) way back when. They're killer, be sure to show some love.
I know its Sunday which means I'm supposed to keep it chill, but this is BLOWING MY MIND RIGHT NOW YOU GUYS. Kris Menace, master of French House, and Rex The Dog, master of just about everything electro, have come together to create an uncharacteristic but exceptional 7 minute dance-track-of-the-year. Dark, pulsing, and at times absolutely explosive, the track name, POW! couldn't be more on the money. Can you imagine this in a club? I die.
POW! is available on Beatport now, and becomes available everywhere else tomorrow, 10/24.
News broke this morning that DJ Mehdi, the immensely talented French (via Tunisia) DJ/Producer responsible for some of the most rousing electronic music of our day, not to mention greatest DJ sets, passed away in an accident. Mehdi was one of my favorite musicians and one of the greatest DJ's I've ever had the pleasure of seeing live. He was full of energy, always with a goofy smile plastered on his face, and seems to have been--according to the outpouring by acquaintances in the wake of his death--a stand-up gentleman as well.
Mehdi, you will be missed.
Our hearts and thoughts go out to Medhi's family and friends, including his label, Ed Banger Records. Ed Banger embodies a musical 'family' perhaps more so than any collective I've ever come across, and this is no doubt a devastating loss for them. While living in Paris, I couldn't go to a single party or show featuring an Ed Banger artist without seeing the entire crew there to support. They are their own biggest fans, and most importantly each-others' biggest support group, as I'm sure anyone who knows or has seen them live can attest. Our best wishes go out to the label/family who, with last week's release of their Fall 2011 Delivery sampler, looked poised to dominate the dance music scene in the upcoming months. It's regrettable that their impending success be overshadowed by this tragedy, and we wish them strength and the best of luck.
French, Scandinavians, and Australians : three groups that are pretty untouchable musically. France and the Nordics have been on the radar forever, but Australia has just recently established itself as a breeding ground for talented up and coming musicians; we're currently in the middle of a sort of Australian musical renaissance. (Need examples? Bag Raiders, Cassian, Miami Horror, Flight Facilities, Moonchild, Coupons…I could go on.) While the new crop of Australian talent is winning over clubs, their influential predecessor, experimental songwriter Gotye, is tackling the Sydney Opera House. His new album, entitled Making Mirrors, will be launched as part of Sydney's Graphic Festival, with an orchestra accompanying the performance.
Somebody That I Used To Know is the album's haunting second single, about the ever-painful act of severing ties with a former lover. It features vocals by Kimbra, and an amazing music video to boot. What really sold me though is the remix by fellow Australians RÜFÜS, a three-piece electropop group who look set to do big things. Their debut EP was just released last week on On The Fruit Records, be sure to check it out. (I wrote about them on Binary back in February, check it out if you haven't heard them yet, and be sure to get their debut EP, released just last week on On The Fruit Records) They impart a sense of intensity on the song the original lacked, making it one of the more dynamic irreparable heartbreak I've heard of late. Both versions are pretty indispensable, and serve as exciting examples of the musical status quo down under.
Remember Metronomy? Since I last posted on them, the group has been nominated for a Mercury Prize. I told you they were good. While we've already established their album The English Riviera as the perfect sunny day soundtrack, sometimes it feels like their songs are a bit too bright and cheery to translate to nighttime debaucheries. Luckily, that's what remixes are for. The first such remix is of The Look, which gets turned on its head by Belgium's Moonlight Matters. He takes the bouncy minimalist original and expands it to a stomping disco powerhouse. Next up we have two remixes of The Bay, by London acts The 2 Bears and Clock Opera (my loves). Both do some really neat things with chopping of the vocal line, giving the song an entirely different lyrical meaning in addition to instrumental mix. All the remixes up the sex factor and the grooveability, making them choice accompaniments to a smoldering Saturday night.
I used to have so many rules for this blog about what I 'could' and 'could not' post. The longer it's been around (technically we had our year anniversary the other day though I really only consider it about 6 months old), and the more I do this whole 'running a music blog' thing, the more I find myself adopting a "whateva whateva, I'll do what I want" attitude. For example, bangers. Perhaps better known as Bang0rz. I used to have a strict no-banger policy. But you know what? Bangers can be awesome. In fact they can be life-changing. (That is, if you're on enough ecstasy.) And recently, I've been pressing 'repeat' on my fair share. So here's me saying "fuck it;" rules were made to be broken.
I've had this on repeat for the past week. I used to be really into Deadmau5, but then abandoned my prog roots for disco leanings. Now I'm being entranced back via the exciting remix work of Madeon, a 16 (maybe 17 now?) year-old wunderkind from France, who has been absolutely blowing up every song he's put his froggy fingers to over the past six months. This is especially thrilling because his sound and style remind me a LOT of Phonat, an Italian and perhaps one of the worlds greatest (and most underrated) house producers. They share a unique ability to craft house music that is progressive without being obnoxious, with a penchant for choppy, glitching treble and stomping bass. After flying under the radar for the past year, Phonat recently released a remix of Skrillex's Scary Monsters and Nice Sprites. I was hoping it would be the thing to prove me wrong about Skrillex, but unfortunately the piece fell exceptionally flat. It seems then that Madeon is now doing Phonat better than Phonat himself.
Oh well, at least one of them is.
If you don't have the Madeon remix of Deadmau5' Raise Your Weapon yet (it was all over the internet so you might), be sure to get it now, and check out one of Phonat's older (also banging) masterpieces, Set Me Free.
She's been telling her lies again,
Running around with other men.
You know how I like to give little anecdotes in my posts to make them more personal and relatable? Well with the song Rapture, an oldie from 2008, the lyrics speak for themselves.
I've been walking in the rain again
Too bad for the record we were never friends
I want you with your back up against the wall
I want you in the hallways of the shopping mall
She said "Baby, we could never be friends."
The stupendously synthy, over-the-top 80s-throwback-cum-house jam is by French Touch prince DatA, who is busy preparing new material after a pretty quiet last couple years. Vocals are provided by Sebastien Grainger, who you should I know I worship by now, and there's even a great, dramatic remix by Englishman Edwin Van Cleef. An oldie but a goodie, and a pretty kickass soundtrack for sexual frustration.
Not to be outdone by the recent Ed Banger hooplah, COOP Music has announced the return of German electro rock duo Digitalism. (Yesssss.) Their 2nd LP is due on June 20th. It’s going to be called I Love You, Dude, and features a track co-written by Julian Casablancas (of The Strokes) entitled Forrest Gump. Yeah, I’m serious. That’s actually what the press release says. Three cheers to the Germans—a notoriously grumpy lot—for having a sense of humor on this one.
Honestly though, expect this to be fantastic. I know I do. You know why? Because Digitalism are fantastic. Their 2007 Idealism album still sounds just as fresh today as it did four years ago. And while it might not be quite ‘fresh’, I’ve had A-Trak’s remix of their classic Idealistic stuck in my head all day. Have at it, and get psyched for the return.
Digitalism are playing two back-to-back ‘comeback’ shows on June 13th at XOYO, London, and June 14th at Nouveau Casino, Paris. Be sure to check your local retailer (lolz, the internet) for tickets.
So I get home from work and pop open my computer and start trying to brainstorm just what I’m going to post tonight, and BOOM, a new MSTRKRFT single is staring me dead in the face. I guess I missed the boat when they released it last night. Oops. Whatever, I’ve been busy. You know who else has been busy? JESSE F KEELER APPARENTLY. (Al-P too.) If you’ve read more than one post on this blog you know all about my DFA1979 obsession. Well, that extends to all related projects. Between the DFA1979 rehersal videos and now this, I can’t even sit still. MSTRKRFT are one of those groups that gets me so pumped up I start swearing. I can’t help it, they’re just so fucking cool. Anyone who defected from the MSTRKRFT cause after Fist Of God (you poor, misguided souls) is bound to become a believer once more after hearing Beards Again. It’s not like anything MSTRKRFT has done before. Then again, no successive MSTRKRFT release ever sounds quite like its predecessor. Three minutes of harmonizing guitars and a simple drum pattern that is yet wholly imperious, undercut by that ever-present MSTRKRFT grit-synth, gives way at 3:10 to a full on techno drop—the kind that would cause me to absolutely lose my shit if I heard it live. I feel like everything I love about electronica just showed up at my doorstep covered in leather and sweat, bringing with it a bottle of jack and the command to “Get Down.”
Yeah, this song is dirty.
Today, something wonderful happened. I procured a coveted ticket to the sold-out-in-10-minutes Death From Above 1979 solo show in London. (This is all thanks to the godly Paul from Give Quiche a Chance. GQAC is an excellent electronic music blog. Be sure to check it out.) Attending the show is going to require a 2.5 hour one-way commute, in the middle of my school’s finals week, but it’s going to be worth it. So worth it.
A week from today, something almost equally as wonderful is happening. Alan Braxe (if you don’t know who Alan Braxe is shame on you) and DJ Falcon are playing a show together in Paris at La Machine. I imagine that will sell out too, if it hasn’t already. Unfortunately, I will not be able to attend. I’ll be in Stockholm, and that requires a bit more of a travel effort—not to mention collection of funds, which I sorely lack—than hopping on the Chunnel. In celebration and longing, here’s song that combines the best of both events. (It also includes work from Braxe's ex-collaborator and French Touch master Fred Falke.) If you're one of the lucky few to get tickets to the DFA-UK show, get excited. If you live in Paris, get excited. If you fall into neither category...sucks to be you.
On the subject of European artists who have never made it big in the states: Dizzee Rascal. I love Dizzee Rascal. Dizzee Rascal is a fucking genius. Dizzee Rascal is one of about 10 rap artists who’s work I actually enjoy and will listen to voluntarily. Shall I continue or do you get the gist? The point is, the US needs more Dizzee. I know I’m not the ultimate source on rap music (one of my faults), but if you want to hear some serious spit, check out the lightning-fast delivery on his second CD, Showtime. Or just check out anything he's made, you can't really go wrong.
Anyway, guess who has a new single out? Yep. Dizzee Rascal…kind of. Technically it’s a song by DnB producers Chase & Status called Heavey which merely features Dizzee charging away on vocals, but anything with the name ‘Dizzee’ in it is cause for celebration. I’m not going to post it here, as it’s a little grittier than I like to feature—I’ve found that DnB is more of an acquired taste, and some people hate it—but you can pick it up over at Stoney Roads, here. Don’t worry though; after all of this gushing about Dizzee I’m not going to leave you empty-handed. I’ve been meaning to post Dance Wiv Me for ages, and the renewed Dizzee-lation that Heavey spurred in me makes this the perfect opportunity. Released in the summer of 2008, Dance Wiv Me was a collaboration between Dizzee, Calvin Harris, and singer Chrome. It’s a shuffling, sexy, mid-tempo pop song featuring vocals by all 3 men (RIP Calvin Harris’ voice). It was a #1 hit in the UK for about a month, and rightfully so. Further proof that these Europeans know what’s up.
Once again, I’m accompanying the changing of this week’s Lip-Stick with a proper post. I promise I’ll quit doing that regularly, but I felt compelled to give some information on the artists behind this week’s song because they are very green. In light, I thought it would only be appropriate to try and send some attention their way by highlighting them (and their awesome song) on here, rather than just posting their music with no explanation. I’m delighted to present AlunaGeorge, a very new, very small band from London, England. I found their song Make No Mistake while browsing the annals of the now-defunct (but still amazing) blog Fucking Dance.
On first listen, I didn’t know quite what to make of this song. As Jamila of Fucking Dance quipped, I think this is what they call "a banger", and it is indeed, at least in the instrumental sense. However, it is one of the least ‘traditional’ bangers I’ve heard, as the thumping, gritty beat is topped off by some of the—for lack of a better word—cutest female voices I’ve ever heard. The disparity between the crunch of the accompaniment and the sweetness of the vocals makes for quite the unique formula, and allows the song to transcend ‘club music’, and places it more so in the ‘rocking pop’ category, akin to Britney Spears’ new dubstep-influenced pseudo banger. Because it eschews all acceptable practices in making banging club songs, I was on the fence regarding whether I should love it or hate it. I was especially uncertain as to whether it should be allowed on the blog, as I have a distinct ‘no bang0r’ rule. That is, until I found myself whistling the bridge on the train. Then singing the chorus quietly to myself as I walked around the city. Finally, after the play count on the song hit 40 in a week, I decided to stop worrying if the song was ‘acceptable’ for the blog, and just post the damn thing. Even if I shouldn't love it, I do; hopefully you will too. Just wait until you get to the chorus. You'll see what I mean.
So here you are, LOOSE L!PS’ first bang0r. I promised myself I’d never post one. But, as AlunaGeorge has proven here with their combination of grit and cutesy that somehow works, I’m coming to find that rules are made to be broken.
*Disclaimer: This review might very well make me seem like a crazy person.
Do you all remember Perseus? If not, allow me to refresh your memory or introduce you. Perseus were a 3-man electronic outfit spanning 2 different continents, and their remix of the almighty Grum’s Through The Night tore up the charts this past September. Rightfully so, as it can only be described as ‘hot hot hot.’ While their Grum remix was fantastic, their newest undertaking is even better. “But it can’t be done!” you may say. Oh, it can, and it has been. Since September there has been some changes to the Perseus roster, with member Junior leaving the group to pursue solo ventures under the name North Lights (never fear, as the Perseus moniker lives on with the remaining two members). Before the split, the three original members cranked out one last remix together, and the heavens opened and disco Jesus got a new theme song.
No, but seriously. This song is my life right now. Perseus describe it as “Fantastically Fred Falkey, Horribly Miami Horror, and copycat like of Cut Copy,” and indeed, it is exactly that, and miraculously so. It has rendered me the freak who sings along with their iPod on public transportation systems and on the streets. I just can’t help it! The original autoKratz’ vocal line is augmented by the most deliciously shimmering and euphoric synth work I’ve heard yet this year, taking the original song from a thumping little club number to perhaps the greatest modern 80’s style power ballad of recent memory. It’s like unicorns and constellations and Rainbow Bright and flocks of seagulls and every Roland ever made and the 3D-glasses renaissance all got sucked into the engine of a spaceship and when it blew up this song was spontaneously born by some miracle of the synths gods. I want to hear this song playing in every club I ever visit for the rest of my life, and also in space, and also every time I take a shower so I can sing along.
It's time to address the elephant in the room. I didn't want to say anything yesterday because I was honestly worried it was a glitch in the interface, but I've got confirmation and it's true: I'm now listed on the Hype Machine. Wow. At the end of the day, this doesn't effect my blogging at all. I do this because I love it, I love music, and I love sharing it with other people. What it does effect, however, is the audience I'm reaching. My site traffic has sextupled in the past 24 hours. I'm shocked and humbled. Thanks to everyone who has been with me since the beginning. To everyone else: welcome. I'm so excited about this traffic increase because it now means that I can share the music I love so much with an increasingly wide audience. I'm glad you're here, and I hope that you love what I have to share with you as much as I do. Finally, I hope that I might somehow inspire you to go out there and support your local scene and the artists who's music serves to brighten your day. :)
Anyway, on to the good stuff. If you didn't already know, I'm a huge fan of Australia's Miami Horror. Their album Illumination was one of my favorites of the year, providing me with ample amounts the good-times-had-by-all kind of music I so enjoy. Recently I've been getting into another Australian artist, producer Cassian (if you missed his FANTASTIC funk remix of Swick's Grow Up on my year-end post, be sure to grab it here), so it was quite a treat when I saw that the two had collaborated. Sometime this past fall the Aussies teamed up to remix Holidays, Miami Horror's latest single. It was just released a couple weeks ago as a promotion for both the single and Miami Horror’s Illumination Remixes pack, available here on iTunes. Miami Horror's infectious poppiness and big band panache is perfectly complimented by Cassian’s funk styling and driving bass lines, and the collaboration results in nothing less that a toe-curling mesh of both artists’ styles. This song really does feel like a holiday, as its unabashed joyfulness transports you to another time and place. This is the kind of music that has me bouncing around my room using hairbrushes as mock microphones. Embarrassing? Maybe. Excellent? Most definitely.
I'm usually adverse to posting cover art, but this one looks so uncannily like one of my ex boyfriends that I had to include it.
I meant to post this yesterday but fell asleep instead. Which I think is appropriate given the cover art. Sweden's jj released their first mixtape, Kills, on Christmas Eve via the Sincerely Yours (their label) website, and what a great Christmas present it was. It's a unique and inspiring mix of samples and covers, personalized by original lyrics and production. I've never heard anything quite like it. I guess we should have known something like this was up jj's sleeve, as they've sampled/covered/ripped off pop songs in the past (i.e. the brilliant Ecstasy, which 'ripped off' Lil Wayne's Lollipop), it was only a matter of time before they expanded on that formula. I can only imagine this is going to become the new 'thing' to do among relevant indie-electro acts. But let it be said: jj did it first. And they're probably going to do it the best. Though all the songs are just a step away from genius, I'm posting Die Tonight, the second track off the mixtape. The reason? It samples/covers two of my favorite songs of 2010: Robyn'sHang With Me and my favorite guilty pop pleasure, Taio Cruz'sDynamite (hey, it's a catchy song). It opens with the first stanza of Robyn's lyrics before elaborating, then launching into a Dynamite-driven melody and beat with a completely new set of lyrics. Somewhat amazingly, it not only works, but rocks.
If you like what you hear, be sure to grab the entire mixtape (for FREE) at Sincerely Yours' website HERE.
It's Christmas, woohoo. I hope Santa was good to all of you. I've got some bad news though: there's no way in hell I'm posting a Christmas song on here (actually, maybe that's good news). After 2 months of hearing 'Jingle Bell Rock' EVERYWHERE I went, if I never hear another Christmas song again it might be too soon. So, instead of posting a warm and fuzzy joy-to-the-world type of shtick, I'm going to embrace the darker side of the holidays: Consumerism. What better way to do that than with a song practically dripping in dollars? Paris' favorite bad girl Uffie (the original, better Ke$ha) released her single Difficult in October. The EP included a remix her label-mate SebastiAn, with a title invoking the the glory days of the last decade, before the financial crisis hit and the economy went to shit; when times were simpler and all we cared about was having a rocking good time. His remix highlights Uffie's delivery of the satisfyingly slick line, "Don't worry if I write rhymes; I write checks." I think it's pretty poignant in light of the holiday season, which has increasingly evolved to mean less about togetherness and more about conspicuous consumption. Whatever kind of spirit the holidays move in you, let's be real here: If it really is Jesus' birthday, I bet he'd want us to party. Turn up this song and get down.
Here’s my first attempt at a ‘Best of [insert year here]’ list…but it’s not quite. The thing is, thus far Loose Lips has been entirely dedicated to the songs I’ve loved in 2010. I’ve tried to only post music that’s truly moved me, and consequently the blog’s archives can more or less be read as my year’s ‘best' list. However, there were a few notable tunes that fell through the cracks, so to speak. Whether because I never got around to posting them, I was unable to post them due to copyright issues, or they didn’t fit in with the aesthetic of the blog, for whatever reason they never made the cut, but that’s not to say that I loved them any less. They might not be the ‘best’ by industry standards, but they’re what made me happiest or inspired me most. Anyway, I don’t think I have any kind of right (nor do many others) to make a qualitative list of the ‘best’ music of the year, as music taste really is so subjective. So without further ado, here’s Part I of Loose Lips’ 2010 Wrap-Up, my “Year’s OTHER Best” if you will.
Pt. I of the 3-part Wrap-Up features my top 10 (downloadable) Electronic songs of the year. 'Electronic' meaning music made by producers versus a traditional band setup. I say 'downloadable' because there are actually 12 tracks here, but seeing as I couldn’t legally post the Grum tracks—which are arguably my top 2 electronic tunes of the year—I included 2 extra. (Make sure you listen to the Grum tracks though, they're stellar.)
Downloading: Either grab all 10 tracks simultaneously by grabbing the Zip Folder HERE, or pick and choose by clicking each song link and downloading individually. (Right click, save download...you know the drill.)
Continuing my Hervé kick (‘The Count’ is yet another one of his aliases, used when collaborating with fellow British DJ, Sinden), this song shows his playful and—dare I say it—poppy side.
The Glitch Mob were one of the most unique groups to break onto the scene this year, both in production and performance style. Animus Vox is creative and intricate yet immediately accessible.
While the Flux Pavilion remix of DJ Fresh’s song got all the attention among my peers, the original Dn’B version is what had me coming back for more. You can’t beat the energy of the original. And the music video!
Though Vitalic’s album, Flashmob, was released in 2009, the Second Lives Single came out in March, so I’m allowing it to count. Vitalic is one of the best producers in the world today; I’d venture to say top 10. If you don’t believe me, just listen and see for yourself.
French Horn Rebellion provided us with perhaps the year's best electro pop tune, which all but forces you to put a smile on your face and sing along.
Heartbeats--Grum [from Heartbeats] Popjustice called Grum's Hearbeats 'the greatest song of the 21st century', and they weren't too far off. The thing I love about this song is unlike most songs that start at a '1' and build, climaxing at '10' and gradually fading back down, this song is at a constant '11'. I wish I could give it to you to download. Buy it here instead.
Destination Pt. II is from the 2-track Destination Single (which was comprised of Parts I and II) released by the now-defunct Damn Arms back in January, 2009. This song was on nearly every chill/cruising/bedtime playlist that I made for the better part of a year, until I kind of forgot about it. It shuffled up this weekend just in time for a night drive, and good thing it did; my highway cruises were incomplete without this song in the mix. I've loved this song since the moment I first heard it, and it still resonates today. It’s ancient by blog standards, but the song’s smooth synths, dreamy soundscapes, and filtered vocals singing about unknown inevitability make this the perfect Comedown Sunday tune. Though the band is no more, Damn Arms' sound is survived by ex-member Yama Indra’s new project, Gloves. He’s been getting a lot of attention recently for remixing fellow Aussies Miami Horror and Bag Raiders, so be sure to support him by checking out his Soundcloud here.
