Category: Dance (Page 13 of 26)

Me, Myself, and iPod 6/3/10: A true Disney princess

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Memorial Day, plus a super-busy movie screening schedule, threw this week into complete chaos. It didn’t help that I’ve been sick. I know, wah wah wah. Sorry, I’ll quit whining.

The Like – He’s Not a Boy
With Mark Ronson at the helm, the Like out-Locksley Locksley with this catchy slice of ’60s pop.

Cowboy Junkies – Cicadas
The press release boasts of the band finally operating independently, but that’s about the only thing that appears to have changed about the band, from the sound of this song from their upcoming album Renmin Park.

Quitzow – Cherry Blossom
Man, who slipped Daft Punk the ecstasy? I want to shake that person’s hand.

Setting Sun – Sacrifice
Fans of Joseph Arthur and Pete Yorn, take note.

Anna Rose – Whispers
She’s Alan Menken’s daughter. Yes, that Alan Menken. But this tune is closer to Joni Mitchell than “Kiss the Girl.”

Me, Myself, and iPod 5/26/10: Legendary Scottish band, ahoy!

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The Trashcan Sinatras – People
I love the Trashcan Sinatras. I’m not sure when they went from the Trash Can Sinatras to the Trashcan Sinatras, but oh well, but I’m guessing someone at SPINart fucked it up when putting the artwork for Weightlifting together. Anyway, they’re a fabulous bunch of guys, and God love them for sticking with it after all these years of relative obscurity. This is the first single from their new album In the Music, and it’s another smoove slice of literate jangle pop. If you like this, you should know that the rest of the album is even better.

Kathryn Calder – Slip Away
The newest member of the New Pornographers (she’s lead singer Carl Newman’s niece, and she joined during the sessions for Twin Cinema), Calder is picking a curious time to release a solo album, since she’s tied up with touring with the New Porns for the summer. But one listen to this track from the album Are You My Mother?, due out in August, shows that perhaps Carl and Dan should bring her to the writing table, because I’ll take this over anything on the last New Pornographers album any day of the week and twice on Sunday.

Donn T – Look At
Two words: Female Kenna. If that doesn’t immediate ring a couple bells, then I have one word for you: Kenna.

See Green – I Can Change
Well, that didn’t take long. Courtenay Green, who’s fast becoming a regular in these parts, covered “I Can Change” from LCD Soundsystem’s new album This Is Happening. Man, is James Murphy the new Neil Young, where his songs sound infinitely better when covered by other people?

La Roux – Bulletproof (Hyper Crush remix)
Armed with a bass line that will set off car alarms, this mix of La Roux’s “Bulletproof” is totally ADD madness, but it’s cool. And I still haven’t grown tired of that Macintosh voice program.

Clubfeet – Teenage Suicide
If you’re anything like me, you saw that title and immediately sang the words ‘Don’t do it’ in your head, since that was the name of the hit song the DJ played in the movie “Heathers.” Well sure enough, immediately after the breathy male lead sings “Teenage suicide,” two girls shout, “Don’t do it!” Bonus points for reading my mind.

Shadow Shadow – Is This Tempest in the Shape of a Bell
Gotta give some love to the guitar pop set. Man, this would have been huge in 1975.

LCD Soundsystem: This Is Happening


RIYL: Lou Reed’s Metal Machine Music

James Murphy’s LCD Soundsystem is the hipsterest band out there. And for that he gets a lot of backlash from hipster haters, myself included. But it’s not fair to mock an artist because his primary fan base is annoying as hell. If that was the case, I could never enjoy Nine Inch Nails. And besides, with all the v-neck shirts and ironic facial hair, it’s easy to forget that Murphy gave us one of the best albums of the decade with his group’s self-titled debut. And his debut single “Losing My Edge” remains the definitive critique of self-righteous musical-know-it-alls-by-way-of-Wikipedia (aka his biggest fans). He’s not a one-trick pony, either; 45:33 was an excellent piece of longform instrumental music, and Sound of Silver had more than its fair share of amazing tracks.

What makes Murphy’s music so enthralling isn’t the music itself, which is good in a “Hey, I really like krautrock and early New Order” kind of way; it’s the lyrics that grab you. Whether he’s attacking hipsters with “Losing My Edge” or commenting on the world view of Ugly Americans with “North American Scum,” the dude never seems to be at a loss of words and clever ways to comment on society. All while coating his clever and sometimes scathing messages with amazing retro-inspired dance beats.

That was, until This is Happening. That’s not a title, that’s a threat, forcing you to realize that this is a real record. You want to forget this record exists, but…THIS IS HAPPENING. You can’t avoid it.

First the highlights, there are three amazing tracks on This Is Happening. Thankfully they’re all in a row; “One Touch,” “All I Want” and “I Can Change” are all straight-up excellent examples of everything James Murphy does right. Witty lyrics, perfect beats and great synthesized beeps and blips. Download them now and never ever try to listen to anything else on this record. Just pretend it’s a three-track EP. Because if you don’t, then you might hear “Drunk Girls.”

Lyrically the song is pointless drivel, a haphazard rant about, well, look at the title. Musically it’s even worse, criminal even. Some have suggested that the song bares more than a passing resemblance to the Velvet Underground’s “White Light/White Heat.” Those people are being polite. “Drunk Girls” cribs so blatantly from that classic tune that it’s flat-out theft. “Drunk Girls” is “White Light/White Heat,” with new, shitty lyrics and a crap synth line. If Lou Reed isn’t getting paid every time some skinny PBR-drinking hipster with a horrible beard sends this video to his skinny-jeaned Facebook friends, then he needs a better lawyer. Or maybe not. Because even though “Drunk Girls” manages to shamelessly crib from one of the greatest songs of all time it also manages to suck all the quality out of it. It is the second worst thing that Murphy has ever released to the public.

That’s right; the second. Because the worst comes later with “Pow Pow,” a track so bad that I’m almost hopeful it’s a prank. Here Murphy’s sing/talk vocals, which are usually at least serviceable, are delivered in an unlistenable whiny tone that is the vocal equivalent of a screwdriver jamming itself through through your ear down to your intestines. And it’s eight and a half minutes long! It’s like an electronic version of “Freebird” for masochists.

Thankfully, the remaining tracks are just regular bad, and not additional contenders for the worst song ever recorded. “Somebody’s Calling Me” is droning drivel, and the closer “Home” is so forgettable that by the time it’s over you’ll have forgotten the beginning.

You know how when a celebrity you love does something horrible, and it permanently ruins your view of that person? Like, no matter how hard you try you can’t watch “Lethal Weapon” the same way again because all you see is drunken anti-Semite Mel Gibson calling a female cop Sugar Tits? Well, save for those three stand-out tracks, This is Happening is so damned bad that it may very well stop me from ever enjoying “Daft Punk Is Playing At My House” ever again. Damn. (DFA 2010)

LCD Soundsystem MySpace Page

Me, Myself, and iPod 5/5/10: Lolene must be stopped

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Yep, it’s community service week at Me, Myself and iPod, where I launch a full-scale attack on a seemingly innocuous pop singer. What makes this singer so much more offensive than the gaggle of singers just like her? You’ll see.

Oh Mercy – Can’t Fight It
These guys are quickly becoming the house band of Me, Myself and iPod, as this is the second song from their debut album Privileged Woes that we’ve highlighted to date. (You can find the other song, “Lay Everything on Me,” here.) We even interviewed the band’s lead singer Alexander Gow a couple weeks ago. Nice kid, and he’s working with Mitchell Froom on their second record. If the mention of Froom’s name perked up your ears, that’s probably because you like Crowded House, and if you like them, you’ll probably like these guys, too.

The Knocks – Blackout
Fans of Chromeo will dig this retro slice of ’70s funk. If the Trammps were around today, they might sound like this.

The Protomen – Light Up the Night
The synths! The lead singer with a tremolo-laden tenor! The synthetic drums! All this song is missing is a montage of Sylvester Stallone working out in the wilderness as he prepares to dethrone the world champion…something or other.

Justine Bennett – Heavy Feeling
Joni Mitchell covering “Losing My Religion”? Yeah, that’ll work.

Alcoholic Faith Mission – My Eyes to See
Always a tricky thing to put any word referencing booze in your band name – what if one of its members has to go to rehab? – but this nifty little tune sounds like Polyphonic Spree crossed with Sunny Day Sets Fire. Big, catchy, and a little dark.

Hunter Valentine – The Stalker
Girl power! This all-girl trio – from Brooklyn, of course – kicks some serious tail. Plus, they serve as a good antidote to the toxic mess that follows.

Lolene – Rich (Fake It Til You Make It)
And here we…go.

Listen, I know that music is about rebellion, blowing off steam, getting a little crazy, blah blah blah. But look at this chorus:

I talk like I’m rich, I walk like I’m rich
I spend like I’m rich, but I ain’t got no money
I think like I’m rich, I drink like I’m rich
I live like I’m rich / Hey hey, Hollywood
Fake it til I make it, fake it til I make it

You have got to be fucking kidding me.

I know that the kiddos are dazzled by celebrity culture, and how even Asian leprechaun attention whores and New Jersey dropouts can be considered “stars” in some warped definition of the word. But this whole ‘act like you’re rolling in dough’ thing is just irresponsible. So you’re maxing out your credit cards in order to give off the impression that you’re fabulous. I reiterate: you’re putting on a show for people who don’t know you, in the hopes that…what, exactly? Someone will make a star out of you because you’re living the lifestyle? (Not life, mind you, but lifestyle.) What happens when it doesn’t work out? You’re bankrupt, both literally and figuratively.

Here’s the thing, kids: fame ain’t all it’s cracked up to be. It is not the end-all-be-all of life, the ultimate goal. And most of the people who are famous, the movie stars, the athletes, they didn’t make it by faking it – they worked really, really hard to get where they are. They didn’t just try to dazzle the bouncers with charm (and if that doesn’t work, a blowjob) in order to get VIP treatment. Our little friend Lolene here is applying for what I call a Fake Celebrity card, the people who are discussed in gossip mags and arrange photo ops with the paparazzi, but will never be invited to George Clooney’s house, or even attend the same parties he goes to. It’s the Siberia of celebritydom. Who in their right minds would want to live there?

So if I find this so offensive, you ask, why am I offering the song for download? Because, if everyone who wants the song downloads it for free, then she won’t make any money from it, thus forcing her to continue to fake it without ever making it. This song sets a bad example, and there are already too many people who think that your lifestyle is more important than your life. The idea of someone actually becoming famous by writing a song about being desperate for fame, well, this might cause time and space to fold on itself. Time to grow up, kids. Get a job, and join the rest of us in the real world.

The really weird part about all this is that Lolene is British. You’d think she’d have more sense than this. I guess there are fame whores all around the world.

Big Audio Dynamite: This Is Big Audio Dynamite (Legacy Edition)


RIYL: Public Image Ltd., Primal Scream, The Clash

Big Audio Dynamite are kind of a “lost” bands of the ’80s. Sure, you may still hear “The Globe” a cut from the band’s second incarnation Big Audio Dynamite II, on retro playlists, but aside from that they’ve all but vanished from the pop culture lexicon, not that they were that big a presence on it to begin with. The band’s measured success remains befuddling when you consider it was Mick Jones’ baby, the group he put together after getting fired from the Clash in 1983.

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Hopefully this new Legacy Edition re-issue of the group’s 1985 debut will open the band up for re-evaluation. The importance of This Is Big Audio Dynamite has faded over time, but when it came out it was a technological wonder, the first rock record to embrace the sampling movement of rap music and take it to a direction never heard before. While singles like “E=MC²” and “The Bottom Line” may seem a little quaint now, they were revolutionary at the time in how the took samples from movies and other sources and seamlessly incorporated them into the music. It’s a style you saw resurface just a few years later in bands like Massive Attack and Portishead. Ahead of their time back then, it now sounds dated in the most charming of ways.

The bonus disc is what makes this re-issue really worthwhile though, because while the album versions of their singles were always good, the 12” remixes was where the band really shined. Making the package an even sweeter deal are excellent b-sides such as “Electric Vandal” and the forgotten title track, which is a condensed amalgamation of nearly every sample that appeared on the album. Even the goofier bonuses, such as the vocoder version of “BAD” and the beyond-silly “Albert Einstein Meets the Human Beatbox” are welcome time capsules of a bygone era where stuff like this was groundbreaking and cutting-edge. A must-buy for fans of the band as well as fans of dance-punk who want to see where it all started. (Columbia 2010)

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