tag:blogger.com,1999:blog-142059632024-03-14T17:09:56.983+08:00tremble clefUnknownnoreply@blogger.comBlogger341125tag:blogger.com,1999:blog-14205963.post-38257738600078370802010-01-24T20:37:00.022+08:002010-01-27T12:06:14.237+08:00<span style="font-weight: bold;">100 FROM 2009 (OR THEREABOUTS)</span><br />
<br />
<b>1. Pet Shop Boys, "The Way It Used To Be"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/GPDDNR2PCuc&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/GPDDNR2PCuc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>2. Camera Obscura, "French Navy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/O3CkfvYMCWM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/O3CkfvYMCWM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>3. Saint Etienne, "Method Of Modern Love"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/oi0OvJkLiww&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/oi0OvJkLiww&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>4. Röyksopp featuring Robyn, "The Girl And The Robot"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/cIWRYwCGEF4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/cIWRYwCGEF4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>5. Bag Raiders, "Shooting Stars"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/MOpZID0ySkM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/MOpZID0ySkM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Despite withholding its chorus until the final minute, "Shooting Stars" nevertheless sounds incredibly hooky all the way through -- thanks to its looping synth riff, which is therefore, quite literally, the unsung hero of a track that needs to be considered as classic as "Music Sounds Better With You."<br />
<br />
<br />
<b>6. Medina, "Kun For Mig"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/SHuWj6ycquQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/SHuWj6ycquQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
"The beeps fill my universe, music only for me": while Shannon trusted in the music to lure her man, here it's all over but the crying, and the music can only serve as a numbing drug for Medina, and to break our hearts in turn. Since I first heard this song, Medina has recorded an English version ("You and I"), but the wonderful thing about the original Danish track is how polyphonic that title is. Sometimes, when I do the aural equivalent of squint, I hear Medina singing, "comfort mine comfort mine"; at others, she is whispering, "compromise compromise"; always and in whatever form, the phrase never fails to be appropriate and evocative.<br />
<br />
<br />
<b>7. Marit Bergman featuring Titiyo, "300 Slow Days In A Row"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/IBA3Jg_cWp8&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/IBA3Jg_cWp8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Marit and Titiyo have been in a lesbian relationship, for presumably a while, but they've drifted apart. Since they are duetting, they clearly both recognize this -- but since they aren't communicating, they don't, or can't, let each other know. PARADOX! [/Tracy Morgan voice] This came out as a single in 2008, but it didn't hit me till I heard it in the context of the album <i>The Tear Collector</i>; the steal from ABBA's "Happy New Year" is still undeniable, but that just ups the melancholia quotient.<br />
<br />
<br />
<b>8. Richard Hawley, "For Your Lover Give Some Time"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/oG6itlFun5A&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/oG6itlFun5A&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>9. Cicada, "Love Don't Come"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/3bD1UWjpAd8&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/3bD1UWjpAd8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Has a grammatical error in the title, but also laser sounds on the verses, and laser sounds <i>always</i> win.<br />
<br />
<br />
<b>10. Florence + the Machine, "Drumming Song"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/t3BqLDdhMhw&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/t3BqLDdhMhw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>11. Junior Boys, "Hazel"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/vAM-2vEVaVA&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/vAM-2vEVaVA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>12. George Michael, "December Song (I Dreamed Of Christmas)"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/0CAIEHNVHkk&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/0CAIEHNVHkk&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>13. Pet Shop Boys, "King Of Rome"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/e6oYScMspwQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/e6oYScMspwQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
While "Last night I lost a day" may be my <i>favorite</i> line, the pivotal one, in the logic of the song, is "Some day, you'll deign to phone me." Throughout the track, our narrator has only appeared to be imagining himself as the tragic King of Rome. Yet, in this moment, adopting the royal diction that is the verb "deign," it seems for a moment that he might actually be regal -- but, in exactly the same moment, he also finds the tables turned, since it is the addressee, and not himself, who must "deign" to phone.<br />
<br />
<br />
<b>14. Summerhill, "Parking Lane"</b><br />
<br />
Hear it at <a href="http://www.myspace.com/summerhilldk">http://www.myspace.com/summerhilldk</a>, or at <a href="http://www.warnerchappell-promo.dk/summerhill/song01.swf">http://www.warnerchappell-promo.dk/summerhill/song01.swf</a><br />
<br />
<br />
<br />
<b>15. Mini Viva, "I Wish"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/2Dw8SyrxB5k&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/2Dw8SyrxB5k&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
It might sometimes appear that I only have time for deceptively upbeat songs that sneak in some melancholia, but here's a track with something like the opposite tendency. In "I Wish," the relationship is clearly over ("I <i>was</i> one with you," we are immediately told), and all that's left is for Mini Viva to wish for its revival, and then to wish that wishing works ("If I wish that hard enough, would love come home again?"). Yet, thinking of the boy in question, our singer also can't help but allow a glimmer of joy to overcome her, and reduce her to more primal forms of speech: "He could be the one who touch the light inside my soul, oh oh oh oh!" <br />
<br />
<br />
<b>16. Chrisette Michele, "Blame It On Me"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/aYDO4ftywy0&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/aYDO4ftywy0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
The only reason to watch <i>American Idol</i> this year is to see if the auditioning masses, ever searching for that big soul ballad they can shriek out à la "If I Ain't Got You," cottons on to "Blame It On Me," or to see if the producers realize that this, which already has room for the big gospel choir to join in, singing and clapping, would be a perfect coronation song. (Wait. I think I mean that's a reason <i>not</i> to watch <i>American Idol</i> this year.)<br />
<br />
<br />
<b>17. Paloma Faith, "Smoke & Mirrors"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/wDKOHsLX6sY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/wDKOHsLX6sY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>18. Tommy Sparks, "Miracle"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/5wtfI9g6QXY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/5wtfI9g6QXY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>19. Bliss featuring Ane Brun, "Trust In Your Love"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/iIzv1WcyegA&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/iIzv1WcyegA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>20. Charlotte Hatherley, "White"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/brS8pYY2dnY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/brS8pYY2dnY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<a name='more'></a><br />
<b>21. Tiësto featuring Sneaky Sound System, "I Will Be Here"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/5-5mGwyhruo&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/5-5mGwyhruo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>22. Patrick Wolf, "Damaris"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/Ix-NfCNrxDU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Ix-NfCNrxDU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>23. Frankmusik, "Done Done"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/jKY1q6sZTtE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/jKY1q6sZTtE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>24. Little Boots, "Earthquake"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/yeJBd746-4w&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/yeJBd746-4w&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>25. Alicia Keys, "Empire State Of Mind (Part II) Broken Down"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/uMS5xQ_V0TQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/uMS5xQ_V0TQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>26. Donkeyboy, "Ambitions"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/V_WQ6u9os50&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/V_WQ6u9os50&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>27. Alcazar, "Baby"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/_6D_goDBXnU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/_6D_goDBXnU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>28. a-ha, "Foot Of The Mountain"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/HbG69SAZUKw&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HbG69SAZUKw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>29. Gossip, "Heavy Cross (Fred Falke Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/FOFZagAtDbI&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/FOFZagAtDbI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>30. Marit Bergman, "Snow On The 10th Of May"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/CYUA7disy_k&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/CYUA7disy_k&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>31. Anjulie, "Colombia"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/ive4UNyGSmQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/ive4UNyGSmQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>32. Jonathan Johansson, "En Hand I Himlen"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/7-TIba-dw5A&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/7-TIba-dw5A&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>33. Alexandra Burke featuring Flo Rida, "Bad Boys"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/aVNWFgjbaBk&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/aVNWFgjbaBk&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Artists love to protest when they are compared to other artists ("I'm an individual!") -- even though they will also sometimes deign to, say, curate a CD compilation of their musical influences. Certain music lovers likewise love to complain about music writers who compare one artist to another ("that's so lazy!") -- though they probably don't bat their eyelids when iTunes or Amazon "recommends" music to them. And, of course, every complainer ignores the possibility that this system of differences we call language, arguably, is <i>inherently</i> comparative. But there is at least one reason to be thankful for these knee-jerk reactions against comparisons: Alexandra Burke may or may not have selected "Bad Boys" for her debut single because she wanted to avoid being juxtaposed against a certain other X Factor winner. And if the desire not to be Boring McBoringson, Mk 2 resulted in this stomper, then, hurrah, music won!<br />
<br />
<br />
<b>34. The Saturdays, "Lose Control"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/-XBWnUbmjBo&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/-XBWnUbmjBo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>35. Wamdue Project, "Forgiveness (Eric Kupper Radio Mix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/4czy5hbfIbE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/4czy5hbfIbE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>36. Relation, "Your Tiny Mind (Lifelike Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/b3aZfxJHPCI&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/b3aZfxJHPCI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Possibly the only pop song in history addressed to the morons who believe in creationism.<br />
<br />
<br />
<b>37. Paloma Faith, "Stargazer"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/YfbdbvlGOnI&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/YfbdbvlGOnI&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>38. Annie, "Anthonio (Fred Falke Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/5eqzrDJP7BU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/5eqzrDJP7BU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>39. Bob Sinclar featuring Sugarhill Gang, "Lala Song"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/CB1RutFp0Cc&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/CB1RutFp0Cc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>40. Miranda! "Mentía"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/fIhyOeMGQN4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/fIhyOeMGQN4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Unless they sound more spikily electro -- as they did on "Don," the closest they've come to a crossover hit -- Miranda! continue to be under-noticed by pop-lovers outside of their native Argentina. "Mentía," which in an alternative universe is a big hit for Kelly Clarkson, is another reminder of why this is a pity.<br />
<br />
<br />
<b>41. Paloma Faith, "Upside Down"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/Fa3vbcknnrQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Fa3vbcknnrQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>42. Basement Jaxx, "Raindrops"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/17pGikrXoXw&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/17pGikrXoXw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>43. Frankmusik, "Better Off As 2"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/-8K1aAygBlA&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/-8K1aAygBlA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>44. Dan Black, "Alone"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/8cuYsMJVkFU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/8cuYsMJVkFU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>45. Pet Shop Boys, "Pandemonium"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/fYtF0HxVQUE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/fYtF0HxVQUE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>46. VV Brown, "Bottles"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/eUOsteAiaKo&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/eUOsteAiaKo&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>47. Imogen Heap, "Half Life"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/3OsL7gjwSqU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/3OsL7gjwSqU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>48. Ocelot, "Our Time (Treasure Fingers Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/PdLPLS5oL60&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/PdLPLS5oL60&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Surely, if this blog has taught you anything, it is that any line, if repeated often enough, starts to sound desperate and its singer, in denial or at best just trying to talk him- or herself into something? "We're gonna get drunk, and we're gonna get down. We're gonna take drugs, and we're gonna get fucked. And we're gonna do it all tonight, and we're gonna make it out alive." (Sometimes -- when you get remixed by the excellent Treasure Fingers, for instance -- such singers have a good time while in denial, though.)<br />
<br />
<br />
<b>49. Dan Black, "U + Me ="</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/OEFh9FqjXCs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/OEFh9FqjXCs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>50. Bliss featuring Boy George and Alexandra Hamnede, "American Heart"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/gK1SxqPXPzg&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/gK1SxqPXPzg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>51. Florence + the Machine, "Howl"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/JZweDwbJ_Ic&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/JZweDwbJ_Ic&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>52. A Camp, "Stronger Than Jesus"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/wUVMpluF7kQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/wUVMpluF7kQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>53. Sondre Lerche, "I Cannot Let You Go"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/2qPzeoW_6UE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/2qPzeoW_6UE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Although Sondre Lerche has always been open about his love of Prefab Sprout, that influence -- aside from when he covered "Nightingales," of course -- has never been very apparent to these ears, drowned out, perhaps, by Sondre's tendency to use heavier guitars than his heroes ever did. On this album track from <i>Heartbeat Radio,</i> however, the homage, specifically to "Appetite," is obvious, and makes me wish he threw legal caution to the wind <i>more</i> often.<br />
<br />
<br />
<b>54. La Roux, "Cover My Eyes"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/quc4JQvVwXg&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/quc4JQvVwXg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>55. Dragonette, "Easy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/6zdbt7UQCe0&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/6zdbt7UQCe0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>56. Shirley Bassey, "Almost There"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/zzIhNddkB2Y&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/zzIhNddkB2Y&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>57. Lily Allen, "I Could Say"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/6OugBg2EJTw&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/6OugBg2EJTw&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>58. Montt Mardie featuring Hanna Lovisa, "Unknown Pleasures"</b><br />
<br />
<object height="180" width="80%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fhybris%2Fsets%2Fmontt-mardie-skaizerkite"><param name="allowscriptaccess" value="always"><embed allowscriptaccess="always" height="180" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fhybris%2Fsets%2Fmontt-mardie-skaizerkite" type="application/x-shockwave-flash" width="80%"></embed> </object> <br />
<br />
<br />
<b>59. Kings of Convenience, "24-25"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/rQJixA64aZs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/rQJixA64aZs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>60. Paolo Nutini, "Candy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/SW5iKuP6G20&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/SW5iKuP6G20&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>61. Lucky Soul, "Whoa Billy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/eIo_t79-4i0&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/eIo_t79-4i0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>62. Erik Hassle, "Make It In Time"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/yur15Brfvhs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/yur15Brfvhs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>63. Daniel Merriweather, "Impossible"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/bO4F9WkNyrQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/bO4F9WkNyrQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>64. A Fine Frenzy, "Electric Twist"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/bXdSKi9i9B4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/bXdSKi9i9B4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
Once I was kicked by a pony. It was not as fun as this.<br />
<br />
<br />
<b>65. Findlay Brown, "All That I Have"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/UMtSgOYSGEQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/UMtSgOYSGEQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>66. The Postmarks, "My Lucky Charm"</b><br />
<br />
Hear it at <a href="http://www.myspace.com/thepostmarks">http://www.myspace.com/thepostmarks</a><br />
<br />
<br />
<b>67. CFCF, "The Explorers (Original Version)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/k-0jNsIfbME&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/k-0jNsIfbME&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
The original version of "The Explorers" first appeared in January on CFCF's EP, <i>Panesian Nights</i>; late in the year, he -- now BFF with its singer after the amazing remix job he did on her "Time To Let Go" (#24 on 2008's countdown, fact fans) -- roped in Sally Shapiro to provide vocals on the track. It's not much of a vocal -- Sally appears to be whispering random phrases...from another room, but that's more or less par for her course -- and, indeed, the original's driving synths are somewhat turned down to make room for her melody. Best, therefore, to stick to the clean lines of the instrumental, though, if you insist, you can also listen to the remix:<br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/ANgQxtwNhaA&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/ANgQxtwNhaA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>68. Montt Mardie, "Last Year In Marienbad"</b><br />
<br />
<object height="180" width="80%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fhybris%2Fsets%2Fmontt-mardie-skaizerkite"><param name="allowscriptaccess" value="always"><embed allowscriptaccess="always" height="180" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fsoundcloud.com%2Fhybris%2Fsets%2Fmontt-mardie-skaizerkite" type="application/x-shockwave-flash" width="80%"></embed> </object> <br />
<br />
<br />
<b>69. Villa, "Agneta (Villa Edit)"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/HGZeLGCgxh0&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HGZeLGCgxh0&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
For everyone who ever dreamt, while lying on a beach in Ibiza or elsewhere, of hearing the <a href="http://www.youtube.com/watch?v=xBlj9EZFWMs">Love Unlimited Orchestra</a> backing up <a href="http://www.youtube.com/watch?v=_O8HPSxNoy4">ABBA</a>.<br />
<br />
<br />
<b>70. Nerina Pallot, "It Was Me"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/cil5Lh5N7C8&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/cil5Lh5N7C8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Many songs on Nerina's album <i>The Graduate</i> seem to have been inspired by existing book or film titles, so I would like to imagine that this is a reply to Lily Allen's <i>It's Not Me, It's You</i>. (Though sonically, and in terms of its lyrical sentiment, it really makes the most sense to think of this piano ballad as Nerina's take on "Now At Last" by Blossom Dearie, probably by way of Feist.)<br />
<br />
<br />
<b>71. Girls Can't Catch, "Keep Your Head Up"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/Dp5zxPoFH7I&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Dp5zxPoFH7I&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>72. Chromeo, "I Can't Tell You Why"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/KH3kBg9vzdQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/KH3kBg9vzdQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
This Eagles cover seems so effortless that it would be easy to see it as throwaway, but Chromeo's inspired decision to use a vocoder on the chorus -- which makes the titular declaration sound way more tortured than in the original -- reveals that there is, in fact, more effort here than first meets the ears.<br />
<br />
<br />
<b>73. Florence + the Machine, "Swimming"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/s2pSFd-K4uU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/s2pSFd-K4uU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>74. Anjulie, "Some Dumb Whore"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/xpMiOqWaSkM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/xpMiOqWaSkM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
As Little Boots learned, these days anyone with a mouse is all too ready to pretend to know everything about A&R. Though Ms. Hesketh is mostly right -- seriously, Internets, "Stuck On Repeat" was never, in any shape or form, going to make a good single -- it's also hard to look away when a record company so nakedly cannot figure out whether to position a singer as the next MIA/Santigold (hence, a more "streetwise" lead single "Boom" and a sleeve like <a href="http://israbox.com/uploads/posts/2008-12/1229178425_boom.jpg">this</a>), or as the second sanitized coming of Amy Winehouse*, by way of Gabriella Cilmi (quick, we have just enough time to clean her up for <a href="http://www.onlineseats.com/upload/concerts/3359_con_Anjulie3.jpg">the album cover</a>!). Given how its title was changed, from the sampler's "Some Dumb Whore" to, on the actual release that was sold at your local Starbucks, "Some Dumb Girl" (even though the lyric remained intact), this song shows the strain -- even though, ironically, this is actually one of the prettiest, breeziest, jazziest number on the album. <br />
<br />
*I hereby apologize for putting "Amy Winehouse" and "coming" in the same sentence.<br />
<br />
<br />
<b>75. Dan Black, "Ecstasy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/OEFh9FqjXCs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/OEFh9FqjXCs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>76. Daniel Merriweather, "Red"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/yur15Brfvhs&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/yur15Brfvhs&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>77. Kings Of Convenience, "Mrs Cold"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/c9_p45HbT8Q&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/c9_p45HbT8Q&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>78. Camera Obscura, "Honey In The Sun"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/ZfDg7Vz8Ow4&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/ZfDg7Vz8Ow4&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
The common knock against <i>My Maudlin Career</i> is that its songs sound like rewrites of the tracks on <i>Let's Get Out Of This Country</i>, and indeed, "Honey In The Sun" is at moments just an uptempo version of "Country Mile." But isn't the world a better place with an uptempo version of "Country Mile"? (I'm willing to let Camera Obscura be the tweepop version of BWO, who openly render their songs in ballad and disco versions.)<br />
<br />
<br />
<b>79. Dragonette, "Pick Up The Phone (Richard X Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/DDvjtUQ5eTk&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/DDvjtUQ5eTk&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>80. Summerhill, "Country Boy"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/63tF90vWBBY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/63tF90vWBBY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>81. Erik Hassle, "First Time"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/yvs3z_iNMLc&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/yvs3z_iNMLc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>82. Tiësto featuring Tegan & Sara, "Feel It In My Bones"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/R9sdThfAQXQ&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/R9sdThfAQXQ&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
"More like 'Feel It In My BONER,' amirite, ladies??!!"<br />
<br />
<br />
<b>83. Mandy Moore, "Everblue"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/OBD-qb4z6Vg&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/OBD-qb4z6Vg&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
A cheap trick, perhaps, but the heavy beat perfectly conveys the heavy-heartedness of the song.<br />
<br />
<br />
<b>84. Brookville, "Break My Heart"</b><br />
<br />
Hear it at <a href="http://www.myspace.com/brookville">http://www.myspace.com/brookville</a><br />
<br />
Never knew that: sometime this past year, I <a href="http://www.npr.org/blogs/monkeysee/2009/12/the_simpsons_turns_twenty_next.html">learned</a> that the Internet's "Tiredest. Construction. Ever." comes from <i>The Simpsons</i> -- which means that, without Matt Groening, I might have struggled to know how to represent the chorus of Brookville's song: "You. Will. Break. My heart." Of course, in this song, that construction isn't used for, well, cartoon effect. Here, the entire sad story of the song is in those pauses between each word (and, for me, part of the heartbreak comes from the fact that we can hear Dominique Durand, presumably, on backing vocals, which makes me yearn -- as solid as the Brookville album is -- for the return of Ivy.)<br />
<br />
<br />
<b>85. Late Night Alumni, "What's In A Name"</b><br />
<br />
<object width="120" height="100"><param name="movie" value="http://www.youtube.com/v/84YK8dFyzc8&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/84YK8dFyzc8&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>86. Madonna, "Celebration (Benny Benassi Edit)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/qZYbgrz-hdU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/qZYbgrz-hdU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>87. Mika, "Blame It On The Girls"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/BsO-V6bqiDE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/BsO-V6bqiDE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
It's a bit strange that the internet wags who complain about Mika's creepy determination to constantly channel his inner prepubescent boy would never think to say the same thing about female pop stars who, say, appear in schoolgirl uniforms, but whatever: "Blame It On The Girls" is energetic and propulsive, and if it sounds like it's evoking one of Gwen Stefani's marching band numbers, then all the more appropriate. <br />
<br />
<br />
<b>88. Sad Brad Smith, "Help Yourself"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/N4Gt9g5gDKk&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/N4Gt9g5gDKk&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>89. Groove Armada, "I Won't Kneel"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/a-k7xUIYsZU&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/a-k7xUIYsZU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
They should make T-shirts featuring the title of this song (which, on the verses, owes a debt to Bent's "Coming Back"), even though they obviously won't sell well in gay bars.<br />
<br />
<br />
<b>90. Olivia Ruiz with Lonely Drifter Karen, "When The Night Comes"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/a_3eGb-2pBM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/a_3eGb-2pBM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
That Olivia Ruiz never sounded more French than on one of her few English songs is ironic, though I may have, like everyone else, lost all track of what that adjective really means.<br />
<br />
<br />
<b>91. Jonathan Johansson, "Efter Skimret, Efter Snön"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/Wvw1SLvNAFU&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/Wvw1SLvNAFU&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>92. Prefab Sprout, "Let There Be Music"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/4Dq_v5kZeEM&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/4Dq_v5kZeEM&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>93. Benjamin Biolay, "La Superbe"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/xtmVTfGJUzA&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/xtmVTfGJUzA&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
One day Etienne Daho will record an album that picks up the string-drenched sound of <i>Corps Et Armes</i>; until then, we have this.<br />
<br />
<br />
<b>94. Melody Gardot, "If The Stars Were Mine (Orchestral Version)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/HLFKKY5RHxc&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/HLFKKY5RHxc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>95. The Sound Of Arrows, "Into The Clouds"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/0yZlXe8mn_Q&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/0yZlXe8mn_Q&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>96. Owl City, "If My Heart Was A House"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/rooCzTFZ6fE&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/rooCzTFZ6fE&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>97. Fibes, Oh Fibes! "Love Child"</b><br />
<br />
<object height="100" width="163"><param name="movie" value="http://www.youtube.com/v/uIBUbZ47NYY&hl=en_US&fs=1&"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/uIBUbZ47NYY&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="163" height="100"></embed></object><br />
<br />
<br />
<b>98. Anoraak, "Nightdrive With You (Fear Of Tigers Remix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/Zl1rlfgPf0M&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Zl1rlfgPf0M&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
<br />
<b>99. Jade Ewen, "Punching Out"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/8u_f3PGurmc&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/8u_f3PGurmc&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object><br />
<br />
Imagine if this had been Rihanna's comeback single. ("Too soon!")<br />
<br />
<br />
<b>100. Plastiscines, "Barcelona (Lifelike Mix)"</b><br />
<br />
<object height="100" width="120"><param name="movie" value="http://www.youtube.com/v/ENjRL1DYTks&hl=en_US&fs=1&"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ENjRL1DYTks&hl=en_US&fs=1&" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="120" height="100"></embed></object>Unknownnoreply@blogger.com28tag:blogger.com,1999:blog-14205963.post-19214507076298341242008-12-29T11:30:00.008+08:002009-01-26T17:38:34.275+08:00<b>2008: Actually a rather good year.</b><br /><br />Here are sixty-something songs I enjoyed this year. Note to self: in the next three months, update this post with actual comments about some of these songs. (Perhaps.) Then, on or around March 23, post a new entry.<br /><br /><i>Updated Jan 26</i>: Blurbs for #37 and #24.<br /><br /><br /><b>60. An Honorary Slot Commemorating My Slowness on the Uptake</b><br /><br />We'll save #60 for three songs that were released in 2007, but which I only heard this year.<br /><br /><b>Etienne Daho, "L'Invitation"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/IjWmWYgssXY&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/IjWmWYgssXY&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>Koop, "Strange Love"</b><br /><br /><a href=http://www.myspace.com/koop>Hear it at Myspace</a><br /><br /><br /><b>PNAU featuring Ladyhawke, "Embrace"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/eo2aOEhlqfQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/eo2aOEhlqfQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>59. Jamie Lidell, "Green Light"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/37LnqfaEWco&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/37LnqfaEWco&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>58. Martina Topley-Bird, "Poison"</b><br /><br /><a href=http://www.last.fm/music/Martina+Topley-Bird/_/Poison>Hear it at last.fm</a><br /><br /><br /><b>57. Emiliana Torrini, "Birds"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/110nVTF26-U&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/110nVTF26-U&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>56. I Am Kloot, "Ferris Wheels"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/pFpUjYveMLQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/pFpUjYveMLQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>55. Delays, "No Contest"</b><br /><br /><br /><b>54. Sharleen Spiteri, "Don't Keep Me Waiting"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Bd5SUFjkPOM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Bd5SUFjkPOM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>53. Mareva Galanter featuring Rufus Wainwright, "Serge Et Jane"</b><br /><br /><div style="width:220px;height:55px;"><object width="220" height="55"><param name="movie" value="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2271645&colorBackground=0x555552&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0"></param><embed src="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2271645&colorBackground=0x525252&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0" type="application/x-shockwave-flash" width="220" height="55"></embed></object><br><font size='1' color ='#000000'>Discover <a href='http://www.deezer.com/en/mareva-galanter.html'>Mareva Galanter</a>!</font></div><br /><br /><br /><b>52. ABC, "Way Back When"</b><br /><br /><br /><b>51. Whitest Boy Alive, "Golden Cage (Fred Falke Remix)"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/XMzs_3NxEEI&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/XMzs_3NxEEI&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>50. Grovesnor, "Drive Your Car"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/lYvxcmc0WNk&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/lYvxcmc0WNk&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>49. Maximilian Hecker, "Misery"</b><br /><br /><br /><b>48. Pop Levi, "Love You Straight"</b><br /><br /><div style="width:220px;height:55px;"><object width="220" height="55"><param name="movie" value="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=915058&colorBackground=0x555552&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0"></param><embed src="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=915058&colorBackground=0x525252&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0" type="application/x-shockwave-flash" width="220" height="55"></embed></object><br><font size='1' color ='#000000'>Discover <a href='http://www.deezer.com/en/pop-levi.html'>Pop Levi</a>!</font></div><br /><br /><br /><b>47. Sam Taylor Wood, "I'm In Love With A German Film Star"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/kL2zOo3Khws&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/kL2zOo3Khws&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>46. Will Young, "Let It Go"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/V8_8eMThdP0&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/V8_8eMThdP0&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>45. Hercules & Love Affair featuring Antony, "Blind"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Fb8S51M2GAc&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/Fb8S51M2GAc&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>44. The Weepies, "How You Survived The War"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/WOWF3PA1I7Y&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/WOWF3PA1I7Y&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>43. Kate Ryan, "L.I.L.Y."</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/0Adx_4i1QYQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/0Adx_4i1QYQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>42. The Black Kids, "I'm Making Eyes At You"</b><br /><br /><object width="480" height="295"><param name="movie" value="http://www.youtube.com/v/7blVLP08lgQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/7blVLP08lgQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="295"></embed></object><br /><br /><br /><b>41. The Postmarks, "One Note Samba"</b><br /><br /><a href=http://www.last.fm/music/The+Postmarks/_/one+note+samba>Hear it at last.fm</a><br /><br /><br /><b>40. Feist, "I Feel It All (Escort Remix)"</b><br /><br /><div style="width:220px;height:55px;"><object width="220" height="55"><param name="movie" value="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2545854&colorBackground=0x555552&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0"></param><embed src="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2545854&colorBackground=0x525252&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0" type="application/x-shockwave-flash" width="220" height="55"></embed></object><br><font size='1' color ='#000000'>Discover <a href='http://www.deezer.com/en/feist.html'>Feist</a>!</font></div><br /><br /><br /><b>39. Pet Shop Boys, "Transfer"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/FKlKG3sWGU8&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/FKlKG3sWGU8&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>38. Little Jackie, "The World Should Revolve Around Me"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/129pN3dobGM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/129pN3dobGM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>><br /><br /><br /><b>37. Jill Barber, "One More Time"</b><br /><br /><a href=http://www.last.fm/music/Jill+Barber/_/One+More+Time>Hear it at last.fm</a><br /><br />If it seemed like 2008 was the year when every female singer -- Duffy, Sharleen Spiteri, Imani Coppola (via Little Jackie), Veronica Maggio -- felt compelled, in the wake of Winehouse, to go back to the 60s, <a href="http://en.wikipedia.org/wiki/Jill_Barber">Jill Barber</a> stayed a step ahead by taking an additional step back. On her fourth album, the Canadian singer modified her usual country-folk sound to more explicitly bring out the 50s big band, jazzy, smokey bar aura that had arguably always lurked in her compositions. The resulting album <a href="http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=291653195&s=143441"><i>Chances</i></a> wasn't uniformly great, but it closes with one hell of a song. The fact that we can probably construct, in our heads, the entire story just from knowing the title -- yes, in it Jill implores her lover to hold her, kiss her, thrill her one more time; presumably, we should also hear the underlying strains of Jill asking us to play the song just once more, the better to fend off the end of the affair -- does not detract from the lush swoonsomeness of the track. Though the strings obviously play a big part, "One More Time" is ultimately a duet between Jill's voice and the trumpet; while she refuses to run any of her words together ("Because. You. Are. Mine..."), the trumpet, as is its wont since at least "The Look of Love," makes it sound like one smooth, seamless glide through three-and-a-half minutes. It hardly matters which of them you give in to.<br /><br /><br /><b>36. Ne-Yo, "Closer"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/xLWKwORtK_g&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/xLWKwORtK_g&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>35. Ashlee Simpson, "Boys"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/1sKJjESCnG4&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/1sKJjESCnG4&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>34. The Saturdays, "Chasing Lights"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/ULXK7HSCtcc&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ULXK7HSCtcc&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>33. Gabriella Cilmi, "Safer"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/88YfwuRubhM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/88YfwuRubhM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>32. Sugababes, "Nothing's As Good As You"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/vV7h9vpLwPo&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/vV7h9vpLwPo&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>31. Jay-Jay Johanson, "Liar"</b><br /><br /><br /><b>30. Aeroplane featuring Kathy Diamond, "Whispers"</b><br /><br /><object width="480" height="295"><param name="movie" value="http://www.youtube.com/v/hA-Pg89-k80&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/hA-Pg89-k80&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="295"></embed></object><br /><br /><br /><b>29. Hot Chip, "Ready For The Floor"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/AW94AEmzFhQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/AW94AEmzFhQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>28. The Unbending Trees featuring Tracey Thorn, "Overture"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/CMTr2uRA3xU&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/CMTr2uRA3xU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>27. Morten Harket, "With You With Me"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/zRSDbLZuMEw&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/zRSDbLZuMEw&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>26. Morgan Page featuring Tyler James, "Call My Name"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/FMQBA6J6nKg&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/FMQBA6J6nKg&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>25. Friendly Fires featuring Au Revoir Simone, "Paris (Aeroplane Remix)"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/ISAtum_tDjQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/ISAtum_tDjQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>24. Sally Shapiro, "Time To Let Go (CFCF Remix)"</b><br /><br /><a href=http://rcrdlbl.com/artists/Sally_Shapiro/track/Time_to_Let_Go_CFCF_Remix>Listen to it here</a><br /><br />The best Madonna record of 2008, it has become needless to say, was not made by Madonna herself. (Although I was quite partial, for a couple of weeks in the summer at least, to "Beat Goes On." Because I am powerless in the face of a Donna Summerish "beep beep," <i>especially</i> if you make the red-blooded het male rapper do that part. <i>In falsetto</i>.) That honor instead goes to the CFCF remix of Sally Shapiro's "Time To Let Go." First appearing on a <a href=http://www.discogs.com/Sally-Shapiro-He-Keeps-Me-Alive/release/1332117>12" release of "He Keeps Me Alive"</a> -- on the side of the record that is appropriately titled "Longing" -- and then on <a href=http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=299748476&s=143441>the digital release of</a> <i>Remix Romance Volume 2</i>, the track sees Canadian producer CFCF essentially grafting the rubbery bassline of "Borderline" onto Sally Shapiro's track. (Indeed, the original and the remix are exactly the same length.)<br /><br />The transformation brought about by this simple move is...well, let's draw from the cliché well: the remix "allows the song to breathe." Whereas <a href=http://www.youtube.com/watch?v=KjM7s6EgpVQ>the original</a> feels dank and claustrophobic -- its pounding Italo backing will always have a job soundtracking a "driving through the night, it's so exciting" scene -- the remix is full of wistful pauses, the better to give Sally time to, well, let go. Listen, for example, to the couplet: "You are so fine/And I'm thinking about you all the time." Because the beat doesn't vary or let up on the original, it sounds like we skip from the end of one line to the next, never really stopping to catch our collective breath. On the remix, the music emphasizes the three, four seconds between the lines; the word "fine" somehow lingers and reverberates, and yet seems more fragile as a result. In that melancholic gap, you can hear, if you listen hard enough, the story of the whole relationship.<br /><br /><br /><b>23. Sneaky Sound System, "Kansas City"</b><br /><br /><object width="480" height="295"><param name="movie" value="http://www.youtube.com/v/rnpG1Bl-DFQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/rnpG1Bl-DFQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="480" height="295"></embed></object><br /><br /><br /><b>22. Anna Ternheim, "What Have I Done"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/dsG1IRLZiB4&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dsG1IRLZiB4&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>21. Annie, "Bad Times"</b><br /><br /><br /><b>20. Tahiti 80, "Come Around"</b><br /><br /><div style="width:220px;height:55px;"><object width="220" height="55"><param name="movie" value="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2113738&colorBackground=0x555552&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0"></param><embed src="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=2113738&colorBackground=0x525252&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0" type="application/x-shockwave-flash" width="220" height="55"></embed></object><br><font size='1' color ='#000000'>Discover <a href='http://www.deezer.com/en/tahiti-80.html'>Tahiti 80</a>!</font></div><br /><br /><br /><b>19. Blondfire, "Oxygen"</b><br /><br /><a href=http://www.last.fm/music/Blondfire/_/Oxygen>Hear it at last.fm</a><br /><br /><br /><b>18. Veronica Maggio, "Måndagsbarn"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/NtJxy0zc7nU&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/NtJxy0zc7nU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>17. Tony Christie, "Only Ones Who Know"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/tafZEVKi02M&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/tafZEVKi02M&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>16. Alesha Dixon, "I Don't Wanna Mess Around"</b><br /><br /><br /><b>15. MGMT, "Kids"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/bIEOZCcaXzE&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/bIEOZCcaXzE&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>14. Blank and Jones featuring Bernard Sumner, "Miracle Cure"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/LtmyeLJvMdI&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/LtmyeLJvMdI&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>13. Junior Boys, "No Kinda Man"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/JUZqlb5IKdU&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/JUZqlb5IKdU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>12. Ladyhawke, "My Delirium"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/QN8HwUxFouM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/QN8HwUxFouM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>11. Juvelen, "Summer-Spring"</b><br /><br /><a href=http://www.last.fm/music/Juvelen/_/Summer+-+Spring>Hear it at last.fm</a><br /><br /><br /><b>10. Solange, "Sandcastle Disco"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/E7qFGeAqq1M&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/E7qFGeAqq1M&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>9. Sonny J, "Cabaret Short Circuit"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/dSJXRL5baRs&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dSJXRL5baRs&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>8. Benjamin Diamond, "1000 Lives"</b><br /><br /><a href=http://www.myspace.com/presidentbenjamindiamond>Hear it at Myspace</a><br /><br /><br /><b>7. Estelle featuring Kanye West, "American Boy"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/AQuZduMcKfM&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/AQuZduMcKfM&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>6. Ane Brun, "The Treehouse Song"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/YBdMBk5Xh5w&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/YBdMBk5Xh5w&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>5. The Rosebuds, "In The Backyard"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/dFXTi60UsoQ&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/dFXTi60UsoQ&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>4. Duffy, "Warwick Avenue"</b><br /><br /><div style="width:220px;height:55px;"><object width="220" height="55"><param name="movie" value="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=825087&colorBackground=0x555552&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0"></param><embed src="http://www.deezer.com/embedded/small-widget-v2.swf?idSong=825087&colorBackground=0x525252&textColor1=0xFFFFFF&colorVolume=0x39D1FD&autoplay=0" type="application/x-shockwave-flash" width="220" height="55"></embed></object><br><font size='1' color ='#000000'>Discover <a href='http://www.deezer.com/en/duffy.html'>Duffy</a>!</font></div><br /><br /><br /><b>3. The Ting Tings, "That's Not My Name (Album Version)"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/A0e9GuYRqKA&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/A0e9GuYRqKA&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>2. Marit Larsen, "If A Song Could Get Me You"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/wXVgo0YJ-KU&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/wXVgo0YJ-KU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br /><br /><br /><b>1. Girls Aloud, "The Loving Kind (Album Version)"</b><br /><br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/fsDY-wSDyYs&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/fsDY-wSDyYs&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-14205963.post-40295006175873492592007-11-21T21:28:00.000+08:002007-11-21T21:44:01.256+08:00<b>Saint Etienne, "This Is Tomorrow" (2007)</b><br /><br />"Hi. We're Saint Etienne. Sarah's written a song with Annie -- she <a href="http://www.mic.no/mic.nsf/doc/art2005052611173941311512">toured with us</a> a couple of years ago, you know. <a href="http://www.yousendit.com/transfer.php?action=download&ufid=5E9014C342CE7178">It's floaty and electronic, as you might expect, has a talky bit</a>, and is the title track of our new film, <a href="http://www.thisistomorrow.co.uk/"><i>This Is Tomorrow</i></a>. We thought the best way to get this song out there is to press it as a limited edition 7 inch single, and then give away the 2000 copies with the Nov 2007 issue of <a href="http://www.theillustratedape.com/"><i>The Illustrated Ape</i></a> magazine. No, most of you will have never heard of that fine journal, nor have many ways to get a hold of it. What's your point? Mwah-hah-hah."Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-14205963.post-57586653649855064212007-11-15T23:45:00.000+08:002008-12-12T05:57:48.295+08:00<b>Billie Ray Martin, "Your Loving Arms (Peak Hour Twirler Mix)" (1995)</b><br /><br />Readers, do you love me? Yes? Well, talk is fucking cheap. Why hasn't anyone ripped these posters off from London tube walls and sent them to me?<br /><br /><span style="float:center;"> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix5QnxPdrqoIFiOVz2ZoGf7APIXQ0r84o0LL0qwSsPUuZbkaTwGXk-qcXY3zJx7DXO-QfNqAucMaiNjuvDJhlYTeO08j3KcBv3cl_WSOir1uNi4mV5LhhCftQ558o2JUVAZGoXnA/s1600-h/HMV+Neil+Tennant.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix5QnxPdrqoIFiOVz2ZoGf7APIXQ0r84o0LL0qwSsPUuZbkaTwGXk-qcXY3zJx7DXO-QfNqAucMaiNjuvDJhlYTeO08j3KcBv3cl_WSOir1uNi4mV5LhhCftQ558o2JUVAZGoXnA/s200/HMV+Neil+Tennant.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5133066645994529090" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-QveJ5m8-ir_0ah1hf3CkDkk708c-ab6LR2owIFVTuGBxp8cKpjw355BY2ZW3uzbjFm7q0Eg-hq00phZ1Q2mDt86w8I9HzMtw2O8c0o3FMC6BDNymn-ZKXp0KYqm_yQ_Ytdrcw/s1600-h/HMV+Billie+Ray+Martin.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp-QveJ5m8-ir_0ah1hf3CkDkk708c-ab6LR2owIFVTuGBxp8cKpjw355BY2ZW3uzbjFm7q0Eg-hq00phZ1Q2mDt86w8I9HzMtw2O8c0o3FMC6BDNymn-ZKXp0KYqm_yQ_Ytdrcw/s200/HMV+Billie+Ray+Martin.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5133066645994529090" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zthR9yBV-EQJrZCUOxDhhzT3u8j_TohRcYV9rofk6bVQVNRTl49sMxaH1Zs39KjGlybifno27iXKXPQ2BynjT2F_8vHwYdQYGwbhL1f1a0N2VP1C7FtRW5pVcj1HuQ7dCY1LPg/s1600-h/HMV+Chris+Lowe.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2zthR9yBV-EQJrZCUOxDhhzT3u8j_TohRcYV9rofk6bVQVNRTl49sMxaH1Zs39KjGlybifno27iXKXPQ2BynjT2F_8vHwYdQYGwbhL1f1a0N2VP1C7FtRW5pVcj1HuQ7dCY1LPg/s400/HMV+Chris+Lowe.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5133063918690296066" /></a><br clear="all"/><br /><small><i>Images stolen from petshopboys-forum.com; click on 'em to make 'em bigger.</i></small><br /><br />These ads for HMV -- yes, the Pets did <i>advertisments</i>, but let's overlook that for now -- appeared in print in <i>The Independent</i> a month ago, and have subsequently been plastered all over Tube stations.<br /><br />I want them. I need them. I would frame them and hang them, and possibly let them take me behind the middle school and get me pregnant. FOR THE LOVE OF GOD LET ME HAVE THEM.<br /><br />It's not just that they feature Neil and Chris, <i>and</i> Billie Ray Martin, who I also adore. (Isn't it nice to see your idols love each other? In the October 2007 issue of <i>FHM</i>, Billie was asked about how it felt to be "name-checked" by Chris, and she said: "Yummy! It's wonderful! I knew 'Your Loving Arms' is his favourite song, but to soon see huge posters in tube stations and full pages in the biggest UK papers actually saying this is so exciting. Given the fact they are really my biggest inspiration, too, it's even more of an honour." Awwww.)<br /><br />It's also that each of them has picked, as their "inspirations," songs and lyrics that really are amazing, not that we would expect anything less. Indeed, Billie's selection, "Paninaro," is actually my <i>least</i> favorite of the three songs picked. Neil's selection, "Goin' Back"? Only the most beautiful and poignant song about aging <i>ever</i>, and tears may or may not well up in my eyes each time Dusty sings, with hopeless resolve, the line, "And live my days instead of counting my years."<br /><br />Even if it didn't remind me of a clubbier time in my life, "Your Loving Arms" is possibly my favorite song of the entire 90s. I don't need to tell you how desperate and melancholic it sounds: that first pulsating synth line (do-do-do-do), that second bleeping one (dee-dee-dee-dee-dee), that trancey beat. And while its lyric tends to be overlooked, Chris -- who has shown himself partial to seemingly simple lines that are emotionally devastating -- doesn't, and he picks exactly the right ones: "Sometimes the way that you act makes me wonder/What I am to you/And sometimes I can't stand the way that I'm acting/To be part of the things you do." Beautifully symmetrical -- the way <i>you</i> act, the way <i>I</i> act -- the lines perfectly conjure up all the sell-out occasions when we act like fools just to get in with someone we love.<br /><br />You know and have, I hope, the original version of "Your Loving Arms." Here is my favorite of the numerous remixes: <a href="http://www.yousendit.com/transfer.php?action=download&ufid=3938FFEF747FD197">the awesomely-titled "Peak Hour Twirler Mix," courtesy of Junior Vasquez</a>. He stays mostly faithful to the original -- the breakdown, during which we get a bunch of tribal beats that remind us that this was the era of <a href="http://www.discogs.com/release/36787">The Goodmen's "Give It Up,"</a> may the only thing that strikes a casual listener as noticeably divergent -- but punches everything up just a wee bit. The beat is crisper, bigger, just a bit more urgent, and that bassline seems to quiver with even more heartbreak. The only problem with the song is that it ends.<br /><br />Now get on scoring me those posters pronto.Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-14205963.post-73152969824810176112007-11-14T23:32:00.000+08:002007-11-15T00:40:33.461+08:00<b>The Veronicas, "Revenge Is Sweeter (Than You Ever Were)" (2007)</b><br /><br />There are only two songs I even vaguely like on the disappointing new album by The Veronicas. One is "Untouched," which will deservedly be the second single as well as, it would seem, an early fan favorite. Lyrically a kind of update of "Like A Virgin," the song is terrifically arranged: the urgent strings are at the forefront of what you'll hear, but they wouldn't work half as well if they were not juxtaposed against dementedly bouncy synths that are equal parts electroclash and happy hardcore, and those trashy, buzzsaw guitars. <br /><br />Though less immediate, the other song worth repeated plays is <a href="http://www.yousendit.com/transfer.php?action=download&ufid=659DFCA554F8149F">"Revenge Is Sweeter (Than You Ever Were)."</a> Its charms however come from a different place: namely, from the way it goes against much of the rest of the album, or, indeed, The Veronicas' entire sound. No, the song is not a startling big band number. The Origliasso twins traffic, of course, in teen angst, and most of the time they convey this by allowing their verses to build and build until things come to a head in the choruses, during which: be prepared to duck. On this album, unfortunately, it feels too much like we should also be prepared to turn down the volume or stick in the earplugs, because on <i>Hook Me Up</i>'s choruses -- which tend to be not catchy enough, to boot -- the girls too often cross the line into shrieky bansheedom. <br /><br />But not on "Revenge Is Sweeter": despite its title, which might make us expect extra spite and venom, the track begins almost as a ballad. On the pre-chorus, as synths arrive to join the chiming guitars, things predictably get more frenzied and shriller: "Are you even listening when I talk to you?/Do you even care what I'm going through?/Your eyes stare, and they're staring right through me/You're right there, but it's like you never knew me/Do you even know how much it hurts/That you gave up on me to be with her?" But then, quite unexpectedly, the tune <i>deflates</i>, trails off into the title line: "revenge is sweeter than you ever were." I love this downturn -- because, as I've suggested, it is a refreshing change from the way other Veronicas songs develop. But there's a bit more to it. When a Veronicas song turns up the volume and the intensity while going from verse to chorus, it acquires bravado; on "4Ever," for instance, the band is never surer that the night will last forever than during the "yeah yeah"s. In contrast, here on "Revenge Is Sweeter," Lisa and Jessica sound uncertain in the conclusion they supposedly reach; revenge might sweeter than he ever was, but the insight itself is bittersweet and offers considerably less consolation than we might expect. In that non-triumphant moment of ambivalence, the Veronicas for once sounds grown-up.Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-14205963.post-484307592660585572007-11-13T23:55:00.000+08:002007-11-14T09:25:35.389+08:00<b>BWO, "Stay With You Again" (2007)</b><br /><br />The first time -- and to this day, one of the few times -- I heard about the game "Deprivation" was in 1991, when I read David Leavitt's "A Place I've Never Been." The tale features Celia and Nathan, characters who recur across several of Leavitt's stories: appearing first in "Dedicated" from <i>Family Dancing</i>, then popping up in the title story and "I See London, I See France" of <i>A Place I've Never Been</i>, before returning in <i>Arkansas</i>' "The Wooden Anniversary." (Apparently, <a href="http://www.queerculturalcenter.org/Pages/Keehnen/Leavitt.html">a Dutch theater company once produced a play from these narratives</a>.) Nathan, who is clearly a fictionalized version of Leavitt himself, is a gay man, and Celia his best fag hag; they were Will and Grace before Will and Grace.<br /><br />"A Place I've Never Been" catches the two friends at a pivotal moment when they are beginning to drift apart -- or more precisely, when Celia starts to see that their codependence is not healthy. In the story, they go a party thrown by a college friend, who "invariably suggests [her guests] play Deprivation." "The way you play it is you sit in a big circle, and everyone is given ten pennies...You go around the circle, and each person announces something he or she has never done, or a place they've never been -- 'I've never been to Borneo' is a good example -- and then everyone who has been to Borneo is obliged to throw you a penny. Needless to say, especially in college, the game degenerates rather quickly to matters of sex and drugs." <br /><br />As the story makes clear, "Deprivation" is not a game you necessarily want to win -- though there are witty ways to do so: one male player hilariously declares that "he's never had a vaginal orgasm," and gets considerable pennies from it. Victory, after all, suggests that you've never done anything, never gone anywhere. You win by being a loser. Furthermore, as we might expect of a story published in the early 90s, the specter of AIDS hangs over its characters, and Leavitt emphasizes how the "experiences" that "Deprivation" allows you to flaunt might also what kills you. Nathan, aware that his ex is HIV-positive, in particular has sunken into a state of self-pitying paranoia: an understandable reaction, though one that hurts Celia and finally allows her to see Nathan for the narcissist he can often be. "Do you realize," he informs Celia pathetically at the story's close, in the aftermath of the game, "I've never been in love? Never once in my life have I actually been in love?" And Celia tells us: "And he looked at me very earnestly, not knowing, not having the slightest idea, that once again he was counting me for nothing." "He looked away from me," she continues, "listening, I suppose, for that wind-chime peal as all the world's pennies flew his way." It's a lovely image, perfectly capturing the moment when Celia bears the brunt of Nathan's tendency to feel so sorry for himself that he reprehensibly discounts the things he <i>has</i> experienced in his life, the places he <i>has</i> been, the friend he <i>has</i> loved. Our romanticized attachment to deprivation blinds us to the ways we have been blessed.<br /><br />There's a class of songs I think of when I remember "A Place I've Never Been," when I think of "Deprivation"; I have never been able to resist these songs. Their power come from the way their verses announce the things they have done, while their choruses pinpoint what they have not -- or vice-versa -- and it is from this tension that the songs derive their lyrical hook. Several examples spring to mind at the moment. One <a href="http://trembleclef.blogspot.com/2006/12/charlene-ive-never-been-to-me-1977.html">I've written about before</a>: Charlene's "I've Never Been To Me," although, oddly enough, I did so at excruciating length and yet failed to mention how the song depends, for part of its poignancy, on the way the verses catalogue all the things Charlene has done (been to Georgia, and California), only to wipe them out with its plaintive announcement, in the chorus, of how what matters more is where she has <i>not</i> been (that would be "to me"). Another example is Kylie's "I Believe In You." Here, the trajectory is reversed, as we first get a litany of all the things Kylie does <i>not</i> has faith in: "I don't believe that magic is only in the mind/I don't believe I'd love somebody just to pass the time..." Because of all these negatives, the positive, when it arrives in the chorus, is tremendously moving: "But I, I, I believe in <i>you</i>."<br /><br />I have no resistance to such songs -- even when they are cheesy, even when they don't strictly fit the pattern. Hence, I find myself stopped in my tracks even by <a href="http://www.yousendit.com/transfer.php?action=download&ufid=7FB426905853CA8F">"Stay With You Again,"</a> a BWO ballad (cheese: check!) in which the tension is not even spread between verse and chorus. After an opening synth passage that recalls Chic's "I Want Your Love," the song gives us some faintly nonsensical verses ("The night is full of torment and lives are torn to shreds/You want your correspondent with cameras infrared"?). But in its chorus I hear the conflict between having and not-having, between what-I've-done and what-I'd-rather-do, and all defenses fall away. "I have crossed a thousand rivers/I have walked the streets of gold," Martin sings. "I have been through hell and heaven/Where my soul was bought and sold/I have stormed the Himalayas/Blown the horn of Africa." (Even the juvenile sexual joke can't take me out of it.) But, Martin then tells us, none of this is important: "But as long I live, I long to see/I long to be, to stay with you again." Here are the things I've seen, these are the places I've been. What do they matter? There is, in the end, only one place I want to be.Unknownnoreply@blogger.com27tag:blogger.com,1999:blog-14205963.post-58484035502279204732007-11-01T14:34:00.000+08:002008-12-12T05:57:48.655+08:00<b>Bertine Zetlitz, "Ashamed" (2007)</b><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHpyPkNjOOPeMTRjZxXksZZPSUr-vZiWeVTm3NjCdXMm0P88Y6qBXTzPmIeGIHNqx76NdobdXWbLzxbwf3J8HHeRv9C1GSZ55sxyEwA0xwoDsRFqDm7-28DV8UPm3_WevEpA6HaQ/s1600-h/Bertine.jpeg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHpyPkNjOOPeMTRjZxXksZZPSUr-vZiWeVTm3NjCdXMm0P88Y6qBXTzPmIeGIHNqx76NdobdXWbLzxbwf3J8HHeRv9C1GSZ55sxyEwA0xwoDsRFqDm7-28DV8UPm3_WevEpA6HaQ/s400/Bertine.jpeg" border="0" alt=""id="BLOGGER_PHOTO_ID_5127748425738136050" / TITLE="Bertine may have postpartum depression."></a>Bertine's tremendous new song, "Ashamed" -- which you can hear at <a href="http://myspace.com/bertineofficial">Herspace</a>, and which may be on her forthcoming <i>Best Of</i>, and, God, I just blacked out for a second when I realized how amazing that collection will be -- seems to be about her ten-month old daughter Lill. The song's introduction, filled with chimes from a baby's mobile while a toddler giggles softly in the background, makes that clear. <br /><br />Let's take a moment for that to sink in: Bertine is a new mother, has written a song about her new baby, <i>and that song is called "Ashamed."</i> This is why I have her perverse soul so much.<br /><br />Here's how the lyric goes: <br /><br /><blockquote>(Look at all these papercuts...)<br /><br />Verse 1: How you gonna fall-fall-fall asleep at night/Knowing that you never taught her how to fight/Knowing she don't know how to clench her fists real tight/Knowing she'll be better off way out of sight<br /><br />Verse 2: How you gonna make her feel her way around/Ninjas' how I'll do they hardly make a sound/How you're gonna teach her not to make a mess/Running can be hard in high heels and a dress<br /><br />Chorus: And if I love you half as hard/I know that I will fall apart/Sometimes while I sleep/The company I keep/Makes me ashamed/And if I love you twice as much/You probably won't stay in touch/Sometimes when I dream/The images I see/Makes me ashamed<br /><br />Verse 3: Telling her sometimes that tigers come at dawn/Teaching her to be the queen and not a pawn/Ripping off your heart to show her how it breaks/Swallowing your pride to show how bad it aches<br /><br />Chorus<br /><br />Bridge, twice: Look at all these papercuts/And all is in my heart/You know these papercuts/Mean we will never part/Among my favorite wounds are those that never heal/Among my favorite friends are those who never feel<br /><br />Chorus</blockquote><br />The lyric, which returns to the complexity of her pre-<i>Italian Greyhound</i> releases (the arresting might eight, with its feel/heal rhyme, is something of a callback to "Closer" from <i>Beautiful So Far</i>), concerns the difficulties of raising a child. (And, at several points, about the specific anxiety of raising a girl in our still-sexist world: "Running can be hard in high heels and a dress.") It speaks brilliantly -- though not without humor, if I'm hearing that "ninja" line right -- to the sense of inadequacy and helplessness parents often feel: how will we ever be able to protect her from what is essentially a cruel world? And protect her, not just from physical injury, but, even more impossibly, prepare her for emotional pain? How do we balance the need to equip her with survival tactics (sometimes you'll need to run, or stay "out of sight") with the need to not back down, to be a "queen and not a pawn"?<br /><br />Strikingly, even though the song is <i>about</i> her baby, the verses appear to be <i>addressed</i> to Bertine's partner. While it may seem odd that Bertine is palming her worries off on, or passing her responsibilities onto, her partner ("what are <i>you</i> going to do about that mess, boyfriend?"), this isn't necessarily the case: if she's addressing her lover, it might just be her transparent way of managing her fears, pretending that it is his job rather than hers when the very fact that she's singing about it gives the game away. Indeed, perhaps she's not really addressing him at all with those second person pronouns, but simply herself. Her lips say "you," but her heart knows to hear "I."<br /><br />The "you" of the chorus -- featuring Bertine's trademarked harmonies, breathtakingly double-tracked -- gets even more complicated. Here, it feels unlikely that Bertine is talking about or to herself with the "you"s. It's slightly more possible that she is talking (or continuing to talk) to her lover, although that serves to shift the song -- from being about her child, to being about her lover -- a bit too much, and too disconcertingly. Is the chorus then sung to her daughter? The first half proclaims a love that is almost painful and unbearable: I love you so much that it's emotionally impossible for me to love you less; if I did, I would "fall apart." But the second half of the chorus turns a bit darker: "And if I love you twice you as much/You probably won't stay in touch." We could simply see that as Bertine's warning to herself to not be an overbearing mother, but it's also considerably more. It makes the song deeply and wonderfully paranoid, and in its own way even rather anti-procreation: I love you, but I already know you will abandon me eventually. It takes a special mother to confess to her newborn daughter that she already fears losing her, although both that fear, and her ability to express it, speaks volumes about the depths of Bertine's feelings; in its perverse, twisted way, "Ashamed" is the ultimate declaration of maternal love.<br /><br /><i>In other news</i>: it's been a bittersweet week. The Red Sox win, but <a href="http://www.stylusmagazine.com">Stylus</a> (and its <a href="http://www.stylusmagazine.com/jukebox">Singles Jukebox</a>) close. I'm proud to have been a part of the last, and glad to have had the chance to contribute <a href="http://stylusmagazine.com/jukebox/?p=957">one final essay</a> to it.Unknownnoreply@blogger.com12tag:blogger.com,1999:blog-14205963.post-9173360458106207262007-10-25T18:01:00.000+08:002007-10-25T18:32:37.697+08:00<b>Lucy London, "My Name Is Lucy (Original 12" Mix)" (2007)</b><br /><br />It's not clear -- not <i>immediately</i> clear, or even <i>ultimately</i> clear -- that <a href="http://www.yousendit.com/transfer.php?action=download&ufid=BFC11C5141FF7D28">this track</a> should be considered a "<a href="http://trembleclef.blogspot.com/2007/04/ultra-nat-automatic-paul-jackson.html">robots</a> <a href="http://trembleclef.blogspot.com/2006/12/bang-bang-rendezvous-2000-back-in-day_12.html">in</a> <a href="http://trembleclef.blogspot.com/2005/09/lb-jealous-guy-poeme-syncope-1998.html">love</a>," or, to borrow the title of an EP by Future Bible Heroes, a "lonely robot" song. "My Name Is Lucy" is a sparse, minimal, even monotonous electronic track: a steady beat, slightly skittering, adorned only by a chiming three-note synthesizer riff and another more ominous, bassier synth line. Over this, we get a woman telling us about herself: her name is Lucy, she is 20 years old and from Chelsea, London, seemingly bisexual, and she dances to Pete Tong though she doesn't understand his music.<br /><br />"My Name Is Lucy" might therefore be taking aim at a certain kind of clubby attitude. There are, for example, several jokes in the lyric. "I don't take Class A drugs," Lucy tells us. Beat. "Is cocaine Class A?" In this light, it would be kindred to electroclash tracks -- say, anything sung by Miss Kittin, or Pay TV's "Trendy Discotheque" -- that ape but supposedly also mock zombie club-goers. Or perhaps the track simply pokes fun at hipsterism, a genre that somehow seems especially popular with Myspace bands (see, for instance <a href="http://www.nobra.co.uk/">No Bra</a> and their NSFW video for "Munchausen." <i>Really</i>).<br /><br />But the longer "My Name Is Lucy" goes on, the more it morphs away from those kinds of songs, towards being a tale of a lonely girl robot. That's that automaton vocal and intonation, for one -- not so much vocoderized as it is <a href="http://en.wikipedia.org/wiki/Speak_%26_Spell_%28toy%29">spoken-and-spelt</a>. And there is the rather unnerving confession of loneliness, even if it is broken up by a joke: "I'm on Myspace, Messenger, Skype, Facebook, Small World and Second Life [ah-ha!]/But nobody writes to me/Only some people write to enlarge my penis/I do not have a penis/I wish I did." And there is the repetition -- of these facts over and over, as if in desperation. And at the 4:30 mark: "I'm single." A long pause, so that the proclamation can sink in not as a come-hither invitation, but as yet another profession of solitude. Then, again: "My name is Lucy."Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-14205963.post-50010582045389280932007-10-23T18:56:00.000+08:002007-10-23T19:06:48.424+08:00<b>Deborah Harry, "Two Times Blue (Nickel & Dime Mix)" (2007)</b><br /><br />I only played <a href="http://en.wikipedia.org/wiki/Necessary_Evil_%28album%29"><i>Necessary Evil</i></a> three, four times when it was released last month. Because, duh, it's not a very good record, though I like <a href="http://www.yousendit.com/transfer.php?action=download&ufid=92E771B748C72CAC">the single "Two Times Blue"</a> quite a bit. But it was also a difficult album to sit through for another reason. No longer able to hit the high notes, Debbie's voice pierces my heart even when it reaches the low ones -- or when it starts a song, as is the case with "Two Times Blue," in a disconcertingly low register that she wouldn't have chosen twenty years ago. Those notes only remind me of what could be. I sometimes tell myself that a voice can be richer, more flavorful as it gets coarser, whether due to bad habits (smoking? whiskey?) or "simply" age. I do this with Sarah Cracknell's, for example, and there I am still capable of being comforted by my own falsehoods. But, at other times -- <i>most</i> times with Debbie -- I wince and mourn.<br /><br />Years ago I yanked a mini-cassette out of an answering machine. There was one message on it, from this man. He had an especially distinctive way of saying hello when I picked up the phone, which I would recognize to this day had I but chance: <i>hey-ay?!</i>, stretched out into multiple syllables, a drawl of sorts, as if he was delightedly surprised to speak with me even though it would be he who called. I liked this man, he liked me too, but not enough perhaps, etc: you know the story. After one fight, and three dozen attempts at "being friends," too many, I knew I needed to make a clean break, or as clean as I could bear. So that last message he left me went unanswered, though not to say unheeded. And yet to this day, somewhere in my apartment is that tape, waiting to be replayed, as if it hasn't already been countless times in my head; and, so, I know what it's like, you see, to try but fail to hold on to a voice.Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-14205963.post-85901492315191932452007-10-22T22:40:00.000+08:002007-10-22T22:47:28.487+08:00<b>Freemasons feat. Bailey Tzuke, "Uninvited" (2007)</b><br /><br />Surprise! The remixing team du jour has <I>not</I> turned <a href="http://www.yousendit.com/transfer.php?action=download&ufid=EE3A1B852D68B549">"Uninvited"</a> into a furious filter or handbag house anthem. Rather, with the help of Judie "Stay With Me Till Dawn" Tzuke's daughter, Freemasons reminds us -- and it was easy to forget, given the way the original version built to that overwrought ending that even Iron Butterfly would deem "a bit much" -- that the best part of Alanis's song is the spooky piano riff that kicks it off. By fashioning from that riff a haunted house track that you can almost imagine Faithless (in their heyday) or even The Knife doing, Freemasons takes a step towards demonstrating that it's not a one-trick pony.Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-14205963.post-66551120144299903172007-10-12T14:13:00.000+08:002007-10-12T14:54:54.668+08:00<b>Mutya Buena, "Fast Car" (2007)</b><br /><br />Over the past week, <a href="http://stylusmagazine.com/jukebox">The Singles Jukebox</a> has been reviewing, track-by-track, the <a href="http://www.bbc.co.uk/radio1/established1967/feature/40artists.shtml"><i>Radio 1 Established 1967</i></a> compilation (starting <a href="http://stylusmagazine.com/jukebox/?p=903">here</a>). It's a spotty album, but the writing by the reviewers (excepting one pathetic bloke) is often insightful and vivid even when the material doesn't deserve it.<br /><br />Mutya Buena's version of "Fast Car" doesn't fare especially well, <a href="http://stylusmagazine.com/jukebox/?p=924">receiving an average score of five</a>. The reviewers generally agree that the song seems to have lost something: Joseph McCombs finds it less poignant, and John Cunningham feels like it now lacks urgency and "character." Even Kevin Elliott, who is most sanguine about the track, likes it because it's brighter and more hopeful, or, to put it another way, because it shook off the original's haunting depression -- which is to say that he essentially likes it for the same reasons that the others don't.<br /><br />It makes perfect sense to compare <a href="http://www.yousendit.com/transfer.php?action=download&ufid=51E8183C2693E644">Mutya's take</a> with <a href="http://www.yousendit.com/transfer.php?action=download&ufid=F898D13D081EE4F0">Tracy Chapman's original</a>, of course, and I think Elliott is right to do so on the question of "hope." But I am much harder-pressed to say if Mutya's version is more or less hopeful, because it strikes me as having a deeply ambivalent relation to it.<br /><br />Mutya has made some clear changes to the song. She re-plays the acoustic guitar riff using synths, but a lot of the changes are in the service of shortening the track (Tracy's version is almost five minutes, while Mutya boils it down to just a bit over three). She omits several verses: an early one about "working at the convenience store," and a subsequent verse that again mentions a job at a checkout (and dreaming about moving "out of the shelter"). In Tracy's version, the repeated references to the store is another marker of how defeated the narrator is: she may start the song as a young girl and end up married to the driver of the fast car, but through it all she heartbreakingly hasn't been able to make any progress work-wise. Mutya ditches this trope, but at least she preserves the start and end points of the story -- girl dreams of escape, girl marries man and has kids, man is no good, girl tells him to take his fast car and go -- and thus still conveys the sad dead-end of the narrative. <br /><br />But perhaps the change that most strikes the casual listener is the way the song no longer <i>bursts</i> into its chorus. That amazing chorus has always functioned, for the song, as the locus of hope; for all the trials and tribulations the narrator goes through, she has a moment of freedom and exhilaration when she is in that fast car. Or rather, "had." Because, significantly, the moment is only ever a memory: she's never <i>in</i> the car during the song, but merely recalling being so. (Indeed, it's not even clear if they still "got" the car.) "So remember when we were driving, driving in your car/The speed so fast, felt like I was drunk/City lights lay out before us, and your arm felt nice wrapped round my shoulder." Even though the chorus lapses, for a moment, into an ambiguous present tense ("city lights <i>lay</i> out before us"), it's still a chorus about the time when they "were" driving. Considered strictly, "Fast Car" therefore never gives us escape or catharsis: the moment has already come and gone, and all we have is a memory of it, which of course only makes us sadder.<br /><br />In Tracy's original version, it's easier, I think, to forget the retrospective nature of the chorus. The song hums and strums along for two entire minutes -- an eternity in pop music -- before we get the chorus. If those two minutes feel lulling or even boring for some listeners, all the better, because we can see it as conveying the tedium of our narrator's life. When we finally get the chorus, we get it with along with the first appearance of the drums, and the song springs to life. It's a dash of color, and we can almost feel the wind in our hair. Because of the instrumentation, even though the chorus is about <i>remembering</i> a drive in the fast car, the music makes us feel that we are speeding along right there and then, in that moment.<br /><br />Mutya's version in contrast refuses to give us even this illusion of being there in the fast car. Her chorus never erupts. The entirety of her version is bleakly drumless. Aside from the change in melody, the only things that mark off her chorus as a chorus is the more prominent organ line, and the way Mutya's vocals on the word "I, I..." are more emphasized -- they sound a bit more disembodied -- perhaps by some sort of overdubbing. It even sounds to me like Mutya corrects Tracy's one use of the past tense: she swallows the end of the verb somewhat, but sounds like she sings "city lights <i>laid</i> out before us." Unlike Tracy's chorus, then, Mutya's never truly positions itself as an escape, and in that sense the song feels more hopeless.<br /><br />But the story is not as simple as that, and certainly doesn't end there. If Mutya refuses to deceive us into believing we are in that car, her chorus paradoxically feels more <i>present</i> in another way. Tracy actually initiates her chorus with the word "so": "<i>So</i> remember we were driving..." Mutya changes that to a pronoun: "<i>I</i> remember we were driving..." Tracy's chorus is therefore a command or request, albeit a desperate one: <i>please try to remember, because only that offers us hope and solace</i>. Mutya's chorus in comparison is less of an imperative, but an actual description of <i>her</i> act of remembering. While Mutya never lets us pretend that we are in that car, she at least lets us witness her in a moment of remembering a time when she was, and thus in a moment of hope and comfort. At least we know that Mutya still <i>can</i> hope; maybe Tracy is past that point, and reduced to simply trying to goad herself into remembering.<br /><br />Neither song therefore has a straightforward relation to hope. Mutya's, in a sense, is more ambivalent: while she is more unrelenting in not allowing us to forget that being in that car is a thing of the past, it at least points us to the hope that memory can provide. (Unless you think that remembering is a kind of fixation and should not be an avenue to hope, but surely we're depressed enough by this post as it is.) <br /><br />Perhaps this deep and beautiful ambivalence accounts for the two other alterations to the song I want to end by pointing out. Tracy ends all her choruses with this couplet: "And I, I had a feeling that I belonged/And I, I had a feeling I could be someone, be someone, be someone." Mutya stays faithful to this wording the first time she sings the chorus, but the second time, she changes "had" to "got." Is "got" in the present, or past tense? Is "having" a feeling better or worse than "getting" one? Which gives us more hope, more solace? Which is more real, more present? Which one has abandoned us less -- is it more likely that a feeling you once "had" will return, or one that you once (or now) "got"? I don't know. I also don't know which is better: in Tracy's version, she tells us (and her lover) that "You [We] gotta make a decision/ Leave tonight or live and die this way." Mutya doesn't even think that living is one of the options, because, both times in her song, she says: "We gotta make a decision/ Leave tonight or we can die this way." But then again, even in the original, "living and dying" this way was already a kind of death, so it's not clear if Mutya is being less hopeful, or simply more honest.Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-14205963.post-91107371076651948662007-10-05T18:32:00.000+08:002008-12-12T05:57:51.011+08:00<b>Gabrielle, "Every Little Teardrop" (2007)</b><br /><br />The new Gabrielle album, <i>Always</i>, is really quite great, and certainly her best produced. The first single from it is "Why," featuring Paul Smeller, and it stormed into the UK charts at #42.<br /><br />This is absurd. There are thirteen tracks on the album; eight of them are better than "Why," and even after we discount those that may not work as lead singles (ballads, growers, etc), we still have approximately four or five that could have kicked off the marketing campaign less disastrously. <br /><br />I suppose I can at least understand why <a href="http://www.yousendit.com/transfer.php?action=download&ufid=54D4EEF74779D20D">my absolute favorite track</a> wasn't picked as the first single. "Every Little Teardrop" is tremendous, featuring a beautifully emotional string arrangement that reinforces every word that Gabrielle sings in the chorus. But unfortunately, that arrangement is likely to remind listeners of Lenny Kravitz's "It Ain't Over Till It's Over" -- which would be fine, except that Mutya Buena sampled it not five months ago. I would imagine work on "Every Little Teardrop" started before "Real Girl" surfaced, so it's incredibly bad luck for Gabrielle that she kind of got scooped (by something inferior, no less).<br /><br />Sigh. What a pity. The cover for a "Every Little Teardrop" single would even have designed itself:<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp44UP7xnMG-diFc3EgIYwlfe5CflhqCYTMnrwGQ1lUOsNRSCVz43gqGGuEp5jZbFfFamjcsDlTlTRQA3juU0YjQNPk-sR4RqG5bDiSSCnCVsNHk9_h6kHcheTfTOXZniqdS1Mrg/s1600-h/Gabrielle.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp44UP7xnMG-diFc3EgIYwlfe5CflhqCYTMnrwGQ1lUOsNRSCVz43gqGGuEp5jZbFfFamjcsDlTlTRQA3juU0YjQNPk-sR4RqG5bDiSSCnCVsNHk9_h6kHcheTfTOXZniqdS1Mrg/s400/Gabrielle.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5117798665890726002" / TITLE="Brittle-Lemon is a terrible, terrible human being."></a><br />Yes, the sleeve can also double as my TICKET TO HELL.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-14205963.post-63218754592340865782007-10-04T17:29:00.000+08:002007-10-04T23:20:48.276+08:00<b>Alison Moyet, "One More Time" (2007)</b><br /><br />That <a href="http://www.yousendit.com/transfer.php?action=download&ufid=9D27837C44072F99">Alison Moyet's new single</a> can be described as "theatrical" should not surprise. Although she has only <a href="http://en.wikipedia.org/wiki/Alison_Moyet#Theatre">appeared in two productions</a>, one of those occupied her in the time most directly preceding her new material: a play about two sisters called <i>Smaller</i>, costarring Dawn French. (Margaret Cho gushes about the play and its actresses <a href="http://margaretcho.com/blog/index.php/archives/2006/04/11/dawn-french/">here</a>.) Alison in fact wrote three songs for the play -- "World Without End," "Home," "Smaller" -- and these will close out her forthcoming album, the aptly-titled <i>The Turn</i>.<br /><br />The subtly amazing first single from that album, "One More Time," was therefore not composed for the play, but it nevertheless feels like it should be on stage, somewhere. The song isn't "theatrical" in the bad sense of the word: that is, it's not some overblown, melodramatic number that needs to be performed with jazz hands. But the song feels like it could be from a Pinter or Albee or O'Neill play about, say, marriage. <br /><br />There are either two or three characters in "One More Time": it's hard to be sure because the lyric masterfully shifts between first and second person pronouns, but it's likely that our narrator is simply oscillating between being part of the scene and trying to detach herself from it. From this conflicted viewpoint, we get three moments that take place around one bedtime. In the first verse, she turns the light out, her eyes tired. In the next verse, presumably lying there in the dark, with her lover ostensibly next to her but also a world away, she can only think of the difficulties of the relationship. "If easy was on the cards/Then someone made it disappear/And he smiles/And even now you hate him/ Only now he wants you to/The liberties you take/For what he won't be giving you." Sadly, it's a situation that isn't alien: "That's what you do."<br /><br />But the breathtaking chorus also tells us that it's a situation that our narrator is willing to put up with. The four lines of the chorus, simple but precise as a surgeon's knife, figure the relationship in transactional terms; love, it seems, is a tie of debts and credits. "If all that we make here is sorrow/And all that we get we just borrow/I'll still buy, so can we try/One more time?" For all that love costs, it still compels us. What else will we spend our currency on? The way Alison's voice lilts over the phrase "I'll still buy" is heart-stopping; hitting that first high note, and then two more monosyllabic ones, it expresses hope, resignation, despair, sadness, all at once. It makes it impossible to know if the song ultimately shows us a person who is masochistically in a relationship from which she derives little, or if she is right in being pragmatic about the compromises one must make to keep any relationship going. <br /><br />But perhaps we find out, sort of. After two verses and choruses, the song seems to work its way to a conclusion; the strings swell and get more elaborate, and it seems like we will end at the 2:50 mark. But true to its title, the song comes back for one more go-round, and this time we are offered some hope. The light, for one, gets turned back on by him. "He turns the light on/Sits down where he watches you/Tells you he couldn't sleep/He had something to share with you." And instead of the impersonal "you" second pronoun that we got to conclude the first verse, this third verse admits: "That's what we do." If the unpleasant situation feels all too familiar, it is at least something that the two of them are in together.<br /><br />Do they indeed share? (And if so, is it good stuff or bad?) Do they talk? Do they work things out? <i>Did</i> they (the song seems to know -- "he <i>had</i> something to share" -- but it's not telling us)? Perhaps. But that chorus, which I haven't been able to get out of my head, where it may stay as one of the most moving lyrics of the year, comes back around. "If all that we make here is sorrow/And all that we get we just borrow/I'll still buy, so can we try/One more time?/One...more...time."Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-14205963.post-2712546064692335502007-10-03T18:11:00.000+08:002008-12-12T05:57:51.325+08:00<b>Christophe Willem, "Elu Produit De L'année"/"Double Je" (2007)</b><br /><br />2006's edition of <i>Nouvelle Star</i> (aka the French <i>Pop Idol</i>) was won by <a href="http://en.wikipedia.org/wiki/Christophe_Willem">Christophe Willem</a>, a contestant who seems to have caught the public's fancy for two things. One, his voice: arrestingly high-pitched, ethereal, and yes, feminine. Two, his looks: in an early round, one of <i>Nouvelle Star</i>'s judges infamously called Christophe "la tortue" (the turtle), and then tried to flip him over onto his back. (I may have made up that last part.) <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLC0C5uSQ_GlfuU4z2leMplaKZivprTPUMd_aCLmBTB9ke9KNjIbXD0q3JFoprb0toGQQZqkmtw5bStGyc-otd_TdgN30HLvG-HGm5Fj4eZz-exMP5L6XUftrKSVrRf2P47HobeA/s1600-h/Christophe+Willem.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLC0C5uSQ_GlfuU4z2leMplaKZivprTPUMd_aCLmBTB9ke9KNjIbXD0q3JFoprb0toGQQZqkmtw5bStGyc-otd_TdgN30HLvG-HGm5Fj4eZz-exMP5L6XUftrKSVrRf2P47HobeA/s400/Christophe+Willem.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5117031245429244002" / TITLE="Nobody puts turtle in the corner"></a><br />The two things are intimately related, of course: by now it's a common trope in many singing shows to have a contestant whose looks supposedly don't match his or her voice. (Mine does, but if I ever join a competition, I'll be sure to find some way to manufacture such a discrepancy and thus a good hook. Dress up like a tattooed punk rocker, say, and then sing like a choir boy. Though this plan is slightly hampered by my inability to sing like a choir boy.) Of course, like many reality TV characters, Christophe is not the hideous deformed beast he's made out to be. He's just the TV version of ugly. His gangly physique is Olive Oylie, his glasses make him into something of an Erlend Øye, and his unshiny hair doesn't hide his fivehead, oi vey. But if someone holds him down and shaves off that thing on his face, you can already see that he's plain more than fugly. (I do feel bad about how nature shortchanged him, though, because his father is rather [silver-]foxy.)<br /><br />I'm not sure I would have liked Christophe if I actually watched the show. Maybe <i>Nouvelle Star</i> just had assy theme nights that restricted his song choices, but Christophe apparently had a weakness for bad 70s disco cheese: he performed "Sunny," "Born To Be Alive," "I Am What I Am," "Staying Alive," and "My Heart Will Go On," for crissakes -- although, I have to say, he's <i>not that camp</i>. (His taste in chansons is better, I think: <a href="http://youtube.com/watch?v=OcuM7kavECc">here</a> he covers Michel Polnaref"s "Goodbye Marilou.")<br /><br />Christophe's debut album, <i>Inventaire</i>, doesn't bear much relation to his <i>Nouvelle Star</i> performances. It's surprisingly sleek and contemporary-sounding, and credit for that may need to go to <a href="http://en.wikipedia.org/wiki/Zazie">Zazie</a>, whom I think produced parts or all of it. It's also quite a varied album. Shows like <i>American Idol</i> are actually quite paradoxical: the format asks its contestants to assume different styles and genres each week. But if the show thereby showcases faux-versatility -- "faux," because as many critics have noticed, there is very little consistency in whether contestants are praised or castigated for "stepping out of their boxes," and if I never hear that expression again it will be too soon -- such versatility never becomes a marketing point after the winner is crowned. (This is probably due to how segmented the American music market is, of course; as far as I know, the <a href="http://en.wikipedia.org/wiki/Princess_P">one album</a> that tried to be 16 weeks of <i>Idol</i> on record stunk up the joint.) Seen from another angle, this confirms what many know: something like <i>American Idol</i> is first and foremost always about the show (which requires that weekly variety), and much less about positioning its contestants for any kind of career afterwards.<br /><br />But I digress. Christophe's album is not "varied" in the sense that it jumps from bluegrass to country to, say, a rap number featuring Kevin Covais (seriously, Paris, wtf). But listen, for example, to how different its first two singles have been: <br /><br /><a href="http://www.yousendit.com/transfer.php?action=download&ufid=B81AC0F702998567">"Elu Produit De L'année"</a> was a download-only single released back in March, and it's a tremendously toe-tapping neo-Motown stomper. It's a bit like Spice Girls' "Stop" with more violins and horns, which is a compliment of the highest order. And <a href="http://youtube.com/watch?v=RU3CkfPHpoE">the groovy video</a> features women dancing with lampshades and birdcages on their heads! (Not at the same time. That would just be silly.) <br /><br /><a href="http://www.yousendit.com/transfer.php?action=download&ufid=743CB4312FB94D2D">"Double Je"</a> is the more official second single, and it's awesome in a totally different way. <a href="http://stylusmagazine.com/jukebox/?p=879">Reviewing it for the Jukebox</a>, where the song is gratifyingly lodged in 2007's top ten, I compared "Double Je" to the French Italo disco classic "Voyage Voyage," which Pet Shop Boys fans will remember is the record they were trying to emulate with their Patsy Kensit version of "I'm Not Scared." It's a cool piece of thumping, bleeping electropop, and <a href="http://youtube.com/watch?v=bl49hbnWV2I&mode=related&search=">that video</a> has new age people laying hands on Christophe, or something. I don't know.<br /><br />Though it has its patchy moments, <i>Inventaire</i> has several other potential hits: lovely piano-led ballads (like "Chambre Avec Vue"), and even a pulsating English electropop number "Kiss The Bride" that may spearhead Christophe's attempt to break into Francophobic countries. But I feel like I almost don't need these other tracks, because ""Elu Produit De L'année" and "Double Je" may constitute the best one-two debut punch from any <i>Idol</i> winner ever, and that's practically enough for moi.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-14205963.post-9652437351909430762007-10-02T18:23:00.000+08:002007-10-02T18:38:36.671+08:00<b>Mêleé, "Built To Last" (2007)</b><br /><br />Blue moons are well and fine, but an even rarer occurrence took place last week, right around, as it happened, the <a href="http://en.wikipedia.org/wiki/Mid_Autumn_Festival">mid-Autumn festival</a>. I absent-mindedly had MTV Asia on, and it INTRODUCED ME TO A NEW SONG: <a href="http://www.yousendit.com/transfer.php?action=download&ufid=B2A0D8E05C82ABCC">Mêleé's "Built To Last."</a> Oh my God, how novel, someone should look into this marketing tool, etc.. <br /><br /><object width="425" height="353"><param name="movie" value="http://www.youtube.com/v/eOaemLg_7oQ&rel=1"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/eOaemLg_7oQ&rel=1" type="application/x-shockwave-flash" wmode="transparent" width="425" height="353"></embed></object><br /><br />The video is pretty ordinary, featuring as it does a rather literal interpretation of the album title (<i>Devils and Angels</i>), and some dubious fashion choices (lead singer Chris Cron, who might just be <a href="http://chartrigger.blogspot.com">J'ason D'luv</a>'s third cousin, sports a waist coat that's totally on the wrong side of Seth Cohen). <br /><br />But the song: what a song. It looks like it is or has been #1 in Japan, though <a href="http://en.wikipedia.org/wiki/Mêlée_%28band%29">the band</a> is American. Specifically, <a href="http://en.wikipedia.org/wiki/Orange_County%2C_California#Music">from Orange County</a>, so you know what that means: power-pop! It's been a nice year for the genre, what with a solid (if now trendy-to-diss) album from <a href="http://trembleclef.blogspot.com/2007/03/fountains-of-wayne-someone-to-love-2007.html">Fountains Of Wayne</a>, and excellent tracks by <a href="http://trembleclef.blogspot.com/2007/07/rooney-are-you-afraid-2007-although.html">Rooney</a>, <a href="http://trembleclef.blogspot.com/2007/07/click-five-long-way-to-go-2007-question.html">The Click Five</a> (at a pinch, we might even include Orson). <br /><br />While "When Did Your Heart Go Missing?" and "Strapped For Cash" have been leading the race for best power-pop single of '07, "Built To Last" is mounting a serious late challenge. That piano riff betrays how much Coldplay is an influence on the band, but the song is gloriously soaring instead of drippy. The same might be said of Cron's vocals. Strong throughout the track, he at points sounds uncannily like Roland Orzabal on the last Tears For Fears album (the underrated <i>Everybody Loves A Happy Ending</i>). On the chorus, that voice is ably supported by backing "ahh"s, and the sweetest of harmonies. But the vocals really get on a roll beginning with a middle eight using a modified version of the chorus melody ("Walking on the hills that night/With those fireworks and candlelight/You and I were made to get love right") which, after the chorus, return one more time with new words ("Cause you are the sun in my universe/Considered the best when we've felt the worst"). It's hard not to get carried away and shout along with the final few lines: <i>most of all,</i> most <i>of all...</i> LOVE. IT. The Japanese got it so right.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-14205963.post-88596452297595786692007-10-01T18:25:00.000+08:002008-12-12T05:57:53.905+08:00<b>Freezepop, "Thought Balloon" (2007)</b><br /><br />In some ways, songs about being tongue-tied or struck dumb in front of a crush carry an extra burden to be articulate. The more the song can precisely and lovingly describe the condition, the more we understand how silly it is that our narrator, so bright and well-spoken within the song, can't muster up the words without. <br /><br /><a href="http://www.yousendit.com/transfer.php?action=download&ufid=D6E412DA437B5DE4">Freezepop's gorgeous ballad</a> about the affliction doesn't necessarily strive to be "articulate" per se, but it finds a point of focus that is wonderfully human and relatable: the cartoon figure of the thought balloon. It's "such a pretty thing/A white balloon on a string/It floats above my head/Filled with stuff I should have said." It is subject to a kind of gravity. "Thoughts can weigh me down/My balloon dips closer to the ground/I'm hoping that you catch my drift/Give my balloon a little lift."<br /><br />Near the end of the song, our narrator resolves to speak her mind. "I've been quiet for too long/And I'm gonna take the dare/Find a way to let you know, la la la la/Time to let my secrets go, la la la la/I'll pull the words out of thin air." And so she decides to set the balloon free, a gesture that feels as sweet and wondrous as when <a href="http://en.wikipedia.org/wiki/99_Luftballons">Nena let go of hers</a>, though this time round we're not even dealing with nuclear holocaust. (Not literally, anyway.) "I'll set it free, my thought balloon/And lead you here to me/And finally I'll have my say/And then my thought balloon can float away."<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcOjL7rNmtYWE4HJ8rO1XElIG9jBReq194rHMXRV5WoGfcaX4Dt8cEzmaV_zQx6Gsyt_dSv0TCDSKYie-0k9NEUbFZVEL5A1ospwIKgiFMF6QfhvPcQSov4eofbkyK_mvPruhSA/s1600-h/Thoughtless+Balloon.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcOjL7rNmtYWE4HJ8rO1XElIG9jBReq194rHMXRV5WoGfcaX4Dt8cEzmaV_zQx6Gsyt_dSv0TCDSKYie-0k9NEUbFZVEL5A1ospwIKgiFMF6QfhvPcQSov4eofbkyK_mvPruhSA/s200/Thoughtless+Balloon.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5116323533603110978" / TITLE="Thoughtless balloon"></a><br />And yet the triumphant moment makes me sad. Maybe, in the course of the song's three-plus minutes, I'd grown accustomed to, and even fond of, that white balloon. Maybe it's because of the melancholic feel of the song, built as it is on a mellow, quivering synth line (that places it in the tradition of, say, "Rent"). Or maybe, having struggled for the past month with a sorta-friend, to whom I want to say so much and yet cannot, I find myself understanding that some balloons must by necessity always remain attached to us, and us to them.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-14205963.post-26206935444641634112007-09-14T18:49:00.000+08:002007-09-14T19:17:43.143+08:00<b>Benjamin Biolay, "Rendez-vous Qui Sait" (2007)</b><br /><br />The <a href="http://www.yousendit.com/transfer.php?action=download&ufid=BD71C146440BDE57">lovely "Rendez-vous Qui Sait,"</a> a track from <i>Trash Yéyé</i>, the forthcoming album by the freshly-divorced Benjamin Biolay, makes me think of three or four other songs, and almost all the memories are pleasant. <br /><br />It begins with a tinkling piano part that runs through the whole track; on the pre-chorus, the riff doesn't stop, but it does shift downwards a half-key. But if the song therefore sounds a bit like something Coldplay might produce, this specter is more than countered when the chorus rolls around and a beautiful trumpet comes in. The notes it plays are not <i>quite</i> from "Join Our Club," but there's a gorgeous whiff of Saint Etienne in the air. (It reminds me even more of The Cherry Orchard's "Roundabout," but no one will get that reference.) Since my mind is wandering anyway, and since Biolay often gets lined up next to his fellow countryman Etienne Daho, I'm also prompted by the trumpet to think about "La Baie" -- perhaps one of my favorite songs <i>ever</i> -- even though "Rendez-vous Qui Sait" is jauntier, less achingly sad than Daho's track. Not that "Rendez-Vous" is without its tinge of melancholy: on the chorus, Biolay begins to doubletrack his vocals. Everything comes together at that point -- the rueful voices, the lonely trumpet, the never-look-back piano, and even the synth hits that go <i>plapt plapt plapt</i> -- and, though it seems strange to say, the ghosts of all the other songs feel like they are simultaneously summoned <i>and</i> exorcized.Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-14205963.post-61718381696460299282007-09-13T15:28:00.000+08:002008-12-12T05:57:54.423+08:00<b>W.I.T., "Just What I Needed" (2003)</b><br /><br />In early October, Felix Da Housecat will release his third album, which makes this the perfect occasion to ask: oh my god, was it really only six or seven years ago when electroclash was all the rage? It feels like <i>decades</i>. All things considered, a good number of acts have survived that cultural moment when electroclash threatened to simply be a flavor of the month, if with diminished cachet (it's easy to forget, for instance that, with "Electrobix," Scissor Sisters was considered part of that scene). <br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCMkNotR2rHi4zGOoWdjsEbt8Wr0VemO20gYfLI-PdClIjnhi2zoXFIuV4SEsGMgIEh9Lp3J4XdRR34MYCjQzAPDVrCCyuKnYtQhGEFmTbz6A3jeq71qRNJ7nq0XMvpLd1SkkFA/s1600-h/WIT.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgCMkNotR2rHi4zGOoWdjsEbt8Wr0VemO20gYfLI-PdClIjnhi2zoXFIuV4SEsGMgIEh9Lp3J4XdRR34MYCjQzAPDVrCCyuKnYtQhGEFmTbz6A3jeq71qRNJ7nq0XMvpLd1SkkFA/s400/WIT.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5109570355972148386" /></a>W.I.T., on the other hand, never really got off the ground, which is a bit surprising given that they were the brainchild of electroclash's "founder," Larry Tee. The act is made up of three women: Melissa Burns, Christine Doza, and Mandy Coon. Melissa is the one with the Farrah do and blow-up doll mouth; Christine is the <i>especially</i> trannytastic one; and Mandy, according to the sleeve notes, doesn't actually <i>sing</i> on the record, although she would go on to provide some vocals for LCD Soundsystem (and handclaps on "Disco Infiltrator"!). <br /><br />W.I.T. released one album whose title explains both the group's name as well as, one would assume, its ethos: <i>Whatever It Takes</i>. The Amazon marketplace has copies for a couple of bucks each, which is already more than what I found it for in a physical record store. The album is, um, worth that, certainly. It's a pretty fun record: the singing is never as sneery as Miss Kittin's, and the music leaned more towards synthpop than the harder sounds of some other electroclash acts. <br /><br />My favorite track on the album is <a href="http://www.yousendit.com/transfer.php?action=download&ufid=8063921D2CDAB128">the band's superior cover of The Cars' "Just What I Needed."</a> It's not as if <a href="http://www.yousendit.com/transfer.php?action=download&ufid=C61D84767DB82401">the original</a> wasn't already new wavy, but Larry Tee makes it even more so by jettisoning the chugging rhythm guitar and instead making the delicious synth riff the centerpiece of the song. Thus, after a bleepy intro, the girls asks, "Are you ready? Let's go!" And then the riff enters, making the most of its grand introduction. Furthermore, in both versions the riff is always played twice, but with a differing last note; in Ric Ocasek's original the first iteration ends with a "down" note before it comes back for a second go-round with an "up" one. W.I.T.'s version reverses that order, and the riff somehow sounds more ecstatic as a result. The only disappointing aspect of the remake lies in the way W.I.T. changed the couplet, "It's not the perfume that you wear/It's not the ribbons in your hair" to "It's not the clothing that you wear/It's not the perfume in your hair." I guess they did so because they would later name the song's addressee as a "boy," but it's not as if a man with <i>perfume</i> in his hair is any less queer than one with <i>ribbons</i>.<br /><br />As a bonus, here's one more track from W.I.T. I enjoy: <a href="http://www.yousendit.com/transfer.php?action=download&ufid=CDD40D4A14759274">the album closer, "Inside Out."</a> It's not a cover of the Odyssey song (Electribe 101 did that), but rather a Larry Tee original with spoken verses and a dreamy chorus (during which one of the girls almost sounds like she's singing, "I wet myself..." Fergalicious!).Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-14205963.post-41361583950366535392007-09-12T16:10:00.000+08:002007-09-12T16:07:20.260+08:00<b>Coldcut, "Autumn Leaves" (1993)</b><br /><br />Of course autumn brings<br />A sense of melancholy.<br />Though, here, no <a href="http://www.yousendit.com/transfer.php?action=download&ufid=D381CD8B5F21639A">leaves fall</a>.Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-14205963.post-21697383678839963272007-09-11T22:44:00.000+08:002007-09-11T23:20:09.032+08:00<b>Club 8, "Jesus, Walk With Me" (2007)</b><br /><br />The movie that <i>terrified</i> my friend and I when we saw it with a week or so ago was not a thriller, a horror flick, <a href="http://en.wikipedia.org/wiki/Torture_porn">torture porn</a>, or even some impossibly cute rom-com that filled the two of us with despair about ever finding someone to love. It was <a href="http://fourfour.typepad.com/fourfour/2007/01/camp_classic.html">the documentary <i>Jesus Camp</i></a>. <br /><br />For Jaz, the film turned out to be doubly traumatic; not only was she amazed by the level of fanaticism, denial, and hypocripsy on show in the flick, but some long repressed memory got awakened. " I haven't thought about this incident in ages, but I had this tuition teacher when I was a kid," she told me over post-movie coffee. "And one day, without telling my mom, she took me to church."<br /><br />I asked her if she had to go through all the motions, like...I dunno, the eating of the wafer. Quite possibly I didn't even have my denominations right, but somehow it was the worst thing I could think of to have to mime, because doesn't swallowing the wafer when you didn't actually believe that it is the body of Christ lead to...some catastrophe? If not for you, then for the host? No? Or perhaps I was just thinking about wafers because we were having dessert with our coffee. <br /><br />ANYWAY, Jaz claimed that it was long ago, and it was all a frightening blur. "But here's the thing I do remember," she said. "After the service the tutor gave me a bag of pamphlets. When I got home, I was really scared, and I didn't feel like I could tell my mom about any of it for some reason. And so I just shoved that entire backpack under my bed and tried to forget about it."<br /><br />"It's probably still there," I said helpfully, "unless it's been consumed by the flames of Satan." <br /><br />"Probably," she agreed. And then, as if it was either relevant or a logical end to the entire sordid tale, she added: "It was a Snoopy backpack."<br /><br />The narrator of <a href="http://en.wikipedia.org/wiki/Club_8">Club 8</a>'s "Jesus, Walk With Me" is nothing like the characters of <i>Jesus Camp</i>. Thank God. From 2001-3, Club 8 released three gorgeous albums in quick succession, but the Swedish band has been quiet since then (although Johan Angergård spent the past few years <a href="http://trembleclef.blogspot.com/2006/05/legends-play-it-for-today-2006-i-am.html">releasing music with The Legends</a> and Acid House Kings). Their comeback album, <i>The Boy Who Couldn't Stop Dreaming</i>, features a couple of singles ("Heaven" and "Whatever You Want") that suggest that the band has been listening to <a href="http://en.wikipedia.org/wiki/Young_Folks">their fellow countrymen</a> ("Whatever You Want" also pays homage to "Being Boring," while other tracks steal licks and moments from Spector and Depeche Mode). <br /><br />But the record begins with <a href="http://www.yousendit.com/transfer.php?action=download&ufid=4A2CE4C3381A520F">a beautiful acoustic ballad</a> that's a compelling portrait of faith. Like our friends from <i>Jesus Camp</i>, the song's narrator does desire salvation and comfort: "If God made me, will Jesus save me?/Take me through the day?" But she also understands why she does. Without claiming that her kind of faith is typical of the very structure of faith per se, she pleads nakedly on the haunting chorus: "Fool me into believing/I don't care if you're deceiving me/I wouldn't want it any other way/Cause then I'd only stay the same." Her vocals are here doubletracked, as if she both comprehends the self-deceitful nature of her wants, but also needs to emphasize their urgency despite it all. And, in turn, who among us doesn't understand that very human desire to be protected? By God. By Jesus. By a lover. By a constructed image of something that we ask, beg to fool us. Even by Snoopy.Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-14205963.post-72639541205935624182007-09-10T20:06:00.000+08:002008-12-12T05:57:54.639+08:00<b>Plastic Operator, "The Long Run" (2007)</b><br /><br /><a href="http://www.yousendit.com/transfer.php?action=download&ufid=4C67404A2950B525">"Tomorrow has hit me by surprise/Is it me, or did today just pass me by?"</a> On "The Long Run," Pieter Van Dessel, who's one half of Plastic Operator, sings of how overwhelmed he feels by the speed of life. It's not anything especially drastic or even specific, but merely a sense that there's always more he could do: "I am aware of the jokes I should have said/I am conscious of the laughter I didn't get/And sometimes I promise to be good/But it all depends on swiftly swinging moods."<br /><br />In the face of these problems, the song doesn't launch into any grand inspirational homily. The solution, contained in the chorus when it's not implied by the determined dee-dee-dee-dee keyboard riff, is very modest. "It should be alright in the long run," he says. "It should be alright if I'm holding on/It takes a while to get up when things let you down/True, but I've got time." There's not even the certainty of a "will," just the vague but still comforting sense that things, eventually, <i>should</i> be alright. If we think about it, it's not a totally convincing promise. Given that many todays are passing us by, how can we be certain that when we fall and/or things let us down, we will have the "time" to slowly get back up? We can't, of course. But we soldier on. We take shelter in the perspective afforded by the phrase "in the long run" -- the <i>coping mechanism</i> that is the phrase "in the long run" -- because if we don't, it becomes difficult to go on. As coping mechanisms go, it's a damn good one (except for those moments when the future terrifies rather than reassures us, that is).<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4I9p2dj5qlBaAJuhXehJ8kWHiuM4QV_WHMkrrJ8GvYZ4dUoVupJ5OM5FyovXVXHETj2Li_VnYmiD7quURHNXe-uxY5fFsSnzkRek1QZOrT3Buadt8FDseRMVx3bJN2sqKvz3iJw/s1600-h/Plastic+Operator.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4I9p2dj5qlBaAJuhXehJ8kWHiuM4QV_WHMkrrJ8GvYZ4dUoVupJ5OM5FyovXVXHETj2Li_VnYmiD7quURHNXe-uxY5fFsSnzkRek1QZOrT3Buadt8FDseRMVx3bJN2sqKvz3iJw/s320/Plastic+Operator.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5108498893176660786" /></a><br />"The Long Run" closes Plastic Operator's <i>Different Places</i> album, which is, on the whole, a pretty wonderful record. Like many people, I first heard of the band in 2004 when Fluxblog featured "Folder" (a fact that the band sort of recognizes in their <a href="http://www.plasticoperator.com/bio.htm">official bio</a>), and three years later the duo has put out a long player that is <i>probably</i> the second best old school synthpop album of the year -- thanks to tracks like "Peppermint," with its skittering breakbeat, or the understatedly moving "Home 0207," or the female-chant-over-a-Gorillaz-beat "Parasols" (although the song misses a great opportunity to end each title line with an echo of "asol, asol, asol"), or the infectious tale of a woman who is "Singing All The Time." (The best is <i>not</i> Dntel's, even if Jimmy Tamborello's <i>other</i> project has become the yardstick in recent years for great dinky-dink electropop with a melancholic mumbling male vocalist. It's <a href="http://trembleclef.blogspot.com/2007/03/go-find-adrenaline-2007-things-i.html">this</a>, if you must know.)Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-14205963.post-49554515361090865242007-09-06T19:57:00.000+08:002007-09-06T20:38:15.450+08:00<b>Axe Riverboy, "Roundabout"/"Carry On" (2007)</b><br /><br />Xavier Boyer, lead singer of the wonderful <a href="http://en.wikipedia.org/wiki/Tahiti_80">Tahiti 80</a>, has released a solo album, <i>Tutu To Tango</i>. It's a bit more acoustic than his band's work: it lacks the beats of <i>Fosbury</i>, and even the swingin' pop hooks of the first two Tahiti 80 albums. But although the material is much more low-key, its charm emerges after repeated spins. The middle of the album boasts two particularly energetic numbers: <a href="http://www.yousendit.com/transfer.php?action=download&ufid=FA2970A645E7B289">the first single "Roundabout"</a> (all faux-heavy metal guitar riffs and stuttering singing), and <a href="http://www.yousendit.com/transfer.php?action=download&ufid=9BD6635539C697BC">the cloppy, clappy "Carry On"</a> (all clipped acoustic guitars and characteristic falsetto choruses).<br /><br />The name he's chosen for the project is Axe Riverboy, which is simply an anagram of his. This is a marvellous idea. I hereby predict a trend:<br /><br />1. In 2009, Girls Aloud will announce that they are "on temporary hiatus as a group." Nadine Coyle will assume the stage name Annoyed Lice, but sadly her album of big band ballads will fizzle and she will have to recoup her losses by starring in the doubly-inevitable shampoo commercial.<br /><br />2. Tracey Thorn should have released <i>Out Of The Woods</i> under the moniker The Contrary.<br /><br />3. New Order may or may not have already broken up. Our grumpy little Barney therefore may or may not re-emerge as a rapper called Unmerry Beans.<br /><br />4. When The Ark disbands and Ola Salo goes it alone, he will do so as Alas, Loo!, but for some inexplicable reason he will fail to attract much of an audience, except when he plays big outdoor festivals.<br /><br />5. Eight years from now, Sugababes 19.0 finally call it quits. Heidi has married an oil tycoon and long faded from view, while Keisha is on <i>Big Brother</i>. Amelle endures to the end, but her two final bandmates are such backstabbin' hos that Ms Berrabah decides to call her solo project Abel! Abel! Harmer! Speculation about which of the fourteen bitches she's worked with those three names refer to is <i>beyond</i> rife.<br /><br />6. Brandon Flowers realizes that his true calling lies in gender illusion cabaret. Ladies and gentlemen, Brandon Flowers <i>is</i> Won-Bra Fondlers.<br /><br />7. Saint Etienne never break up, but the boys are so busy with their film experiments that Sarah decide on a surprising new career as Her Rascal Clunk. If you guess that her new vocation is "stripping" or "porn," shame on you, but I would almost understand.<br /><br />8. Róisín! Your solo career is still embryonic! (No one heard <i>Ruby Blue</i>, after all.) It's not too late to re-market your upcoming <i>Overpowered</i> album under a much more pronounceable, much less acutely accented <i>non de plume</i>. How about "In Your Shrimp"?<br /><br />9. As sad as it is to contemplate, Pet Shop Boys eventually spin off into solo acts. Neil Tennant would be Neat Lent Inn, and the music would of course be austere. Austere Gregorian chants, that is. Chris, on the other hand, would release an album of indie rock under the name Cow Relish.<br /><br />10. For his solo career, Bono adopts the name God. If you want to be the one to point out to him that, um, that's not an anagram, be my guest, because God WILL fucking strike you dead.Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-14205963.post-80944123516916629242007-09-04T18:18:00.000+08:002007-09-04T18:25:49.350+08:00<b>Chromeo, "Bonafied Lovin' (Tough Guys)" (2007)</b><br /><br /><a href="http://www.yousendit.com/transfer.php?action=download&ufid=900CCFD32EE6428E">A bouncy electro number that, in a perfect world, would be #1 on every pop chart</a>, "Bonafied Lovin'" sees Dave 1 trying to persuade some woman that she needs to dump her sweaty, insecure young buck of a boyfriend and take up with him, the older guy with "life experience" and "the right clothes and the right appearance," who can give her "bonafied lovin'." It's not clear why older lovin' is more "bona fide," unless there is some joke here about geriatric boners that I am too innocent to appreciate. "Never mind an SMS, what you need is a sweet caress," he hilariously sings, as if technology and TLC are mutually exclusive. You only need one hand to SMS, I've been told.<br /><br />There's therefore little question that the lyric is faintly absurd -- a <a href="http://www.boomkat.com/item.cfm?id=51276">Boomkat review calls it "howlingly silly"</a> -- but to take it as <i>unintentionally</i> funny would miss the point. Admittedly, I myself might have some years ago: I first heard of Chromeo via the Paper Faces (aka Jacques Lu Cont) remix of their "Needy Girl," so I filed them away as a humorless band that has more in common with glum techno acts rather than what they really are. I recently burned their <i>Fancy Footwork</i> album onto a 80 min CDR, alongside the equally <a href="http://trembleclef.blogspot.com/2007/02/pleasure-featuring-brett-anderson-back.html">brief <i>Pleasure 2</i> album</a>, and the two bands go perfectly together. (Indeed, it would have been way more appropriate for Lu Cont to have remixed "Needy Girl" under his Les Rythmes Digitales moniker.) And really, that 80s backing -- chock full of insanely catchy cartoon sound effects -- should make the tongue-in-cheek nature of the song abundantly clear. This, after all, is a song in which our narrator tries to seduce a woman by proclaiming his coolness, but the music that backs up his claim is totally "uncool" and "untough" 80s electro. He's just a big ol' dork, and that's why I love this track so.Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-14205963.post-58428884779276465982007-08-31T15:35:00.000+08:002008-12-12T05:57:55.636+08:00<b>Jens Lekman, "A Postcard To Nina" (2007)</b><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKdMlyVw3kPfzAwzxCngf4eNCIS944md6FA6-r_-I1O8liQz_o2yQjoibEjfTjflP4WW-_spIUEbVUmaL3m6sePLW37bsvm5_2wVb6NW91KOz7a8LR4mUk0wiLcFmRy9uPAgkBmw/s1600-h/Oh+Heather.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKdMlyVw3kPfzAwzxCngf4eNCIS944md6FA6-r_-I1O8liQz_o2yQjoibEjfTjflP4WW-_spIUEbVUmaL3m6sePLW37bsvm5_2wVb6NW91KOz7a8LR4mUk0wiLcFmRy9uPAgkBmw/s320/Oh+Heather.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5104764517897036530" / TITLE="This post is being illustrated by a pic of Heather Matarazzo. Why? Read that wiki link more carefully for the answer."></a>I'm not one for grand, sweeping pronouncements, but I will venture to say that of all the pop songs narrated from the hilarious perspective of a man who is conscripted into being a <a href="http://en.wikipedia.org/wiki/Merkin#Other_definitions">merkin</a> for his lesbian friend, who brings him to a family dinner that can only be safely navigated if he correctly reads the degree to which her left eyebrow is raised, even as he has to suffer the bruising that comes from repeated kicks under the table as well as the interrogations of her sweet old father, all of which proves to be too much and finally drives him to touchingly advise her to just be true to her badass dyke self already, <i>girl</i>, <a href="http://www.yousendit.com/transfer.php?action=download&ufid=D4548EA9204B0549">Jens Lekman's "A Postcard To Nina" is the best</a>.Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-14205963.post-31085080088902574002007-08-30T23:46:00.000+08:002008-12-12T05:57:55.882+08:00<b>Popium, "Beautiful Thing" (2002)/"Perfectly Numb" (2002)</b><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYOZMtxWNXQV2fn7pjsD3m0q1aU9LPWFlRafZoLYkWYhVERIsBpfkcOSOq7LDIud_CDCpV2R9y8AdT3tTdD3hdvCuIaE1-VoLut_9FFhyphenhyphenTGa1J-npE15s4ycLqaw1A5iNRX33eAw/s1600-h/Popium.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYOZMtxWNXQV2fn7pjsD3m0q1aU9LPWFlRafZoLYkWYhVERIsBpfkcOSOq7LDIud_CDCpV2R9y8AdT3tTdD3hdvCuIaE1-VoLut_9FFhyphenhyphenTGa1J-npE15s4ycLqaw1A5iNRX33eAw/s320/Popium.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5104384847083037410" /></a><br />Today we're talking about Popium. You go first. <br /><br /><div class="TWIIGSPOLL"> <script type="text/javascript" src="http://www.twiigs.com/poll.js?pid=4704&color=green"></script> <div class="TWIIGSPOLLpolllink" style="background-color: transparent; background-image: none; border-style: none; clear: none; display: block; float: none; position: static; visibility: visible; height: auto; line-height: normal; width: auto; margin-top: 10px; margin-right: 0; margin-bottom: 0; margin-left: 0; outline-style: none; padding-top: 0; padding-right: 0; padding-bottom: 0; padding-left: 0; clip: auto; overflow: hidden; vertical-align: baseline; z-index: auto; letter-spacing: normal; text-align: right; text-decoration: none; text-indent: 0; text-shadow: none; text-transform: none; white-space: normal; word-spacing: normal;"> <a class="TWIIGSPOLLmorelink" href="http://www.twiigs.com/poll/Entertainment/Music/4704" style="background-color: transparent; background-image: none; border-style: none; clear: none; display: inline; float: none; position: static; visibility: visible; height: auto; line-height: normal; width: auto; margin-top: 0; margin-right: 0; margin-bottom: 0; margin-left: 0; outline-style: none; padding-top: 0; padding-right: 0; padding-bottom: 0; padding-left: 0; clip: auto; overflow: hidden; vertical-align: baseline; z-index: auto; letter-spacing: normal; text-align: left; text-indent: 0; text-shadow: none; text-transform: none; white-space: normal; word-spacing: normal; font-weight: bold;">more at twiigs.com...</a> </div> </div> <br /><br />I'm in category 3 myself: as a Sox fan, I was of course obligated to watch <a href="http://en.wikipedia.org/wiki/Fever_Pitch_%282005_film%29"><i>Fever Pitch</i> (aka <i>The Perfect Catch</i>)</a>. There's a lot of talk about the eternal suffering that comes with being a Sox fan, but no one warned me about having to watch Jimmy Fallon try to act. Thankfully, the film at least featured highlights of the 2004 season; also, in one scene, a lovely shimmering late night song played, the kind that the Tindersticks or Richard Hawley or Cousteau or Weeping Willows might have done. (For this, I imagine we have to thank the exquisite taste of the film's scorer: Craig Armstrong.)<br /><br />The track, titled "Sooner Or Later," is instead by <a href="http://www.kongtiki.com/bands_popium.php">Popium</a>, a five-man band from Bergen, Norway. The band has been around for a while, and have released four albums. A self-titled debut came out in 2001; this was followed by <i>Permanently High</i> in 2002, and <i>Camp</i> in 2004 (from which "Sooner Or Later" was culled). Last year saw the release of <i>The Miniature Mile</i> in Scandinavia (you can hear tracks from the record at <a href="http://myspace.com/popium">the band's myspace</a>). That looks to be getting a UK release next month, although three of the four albums are <a href="http://ax.phobos.apple.com.edgesuite.net/WebObjects/MZStore.woa/wa/browserRedirect?url=itms%253A%252F%252Fax.phobos.apple.com.edgesuite.net%252FWebObjects%252FMZStore.woa%252Fwa%252FviewArtist%253Fid%253D62804210%2526forceArtistPage%253D1">already available on US iTunes</a>. And of course, Youtube proves useful as well, with <a href="http://youtube.com/results?search_query=popium&search=Search">a few videos for the band's singles</a>. Including this one, for the <a href="http://www.yousendit.com/transfer.php?action=download&ufid=01FCD716248CCC22">ridiculously infectious "Beautiful Thing"</a>:<br /><br /><object width="425" height="350"><param name="movie" value="http://www.youtube.com/v/0zTo4iHrOX8"></param><param name="wmode" value="transparent"></param><embed src="http://www.youtube.com/v/0zTo4iHrOX8" type="application/x-shockwave-flash" wmode="transparent" width="425" height="350"></embed></object><br /><br />The song is a duet with fellow Bergen artist <a href="http://www.myspace.com/christinesandtorv">Christine Sandtorv</a>, whom some of you may recognize as a member of Ephemera. It's cheerful 60s-inflected power-pop, and a lot of its charm comes from the absurd way both singers enunciate the word "beautiful" (or "beaudeeefall"). From the same album I also like <a href="http://www.yousendit.com/transfer.php?action=download&ufid=0CCA69B4334B9022">the much subtler "Perfectly Numb."</a> It's a slower track, though not as smoky as "Sooner Or Later." It reminds me a little of Lucky Soul's "My Darling Anything" or "Struck Dumb," and features castanets, which <a href="http://trembleclef.blogspot.com/2005/10/hal-plays-hits-2005-castanets-rat.html">always make a track a winner in my book</a>. With their name, the band is obviously setting me up to make references to how addictive their music is, but I'll just pretend that the word means something totally different in Norwegian and resist to the end. I'm nobody's ventriloquist's dummy!Unknownnoreply@blogger.com2