Uncertainty.
Risebykeleokereke
Walk Tallbykeleokereke
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Showing posts with label Bloc Party. Show all posts
Showing posts with label Bloc Party. Show all posts
Friday, May 14, 2010
Sunday, February 28, 2010
HUSTLE
Bloc Party fucking kills it on the remix of Tunng's brand new single, Hustle. The original is a indie-folky feel good number that's bound to make you forget all your troubles for roughly 4 minutes. But Bloc Party essentially removed all the original instrumental aspects and transformed it into a techno beast. Perhaps it's my unrelenting love for Kele Okereke, and my desperation to hear something new from one of the greatest bands around at the moment, but I love this.
Listen to the original first I think, here it is right below. Then never listen to it again and blast the remix on repeat for all eternity.
Hustle (Bloc Party Remix) - Tunng
Tuesday, November 17, 2009
AND YOU LOOKED SO RIGHT, IN THAT RED DRESS.
More realistically though, I'd like to think that perhaps Bloc Party didn't have much say in the matter, as the remixes, and remixers; chosen to submit work to the album basically made a mess of the whole thing, which I doubt Kele Okereke would be too keen on if given a say in the matter. The opportunity for fans to remix three or their songs was similarly squandered, with a single digit number worth of remixes worth even mentioning.
Finally though I've found some not necessarily new remixes from Intimacy that have genuinely impressed me.
The mysterious and relatively unknown Adam Jeffery has remixed Letter To My Son under his misleading moniker; Twins, and it's a really good rework. It reminds me of the Silent Alarm remixes: the general trend being that the remixers acknowledged and preserved the heart and soul of the song, only adjusting the mood and atmosphere to create something compelling. Twins has done the same thing here, cut and pasted some vocals, added an eerie instrumental backdrop and amplified the sense of sadness and regret that took center stage in the original. It's remixes like this that should have been on the reinvented iteration of Intimacy.
Secondly, I've tracked down the Frankmusik remix of Talons, which you'd be forgiven in thinking had nothing to do with Frankmusik at all from the sounds of it. But the Electro-Pop wizard's trademark vocal splicing and jittery effects are here and just as effective as always. He's essentially doubled the length of the song, pulling somewhat of a Fred Falke; and like Fred Falke, he's kept it interesting the whole way through.
p.s. Kele recently shaved off the dreads and stacked on, like, 400 pounds of muscle; likely in a bid to intimidate racist punk legends.
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Letter To My Son (Twins Remix) - Bloc Party
Talons (Frankmusik Remix) - Bloc Party
Thursday, November 12, 2009
REVIEW: BRAVEFACE - ESSER
With Esser as both the principle songwriter, and lead singer, as well as playing many of the instruments heard on the LP, it's safe to say that Braveface is effectively his creation. And he deserves a ton of credit as well, Braveface is, in a word; amazing.
Sonically it lies somewhere between Electro-Pop and Indie, with the lyrical delivery having a rhythmic progression reminiscent of that found in UK Grime and Hip-Hop. Although there are outliers which deviate from this description littered throughout the album.
It's clear that Esser aimed for catchy accessibility on Braveface, with most of the tracks being loud, punchy three minute pop-gems with scathing and witty observations at the forefront of the songs. Songs like Headlock and Work It Out are perfect examples of the style most of Braveface's numbers entail. Generally dealing with heartbreak and love-loss, but instead of self-pitying introspection and solemn observations, Esser's tracks generally point the finger at what is clearly a long line of self-obsessed users and unfaithful lovers. It's refreshing to hear this approach after so many artists in the same genre tend to use self deprecation or unfulfilled yearning as story-telling techniques in their songs.
It's not all anger and spite however, the previously mentioned Work It Out is a proposition from one party to their better half, to work out their relationship issues and remember why they fell in love in the first place.
There are numerous moments in Braveface where you think to yourself "Wow, that's a great line", and it's definitely one of the best facets of Esser's debut; the songwriting is spot on ninety-five percent of the time. You'll definitely be singing along to many of these songs before long. A great example can be found in the title track:
"So when you wake up in the morning,
And the sunlight hurts your eyes,
Don't want the world to see your demons,
So you keep them locked inside,
And you put on your braveface."
It's tough to single out sterling examples because there are so many to choose from, every track on the album has its own identity and quality to it, Esser set a high benchmark that is easily met across the board.
However I think some of the best moments on Braveface come from those songs that break the mold set by the surrounding mood of the album. Both Bones, and the album closer Stop Dancing, take down the tempo and attempt completely different instrumental styles. Bones reminded me more than once of Bloc Party's style and sound, which impressed me to no end. Stop Dancing also had tinges of A Weekend In The City and Intimacy to it, but comparisons aside, these are both very much still Esser's songs and two of the best on the album. It definitely serves to highlight the strength of Benjamin Esser's versatility when you hear an amalgamation of so many different styles created so well on a debut album.
It's tracks like these that make me very excited for Esser's hopefully long and fruitful music career to come, he's set himself up to basically go anywhere from here, with a varied, yet cohesive selection of songs that never fall flat or disappoint. It is, however, an album in danger of becoming one of those amazing releases nobody heard; as Esser's popularity has been secured in the UK but the band remains relatively unheard of outside of their own country. Do yourself a favour and pick it up if you can, you owe it to yourself to experience and fall in love with Braveface.
9/10
--
I Love You - Esser
Saturday, October 3, 2009
AFTER ALL THIS TIME...
So I'm rediscovering my love for British Indie and British Indie-esque bands lately. This is due in no small part to the recent release of Jamie T's sophomore album, my belated but inevitable acquisition of Mystery Jets' Twenty One, and re-watching Skins Season 3 yet again.
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Half In Love With Elizabeth (Delorean Remix) - Mystery Jets
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Percussion Gun - White Rabbits
Actually from New York though.
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So Tomorrow - Official Secrets Act
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Conductor - We Were Promised Jetpacks
Take note Glasvegas, cause there's a way to sing with a Scottish accent and not be serious contenders for the "Most Unpleasant Sound In The Universe" award.
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My Turn - Basement Jaxx
Makes it in because it features Lightspeed Champion, and for all intents and purposes is a Lightspeed Champion song. I actually prefer when they don't fuck around with guest vocalists' pre-established style in songs; another example of this below.
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5 Verses - Jeremy Warmsley
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It's Not The Things You Say - Tiësto
One word; Kele Okereke.
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As always, these songs are for sample purposes, buy the music or delete it.
Wednesday, September 30, 2009
HYPE
Well I've finally found a band that sounds similar to Bloc Party. And no, contrary to popular belief, it's not every fucking band you can think of from England. I mean christ, I feel like Jason Segel's character from How I Met Your Mother when he is looking for the perfect burger and morons consistently suggest the most obvious places to look.
Undeserved animosity aside, We Are Tokyo, an Indie band from Bristol certainly sound a whole lot like Bloc Party's early stuff, mixed with the sounds from A Weekend In The City. They currently have a few EPs out at the moment, and unfortunately, no, they aren't anywhere near as talented as Kele and the gang, but hey, Bloc Party's pre-Silent Alarm releases were rough around the edges too.
Possibly not as exciting to anyone else as they are to me, but We Are Tokyo are definitely going on my "To Watch" list.
A Victory, I - We Are Tokyo
Perfect Hands - We Are Tokyo
MYSPACE
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Here's a pretty chill track from an artist called Baxter, if you're a fan of Anoraak then definitely check this out. Like all good songs, Proof is about the slow decline of a relationship into collapse, with silky smooth vocals and spacey synth-work. Very difficult to find information on this guy, so apologies for not being able to provide a link to his website.
Proof - Baxter
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Lo-Fi-Fnk are a Swedish Electro Duo who released an album; Boylife, in 2006 which was largely ignored by all but the most tenacious musical explorers. This is likely due to the lack of release in many countries, but don't let that stop you from ordering it online or searching yourself at any good record store. Considering the date of release, this stuff was pretty cutting edge back in 2006, these days Lo-Fi-Fnk will sound similar to a few bands kicking around at the moment, great Electro-Pop without a doubt.
Steppin' Out - Lo-Fi-Fnk
Change Channel - Lo-Fi-Fnk
MYSPACE
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Friendly Fires recently re-released their self-titled debut, and I would definitely recommend the purchase if you haven't already picked it up. For $19.99AUD I got the album, a CD of previously unreleased bonus songs and remixes and a DVD with four music videos and a live concert, Friendly Fires Live At The Forum. If you haven't heard Friendly Fires before, think of a mix between Klaxons and Metronomy; if you haven't heard Metronomy before; they are a combination of Friendly Fires and Klaxons. And if you haven't heard Klaxons before; kill yourself immediately.
Kiss Of Life - Friendly Fires
Bored Of Each Other - Friendly Fires
MYSPACE
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As always, go out and buy this music please, these songs are only for sample purposes, if you like what you hear, then buy the albums these artists slave over, if not, then delete them, the futile defence against music piracy begins with YOU!
Sunday, September 20, 2009
TOP 100 SONGS OF THE 2000's (10-1)
The 2000's are really one of the best eras to be in musically. Of course both the very wise and the very ignorant will argue against this statement, but no other point in time before this has it been both so easy to create music and share it with the world, and so possible to have it sound like whatever the hell takes your fancy.
I've always described the 2000's as an amalgamation of all of the best parts that have come before it. Whether it's fashion, design or music, all of it cuts and pastes from trends of the 60's, 70's, 80's and (thankfully least of all) the 90's. However due to the wonderful power of hindsight, we can trim off all those ugly fads that took the world by storm when we knew no better, and what we're left with is the best of the best.
And what better way to celebrate the versatility of this great time we live in (creatively at least), than to count down the top 100 songs of the 2000's.
JUMP TO:
100 - 90
89 - 80
79 - 70
69 - 60
59 - 50
49 - 40
39 - 30
29 - 20
19 - 11
--
NUMBER 10
An Honest Mistake - The Bravery
An Honest Mistake is easily the best song in The Bravery's repertoire, the indie-dance identity of the song is juxtaposed with a really distorted raw guitar presence that's reminiscent of the previously mentioned sentimentalities of Bloc Party's Banquet. The song itself is apparently about an accidental homosexual experience one of the band members had whilst drunk, and the fallout associated with the event. However the lyrics could be applied to any situation relationship-wise, and that's one of the best draws of it I think. The Bravery haven't really brought anything to the table as good as An Honest Mistake, which is a shame, but with the timeless appeal of this song I'm happy to forgive them.
NUMBER 9
Gravity's Rainbow - Klaxons
Champions of the emergence of the New Rave genre in 2006, Klaxons provide crazy eclectic sounds and lyrics, harmonised falsetto screaming, a whole lot of noise and most importantly, amazingly catchy party tracks to go wild to. Gravity's Rainbow was one of the best tracks on the incredibly strong 2007 debut, Myths Of The Near Future. Dirty and rough instrumental work provides the backdrop for a rapidly rising feeling of excitement as the verses start, reaching the point of saturation as the chorus kicks in, which sounds like it was specifically designed to be sung by everyone but the band. The completely wacky lyrical work in the verses is not only completely cancelled out, but overcome by the sheer accessibility of the chorus:
Come with me, come with me,
We'll travel to infinity,
Come with me, come with me,
We'll travel to infinity,
I'll always be there oh oh,
My Future Love,
I'll always be there for you,
My future love.
We'll travel to infinity,
Come with me, come with me,
We'll travel to infinity,
I'll always be there oh oh,
My Future Love,
I'll always be there for you,
My future love.
A genre of sound created almost entirely for the teenage population (play it for your parents and you'll see what I mean), Gravity's Rainbow, and Klaxons, felt like the new Smashing Pumpkins of our time, an icon for all to rally under and celebrate the foolhardy experimentation of youth.
NUMBER 8
Mr. Brightside - The Killers
From the opening guitar riff, you're hooked. Mr. Brightside is the best song The Killers have written. The critics seem to think it's Read My Mind from the crime against humanity that was Sam's Town, but they're wrong. Play Mr. Brightside at a party, and everyone goes crazy; the people who listen to nothing but commercial radio, those who obsess about music and have extremely specific tastes, people who don't listen to any music at all and every point in between. The obsession of every single aspect of his ex-lover's new relationship is such a human and flawed quality that the lyrics connect with all listeners even if they haven't experienced it, it's written so plausibly, so honestly that it couldn't be anything less than true. You just can't hate this song, it's amazing in every aspect, it's accessible. memorable, emotional, intelligent and iconic. And I'd be lying if i hadn't acted out every line of the song in a drunken charades-inspired dance routine less than twice.
NUMBER 7
Pogo - Digitalism
Digitalism have always fought an uphill battle unfortunately. Always under the shadow of Justice's juggernaut of a debut album, Idealism's release, actually a month before the release of †, was never allowed the time to gestate and grow in popularity. Of course I say it worse than it is, Idealism proved to be extremely popular in the right circles, and the critics generally praised the album and band. But the similarities between the two bands, both part of the huge boom in European Indie-Dance music that occured in 2007 meant that hype governed which band was more at the forefront of people's minds. Sure, Digitalism were a great sidekick for Justice, they were a great support act, they had a similar sound and their album was pretty good, but † was seen as the better album.
However there was one song that Digitalism had in its arsenal that always made people sit up and pay attention, Pogo. Pogo always felt like Digitalism's track, separate from all else, incredibly catchy and with a more band-orientated feel, helped by the fact that vocal duties were taken up by one half of the duo. Because of Jens Moelle's decision to sing, rather than employ the talents of a guest musician, the act felt more like band than an electronic act like Justice or Simian Mobile Disco, the presence of a song heavily sampling The Cure's Fire In Cairo gave Digitalism an aesthetic that was more aligned to those who ordinarily wouldn't listen to Electronic music. Pogo was the figurehead of the ideology of indie-rock infused electro that Digitalism wanted to convey. Simple but strong lyrics, an obvious danceability, the all important X-Factor, impossible to describe but instantly recognisable, that lets you know these guys are for real. Pogo is all about partying hard and living life to the fullest, one of the best parts of the song being the simple repetition of the line "We could get so wasted" as the track fades out. The song has the perfect mix of uncomplicated lyrics and a more complex electronic instrumental presence, and this gives it its wide demographic of appeal.
NUMBER 6
Kelly - Van She
Van She have this incredible talent of spanning a whole plethora of sounds and genres in their music whilst still maintain both the feel of a Van She song, and more importantly, the undeniable quality. Kelly sounds like the perfect mix of 80's New Wave tributes and modern day New Wave sensibilities. The best thing about Kelly is that it's perfect for any mood or time. It's got a heartfelt melody to it, but a driving force that keeps the tempo up and maintains an interesting and catchy feel for the whole song. The chorus' anthem-like lyrics and the poppy synths, the simple bass and guitar of the verses juxtaposed against, and the overall feel-good mentality of the track as a whole give it a great appeal. One of the most light and carefree tracks the band has created, and one of the most convincing reasons for the argument that they are really something special.
NUMBER 5
Face To Face - Daft Punk
One of the more obscure tracks from Daft Punk's second album, Face To Face never really got the attention it deserved. The lengthy intro lures you into a false sense of security, sounding like Face To Face will be a capable instrumental track and nothing more. Then the vocals come in. To say Face To Face is well written would be an understatement. The vocals, sung by Todd Edwards rather than Romanthony or Robots From The Future, sound both fitting yet unique within the album. The lyrics perfectly summarise a failed relationship, and the reasons involved. It's clear Edwards' voice is perfect for the soul-infused electro identity of the track, and the way its sung, with such passion and vigor, that gives every line lasting meaning and impact. The jittery cut up backing vocals and instrumental work is really interesting, and again, quite unique against the rest of the album. It really feels like Daft Punk were saving best for last with Face To Face, being the second last track right before the epic closer Too Long. Face To Face is easily my favourite Daft Punk track to date.
NUMBER 4
Flux - Bloc Party
Flux was Bloc Party trying to prove to the world that they were a band capable of anything. Born out of Kele Okereke's fear of being pigeonholed into any one sound or genre, Flux sounded like nothing Bloc Party had done before it. Casting away the introspective, overly emotional sentimentality of A Weekend In The City, and the raw angular identity of Silent Alarm, Flux took a decidedly electronic path. With Okereke's vocals auto-tuned and synths and drum machines replacing the traditional instrumental set up the band was used to, Bloc Party were determined to push themselves, kicking and screaming, into greatness. And in my opinion, that's entirely what they did. There are still nuances of the song I am still only picking up on now as i write this summary, all the layers and effects creating a perfect cacophony of electronic brilliance that seems so unlikely for a band that had never even attempted this type of sound before.
The best thing about Flux is that it has an emotional core that Bloc Party are so well known for, but the mindless enjoyment and club-suited sound of the song not only doesn't suffer, but compliments it perfectly. For me, Flux sounds like the painful realisation of a failed relationship occuring in the parallel universe of the night, on a chaotic dancefloor, surrounded by people but never having felt more alone. It sounds like the sonic representation of laser shows and smoke machines, strobe lights and disco balls. Flux is the higher state of mind you reach when you have no clue where you are or what you're doing, when your brain is racing a hundred miles an hour and not functioning at all simultaneously. Flux is Bloc Party proving they are going places, and you're coming along for the ride.
NUMBER 3
Weak Become Heroes - The Streets
Weak Become Heroes was one of the first tracks I heard from The Streets and it still remains my all time favourite. With an effortless style that can only come from a perfect simplicity, Weak Become Heroes uses a simple piano loop over a electronic club beat that never seems to get old, and Mike Skinner's trademark speak-rapping, with observations and phrases so obvious and genuine you wonder why nobody else had thought of them first. The lyrics themselves deal with Skinner's first experience with Ecstasy; the mindless euphoria and the blindly optimistic view of the world that comes with it. Everyone is your best friend, every plan is flawless and genius, every aspect of life, undiscovered until this moment, is beautiful in its inherent existence. I've never taken the drug and even I feel like I know exactly what its like from Skinner's methodical depiction. Weak Become Heroes has this chill lounge feel to it that is so hard to perfect but instantly amazing when conveyed correctly. Even if you think aren't a fan of The Streets' sound, Weak Become Heroes will prove you wrong.
NUMBER 2
Signs - Bloc Party
Signs is the most beautiful and serene song I have ever heard. I could describe why, but it wouldn't do it justice. Just listen to it.
NUMBER 1
All My Friends - LCD Soundsystem
All My Friends is the closest thing to a perfect song I have heard in my life, not just this decade. The slowly building grandeur of the first 1:20 might be a turn off for some, but don't let it make you give up on the best song you will hear in a long time. All My Friends feels like the title track from the endless ups and downs of that is the album of your life. As cliche as that sounds, there really is no other way to describe it.
The repetition of the instrumental work throughout the track is a perfect metaphor for the passage of time, the lyrics deal with regret and mistakes, with the innocence and wonder lost as we get older. But most importantly, the importance of the person we are and the path we choose to get there.
People tend to associate different songs with heartbreak, love, parties and friendship, but All My Friends applies to all of them. I can think of a line from the song to relate to every important thing that has happened in my life recently. One that always sticks for me relates to the feelings i started to have when high school finally ended, like my life and friends were completely changed and there was no way back to those times in life when we didn't have the burden of responsibility.
NUMBER 8
Mr. Brightside - The Killers
From the opening guitar riff, you're hooked. Mr. Brightside is the best song The Killers have written. The critics seem to think it's Read My Mind from the crime against humanity that was Sam's Town, but they're wrong. Play Mr. Brightside at a party, and everyone goes crazy; the people who listen to nothing but commercial radio, those who obsess about music and have extremely specific tastes, people who don't listen to any music at all and every point in between. The obsession of every single aspect of his ex-lover's new relationship is such a human and flawed quality that the lyrics connect with all listeners even if they haven't experienced it, it's written so plausibly, so honestly that it couldn't be anything less than true. You just can't hate this song, it's amazing in every aspect, it's accessible. memorable, emotional, intelligent and iconic. And I'd be lying if i hadn't acted out every line of the song in a drunken charades-inspired dance routine less than twice.
NUMBER 7
Pogo - Digitalism
Digitalism have always fought an uphill battle unfortunately. Always under the shadow of Justice's juggernaut of a debut album, Idealism's release, actually a month before the release of †, was never allowed the time to gestate and grow in popularity. Of course I say it worse than it is, Idealism proved to be extremely popular in the right circles, and the critics generally praised the album and band. But the similarities between the two bands, both part of the huge boom in European Indie-Dance music that occured in 2007 meant that hype governed which band was more at the forefront of people's minds. Sure, Digitalism were a great sidekick for Justice, they were a great support act, they had a similar sound and their album was pretty good, but † was seen as the better album.
However there was one song that Digitalism had in its arsenal that always made people sit up and pay attention, Pogo. Pogo always felt like Digitalism's track, separate from all else, incredibly catchy and with a more band-orientated feel, helped by the fact that vocal duties were taken up by one half of the duo. Because of Jens Moelle's decision to sing, rather than employ the talents of a guest musician, the act felt more like band than an electronic act like Justice or Simian Mobile Disco, the presence of a song heavily sampling The Cure's Fire In Cairo gave Digitalism an aesthetic that was more aligned to those who ordinarily wouldn't listen to Electronic music. Pogo was the figurehead of the ideology of indie-rock infused electro that Digitalism wanted to convey. Simple but strong lyrics, an obvious danceability, the all important X-Factor, impossible to describe but instantly recognisable, that lets you know these guys are for real. Pogo is all about partying hard and living life to the fullest, one of the best parts of the song being the simple repetition of the line "We could get so wasted" as the track fades out. The song has the perfect mix of uncomplicated lyrics and a more complex electronic instrumental presence, and this gives it its wide demographic of appeal.
NUMBER 6
Kelly - Van She
Van She have this incredible talent of spanning a whole plethora of sounds and genres in their music whilst still maintain both the feel of a Van She song, and more importantly, the undeniable quality. Kelly sounds like the perfect mix of 80's New Wave tributes and modern day New Wave sensibilities. The best thing about Kelly is that it's perfect for any mood or time. It's got a heartfelt melody to it, but a driving force that keeps the tempo up and maintains an interesting and catchy feel for the whole song. The chorus' anthem-like lyrics and the poppy synths, the simple bass and guitar of the verses juxtaposed against, and the overall feel-good mentality of the track as a whole give it a great appeal. One of the most light and carefree tracks the band has created, and one of the most convincing reasons for the argument that they are really something special.
NUMBER 5
Face To Face - Daft Punk
One of the more obscure tracks from Daft Punk's second album, Face To Face never really got the attention it deserved. The lengthy intro lures you into a false sense of security, sounding like Face To Face will be a capable instrumental track and nothing more. Then the vocals come in. To say Face To Face is well written would be an understatement. The vocals, sung by Todd Edwards rather than Romanthony or Robots From The Future, sound both fitting yet unique within the album. The lyrics perfectly summarise a failed relationship, and the reasons involved. It's clear Edwards' voice is perfect for the soul-infused electro identity of the track, and the way its sung, with such passion and vigor, that gives every line lasting meaning and impact. The jittery cut up backing vocals and instrumental work is really interesting, and again, quite unique against the rest of the album. It really feels like Daft Punk were saving best for last with Face To Face, being the second last track right before the epic closer Too Long. Face To Face is easily my favourite Daft Punk track to date.
NUMBER 4
Flux - Bloc Party
Flux was Bloc Party trying to prove to the world that they were a band capable of anything. Born out of Kele Okereke's fear of being pigeonholed into any one sound or genre, Flux sounded like nothing Bloc Party had done before it. Casting away the introspective, overly emotional sentimentality of A Weekend In The City, and the raw angular identity of Silent Alarm, Flux took a decidedly electronic path. With Okereke's vocals auto-tuned and synths and drum machines replacing the traditional instrumental set up the band was used to, Bloc Party were determined to push themselves, kicking and screaming, into greatness. And in my opinion, that's entirely what they did. There are still nuances of the song I am still only picking up on now as i write this summary, all the layers and effects creating a perfect cacophony of electronic brilliance that seems so unlikely for a band that had never even attempted this type of sound before.
The best thing about Flux is that it has an emotional core that Bloc Party are so well known for, but the mindless enjoyment and club-suited sound of the song not only doesn't suffer, but compliments it perfectly. For me, Flux sounds like the painful realisation of a failed relationship occuring in the parallel universe of the night, on a chaotic dancefloor, surrounded by people but never having felt more alone. It sounds like the sonic representation of laser shows and smoke machines, strobe lights and disco balls. Flux is the higher state of mind you reach when you have no clue where you are or what you're doing, when your brain is racing a hundred miles an hour and not functioning at all simultaneously. Flux is Bloc Party proving they are going places, and you're coming along for the ride.
NUMBER 3
Weak Become Heroes - The Streets
Weak Become Heroes was one of the first tracks I heard from The Streets and it still remains my all time favourite. With an effortless style that can only come from a perfect simplicity, Weak Become Heroes uses a simple piano loop over a electronic club beat that never seems to get old, and Mike Skinner's trademark speak-rapping, with observations and phrases so obvious and genuine you wonder why nobody else had thought of them first. The lyrics themselves deal with Skinner's first experience with Ecstasy; the mindless euphoria and the blindly optimistic view of the world that comes with it. Everyone is your best friend, every plan is flawless and genius, every aspect of life, undiscovered until this moment, is beautiful in its inherent existence. I've never taken the drug and even I feel like I know exactly what its like from Skinner's methodical depiction. Weak Become Heroes has this chill lounge feel to it that is so hard to perfect but instantly amazing when conveyed correctly. Even if you think aren't a fan of The Streets' sound, Weak Become Heroes will prove you wrong.
NUMBER 2
Signs - Bloc Party
Signs is the most beautiful and serene song I have ever heard. I could describe why, but it wouldn't do it justice. Just listen to it.
NUMBER 1
All My Friends - LCD Soundsystem
All My Friends is the closest thing to a perfect song I have heard in my life, not just this decade. The slowly building grandeur of the first 1:20 might be a turn off for some, but don't let it make you give up on the best song you will hear in a long time. All My Friends feels like the title track from the endless ups and downs of that is the album of your life. As cliche as that sounds, there really is no other way to describe it.
The repetition of the instrumental work throughout the track is a perfect metaphor for the passage of time, the lyrics deal with regret and mistakes, with the innocence and wonder lost as we get older. But most importantly, the importance of the person we are and the path we choose to get there.
People tend to associate different songs with heartbreak, love, parties and friendship, but All My Friends applies to all of them. I can think of a line from the song to relate to every important thing that has happened in my life recently. One that always sticks for me relates to the feelings i started to have when high school finally ended, like my life and friends were completely changed and there was no way back to those times in life when we didn't have the burden of responsibility.
You spend the first five years trying to get with the plan,
And the next five years trying to be with your friends again.
And the next five years trying to be with your friends again.
All My Friends is one of those songs that just sticks with you from the moment you hear it. Epic and timeless in its execution, genre defying, emotionally riveting and lengthy while still holding your interest. It feels like James Murphy wanted to create a song that would last and mean something for decades, not just months or years. I believe he succeeded in doing so.
Friday, September 18, 2009
TOP SONGS OF THE 2000's (19-11)
The 2000's are really one of the best eras to be in musically. Of course both the very wise and the very ignorant will argue against this statement, but no other point in time before this has it been both so easy to create music and share it with the world, and so possible to have it sound like whatever the hell takes your fancy.
I've always described the 2000's as an amalgamation of all of the best parts that have come before it. Whether it's fashion, design or music, all of it cuts and pastes from trends of the 60's, 70's, 80's and (thankfully least of all) the 90's. However due to the wonderful power of hindsight, we can trim off all those ugly fads that took the world by storm when we knew no better, and what we're left with is the best of the best.
And what better way to celebrate the versatility of this great time we live in (creatively at least), than to count down the top 100 songs of the 2000's.
JUMP TO:
100 - 90
89 - 80
79 - 70
69 - 60
59 - 50
49 - 40
39 - 30
29 - 20
--
NUMBER 19
The Bucket - Kings Of Leon
The Bucket was one of the first songs I had heard from Kings Of Leon, and to be honest I thought it was really rubbish the first time round. Admittedly my tastes then weren't really aligned to appreciate anything that sounded different from what I was used to, and I really had a hang up with vocals that weren't perfect. I'm glad I gave the song, and the band, another chance, because it really is a great track. The guitar work is especially catchy, and now, the vocals, which I hated before, are one of my favourite aspects of the song. Kings always have this great quality to their songs that makes them the perfect soundtrack to the experiences of youth. For me especially, I'll always remember seeing them live on a summer's night to wrap up a festival that I go to see every year down south. It really is my favourite time of the year, and it's always something I look forward to for months. This song feels like a connection to those events.
NUMBER 18
This Boy's In Love - The Presets
While Apocalypso took a more accessible, less outwardly stylish route than the debut album from The Presets, Beams; it also featured much more complex and well written songs. The songs felt more like expansive Industial Electro anthems rather than edgy club tracks, the sense of grandeur was especially clear in This Boy's In Love. The vocals always evoked amazing imagery in my mind, of futuristic skylines and star-filled skies. The repeating layered synth work felt like it was really taking you somewhere special, and Julian Hamilton hammered the feeling home with impassioned vocals. The closing lines really give the impression you're about to embark on an amazing journey to unknown places, with most of the album left to go, you'll soon find out that's entirely the case.
Goodbye,
This town,
These streets,
Your friends,
We'll never,
See,
This place,
Again.
This town,
These streets,
Your friends,
We'll never,
See,
This place,
Again.
NUMBER 17
Time To Pretend - MGMT
Time To Pretend is one of those tracks that I believe will help define the 2000's as a music era. Yes it was almost completely ruined by hype, ignorant thirteen year olds and record companies, but no other song has conveyed the ideology of living fast and dying young so perfectly. Filled with youthful optimism, the cliche things that everyone promises to each other in the throes of teenage existence, and a movie soundtrack sonic aesthetic, everything about this track brings forth strong feelings and memories. Time To Pretend deals with the realisation that life isn't exactly how you wanted it, and that you've lost sight of what you dreamed of when you were young. This epiphany invariably results in overcompensation, you want to feel alive to prove you're not wasting life. MGMT captured the fear of mortality in such an appealing package it's not wonder why they were everyone's favourite band for fifteen minutes.
NUMBER 16
Sunshine - Atmosphere
Atmosphere is one of those Hip-Hop acts that really stand out against the rest of what's out there. Sunshine is a perfect example of why. The simple piano/drums approach gives this really peaceful summertime feel to the track that you can't ignore. Musically it's simple, lyrically it's uncomplicated and succinct, and the end result is a really appealing and accessible song for anyone, even if you don't like Hip-Hop. The lyrics themselves deal with recovering from a hangover after a big night out, and seeing the beauty in every day life; the simple things, weekends spent with families, times spent with friends and not having a care in the world. It's one of those tracks that would likely get hidden within the rest of Atmosphere's body of work, but it really is so well crafted that it deserves to be heard by all.
NUMBER 15
Naïve - The Kooks
The Kooks first album was one of my favourites of 2006, and i attached lots of great memories to every track. Naïve was always my favourite, the almost reggae quality to both the vocals, and the instrumental work, combined with a strong Indie focus created a really unique song. Naïve is about a cheating partner, and the heartache associated with infidelity. I'll always love The Kooks at this stage, knowing they had to prove themselves, they really released one hell of an album, the poppy melodies and sing-along lyrics were so simple and effective, and there's just this earnest quality to every song. I really felt for the second album, Konk, the benefits of fame really went to their heads and that cocky demeanour really shone through in each track, the songs felt like they were completely in love with themselves. But at least we have Inside In / Inside Out to give us straight up love songs and Indie-Pop for simpler times.
NUMBER 14
Banquet - Bloc Party
Ok I have to say this now, I decided to limit myself to only three Bloc Party songs in this countdown, If I had my way at least half the list would have been by the four-piece from London, but I showed restraint for the purposes of feigned objectivity. Furthermore, of all the songs on Silent Alarm, Banquet is not my favourite, but it earned this position for being the most iconic, the most reflective of Bloc Party's manifesto as a band. Banquet combined the best parts of Indie Rock with Electronic Dance, while only using traditional instruments (guitars, bass, drums). With Banquet, it was Kele Okereke's objective to create a rock song with the danceability of an electro track. And it's plain to see the band really did achieve this, there's something so catchy and enthralling to every aspect of the song. The alternating guitar work between Russel Lissack and Okereke, the always impressive drumming of Matt Tong, and the distinctly noticeable basswork of Gordon Moakes, just makes the whole thing sound like a band working together flawlessly. Banquet is the figurehead of an amazing debut album, the song that ties all of it's tracks together, regardless of tempo or experimentation, it's the perfect mid-point to sum up the band. If someone asked you what Bloc Party sound like, you'd play them Banquet and know you've explained them perfectly.
NUMBER 13
Hearts On Fire - Cut Copy
Hearts On Fire is Cut Copy nearing the zenith of their potential. With a perfect combination of emotion and danceability not seen since New Order, Hearts On Fire feels like a track straight out of the 80's. The smooth vocals and New-Wave guitar work, the rising synth and saxophone make everything sound so retro and iconic. Cut Copy make electronic music for people who appreciate thoughtful songwriting as well; more intelligent than Trance, Techno and House, more catchy than IDM, Hearts On Fire fits into a niche that was sorely absent before the 2000's and the Indie-Electro revolution came to pass. Hearts On Fire glides above the stratosphere, filling you with this elated feeling of nostalgia and longing.
NUMBER 12
When The Sun Goes Down - Arctic Monkeys
This was Arctic Monkeys utilising their strengths perfectly. When The Sun Goes Down features witty, punchy lyrics with raw indie rock, this was Arctic Monkeys when they were young, brash, rough around the edges and altogether amazing. The song starts slow, then immediately shatters the peace with heavy and loud guitar riffs, Alex Turner's voice picks up and the excitement builds, spinning the tale of the red light district after dark with complete abandon. At its loudest When The Sun Goes down feels like it's about to burst forth from your speakers and strangle the apathy out of you. I really wish Arctic Monkeys would venture back into the raw unrestrained realm that When The Sun Goes Down so perfectly conveyed.
NUMBER 11
Someday - The Strokes
The most catchy and breezy track from The Strokes. Someday has this careless relaxing feel to it that makes it one of the most popular songs by the New York band to date. The iconic catchy guitar and bass aspects of The Strokes are here as always, and the vocals sound both rough and distorted while being accessible and friendly at the same time. Someday really is a feel-good song at heart and it really comes across in overall sound very well.
Time To Pretend - MGMT
Time To Pretend is one of those tracks that I believe will help define the 2000's as a music era. Yes it was almost completely ruined by hype, ignorant thirteen year olds and record companies, but no other song has conveyed the ideology of living fast and dying young so perfectly. Filled with youthful optimism, the cliche things that everyone promises to each other in the throes of teenage existence, and a movie soundtrack sonic aesthetic, everything about this track brings forth strong feelings and memories. Time To Pretend deals with the realisation that life isn't exactly how you wanted it, and that you've lost sight of what you dreamed of when you were young. This epiphany invariably results in overcompensation, you want to feel alive to prove you're not wasting life. MGMT captured the fear of mortality in such an appealing package it's not wonder why they were everyone's favourite band for fifteen minutes.
NUMBER 16
Sunshine - Atmosphere
Atmosphere is one of those Hip-Hop acts that really stand out against the rest of what's out there. Sunshine is a perfect example of why. The simple piano/drums approach gives this really peaceful summertime feel to the track that you can't ignore. Musically it's simple, lyrically it's uncomplicated and succinct, and the end result is a really appealing and accessible song for anyone, even if you don't like Hip-Hop. The lyrics themselves deal with recovering from a hangover after a big night out, and seeing the beauty in every day life; the simple things, weekends spent with families, times spent with friends and not having a care in the world. It's one of those tracks that would likely get hidden within the rest of Atmosphere's body of work, but it really is so well crafted that it deserves to be heard by all.
NUMBER 15
Naïve - The Kooks
The Kooks first album was one of my favourites of 2006, and i attached lots of great memories to every track. Naïve was always my favourite, the almost reggae quality to both the vocals, and the instrumental work, combined with a strong Indie focus created a really unique song. Naïve is about a cheating partner, and the heartache associated with infidelity. I'll always love The Kooks at this stage, knowing they had to prove themselves, they really released one hell of an album, the poppy melodies and sing-along lyrics were so simple and effective, and there's just this earnest quality to every song. I really felt for the second album, Konk, the benefits of fame really went to their heads and that cocky demeanour really shone through in each track, the songs felt like they were completely in love with themselves. But at least we have Inside In / Inside Out to give us straight up love songs and Indie-Pop for simpler times.
NUMBER 14
Banquet - Bloc Party
Ok I have to say this now, I decided to limit myself to only three Bloc Party songs in this countdown, If I had my way at least half the list would have been by the four-piece from London, but I showed restraint for the purposes of feigned objectivity. Furthermore, of all the songs on Silent Alarm, Banquet is not my favourite, but it earned this position for being the most iconic, the most reflective of Bloc Party's manifesto as a band. Banquet combined the best parts of Indie Rock with Electronic Dance, while only using traditional instruments (guitars, bass, drums). With Banquet, it was Kele Okereke's objective to create a rock song with the danceability of an electro track. And it's plain to see the band really did achieve this, there's something so catchy and enthralling to every aspect of the song. The alternating guitar work between Russel Lissack and Okereke, the always impressive drumming of Matt Tong, and the distinctly noticeable basswork of Gordon Moakes, just makes the whole thing sound like a band working together flawlessly. Banquet is the figurehead of an amazing debut album, the song that ties all of it's tracks together, regardless of tempo or experimentation, it's the perfect mid-point to sum up the band. If someone asked you what Bloc Party sound like, you'd play them Banquet and know you've explained them perfectly.
NUMBER 13
Hearts On Fire - Cut Copy
Hearts On Fire is Cut Copy nearing the zenith of their potential. With a perfect combination of emotion and danceability not seen since New Order, Hearts On Fire feels like a track straight out of the 80's. The smooth vocals and New-Wave guitar work, the rising synth and saxophone make everything sound so retro and iconic. Cut Copy make electronic music for people who appreciate thoughtful songwriting as well; more intelligent than Trance, Techno and House, more catchy than IDM, Hearts On Fire fits into a niche that was sorely absent before the 2000's and the Indie-Electro revolution came to pass. Hearts On Fire glides above the stratosphere, filling you with this elated feeling of nostalgia and longing.
NUMBER 12
When The Sun Goes Down - Arctic Monkeys
This was Arctic Monkeys utilising their strengths perfectly. When The Sun Goes Down features witty, punchy lyrics with raw indie rock, this was Arctic Monkeys when they were young, brash, rough around the edges and altogether amazing. The song starts slow, then immediately shatters the peace with heavy and loud guitar riffs, Alex Turner's voice picks up and the excitement builds, spinning the tale of the red light district after dark with complete abandon. At its loudest When The Sun Goes down feels like it's about to burst forth from your speakers and strangle the apathy out of you. I really wish Arctic Monkeys would venture back into the raw unrestrained realm that When The Sun Goes Down so perfectly conveyed.
NUMBER 11
Someday - The Strokes
The most catchy and breezy track from The Strokes. Someday has this careless relaxing feel to it that makes it one of the most popular songs by the New York band to date. The iconic catchy guitar and bass aspects of The Strokes are here as always, and the vocals sound both rough and distorted while being accessible and friendly at the same time. Someday really is a feel-good song at heart and it really comes across in overall sound very well.
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