TOP 100 SONGS OF THE 2000's (59-50)

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.

100 - 90
89 - 80
79 - 70
69 - 60

--

NUMBER 59


Maybe - N*E*R*D

Pharrell Williams and Chad Hugo's band project set out to sound like Rock, infused with elements of Hip-Hop/Rap, Funk, Electronic, Pop and all points in between. Maybe was an instant stand-out from the second album, Fly Or Die, featuring a surprisingly heartfelt direction, covering the degeneration of a relationship and its long-lasting effects. When I first heard it, I was instantly hooked, I then subsequently played it on repeat, exclusively, for roughly 7 months or so, putting it on every mix CD i burnt that year. Other tracks would be swapped and removed, better songs came and went, but Maybe was perennial. The decidedly simple instrumental identity of the song, with marching band drums, uncomplicated piano and a memorable, but unobtrusive guitar riff; helped put the focus on Pharrell's ambiguous faux-rap quasi sung vocals, and the meaning behind them.

NUMBER 58


The Hardest Button To Button - The White Stripes

Elephant is the one of the best albums from The White Stripes. There's at least four or five songs from it that I could easily replace with The Hardest Button To Button on this list, with one pretty obvious track coming to mind. But the reason why The Hardest Button To Button won out for me was basically because of the music video. Both songs are incredibly strong, and although while it could be quite successfully argued that Seven Nation Army was more iconic, the stop-motion video for The Hardest Button To Button stuck in my mind from first viewing. Directed by the same man who created the famous Lego-animation music video for Fell In Love With A Girl; Michael Gondry returned to direct The Hardest Button To Button, which featured no less than 80 identical Bass Drums and Fender Amps.

NUMBER 57


Such Great Heights - The Postal Service

The hugely successful collaboration between Death Cab For Cutie's Ben Gibbard and the guy nobody knows from Dntel spawned a heap of great tracks for those waiting for Transatlanticism's October release in 2003. Reflective of an electronic spin on the best years of Gibbard's musical career (rather than the rubbish ones of today), every track on The Postal Service's debut, Give Up, was well thought out and catchy. Yanking the heartstrings out of everyone's chests was the lead single, Such Great Heights, which was a message to a lover far from home that's being missed terribly by their significant other. One of the best moments of this song is unbearable headache the opening electronic blips give you when you listen to this track with quality headphones and the volume cranked up to 11.

NUMBER 56


If You Got The Money - Jamie T

Sounding like a strangely compelling mix of The Kooks and Bob Marley, Jamie T fell into the shortlived resurgence of a genre of indie music generally from South London called "Thamesbeat". If You Got The Money was the lead single from his impressive debut album, Panic Prevention. Featuring only an acoustic guitar and a reggae style rap combined with bubbly, carefree lyrics, it was essentially the most effortlessly feel-good song to come out of 2007. You just can't help but sing along, even if you can't keep up.

NUMBER 55


Paris - Friendly Fires

Paris was the second single from the 2008 eponymous debut LP by Friendly Fires. With Electro-Rock sensibilities, and covering the common desire to live in one of the greatest culture capitals of the world; it's no wonder this song was a huge hit in the UK and around the world in slightly more indie circles. The simplicity of the idea behind the song, and the core lyrics of the song; "One day we're going to live in Paris, I promise, I'm on it." is its key to success, taking a concept that's so universally appealing and summing it up so succinctly ensured the promise, and the song itself, became instantly accessible. A highlight of the track is the inspiring and uplifting instrumental fade-out of coming in with about 50 seconds left of the song. It really creates this euphoric state of mind that drives home the message of the song that anything's possible.

NUMBER 54


California Waiting - Kings Of Leon

Contrary to the popular belief of their recently gained tweenage fanbase, Kings Of Leon had a successful music career and three albums previous to the massive release of Only By The Night. During this time they released a slew of standout tracks that really complimented the Alternative Guitar-Band movement co-led by The Strokes, TV On The Radio and similar bands. California Waiting was one such track, with the idiosyncratic catchy southern vibe that is strangely absent from all their recent work. The sing-along chorus is the undeniable hook of this song, and it's clear pretty quickly that this is one of the best California-related songs to be released in the 2000's.

NUMBER 53


Mind's Eye - Wolfmother

Australian Classic Rock revivalists Wolfmother are one of those bands that grow on you. For a very long time I really despised their sound, the endless and numerous guitar solos, and the cat-strangling vocals of Andrew Stockdale. As of late I have warmed up to them, but Mind's Eye was always a track that sounded like the very best of the band; what they could achieve if they went less Led Zeppelin and more Pink Floyd. Suitably epic, and ultimately unique within the rest of the self-titled debut album, the psychedelic keyboard solo two thirds in is a definite high-point of the song.

NUMBER 52


Daydreamin' - Lupe Fiasco

Sampling a cover of a cover of a cover, Daydreamin' is one of Lupe Fiasco's most interesting works lyrically. Literally about a giant robot rampaging through a city, piloted by a daydreaming Lupe, and featuring the passionate, soulful vocals of Jill Scott, its a very memorable track. Reflective of Lupe's tendency to favour melody and lyrical structure over shameless self-promotion and ego massaging, Daydreamin', like most of Fiasco's work, really does stand out against the over-saturated Hip-Hop/Rap genre this decade.

NUMBER 51


Apply Some Pressure - Maxïmo Park

Fast paced indie rock from UK Post-Punk Revival band Maxïmo Park. One of the best tracks from their first, and best album, A Certain Trigger. The constant change in tempo, Paul Smith's iconic vocals and the angular guitar work creates an incredibly compelling package from start to finish.

NUMBER 50


Shadowland - Youth Group

Ok, I'm man enough to admit when I'm wrong (when there's no escaping it at least). I was positive that Youth Group were going to be huge. I really was. Not because of the initially interesting, but ultimately infuriating cover of Alphaville's Forever Young. But because of the main single from their second album; Shadowland. Great melody, a punchy, repeating drum line, strong vocals with abstract lyrics. The overall sound of the song had a sort of timeless quality that borrowed from retro teenage anthems of decades gone, the single cover followed suit, and about a hundred or so plays in it still hadn't lost its appeal. This song was the start of something, you can just feel it when you hear it, when you slowly learn the lyrics and feel the urge to sing along, by the way it makes you feel when you hear it on a lazy summer afternoon. While Forever Young was eternal in name only, Shadowland really feels like a link to long lost times of youth where days could last an age and limitless free-time was taken for granted. Youth Group found a way to bottle and mass produce nostalgia in song format.

Unfortunately it turns out Shadowland was the band's only encounter with greatness. And while it was always amazing live, the rest of their show was really pretty bland, the quality of Shadowland was more hurting than helping, really driving home the fact that they didn't have much else worth hearing. Apparently they are up to their fourth album now but you probably wouldn't even know it. It's a real shame that they couldn't keep a good thing going, but even though they understandably fade into obscurity, it would be a real shame if Shadowland disappeared forever with them.

TOP 100 SONGS OF THE 2000's (79-70)

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.

100 - 90
89 - 80

--

NUMBER 79


Streets On Fire - Lupe Fiasco

Lupe Fiasco is one of those artists that tends to get thrown into a group of rappers that he really doesn't belong to. While others are content to cover the undeniably important issues of how the "bitches" love them, or the extent to which they are "fo' real", Lupe's work has always possessed a bit more depth. Streets On Fire is a really good example of this, a down-tempo and atmospheric orchestral track, with a undercurrent of electronic and percussion elements. Lupe raps about a horrible calamity that has befallen society; whether this be a fictional future event or a commentary on the current state of corruption in the world is left up to how you wish to interpret the song. Either way, as soon as the song begins you can just hear how much quality is in the song compared to most Hip-Hop, the whole album follows suit as well.

NUMBER 78


Always Like This - Bombay Bicycle Club

British Indie band Bombay Bicycle Club released their exceptional debut album earlier this year, sounding like an amalgamation of most of the best Indie bands you can think of, but with a unique quality to both their sound and songwriting that separates them from the rest. Always Like This is the second single from I Had The Blues But I Shook Them Loose, which was produced by Jim Abbiss, the man responsible for both the Arctic Monkeys' and Kasabian's debut LPs, as well as Australian band Van She's exceptional first album, V.

NUMBER 77


Heartbreaker - Metronomy

Sounding like a fantastic combination of The Wombats, Klaxons, and Friendly Fires, Metronomy's lead single from their second album, Nights Out, is definitely a keeper. While instrumentally quite abstract and eclectic, the vocals have accessible indie qualities, singing of love lost, and the pain of a recent break-up. It's interesting to note how Metronomy have developed as a band, with their first album being completely instrumental, and relatively unknown, their new style has been welcomed with open arms by both critics and fans alike.

NUMBER 76


Uncle Sam Goddamn - Brother Ali

Brother Ali is a White Albino rapper from the United States, but you wouldn't be able to tell from his voice. Fitting in a niche of alternative American Hip-Hop shared with the likes of Atmosphere, Ali often raps about race and politics, giving off a Motown vibe in a big way. Uncle Sam Goddamn is a very critical appraisal of America and capitalist society in a larger sense. While it's incredibly common for bands to attack American society these days, it often comes across as pretentious and forced. Not so with Uncle Sam Goddamn, Ali's message really sounds like it comes from his heart and soul. So much so that he's run into sponsorship issues with a large unnamed corporation because of his "anti-patriotism".

NUMBER 75


Tessellate - Tokyo Police Club

Tessellate is the lead single from Tokyo Police Club's debut album, Elephant Shell. Mixing both Garage and Indie Rock into a very appealing package, and vocally sounding almost like a mix of Placebo and The Decemberists, Tokyo Police Club have a rather unique sound. Often writing about strange subject matters, including but not restricted to the inevitable Robot Uprising, apparently slated for the year 2009 some time (better get a move on), TPC offset strange lyrics with an incredibly punchy and succinct sound. Tessellate is no different.

NUMBER 74


All I Need - Radiohead

Radiohead need no introduction, widely believed to be one of the greatest bands operating at the moment, Thom Yorke tends to set as many trends as he breaks, not content to stagnate in any particular sound or genre. All I Need is from the latest album, In Rainbows, which Radiohead famously offered up for digital download for whatever you felt was worth paying. All I Need is one of the best songs on the album, and ranks pretty highly against their entire back catalogue as well. Down-tempo and filled with longing, a love letter to an unattainable object of affection.

NUMBER 73


Ride - The Vines

From The Vines' outstanding second album, continuing down the same road Get Free paved; filled with angst, noise, and youthful self expression, Ride is a two and half minute rock anthem that helped ensure The Vines' position as one of the greatest bands of the 2000's.

NUMBER 72


Something To Talk About - Badly Drawn Boy

Often incorrectly referred to as "About A Boy", Something To Talk About featured prominently in the only good Hugh Grant film ever made, which was actually called About A Boy. This acoustic and heartwarming track was definitely one of the highlights of the 2000's, accessible and memorable, Badly Drawn Boy essentially wrote a perfect indie-pop song.

NUMBER 71


Nothing But Green Lights - Tom Vek

If nothing else, you have to appreciate Tom Vek's incredible amount of style. Everything about this song is dripping in cool, with a funk infused electronic backbone, Nothing But Green Lights was probably one of the greatest songs nobody heard in 2005. Simple and and well executed lyrics wrap the whole thing up into an incredibly stylish package.

NUMBER 70


Changes - Van She

Van She are in my opinion, the greatest thing to come out of Australia in the last couple of years. Their debut album, mixing New-Wave, Indie, Rock, Electronic and all points in between was almost perfect, with every track having it's own identity and impossible quality that didn't wane throughout the whole twelve tracks. Changes is a catchy-as-fuck indie-scenester's wet dream, great; if somewhat hard to understand lyrics, handclaps and "whoa-ohs"; it has everything.


More tomorrow.

TOP 100 SONGS OF THE 2000's (89-80)

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.

100 - 90

--

NUMBER 89


Crazy - Gnarls Barkley

Gnarls Barkley, the combination of Cee-Loo Green and Danger Mouse, has been one of the most successful projects of the 2000's so far. Crazy, their breakthrough single, served to characterise their unique sound, a modern spin on Soul and Funk, infused with a strong instrumental focus. Crazy took the world by storm, catapulting Gnarls Barkley into stardom. The music video is well worth a look as well for anyone with even a passing interest in graphic design or motion graphics.

NUMBER 88


How Near How Far - ...And You Will Know Us By The Trail Of Dead

...And You Will Know Us By The Trail Of Dead seem to receive consistent 10/10s from Pitchfork Media when it comes to album reviews. I never really understood what the draw was for a lot of their work, most of it came across to me as noisy, unrefined and entirely too long. That all changed when I heard How Near How Far, I really couldn't get enough of it and many years on it's still of those tracks I never skip when party shuffle throws it my way.

NUMBER 87


A-Punk - Vampire Weekend

Angular, brash, and strangely tribal, A-Punk is definitely the strongest song in Vampire Weekend's repertoire, and their most popular song to date. The upbeat tempo and fast-paced delivery of the lyrics achieves that rare quality of being a rock song that possesses real danceability. At only just over 2 minutes long, A-Punk is a kinetic and shortlived, but ultimately memorable affair.

NUMBER 86


Embrace - PNAU

I think part of the reason Embrace worked so well is that PNAU had the genius idea of crafting a truly awful album around it. After hearing most of the unintelligent, poorly arranged and ultimately jarring LP before reaching the epic dancefloor-filler, we can really come to appreciate how amazing this track really is. Although it has suffered from overplay to the nth degree, Embrace captured everyone's hearts and helped vocalist Pip Brown boost the hype for her upcoming solo project, Ladyhawke.

NUMBER 85


Space And The Woods - Late Of The Pier

The Gary Numan-esque debut single from Late Of The Pier was definitely one of the most interesting releases of 2007. Sounding like a crazy eclectic variation of Numan's Cars, and crafting its character around the highly popular Nu-Rave genre and scene made popular by Klaxons; Space And The Woods ended up being Late Of The Pier at their most restrained. Fantasy Black Channel took the Trippy-Electro-Rave sound established by the song to a whole new level.

NUMBER 84


Half Full Glass Of Wine - Tame Impala

Tame Impala are one of the latest in a series of exceptional talent coming out of Australia at the moment, along with Cut Copy, Van She, The Presets and many others, all of whom appear to by flying the Modular flag. Something about that label knows quality when it hears it, and these guys are no different. Sounding like a psychedelic flashback to the 60's and 70's, Tame Impala really do stand out against most music you will hear these days. Half Full Glass Of Wine is a furious plan hatched against an unfaithful lover, laced with both loathing and longing, concocted from too many nights spent waiting alone.

NUMBER 83


I'm Not Alone - Calvin Harris

Possibly the most inspired Calvin Harris effort to date, I'm Not Alone starts slow and sombre, then explodes into a 90's trance throwback synth line that will have you hooked from the first listen. Sing-along lyrics and catchy instrumental work, rapidly becoming somewhat of a Harris trademark, are definitely here. This is the sort of pop music everyone should be listening to.

NUMBER 82


Believe - The Chemical Brothers

The Chemical Brothers have become a name synonymous with exceptionally crafted electronic music. With an incredibly long resume of superstar collaborations, chart topping hits and nigh universal acclaim, their reputation very much precedes them. Believe is a dark and brooding club track featuring guest vocals from none other than Bloc Party's Kele Okereke. The lyrics repeat over and over until they are drilled into your head in the very best way possible, and it's left up to the viewer whether they want to find the music video hilarious or frightening. All of it makes for a very memorable and intriguing concoction.

NUMBER 81


C'mon C'mon - The Von Bondies

The incredibly addictive and ingeniously short indie hit from The Von Bondies wrenches from you your complete attention for a mere two minutes and thirteen seconds, then leaves as abruptly as it burst forth. And then you hit repeat for the 30th time and the whole process starts all over again. That's the amazing thing about C'mon C'mon, it's like an old childhood friend you haven't seen in days, months or even years, as soon as you meet it again you just pick up right where you left off.

NUMBER 80


Club Foot - Kasabian

In every time capsule buried in 2004 for future generations to uncover, you will find an MP3 of Club Foot. So strong was the opening riff, so riveting the backing vocal chant and so adaptable to any EA Sports video game tracklist was the song that you'd have a better chance winning the lottery than meeting a person who hadn't yet heard it. One of the strongest examples of Indie-Dance/Stadium Rock fusion this decade.


More Tomorrow.

TOP 100 SONGS OF THE 2000's (100 - 90)

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.

--

NUMBER 100


Mariella - Kate Nash

English singer-songwriter Kate Nash took us all by surprise with her debut album, Made Of Bricks in 2007. A less abrasive incarnation of Lily Allen's sonic identity, Nash provided snappy songwriting with bubbly melodies, with Mariella most representative of the idiosyncrasies of her style. So cheerful and accessible I defy anyone (bar my mother, who against all reason, refuses to give her a chance) to not find something about Kate Nash to like.

NUMBER 99


Evil - Interpol

Post-Punk revivalists Interpol have one of the most recognisable sounds of the 00's, thanks in no small part to Paul Banks' iconic vocals, and their huge commercial successes, especially in the UK. Evil ranks up there as one of their best songs, whether it's the driving bassline that takes center stage throughout the song, or both the quality and accessibility of the of the lyrical work, Interpol really got it right.

NUMBER 98


Fix Up, Look Sharp - Dizzee Rascal

When I first heard this song, I wasn't familiar with the UK Grime scene at all. It was both shocking and strangely compelling, whether it was the almost unintelligible rapping of Rascal, or the stripped down Crunky background beat, consisting of only drums and female backing vocalists, something about this song made me want to keep listening. Dizzee Rascal has this talent of making a niche genre sound so accessible, whether it's because of the huge name collaborations he is often a part of or a natural talent to do so, the man's genius; while not outwardly obvious, really begins to sink in as each new single comes out and blows your mind.

NUMBER 97


Ordinary - Red Riders

One of the more recent songs to make it into the list, Ordinary channels the 80's New Wave sensibilities shared by bands such as The Cure (more specifically their early work) and the straight up indie rock that is so popular these days, especially in Australian bands, to create the timeless sound of love lost and failed relationships. Something about this song just puts you in a good mood. It really feels like the sonic representation of youth, all its flaws and potential, wrapped up into a neat 3 minute package.

NUMBER 96


I Believe - Simian Mobile Disco

The iconic synth line draws you in, Simon Lord's vocals keep you there. This track, from Simian Mobile Disco's debut album, really shows you why these 3 guys formed a band (Simian) way back when in the first place. Of all the collaborations on the album, I Believe works best. Everything gels together and it all just sounds like it was meant to be. Catchy, compelling, intelligent and put plainly, really fucking stylish; I don't think i'm the only one hoping for another Simon Lord collaboration from Simian Mobile soon.

NUMBER 95


Take Your Mama - Scissor Sisters

Easily the best Scissor Sisters song, before the tragic "I Don't Feel Like Dancin'" stage which is probably best not spoken about. The combination of acoustic guitar, piano, and of course, the falsetto glam rock stylings of Jake Shears is clearly a winning one.

NUMBER 94


We Used To Vacation - Cold War Kids

Cold War Kids generated a hell of a lot of hype in 2006, retreating back into obscurity almost as quickly. However while they were at the top they gave us one hell of an interesting album. We Used To Vacation, as song about parental alcoholism tearing a family apart, was definitely a stand out track, displaying the strengths of the band and their overall appeal; Blues and Soul infused Piano Rock and a pessimistic outlook on life.

NUMBER 93


Alice Practice - Crystal Castles

A recent conversation with a friend essentially summed up Alice Glass' frontwoman qualities. He said to me "she really sounds like she's in pain the whole time" and it's basically the best way to describe the duo. Nobody could ever accuse Glass of not giving every word screamed less than 130% of herself, and the Chip Tune beats provided by Ethan Kath really serve to create one of the strangest sounds you may have heard this decade. Whenever I listen to Alice Practice i feel an immense sense of dread and impending doom, it's not a happy feeling but by christ it's powerful.

NUMBER 92


The Spaces Between - Expatriate

Expatriate were a New Wave Sydney band now based in Germany, and their style was one highly reflective of the sounds of bands such as Depeche Mode and The Cure. Listening to The Spaces Between sounds like a trip in a time capsule straight back to the best sounds of the 80's.

NUMBER 91


Lazy Eye - Silversun Pickups

Silversun Pickups are the closest you will ever get to the greatness of The Smashing Pumpkins in the 90's; today. Borrowing heavily from the grungy yet expansive and beautiful sounds of classics such as The Pumpkins' 1979, Lazy Eye, is one of those songs you really have to hear. The explosion of emotion roughly halfway through is one of my favourite moments in 2006.

NUMBER 90

Over And Over - Hot Chip

The repetition of this song is both it's strongest aspect and the most alienating part of it. You'll either really love the cacophony of sound and simplistic sing-a-long lyrics, repeated over and over, as it were, or you will loathe it. I'll admit i'm not the biggest fan of Hot Chip, but this is easily one of their strongest efforts, and definitely deserves its place in this list.


So that's the first 10, come back tomorrow for 89-80. The list will be updated each day until number 1 is reached.

HYPE

Here's a few tracks, new and not so new, to check out.

Gloves, the electronic solo project from (the now defunct) Damn Arms' Yama Indra, is finally delivering some original material for us all. Gloves has been very busy touring and remixing for a whole bunch of artists, including huge names such as Van She. Seems like Modular's recent acquisition of Bang Gang 12 Inches has really got the ball rolling for the artists involved, with both Ted & Francis and now Gloves releasing singles within a month of each other. Either way I'd be lying if i said I haven't been watching everything Indra has been doing since i first heard the Damn Arms' epic swan song, Destination, last year.

This track, Too Much To Dream, is the b-side from his new single PYX. If you liked Destination this song is very much in a similar vein, chill electronic with catchy vocals.

Too Much To Dream - Gloves

Here's a track from Lupe Fiasco's upcoming album, said to be due December this year. The album, titled Lasers, is reportedly part one of a 3 album project, and by the sounds of it, is going to carry on exactly where The Cool left off, lyricism focused Hip-Hop with a strong focus on great collaborations. As such, this song, Shining Down, features Matthew Santos, who is best known for his guest vocals in Fiasco's hit single from The Cool; Superstar. Fiasco seems to have gone the auto-tune route here, with parts of the song sounding uncannily like Kanye West's latest LP, 808s & Heartbreak.

Shining Down - Lupe Fiasco

Discovery is a collaboration between Ra Ra Riot's Wes Miles and Rostam Batmanglij from Vampire Weekend. Unlike both of their regular stuff, Discovery takes a very electronic, vocoded approach. I must admit I picked this album up without actually knowing any of this, having only heard their cover of the Jackson 5's I Want You Back. It was one of those times when the album cover and artwork really sold it to me, with the inside booklet featuring a really cool graphic direction, colourful pixel art and interesting typographic work.

This track is called Osaka Loop Line, from their debut album, LP, juxtaposes distorted beats with very delicate vocals. It's definitely an interesting sound.

Osaka Loop Line - Discovery

And finally, a song from Cut Copy's first EP, which, if memory serves, was back when it was just Dan Whitford. The EP, titled I Thought Of Numbers, is a pretty interesting indication of how far Cut Copy have come from those early days. The song is Rendezvous, definitely a stand out on the release.

Rendezvous - Cut Copy

More to come.

REVIEW: READY FOR THE WEEKEND - CALVIN HARRIS

Electronic

Ready For The Weekend is the second album from Scottish Electronic artist Calvin Harris. Known for making appealing Electro-pop tunes with catchy if somewhat obvious lyrics and never in danger of taking themselves too seriously; Harris' music is designed to get you dancing more and thinking less.

Everyone's heard I'm Not Alone by now, arguably the most impressive song Harris has created and with its fair share of commercial success, which is in this case definitely warranted. However those hoping for an album of I'm Not Alones will be disappointed. I count myself among them.

The opening track, The Rain certainly starts on a high note, kicking off immediately with a rising synth line that leads straight into a saxophone solo that is sure to impress. The sax then breaks apart into a thumping beat with layers of high pitched whirring. The chorus, destined to be sung-along-to at the top of everyone's lungs on dancefloors all over the world before too long, is one of the strongest on the album, so savor it.

Next up is the title track and second single from the album, Ready For The Weekend. I really want to like it, I do, but the vocal work really comes across as irritating. It's not so much Harris here, the auto-tuned pre-chorus is actually quite appealing. It's the chorus itself that really brings the track down. There are two things that we thankfully no longer have to deal with now that the 90's are over: People wearing baseball caps backwards and Tina Turner-channeling female vocalists in electro tracks. So why the hell is Calvin Harris dragging this shit kicking and screaming from its grave and into the middle of the track that is intended to define his whole album's manifesto?

The rest of the album seems to be created in Ready For The Weekend's image, rather than I'm Not Alone's. It really is a bit of shame because this album really had so much potential for greatness. Flashback serves as double-edged sword, undeniable in its quality but also a disheartening indication of what could have been, if only Harris maintained the strength established by the first single's established mood and style.

Tracks like Worst Day almost hit the target, but don't quite make it, with some rather awkward parts, such as the Flight Of The Conchords sound-alike first verse. The rap bridge, thankfully not attempted by Harris himself, serves as an interesting contrast against the rest of the album and the chorus is quite strong, it's just falls a small, albeit noticeable distance short.

Limits is a pleasant surprise, with Harris' filtered vocal work really coming out well. The similarly altered backing vocals create effective levels of interest, and the symbiosis of the beat and the lyrics ties the whole thing nicely together. The track has a very jittery robotic feel to it.

Those looking for Dance Wiv Me, last year's incredibly popular one-time collaboration between Harris, Dizzee Rascal and Chrome, will find it here too. Yeah Yeah Yeah La La La, the track famously used in a recent Coca-Cola commercial, is a definite nod to the sound and styling of Harris' debut I Created Disco; incredibly catchy and well worth a listen.

For a second effort, Calvin Harris could have done a hell of a lot worse. It's not so much that the tracks are bad, they just aren't amazing. It almost feels like Harris is playing it safe at times, when he should really be pushing the boundaries. The tracks lack character, and at times sound very similar to those adjacent.

Is it worth your money? Short answer yes. In the long term however I can see this album becoming rather disposable. Buy it now, have your fun with it, and join me in waiting for the next album I guess.

6/10

Download

The Rain - Calvin Harris

Ready For The Weekend is out everywhere August 16th.

Website
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REVIEW: TEMPORARY PLEASURE - SIMIAN MOBILE DISCO

Electronic

Temporary Pleasure is the sophomore album from English Electronic duo Simian Mobile Disco. From the start this is a far more atmospheric album than their previous effort. The lyrical work is slightly more high-brow, the beats and electronic blips echo through cavernous locales established in your mind's eye, and overall it just seems like a more mature endeavour from James Ford and James Shaw.

The first thing you'll notice is the all-star cast of collaborators this time around. We've got Gruff Rhys from Super Furry Animals, Chris Keating from Yeasayer, Beth Ditto from Gossip, Jamie Lidell, Alexis Taylor of Hot Chip fame, Young Fathers and Telepathe. It's almost too much talent to handle, but Ford and Shaw clearly didn't just pluck these names out of thin air, they had a well planned role for each of them.

The opener, Cream Dream, gets you suitably excited for the nine tracks to follow. The slow, mechanical build-up, adding layers as it goes, really serves to lead into the track, in which Rhys' vocals slot into rather perfectly. The flow of the sung lyrics in this track is particularly compelling, and reminds me somewhat of Heads We Dance's You Are Never Alone With Model 21. Audacity of Huge follows directly afterwards, a well publicised single from the album. This track, while though initially rather grating, is very much a grower, although i still believe the pitch altered vocals featuring heavily in the chorus distract from the quality of the rest of the song's elements. Cruel Intentions is the next big track, with Ditto delivering her iconic and always compelling vocal talents, there isn't really anything left wanting in this one, one of the best tracks on the record.

Which leads me to Off The Map. I'll admit right now that I have a major soft spot for Jamie Lidell and all he does, his name on the list of contributors alone made me really give this album my attention in the first place. The track has a dark, moody beat that is quite unique within the rest of the songs on the album, and it really compliments Lidell's voice perfectly. Both he and Simian Mobile Disco did everything right here, definitely the strongest track on the album.

While I'm not normally a fan of Hot Chip, Bad Blood, featuring Alexis Taylor, is another standout song. The dark beats that seemed to be somewhat of a major feature of this album really work well with the vocal choices Shaw and Ford elected. Turn The Dial is likely the closest track spiritually to Simian Mobile Disco's debut Attack Decay Sustain Release, with strong big beat influences, especially in the use of Hip-Hop/Rap orientated vocal work. Can't say it's my favourite track but those coming in hoping to hear another A.D.S.R. may find some solace here. The album finishes with Pinball, which pulls no punches on the Telepathe-esque sound. If you're a fan of the female electronic duo you'll love this track, if like me, not so much; hell, you'll love it anyway. A great closer for a great album.

For someone who played I Believe almost as many times as they skipped every other track on the first album, I'm happy to say that Temporary Pleasure is an altogether much more enjoyable listening experience. Sure there's no glorious Simon Lord-Simian-days-of-old throwback anywhere on here, but the forward momentum shown seems to be very much in the right direction; it's clear Simian Mobile Disco will have great things in store for us in the future.

8/10

Download

Cruel Intentions - Simian Mobile Disco

Temporary Pleasure is out August 17th. Buy it.

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