HYPE

Here's a few cool dancey numbers, all feature really interesting vocal aspects to them. The Aston Shuffle track may at first sound a bit middle of the road but the second half is the saving grace of the song; it changes up completely.


Take My Hand (Justin Faust Deep Mix) - Nightriders
Do You Want More - The Aston Shuffle (Feat. Danimal Kingdom)
Lies (Alex Metric Remix) - Fenech-Soler

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Some really quality covers have been released this year. Mystery Jets & Esser teamed up to cover The Cure's In Between Days and added a cool electronic backdrop over the relatively faithful vocal rendition. It's good that it remains pretty much very close to the path the original took because there's not a whole heap more you can do to this song to make it any better.

Fascination Street, which appeared on one of The Cure's most popular albums; Disintegration, has been basically warped into a completely different creature by Metronomy. Not only does this not sound like The Cure, it also sounds nothing like Metronomy. No, the closest comparison I could probably make is that it sounds like Attack, Decay, Sustain, Release-era Simian Mobile Disco. It's going to either be a song you love, or despise. I personally love it. Either way you have to admire the audacity associated with such a huge departure from the original sound.

Also, Sky Ferreira recently covered Miike Snow's massive blog-universe hit, Animal. Her version is a stripped down acoustic number, just her and her piano. It's got a completely different feel, but it's easily as good as the original. I also included another track of hers, Lolita. This girl is going to be HUGE very soon.


In Between Days - Mystery Jets & Esser
Fascination Street - Metronomy
Animal - Sky Ferreira
Lolita - Sky Ferreira


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Danimal Kingdom is the solo project from Dan The Carnivore, the former lead singer of now defunct band, Bolt Action Five. It doesn't sound like Bolt Action Five really, it's more like Lightspeed Champion than anything else I think. Interesting quasi-electronic indie pop gems.


Girl Boy Girl - Danimal Kingdom
Through The Ice - Danimal Kingdom


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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.

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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.

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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KATE MOROSS

Kate Moross is essentially living my dream life. She is a freelance 23 year old London based designer, who, by the looks of her work, is generally given somewhere between ninety-five and ninety-nine percent creative freedom. Her design runs parallel with her musical influences and her musical endeavours (she runs her own record label). Having worked for some of the biggest names in electronic music these days, such as Midnight Juggernauts, Simian Mobile Disco, La Roux, The Teenagers, Telepathe, Punks Jump Up and many more; Moross seems to be sitting in one of the most desirable niches for young designers these days.


Heaps more on her Website, including an online store packed with music and clothing, really worth a good look.