different is dangerous

Hits: Radio Is Dangerous 2/09

2009-02-23T16:45:00.000-08:00

Sweet bliss! I finally got a new computer, switching to a new MacBook after years of disappointing results with my Dell. Not only is it actually functional (as opposed to teetering dangerously close to death), but the Blogger interface is much more user-friendly for Macs. To celebrate, here is the first installment of Radio Is Dangerous, a new monthly playlist feature including tracks from my personal "radio" playlist. Of course, you may never hear some of these singles on an actual radio station (especially not in America, unless you're lucky enough to have independent or satellite radio access), but it's fun to pretend. As with actual radio playlists, each month's selections won't be a totally new set of songs, but a mix of lingering hits and fresh tracks that have come out over the past month. With each new installment, I'll make a new post to debrief some of the new additions to the playlist. This doesn't spell the end of the "Hits" pages, as I'll keep having updates on new tracks and videos as they come out.

Saint Etienne, "Method Of Modern Love": Featured on the long-delayed hits set London Conversations: The Best Of Saint Etienne (see my preview here), "Method Of Modern Love" is the most dancefloor-friendly Saint Etienne single since "Action." With streamlined modern production assistance courtesy of Richard X, no fan should miss this new gem.
Lily Allen, "Not Fair": Though just announced as her sophomore album's second single, "Not Fair" is already lodging itself in my regular rotation. With a unique twang and bouncy hook, it should keep up her undeniable momentum.
Deadmau5, "Ghosts N Stuff": While not quite as epic as "The Reward Is Cheese" or "Arguru," "Ghosts N Stuff" keeps up Deadmau5's profile as a rising leader in gritty electro-house.
Coldplay, "Life In Technicolor II": Far surpassing the instrumental teaser version that opened Viva La Vida, the full vocal recording of "Life In Technicolor" is one of the era's standouts and a classic Coldplay track.
Britney Spears, "If U Seek Amy": Relying heavily on the title's obvious pun, "If U Seek Amy" doesn't make a whole lot of lyrical sense, but it does succeed as an insanely catchy throwaway pop song. It's a relief to hear that Britney is even capable of still making them!
Kelly Clarkson, "My Life Would Suck Without You": Roaring back to the top of the charts thanks to hit factories Max Martin and Dr. Luke, Kelly gave up some of her last album's rough edges and revitalized her pop side on one of her catchiest singles yet.

Dear Ibiza: Comeback Calvin

2009-02-03T15:00:00.000-08:00

Though I've admittedly been a bit slow to post about it, Calvin Harris's just-leaked new single blows away all expectations. Catching the ear of countless electro freaks with his huge retro synths and uber-cheesy lyrics, his sound exploded with hits "Acceptable In The 80s" and "The Girls" in 2007. His debut disc, I Created Disco, contained some modern electronic gems, but was largely repetitive and a bit lacking in innovation. Producing some of my favorite tracks of the last two years (Kylie Minogue's "In My Arms" and Róisín Murphy's unreleased "Off & On"), his sound nevertheless failed to progress much, including his production and featured role on the great Dizzee Rascal comeback "Dance Wiv Me" from last year. After working on his sophomore effort for some time now, he's set to make a return from the sidelines this spring. Although not the album's official first single (instead, it's aimed as a forget-me-not stopgap release), "I'm Not Alone" is truly epic. Ditching all his now-overplayed trademarks, "I'm Not Alone" is half acoustic build and half rave monster. After a solid minute of MOR contemplation, the song switches into club overdrive and becomes something else completely. Many cheers to Calvin for completely remaking his style, proving all cynics wrong with an excellent dance track that I for one cannot wait to get in high quality. Preview the radio rip of the track, along with a selection of his older tracks and productions, in the playlist below.

Shameless/Mixtape: Girls Aloud Party!

2009-02-02T17:20:00.000-08:00

Finally, I'm a bit more settled for the semester, but somehow struggling to find new stuff to blog about. In addition (and I'm all about apologies apparently), my computer has been utterly disastrous for a while now, delaying pretty much everything in my life (this blog included). Not to worry, though, I've got a new laptop on the way, with much more storage space for new music. On an equally optimistic note, for the past week I've been on a bit of a Girls Aloud bender. Their latest single, "The Loving Kind," is a nice enough ballad that features pop masters Pet Shop Boys as co-writers (along with the girl group's career production team Xenomania). While lacking the punch of their best tracks, it's miles better than most of their other ballads (don't even bother with "I'll Stand By You" or "See The Day" if you ever hope to get into the band). While most of the criticisms levied against the fivesome are entirely valid (e.g. they don't write their own music, they're totally manufactured, etc.), they have recorded some truly great pop songs over their short but prolific career. Rising from the constraints of a big reality show start, they've maintained their golden record of only top 10 hits (now celebrating their 20th in a row) and, bucking the trend of most mainstream pop and girl groups, now tend to sell more albums than singles. Their latest, the more subdued, refined Out Of Control, was their first studio album to hit the top spot on the UK charts, and has already gone double platinum. Following on from the unexpected number one success of lead single "The Promise," "The Loving Kind" has barely scraped into the top tier at number 10 (thanks to frenzied fan purchasing), but their longevity has already surpassed all expectations. To celebrate their successes, here's a playlist I've been listening to of my favorite Girls Aloud tracks. It's a basic rundown of their best singles, with some essential album tracks thrown in (including the epic, seven-minute power pop ballad "Untouchable" from their latest). Congrats to the girls on 20 hits, and here's hoping for another 20 of such consistent fun and quality. Take that Sugababes!

Mixed & Mashed: Best Remixes Of 2008

2009-01-16T15:50:00.000-08:00

So, I know it's halfway through January, but I made way too many 2008 lists clearly, and need to get them off my chest before I move on to new things. Instead of a separate singles and dance countdown, this year I went with an expanded singles list and a separate recap of the year's best remixes. As longtime readers can attest to, I love seeking out remixes, and few things are more exciting than great new versions of songs. In a criminally short list of 30 picks, here are the best revamps of 2008.

1. Moby, "I Love To Move In Here" (Crookers Bass In Here Remix): Crookers have been my favorite mixers of the year, most notably on this epic mix of Moby's laid-back piano house number "I Love To Move In Here." Blowing away the original with an absolutely massive bassline, there was no question that this would end up on top of my list.
2. Mariah Carey, "I'll Be Lovin' U Long Time" (Designer Drugs Remix): Taking Mariah's dated, lackluster R&B jam and reinventing it as a thumping uptempo club track, this unofficial mix of "I'll Be Lovin' U Long Time" is up there with my favorite mixes of all time.
3. Kid Cudi, "Day 'N' Night" (Crookers Remix): Another classic remix by Crookers, a late night of clubbing (or, more appropriately perhaps, raving) would not be complete without this stormer, sporting their trademark brand of "ghettotech" house pushed to the limit.
4. Lady GaGa, "Love Game" (Dave Audé Club Mix): GaGa is prepped for primetime action on Dave Audé's razor-sharp club mix of upcoming single "Love Game," sporting a rave-ready build of epic proportions.
5. Madonna, "Give It 2 Me" (Paul Oakenfold Edit): Without question the best remix by Oakenfold in ages, his layered, overwhelming reconstruction of "Give It 2 Me" is the most thrilling club version of a Madonna track since Above & Beyond's mix of "What It Feels Like For A Girl."
6. Snoop Dogg Feat. Robyn, "Sexual Eruption" (Fyre Department Remix): A totally over-the-top, entirely offensive romp, "Sexual Eruption" is elevated from novelty to instant classic by Robyn's renditions of the chorus, kicking the ridiculous factor into overdrive on this smooth, classless R&B groove.
7. The Ting Tings, "Shut Up And Let Me Go" (LAZRtag Remix): Tearing apart the original, LAZRtag's mix of "Shut Up And Let Me Go" is a total electro overload, with stuttering, cutthroat synths that would make a big impression in any set.
8. Kylie Minogue, "The One" (Freemasons Vocal Club Mix): Working in their trademark infectious house basslines and euphoric filtered disco touches, the Freemasons turn fan favorite "The One" into a grand dancefloor killer.
9. The Killers, "Human" (Ocelot Remix - Alternative Live Edit): Channeling the vocoded, fuzzed-out guitar growl of Daft Punk's "Human After All" over a bone-shaking electro bassline, this unreleased Ocelot remix is a grinding, thumping floorfiller.
10. Madonna, "Miles Away" (Thin White Duke Remix): Taking a more gradually layered, build-oriented approach to his trademark retro synth washes, Stuart Price's club version of "Miles Away" reaches a captivating climax unlike any of his other remixes.
11. Britney Spears, "Womanizer" (Kaskade Remix): Producing one of his finest recent club mixes (on par with his excellent mixes of Nelly Furtado's "All Good Things (Come To An End)" and Justin Timberlake's "LoveStoned"), Kaskade's take on "Womanizer" is an undeniably classic pop remix, full of sharp electro and deep house rushes.
12. Róisín Murphy, "Movie Star" (Kid Gloves Remix): A dark, sweeping minimal house revision of the complex, bright "Movie Star," the Kid Gloves version is a ferocious, nearly eleven-minute beast of a remix full of sinister techno builds and deep grooves.
13. Kanye West, "Love Lockdown" (Chew Fu Small Room Fix): Bringing the piano melody to the fore, "Love Lockdown" is transformed into a pulsing piano house banger that stays true to the intrigue of the original.
14. Lil' Wayne, "Lollipop" (LAZRtag Remix): A committment to fat basslines, albeit from a very different genre and style, rules this awesome remix of "Lollipop," successfully translating the hip-hop smash into a club workout.
15. Moby, "Ooh Yeah" (Kris Menace Remix): Continuing his tradition of excellent remixes (see his takes on Robbie Williams with Pet Shop Boys' "She's Madonna" and Air's "Mer Du Japon" among others), Moby's "Ooh Yeah" is transformed into a building, blissful dance classic.
16. Björk, "The Dull Flame Of Desire" (Modeselektor's Remix For Girls): Hard-hitting blips and distorted vocal snippets, undercut by a menacing bassline rich in the low-end, Modeselektor completely deconstructs Björk's sparse duet with Antony Hegarty with stunning results.
17. Katy Perry, "Hot N Cold" (Yelle Remix): A stuttering, vibrant electronic treatment featuring both English and French interjections by Yelle, this mix of "Hot N Cold" is a hot alternative take.
18. Robyn, "Who's That Girl?" (Rex The Dog Remix): Par for the course with Rex The Dog, his mix of "Who's That Girl?" is a bright, upbeat eruption of synthesizers that is among his best remixes.
19. P!nk, "Sober" (Bimbo Jones Radio Edit): Though Bimbo Jones mixes are plentiful and often uninspired, their mixes of P!nk singles usually strike dance radio gold, as on this high-energy mix of her new single "Sober."
20. M83, "Kim & Jessie" (DatA Remix): Perfectly in tune with the big screen youth nostalgia of Saturdays=Youth, this mix amps up "Kim & Jessie" for the slightly-subdued dancefloor, giving it an expansive grandeur of an altogether different sort.
21. Estelle Feat. Kanye West, "American Boy" (Soul Seekerz Radio Remix): Though a pretty standard remix, both for Soul Seekerz and for dance radio, this mix of "American Boy" effectively bumps up the original's BPM, achieving brilliance with its simplicity.
22. Kylie Minogue, "In My Arms" (Chris Lake Vocal Mix): Chris Lake's majestic remix of "In My Arms" alters the song's basic structure from a constant sugar rush to a build-and-release extended club cut, layering bubbling synths to gradually approach the song's main hook in a powerful climax.
23. Róisín Murphy, "Movie Star" (JNRSNCHZ LAX Mix): Retaining the sonic complexity of the original, Junior Sanchez turns "Movie Star" into a frothy electropop delight that wouldn't sound out of place in a Calvin Harris set.
24. MGMT, "Kids" (Soulwax Nite Version): Soulwax give "Kids" a shimmering club makeover with a menacing, rough bassline, allowing MGMT's universally-loved single to work in a whole new range of settings.
25. Britney Spears, "Break The Ice" (Danced, Killed n' Moved): Given a harsh remix treatment, "Break The Ice" becomes a cutting-edge dance workout on this bootleg version.
26. Lady GaGa, "Poker Face" (Dave Audé Radio Edit): Working his magic on a second Lady GaGa track, Dave Audé manages to make "Poker Face" even more worthy of shameless blasting, taking its huge beats in a distinctly electro-house direction to amazing effect.
27. Christian Falk Feat. Robyn, "Dream On" (Warren Clarke Edit): Upping the tempo and enhancing the track's electronic palette, Warren Clarke's mix of "Dream On" is both radio and club ready.
28. Kylie Minogue, "Wow" (MSTRKRFT Remix): Dragging Kylie's chipper "Wow" to the French dance underground, MSTRKRFT's rework is a towering beast of hard bass and synths that retains the euphoric peaks of the original (albeit as interpreted by the Justice school of dance music).
29. Björk, "Wanderlust" (Ratatat Mix): Ratatat's mix of "Wanderlust" is another perfect example of how well their music works with vocals. Distorting her passionate original into something even more affected and delicate, their mix is not to be missed.
30. Goldfrapp, "A&E" (Gui Boratto Remix): Gui Boratto's remix of "A&E" doesn't attempt to recreate the feel of the original, instead taking it down a minimal, pulsating progressive club path.
Honorable Mention: The Killers, "Human" (Armin Van Buuren Club Mix): Although the ultimate climax isn't as euphoric as some of Armin's best, this rave-intended trance take is thrilling.

Save to del.icio.us!

Hits: Best Singles Of 2008, Part 2 (Nos. 1-20)

2009-01-08T21:00:00.000-08:00

Here we go with the top 20 singles of last year, a bit late of course, but still very much worth checking out. Some, like the top two, are holdovers from some of last year's favorite records, but many are new faces on the scene that have ended up in heavy rotation in 2008.

1. Róisín Murphy, "You Know Me Better" (from Overpowered): The finest track from the premier pop album of 2007 reigned supreme as my favorite single of 2008. The evolution of Róisín Murphy comes full circle on this masterpiece of futuristic disco house, channeling all her years of dance music experience (both as half of Moloko and by her strange self) into a real triumph of pop songwriting.
2. Kylie Minogue, "In My Arms" (from X): Bright, shiny pop music is par for the course with Euro favorite Kylie Minogue, but on the classic "In My Arms" she raises the bar, collaborating with Calvin Harris to craft a hands-in-the-air electro pop rush that is undeniably one of her best singles to date (with a colorful, frivolous video to match).
3. Cut Copy, "Hearts On Fire" (from In Ghost Colours): Electronic music never sounded as accessible as on Cut Copy's power pop anthem "Hearts On Fire," a killer single that will have all lovers of pop and dance swooning.
4. Goldfrapp, "A&E" (from Seventh Tree): A solid contender for Goldfrapp's career best single, "A&E" is a heartbreaking acoustic ballad that shatters all previous characterizations of the duo, transcending their dance roots to create a beautiful, soaring account of human need and suffering that is beyond compare.
5. Yelle, "Je Veux Te Voir" (from Pop-Up): A loud club banger full of pomp and attitude, "Je Veux Te Voir" is one of the best dance songs to come out of France in the past few years.
6. Lady GaGa, "Poker Face" (from The Fame): With lyrics and a video just as ridiculous as her outlandish persona, Lady GaGa's second release is an infectious collision of hardcore club beats and crass mainstream pop and hip-hop sensibilities.
7. MGMT, "Time To Pretend" (from Oracular Spectacular): Psychedelic synth hooks and hopeful songwriting combine for a runaway indie hit on MGMT's near-ancient classic "Time To Pretend," finally gaining them mainstream attention with its wide release in 2008.
8. Britney Spears, "Womanizer" (from Circus): Recovering from her personal trauma and an unfortunate disconnect from the music world (see Blackout), the Britney Spears of "Womanizer" is confident, brassy and sassy, reminding the world of why we ever cared in the first place with its sharp, booming rhythm and ridiculously repetitive (and addictive) chorus.
9. Madonna, "Give It 2 Me" (from Hard Candy): Over a thumping, hip-hop-infused dance beat courtesy of Pharrell Williams, "Give It 2 Me" is everything the dire "4 Minutes" should have been: catchy, fun and sure to fill the dance floor. Sure, it's Madonna on autopilot, but its success lies in playing to both her and her producer's strengths as hitmakers.
10. Santogold, "L.E.S. Artistes" (from Santogold): An arresting, guitar-led melody and Santi White's powerful voice are overlaid with a melting pot of sounds on her highly distinctive, nearly cinematic breakthrough single, immediately establishing her as a new artist worth following.
11. The Killers, "Human" (from Day & Age): With producer Stuart Price's pulsing synth rushes adding some much-needed progression to their sound, The Killers have recorded perhaps their best work to date with "Human." Its borderline-nonsensical, optimistic lyrics and unmistakably pop flavor ensure high repeat listenability.
12. Coldplay, "Viva La Vida" (from Viva La Vida Or Death And All His Friends): International chart-topper "Viva La Vida," with its soaring orchestration and uplifting songwriting, is undoubtedly the most successful result of Coldplay's new sonic experimentations, and will prove an extremely difficult career peak to top.
13. M.I.A., "Paper Planes" (from Kala): Diplo and Switch provide a lazy, summery beat over which M.I.A. sings one of her most explosive singles to date, with her most accessible chorus ever (gunshots and all). It's done its job of breaking her through to the mainstream, and, if there's any justice left in the music industry, should walk away with Record of the Year at February's Grammy Awards.
14. Hot Chip, "Ready For The Floor" (from Made In The Dark): Though admittedly only a joke, "Ready For The Floor" could conceivably have been meant for Kylie Minogue. It's the most straightforward pop song Hot Chip have ever recorded, with its bubbly synths and radio-ready lyrics giving the track an irresistible charm.
15. Beyoncé, "Single Ladies (Put A Ring On It)" (from I Am...Sasha Fierce): Proving she still has those independent women in mind, "Single Ladies" is a fierce, frantic banger that will have you dancing along indefinitely.
16. MGMT, "Kids" (from Oracular Spectacular): Almost matching the sublime rush of "Time To Pretend," "Kids" is a big, arena-ready anthem with an unforgettable chorus and shrill, incessant synth hook to die for.
17. Kylie Minogue, "Wow" (from X): While admittedly taking a few steps back musically into "Love At First Sight" territory, "Wow" is a fantastic pop song, sure to induce smiles and a deep love for Kylie, a true pop queen who knows her strengths and how best to use them.
18. Róisín Murphy, "Movie Star"/"Slave To Love" (from Overpowered / non-album): Perhaps the best single that never really was, "Movie Star" was initally set for release in July 2008, then delayed until fall, with a cover of Bryan Ferry's "Slave To Love" added for a double A-side release. Though ultimately cancelled, its excellent remixes and over-the-top video were enough to qualify this roaring, layered synth monster for the list, not to mention the slinky, throbbing beat of "Slave To Love."
19. Madonna, "Miles Away" (from Hard Candy): Backed by what may the last great production work of Timbaland's career, Madonna achieves one of her most memorable midtempo ballads with "Miles Away," a smooth, universally-appealing tale of displaced love that truly didn't deserve to become one of her most underperforming singles ever (though her total disregard for its release and the lack of a music video didn't help much, either).
20. Kylie Minogue, "The One" (from X): Like the two singles preceding it on this list, "The One" didn't get the full release it deserved, instead scaled back to a poorly-promoted, download-only package, with a low-budget video following weeks after release. It's too bad, since the glittering disco yearnings of the Freemasons-produced "The One" make for a potential crossover smash that's a clear standout of Kylie's recent career.

Save to del.icio.us!

Hits: Best Singles Of 2008, Part 1 (Nos. 21-40)

2009-01-06T14:50:00.000-08:00

Apologies for the lost momentum in finishing the 2008 round-ups. It took me a lot longer to whittle down the list than I anticipated, and I ended up expanding the list to 40 singles and replacing last year's dance singles list with a countdown of the 30 best remixes of the year (soon to come). Compiling these best-of lists has made me realize some things about our most recently departed year. While it lacked some of the absolute classic albums of 2007 (like Overpowered or Back to Black), the wide variety of great newcomers, and the flood of outstanding singles, made it a worthwhile year for music, despite the rapid, well-publicized decline of the music industry. All is not lost after all, so put on this playlist of (half of) the best singles of the year if you need any convincing.

21. Estelle Feat. Kanye West, "American Boy" (from Shine): Further proof that Kanye West may actually be the future of hip-hop came in the form of Estelle's career-revitalizing "American Boy," a trans-Atlantic hit that had everyone singing along at one point or another over the past year.
22. Rihanna, "Disturbia" (from Good Girl Gone Bad: Reloaded): Somehow, despite her near-ubiquitous presence across all forms of media, it's hard to get sick of Rihanna, with every limp ballad ("Take A Bow") instantly remedied by a killer dance single like "Disturbia." Saturation airplay aside, it's an impossible feat trying to get Rihanna out of your head.
23. Yelle, "Ce Jeu" (from Pop-Up): A bouncy electro pop treat, "Ce Jeu" is an uplifting, insanely addictive single. French pop never sounded so sweet.
24. The Killers, "Spaceman" (from Day & Age): The Killers are on a roll with their recent singles, with "Spaceman" proving one of the catchiest rock songs of the year, in addition to easily surpassing many of their own finest moments.
25. Goldfrapp, "Happiness" (from Seventh Tree): Simple and dreamy, "Happiness" is Goldfrapp at their midtempo best, with its cynical outlook concealed by a soothing, hands-in-the-air chorus worth chanting along to.
26. Lady GaGa Feat. Colby O'Donis, "Just Dance" (from The Fame): Perhaps not the most instant hit, "Just Dance" is a trashy, fun introductory single that's easy song to love.
27. Kanye West Feat. Dwele, "Flashing Lights" (from Graduation): With its driving, bombastic synthesized beat, "Flashing Lights" is one of Kanye West's unquestionable best, with epic phrasing, and an equally flashy video, to match.
28. Britney Spears, "Break The Ice" (from Blackout): Coming out at the tail end of her last album's promotional cycle, with no input from Britney herself on the video or even really the track itself, "Break The Ice" transcended her personal trauma and upheld her status as one of the brightest stars in post-millennial pop music.
29. Solange, "I Decided" (from Sol-Angel And The Hadley St. Dreams): A soulful, classy slice of R&B produced by the Neptunes, "I Decided" is the kind of carefree, empowering singalong anthem that older sister Beyoncé would kill for, if only she could ever loosen up enough to record it.
30. Duffy, "Mercy" (from Rockferry): A striking breakthrough hit, "Mercy" is a brilliant, immediate throwback R&B jam, infused with all the soul of Amy Winehouse with none of the drug-fueled tragedy.
31. Hercules And Love Affair, "Blind" (from Hercules And Love Affair): A lovingly-curated voyage back to the roots of modern dance, "Blind" is a surprisingly amazing juxtaposition of Antony Hegarty's androgynous croon and DFA-approved disco grooves.
32. Janet Jackson, "Rock With U" (from Discipline): Janet has not been on top of her game for nearly the whole of this decade, but "Rock With U" stands out as a seductive, alluring fusion of R&B and electronica.
33. Vampire Weekend, "A-Punk" (from Vampire Weekend): A spiky, exhilarating taster from their unmatched debut record, "A-Punk" is one of the many reasons Vampire Weekend can claim a spot at the top of 2008's indie rock ladder.
34. Keane, "Spiralling" (from Perfect Symmetry): With its jarring vocals, odd rhythmic structure and in-your-face chorus, "Spiralling" is by no means an instant win, but with repeated listens its complexities amount to an undeniable success.
35. P!nk, "So What" (from Funhouse): Always outspoken, P!nk compromises nothing on the brash "So What," working with pop's best to deliver a powerhouse single that blows competitors out of the water by the end of the first chorus.
36. Ladyhawke, "Dusk Til' Dawn" (from Ladyhawke): Ladyhawke strikes it big with a short but sweet, electro-infused 80s revival single that will have you humming along with just one listen.
37. The Ting Tings, "Shut Up And Let Me Go" (from We Started Nothing): The perfect infusion of pop and punk melodies, "Shut Up And Let Me Go" is another reason to be thankful for the debut of the Ting Tings.
38. Duffy, "Warwick Avenue" (from Rockferry): Taking a distinctly different approach to the blues than her smash "Mercy," "Warwick Avenue" is a stunning, deeply affecting rendition of longing and vulnerability that goes a long way towards establishing Duffy as a standout performer.
39. Katy Perry, "Hot N Cold" (from One Of The Boys): Less gimmicky and catchier than her introductory number one hit "I Kissed A Girl," "Hot N Cold" is a confirmation of the modern pop magic that producer Dr. Luke and team can work.
40. Sam Sparro, "Black & Gold" (from Sam Sparro): Over a sinister, throbbing bassline, Sam Sparro burrows his way into your mind with his distinct snarl. It's too bad "Black & Gold" wasn't followed up by a similarly cutting-edge parent album, but at least we'll have this standout to maintain the genre for some time to come.

Save to del.icio.us!

Hits/Covered Up: Womanly Lily Allen

2008-12-25T13:10:00.000-08:00

Interrupting the best of 2008 countdown posts, here's my first "regular" music post in a while. As I plan on having more frequent updates (not having to upload music works cuts down the preparation time significantly!), I've gotten rid of the numbering of posts. I'm pretty attached to the categories and labels I've already started, so I won't be revamping those, but you might see some new ones pop up and others fade out. I've been a bit out of the loop as far as updating readers, so some features might be a bit recycled for a while, but bear with me and eventually I'll have my old edge back.

To kick things off, British tabloid darling Lily Allen has at last resumed her musical career, and pop fans everywhere are loving the results. The first single released from her upcoming album, the cheekily-titled It's Not Me, It's You, "The Fear" is easily her best. It may not be a fresh soundclash like her debut smash "Smile," but her lyrics are sharper than ever. Ridiculing the money-fueled, glam-focused celebrity example, it's a hilariously cynical and immediately resonant take on our modern culture. Eschewing her debut record's pop/ska fusion for a slick, futuristic electropop flavor, producer Greg Kurstin (the man behind Kylie Minogue's "Wow" among other pop classics) does an amazing job of updating Lily's sound without washing her sass out of the equation. Out in early February, It's Not Me, It's You is definitely on my list of new music to check out. If you're looking for some quick fun, try playing the online game "Escape The Fear" on Lily's website (see the link below the playlist at the bottom of this post).

Always outspoken, especially for her harsh criticisms of fellow pop stars and celebrities, Lily surprised reporters by recently declaring her love for Britney Spears. Taking her unexpected fondness to a new level, she released an in-studio live cover of Britney's massive comeback hit "Womanizer" online. Stripping it back to acoustics and piling on her well-known, heavily-accented Brit flair, it's a smooth, sultry revision that unmasks the tracks true merits. Props to Lily for the unlikely achievement, and congrats to the song's writers for crafting a track that can hold its own even without the original's high-power production.

Links:
Lily Allen's official website
"Escape The Fear" interactive online game

Save to del.icio.us!

Review: Best Albums Of 2008, Part 2 (Nos. 1-10)

2008-12-25T12:15:00.000-08:00

It wasn't a fluke! Tell your friends and fellow music lovers that Different Is Dangerous is really back for good, and make sure to subscribe via the feeds on the left of the page to keep updated on new posts. Here's the second half of my albums countdown for 2008, a year which saw a lot of new faces making a big impression on my stereo. Stay tuned for lists featuring honorable mentions and compilations, as well as a huge recap of my favorite singles and remixes of the year.

1. Yelle, Pop-Up: Without a doubt the freshest new pop star to break out internationally in 2008, Yelle has an in-your-face attitude backed with irresistible electro beats provided by DJs GrandMarnier and Tepr. Her debut album never is a relentless set of instant pop gems, and the most fun record I've listened to all year. From club stompers, like global underground hits "Je Veux Te Voir" and "A Cause Des Garçons," to midtempo singalongs "Ce Jeu" and "Amour Du Soul" (not to mention the near-orgasmic, synth-filled climax of "Tristesse/Joie") Pop-Up is an energetic, infectious success. Preview: "Tristesse/Joie" [check out my full review here]***

2. Vampire Weekend, Vampire Weekend: Oddly enough, despite being a blogger myself, I didn't get into Vampire Weekend by way of the huge online hype generated in the run-up to their debut album's early 2008 release. Instead, I listened to them on a whim and ended up immediately buying and falling in love with the record. Full of more hooks and insistent rhythmic tricks than anything else in the blogosphere, Vampire Weekend's hip mix of indie rock, pure pop and straight-up eclecticism is a winning combination from the first track to the last. Preview: "Mansard Roof" [check out my full review here]

3. Goldfrapp, Seventh Tree: Making a sharp about-face from the glammed-up disco confections and comedowns of 2005's Supernature, Seventh Tree sees the duo stripped back to a downtempo palette even sparser than that of their debut, the hushed, majestic Felt Mountain. Arresting acoustic ballads like lead single "A&E" are wedged between sitar-laden walls of sound ("Little Bird") and bare, haunting lullabies ("Clowns," "Some People"). There is an alluring sense of resignation and isolated contemplation, balanced by a flair for the epic, as in classic singles "Happiness" and "Caravan Girl." Detour or not, it's a stunning direction for Goldfrapp. Preview: "Clowns" [check out my full review here]

4. Cut Copy, In Ghost Colours: It only takes one listen to fall for In Ghost Colours, but with every successive spin new layers begin to reveal themselves and a deep love for Cut Copy's sophomore disc takes root. In Ghost Colours will instantly convert any doubters of modern electronic music, from the ecstatic builds of catchy singles "Hearts On Fire" and "Lights And Music" to flooring album tracks like "Out There On The Ice" and "So Haunted." Full of warm synths and uplifting melodies, it subtly mines the sounds of electronic predecessors like New Order and Depeche Mode, alongside futurebound production by LCD Soundsystem's Tim Goldsworth (who also had a hand in my number 20 pick, Hercules And Love Affair), creating an album of remarkable depth and emotion. Preview: "Lights And Music" [check out my preview here]

5. The Raveonettes, Lust Lust Lust: Back with a raw sound dripping with feedback and distortion, The Raveonettes have hit a new career peak with the unsettling Lust Lust Lust. Taking the frantic energy of their debut full-length (2003's Chain Gang Of Love) and slowing it down, the record is a dark, melancholy rumination on love, lust and loss. It's an album that deserves to be listened to in full, at full volume, for even its standouts (including single "You Want The Candy" and most of the whole first half of the disc) are dwarfed by its power as a complete set. The dense, singular musical vision of Lust Lust Lust unconsciously succeeds in making a strong case for the continued relevance of the album format, something that has become unfortunately rare in our current digital climate. Preview: "Dead Sound" [check out my full review here]***

6. Santogold, Santogold: Emerging from her role as A&R director and pop songwriter to take center stage, Santogold commands a unique blend of sounds on par with fellow trailblazers like M.I.A., and even Siouxsie Sioux long before. Backed by slick production from Switch and Diplo, with a voice that alternates between a brash, bouncy yelp and a powerful singing register, Santogold's debut is an unmissable set that brings together the best and boldest of nearly every popular genre out there. Preview: "Say Aha" [check out my preview here]

7. MGMT, Oracular Spectacular: Building up a rabid fanbase over the past few years, MGMT finally broke through to the almost-mainstream of indie rock this year with the full release of their entrancing first record Oracular Spectacular. Built on solid song structures and writing, it's covered in psycheledic flourishes and utterly unique progressive touches, as on the storming, bombastic glam stargazing of years-old lead single "Time To Pretend." The tight grooves of "Electric Feel" and the stadium charm of "Kids" are just a few of the standouts in a short collection packed full of winners. Preview: "The Youth"***

8. Coldplay, Viva La Vida Or Death And All His Friends: Breaking the spell of X&Y's calculated arena ambitions, Coldplay's fourth album is a leap into new sonic territory for the band. Absorbing a wide palette of new sounds, Viva La Vida eschews their past reliance on formulaic songwriting to instead focus on developing their musicality. While the lyrics sometimes still falter, and several songs fail to lift themselves out of the context of the whole, it's a worthwhile transitional record that demonstrates Coldplay are progressing towards greatness. Plus, it contains some of their finest work to date (see international hit "Viva La Vida" for instant proof). Preview: "Lovers In Japan" [read my full review here]

9. Madonna, Hard Candy: To be frank, Hard Candy is by no means Madonna's finest album, or even within her top five efforts. For the most part, it's an uneven attempt to cater to the hip-hop addiction of America's youth, and falls flat in several places. When the unlikely collaborations with the Neptunes and Timbaland work, though, they really work. Bringing a fresh R&B beat to simple pop tunes, dance monster "Give It 2 Me" and singalong treat "Heartbeat," along with the soaring, if utterly derivative, "All Good Things (Come To An End)" rewrite "Miles Away," are Madonna's best tracks of the 21st century. It's not an artistic high point, but when she loosens up and stops trying for hits (as on the overwhelming soundclash "4 Minutes"), Madonna successfully reminds listeners of why she's still the Queen. Preview: "Heartbeat" [check out my full review here]

10. Crystal Castles, Crystal Castles: From the first beats of "Untrust Us," Crystal Castles is an addictive, enthralling listen. The duo score immediate favorites with soaring synth washes ("Vanished") and sinister, glitchy electro numbers ("Crimewave," "Courtship Dating"), creating a sound that draws inspiration from both their Atari-inspired namesake and Death From Above 1979. Repetition and cheap thrills abound, but the album's contrast of rough, punk-fueled outbursts interspersed with taut hipster dance grooves is genius. Preview: "Untrust Us" [check out my preview here]

***Notes: Several of these releases actually first surfaced in 2007, but are featured on the 2008 list because they received either their first US release or a full, mainstream or physical release in 2008. Yelle's Pop-Up came out in September 2007 in France, but in 2008 in America and the rest of Europe. The Raveonettes' Lust Lust Lust was released in November 2007 in the UK, but a few months later with an updated tracklisting in the US. MGMT's Oracular Spectacular had a US digital release way back in fall of last year, but didn't see a full physical and international release until the first half of 2008. With all of its single releases and promotional schedule limited to this year, I think it's fair to include it. Though not entirely confined to the 2008 release schedules, these three albums, at least for me, were very much a part of this year's musical landscape and for that reason deserve to be on the list regardless of specifics.

Save to del.icio.us!

Review: Best Albums Of 2008, Part 1 (Nos. 11-20)

2008-12-17T22:20:00.000-08:00

For my first real post back, I'm kicking off with my countdowns of the best music of 2008. To start the recaps, I've picked out my top 20 albums of 2008. Listed here is the second half of the list, numbers 11 through 20, and still to come are my top 10 and a list of the best compilations and other odds-and-ends. New to the blog is the music player at the bottom of every post. Scroll down to see an imeem playlist with all the featured tracks in the post to listen to, with links to search for the songs on Amazon and iTunes. I'm no longer featuring free downloads, but I will make sure to provide occasional links to other sites, as well as include promotional downloads approved for free previewing. Let me know how you like it!

11. The Killers, Day & Age: The Killers roared back into relevancy after a lukewarm response to 2006's Sam's Town, tapping electronic producer Stuart Price (of Confessions On A Dance Floor fame) for an album full of bombast and experimentation. Lead-off singles "Human" and "Spaceman" are their best yet, while tracks like "I Can't Stay" test out new rhythms and sounds. Day & Age, with its scattered gems and bold range, sounds like a bridge between their debut, 2004's Hot Fuss, and something possibly great on the horizon for album four. Preview: "Neon Tiger"

12. Moby, Last Night: Following the low-key, sample-free Hotel, Moby returned to the dancefloor on Last Night, an album chronicling the many stages in the evolution of dance music while documenting each part of a long night out at the club. Ranging from classic house and disco to rave and downtempo comedowns, it's a concise journey highlighting Moby's strengths, even if it doesn't push any new boundaries for the electronica pioneer. Preview: "Disco Lies" [check out my preview here]

13. Carla Bruni, Comme si de rien n'etait: With a delicate voice reminiscent of Jane Birkin or Charlotte Gainsbourg, French First Lady Carla Bruni's third album is a fresh, intoxicating collection of love songs and reflections worth crossing language barriers for. Preview: "L'amoureuse" [check out my full review here]

14. Cat Power, Jukebox: Though not a match for her 2006 masterpiece, The Greatest, Chan Marshall's second set of cover songs is a remarkably sad, beautiful record. Her hearfelt, soul-injected renditions of "Silver Stallion" and "Don't Explain," along with the haunting "Ramblin' (Wo)man" and the excellent, stark takes included on the limited edition bonus disc, make Jukebox a must-listen for Cat Power fans. Preview: "Silver Stallion" [check out my full review here]

15. Sharleen Spiteri, Melody: Texas frontwoman Sharleen Spiteri stepped away from the band for a solo album steeped in the retro mood that Amy Winehouse and countless others fought to resurrect the last two years. It recalls older Texas, and is captivating with its almost theatrical soul melodies. Melody is a seductive and evocative record that merits widespread attention. Preview: "Melody" [check out my preview here]

16. Scarlett Johansson, Anywhere I Lay My Head: Though it's easy to be skeptical of an actress's vanity album of Tom Waits covers, Scarlett Johansson's collection of yearning, affected takes deserves consideration. It all flows together for most of the album, but it all works well as a whole. Standout "I Don't Want To Grow Up" is epic with its bruised, grand statements about youth and life. Preview: "I Don't Want To Grow Up" [check out my preview here]

17. Lady GaGa, The Fame: Bursting onto the scene with an oddball persona straight out of a 60s David Bowie concert, Lady GaGa has fashioned a uniquely futuristic brand of pop with her debut set of simple, incessant club numbers. The writing may be throwaway at best, but for sheer fun and bombast it's a winner. Preview: "Boys Boys Boys" [check out my preview here]

18. Kleerup, Kleerup: The producer of Robyn's comeback "With Every Heartbeat" followed up that smash with an album that singlehandedly justifies the continued existence and evolution of electronic music. Full of enormous synth lines and light, empassioned vocals, Kleerup is a very emotional record despite its technological detachment. Preview: "Hero" [check out my preview here]

19. Duffy, Rockferry: A higher-pitched Amy Winehouse with a more mainstream appeal, Duffy's debut album hits all the right notes with an amazing range of songs. The tracks are united by their rough, unique throwback sound and well-constructed rhythms, with standouts including upbeat single "Mercy" and heartwrenching ballad "Warwick Avenue." Preview: "Rockferry" [check out my preview here]

20. Hercules And Love Affair, Hercules And Love Affair: Antony Hegarty (of the gloriously odd and beautiful Antony & The Johnsons) lends his voice to an engaging trip back to the roots of dance music. Exploring classic disco, house, soul and electro with a distinctly modern feel (courtesy of LCD Soundsystem genius Tim Goldsworthy), the project is a total success, with instant classics like "Blind" and "You Belong" wedged between grand, bold basslines and melodic hooks. Preview: "Hercules' Theme"

Save to del.icio.us!

Attention: The Britney Phase Is Over!

2008-12-01T12:42:00.000-08:00

Prepare yourselves! Different Is Dangerous is coming back! OMGWTFYESSS!!! I've emerged from hibernation and am working on new music players to embed into the site. This means things will continue as they were, except instead of having free downloads of questionable legality up, I'll have a bomb player inserted right onto the page for listening and evaluating recommended tracks. I'm not so sure what to do with the old categories I had up just yet, so you might be seeing some new tags replacing the old ones, and some being phased out completely (any suggestions?). There will be a greater focus on album reviews (both new and old) than before, and more quick posts too. I'll still be posting up download previews for those digitally-inclined artists and labels who send me their music for review (which so far include the amazing independent label Matador Records), so keep those coming to probablyrustin@gmail.com. Things should be up and running within a week or two, so notify all your friends, relatives, lovers and acquaintances that the blog is on the mend and a comeback of Britney proportions is imminent! See you all soon and thanks for sticking with me in the dark times!

Save to del.icio.us!

Attention: Le Sigh...

2008-10-23T15:24:00.000-07:00

The time has come to move on to other things. This blog, Different Is Dangerous, my year-old pride and joy, may be no more as of the end of this month. I have painstakingly gone through every one of my 260+ posts and removed any music files contained there to avoid any further destruction of my work. Thanks to another 8 DMCA notices that came pouring into my inbox this week, I had to act. What bothers me more than anything is that instead of contacting me directly (via the readily available email address that I provide on this home page), the RIAA members behind the takedown of my posts are instead forcing Blogger to entirely delete my posts. Luckily, some of them were saved, so I was able to salvage the reviews and commentary that I've written over the past year (with music links now removed, so all that remains is my personal, entirely legal input). To be perfectly honest, I'm not sure what my next move will be. I've become a target for a record industry that is losing profits left and right and wasting resources attacking the problem in the wrong way (like harassment of bloggers like myself). It's a terrible bridge to burn, as there are very few people left in this country who are as passionate about music as bloggers. I've spent thousands on music in my lifetime, yet I committ myself to writing about and sharing my love for the songs for free. If anybody from a label is still reading this, just check out the post below and see how many comments were written in support of what I'm doing. For a blog that gets just 1000-2000 visitors daily, and comments few and far between on most posts, it's an impressive number of replies. The jist of most of these replies is that this blog has inspired listeners to go out and explore the music they've heard. Many readers have actually bought new music and become avid fans as a result of the samples I've posted, as I knew would be the case. It's digital media that are revolutionizing music and getting people excited about artists again, and it saddens me to not only be saying goodbye to the blog as it was, but to even be witnessing this pathetic state of affairs in music.

To all of my readers, thank you so much for sticking with Different Is Dangerous over the past months. I've had an amazing time writing this blog and I can only hope that you've found something to fit or even expand your tastes on these pages. It's breaking my heart to even have to make such a serious decision about my blog, especially given how much I've put into it. For now, the blog is NOT closed, however in whatever form it may continue, it will be fundamentally different. For the sake of nostalgia, take a look back while the blog is still untouched. A lot of the posts have been torn apart by broken links, missing photos and formatting mishaps over time (not to mention deletions and removals), but for now they're still here for the world to see. I repeat that I have not made a final decision as to the fate of this blog, nor have I thought of any alternatives so far. It may stay open with a refreshed format, or I may take on some new venture (and hopefully invite all you amazing listeners along for the ride). Check back sometime next week for the final word. I guess different really was dangerous after all...

Save to del.icio.us!

Attention: Unsure

2008-10-14T12:28:00.000-07:00

As you may have noticed, four posts I made over the weekend and yesterday were either taken down (thanks to a DMCA notice) or vanished mysteriously. Then again today, I woke up to find yesterday's posts (the extensive covers post and another rave post) were also gone, and that one of them was also due to a DMCA notice. They were taken down so fast that no cache exists for either post, meaning that I effectively lost all record of the posts I wrote without any chance of simply removing the preview downloads and keeping up my comments and design. This is getting a bit ridiculous, and frankly I'm starting to doubt whether I should even keep up with this. I love this blog, but I hate having to worry about record labels removing what I spend time writing and taking my intentions the wrong way. Maybe one day they'll finally fully embrace the digital music revolution, but until that day comes I'm not sure it's really feasible to keep playing this cat-and-mouse game of "where did my post go?". It's taking too long for the RIAA to realize that it isn't bloggers that are the problem. It's entirely counterintuitive to be threatening the biggest advocates of music out there, who have spent countless hours and resources following, talking about and in effect promoting their music for free (I won't even admit to how many hundreds upon hundreds of dollars I've spent over the years on CDs, records, concerts, memorabilia, etc.). Instead of spending money on petty policing, they need to focus on developing a new business model for the 21st century, one that accounts for the fact that the physical music format is no longer the biggest moneymaker, and that illegal downloading is impossible to stop. I haven't spent a single day in a business class, but from just my own lifelong knowledge and observation of the music industry, I know that something is not right and that it isn't too difficult to fix with innovation. On hiatus until I make a final decision.

Save to del.icio.us!

Mixed & Mashed 33/Classics 30: Movie Stars

2008-10-12T21:00:00.001-07:00

Inspired by the handful of new "Movie Star" remixes from a promo I just got a hold of, and intent on posting some more great Róisín Murphy mixes, I decided to a post on stars and fame. There are tons of tracks in my library on the topic, and legions more about the broader subject of stars (by everyone from David Bowie to Lady GaGa). To kick things off, there are two more amazing mixes of Róisín's "Movie Star" worth checking out. Taking a completely different approach from his other remix, Junior Sanchez's "LAX" mix is an exuberant electro stormer, seemingly designed to brighten up any dancefloor. The "She Is Beautiful" mix by Sam & Di Angelis turns the single into an intoxicating piano house number, perfect for a classy moment in the middle of the night. For the Classics portion of the post, Paris Hilton (of course) gets us going with her aloof, manufactured reggae-tinged hit "Stars Are Blind." Britney Spears laments the hard times she has finding love as a star in the ultra-sappy "Lucky." Felix Da Housecat provides the dance throb for the set in a mix of his classic ode to decadence, "Silver Screen Shower Scene." The tributes to sin continue on Hole's roaring "Celebrity Skin" and Suede's grinding, scuzzed-out rock on "Filmstar." David Bowie gives us some classic perspective on his mid-career breakthrough "Fame," and Lady GaGa wraps us up with a taster from her new album. "Paparazzi" is another of her finely-crafted pop gems about the famous life, this time slowed down for contemplation and added glam effects. Those poor famous people have it so tough!

Mixed & Mashed 33:
Róisín Murphy, "Movie Star" (JNRSNCHZ LAX Mix) [YSI] (original on Overpowered)
Róisín Murphy, "Movie Star" (Sam & Di Angelis 'She Is Beautiful' Remix) [YSI] (original on Overpowered)

Classics 30:
Paris Hilton, "Stars Are Blind" [YSI] (from Paris)
Britney Spears, "Lucky" [YSI] (from Oops!...I Did It Again)
Felix Da Housecat, "Silver Screen Shower Scene" (Malibu Mix) [YSI] (original on Kittenz And Thee Glitz)
Hole, "Celebrity Skin" [YSI] (from Celebrity Skin)
Suede, "Filmstar" [YSI] (from Singles)
David Bowie, "Fame" [YSI] (from Best Of Bowie)
Lady GaGa, "Paparazzi" [YSI] (from the forthcoming The Fame)

***Note: Links removed***

Save to del.icio.us!

Hits 39/Shameless 09: Britney's Back!

2008-10-12T16:00:00.001-07:00

Taken from her forthcoming album Circus, due out in early December, "Womanizer" is the return-to-form that Britney promised us last year with the ill-fated "Gimme More" video/performance and Blackout album. While she had the music ready for a big return, her head was all over the place and it didn't go down quite as planned. Now, though "Womanizer" as a song can't really stand up to "Gimme More" or "Piece Of Me," it is an insistent pop track that makes the best of her vocal abilities and backs it all up with an unmissable, if repetitive, title hook. The video completes the package to great effect. Her best since "Toxic," helmed by that video's high-profile director Joseph Khan (who also directed her classic "Stronger" clip). Reuniting her with her big-budget, entirely over-the-top pop persona of years long past, it sees her playing several racy alter egos (including one fully nude one) to the womanizer who did her wrong. It's worth watching and hearing, and definitely makes me excited for her real comeback. While waiting for Circus to drop, check out some of my favorite classic Britney tracks below (a miniature greatest hits from her heyday to the present). Now that she's cleaned herself up and gone back to being "classy sexy," maybe it will be a bit less of a guilty pleasure to listen to her. Then again, there are many reasons why Britney Spears belongs in the Shameless section... Also featured are three more noteworthy remixes of the single (another one was featured earlier), picked from the huge flood that are starting to come out.

LINK: "Womanizer" on YouTube.

UPDATE: The links have all been taken down thanks to a DCMA complaint that Blogger received about some of the songs (I'm not sure which). Sorry for those who missed out, and to whoever was understandably pissed that I posted the songs up. For future reference, I can be reached directly via email to take down tracks and will do it immediately. To preview the tracks that I mentioned, check out this blog on Hype Machine.

Save to del.icio.us!

Classics 29: London Conversations

2008-10-12T12:00:00.001-07:00

Inspired by a forthcoming Saint Etienne compilation album and an old Lily Allen single, I decided to do a quick post on songs about London. As previously mentioned, the quintessential British trio are documenting their long career in an updated best-of compilation, London Conversations: The Best Of Saint Etienne, due out in the next few weeks internationally in several editions. As another taster, I've included their sprawling classic "Avenue" (included here in its full mix; an edit will be on the new collection). Lily Allen has a less optimistic view of the brighter days in the city on her infectious second hit "LDN." Pet Shop Boys slow their normal tempo and go acoustic on the somber "London," one of my favorites from the duo. Coldplay bring their trademark stadium grandeur and contemplative musings to "Cemeteries Of London," while Variety Lab take a lounge house look at a rainy day in England on the great "London In The Rain." There are definitely more London conversations out there (in my library and probably yours), but these should be a nice sampling for now.

UPDATE: The links have all been taken down thanks to a DCMA complaint that Blogger received about some of the songs (I'm not sure which). This post wasn't one of the three mentioned in the copyright complaint, but it went missing today so I figured I'd take down these tracks also. Sorry for those who missed out, and to whoever was understandably pissed that I posted the songs up. For future reference, I can be reached directly via email to take down tracks and will do it immediately. To preview the tracks that I mentioned, check out this blog on Hype Machine.

Save to del.icio.us!

Hits 38/Mixed & Mashed 32: The Great Remix Recap, Part II

2008-10-11T17:00:00.001-07:00

Part II of the remix rundown started on Friday features another ten hot mixes, most of which aren't so new, but still well worth listening to. Kicking off with some very laid-back versions, Estelle's "No Substitute Love" gets a fun, relaxed electronic touch courtesy of Treasure Fingers, while Ewan Pearson gives the expansive treatment to Hot Chip's latest promo single "Hold On" in a nine-plus minute mix (check out more of his mixes here). Things heat up with The Ting Tings' forthcoming single "Be The One," in a dark, pulsating dance remake by Japanese Popstars. A huge array of remixers and amateurs are starting to tackle Britney Spears' new cut "Womanizer," but none have really done the trick for me yet. Until some official versions are released, the Loose Shus remix is a decent minimal take that strips it down to a bleepy electro groove. "Sunset Blvd." by Pacific! is great in its Touch remix form, building to a great synth wash halfway through. MGMT have had some ace big-name remixes lately, and the now-aging Soulwax mix of "Kids" is no exception (though it can't match the awesomeness of the Justice remix of "Electric Feel"). M.I.A.'s "XR2" gets a cool mix by Hydroz that doesn't depart too much from the feel of the original, but gives the obtuse growler a nice kick. Ladytron and ADULT. are cut from the same twisted electronica cloth, so it's only natural that the ADULT. mix of "Runaway" is a real widescreen grower. Slowing it down some more, Daft Punk are extended and given an amped-up groove on the EASTAR mix of "Something About Us." Last, but not least, one the Spice Girls' most memorable tracks ("Spice Up Your Life") gets an addictive modern electro makeover courtesy of Burntpiano (who also recently mixed Vampire Weekend's "Oxford Comma," featured in an earlier post).

Save to del.icio.us!

Open Your Box 24: Crystal Castles Vs. HEALTH

2008-10-11T11:00:00.000-07:00

Though both of the album's I'm featuring today were released much earlier in the year, I'm just now getting into them and felt it was necessary to post some samplings from them. Tied together by their bumping, insistent collaboration "Crimewave," Crystal Castles and HEALTH are relative newcomers on the electronic music scene, but are already making big waves with their dark, insanely catchy tracks. Crystal Castles quickly worked their way into my head at the start of the semester, when it seemed I would hear their self-titled album playing absolutely everywhere, day or night, at home or out at a party. Though I'm not the biggest fan of some its noise-based tracks, their simple but hard-hitting melodies can't really be beat, as on the great "Untrust Us" and "Magic Spells." HEALTH's remix disc HEALTH//DISCO completely reinvents them as dancefloor beasts, with beats and rhythms straddling several of electronica's best styles. The Pictureplane remix of "Lost Time" sounds like a techno reimagining of the New Romantic sound, with its vast expanses of sound made for filling a large, well-wired room. Conversely, the C.L.A.W.S. remix is a deep, drugged-out monster with a dirty electro beat to die for. The CFCF mix of "Triceratops" is again completely different, this time evoking the bright synths of the 80s with a distinctly modern tone. Alongside the unmatched original mix, an LA Riots remix of "Crimewave" shuffles it up and ups the excitement for play in edgier clubs. The best of all the tracks featured here, unfortunately, is a low-quality file (see below***), but the Crystal Castles mix of Klaxons' "Atlantis To Interzone" still stands as an instant classic, with its screaming riffs and big, bouncing bassline proving too hard to resist.

From Crystal Castles:
Crystal Castles, "Untrust Us" [YSI]
Crystal Castles, "Magic Spells" [YSI]

From HEALTH//DISCO:
HEALTH, "Lost Time" (Pictureplane Remix) [YSI]
HEALTH, "Triceratops" (CFCF Remix) [YSI]
HEALTH, "Lost Time" (C.L.A.W.S. Remix) [YSI]

Remixes:
Crystal Castles Vs. HEALTH, "Crimewave" [YSI] (from Crystal Castles and HEALTH//DISCO)
Crystal Castles Vs. HEALTH, "Crimewave" (LA Riots Remix) [YSI]
Klaxons, "Atlantis To Interzone" (Crystal Castles Remix) [YSI]

***Note: Links removed***

Save to del.icio.us!

Mixed & Mashed 31: JNRSNCHZRMXS

2008-10-10T19:00:00.000-07:00

My favorite mixers, though they range a lot in their mixing styles and even specific sub-genres, always have two standards in common. They're all consistent and they're never afraid to completely rework songs to fit their vision. Junior Sanchez is one of these great producers, almost never failing to synthesize unique and exciting new takes of each track he approaches. I was prompted to feature him in a post thanks to his commission to remix Róisín Murphy's latest single "Movie Star," turning out two vastly different but equally expansive versions. The "Cinespace" mix featured here transforms the track into a sprawling rave comedown. Going in the opposite direction as far as mood, his remix of Placebo's hook-laden "This Picture" turns it into a building, driving dance rock hybrid besting the original version. Booming electro bass rushes fill in the climaxes of his take on Madonna's "Jump" with heavily filtered digital effects added on top for a haunting mix of Princess Superstar's "My Machine." Proving that New Order songs can actually have decent mixes with the right producers, his 2007 remix of their classic 12" single "Confusion" ups the tempo and turns it into a punked-up screamer. I was set to feature a sixth Junior Sanchez remix, the excellent, stuttering "Strobelight Honey" mix of "Flashing Lights," but I realized that the file I had cut out before the halfway point. If anyone's got a full version, please send it my way and I'll be sure to include it in a future post!

Róisín Murphy, "Movie Star" (JNRSNCHZ Cinespace Mix) [YSI]
Placebo, "This Picture" (Junior Sanchez Remix) [YSI] (from Once More With Feeling: Singles 1996-2004 [Limited Edition])
Madonna, "Jump" (Junior Sanchez's Misshapes Mix) [YSI]
Princess Superstar, "My Machine" (Junior Sanchez Mix) [YSI]
New Order, "Confusion" (Junior Sanchez Mix) [YSI]

Request:
Kanye West, "Flashing Lights" (JNRSNCHZ Strobelight Honey Mix)
***Email me at probablyrustin@gmail.com if you have this remix***

***Note: Links removed***

Save to del.icio.us!

Hits 37/Mixed & Mashed 30: The Great Remix Recap, Part I

2008-10-10T13:00:00.001-07:00

This has been my first post in a long time (blame the crappy internet at my house and heinous midterms for that), but it may end up being one of my favorites. The last two weeks have seen a literal overload of great remixes, so I'm doing a huge two-part recap. For part one, I picked out the most essential of the new mixes, starting off with a brilliant mix that somehow didn't win the remix contest for Mariah Carey's "I'll Be Lovin' U Long Time." Taking the otherwise unremarkable single and adding a heavy dose of synthesizers, the Designer Drugs mix is quickly climbing the list of my favorite remixes ever. It deserves to be heard on a loud, lit-up dancefloor. The Ting Tings get a sharp electro treatment by LAZRtag on a stuttering version of their catchy hit "Shut Up And Let Me Go." Robyn consistently turns out great pop songs, and even better remixes, as on the addictive mixes of new single "Dream On" (the Warren Clarke radio cut is featured here). Kanye West has been getting a lot of very different reactions to his latest track, "Love Lockdown," including heaps of praise for the remix package. The minimal, autotuned midtempo single is transformed into a simple piano house tune on the "Chew Fu Small Room Fix," one of the better official mixes released so far. Hot Chip are also heavily remixed with each release, ranging from laid-back takes to full-on club workouts, like the hard, bass-laden Switch remix of "Hold On." With promotional singles and remixes leaking all over the place, it's hard to avoid Lady GaGa's recent output. "Love Game," from new album The Fame, gets a basic, but still noteworthy, club remix courtesy of Dave Audé. Moby has an extensive history of picking amazing producers to remix his work, and the bubbling new rework of forthcoming single "Ooh Yeah" by Kris Menace (one of my favorite remixers) is no exception. Another of my personal favorites, Axwell, has graced Adele's "Hometown Glory" with an extended, building acid house makeover to great effect, reminiscent of some of his other great slow burners (I'm thinking along the lines of his mixes of Bob Sinclar's "World, Hold On (Children Of The Sky)" and Nelly Furtado's "Promiscuous"). Yelle's "Ce Jeu" gets another great bootleg fix-up, with Cool Kids Can't Die turning the track into a dizzying techno cut. Departing from the club-centric tone of the other tracks, Modeselektor gives Björk a minimal, bleep-filled stripdown on his "girls" remix of "The Dull Flame Of Desire." If you're a regular reader of this blog, you're guaranteed to love the majority of these mixes, so don't hesitate!

Save to del.icio.us!

Mixtape 13: Do You Believe?

2008-09-26T17:15:00.001-07:00

For those of you who use iTunes as your main music player, you've probably noticed the strange new "Genius" feature that came with the latest update. Though at times it generates some pretty random playlists, it's actually a pretty cool way to explore your library based on a single track, especially when you have as many songs as I do (and hardly realize what songs are hidden away on your hard drive). This post wasn't a direct result of a "Genius" playlist, but Cher's "Believe" showed up when I hit the "Genius" button for Everything But The Girl's "Missing" (recently posted in its ubiquitous remixed form) and decided to roll with it. By some fortunate chance, I was able to find 15 tracks in my library about faith and belief that are all great. After the classic Cher opener, Kylie shows us her contemplative side on the mesmerizing, Scissor Sisters-helmed "I Believe In You" from a few years back. George Michael used to be a big deal in the music world, as pop standards like the extremely catchy "Faith" can attest to. The electronic segment of the mix kicks off with Simian Mobile Disco, on their epic "I Believe," and hits a high on The Chemical Brothers' post-millennial rave-ready "Believe." Little sister Dannii Minogue concealed the love cry "Do You Believe Me Now?" on her limited-release Club Disco record, but the collaboration with Roger Sanchez is worth looking into. Madonna generally tunes out of her album promotion campaigns by the third single, so the best track on Confessions On A Dance Floor, the thumping "Get Together," wasn't the hit it deserved to be. Regardless, it remains one of my favorites for its amazing Stuart Price basslines and simple, universal lyrics ("Do you believe in love at first sight?"). New Order broke through to the mainstream with "Blue Monday" but initiated their longtime residency in the ears of the public thanks to "True Faith," one of their finest moments and an absolute touchstone in pop music. Like it or not, everyone knows Journey's "Don't Stop Believin'" and it would have been impossible to leave out of such a mix. Cat Power's "I Believe In You," from her latest covers project, can't rival Kylie's eponymous track, but it's a typical, if unremarkable, reminder of her unique presence. Slowing it down towards the end, I Am Kloot clock up yet another haunting, minimal success with "I Believe," and Charlotte Church keeps things smooth on the lilting "Show A Little Faith." Mariah Carey, as always, delivers the keystone ballad of the mix on the stripped-back "I Still Believe." The Cardigans ask "Do You Believe" over a wash of ominous electronics and rough guitars. Mandy Moore closes us out nicely with a cover of "Have A Little Faith In Me" that everyone can identify with. So, do you believe?

1. Cher, "Believe" [YSI] (from Believe) [previously posted]
2. Kylie Minogue, "I Believe In You" [YSI] (from Ultimate Kylie) [previously posted]
3. George Michael, "Faith" [YSI] (from Ladies & Gentlemen: The Best Of)
4. Simian Mobile Disco, "I Believe" [YSI] (from Attack Decay Sustain Release)
5. The Chemical Brothers, "Believe" (Edit) [YSI] (from Brotherhood) [read my review]
6. Dannii Minogue with Roger Sanchez, "Do You Believe Me Now?" [YSI] (from Club Disco) [previously posted]
7. Madonna, "Get Together" (Radio Edit) [YSI] (original on Confessions On A Dance Floor)
8. New Order, "True Faith" [YSI] (from Singles)
9. Journey, "Don't Stop Believin'" [YSI] (from Greatest Hits)
10. Cat Power, "I Believe In You" [YSI] (from Jukebox)
11. I Am Kloot, "I Believe" [YSI] (from Acoustic 05)
12. Charlotte Church, "Show A Little Faith" [YSI] (from Tissues & Issues)
13. Mariah Carey, "I Still Believe" [YSI] (from Greatest Hits)
14. The Cardigans, "Do You Believe" [YSI] (from Gran Turismo)
15. Mandy Moore, "Have A Little Faith In Me" [YSI] (from Coverage)

***Note: Links removed***

Save to del.icio.us!

Review/Classics 28: Rock Trendsetters

2008-09-26T14:10:00.000-07:00

Suede, Suede (1993):
Another one of the albums I picked up in those cool budget re-release bundles, Suede was a wise purchase. Any proper fan of Britpop or even just British music in general will tell you that Suede's debut was a pivotal moment. Their self-titled first album is often cited as the record that began Britpop, preceding giants like Oasis and Blur by a matter of years. With one listen, it's easy to see how one 11-track record was able to kick start one of the biggest movements in rock music. Right from the start, with the yearning hooks of opener "So Young," it's impossible to deny that Suede are a unique set. With lyrics both timeless and perfectly in tune with their day and generation, backed by intricate, pop-driven rock melodies, Suede instantly defined the sound of the next decade, becoming the fastest-selling debut album in UK history at the time. Breakthrough hit "Animal Nitrate" is one of many moments on the record that stick with you for ages after hearing them, and the pacing and balance remain perfect nearly the whole way through the rest of the disc. So many sounds and styles populate the songs that it's pretty easy to understand Suede's broad influence. On tracks like "Moving" and "Metal Mickey" it's possible to pinpoint where dozens of bands have pulled inspiration from over the past fifteen years. The slow songs on the record, especially standouts like "She's Not Dead," "Breakdown" or closer "The Next Life," present a depth and range of delivery that paved the way for much of the alternative rock of the 1990s. Suede has been included in numerous "must-hear" album lists for a good reason, so don't miss out on this landmark record.

Suede, "Animal Nitrate" [YSI]
Suede, "Pantomime Horse" [YSI]
Suede, "Metal Mickey" [YSI]

Radiohead, The Bends (1995):
With all the hype surrounding last year's In Rainbows, I was kind of turned off of Radiohead for a while (despite how good their new album really is). I guess that's a downside of blogging and being constantly overexposed to the latest hip music at all times! Luckily, I haven't stopped liking them, and finally got around to picking up The Bends a few weeks ago. It seems that everything said about the album is pretty dead-on. Blowing their debut album out of the water, The Bends is an alternative rock touchstone. While never approaching the scope of subsequent milestone OK Computer, it established Radiohead as a rapidly-evolving leader of the genre. The album ranges from all-out rockers ("The Bends") to subtle, dreamy pieces ("(Nice Dream)," "Street Spirit (Fade Out)"). Classic singles like "High And Dry," "Fake Plastic Trees" and "Just" hold the record together well, with absolutely no space given over to filler. The Bends ends up being a highly contemplative, yet entirely natural album with none of the pretensions or overarching desire to be experimental that plagued some of their later albums (with a wide range of results). It's the sound of Radiohead just being themselves and focusing on their songcraft while developing their niche in the rock world, and ends up sounding nothing like the transitional album that it essentially is. For those who aren't that into Radiohead, don't get bogged down by their overwrought later work (like I briefly did) and go back to their roots. It's a starting point well worth revisiting.

Radiohead, "The Bends" [YSI]
Radiohead, "High And Dry" [YSI]
Radiohead, "(Nice Dream)" [YSI]

***Note: Links removed***

Save to del.icio.us!

Ridin' Dirty 11: Sexy Beats

2008-09-24T20:50:00.002-07:00

As a complement to the recent rave themed post (the one that strangely vanished earlier), here are five more heavy dance tracks, this time with a distinctly sexual bent to them. First up is a fresh bootleg remix I recently found via Hype Machine of Khia's "My Neck, My Back (Lick It)," one of the finest filthy tracks and the theme song of all Ridin' Dirty posts. It's a smooth, laid-back take with a seductive basssline that completely transforms the nature of the vulgar tune. Next up is the definitive sexy Kylie Minogue song, the stunning Fischerspooner remix of "Come Into My World." With their trademark electroclash melodies and sharp bass, they deconstruct the song's otherwise subdued vocals into its component parts, bringing up the sultry backing vocals while layering and processing her moans and coos for an overwhelming build and climax. If you only listen to one song on this blog for the next month, make it this one! Its video was featured ages ago in a much earlier post, but Benny Benassi's ridiculously sexual "Who's Your Daddy" must be included in any dance-heavy filthy playlist. Moby's "I Love To Move In Here" has had some amazing remixes, especially those by Crookers (an earlier post featured a different Crookers mix). This one is a bit more repetitive, but it is undeniably perfect for ridin' dirty. Fifth on the list is a stilted electro cover of Nelly's "Hot In Herre" by Tiga, retaining the original's heat but remaking it for all the hippest dancefloors.

Khia, "My Neck, My Back (Lick It)" (DJ Weekend's DiscoCrack Remix) [YSI]
Kylie Minogue, "Come Into My World" (Fischerspooner Mix) [YSI] (from Fever [Special Edition])
Benny Benassi, "Who's Your Daddy" (Original Radio Edit) [YSI]
Moby, "I Love To Move In Here" (Crookers Lemmesee Mix) [YSI]
Tiga, "Hot In Herre" (Nelly Cover) [YSI] (from DJ-KiCKS: Tiga)

***Note: Links removed***

Save to del.icio.us!

Open Your Box 23: Live Pop

2008-09-24T12:50:00.001-07:00

Over two decades into each of their respective careers, Madonna and Kylie Minogue are in the midst of their most elaborate, successful tours yet, breaking down box office records and industry expectations every step of the way. Kylie Minogue's X album didn't go down as well as hoped for, but its supporting tour, KYLIEX2008, has been a remarkable success across the board. Selling out multiple nights at massive arenas in all its European stops, including many the pop princess has never before visited, its been a record tour for Kylie. Featuring enormous movable video screen curtains and even video-lined stage floors, it's as much a technological marvel as it is an all-out celebration of pop music. At over two hours, it's a jam-packed show featuring all the best classic Kylie singles reworked alongside many tracks and outtakes from the heavily electronic X, bringing many of the album's lesser moments triumphantly to life with the immense setup. As always, the show is bathed in avant-garde outfits and elaborate choreography, with several costume changes and theme switches throughout. I'm clearly very excited for the DVD, as I've been previewing some tracks from the TV broadcast over the past two weeks. Par for the course, the show is a total sensory experience, with the songs more lively than on any of her past tours. New track "Ruffle My Feathers" fits in perfectly with the electro vibe of show openers "Can't Get You Out Of My Head" and "Speakerphone," while "Heart Beat Rock" is given a cheer-squad makeover as a precursor for a lively "Wow." "In My Arms" is destined to be a longtime fan favorite, much like "Love At First Sight" has become. "Step Back In Time" also gets one of the better treatments on a half-singalong-half-techno remix.

From the KYLIEX2008 tour:
Kylie Minogue, "Ruffle My Feathers" (Live at the O2 Arena) [YSI]
Kylie Minogue, "Heart Beat Rock" (Live at the O2 Arena) [YSI]
Kylie Minogue, "In My Arms" (Live at the O2 Arena) [YSI]
Kylie Minogue, "Step Back In Time" (Live at the O2 Arena) [YSI]

Madonna, on the other hand, has perhaps not been getting the same level of universal praise with her just-launched Sticky & Sweet tour. Coming soon after her record-smashing and critically-applauded Confessions tour, it is in support of her most recent album Hard Candy, which hasn't received the same warm reception from fans and critics as the Confessions On A Dance Floor album and is paling in commercial comparison. The Sticky & Sweet tour, despite some great reviews and overall fan satisfaction with the setlist, has been plagued at several stops by sound and technical problems, often a result of Madonna's choice of venue. This time around, following the multiple arena sellouts in each city, she's opted to perform in stadiums instead on several of her stops. In theory, upgrading from the O2 to Wembley (as in London) doesn't seem like a huge switch, but for the added thousands it's a big difference. Instead of multiple nights in an already huge arena, now the biggest markets have just one concert in an enormous stadium, leaving many fans in the dark. Regardless, if I had the extra money I'd definitely be spending it on a seat right near the stage. Listening to the studio-recorded tour versions (like the four included here) just makes me wish I could see her again! As always, she has reinvented her past hits for the new show, turning "Vogue" into a mash-up with "4 Minutes" and giving "Into The Groove" a saucy makeover surpassing its bagpipe-led reincarnation from her Reinvention tour. "Borderline" is given a rock edge and samples several of past hits in the process, much like "Impressive Instant" is turned into a lively segue into "Burning Up." Ultimately, this last one actually wasn't used in the setlist, but it's great to see that she spent a lot of time and creativity hammering out the show's inclusions.

From the Sticky & Sweet tour:
Madonna, "4 Minutes/Vogue" (Sticky & Sweet Tour Version) [YSI]
Madonna, "Into The Groove" (Sticky & Sweet Tour Version) [YSI]
Madonna, "Borderline" (Sticky & Sweet Tour Version) [YSI]
Madonna, "Impressive Instant/Burning Up" (Sticky & Sweet Tour Version) [YSI]

***Note: Links removed***

Save to del.icio.us!

Attention: Missing!

2008-09-24T10:50:00.000-07:00

I've made the odd discovery in the past few days that some of my posts are going missing without explanation. It's kind of a scary thing to have two big posts just completely disappear, especially since I received no emails or comments asking me to take them down or anything. While I'm determined to repost them (and just did), I'm a bit worried that I've had to re-upload two Hits posts now, and that the most recent Dear Ibiza post was taken down within a mere few days (plus, though I can't remember which ones, this has happened once or twice before with Mixed & Mashed posts in summer also). Strange that the author of the blog is the one without any idea what's going on! I have a few posts that I already made waiting to be unleashed, but I might need to get to the bottom of this before I do any more large star-studded posts (let's be honest though, those are the best kind, so we'll see how long that lasts!).

Re-uploaded posts:
Hits 35
Hits 36/Mixed & Mashed 26
Dear Ibiza 23/Mixed & Mashed 28: RAVE!
NEW: Ridin' Dirty 11: Sexy Beats

Download:
Everything But The Girl, "Missing" (Todd Terry Club Mix) [YSI]

***Note: Links removed***

Save to del.icio.us!

Review/Mixed & Mashed 29: A History Of Remix Albums

2008-09-21T13:50:00.000-07:00

By some chance, I've ended up getting three remix albums within the last month. I thought this called for a big recap of a bunch of old remix albums. Most remix albums come in one of two forms. Most common are remixed versions of entire albums, featuring most or all of the original record's tracks in remixed form. Also standard are remix compilations, spanning certain lengths of an artist's career like alternative forms of greatest hits collections. Less common are mutliple artist compilations featuring the remix work of a specific producer, but these are often the most rewarding. I picked up one recent compilation of Ewan Pearson's remix called Piece Work. The double-disc collection spans two discs and features such big-name artists as Goldfrapp, Depeche Mode, The Chemical Brothers, Moby, Pet Shop Boys and more. The album is an expansive showcase of the past decade of his career, featuring many hard-to-find mixes, and works amazingly well as a cohesive set. Pearson's mixes are consistent, but each one is astonishingly unique. Quirky pop remakes like Seelenluft's "Manila" and Ladytron's amped-up "Evil" complement sprawling electronic soundscapes like the "Disco Odyssey" mix of Goldfrapp's "Ride A White Horse." A refreshing update is given to several tracks, like Depeche Mode's "Enjoy The Silence." The standout on the entire collection is undoubtedly the "Bari Girl" remix of Silver City's "Shiver," a building, shimmering masterpiece worth discovering. For fans of modern dance music, Piece Work is an essential retrospective.

From Piece Work (2007) by Ewan Pearson:
Seelenluft Feat. Mixmaster Michael Smith, "Manila" (Ewan Pearson Remix) [YSI]
Silver City, "Shiver" (Ewan's Bari Girl Remix) [YSI]
Goldfrapp, "Ride A White Horse" (Ewan Pearson Disco Odyssey Parts 1&2) [YSI]
Ladytron, "Evil" (Ewan Pearson Radio Edit) [YSI]
Depeche Mode, "Enjoy The Silence" (Ewan Pearson Extended Remix) [YSI]

The second of my recent remix purchases was Casino Classics by Saint Etienne, a double-disc career-spanning mix compilation released way back in 1996. The first disc features mixes of some of their biggest hits, and was included on limited pressings of their previous hits compilation, Too Young To Die: Singles 1990-1995. "Pale Movie" gets a trippy, trance-flavored mix by Secret Knowledge, while "Who Do You Think You Are" is transformed into an avant-garde piece by Aphex Twin. "Hug My Soul" is treated to a more traditional club makeover by Sure Is Pure, alongside several other classic mixes and dubs from their early career (including the recently-featured Andrew Weatherall remix of "Only Love Can Break Your Heart"). The second disc features rare and previously unreleased mixes, including some mixes of tracks that were themselves still unavailable in original form (like the classic mid-90s club portrait, the Way Out West mix of promo-only single "Angel"). At times it feels like an odd set, but many of the mixes are able to tap into new aspects of the originals and would interest any fan of the band.

From Casino Classics (1996) by Saint Etienne:
Saint Etienne, "Pale Movie" (Secret Knowledge Trouser Assassin Mix) [YSI]
Saint Etienne, "Who Do You Think You Are (Aphex Twin - Quex-Rd) [YSI]
Saint Etienne, "Hug My Soul" (Sure Is Pure Kodacolor House Mix) [YSI]
Saint Etienne, "Angel" (Way Out West Mix) [YSI]

Contrasting with the retrospective sets, remix albums based on a single album tend to be more hit-and-miss. Pizzicato Five's turn-of-the-century self-titled album (renamed The Fifth Release From Matador outside of Japan) got the remix treatment on the EP Remixes 2000. Mixing five album tracks and a further two non-album tracks, the set varies wildly in style, achieving a lot of what the band had aimed for with the parent album (but didn't successfully pull off). P5 musician Yasuharu Konishi starts things off with a smartly remixed medley of album tracks ("The Groove Room Suite"), and later in the set "A Perfect World" gets a jazzy lounge makeover with new vocals. The real standouts, though, are a girly punk rock remix of the (originally) overly-cheeky "Tout, Tout Pour Ma Cherie," bringing a new sound into Pizzicato Five's repertoire, and an awesome remix of the rarity "Jolly Bubbly Lovely." It's a sunny club track on par with their best upbeat anthems (along the lines of "It's A Beautiful Day" or "Week End" for the dance scene). It definitely makes me want to go out clubbing with Maki Nomiya (their singer) in Tokyo some time soon!

From Remixes 2000 (2000) by Pizzicato Five:
Pizzicato Five, "Tout, Tout Pour Ma Cherie" (I ♥ Kiss & Kids Mix) [YSI]
Pizzicato Five, "Jolly Bubbly Lovely" (Cubis Tout-jour Mix) [YSI]

To round out this remix album mini-retrospective, I picked out some of the best reworks from a few older remix discs. Björk's music has always been so open to interpretation that it's only natural she'd have a remix album to follow up her breakthrough sophomore disc Post. Featuring a wide array of genres and a range of producers taking on mixing duties, the tracks on Telegram are completely changed in most cases. "Enjoy" gets a rough industrial makeover, while "I Miss You" proves it works well as a hip-hop groove and "Isobel" benefits from added orchestration. Beck's Guero was heavily remixed leading up to and after its release, leading to the inevitable release of remixed companion Guerolito the same year. The mixes are mostly faithful to the originals, with some standing out as formidable additions to his catalog (especially the mixes by 8-Bit and Octet). Goldfrapp try hard to please their fans, with numerous side releases and special projects going on at all times, so to make up for the lack of US single releases, they compiled We Are Glitter exclusively for the States. Featuring mixes of tracks from their most successful record, Supernature, the disc is a star-studded trip to all reaches of Goldfrapp's distinctive, often dichotomous sound. Driving club mixes abound (T. Raumschiere's take on "Lovely 2 C U" and club mixes by Benny Benassi, Francois Kevorkian and others), broken up by more laid-back grooves and experimental reworkings. The best mixes are from dance legends, with the DFA turning "Slide In" into a 13-minute disco journey, and Carl Craig exposing the real depth and nuance in an addictive club reworking of "Fly Me Away." It's a set worth picking up for fans of its excellent parent album.

From Telegram (1996) by Björk:
Björk, "Enjoy" (Further Over The Edge Mix) [YSI]
Björk, "I Miss You" (Dobie Rub Part One - Sunshine Mix) [YSI]
Björk, "Isobel" (Deodato Mix) [YSI]

From Guerolito (2005) by Beck:
Beck, "Girl" (Remix By Octet) [YSI]
Beck, "Ghettochip Malfunction (Hell Yes)" (Remix By 8-Bit) [YSI]
Beck, "Broken Drum" (Remix By Boards Of Canada) [YSI]

From We Are Glitter (2006) by Goldfrapp:
Goldfrapp, "Lovely 2 C U" (T. Raumschmiere Remix) [YSI]
Goldfrapp, "Fly Me Away" (C2 Remix 4) [YSI]
Goldfrapp, "Slide In" (DFA Remix) [YSI]

***Note: Links removed***

Save to del.icio.us!