The NME got in on the act early. This Sunday the Observer Music Monthly publishes its top 50. So I thought I might as well have a go. I wanted to get mine done first and see how much common ground I’ve got with the OMM seeing as its my favourite music mag. It’s harder than you’d think to select just 50 albums that span 2000-2009. I’ve had to leave out some records I really like. But here we go… Please comment as you feel necessary!

50 – Daft Punk: Discovery.

49 – Bob Dylan: Modern Times.

48 – Camille: Le Fil.

47 – Arctic Monkeys: Whatever People Say I Am, That’s What I’m Not.

46 – The Blue Nile: High.

45 – New Order: Get Ready.

44 – Mercury Rev: All Is Dream.

43 – R.E.M.: Accelerate.

42 – Fionn Regan: The End Of History.

41 – The Beatles: Love.

40 – The Avalanches: Since I Met You.

39 – Badly Drawn Boy: The Hour Of Bewilderbeast.

38 – Roots Manuva: Awfully Deep.

37 – Bon Iver: For Emma, Forever ago.

36 – Mark B & Blade: The Unknown.

35 – Coldplay: Parachutes.

34 – Malcolm Middleton: Into The Woods.

33 – Seafood: When Do We Start Fighting…

32 – Doves: The Last Broadcast.

31 – Duke Special: Songs From The Deep Forest.

30 – Morrissey: You Are The Quarry.

29 – Guillemots: Through The Windowpane.

28 – Bruce Springsteen: The Rising.

27 – The Gaslight Anthem: The ‘59 Sound.

26 – Billy Bragg & Wilco: Mermaid Avenue Vol. II

25 – Richard Hawley: Coles Corner.

24 – Fleet Foxes:  Fleet Foxes.

23 – Athlete: Vehicles & Animals.

22 – Spin Doctors: Nice Talking To Me.

21 – Sigur Ros: Takk…

20 – Goldfrapp: Felt Mountain.

19 – Maxïmo Park: A Certain Trigger.

18 – Delirious?: Glo.

17 – The Shins: Wincing The night Away.

16 – Ben Folds: Rockin’ The Suburbs.

15 – Green Day: American Idiot.

14 – Neil Young: Living With War.

13 – Ray Lamontagne: Til The Sun Turns Black.

12 – Death Cab For Cutie: Narrow Stairs.

11 – Idlewild: The Remote Part.

10 – Johnny Cash: American IV: The Man Comes Around

An extraordinary achievement for a man in his final year. Johnny Cash’s last ‘proper’ album has the power to bring me to the edge of tears. I bought it the week he died in 2003 and played it a lot. A mixture of originals and covers, Rick Rubin’s brilliant production means there’s pathos dripping from every track. ‘Hurt’ is one of the songs of the decade which couldn’t even be ruined by that dire Nike advert. When I first heard ‘I Hung My Head’ it stopped me dead in my tracks. Just like most of the rest of this awesome album.

9 - Interpol: Turn On The Bright Lights.

I think there’s a good case to be made for Interpol as the band of the decade. To my shame I’m yet to see them live but their three dark, brooding and melodic albums demand that I get round to it soon. I think their debut is the pick of the bunch. Starting with ‘Untitled’ which takes its cues from the shoegazing bands of the early 90’s, the album goes onto channel the best of My Bloody Valentine, Joy Division and classic Krautrock. I suppose it can be said about all the records in the list but I can’t listen to this album too many times. It sends me to sleep, it wakes me up and generally soundtracks my life.

8 – Vampire Weekend: Vampire Weekend.

The drums alone deserve some kind of award. Chris Tomson is, for my money, the best drummer in a rock band at the moment. But this isn’t Keith Moon fury, or John Bonham theatrics. He sees the drum kit as a melodic and harmonic instrument. The kit is a lead instrument here and when allied to fantastic songwriting, it’s a winning combination. The African influence if overstated (this isn’t even the noughties’ Graceland, let alone Fela Kuti or Ali Farka Touré). However, the hints of afrobeat are enough to make this stand out from the crowd. Walcott is a great track – but there aren’t any duds here.

7 – Grandaddy: The Sophtware Slump.

This outstanding record is often compared favourably with ‘OK Computer’. Well, I’ll put my cards on the table. There’s only one winner; and it isn’t Radiohead. Grandaddy are impossible to categorise, but this record combines the best bits of alt-country, electronica and post-rock. The audacity of a 9 minute opening track has been matched by many bands. The difference is they’ve not made a song as arresting as ‘He’s Simple, He’s Dumb, He’s The Pilot’. ‘The Crystal Lake’ is among the best songs of the decade while ‘Undreneath The Weeping Willow’ showcases a brilliant knack for melancholy. Released at the start of the decade, very few records have got anywhere near matching Grandaddy’s Magnum Opus.

6 – The Hold Steady: Boys And Girls in America.

‘Best bar band in the world blah… blah… blah’ said the music press. Talk about damning with faint praise. The Hold Steady are one of the greatest bands of the 21st Century, full stop. And though their earlier albums are packed with gems, this breakthrough album sees their manifesto fulfilled. How many bands could start a record quoting Jack Kerouac but never fail to be fun? The sound was compared to classic E Street Band and that’s probably as close as you can get to describing this joyous racket. Craig Finn’s lyrics are always interesting and frequently brilliant. So looking at our checklist we’ve got superb music, superb lyrics and some guys that seem delighted just to be playing rock and roll. It’ll do for me.

5 – Elbow: The Seldom Seen Kid.

I suppose too much has already been written about this album. It’d be easy to include ‘Asleep In The Back’ to prove I’ve liked Elbow since I used to play them on student radio in 2000. But that would miss the point: for once, the awards committees, journalists and hype-merchants got it right. This is an amazing album. There’s not an average track in sight in an hour’s running time. Picking highlights almost seems crazy, but ‘Grounds For Divorce’ and ‘On A Day Like This’ have deservedly grabbed the headlines and soundtracked a million daytime DIY programmes. But some of the less well know tracks contain stunning music and lyrics. When Guy Garvey croons ”We kiss like we invented it” on ‘Mirrorball’ it’s enough to melt your heart.  We await their next move with eager anticipation.

4 - Midlake: The Trials of Van Occupanther.

Take a moderately successful Texan indie band and give them a copy of Fleetwood Mac’s ‘Rumours’. Stand well back and light the blue touch-paper. Doesn’t sound promising does it? How wrong could we be??? This was THE album of 2006. Inventive harmonies, layered synths and lyrics pining for the antebellum South came together to produce a stunning record. The guitar solo that comes halfway through ‘Head Home’ is one of my favourite musical moments of the decade, but this album contains several contenders for that title. The real genius of ‘…Van Occupanther’ is its ability to keep you on your toes. Just when you think it may slip into mid 70’s FM rock pastiche, the band pulls out a track like ‘Young Bride’ which forces you to admit this is a record which is far more than the sum of its considerable parts.

3 – Damien Rice: O.

David Gray is a perfectly decent singer songwriter. The same can’t be said for the likes of James Morrison and James Blunt. But how any of them came to be spoken of in the same breath as Damien Rice is beyond me. The irishman deserves to be in far better company (Jeff Buckley for example). This debut album was a slow-burning word-of-mouth behemoth that managed to retain artistic dignity while being offered on 2-for-1 deals in Tesco. Its strengths have been repeated endlessly, but any blogger who can’t find room for Lisa Hannigan’s beautiful vocals, the stunning string arrangements or the strange re-working of Silent Night is a fool. If this album has a flaw, I’m yet to find it. I can’t pick one track as a highlight because the others simply look at me reproachfully and say ‘actually we’re all rather lovely’. And they truly are.

2 – My Morning Jacket: It Still Moves.

This album sounds like the best party you’ve ever been to. If you want to label it I suppose it’s alt-country. But what on earth does that matter when the music is as much fun as this? Don’t get the idea this is some kind of comedy record though. Howling vocals, squealing guitars and pounding drums fuse together to create a brilliant racket. ‘One Big Holiday’ has a guitar hook to die for, but this isn’t an album of simple pleasures. The genius of the songs reveals itself slowly. The first time you hear it, it sounds like these are well crafted and edited jams. But like Led Zep at their peak, the tracks are more cunningly moulded than that. Crazy Horse are another reference point and when talking about a rock and roll band there are fewer bigger compliments than that. It’s a long record (71 minutes) but unusually for an album of that length, it doesn’t outstay its welcome. Superb.

1 – Stephen Fretwell: Magpie.

I’m annoyed I couldn’t find a decent picture of this album without the parental advisory sticker on it. Ok, maybe it doesn’t make an ideal present for a toddler, but any parent who’s doing their job properly should be investing in this if their child shows any kind of serious interest in music. It’s as close to a perfect record as its possible to get. At the start of the decade, Scunthorpe’s Stephen Fretwell found himself in Manchester as a promising singer-songwriter. A little while later, he was in a recording studio creating some of the most beautiful music that great city has ever produced. By 2004 it was ready for release. In reality, the Manchester thing is a bit of a red herring. Fretwell owes little to the genius of the Smiths and Joy Division or the more prosaic talents of Oasis. He’s just a good old-fashioned acoustic troubadour. So who are the key influences here? I’d guess Neil Young, Bob Dylan et al. But that doesn’t tell you much about this record’s greatest strength. Fretwell’s gift for melody is astounding. Songs like ‘Emily’, ‘New York’ and ‘Rose’ are beautifully crafted and sung. But there isn’t a track here which leaves you cold. You may know ’Run’ as the Theme of ‘Gavin and Stacey’ but don’t stop there. Investigate it immediately. Buy it and love it. There’s only one album of the decade after all; whatever the Observer says!

hopefully my mac battery will last long enough to let me write this blog while stuck here at o’hare…when I actually post this I’ll probably be at my mom’s place already, since I’m not down with the whole airport wireless program. question- is it really that serious to withhold having free wireless in airports? it’s 2010, people…really?? i don’t know anybody who pays for boingo or any of the other “hot spot” wireless services accessible in airports, but I would love to know the statistics on that. how many people actually order that stuff?

anywayyyyyy…. spinning at the hudson went really well and will hopefully result in future job opportunities. spun a quick house/deep house/electronic set… a mix of obscure stuff and some stuff most people into those genres would know- goldfrapp, crystal waters, ladytron, daft punk, la roux (my new obsession!!), modjo, ect…definitely got people dancing, finished my set, and let tim martell swoop in and do his thing for the rest of the night. frank came thru to help take some pics, so I’ve gotta give him all the credit for these:

as far as what else popped off this weekend- i watched the life changing exposé that IS ‘food, inc.’ even if you’re a huge fan of fast food (pun intended), this movie will turn you onto a healthier lifestyle. if it doesn’t, then I’m sorry that either A. the point totally went over your head or B. you have no soul. the food production system in this country is corrupt beyond what the average person could only begin to imagine. the major meat distribution companies, like tyson and other comparable giants, are being run by crazed maniacs who could care less who they have to step on to make their money. the whole thing is just a disgusting process. therefore, they are the hot mess of the day. yuck.

well, for now i’m off to bask in my few days off here… will post more soon…

Come mai tutte le volte che sto per andare a letto succede qualcosa, e poi mi rendo conto che sono quasi le 4 di notte? Poco importa, la prima cosa importante è che i Goldfrapp stanno per tornare con un nuovo album (i lavori finiranno entro l’anno, e la prossima settimana ci sarà il servizio fotografico per la cover) e la seconda riguarda invece Charlotte Gainsbourg, sempre in uscita con nuova musica ma a breve, il prossimo 7 dicembre (album prodotto da Beck, dopo che il precedente è stato prodotto dagli AIR).

Nowhere Boy represents British multimedia conceptual artist Sam Taylor-Wood’s film directorial debut, and tells the story of a young man in the late ‘50s and his interest in the burgeoning rock scene of the time as well as his relationships with his mother and aunt. Of course this is no ordinary story, as the film’s main characters go by the names of John Lennon and Paul McCartney. 19 year-old actor Aaron Johnson (who is actually engaged to Taylor-Wood, 42 years his senior) portrays Lennon, the “Nowhere Boy” in question, while Thomas Sangster, Kristin Scott Thomas, and Anne-Marie Duff provide support as McCartney, Lennon’s Aunt Mimi, and his mother Julia respectively.

Based on a biography of Lennon’s adolescence by his half-sister Julia Baird, the film has already garnered considerable acclaim in it’s homeland; it was nominated for 6 British Independent Film Awards including Best Film, Best Actor for Johnson, and Best Supporting Actress for both Scott Thomas and Duff (the awards will be handed out December 6th). On a side note, electronica duo Goldfrapp is providing the score for the film. A must-see for every Beatles fan (and, let’s be honest, who isn’t?), the film opens in theaters in the UK on December 25th and will make its way stateside sometime next year.

Depois de Christina Aguilera ter sido vista em um show da banda brasileira Cansei de Ser Sexy, o novo CD da moça me deu mais curiosidade ainda. Para quem não sabe, ele vai se chamar “Light & Darkness”.

Na produção e nas letras, além do mestre Ron Fair, a loira contou com a ajuda de ninguém menos que as bandas britânicas Goldfrapp e Ladytron, da cantora australiana Sia Furler e do DJ africano Premier. Em entrevista ao Ryan Seacrest, ela disse que Mark Ronson, de “Back To Black” de Amy Winehouse, e Christopher Tricky Stewart também estarão no álbum. Esse último ficou conhecido por produzir sucessos como “Single Ladies”, da Beyoncé.

Agora, a maior novidade para mim é que, dizem, Aguilera vai regravar em seu CD “My Favourite Game”, faixa de “Gran Turismo”, quarto álbum da banda sueca The Cardigans, da lindíssima vocalista Nina Persson.

O álbum deve chegar às lojas no primeiro semestre de 2010.

Muderninha

Olha só a lista do que dizem ser as músicas de “Light & Darkness”, seus compositores e tempo de duração.

1. “Infortune” (Aguilera, Sia Furler, Sam Dixon) 2:02
2. “Wheel Me” (Aguilera, Sia Furler, Sam Dixon) 5:03
3. “Emerald Eyes” (Aguilera, Linda Perry) 3:45
4. “My Delirium” (Gabriel, Alex Gray, Hannah Robinson) 4:18
5. “Blood Shot” (Aguilera, Daniel Hunt, Reuben Wu) 5:22
6. “Elixir Of My Fancy” (Aguilera, Linda Perry) 4:15
7. “Ambush” (Aguilera, Chris E. Martin, James Castor) 4:03
8. “Tears With The Color Of The Sky” (Aguilera, Sia Furler, Sam Dixon) 3:22
9. “Russian Roulette” (Aguilera, Tricky Stewart, Claude Kelly) 4:06
10. “You Lost Me” (Aguilera, Sia Furler, Sam Dixon) 4:00
11. “Sparkling Avenue” (Aguilera, Linda Perry, Derryck Thornton) 3:58
12. “Venus” (Aguilera, Daniel Hunt, Reuben Wu) 6:52
13. “Light Up” (Linda Perry, Matthew Morris) 3:49
14. “Cherry Town” (Aguilera, Alison G., Gregory W.) 4:26
15. “My Favourite Game” (Person, Svensson) 3:38
16. “Indivisible” (Aguilera) 5:44

Confira o “My Favourite Game” original!

Hard Candy: a character-driven modern thriller that feels like the most extreme episode of ‘To Catch A Predator’. Right from the opening IM conversation you know this film will be difficult to watch, and the first 20 minutes are among the most awkward I’ve seen. Because there’s only two characters the story’s very neat and wrapped up tightly: Ellen Page is nothing short of phenomenal and Patrick Wilson was great. David Slade made a good job of making the film feeling cold, minimal and clinical, although colour is used very effectively, and his direction throughout is spot on. Guys will always remember what happens off-screen and there’s a few more scenes that stuck with me since I originally saw it in the cinema. By the end, it begins to feel a little stretched out, and it does make you question how a kid could execute this plan so perfectly. Fantastic feature-length debut, but hard-hitting content will be too uncomfortable for some.

Score: 8/10

Still from Kylie Minogue's "2 Hearts" music video, directed by Dawn Shadforth; image courtesy of whokilledbambi.co.uk

So, I was trying to build a short blog post around microphones and how female vocalists use them both as props and instruments. The trouble is, I couldn’t find enough interesting examples to go with Kylie Minogue’s rad-if-problematic, potentially Damien Hirst-inspired, diamond-encrusted skull microphone from her “2 Hearts” music video. If you can help me compile a list of artists who use the microphone in spectacular or musically interesting ways, please share!

For now, I’ll focus my attention on Dawn Shadforth, a British filmmaker who directed Minogue’s “2 Hearts“ and ”Can’t Get You Out Of My Head” and tends to work with female solo artists. Shadforth’s interesting artistic background as a sculptor and digital artist informs her style, which often explores tensions between the liberated female body and the rigid choreography she is expected to perform as a music video subject. For more on the director, I highly recommend checking out the episode about her work from the Mirrorball miniseries, which focused on emerging music video directors and ran on Channel 4 in Great Britain during the late 1990s.

What’s more, Shadforth is one of those rare directors who, apart from occasional documentary work, prefers directing music videos and has little interest moving into commercials and features because she likes working with musicians. Given her track record, I’d wager to say that she likes working with female musicians, particularly glamourous pop stars and electronic artists. Click on the names and enjoy, darlings!

Florence + the Machine
“Drumming Song”
Lungs

Goldfrapp
“Number 1″
Supernature

Björk
“Who Is It?”
Medúlla

Eternal
“What’Cha Gonna Do?”
Eternal

Moloko
“Sing It Back”
I Am Not a Doctor

Garbage
“Special”
Version 2.0

Beverley Knight
“Rewind (Find a Way)”
Prodigal Sista

28. When Did This Storm Begin (feat. Binary Finary) – Shiny Toy Guns
It was controversy a go-go last year over at Shiny Toy Guns HQ. After the first album failed to do anything in the UK (and indeed anywhere), the band chose to ditch lead singer Carah Faye in a stunt which was perplexing at best and downright stupid at worst. A number of STG fans were up in arms, and the creation of literally tens of groups on Facebook/MySpace etc pledging allegiance to Carah must have been worrying for STG, especially as they replaced Princess Carah with a reject from the Pussycat Dolls search programme – Sisley Treasure, if you followed it. Anyway, back on record, this song is the opening track from an otherwise shit album. And I’m only a little bit biased. It’s the only track which really shows much resemblance to the STG I used to know and love.

27. Epic Last Song – Does It Offend You, Yeah?
I do like DIOY,Y?, but their ridiculous name really irritates me. Their album – which I was really excited about – turned out to be a bit awful really, aside from We Are Rockstars and this little gem. It’s not really typical of DIOY,Y? but it’s a nice enough song. I like the drumming on it, it reminds me of Muse a little bit in places. It is a nice way to round off the album, but it doesn’t work so well on its own in my humble opinion, which is probably why you can buy the CD single for 60p on Amazon (2009 NOTE: pricing correct at time of writing. It’s probably even cheaper now), and that Wikipedia denies it was ever released.

26. See You Again – Miley Cyrus
Anyone who says this isn’t as catchy as crabs is either a. deaf or, b. really stupid. The lyrics sometimes veer on being a bit immature (sorry Lesley, it’s true), but as the song is being targeted at 14 year old girls who fuck up a bit in the company of someone they fancy, I can let it drop. Although it is worth noting that this is hardly a situation which is exclusive to 14 year old girls, let’s be honest here. I also liked Seven Things, but not as much, and the third single was pretty boring, which probably serves as proof enough that I don’t need to listen to the whole album to find the best of it – it is here.

25. Ready For The Floor – Hot Chip
This song is brilliant. It’s up there with Over & Over – you can’t help but start wiggling around a bit when you hear it, which is not such a fantastic side effect when you are on the tube on your own in the rush hour. I was a bit disappointed the whole album wasn’t up to this standard, but with a few more plays, perhaps it will click and everything will be okay (2009 NOTE: this did not happen). I can’t recall any of the follow up songs really doing much either, but Hot Chip seem to have a pretty strong fanbase, I wouldn’t say they have done a Sugababes (2009 NOTE: this was a reference to the Sugas becoming really tired and repetitive, and therefore alienating their fanbase, not to their roundabout of disposable members).

24. What A Catch, Donnie – Fall Out Boy
This song is my favourite from Folie á Deux so far. Not that anyone will know yet as the track-by-track review I have been promising to write has still not materialised (2009 NOTE: it never did). This features Gabe from Cobra Staship, Brendon from Panic At The Disco, and of course Wentz. It is like a Decaydance fangirl wet dream. I do find Stump’s vocals really hard to listen to sometimes, and this song is quite bad for nasal and annoying, which is a shame but that is life. That aside, it has a nice melody, and there’s also an applaudable uuse of tambourines and piano. Viva La FOB!

23. Everyone Nose – N*E*R*D
I don’t think this did well for reasons which I find odd. I have always had a bit of a soft spot of Pharrell though; I heart N*E*R*D even though it probably isn’t cool any more. My only niggles with this song are that I think the middle 8 sucks – there is no excuse for slowing the pace down and putting stupid winebar jazz piano in anything, ever. I also think the outro could be chopped significantly to make it a bit snappier, but I daresay others would disagree. Watch your back Mark Ronson, Max Martin, Rich Costey etc etc.

22. Courtship Dating – Crystal Castles
Some of the cool kids have been going on about Crystal Castles for ages, but until they shoved a song infront of my face that I wanted to dance to, I just didn’t care. It took me a couple of listens to really get in to this, but when I ‘got it’, it was a staple of every playlist I made for about five months. I think that the song is about taxidermy which is a bit bizarre, but I ignore that, and happily strut around with lots of glitter around the world and this on full blast.

21. Rise – Flobots
I don’t think this is one many people liked, but there we go. Flobots are like a watered down Rage Against The Machine for this generation. They’re upbeat and in your face and they also have some pretty good lyrics (take note, Cyrus). The simple but inspiring chorus is great, definitely one of the highlights on the album for me. I wouldn’t be surprised if these guys won a couple of awards over he next few years for the album (2009 NOTE: they did not).

20. Body Crash – Buy Now

The non-event of this release is one of the most bizarre events of 2008, or indeed the entire millenium if you ask me. This should have been absolutely massive; I don’t know what happened to it. It is absolutely fucking awesome, and would have/should have been appreciated by two massive social groups I am friends with.
Group A – The boring Eurovision fans who just love everything that comes out of Sweden, even if it is dire. I have been reliably informed that the artist (or 50% of, I’m not sure on this) is Swedish, therefore they should have loved it.
Group B – The boring dance music fans. Apparently this is house music. I don’t know what house music is; the dance lot confuse the hell out of me, and I have probably commited the biggest musical faux-pas since Kelly Clarkson released My December, but there we go. Anyway it is fucking amazing and that is all you need to know.

19. Stop And Stare – OneRepublic
Yes, I am well aware of how embarassing this admission is. I’m not sure if it is still as socially unacceptable to dislike Ryan Tedder post Bleeding Love and Halo, but whatever. This song is proper Radio 2 fodder, but for some reason, I really like it. I think it is less about the song, and more the fact that I heard it a lot at a certain period of the year which was good and holds some nice memories for me, but this is not a relevant side-gambit. Incidentally, I listened to the whole OneRepublic album last night, and the singles and one other song aside, what a dreary load of shit. Talk about knowing your audience.

18. I Thought It Was Over – The Feeling
This was another good pop song, my favourite moment being the bit with spazzy synths after the “DOES ANYBODY KNOOOOOOOOW?” bit. I seem to remember this was always on the radio at the start of last year, and I went and bought the album on the back of this song. Big mistake. It was terrible, and I only ever listen to this song. Damn you, The Music Industry reeling me in with your great first singles, then trapping me into buying a shit album. Oh well. (2009 NOTE: I have not listened to anything by the Feeling off my own back for the last 12 months. Forgive me.)

17. Up – The Saturdays
As much as I wanted to hate them for their terrible promo campaign before we had even got any music at all, this is a great song. There’s not much to say, it’s catchy, it’s singable and everyone seems to know it. I might add that I didn’t rate If This Is Love, and I also really don’t like Issues. Their generic b&w artwork with coloured lenses is really irking me too, but this is meant to be a list of positivity, not me complaining about everything I don’t like about them.

16. Sensual Seduction – Snoop Dogg
I don’t know why I like this song. This kind of generic top 40 r’n’b usually is the genre that makes me weep for our generation. I really love the Robyn remix of this too, I think it was a crying shame it was not released properly (2009 NOTE: Apparently it was. Hello journalism degree). I like the video for this too, tongue-in cheek music videos are always an easy way to earn points with me. Though it is a pointscore you will have to scout for yourself as I’m not embedding the video on here.

15. A&E – Goldfrapp
I really loved this song. Really, really loved it. The album was great, but this was one of the best from it. It is one of the saddest songs I have ever heard, and it is definitely one I have to avoid when I am feeling a little bit sad because it’s one of those songs which can push you from mild sadness into full blown depression. But that shouldn’t distract from the main point that it is a wonderful song, and if you haven’t heard it you absolutely must.

14. One Month Off – Bloc Party
This is my favourite choon from Intimacy by far. I also quite enjoyed Mercury, but the 12” remix of that was better, and I am not including that on this list because it was a b side or something, so this long and boring explanation means that One Month Off was always going to win at the end of the day. It is no Flux, that is for certain, but Kele may never better that beast of a song.

13. Behind The Sea – Panic At The Disco
Not many people liked this album, and I can understand why. Ze boys got a slight whiff of fame, took waaaay too many drugs, and found themselves holed up in Abbey Road. What is the next logical step? Make an album that sounds a bit like something the Beatles might do in 2008! Idiots. I’m the first to say that this album doesn’t have the sparkle that the first did, but this song does save it somewhat. I can’t work out what in the name of fuck it is about, but it’s probably something to do with LSD. My love for the Urie knows no limits.

12. Make You Feel My Love – Adele
Incredibly, I had not heard this song or any variation on it prior to hearing Adele doing it in the Live Lounge a few weeks ago, and I fell in love. It is one of the most perfect love songs I have ever heard in my life, if not then the most perfect. I have done some research on the original by Dylan and subsequent covers but nothing really matches up to this at all. I love it, love it, love it. The arrangement is so simple, and it just adds to the atmosphere of the song, and makes it even more wonderful. She might not live up to this kind of beauty with her original stuff, but it doesn’t matter now we’ve got this out of her. Bye Adele!

11. Propane Nightmares – Pendulum
I’m sure many people will know this one, it did pretty well last year. I have still not tired of it. I found the whole album to be a bit samey, but this is just Laura heaven. They are Australian, it’s bass heavy, it has synths, fantastique drumming, and did I mention they were Australian? I will be listening to this for years to come for sure (2009 NOTE: I still am, hurray).

10. Megalomania (Live @ RAH) – Muse
Okay, so this wasn’t released last year, but the gig was in April and it was without a doubt one of the most special nights of my life. Seeing my favourite band in one of the best music venues in the world…I’m never going to forget it. With the massive organ there, fans were speculating for weeks as to whether we’d get Megalomania at all, but as the night went on and it didn’t surface, I lost hope that we were. Then after the encore…BAM! It was one of the high points musically for me last year. It’s never going to happen again, and I am so thankful that I was there. Literally amazing.

09. Please Don’t Leave Me – Pink
Some people have called this Who Knew pt II, but I don’t see the link at all. I think this is by far one of the best songs she has ever done. The whole album documenting her breakup with Cary Hart is so beautifully done – I’m sure some situations were exaggerated for the benefit of the album (I am sure she didn’t literally burn her house down, for example), but it is all so heartfelt and you almost feel like you were given access to the pair throughout the breakup.

08. 42 – Coldplay
I genuinely don’t get why more people don’t hear the genius that I hear in this song. It is one of my favourites on VLVODAAHF. It’s one of those Queen-esque songs that has lots of different little melodies to it, and lots of piano and Chris Martin who I love so much that it hurts a little bit. He is a very talented man, and he is a bit like a friend of mine I think in the respect that a lot of people don’t get his comedy, and just think he is a bit of a prick until they actually sit down and talk to him and realise that everything he says is said with a wry smile. You have to be of a certain finesse to get the pair of them I think. I am giving the impression Chris Martin and I are best friends here – alas, we are not.

07. Homecoming – Kanye West (feat. Chris Martin)
My most favourite Kanye moment ever. Chris Martin always adds a sparkle to anything he touches and this is no exception. I do like Kanye doing collaborations, I know I am on my own on this one but I just don’t love his solo stuff as much. I really liked Flashing Lights with Dwele also, but this pipped it to the post. I blame Chris Martin (I LOVE YOU CHRIS MARTIN). I have become a fan of Kanye’s absolute lunacy over the last year too – his CAPS FILLED BLOG RANTS are one of the best parts of the week. I actually read his blog yesterday where he was calling Lady Gaga ‘act of 2009’ as if no one had ever heard of her and it was his own discovery. He is kind of like the black American Jo Whiley.

06. In My Arms – Kylie Minogue
This song is another one of those which, if it comes on my iPod when I am in a public place, I will skip along to wherever I am going, blissfully ignorant of everyone else in the world. I really start stomping around when it comes on, and it is guaranteed to raise my mood tenfold. I don’t know what hand Kylie had in writing it, but whoever it is is a fucking genius (2009 NOTE: I think it was Calvin Harris). It’s amazing. The lyrics are feisty, almost arrogant, and I just love it to bits. I quite happily listen to it on repeat for hours.

05. Nude – Radiohead
This is one song which had one of the biggest hypes prior to release ever I should imagine. The original version was written in the OK Computer sessions in 1997, but the band never released it up until this point because they couldn’t get the arrangement quite right. I’m not sure what it sounded like to start, but it was definitely worth the 11 year (!) wait. I’d go as far as putting it in my top 5 Radiohead songs ever. It’s gorgeous, and if you haven’t heard it, listen listen listen.

04. Phonography – Britney Spears
WHY is this a bonus track. WHY? I don’t get it. It is one of the best songs on Circus. How did NO ONE at Sony hear this and think “Gosh, you know what, this would be better than that My Baby drivel, let’s put it on there and release it as a single with a video where we put Britney in some kind of scenario where she is stalking someone with a bluetooth phone. But making it sexy and not sinister. This would be the best idea we’ve ever had and would make us all a lot of money and add to the case that Britney Spears is better than Madonna”. Someone needs to be fired for not making that call.

03. Kids – MGMT
This is one of those songs that makes an art form of simple lyrics paired off with a really fucking catchy hook. I’d love to see MGMT live at some point, I imagine they would be great in a stuffy little venue where everyone is really out of it and dancing like twats in a cage on acid. The PSB remix which isn’t being released officially canes the Soulwax remix into the ground. Go and listen. It gets really epic at about the three minute mark if you can’t be arsed to listen to the whole thing.

02. A Dustland Fairytale – The Killers
Another one of those songs which I heard for the first time and I just fell in love. This is potentially one of the best songs they have ever done – it isn’t in the same arena as all of the other songs in their back catalogue. Some of those are fantastic and will be remembered forever but this is totally in a league of its own. I don’t know why but I don’t want to see this released as a single. I guess I am kind of protective of it and if it was released and didn’t do well, I’d have some kind of Britney-esque breakdown which would culminate in me being sectioned after purchasing the single 20,000 times on iTunes (forgetting that 19,998 of these wouldn’t officially count in the charts until after I bought them, then attacking Steve Jobs and the entire line up of the OCC in a murderous rage) (2009 NOTE: It was released, it didn’t do well, and I was very sad, but no one died and I was not sectioned). For the love of all that is holy, Island please do not release it. I don’t think any justice can ever be fully done with this masterpiece.

01. Come On Girl – Taio Cruz feat. Luciana)
HEY! This song is definitely in my all time favourite songs list, I will never ever stop loving it. It’s just so good -  one of the songs that you can put on and I will dance and sing my heart out like there is no one watching. It’s another song which is made by some superamazing synth action in the background, and a pretty sassy cameo from Luciana just finishes it off perfectly. I was well disappointed nothing else on the album was up to this standard, but I guess that makes this even more special or something. I seriously doubt Taio will ever make a song this good again but when he has just made #1 in my chart, I doubt he gives a crap about anything else in the world, he can die happy now.

Don’t be afraid of the dark
don’t be afraid of the dark
I’ll be there to hold you
don’t be afraid of the dark

You might tremble
you might shake
scream out loud
maybe even pray

Don’t be afraid of the dark
don’t be afraid of the dark
I’ll be there to hold you
don’t be afraid of the dark

-  Robert Cray “Don’t Be Afraid of the Dark”

We’re guessing that you’ve had your fill of Halloween treats the last couple of days (well, one last Twix bar couldn’t hurt). But have you ever stopped to think about the allure of this peculiar holiday? The influences on this (mostly secular) day of celebration are many. And although Halloween’s popularity spikes in the United States, many other countries now join in the fun. For some individuals, the opportunity to play dress-up and reinvent themselves is too exciting to pass up. For others, an entire population masking who they are and reveling in anonymity can be a bit disturbing.

In past years, Great River Radio has used this occasion to dig into our shared library and play music with an emphasis on Saints, Souls and Goblins. This afternoon we’ll take a little different tack as we bring you music inspired by the things that raise the hair on our arms (or backs!). You’ll hear music about darkness and shadows, homicidal maniacs and victims, graveyards and wild things. Don’t think of this as a stereotypical or clichéd attempt at playing Halloween music. We’ll have tracks from Great River Radio-endorsed artists such as Neko Case, Andrew Bird, Tom Waits, Joe Henry, Yeah Yeah Yeahs, M83, Eels and Band of Horses. We’ll have local music from Roma di Luna, Trip Shakespeare and the Suburbs. And we’ll even fit in listener request segment with some of your favorites. In other words, it’s the sort of quality music you’ve come to expect from Great River Radio. You’re not going to want to miss it.

We’re live from 4-6 p.m. (CST) today via http://www.kustradio.com
Chat with us in the studio via iChat or AIM at screen name: kustradio

Next week is our annual SJAW (Social Justice Awareness Week) show. In order to maintain our club status at KUST, each semester we must devote a show to a topic or theme that has some social relevance. Our theme next week is health care. Do you have any health- or illness-related songs you would like to hear? Send us a an email or post your requests on our Website.

Playlist
Thriller Intro-Michael Jackson
Full Moon-The Black Ghosts
I hear Noises-Tegan and Sara
Things That Scare Me-Neko Case
Don’t Be Scared-Andrew Bird
My Beloved Monsters-Eels
Monster Lve-Goldfrapp
Is There A Ghost-Band of Horses
City Full of Ghosts-Mike Scott
Bruised Ghosts-Amy Millan
King’s Highway-Joe Henry
Psycho Killer-Talking Heads
Cold Blooded Old Times-Smog
Heads Will Roll-Yeah Yeah Yeahs
Skeletons-Yeah Yeah Yeahs
Shadows-Au Revoir Simone
Shadows-Gospel Gossip
The Romance of Wolves-Roma Di Luna
Rattle My Bones-Suburbs
Dry Bones-Herman Munster
Adams Family Intro
Here Come the Martian Martians-Jonathan Richman & Modern Lovers
In Germany Before The War-Randy Newman
You Took The Words Right Out of My Mouth Intro-Meatloaf
Graveyard-Trip Shakespeare
Whistlin’ Past The Graveyard-Tom Waits
Pretty Girls Make Graves-The Smiths
Graveyard Girl-M83
The Unquiet Grave-Solas
All Is Love-Karen O.

My little brother came to visit this past weekend, so in honor of him, this week’s song is one he introduced to me last July. Photos and a more detailed report of his (and my mom’s) visit are forthcoming. But for now, I had to get up at 4:30 am to take him to the airport, and I’ve got a headache. I think it’s already time for bed.

Goldfrapp: Cologne Cerrone Houdini

Some people on the twittersphere wonder where my name “strictmachines” came from. After all, it isn’t as straightforward as say “edfcarrasco,” but a name’s a name. I just wanted to stand out so here’s a little story:

Many, many, many moons ago, when I was still living in California, my roommate gave me a sampling of his music collection, which ranged from Benny Benassi to Deadmau5. One of the songs in his collection was Benny Benassi’s remix of Goldfrapp’s “Strict Machine.” After listening to it for a while, I was convinced this was a pretty cool song, so I changed my twitter name and added an s. Now you know.

Here’s the link to “Strict Machine,” and a link to my other favorite Goldfrapp song, “Ooh La La.” Enjoy!

“This next band…doesn’t have a drummer!!” So intoned a breathless Dick Clark in 1984 during a broadcast of his American hot 100 countdown radio show. We were transfixed. What could that mean? To a 13 year old who was just discovering music and for whom pop or rock music meant a guitar, a bass, drums, a singer and maybe a keyboard. What was this non-drummer lunacy?? As it turned out he was talking about Depeche Mode who were enjoying their first North American mainstream success with “People are People”. Clark was positively verkempt at the notion. To young teen Softsynth’s ears it sure sounded like they had drums in there, perhaps Clark was simply insane. It seemed a reasonable conclusion.

Little did we know we were already in love with the sound of the drum machine. The Eurythmics’ “Here Comes the Rain Again” was driven by the most awesome drum sounds we had yet heard. Thomson Twins’ “Wish You Were Here” was similarly driven forward by a soft, metronome-like beat that sounded somehow…cooler than traditional drums.

Shortly after that we purchased O.M.D.’s 1980 self titled debut and it started to make more sense. (Bear in mind this was 1984 – we didn’t have the interwebs to consult for quick answers to the questions of the day…). This, clearly was not a set of drums keeping the beat. This was something…other.

In 2009 the drum machine (by which we also refer beats rendered by softsynths and programmed drums in general) is, perhaps more than ever looked upon as something alien, something “less” than. Even electronic bands who use programmed drums in the studio, often to great effect, feel the need for “real” drums for live shows (see: Depeche Mode, MESH, De/Vision, Goldfrapp, Lady GaGa, many others). Why has it gotten a bad rap? Are drums sacrosanct? Is it the need for the drum solo to denote a real rock show? Are electronic drum pads just so uncool that only a big-ass full set of skins that would do Rush proud will suffice in this age?

The main reason Softsynth is a fan of the drum machine is the sound one can get from it. While a traditional kit can produce awesome fills, solos, and other imperfections that lend a realness to a song one may not be able to get from a programmed sequence, it can produce one essential sound. Now that sound can be adjusted with dampeners, with using different snares or toms, and other manipulations but ultimately it’s one core sound. Programmed percussion can produce any sound in the world built into a beat (Imogen Heap does this beautifully often using voice samples as a percussive device) and that is wonderfully freeing. It can produce a sound truly unique and can colour the outer edges of a song in a way one can 0nly get using this tool. And even with that freedom to experiment with sound the inherent sound of the drum machine is something magical in itself. One cannot help but hear a classic Kraftwerk song and not feel transported back in time by the sound collage they were able to create, even with the rudimentary technology available. In a book on Depeche Mode published in the mid 80’s the percussive sound they achieved on their early material was describes as “the resonance of a pencil eraser tapping against headphones”, which is ridiculously evocative and accurate and yet that’s not a bad thing. That is a sound so associated with that era that many bands like Nothern Kind and Venus Hum work hard to emulate even in 2009. It’s a sound of an era. A sound that kept perfect time with a soft padding or a tinny echo and one that is unmistakenly electronic.

The notion of programmed drums has come a long way from the 1930’s when the Rhythmicon and later the thematic programmed beats (bossa nova, swing, etc) which eventually accompanied most popular organs by the 60’s were the order of the day. From the late 60’s Roland adaptations on the concept, used by Can on Tago Mago in the early 70’s,  to the programmable samplers of the 80’s, to MIDI later that decade the drum machine has played a key role in the development of modern music. It’s an instrument onto itself, no longer content to be seen as a replacement instrument. It’s not a sub for a drum kit, it is what it is, a fully realized part of the musicscape itself. Without it there would be no hip hop as we know it, no dance music, no true electronic music, no trip hop movement, and no Kills. We would be the worse for it.

Softsynth celebrates this key component to the electronic scene and says to the electro bands of the day, “let your MIDI hang out! No one’s judging.”

Nowhere Boy é uma cinebiografia de John Lennon. No filme será mostrada a adolescência do cantor, que foi vocalista dos Beatles e morreu em 1980.

O filme conta com Aaron Johnson (John Lennon), Anne Marie Duff (Julia Lennon) e Kristin Scott Thomas (Mimi Smith). A direção é de Sam Taylor Wood, que não é muito conhecido.

E nessa história toda, Alison Goldfrapp confirmou que escreveu a trilha sonora para o filme e disse que será parecida com as músicas do próprio Goldfrapp já conhecidas: “Ooh La La” e “Number 1″.

Para quem não conhece Goldfrapp, não sabe o que está perdendo!

Ooh La La

Number 1

Não sei muito bem que conclusões tirar sobre filme+trilha sonora. Gosto dos Beatles e gosto de Goldfrapp. Mas não acho que um tenha algo a ver com outro. Mas mal posso esperar pelo resultado no primeiro trailer que ainda não tem previsão para sair.

Nowhere Boy estréia no Natal no Reino Unido e aqui não tem data prevista ainda.

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Or if you’re less of a Sneaker Pimp and more of an Internet Hustler, head on over to GoDaddy.com and get your dream domain – ladygagasucks.com – for only 7.49!! Just use my code TOP7 — go now and Heather will love you forever!

Synthpop is the subgenre of New Wave and Pop where the synthesizer is the dominant sound. Originated during the new wave – late 70s early 80s – and big time reemerged in the mid to late 2000s — which leads us to today’s show. We’re counting down the top 5 leading solo female singer/songwriter synthpop artists who use 80s-style synths and who embody a sort of futuristic, mythical, or generally outlandish fashion and performance style.

5. Alison Goldfrapp AKA Goldfrapp

4. Natasha Kahn AKA Bat for Lashes

3. Victoria Hesketh AKA Little Boots

2. Julie Budet AKA Yelle

1. Elly Jackson AKA La Roux

PS. Synthesizers are sexy.

Now it’s your turn! What female synthpop honies have you been geeking out to? Leave me your list as a comment below!!

Every few months Softsynth takes a trip around about 100 web sites for our favourite bands, especially those who have been quiet for a while. We learned today that Sweden’s Covenant have put their new album Modern Ruin on hold as their label reorganizes. Sad news as it could be another six months (!) before we see what has been shaping up to be a very promising new work. Meanwhile their US tour will go ahead even without the new album to promote. Hm.

Also: several key electronic bands report they are in the studio working on new albums that will hopefully be released in a timely fashion including De/Vision who are working on a followup to Noob (no release date as yet);  Goldfrapp toiling on their fifth release; Michigan, working on the followup to Pulse of Pain, an album hoped for an end of year release though that’s looking increasingly optimistic; so-called trip hop duo Hungry Lucy, who seem to have been working on a followup to To Kill a King forever; Sweden’s Backlash; Arizona’s Blind Faith and Envy, though with no release date identified; Sweden’s Rezonance; and while they seem to finally be out of the studio we are still waiting on the new, long long awaited (since 1995’s Big Hit) Nitzer Ebb album, which their site continues to suggest is imminent. Time will tell. That’s just to mention a few and demonstrates that the scene is large enough and vital enough to always have good works in the pipeline, even after the generous glut of new releases we’ve seen lately, and with pending releases over the next few weeks from Assemblage 23 and Mesh. Good stuff ever coming…

Watch: Covenant – Modern Ruin promo

Soon after Bowie and Eno set the template for New Wave music, Bowie turned his gaze to more ethereal dance anthems.

These intricate but sometimes thumping arrangements blended well with the songs of Roxy Music, headed by the ever-dapper Bryan Ferry. Fans of Bowie and Roxy Music found common ground in the upscale style and sweeping dance numbers offered by the two.

And thus was born New Romanticism.

While it’s not 100 percent true, a great deal of New Romantic songs can be identified by their ethereal, atmospheric yet glammed up rythms matched with a crooning vocalist. It’s easy therefore to pick out New Romantics sometimes by their leads–Martin Fry in ABC, Glenn Gregory in Heaven 17, and even Simon Le Bon in Duran Duran.

It’s interesting that the latest generation of New Romantic songs are led by a powerful roster of female singers–which were scare in New Romanticism 29 years ago. But today, UK ladies Elly Jackson of La Roux, Emma Cooke of The Modern, and especially Alison Goldfrapp of Goldfrapp represent a new pinnacle of New Romantic style. (I would be utterly remiss not to salute the American gents in Fischerspooner in doing some oustanding New Romantic work these days.)

Back in the 80s when New Romanticism was born, the only female singers I can honestly identify being involved in the genre were Annie Lennox of the Eurythmics (who moved beyond it quickly), Alison Moyet of Yazoo, Clare Grogan of Altered Images, and Hazel O’Connor. (Along with Susan Ottaviano of Book of Love, of course). Otherwise it was dominated by Steve Strange, Midge Ure, Phil Oakey, Gary Numan, and a host of other male vocalists.

As we eagerly anticipate the newest Goldfrapp album the band have taken a time out to score Sam Taylor-Wood’s directorial debut, “Nowhere boy”. The film tells the tale of John Lennon as a boy and features Aaron Johnson, Kristen Scott-Thomas and Anne Marie Duff. The band are back at work writing the new album but this may serve as an appetizer as we await its release…

Second volume of exclusive live performances out next month

Following last year’s successful Later …Live With Jools Holland compilation comes a second volume of the toadying presenter’s hand-picked performances from his twice-weekly TV show. Returning for a second time are Lily Allen, Adele, Muse, Seasick Steve and Keane, while more surprising inclusions come from US singer-songwriter Nicole Atkins with ‘Maybe Tonight’ from her brilliant debut album Neptune City, and Karima Francis with her cover of Kings Of Leon’s ‘Use Somebody’. This year’s Mercury Prize contenders Lisa Hannigan and Friendly Fires feature alongside 2008 winners Elbow. Other WTT-friendly artists on the tracklist include Goldfrapp (‘Happiness’), Melody Gardot (‘Sweet Memory’), Santigold (‘L.E.S. Artistes’) and Little Boots (‘Remedy’). The double album is out October 12th through Rhino.

Later Live 2 With Jools Holland
CD1
01 Muse, ‘Uprising’
02 Elbow, ‘Grounds For Divorce’
03 Little Boots, ‘Remedy’
04 Hot Chip, ‘Ready For The Floor’
05 Keane, ‘Spiralling’
06 MGMT, ‘Time To Pretend’
07 Lisa Hannigan, ‘I Don’t Know’
08 Last Shadow Puppets, ‘The Age Of The Understatement’
09 Nicole Atkins, ‘Maybe Tonight’
10 Glen Campbell, ‘Wichita Lineman’
11 Bon Iver, ‘Skinny Love’
12 Friendly Fires,  ’Jump In The Pool’
13 Radiohead, ‘Bodysnatchers’
14 Santigold. ‘L.E.S. Artistes’
15 Adele & Jools, ‘Make You Feel My Love’
16 Manic Street Preachers, ‘Jackie Collins Existential Question Time’
17 Pendulum, ‘Granite’

CD2
01 Lily Allen, ‘It’s Not Fair’
02 Paolo Nutini, ‘Candy’
03 Al Green, ‘Let’s Stay Together’
04 Melody Gardot, ‘Sweet Memory’
05 Vampire Weekend, ‘Mansard Roof’
06 Morrissey, ‘Something Is Squeezing My Skull’
07 New York Dolls, ‘Cause I Sez So’
08 Paul Weller, ‘Push It Along’
09 Seasick Steve, ‘I Started Out With Nothin’ & I Still Got Most Of It Left’
10 Jools Holland, ‘I Went By’
11 Golden Silvers, ‘True Romance’
12 Madness, ‘Forever Young’
13 Natty, ‘July’
14 Karima Francis, ‘Use Somebody’
15 Goldfrapp, ‘Happiness’
16 Monkey, ‘Monkey’s World’
17 The Raconteurs, ‘Salute Your Solution’

Alan Pedder

Nicole Atkins, ‘Maybe Tonight’ [live on Later...with Jools Holland]