IN CELEBRATION OF... LCD Soundsystem

As I've done with Gorillaz' and Los Campesinos!'s 9 and 9.5/10 albums this year, here's the best of LCD Soundsystem's videos to educate yourself with and also in celebration of their 9/10 for "This Is Happening".
(Okay, so the last one isn't LCD, but it's pretty damn amazing)

LCD Soundsystem - This Is Happening

For those out of the loop, LCD Soundsystem are probably the most consistently great band of the last five years. Having garnered near universal acclaim with their first two albums "LCD Soundsystem" and "Sound Of Silver", as well as three Grammy nominations along the way, it’s fair to say they’re a pretty big deal. The brains behind it all and the only actual member is New York DJ, producer and co-founder of DFA Records, James Murphy, whose barely-even-singing singing voice has been the calling card of the band since their first single back in 2002. Having created what many to consider to be two of the best songs of the noughties (apologies for using that phrase) in “Someone Great” and “All My Friends”, expectations have been a little high for LCD’s third, and if Murphy is to be believed, final album.

Lead single “Drunk Girls” wasn’t well received by all LCD fans, although most saw it as a good, if slightly disposable, dancefloor filler in the vein of previous single “North American Scum”. But “Drunk Girls” with its pop sensibilities and instant raucous hook is a world away from the rest of “This Is Happening”. For one, it’s under five and a half minutes long and sounds nothing like Berlin-era David Bowie, whereas the other eight tracks do. Album opener “Dance Yrself Clean”, with its slow and steady build-up to the show-stopping drop, could well be the best thing Murphy has ever done and the quality doesn’t let up from there on in. “I Can Change” is a swirling, shimmering slice of modern disco that you’ll be whistling for the whole day after hearing it, whilst “Pow Pow” and “You Wanted A Hit” return to the dance-punk sound that Murphy and DFA Records helped to create. Despite the latter song’s hook of “We won’t be your babies anymore”, it lives up to its title by being the only other possible hit after “Drunk Girls”, despite being nine minutes long.
“All I Want” is such a pastiche of “Heroes” it’s almost a disappointment when a coke-addled Bowie fails to turn up halfway though. Almost. “Somebody’s Calling Me” continues in treading the line between pastiche and rip-off, by sounding like the illegitimate offspring of Iggy Pop’s “Nightclubbing”. Whilst with lesser artists you’d accuse of a lack of ideas or shamelessly rehashing the past, with LCD Soundsystem, it just sounds like an obvious homage to Murphy’s influences. If “This Is Happening” is definitely to be Murphy’s last album under the LCD name then there’s few better ways to sign off than album closer “Home”, a funky-yet-heartfelt future floor-filler that surely wasn’t intended as such. It’s the closest LCD Soundsystem has come to a conventional pop song over three albums.

“This Is Happening” isn’t full of pure dance-punk hits like “North American Scum” or “Daft Punk Is Playing At My House”, neither is it a collection of earnest, soulful laments such as the previously-mentioned “Someone Great” and “All My Friends” as some may have hoped. Instead its sound is somewhere in between; songs to make you move your hips and break your heart at the same time. They’ll be missed.
FOR FANS OF: Hot Chip, David Bowie, Iggy Pop, The Rapture, Simian Mobile Disco, Justice
ESSENTIAL: "Dance Yrself Clean", "Drunk Girls", "I Can Change", "All I Want, "Somebody's Calling Me", "Home"
9/10

01 Dance Yrself Clean by HitsvilleUK-1

Kele - Tenderoni

Since Bloc Party have gone on hiatus recently, its members have been given a chance to venture into that uneven of lands known as "side projects". Russell Lissack has formed Pin Me Down with Milena Mapris (essentially a electro-pop version of Bloc Party), Gordon Moakes is now a part of Young Legionnaire with The Automatic's Paul Mullen and La Roux's William Bowerman and, whilst drummer Matt Tong has stayed quiet so far, frontman Kele Okereke has gone solo, embracing his love of clubbing and dance music. "Tenderoni", the first fruits of his solo album "The Boxer", recieved its first radio play tonight to divided opinion. Sounding plagarisingly close to both Wiley's "Wearing My Rolex" and Bodyrox's "Yeah Yeah", "Tenderoni" will almost certainly be a mammoth club hit come the summer, even if it lacks that one big vocal hook that every dance classic needs. Skip to 1:36 and you can just envisage the sweaty crowd of skinny jeans going absolutely apeshit...in a good way. The first proper summer anthem is here, and I expect there's plenty more to come on the album.
8.5/10

INTO THE SPOTLIGHT... Gold Panda

GOLD PANDA
The Essex-located, Japan-obsessed producer (he attended the School of Oriental and Asian Studies for two years, learning to read and write Japanese) has spent the last year or so becoming the go-to guy for remixes, at the same time as releasing three EPs of his own stellar material. Having tinkered with tracks from Little Boots, Telepathe, Bloc Party and Health, Gold Panda's tracks are likely to become just as vital of a summer soundtrack as The Drums, Summer Camp et al; fuzzy, minimal beats with a strange nostalgic feel created by old VHS samples and loops.
FOR FANS OF: Joy Orbison, James Blake, Yeasayer, Hot Chip
IDEAL FOR: Lazy summer days, sitting in a field, watching clouds. Or remembering days like this. Or pretending to yourself you've spent days like that.

You by Gold Panda
Back Home by Gold Panda
Quitters Raga by Gold Panda

LCD Soundsystem - Drunk Girls (video)

Some hate it, some love it. The lead single from LCD Soundsystem's third and final album "This Is Happening" is one of the party songs of 2010, and also has the best video of the year so far. All I'm saying is panda anarchists who like a party.

VIDEO: Hot Chip - I Feel Better

Directed by walking ball of hilarity Peter Serafinowicz, it's hard to tell which is more mental; this, or "Telephone"...

Hot Chip - I Feel Better

Hot Chip | MySpace Music Videos

Delphic - Acolyte artwork

Released on 11th January next year, Delphic's debut should be a delight, judging from early singles "Counterpoint" and "This Momentary". With albums from Vampire Weekend, Los Campesinos!, Lightspeed Champion and now this, the first few months of 2010 are shaping up to be amazing.

TRACKLISTING

01. Clarion Call
02. Doubt
03. This Momentary
04. Red Lights
05. Acolyte
06. Halcyon
07. Submission
08. Counterpoint
09. Ephemera
10. Remain

NEU!: featuring Delphic, Everything Everything, Lost Knives and Copy Haho

Neu/new in the most literal sense of the word, as the following four bands are virtually unknown outside of the indie universe. So listening is not only reccomended, it's compulsory as it's pretty likely you'll discover your new favourite band.

DELPHIC - ALTERSTATE
Manchester's great hope have already scored a brace of underground hits with the astounding New Order-esque "Counterpoint" and the slightly more restrained "This Momentary". On "Alterstate", things are taken back even more, resulting in a blissful, hypnotic, almost completely instrumental piece of electro pop. It verges on dub-step with it's pulsating bass and complex beats, coupled with barely-there vocals. Whilst it probably won't propel them into the public conciousness, "Alterstate" is likely to complete a hattrick of indie hits for the Manc foursome, especially as it's available as a free download from their site.
7.5

EVERYTHING EVERYTHING - MY KEYS, YOUR BOYFRIEND
Currently being whispered/shouted about in the "blogosphere" as the next big thing as well as gaining places on preemptive Ones To Watch 2010 lists, EE have one of the best and most confusing pop singles of the year right here. Not pop in the way that wanky alternative bands see their songs as being, despite being as accessible as a chastity belt without having the key, actual pop; choruses, instantaseous hooks and a fantastic bassline. Alright, it's not the typical fair of yer average pop-picker, but with influences as diverse as Michael Jackson, Talking Heads, Radiohead, Dr Dre, The Beta Band, Destiny's Child and The Futureheads, they were never going to churn out JLS-type bilge. It doesn't matter that you can't even make out the lyrics throughout most of the song, since when do the majority of people listen to them anyway? Embrace another Mancunian four-piece that will definitely be going places
9

LOST KNIVES - LEFT ALONE//SHE'S NOT YOU//STATIC
A hotly-anticipated fresh clutch of demos from the Steve Lamacq favourites, written to show the diversity of their canon. Whilst the change in sound isn't exactly the jump from "What Goes On" to "Tomorrow Never Knows" on Rubber Soul, there are a few noticeable differences from the first three demos. "Left Alone" is the most similar, but more focused and driven, whilst "Static" is the early Horrors transformed into an arena band...except great. However, "She's Not You" could very well be Lost Knives' breakthrough track. Fizzing with Interpol-esque guitars, drums crashing like tidal waves and a bassline that Peter Hook would love to have thought up, it slides from a menacing verse to an unexpectedly epic and uplifting chorus, that should have you singing along before the end of the song. This is one more talented Manchester band headed for the top. Bastards. What, me, jealous? No...well yeah, I'd rather have three very exciting local young bands than The Beatles Rockband. Bloody Mancs get all the fun...
7//9//8

COPY HAHO - BRED FOR SKILLS & MAGIC EP
The Glaswegian quartet (yes! they're not from Manchester) are friends with Los Campesinos! and Dananananaykroyd and it certainly shows on this EP. Drums crash about like they're going out of fashion whilst the guitars are the most vibrant and energetic I've heard since Arctic Monkeys' debut. But sharp Sheffieldian post-punk isn't on the menu here. Skewed indie rock is Copy Haho's dish of choice with a whole heap of melody as a side order (okay I'm dropping the food metaphor now). It's probably quite unfair to compare them to their compadres (LC!, Dana and Johnny Foreigner, The Xcerts) but it's inescapable that Haho sound like all of those bands at some point on the EP, kind of like a copycat little brother. The only time the "fight pop" formula is thrown out of the window is on "Bad Blood" which sounds something like a fuzzless, un-angsty Nirvana during the verses and, bizzarely, Oasis in the chorus ("Champagne Supernova" and "All Around The World" in particular). But maybe that's just me. This one little diversion is evidence that Copy Haho can create something that stands out and sounds great at the same time. But for now, it's a case of good songs, but has been done better before.
6.5

NEU!
>>>TRACKS>>>13/07/09>>>Dizzee Rascal, Jay-Z, Bloc Party, The Big Pink, The Twang

Dizzee Rascal - Holiday (featuring Calvin Harris and Chrome)
Just over a year since "Dance Wiv Me", Dizzee unleashes a second collaboration with Chrome and kinda-crap, kinda-alright dance-master Calvin Harris. Less immediate than "Dance..." and "Bonkers", the synth riff is pretty much Harris' "I'm Not Alone" but toned down slightly, whilst Dizzee sounds half asleep throughout the track. Only when it gets a bit trance at the end does it really grab any attention. Not sure if it'll be a third Number One in a row for Dizzee, but it'll be a hit either way.
7.5

Jay-Z - D.O.A (Death Of Auto-tune)
Anyone who witnessed the opening to his Glasto set last year will testify that Jay-Z cannot sing, so why his comeback single denounces something to help people sing better is a bit baffling to say the least. Anyways, it's more a "diss" (yeah I can't pull that off) on the plethora of rappers using it; Kanye, T-Pain, Lil' Wayne et al. The great guitar riff and tumbling drum beat make for an addictive tune, as well as the jazzy trumpet breaks. If this really is the "Death of Auto-tune" then good riddance.
9

Bloc Party - One More Chance
The ever changing Bloc are back, with their third one-off single (after previous in-between-album singles Two More Years and Flux). Those of you hoping for a return for the spiky post-punk of Silent Alarm may as well just give up, as Kele & co seem intent on delving deeper into a dance direction. All the elements are there, a "Blue Monday"-aping beat, the classic house piano riff, a pitch-shift on the vocals and an overly-repetitive chorus. If it was released about 20 years ago, it'd be a classic today. But seeing as it's Bloc Party and a significant amount of fans want the band to stick to the same formula as their debut, it'll most likely be viewed in the same light as "Mercury"; messy, mediocre and a mistake. Even though it's better than most of "Intimacy" and is up there with their best work, fanboys are rarely pleased.
8.5

The Big Pink - Stop The World
First came the superb "Velvet", and now this. The Big Pink are much too kind. "Stop The World" is a whirlwind of hypnotic feedback, heavy drums and one massive chorus, as well as being strangely uplifting despite the seriousness it purports. As dancey as it is moody thanks to the pulsating bass, TBP should be huge by the time their album arrives, even bigger than Glasvegas were hyped up to be last year. B-side "Crushed Water" is a more spaced out affair, sounding a bit like Massive Attack, a bit like Foals, but completely unique at the same time. This is a special band so hop on the bandwagon whilst you can.
9

The Twang - Barney Rubble
Remember them? A gang of 40 year old Brummies (well they're closer to 40 than 20) who NME salviated over a few years back, calling them "the best band in Britain" and making Stone Roses and Happy Mondays comparisons. Yet another case of NME getting way too worked up and messing it's pants over a merely "alright" band. But The Twang have soldiered on through the mass derision and return with a summery shuffle. They haven't reinvented the musical wheel and they're not making zeitgeist-riding, seminal music, but they weren't doing that in the first place and never will. Just enjoy it as something that is positive, pleasant and pretty good.
7

'POINTING THE WAY FORWARD
>>>Delphic>>>Counterpoint>>>
The Killers can piss off back to their Las Vegas drawing board. Franz Ferdinand will have to chuck away their newly bought Casios. The new New Order are finally here. And, somewhat unsuprisingly, they're also from Manchester. In their own words Delphic "are the future sound of Manchester mixing euphoric electronica with anthemic songs for a post dance world". Clearly they've defintiely got the typical Manc confidence and swagger which is unusual, as most electronica/dance bands are seen as either uber-nerds or hyperactive students dressed in fluorescent colours, not confident masters of euphoric pop. "Counterpoint", their debut single, is a surefire hit, if not in the charts then definitely in the 'underground'. The swirling keyboards and frantic drumming mixed with James Cook's impassioned vocals make sure the song lives up to it's billing as "anthemic" by the band. The combination of dance and pop hooks makes it easy to envisage "Counterpoint" in a club, at a gig, at a festival, even in an arena or a stadium, which is certainly not a bad thing at all.
FOR FANS OF: New Order, Bloc Party, Friendly Fires
9

A REFRESHING CHANGE

>>>Passion Pit>>>Chunk Of Change EP + The Reeling>>>
There are some bands that prove simple to pigeonhole. For instance, The Futureheads are simple indie-rock, Bon Iver is folk and The Pigeon Detectives are bollocks. But there are the bands that are almost impossible to categorise, such as Late Of The Pier, Foals, Grammatics, Test Icicles. Obviously you can sweep them all under the all encompassing carpets of "indie" and "alternative" (as I'm kinda forced to do when tagging these posts) but doing that plainly ignores the other elements those bands have and strive to put into their music and make them stand out. The latest band to join "the uncategorised" is Passion Pit. Hailing from Massachusetts, Passion Pit throw bits of pop, dance, soul, indie and even a little emo (the chorus to "I've Got Your Number - "Can't you see me crying?/Tears like diamonds" is irresistible and wholly emo at the same time) into their musical melting pot and this approach has seen them tipped as a big name for 2009.

Their pop is the opposite of the bland, interchangeable pap peddled by Cowell & co, you won't find it in Tescos for a fiver. Their dance is the opposite to the stuff clogging up the charts, making you think "What is this? This is rubbish! We should be listening to firm young melodies, kicking tunes, thumping bass!" and then hopefully "God I sound so stupid!". "Chunk Of Change" is the next logical step on from LCD Soundsystem's hipsterness, Metronomy's joy-to-despair lyrics and Friendly Fires pure-pop-through-dance formula. Standout track "Smile Upon Me" even steals it's chorus melody from LCD's "All My Friends". The EP may be a little challenging to listen to with its 8 tracks reaching almost 45 minutes, but is definitely worth a full listen if only to get to future classic "Sleepyhead". This one track is probably the best example of pop in 2009; an electronic wall of sound mixed with a million and one hooks and just a feeling of utter joy. If that makes any sense. It's happy, it's danceable and it should be everywhere this year.

Passion Pit's lead single "The Reeling", taken from their debut album "Manners", doesn't quite match up to the tracks on "Chunk Of Change" but that would be a difficult task to follow for any band. Instead we get a faintly 80's sounding surefire hit. Big beats, a simple melody and all manner of keyboard whirrings should propel this to the charts, but knowing the British music-buying/downloading public, it will probably reach about Number 112.

ESSENTIAL TRACKS: "I've Got Your Number", "Smile Upon Me", "Cuddle Fuddle", "Sleepyhead", "The Reeling"
FOR FANS OF: LCD Soundsystem, Friendly Fires, Hot Chip, Metronomy
Chunk Of Change - 9
The Reeling - 8

THE PRODIGY - INVADERS MUST DIE
Not such a huge fan myself. A few tunes good for partying/raving to, but I've never gone any further. But new single "Invaders Must Die" is good enough to join the old hits, and you'll probably find me jumping round like a loon at a party to it some time in the future. The track is produced by Does It Offend You, Yeah?'s James Rushent and it has to be said that he definitely has had some influence on the sound. The synths and drums are virtually identical to most electronic bands around at the moment, like DIOY,Y?, Hadouken! and Pendulum. That may put the fear of God into you, if you're quite a big fan, that a band such as The Prodigy has been reduced to sounding like that load of crap (although DIOY,Y? are actually very good).Well cast aside your hatred for a minute, as the 21st century influence is a positive thing. Alright, it may not be as agressive as say "Smack My Bitch Up", a little poppier being honest, but "IMD" is still one hell of a tune. No lyrics apart from "Invaders must die!" and "We are The Prodigy" said in unnerving distorted voices, so the music does the talking. Your mum and dad still may not like it but, really, who cares?

8/10

METRONOMY - NIGHTS OUT
Okay, this review is 121 days since the albums release, and almost a year since promo copies were sent out to journalists (not that I'm actually a journalist or anything...), but I've only really discovered the pleasures of Metronomy...that sounds a little weird to be honest. They look like a geekier version of The Wombats (in my opinion) and you'd never expect them to make tunes so full of funk and soul that I actually want to dance just thinking about it, even if that is a little strange. "Nights Out" is, in the words of Metro-mastermind Joseph Mount, "a half-arsed concept album about going out and having a crap time". The "half-arsed concept" certainly comes through, but if this album was played on that particular night out, it's hard to imagine how a crap time could be had.

Starting off with an instrumental double of "Nights Out Intro" and "The End Of You Too", 'Nomy (I'm lazy so that's their new nickname from now on) set out their stall as the usurpers of Hot Chip's indie-dance crown. The former is a sort of homage to Ennio Morricone, ominous electronic parps and a guitar line reminiscent of something out of a spaghetti western. You can imagine robot cowboys of the future getting ready to duel with this in the background. Anyway back on topic, the album starts to gather pace once we arrive at "Radio Ladio", a dance-pop gem, even though the verses appear to be being sung by an old man in a mac, if you catch my drift. A swirl of duelling keyboards and a damn catchy chorus later, you'll be dancing. No other way about it. The hits just keep coming from then on. A falsetto worthy of Muse and Foals-esque guitars on the euphoric "My Heart Rate Rapid", the funky electro riffs of "On The Motorway" and "Holiday" is a melancholy dance masterclass.

But where the 'Nomy excel is on single "Heartbreaker". The general gist of the track is Guy #1's best mate is sick of Girl #1 treating Guy #1 badly and breaking his heart over and over again. May not sound much, but it's the highlight of the album, and probably one of the best tracks of last year (however did I miss it?). An irresistible bassline and a chorus you'll be whistling for weeks on end, along with a certain quality that makes it very believable for some reason raise the bar for the rest of the tracks and whilst they may not hit the height, they come very close to it. More of the same for album number three lads. I'll get it when it comes out this time too.
ESSENTIAL TRACKS: "Heartbreaker", "Radio Ladio", "My Heart Rate Rapid", "Back On The Motorway", "Holiday",

9/10