electropop
josh.spero
After Lady Gaga's concert at Twickenham last night, I asked some of the Little Monsters scurrying back to the station the name of the last song she had sung. The song she sang right after declaring that she had to bring the evening to an early end. The song she sang an hour after screaming that she would "sing her pussy off" and no one could stop her. Someone stopped her and no one could name it. (See Update in the penultimate paragraph.)If someone had stopped her approximately an hour earlier, you would have felt shortchanged from such a brief evening but at least left on a high, perhaps Read more ...
Thomas H. Green
Pet Shop Boys eleventh album leaps sideways into smooth, opulent US FM radio production in a way that will initially give long term fans palpitations. The duo sound… different. They recorded Elysium in Los Angeles with Grammy-winning Kanye West producer Andrew Dawson and it sounds that way too.Here’s the thing, though, whether you like the results or not, Dawson pushes them somewhere new, albeit sometimes in directions that jar. A case in point would be the way the snappy “Ego Music”, which ruthlessly satirizes the portentous self-importance of certain rock stars, is wilfully followed by “ Read more ...
Russ Coffey
Pet Shop Boys are the kind of national treasure that make the English so inscrutable. For 30 years they have made pop music that is sophisticated, camp and deadpan, an unlikely formula which has shifted over 100 million records, making them the most successful pop duo ever. Their 11th studio album, Elysium, will be released on 10 September. Recorded in Los Angeles, it is a slower, more sumptuous work than their fans have become used to. Could it be the time has come for a change?The pair have always projected a strong public image, part act and part their own eccentric selves, but when I meet Read more ...
Lisa-Marie Ferla
Stumbling across the perfect pop hit must be its own kind of curse. It’s been two and a half years since Owl City’s “Fireflies” shot its way into the charts, seemingly from nowhere. With its lush, quirky melodies and wistful, lovelorn lyrics, Adam Young’s quirky electronic project seemed almost to have been custom-built by a crack team of pop scientists to appeal to dreamy girls like me. “Fireflies” used to play on a loop at the store where I was working at the time; Young’s vocals and programming a dead ringer for Ben Gibbard’s work with The Postal Service - a band whose one album I loved to Read more ...
Joe Muggs
Although the Eighties revival has now been going on for longer than the actual Eighties, it shows no sign of abating – to the point where maybe it would be more sensible to refer to it as a tradition or a palette of techniques rather than than considering it as retro at all. However you see it, Jessie Ware and her production team do it with style.Ware was initially best known for her collaborations with UK electronic artists like Joker and SBTRKT, and producers Dave Okumu of The Invisible and Julio Bashmore normally deal in post-Radiohead experimentalism and classic house music respectively, Read more ...
theartsdesk
Blur: 21Bruce DessauThe recent closure of Word magazine has been seen by some as linked to the demise of "Fifty Quid Man". Who can afford such a wallet-frightening splurge these days on the kind of music the monthly's writers wrote so eloquently about? Well, have a chat with your friendly bank manager because this lavish tribute to the winners of the Britpop long game retails at £134.99 and is just about worth it. Every stage of Blur’s career is here – apart from, annoyingly, one their recent new tracks, "The Puritan" – charting the band's evolution from pre-Madchester incarnation Seymour to Read more ...
theartsdesk
The Searchers: Hearts in Their EyesKieron TylerAlthough second to The Beatles as Liverpool’s most consistent Sixties chart presence, The Searchers have never previously been given the box set treatment. Like the Fabs, they were innovative and influential. They presaged folk rock, and without them there would have been no Byrds and maybe even no Tom Petty. The subtitle, celebrating 50 years of harmony & jangle, says it well. The four CDS and 121 tracks take the story from 1963, before they signed with Pye Records, to the present day via their Seventies new wave-inclined recordings for Sire Read more ...
Kieron Tyler
The moment you reach “I Call This Home”, the third track of Saint Saviour's debut album, it’s obvious this is an album to stick with. A pulsing rhythm beds guitars that reverberate like vintage Cure. The voice is quavering, anguished. Then it opens up. Suddenly driving and tense, the dramatic, shimmering song sounds like an anthem in waiting – albeit one with a maverick sensibility akin to that of Fever Ray, Goldfrapp and Marc Almond. It fits that Saint Saviour has played live with Hurts.Saint Saviour is Becky Jones. Formerly with the electropop outfit The RGBs, she then sang with and fronted Read more ...
Joe Muggs
Though he first came to public attention via the Los Angeles-based Brainfeeder psychedelic electronic hip hop collective led by Flying Lotus, 25-year-old producer Lorn comes from “the middle of nowhere in Illinois”, and it's easy to see in his music a less sunny disposition than many of his comrades. Most of the Brainfeeder crew have a loose-limbed funkiness to their sound and an accumulation of sonic detail that speaks of heat and humdity. But while Lorn shares their aesthetic of complex rhythms that slip off the grid, there's something chilly and chilling about his industrial-sounding Read more ...
Thomas H. Green
It has occasionally worked against Hot Chip that their first single – or, at least, the first to make any impact – was “Over and Over”. This 2006 song is such a perfect pop nugget, brutally reducing the appeal of club culture to a snappy yet celebratory couplet, that later work seemed wet in its shadow. Not that you’d know it from the music media adulation that attends the band. Consisting of five smart, geeky-looking blokes from London, they were quickly taken up by that same city’s taste arbiters, their clever electronic pop appealing to those observing the dance floor rather than on it.In Read more ...
Thomas H. Green
A few years ago the ultimate in post-modern bollocks appeared – Guilty Pleasures, a club night built around the notion that tepid crap from yesteryear is brilliant. So let’s go dig Toto, Go West, Andrew Gold, Dr Hook, any old toe jam. Of course, there’s no reason why anyone shouldn’t dance around to anything, and it’s refreshing, now and then, to give the po-faced Punk Year Zero thing a kick-in, but actively celebrating drivel is another matter. "Dreadlock Holiday" is not a guilty pleasure, it’s just shite. Move on.That aside, all music lovers have actual guilty pleasures, records we know are Read more ...
Thomas H. Green
Gary Numan (born Gary Webb, 1958) was born in Hammersmith and raised in the western outskirts of London, the son of a bus driver. By the latter half of the Seventies he was fronting punk band Tubeway Army but his fortunes changed dramatically when he added synthesizers to the formula and became, with the album Replicas and songs such as “Down in the Park” and “Are ‘Friends’ Electric?”, one of electro-pop’s great innovators. His coldly catchy music, sci-fi imagery, adenoidal voice and air of robotic isolation was hugely influential. He sealed his repute with the globally successful single “ Read more ...