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

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.

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

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"

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Review/Classics 28: Rock Trendsetters

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***

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

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***

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Review: The Chemical Brothers, "Brotherhood"

As previewed earlier, The Chemical Brothers release their new retrospective album Brotherhood on September 1st (2nd in the US, though some American stores are already stocking just the single-disc edition this week). Its first disc is contains 13 of their biggest hits, from the acid house precursors "Setting Sun" and "Block Rockin' Beats" to turn-of-the-millennium bangers like "Hey Boy Hey Girl" and "Let Forever Be" and recent smashes like "Galvanize" and "Do It Again," alongside new tracks "Keep My Composure" (featuring Spank Rock) and "Midnight Madness" (excerpted from "Electronic Battle Weapon 10"). A limited boxed version features a second disc with all ten of the limited-release "Electronic Battle Weapon" tracks spanning the duo's entire career.

I just received a review copy in the mail (of just the single-disc version) and have been listening to it nonstop for the past week. I've been a fan for a few years, so I already caught up on much of their excellent back catalog with the greatest hits disc Singles 93-03 from five years (and a further two albums) ago. A lot of the new collection overlaps, so at first I thought it would be hard to get excited about a disc that's essentially just an update of an existing collection. However, after a few listens, I already greatly prefer Brotherhood to their first career retrospective. Since that first album's release, they've released several singles essential to their discography, including "Galvanize," "Believe," and the amazing, glitchy "Do It Again" from last year. Newer tracks on the disc, including standout We Are The Night album track "Saturate" and the two exclusive cuts, are also worthwhile additions, especially new digital single "Midnight Madness," which sounds like a neat summary of everything there is to be loved about The Chemical Brothers. With these five new additions, a few of the lesser tracks and singles are left off (and not greatly missed, with the exception of the bumping "Get Yourself High"). Of course, with greatest hits sets, their success as albums relies just as much on track selection, ordering and packaging as it does on the music itself. Brotherhood succeeds on all of these fronts, with a major advantage of the new set being its non-chronological running order. While Singles 93-03 seemed to drag in parts, with tracks from the same album clumped together to create a segmented flow, Brotherhood has them arranged to make a cohesive unit. Mixed up and reduced to strictly their best tracks, the disc is an unrelenting reminder of their lasting greatness. Hearing the first seven tracks all in sequence is almost too much to handle, and proves why The Chemical Brothers are given so much credit for bringing dance to the mainstream, alongside fellow greats like Daft Punk, Basement Jaxx, Fatboy Slim, etc. The remaining eight tracks don't have the same unstoppable momentum, but they do further showcase the varying paths that their career has taken, from the trippy beats of "The Golden Path" with the Flaming Lips to the intoxicating club drive of "Out Of Control." For those new to discovering the band, don't hesitate to pick up a copy of Brotherhood, as it will undoubtedly get played on regular rotation for quite some time. Though I haven't heard the bonus material yet, it's sure to be a goldmine for fans, and a great complement to the awesome first disc. To whet your appetites, I've included the Soulwax '2 Many DJs' remix of the classic single "Hey Boy Hey Girl," which is currently being offered for free download from EMI, and a forgotten single, "Elektrobank," from their breakthrough record Dig Your Own Hole. Check out older posts for more of my favorite tracks from the boys.

The Chemical Brothers, "Hey Boy Hey Girl" (Soulwax '2 Many DJs' Remix) [YSI]
The Chemical Brothers, "Elektrobank" [YSI] (from Dig Your Own Hole)

***Note: Links removed***

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Review/Open Your Box 22: Carla Bruni & Other French Chanteuses

I frequently get swept up in the music of a foreign country. This year, it's often been Japan, given my discovery of Pizzicato Five, but lately my fixation has moved west, back to France thanks to artists like Yelle and Carla Bruni. The latter started her career as a French and Italian model, crossing over into the music world before the turn of the century. Her debut Quelqu'un m'a dit was a huge Francophone hit, though its guitar-and-poetry-based follow-up No Promises didn't do as well. Her new album Comme si de rien n'était ("As If Nothing Had Happened") gets her back on track, this time from a very different perspective. In the interim between records, she started up a romance with French president Nicolas Sarkozy, becoming the French First Lady in a matter of months. Her unique place in life gives the songs an altogether different tone (though I can't exactly interpret the French lyrics to back that up very well). Its an album full of delicate melodies and uplifting instrumentation. "Ma jeunesse" kicks things off in a bouncy, yearning style, with "La possibilité d'une île" taking it down a notch to become a lilting midtempo ballad. The sweeping orchestra-laden "L'amoureuse" and the choppy, bright "Ta tienne" are among the album's top tracks. A cover of old standard "You Belong To Me" stands out as the only English track, a heartbroken, minimal ballad with more raw emotion than you'd see from most First Ladies. The album may run a bit long, with some tracks blending into others towards the end sections, but its Italian closer "Il vecchio e il bambino" is a nice way to end the disc on a haunting note. Overall, Comme si de rien n'était is worth checking out for fans of French chanteuses (like those featured in the post).

From Comme si de rien n'était:
Carla Bruni, "Ma jeunesse" [YSI]
Carla Bruni, "L'amoureuse" [YSI]
Carla Bruni, "You Belong To Me" [YSI]

If you're not sure you're into the style, check out her sample tracks and some from her fellow French ladies of chanson. Mylène Farmer, the biggest-selling female singer in France, has taken a dramatic turn with her new material, like the widely-criticized, clubby new single "Dégénération." Further down, things get more traditional with Coralie Clement and film star Brigitte Bardot. Like Bardot, the next two ladies were always linked to icon Serge Gainsbourg. His daughter Charlotte is most recent, with her album 5:55 becoming one of my favorites of last year. Jane Birkin was a later lover of Gainsbourg's, following in Bardot's footsteps to record some great music with the legend. To wrap up, another older figure in French pop Françoise Hardy and the eccentric Camille (often a featured singer of trendy cover band Nouvelle Vague).

Chanteuse Selections:

Mylène Farmer, "Dégénération" [YSI] (from Point De Suture)
Coralie Clement, "Samba De Mon Cœur Qui Bat" [YSI] (from the Putumayo World Music compilation Paris)
Brigitte Bardot, "Un Jour Comme un Autre" [YSI] (from the Putumayo World Music compilation French Café)Charlotte Gainsbourg, "Tel Que Tu Es" [YSI] (from 5:55)
Serge Gainsbourg & Jane Birkin, "La Décadanse" [YSI] (from the compilation Initials SG)Françoise Hardy, "Je N'Attends Plus Personne" [YSI] (from The Vogue Years)
Camille, "Ta Douleur" [YSI] (from Le Fil)

***Note: Links removed***

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Preview: The Chemical Brotherhood

The Chemical Brothers, one of my favorite dance artists, are set to release a new 2CD retrospective collection on September 2nd. Dubbed Brotherhood, the first half of the collection features 14 of their biggest singles (also available as a single disc). Spanning the whole of their 13-year career, it includes classics like "Block Rockin' Beats" and "Hey Boy Hey Girl," bringing them up to date with recent dancefloor smashes like "Galvanize" and "Do It Again," released since their first greatest hits album (Singles 93-03). The set also includes new track "Keep My Composure" (featuring Spank Rock). Available on the limited second disc are all ten of their "Electronic Battle Weapon" tracks, nine of which are now available for the very first time in wide release. Released throughout their career on low-key 12" singles, they've often featured rough, early experimental versions of tracks and mixes that wound up on their albums, and are a treasure trove for fans. The album is preceded by the digital release (available now) of "Midnight Madness," extracted from the recent "Electronic Battle Weapon 10." Typical of the Chemical Brothers, the video is quirky and effortlessly cool (featured below). Also cool is a new contest the boys are running in collaboration with Google Earth. Fans are being asked to submit short video snippets relating to the track, the best of which will be compiled for a new video due out in early September. Check out their website for details as the deadline is August 25.

The Chemical Brothers, "Midnight Madness" (from the forthcoming Brotherhood)

Links:

Official site

Myspace
Old posts featuring the Brothers

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Review: Coldplay, "Viva La Vida Or Death And All His Friends"

So much has already been written about Coldplay's fourth album, the recently-released Viva La Vida Or Death And All His Friends, but unlike most reviewers, I'm not quite big enough to receive albums ahead of release, and (usually) don't give in to the temptation to download early leaks. As a result, my verdicts tend to come in a bit later than most, especially since I like to give new records time to sink in before judging them. A few weeks isn't exactly adequate time to render a long-gestating piece of work worthy of praise or not, but it's generally enough time to articulate some key points.

That said, I've loved Coldplay for a good few years now, since their groundbreaking (and still career-best) A Rush Of Blood To The Head came out in 2002. Before they were the biggest stadium rock band in world short of U2 or the Stones, their appeal lay in their songwriting and consistent, if formulaic, melodies. Their knack for simple, catchy ballads and addictive hooks was apparent on their debut Parachutes, and developed to its fullest extent on Rush. X&Y, however, saw the formula stutter, with their trademark builds and simplicity pushed aside in favor of epic widescreen flourishes and stadium grandeur. While it had some standouts, it failed to gel as an album and didn't have the repeat listenability of its predecessor. Viva La Vida, on the other hand, works in quite the opposite way. As an album, it improves greatly on the rehashing X&Y, and the whole ends up somehow being much more than the sum of its parts.

After kicking off with an engaging instrumental, the album's first real track, "Cemeteries Of London" sets the pace for the whole record. It relies more on its melodic builds and intricacies than just purely its songwriting, which had become Coldplay's nearly-debilitating crutch. Similarly, "42" must be listened to in full to truly appreciate or even enjoy it, a fact that extends to Viva La Vida as a collective whole as well. It isn't until its long-building climax more than halfway through its duration that "42" becomes a fully-realized song. The album is arranged to fit a similar pattern, building with upbeat tracks like the jangly "Lovers In Japan" and climaxing with the soaring love-as-a-kingdom metaphor "Viva La Vida," easily two of the standouts and obvious radio singles on the record. Sure-t0-be future single "Lost!" joins them as one of the few moments that can be isolated from the whole and dubbed "classic Coldplay," though unlike the best tracks on X&Y, it doesn't rely on any of their now-tired trademarks. After the off-beat groove and dissonant finale of first single "Violet Hill" (a song which took me a while to even like), the album wraps itself up with the unremarkable "Strawberry Swing" and majestic "Death And All His Friends," containing a memorable build reminiscent of Rush's amazing closer "Amsterdam." However, while "Amsterdam" ended Rush neatly, the hidden track following "Death And All His Friends" could have just as easily come at the beginning of the record, or wedged in between tracks like some of the other instrumentals. It's as if Coldplay are subtly remarking that the end is nowhere near, in both the context of this record and their musical career. While it hasn't scaled the impressive heights of some of their past work, Viva La Vida Or Death And All His Friends has achieved the remarkable feat of shaking off their increasingly stale formula, a great sign for their future as still-developing career artists. Of course, it doesn't hurt that they've knocked out a damn good album on their way there, too.

Coldplay, "Lovers In Japan/Reign Of Love" [YSI]
Coldplay, "Death And All His Friends" [YSI]

***Note: Links removed***

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