The only way we can tolerate Oasis...
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Listen to other great cover songs at the base of our PEOPLE page HERE
They're called Hong Kong in the 60s and they comprised of Mei Yau Kan (vocals, keyboards, guitar); Christopher Greenberg (keyboards, vocals, guitar); and Tim Scullion (guitar, keyboards, vocals) who are pop crusaders as influenced by Bruce Hyack, Delia Derbyshire and Cecil Leuter as they are modern pop. ‘Willow Pattern Songs’ is the band’s debut EP, a space capsule of dreamy synths and Krautrock lullabies.
It is indeed a credit to all involved that this album sounds as ego-less and cohesive as it does. The performances throughout also retain a loose, lived-in quality that strikes an even balance between purposeful songwriting and the pleasant surprises of in-studio “mistakes”. The bands' unselfconscious appreciation of each other brings something more: a buoyant confidence that infuses every subtly orchestrated note.
Gently plucked guitars and cotton-soft melodies – the kind of soothing musical therapy that only Kings of Convenience can deliver. It is what we have come to expect for the norwegian duo but with beachy influences and a little more optimism, which makes for a lovely affair which will always be releavent as long as we have the turning leaves of Fall and the swaying palms on Beaches.
With all four players clearly bringing out the best in each other, one hopes that Monsters of Folk makes for more than just a one-off side project. This is not the story of lost faith that these thematic bookends seem to augur, but rather just a bunch of really good songs that have relatively little to do with each other. Overall, there's a natural interplay between the players, and it lends the album a relaxed, easy-going vibe.
Anyone who liked "Life in Cartoon Motion's" bright, brash approach won't be disappointed by The Boy Who Knew Too Much--it's clear Mika knows exactly what he's doing. Mika tackles the popular songwriters' gristle of teen angst but filters it through a cracked technicolor symphony of show-tune harmonies, careening falsettos and deliciously manic productions.
We have compiled over 40 of our most favorite electronica songs that have refused to leave our jukebox over the past year.
All these elements, stitched together by Yacht and combined with the kind of melancholy disco utilised so often by DFA associates, have a basic cumulative effect: they make you want to dance. Without a smidgen of a doubt, See Mystery Lights has egghead-party-album-of-the-year potential. But its value is greater than that.
Between Yorn’s ingratiating tunes, Johansson’s harmonies and the lush, inventive production, Break Up ultimately succeeds in its ambitious goal of capturing the spirit--if not the sound--of the late-’60s musical partnership between Serge Gainsbourg and Brigitte Bardot. Break Up is actually a pleasant enough detour as a light-hearted, retro-pop affair.
James Shaw and James Ford are still enforcing limitations on their sound, and while they may be smoothing out a few of the rough patches that would make a more interesting record, their sophomore follow-up is a worthy heir to the original. The songs are better and the production varied enough to highlight the differences between each track.
It's the finest of Fink's songwriting albums to date, building on the promise shown in Biscuits For Breakfast with a confident assurance of his talent and in what he has to say. Simple, repetitive, often unsettling, Sort Of Revolution refuses to succumb to the obvious. Downbeat dinner parties, say hello to your new soundtrack.
We have compiled over 40 of our most favorite electronica songs that have refused to leave our jukebox over the past year.
New Pet Shop Boys Mixes Listen To The Pet Shop Boys retrospective with excerpts from "Yes
including the new remixes of "Did You See Me Coming"
and the new track "Up And Down" below.
click on any track to begin
To describe this music takes to think to us about the music of dance of the eighties, as much in the musical comedy as in the thematic one of discotheques. Although the music is quite simple and endeble and the singers seem that they do not have soul, Les Buscuits Salles show promise with their blend of bad-mannered adolescents and the unique grace.
Phoenix came along with the weightless Wolfgang Amadeus Phoenix and reminded us that, oh yeah, the French can also be pretty great at luminously suave pop music. Now that our appetite for smoove, starry-eyed Gallic studio-rat music has been restored, it's the perfect time for Air to drop a new album. And that's exactly what they're doing on October 6th, 2009.
These experiments hit their mark as a testament to how shrewdly Yo La Tengo has crafted their aesthetic: They know exactly how hard and in what direction to push. What stops it from being an incongruous mishmash is the mood of intimacy and exuberance: you might be hanging out with them in their basement studio, sharing the jokes, shivering with delight.
On Get Color, though, the frenetic impulses from two years back have been carefully tempered, the percussive backbone more sharply honed and the ear-bleeding textures more cleverly implemented. For many, Health's noisy tendencies will be a bit much, but those who aren't afraid to dig deeper will be rewarded greatly.
Lerche aligns all his identities: Gentlemanly melodies glide across elegant guitars and High Llama Sean O’Hagan’s swelling string arrangements. Heartbeat Radio is Lerche's most eclectic outing yet, with no overarching concept beyond a consistent level of excellence. Perhaps a bit too breezy to make a lasting impression. Recommended for those with a penchant for breakup music.