The Beat That Echoes

Isn't it strange when you hear a song you're familiar with in a different context? This happened today as I was passing through the 34th St/Herald Square subway station.

A group of dancers was putting on a show and I was convinced that I knew the song they were dancing to. At first I heard the beat and thought, "Oh, they're dancing to Madonna's "Music." What a strange choice for street dancing on a Sunday afternoon." (Note: it was impossible to find the "Music" video on YouTube since "Madonna Music" or "Madonna Music Video" provided endless results. This is the best I could do).

But then I realized I was wrong when the funky high-pitched synths didn't kick in. "Oh! They must be dancing to Daft Punk's "Da Funk." That makes more sense."

But then I realized "wait a second. It's The Rapture's "Killing"!"

And finally I was right. I remember when Echoes had a major impact on my appreciation for both indie and pop music. For many people in 2003, The Rapture made it OK to dance.

Unfortunately, I never made it to Pieces of People We Love, but maybe I will soon. I'm feeling slightly nostalgic for that dance punk period when Gang of Four was the newest oldest band everyone had just discovered.

If Bangs Could Kill

I like Ciara a lot. I think she's cute and fun. In her new single, "Go Girl", you can call her CiCi or "the Energizer Playboy bunny." T-Pain produces, so expect a lot of vocoder/auto-tune. It's not jaw-droppingly exciting, but I can see a lot of people having fun with it at the clubs.

The video comes off like a pastiche of recent pop videos. It must be those pesky art directors. Ciara does a catwalk strut in a shadowy hallway a la Lady Gaga, and then freaks out in a elevator like Britney on Madonna's current tour.

And then there's the wig. Those bangs, artfully cut just above the eyebrows! It's a little bit 20's flapper, a little bit Sunset Boulevard. Just in time for Halloween. My earliest recollection of this look was Britney's pink wig during her ill days.

The look has certainly caught on!

London We Go Hard

Listening to "Shove It" on Santogold's new album, I am taken back to 2005 when a lot of music fans had an investment in grime and British hip-hop, thinking it would breakthrough to American audiences in no time. I was definitely a believer, completely fascinated by everything I heard from Dizzee Rascal, Kano, Wiley, Lady Sovereign and all the young MC's on Run The Road.

Santogold is from New York, but Switch, a remixer and producer of the track, is British although I don't think he has any ties to the grime scene (M.I.A. is not considered a grime artist). "Shove It" has an East London dub sound that makes you smell the doner kebabs and see the track suits and trainers. I know she's really singing about the pride of poor creatives in NYC, but it drives my imagination. The song overall reminds me of Riko and Target's "Chosen One" from Run The Road.

Spank Rock makes an appearance on the track and for once, he keeps his rhymes relatively clean. He changes his flow on here as well, and I had to check the liner notes to make sure it was him.

Listening to Madonna's Hard Candy where she finally delivers on the promise of a completely disco, dance pop album that Confessions On a Dance Floor was supposed to be, I wonder what the queen of pop could have done by filtering the East London sound.

Hard Candy 's got the beep-beep's and whistles from Donna Summer's "Bad Girl", sweeping strings and lots of funky bass. I'm a fan of "Heartbeat," "Miles Away," and "Beat Goes On," especially when Kanye sings the pre-chorus after doing his rap. "Incredible" brings back her debut album singing voice.

After over a week of listening, I realize Hard Candy doesn't have the return listens of Confessions, the album with "Get Together," one of my favorite Madonna songs of all time. I understand her motives for making the album, but I'm not satisfied.

Outta This World

It kinda seems like everyone's most anticipated albums came out last year. So what's there to look forward to? Here's a couple ..

Glass Candy is my favorite band of the past few weeks. I got into them after reading Fluxblog's great write up on "Beatific," which is one of the best electro tracks I've heard in a while. It's a little bit of "Into The Groove," a bit of Blondie's "Rapture" and a dash of PJ Harvey's "Down By The Water."

Ida No has an amazing vocal presence. She takes you back to a different time. Johnny Jewel works those vintage synthesizers like you wouldn't believe. This is glam electro at its best. And to think they're from Portland!

I purchased their B/E/A/T/B/O/X album and the After Dark compilation at Amoeba Records two weeks ago, which was kind of miraculous because I thought these albums were both available on their tour only.

All these great tracks from Glass Candy, and their official album is still to be released this year.

Also, Cut Copy, the Australian electro rock band which released one of my favorite tracks from last year, "Hearts on Fire," is set to release their new album In Ghost Colours. They have a video for their new single "Lights and Music" which is wonderfully produced by DFA and just as addictive as "Hearts on Fire."

I think Cut Copy foreshadowed the revival of 90's house from last year. They sound a bit like New Order and Bernard Sumner and Johnny Marr's Electronic project. You can download Cut Copy's free new mixtape So Cosmic, which includes a bunch of their new tracks, at their website.

I've also been listening to DFA Record's reissue of Pylon's Gyrate Plus, which has left a bad note in my ears since I got into a minor car accident on the freeway while it was playing.

There's a great Britney Spears bonus track called "Outta This World" which is much better in its demo version than the official Target special edition version of Blackout.

Did you know Britney Spears did a track with DFA? It's not bad .. but it's not good either. In case you're wondering, cowbells are included.

Breakout, Blackout, Etc.

I've been listening to the new Britney Spears album this weekend. Where should I start? How about the fact that I've never owned or listened to any of her previous albums. Not even on a guilty pleasure level.

Musically, she has always been on my shit list, mostly because her singles are usually pretty mundane, especially compared to her two main contemporaries (Timberlake and Aguilera) who seem to have a genuine interest in broadening their musical scope. I know just as much about her as every other pop culture enthusiast.

I liked the first single, "Gimme More." Despite all the shit that's reported about her, I've always wanted to give her the benefit of the doubt, mostly because of my skeptical view on entertainment news media. Even Billy Joe is backing her up! I was going to get it the week it came out, but I passed after listening to this ridiculous interview the day after it dropped.

I got it this weekend (Virgin Records, San Francisco, $12.99) after listening to a few tracks online and really enjoying what I heard.

Blackout is a very unique and pleasing electro pop album full of singles with great hooks and a sound that's thankfully not outdated. The producers, from Bloodshy & Avant to T-Pain and Nate "Danja" Hills, were rumored to have saved their hottest tracks for her and described her as being professional in the studio.

It means a lot that some of the biggest producers in pop came together to save this woman's career, and to obviously rely on her to promote their own talents. For once, it is about the music, and the songs are really outstanding.

My favorite tracks by far are "Break The Ice," "Freakshow" and "Radar" -- all of which can become huge hits for her. It took a few years to put this together and with the tight 12-track selection (and a handful of equally amazing unreleased tracks floating around), you can tell everyone gave their all, at least in the studio, to put these songs together.

Listen to "Sugarfall," an unreleased song and possible Neptunes production that was not included on Blackout. It's slightly less upbeat than everything else on the album, which is my guess why it wasn't included, but the hook is terrific. There must be dozens of studio gems like this that were ditched in favor of the 12. She was not lazy during the production of this album.

Back to the KIIS-FM interview, it's really awful that she's not promoting what could be her breakout album, an album that could attract the same Misshapes hipsters who restored Madonna's supremacy during Confessions On A Dance Floor. You got Robyn doing backup up "Piece of Me," a "Konichiwa Bitches"/"Hollaback Girl"-style rap on "Freakshow," and production not unlike The Knife's Deep Cuts.

Unfortunately, the cover art and typography is ugly. The photos inside are depressing. There are no acknowledgements or thank yous. 'B. Spears' is only on two song credits, plus an executive producer credit. Her voice is extremely processed. Her website isn't updated, which is shocking for an artist of this stature.

In some way, the album experience is a downer, like listening to Nirvana's Unplugged, only because it feels like the person singing doesn't exist anymore. The songs aren't given the momentum they deserve.

In any case, she's alive and they music really is good. Plus, she's at the age Madonna was at the start of her career. Maybe she'll be this generation's freaky Michael Jackson or troubled Judy Garland .. or ________________?

You Used To Be My Chromeo

There's a new Chromeo album out called Fancy Footwork. It's more of the same nostalgic electro that made their first record so great, except there's less hip-hop and more dance pop. She's In Control had a lot of filler, but it was a perfect party record and surprisingly addictive.

This new one really feels like a team effort. Chromeo is Canadian duo Pee Thug and Dave 1, "the only successful Arab/Jew partnership since the dawn of human culture" so they claim. It's definitely more of a structured pop album with less of the instrumentals that loaded She's In Control.

When I listen to Chromeo, I think of it as stock soundtrack music for low-budget 80's flicks. If there's a scene where characters are dressing up, or they're at a club, or they're opening their high school locker or whatever, Chromeo would cue in. The good news is that they're in on the fun, their music is always fun to dance to, and they're good at the player-as-victim perspective in their lyrics.

I've been listening to Fancy Footwork for a couple weeks, and although I don't dig it as much as the first album, there are some good tracks. I like "Bonafied Lovin" with its wailing guitar and clunky beats. "Opening Up" could have been a hit for someone like Debbie Gibson or Paula Abdul during their breakout years. It's got lots of "yeah yeah yeah yeahs," funky oscillating keys and a whole lotta bounce. The best part is these guys get away with this stuff without any irony.

The title track is certainly fun and has Napolean Dynamite-style imagery to it. It loses its luster after a few listens, but I admire their musicianship. They love the music they play, even if it doesn't always work. You can listen to it here.

"100%" is the last track on the record and my favorite. It starts off sounding a little like Madonna's "Holiday" but then becomes something smooth and sleek. It's the sexiest track they've ever recorded and the most "real" to me, which is not necessarily something that I look for from Chromeo.

For San Francisco folks, Chromeo is playing a show at Mezzanine on Monday, July 23. Flosstradamus is also playing and the boys from Frisco Disco will perform a DJ set. You can get in free if you RSVP.

If you're new to Chromeo, I would suggest checking out the Bloc Party remix of "Needy Girl" on the Vice Records site. This excellent remix is really what turned me on to this band. Maybe I'll see you at the show?