At some point, I will have to write about ABBA. They were the first band i ever got into...i was like 10 or 11. Back then, the fact that they were Swedish was a novelty. Now, being Swedish is no big deal...there's is a virtual Scandinavian invasion afoot. So Attack Of The Swedes, here we go
With Every Heartbeat-Robyn
You might remember Robyn from a few years back. She was this short Swedish chick with a Pink-esque look and had some minor hits (i think they both hit the Top 40) with Show Me Love and Do You Know What It Takes. Catchy tunes, yes...but kinda blended into the pop/r&b landscape (although i actually liked the former). And then she disappeared.
Well lo and behold, she's back. Now older, Robyn left the major labels and puts out her own music, using the web and MySpace to promote her music. She was linked up with Max Martin (future Britney Spears svengali) and was irritated that she lost control of her music. So she bailed. Kinda cool. I read about her on another blog...she had a song out last year (although the album is just out in the UK) called Be Mine. Insanely catchy, it should have been an enormous hit. Over skittering beats and massive strings, it's all angst and girlish tears (it opens with the fabulous line "it's a good thing tears never show in the pouring rain"...basically she sees her ex-boyfriend with another girl. It all features a fantastic spoken word interlude about the scarf that she gave him and the new girl. Honestly, shoulda been huge. Maybe still will...who knows.
Two other songs worth nothing hit the web. Robotboy (also great pop) and Konichiwa Bitches, which is about 2 minutes long in its original version and featuring a much lauded Trentemoller mix. Both good....
but this....simply gorgeous. Again, it's pop. But its brilliant. It's on the cd as well as being out on a single where its credited to Kleerup featuring Robyn. In any event, she opens the song singing
about how she and her love should keep working
maybe we can make it alright
we could better sometime
maybe we can make it happen baby
we could keep trying....
and then, in a moment that i can only call a "Joy Division" moment (i know sacrilege) the song literally sounds like it is lifting up...she sings...."but things will never change, so i don't look back, still i am dyin' with every step i take." And then the beat comes in. And thats it...she just walks away while the song goes on to talk about why the relationship will never ever work and how it hurts "with every heartbeat." Its a beautiful sad song. It reminds me of If You Leave by OMD, I am sure because of the subject matter and the phrase "If you leave, don't look back." Maybe its the companion piece or its her answer. But it has that same feel...surely one of the more beautiful melancholy Number 1's of the 80's. Please seek out this song...its wonderful and charming and cool.
Anyways, you can check it out on www.juno.co.uk or on www.beatport.com or on her website,http://www.robyn.com/index.html and you can check out some of the other songs i mentioned on her myspace site, http://www.myspace.com/robynmyspace
Lose You-Linda Sundblad
Another Swede and another MySpace denizen (http://myspace.com/lindasundblad), where i ran into her. This is a song that you could easily imagine hearing on the radio. It definitely sounds a bit like some of the better selections from Sheryl Crow...it has that casual rock-chick feel. Also, its very summer. Honestly, it reminds me a bit of the 70's...very Fleetwood Mac...i don't know, the chords or the organ sound.
Keeping with the blonde, gorgeous yet dark & melancholic Swedish vein, the song starts out all casual about meeting a boy
Pounding heart on a Saturday night sneaking peeks down my velvet skirt cutie talk not to witty or bright but your beauty was the kind that could hurt l could tell from the look in your eyes l was trigging your insanity l just knew l could see it that...
and then the song goes from a pensive meeting to a much darker and twisted place
...i would lose you, i would lose you from the start
Very Bergman, if you ask me.
Sit Down-Flunk
Ok. Not Swedish. Nobody knows this band. I think like 4 people outside of Norway (1 is me, 1 is Carlos). It's a shame. At the risk of labeling them with an adjective often considered bad, they are often lumped into the chillout genre. I consider them soul music, really.
This is their new single. It's beautiful, pensive, kinda sad sounding. Very late night. Very glass of red wine...you can check it out here....http://flunkmusic.com/personale/
but what i really want to write about is this song
On My Balcony-Flunk
3 minutes and 10 seconds of sexy sexy sexy. Has a vague hip-hop beat and a funky guitar. And that's kinda it, save the languid vocals of Anya Oyen Vister. Anya has a very Scandinavian voice...its hard to explain, but she has that chilly/warm combo that you hear in many artists from that area.
Like i said, the song is very sensual...i'd even say erotic, although not explicit in any sense.
Here comes summer
Beaming in through my bedroom window
There´s a song on the radio
You used to hum back then
Here comes summer
Still feels fresh as morning air
Today I'll just stay here
And do, well, whatever
I´ll do whatever
Please, make summer last forever
All I wanna do
Is sit here on my balcony
And think about you and me
And how happy we could be
And thats kinda it. From my perspective, the song is kinda ambiguous. You don't really know if they will be happy, i guess. However, its hopefully, not only in the tone, but i get this image of her on her balcony in the early morning, maybe her lover is still sleeping. Its early, both literally and in the relationship, and she's hopeful that it will always stay just like this. Summer as a metaphor for the beginning part of every relationship, before things get tough (and sometimes end...Linda Sundblad knows its gonna end right from the start)
go to Beatport, type in Flunk and then go to the album Morning Star....you can hear it there. Sexy sexy sexy, i swear.
Thursday, May 31, 2007
Friday, May 18, 2007
Wasted & wounded, it ain't what the moon did
First off, a brief review of Sting's career trajectory. He starts off in the Police and gives us many a good tune, most notably my favs Spirits In The Material World, Every Little Thing She Does Is Magic and the oft-misunderstood creep out Every Breath You Take (its not a wedding song). Then he goes solo. We get some fairly decent songs, one beautiful song (Fragile) and two good records, The Dream Of The Blue Turtles and Nothing Like The Sun. And then the man that gave me one of my first gay "moments" (when he takes his shirt off in the video for Don't Stand So Close To Me, i was 10 or 11 and lost my proverbial shit) goes horribly horribly wrong. Fields Of Gold anyone...his career turns into The Worst Of Adult Contemporary, fighting it out with Savage Garden and Celine. And need i remind you of the risible disaster/embarassment of All For One from the Three Musketeers movie. Your critical career is officially over when you record a duet with either Rod Stewart or Bryan Adams. But when you record a song as a trio (get it??) with both, critically, you are the equivalent of Yanni.
Proving everyone wrong who predicted he could not get more pretentious after 2005's "My Funny Valentine: Sting At The Movies", Sting's latest "opus" is "Songs From The Labyrinth", which are madrigals from the 15th century...on a lute. This from a man who sang "Roxanne". Someone shoot him.
Enough ranting...
Don't You Want Me...The Human League
OK...today is about watershed moments for me. This was one.
I grew up in NW Indiana in the 80's. AKA, to anyone that knows the area, it's The Region. Its right up there on the lake and pretty much influenced by Chicago radio, TV and politics. Its a whole lot of strip malls and suburbs and of course the steel mills, Gary and Michael Jackson. I lived in Crown Point, which at the time was the border town between The Region and row after row of corn (the 4-H kids from the town to the south of us, Lowell, actually bragged about being in 4-H). There wasn't much to do...basically we'd just drive back and forth between Burger King and McDonalds and the Southlake Mall and occasionally get drunk on whatever liquor we could steal out of our parents liquor cabinet (I have thrown up ever flavor of Schnapps known to man). Likewise, there were not alot of options for a junior highschool music-wise...the radio basically played Air Supply, Olivia Newton-John and Kansas. Plus country music. It was rough.
But then this song. I remember hearing it for the first time. The instant driving beat, entirely electronic and cool. The fey, romantic vocals. Well, and of course, the line. I wanted to work as a waitress in a cocktail bar. That much IS true. I immediately rode by bike to the courthouse and went the local record store there and bought the 45. Every night, in the dark, i would listen to the song and dance around my room. It was my first introduction to a totally new sound, something totally different. And it caused divisions...if people knew you liked that song, you were a fag or a sissy. Because Phil Oakey wore eyeliner. This, of course, from people who liked Kiss.
Lest you think i instantly became cool and all new wave, around this time my best friend Angie and I were at her pool one night and instead of getting drunk or smoking Capri's, we actually pretended we were dolphins and tried to communicate underwater by "squeaking". We were like 15. We rebounded, we both made prom court. Neither of us won, but rumor is, i was cheated by a vote counting scandal. Angie just lost. That much is true.
Tom Traubert's Blues (Three Sheets To The Wind In Copenhagen)-Tom Waits
This is off of 1976's Small Change album. This is from the pre-experimental days, much more of a piano and voice album that his 90's work. Its no less brilliant because of it...and his voice, well, even back then it sounds like a nothing else out there. Reviews always compare him to a Foghorn...i always thinks he sounds like what any deep voice would like after 8 whiskeys, numerous shots and a pack of Marlboro Red cigarettes, unfiltered. The whole album is brilliant, sad and often, fucking hilarious, most notably on "Pasties And A G-String" and "The Piano Has Been Drinking (Not Me)". But this song...its one of my favorite of all a time...and there is a story about it.
Prior to hearing this song on a mixtape in '93, i had heard Tom Waits only once. My first encounter with him was on "Stay Awake" which was a very cool compilation of Disney tunes covered by different artists. Yma Sumac, Betty Horn, Sinead O'Connor, Natalie Merchant & Michael Stipe doing "April Showers" and perhaps most notably, Sun Ra and His Arkestra doing "Pink Elephants On Parade." Well, Tom is on this...doing Heigh Ho from Snow White. His version, well, what can you say. It doesn't sound like the Disney version, like they are happy and cheerful to be working in the mines. They sound sad and impossibly tired and maybe not so happy about being picked on and that there is some strange woman living as a freeloader in their house. I hated it. From the get go. I thought "this man cannot sing...he's torturing this song."
So its 1993 and i am working at this horrible car dealership fresh out of college, where i was, well, let's just say, unimpressive with my 2.6 and my 4 D last semester. Shocking that nobody would hire me except Enterprise rent-a-car. I was living in this dismal lonely basically uninhabited building on Montrose & Sheridan...i actually rented it because you could see the lake (uh yeah, for about 4 inches of the 8 foot view). Idiot i was. A guy i worked with made me a mixtape of cool stuff and put this song on and i was listening to it in the car. My reaction was one of complete revulsion. Again, that "oh my god, what is he singing...that voice." I hated it and turned it off. He was the worst singer i'd ever heard.
So i was working as a bouncer at Roscoe's...the Friday and Saturday shifts til 3. And dating this guy Dan, who i guess i really liked (or really liked the thought of liking him, not so sure which). And he came into work, while i was at the door, and broke up with me. In like 3 minutes. Casually, as if he was meeting me later or just saying hi. And left. And i worked the last 2-3 hours in a total haze. And of course, as all late-night workers do, i went out for drinks til 4:30. And got drunk. Sad and lonely, i walk outside, only to discover i have no money for a cab. So i decide i'll walk home.
That fateful walk. I often wonder if i would have ever discovered Tom Waits had it not been for that night, the liquor, that old boyfriend. It is a pivotal moment in my life in that i realize how much music means to me and how it can chance your perspective on things; how it serves as a touchstone on events that happened to you...its your soundtrack. It was raining, drizzling...and cold. So i put my headphones on, pressed play, and began to walk. I don't remember what was on first but it didnt matter. And on comes this song...the piano begins to play, the strings begin and on comes Tom.
His first lines, well, they made me really really listen. "Wasted and wounded, it ain't what the moon did". It literally stopped me in my tracks. The song is basically about a breakup, about a woman that left him, tormented and sad, wandering the streets at night. And lyrically it shows why Tom Waits is an American treasure (an overused compliment, to be sure)....singularly genius in his own perspective. Many of his songs have characters that could be in a Diane Arbus picture. Or Edward Hopper's paintings. Often you are catching somebody at a very vulnerable moment. Anyways, i digress.
I could quote the whole song...but you should hear it sung first. If i wrote this song, and never another, i'd think, on my deathbed, i'm a genius. Two examples:
I begged you to stab me, you tore my shirt open
And I'm down on my knees tonight
Old Bushmill's I staggered, you'd bury the dagger
In your silhouette window light go
No, I don't want your sympathy, the fugitives say
That the streets aren't for dreaming now
And manslaughter dragnets and the ghosts that sell memories,
They want a piece of the action anyhow
Ok...how do i describe this...how do you write about brilliant writing. You can't.
But its the refrain that got me. Anyone that has heard this song, and particularly if they love this song, doesn't know it by the title or "Three Sheets To The Wind In Copenhagen". They know it by "Waltzing Matilda", the national song of Australia, which ends every verse. Every time he sings it, the music swells a little bit, your hopes rise a little bit, maybe she'll come back. But she won't...because you can hear it in his voice.
Me. Ok, by this point before the ending i am soaking wet, sobbing and drunk and i now believe that Tom Waits is not the worst singer in the world, but the best singer in the world. I had been converted. In other words, i "got" him.
It's a 7 minute song of quiet devastation...a song of complete and utter sadness that so sums up the mixture of love and loss that goes with a breakup. It's not that you hate the person...that'd be easy. Whatever your feelings, you know they will never be in your life in that capacity again. Completely and utterly earth-shattering brilliance.
And it ends.
And it's a battered old suitcase to a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on an
Old shirt that is stained with blood and whiskey
And goodnight to the street sweepers, the night watchmen flame keepers
And goodnight to Mathilda, too
Strings out.
Fucking Christ
Proving everyone wrong who predicted he could not get more pretentious after 2005's "My Funny Valentine: Sting At The Movies", Sting's latest "opus" is "Songs From The Labyrinth", which are madrigals from the 15th century...on a lute. This from a man who sang "Roxanne". Someone shoot him.
Enough ranting...
Don't You Want Me...The Human League
OK...today is about watershed moments for me. This was one.
I grew up in NW Indiana in the 80's. AKA, to anyone that knows the area, it's The Region. Its right up there on the lake and pretty much influenced by Chicago radio, TV and politics. Its a whole lot of strip malls and suburbs and of course the steel mills, Gary and Michael Jackson. I lived in Crown Point, which at the time was the border town between The Region and row after row of corn (the 4-H kids from the town to the south of us, Lowell, actually bragged about being in 4-H). There wasn't much to do...basically we'd just drive back and forth between Burger King and McDonalds and the Southlake Mall and occasionally get drunk on whatever liquor we could steal out of our parents liquor cabinet (I have thrown up ever flavor of Schnapps known to man). Likewise, there were not alot of options for a junior highschool music-wise...the radio basically played Air Supply, Olivia Newton-John and Kansas. Plus country music. It was rough.
But then this song. I remember hearing it for the first time. The instant driving beat, entirely electronic and cool. The fey, romantic vocals. Well, and of course, the line. I wanted to work as a waitress in a cocktail bar. That much IS true. I immediately rode by bike to the courthouse and went the local record store there and bought the 45. Every night, in the dark, i would listen to the song and dance around my room. It was my first introduction to a totally new sound, something totally different. And it caused divisions...if people knew you liked that song, you were a fag or a sissy. Because Phil Oakey wore eyeliner. This, of course, from people who liked Kiss.
Lest you think i instantly became cool and all new wave, around this time my best friend Angie and I were at her pool one night and instead of getting drunk or smoking Capri's, we actually pretended we were dolphins and tried to communicate underwater by "squeaking". We were like 15. We rebounded, we both made prom court. Neither of us won, but rumor is, i was cheated by a vote counting scandal. Angie just lost. That much is true.
Tom Traubert's Blues (Three Sheets To The Wind In Copenhagen)-Tom Waits
This is off of 1976's Small Change album. This is from the pre-experimental days, much more of a piano and voice album that his 90's work. Its no less brilliant because of it...and his voice, well, even back then it sounds like a nothing else out there. Reviews always compare him to a Foghorn...i always thinks he sounds like what any deep voice would like after 8 whiskeys, numerous shots and a pack of Marlboro Red cigarettes, unfiltered. The whole album is brilliant, sad and often, fucking hilarious, most notably on "Pasties And A G-String" and "The Piano Has Been Drinking (Not Me)". But this song...its one of my favorite of all a time...and there is a story about it.
Prior to hearing this song on a mixtape in '93, i had heard Tom Waits only once. My first encounter with him was on "Stay Awake" which was a very cool compilation of Disney tunes covered by different artists. Yma Sumac, Betty Horn, Sinead O'Connor, Natalie Merchant & Michael Stipe doing "April Showers" and perhaps most notably, Sun Ra and His Arkestra doing "Pink Elephants On Parade." Well, Tom is on this...doing Heigh Ho from Snow White. His version, well, what can you say. It doesn't sound like the Disney version, like they are happy and cheerful to be working in the mines. They sound sad and impossibly tired and maybe not so happy about being picked on and that there is some strange woman living as a freeloader in their house. I hated it. From the get go. I thought "this man cannot sing...he's torturing this song."
So its 1993 and i am working at this horrible car dealership fresh out of college, where i was, well, let's just say, unimpressive with my 2.6 and my 4 D last semester. Shocking that nobody would hire me except Enterprise rent-a-car. I was living in this dismal lonely basically uninhabited building on Montrose & Sheridan...i actually rented it because you could see the lake (uh yeah, for about 4 inches of the 8 foot view). Idiot i was. A guy i worked with made me a mixtape of cool stuff and put this song on and i was listening to it in the car. My reaction was one of complete revulsion. Again, that "oh my god, what is he singing...that voice." I hated it and turned it off. He was the worst singer i'd ever heard.
So i was working as a bouncer at Roscoe's...the Friday and Saturday shifts til 3. And dating this guy Dan, who i guess i really liked (or really liked the thought of liking him, not so sure which). And he came into work, while i was at the door, and broke up with me. In like 3 minutes. Casually, as if he was meeting me later or just saying hi. And left. And i worked the last 2-3 hours in a total haze. And of course, as all late-night workers do, i went out for drinks til 4:30. And got drunk. Sad and lonely, i walk outside, only to discover i have no money for a cab. So i decide i'll walk home.
That fateful walk. I often wonder if i would have ever discovered Tom Waits had it not been for that night, the liquor, that old boyfriend. It is a pivotal moment in my life in that i realize how much music means to me and how it can chance your perspective on things; how it serves as a touchstone on events that happened to you...its your soundtrack. It was raining, drizzling...and cold. So i put my headphones on, pressed play, and began to walk. I don't remember what was on first but it didnt matter. And on comes this song...the piano begins to play, the strings begin and on comes Tom.
His first lines, well, they made me really really listen. "Wasted and wounded, it ain't what the moon did". It literally stopped me in my tracks. The song is basically about a breakup, about a woman that left him, tormented and sad, wandering the streets at night. And lyrically it shows why Tom Waits is an American treasure (an overused compliment, to be sure)....singularly genius in his own perspective. Many of his songs have characters that could be in a Diane Arbus picture. Or Edward Hopper's paintings. Often you are catching somebody at a very vulnerable moment. Anyways, i digress.
I could quote the whole song...but you should hear it sung first. If i wrote this song, and never another, i'd think, on my deathbed, i'm a genius. Two examples:
I begged you to stab me, you tore my shirt open
And I'm down on my knees tonight
Old Bushmill's I staggered, you'd bury the dagger
In your silhouette window light go
No, I don't want your sympathy, the fugitives say
That the streets aren't for dreaming now
And manslaughter dragnets and the ghosts that sell memories,
They want a piece of the action anyhow
Ok...how do i describe this...how do you write about brilliant writing. You can't.
But its the refrain that got me. Anyone that has heard this song, and particularly if they love this song, doesn't know it by the title or "Three Sheets To The Wind In Copenhagen". They know it by "Waltzing Matilda", the national song of Australia, which ends every verse. Every time he sings it, the music swells a little bit, your hopes rise a little bit, maybe she'll come back. But she won't...because you can hear it in his voice.
Me. Ok, by this point before the ending i am soaking wet, sobbing and drunk and i now believe that Tom Waits is not the worst singer in the world, but the best singer in the world. I had been converted. In other words, i "got" him.
It's a 7 minute song of quiet devastation...a song of complete and utter sadness that so sums up the mixture of love and loss that goes with a breakup. It's not that you hate the person...that'd be easy. Whatever your feelings, you know they will never be in your life in that capacity again. Completely and utterly earth-shattering brilliance.
And it ends.
And it's a battered old suitcase to a hotel someplace
And a wound that will never heal
No prima donna, the perfume is on an
Old shirt that is stained with blood and whiskey
And goodnight to the street sweepers, the night watchmen flame keepers
And goodnight to Mathilda, too
Strings out.
Fucking Christ
Wednesday, May 16, 2007
Quietly, I drop my weight into your sea, I drop my anchor
Silently...Blonde Redhead
I've read reviews of the last two Blonde Redhead albums, 23 and Misery Is A Butterfly, which although great, bemoan the fact that they have moved away from their earlier Sonic Youthisms. Fair enough, although Sonic Youth also moved away from their early Sonic Youthisms. In any event, Blonde Redhead has grown massively as a band...they seem more confident venturing into different styles with each new record. And the vocals of Kazu Makino have grown stronger yet more shimmering (i always think she sings like the Cocteau Twins sound....she doesn't sing like Elizabeth Fraser, her voice just reminds me of their sound).
Ok..the whole record is great, one of their best (and maybe after a couple of listens, their best). However, this song....Silently. First of all, it opens with the most beautiful lines i've heard in ages
Silently, I wish to sail into your port, I am your sailor
Quietly, I drop my weight into your sea, I drop my anchor
I sway in your waves, I sing in your sleep
I stay till I'm in your life
The song has a very 80's feel to me....in an OMD-filtered-through-the-Flaming Lips Yoshimi record kind of way. Its hard for me to really put an exact time on the song, but it sounds like some lost gem from 1985 and has drums and uber-cool handclaps that remind me of Talking Loud And Clear by OMD, which is lovely. It's a gorgeous gem, and i won't bother saying it would sound great coming out of the radio, cause radio would never play it and i never listen to radio. It would sound great sitting at the beach or better yet, coming out of a car radio while you drive on a warm summer night. Or EVEN better yet, coming out of your car radio at night while you are parked at the beach. Making out. Yeah, its that good.
I've read reviews of the last two Blonde Redhead albums, 23 and Misery Is A Butterfly, which although great, bemoan the fact that they have moved away from their earlier Sonic Youthisms. Fair enough, although Sonic Youth also moved away from their early Sonic Youthisms. In any event, Blonde Redhead has grown massively as a band...they seem more confident venturing into different styles with each new record. And the vocals of Kazu Makino have grown stronger yet more shimmering (i always think she sings like the Cocteau Twins sound....she doesn't sing like Elizabeth Fraser, her voice just reminds me of their sound).
Ok..the whole record is great, one of their best (and maybe after a couple of listens, their best). However, this song....Silently. First of all, it opens with the most beautiful lines i've heard in ages
Silently, I wish to sail into your port, I am your sailor
Quietly, I drop my weight into your sea, I drop my anchor
I sway in your waves, I sing in your sleep
I stay till I'm in your life
The song has a very 80's feel to me....in an OMD-filtered-through-the-Flaming Lips Yoshimi record kind of way. Its hard for me to really put an exact time on the song, but it sounds like some lost gem from 1985 and has drums and uber-cool handclaps that remind me of Talking Loud And Clear by OMD, which is lovely. It's a gorgeous gem, and i won't bother saying it would sound great coming out of the radio, cause radio would never play it and i never listen to radio. It would sound great sitting at the beach or better yet, coming out of a car radio while you drive on a warm summer night. Or EVEN better yet, coming out of your car radio at night while you are parked at the beach. Making out. Yeah, its that good.
Tuesday, May 15, 2007
i will miss your heart so tender
Good Woman-Cat Power
I fucking swear this song was recorded at 3 am in some shoddy cold studio. I think maybe Cat Power was out drinking, getting really fucked up, and she came in and sang this, her voice breaking apart in spots from cigarettes, liquor and pain. The lyrics are heartwrenching...she's basically telling someone that for her to be a good woman, and him a good man, she has to leave him. First time i heard this song, i was walking home at night in NY in a cold cold rain. It wasnt even late...probably just after work, but winter, dark. From the bus to the front door of my apartment, its probably the length of this song. By my front door, i was practically sobbing. Its hard to pick your favorite Cat Power song...but this, well, this is mine.
I fucking swear this song was recorded at 3 am in some shoddy cold studio. I think maybe Cat Power was out drinking, getting really fucked up, and she came in and sang this, her voice breaking apart in spots from cigarettes, liquor and pain. The lyrics are heartwrenching...she's basically telling someone that for her to be a good woman, and him a good man, she has to leave him. First time i heard this song, i was walking home at night in NY in a cold cold rain. It wasnt even late...probably just after work, but winter, dark. From the bus to the front door of my apartment, its probably the length of this song. By my front door, i was practically sobbing. Its hard to pick your favorite Cat Power song...but this, well, this is mine.
Cool shit from Bpitch
Arcadia-Apparat
I think Apparat is/are German...i know they are off of Ellen Allien's Bpitch label. I heard this song at the end of the mix and it kinda slayed me. I think it would be a perfect song to hear at 4 AM on the dancefloor. It starts off with a odd loping beat....sounding somewhat like a Bjork track. Then a voice very similar to Thom Yorke of Radiohead comes in, although more in his falsetto range. If i was having a perfect night out, this would be a perfect end track. It'd definitely make you all starry-eyed and ready to kiss the nearest person, as it is so romantic and lush to be embarassing. In some ways, it reminds me of an updated "Boys Don't Cry" or some other romantic lush classic from the 80's.
I think Apparat is/are German...i know they are off of Ellen Allien's Bpitch label. I heard this song at the end of the mix and it kinda slayed me. I think it would be a perfect song to hear at 4 AM on the dancefloor. It starts off with a odd loping beat....sounding somewhat like a Bjork track. Then a voice very similar to Thom Yorke of Radiohead comes in, although more in his falsetto range. If i was having a perfect night out, this would be a perfect end track. It'd definitely make you all starry-eyed and ready to kiss the nearest person, as it is so romantic and lush to be embarassing. In some ways, it reminds me of an updated "Boys Don't Cry" or some other romantic lush classic from the 80's.
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