2 posts tagged “datarock”
In no other year since the close of the ‘90s has dance music made such a powerful comeback. The year 2007 has (in many ways) paralleled 1997 by combining indie rock and electronica. Back then, the pioneers were The Prodigy, The Chemical Brothers, Republica, Underworld, Atari Teenage Riot, Sneaker Pimps, The Crystal Method, etc. These days, there seems to be a repeat performance with the ever-changing genre of dance-punk (as more and more disco beats are added to already synth-laden rock), as well as the proclamation of the British “new rave” movement by NME magazine. Though Britain produced some outstanding singles from stellar bands this year, 2007 really belonged to its continental neighbor, France. In fact, so many excellent tracks were produced this past year, it would take me ions to write… Suffice to say that the below are my favorites, but honorable mentions go to tracks I’ve not listed from amazing bands like Holy Hail, Cut Copy, Chromeo, The Cribs, Scratch Massive, Spoon, Digitalism, Riot in Belgium, Snowden, The Teenagers, and LA Riots (see blog post titled, "I Love the 2000's (So Far)!" for more track listings). I’ve hyerplinked the track to its corresponding YouTube video, as well as listed their Myspace address. Some of the tracks can also be found on my Featured Playlist at Projectplaylist.com, which I’ve also provided a link.
To enjoy some of the tracks from my personal playlist, click HERE.
Also, for a trip down Memory Lane, check out "2006: The Year in Music"
“It’s Not Over Yet” – Klaxons
http://www.myspace.com/klaxons
Probably the most influential band of 2007, these so-called purveyors of the British “new rave” movement offer a lot more than your typical dance-punk outfit. Inspired by everything from apocalyptic notions, to the supernatural and magic, their work references figures like Aleister Crowley, William Burroughs, and Thomas Pynchon. The band takes its name from the Greek term meaning “to shriek” (usually by a loud warning device), which is evident with the rave-style siren you hear in a few of their tracks. “It’s Not Over Yet” is one of the calmer, more melodic tracks on Myths of the Near Future (the critically acclaimed full-length debut), and has a melancholy, but oh so loveable chorus.
“Anyway You Choose to Give It” – The Black Ghosts
http://www.myspace.com/blackghosts
Following the lead of electro-dance-punk producer-duo du jour, MSTRKRFT, Simian’s Simon Lord and The Wiseguys’ Theo Keating record together as The Black Ghosts. Like Klaxons, the supernatural is a big influence on the Brit band’s music-style, but unlike Klaxons, it’s more disco-oriented, and is easily detectable in such tracks as “Anyway You Choose to Give It.” This track is not only extremely danceable, but also highly melodic…the makings of a great pop song.
“Road to Recovery” – Midnight Juggernauts
http://www.myspace.com/midnightjuggernauts
Trailing the success of fellow Aussies, The Presets, Midnight Juggernauts have blasted their way into the dance scene of the the late ‘00s. The trio’s recent full-length, Dystopia, was nominated for a J Award by the Aussie youth radio station Triple J for Australian Album of the Year. With influences like Electric Light Orchestra, it’s no wonder that their ambient melodies layered over disco synths have catapulted their underground success. They have also remixed the likes of !!!, The Presets, Dragonette, and Electric Six. They, themselves, have been remixed by Cut Copy, The Presets, and Wolfmother. “Road to Recovery” is highly melodic and trance-like over a highly danceable disco beat…highly addictive.
“Computer Camp Love” – Datarock
http://www.myspace.com/datarock
Hailing from Norway, Datarock originally released their debut album Datarock Datarock in 2005, but it was re-released this year in North America. The duo’s influences include everything from Talking Heads to the Happy Mondays, but you can definitely hear them channeling early eighties nerd-rock band, Devo in their track “Computer Camp Love.” Inspired by watching 1984’s Revenge of the Nerds, they recorded the catchy tune. When they mention Commodore 64, I had an immediate flashback to second grade (the first computer I encountered), writing cutesy programs in Basic. Datarock has also been lumped into the new rave genre, thanks to Britain’s NME magazine.
“Young Folks” – Peter Bjorn & John
http://www.myspace.com/peterbjornandjohn
The Swedes have always been the tastemakers for the Western World throughout the years. I mean, let’s examine for just a moment, shall we? Abba. Cheap Monday jeans. Gay marriage. Ikea. The Sounds. The Knife…and finally, this year’s latest export, Peter Bjorn & John. The band originally formed in 1999, but it wasn’t until the track, “Young Folks,” with its irresistibly catchy whistling intro first caught the attention of North American indie kids early last year. Since then, the song’s popularity has grown exponentially, and is now commonplace on mainstream radio.
“Nestle In My Boobies” – The Coathangers
http://www.myspace.com/fuckthecoathangers
Words cannot describe how much I love these lovely and talented ladies. Tearing up my hometown of Atlanta, and reeking havoc across the rest of the country, The Coathangers are no sweet girl band. They sing about everything from “shutting the fuck up” to “not touching their shit.” I mean, any band that names themselves after something as horrific as a pre-legal abortion instrument, is bound to have something to say…and these ladies say it…LOUDLY. “Nestle in My Boobies” has an addictive quality (maybe it’s something to do with the extremely catchy lyrical content) that makes you want to replay the song over and over. From the city that gave you The Black Lips, Snowden, and The Hiss, The Coathangers promise to make their mark on the international indie scene.
“The Bomb” – New Young Pony Club
http://www.myspace.com/newyoungponyclub
Perhaps my favorite band over the past year would undoubtedly be New Young Pony Club. Ever since I first heard the sexy track “Ice Cream” last fall, I knew the London-based band would climb to new levels of success. “Ice Cream,” as well as “Get Lucky” were both originally released in 2006, but their most recent single, “The Bomb” was released a few months shy of their full-length debut, Fantastic Playroom, last July. NYPC’s sound is probably most deserving of the term “new rave,” since they combine punk/new wave aesthetics to dancey synths, but they refute the tag. If you could combine the punkiness of girl fronted band, Elastica with the playful dancey-ness of Missing Persons, NYPC would fall somewhere in the middle.
“Lovers Who Uncover” – The Little Ones (Crystal Castles Vs. The Little Ones Remix)
http://www.myspace.com/wearethelittleones
Times are good for LA-based band, The Little Ones. Their harmonic sixties sound has been compared to the likes of The Kinks, The Zombies, and The Beach Boys. They’ve toured with fellow successful indie acts like CSS, Tilly and the Wall, and Kaiser Chiefs. Their single, “Lovers Who Uncover” is an infectious track by itself. However, when Toronto-based duo, Crystal Castles lends their fantastic remixing ability, it becomes a dance floor hit in indie dance clubs the world over.
“First Class Plane” – Rock&Roll
http://www.myspace.com/thenameofthebandisrockandroll
The year in music definitely belongs to Paris. Francophiles all over the world will delight in the emergence of multiple French bands over the past year infiltrating indie dance music. The ironically named Rock&Roll is one such band. Since their 2006 EP release First Class Plane (the cover was designed by Karl Lagerfeld), Rock&Roll continues their momentum towards mainstream success. The title-track is a guitar-laden masterpiece reminiscent of good, old-fashioned seventies rock. Like their Aussie counterparts, Wolfmother, Rock&Roll let’s you know that rock ‘n roll is still alive and well. Be on the lookout for Rock&Roll as models for Roberto Cavalli’s spring-summer 2008 campaign.
“It’s Getting Boring By the Sea” – Blood Red Shoes
http://www.myspace.com/bloodredshoes
Brighton, England is a fantastic city. With all the cultural amenities of its northern neighbor capital city, but with the advantage of the fresh sea air, Brighton is sort of like a London on the beach. Blood Red Shoes just so happen to be from this vibrant little town. However, they think it’s getting boring…so much so, that they wrote a song about it. “It’s Getting Boring By the Sea” is a guitar-heavy track evoking the spirit of ‘90s alt-rock as they croon on not being able to “escape anything in this town.”
“Never Even Told Me Her Name” – Air Traffic
http://www.myspace.com/airtraffic
Piano rock never seems to go out of style. Ask Billy Joel. Ask Elton John. Ask Ben Folds Five. It has an immediate soothing effect you just can’t seem to put into words. Brit band, Air Traffic is the latest installment of the never-dying genre that takes its name from practicing next to a runway and picking up air traffic control signals on their amplifiers. “Never Even Told Me Her Name” is a delightful little ditty that makes you want to scream the lyrics while watching them perform in a dumpy little dive bar.
“D.A.N.C.E.” – Justice
http://www.myspace.com/etjusticepourtous
Destined to be the number one indie dance track of the year, “D.A.N.C.E.” has single-handedly dominated indie dance charts for the better part of 2007. Not bad for French electro house duo, Justice, who are on their way to becoming a household name. Paying homage to Michael Jackson, “D.A.N.C.E.” references “P.Y.T. (Pretty Young Thing),” as well as “ABC.” Together with other catchy singles like “DVNO” and “Tthhee Ppaarrttyy” (featuring Uffie), their 2007 full-length, †, promises to springboard them to mainstream success. Last year, the video for their single “We Are Your Friends” (with Simian) landed them Best Video at the 2006 MTV Europe Music Awards (the thank you speech was famously interrupted by self-righteous rapper Kanye West, who felt he should’ve won the award). “D.A.N.C.E.” was nominated as Video or the Year at the 2007 Video Music Awards, but lost to Rihanna (featuring Jay-Z).
“Myth Takes” - !!!
http://www.myspace.com/chkchkchk
Being one of the purveyors of the dance-punk revival, !!! have made their mark on indie music throughout the decade, especially with 2004’s Louden Up Now, which made them popular with EMO kids across the globe. Their 2007 release, Myth Takes, shows a more sophisticated, intelligent, and mature !!!. The title-track hasn’t been released as a single yet (at least, not to my knowledge), but it is such a great track, I had to include it on the list. There is a definite Johnny Cash quality to the track (the monotone vocals, and the dark new wave-style instrumentation with a slight country tinge). It’s no wonder since Myth Takes was recorded in Nashville. With links to The Juan Maclean and Out Hud, !!! continues to evolve with the changing times, exciting their fans with what’s next.
“I Believe” – Simian Mobile Disco
http://www.myspace.com/simianmobiledisco
Born out of the remnants of Simian in 2005, Brit boys James Ford and James Shaw are the mastermind producer/remixer duo behind Simian Mobile Disco. Though they’ve released several low-profile singles of their own, they are arguably more noted for their acclaimed remixes for artists like Air, The GO! Team, CSS, The Presets, and Klaxons. However, with the success of last year’s “Hustler,” they’ve gained more recognition as artists in their own right. “I Believe” has helped their 2007 full-length debut, Attack Decay Sustain Release achieve international success.
“À Cause des Garçons” – Yelle
http://www.myspace.com/loveyelle
The past two years have been a whirlwind of success for this Parisian solo artist. Yelle’s popularity first rose on Myspace.com when her track “Short Dick Cuizi” (poking fun at Cuizinier of French hip-hop outfit, TTC) began receiving rapid airplay. The finalized version, “Je Veux Te Voir” has been played continuously in Parisian clubs (and clubs around the world). “À Cause des Garçons” is a bit more intelligent and mature than her previous single, but has all the same qualities that make you want to shake that rump. Both singles can be found on her 2007 release, Pop-Up.
“O-hot Brain” – One-Two
www.myspace.com/powerpopuptothetop
2007 seems to be the year of the dance-your-ass-off-powerpop-electro-producer-remixer-ruler-of-the-indie-dance-universe DUO (for example: MSTRKRFT, The Black Ghosts, Simian Mobile Disco, Datarock, Justice, Crystal Castles, Digitalism, The Presets, etc., etc.). To add to the madness is French duo One-Two. However, what sets them apart from the rest of the pack is their ‘60s pop songwriting style combined with electro-funk beats. Their production follows the likes of Phoenix, Zoot Woman, and Air. “O-hot Brain” is a delightful little pop ditty with vocals echoing Talking Heads frontman, David Byrne.
“Cold Hands” – Black Lips
http://www.myspace.com/theblacklips
On the heels of my last blog post, I think the media has already come up with a name for the recent wave of Brit invasion bands over the past year. Thanks to our pals at NME, we now have a music genre collectively known as new rave (or nu rave). However, you'd be hard pressed to find any of the musical elements in the orignal rave scene present in this genre. Indeed, new rave basically combines elements of punk and disco, and seems to rely on a synthesizer as a tie-in. In fact, one should really be calling the genre new new wave. Also, though the movement is largely perceived as a British phenomenon, new rave can be applied to any indie band with an electronic influence.
Unwillingly at the forefront of this movement is the British band Klaxons, who have described new rave as "a joke that's gotten out of hand" and that "the whole idea of [talking about] new rave was to take the piss out of the media by making them talk about something that didn't exist, just for our own amusement." Later, they announced regret for 'creating' the term, and that they view the genre with approval. Bands around the globe generally associated with the new rave phenomenon include Hot Chip, Cansei de Ser Sexy (CSS), New Young Pony Club, Holy Hail, Shitdisco, Datarock, etc. The genre is most closely related to the dance-punk movement in the US.
The fashions associated with the new rave movement closely resemble street fashions of the mid to late '80s including neon, flourescent, and day glow colors, super skinny jeans, multi-colored sneakers, fanny packs, etc. In fact the only thing that seems to resemble the original rave scene is the collective interest in psychedelic visual effects, glow sticks, happy faces, etc. found in their favorite new rave parties. Of course, all of this has come with a backlash from the original rave scene, as well as the current incarnation of the breakbeat and hardcore cultures. In fact, NME shot itself in the foot by calling traditional ravers "twats with baggy trousers," instigating a rivalry between the two subcultures.
Personally, if everything I've discussed above is what we are defining as new rave, then spritely Sri Lankan MIA would've been the pioneer. We'll see how long this current trend lasts. If it's anything like electroclash, we could already be nearing the end.
