6 posts tagged “indie rock”

 

“I’m Good, I’m Gone” – Lykke Li

www.myspace.com/lykkeli

 

 

 

 

 

 

 

 

“Courtship Dating” – Crystal Castles

 

 

 

 

 

 

“Paris is Burning” – Ladyhawke

 

“Blind” – Hercules & Love Affair (featuring Antony Hegarty)

 

 

 

 

 

“Shut Up and Let Me Go” – The Ting Tings

www.myspace.com/thelongblondes

 

The Long Blondes

Sadly, as I write this year in review, The Long Blondes have officially broken up (as of October 20th), with five years of fantastic music behind them.  The Sheffield, UK band was most revered for their distinctive sound, which was reminiscent of '60s garage rock and late '70s mod revivalist and post-punk/new wave.  "Guilt" was released last summer from their second studio album, Couples, produced by famed electro DJ and producer/remixer, Erol Alkan.  The ballad shows their softer side, with melodic vocals, smooth riffs, and light electronica. 

   

 

 

 

 

 

“Lights & Music” - Cut Copy     

 

 

 

 

“L.E.S. Artistes” – Santogold

www.myspace.com/santogold

 

 

 

“I Will Possess Your Heart" – Death Cab for Cutie

 

 

 

 

 

 

 

 

 

“If You Wanna Be A Star” – Walter Meego

 

 

 

 

 

 

 

 

 

 

“Fire” – The Whip

 

 

 

 

 

 

 

“Skeleton Tiger” – Tame Impala

 

Calvin Harris

 

The Scottish singer/songwriter/producer/remixer is truly a jack-of-all-trades.  He scored a nominal hit last year with “Acceptable in the ‘80s,” poking fun at the fashion and pop culture of the period.  The video is a parody of many early ‘80s new wave videos, which were often dreamlike and nonsensical (since video was a new medium for music at the time, it allowed for much more creative freedom).  The 24-year-old is also known for his producing talents [Róisín Murphy, Kylie Minogue, Sophie Ellis-Bextor, and the highly entertaining “Michael Jackson” by The Mitchell Brothers (you should YouTube the video immediately!)].  He lends his clever remixing abilities to tracks by The Ting Tings, CSS, and Jamiroquai.  Keep on the lookout for Mr. Harris this year.

 

 

Walter Meego

 

The synth-pop musical duo from The Windy City met back in 1999 and shared similar musical aesthetics.  The band takes its name from vocalist Justin Sconza (who is HOT as Hell, by the way), when he asked his counterpart (instrumentalist Colin Yarck) to call him “Walter,” which was short for his new alter ego, Walter Meego.  The group’s musical style has been described of elements of dance, funk, and post-punk, and they’ve been compared to the likes of New Order, Daft Punk, and Radiohead.  Their upcoming full-length, Voyager, showcases a wide range of ability, and features the track, “Wanna Be a Star.”  Walter Meego is probably some of the most intelligent electropop goodness in the past six years.  Keep them on your radar.

 

 

MGMT

 

Perhaps my favorite new musical act of the year thus far would undoubtedly be MGMT.  The artsy bohemian duo from Brooklyn has produced some of the most innovative sounds I’ve heard this decade yet.  Combining elements of garage rock, glam (think Bowie-esque and T.Rex crooning vocals), and a bit of ‘80s synths, and you’ll have a magical combination of rock that transcends time.  They’ve already produced a string of catchy singles from the recently released Oracular Spectacular including the mesmerizing “Time to Pretend,” the soulful “Electric Feel,” and the synth-driven “Kids.”  I know it’s only April, but I’m almost ready to hand the Best Album of the Year Award to MGMT.  Check them out.

 

 

Foals

 

Last year, Klaxons were touted as the band to watch by NME, as the cheeky Brit mag proclaimed them the purveyors of the new rave movement.  This year, NME has crowned a new band as their lovelies du jour.  Foals hail from Oxford, England (which is more than just a University.  Oxford is a cool little city…like a miniature London, if you will.  I have an undying love for it that hasn’t faded since I studied there for a term ten years ago).  Foals provide a clever combination of math rock and dance-punk that creates a captivating sound.  Their debut album, Anitdotes, was just released a few weeks ago in the UK, and has already shot to number three.  The album’s US release is slated for today.  The band caught my attention with their single, “Mathletics” a few months back, and it hasn’t left my “most played” iPod list yet!

 

 

Black Kids

 

Black Kids have enjoyed a whirlwind of success in just six short months.  Back in August, they performed for Athens Popfest (Athens, GA), and the festival catapulted them to online fame, as indie music bloggers talked about them non-stop.  As a result, they received coverage in The Guardian, Vice, NME, and The Village Voice.  They also released an EP titled, The Wizard of Ahhhs that same month, which earned them a stellar review from Pitchfork Media (and contained an outstanding single called “Hurricane Jane”).  Since then, they’ve signed a deal with Quest Management (Björk, Arcade Fire), and have received exposure in The New York Times and USA Today.  Rolling Stone named them one of the ten best new bands of 2008.  Their first official single since signing with Almost Gold Recording was released yesterday and is a newly recorded version of “I’m not Gonna Teach Your Boyfriend How to Dance with You.”  Look for their debut full-length (TBA) to drop in July.

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

 

The self-touted flower punk band from Atlanta has been through some good times and bad times over the years, but their most recent release, Good Bad Not Evil (released September 11, 2007) has already received mass critical acclaim.  The band received national attention last year when both Spin and Rolling Stone magazines featured them.  They also played Conan O’Brien this past October.  Other musical bands to which they’ve been linked include Deerhunter, The Gaye Blades, The Kiwis and The Spooks.  “Cold Hands” is reminiscent of DIY California-based punk band Descendants with its choppy lyrics and guitar-heavy melody.  The Black Lips are also set to star in a film called Let It Be (production begins in 2008) as fictitious ‘80s band, The Renegades.

As I said in my previous blog post, certain time periods in my life are characterized by the music I listen to.  In other words, I have a personal soundtrack tied to many of my memories.  The 2000’s are my decade of independence…  I graduated college in 1999, so the turn of the millennium began a whole new chapter in my life.  Some of the best times, and, indeed, some of the absolute worst times have been over the past seven years.  At the beginning of the decade, my musical taste was quite varied, but I enjoyed downtempo, deep house, jungle, and indie rock.  By the time late 2002 came along, a musical renaissance was blossoming in Williamsburg, Brooklyn, which paved the way for indie rock’s resurgence and its redefined sound in the mid-late ‘00s.   The movement was coined “electroclash” and touted the early eighties’ most prized musical instrument, the synthesizer.  Most electroclash was inspired by ‘80s new wave and synthpop, so fashion directly reflected the time period.  As a result, we still have tinges of ‘80s revival in fashion and mainstream music thanks to electroclash.  Below are some of my favorite tracks of the decade thus far.  Again, I’ve linked them to YouTube videos where available.  Enjoy!

 

2000

“Trouble” – Coldplay

“Bohemian Like You” – The Dandy Warhols

“Be Yourself” – Morcheeba

“Everything in its Right Place” – Radiohead

“Like A Feather” – Nikka Costa

“Shadows of Ourselves” – Thievery Corporation

“Never Gonna Come Back Down” – BT

“Messenger” – Aerial (now Aerial2012)

“Playgirl” – Ladytron

“Fuck the Pain Away” – Peaches

“You’re My Disco” – Waldorf

"Always" - Lisa Shaw (Restless Soul Peaktime Mix) guilty pleasure house track

"True Love" - Aquanote (Original Mix) guilty pleasure house track 

 

2001

“Tomorrow Comes Today” – Gorillaz

“Don’t Panic” – Coldplay

“Elegant, Intricate” – pH Balance

“Sei Tu” – The Dining Rooms

“(Come Potrei) Scordare” – Bertrand Burgalat

“Sippin’ 40z” – Gravy Train!!!!

“Frank Sinatra” – Miss Kittin

“Love Burns” – Black Rebel Motorcycle Club

"Family Affair" - Mary J. Blige guilty pleasure Top 40 track

 

2002

“Destiny” – Zero 7

"Get Free" - The Vines

“Remind Me” – Röyksopp (featuring Erlend Øye)

“In the Waiting Line” – Zero 7

“Fell in Love with a Girl” – The White Stripes

“Politik” – Coldplay

“Agenda Suicide” – The Faint

“Madame Hollywood (Mr. Hollywood Version)” – Tiga

“All Around the World (Punk Debutante)” – Cooler Kids

“Do I Look Like A Slut?” – Avenue D

“Replicunt” – Dirty Sanchez

“House of Jealous Lovers” – The Rapture

 

2003

“Seven Nation Army” – The White Stripes

“Sweetness” – Fischerspooner

“Kick in the Shin” – Adult.

“Strict Machine” – Goldfrapp

“Seventeen” – Ladytron

“Asymmetric” – Dirty Sanchez

“Bike Thief” – Freezepop

“Mine for Life” – The Sounds

“No, Not Now” – Hot Hot Heat

“Bandages” – Hot Hot Heat

“Talk to Me, Dance With Me” – Hot Hot Heat

“Such Great Heights” – The Postal Service

“Clark Gable” – The Postal Service

“Move Your Feet” – Junior Senior

"Movin' On" - Miguel Migs (Vocal Mix) guilty pleasure house track

 

2004

“No Expectations” – I Am the World Trade Center

“Between Us and Them” – Moving Units

“Emancipation” – Moving Units

“This Is How We Do” – Mount Sims

“Hello, Is This Thing On?” – !!!

“Girl and the Sea” – The Presets

“Desperate Guys” – The Faint

“Michael” – Franz Ferdinand

“Dead Disco” – Metric

“Combat Baby” – Metric

“Party Crashers” – Radio 4

“Misfit” – Elefant

“Night on Fire” – VHS or Beta

“You Got Me” – VHS or Beta

“Everything Is Everything” – Phoenix

“Run, Run, Run” – Phoenix

"Turn It Up" - Robots In Disguise

"Lola's Theme" - Shapeshifters guilty pleasure house track

"L.S.F. (Lost Souls Forever)" - Kasabian

"Flawless (Go to the City)" - George Michael guilty pleasure Top 40 track 

 

2005

“Everyday I Love You Less and Less” – Kaiser Chiefs

“I Burn for You” – Paradise Boys

“Neighborhood #3 (Power Out)” - The Arcade Fire

“Skin of My Yellow Country Teeth” – Clap Your Hands Say Yeah!

“Romantic Rights” – Death from Above 1979

“Walking with a Ghost” – Tegan and Sara

“Dare” – Gorillaz

“Grass” – Animal Collective

“Disco Sheets” – Wolf Parade

“Tribulations” – LCD Soundsytem

“Red Light” – The Dead 60s

“Bucky Done Gun” – M.I.A.

“Random” – Lady Sovereign

 

2006

See blog post titled, “2006: The Year in Music” for complete list.

 

“Are You the One?” – The Presets

“Burning” – The Whitest Boy Alive

“Lloyd, I’m Ready to Be Heartbroken” – Camera Obscura

“Ice Cream” – New Young Pony Club

"Free Stress Test" - Professor Murder

"JeVeux te Voir" - Yelle  

"Dirty Party" - Juan Trip'

 "Photobooth" - Friendly Fires

"Jump (Radio Edit)" - Madonna guilty pleasure Top 40 track

 

2007

See blog post titled, "2007:  The Year in Music" for complete list.

 

“Pieces of People We Love” – The Rapture 

"Born of a Star" - Holy Hail

"Saturdays" - Cut Copy

"Fancy Footwork" - Chromeo

"Hey Scenesters!" - The Cribs

"Broken English" - Scratch Massive

"Don't You Evah" - Spoon

"Pogo" - Digitalism

"La Musique" - Riot in Belgium

"Like Bullets" - Snowden

"Homecoming" - The Teenagers

"LaLaLa" - Nouvelle Vague (featuring Julie Delpy)

"Sorry" - Kaskade (Dirty South Mix) guilty pleasure house track

 

2008

"Time to Pretend" - MGMT

"Kids" - MGMT

"Electric Feel" - MGMT

"Tomorrowland" - Walter Meego

"More Than I Can Say" - Walter Meego

"Mathletics": - Foals

"Hurricane Jane" - The Black Kids

"Disco Heat" - Calvin Harris

"You Belong" - Hercules & Love Affair

"Summer" - Shy Child

"Great DJ" - The Ting Tings

"American Boy" - Estelle (featuring Kanye West) guilty pleasure Top 40 track

Yeah, so, anyone who knows me knows that music is a HUGE part of my life.  In fact, my life is divided up into music segments.  From birth to around 5 years of age (1975-1980), my earliest music memories mostly consist of disco, ‘70s Top 40, and classic rock (especially Elton John, The Beatles, The Eagles, Gerry Rafferty, etc.).  The ‘80s are probably my most influential music decade since it covers my early childhood to my pre-teen years.  To write a blog about the ‘80s would take twice as long to write because there are so many tracks in so many genres that are still my favorites to this day.  However, what I really want to share are some of my favorite tracks from the ‘90s (my high school and college years). 

 

In September 1990, I began high school and was immediately introduced to a “new wave” of music.  At a time when Baby Face, Vanilla Ice, Lisa Stansfield, Color Me Badd, MC Hammer, etc. ruled Top 40, the ‘80s backlash against pegged jeans, Z. Cavaricci’s, and teased bangs began.  It was then that I discovered there were other “alternatives” to the horrific mess of mainstream music and fashion.  The hipsters of 1990 dressed in a late ‘60s psychedelic style, thick headbands (think Lady Miss Kier in the “Groove is in the Heart” video), baggier bohemian-styled jeans (un-pegged), Chinese slippers, Doc Martens (before they became “cool”), flat hair, etc.  It was in 1990 that I discovered my first college radio station, WRAS 88.5 Atlanta – Album 88 (Georgia State University).  By late 1992, local Top 40 station WNNX 99,7 Atlanta – Power 99 changed formats to 99X, an “alternative” radio station.  In 99X’s infancy, it was a great station.  It provided an excellent mix of old and new.  However, as the latest incarnation of youth subculture was branded and sold to the masses, Alternative became commercial, and the rest is history.

 

All of that being said, below are some of my favorite tracks that transformed the era of decadence and greed into the era of slacker apathy.  Synthesized, sugary pop was replaced with a more grassroots sounding guitar rock.  In the early part of the decade, I was heavily into indie rock, but as grunge took over, I moved more towards Britpop and mod.  By mid-decade, I was more interested in the fusion of electronica and rock.  Finally, by the end of the decade, I had moved towards electronica completely (downtempo, jungle/drum ‘n bass, and house).

 

Wherever possible, I’ve hyperlinked the tracks to videos on YouTube.  However, being that videos are constantly both posted and removed, I can’t guarantee the video will still be linked.  If it has been removed, simply re-type the song in YouTube’s search box, and an updated version will probably be posted.

 

Enjoy!

 

1990

“Policy of Truth” – Depeche Mode

“Hippy Chick” – SoHo

“Never Enough” – The Cure

“Serious” – Duran Duran

“What is Love?” – Deee-Lite

“Down In It” – Nine Inch Nails            

“Cuts You Up” – Peter Murphy

“Candy” – Iggy Pop (featuring Kate Pierson of The B-52’s)

“Been Caught Stealing” – Jane’s Addiction

“Here’s Where the Story Ends” – The Sundays

“Unbelievable” – EMF

 

1991

“Kill Your Television” – Ned’s Atomic Dustbin

“Grey Cell Green” – Ned’s Atomic Dustbin

“Suicide Blonde” – INXS

“Give It Away” – Red Hot Chili Peppers

“No Other Way” – Blur

“Radiosong” – R.E.M.

“Jesus Built My Hotrod” – Ministry

 “Crucify” – Tori Amos

“Silent All These Years” – Tori Amos

“The Wagon” – Dinosaur Jr.

“Siva” – Smashing Pumpkins

“Monster” – Fred Schneider & The Shake Society

"It Ain't Over 'til It's Over" - Lenny Kravitz 

 

1992

“Tomorrow” – Morrissey

“Pretend that We’re Dead” – L7

“I Don’t Care” – Shakespear’s Sister

“Wild Horses” – The Sundays

“High” – The Cure

“Detachable Penis” – King Missile

“These Are the Days” – 10,000 Maniacs

“Welcome to Paradise” – Green Day

“Popscene” – Blur

“Good Stuff” – The B-52’s

 

1993

“My Sister” – Juliana Hatfield Three

"Get Off This" - Cracker

“Push th’ Little Daisies” – Ween

“Ordinary World” – Duran Duran 

“No Rain” - Blind Melon

“Labour of Love” – Frente!

“Pets” – Porno for Pyros

“Human Behavior” – Bjork

“For Tomorrow” – Blur

“Chemical World” – Blur

"Kite" - Nick Heyward 

 

1994

“Fade Into You” – Mazzy Star

“Blackhole Sun” – Soundgarden

“Girls and Boys” – Blur

“Backwater” – Meat Puppets

“Rocket” – Smashing Pumpkins

“Closer” – Nine Inch Nails

“God” – Tori Amos

“Cornflake Girl” – Tori Amos

“Here and Now” – Letters to Cleo

“Ordinary Angels” – Frente!

“Dolphin” – Shed Seven

“Supersonic” - Oasis

“Change in the Weather” – Love Spit Love

“Sour Times” – Portishead

 

1995

“Friends of P” – The Rentals

“I Kissed a Girl” – Jill Sobule

“Plowed” – Sponge

“Natural One” – Folk Implosion

“I Gotta Girl” – Tripping Daisy

“What’s the Story (Morning Glory)?” – Oasis

“Wonderwall” – Oasis

“Connection” – Elastica

“Car Song” – Elastica

“Stutter” – Elastica

“Last Goodbye” – Jeff Buckley

“Galaxie” – Blind Melon

“Army of Me” – Bjork

“Queer” – Garbage

“Bullet with Butterfly Wings” – Smashing Pumpkins 

“Disco 2000” – Pulp

“Just (Do it to Yourself)” – Radiohead

“Here (Squirmel Mix)" – Luscious Jackson

"So Low" - Self

 

1996

“Stereotypes” – Blur

“Tattva” – Kula Shaker

“In the Meantime” – Spacehog

“Big Bang Baby” – Stone Temple Pilots

“Only Happy When it Rains” – Garbage

“Stupid Girl” – Garbage

“Zero” – Smashing Pumpkins

“Ready to Go” – Republica

“Firestarter” – The Prodigy

“Christiansands” – Tricky

“Born Slippy” – Underworld

“Life in Mono” – Mono

“Roll On” – Sneaker Pimps

“Setting Sun” – The Chemical Brothers (featuring Noel Gallagher)

“Excuse Me Mr.” – No Doubt

“Naked Eye” – Luscious Jackson

 

1997

“Spin Spin Sugar” – Sneaker Pimps

“Pearl’s Girl” – Underworld

“Sick to Death” – Atari Teenage Riot

“Smack My Bitch Up” – The Prodigy

“Bittersweet Symphony” – The Verve

“Not if You Were the Last Junkie on Earth” – The Dandy Warhols

“Cosmic Girl” – Jamiroquai

“Alright” – Jamiroquai

“Paranoid Android” – Radiohead

 

1998

“Drowning” – Cleveland Lounge (Dave’s Drum & Space Mix)

“I Think I’m Paranoid” – Garbage

“Stitches” – Orgy

“Intergalactic” – Beastie Boys

“Lucky Man” – The Verve

“Everyday Should Be A Holiday” – The Dandy Warhols

“April Fools” – Rufus Wainwright

"Sweeter Love" - Blue Six 

 

1999

“Opium Dreams” – The Controls

“Soothing” – pH Balance

“Canned Heat” – Jamiroquai

“Coffee & TV” – Blur

“No Distance Left to Run” – Blur

“Somebody Has to Pay” – Susie Van Der Meer

“Push Upstairs” – Underworld

“King of Snake” – Underworld

"Feel Up" - Spook (featuring Roisin Murphy - Original Groove Mix)

“Deceptacon” – Le Tigre

February 2000.  I turned 25.  I immediately thought of “Disco 2000” by Pulp and the lyrics, “let’s all meet up in the year 2000, won’t it be strange when we’re all fully grown?”  I looked toward a new decade with new trends with so much enthusiasm and excitement.  At the time, I was very much engulfed with two very different music scenes…  One genre was electronica (particularly jungle/drum ‘n bass, downtempo/lounge, as well as deep house), the other was Britpop.  I’d become extremely disenchanted with the Alt-rock scene in the late ‘90s since it had become so saturated, so commercial, and so contrived.  It lost the innovative edge and creativity it had in the late ‘80s and early ‘90s.  I was also extremely tired of the ‘70s fashion revival that I’d been so excited about as a high school sophomore (1991).  Having the sensibility to know how fashion recycles itself.  I knew it wasn’t going to be long before ‘80s trends were back.

 

A year later, my prediction came true.  I was subscribed to Wallpaper* magazine at the time, and I received the launch issue for Wallpaper’s new fashion magazine, Spruce.  I was ecstatic when I received it.  As I flipped through the issue (which was geared for Autumn/Winter 2001), I spotted the first ‘80s trends…pointed toe shoes, and fluorescent colors.  Earthtones were done.  Baggier, shinier tops for women started to appear…  Of course, these looks were borrowed from the late ‘70s/ early ‘80s disco and new wave periods.  Knowing what I know about new wave, I thought I’d start incorporating some recycled looks into my wardrobe.  I bought a fantastic long-sleeved fitted black and white striped boatneck tee from Sisley (I still wear it today).  It was my featured outfit (with a pair of dark denim jeans) when I took a trip to New York over Labor Day 2001 to visit an ex.  I can still remember my ex’s boyfriend asking me why I had two black belts on.  Ugh…  Some people just don’t get it. 

 

Speaking of New York, a new subculture had emerged by the time I took my trip which was centered within the new music genre electro, which overtly mirrored ‘80s synthpop.  Famed DJ/producer Larry Tee was organizing the Electroclash Festival, which showcased the emerging artists of the time...Chicks on Speed, Adult., Peaches, and Fischerspooner.  Though the event was not a huge success, it spawned a tremendously successful night throughout 2002 called Berliniamsburg (named after a rumor that Dior

 Homme’s Hedi Slimane proclaimed Williamsburg as the new Berlin) at Club Luxx in Williamsburg.  The night was started by Larry Tee, Conrad Ventur (the creator of New York’s current wildly successful underground publication, USELESS

 magazine), and Spencer Product.  The night was hosted by It-tranny Sophia Lamar, andfeatured a slew of weekly guests including 2 Many DJs, the first few Scissor Sisters, LCD Soundsystem’s James Murphy, the foxy girl group WIT, Avenue D, My Robot Friend, etc.  The night made electroclash household name, and it wasn’t long before teens across the country were gobbling it up…  But then…

 Just as quickly as it began, electroclash sank back into underground obscurity.

 

 

Back home in Atlanta, by 2003 the deep house scene (which dominated the larger nightclubs in the late ‘90s, and early ‘00s) was in decline.  Meanwhile, a younger generation popularized the burgeoning indie rock scene, which, in the early part of the decade, incorporated elements of electro and dance-punk (Hot Hot Heat, The Faint, Ladytron, and Le Tigre were popular bands at the time).  All of the sudden, the strained and waning ‘80s Night at Masquerade began to enjoy a resurgence in popularity.  We were on the precipice

 of an indie rock renaissance, and at the helm was local DJ/promoter Preston Craig.  In 2003, Preston started the KISS rock parties at the now extinct Echo Lounge with a 50-person turnout…  He later moved the party to Lenny’s where the crowd grew exponentially, until it was too large to accommodate in the small dive bar.  From there, the party reconvened at Masquerade until mid 2004, when Preston conceived of an entire concept, venue, and name change.  It was at an unlikely and unheard of bar called Azul located in an unlikely part of town (Decatur, a few miles east of Atlanta) where Preston named Friday nights Decatur Social Club.  The new Friday night began with a rocky start, but built quite a bit of momentum in 2005 where the venue now enjoys packed out nights every Friday with indie hipsters from across the city.

 

 

When the KISS rock parties left Lenny’s, a new night was born on Fridays called the Trashed Dance Party.  The new Fridays flourished with a slightly older crowd of more laid-back and music savvy hipsters compared to the younger, flashier, “see and be seen” crowd at Decatur Social Club.  The night has gone through a few different residents over the past two years, and it was this time last year when my friend Lindsey Crowell and I decided that anyone can be a DJ these days and we knew our music collections were superb.  We hit up our friend Bean (manager and booking agent for Lenny’s) and said we wanted to DJ.  He said yes immediately.  We debuted Friday night after Thanksgiving as DJ’s Haute & Couture with only a ten-minute lesson on the CD mixer.  We wanted to be kitchy by being over-the-top-ridiculous in terms of fashion (suggesting that fashion was more important than the music). We wanted to be ironic.  We wanted to be sarcastic.  We wanted our sets to be dang good.  We achieved all of those.  The rest, as they say, is history.  The night packs out as a haven for dancers who love everything from ‘60s mod and Motown, to ‘70s funk, glam, punk, and disco, to ‘80s new wave, to ‘90s Britpop, to current indie dance tracks.  A person from any subculture will hear something they like.

 

As the indie rock scene has built momentum over the past few years, fashion has been most definitely influenced.  Skinny jeans were something we made fun of in the ‘90s as being a “dated” ‘80s look.  However, the first reappearances I noticed were in the early ‘00s by the hardcore EMO kids in the gutters of Little Five Points.  I knew the trend would probably go mainstream in a few years.  Sure enough, you can go to any Old Navy or Express and pick up a pair for roughly $30.  Another fashion trend for guys is the moppy or shaggy hairdo (or…er…for some, hair “don’t”) inspired by ‘60s and ‘70s long, disheveled tresses.  Thanks to American Apparel, we now have the HORRIFIC early ‘80s workout trends…complete with headbands, extremely short running shorts, and extremely long tube socks.  Oh, and let’s not forget the contest to see how trashy you can be by how low the “v” in your deep v-neck can go.  Loves it.

 

Needless to say, both fashion and music have come to a point where they are borrowing the highlights of the past four decades…In fact, indie rock itself is fracturing into different sub-genres:

 

• Baroque Pop – (Sufjan Stevens, The Decemberists)
• New Weird America – (Devendra Banhart, Joanna Newsom, Animal Collective)
• Dance-punk – (!!!, The Rapture, Out Hud, Liars, DFA1979)
• Garage rock revival – (Eagles of Death Metal, The Von Bondies)
• Nu-gaze – (Sigur Rós, M83)
• Indietronic – (The Notwist, Lali Puna, Kasabian, MSTRKRFT)
• Twee Pop – (Architecture in Helsinki, Camera Obscura)

 

Elements of ‘60s psychedelia, ‘70s glam and punk, ‘80s new wave and synth, and ‘90s garage rock can be found in most indie rock acts at the moment.  An example of such a melding can be found at the pulsating

New York nightclub Don Hill’s where The infamous MisShapes dance party takes place every Saturday night.  MisShapes are a DJ triumvirate whose fashion sensibility, media savviness, good looks, and (oh yeah) music selection have made them the most talked about party in New York for the past two years.  Leigh Lezark even appears on the cover of The Sounds sophomore album with MisShapes regular and New York It-girl, Alexis.  Madonna, Ashlee Simpson, Kelis, and Axl Rose, are just a few celebrities who’ve graced

MisShapes with their presence.  They’ve been courted by designers all over New York to DJ their parties during fashion week.  Dance parties in cities across the country are modeling their night

after MisShapes.  AGGGH!  MisShapes, MisShapes, MisShapes!!  AAAGGGHH, MAKE IT STOP!

 

All in all, as we move into the final third of the decade, and I inch closer to 32…OH, GOOD GOD…I begin to wonder what this decade is even called…  Is it the “two-thousands,” or “The ‘00s”…or how about the “1’s?”  Seriously!  What is this age?  What’s next?  Where are we all going?  What are we all doing??? 

 

The End.