It’s impossible to keep up with the countless tributes made to honor the late King of Pop, but here are a two that really caught my ear. I first spotted James Morrison’s cover of MJ’s classic (and one of my favorite songs altogether) “Man In The Mirror” on Perez Hilton, natch. James Morrison’s voice is a blessing, but not even his sweet vocals do “Man In The Mirror” justice. Honestly, this is the kind of song that just can’t be done any other way but Michael Jackson’s way.
Listen to James Morrison’s rendition of “Man In The Mirror” here. [click to continue…]
French DJ/producer Martin Solveig hooked up with Dragonette front-woman Martina for this sexy little cut accompanied by this sexy little video. Apparently, this whole collaboration was green-lit under the direction of haute couture designer Jean Paul Gaultier (you may have heard of Hermès). This video, shot like an old school musical — I definitely see some West Side Story — was even made out of the Gaultier mansion in Paris.
Pretty clothes aside, “Boys & Girls” is self-assured, strutting, high-fructose fun of Galore caliber and is hopefully a marker for Dragonette’s next album. You know I loved “Fixin’ To Thrill” — “Boys & Girls” had big shoes to fill, and it doesn’t disappoint. Download it here [click to continue…]
Miike Snow are six on stage, and they all wear matching shiny black track jackets. One, obstructed by stacked trunks bearing equipment, wears a cowboy hat. Their music is complex and dancy, all synth and keyboard and a thousand unnameable gadgets, a little guitar and drums that sound like a machine. Everything is arranged in a neat arch on Music Hall of Williamsburg’s wide stage, organized in little stations for each member.
Somewhat surprisingly, Miike Snow’s songs are about sadness and depression – songs to walk alone in the rain to, lyrics-wise. Their music is music to get down in the club to, unthinking and unconsidered. The bald man twisting dials on the synth in front of me bobs his head excitedly – “he looks like he belongs DJing in a club,” my friend insists – to lyrics like “don’t forget to cry at your own burial.” The crowd dances more than I had expected them to. Depressing lyrics don’t matter – for Miike Snow, words are an afterthought, something to provide added rhythm, to layer with fuzz and xylophone. They are good words, often, but unnecessary. What matters is music – sound, loud and echoing and varied and ecstatic, regardless of anything else. [click to continue…]
Right off the bat: my favorite part about The West Ryder Pauper Lunatic Asylum (other than it being named after a mental institution) is the eclectic mix of sounds that make the album, while maintaining a consistent overall feel.As I write this I groan at the overuse of the word “eclectic” (at least I didn’t say “epic”), but I feel it rather appropriate in this case.The album flows like a journey from a dark London club to uncharted territories.It’ll make you move, sway and sweat.In other words, there is bound to be at least a song or two that everyone can enjoy on this album. [click to continue…]
“Heartbreaker” is MSTRKRFT’s newest single from their Fist of God album. Featuring vocals by the very talented John Legend, “Heartbreaker” is an instant highlight on the album.
A highlight it may be, but by the song’s end, “Heartbreaker” is still a bit stale and monotonous. This sounds a lot less like a MSTRKRFT single and more like MSTRKRFT’s attempt at remixing John Legend. [click to continue…]
Yesterday news of the passing of the King of Pop came flooding through the newsfeeds. In a world full of people of different colors, languages, ideas, and ideals, we are united in a state of mourning and remembrance of this undeniable icon. Not only was Michael Jackson a pioneer and a legend in music, but a beloved humanitarian that taught the world to come together. United we were in his prime, and united we are now.
In recent years, many of our favorite musicians have paid tribute to the King of Pop with covers. Some covers are more famous than others, and I don’t think I’ve seen Alicia Keys’ rendition of “Human Nature” make the rounds much, so here it is in its orchestral glory. [click to continue…]
In one of the most gorgeous musical moments of 2009, Grizzly Bear left the closeted soncraft that was responsible for “Knife,” and opened up lyrically for the first time. On “Knife,” Ed Droste sings, “I want you to know/When I look in your eyes/With every blow/Comes another lie” only to be followed by a repeating string of “you think it’s alright” and “can you feel the knife?”
“While You Wait For The Others” gave the guys a chance to elaborate: “while you wait for the others/to make it all worthwhile/all your useless pretensions/are weighing on my time/you could beg for forgiveness/as long as you like/or just wait out the evening/and always ask me why/yes you’ll only leave me dry/so ill ask you kindly to make your way” — then hits the gorgeous chorus that makes you forget what this song is really about.
A few days ago on Twitter, I tweeted about the irony that a song made beautiful by encompassing “oohs” and “aahs” and subtle, but empowering instrumentation — is about a breakup. A polite one at that. So now I just have one question — have we just found the best way to break up with someone? Get one of these mixtape flash usb drives and upload “While You Wait For The Others” 10 times. Anywho, listen to the song. [click to continue…]
Michael Jackson. August 29, 1958 – June 25, 2009
The passing of the definitive music legend will always be a sad day in music’s history. Throw on Thriller or HIStory and never forget the great man and great artist that Michael Jackson was.
The opening of Mos Def’s latest album, The Ecstatic, could hardly be more timely.His propensity for Arabic prayers and activist quotes seems particularly apropos given the fact that the album was released just three days before the Iranian election that has sparked protest and uprising.The opening lines of the album – taken from Malcolm X’s 1964 Oxford Union Debate – could be a direct address to Iran:“You’re living at a time of extremism, a time of revolution, a time when there’s got to be a change.People in power have misused it, and now there has to be a change and a better world has to be built and the only way it’s going to be built is with extreme methods.”
This puts me in an interesting position.Because The Ecstatic is not a political album.It’s not really a statement on the world today, or an in-depth look at the issues.It’s just a really good album from a talented artist who happens to have serendipitously contextualized his art-form.Sure, it has an international feel, with a sprinkling of middle eastern beats and a sampling of Spanish turns of phrase (including most of “No Hay Nada Mas”) giving some worldly flavor to the record.But despite possible aspirations to the contrary, The Ecstatic doesn’t have international importance.This is a statement that Mos Def is back in the rap game, not a statement that Mos Def is a statesman.
