Twenty Overdue Songs
Twenty Songs, 13.08.06
Another really late, but a really, really, really good Twenty this week. It's only late cuz we've been. Well, we don't know what we've been. However whatever we were last week it wasn't Not Listening To Music. Far from it. This week were back to having more songs than we knew what to do with.
We start, then, with Jesse & Crabbe's Big Booya. Not in the Twenty but almost. It's the dirtiest song in our collection, or there about, with it's classic fuck 'em all day fuck 'em all night and all you bitches wanna fuck with me, freakin' these bitches like jodeci refrains. Beautiful. We get into the Twenty, though, with Bloc Party Helicopter (Whitey Remix) as it was played randomly last week Thursday in new indie joint Hold Up. Where we DJ'd this week, by the way. However, it was so good to hear someone play the remix it went straight into the twenty.
After this is The Knife and their kooky pop treat We Share Our Mothers' Health which still isn't as good as Neverland or Heartbeats but is quite nice nonetheless. Still in there are Metric with their pop grunge monolith, Monster Hospital, which stays here in its original form despite us having the MSTRKRFT remix now. Not as instant, that remix of the Canadian remix superduo. Our dancing buddy (and now DJ partner) is a big fan of Peter Bjorn And John's Young Folks and from the split second we saw it we knew it was a worthwhile song. It's just never completely clicked with us, despite everyone calling it a pop masterpiece. Still, it's Twenty worthy, if bottom half rather than top, and it's growing on us, surely enough.
Unlike Klashnekoff, who doesn't need to do any growing, having simply the lyrics, flow and voice to be an instant hit 'round these parts. This song, Jamrock Takeover, is from a DJ mix CD which invariably features this type of lyrics-over-popular-riddim thing. Which is fine by us, cuz this is a stellar take. Back in (ever out?) are Klaxons with their superb 4 Horsemen Of 2012. Not their best song but if half a dozen other 'new rave whatever' artists had made it, it'd be their best song, by far. It wouldn't have been The Presets best song, though. That's still Are You The One?, which is one of the best songs ever. Ever ever. Forever ever.
We move from the flailing limbs of synthcore for a second to return to the beatiful hushed melodies of Her Name Is Calla and the still lovely murder mystery guitar stylings of Hideous Box. We go from there to the lovely, arctic depths and glitch-classical songwriting of Tipper and LED Down, which we listened to all the mixes of last week and fell in love with all over again. We go from there into the lovely, NOISE NOISE NOISE of Leaving The Fold and their super slice of searing hardcore that is Contort For The Two Of Them.
Into the ten, although with quality like this it's hard to pick a mere twenty, let alone separate the top ten, and we have The Half Rabbits, from whom the brooding These Rumours continued to offer indiepop treats. Meanwhile, Fields offer more cerebral tweaked acoustica and chopped songwriting in the form of recent EP standout Hectic, the type of song that makes everything else by the band sound instantly better. Keeping the slightly eclectic tone going we go from this leftfield indie into some sleazy art pop in the form of bouncy bleepfest The Noises Won't Stop by Skychild from the recent Alt.Del / Delete Yourself compilation, Digital Penetration. As was Supersystem's Miracle, although we also have that on Supersystem's amazing debut album, on which it isn't even the best song. Says it all, really. Finally for the five outside the ten, FLIPRON give us a bit of spoken word genius in the form of the bizarre, contorted tale of an evil car that some kids fell in love with. Packed with puns and wordplay, it's right up our driveway.
Into the ten and we get that Ladyfuzz remix again, Oh Marie! (GoodBooks Short Story). Still worthy of a top five place despite the fact we haven't heard it for a fortnight due to our stereo having been stolen. (Donations welcome). After which we get the second entry by Klashnekoff (the only artist, for a change, with more than one entry this week). We still buy a lot of our music but we get sent a fair wack now as well. In a way it's lucky we don't get more UK Hip Hop, cuz most of it's generic and gash, however we need to hear more stuff by talented young artists like bad bwoy Mr. K-Lash. Smack Down is just a bomb, easy. No long ting.
The second track (after the FLIPRON song) from Tough Love's What Will Survive Of Us compilation is Smokers Die Young and Kermit's Song. The strangest inclusion ever? Maybe, we can't even really tell what it's about except, well, a band talking about being a band playing a song about playing a song. It has lyrics like reece will, play his keyboard, and he'll do it real good, he's not making any mistakes touch wood and it simple and ditty like and charming and, eventually, if you really listen, utterly addictive. Best song about itself ever?
Another song somewhat about itself is Wasted Little DJs by Scottish Lib-a-likes, The View. Dunno what to make of The View. We got a song of theirs on a Clash magazine sampler (and Clash magazine isn't very good) and wasn't blown away and their main reason for fame seems to be that they're the first signing to 1965, "the label by the guy wot sign The Libertines to Rough Trade innit". Which is a bit industry for me. However. Wasted Little DJs (like those early Libertines singles, like What A Waster) is an apsaloot choon. It's just frazzled, catchy, drawled and punch drunk on itself without being arrogant or offensive. It also includes the lyric they told me if i write this song for them, then they will cut my hair for free but that's not me no liberties, which is a fun lyric and also sounds like it namechecks the Libertines.
it's the great, it's the latest thing, i wish everybody danced like this
Best Thing Ever Award for the week, however, goes to The Horrors, who we don't even really like that much (we didn't bother going to our local indie spot when they were playing live recently, although, to be fair, they didn't bother going either). However, with a first-promo-for-seven-years video by HOLY-SHIT-HE'S-OUT-OF-RETIREMENT super hero Chris Cunningham it couldn't fail. More than that, it's fantastic. Really, stand alone, even without the video, superb. Whether or not it's be number one in this chart without the video who knows, but that fuzzy, undulating bass, breaks-esque drumming, spoken-word vocal and those STABs are just pure necrophiliac sex. Again, the type of song that makes you rethink a band. We might even be sold.
she says she's working for the lord but you know what she's looking for
Also, the bassist is the coolest man ever with his little bobbing head and headlamp like unbroken gaze. Purr.
Another really late, but a really, really, really good Twenty this week. It's only late cuz we've been. Well, we don't know what we've been. However whatever we were last week it wasn't Not Listening To Music. Far from it. This week were back to having more songs than we knew what to do with.
We start, then, with Jesse & Crabbe's Big Booya. Not in the Twenty but almost. It's the dirtiest song in our collection, or there about, with it's classic fuck 'em all day fuck 'em all night and all you bitches wanna fuck with me, freakin' these bitches like jodeci refrains. Beautiful. We get into the Twenty, though, with Bloc Party Helicopter (Whitey Remix) as it was played randomly last week Thursday in new indie joint Hold Up. Where we DJ'd this week, by the way. However, it was so good to hear someone play the remix it went straight into the twenty.
After this is The Knife and their kooky pop treat We Share Our Mothers' Health which still isn't as good as Neverland or Heartbeats but is quite nice nonetheless. Still in there are Metric with their pop grunge monolith, Monster Hospital, which stays here in its original form despite us having the MSTRKRFT remix now. Not as instant, that remix of the Canadian remix superduo. Our dancing buddy (and now DJ partner) is a big fan of Peter Bjorn And John's Young Folks and from the split second we saw it we knew it was a worthwhile song. It's just never completely clicked with us, despite everyone calling it a pop masterpiece. Still, it's Twenty worthy, if bottom half rather than top, and it's growing on us, surely enough.
Unlike Klashnekoff, who doesn't need to do any growing, having simply the lyrics, flow and voice to be an instant hit 'round these parts. This song, Jamrock Takeover, is from a DJ mix CD which invariably features this type of lyrics-over-popular-riddim thing. Which is fine by us, cuz this is a stellar take. Back in (ever out?) are Klaxons with their superb 4 Horsemen Of 2012. Not their best song but if half a dozen other 'new rave whatever' artists had made it, it'd be their best song, by far. It wouldn't have been The Presets best song, though. That's still Are You The One?, which is one of the best songs ever. Ever ever. Forever ever.
We move from the flailing limbs of synthcore for a second to return to the beatiful hushed melodies of Her Name Is Calla and the still lovely murder mystery guitar stylings of Hideous Box. We go from there to the lovely, arctic depths and glitch-classical songwriting of Tipper and LED Down, which we listened to all the mixes of last week and fell in love with all over again. We go from there into the lovely, NOISE NOISE NOISE of Leaving The Fold and their super slice of searing hardcore that is Contort For The Two Of Them.
Into the ten, although with quality like this it's hard to pick a mere twenty, let alone separate the top ten, and we have The Half Rabbits, from whom the brooding These Rumours continued to offer indiepop treats. Meanwhile, Fields offer more cerebral tweaked acoustica and chopped songwriting in the form of recent EP standout Hectic, the type of song that makes everything else by the band sound instantly better. Keeping the slightly eclectic tone going we go from this leftfield indie into some sleazy art pop in the form of bouncy bleepfest The Noises Won't Stop by Skychild from the recent Alt.Del / Delete Yourself compilation, Digital Penetration. As was Supersystem's Miracle, although we also have that on Supersystem's amazing debut album, on which it isn't even the best song. Says it all, really. Finally for the five outside the ten, FLIPRON give us a bit of spoken word genius in the form of the bizarre, contorted tale of an evil car that some kids fell in love with. Packed with puns and wordplay, it's right up our driveway.
Into the ten and we get that Ladyfuzz remix again, Oh Marie! (GoodBooks Short Story). Still worthy of a top five place despite the fact we haven't heard it for a fortnight due to our stereo having been stolen. (Donations welcome). After which we get the second entry by Klashnekoff (the only artist, for a change, with more than one entry this week). We still buy a lot of our music but we get sent a fair wack now as well. In a way it's lucky we don't get more UK Hip Hop, cuz most of it's generic and gash, however we need to hear more stuff by talented young artists like bad bwoy Mr. K-Lash. Smack Down is just a bomb, easy. No long ting.
The second track (after the FLIPRON song) from Tough Love's What Will Survive Of Us compilation is Smokers Die Young and Kermit's Song. The strangest inclusion ever? Maybe, we can't even really tell what it's about except, well, a band talking about being a band playing a song about playing a song. It has lyrics like reece will, play his keyboard, and he'll do it real good, he's not making any mistakes touch wood and it simple and ditty like and charming and, eventually, if you really listen, utterly addictive. Best song about itself ever?
Another song somewhat about itself is Wasted Little DJs by Scottish Lib-a-likes, The View. Dunno what to make of The View. We got a song of theirs on a Clash magazine sampler (and Clash magazine isn't very good) and wasn't blown away and their main reason for fame seems to be that they're the first signing to 1965, "the label by the guy wot sign The Libertines to Rough Trade innit". Which is a bit industry for me. However. Wasted Little DJs (like those early Libertines singles, like What A Waster) is an apsaloot choon. It's just frazzled, catchy, drawled and punch drunk on itself without being arrogant or offensive. It also includes the lyric they told me if i write this song for them, then they will cut my hair for free but that's not me no liberties, which is a fun lyric and also sounds like it namechecks the Libertines.
it's the great, it's the latest thing, i wish everybody danced like this
Best Thing Ever Award for the week, however, goes to The Horrors, who we don't even really like that much (we didn't bother going to our local indie spot when they were playing live recently, although, to be fair, they didn't bother going either). However, with a first-promo-for-seven-years video by HOLY-SHIT-HE'S-OUT-OF-RETIREMENT super hero Chris Cunningham it couldn't fail. More than that, it's fantastic. Really, stand alone, even without the video, superb. Whether or not it's be number one in this chart without the video who knows, but that fuzzy, undulating bass, breaks-esque drumming, spoken-word vocal and those STABs are just pure necrophiliac sex. Again, the type of song that makes you rethink a band. We might even be sold.
she says she's working for the lord but you know what she's looking for
Also, the bassist is the coolest man ever with his little bobbing head and headlamp like unbroken gaze. Purr.