Geez. Wasn’t it only yesterday when I talked about Frankmusik for the first time? 2009 was definitely dominated by Mr. Frank on this here blog and with very good reason. Complete Me was a simply fantastic record and more people should have listened to it. It most definitely deserved a better fate than an average number 13 placing on the UK charts. Luckily for us, Vincent will not be denied and is already hard at work at his next opus. The first fruits of which we have here in the song Losing Streak.
Immediately when the song kicks in, you can hardly be faulted for doing a double take as you think you’re listening to a French house track that Daft Punk might have written in their sleep. Suddenly the track gets all funkdified in a way that we never came close to hearing on the debut record. Vincent’s vocals are under attack by the dirty distorted bassline that simply dominates the track. It’s very danceable and the kind of song that you will not be able to resits throwing your hands up in the air before getting to the chorus and find yourself blushing at the words.
One thing is for sure. Vincent is swinging for the fences and is leaving nothing to chance. It will be interesting to see if Follow The Leader shows us the development of a pop genius or becomes yet another desperate, hollow plea for superstardom.
And so here we are, friends. It’s the top ten of 2009 as deemed fitting by me, your humble host, Billy Suede. These are the ten records that knocked my socks, gave me a new lease on life and quite simply mattered the most to me in the past year. I hope you liked them as well and without any further adieu…
APC were easily one of the best hip-hop groups of the late nineties and early 00’s before they parted ways over the usual personality conflicts. When news that the quartet was making a return broke, it spread like wildfire throughout the NYC underground stoking the flames within hipsters and fans of true hip-hop alike. Was Fluorescent Black worth the wait? You bet it was. Quite possibly their most complete set and even better than 2002’s Arrythmia, the group could have easily decided to make a last gasp at stardom by putting together a record aimed for mass appeal. Instead the group got even more experimental, dropped a couple of brilliant pop tracks (especially the above-featured Volcano), and ended up proving exactly why they are still a group to be reckoned with heading into their third decade. Proof positive that hip-hop still can be the sound of the future. Welcome back, APC. You were missed.
9. La Roux. La Roux. (Polydor UK/Cherrytree/Interscope)
It must be said that unless you’ve been under a rock in the last year and not been reading my blog (Shame on you!!!), you know how much I adore this electronic pop duo that helped throw a spanner into the UK pop charts with the brilliant singles Quicksand & Bulletproof. While Little Boots is making a strong case to be the next pop princess for the next 10 years, Elly Jackson & Ben Langmaid seem quite happy to take on the role of the new Eurythmics. La Roux’s blend of synth and sass is matched only by the sheer emotion Elly can muster in each and every song. Things are looking up for the band and it’s only a matter of time before they further stake their claim as leaders of the new breed of the electronic pop resurgence.
8. The Big Pink. A Brief History Of Love. (4AD)
A little bit of shoegaze, a little bit of ethereal noise (which makes them perfect for 4AD, no?), a little rock, a smidgen of electro. Add some poptastic melodies and you’ve got The Big Pink. This duo came onto the scene like a house on fire in 2009 with the singles Dominoes, Velvet & Too Young To Love in the UK. A sound simply teeming with confidence and bravado that manifested itself into a full length that only hints at the greatness to come. What else can be said but The Big Pink are another in a long line of brilliant, seminal bands to proudly fly the 4AD. It also can be said that there is nothing to stop them from being the best of the lot.
7. Doom. Born Like This. (Lex)
It’s rap music’s most dastardly villiain. A genius no matter what alias he uses to deliver the goods, Viktor Vaughn, King Geedorah, etc… the artist we all know as Doom is another who made a truly long awaited return in 2009. While it’s true, Doom wasn’t exactly hiding from the mic in recent years as he could heard elevating his profile by working with the likes of the Gorillaz, De La Soul, Quasimodo, Danger Mouse (DangerDoom) or Madlib (Madvillain), it had been a spell since we had a full length solo record from him. Well, the year brought us Born Like This. A step up in production quality, the caliber of the guest appearances and the beats makes this an album a winner in my book. Doom’s rhymes and flow are world class. Only Doom can deliver such precise storytelling while throwing the kitchen sink full of pop culture references, gibberish and smack-talking.
If we can’t get a new Strokes, we’ll settle for the next best thing. That was how I took the news that Julian Casablancas was going to give the solo thing a go. I don’t think anyone was prepared for this… This is what pop music should sound like. Danceable, accessible, thought-provoking with some navel-gazing for kicks. You can hear the amount of care that was taken with each and every song which tended to be the criticism of the Strokes from jealous critics at the time. Ditching the lo-fi production was a master stroke as we get to finally appreciate Julian’s melodic vocals and the world-weariness that is embedded in his lyrics. This album is so good, it really does beg the question: Do we really need a new Strokes record right now as much we’d love to see where Julian goes next?
or…quite possibly the most slept on release of 2009. I’m serious this debut from the new wavers from Portland is just solid from beginning to end. This is how American new wave sounded and should sound. These guys have it all: the grooves, the songs and the lyrics. Hockey are the total package. If you don’t believe me, simply check out the singles Too Fake (featured above), Song Away (one of the best singles released all year) and Learn To Lose. I’ll be willing to guarantee a purchase of the album will be the next action you take. Keep an eye on these guys, there’s still room on the bandwagon.
If it’s true that Little Boots was the electronic pop princess of 2009, then it’s quite apparent that Vincent Frank made it quite known that he is its prince. The hubbub had been reaching a fever pitch for what seemed like forever but finally in 2009, Frankmusik released his debut to the masses! Well, everyone except the US, at least. Considering he was one of my talked about artists last year, I don’t think much more needs to be said but I’ll say it anyway! Frank covered all the pop music bases which is a pretty impressive feat on the first go. He simply has a songwriting knack unmatched by any of his contemporaries. While Hands was pure pop heaven and La Roux was an exercise in electronic angst, Complete Me was the sound of an artist baring his soul for the world to see. They hear him poke him at himself and reach his arms out in vain for a love that is so close yet so far. An artitst that’s equally comfortable writing a poptastic ode to his favourite comic book heroine (Wonder Woman) and a heart-wrenching lament song (Done Done). 2009 was the year all our hopes of electronic pop returning to the public consciousness, it was also the year that perhaps birthed the artist we’ve waited for to change the game.
3. The Horrors. Primary Colours. (XL/Beggars)
If you say you say this coming, you’re a liar. The Horrors, in 2007, released their debut Strange House which was a spunky, if not hopeless derivative record that was simply perfect if you had never heard of the Cramps or the Stooges. Much like the debut record from Cut Copy, you knew the band was daring you to acknowledge the influences that appeared throughout but you simply didn’t care, you simply snapped your fingers and let the songs do what songs are supposed to do.
Then came 2009. Faris Badwan and his boys seemingly ditched the horrorpunk and listened to their Creation Records catalogue and embraced their inner shoegazer. The result was a simply impeccable record that put the band into the forefront of Britain’s international bright young things. There are gems throughout and while the hooks aren’t immeditate, there are rewards all over for those who give the record proper justice. The wall of noise production, Badwan’s frantic yelping and the obvious progression in the band’s sound are what make this record one of 2009’s best. The Horrors…have arrived.
2. Pet Shop Boys. Yes. (Astralwerks)
Last year, as stated earlier, was the year of the resurgence of electronic pop. Labels started taking keyboards seriously again while rock once again ate itself. The geeks were right and looked good as they accepted their awards and high chart placings. 2009 was also the year in which some of the acts who paved the way came back to show the young upstarts a thing or two about how pop music is really made. No one did it better than who else? Quite possibly the most important songwriting duo in English music in the last 30 years: Neil Tennant and Chris Lowe.
While I’m of the belief the Pet Shop Boys are incapable of writing a bad record, their last two records (2006’s Fundamental & 2002’s Release) did show a chink or two in the duo’s armour. Just when it seemed that maybe just maybe their relevancy may have dwindled, they hooked up with British hitmaker extraordinaire, Brian Higgins of Xenomania, who obviously told the band to get their heads back in the game and do what they best. With his help, the PSB just may have ended up with their best record ever.
Look. I just may have written about the PSB and Yes more than anyone else in 2009. Even more so than the number one record perhaps! You know how I feel about the band but I do believe they’ve turned in some of their best work ever here. I’ll put songs like Love Etc, All Around The World, Did You See Me Coming & Pandemonium up against anything they’ve written previously and I’ll say that I really like my chances.
Why are the Pet Shop Boys an all-timer? The Way It Used To Be. Only the PSB can make songs that can make you dance and cry in despair simultaneously.
1. White Lies. To Lose My Life. (Fiction/Polydor/Interscope)
When i first heard Death, I was taken aback by a few things. The production was so crisp yet seemed so true to sound so near and dear to my heart. Harry McVeigh’s vocals…so immediate, so authoritative yet so stark in its repressed innocence. The lyrics. So morose and dark yet so vivid. Most notably of all…loud guitars. Unapologetic in their rage, they simply add to the urgency of the song. Then the album came out…
2009 brought many great bands to the fore. Many of whom made their first steps in the unknown, a curious abyss also known as the pop music world where bands to try to fall upwards in the hopes of becoming the next one…the next important band/artist that causes a seismic shift in our collective memories. The one that you tell your children about. The artist that shaped your life and wrote the songs that fit every moment you spent whistling to yourself or aloud on the train.
To me, White Lies is one of those bands. To Lose My Life was a record that was the spawn of so many important bands that came before. Hints of the Bunnymen here, the Chameleons there. Harry McVeigh channeling Julian Cope in his voice. Some Comsat Angels here and a bit of the Cure hanging around. For a band so young to make a record this earnest, so alive, so jarring in its imagery and so direct in its message is an achievement only the rare greats do. Each song on the record has a story to tell. A lesson in love, friendship, self-awareness, the unknown…death. Each song is a raging sea and McVeigh is our ferryman. White Lies were the best band in 2009, to me, because they wrote a record that I believe stood head and shoulders above the rest. It’s not just a pop record, it’s not just a post-punk record. Some may call it the birth of “new goth”. Simply put, they’ve written one of the best debut records in recent memory. Hopefully time will prove me right.
It’s about time. Mr. Vincent Frank, better known to the world as Frankmusik is finally headed to the States as part of the Perez Hilton package tour which will also include Ida Maria, NY’s own Semi-Precious Weapons and one of my faves, Ladyhawke! Here are the dates! Yeah!
12/09/2009 9:30 Club, Washington, DC
13/09/2009 Theatre of The Living, Philadelphia, PA
14/09/2009 House of Blues, Boston, MA
16/09/2009 The Fillmore, New York, NY
It’s only fair that if I’m going to mention the brilliance of Frankmusik that I also continue waxing poetic about Miss Elly Jackson aka La Roux, the current queen of analogue dance pop. The new single Bulletproof continues the roll she’s been on and sets up a very interesting chart battle between Elly and Mr. Frank. Her self-titled debut drops in June and wouldn’t you know it? So does Frankmusik’s… Now I’m not one to fan the flames of controversy for controversy’s sake…oh who am I kidding? Yes I am. Anyway it should be fun to see who outsells whom each act’s debut albums finally see the light of the day.
As for Bulletproof itself? Can’t beat a midtempo stomper to get you dancing up as the summer draws nearer. This may be the most accessible and poppiest of the three singles released thus far. Although I’m still quite partial to Quicksand, Bulletproof is nothing to sneeze at and I look forward to hearing it spun at the local indie disco so I can impersonate someone who can dance with rhythm. Enjoy and comments are most welcome!
And how we’ve tried to make our problems disappear
Never searchin’ hard enough to find only more tears”
How much do I love Frankmusik? Words simply can’t describe… His debut record Complete Me due out in June is going to be a electro -pop massacre. We’ve spoiled to this point with simple deviant singles such as Three Little Words & In Step and now we’ve got Better Off As Two. What I tend to appreciate about Vincent Frank is he definitely appears to understand the importance of presentation. The promotional films are just as fun, innovative and spectacular as the songs themselves and the video for BOAT is no different. In a year where we’ve already been treated to some classic singles, It’s hard to say that anyone has gotten off to the right foot moreso than Frankmusik…
Still just go to the same old clubs
But the new kids have got one above
Music tastes change like the wind
You’re doin now what’s already been
And you still think that you’re so it
Cause you know so and so, and you made a hit
But you can’t hear it being played
Cause you my friend have had your day
My early pick for best video of 2009. Our friend Frankmusik has done it again with another simply arresting single. This one is In Step. The song notwithstanding but the star here is the video featuring an…attractive young lady very impressively hula hooping…hooping….gyrating with a hula hoop. Whatever the proper verb is, she’s doing it! One hoop was nice but this girl is able to handle five hula hoops at once! Now that’s what I call athletic ability. Of course, our hero Frankmusik by the end of the video has seen enough and congratulates her on her fine performance in his own way…
The song itself is what we’ve come to expect to Mr. Frank. Bouncy, cute and danceable but most of all, smart. Electronic pop rarely sounds so immediate.
so save all the “I love you’s” and let’s not pretend”
Ok. Raise your hands. Who amongst you readily admits to being an unequivocal, absolute 80’s music disciple? I will. I will say it loud and oh yes, I will say it proudly. The 80s were the last great decade of musical invention, innovation and risk-taking. The 90s did bring us britpop and the rise of techno and ugh, grunge. The 00’s brought us….an opportunity to look back and re-evaluate why the 80s were such an important decade in terms of style, pop culture and of course, the music.
One shining example of the 1980s electronic pop sound brought back with magnificent effect is the debut single by Vincent Frank, aka Frankmusik, out of Croydon, England. Take a step into the time machine in your mind, set it to 1987 and you will see where Frank’s inspiration stems for this sizzling slice of electro. Do the names Stock, Aitken and Waterman ring a bell? Vincent learned his lessons very well in how to write a perfect pop single. His debut album sit to hit in early 2009 with supa-dupa producer, Stuart Price (Zoot Woman, Madonna, Keane, Seal, The Killers) in tow is a surefire bit to be blaring out of my stereo for weeks on end.
If the song itself doesn’t get you, one look at the cute video will truly make you fall in love. An homage to the silly, euphoric vibe of the videos that were the standard two decades ago. We have Vincent and two very attractive girls dancing up a storm on a giant keyboard. I WANT ONE! I want to jump on the keys and have them light up with each step I take. These are the kinds of presents I want for Christmas but never get! Anyway, enjoy the track and if you want more, check out the MySpace
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