So if 2009 was ostensibly the year celebrating girls with synths dominated by the likes of La Roux (#8 in the US, yay!) and Little Boots, it could be surmised that 2010 is the boys’ turn. We have the pristine pop of Hurts on one side. We have to a lesser degree, the silliness of an Ou Est Le Swimming Pool and now comes the Bang Bang Club. Coming to us from across the pond, this duo has nothing but pure pop on their minds and they have no qualms about sharing their hopes and dreams with all of us.
The debut single Chemistry is a wonderful little package that reminds us why we love electronic pop so much. The style. The glamour. Those wonderful little bleeps, bloops and blurps that come together to form pure pop brilliance. One look at the video and I really thought I was watching a young Robbie Williams singing to a Vince Clarke produced track and there is absolutely nothing wrong with that in my book! Simply put, the Bang Bang Club have all the makings of a band that has the top of the pops in their sights.
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.
“Yes it’s all false love and affection
You don’t want me
You just like the attention
Yes it’s all false love and affection
You don’t like me
You just want the attention”
On the day when the video for I’m Not Your Toy, the new single taken from the self-titled debut makes its way across the internets, it’s indeed a pleasure to present Elly Jackson from La Roux who was gracious enough to answer some questions about the band.
BS. From your debut on Kitsune to being poised to take over the US, how do you feel?
EJ. Mighty real
BS. Have you gotten your head around it all yet?
EJ. No. Tis one helluva head fuck
BS. The record is great and it’s chock full of single-worthy songs. My personal favourites would be “Bulletproof” and “Colourless Colour”. What are your favourite songs? Ben’s?
EJ. I’m Not Your Toy is mine and In For The Kill is Ben’s
BS. If you weren’t Elly Jackson, frontwoman of La Roux, you would be Elly Jackson the…?
EJ. Pervert
BS. How did La Roux come about?
EJ. A mutual friend put us in touch 5 years ago. Now we’re best mates and wouldn’t want to work with anyone else
BS.. What do you think of the UK music scene at the moment? Tell the truth. Are you and Victoria Hesketh (Little Boots) rivals? Give us some dirt!
BS. Do you feel there’s a genuine electronic pop resurgence gaining traction at the moment? With you, Little Boots, Frankmusik amongst others putting out quality records this year, is electronic pop back?
EJ. Did it ever go away?
BS. Who’s on the La Roux playlist right now? Besides…erm…La Roux?!
EJ. Glass Candy, Magistrates, Maccabees, Bowie and Prince
BS. As you can tell from my blog, I’m a fan of the band. What don’t we know about Elly and Ben?
EJ. Ben Langmaid is not his real name. Its Len Bangmaid but the record label made him change it
BS. If you could collaborate with anyone, who would it be?
EJ. David bowie, Prince, Heaven 17
BS. I love the hair! Please don’t even cut it! Have you seen any fans out on the road attempt to emulate the La Roux look?
Happy day! Guess who’s coming back to the States! Yup! La Roux are coming back for another round through the US, albeit a somehwat abbreviated one. With the release of the self-titled debut via Cherrytree/Interscope slated for 29 September, the duo are primed to bring their brand of analogue electronic pop to the State for real. Here are the dates! Can you tell how excited I am?!
10/18/09 San Francisco, CA @ Great American Music Hall
10/19/09 Los Angeles, CA @ El Rey Theatre
10/21/09 Chicago, IL @ Schuba’s Tavern
10/23/09 Toronto, ON @ The Guvernment
10/24/09 Montreal, QC @ Studio Juste Pour Rire
10/26/09New York, NY @ Highline Ballroom
10/27/09 Boston, MA @ Paradise Rock Club
Interscope… the 29th of September? About three full months from the Polydor release in the UK, you wait to release the La Roux Stateside? Sigh… In the meantime, we now have single number four in our midst. For those of us on the pulse of what’s new and timely, here comes I’m Not Your Toy!
Not a song I would have picked to be a single but it is very good in its own right. Personally I’m still expecting Colourless Colour or Fascination to be picked next if a fifth single is selected. That is if five singles from any album was still a practice done very often these days… In any event, the story of Elly and Ben continues and what a wonderful story it is!
been there, done that, messed around
I’m having fun don’t pull me down,
I’ll never let you sweep me off my feet,
I won’t let you in again, the messages I’ve tried to send,
my informations’ just not going in,
burnin’ bridges shore to shore, I’ll break away from something more,
I’m not to not to love until it’s cheap
And there you have it, friends! Elly & Ben and friends aka La Roux make their nationally televised debut on Jimmy Kimmel and I must say it was pretty good! It was obvious that Elly was a tumultuous bundle of nerves on stage but she still came out like a champ. Not quite sure what the point of the drummer was there as it’s obviously he doesn’t add anything aside from the visual so not it’s all synths up on stage. Nonetheless, it was a good performance of a brilliant track from an ace debut record. America, the synths are back. I hope you’re ready…
“I won’t let you turn around,
and tell me now I’m much too proud,
to walk away from something when it’s dead”
Yes I know you guys are probably very sick of my incessant posting about La Roux. Allow me to explain. They are brilliant! I can’t help it. The songs stick to my gut and I can’t help but hum them on the subway which as you can imagine elicits some strange stares from the unknowing riders. Their loss… Anyway, I present the brand new video for Bulletproof and this is by far the best and most elaborate video we’ve witnessed to date. It certainly appears that the folks at Polydor increased the budget for this one.
Elly’s got some funky cool futuristic makeup going on and I must say I heartily approve of the outfits as well. It’s so refreshing to see a female artist who doesn’t feel the need to be a video ho and actually displays some semblance of a sense of fashion! About the song itself? This is right up there with Quicksand as a simply immaculate track and a nice rebound from In For The Kill. Bouncy analogue synths and a killer chorus make this song a winner. This will be the summer of La Roux.
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!
29 June in the UK via Polydor. The debut record from La Rouz will see the light of day. No word yet on the US date but i’m sure that will come in a matter of time. I think it stands to reason that I am very excited about this news and you should be too! Another in a long line of quality material 2009 has rushed in continues with La Roux’s barnstorming of the landscape. Sad to say I missed their show last week at Studio B to my eternal dismay! I hope to make up for that misdeed when they come back. In the meantime, I suppose I’ll have to settle for waxing poetic about the tunes on record for now…
Here’s the tracklisting:
‘In For The Kill’
‘Tigerlily’
‘Quicksand’
‘Bulletproof’
‘Colourless Colour’
‘I’m Not Your Toy’
‘Cover My Eyes’
‘As If By Magic’
‘Fascination’
‘Reflections Are Protections’
‘Armour Love’
‘Growing Pains’ (UK Bonus Track)
if you are the copyright holder of any such media placed on this site and would like it removed, please feel free to get in contact with me
if you would like to submit material for consideration to be featured, you may also contact me
if you need advice on love, life, what music to buy, you can reach me at the same address. if it's a funny question, i'll even place it on the blog!
Stalk Me.