Asian Dub Foundation are known for their eclectic, genre-bending brand of electronic music combining everything from dancehall to raga, and are no strangers to the gritty, guitar-driven aesthetics of punk rock. That said, a collaboration with the Godfather of Punk himself definitely dials that influence up to an entirely different level.
"El Gato", and Copenhagen 1958 as a whole, not only serve as a time capsule for Ellington's unparalleled artistry and his orchestra's matchless stagecraft, but also as a reminder of the Duke's enduring legacy.
French EDM darlings Justice are back, patented Cross-aesthetics and all, with "Neverender," fresh off their newly released album Hyperdrama. Bolstered by the the tantalizing addition of psychedelic synth-pop king(s) Tame Impala (brainchild of Aussie indie maestro Kevin Parker), the two have delivered a glossy, classic slice of electronica tailor-made for the dance floor.
With an elegant combination of pop melodies and sludgy rock textures, "Saturday Morning" evokes the best of shoegaze bands like My Bloody Valentine while remaining distinctly contemporary and unique, announcing the arrival of an artist to watch with eyes peeled.
impressionistic lyrics and given definition by impeccable production values, "What's My Luck" is a dynamic and cathartic evocation of longing that in less skilled hands could easily have been a mosaic of contrasting musical idioms, but is instead a deft blend of styles that conveys holistically much more than its individual parts suggest.
Canadian DIY darlings Men I Trust made a name for themselves in the indie scene with their unique blend of dreamy, groove-laden pop. Oftentimes in the band's press it seems that former characteristic of their music eclipses the latter in recognition, but "Tailwhip" is proof positive that their sense for for crafting an infectious rhythm is just as keen as their knack for generating the spacious atmospheres those rhythms occupy.
The song “Atavista” sees Glover return to peak R&B form. Soulful and impeccably groovy in the vein of earlier hits like “Redbone,” and touched with added flair from some trendy retro-futuristic synthesizer pulsations, it feels something like a mission statement for the album at large. "Atavism," per Merriam-Webster, means among other things the "recurrence of or reversion to a past style, manner, outlook, approach, or activity." On an album that itself fits that definition to a tee, "Atavista"
"Claw Foot" ... is a tightly constructed and eminently catchy exemplar of Royel Otis' sterling approach to alt-pop/rock. The song's bass-heavy rhythmic figure and chimey guitars are immediately evocative of genre paragons like Joy Division and The Cure, while it's breakneck pace and chanted chorus keep things sounding fresh and the energy high.
Taken on its own merits, Pop was a daring synthesis of mainstream proclivities, techno affectations, and '90s rock sludge, built upon a foundation that remained distinctly U2.
"Clean," a dreamy indie delight courtesy of Brooklyn-based bedroom pop artisans Pon Far (Star Trek please save your knowing looks), is a paragon of its genre.
Warm and inviting without every sounding too saccharine, "SeaStar" is a refreshing glimpse of summer sky, clouded by just the right amount of lyrical longing to balance the light with shade.
Brenda Lee's "Rockin' Around The Christmas Tree" has topped the charts for the first time, de-throning Yuletide-queen Mariah Carey's "All I Want for Christmas Is You" from its yearly spot atop Billboard's Hot 100.