Friday, 30 January 2009

artist: post war years

Guitar bands with keyboards. It's easy enough to make comparisons and links between the likes of _______, _______, _____. You know the ones on the tip of your tongue when you talk about these kind of bands, they are easily bracketed together. I mean yes they are similar, but only similar in the same way that I am similar to the person sitting opposite me. There is a world of difference.

People need reference points and the aforementioned are easy routes in. Easy routes in not just for the listener, but also for the people that market everything. It cuts both ways. Try not to listen to the reference points if you know those bands well, because it will cloud your mind a little. There is a world of difference out there.

Post War Years have been bubbling away for quite a while now and look well positioned. Debut single Black Morning came out last year on Chess Club, imprint of chart-topping buddies, White Lies. Along with the accompanying flip-side, You and Me, it gives a good account of the structured mish-mash that is their sound. I can't place them, my feeble mind wanting to make the easy comparison after writing article after article just can't do it. Structure and constant deviation are the concepts that spring to mind. There is a lot going on sonically speaking.

It's only when you listen to their new single over on myspace, Whole World On Its Head, that you get the impression that things are starting to fall into place, and I'm not talking about record deals or tours or anything. It's more focused. A marshmallow soft synth line opens proceedings fluttering in and out intermittently (currently the part I dig the most). A languid and lazy vocal enters floating perfectly above a combination of live and programmed percussion (it's all live, my bad) to make your ears and dancing sneakers prick up immediately. A euphoric layered chorus to work its way into the part of your brain where all the catchy songs reside. Keyboard clutter and guitar lines melding everything together into a prickly fuzz. I can't say anymore without seeing it live, because thinking about it makes my brain hurt a little. It's clearly the best thing they've done to date, and makes me want to listen to their other stuff more to see if my ears missed something the first time round.

Over here on shattered satellite, we have the b-side for you, Flames Like Tinder. The subdued partner to the paranoid jubilation of the A-side (which we aren't authorised to post. fair enough, people have to eat). Insistent vocals battling it out over juddering guitar lines, repeating in a manner that evokes Hot Chip but not quite so synthetic. Perhaps that's the deal with Post War Years, electronic marks are all over their tunes, but there's palpable emotion and soft subtleties in there that others lack.

Post War Years - Flames Like Tinder






Post War Years - Black Morning

The single is out on limited vinyl via White Lies and their Chess Club on 09.03.09. They tell me a video is on the way. It will probably tear up the charts when its re-released in 2010. Okay, that might not actually happen, but it does seem to be the trend. Also a Live 10" on Late of the Pier / EMI / Parlophone imprint, Zarcorp. Album is being produced by Graeme Stewart, a presence behind the decks for the likes of Radiohead (In Rainbows & Kid A no less), Shola Ama and Glamma Kid. I'm excited. Not kidding.

Wednesday, 28 January 2009

animal collective : daily routine


///written by R.F. Boothroyd

The volume of Merriweather Post Pavillion reviews floating around at the moment is titan, and most if not all of them are gushing in their praise. The hype surrounding Animal Collective's 'pop' album is extraordinary, and on first listen, I wasn't sure whether it's deserved; I found it challenging, discordant and occasionally haphazard in its delivery. On second listen my ear began to tune to Animal Collective's skewed way of thinking; and on third listen, at a moment which I originally thought was the weakest moment on the record, where I wanted the song to click back into its groove but it flatly refused, the album suddenly made sense. I had the volume full blast, the sun was out, and the beautiful, washing outro to Daily Routine clicked. Perhaps it was this which made me miss the HUGE RED post-box right in front of me. I swerved at the last minute, joyous that my nose wouldn't be broken for a third time.

Animal Collective - Daily Routine





///editorial
This became the moment where Robin built a personal relationship with the album, which neutralized the hype, and thus enabled him to appreciate it on his own terms. He wants you to listen to this track, but if you buy the album, search for that personal moment to really make it your own. I prefer to make tiny scratches on the boxes so nobody else wants them. My personal favourite on this album is Bluish. It makes me feel lightheaded and oneiric, as if I'm slowly losing control and getting lost in those curls. Listen to it over on hypem here. Buy the album below. Rough Trade have a free mix offer as well.

Merriweather Post Pavilion (Amazon)

Tuesday, 27 January 2009

violens: if you believe you're strong enough

Violens (pronounced Vy-lens) were brought to my attention by Transparent Magazine. I popped down to the Barfly that week to catch the group play with Boy Crisis at Us and Them and they left the lasting impression out of the two. Take nothing away from Boy Crisis, their myspace description amuses me greatly, Violens just happened to be what I needed at the time. Their sound is a lot easier to seperate from the sound of 2008/9.

Built around a sturdy rhythm section, nothing too flashy I might add. Just shades of The Smiths evoked by the bass. I'm drawn like a fly on a flouresecent high to the vocals which fit the lyrics perfectly. Hushing in new romantic eras with harmonies reminiscent of The Zombies providing an intricate casing for songs, each containing a few lyrical nuggets which get secreted in the inside jacket pocket of your mind (see my title line - a reference to Violent Sensation Descends.) Take Spectator & Pupil, infatuation unravelling in a second as the girl opens her mouth (I've been waiting for this day/Don't kill it with what you say') before a chorus capturing perfectly the way you can stare at somebody and not be listening to a single thing they say.





Violens - Already Over

The opening strums don't really give much of a clue as to what follows. Don't make any hasty judgements in the first twenty seconds. The man in the middle, Jorge Elbrecht, unleashes a series of a soaring vocal lines that dance from one side of the mix to the other. When the chorus kicks in, the backing is layered to perfection before breaking down into harmonies that could go on forever. They don't, the song is called Already Over. It was never going to go on forever, it's good when things don't outstay their welcome.

The EP is emphatically worth the £2.38 it cost me off Amazon Digital. I encourage you to do the same.

People have mentioned Prefab Sprout as a nice reference point for Violens, and it's fair I suppose. If I had to sell Violens to somebody who was uncertain, I'd suggest The Shins with added melancholy and a squeeze of George Michael. Anyway, the Prefab Sprout reference gives me the opportunity to present my favourite song of all-time when I was four years old. I use to climb on top of our kitchen chair and reach for From Langley Park to Memphis. Thankfully I never had to skip tracks to reach my favourite, The King of Rock 'n' Roll. Hot Dog. Jumping Frog. Albuquerque. Best chorus ever. One of the best videos for sure. I have drunken footage of myself singing said song at a party 16 years later which I can't actually remember doing but don't for a minute think you're going to see that.

Also, the boys at Transparent are putting on a night tomorrow at The Lexington on Pentonville Road. I could almost conceive myself as a regular there, if there was more stuff on well regularly. Tomorrow sees Crystal Antlers headline with support from Loverman and the latest kids under Sahil's trusty wings, Ark People. You can have downloads after I've been to the gig. It's going to be a sell out so get down early.

Sunday, 25 January 2009

preview: jeremy warmsley @ lock tavern

The best boozer around. Maybe. It's certainly has the (dubious) honour of being Camden's finest. On a Sunday. With the baddest waistcoast / t-shirt combo wearer around providing tunes. He told me Marina + The Diamonds was going to play as well, but she apparently has a combo of tonsilitus and bronchitus, so I'd hazard a guess she won't be there. Pity. Still, it's a beautifully free way to spend a Sunday. Even though I'm writing this on Saturday afternoon, it will be Sunday when you read this. You're probably hungover. I almost certainly will be, in fact at the time this goes online, I should be at a Deep Note party gettting my funk on. I'll wake up the next day and go for a roast and watch some bands and think about how good Tellier was the night before.

This song is still the most brutal search for identity which then selfdestructs in about 180 seconds. See it live. In the flesh. I'll tell you more about the night later, as well as the other bands, Stricken City and Woe Betides.

Friday, 23 January 2009

feature: sébastien tellier part 1


I need to write this before I forget. In the anglophone press, there isn't time for huge detail on Sébastien Tellier, as a lot of the detail wouldn't be seen as that important to audiences outside of France. My favourite UK article was this Stool Pigeon piece and this OMM piece.

Not exactly light reading. Anyway, here's my take on six months in Paris working for Sébastien Tellier and his label, Record Makers. By the end I'd translated so many interviews, it felt like I knew how he would respond to most questions.

I'd already messed up one interview with a prominent Parisian electro house. They were moving offices, they said they'd call. Well, I wasn't gonna wait around. The big man never called, I was grateful for the soirée at Elysée Montmartre though. I found it really hard to say what I'd be able to offer given that I couldn't really speak the language and I had no idea what they wanted me to do. Still, the perpetual donkey on my back led me to prepare hard for the interview chat for my stage (internship) at Record Makers.

Fumble my way out of J-Joffrin and find the converted boulangerie/office that is Record Makers HQ. Had a chat with Marc and Audrey in the side room with the sofas and the sound system. Records, sound systems, DAT tapes, posters, fashion magazines everywhere. We spoke in French, I refuse to compromise as what would be the point in that? They like the noises I make. I like how welcoming they are.

First task, give Sébastien some English lessons. The métro strikes put paid to a meeting in the office so I'm handed the door code and off I go. Ten minutes walk down Lafayette and a few twists and turns. Up a few stairs and it's eerily calm despite our proximity to the busy streets of the 8eme.

Sébastien opens the door and introduces himself. Incredibly normal guy were my first impressions. Down to business and I want to help the guy. Help him express himself how he wants as that is seemingly what he's worried about. His English is not bad at all (beat my French hands down at that point) but when you want to express an artistic vision, you need to have confidence in what you're saying. It doesn't want to come across too serious because the guy knows how to enjoy himself and have a joke.

Essentially, that sums up the two sides of Sébastien Tellier. A man at home in front of a Big Mac as well as a piano. You have an artist, clearly dedicated to his craft, composing since adolescence. He's capable of great emotive pieces. At the same time, he isn't pretending to be Mozart and likes to have fun, sometimes he gets out of control. Isn't that what people want from their rockstars though? This first part will give you the background on Tellier, as the way he's developed as an artist is unique. It's quite factual, so if that ain't your thing go read Pitchfork or something.

The story as far as I'm going to tell it begins in the late 90's. Touched by AIR's music, the young Tellier sets off for the office of their label, Source, and demands a meeting with the artistic director. He gets it and sticks on his music. They like it. They like it so much it ends up on Source Rocks, the successor to the Source Labs compilation that first showcased the likes of Daft Punk and AIR in '96. The tune in question is Fantino, the melancholy highlight of debut album, L'Incroyable Verité, also featured on the soundtrack to Sofia Coppola's Lost in Translation.

That debut came out in 2001, on Record Makers, a new venture behind AIR and their buddies Marc Teissier du Cros and Stéphane Elfassi. A record filled with dense compositions, mostly instrumental songs revealing rich textures in an eccentric manner. Hugely promising but hardly accessible, rewarding the patient listener. It's certainly not the finished article, but does it need to be? Every artist should be given the chance to figure out what they want to be and what they want to do. At this point, it's fair to say Tellier saw himself principally as a composer, you couldn't get much further away than the pop personality you now see in 2008.

Two years down the line, Tellier emerges with La Ritournelle. If you listen to this song and feel nothing, you need to stop taking that medication. I asked Sébastien what it was about it and he said it was about a girl who he was in love with, but she wasn't in love with him. At the time of writing, he still thought everything was possible and it might work out in the end, it never did though. I find this amusing in a sense, as the whole thing is unrequited. It's intensely happy and sad at the same time. Almost as if Sébastien knew it was never gonna work out, but still couldn't help but write one of the most beautiful love songs of all time. Or that the most powerful, desperate types of love are the ones that are just doomed to fail.

Either way, add that emotion to these ingredients and you have one of the best songs written in the modern era. A repetitive piano line that is to die for. The percussion skills of Tony Allen from Afrobeat pioneers Fela Kuti (way before Afrobeat became cool guys). Strings from the Bulgarian Symphony Orchestra scattering an epic quality all over. Lyrics and a vocal that match the emotion whilst floating above it in a carefree daze. A declaration of love forever consumated on the grass under the moonlight. Mixed by Phillipe Zdar of legendary French touch outfit, Cassius. It sold 4000 copies on import alone in the UK and continues to send a shiver down my spine every time I hear it and ripples of electricity through every crowd. Widespread recognition occurred as the word spread around La Ritournelle. The Sunday Times Style section described it as an "epic, gorgeous dance track we can't, can't, can't stop playing".

The definitive version to own is the 10-inch remix vinyl - it features the full length original, the Mr.Dan's radio-friendly mix on one side. The flipside is a sprawling, throbbing trip of a remix, laden with typical Parisien insouciance, from labelmates Turzi. buy it here.

The album you find this behemoth of a track on is Politics. A more cohesive effort than L'Incroyable, thematically as well as musically. It's at this point that the intentions underpinning each album become clearer. For Sébastien, every album revolves around a theme, the theme he considers the most important thing in the world at that time in his life. This serious intent is backed playfully, to take himself too seriously would be committing to these themes in a way that would undermine his next regeneration attempt. On Politics, there is no sloganeering or attempt to convey some kind of message to the masses, just surreal social commentary. One example is Mauer, a portrait of the plight of a girl upset at the downfall of the Berlin Wall as it means she can no longer play tennis by herself. It's one of the highlights of the record, others such as Benny and Wonderafrica evidence of the confidence and personality starting to emerge from the maturing Tellier.

It's important to consider the timescale at this point. La Ritournelle first emerged in '03. Politics in '04 then it all got re-packaged for the UK audience. Artists don't just pop out new records every year like they used to, caused no doubt by the long promotional cycles that just didn't occur previously. Whilst this played out, Tellier managed to fulfil the ambition of any serious French musician, scoring a film, with NARCO in 2004. At this point, he was well on his way to becoming an established, important artist. It built the profile of Record Makers as well and helped them emerge from the shadow of AIR.

His next step was to take a step back. Tone things down and let the next personality emerge. On the 30th December 2005, Sébastien stepped into the studio and set about recording his entire repetoire with the help of Simon Dalmais on piano. An album to reinvigorate, his most intimate moment to date, as he's not hiding behind an album concept or a specific theme. The result is an album that really gets to the heart of what the man is about - rich, timeless, emotive music. Songs from L'Incroyable Verité like Black Douleur and Fantino sit perfectly with cuts from Politics. It also gave a hint to the direction he was headed in and the growing confidence befitting a man with such tunes behind him. He developed a look, the modern crooner in designer suits with a cigarette a la nez. One of the main influences for this style was classic French singer, Christophe. The tenderness he brings to his version of La Dolce Vita in comparison to the original would pave the way for the gentle careeses that run all over Sexuality. Sit back and let it wash all over you. I listened to this on repeat for ages at work in March after it suddenly clicked.





Tune in next week for part 2 - the lowdown on Sexuality and the live show this weekend in Shepherds Bush. Get your tickets for tomorrow here.

Visit the Record Makers webshop


Thursday, 22 January 2009

the hundred in the hands : dressed in dresden

click picture for myspace
Inandout. Out and in. Inandout. Out and in.

Dressed in Dresden is the debut single from Brooklyn based The Hundred in the Hands. It's going to come all over your ears with jagged angular guitars not so dissimilar to a banquet at the start of the century. Chuck in some innocent smoothie sweet vocals and a scuzzy beat and you've got a party going on. But wait, I thought it was 2009. As if that fucking matters, the powers that be are trying to pump us with female vocalists and scuzzy electro Kitsuné influenced grooves this year, so you might as well party. Some lovely ambiguous lyrics perfect for the ambiguous relationship that will invariably occur as you get down to this. Coming across as assured and uncertain at the same time. Hollowing out each other's hearts is one way of putting a one night stand. I just don't know. Read my first sentence repeatedly whilst listening to this song.

The refrain will get stuck in your head like some toffee between the molars. It's gorgeous and gives me hope for the future of this group. It's layered, slowly building up into three parts which fit together perfectly like American Apparel clothes and other American Apparel clothes. I can't wait to hear this in some secret Shoreditch warehouse location that isn't actually that secret. It's on Hearn Street kids.

The Hundred in the Hands - Dressed in Dresden



It's the debut release on Pure Groove Records as well, which is pretty special. Why? Because they've been going for fucking ages (nearly my whole life) and they've never deigned to put anything out with their name splattered on it that heavily. I've been assured that all the releases under this moniker are going to be uber limited and special and hand-drawn, hand-made, hand-crafted, hand-carried to your door. It's all part of their strategy to be more than a record shop, to offer something different to the discerning new music fan. This seven inch comes backed with a tasty remix by Jacques Renault that slows things down. A nice alternative to the breakneck pace of the original.


Pure Groove are currently closed for refurbishments until the end of the month. They are putting in a bar/cafe to entice more people in. But they don't want to compete with the other record stores in having a huge stock because online people do it better, and for less money. Fair enough.

I wouldn't stock everything under the sun, but I was in Rough Trade yesterday and picked up the Animal Collective album, The Dodos album and the Crystal Antlers EP. Pure Groove don't stock any of them and they aren't exactly what you would call mainstream records are they?

Sensible? I can't decide and I'd probably have a little more stock but if the maths work for them, it's not for me to pass judgement. I don't run a record shop. I like Pure Groove more than Rough Trade anyway because everybody in there is really quite friendly in a way that Rough Trade don't really try to be. And they do tend to be the most innovative and their instores are just better. The old shop was amazing and the new one is still figuring out what it wants to do, which is fair enough. In a few years, it really could have developed into a place of cultural worth to the new music fan. It seems like there's a lot more to come from them. All I ask for is good rum at the bar when Passion Pit play.

Pre-order Dressed in Dresden from Pure Groove.

Sébastien Tellier feature coming tomorrow....exclusssive insight

Tuesday, 20 January 2009

the whitest boy alive: keep a secret


In November, I spoke about my hopes for the next record by The Whitest Boy Alive. My dream was of a Fred-Falke produced space-age log cabin vibe. The promos that have started circulating around the web and the description of the recording process and developments on the myspace blog reveal an album that isn't so far from my skewed vision. The album was laid down in a studio the band built themselves in Mexico. Daniel Nentweg has joined permanently on synths and the suitably retro Italian synth Crumar (I think it's the Gaggia of the synth world).

The resulting record has a much greater synth presence, which takes the album away from the recorded-in the-back-of-a-coffee-house-in-Berlin-vibe. I liked that vibe, it had a tremendous amount of warmth and vitality. Rules is a notch up though - it is the sound of a band that have toured the fuck out of their record and are in far greater control of how they want to sound. It's a much smoother ride, the hooks and accessibility of Dreams are still there but expanded upon with the synths playing a far more integral role.

The boy Nentweg is clearly talented (check out this video if you don't believe me). The synthesizers take on a dual role, providing warm atmospherics as well as a delightfully flatulent bass layer. This allows the bass line to do its job of bringing the funk, and the funk is here alright. An electronic music project that developed into a band is clearly going to have a groove, but what keeps The Whitest Boy Alive from avoiding comparison to shit bands (bands that have lukewarm aspirations of residing on Funk Island and never fulfil them) is that everything is very well structured. The beats are crisp and varied, forming part of a rhythm section that you take for granted because it's tighter than a pair of Cheap Mondays. Everything gets repeated and layered to fuck in a manner that makes you want to dance and nod your head. The lyrics are always crystal clear.

Keep a Secret opens the album gently, the atmosphere rising slowly. Øye coyly highlights the difficulty in staying quiet with a resigned honesty. The beauty of the lyrical content lies in the fact that being unable to keep schtum shouldn't be something to be proud of, but Øye's soothing delivery makes it seem like the most natural thing in the world. When the synths kick in after about a minute, the funk should have entered you via every available orifice and will be on the way to getting down. Repetition, subtle layering and interplay then occurs before Øye repeats his mantra: you can't keep it inside. I think he's talking about the funk needs to escape him all the time. Perhaps that is his secret.

The Whitest Boy Alive - Keep A Secret







///visit their website///webshop///buy tickets from ticketweb or seetickets

The rest of the album has been growing on me like some filter-disco fungus, even though I'd class it more in the vein of Something About Us than the all out stardust provided by les Dafts and Falke and that lot. If Sexuality was the Daft Punk influenced album of last year, this could be 2009's. Vocally, I think Øye pushes his range more than he has done in the past whilst still retaining his very individual style. It doesn't drop off towards the end like Dreams does. Check out Island This stuff is so much sexier than Kings of Convenience. Bring on the remixes. And the tour. Scala in London on April 16th, Manchester at The Ruby Lounge on April 18th. I ran down to Scala today when I heard and snapped me up a few. Album out in March on Dreams / Modular (I assume). More about it in due course.

The previous post dealt with albums of the year. Rules is the first album of 2009. I'll propose others and then come back to them at the end of the year and see if they still stand up to scrutiny. I have chosen to focus on the track itself mostly, because I want people to just download that. I don't really want them to download the album and not pay for it at some point. Buy a ticket or buy a t-shirt or something. As well, the illegal download sites are bad for your computer. shattered satellite does not have any nasty shit inside, so I'm trying to protect you, the blogosphere reader, from the danger. The track will only be up for download for 10 days, then will go streaming. I want to make a new layout but I don't have the time. Are you a designer? Get in touch, I will pay you in love.


Thursday, 15 January 2009

end of year revue


I honestly don't have a clue what I'm talking about. This isn't a list, it's a discussion. Elle Milano's Acres of Dead Space Cadets was the album of 2008. It is a record destined forever to be a cult classic. A record defined by contradictory attitudes. Complete disdain for rock 'n' roll and the industry coupled with a thrilling example of the possibilities of rock 'n' roll in the 21st century. It leaves a funny taste in the mouth, a bittersweet pill or ten has been swallowed down the line. This is perhaps because under all the anger is a keen desire to be accepted, or if not that just get some success. Something this good deserves that surely? The lyrics are intelligent for their post-modern awareness, Adam Crisp is painfully conscious at times of the fact he is writing a pop song.

Misfortune plagued the band in the form of their guitarist leaving, and having to pull their latest tour due to personal tragedy won't have helped. The band split up at the end of October. I find it depressing that so many inferior bands are still plying their trade. Elle Milano had their flaws, perhaps discarding some incredible songs a bit hastily. But at least they wrote them. I wish they'd had the balls to release Wonderfully Wonderful instead of the somewhat tepid Meanwhile in Hollywood as the crucial lead single.

In terms of production, you cannot fault this record crafted by the band themselves. Time spent studying when they could have supported Test Icicles around Europe was clearly worth the wait. Just one seamless whole, interludes gluing everything together even though the vitality bursting through suggests collapse is never far away. It's playful as well, they know how to have fun as the below video demonstrates.

Fantasy Black Channel is a close contender but loses out due to the whole package (artwork, B-sides and everything), there isn't much more than the 12 tracks on the record - most of which have been kicking around for ages anyway. That said, they are all absolute tunes but when you think that the band have been around for quite a long time it's somewhat disappointing to see a lack of new material in the live show and even some good B-sides. Instead of B-sides, there are a series of remixes of questionable quality (Boys Noize aside). The videos are good though, the below video for Focker is top notch - the bit where the glasses fly of synth player Potter is my favourite moment. They certainly win the prize for the band that has the most fun.



In terms of production, the boy Eastgate loses out to Crisp for having the enviable assistance of Erol Alkan. Bit of an unfair advantage as coupled with his work on the second Mystery Jets album, he has surely emerged as the producer to work with currently. In terms of lyrics, the Elle man is streets ahead, but that could just be my preference. I like how Eastgate does not appear to realy be in control of the words which spurt from his mouth.

I wouldn't say that it's my song of the year, because that isn't what I'm trying to draw attention to but Time to Pretend by MGMT is the song of the past year in terms of blowing up and going ridiculously huge. Runner-up would be Young Love by Mystery Jets, whose album I have played so much I actually cant listen to it anymore, even though I have it on lovely limitewd edition vinyl from Pure Groove. Behind the Bunhouse is a brilliant, brilliant closing track.

Another tremendous closer is L'Amour et La Violence on Sébastien Tellier's Sexuality. It is the most emotionally raw track on the album, the big guy has admitted on many occasions that it's a song which means a lot to him. A confessional effort highlighting his turbulent youth, a juxtaposition of his love for violence which perhaps could be described more as intensity and his love for love. It's a moment of tranquility after a big dirty marathon of a sex album. I've had a sneaky peak at the video for this track, and it is intimate and beautiful and very Super8. Big article on Seb and my time with Record Makers to come this week before his two UK dates. The Sexuality remixes, which I'm very proud to have been involved in, are all quality. The likes of Boys Noize, SebastiAN, Danger, Kavinsky, Midnight Juggernauts, A-Trak have all been happy to rework the fusion of Tellier's eclectic style with the incredible experience of Guy-Man from Daft Punk. It's testament to the skills of Marc Teissier du Cros, the main man at Record Makers, aided and abetted by people like me and the promptings and ideas of others.

One such tipster was Derek aka Mr. Neon Gold aka Good Weather For Airstrikes blogman. His proteges, Passion Pit, look set to rip things up this year. I would go so far as to say that Sleepyhead could send them to heights currently held by MGMT. Cuddle Fuddle is my favourite track off the Chunk of Change EP. I've been very impressed with the whole Neon Gold package to date, Derek is astute and doesn't really overplay the obvious links he has with other industry peeps - such as Frenchkiss Records (run in part by his cousin who plays in Les Savy Fav) who Passion Pit are really signed to. Don't worry about the hype and the smoke and the mirrors because the vinyls look sexy as hell and I want to buy them.

what you came here for:

Elle Milano - Modern Man (their take on lists!)
Elle Milano - Wonderfully Wonderful
MGMT - Time to Pretend
Sébastien Tellier - L'Amour et La Violence (Boys Noize Main version)
Passion Pit - Sleepyhead

Tips for '09: Post War Years, Flashguns, The Whitest Boy Alive, Marina and the Diamonds, Loverman, Plugs to name but a few choice cuts.