Now it’s not everyday of the week that you get to extract quotes from Chris De Burgh’s Lady In Red but here goes…
“I’ve never seen you shine so bright, you were amazing… And when you turned to me and smiled, it took my breath away”
Watch the ridiculously fun video below for her ridiculously funky new single Miracle a track which was co-produced by Mystery Skulls… Hot tip - Do yourself a favour and remember that name because you’re going to be hearing a lot more from him SOON.
We’re guessing Para One has either been listening to a spot of Kimbra, or he got trapped in the 90s zone after cutting his all kinds of 90s inspired single You Too… Whatever the case, something led the French electronic maestro to throw down 90 minutes of 90s jams for your nostalgic listening pleasure…
Outside of Rosie Perez listening to a walkman while rollerblading in White Men Can’t Jump, we’re pretty sure there’s never been anything more 90s than this.
Hit play and then throw your eyes over the insane tracklist below.
The Orb - Little Fluffy Clouds EMF - Unbelievable Snap! - The Power Massive Attack - Unfinished Sympathy The Stone Roses - Fools Gold (A Guy Called Gerald Remix) Mr. Fingers - Can You Feel It (Martin Luther King Mix) M/A/R/R/S - Pump Up The Volume (UK 12” Mix) Deee-Lite - What Is Love A Guy Called Gerald - Voodoo Ray (12” Version) Crystal Waters - Gypsy Woman (Hump Instrumental Mix) TC Crew - I Can’t Do It Alone (Pings Mix) Robin S - Show Me Love Aftershock - Slave To The Vibe (12” Club Mix) Inner City - Big Fun (Magic Juan Mix) Double Trouble & The Rebel MC - Just Keep Rockin’ Technotronic - Rockin’ Over The Beat Adamksi & Seal - Killer Robert Owens - I’ll Be Your Friend (Original Def Mix) Aaron Carl - Homoerotic Eddie Amador - House Music (Message Mix) Aly Us - Follow Me (Club Mix) Frankie Knuckles - The Whistle Song (Sound Factory Mix) Masters At Work Feat. India - When You Touch Me Marshall Jefferson - Move Your Body Masters At Work - The Ha Dance (Ken-Lou Mixx) Todd Terry - Jumpin Mousse T - Everybody Reel 2 Real - I Like To Move It (Reel 2 Reel Dub) Nightcrawlers - Push The Feeling On Logic - Blues For You (Hard Dub) Todd Edwards - Can’t You Believe St Germain - Alabama Blues (Todd Edwards ‘Vocal’ Rmx) Ron Trent & Chez Damier - The Choice Roger S - Get Hi Hardrive - Deep inside The Braxtons - The Boss Joe Smooth - Promised Land Black Magic - Freedom (Color 1 On & On Strong Vocal Mix) The Nightwriters - Let The Music Use You 808 State - Pacific State (Origin) Galaxy 2 Galaxy - Jupiter Jazz Moby - Go Lil’ Louis - French Kiss Lil’ Mo’ Yin Yang - Reach (‘Little More’ Mix) CLS - Can You Feel It Outlander - The Vamp DJ Sneak - Compute George Morel - Let’s Groove The Bucketheads - The Bomb Romanthony - Bring U Up Gusto - Disco Revenge Daft Punk - Indo Silver Club Basement Jaxx - Flylife Xtra Submission - Women Beat Their Men (Calvin’s Peak Hour Dub) Paul Johnson - Hear The Music Roy Davis Jr. - Gabriel (Feat. Peven Everett) Armand Van Helden - The Funk Phenomena The Chemical Brothers - Life Is Sweet (Daft Punk Remix) Tori Amos - Professional Widow (Armand Van Helden Remix) Jaydee - Plastic Dreams Da Mongoloids - Spark Da Meth Underworld - Born Slipp
The story of this song is an interesting one. It was never originally on the album when I initially thought the record was finished. But I had always felt the song should be completed somehow and used for something. There was an un self-conscious kind of energy to it and it wasn’t until the last month of working on The Golden Echo that it popped back onto my radar. Interestingly it is now the first single for the record and a divisive one at that. Nothing else on the record really sounds like this song sonically but in saying that no song sounds much like the other on this record. I have placed innovation, artistry and experimentation as high values while working in the studio. But above all, it is the art of songwriting and the ability to take the listener on a journey that keeps me excited about what I do and always pushing to find a new way to do that. The story of how this song came to be is an interesting one. The Catacombs will continue to be a place I can share more insights with you about this album so for those of you who love a good backstory, here’s a bit more about the song. There is so much to share about the making of the music video which will come soon but for now here is a bit more about the song and it’s wild birth.
90’s Music first originated back in Australia when I was jamming with my band in a studio I had set up an hour out of Melbourne in the country. At first it was a bit of fun, my drummer Stevie Mcquinn was mucking around on a Roland drum machine, and hit the ‘music’ sample - I suggested we try building a song around it to see where it led. The band and I were listening to a lot of Deerhoof and Battles at the time and were drawn to the idea of juxtaposing sing-song melodies and toy-like sounds with abrasive, heavier elements - I wanted the song to feel like a kids anthem, I had the idea of carnival music in my head or a warped version of a Sesame Street song. It took on a strange little life of it’s own as we jammed it and I began a lyric about listening to 90’s Music with a young love but it was always left somewhat unfinished, and fell to the side while I worked on the rest of the record.
Literally in the last month of working on the album, Rich Costey (the producer I worked on the record with) and I went back & listened to the ‘90’s Music’ demo randomly one day and discussed wether it was worth taking another look at it since we both had a soft spot for the track since Day 1. At the time, the record was pretty much complete and I felt sure I had all the songs I needed, but on a whim I decided to dig in to the song again just to see if it could come to life in a new way. The demo was just a raucous band jam recorded through iPhones so I asked my drummer, Stevie Cat Jnr and guitarist Timon Martin (aka Major Dudes) to lay down their parts to a click and send them back to me in LA - I figured this would help me to rework the song and try a new idea for it. They sent the song back but this time it had thumping 808’s as a backbone for the verses and an almost industrial approach on the clunky xylophones which were now running through abrasive distortion plug-ins with fast math-rock guitars and dribbling high hats. It gave me a totally fresh perspective on the track and the very same day I re-recorded all the vocals, spun my voice through a dozen samplers and gadgets to weave a new world around the song. It came together so quickly and suddenly had a completely unique identity to everything else on the record. Rich and I continued to evolve the song by adding textures and taking a pretty fearless approach structurally - we wanted it to feel slightly unhinged while also being super fun and abandoned.
One night at the studio Rich sent the song to Matt Bellamy (Muse) to see what he thought and if he had any ideas. The next morning he’d sent back an email attached with an obnoxious detuned guitar part for the chorus. We loved it and dropped it straight into the session. Moments before signing off on the song we also had Mark Foster (Foster The People) come down to the studio as he was also excited about the track and had some ideas. We dived in and came out with the final section for the song, a modulation halfway through the track with stacks of synths and r&b hooks which I recorded literally moments before I flew out to Australia that same night. We wrapped the song up feeling super excited about the last piece of the record coming together. It inhabited an energy that seemed to compliment the rest of the album which ultimately inhabits quite a different sonic space but embraces a sense of adventure. There is a part of me that is very attracted to minimalism and sparseness, but I have a wild love affair with maximalist music and to be able to explore both sides as an artist and have fans that create a space for me to dive into both these worlds is a great blessing. I think pop music should give a chance for experimentation and a whole lot of good fun. But also a place where the listener can be challenged, then slowly courted into a great romance.
Despite being a different stride in sounds, this song embraces many things I always like to explore musically - I’m always attracted to the meeting place of light and dark, sweet and sour - the juxtaposition of angular sounds and head-crushing distorted elements sitting alongside a breathy bubblegum vocal - I love the idea of crossing unlikely approaches sonically and lyrically. Bands like Deerhoof, Battles and Mew inspire me so much for their innovation and collision of playfulness and dreaminess with heavier, aggressive moments. These bands were all influential over the period that i worked on this song - their approach combined with the R&B influences already stamped on the song gave it an identity very unique from other tracks I was working on at the time. Instead of making the track a throwback musically, I wanted it to feel like a nod to the past from a futurist perspective. Lyrically the song is a celebration and affection for an era I remember fondly and associate with growing up and young love. I discovered a new excitement for 90’s music again while I was writing this record and was feeling a strong resurgence of the era in a lot of music and fashion so it felt like the perfect framework for the song to exist in, and a chance to pay tribute to some of the artists I loved in my youth.
Nostalgia has often been a theme for me - I have a strong connection to childhood and the teenage years so I wanted to capture that boisterous, playful energy with this song - and to do it through the use of sounds and influences I haven’t drawn from in the past. That place where all the subconscious ideas merge and collide is always the place where I am most excited about music. Although we change and grow as people, the memories of the past live on, but perhaps they take on a different shape and form as we recall them. It doesn’t sound or look quite the same but it’s made into something new! Seeing this song birth from a garage jam in rural Australia and grow throughout the time spent here in Los Angeles has been so much fun, and it’s just the start of many more adventures to come.
Kimbra absolutely knocked our socks off when she dropped 90s Music recently, with it she really pushed the pop music boundaries as far as possible instead of settling and becoming another cookie cutter pop star, which, let’s be honest, given her massive profile off the back of THAT collabo with Gotye would have been an easy thing to do.
Here’s hoping her new album The Golden Echo will follow suit and we can expect a whole lot of interesting and creative music from our favourite New Zealand Australian indie pop perfectionist.
Let’s be honest 80’s music is just “so yesterday” and the Noughties hasn’t aged as well as it should have… 90’s music on the other hand is rockin’ our world right now, and it appears we’re not the only ones…
The mix below was put together based on a selection of tunes by our favourite pop/not pop star Kimbra.
We couldn’t reach Kimbra at the time of writing to find out why she loves the nineties so much but stay tuned to your radio as we’re all gonna find out sooooon….
In the meantime get your ears around the jam filled donut of a mixtape above and relive one of music’s finest decades.
There you will find a cheeky preview of each pair of sneakers from this ridiculously amazing list of artists!
Architecture in Helsinki – Atlas Genius – Billy Bragg – Birdy – The Black Keys – Bloods – Bobby Fox – Bon Iver – Bruno Mars – Busby Marou – Charli XCX – Christina Perri – Cold Chisel – Dannii Minogue -Django Django – Eagle and the Worm – Ed Sheeran – Eliza Doolittle – FIDLAR – Flux Pavilion – Frightened Rabbit – Fun. – Gabrielle Aplin – Gorgon City – Grouplove – Illy – James Blunt – Jason Derulo – Jason Mraz – Jay & Silent Bob – Jeff the Brotherhood – Jim Ward – Josh Ritter – Katie Melua – Kimbra – Lewis Watson – Linkin Park – Lisa Mitchell – Macklemore & Ryan Lewis – The Medics – Michael Buble – Moby – Mutemath – Nada Surf – The National – New Order – Nuggets Inspired – Outasight – Owl Eyes – Paramore – Passenger – Periphery – Plan B – Pond – Portugal. the Man – Professor Green – Punch Brothers – Red Hot Chili Peppers – Rudimental – Sam & the Womp – Santigold – Sarah Murdoch – Simone Felice – Simple Plan – Skrillex – Stereophonics – Surfer Blood – Swift Kid – Tame Impala – Tegan & Sara – Trey Songz – Wavves – The Wombats – You Am I – Zac Brown Band
Like we said earlier the auction is going live on October 24 and you can find out more stuff at www.intheirshoes.com.au
OK so if you’re like me you were probably hoping you’d never hear Somebody That I Used To Know ever again, like ever BUT this Cam Meekins flip of the Gotye & Kimbra ear worm is definitely worth checking.
The 19 year old rapper coming straight outta Boston has a new album out in May titled Lamp City which based on his earlier works will no doubt be worth a look, in the meantime head over to his official website to find out/hear more or stay in the loop via twitter.
Disco and dancefloor legends Donna Summer and Robin Gibb both passed away recently so we wanted to take time out to pay our respect and put together a post that highlights a whole bunch of contemporary dance music that is helping keep the tradition of disco alive.
First up is The Guardian’s selection of the top 5 modern disco tracks followed by our very own Cool Accidents sampler of our fave nu disco jams and finally we have brand new business from one of the flag bearers of the modern day disco movement Ms Kylie Minogue.
For proof of disco music’s continuing influence, check out these recent songs that owe a huge debt to the dancefloors of the late 70s
Rock Your Body - Justin Timberlake (2003)
Initially intended for Michael Jackson, this slinky, Neptunes-produced single was, says co-creator Chad Hugo, born out of a desire to “make a song that would get people up like in a disco but not be a disco”. Note the word “disco”, not “club”, the venue for most modern day R&B bangers.
Hercules & Love Affair feat Antony Hegarty – Blind (2008)
Taking the best elements of disco – spidery basslines, funk guitars, squelching sax – and adding a soul diva vocal turn from Antony Hegarty, Blind is the epitome of modern disco, all hands in the air euphoria tinged with unshakeable melancholia.
Music Go Music – Warm In The Shadows (2009)
For nine short minutes Warm In The Shadows, LA-based disco trio Music Go Music’s best song, undulates and wriggles over a chugging bassline, rapid funk guitar and the sound of a million disco balls smashing together.
Lindstrøm & Christabelle – Lovesick (2010)
Norwegian producer Lindstrøm is often cited as the figurehead of “space disco”, which, if this collaboration with singer Christabelle is anything to go by, basically means taking the disco template, slowing it all down and making it sound strangely sinister.
Little Boots – Every Night I Say A Prayer (2012)
Always professing a love of disco in interviews, Little Boots put her money where her mouth is on this one-off single released for Record Store Day. Minimal and spacious but with a massive pop chorus, the video also recalls the New York voguing scene, which melded disco and house.
Disco Ain’t Dead!
Further to the Guardian’s selections, check out our picks in the sampler below, we’ve got tracks and remixes from The Scissor Sisters, Mayer Hawthorne, Kimbra, Dimitri From Paris, A-Trak and heaps more.