Label: Columbia
Country: United States
Release Date: 2012.01.24

“Something” is the highly anticipated second album from Brooklyn based duo, Chairlift. Songs like “Ghost Tonight” and “I Belong in Your Arms” will remind fans what initially drew them to Chairlift and kept bringing them back. The album’s general sound is one of rich reverberating harmonic textures, interesting sonic pairings and lyrical adventures. Caroline’s vocal delivery comes through in perfectly delectable cadence with displays of technical prowess and raw emotional outbursts which are still artfully controlled and not in any way abrasive.

Label: Cinq 7
Country: Finland
Release Date: 2011.03.07

The first note on the standard musical scale is “do” which is the last note also, representing what’s new and what’s old, giving the musicians and artist the latitude & longitude to re-invigorate any musical genre, from blues, rhythm & blues, jazz, bebop, doowop & hip-hop, not to mention rock & roll, and eitherway to sing or play you’ve got to do it with your heart & soul. Enter the band with the note-scale name and you add a new picture to the frame, only it’s double entendre; for the “do” is the “do” who are doing a double take by rolling the rock uncovering the hole left in rock & roll after disco & pop skyrocketed to the top eclipsing all the other musical genre’s except for hip-hop. Pop then jettisoned disco like a booster and flapped it’s wings like a rooster, and crowed that it knowed all of the music and had taken the best and left the rest. Well the rest came, to put the picture back in the frame, and keep it simple like a dimple, on a teenager’sface, and are now filling the hole by popular demand spanning the space between the rock and the roll, with wholesomeness & simplicity that excite like electricity.
Dan & olivia are the “do” and are two of the freshest faces in view, and by being in between their influences span the scene, cause both the letter “n” and the sign “&” signify no end from old to new, and that’s what the “do” love to do. A veneration from the “now generation” with classical & jazz music as prime sources of their inspiration, they training & gaining by tonic application, within the non-boundairies of jazz improvisation, applied to rock ‘n roll, to let their hopes, dreams & consciousness streams come to fruition through the root’s of their influenced musical intuition. Thus, you can hear a bit of all the genre’s that you know, without having to categorize it so, because it’s been minimalized to the size befitting the sound by the “do”. Tech & live, they thrive on the balance between swing & serene, to instill a fil in a picturesque scene, of subtle melodies, and distant rhythms while lyrically identifying various “ain’ts and ism’s” do’s, don’ts, will & won’ts”. Dan call’s, olivia answers, like a groove in between dancer’s. Dan plays, olivia sways sings in stylish praise, that float with hope for the now generation to cope with “the burden on their shoulder’s, and one can feel the weight, which is also double entendre, phonetically in contrast to the word “wait” but the do will let you know it’s not yet too late. (by !ndie people)

Label: Atlantic
Country: Sweden
Release Date: 2011.02.28

“Wounded Rhymes”, is one of the most tremendous records you will hear in 2011. Channeling the demise of The Shangri-La’s Leader of the Pack, women under the influence, ladies and gentlemen of the canyon, a Kung-fu Marianne Faithful, and an armed Nancy Sinatra on peyote, Lykke Li has created an eleven song album that sounds like no other. The record is packed full of pounding, voodoo drums, girl group gang vocals, sparkling guitar lines, woozy keyboards, love unrequited, hope reignited and her own very powerful voice, sounding bigger and bolder than ever before. From the hazy 60’s organ driving opener “Youth Knows No Pain” to the sparse toe-tapsolo- guitar-swing of “Unrequited Love” to rollicking single “Get Some” to the dense drums of the propulsive “Jerome,” Wounded Rhymes is a testament to Lykke Li’s brilliant musical voice, one unlike any other.

Label: Back Yard Recordings
Country: Australia
Release Date: 2010.05.24

In a short space of time Teenagersintokyo have come from nothing to quickly rising as one the bands to watch in 2010; selling out venues across the UK, bagging support from the likes of Zane Lowe and the NME; and most recently topping the Hype Machine chart with The Horrors remix of ‘Peter Pan’. Following the celebrated release of their self-titled EP in 2009 the band caught everyone’s attention, landing themselves international acclaim, support slots with CSS, The Slits & Gossip, a record deal with Backyard and a move to the other side of the world.

The result is debut album ‘Sacrifice’; an album that promises delight, thick in imagery, where landscapes and fire dominate the pastoral gloom. Album references are immaculate: ‘Isabella’ recalls prime era Siouxie & The Banshees with a serrated electro punk edge; while ‘Long Walk Home’ is awash with Joy Division synth swatches. The relative light and optimism of ‘New Day’ is outweighed by the suicidal calamity of ‘End It Tonight’, and new single ‘Peter Pan’, whips, lashes and sparks like a loose electric cable. The bass is tar thick, the drums edgy and jittering, the guitars sharp and slicing. And caught in the centre, singer Samantha Lim’s veneer of fragile innocence fractures and collapses to allow glimpses to the turmoil beneath. It’s a crooked shadow racing for the dancefloor with its knives drawn.

Teenagersintokyo are poised to take their place amongst the art-pop new wave; now sultry shimmerscapes like ‘3046′ and deviant dancefloor destroyers like ‘Talk To The Fire’ and ‘Peter Pan’ are set to draw back the curtain on a more opulent Big Picture. Prepare to be dazzled, blackened, bewitched. (by recordstore)

Label: Naïve
Country: United Kingdom
Release Date: 2010.04.05

London-based trio We Have Band’s debut album ‘WHB’ will be released through French label Naïve. The record will come out on 5th April, preceded by single ‘Divisive’ on 22nd March, and was recorded throughout 2009 with producer Gareth Jones.
Pounding drum machines, dirty basslines, even dirtier synths and a neat line in hypnotic, Hot Chip-style vocal hooks, We Have Band’s sweaty electro is simply irresistible. An adventurous & modernist concoction of post-new rave DIY sambapunkdisco jiggery-pokery that’ll come as a shot of distorted filth in the arm for an overflowing UK electro-pop scene… They got band. We found heroes.

Label: Critical Mass
Country: United Kingdom
Release Date: 2009.06.09

“We were flying back from Russia in this cranky Tupelov plane,” recalls Alex Payne explaining how Cicada came up with the title ‘Roulette’ for their new album, “We joked that it would be Russian roulette whether we made it home or not. Then we started thinking how the music business is a roulette wheel and Cicada are small operators gambling against the house – but winning so far…”

He’s right, Cicada are on a roll. ‘Roulette’ is a follow-up that kicks. With songs such as the driving Moroder-esque disco throb of “Falling Rockets” or the pulsating bassline power of “Don’t Stare At The Sun”, Cicada deserve to dramatically increase their armada of devoted fans.

Their self-titled debut album sold in droves in 2006 and topped online polls without significant marketing from the group’s tiny Critical Mass label. It was a genuine word of mouth success. However, where that album was awash with delicious Balearic grooves ‘Roulette’ ups the energy levels to an irresistible dancefloor buzz.

Cicada began life as London club-heads Alex Payne and Aaron Gilbert’s successful production team, remixing Depeche Mode, New Order and many others, but they wanted more, they wanted to return to the band ethic and build a project that reflected their love of rock and pop as well as dance. They started creating tracks but needed a vocalist.

“We didn’t want diva-ish vocals,” explains Aaron, “We wanted someone with an interesting voice who didn’t just belt it out.”

After an extensive search they found Heidrun Bjornsdottir, who’d previously sung with Icelandic housers Gus Gus and Liverpool rockers Gloss. She fitted in perfectly and, with their first album rousing interest and receiving positive reviews, Cicada were suddenly in demand for gigs. Initially wary, the trio added drummer Duncan ‘Pixie’ Mills for shows and before they knew it they were gigging across the globe.

“We didn’t want to be U2 in a month,” says Alex, “but we gained confidence, made live instruments fit with phat analogue, and played this fantastic festival called Good Vibes in Australia. We thought we’d be stuffed in a tent in the corner but the promoters said, ‘We absolutely adore the album, do you mind going on the main stage before The Beastie Boys and Snoop Dogg’.”

Playing to 20,000 Aussies going mental was nerve-wracking but exhilarating, and over the next year and a half they gigged solidly, playing crowd-slaying sets at two consecutive Glastonburys. They loved it and wanted to make an album that reflected the live experience, a new set that took the roof off.

“Performing is the part I like best,” agrees Heidrun, “It’s where I really have fun and the crowd always have fun with me.”

‘Roulette’, then, explodes with dancefloor attitude but it’s also pop. Pop? Yes, pop with attitude and cheeky underground pizzazz. Cicada know pop music can mean anything from the Faithless to U2 via Frankie Knuckles and Maximo Park. ‘Roulette’ appears just as proper pop is being rediscoveredby sites such as Popjustice and Wonkypop, a whole movement devoted to recognizing when pop music is glorious and reclaiming it from TV talent shows such as ‘The X Factor’. It suits Cicada down to the ground.

“Pop isn’t a dirty word,” they reckon, “From Saint Etienne to Santogold, it’s possible to do it credibly, we’re not techno DJs from Berlin, we’re just trying to make an album that, if someone finds it on their shelf and plays it in five years time, they can still enjoy the songs.”

To this end ‘Roulette’ springs all manner of surprises on the listener. Heidrun helms most of the vocals, notably on the first single “Metropolis”, a gem that comes on like Tiga’s finest electroclash given a sparkling 2009 update, and features tasty mixes from Charlie Fanclub and Twelves. Elsewhere guest vocalists make appearances. Bjorn Synneby of Swedish bands Pacific! and The Whyte Seeds, sings on the contagious Empire Of The Sun-esque “Talking”, leading to questions about whether Cicada have a thing for Nordic vocalists.

“I never thought of that,” Alex laughs, “but I’ve never been mad for raucous rock vocals in dance, or anything indie or overwrought, whereas I love soulful vocals with froideur, a little bit of melancholy.”

The other guest vocalist, Tom Smith from The Editors, fits this description brilliantly. Cicada remixed The Editors a couple of times and the rock band loved their work but no-one could have predicted a new collaboration would work as effectively as the song “Executive”, one of the album’s most memorable moments, akin to the Talking Heads majestically produced by William Orbit.

Perhaps the centrepiece, however, is “One Beat Away”, a contagious indie-dance stomper riding a bassline Peter Hook would be proud of, a song so immediate it’s become a call and response ritual at Cicada gigs. It’s a dancefloor detonator that ebulliently sums up Cicada’s intention to create music with one foot on the dancefloors of Ibiza and one down the front at Britain’s most rockin’ festivals, territories that collide euphorically on their smashing new album. (by bandweblogs)

Label: Oi Va Voi
Country: United Kingdom
Release Date: 2009.05.15

Oi Va Voi’s third album ‘Travelling the Face of the Globe’ is the sound of a band absolutely at the top of their game. All the elements that the band has developed over the past five years are realised with new found confidence and independence. The band have returned to their roots, taken control of every aspect of their career and reunited with the Grammy award winning producers of “Laughter Through Tears”, Kevin Bacon and Jonathan Quarmby. Travelling is the main theme of this album, besides that the band took influences from different countries and cultures they also use different languages. Vocal wise I have been blown away. Three of the band members contribute vocals but the first one that got me was Bridgette Amofah. She uses her voice on such a controlled way where many other vocalists can learn of. Take a song like “I Knew What You Are” or the title track for a repeated listen and you will be blown away by the sound of this poppy voice with classic influences. Instruments like the trumpet and clarinet bring atmosphere in the music. Don’t forget to pay attention to the string section which is added by violist Anna Phoebe.
The traveling goes on and on and the song “Magic carpet” brings you to the middle east. Remember those nights in such a lovely village restaurant where you hear this music as well. The album ends with a song called “Photograph” featuring guest vocalist Dick Rivers, which has a typical sound from an Ayreon musician. He sings in French and so the journey has ended there.
With Oi Va Voi you don’t need to bring your camera equipment on holiday, just this album is enough to bring up memories of places where ever you go. For a music fan this band is very interesting. For some shallow music listener I can not tell whether the band can deliver their message clearly or not. It is music you really have to listen to and you don’t just put it on as a background sound. I say, it is a jewel. Very pleasant and a lot to discover. It even inspires me to go and visit places I have not been to yet. (by sabine van gameren)

Scene Release: Oi_Va_Voi-Travelling_the_Face_of_the_Globe-2009-ONe
Release Info: 56Mb / 320Kbps

Label: Copenhagen Records
Country: Denmark
Release Date: 2008.01.21

Just in case you’ve inexplicably missed it, 80’s revival has been alive and kicking for what now seems longer than the 80’s themselves. So here’s another band getting on the, erm, bandwagon, Spleen United (most horrifically bad band name ever?) hailing from Denmark. Spleen United sound like a bastard child of A-ha, M83 and–hell, I’ll just say it–Kraftwerk – meaning this is 80’s music that can only be made in Europe which, let’s face it, is infinitely better compared to that American 80’s (and wannabe 80’s) crap. You’ll know you’re in for a synth-laden wild ride from the first second of the awesome opener “Suburbia”. Granted, this is a bit of a curse as well since it is scientifically proven that the human mind can take only so much 80’s synth rock before moving to a quaint Belgian village to open up a fruit stand and watching Tour de France on a portable black and white TV. In other words, Neanderthal could’ve benefited from being about 10 minutes shorter because the last three songs tend to drag on until you simply stop paying attention. (by UpInFlames)

Label: Couch Records
Country: Austria
Release Date: 2009.04.24

“Music Matters” is Dzihan & Kamien’s 3rd studio album. After “Freaks and Icons” (2000) and “Gran Riserva” (2002) as well as the live recording of the dZihan & Kamien Orchestra, “Live in Vienna”, they are challenging our musical senses again. Recording for this album started about 3 years ago in San Remo, Italy, followed by sessions in the extraordinary Saal 4 Studios in Berlin and was completed at Couch Studios in Vienna in December, 2008. On this album they went into exploring songs and the melodies. The recordings were basically made in a “vintage” way- quite the opposite of the previous records, “Freaks and Icons” or “Gran Riserva”. On “Music Matters” they’ve been collaborating with the outstanding vocalist Helgi Jonsson. They perform and play almost all of the instruments by themselves, intentionaly avoiding the techniques of the past, whether it be sampling, cutting or editing. This gives them a brand new and almost atypical sound, but their uncompromised and well-know “finger print” is always there! (by soul seduction)

Label: Moon Records
Country: Ukraine
Release Date: 2009.05.12

Everyone is already used to defining music by the Kyiv group NimB as trip-hop. I could hardly say that there are no grounds for this – but no more than for definitions like acid beat or electronic fusion, dawn cartoon or smooth optionality. In the end, everything boils down to that it is considerably more interesting to listen to this music than to name it somehow. Atmospheric and inverted guitars, the pulse and melodiousness of the bass, separate patterns of the “drawn” percussion against the background of the not always unambiguous main rhythms – and the interwoven braids of the characteristic, emotional vocal by Olena Sas, crystal-clean and warm at the same time. It might seem that everything is simple – but this is sort of correct, saturated simplicity that makes it transparent and soft inside. Because virtually in every melody there are windows that lead sometimes to other houses, sometimes to other cities or countries, and sometimes even to other time dimensions. Not only because it is possible to hear here, if you wish, various influences.
But also because this music, surprisingly, truly lives on a verge – as though still in a night, but already literally a step before the morning. And that is why it offers freshness and the presentiment of quiet light.