Niki N. Phaser

                Your favourite British pop-nerds, Hot Chip, are releasing their fourth studio effort, One Life Stand. Even before we hear the album, we have to give them a thumbs up for finding such a tongue-in-cheek title. It’s coming out this week and by judging the already released material, Chip fans have nothing to worry about. The oddball electro outfit, who are celebrating a decade of existence, have plenty of pop hooks and over-plugged beats in store for us. Ready for the Floor‘s title as the most recognizable Chip track might be in danger.

                 First official single, the title track, is a valid proof of this. It does sound like the little brother of a Depeche Mode track and Alexis Taylor like a Dave Gahan who hasn’t yet grown into his reverb, but One Life Stand has the merit of combining mystery with fun. It doesn’t happen too often. Still, I must declare that my first contact with this song was through the video, so maybe that’s why I’m seeing more green than black.

ONE CLICK STAND

     Well, unlike most bands I write about in this section, Swedish experiment-pop duo, The Knife, would probably prefer to be ignored. They have the media-phobia of Terrence Malick, but sure enough, they do qualify as excentric geniuses. Just like they don’t care too much (or at all) about promotion, they are really not trying to please anyone else but themselves. Karin Dreijer Andersson and Olof Dreijer create a new, experimental brand of pop, that is as catchy as can be, but still strange and eluding mainstream. Pass This On, from sophmore album, Deep Cuts, will make you understand better what this is all about. The steel-drums hook will make you wonder why does this sound so familiar (it’s a normal reaction to songs you’ll love for the rest of your life), while the voice, the lyrics will conjure a fascinating uncomfortableness, convincing your mind that there is something wrong here, but you can’t help closing your eyes and falling in the melodic whirpool of this weird pop. It’s a rather instinctual review of a song, I know, but that’s the way this Knife ‘cuts’.

PASS THIS ON HERE

           Ladytron are one of those bands that seem to engage in a world of their own, that have such a well-defined sound that it’s impossible for their music to ever be outdated. Sure, we can call them synthpop or new wave or synth punk or whatever, but we all (those familiar with the band) know that labeling them is nothing but a convention. Any of Ladytron’s albums could testify for that, but I have to admit that Witching Hour has something slightly more mythical to it, maybe because you can find the band’s best stuff on it. Destroy Everything You Touch is, of course, the first to come to mind, but you can’t leave out Beauty *2 or the eerie good mood of White Light Generator.

             International Dateline has an unique sense of immediacy, while being as melancholic as lovers saying goodbye in the wintertime. The punkish beat will make you expect someone singing “Here comes Johnny, he’s gonna do another striptease”, but that’s just one of Ladytron’s area of expertise: raw energy administrated through delicate means. This track will make you think of endings, but endings you don’t want to end. Facing the silence at the end of these four minutes is always desolating.

LET’S END IT HERE