Niki N. Phaser » non-single masterpiece

Ladytron – International Dateline : L.S.G.I.T.W.

Niki N. Phaser — Mon, 04 Jan 2010 16:05:18 +0000

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to engage in a world of their own, that have such a well-defined sound that it’s impossible for their music to ever be outdated.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

Best Non-Single Masterpieces of 2009

Niki N. Phaser — Wed, 16 Dec 2009 00:21:20 +0000

Yes, I gave in and embraced the cliché of making ‘best of the year’ tops. Still, ‘top’ is a strong word, it sounds so… hierarchical, so definite, things that can be calculated with numbers. Artistic value has a lot to do with the moment. While I’m listening to a great song and I’m really feeling it, I’m not thinking “This song is slightly less wonderful than another great song”. Music is not a sport. When it comes to art, each individual is the judge. Music is the place where the mind and the heart meet, it has nothing to do with other people’s opinions. You should also know that some of the songs from this list might be released as singles in the future, so read the date when this was posted before sharing with your friends… Ok, enough with this mumbo-jumbo, let’s see who made to number 1, people!!!!!

11. Morrissey – It’s Not Your Birthday Anymore

His recent albums are pretty far from the fresh outta The Smiths stuff. I’m talking about the music, because the lyrics have always been briliant – the guy just can’t be topped when it comes to editing ideas into the most simple and yet poetic words. It’s Not Your Birthday Anymore it’s one of the most powerful songs he wrote in years, talking about how politeness and hypocrisy have nothing to do with one’s expression of love: “All the gifts that they gave can’t compare in any way to the love I am now giving to you right here right now on the floor”. LISTEN

10. U2 – Moment of Surrender

Probably the only point where my little top here coincides with that of major music magazines, U2′s Moment of Surrender is by far the highlight of their latest album, No Line on the Horizon. Clocking in at almost seven minutes and a half, this ode to giving up, with plenty of gospel vibes, will make you crave to surrender in any possible way, just so that the song will fit your situation. Bono is not just singing on this, his playing a character. Top form. LISTEN

9. Depeche Mode – Jezebel

Martin Gore always keeps for his own (vocal) self the weirdest tracks on Depeche Mode albums, but then again, in Depeche world, ‘weird’ means unlike anything. It’s quite a cinematic piece of music, a portrait of a lady judged for her unconventional perspective of love: “Open their eyes to the beauty, Open their hearts to the fun, Open their minds to the idea that you don’t own someone”. If it wasn’t for the lyrics or Gore’s innocent voice, you might mistake Jezebel for a Sade piece, but that’s not a bad thing. Is it? LISTEN

8. Editors – The Big Exit

And speaking of Depeche Mode, this track by Editors sounds as if they were really inspired this one time, needed their guitars, but all they were given was an old synthesizer of Martin Gore’s. It might sound demeaning, but, believe me, it’s a compliment, because The Big Exit confirms the alternative band’s choice of a more electro sound as an inspired one. On an echoing big bass, Tom Smith sings about some kind of relationship, but he sounds more threatening than romantic — most likely, that’s the intention. LISTEN

7. The Prodigy – Stand Up

It’s a Prodigy tradition to do on each album stuff they haven’t done before. With Invaders Must Die‘s closer, Stand Up, Liam Howlett achieved what is probably The Prodigy’s only uplifting (‘non-menacing’) sounding beat. This is, in part, due to the Manfred Mann Chapter Three sample from One Way Glass. Of course, Howlett couldn’t have a full-on shinny happy tune in the band’s history, so he ‘patched’ the beat with plenty of dirty synths and insanely loud bass, so that your speakers would still fear it, just like the rest of The Prodigy’s discography. LISTEN

6. Manic Street Preachers – Marlon J.D.

It’s been more than half of year since this came out and I still can’t really explain what draws me so mercilessly to Marlon J.D., why this punkish track with unintelligible riffs and drum machines is as moving as… Samuel Barber’s Adagio for Strings, for example. The Manics are known for their memorable riffs, but with this one, the guitars sound as if they are voices which try everything that would sound good on the given rhythm. The vocals themselves make you believe that reality is a musical where the deepest pain can be expressed, in tune with the bassline. LISTEN

5. The Killers – A White Demon Love Song

You may or may not be a fan of the movie, but New Moon is one interesting compilation for your indie tastes of late 2000′s. The Killers wrote A White Demon Love Song for the movie, so you woun’t find it on any of their albums (so far). It sounds as if they had a lot of fun with this one, because, despite being about a demon, it has that country-growing-up-near-Mexico thing that Brandon Flowers and co. seem to sport as often as possible. Yet, it’s not a parody, but an ethereal ballad, which uses all means to conjure an unique love anthem. LISTEN

4. Placebo – Speak in Tongues

Brian Molko stated on several occasions that this is his main pick from Battle for the Sun and, for what it’s worth, his opinion could be considered valid. The song has a slightly irregular structure, meaning that from a verse-chorus-verse-chorus thing it turns into this building epic. Lyrically, we hear the same strange metamorphosis from abstract lines like ”Kitty came home without a name” to the eco-slogan-sounding “We can build a new tomorrow today”. Some extra points for the choral part in the middle and the use of the word ‘blasé’… LISTEN

3. Tori Amos – Fire to Your Plain

Though not a perfect album, Abnormally Attracted to Sin adds some valuables to Tori Amos’ 20 years career, like this slick bluesy little thing about a love triangle (?): “I am low, Watching you,Watching her play this game”. We encounter the kind of subtly orchestrated chorus we heard on Girl, for example, from Tori’s first album, though in a different tone. This is also one of those special cases where Her vocals are just as sarcastic as the lyrics. It’s not a single, but it has been graced with a cool video. LISTEN & WATCH

2. Alice in Chains – Black Gives Way to Blue

Grunge idols made a significant return this year, with a new singer replacing the demised Layne Staley and, of course, they couldn’t make an album without carving their love for the ex-bandmate in the shape of a three minute ballad, that will have you contemplating whoever is missing from your life. With Elton John on the piano, this deploring of life resignation (“I Dont wanna feel no more, It’s easier to keep falling”) might be the best rock tearjerker of the year. It will slow you down and force a moment of reevaluation. LISTEN

1. Little Boots – No Brakes

It’s all about looking towards the future and this year’s crop of new artists is one for the books. As far as Little Boots is concerned, 2009 was practically just her debut, so 2010 can’t come fast enough. In the same manner of 80′s retro pop, but with a hot twist, which made New in Town a hit, No Brakes is one perfect pop song, with plenty of feel, as well as well-crafted metaphorical lyrics. Synth bass and bells, catchy hooks, this is the kind of music suited for everyone and everywhere (ok, that’s a bit too much, but you get the idea). LISTEN

Gorillaz – Last Living Souls : Static Dance

Niki N. Phaser — Thu, 03 Dec 2009 18:33:48 +0000

With 2005′s Demon Days, Gorillaz evolved from a corky-but-cool experiment of Damon Albarn’s to a mainstream, chart topping venture. And it’s no wonder, considering that Feel Good Inc. became such an anthem of this decade. So did Dare. It was a bit of a surprise that the album’s second track, Last Living Souls, was disregarded as a single. It’s not as bassline infectious as Feel Good Inc., but there are plenty of catchy synths to make you love the song at first contact. Albarn’s vocals have that brit boredom in them, that should be familiar to Gorillaz fans. There is also an interesting 70′s American folk moment in the middle. The lyrics, well, they complete what Feel Good Inc.‘s video started — the song gives you the impression that someone is discovering a new world (but takes the time to smoke a fag before exploring). You might not get the urge to dance to this tune, but you will want to walk in a really cool way while it’s whispering in your headphones…

LAST LIVING SONG

Tori Amos (feat. Damien Rice) – The Power of the Orange Knickers : A Special Way of Saying ‘Fun’

Niki N. Phaser — Sun, 08 Nov 2009 13:44:23 +0000

Tori Amos rose to prominence in the 90′s and back then, being a strong independent female didn’t mean you get to dance with high-heels surrounded by half-naked muscular dudes. She became a genuine role model for women all over the world, not just because of her artistic creativity, but also because of her activism in stopping violence against women — she co-founded RAINN, an organization dealing with helping victims of sexual assault, Amos herself being a survivor of rape. But there is so much more to Tori Amos then being this brave female artist which metamorphosized an awful experience into something beautiful. She’s a brilliant composer and an even greater lyricist.

If this would have been the review of a Single Masterpiece, it would most definitely be about Crucify, but, even so, it’s quite a challenge to skim through her Non-Single Masterpieces and choose just one. The Power of the Orange Knickers displays a lot of Tori’s themes, styles and methods, as well as being one of her few collaborations, this time with Irish singer-songwriter, Damien Rice. Her songs always sound intimate, but this second vocal presence amplifies that feeling and the soft voices used by both singers make the track sound as a lullaby sung by both parents to their child. The title and lyrics showcase Tori’s often ironic view on love and relationships (“When you become a twist, For their latest drink”), especially when it is unrequited love (“this terrorist”), which seems to be the theme of Orange Knickers. It’s wonderfully stated through some of the lyrics: “Shame shame, for letting me think, That I would be the one” or “The power of listening to what, You don’t want me to know”, all of these creating the image of a relationship where just one loves and the other feeds on that. There is a metaphor to underline this, one of the best metaphors in the history of metaphors (Shakespeare included): “Am I alone in this kiss?”. BONUS: Tori sings the word ‘fun’ in a very cute way in this song.

ORANGE FEMALE UNDERWEAR LIVE VERSION

Blink 182 – Violence : Intimacy vs. Hanging Out

Niki N. Phaser — Tue, 13 Oct 2009 10:30:18 +0000

While we are waiting… and waiting… and, you guessed it… for Blink 182 to release some new material, we should all take a moment and remember the wonderful non-single masterpiece that was Violence, song which appeared on as of yet still their final album, the self-titled (or untitled) from 2003. Because of this album, the band’s 2005 hiatus was even harder, because it marked the beginning of a new sound for the band. While still punk and pop, this album had more serious tones. Unlike previous stuff, it talked about love, not about dating, about intimacy, not about hanging out. The sound was hinted at by earlier songs like Stay Together for the Kids or Adam’s Song, but Blink 182 is the album where the boys grow up, they are done with practical jokes, because they feel new things and they need to get them out there. Violence is by no means the highlight of the album. It shares the title with I Miss You, All of This or I’m Lost Without You, but, still, Violence probably has the best chorus on the entire thing. The live version sounds great, too, but you kinda notice the lack of the slight reverb on the “You kill me” line. It makes all the difference.

Album Version

Robbie Williams – The 80′s : The Autobiographical

Niki N. Phaser — Mon, 10 Aug 2009 11:43:56 +0000

Robbie Williams’ 2006 album, Rudebox, was the very definition of mixed reviews, as the pop idol went a bit too electro for what people expected of him. Once you overpass the controversy and the unlikely first single Rudebox, you find a nice collection of tracks sporting mixed styles, but all of them sounding quite catchy. The perfect example is this non-single, pop-hop tune, The 80′s. You should know from the start that if you have a problem with Robbie Williams’ rapping, you can still enjoy the great music and the hook of the chorus, one of those cases of upbeat nostalgia. It doesn’t happen too often. But The 80′s is also one of those cases when you can’t really choose which is your favourite, the music or the lyrics. Nostalgic and very funny, the lyrics make the song unfold like a movie in the listener’s mind, one of those coming of age drama-comedies. There is talk about football, family, Falklands and a lot about sex: “And it was but I couldn’t care less, I’d seen a girl’s part, made a mess on her dress, oh yes! You’re now rocking with the best, second person in my year that had seen a breast”. And in pure retro-fashion, you get a bunch of pop-culture references to the mentioned decade, stuff like The Beastie Boys, Wham, LL Cool J, Berlin (Take My Breath Away), Snap (Rhythm Is A Dancer). The song wasn’t released as a single, but there was a video contest, where directors all over the world could submit their video for this song.

SEE THE WINNER HERE

The Prodigy – Diesel Power : It Really Does Blow Ya Mind

Niki N. Phaser — Sat, 25 Jul 2009 17:15:53 +0000

We all know (or do we?) the story of The Prodigy’s The Fat of the Land album and how, because of it, the rave elders of the tribe ruled the world for about two years, before taking a long break. The three singles released from this album, Breathe, Firestarter and Smack My Bitch Up have all made history: the videos included in almost every countdown of controversial mv’s, the tracks covered and remixed by legions of dj’s, they haven’t missed from any live set of the band ever since. But an album does not achieve such success and notoriety on singles alone. Amongst non-single masterpieces like Funky Shit, Mindfields or Climbatize, we also encounter the first official collaboration between Liam Howlett and rapper Kool Keith of Ultramagnetic MCs fame. The hip-hop crew is one of Howlett’s favourite to sample, but this is the first time Kool was actually invited to do the vocals and the lyrics. Before being included on the album, the track used to be played live, known as Blow Ya Mind with Maxim doing some freestylin’ over the beat. The Kool version retained the chorus “Blows your mind drastically, fantastically” and most importantly, the sick d’n'b line, punctuated by a base hit that will test ya speakers and blow ya mind, all in one. It’s interesting that despite hip-hop being one of Howlett’s primal preferences, this is about the only Prodigy tune that would qualify in this genre. It is one of their most powerful tracks, displaying once again Howlett’s ability and pleasure of creating beats that no matter at what volume you play them, they still sound too loud for the neighbours.

LIVE PERFORMANCE OF Blow Ya Mind IN 1996

Madonna – Forbidden Love : Deep Dance

Niki N. Phaser — Thu, 23 Jul 2009 20:38:41 +0000

Confessions on a Dance Floor marks another stage and another successful comeback in Madonna’s career, bringing in record numbers all over the world and creating the inertia on which Hard Candy‘s triumph was originated. Lead single Hung Up also did its part of the job, as well as the other three that followed. If choosen as a single, Forbidden Love would have surely prooved to be a hit, but, truth be told, it’s not just pure dance energy like Hung Up, for example. This track holds the strange combination of being a very danceable serious song. It sounds as profound as some Gregorian piece and yet it’s filled with ethereal synths and powerful beats, which make the song seem like a really dirty ‘da-club’ remix, all courtesy of Stuart Price aka Thin White Duke. The somber electro moods do a great job in emphasizing the grandeur of the song’s theme. Love is regarded from a philosophical/existential point of view: “Are we supposed to be together, We seal the destiny forever”. It’s written so that it would fit any kind of ‘forbidden love’ and no matter how free-minded we think the world is there are still plenty of forbidden loves out there. Just think about it, there are plenty of loves you yourself would forbid… In live performances on her Confessions Tour, Madonna went for some religious meaning, brilliantly suggested through coregraphy as you can see in the following video:

LIVE PERFORMANCE OF Forbidden Love

Editors – The Weight of the World : A Moment Of Reflection

Niki N. Phaser — Thu, 16 Jul 2009 11:43:54 +0000

With only two albums, British indie band Editors have managed to… get noticed, to say at least. Their second album, 2007′s An End Has a Start, confirmed them as an important new name and left plenty of people curious about what’s coming next. But, now, in the two-month eve of their new album’s release, entitled In This Light and On This Evening, let’s remember one of their non-single masterpieces, The Weight of the World. Built on a slow beat, reminding us of The Jesus and Mary Chain’s Just Like Honey, and on a repetitive guitar riff, this is a calmer moment in the usually urgent Editors’ rock. Songs like Munich and An End Has a Start are more like their trademark sound. Still, The Weight of the World might just be their best song so far, with Tom Smith’s voice sounding as affected as ever, especially singing reflective lyrics, that masterfully avoid becoming corny in any way. The song begins with the line “Keep a light on those you love, They will be there when you die”, the chorus goes like “Every little piece in your life, Will add up to one, Every little piece in your life, It will mean something to someone”. It would be a good soundtrack to both moments of joy and those of sorrow. Even though it wasn’t released as a single, The Weight of the World was included in the live setlist of Editors’ shows, supposedly being written especially to be played at Glastonbury ’07.

LISTEN TO THE SONG HERE

David Bowie – 5.15 The Angels Have Gone : Limbo

Niki N. Phaser — Sun, 12 Jul 2009 17:28:36 +0000

Chances are that this very moment somewhere in the world two Bowie fans are fighting over which period was better. The work of a man who’s been 50 years in the music world should be divided in periods. For practical purposes, if not because of the sound and image changes. With such a huge catalogue and such a huge talent, there are plenty of non-single masterpieces to choose from, but right now I’ll go for 5.15 The Angels Have Gone from the 2002 classic Heathen, which probably has the most cool cover of all David Bowie albums. You can see from most of the Heathen tracks that the author was in a relaxed zone – there was no pressure, just the joy of making music or of playing it (the album features a few covers, including The Pixies’ Cactus). 5.15 The Angels Have Gone itself has a very chillout vibe, with plenty of seraphic choirs and bells and chime effects. Still, halfway in, you get a drum solo, performed most likely by Bowie himself and, of course, some slap bass (he just couldn’t help it). The airy sound contributes to imagery suggested through lyrics like “5:15 ,Train overdue, Angels have gone, No ticket”, which makes you believe that here Bowie sees limbo as this train station, where you change trains, which will take you either in Heaven or the other place. This is a very luminous piece of music, without it being upbeat. It’s not the kind of song that will cheer you up when you’re feeling down, but it will provide some sort of distance from whatever is happening in your life at that moment.

LISTEN TO THE SONG HERE