October 29, 2011

The Queen Of Fucking Everything?



Holestar is a woman pretending to be a man pretending to be a woman. Capisce? For those of you with a semblance of cultural awareness, this is what we call a Victor Victoria Moment. My good friend Phil has hooked up with Holestar to produce a follow-up to her esteemed classic Show Me Your Banana, this one called The Queen of F***king Everything. Watch the video above all the way through for a well-deserved bit of Simon Cowell placement.

Baby queens should also recognize that Holestar has a touch of another legend's glitter. Divine, minus the dog poop. Watch this clip:



Stream all three EP tracks on Holestar's Soundcloud. As Phil eloquently puts it, "You need to support those creative queers: the ones who create something out of nothing with little more than buttons and the odd BJ." Mmmm hmmmm.

iTunes UK | iTunes US | Amazon UK | Amazon US

October 27, 2011

Madonna: Fruit hurts my stomach



On the one hand, this new Madonna clip is complete hokum.. a forced faux exchange between mother and daughter. On the other hand, it's beyond quotable:

M: "Fruit hurts my stomach"

M: "I don't eat things I can't identify."

Or this exchange:

Lola: "Totes magotes.... they say that now."

M: "Whatevs"

Lola: "They don't say that anymore."

M: "Excuse me? I say it in my world... I'll say what I want in the... timeless world."

Lola: "In the OLD world."

R.E.M. A final single...



and it's beautiful. We All Go Back To Where We Belong:



The upcoming hits collection will include two more new songs: A Month of Saturdays and Hallelujah.

I haven't liked R.E.M. much for about 15 years, but I am still gutted about their demise. I hope Mr. Stipe does some inventive solo work... I'd love to hear his voice in a new musical environment.

October 21, 2011

Emeli Sande's street symphony



Just days after Rihanna was smoking nine cigarettes at once with her bad Irish boyfriend in We Found Love, we now find Emeli Sandé having it off with Mr. Wrong in her new video for Daddy...



The video's solid, but the song is they key. It's one of the finest of 2011: a triphoppian epic with blazing strings. The kind of track that sounds great in your ears on a cold, grey city day or deep in the night.

Like Sandé's previous single, Heaven, Daddy is produced by Shahid Khan, aka Naughty Boy. In fact, the song's credit is "featuring Naughty Boy," which makes it sound like there's a rapper feature that, thankfully, there is not. The single is out November 20, with several remixes, but we have to wait until February 6 for the album, Our Version Of Events.

And let's just say this now: There is surely no one who is going to top Emeli for the BBC's Sound of 2012. We can end that contest right here, right now.

When Clare rings



XO's Phone: [ringy ringy]

XO: Helloooo?

Clare Maguire: Is this Xolondon?

XO: Mmmm hmmm?

Clare Maguire: This is Clare Maguire

XO: [drops phone. screams]

Clare Maguire: Hello?

XO: ohmigodClareMaguireIloveyousomuch!!!!Wherehaveyoubeen
ISurrenderisthegreatestsongeverohmiGod
!!!!!!

Clare Maguire: I wanted to tell you I am recording a new album-

XO: ohmigodClareMaguireIloveyousomuch!!!!Iwantdetailsand
ISurrenderisthegreatestsongeverohmiGod
!!!!!

Clare Maguire: It's true! It's a bluesy soul record inspired by artists like Johnny Cash

XO: [silence]

Clare Maguire: Yes, I know, biiig news right?

XO: [silence]

Clare Maguire: ...hello?


XO: [click. dial tone.]





Note: I actually love Clare Maguire. I won't abandon her LOL

October 20, 2011

Up in '12: The Jezabels



The Facts: The Jezabels are a pop-rock band from Australia (isn't everyone from there these days?). They are quite guitary. Starting to hit the UK. Debut album called Prisoner hit #2 on the Oz charts. You can see several of their videos here. What do you think?

The Jezabels - Endless Summer by thejezabels

October 19, 2011

New Kate Bush images



There are so few photos of Kate Bush these days, that we cling to any that appear. A more mysterious image, which should have been the album cover, has also surfaced...



50 Words For Snow is out Nov 21

Why do I love Rihanna? It's all right here.



That's the first part of Rihanna's Making Of piece for her beautiful new single We Found Love. The whole thing's entertaining, but the moment of gold comes at 3:56 when Rihanna, in closeup, describes how "we gonna fuck on a tractor..." It goes on from there.

There's also a moment later in the clip when she describes the new video:
We've never done a video like this before. This is probably one of the deepest videos I've ever done. Its all about love and love being like a drug... you definitely get that from this. The good feeling of it and the dangers of it.
And here is the final We Found Love video. Amazing, proper film-making.



This song has the most beautiful/sad vocal hook of the year, both lyrically and melodically. Nothing touches it: We found love in a hopeless place.

October 16, 2011

Florence: Visualizing Ceremonials



On Saturday Flo released this short video of the Ceremonials photo shoot.
Need I use an adjective?


FLORENCE AND THE MACHINE

Ceremonials is out on Halloween day, but here are some short previews of
what sound to be some of the best tracks...


Only If For The Night



Breaking Down



Never Let Me Go



Spectrum



Flo performed last night in Brooklyn. Here she is doing Heartlines...

October 10, 2011

Interview: Darren Hayes unlocks Secret Codes



It is not dramatic to say that four years in pop music is a lifetime. Since Darren Hayes released his last album, the double-LP This Delicate Thing We've Made, lesser careers have come and gone. Rihanna's been through multiple hair colors and a certain alien-like New Yorker has taken over the pop world. Throughout all of it, Darren has been creating his fourth solo album, Secret Codes And Battleships, out October 21/24 worldwide.

Just as I put together this interview with Darren, Apple's legendary leader Steve Jobs died. I thought about how my iPod is always a few feet from me, day and night, and how that little device tells my own life story through other people's voices. Steve Jobs' impact on the emotional experience of music reminded me that Darren Hayes is also a music fan at heart. It clearly pervades how he approaches his career...

XO: Darren, this whole project seems like a dream version of a what a fan would want. So few artists are able to deliver that 20 years into their career. It's in the way the singles have been revealed, the b-sides, mixes, the special collector's items, attention paid to fans and, of course, the final album itself. You've had a long time to think about this and prepare it as a full... experience.

Darren: I am a fan first. I understand what a fan wants because it's what I want: respect, attention to detail, blood sweat and tears. If an artist isn't giving me that, it shows and I lose respect. I have made a point of ensuring that there is a physical world to counteract our disposable digital world and how that affects music releases. The games, the interaction, the codes, the colors - all of it had been meticulously planned and designed and I wanted to engage and involve my audience as much as possible. Doing things like creating physical versions of the artwork on the code pages (and sending them out to those who deciphered them) flying a winner to London, making real treasures to hide around the world : these were the tangible things I wanted to offer up. Not in place of a virtual digital release but in spite of and in addition to. I feel like this way there is something for everyone. The collector's edition and special addition bonus tracks are really album quality songs - almost a whole album worth of 'more' stuff. Stuff that didn't quite make the record but finished with a degree of respect and admiration for my audience. The bonus material isn't just cobbled together junk of no value: it's the album and then some.

I get the sense that you approach each project as if it's your last. You even sing about the "last night on earth" on Roses.

I do approach every record like it could be my last because, honestly, each one could be. Who knows?

But, after being your own boss for several years, did you worry that a major label wouldn't play along with how you envisioned this music and the marketing of it?

Let me clarify this very clearly: no one has messed with my vision. Not in the songs, the marketing, the videos, the singles choices. Nada. I got in to bed with Universal in Australia and then EMI, in the UK, precisely because they respected me and our vision and in fact were inspired by it. The president of Universal in Australia uses our album campaign as an example to show new artists what a really great campaign is. Maybe for newer artists, or in the past, people had this idea that a record company runs it all and controls things (and perhaps this is the case with less involved artists), but from my experience everyone was thrilled I had such a clear vision.

You've referred to this as a "pop record." Wasn't your last album, Delicate, a pop record too? ... Although I'd say that was like your own Sign O' The Times. A sprawling opus. What is it that makes Secret Codes "pop"?

When I say this is a "pop" record, I mean literally that it is refined and polished and I paid attention to stripping away anything that was unnecessary. Sometimes I get taken out of context and it appears I'm apologizing for my previous work. Not the case at all. I'm so proud of The Tension and The Spark and This Delicate Thing We've Made, but this was a new challenge. I might want to do a completely different record next time, or a strange side project or whatever takes my fancy. It just so happened that I wanted to make something that was "classic" pop. Pop like the kind I used to make, but with all the texture and color of the experience gained form the last decade of experimentation.

When did you actually start the album?

The first piece of music was written, I believe, at the end of 2007 and the first song recorded in mid-2008! So it's been a long, long process.

Four years later, it's about to be heard in full. Was there ever a fear that, by the time we reached this point, your feelings about it might change or that you might start to tinker with the music? Or maybe that your own taste would change in that span of time?

No, I never worried my taste would change. I only worried that if I waited too long the music would sound dated. I'm lucky that it's not a particularly "trendy" record so it escapes the comparisons to what is "hot" at the moment. Also delaying the mix and going back and tweaking things allowed it to still feel fluid and unfinished until it absolutely had to be delivered.



I remember thinking, as you released those Making The Album videos a few years back, "WHAT IS SONG S? WHAT IS SONG D?!" or whatever you called them. It drove me nutty, because I knew it would be a long time before we fully got the references, or - heh heh - secret codes. Were you just going medieval on us? Did it make you impatient to keep it secret?

I genuinely only have good intentions when it comes to the very little I reveal about details before songs are released. I'm trying to involve the audience in the process and in my excitement, but at the same time I'm trying to protect the surprise element which I still think is crucial in music. Leaks are so dull and frankly ruin the fun. Forget the commercial aspects and arguments pro and con - when an album leaks or a demo leaks early, it's a joy kill for an artist because it takes away the bit I most love about releasing an album: the journey. Because we live in a culture of instant gratification I understand the need to have something yesterday, which is why I use blogs and social media to involve everyone as much as possible, but I'm old school in that I still want there to be some mystery and something to marvel at, on your own, on release day. The fun part for me on this album was that I was leaving clues very early on. For example, I wore an anchor on a necklace during my New Years Eve show in London 2 years ago and my twitter background page for the longest time had been a painting of a ship in distress.

There was a point [during the making of Secret Codes] when someone - who? - told you something to the effect of "This album is not done" and you went back and did more. What was missing?

My managers at the time - although I'm now managed by just one of them, Cathy Oates - said, essentially, that the record was brilliant, but was lacking the defining career moment. Just that. No big deal right? Just go write one more career defining classic song!

Oh... just pop it out. And what was the result of that?

The song was Bloodstained Heart. I rest my case.

Bloodstained Heart:



I actually tweeted to you that I feel like it's a "watershed" song for you. There's also been a great response to Black Out The Sun. It's natural that a fan would look for clues about their favorite artist inside a lyric. Some of the songs on Secret Codes are about depression, the collapse of relationships, loneliness. Is there a message you want to give fans about those particular songs?

Everything I do is deeply personal, to the point of sometimes feeling too exposed. Hurt is about me. I am that guy. All I can say is - if there's darkness, it's mine and I own it. But I want my audience to read themselves into the music and the stories so as I get older, I'm less and less inclined to explain the meaning. Read in what you will. The only thing that is absolutely not to be taken from the record is that my own love life is or ever was in crisis. The break ups and the heartache on the album were a result of what I saw and felt around me, and a betrayal of trust in a long long friendship that just about broke me. But it made for wonderful songs.

Black Out The Sun:



I wasn't "going there" on that [your relationship], but when I heard Talk Talk Talk and Nearly Love, I did wonder if people would read into the lyrics. Tori Amos recently said, outright, "My husband and I are still together, don't worry!"

It has come up a lot and, even before it came up, I was prepared for it because I'm quite a personal songwriter so people tend to read everything literally which, if you know anything about my music, you'd know about half of it is literal and the rest shrouded in metaphor. The trouble with being open about your private life is that it exposes it to speculation or judgment. The only reason I'm even slightly open about my marriage is that from a civil rights and social responsibility point of view, the fact that I have a beautiful relationship is evidence that there can be a happy ever after for folk like me. But we're certainly not a celebrity couple and I'm certainly not a celebrity.

Is that curiosity, or even - as you say - judgment, hard to accept?

When I wrote these songs and this album I did have that conversation with Richard and said, essentially, everyone is going to think we're breaking up or we're in crisis, which was clearly not the case. We sort of didn't care, but at the same time I certainly didn't want to ask for that hideous cursed bony finger of tabloid pessimism invited into my home, because I'm extremely protective of my relationship. It's a tough one, because I also hate explaining songs. In some ways who cares if people think we're happy, sad or adopting babies? You have to have a sense of a sacred place in your life that is immune to gossip in this business and for me it's my marriage. I'm the luckiest man in the world. If anyone is looking for clues as to my marriage on this album it's in the references to joy. The record is about two major themes. Love - how important it is to hold on to it when you've got it - and how easily it can slip away. It's about being lost and forgetting who you are - and the journey back.

Talk Talk Talk:



Your fans talk about how much they appreciate your honesty; that you express feelings they have that might normally be hard to speak about. Many of your lyrics over the years have dealt with dark feelings [watch Darkness]. Going back to the new song Hurt - which is a favorite of mine - it seems so self hating on some level: "I can make you hurt. I can take you down so low, I'll make you want to cry... you'll be better off when I'm not around." So when you tell me, "I am that guy," it's hard to square that darkness with your persona today.

Well that is a tough song. I think people have a view of me that is one thing - but the reality is of course I have a side to me that still feels utterly unlovable. That song is obviously an extreme moment in a snapshot of a nanosecond of my life some days. I'm rarely that person. But he's still a part of me. In a weird sense, showing people flaws makes it easier to avoid the expectation to be perfect. It's why I publish not-so-flattering iPhone shots of myself on twitter. I like to avoid the expectation to be a hero. I still laugh when I'll post a new picture and someone will write, YOU LOOK TIRED!! GET SOME SLEEP!!! I often write back, "Oh honey I'm not tired. I'm 40. This is what 40 looks like." [smiles]

Ha! I am your age and I think that too! But here's the thing about the sad songs: You merge those lyrics with music that is often uplifting. It may not surprise you to hear me say it, but the sudden flourishes of strings are my favorite thing about about this album. I think they are defining sound of Secret Codes.


I love that you said that. I think my focus on the record was melody - and using strings to score music in the way my favorite albums did like Hall And Oates records, even Daryl Hall's Three Hearts In The Happy Ending Machine album. Motown, Quincy Jones and E.L.O come to mind. Big bold beautiful symphonic celebratory strings. Even in the darkest moments.

Which brings me back to Bloodstained Heart, which has an anthemic quality. The video's got a twist; it's not quite what it appears to be. Apparently people are arguing over its meaning on message boards. When you leap off the building, what is the message?

Again, I don't like to explain it. The video is definitely meant to make you watch it a bunch of times and come to your own conclusion. I don't think she ever gets up from that hospital bed is all I'll say. I think the minute she gets up and I follow her is about ascent. I still find the video incredibly moving and the relationship portrayed describes precisely the one that inspired me to write the song in the first place.



This is one of many songs you wrote with Carl Falk. I told you that when I heard you were working with him, I looked him up and was like "Huh?" I thought "Errr, where is this going?" But he turns out to be a sort of William Orbit to your Madonna and, unexpectedly, his collaborations with you anchor the album...

My connection to Carl was incredibly accidental - put together to write songs for a boyband - I too had looked at his CV and thought that he was clearly not someone I would want to collaborate with on my own material. How wrong I was. We never did deliver a song to that boyband, but boy did we deliver between us. He and I both think Bloodstained Heart is the best thing we've ever done. And that's the truth. So wonderful to be able to say that at my age and this point in my career.

You're online a lot, or appear to be. What has Twitter has meant to your career?

This might not be the answer you seek, young Jedi, for my jury is still out on twitter. It has pros and cons for me. The positives are obvious: I get to interact with my audience in a really casual but personal way. I get to reconnect with other people in the music industry and media. It is a source for an instant up to the minute temperature reading of pop culture. The downsides are pretty significant though. In order to be real and be present on twitter, you have to try to read what people are saying to you and there is of course no filter so every now and then you are confronted by a rudeness and a self righteousness that astounds you. It's a careful balance and I try to keep enough of a distance that I can retain a sense of perspective but, at the same time, I would hate for my facebook or twitter to be some junior in a back room of the record company pretending to be me. So it's me. On a bigger scale, even though I think I'm known as someone who is very much a part of social media and have been from the beginning of my career (there is an old interview with me in 1996 when in answer to the question 'What do you like to do in your spare time?" I replied, sincerely, 'I just bought a computer and I'm quite enjoying going on the internet') I still find the culture of being glued to our devices quite draining. There is a huge part of me that would like to become a luddite and move to the countryside and do a Kate Bush. Maybe. Someday!

Yes or no: Is there a Star Wars reference on this album?

No.

We could go on - or I could - but let's stop with the part where you called me young Jedi...


___________________________

Follow Darren on Twitter (and follow me... why not?). Also check out my 2009 interview with him, among other posts.

First thoughts: Kate Bush's Wild Man

This morning I live tweeted my reaction to Kate Bush's first proper new single
since 2005,
Wild Man...



Playing the new Kate Bush single now.

I like the music, but what the hell, is she singing the chorus?

Oh dear.

And, no, Andy Fairweather Low (old Welsh dude) is singing the chorus, because that's what we all wanted from Kate's first new song since 2005.

Well, that is not the most chart-bothering single ever, is it?


and there we have it. Hmmph. What do you think?

Sneaky Sound System: This could be big



I am no authority on Australian pop duo Sneaky Sound System - you need to read Adem With An E or Pop Trash Addicts to get the real story - but I do love some of their new tracks and mixes. And the cover for their new album From Here To Anywhere (above) is hilariously 80's.

The uplifting new single Big has been given a blazing work-over by Oliver...

Sneaky Sound System - Big (Oliver Remix) by weareoliver

The 14th Minute mixes of We Love include a major interpolation of Prince's I Wanna Be Your Lover. Amazing.

Sneaky Sound System - We Love (The 14th Minute Edit) by The 14th Minute

I've not heard the new album yet, but I'll let you know what I think. Update:
You can stream From Here To Anywhere NOW!


Last, the Vegas-lovin' video for Big:

October 4, 2011

Up in '12: Amanda Mair



16 year old Amanda Mair, from a small town near Stockholm, Sweden, is gaining fast attention for her sophisticated singles, House and Doubt, released via the elegant Labrador label. Rather than take the electropop route, she's chosen a chiming, airy sound similar to that of her producer Philip Ekström's band, The Mary Onettes.

She reminds me a bit of a baby Anneli Drecker. What do you think?

Amanda Mair's debut single, House:



And her new release, Doubt



You can download Doubt for free via Labrador. An album follows in early 2012.

October 3, 2011

Emeli Sandé, part II

Each weeks brings us closer to Emeli Sandé's January album Our Version Of Events. If you worried that she might be a one hit wonder, fear not, her new single Daddy, carries the same drama her debut, Heaven, did.

Bring on the foreboding strings, the inner city moodiness and the swirling grandeur of, yes, the middle eight.



Daddy is out November 20. Emeli has UK shows coming up in November with the brilliant Alpines as opening act on several dates.