Hits: Radio Is Dangerous 2/09

Sweet bliss! I finally got a new computer, switching to a new MacBook after years of disappointing results with my Dell. Not only is it actually functional (as opposed to teetering dangerously close to death), but the Blogger interface is much more user-friendly for Macs. To celebrate, here is the first installment of Radio Is Dangerous, a new monthly playlist feature including tracks from my personal "radio" playlist. Of course, you may never hear some of these singles on an actual radio station (especially not in America, unless you're lucky enough to have independent or satellite radio access), but it's fun to pretend. As with actual radio playlists, each month's selections won't be a totally new set of songs, but a mix of lingering hits and fresh tracks that have come out over the past month. With each new installment, I'll make a new post to debrief some of the new additions to the playlist. This doesn't spell the end of the "Hits" pages, as I'll keep having updates on new tracks and videos as they come out.

Saint Etienne, "Method Of Modern Love": Featured on the long-delayed hits set London Conversations: The Best Of Saint Etienne (see my preview here), "Method Of Modern Love" is the most dancefloor-friendly Saint Etienne single since "Action." With streamlined modern production assistance courtesy of Richard X, no fan should miss this new gem.
Lily Allen, "Not Fair": Though just announced as her sophomore album's second single, "Not Fair" is already lodging itself in my regular rotation. With a unique twang and bouncy hook, it should keep up her undeniable momentum.
Deadmau5, "Ghosts N Stuff": While not quite as epic as "The Reward Is Cheese" or "Arguru," "Ghosts N Stuff" keeps up Deadmau5's profile as a rising leader in gritty electro-house.
Coldplay, "Life In Technicolor II": Far surpassing the instrumental teaser version that opened Viva La Vida, the full vocal recording of "Life In Technicolor" is one of the era's standouts and a classic Coldplay track.
Britney Spears, "If U Seek Amy": Relying heavily on the title's obvious pun, "If U Seek Amy" doesn't make a whole lot of lyrical sense, but it does succeed as an insanely catchy throwaway pop song. It's a relief to hear that Britney is even capable of still making them!
Kelly Clarkson, "My Life Would Suck Without You": Roaring back to the top of the charts thanks to hit factories Max Martin and Dr. Luke, Kelly gave up some of her last album's rough edges and revitalized her pop side on one of her catchiest singles yet.

Dear Ibiza: Comeback Calvin

Though I've admittedly been a bit slow to post about it, Calvin Harris's just-leaked new single blows away all expectations. Catching the ear of countless electro freaks with his huge retro synths and uber-cheesy lyrics, his sound exploded with hits "Acceptable In The 80s" and "The Girls" in 2007. His debut disc, I Created Disco, contained some modern electronic gems, but was largely repetitive and a bit lacking in innovation. Producing some of my favorite tracks of the last two years (Kylie Minogue's "In My Arms" and Róisín Murphy's unreleased "Off & On"), his sound nevertheless failed to progress much, including his production and featured role on the great Dizzee Rascal comeback "Dance Wiv Me" from last year. After working on his sophomore effort for some time now, he's set to make a return from the sidelines this spring. Although not the album's official first single (instead, it's aimed as a forget-me-not stopgap release), "I'm Not Alone" is truly epic. Ditching all his now-overplayed trademarks, "I'm Not Alone" is half acoustic build and half rave monster. After a solid minute of MOR contemplation, the song switches into club overdrive and becomes something else completely. Many cheers to Calvin for completely remaking his style, proving all cynics wrong with an excellent dance track that I for one cannot wait to get in high quality. Preview the radio rip of the track, along with a selection of his older tracks and productions, in the playlist below.

Shameless/Mixtape: Girls Aloud Party!

Finally, I'm a bit more settled for the semester, but somehow struggling to find new stuff to blog about. In addition (and I'm all about apologies apparently), my computer has been utterly disastrous for a while now, delaying pretty much everything in my life (this blog included). Not to worry, though, I've got a new laptop on the way, with much more storage space for new music. On an equally optimistic note, for the past week I've been on a bit of a Girls Aloud bender. Their latest single, "The Loving Kind," is a nice enough ballad that features pop masters Pet Shop Boys as co-writers (along with the girl group's career production team Xenomania). While lacking the punch of their best tracks, it's miles better than most of their other ballads (don't even bother with "I'll Stand By You" or "See The Day" if you ever hope to get into the band). While most of the criticisms levied against the fivesome are entirely valid (e.g. they don't write their own music, they're totally manufactured, etc.), they have recorded some truly great pop songs over their short but prolific career. Rising from the constraints of a big reality show start, they've maintained their golden record of only top 10 hits (now celebrating their 20th in a row) and, bucking the trend of most mainstream pop and girl groups, now tend to sell more albums than singles. Their latest, the more subdued, refined Out Of Control, was their first studio album to hit the top spot on the UK charts, and has already gone double platinum. Following on from the unexpected number one success of lead single "The Promise," "The Loving Kind" has barely scraped into the top tier at number 10 (thanks to frenzied fan purchasing), but their longevity has already surpassed all expectations. To celebrate their successes, here's a playlist I've been listening to of my favorite Girls Aloud tracks. It's a basic rundown of their best singles, with some essential album tracks thrown in (including the epic, seven-minute power pop ballad "Untouchable" from their latest). Congrats to the girls on 20 hits, and here's hoping for another 20 of such consistent fun and quality. Take that Sugababes!

Mixed & Mashed: Best Remixes Of 2008

So, I know it's halfway through January, but I made way too many 2008 lists clearly, and need to get them off my chest before I move on to new things. Instead of a separate singles and dance countdown, this year I went with an expanded singles list and a separate recap of the year's best remixes. As longtime readers can attest to, I love seeking out remixes, and few things are more exciting than great new versions of songs. In a criminally short list of 30 picks, here are the best revamps of 2008.

1. Moby, "I Love To Move In Here" (Crookers Bass In Here Remix): Crookers have been my favorite mixers of the year, most notably on this epic mix of Moby's laid-back piano house number "I Love To Move In Here." Blowing away the original with an absolutely massive bassline, there was no question that this would end up on top of my list.
2. Mariah Carey, "I'll Be Lovin' U Long Time" (Designer Drugs Remix): Taking Mariah's dated, lackluster R&B jam and reinventing it as a thumping uptempo club track, this unofficial mix of "I'll Be Lovin' U Long Time" is up there with my favorite mixes of all time.
3. Kid Cudi, "Day 'N' Night" (Crookers Remix): Another classic remix by Crookers, a late night of clubbing (or, more appropriately perhaps, raving) would not be complete without this stormer, sporting their trademark brand of "ghettotech" house pushed to the limit.
4. Lady GaGa, "Love Game" (Dave Audé Club Mix): GaGa is prepped for primetime action on Dave Audé's razor-sharp club mix of upcoming single "Love Game," sporting a rave-ready build of epic proportions.
5. Madonna, "Give It 2 Me" (Paul Oakenfold Edit): Without question the best remix by Oakenfold in ages, his layered, overwhelming reconstruction of "Give It 2 Me" is the most thrilling club version of a Madonna track since Above & Beyond's mix of "What It Feels Like For A Girl."
6. Snoop Dogg Feat. Robyn, "Sexual Eruption" (Fyre Department Remix): A totally over-the-top, entirely offensive romp, "Sexual Eruption" is elevated from novelty to instant classic by Robyn's renditions of the chorus, kicking the ridiculous factor into overdrive on this smooth, classless R&B groove.
7. The Ting Tings, "Shut Up And Let Me Go" (LAZRtag Remix): Tearing apart the original, LAZRtag's mix of "Shut Up And Let Me Go" is a total electro overload, with stuttering, cutthroat synths that would make a big impression in any set.
8. Kylie Minogue, "The One" (Freemasons Vocal Club Mix): Working in their trademark infectious house basslines and euphoric filtered disco touches, the Freemasons turn fan favorite "The One" into a grand dancefloor killer.
9. The Killers, "Human" (Ocelot Remix - Alternative Live Edit): Channeling the vocoded, fuzzed-out guitar growl of Daft Punk's "Human After All" over a bone-shaking electro bassline, this unreleased Ocelot remix is a grinding, thumping floorfiller.
10. Madonna, "Miles Away" (Thin White Duke Remix): Taking a more gradually layered, build-oriented approach to his trademark retro synth washes, Stuart Price's club version of "Miles Away" reaches a captivating climax unlike any of his other remixes.
11. Britney Spears, "Womanizer" (Kaskade Remix): Producing one of his finest recent club mixes (on par with his excellent mixes of Nelly Furtado's "All Good Things (Come To An End)" and Justin Timberlake's "LoveStoned"), Kaskade's take on "Womanizer" is an undeniably classic pop remix, full of sharp electro and deep house rushes.
12. Róisín Murphy, "Movie Star" (Kid Gloves Remix): A dark, sweeping minimal house revision of the complex, bright "Movie Star," the Kid Gloves version is a ferocious, nearly eleven-minute beast of a remix full of sinister techno builds and deep grooves.
13. Kanye West, "Love Lockdown" (Chew Fu Small Room Fix): Bringing the piano melody to the fore, "Love Lockdown" is transformed into a pulsing piano house banger that stays true to the intrigue of the original.
14. Lil' Wayne, "Lollipop" (LAZRtag Remix): A committment to fat basslines, albeit from a very different genre and style, rules this awesome remix of "Lollipop," successfully translating the hip-hop smash into a club workout.
15. Moby, "Ooh Yeah" (Kris Menace Remix): Continuing his tradition of excellent remixes (see his takes on Robbie Williams with Pet Shop Boys' "She's Madonna" and Air's "Mer Du Japon" among others), Moby's "Ooh Yeah" is transformed into a building, blissful dance classic.
16. Björk, "The Dull Flame Of Desire" (Modeselektor's Remix For Girls): Hard-hitting blips and distorted vocal snippets, undercut by a menacing bassline rich in the low-end, Modeselektor completely deconstructs Björk's sparse duet with Antony Hegarty with stunning results.
17. Katy Perry, "Hot N Cold" (Yelle Remix): A stuttering, vibrant electronic treatment featuring both English and French interjections by Yelle, this mix of "Hot N Cold" is a hot alternative take.
18. Robyn, "Who's That Girl?" (Rex The Dog Remix): Par for the course with Rex The Dog, his mix of "Who's That Girl?" is a bright, upbeat eruption of synthesizers that is among his best remixes.
19. P!nk, "Sober" (Bimbo Jones Radio Edit): Though Bimbo Jones mixes are plentiful and often uninspired, their mixes of P!nk singles usually strike dance radio gold, as on this high-energy mix of her new single "Sober."
20. M83, "Kim & Jessie" (DatA Remix): Perfectly in tune with the big screen youth nostalgia of Saturdays=Youth, this mix amps up "Kim & Jessie" for the slightly-subdued dancefloor, giving it an expansive grandeur of an altogether different sort.
21. Estelle Feat. Kanye West, "American Boy" (Soul Seekerz Radio Remix): Though a pretty standard remix, both for Soul Seekerz and for dance radio, this mix of "American Boy" effectively bumps up the original's BPM, achieving brilliance with its simplicity.
22. Kylie Minogue, "In My Arms" (Chris Lake Vocal Mix): Chris Lake's majestic remix of "In My Arms" alters the song's basic structure from a constant sugar rush to a build-and-release extended club cut, layering bubbling synths to gradually approach the song's main hook in a powerful climax.
23. Róisín Murphy, "Movie Star" (JNRSNCHZ LAX Mix): Retaining the sonic complexity of the original, Junior Sanchez turns "Movie Star" into a frothy electropop delight that wouldn't sound out of place in a Calvin Harris set.
24. MGMT, "Kids" (Soulwax Nite Version): Soulwax give "Kids" a shimmering club makeover with a menacing, rough bassline, allowing MGMT's universally-loved single to work in a whole new range of settings.
25. Britney Spears, "Break The Ice" (Danced, Killed n' Moved): Given a harsh remix treatment, "Break The Ice" becomes a cutting-edge dance workout on this bootleg version.
26. Lady GaGa, "Poker Face" (Dave Audé Radio Edit): Working his magic on a second Lady GaGa track, Dave Audé manages to make "Poker Face" even more worthy of shameless blasting, taking its huge beats in a distinctly electro-house direction to amazing effect.
27. Christian Falk Feat. Robyn, "Dream On" (Warren Clarke Edit): Upping the tempo and enhancing the track's electronic palette, Warren Clarke's mix of "Dream On" is both radio and club ready.
28. Kylie Minogue, "Wow" (MSTRKRFT Remix): Dragging Kylie's chipper "Wow" to the French dance underground, MSTRKRFT's rework is a towering beast of hard bass and synths that retains the euphoric peaks of the original (albeit as interpreted by the Justice school of dance music).
29. Björk, "Wanderlust" (Ratatat Mix): Ratatat's mix of "Wanderlust" is another perfect example of how well their music works with vocals. Distorting her passionate original into something even more affected and delicate, their mix is not to be missed.
30. Goldfrapp, "A&E" (Gui Boratto Remix): Gui Boratto's remix of "A&E" doesn't attempt to recreate the feel of the original, instead taking it down a minimal, pulsating progressive club path.
Honorable Mention: The Killers, "Human" (Armin Van Buuren Club Mix): Although the ultimate climax isn't as euphoric as some of Armin's best, this rave-intended trance take is thrilling.

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Hits: Best Singles Of 2008, Part 2 (Nos. 1-20)

Here we go with the top 20 singles of last year, a bit late of course, but still very much worth checking out. Some, like the top two, are holdovers from some of last year's favorite records, but many are new faces on the scene that have ended up in heavy rotation in 2008.

1. Róisín Murphy, "You Know Me Better" (from Overpowered): The finest track from the premier pop album of 2007 reigned supreme as my favorite single of 2008. The evolution of Róisín Murphy comes full circle on this masterpiece of futuristic disco house, channeling all her years of dance music experience (both as half of Moloko and by her strange self) into a real triumph of pop songwriting.
2. Kylie Minogue, "In My Arms" (from X): Bright, shiny pop music is par for the course with Euro favorite Kylie Minogue, but on the classic "In My Arms" she raises the bar, collaborating with Calvin Harris to craft a hands-in-the-air electro pop rush that is undeniably one of her best singles to date (with a colorful, frivolous video to match).
3. Cut Copy, "Hearts On Fire" (from In Ghost Colours): Electronic music never sounded as accessible as on Cut Copy's power pop anthem "Hearts On Fire," a killer single that will have all lovers of pop and dance swooning.
4. Goldfrapp, "A&E" (from Seventh Tree): A solid contender for Goldfrapp's career best single, "A&E" is a heartbreaking acoustic ballad that shatters all previous characterizations of the duo, transcending their dance roots to create a beautiful, soaring account of human need and suffering that is beyond compare.
5. Yelle, "Je Veux Te Voir" (from Pop-Up): A loud club banger full of pomp and attitude, "Je Veux Te Voir" is one of the best dance songs to come out of France in the past few years.
6. Lady GaGa, "Poker Face" (from The Fame): With lyrics and a video just as ridiculous as her outlandish persona, Lady GaGa's second release is an infectious collision of hardcore club beats and crass mainstream pop and hip-hop sensibilities.
7. MGMT, "Time To Pretend" (from Oracular Spectacular): Psychedelic synth hooks and hopeful songwriting combine for a runaway indie hit on MGMT's near-ancient classic "Time To Pretend," finally gaining them mainstream attention with its wide release in 2008.
8. Britney Spears, "Womanizer" (from Circus): Recovering from her personal trauma and an unfortunate disconnect from the music world (see Blackout), the Britney Spears of "Womanizer" is confident, brassy and sassy, reminding the world of why we ever cared in the first place with its sharp, booming rhythm and ridiculously repetitive (and addictive) chorus.
9. Madonna, "Give It 2 Me" (from Hard Candy): Over a thumping, hip-hop-infused dance beat courtesy of Pharrell Williams, "Give It 2 Me" is everything the dire "4 Minutes" should have been: catchy, fun and sure to fill the dance floor. Sure, it's Madonna on autopilot, but its success lies in playing to both her and her producer's strengths as hitmakers.
10. Santogold, "L.E.S. Artistes" (from Santogold): An arresting, guitar-led melody and Santi White's powerful voice are overlaid with a melting pot of sounds on her highly distinctive, nearly cinematic breakthrough single, immediately establishing her as a new artist worth following.
11. The Killers, "Human" (from Day & Age): With producer Stuart Price's pulsing synth rushes adding some much-needed progression to their sound, The Killers have recorded perhaps their best work to date with "Human." Its borderline-nonsensical, optimistic lyrics and unmistakably pop flavor ensure high repeat listenability.
12. Coldplay, "Viva La Vida" (from Viva La Vida Or Death And All His Friends): International chart-topper "Viva La Vida," with its soaring orchestration and uplifting songwriting, is undoubtedly the most successful result of Coldplay's new sonic experimentations, and will prove an extremely difficult career peak to top.
13. M.I.A., "Paper Planes" (from Kala): Diplo and Switch provide a lazy, summery beat over which M.I.A. sings one of her most explosive singles to date, with her most accessible chorus ever (gunshots and all). It's done its job of breaking her through to the mainstream, and, if there's any justice left in the music industry, should walk away with Record of the Year at February's Grammy Awards.
14. Hot Chip, "Ready For The Floor" (from Made In The Dark): Though admittedly only a joke, "Ready For The Floor" could conceivably have been meant for Kylie Minogue. It's the most straightforward pop song Hot Chip have ever recorded, with its bubbly synths and radio-ready lyrics giving the track an irresistible charm.
15. Beyoncé, "Single Ladies (Put A Ring On It)" (from I Am...Sasha Fierce): Proving she still has those independent women in mind, "Single Ladies" is a fierce, frantic banger that will have you dancing along indefinitely.
16. MGMT, "Kids" (from Oracular Spectacular): Almost matching the sublime rush of "Time To Pretend," "Kids" is a big, arena-ready anthem with an unforgettable chorus and shrill, incessant synth hook to die for.
17. Kylie Minogue, "Wow" (from X): While admittedly taking a few steps back musically into "Love At First Sight" territory, "Wow" is a fantastic pop song, sure to induce smiles and a deep love for Kylie, a true pop queen who knows her strengths and how best to use them.
18. Róisín Murphy, "Movie Star"/"Slave To Love" (from Overpowered / non-album): Perhaps the best single that never really was, "Movie Star" was initally set for release in July 2008, then delayed until fall, with a cover of Bryan Ferry's "Slave To Love" added for a double A-side release. Though ultimately cancelled, its excellent remixes and over-the-top video were enough to qualify this roaring, layered synth monster for the list, not to mention the slinky, throbbing beat of "Slave To Love."
19. Madonna, "Miles Away" (from Hard Candy): Backed by what may the last great production work of Timbaland's career, Madonna achieves one of her most memorable midtempo ballads with "Miles Away," a smooth, universally-appealing tale of displaced love that truly didn't deserve to become one of her most underperforming singles ever (though her total disregard for its release and the lack of a music video didn't help much, either).
20. Kylie Minogue, "The One" (from X): Like the two singles preceding it on this list, "The One" didn't get the full release it deserved, instead scaled back to a poorly-promoted, download-only package, with a low-budget video following weeks after release. It's too bad, since the glittering disco yearnings of the Freemasons-produced "The One" make for a potential crossover smash that's a clear standout of Kylie's recent career.

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Hits: Best Singles Of 2008, Part 1 (Nos. 21-40)

Apologies for the lost momentum in finishing the 2008 round-ups. It took me a lot longer to whittle down the list than I anticipated, and I ended up expanding the list to 40 singles and replacing last year's dance singles list with a countdown of the 30 best remixes of the year (soon to come). Compiling these best-of lists has made me realize some things about our most recently departed year. While it lacked some of the absolute classic albums of 2007 (like Overpowered or Back to Black), the wide variety of great newcomers, and the flood of outstanding singles, made it a worthwhile year for music, despite the rapid, well-publicized decline of the music industry. All is not lost after all, so put on this playlist of (half of) the best singles of the year if you need any convincing.

21. Estelle Feat. Kanye West, "American Boy" (from Shine): Further proof that Kanye West may actually be the future of hip-hop came in the form of Estelle's career-revitalizing "American Boy," a trans-Atlantic hit that had everyone singing along at one point or another over the past year.
22. Rihanna, "Disturbia" (from Good Girl Gone Bad: Reloaded): Somehow, despite her near-ubiquitous presence across all forms of media, it's hard to get sick of Rihanna, with every limp ballad ("Take A Bow") instantly remedied by a killer dance single like "Disturbia." Saturation airplay aside, it's an impossible feat trying to get Rihanna out of your head.
23. Yelle, "Ce Jeu" (from Pop-Up): A bouncy electro pop treat, "Ce Jeu" is an uplifting, insanely addictive single. French pop never sounded so sweet.
24. The Killers, "Spaceman" (from Day & Age): The Killers are on a roll with their recent singles, with "Spaceman" proving one of the catchiest rock songs of the year, in addition to easily surpassing many of their own finest moments.
25. Goldfrapp, "Happiness" (from Seventh Tree): Simple and dreamy, "Happiness" is Goldfrapp at their midtempo best, with its cynical outlook concealed by a soothing, hands-in-the-air chorus worth chanting along to.
26. Lady GaGa Feat. Colby O'Donis, "Just Dance" (from The Fame): Perhaps not the most instant hit, "Just Dance" is a trashy, fun introductory single that's easy song to love.
27. Kanye West Feat. Dwele, "Flashing Lights" (from Graduation): With its driving, bombastic synthesized beat, "Flashing Lights" is one of Kanye West's unquestionable best, with epic phrasing, and an equally flashy video, to match.
28. Britney Spears, "Break The Ice" (from Blackout): Coming out at the tail end of her last album's promotional cycle, with no input from Britney herself on the video or even really the track itself, "Break The Ice" transcended her personal trauma and upheld her status as one of the brightest stars in post-millennial pop music.
29. Solange, "I Decided" (from Sol-Angel And The Hadley St. Dreams): A soulful, classy slice of R&B produced by the Neptunes, "I Decided" is the kind of carefree, empowering singalong anthem that older sister Beyoncé would kill for, if only she could ever loosen up enough to record it.
30. Duffy, "Mercy" (from Rockferry): A striking breakthrough hit, "Mercy" is a brilliant, immediate throwback R&B jam, infused with all the soul of Amy Winehouse with none of the drug-fueled tragedy.
31. Hercules And Love Affair, "Blind" (from Hercules And Love Affair): A lovingly-curated voyage back to the roots of modern dance, "Blind" is a surprisingly amazing juxtaposition of Antony Hegarty's androgynous croon and DFA-approved disco grooves.
32. Janet Jackson, "Rock With U" (from Discipline): Janet has not been on top of her game for nearly the whole of this decade, but "Rock With U" stands out as a seductive, alluring fusion of R&B and electronica.
33. Vampire Weekend, "A-Punk" (from Vampire Weekend): A spiky, exhilarating taster from their unmatched debut record, "A-Punk" is one of the many reasons Vampire Weekend can claim a spot at the top of 2008's indie rock ladder.
34. Keane, "Spiralling" (from Perfect Symmetry): With its jarring vocals, odd rhythmic structure and in-your-face chorus, "Spiralling" is by no means an instant win, but with repeated listens its complexities amount to an undeniable success.
35. P!nk, "So What" (from Funhouse): Always outspoken, P!nk compromises nothing on the brash "So What," working with pop's best to deliver a powerhouse single that blows competitors out of the water by the end of the first chorus.
36. Ladyhawke, "Dusk Til' Dawn" (from Ladyhawke): Ladyhawke strikes it big with a short but sweet, electro-infused 80s revival single that will have you humming along with just one listen.
37. The Ting Tings, "Shut Up And Let Me Go" (from We Started Nothing): The perfect infusion of pop and punk melodies, "Shut Up And Let Me Go" is another reason to be thankful for the debut of the Ting Tings.
38. Duffy, "Warwick Avenue" (from Rockferry): Taking a distinctly different approach to the blues than her smash "Mercy," "Warwick Avenue" is a stunning, deeply affecting rendition of longing and vulnerability that goes a long way towards establishing Duffy as a standout performer.
39. Katy Perry, "Hot N Cold" (from One Of The Boys): Less gimmicky and catchier than her introductory number one hit "I Kissed A Girl," "Hot N Cold" is a confirmation of the modern pop magic that producer Dr. Luke and team can work.
40. Sam Sparro, "Black & Gold" (from Sam Sparro): Over a sinister, throbbing bassline, Sam Sparro burrows his way into your mind with his distinct snarl. It's too bad "Black & Gold" wasn't followed up by a similarly cutting-edge parent album, but at least we'll have this standout to maintain the genre for some time to come.

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Hits/Covered Up: Womanly Lily Allen

Interrupting the best of 2008 countdown posts, here's my first "regular" music post in a while. As I plan on having more frequent updates (not having to upload music works cuts down the preparation time significantly!), I've gotten rid of the numbering of posts. I'm pretty attached to the categories and labels I've already started, so I won't be revamping those, but you might see some new ones pop up and others fade out. I've been a bit out of the loop as far as updating readers, so some features might be a bit recycled for a while, but bear with me and eventually I'll have my old edge back.

To kick things off, British tabloid darling Lily Allen has at last resumed her musical career, and pop fans everywhere are loving the results. The first single released from her upcoming album, the cheekily-titled It's Not Me, It's You, "The Fear" is easily her best. It may not be a fresh soundclash like her debut smash "Smile," but her lyrics are sharper than ever. Ridiculing the money-fueled, glam-focused celebrity example, it's a hilariously cynical and immediately resonant take on our modern culture. Eschewing her debut record's pop/ska fusion for a slick, futuristic electropop flavor, producer Greg Kurstin (the man behind Kylie Minogue's "Wow" among other pop classics) does an amazing job of updating Lily's sound without washing her sass out of the equation. Out in early February, It's Not Me, It's You is definitely on my list of new music to check out. If you're looking for some quick fun, try playing the online game "Escape The Fear" on Lily's website (see the link below the playlist at the bottom of this post).

Always outspoken, especially for her harsh criticisms of fellow pop stars and celebrities, Lily surprised reporters by recently declaring her love for Britney Spears. Taking her unexpected fondness to a new level, she released an in-studio live cover of Britney's massive comeback hit "Womanizer" online. Stripping it back to acoustics and piling on her well-known, heavily-accented Brit flair, it's a smooth, sultry revision that unmasks the tracks true merits. Props to Lily for the unlikely achievement, and congrats to the song's writers for crafting a track that can hold its own even without the original's high-power production.

Links:
Lily Allen's official website
"Escape The Fear" interactive online game

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Review: Best Albums Of 2008, Part 2 (Nos. 1-10)

It wasn't a fluke! Tell your friends and fellow music lovers that Different Is Dangerous is really back for good, and make sure to subscribe via the feeds on the left of the page to keep updated on new posts. Here's the second half of my albums countdown for 2008, a year which saw a lot of new faces making a big impression on my stereo. Stay tuned for lists featuring honorable mentions and compilations, as well as a huge recap of my favorite singles and remixes of the year.

1. Yelle, Pop-Up: Without a doubt the freshest new pop star to break out internationally in 2008, Yelle has an in-your-face attitude backed with irresistible electro beats provided by DJs GrandMarnier and Tepr. Her debut album never is a relentless set of instant pop gems, and the most fun record I've listened to all year. From club stompers, like global underground hits "Je Veux Te Voir" and "A Cause Des Garçons," to midtempo singalongs "Ce Jeu" and "Amour Du Soul" (not to mention the near-orgasmic, synth-filled climax of "Tristesse/Joie") Pop-Up is an energetic, infectious success. Preview: "Tristesse/Joie" [check out my full review here]***

2. Vampire Weekend, Vampire Weekend: Oddly enough, despite being a blogger myself, I didn't get into Vampire Weekend by way of the huge online hype generated in the run-up to their debut album's early 2008 release. Instead, I listened to them on a whim and ended up immediately buying and falling in love with the record. Full of more hooks and insistent rhythmic tricks than anything else in the blogosphere, Vampire Weekend's hip mix of indie rock, pure pop and straight-up eclecticism is a winning combination from the first track to the last. Preview: "Mansard Roof" [check out my full review here]

3. Goldfrapp, Seventh Tree: Making a sharp about-face from the glammed-up disco confections and comedowns of 2005's Supernature, Seventh Tree sees the duo stripped back to a downtempo palette even sparser than that of their debut, the hushed, majestic Felt Mountain. Arresting acoustic ballads like lead single "A&E" are wedged between sitar-laden walls of sound ("Little Bird") and bare, haunting lullabies ("Clowns," "Some People"). There is an alluring sense of resignation and isolated contemplation, balanced by a flair for the epic, as in classic singles "Happiness" and "Caravan Girl." Detour or not, it's a stunning direction for Goldfrapp. Preview: "Clowns" [check out my full review here]

4. Cut Copy, In Ghost Colours: It only takes one listen to fall for In Ghost Colours, but with every successive spin new layers begin to reveal themselves and a deep love for Cut Copy's sophomore disc takes root. In Ghost Colours will instantly convert any doubters of modern electronic music, from the ecstatic builds of catchy singles "Hearts On Fire" and "Lights And Music" to flooring album tracks like "Out There On The Ice" and "So Haunted." Full of warm synths and uplifting melodies, it subtly mines the sounds of electronic predecessors like New Order and Depeche Mode, alongside futurebound production by LCD Soundsystem's Tim Goldsworth (who also had a hand in my number 20 pick, Hercules And Love Affair), creating an album of remarkable depth and emotion. Preview: "Lights And Music" [check out my preview here]

5. The Raveonettes, Lust Lust Lust: Back with a raw sound dripping with feedback and distortion, The Raveonettes have hit a new career peak with the unsettling Lust Lust Lust. Taking the frantic energy of their debut full-length (2003's Chain Gang Of Love) and slowing it down, the record is a dark, melancholy rumination on love, lust and loss. It's an album that deserves to be listened to in full, at full volume, for even its standouts (including single "You Want The Candy" and most of the whole first half of the disc) are dwarfed by its power as a complete set. The dense, singular musical vision of Lust Lust Lust unconsciously succeeds in making a strong case for the continued relevance of the album format, something that has become unfortunately rare in our current digital climate. Preview: "Dead Sound" [check out my full review here]***

6. Santogold, Santogold: Emerging from her role as A&R director and pop songwriter to take center stage, Santogold commands a unique blend of sounds on par with fellow trailblazers like M.I.A., and even Siouxsie Sioux long before. Backed by slick production from Switch and Diplo, with a voice that alternates between a brash, bouncy yelp and a powerful singing register, Santogold's debut is an unmissable set that brings together the best and boldest of nearly every popular genre out there. Preview: "Say Aha" [check out my preview here]

7. MGMT, Oracular Spectacular: Building up a rabid fanbase over the past few years, MGMT finally broke through to the almost-mainstream of indie rock this year with the full release of their entrancing first record Oracular Spectacular. Built on solid song structures and writing, it's covered in psycheledic flourishes and utterly unique progressive touches, as on the storming, bombastic glam stargazing of years-old lead single "Time To Pretend." The tight grooves of "Electric Feel" and the stadium charm of "Kids" are just a few of the standouts in a short collection packed full of winners. Preview: "The Youth"***

8. Coldplay, Viva La Vida Or Death And All His Friends: Breaking the spell of X&Y's calculated arena ambitions, Coldplay's fourth album is a leap into new sonic territory for the band. Absorbing a wide palette of new sounds, Viva La Vida eschews their past reliance on formulaic songwriting to instead focus on developing their musicality. While the lyrics sometimes still falter, and several songs fail to lift themselves out of the context of the whole, it's a worthwhile transitional record that demonstrates Coldplay are progressing towards greatness. Plus, it contains some of their finest work to date (see international hit "Viva La Vida" for instant proof). Preview: "Lovers In Japan" [read my full review here]

9. Madonna, Hard Candy: To be frank, Hard Candy is by no means Madonna's finest album, or even within her top five efforts. For the most part, it's an uneven attempt to cater to the hip-hop addiction of America's youth, and falls flat in several places. When the unlikely collaborations with the Neptunes and Timbaland work, though, they really work. Bringing a fresh R&B beat to simple pop tunes, dance monster "Give It 2 Me" and singalong treat "Heartbeat," along with the soaring, if utterly derivative, "All Good Things (Come To An End)" rewrite "Miles Away," are Madonna's best tracks of the 21st century. It's not an artistic high point, but when she loosens up and stops trying for hits (as on the overwhelming soundclash "4 Minutes"), Madonna successfully reminds listeners of why she's still the Queen. Preview: "Heartbeat" [check out my full review here]

10. Crystal Castles, Crystal Castles: From the first beats of "Untrust Us," Crystal Castles is an addictive, enthralling listen. The duo score immediate favorites with soaring synth washes ("Vanished") and sinister, glitchy electro numbers ("Crimewave," "Courtship Dating"), creating a sound that draws inspiration from both their Atari-inspired namesake and Death From Above 1979. Repetition and cheap thrills abound, but the album's contrast of rough, punk-fueled outbursts interspersed with taut hipster dance grooves is genius. Preview: "Untrust Us" [check out my preview here]

***Notes: Several of these releases actually first surfaced in 2007, but are featured on the 2008 list because they received either their first US release or a full, mainstream or physical release in 2008. Yelle's Pop-Up came out in September 2007 in France, but in 2008 in America and the rest of Europe. The Raveonettes' Lust Lust Lust was released in November 2007 in the UK, but a few months later with an updated tracklisting in the US. MGMT's Oracular Spectacular had a US digital release way back in fall of last year, but didn't see a full physical and international release until the first half of 2008. With all of its single releases and promotional schedule limited to this year, I think it's fair to include it. Though not entirely confined to the 2008 release schedules, these three albums, at least for me, were very much a part of this year's musical landscape and for that reason deserve to be on the list regardless of specifics.

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