Check this out!: Leo Sayer gets downright funky. Yes, Leo Sayer.
Nastily elastic, fantastically dense, this heralds a new age. Or, really, an old one.
We’ve all heard the tune. But just what happened during the 21st night?
As this song trumpets – quite literally – there ain’t nothing like a Rebirth groove.
Blondie still sounds like Blondie, a space-age mixture of icy dance beats and fiery post-punk attitude. Finally, it seems, the rest of popular music has come around again to Debbie Harry’s way of doing things.
With the second, and title track, from forthcoming Lazaretto album, Jack White makes a bold move away from the amped-up blues of the initial “High Ball Stepper.”
Just as much as the first track from Brian Eno’s forthcoming collaboration with Underworld’s Karl Hyde was girded by a doomy sense of portent, “Daddy’s Car” is a compulsively listenable ride — all scronky keyboard blips, ass-moving beats and late-night promise.
This sound, in the dead of night, comes rushing out of my radio — a tornadic gust of horns. Then there follows a devastatingly cool lyric, amid a suave and spacious groove. But who is it? 45 seconds in, I finally peg “Can’t Hide Love” as the new Earth Wind and Fire song; I knew Maurice White’s “yow” anywhere.
Slowly at first, and then with a tornadic gush, Brian Eno and Karl Hyde begin this collaborative journey. “The Satellites” begins with an almost imperceptible pulse, then synth and sax tangle and untangle — creating an undulating dissonance, before there emerges from these whispers a canny amalgam of Eno’s ambient ruminations and Hyde’s Underworld electronica.
Beyoncé’s eponymous fifth album took many by surprise with its release on December 13 via iTunes without any hype or promotion, but perhaps what’s most surprising – and exhilarating – about this release is the actual music