Category — Frankmusik

So, this is something new and interesting.

The night before my interview with Sky Ferreira, I received a vaguely mysterious e-mail from MuuMuse reader Sam Lansky with an attachment entitled “Fame Fatale.” The e-mail suggested that the attached may assist me in preparing for my interview.

As soon as I began reading, I already knew: This had to be published immediately.

“Fame Fatale” is not only a remarkably in-depth analysis (and personal account) of Ferreira’s curious rise to fame, but a thoughtful contemplation of the manufacturing of the modern pop star and the very conventions of the music industry itself. It’s extremely well-researched, poses tough questions, and deserves your full attention.

With his permission, I’ve asked Sam to feature his article on MuuMuse. It’s an incredible piece, and I do highly recommend that all of my Muusers give it a thorough reading–even if it’s “tl;dr” territory.

I do, after all, hope to keep a literate company.

Click “Read More…” to read Sam Lansky’s “Fame Fatale: The Rise of Sky Ferreira.”

Read More…

In case you didn’t know, Kylie Minogue is a legend.

Despite the pop singer’s unjustly limited visibility in the North American market, Kylie Minogue is a beloved musical icon in most other territories around the world. Her sheer popularity and nearly revered status is to such a degree that the only real way to describe it would be–at the risk of a barrage of anonymous heckling–to that of her contemporary, Madonna.

It is a wonder to think, then, that after over 23 years in the music industry, 11 studio albums, and over 68 million albums sold, following some of the most incredible international career highs and record-breaking accomplishments of a female musician in modern pop history, Kylie Minogue has only just now crafted one of her best records to date.

When it was announced that Kylie would begin working with legendary pop producer Stuart Price in the middle of 2009, the collaboration was almost universally celebrated amongst fans. Then again, it wasn’t altogether that surprising of a collaboration either.

Price is, of course, responsible for some truly killer modern disco records, including The Killers‘ Day & Age, Frankmusik‘s 3 Words, and the Scissor Sisters‘ upcoming Night Work, and of course, Madonna’s legendary Confessions On A Dance Floor. Realistically, it was only a matter of time before the two would unite.

As a result, Aphrodite is exactly the kind of record that one would expect when crossing Kylie Minogue with Stuart Price. That is–one of the most sleek, cohesive releases of her entire catalog. To put it simply: Yes, it does live up to the hype.

The album launches with its first single, “All The Lovers.” Currently a Top 10 single in the UK, the song is a solid representation of the bulk of Aphrodite, though far from the finest cut on the record. In fact, the soaring chorus and glittering electronica offer only a taste of what’s to come.

With much of the record, the producers on the job have taken Kylie’s disco diva connotation and added a more complex, edgier layer of dance production. Cuts like the Calvin Harris-produced, Jake Shears-penned “Too Much” are evidence of this next level sound, sounding something like a thousand glitter-filled balloons bursting all at once inside of an intergalactic vortex.

“Get Outta My Way,” the projected second single off of the album, is bound to be another success on the charts. It also happens to be a somewhat rare turn of defiance for Kylie, a singer best characterized by swooning love ditties and breathy enticements. This song, as Kylie announced to the crowd at Splash before performing the Aphrodite mega-mix, is about respect.

The singer’s confidence is only pushed further with the album’s Nerina Pallot-penned title track. Showcasing Kylie at her bossiest in some time, “Aphrodite” explodes with a militant, foot-stomping beat and a searing bolt of fiery energy: “I’m fierce and I’m feeling mighty / Don’t you mess with me, you don’t want to fight me!” she warns throughout the song’s storming chorus. Judging by the fact that both this song and “Get Out Of My Way” double as the album’s strongest selections, it’s safe to say Kylie wears her sass well.

In “Closer” and “Illusion,” two personal favorite cuts, Minogue and Price divine dark disco magic: The former, a slow-building haunter that shares connections to both her older work (“Confide in Me”) and a glimmer of Madonna’s Confessions; the latter a complex mesh of ’90′s house and Ace of Base-like synthesized bliss. Throw in a relentless throbbing bass and a few sex sessions worth of heavy breathing, and you’ve got nothing short of musical bliss.

Later on, both “Looking For An Angel” and “Everything is Beautiful” function as nothing short of definitions of the word “lush.” Warm, layered slices of piano-encrusted electronica stack one on top of the other as the singer’s lulling voice climbs over the melody : “If I lie with you long enough, I can see the things I’m dreaming of,” she coos during the song’s chorus, “Let’s go through the ritual, until everything is beautiful.”

Then there’s “Cupid Boy,” an unstoppable tour de force of jagged electro, moody guitar strums, and impossible girlish delight. The song features a surging, sonic-powered bridge of distorted vocals and an utter jaw-dropper of a chorus, colored by hard synth rhythms, an angelic chorus, and swelling, echoed swirls. “If only you knew, I shimmer for you,” Kylie coquettishly offers as the song begins, forever producing the same glee-filled moment of euphoria with each listen thereafter. Yes friends–this is what would be referred to as a “Kylie moment.”

But the opening moment of “Cupid Boy” is far from the only “Kylie moment” of the album–the euphoria felt during the middle eight of “All The Lovers,” the glitchy dance breakdown at the end of “Can’t Beat The Feeling,” the hands-in-the-air glee that is the chorus of “Put Your Hands Up (For Love)”–all of these fleeting moments of divinity only add more glow the hot pink, heart-shaped aura that surrounds all things Kylie.

At a time when a new musical endeavor made by a woman in pop over forty may end up looking like a desperate attempt to latch onto the latest trends and cheap production tricks of the girls on top at the moment, Kylie Minogue’s latest could not be perceived as more authentic to her artistry: Aphrodite is literally the essence of Kylie in audio form. The sparkling instrumentals, the euphoric, angelic coos–everything in this album is an authentic, unapologetic encapsulation the stuff of Kylie Minogue.

This isn’t just an incredible album, or even an album of the year (although it most certainly qualifies to win the title for both). As with Madonna’s Confessions or her own sister’s defining triumph, Neon Nights, Aphrodite is a complete and utter musical moment–a release for the ages, and ultimately, a classic in the making that will go on to become a glittering milestone in Kylie Minogue’s already illustrious career.

Behold: The evolution of the male pop star this way cometh.

Simon Curtis, one of MuuMuse’s major “One to Watch” artists, just pulled off his first ever live performance at The Roxy while opening for A.J. McLean on May 6. The superstar-to-be performed in front of an audience that included Darren Hayes, Adam Lambert, and Frankmusik (the latter two lauded the singer with congratulatory tweets later that night.)

Judging by the clips above, Simon did a damn fine job. Like, really. This is a boy who’s still operating outside the realm of label support (although a record deal seems all but imminent at this point.) I’m so proud! Next step, global domination.

Click here to see the rest of his performances from Wednesday.

The singer will be opening for La Roux in a few months.

Looking for a track to help count down to the New Year?

Problem solved! Meet the T-Minus 321 unofficial remix of Britney‘s “3.”

It’s basically as if “3″ met the synthesizers from the Eurythemics‘ “Sweet Dreams (Are Made Of These),” and then some futuristic, electro sounds a la Frankmusik at a gay bar. There’s some stuttering, some stopping, and a whole lot of yelping.

Let’s just do it, you and me…all the way to 2010!

DL: Britney Spears – 3 (T-Minus 321 Remix)

Interested in seeing Ladyhawke live on American soil? How about Ida Maria? Well, what about a little Semi Precious Weapons to boot? Today, Ladyhawke posted the dates for her co-headlining tour with Ida Maria across the country. Jump over the jump to see all the dates (some of which even include Frankmusik!)

To get tickets NOW for the pre-sale, click here. The password is “perez”.  Ordinarily I wouldn’t promote Perez in any way, but it’s the show that matters–not the slime underneath.

Read on to see the tour dates!

Because I’m far too busy to write a proper review, but perhaps even more because he kept us waiting for far longer than any artist should, I’m express-reviewing Frankmusik‘s debut, Complete Me.

Artist: Vincent “Frankmusik” Frank

Cover Art: C+ (See initial promo cover art.)

Producer: Stuart Price

Which means what to me, exactly?: He’s the man behind Madonna‘s killer 2005 record, Confessions On A Dance Floor.

What does it sound like, in five words or less: Glitchy, jittery electro-pop goodness.

Is it “80′s-inspired”?: Yes, but not really in that annoying sense.

Choice (Grade A) tracks: “Gotta Boyfriend?” “Three Little Words”; “Down Down”; “Run Away From Trouble”; “Confusion Girl (Shame Shame Shame)”

Sounds like: Little Boots with a lot more personality and soul, La Roux with slightly less ’80′s kitsch and frigidity, and everything DIY-electro paired with an urgent vibrato and a faint-yet-endearing lisp.

Hype Factor: The excitement surged starting in 2008, peaked somewhere between than and 2Q 2009, and never really recovered since.

Does it live up to the hype?: No. Well–I suppose it might have back then.

How it will probably fall in terms of ranking: At least Top 20 of 2009, if not Top 10.

It is primarily tuneless and annoying, but I thought my Muusers should know in case you’re into this sort of thing (this sort of thing being winding electro ‘hip-hop’ nonsense.)

UK Muusers, click below to hear more from Frankmusik.

Head over to Frankmusik‘s Myspace RIGHT NOW to listen to the complete 11-track teaser of Mr. Frank’s upcoming debut album! (Is it called Recompleted now?)

EDIT: Thanks to ElectroQueer for clearing it up–Recompleted is the upcoming remix package accompanying the album’s release, which is being done as a gift to fans that have had the album for so long! Such a sweetie, he is.

The songs sound unreal here, truly–I pray that the songs stay sounding like this for the album! Completely redone, remashed, and re-layered…so extra electro crunchy! Hearing this sampler has, in my eyes, breathed new life into the project.

We’re all good now, Frankmusik. NOW PLEASE STOP TOUCHING THEM, THANK YOU.

OH MY FLIPPING BANANA SNAUSAGES, IT’S THE NEW FRANKMUSIK VIDEO!!!

Things of note:
+ Holly Valance‘s acting skills while strolling along town. WHERE IS HER OSCAR.

+ Holly Valance’s karate skills while being mugged. Clearly, filming Dead or Alive has had a lasting effect on her general composure in life.

+ The lady-getting-mugged-and-paintballed-in-the-doorway bit sort of frightens me and leaves me completely unresolved.

+ Mr. Frank looks ridiculously attractive in the last ten seconds, leading to…

+ HOW ‘BOUT THAT KISS, EH?!

And that was “Confusion Girl,” ladies and gentlemen.

Today is the official release of Marina and the Diamonds‘ Crown Jewel EP, featuring “I Am Not A Robot,” a snazzy new version of “Seventeen,” “Simplify,” and a delicious, absolutely essential mix of “Robot” by Starsmith.

And since I never really did “properly” introduce the girl that I consider thoroughly thrilling…

Marina & The Diamonds sounds a bit like if Regina Spektor met briefly with Fiona Apple (on a good day), Katy Perry (on speakerphone), and Frankmusik for tea (EDIT: AND YES, OF COURSE KATE BUSH–I just felt the reference was too obvious as it’s been used in every write-up about her already) and then they all got into an argument but then patched it up in the form of a massive duet.

Please consider yourself formally introduced.

DL: Marina And The Diamonds – I Am Not A Robot (Starsmith’s 24 Carat Remix)

Click here to purchase the package from the US, and here for the UK.