Everything they’ve said is true.

“The introvert[ed] and darker sibling, who lives in the attic.” “More introspective and freeform than its poppier partner.” “Brimfull with dark secrets and distorted memories.”

All of these are the descriptions being tossed out by Röyksopp‘s camp in advance of the release of their fourth studio effort, Senior. And for once, a band’s press releases are entirely hyperbole free.

In stark contrast to the album’s companion piece–Junior, one of 2009′s greatest releases–Senior is entirely instrumental, brooding, for the most part, quite moody.

The noises used to build the album are dusty, weathered and strange; not unlike what you’d find rummaging through the boxes buried deep in some hidden nook at home. Each song creaks and crinkles with a vintage feel that’s both organic and supernatural, lending itself to that same magical energy behind each of Röyksopp’s productions.

On “Senior Living,” steel guitars mash together breathlessly with an angelic choir, sad strings, and twinkling electronica. “The Drug” blends muted ’90′s house synths with a trip-hop beat and occasionally jarring electro-interferences. “Coming Home” sees the world floating away on a dreamy, lush soundscape far into outer space–all set to the beat of a ceaseless metronome.

Truthfully though, it’s a bit pointless to point out “highlights” from the album. As the duo have stressed in the very slow promotion for this album’s release, this is an instrumental album, meant to be consumed all in one go.

It’s not a collection of stompers and ballads, and it’s probably the group’s least commercially appetizing offering thus far. That, however, does not take away from the album’s production value, which is nothing less than superb.

Fans will be pleased to know that the signature Röyksopp sound–the melancholy melodies and cyclical rhythms that have come to color each one of the duo’s releases ever since Melody A.M.–is still alive and well here, albeit buried under all the strange miscellanea.

Take for instance “Tricky Part Two,” which uses the instrumental from their 2009 album track “Tricky Tricky” (featuring Karin Dreijer) and morphs it into an even more complicated composition, incorporating elements of dance and electro-pop by the song’s end.

Even some of the band’s signature sounds from their debut make appearances here, as the light electronica flares from songs like “So Easy,” “Eple” and “Sparks” make brief cameos in tracks like “Forsaken Cowboy.”

While the Nordic duo have always had a knack for delivering songs with killer stories (“The Girl and The Robot,” “What Else Is There?”), they’ve managed to go a step further with Senior by proving that they can still supply narratives simply through music: “The Alcoholic” certainly seems to tell the tell of its namesake as a demented, drunken synthesizer waves and warbles its way through the countryside. No really, you can visualize it. Just listen to those birds chirping! And the rain!

In the end, Senior only aids in proving Röyksopp to be one of the innovative musical acts on the scene. They can churn out crunchy, sophisticated pop confections (“Only This Moment”), but they can just as easily evoke emotion through sound and sound alone.

For all info on the upcoming release of Senior, click here.

The users/part-time sleuths over at ONTD have made what appears to be a rather compelling educated guess as to who’s behind the Iamamiwhoami campaign–and no, you probably haven’t heard of her.

It’s not Christina Aguilera. It’s not Karin Dreijer, and it’s not The Golden Filter–it’s Jonna Lee, a 29-year-old Swedish singer-songwriter.

Check out the ONTD post right now: the facial similarities; the voice; the teeth. There are certainly some strong similarities. But does it all add up?

The singer is due to perform at this year’s SXSW Festival. With the mystery woman’s face becoming more and more identifiable with each coming Iamamiwhoami video, does this mean that the campaign is winding down in time for her debut at the festival?

For more on Lee, click here to view her MySpace.

What do you think? Have the members of ONTD caught our nature nymph, Muusers?

I was missing my weekly Iamamiwhoami fix!

In the latest video upload by the viral video sensation simply entitled “b,” the mystery tree licking lady in question finds herself in an entirely new realm: at home, singing and playing some sort of electro-organ while decked out in a full body plastic suit.

As usual, her face is warped by some funky camera techniques, though we’re granted long enough shots of her face to get a gander like never before.

One thing seems clear enough: This is absolutely not Christina Aguilera, and it doesn’t quite seem to be The Knife‘s Karin Dreijer either.

At the end of the day, it looks like we may be looking at an entirely new artist–one that, with the help of some major media hype, will have paved themselves a debut like none before.

Fever Ray, otherwise known as Karin Dreijer of The Knife, accepted the award for Best Dance artist at this year’s P3 Guld Awards in Sweden this weekend (the equivalent of the Grammy’s) in a very Fever Ray sort of way.

Gaga, eat your heart out.

Oh, 2009. What music to my ears! It was the best of times, it was the worst of times…and one of the greatest years in Pop music since–well, since 2007.

Sorting out this list was truly difficult. All I want to do is reach out my arms and squeeze all of these little albums together for one, snugly show of musical appreciation. Honestly, fabulous year in music. It’s totally not fair to list you all in descending order based on quality, but hey…people love that shit. Just remember: You’re all winners in my book!

Well, except for you in the back there. You’re ugly.

Without further ado…

—-

40. Leona Lewis – Echo
39. Electrik Red – How To Be A Lady Vol. 1
38. Rupaul – Champion
37. Esser – Braveface
36. David Guetta – One Love

35. The XX – XX
34. Kelly Clarkson – All I Ever Wanted
33. Amerie – In Love & War
32. Mariah Carey – Memoirs of an Imperfect Angel
31. Blake Lewis – Heartbreak on Vinyl

30. Ciara – Fantasy Ride
29. Yeah Yeah Yeahs – It’s Blitz!
28. Imogen Heap – Ellipse
27. The Gossip – Music For Men
26. Junior Boys – Begone Dull Care

25 .Cheryl Cole – 3 Words
24. Y.A.S. – Arabology
23. Amanda Blank – I Love You
22. Frankmusik – Complete Me
21. Annie – Don’t Stop

20. The Saturdays – Wordshaker
19. Little Boots – Hands
18. Pet Shop Boys – Yes
17. Shakira – She Wolf
16. La Roux – S/T

15. Nadia Ali – Embers
14. Utada – This Is The One
13. Lily Allen – It’s Not Me, It’s You
12. Sally Shapiro – My Guilty Pleasure
11. Fever Ray – S/T

10. Polly Scattergood – S/T

Painfully under-reported here at MuuMuse, Polly Scattergood’s debut is a weird, warbling pop triumph, complete with broken vocals and quivering falsetto. The album, which brings to mind a cross between Fiona Apple, Regina Spektor, and Kate Bush, takes a neurotic, autobiographical dive into the perils of pills and psychosis.

Just please…don’t touch her.

9. Miike Snow:  Miike Snow

MuuMuse Review

Looking back, the surprise wasn’t that the Swedish hit-making duo Bloodshy & Avant would come up with some brilliant tunes on their own venture into the music scene, but that the sound they would produce would be like nothing we’d ever heard before. Rock, folk, glittering electronica…throw it all in a blender, and there you have it: The debut album from Miike Snow.

8. Noisettes – Wild Young Hearts

MuuMuse Review

Trading in the screaming, carnal stomps of their debut LP, What’s the Time, Mr. Wolf?, the Noisettes have returned–and this time, they’re feeling nostalgic.

Keeping the best hooks from the doo-wop era in mind, Shingai Shoniwa and the rest of her UK troupe have produced some of the best feeling, best sounding tunes of the new century with their second LP. Combining classic melodies (“Wild Young Hearts”) with contemporary production (“Don’t Upset the Rhythm”), the band has once again proven themselves as one of the most innovative, musically intriguing acts of the new century.

7. Bat For Lashes – Two Suns

Bat For Lashes’ second LP Two Suns, is a mysterious, ethereal creature.

Inspired by landscapes and created in isolation, the album is as mysterious as it is compelling, providing enough distant howls (“Glass”) and spooky echoes (“The Last Sound”) to make the casual listener want to flick the lights on while listening at night. At the same time, warm, enveloping numbers, including one of the year’s best songs, “Daniel,” keep the album burning bright long after the final embers flicker down.

6. Peaches – I Feel Cream

MuuMuse Review

What else is in the teaches of Peaches? Apparently, a whole lot more than you’d ever expect.

Hitting harder than ever, Peaches’ went for the jugular on her raucous fifth LP, I Feel Cream. While songs like the Donna Summer-esque “I Feel Cream” and “Lose You” hinted toward a next-level variety of disco inspired music-making, the remainder of the album’s punchier numbers, including “Serpentine” and “Trick or Treat,” have since become instant Peaches classics, reminding us that the real Miss Nisker still knows how to hit it hard.

5. Tiësto: Kaleidoscope

In five words…Indie Takes to the Dancefloor.
MuuMuse Review

It’s one of the few albums that ended up sounding as good on the speakers as it does on paper: The King of Trance meets the voices of the independent music scene, from Tegan & Sara, to Metric‘s Emily Haines, to Tilly and the Wall‘s Kianna Alarid, as well as a few familiar faces (Calvin Harris, Sneaky Sound System).

A stunning, slamming body of work (and a whole fuck-load of fun), Kaleidoscope may not have appealed to Tiësto’s trance purist fans, but it sure made music sound better in 2009.

4. Röyksopp: Junior

In four words…Swedish and Nordic Delight.
MuuMuse Review

Röyksopp is probably one of my favorite electronic acts of all time, and with the release of their March effort Junior, it’s becoming easier and easier to explain why.

Perhaps the greatest definition of “smart pop” of the year, the Nordic duo have combined just the right amount of trickling, fluid electronica, heavenly strings, and pounding bass to create some of most savory pop confections of the year. Couple the beats with vocal contributions from some of pop music’s most accomplished Swedish songstresses, including Robyn, Lykke Li, and The Knife‘s Karin Dreijer, and you’ve got a nearly unstoppable collection of intelligent, dancefloor-ready musique.

3. Florence + The Machine: Lungs

In three words…The Beast Within.
MuuMuse Review

Certainly the most impressive artist debut in recent history, Florence + The Machine’s Lungs is an immense collection of macabre, magical music that transcends the limited confines of genre. Not pop, not rock….just a body of music surging with carnal energy and an insatiable rhythm, all thanks to fiery lead singer Florence Welch.

From the stampeding chaos of “Dog Days are Over” to the roar of “Howl,” all the way into the last, glittering notes of “You’ve Got the Love,” Lungs is as close to flawless as a debut could ever sound. Though the word is often overused in modern society (which is a shame), there’s nothing else that can quite describe what comes out from this album aside from “Epic.”

As time goes on, the music grows even sweeter. Just remember to play it louder, louder each time…

2. Rihanna – Rated R

In two words…Radio Killer.
MuuMuse Review

It’s tanking on the charts, it’s only bubbling under on the radio, and it’s her least hit-heavy album ever. But I’ll be damned if, two months after it’s initial leak, it’s not my most played album of the year.

This is 2009′s greatest “album” album; a cohesive product of media frenzy and pent-up emotion. The odds that this album would even be created are shocking as it is. I mean, here’s one of pop’s most commercially viable, radio-friendly artists, who’s decided to turn full circle and send a big middle finger to the label that created her by making a daring, haunted album full of anger and anguish without a trace of that Good Girl Gone Bad formula. Want to hear another “Umbrella”? Well, fuck off. You’re not finding it here.

Killer, damning cuts such as “Hard,” “Wait Your Turn,” and “G4L,” all take Riri to a darker, confident place than ever before, leading to one of the greatest surprises of the year.

It’s Rihanna’s first artistic statement, and for that, she’s earned my full attention.

One more time for the year: VIVA LA RIHANNOIR!

1. Lady Gaga: The Fame Monster

In one word…Monster.
MuuMuse Review

With the release of a certain single back in October, Gaga managed to turn my hatred on its head, cause me to issue a public apology, and quickly morph me into a full-fledged, unapologetic fan.

While I’ve already gone through it in my review of the album, it bears repeating: The Fame Monster is indeed a monster. Eight perfect slices of hook-laden pop, all wrapped in a delicious ’50′s-horror inspired visual campaign. Murderous live performances, a stellar accompanying national Monster Ball tour…it’s a beast with such bite that Alejandro’s still weeping himself to sleep at night. The Fame Monster is a stunning addition to the growing back catalog of the 21st century’s most important and influential entertainer.

In a sea of gangsters, liars and thieves, of false prophets and seedy politicians, Lady Gaga is the only public figure I can truly hold accountable for having followed through on her campaign promise: She is saving the world, one sequin at a time.

As if there were any question, 2009 shall heretofore be known as the Year of the Gaga.

Note: My reviews tend to go to more than one publication–some of which require editors, thus explaining the first line. My blog does not have any editors aside from myself…yet.
—

If I had my way, this review would simple. In a word: Perfection. Sadly, I’m sure the editors would have something snippy to say about that (fascists), so allow me to flesh this one out.

The boys of Röyksopp have been hard at work over the past three years conjuring up their third major album, Junior. Like a Nordic creation of Frankenstein proportions (I’ll allow time to envision the monster as a blonde), the album operates as a complex series of bits and pieces mixed together, pasting together the moody beats of Melody AM with the tenderest bits of pop-mindedness from The Understanding.

To do so, the duo have enlisted a superstar cast of Swedish chanteuses, including Lykke Li, Robyn, and Karin Dreijer (as well as fellow Norde Anneli Drecker)—a line-up indie-licious enough to make the pants of the Pitchfork crew grow even tighter at the waist.

With a burst of giggles, Röyksopp bounces into Junior with the mindless glee-fest that is their first single, “Happy Up Here.” Ironically, it’s also the album’s weakest moment—not quite an instrumental, not yet a full fledged song. Sure, it’s got all the makings of a Röyksopp track (looped beats and breathy lyrics), but it’s mainly a teaser for things to come.

That’s probably why “The Girl And The Robot” follows shortly thereafter. Undoubtedly one of the coolest songs Robyn has recorded in recent time (though let’s face it, she hasn’t truly recorded anything new in the past five years), the song is a stomping, stuttering 21st century upgrade of a classic torch song: “Fell asleep again in front of MTV / God, I’m down at the bottom / No one’s singing songs for me / I’m in love with a robot.” Then again, has there ever been a song involving robot love that hasn’t proven itself entirely amazing? Doubt it.

After comes “Vision One,” a song I’m still holding responsible for no less than three slipped discs in my neck. Why? “Vision One” happens to be a cover of a track the group first remixed in 2005 sung by a ridiculously under-appreciated J-Pop artist named Eri Nobuchika. Hearing those opening notes re-imagined through bright piano melody and some lo-fi electronica for the very time, my head whipped forward faster than I could shriek “Oh my God, it’s ‘SING A SONG.’” As a result, I’m still healing.

“Let evil ways caress our smile, the cities are dying / As we watch it fall into a modern state, a modern time,” Anneli Drecker goes on to declare as the world around her plummets into the depths of misery. Looking for a distraction from the crumbling economy? You’re probably listening to the wrong song.

In fact, as delightfully “pop” as Röyksopp may claim this album may be, it’s sure depressing—if we’re not listening to Lykke Li sighing away memories of a lost love with “Miss It So Much,” we’ve got the boys themselves throwing their hands up in a cry of resignation in the final moment of the album, “It’s What I Want”: “It’s what I want that’s easy / It’s getting it that’s complicated.”

Still, everything’s not so dire. And by “not so dire,” I mean “vaguely homicidal.” Case in point: The album’s shining moment; the Anneli Drecker led “You Don’t Have A Clue.”

“We’re meant to be one, I know we are,” Drecker croons along a lush set of stringed electronica and choir voices, “If I am the sky, then you are my star.” Sweet, right? Well keep listening, and tell me this doesn’t go from lovey-dovey to stalker-friendly in a matter of minutes: “But you don’t have a clue / This party hasn’t ended yet / Not for me and you.” Yeah, I’d say we’ve got a creeper on our hands.

And so the album trudges on, an eclectic helping of lyrical craft and well-produced beats ready to appeal to listeners of all genuses and genres—“Smart Pop,” as I like to refer to it.

Junior is in many respects a musical triumph; an eclectic collection of breathy chanteuses and guttural vocalists all set to the tune of brooding synthesizers and geeky computer blips and bleeps. Presenting their most accessible, instant, and engaging album yet, Röyksopp is one of the very few, truly legitimate artists still standing on the frontlines fighting in the name of all things pop. After all, they’ve already just released the best album of the first quarter, as well as a capable contender for the best of ‘09.

That is, until Junior’s companion piece, Senior, hits shelves later this fall.

Click here to visit the band’s MySpace, and click below to purchase Junior NOW!

Yes Muusers, it’s time for another addition in the ongoing saga known as the transcription of Röyksopp‘s entire album, Junior.

Today’s mission: “This Must Be It,” the frantic, blaring electro-brooder fronted by Karin Dreijer.

As always, this is a collaborative effort. Though I think I’ve got most of it (along with some help by my good friend Faisal over at Ohh! Crapp…), there are still some words that have simply escaped me. Please feel free to add your comments and lend me your most eager, Swede-ready ears in completing these lyrics!

—

Waiting for a beam to break through here,
A chain wave vision all bright and clear,
And they talk, and they dance.

I was expecting something pure with golden hair,
Arms full of bracelets, and smoke and mirror,
And they talk, and they dance.

Here comes darkness just after noon,
Waiting for a sign,
If I survive, I’ll worship the moon
Or something, anything…

This must be it…longful bliss,
First it was so quiet, now I know I’m not alone in here
And they talked, and they danced.

Two moments collide in my open hand,
making me a viewer (voyeur?)
I am what I (?)
And they talk, and they dance

Your hand on my head, speak friendly to me
I’ve been starving for years, patiently
Is this as far as you can take me?

This must be it…longful bliss,
First it was so quiet, now I know I’m not alone in here
And they talked, and they danced.

This must be it…longful bliss,
First it was so quiet, now I know I’m not alone in here
And they talked, and they danced.

This must be it…longful bliss,
First it was so quiet, now I know I’m not alone in here

This must be it…longful bliss,
First it was so quiet, now I know I’m not alone in here
And they talked, and they danced.

Click above to listen to all the tracks from Junior!

Don’t forget–two very near and dear, very major MuuMuse approved releases are now out in stores today!

…Neither of which I’ve managed to review yet.

I KNOW–I’m working on it.

First up is Röyksopp‘s Junior, which also happens to be, hands down, the greatest release of 2009. A masterful collection of organic, growing synth sounds and moody vocals from the likes of Swede sweethearts Karin Dreijer, Lykke Li, and Robyn, Junior is not only an essential unifying piece between the Nordic duo’s first two releases, but a commendable pioneering effort into a higher realm of electro-pop.

Following that impossible lead-in is Utada‘s This Is The One, a collection of slinky R&B jams and tripped beats that dance the line somewhere between creative outflow and slightly embarrassing cliché.

JUMP ON ‘EM!