This place about to blow!

Laidback Luke, the Filipino-born, Netherlands-bred DJ and producer whose name has become more and more of a staple within remix packages from some of MuuMuse’s favorite acts, including Wynter Gordon and Christina Aguilera (and of course, that truly awe-inspiring take on Robyn‘s “Indestructible”) has a new solo single out: It’s called “Timebomb.”

“Timebomb” is a very good, rave-y stormer complete with glitched-out moments of 8-bit electronica and rocket launch-like, surging synthesizers. A club affair, if you will.

The song was an instrumental at first but then it wasn’t, thanks to a vocal melody penned and sung by John Mendelsohn (not to be confused with Jonathan Mendelsohn, the director of general election resources for the British Labour Party, nor John Mendelsohn, former Rolling Stone rock critic), but rather John Mendelsohn, an attractive singer from Brooklyn.

Together, the two crafted the final version of “Timebomb” entirely via email (oh, technology!). And thus, there you have it: “Timebomb (feat. John Mendelsohn).

The song’s accompanying Tron-esque video follows in step with the song’s futuristic trance beat, as we follow a gang of bad ass roller derby chicks duking it out within a space-age pinball machine operated by a sexy lady who looks like the forgotten lovechild of La Roux‘s Elly Jackson and Her Majesty & The Wolves‘ Kimberly Wyatt. It makes entirely no sense, and yet, it’s entirely perfect.

And there you have it. OR DID I JUST BLOW YOUR MIND?!

“Timebomb (feat. John Mendelsohn)” was released on January 18. (Beatport)

SYSTEM OVERLOAD.

I can’t even believe this, but the video for Kylie Minogue‘s “Get Outta My Way” is nearly upon us! Click above to watch the trailer for the video (which is one fucking hell of a tease, I might add.)

The video was directed  by Alexandliane, the same production duo responsible for Cheryl Cole’s incredible video for “Parachute” and La Roux‘s “I’m Not Your Toy.”

The colors–THE COLORS! SO BRIGHT. SO VIVID.

So far it looks like “Slow” meets “Wow.” AMAZING.

Plus, as my friends over at Hard Candy pointed out, it looks like the America’s Got Talent chair choreography’s going to be a prominent feature in the song’s video!

My body is vibrating.

As originally reported by The Prophet, ex-Pussycat Dolls member Kimberly Wyatt is making her first moves as a solo artist–in the form of a duo.

Her Majesty & The Wolves is the singer’s side-project with producer Spencer Nezey. Their music together is said to be inspired by “electro and dance.” Very good influences, indeed.

On August 27, Her Majesty & The Wolves will unleash their first track, “Glaciers,” as a free download on their official website. A video for the track is also forthcoming.

For now, you can download a pretty schweet mixtape on the site, which includes songs from artists including Ladyhawke, Marina & The Diamonds, and the Yeah Yeah Yeahs.

Above is our first taste of “Glaciers,” which certainly contains shades of all of the above acts. Very La Rouxvian as well, no?

If this is really the musical direction she’s heading toward, I expect some major, major surprises.

Say hello to my latest obsession.

This is I Blame Coco, otherwise known as Coco Sumner (plus a band), otherwise known as the daughter of Sting and Trudie Styler.

The burgeoning talent, just 19 years old at the moment, has been diligently plucking away at her debut record, The Constant, for the past five years now. Ironically though, there’s hardly anything constant about it, given that she apparently re-wrote the entire record in the fall of 2009.

The record was produced with the help of Klas Ã…hlund, the genius Swedish powerhouse behind Robyn‘s sublime self-titled 2005 record, as well as dozens of pop productions including Britney‘s “Piece of Me” and several tracks off of the under-appreciated 2008 Sugababes album, Catfights & Spotlights.

Sumner’s second single, “Self Machine,” is the next tidbit to be released from her debut.

The blaring, ’80′s-inspired beats of the song sparkle with shades of Ã…hlund’s pop sensibility, yet Sumner’s deeper voice suggests something far darker: “I saw the mirror staring back at me, and it told me I’m a self machine,” Sumner croons, sounding appropriately lonely as she tackles the personal void missing in today’s digital age.

In short: Think a less obnoxious La Roux, mixed with The Killers and a touch of the Yeah Yeah Yeahs‘ new electronic sound, a la “Zero.” The result is nothing short of alt-disco brilliance.

The video for the song was just recently released, which you can now watch above. It’s very high fashion (though I may just be biased by Coco and her gorgeous, moody model friends), a bit magical (floating in an abandoned pool!), and quite beautifully shot all around.

If the two singles hadn’t already won me over, her spot-on thoughts on Robyn (who happens to be featured on Coco’s debut single, “Caesar”) certainly cemented the deal.

From her biography:

She is a pop star worth looking up to.’ She says it as if there aren’t many. ‘She has control over every aspect of her music, from the sound to the presentation to the artwork. It is all directly coming from her. And,’ she notes, ‘she is a bit mental.’

I predict very good things, indeed.

“Self Machine” will be released on July 12. To learn more, check out I Blame Coco’s official website here.

On Thursday (two days ago), I heard a few rumblings and rumors across the blogosphere about a possible surprise appearance by Kylie Minogue at Splash Nightclub in New York City. It made sense, given that she was already in town for the amFAR Gala this week. So, after a few choice e-mails, her appearance was quietly confirmed and I found myself headed into the city in a last minute dash out the door late on Friday night.

Photo courtesy of HardCandyMusic.

After quickly meeting up with my blog buddy, Camille (of HardCandyMusic), we headed to the club at around 11:30.

And now, a brief side note: Splash was insane. I’d never been before, and I don’t know if it was just because of the night we chose to come (I hear it’s more reserved at other times), but it was like witnessing Queer as Folk‘s Babylon on E. No, really. I saw a butt within the first fifteen seconds of walking into the doors.

There was weird, amateur hardcore porn playing on the walls featuring actors wearing clown face make-up while lovely sentiments such as “FUCK FAGGOTS” flashed on top of the action. Everyone was making out, or groping, or something more. I got groped a dozen or more times. I’m no prude, but this was a full-on meat locker; a stewing cesspool of lust and creepers.

But it was no matter. Camille and I, along with a few of her friends, squeezed by to the stage area to begin standing our ground almost an hour before Kylie was expected to make her appearance. While we waited, we bopped around to the semi-decent music (there was La Roux and Whitney Houston) and excitedly chitchatted/yelled in each other’s ears about what we thought she’d do when she made her grand entrance.

As we waited, the crowd grew and continued to gather behind us. The heat that floated around the stage area was thick, sticky and heavy; a nearly tangible cloud of sweat and heavy breathing. I truly don’t ever remember sweating so much in my life. Literally, I was covered from head to toe. From me, from neighbors…at some point, I stopped being able to discern whether it was sweat or a flood of drinks were being poured on me from above. I like to think it’s the latter.

At around 1 A.M., security began escorting everyone off from the stage and sweeping out the bottles and glasses from the floor. The muscled-up go-go boys, previously whirling around poles with dollars stuffed in their trunks, were now lining the stage wearing their best pairs of tight briefs. I turned to Camille and mouthed “Oh my God, she’s really here.” I literally couldn’t believe it. She was here.

And then, as the house music swelled, the shrieks of a dozen or more gays stole our attention to the right side of the stage. There was Kylie fucking Minogue, walking up the stairs being guided right up to the stage, wearing a glittery silver dress and standing no more than a foot or two away from me. The crowd completely lost it (or at least I did–absolute shit show.)

After greeting the crowd with a lot of giggling and smiles, Kylie began introducing her new single, “All the Lovers,” which soon started to play above. The results were incredible: Despite the fact that we’ve only had the song for a little under a month, the entire crowd fired back with a loud, deafening sing-a-long. The power of Kylie.

For the record, Kylie Minogue is without flaw in person, and I’m proud to say that I can confirm this fact from one foot away. Her face is angelic, her smile infectious, and her body language? Utterly electric.

As she sashayed up and down the stage, she giggled gleefully and fanned herself often, dropping lots of nods and flirty winks into the adoring glitterati below. This was the definition of Kylie’s turf, and anyone could she she was gobbling up the moment.

Returning from the DJ booth after “All The Lovers,” we all expected that she would wish us a good night and head off. That is, until she turned right back around and announced a massive surprise–a mega-mix of her new album, Aphrodite.

Our mouths (or at least mine) dropped. This was the first time anyone outside of the press would be hearing songs from the new record. And just as quickly as before, the music swelled in and Kylie kicked off with an incredible first stomper from the record, “Get Outta My Way.” It was an insanely catchy, Light Years-esque number, and the chorus reminded me of the way she sings “get out of my way” in “Spinning Around.” Incredible.

During the song, Kylie reached across the banister and began holding hands with most of the front row for a few short seconds. And yes, dear Muusers…I held hands with Kylie Minogue. Well, her fingers. BUT WE WERE CONNECTED IN SPIRIT (See the one minute mark above.) During those fleeting few seconds, visions of glitter drenched ponies and dancing lollipops clouded my vision. So that’s what it’s like inside Kylie Minogue’s world, I realized.

Later on, Kylie requested a water bottle with a quick fanning hand motion to her publicist. After dousing her neck a bit (and doing an extra sexy shimmy), the disco diva took a few quick swells and proceeded to soak the first few rows with the rest of the water. I was absolutely drenched in Kylie water. It was truly the holiest of baptisms.

Photo courtesy of HardCandyMusic.

More songs from the record followed, including “Cupid Boy,” “Aphrodite,” “Put Your Hands Up,” “Can’t Beat the Feeling,” and “Too Much” (we think, anyway). I cannot gush enough how incredible these songs sounded. The album sounds like it’s shaping up to be hit after hit, like “Love at First Sight” on repeat. The songs were all lush, anthem-worthy disco melodies nearly destined to become classics in the annals of pop. I believe it’s safe to say: Stuart Price, you’ve done it again.

At the very end of the mix, as the go-go boys behind her began wringing out their soaked (and rather see-through) tighty whities, Kylie gave us a last wink before one final tease: “I’ll be back very, very soon.” A hint at a new tour, perhaps? God, I hope so.

And to think, we weren’t even expecting her to perform. Now if you’ll excuse me, I need to go shake the glitter out of my hair.

All photos courtesy of Camille of HardCandyMusic, except for the first photo, which is my own.

Many, many thanks to Camille for videotaping the entire performance in the videos above (as well as the pictures!) Had an absolute blast…Thank you so much for everything! It was a pleasure flying KM Air with you. Xo

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.

Elly Jackson and Ben Langmaid, otherwise known as La Roux, are going on tour stateside.

To order tickets, click here.

I will most likely be in attendance at one of these dates, if only to hear “Bulletproof” and “Colorless Color” (“Colourless Colour”?) in person.

Christ on a Christmas cracker–the 2010 BRIT Award nominations are in!

I can’t believe it’s time already for the ceremony to begin once again. It seems like only yesterday I was sitting in my bed watching in disbelief as Gaga robo-danced her way on stage with pieces of shattered china plates glued to her lady bits. Ahh, memories.

As per usual (see 2009), I’ve gone ahead and bolded my favorites for the crown and added a few insightful comments and/or snooty one-liners to the end of each category.

And awayyy we go! (Thanks to The Guardian for the full list of nominees.)

Click to read…