Genre: Pop, electro-pop, Swede-pop
Sounds like: Linda Sundblad, Marie Serneholt, Margaret Berger

A meat dress? Why, that’s child’s play!

Introduucing Ilia Darlin, a space-pop bombshell from Greece.

Having already made quite a splash in her homeland–appearing in Greek Vogue and Esquire, as well as MTV and Ant1–the quirky, bright eyed songstress has now set her sights on the UK for the release of her latest single, “Car Crash.”

“Car Crash,” which was recorded with En Vogue producer Chris Boulden, is a cautionary tale for all the men who’ve dared to wrong the Greek oddball in the past. Like the message behind the Sugababes‘ criminally underrated “Every Heart Broken,” no boy survives a break-up unscathed. See all that meat piled up? Well, it ain’t anything she’s buying from the butcher chop. How positively Delicatessen of her!

The protein-packed, Gaga-tastic video for “Car Crash” gleefully toes the line between camp and crazy (okay, mostly crazy), alternating between glittery dance routines, neon glamazon couture and plenty of knife-wielding weirdness.

But even with such a ridiculous clip, the single–which is due to be released in April 2011–ticks all the right boxes here at MuuMuse. In fact, with such super catchy melodies, twinkling electro beats and quirky lyricism (“If only you had checked your brakes, you wouldn’t end up in the lake / You thought you had just what it takes”), it’s hard to believe that Darlin isn’t actually one of Scandanavian superstar a la Linda Sundblad or Margaret Berger.

According to the singer’s official press release, “Car Crash” was recorded in collaboration with Universal and Konvict Muzik (Akon‘s label) while in L.A., where she also recorded several new songs, including “Bang Bang Bar” and “Shut Me Down.”

Assuming this song makes some kind of splash overseas, I’m quite excited to see what else Mizz Darlin’s got cooking for us! That is–as long as we’re only eating vegetables.

For more on Ilia Darlin, check out her official website.

Meet Jessie Malakouti.

Having already established herself as a Xenomania songwriter, opened on tour for The Saturdays, and sung back-up on the Pet Shop Boys‘ latest record, Yes, it’s hard to say that Malakouti requires an “Introduucing” post. It’s her latest musical endeavor, Jessie and the Toy Boys, however, that merits the formal welcoming.

As evidenced in the snippets posted on her newly created website, Jessie’s got a knack for sugar coated, ’80′s-inspired electro pop confections; her voice and sound lying somewhere in between the likes of Gwen Stefani (2004 onward), Linda Sundblad, Kylie Minogue, and Heidi Montag. (The last comparison may sound like an insult, but trust–it’s not.)

Featured tracks including “Push It” and “Hitman” are instant pop stormers, while “Like You Better,” her dizzying electro-fluff take on the classic chorus from Romeo Void‘s “Never Say Never,” bubbles over with glitchy delight, a la Stefani’s “Crash.”

Most noteworthy of all the clips however is “Eyes Closed,” a shimmering mid-tempo in which Jessie laments the fact that her lover’s refusal to lock eyes during the deed: “You fuck me with your eyes closed,” Jessie woefully sings during the choruses, hovering above a slightly sad, twinkling melody.

Now that, dear Muusers, is exactly the kind of over-the-top pop I love to pieces.

Thanks to Muuser Alex for introduucing me to Jessie’s new music!

I was first introduced to Linda Sundblad back in 2006 after hearing her latest single at the time, “Oh Father.”

The song is a woefully delicious number, in which we find the guilt-ridden songstress pleading for forgiveness for indulging in dirty thoughts and some occasional self-pleasuring. “Touch of my Hand” it was not, but as with any singer who dives into that territory (see what I did there?), I was hooked. Soon after came Sundblad’s debut, Oh My God!, a compelling collection of meaty, fresh sounding pop tunes.

Four years later, Sundblad has returned to the Swedish music scene with Manifest. The album, much like its predecessor, is a bold pop record complimented by ’80′s synthesizers and modern electro noise.

Unlike some of the more forced pop revival efforts of late, there’s no pretense in the solid pop that Sundblad has produced for us here, making Manifest as instantly enjoyable as her debut.

With a touch of Madonna, a dollop of Ashlee Simpson, and a rich scoop of Robyn, Sundblad races through the whole of her album with sounds and words inspired by many of her pop contemporaries. The massive “Let’s Dance” is the perfect marriage of the three aforementioned artists, reveling in licks of faux-rock, classic dance rhythms, and brash delivery style.

While some of the brattier party anthems like “Making Out” and “2 All My Girls” may be slightly too cheeky for some, the hard hitting beats and slinky grooves scattered within the rest of Manifest have the ability to convert even the staunchest non-believers.

Highlights include “Intro (Choices),” the Kleerup-produced “History,” and “Damage,” the album’s shining triumph. Starting with a minimal synth beat and working into a sophisticated, ’80′s-tinged groove, the song evolves into an incredibly danceable contemplation: “Can we make up for the damage, or should I leave you out of my life for good?” The pain aches, but the beat feels so, so good.

While the album’s lyrics may be laden with heartbreak and tears, the sunny sounds of Manifest refuse to let itself to wallow in sorrow.

Perhaps the cheeriest of the bunch is “Suicide Girl,” a most fascinating, contradictory little ditty (and basically the musical version of one of my favorite Engrish tees).

While undeniably upbeat, Sundblad happily runs through the reasons she’s no good for this world. “Took too many pills, dialed 911, and now I’m playing cute in an ambulance.” It’s bound to offend a few, delight a few more, and keep everyone else talking.

Manifest is about as blissful as a pop record can be without crossing the border of camp. If you want a reason to smile, grab this one now.

Choice tracks: Intro (Choice), Damage, Suicide Girl, History

Manifest is now available worldwide on iTunes.

A few days ago, a very nice Muuser contacted me to thank me for publishing the Top Singles of 2009 list and inquire as to why I don’t publish lists more often. Frankly I have no idea, so I figured I’d start making lists on a more regular basis.

From now on (read: until I forget next week), I’m going to post the top five tracks I’m digging at the moment at the start of each week.

Yes, I know I have a last.fm account that could just as easily provide that information, but a play count doesn’t necessarily dictate my swooning accurately.

Without further ado, the first installment (of many?) this way cometh:

MuuMuse Approved Tracks for the Week of March 28, 2010

5. JES – Awaken
Moody, atmospheric dance. Smarter than your average trance.
4. Linda Sundblad – Damage
A minimal, tripping synth beat builds up in the best way possible as Sundblad goes through the woes of a love in crisis. Robyn-esque!
3. Diana Vickers – The Boy Who Murdered Love
Not only a killer melody, but some of the finest pop lyrics I’ve heard in a while. “You’re the boy who murdered love, cold hands and a heart of stone / You’re a Midas in reverse, you’re the king of pain and hurt.”
2. Gabriella Cilmi – Love Me Cos You Want To
An aching, brilliantly burning 21st century torch song. Gorgeous and heartfelt.
1. Sophie Ellis-Bextor – Bittersweet
A true disco gem, both modern and timeless. It’s set to become the official MuuMuse summer anthem of 2010!

Last week, I had the pleasure of speaking on the phone with Swedish producer Kleerup while on the set of his new film. Instead of the traditional Q&A route, I’ve opted to put together something a bit…classier: A full-length article. Please read on, and I hope you enjoy!
Read the article…

Much as with Robyn–one of many featured collaborators on his debut–Kleerup has spent the past year or two toting his record around international waters.

In May of 2008, Kleerup was released in Sweden. One month ago, it made its way to the UK. Now, on July 28, Kleerup’s arrived in America. Since I never got around to (read: was too lazy to) review the album when it launched in the UK earlier this year, the US release has provided a key opportunity (read: kick in the ass to get going.)

Kleerup is one massive collaborative effort; tied together with warm bass pulsations, hollow Kleerup-ian synth lines, a handful of guest spots, and loads and loads of my favorite style of sound–a sub-genre some fans have lovingly dubbed as “sad disco.”

After the pace-setting drive of opening instrumental “Hero,” Lykke Li‘s “Until We Bleed” floods the speakers with a kind of tender, drippy ghostliness that begs to be repeatedly blasted on high.

Of course there’s also “With Every Heartbeat,” the massively successful collaboration with Robyn that hit #1 in the UK in 2007 and proved that dance music didn’t have to be simple to be appreciated by the masses. In fact, “Heartbeat” is complex; building up steadily across waves of synthesizers until finally reaching that long-awaited, breathless utterance three minutes in: “And it hurts with every heartbeat,” repeated eight more times until the slow fade away. If that isn’t the definition of an aural orgasm, I don’t know what is.

Another highlight (and subject of a recent post) is the Titiyo-led “Longing For Lullabies,” perhaps the album’s greatest embodiment of the term ‘sad disco.’ Lush, haunting, and mostly all other adjectives in between, “Lullabies” is a smashing musical and vocal accomplishment for both artists.

Nestled between each vocal track on the album is an instrumental. Yet far from the “action-interlude-action” structure one might expect an album of that nature to provide, the non-vocal work proves just as captivating as the meatier portions of the album–which is no minor feat.

Choice instrumentals include the eternally haunting closer “I Just Want To Make That Sad Boy Smile” and the dub-like “Thank You For Nothing,” though the latter’s excellence is due in large part to its nearly palpable bitterness: The song, which was initially used as the backing track for a stunning number called “Lay Me Down” Cyndi Lauper‘s 2008 album Bring Ya To The Brink, is rumored to be titled “Thank You For Nothing” after Lauper (or perhaps her management) refused to release her own version for inclusion on his album. Ouch!

Further on, the album trudges on both merrily and mournfully. I don’t know if anyone else adored Linda Sundblad‘s strange, quirk-tastic solo album back in 2006, but hearing her on the hypnotic “History” made me truly yearn for more. Linda, return to us!

Kleerup’s production style is distinct and unmistakable, which could be interpreted as a critique, but shouldn’t: It’s fresh, innovative, and lacks any obvious ‘modern’ production techniques that plague most major dance acts today. A year later, Kleerup remains as ethereal and exciting as it did in 2008; proof that excellence and sophistication can still be concocted for the dance floor.

Click below to preview and purchase Kleerup.