Because I’ve fallen so heavily for the new Röyksopp‘s latest release, I feel compelled to type out the lyrics in their entirety for all to adore.

It’s a job that I’ve come to realize may require the assistance of a translator; for as much as I absolutely adore the exotic intonation of our lovely Swedish and Nordic guest vocalists, it’s quickly become apparent that their accents, combined with the layers upon layers of sound, make scribing a bit more difficult than I’d first anticipated.

Still, this one was easy…pretty sure it’s right. As always, message me if you hear different. Please enjoy the majestic sombre detune of Ms. Lykke Li‘s contribution to Junior, “I Miss It So Much.”

—

I miss it so much.
No button to touch,
No dial to turn,
No key to hold.

Days turn to nights, turn to weeks,
Turn paper into rocks, into plastic.
My material heart, how it keeps us apart.
Watching days turn to nights, turn to weeks,
Turn everything I got into techniques.
My mechanical heart, how it tears me apart.

I miss it so much.
No button to touch,
No dial to turn,
No key to hold.

I miss it so much.
No button to touch,
No flick of the switch,
Hand on my heart.

Days turn to nights, turn to weeks,
Turn paper into rocks, into plastic.
My material heart, how it keeps us apart.
Watching days turn to nights, turn to weeks,
Turn everything I got into techniques.
My mechanical heart, how it tears me apart.

I miss it so much.
No button to touch,
No dial to turn,
No key to hold.

I miss it so much.
No button to touch,
No flick of the switch,
Hand on my heart.

Click here to pre-order the new album, Junior, or below to hear more from Röyksopp.

I told you.

Last December, I predicted that the new album by N.A.S.A. (comprised of Sam Spiegel and DJ Zegon), The Spirit Of Apollo, would bring about a certain kind of Apocalypse.

Well, look around: A crumbling economy, a lesbian taking over as premier in Iceland…It’s only a matter of time before the Great Winged One of Darkness bursts forth through the crumbling Earth’s core and begins spewing hellfire and wickedness for eons to come.

But while we wait, we can still give a listen to the new album!

N.A.S.A., short for North America, South America is a collaborative effort between some of society’s most cherished and talented indie rockers, hip-hop superstars, and a slew of freaks and geeks in between (Karen O, Lykke Li, M.I.A, Santogold, and Tom Waits to name only a few) …all coming together for one masterful piecing together of music and imagery.

Opening tracks including “Money” and “Hip-Hop” take a moment to frown upon the evils of greed and the “instant fame” complex plaguing modern pop today, all within hook-heavy choruses and stellar musical production.

Like most of the raps featured within Spirit, the verses benefit from superior, thought-provoking lyricism rather than mile-a-minute brag attacks: “When I first started, I was whole hearted, but now the game became dearly departed / Billboard charted, artists get retarted when them checks come, I still respect some.”

Standouts on the album are generally unsurprising; those featuring the megawattage stars tend to shine brightest, such as Karen O’s deliciously unexpected cameo upon the appropriate titled “Strange Enough.” Though all too brief, hearing her weird, warbly voice only served to further my desire to hear the upcoming Yeah Yeah Yeah‘s release.

Then there’s “Gifted” featuring Lykke Li, Santogold, and Kanye West, a track that leaked earlier last year. With all of its glittering, sputtering beats and crushed electronica, “Gifted” sounds doubly gorgeous in high quality. “Way Down” is another sizzler, creeping in like a lazy ’70′s summer haze. “Don’t ask me where I’ve been…Way down,” Barbie Hatch slinkily croons throughout the funkified, tripping beat.

“Whatchadoin” might be the most irrestistable number; a thump-tastic set of classic M.I.A. back-n-forth rhyming, and uncontrollably catchy, plumped up beats. Santogold‘s rockier, grittier influence also makes itself apparent against the more tribal beats of M.I.A. “Whhhhatcha’ doin?” taunts the chorus, in a classic Arular stomper only Ms. Arulpragasam could properly dominate.

At times though, the album suffers from an oversaturation with heavy hip-hop, such as “The Mayor.” The same applies to “Spacious Thoughts,” which seems particularly all over the place with the inclusino of Tom Waits‘ signature growlings atop a doped-up, hip-hop thump that never fully unfolds into something cohesive.

Still, it’s an issue of preference. For me? I’m not into harder hip-hop, so the tracks don’t appeal. For others, I’m sure they could very well play like the tracklisting to a dream mix-tape.

In short, the album is a sm ashing success, bringing together the rich flavors and flows from all reaches–both geographical and musical. Hearing the album in full allows itself to the fundamental idea of musicas a forum for communication and expression, and this diverse cast of both superstar and underground icons truly serve to enrich the album with their own unique influences and styles.

Plus, the beats are pretty damn hot.

A job well done, N.A.S.A. Now go on and set the world ablaze.

DL: Whachadoin? (feat. Spank Rock, M.I.A., Santogold & Nick Zinner) (Starfire Remix) (Sharebee)

Click here to pre-order The Spirit of Apollo.

In an industry mired in dime-a-dozen bands and MySpace insta-lebrities, today’s bands tend to suffer from the same symptoms of overzealous promotion, ultimately leading to über-entitlement and general gloating. Yet despite the mighty roar of the media machines behind these bands, a large majority can hardly muster a meow when finally thrust into the spotlight.

Expecting The Gadsdens to fare no differently, I moseyed over to their MySpace with a firm expectation of mediocrity.

Well, I was wrong*. Much to my surprise, The Gadsdens provide a much needed breath of fresh air in a landscape dominated by “average,” blending together the breezy sounds of some of the finer purveyors of contemporary pop, including Take That, Imogen Heap, and even a hint of Vanessa Carlton.

Though there are subtle suggestions of blues and folk-inspired influence sprinkled throughout, the majority of The Gadsdens’ collection is largely pop-based. And unlike so many bands that claim to intentionally “pay homage” to the greater pop moments of the ’80′s and ’90′s in an obnoxious, tongue-in-cheek manner, The Gadsdens carry yesterday’s elements into their music in a wonderfully unpretentious manner.

I absolutely adore the lead singer’s vocals, which seemingly glide through the scales quite effortlessly on tracks like the sweetly tender “Heartbreaker.” Other tracks, like the title track from their upcoming EP, “The Sailor Song” strike me as a brighter rendition of The Decemberists and a bit of ’90′s female singer-songwriter, a la Natalie Merchant.

Though I’m not going to speak for the group, I’m willing to bet that their genuine sound stems from a genuine respect for pop–The group’s blog certainly seems to suggest this influence. (Lykke Li, Siobhan Donaghy, The Cardigans, and Grace Jones for starters.)

The group will be releasing the Sailor Song EP on March 23, a collection of 5 tracks produced by Sean McGhee. Though the band have supported Temposhark on tour, been named as one of the best unsigned acts by NME, and played on BBC’s Radio 6, the band is still bubbling under. Let’s change that, shall we?

Easy, breezy, beautiful…It’s no longer just a phrase for make-up, folks.

DL: The Gadsdens – The Sailor Song (Sharebee)

The Sailor Song EP will be available digitally on iTunes on March 23. For more from The Gadsdens, click here.

________
*I really should have known better, considering my ever-reliable blogger buddy XO named The Gadsdens’ “Sailor Song” as one of his Top Tracks of ’08.

Sam Spiegel (perhaps better known as Squeak E. Clean) is, as we all may soon come to realize, the devil. One needs only briefly look over the exhaustive list of indie darlings and pop culture icons (including Karen O, Nina Persson, Lovefoxxx, Tom Waits, and Ghostface Killah) set to lay down their vocals upon his killer debut album, The Spirit of Apollo, in February 2009 to know that for sure. The only explanation of this impossible gathering of talent is dark magick, leading to what will surely become a downward spiral of hellfire and damnation upon the Earth, at last leading us all unto the End Of Days.

But until that day, we’ve got one new track from the release called “Gifted,” which benefits from the assistance of Kanye West on the first verse, Santogold on the second, and Lykke Li in the choruses. A hipster’s wet dream? You bet your sweet girly ass jeans it is. Yet with its uber-slick synthesized production and bouncy, bubbly bass, the Apocalypse has never sounded so sweet.

DL: N.A.S.A. – Gifted ft. Kanye West, Santogold, and Lykke Li

Why, look! Towards the sky! It’s a bird! No, it’s a plane! No! It’s Swedish indie-pop darling Lykke Li riding off the coattails of contemporary Robyn‘s international success!

DL: Lykke Li – I’m Good, I’m Gone (Metronomy Remix)
DL: Lykke Li – I’m Good, I’m Gone (Black Kids Remix)

I kid…a little. I’m not that into her music to be quite honest. Nevertheless, grab these mixes while they’re still sizzling a hole in cyberspace. The Black Kids mix is more dramatic, and the Metronomy Remix is extraterrestrial in ways. Do as you will!

Here’s Lykke Li on Later…with Jools Holland performing one of her better songs, “Little Bit.” It’s a rather tender performance that seems to be one step behind falling apart from the seams at any moment, though it manages to maintain itself until the very end. The music gets a bit demonic-child’s-jewelry box at some bits, but it’s otherwise as genuine as its recorded counterpart. I’m still not nearly in love with the album as much as this song, but I’m nevertheless semi-entranced by her unassuming stage presence. Enjoy!

Alas, my latest Swedish delight to stumble upon! Her name is Britta Persson, a refreshing indie-pop treat. Quite airy like Lykke Li and complete with a country twang in the vein of Nina Persson (of The Cardigans…related?) She released her second album, Hollywood Kill Me, back in January in the motherland of pop, and plans to release worldwide at some point.

The album is a great accompanying piece to the sights and sounds of summer’s return. Britta’s music combines side-stepping rhythm of country western music, echoed, repetitive vocals, and crashing drum beats. She’s got a ’90′s female rocker voice, something quite similar to Joan Osborne. The more memorable songs of the bunch tend to incorporate sudden drum flourishes and building, crashing choruses. The final product isn’t exactly mind blowing, but is soothing none the less. It’s a summer’s breeze of sound, really. That, and Swedish. Don’t forget it. Click below for the video!

Good evening my lovely people! I hope everyone’s having a ravishing Super Tuesday! This is no political blog, but I hope everyone is taking the opportunity to watch the process unfold live on the television tonight. So while the delegates are counted and the winners are projected, I’m going to make my own projection: A “one to watch” for 2008, if you will.

If you close your eyes, you’ll know the voice. Or at least, you may think so. But it’s not Robyn. It’s Lykke Li, an emerging indie-pop artist from my favorite land of music, Sweden. Add a dash of Margaret Berger’s eclectic nature and subtract Robyn’s hip-hop swagger, and you’ve gotten something like Lykke Li plus a handful of quirk. Her voice is something straight from the 1960′s, as well as her swinging style, which already earns a special place in my heart. I’m quite digging her sound…simple and understated, yet richly textured.

She came onto the scene rather recently, due mainly to word-of-mouth via Myspace and blogs. Therefore, I am contributing to history. Her debut album Youth Novels was released on January 30th and produced by Peter Björn (creator of that whistle-y song that everyone knew over the summer, and you grew quite tired of but not quite because you still whistle it from time to time). I expect to listen to the entire album later tonight. Here’s a little tidbit to keep you intrigued…like a bare leg on the side of the highway. Well, a leg attached to an attractive woman. Otherwise that would be fairly horrifying to see just a bare leg sitting out alone on the side of the road. Here it is!

DL: Lykke Li – Little Bit

Additionally, I’m putting up one of the very first finished songs Lykke ever posted onto the web. She says it’s quite dear to her, and rightly so, as it’s just plain pretty.

DL: Lykke Li – Tonight
In the meantime, check out her live acoustic version of her song “I’m Good, I’m Gone,” featuring Robyn! There’s some strange bits at the beginning, but it builds perfectly. You can tell she doesn’t care for the megaphone’s feedback during the introduction. There are also moments in which I was positive that Robyn was secretly Amy Sedaris in disguise as a Swedish pop star. They look alike, I swear it!