The official line-up for the 2012 Coachella Festival–a strange world where hipsters, hip-hop enthusiasts, ravers and wandering Burning Man attendees, join for one magical celebration–has just been announced.

The two week line-up includes some majorly MuuMuse Approved acts, including Swedish House Mafia, Florence + The Machine, Avicii, Morgan Page, M83, Kaskade, Afrojack, Miike Snow, Santigold and many, many more.

Will you be heading to Coachella Valley for this year’s festival? Who knows…I just may show up twirling in the crowd!

What’s the only thing better than reflecting on my favorite releases of the past year? Why, pondering what happens next year of course!

Below are some of MuuMuse’s Most Anticipated releases of 2012–a round-up of what we already know, what we’ve already heard, what we want to hear in the next year.

Madonna, TBA (Twelfth Studio Album)

What it is: The return of the Queen.
Expected shelf date: March 2012.
Confirmed tracks: “Gimme All Your Luvin,” “Girls Gone Wild,” “Masterpiece”
Production by: William Orbit, Jean Baptiste, Martin Solveig, Benny Benassi
What we know: The chant-ridden lead single “Gimme All Your Luvin” already leaked in demo form weeks ago, though the final version will be getting a (hopefully muscled-up) makeover with M.I.A. and Nicki Minaj when released in January. But between “Gimme” and the tender sound of W.E. closer “Masterpiece”–her best ballad in years–there’s still no telling what the actual direction is yet. Regardless, Orbit claims Madonna has amazed him “in unexpected ways” while recording.
MuuMuse hopes to hear: Madonna doing what she does best–making innovative pop music that sets the bar and stands the test of time.

Marina + The Diamonds, Electra Heart (Second studio album)

What it is: Corruption, immoral behavior, and the death of the American dream–all in a blonde wig.
Expected shelf date: 2012.
Confirmed tracks: “Fear & Loathing,” “Radioactive,” “The Archetypes”
Produced by: StarGate, Guy Sigsworth, Diplo, Greg Kurstin, Dr. Luke
What we know: It’s going to be a concept record (to some degree). As Marina told PopJustice in an interview, the album tells the tale of an American Dream-meets-Greek tragedy through a character she came up with: Electra Heart. Her StarGate-produced alt-dance pop single “Radioactive”–the second part of an ongoing video series documenting the birth of Electra Heart–was easily one of the best songs of 2011, and leaked demo “Starring Role” proved that Diamandis’ caustic writing style is still very much alive and well.
MuuMuse hopes to hear: Sharp-tongued quirk-pop with punchy beats and devastating ballads–just don’t get too mired in the concept, please.

Garbage, TBA (Fifth Album)

What it is: A rock goddess and her talented troupe finally return to save the world.
Expected shelf date: Late March/Early April 2012
Confirmed tracks: TBA
Production by: Garbage
What we know: Apart from a greatest hits package, it’s been almost seven years since Garbage’s 2005 triumph, Bleed Like Me, was released. After taking some time apart as a band (including Manson’s failed foray into crafting a solo album with Greg Kurstin and Paul Buchanan that was rejected by labels for being “too noir” and will forever remain one of the world’s greatest musical injustices), the group is back. As Butch Vig told Billboard, the album will feature “noisy guitars, big electronic beats, atmospheric film moments.” And judging by the samples that they’ve teased to fans over the past few months–they’re hitting harder than ever.
MuuMuse hopes to hear: More head-spinning electronic rock production, mind-numbingly catchy hooks and razor-sharp lyricism from the one and only Miss Manson.

Charli XCX, TBA (Debut Album)

What it is: A young Goth-pop princess on the verge of exploding.
Expected shelf date: TBD.
Confirmed tracks: “Stay Away,” “Nuclear Seasons”
Production by: Ariel Rechtshaid, Patrik Berger
What we know: The 19-year-old UK club kid’s dark, industrial 2011 buzz single “Stay Away” is easily one of my favorite songs of the year, while the bouncy, vintage ’80s sheen and crackle of lead single “Nuclear Seasons” finds the 19-year-old songstress blending elements of Marina + The Diamonds, Kate Bush and Gwen Stefani.
MuuMuse hopes to hear: Gloom ‘n’ doom beats and spooky vocals.

Ke$ha, TBA (Second Album)

What it is: The trash-pop glamazon’s long awaited follow-up.
Expected shelf date: May 2012, according to Dr. Luke.
Confirmed tracks: None
Production by: Dr. Luke, Max Martin
What we know: Earlier in the year, Ke$ha told MTV that the new album was going to be “balls-out, irreverent rock and roll.” Recent leaks like “Shots On The Hood Of My Car” and “Only Wanna Dance With You” suggest more of the same glitter-drenched party pop, although it’s unclear if they’re from recent sessions. The only definite new recording is her sobering cover of Bob Dylan‘s “Don’t Think Twice, It’s Alright.” Why the long wait? Simple. She has a goal: “To reinvent pop music.” Easy, right?
MuuMuse hopes to hear: Crunchy, rowdy beats and even sleazier debauchery. But even as the rough gem she is, Ke$ha shines brightest on her balladry–fingers crossed for at least one or two.

Lana Del Rey, Born To Die (Debut Album)

What it is: The end result of a whole lot of hipster hype.
Expected shelf date: January 30, 2012
Confirmed tracks: “Video Games,” Blue Jeans,” “Born To Die”
Production by: Justin Parker, Robopop
What we know: She’s been unfairly thrust into way too bright of a spotlight for only one or two songs so far (the genius “Video Games” and “Blue Jeans”) thanks to a nearly creepy obsession by indie bloggers both hailing and criticizing the singer (yes, she got her lips done–we get it). But the husky-voiced Del Rey–formerly Lizzy Grant–has since held her own, delivering yet another staggering, weepy-eyed smash with “Born To Die”–the title track off of her upcoming Interscope Records debut. With any luck, the album will follow suit.
MuuMuse hopes to hear: Sweeping, dramatic classics sung atop hip-hop beats and Western twangy noises with all the grandeur of a James Bond theme.

Miike Snow, TBA (Second Album)

What it is: One of pop’s greatest production troupes returns for another moment of left-of-center pop-rock ingenuity.
Expected shelf date: TBA
Confirmed tracks: “Devil’s Work”
Production by: Miike Snow
What we know: Andrew Wyatt and Bloodshy & Avant–here known individually as Christian Karlsson and Pontus Winnberg, delivered one of pop’s greatest surprises with their 2009 record, Animal. After spending over a year recording, the trio returned with buzz single “Devil’s Work”–a sharp, staggering mixture of crashing drums, mighty horns and electronica. The accompanying tease of a video, featuring a man running down an empty desert highway, hints at an upcoming story to be told about the birth of a new human race. It’s weird, captivating and it’s all very promising.
MuuMuse hopes to hear: Strange Swede-pop production and poignant lyricism.

Diana Vickers, TBA (Second Album)

What it is: The delightfully darling X Factor Alum’s sophomore attempt.
Expected shelf date: TBA
Confirmed tracks: None
Production by: Donkeyboy, Amir Amor
What we know: The quirky electro-pop songstress isn’t straying far from the twinkling sound of her 2010 debut, Songs From The Tainted Cherry Tree. Newly premiered buzz tracks–“Music To Make The Boys Cry” and “Kiss Of A Bullet”–suggest both bright, twinkling beats and cutting Rachel Stevens-esque synth-pop.
MuuMuse hopes to hear: More of the same winning electro-pop charm, but with new and up-and-coming producers.

Sky Ferreira, TBA (Debut Album)

What it is: Pop’s most thrilling enfant terrible finally finding her footing.
Expected shelf date: TBA
Confirmed tracks: None
Production by: TBA, presumably Bloodshy & Avant
What we know: Nothing’s guaranteed. In early 2011, Ferreira released the year’s best pop EP–As If!–boasting five crunchy, forward-thinking pop cuts like “Traces” and “99 Tears.” But between album push-backs, label misfires and her own personal rebellions, no one’s certain about the fate of a Sky Ferreira LP. The underrated chanteuse has been leaking songs left and right onto her official SoundCloud, teasing everything from drifting alt-pop rock, to delicious deep disco jams, to crunchy Bloodshy & Avant unreleased gems. According to the singer herself, a new single will be released in early 2012. Let us pray.
MuuMuse hopes to hear: Anything. Sky doesn’t make bad music.

Miike Snow–perhaps better known as the passion project between Swedish production duo Bloodshy & Avant and American singer/producer Andrew Wyatt–is one of my favorite new acts of the past few years (and more impressively, one of the very few bands I adore.)

Not only did the Swedish trio produce one of the Top 10 Albums of 2009 and provide Sky Ferreira with an awfully good song to cover, but they like to double up on their vowels, MuuMuse style.

While an official single from the upcoming studio album isn’t due out until January, the boys decided to preview new material earlier today on BBC Radio 1′s The Zane Lowe Show. And judging by the song, we’re in for a much more aggressive and rockier release than their debut.

“You don’t need to sell your shell/You do the Devil’s work/You finally found your place/You know it always was,” Wyatt angrily growls before drowning in a complicated mix of searing electronica, jagged piano stabs, blaring horns and crashing drums.

To accompany the track, Swedish director Andreas Nillson (Fever Ray, The Knife) was brought on board to shoot an entire story based around the record.

There isn’t much to see in the bleak Walking Dead-esque opening teaser so far, which features an unknown figure running and skipping down a desolate desert road for the entire length of the song. Someone’s got happy feet! I think…

From the group’s mailer earlier today:

Andreas joins us to creatively direct the videos for the entire album which will reveal the birth of a new race. All will be revealed as we head into the album but for now you will see the glimpse of the first character as the story begins.

Intriguing and mysterious as always. I’m loving what I’m hearing so far!

Devil’s Work by miikesnow

Miike Snow’s debut record was released in 2009. (iTunes)

French House fans, rejoice!

French producer/DJ extraordinaire Fred Falke is set to unleash his debut artist LP, Part IV, on December 5.

The man behind the smashing productions and remixes for some of MuuMuse’s favorite acts–including Annie, Gossip, Miike Snow, Uffie, Ke$ha, Florrie and Will Young–will be bringing his first-ever artist record through Kris Menace‘s label, Work It Baby.

From Falke, courtesy of the press release:

So much of modern music takes the ideas in the 70′s and 80′s and uses them in a very superficial way. I hope I have managed to create something that re-asserts the musicality of this era within the context of modern music and modern production methods. I’ve always sought to re-align the modern French sound with the musical heritage that informed it, to bring that sound to a young crowd…to make it relevant to them.

I was fortunate enough to get a first listen to Part IV earlier today, and while there aren’t any artists featured on the (mostly) instrumental 12-track record, the album’s slick, euphoric French House productions are nothing short of pop perfection–an absolute must for any proper party playlist.

Prepare for a wallop of funky disco grooves, hazy electronica and searing House beats!

And now, a reminder of the genius of the Falke…

Still incredible.

Part IV will be released on December 5. (iTunes)

Fact: The Swedes are a superhuman race sent from the future to make amazing pop music.

Due to this undeniable truth, Swedish pop stars you’ve never heard of snatch wigs from your favorite pop stars for fun — just because they can. In my ongoing series, Amazing Things I’m Listening to From Sweden, I review the best Swedish exports that are currently blowing up the charts (i.e., getting blasted at ear-splitting volume in my apartment).

Le Kid – America

Pop outfit Le Kid first appeared on the scene in 2009 with “Mercy Mercy,” a thoroughly enjoyable pop gem that sounds a bit like a less sultry redux of Girls Aloud‘s single “Can’t Speak French.” But Le Kid’s ensuing singles, like the ebullient “We Should Go Home Together,” were a little too schlagerific for my taste — as evidenced by their particularly high-octane Melodifestivalen entry, “Oh My God.” Their less giddy efforts, including their striking cover of The Killers‘ perennial favorite “Mr. Brightside,” pointed in a direction of greater subtlety — and that’s exactly the stride they’ve hit with their newest single, “America.” It belongs to the same category of nostalgic midtempo dance-pop that Xenomania have mastered with Girls Aloud and Mini Viva (see “Call the Shots” and “I Wish” for more) without collapsing into schlager hysterics — and that’s something worth celebrating.

Swedish House Mafia – Save the World [feat. John Martin]

Swedish House Mafia have certainly demonstrated a track record for epic club jams, and “Save the World” is no exception. Instrumentally, it’s ground well traveled, but the dizzying euphoric heights the song builds to work just as well as they ever have. “Save the World” is further redeemed by excellent vocals from John Martin, whose voice — like a combination of Miike Snow‘s Andrew Wyatt and Coldplay‘s Chris Martin — strikes just the right balance between strength and longing. A surefire summer smash.

Therese – Drop It Like It’s Hot

This dance anthem has been kicking around online for awhile, but it’s just crossing my radar now — and I must admit that 2010 would have been a much more enjoyable year if it had included a little Therese. What starts out as by-the-numbers house music turns into a massive singalong smash by the unforgettable chorus. Lyrics are as follows: “Dance, dance, why don’t you dance like a freak/This ghetto place is so much better when you dance with me.” Now featuring a glittery remix package from house kings Wideboys, Therese deserves to join the ranks of September and Velvet among Sweden’s most prized dance divas.

Killabite – Follow Me Home

It’s ironic, yet not altogether surprising, that Los Angeles-based duo Killabite are only releasing music in Sweden, given that their brand of glitchy, gleaming dance-pop is decidedly Scandinavian in its sensibilities. I’d love to see the duo gain some domestic traction, but until then, I can still get some serious mileage out of “Follow Me Home,” a thunderous slice of futuristic pop co-written by famed DJ Axwell. Killabite’s storied pedigree doesn’t hurt, either: female vocalist Chau Phan performed backup vocals for the Holy Spearit herself on “I Wanna Go” and “Criminal.”

Those Dancing Days – I’ll Be Yours

Hipster girl group Those Dancing Days got some blog buzz back in 2008 with the release of their candy-sweet single, “Hitten,” but I would have expected them to garner more hype with the release of their sophomore album, Daydreams & Nightmares. After all, the record was produced by such luminaries as Max Martin & Shellback, as well as Patrik Berger, who has helmed tracks for fellow Swedes Robyn, Erik Hassle, and Icona Pop. Those Dancing Days exist in the same luscious retro space as The Pipettes and, to a lesser extent, Lykke Li — and “I’ll Be Yours” is as wistfully charming as anything they’ve done yet.

Release notes: “Save the World,” “Drop It Like It’s Hot,” and “I’ll Be Yours” are all available on US iTunes — “America” and “Follow Me Home” are still awaiting US release, but can both be found on Swedish iTunes and 7digital SE.

The thing is I don’t know when to shut my mouth. That’ the problem.

Sky Ferreira is an ‘it’ girl.

Immortalized by the industry’s top photographers (Rankin, for instance, took the snapshot above), suited and styled by the most desirable modern couturiers, and produced by arguably the biggest names in the music industry, the 18-year-old Los Angeles native has certainly made a name for herself far before ever…well, making a name for herself. Yet.

After sending out a MySpace message to Swedish power pop producers Bloodshy & Avant back in 2006 begging for a collaboration and armed with nothing but a few raw demos, the singer was stunned when she received an answer back inviting her to come record with the duo. Suddenly she was off to Stockholm, and so began her formal endeavor into the industry.

With her first single already making waves in the UK–the infectious, stuttering electro-pop smash, “One”–as well as an upcoming Ryan Tedder-produced single due out in the US later this summer (“Obsession”), Ferreira is now heading full steam toward her long-awaited debut record, currently slated for release in January. (Click here to hear a 30-second sample of the song now!)

I got the chance to speak to the rising starlet last week during her promotional spin around Londontown. Barring an impromptu (albeit hilarious) cameo by PopJustice and more than a few Britney related questions on my end, Ferreira had lots to say about her music, the industry, and the culture of leaks (of the musical variety). Oh yes, and I asked how she gets her hair so nice.

Click “Read More…” to read the full interview.

Read More…

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…

Last Friday, I was invited down to New York for an official listening session for Cyndi Lauper‘s upcoming album, Memphis Blues.

The showcase was held at Downtown Records in Manhattan, Cyndi’s new label (and home to such acts as the Scissor Sisters, Amanda Blank, and Miike Snow). “The people here reminded me of the old days…it wasn’t just business as usual,” she’d explain to us later during the listening session of her choice to do this album under this label.

About ten minutes prior to the event, I met up with my friend Matt (The Music Slut himself) who was also invited to the showcase. By ‘met up,’ I mean he found me on the street as I was quick-changing into a new pair of shoes that I bought from TopShop and hurriedly stuffing my old pair into my bag. Got to look sharp for Cyndi, right?

So we got to the label, hurried into the building, and took the elevator. When we got out, we began to walk down a long hallway that led to a lounge which was filled with fliers announcing Lauper’s new record. There were also several gorgeous, moody promo shots from the album campaign, all shot by the incredible Ellen von Unwerth (See Rihanna’s Rated R campaign.) There, we made a beeline for the chardonnay we helped ourselves to the beverages at hand, as well as copious amounts of chips and guacamole.

The real reason I was there.

At around eight, we were invited into the label’s recording studio, where Matt and I took front and center on the comfy couch inside. The room was completely gorgeous–a massive piano, candles everywhere, and an old-timey microphone in the center.

Without any announcement, Lauper came striding in shortly thereafter–or at least her hair did first: a wild, fiery plume of red hair not unlike a more fabulous Carrot Top. She herself was decked out in black leather leggings, an off-the-shoulder black-lace top, and loads of chunky bangles and necklaces. The crowd of about twenty people began to applaud. “Oh don’t, don’t applaud,” she said in her signature New York accent, crinkling her nose and motioning us to cut it out. About five feet in front of me, she perched on the stool in the center of the room and began to tell us about the album we were about to hear.

She told us that Memphis Blues is the album she’d wanted to record since 2004, but that her ability to do so did not come until now. She lost her voice for a time for one thing. She also originally wanted to record with Jeff Beck, but due to business issues, it just didn’t work out. Lamenting the fact that today’s music is more often used “to sell advertising time” than for the love of music-making, Lauper wanted to create a genuine album in Memphis Blues.

After being introduced to someone in Memphis, she went down to record. “I was hungry for real music,” she told us, “and it was an extraordinary moment for me as a singer.” There, she became interested in the sounds that inspired all other forms of music–even her own.

The recording studio. Nice, right?

As she went on, she explained the purpose of Memphis Blues. “Blues is the basis of everything. They started it. It goes back to Ma Rainy…she didn’t create blues, but she created a whole new genre.” Lauper said that she wore the chunky necklaces today in honor of Rainy, who was known as “the woman with chains” and sported a grill well before the term grill was even coined.

For the most part, Lauper solely discussed the album–though she did divert off course a few times. She told jokes about staying at the hotel in Memphis (there were ducks in the lobby!), her experiences in the city (“they love their food, and they love their music”), and struggling to eat said delicious food with her dietitian in tow.

As for Celebrity Apprentice (which she is still currently on), she could only offer us this: “High school is still right there…you grow older, but it’s the same bullshit.”

I want it in my room.

Returning to the album, Cyndi explained that Memphis Blues was recorded on an 8-track to preserve the authentic, older sound, and was recorded with some “wonderful players” including B.B. King, Ann Peebles, Allen Toussaint (“as soon as he played the intro to ‘Shattered Dreams,’ I was in another place”) and some familiar faces to Lauper including Bill Whitman, her engineer ever since the She’s So Unusual sessions. The record will also be released on vinyl to remain true to that authentic sound.

She insisted that everything be left in the recording–wrong lyrics, bum notes–because she wanted to include the spirit of the live session.
“I feel like I was born to sing this stuff,” she concluded after about ten minutes. “This is what I wanted to do as a singer. I hope you enjoy it.”

As she walked out, the music began to play from the speakers in the center of the room. You could immediately hear the slightly crisp crackling of the recording, complete with all of the notes–good or bad–from the singers and musicians. Swaggering guitar solos, flourishes of harmonicas, and jaunty piano riffs colored all five of the tracks we heard, as Cyndi yelped and cooed over the heartbreak-heavy sounds.

Everything, from the swaggering “Just Your Fool,” to the slow, slinkier sound of “Shattered Dreams” and the whining, aching sound of “How Blue Can You Get?” felt rich, alive ,and authentic. She sounds reawakened and full of spirit on each one of these recordings, hollering at the top of her lungs and giggling with glee along with the musicians. Her enthusiasm was infectious, as many of us began tapping our toes to the rhythm and smiling at her vocal antics. From what we heard, it was obvious that Lauper was truly passionate about making this album.

As the fifth song ended, the session was complete and we filed out of the recording booth. Matt and I stayed in the label’s cocktail area, schmoozing with our friend Martha, as well as a few of the other guests. While the 7 p.m. listeners began to slowly dwindle down, the 9 p.m. session started to fill the room. At some point, St. Vincent and Lissy Trullie walked in for the session. Not five minutes after Matt giddily pointed them out to me, St. Vincent was squeezing by to help us open a bottle of bubbly (we struggled with this all night) and chat with us for a bit. Girl knows how to open a bottle, and quick!

Cyndi posing with a rabid fan. He was later carted off by security while screaming “I WANT TO HAVE FUN TOO, CYNDI!” Embarrassing.

Finally, Cyndi resurfaced into the main lounge at around 9 for some chips and dip. At that point, the room was basically empty aside from Matt and I, so took up the opportunity to tell her we enjoyed the record. “No really, did you guys like it?” she asked us sincerely. We said we did, and she looked a bit relieved. You could tell that this was the album she truly did want to make, for no reason other than for the artistry of the affair. “Well, we’ll see,” she said, turning for a quick dip of the guacamole again.

I nervously told her that I really appreciated her making this album because it was important for her fans to hear the influential music from the past that we don’t know from a voice we already recognize and love. “It’s important to know your music history,” she agreed, nodding. Then we discussed her last record for a bit (“Guess radio doesn’t want to hear a fifty year old singing dance,” she shrugged) and the delicious guacamole we were eating.

It was around that time that the second listening session participants were just beginning to file out of the recording booth and invade the lounge. Taking it as our cue, Matt and I thanked Cyndi again and quickly left as the room began to swell with people.

It’s still surreal to me to think that I was chatting with Cyndi Lauper. She is absolutely one of the most down-to-earth, ‘real’ musicians I’ve spoken to thus far.

While I may have been too young to appreciate when Cyndi was first breaking out on the scene (forgive me for aging myself), it’s incredible to believe I was standing with someone so influential–not only within the music scene, but for the gay rights movement as well.

As she said to me, it’s important to know your music history: Cyndi Lauper is a legend. If I wasn’t already in awe of the singer prior to meeting her, I am now.

Memphis Blues will be released on June 22.