Much to my deepest chagrin, I neglected to look into the musical repetoire of the fanciful Doe Deere until I happened upon ElectroQueer‘s energetic interview with the tiny disco dancer today. She’s obsessed with recreating the ’80′s which, admittedly, is nothing new–but she’s certainly taking it to another level with her debut album, Supernatural. Her major single, “One Touch,” is a real treat; it’s vintage, it’s futuristic, and purely glamorous. There’s “SF Disco,” which is a slippery stomper of a track, and “Mona Lisa,” the contemplatively beautiful number that brews and burns slowly into its quicker chorus.

But not only does she produce some wickedly addictive, ’80′s infused records…she’s competant, too. She’s got a really confident take on today’s music industry, and remains undaunted by downloading. She’s giving her album away for free, in fact! You can buy it physically, digitally, or download it…she truly doesn’t give a damn. Her philosophy? The more you hear, the more you’ll want! Through sponsorships and promotions, she believes that today’s artists can thrive. I love it, and I do believe in market saturation leading to success, so I support this Russian doe in her musical conquest. Charge on! Check out her MySpace here.

Well, this was a surprise! I came into listening to the first single from baby B‘s second album, “I Decided,” with lower expectations and a high preparedness for nausea inducing vocal works. But wait…what’s this?

Far from the searing style of her sister, Solange‘s song is a nice, refreshing nod to the Motown era. The verses are straight out of the pop classic, “Heatwave,” and the chorus is a lazy, loungey breeze of air. All in all, I found no booties a’ poppin’, dresses a’ freakumin’, or even alarms a’ ringin’. Just a bit of good ol’ croonin’.

I promised myself that I would muster the strength to review the dueling duo of comebacks, a la Donna Summer and Cyndi Lauper) in one go, but I just can’t do it. Why? Because I’m stuck. Stuck! I cannot move past track two of Lauper’s quite-better-than-okay return to the dancefloor in full length album form, Bring Ya To The Brink.

The track in question, “Into The Night Life” was produced by the Swede duo Ã…ström and Bobäck and penned by Max Martin, which in many ways is all that needs to be said regarding the track’s excellence–the man never fails, plain and simple. Pegged as the second single and following the rather disappointing first single “Same Ol’ Story,” “Into The Night Life” is a proper return to grace upon the dancefloor which rivals the best of her contemporary Madonna‘s 2005 attempt.

The song is a quick grow. Tripping chains (one forum member referenced this as Britneyesque “Freakshow” sound) and a skipping synth keep the song chugging along at a proficient pace, with a nice mix of tunnelized synths and siren-y blips in the background. All that, of course, until the icing on the cake: the chorus. “I’ll take ya ’til you’re all spun up,” Cyndi blasts within a glorious Eurodance surge of electricity sent throbbing through the speakers. A hands-up, iconic moment of old-school synthesized glory, it’s nothing short of arresting.

Additional moments of perfection include, but are not limited to:

+ The two second instrumental lead in to the chorus.
+ The sassy “hey, hey, heyyy” bits.
+ The double entrendre of the line “Turn you over baby ’til it’s never enough.” Not really much of an entendre, really…just explicit references to the type of sex the listeners of this kind of music tend to engage in. I’m looking at you, ear sexers.
+ The line “Shirtless wonders wreck my sight under the light.”

I highly encourage you to grab hold of this track. You can listen to a streaming version of it here at Spinner. And if that didn’t motivate you to move enough, perhaps starring in the music video will. Go to Splash Bar in New York on May 20th (tomorrow) at 6:30 P.M., and you’ll be featured!

I won’t lie…I’m tempted to show up. Maybe I’ll wear a silly Roisin Murphy hat.

And here I thought they were laying the brand to rest after riding the high of their ultimately successful album, PCD. But alas, I was mistaken! The Pussycat Dolls are back with a comeback single–and boy, it’s a hot one. “When I Grow Up” isn’t so much a departure from the sound of the first album as it is a continuation of the music that’s worked for them in the first place. It’s busy, it’s flashy, and it sounds like a musical carnival ride. There’s tons to be said about the song, but this is a well crafted, of-the-moment pop track. Simple as that. Nice to see you’ve come to your senses and given up the solo career, Nicole. It’s not you really…it’s your last name. Fire that agent for allowing you to enter the business without changing it.

And…Beyonce? Yep. Another leaked track from her latest recording sessions. This one’s called “Should Have (Now I Know)”. It’s a trippy, pulling track surrounded by moans and laments and a super sliding, slippery back beat that reminds me of “Starstruck” by Santogold and “Discipline” by Janet. I’m enjoying it, if nothing else because this one doesn’t have any Beyonce-invented words that end up being added to the next year’s dictionary.

In a word, haunting. Instilling unconventional vocals along with distorted ’80′s power synth sounds, Zeigeist just may be the new “it” group to lead their proudly pop-happy country to the top of the pop charts yet again. Chock full of unforgettable riffs and crisp electro noises from the year 2010, the band’s album The Jade Machine is one long breath of Swedish electro bliss. Though many of the songs featured are undeniably similar to the output of fellow Swedes The Knife (“Dawn Night” is essentially “We Share Our Mother’s Health”), the album retains an originality of its own within its more mainstream, digestable pop-electro sound. Sure, that’s not always a better thing, but it certainly works for them.

There’s even a hint of Goldfrapp hidden beneath the fragmented synthesizer, especially within “The Lake.” “Wrecked Metal” might as well have come directly from the Depeche Mode back catalog, bouncing along with the original synth-band’s familiar air of hopelessness, darkness, and pure sex. “Cuffs” is uncomfortably similar to Kelly Osbourne‘s genius pop-noir hit, “One Word,” but I’ll consider it a posthumous nod to the original. (No, she’s not dead, but that career sure is.) I’m even getting some waves of The Presets every now and then while listening. This is an incredibly promising, incredibly exciting release, and I highly encourage you to check out their MySpace now and order the album. Make sure you check out their pictures as well. I don’t know if they’re promotional or actual lives, but the visuals of their performances seem epic.

It’s quite difficult to track down a proper live, so enjoy this thirty second clip. I’ve no idea what’s happening here (there looks to be some triangle lights, a giant dancing space creature, and Liza Minelli) but it appears they make for a rather good show.