Ever since their bouncy 2004 debut Bright Like Neon Love, Melbourne-bred electro-pop rockers Cut Copy have always remained faithful to the original, ’80′s-inspired synth-pop sound developed on such songs as “Saturdays” and “Future.”

2008′s follow-up, In Ghost Colours, found the band working to with complex new instrumentation, incorporating angelic choirs, distorted guitar riffs and heaven-sent soundscapes. Crunchier cuts like “Lights & Music” and “Hearts on Fire” demonstrated Cut Copy’s increasing New Wave influence, yet ultimately remained true to their underlying pop penchant.

Zonoscope–the band’s third studio album, to be released on February 8–finds Cut Copy taking their sound to still newer heights. Namely, outer space.

“I know we’re going crazy, but I need you now,” lead singer Dan Whitford sadly croons above a series of signature Cut Copy echoed coos and hazy, ambient electronica on the chorus of the album’s first single and opening track, “Need You Now.”

The song is a solid representation of what lies ahead: Intergalactic bleeps and blips, tribal disco rhythms, bleak lyricism and atmospheric sounds recalling that of French electro-master M83 all come together to texture the space-pop opus that is Zonoscope, Cut Copy’s most seamless and cohesive collection yet.

“Pharoahs & Pyramids,” another highlight on the album, finds the band working on top of a dazzling disco synth pattern, an abundance of hand-claps and bright, light electronica, somewhat reminiscent of Hercules & Love Affair‘s ’90′s House revivalism, while songs like “Take Me Over,” “Corner of the Sky” and the Beach Boys-esque “Where I’m Going” all recall the bouncy pop revelry of the band’s origins.

Aside from the album’s catchier cuts, it’s clear that Cut Copy have also decided to take a few chances and push their musical limits beyond the confines of a typical track on Zonoscope: “Strange Nostalgia for the Future,” for instance, works against a strangely looped string of organic electronica reminiscent of something one might hear on Sigur Rós‘ Takk…, while “Sun God,” the album’s epic 16-minute tribal closer, plays like a 2011 update to Donna Summer‘s iconic disco number, “I Feel Love.”

“Please, please, please, won’t you give your love to me?” Whitford repeats again and again as the track slowly builds on top of grooving synthesizers and a driving percussion (plus cowbell!), ultimately giving way to spine-tingling waves of ambient rhythms and danceable synth grooves. It’s gorgeous, to say the least.

With dreamy electronica production and sublime, hook-filled pop songcraft, it seems the sky is not the limit for Cut Copy–they’re too busy exploring the stars.

“Take Me Over”

“Take Me Over (Thee Loving Hand Remix by Tim Goldsworthy)”

Zonoscope will be released on February 8. (iTunes)

Every now and then, there comes a time in our society when a song is released that changes the world.

This is one of those times.

Kim Zolciak‘s “Tardy for the Party” isn’t merely ‘just another dance song’–it’s a new way of life.

The song speaks to an entirely new generation of sound, crushing the formulaic robo-noise of contemporary radio while at the same time challenging notions of sexuality, conformity and racial tension.

If I were told to rank this song against all modern music, it would probably weigh in somewhere between John Lennon‘s “Imagine” and The Beach Boys‘ “Good Vibrations.”

THIS IS WHAT REAL MUSIC SOUNDS LIKE, PEOPLE.

For all these reasons and more, I am thrilled to present a delicious cut of the original, the Dave Wrangler remix. If you thought the original was good, check this bad boy out–there’s even sound bytes at the beginning!

DL: Kim Zolciak – Tardy for the Party (Dave Wrangler Remix)

This is a new discovery I’ve happened upon from an anonymous source. The Little Ones, as they are so affectionately known, are an L.A. based indie-pop band who have as of right now released only one EP, named Sing Song. The reason they came to my attention is for their song, “Lovers Who Uncover.” I found the story of the band’s formation to be adorable.

Apparently, the bandmates came together in a studio nicknamed “Uncle Lee’s” in an attempt to create a form of escapist, care-free music. They ran into issues trying to contruct the music, and were about to abandon the project until they decided upon a single gauge for excellence, called “Uncle Lee’s Rule of Feet,” which proclaimed that a song was acceptable once it caused all group members to shuffle their feet upon hearing it. Using this rule of thumb, the group successfully produced their EP. In 2006, Matt Costa asked the band to open for him, and the rest is (will be?) history. Their music is a wonderful combination of the Beach Boys, Paris, and other happy-go-lucky summertime music. It’s escapism at it’s best, and I’m sure that was the point in the first place. Their full length album, Morning Tide, is expected to be released April of 2008.

DL: The Little Ones – Lovers Who Uncover
DL: The Little Ones – Cha Cha Cha

And here’s the video for their latest single, “Ordinary Song.”

Picture Source: BrooklynVegan