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.

In case you didn’t know, Kylie Minogue is a legend.

Despite the pop singer’s unjustly limited visibility in the North American market, Kylie Minogue is a beloved musical icon in most other territories around the world. Her sheer popularity and nearly revered status is to such a degree that the only real way to describe it would be–at the risk of a barrage of anonymous heckling–to that of her contemporary, Madonna.

It is a wonder to think, then, that after over 23 years in the music industry, 11 studio albums, and over 68 million albums sold, following some of the most incredible international career highs and record-breaking accomplishments of a female musician in modern pop history, Kylie Minogue has only just now crafted one of her best records to date.

When it was announced that Kylie would begin working with legendary pop producer Stuart Price in the middle of 2009, the collaboration was almost universally celebrated amongst fans. Then again, it wasn’t altogether that surprising of a collaboration either.

Price is, of course, responsible for some truly killer modern disco records, including The Killers‘ Day & Age, Frankmusik‘s 3 Words, and the Scissor Sisters‘ upcoming Night Work, and of course, Madonna’s legendary Confessions On A Dance Floor. Realistically, it was only a matter of time before the two would unite.

As a result, Aphrodite is exactly the kind of record that one would expect when crossing Kylie Minogue with Stuart Price. That is–one of the most sleek, cohesive releases of her entire catalog. To put it simply: Yes, it does live up to the hype.

The album launches with its first single, “All The Lovers.” Currently a Top 10 single in the UK, the song is a solid representation of the bulk of Aphrodite, though far from the finest cut on the record. In fact, the soaring chorus and glittering electronica offer only a taste of what’s to come.

With much of the record, the producers on the job have taken Kylie’s disco diva connotation and added a more complex, edgier layer of dance production. Cuts like the Calvin Harris-produced, Jake Shears-penned “Too Much” are evidence of this next level sound, sounding something like a thousand glitter-filled balloons bursting all at once inside of an intergalactic vortex.

“Get Outta My Way,” the projected second single off of the album, is bound to be another success on the charts. It also happens to be a somewhat rare turn of defiance for Kylie, a singer best characterized by swooning love ditties and breathy enticements. This song, as Kylie announced to the crowd at Splash before performing the Aphrodite mega-mix, is about respect.

The singer’s confidence is only pushed further with the album’s Nerina Pallot-penned title track. Showcasing Kylie at her bossiest in some time, “Aphrodite” explodes with a militant, foot-stomping beat and a searing bolt of fiery energy: “I’m fierce and I’m feeling mighty / Don’t you mess with me, you don’t want to fight me!” she warns throughout the song’s storming chorus. Judging by the fact that both this song and “Get Out Of My Way” double as the album’s strongest selections, it’s safe to say Kylie wears her sass well.

In “Closer” and “Illusion,” two personal favorite cuts, Minogue and Price divine dark disco magic: The former, a slow-building haunter that shares connections to both her older work (“Confide in Me”) and a glimmer of Madonna’s Confessions; the latter a complex mesh of ’90′s house and Ace of Base-like synthesized bliss. Throw in a relentless throbbing bass and a few sex sessions worth of heavy breathing, and you’ve got nothing short of musical bliss.

Later on, both “Looking For An Angel” and “Everything is Beautiful” function as nothing short of definitions of the word “lush.” Warm, layered slices of piano-encrusted electronica stack one on top of the other as the singer’s lulling voice climbs over the melody : “If I lie with you long enough, I can see the things I’m dreaming of,” she coos during the song’s chorus, “Let’s go through the ritual, until everything is beautiful.”

Then there’s “Cupid Boy,” an unstoppable tour de force of jagged electro, moody guitar strums, and impossible girlish delight. The song features a surging, sonic-powered bridge of distorted vocals and an utter jaw-dropper of a chorus, colored by hard synth rhythms, an angelic chorus, and swelling, echoed swirls. “If only you knew, I shimmer for you,” Kylie coquettishly offers as the song begins, forever producing the same glee-filled moment of euphoria with each listen thereafter. Yes friends–this is what would be referred to as a “Kylie moment.”

But the opening moment of “Cupid Boy” is far from the only “Kylie moment” of the album–the euphoria felt during the middle eight of “All The Lovers,” the glitchy dance breakdown at the end of “Can’t Beat The Feeling,” the hands-in-the-air glee that is the chorus of “Put Your Hands Up (For Love)”–all of these fleeting moments of divinity only add more glow the hot pink, heart-shaped aura that surrounds all things Kylie.

At a time when a new musical endeavor made by a woman in pop over forty may end up looking like a desperate attempt to latch onto the latest trends and cheap production tricks of the girls on top at the moment, Kylie Minogue’s latest could not be perceived as more authentic to her artistry: Aphrodite is literally the essence of Kylie in audio form. The sparkling instrumentals, the euphoric, angelic coos–everything in this album is an authentic, unapologetic encapsulation the stuff of Kylie Minogue.

This isn’t just an incredible album, or even an album of the year (although it most certainly qualifies to win the title for both). As with Madonna’s Confessions or her own sister’s defining triumph, Neon Nights, Aphrodite is a complete and utter musical moment–a release for the ages, and ultimately, a classic in the making that will go on to become a glittering milestone in Kylie Minogue’s already illustrious career.

The Killers‘ frontman, Brandon Flowers, is about to unleash the first single from his upcoming solo effort, Flamingo. It is called “Crossfire,” and will be released to radio today, June 21 (with the album to follow in September).

While a little too U2 and a little less Pet Shop Boys than I’d like to hear from Mr. Flowers, “Crossfire” is just moody and brooding enough to whet my appetite.

“We’re caught in the crossfire of Heaven and Hell, and we’re searching for shelter,” Flowers cries out during the anthemic, arena-ready chorus, only to be immediately followed by the best parts of the song, the repeated angelic coos of “Lay your body down, lay your body down.” Mmm…

There is also talk of devils and fire, and who doesn’t like religious imagery in their songs these days?

All in all, an intriguing start to a solo campaign. I’m ready for more, please!

To hear “Crossfire,” click here to visit Brandon Flowers’ official website.

I like when ideas sound as good on paper as they do on my speakers. This is one of those times.

Brandon Flowers, lead singer of The Killers and noted Pet Shop Boys enthusiast, is working on his debut solo album, entitled Flamingo. Today, the singer uploaded a snippet of his work onto his official website here.

What we’re hearing is much more electronica focused than his work with The Killers (yay!), more pensive and ambient (yay!), and entirely worthy of high expectations.

I cannot wait to hear what’s next.

Just in time for the freakin’ weekend, check out this massive, orgasmic re-rub of The Killers‘ “Spaceman” done up by the up-and-coming NYC production duo, The Knocks.

Hold on to your high tops ladies and gents, ’cause this one’s a real stomper! No, I’m serious…tie your laces before you get onto the dancefloor. I’m not about to have anyone losing their shoes out there.

Now bring that bass back and set the night ablaze!

DL: The Killers (The Knocks Remix)

“Heads Will Roll”–It’s the newly leaked track from the upcoming Yeah Yeah Yeahs album, It’s Blitz.

“Off with ya head, dance ’til you’re dead!” Karen O declares before launching full sail into previously uncharted, synth-laden territory.

Despite the promising snarl of the track title, “Heads Will Roll” plays more like a track from The Killers latest synth-rock offering: Calculated and crunchy.

Much like “Zero,” this new sound is sure to befuddle some fans while pleasing others–still others will sit closer to where I find myself currently, hopelessly torn between new found pleasures and nostalgia-ridden disappointment.

Miles better than Show Your Bones, though!

While I can’t post the MP3 of “Heads,” I do have the official HQ version of “Zero” to share streaming. And yes, it is better in high quality.

Oh yeah, and “Heads” ain’t the only thing rolling onto the Net, if you catch my drift.

Drip drip.

Four epic moments: One epic show.

First of all, can we take a moment to OMG all over Kylie Minogue’s show stealing introduction? In just under a minute, Ms. Minogue makes a fabulous entrance into the BRIT’s with a thirty second, legs-for-days rendition of “Can’t Get You Out Of My Head.” Stunning, flawless…Welcome to the Fever Era 2.0, ladies and gentlemen.

A little later on, the Aloud take to the stage. Within seconds, the five-some piss all over their prior performances of “The Promise” in one gloriously over-the-top, camptastic rendition, straight out of Chicago (and a little bit Return of the Spice Girls Tour for good measure). Sure, the opening bits suffer from a few bum notes thrown out by Drunkie and Judgie. Still–the Girls recover, and by the time the glamorous feathers-n-fluff finale comes churning out, not one performance holds a candle to the Almighty Aloud flame.

“And the winner is…Diana Vickers!” Love it.

Fittingly, the win is secured: The Aloud receive their first BRIT in six years for “The Promise,” winning the coveted Best British Single Award! The crowd goes into a tizzy (Duffy included) as the ladies gallop to the finish line. Sure, Sarah was completely obliterated and Nicola was snubbed out of saying two words into the microphone–but if this isn’t classic Aloud behavior, I don’t know what is.

Well deserved and well played…I LOVE YOU, GIRLS ALOUD!

Finally, the other, other, other epic moment: THE RETURN OF THE PET SHOP BOYS! After a nerve-ridden speech by a fidgety Brandon Flowers, the Boys appear on screen to give thanks for their Achievement Award, only to be drowned out by the audience for a majority of the speech. The screen then gives way to reveal massive cut-outs of their faces as Neil Tennant–going gothic-chic with a rather S&M-friendly, futuristic wrap-around coat, and Chris Lowe–donning massive shades and an un-ironic pink wig (clearly an ode to The Lady B)–strut out to take the stage once more.

And so, come hellfire or Gaga, the Boys pull out all the stops in preparing a whirlwind career retrospective in under ten minutes. From “West End Girls” to “Love Etc.,” the Boys chug right along across their finest hits of the decades. A slew of distractions aid the performance, including an onslaught of ceaseless suited dancers-turned-Agents from The Matrix, as well as colorful videos and illuminations.

Five minutes in the piece the rumors are affirmed as Lady Gaga, looking as though she’d just glued pieces of a Chinese porcelain plate all over her naughty bits, waddles out in robo-mode to take over for Dusty Springfield on “What Have I Done To Deserve This?” Shockingly she delivers, and the set rolls onward without a hitch. Inwardly, the Gaga Love/Hate continues to brew…

Flowers marks his moment soon after, coming in to saunter along to one of my all time favorites, “It’s A Sin.” I won’t lie–He looked absolutely adorable, if not a bit starstruck.

As the show draws to an end, Flowers and Gaga return to the stage to join Neil in bringing the performance to to a crashing, epic conclusion on “West End Girls.” Flowers nervously swings from side-to-side next to Gaga, now frozen in vamping pose, and I cannot help but find myself reminiscing about that awkward couple from the middle school dance. The song ends, the Boys retreat, and the crowd goes mad.

In a word, EPIC.

Most of all, the BRIT’s served to reaffirm what I’ve known true for years now–The British simply do their award shows better. There’s less pressure, more entertainment, and loads more talent in the nominated categories. Plus, the jokes are actually funny. I couldn’t help but lose myself each time Mathew Horne got up to introduce a new act. (“Scream until you prolapse, it’s the Ting Tings and Estelle!”)

So bizarre, so campy, and most importantly–Not so serious. Take notes, Grammy Awards, and lighten the fuck up.

I love the BRITs!

Yes Muusers, the Yeah Yeah Yeah‘s upcoming single “Zero” from It’s Blitz has just made its way into the audio stream.

“Zero” sounds a bit like The Killers, if fronted by Santogold and produced by…Moby.

“Zero” sounds nothing like the Yeah Yeah Yeahs.

No crashing drums or howls on high from Karen O to be found here; just cold, calculated New Wave-esque electronica and guitar riffs. Normally I’d be all about the production in a pop song, but for the YYY’s? …Not their strongest suit.

As one fan noted, “Zero” is a grower, not a shower. But for the “their old stuff was better” crew seeking the impossibly raw, blood-n-dirt energy of Fever To Tell, this simply may not bode well for the band.

Let’s just hope that “Zero” is but the launching pad of the album.

EDIT: Upon listening ten more times this morning, I think I may like this after all.

DL: Yeah Yeah Yeahs – Zero (Sharebee)