I unleash my music thoughts in a weekend extravaganza

Spectacular-r-r-r-r-r-r-r

Friday - Cut Copy - In Ghost Colours (Finally)
Saturday - The Roots - Rising Down
Sunday - Madonna - Hard Candy

I was all geared up to do a rant on old Madge too, until I heard the album.

CASIO SEX PART ONE

Five or so years after making their debut with Blow Up – among an assortment of other EP’s and singles that I was too young to follow – The Presets are back with Apocalypso, their post-breakthrough record and the second serving in what promises to be a good year for Australian dance. Julian Hamilton and Kim Moyes return from their three year ‘break’ from Beams (during which Hamilton co-wrote a large part of Silverchair’s last record and Moyes, also a member of the Bang Gang Deejays, worked under the solo alias K.I.M.) essentially the same as when they left. The songs are fuller, with tracks like ‘A New Sky’ exposing a slightly more experimental bent while ‘Yippiyo-Ay’ proudly wears its Prince influence on its sleeve, but for the most part the duo sticks to what they know, further refining their sound and hardly treading outside their comfort zone. Why throw away a good thing so soon, though? The strength of Apocalypso lies in the songs which build on the momentum of Beams’ best moments. Synthesizers blare and squeal through the record with few somber moments – although ‘Aenones’ is a highlight – and Hamilton’s vocals and lyrics while still embarrassingly forward (thankfully), complement the sounds of Apocalypso perfectly, especially the unintelligible vocal samples that kick off ‘Together’. The duo’s influences range across several decades, from Prince to Daft Punk. Even the 90’s rave aesthetic is present in ‘This Boy’s In Love’ which, far from coasting on a sense of nostalgia, maintains a sharp focus resulting in a catchy and surprisingly sentimental pop track. And that’s where Apocalypso differs from its predecessor. Where Beams broke through to the Australian mainstream in the unsure early wave of electro, this record finds its sound firmly rooted in the pop landscape where established acts like Kylie Minogue and Timbaland have appropriated the sounds and creators of electro for their own use. While it won’t have the same impact as their debut, Apocalypso remains a great statement of popular Australian dance music that doesn’t indulge in sophomoric excess.

PART 1.5 - THE SEXING

The Presets - This Boy's In Love (K.I.M. Remix)