It’s almost Byrdsian in its guitar sounds. WE FORMED A BAND!” over and over? It looked like they were completely washed up, and then they came back with this, the first single from their 1998 album ‘Deserter’s Songs’. As well as all this, it’s easily the best song ever to be named after a vodka/Red Bull. On ‘Back To Black’ Amy Winehouse (aided by Salaam Remi and Mark Ronson) tied the sound of the past (“jukebox” as Winehouse called it) to the present with effortlessness. (RS). But with lines like “This is our decision, to live fast and die young/We’ve got the vision, now let’s have some fun” and “I’ll move to Paris, shoot some heroin and fuck with the stars”, it was a strangely honest look the rock’n’roll dream everyone raves about. You know it’ll all be forgotten in the morning when the drugs wear off. (PE), Liars’ excellent dissection of Los Angeles life and the mixed emotions that come with West Coast living, ‘Sisterworld’, was one of the most rewarding albums of 2010. By. The song that would become Kylie’s signature track (soz ‘I Should Be So Lucky’) was the musical equivalent of a roomful of minimalist Scandinavian furniture. Where were you when you first heard it? Nicky Wire wrote it about the aftermath of Richey Edwards’ disappearance, wanting to escape, get as far away from home as possible. You know when someone catches you sitting on the back of a bus, with your headphones on full blast, as you’re singing along to whatever song’s playing on your iPod? 1. The year was 1999 and the music was ~damn good~. He seemed like he’d come from another time, a scholar amongst the knuckle dragging indie slackers who were rhyming ‘love’ with ‘dove’. They were dipping their toes in melodic musical waters they would, disappointingly, make infrequent visits to. Sorry, Caleb, would you mind explaining what the quaking ARSE you’re on about? ‘With Every Heartbeat’ was typical of this; Kleerup’s trancey music came with an orchestral accompaniment and Robyn’s vocal came with the mature knowledge of love attained, then lost but never forgotten. Never has rawness of frayed emotion been captured on record as urgently and accurately as it was on the second-to-last single The Libertines would ever release. Having made her comeback with ‘Born Free’ and its attendant ginger-assassinating video (a Romain Gavras creation that created about ten billion views and no end of controversy) she was back in the game. Lyrically and melodically, it’s so slight it’s barely there – and yet it still manages to worm its way inside your brain. What day was 14 years ago. You might not want to believe it, but it's true - it's been a full 15 years since Nelly was getting Hot In Herre and Ashanti was being Foolish, feel old yet? They’re going to have trouble topping this with album number two. (MW), The Strokes had been away for four years when this came out, so it was a colossal relief when ‘Under Cover Of Darkness’ arrived – as spring-loaded and energetic and irresistible as anything on ‘Is This It’. The fall-out? He might have sold more records since, but this was when no rapper on the planet could touch him. The first taster from ‘Primary Colours’ showed the band had been absorbing their impeccable influences and creating something far more satisfying – in this instance an amalgamation of the motorik rhythms of Neu!, the intensity of My Bloody Valentine and the druggy beauty of Spacemen 3. A riddle waiting to be solved, it was an alien melding of Ethan Kath’s 8-bit video game synth rhythm and Alice Glass’ desperate punk rock squall. ‘Goddess…’ is the biggest pop moment of the record, like a Disney theme tune if it had been fucked up by a cult US indie band. Having seemingly learned some sonic tricks from former tour mates MGMT this was buoyant and joyous where previously they had been ponderous and worthy. “Why’d you pass the bum on the street?” they question repeatedly over diseased chords before deciding, “cos he bothered you!”. ‘Boyfriend’ was part teenage longing and part womanly angst (“She’s prettier and skinnier, she got a college degree,”), whilst the guitars chimed together like Phil Spector’s in-house band. Words: Priya Elan, Luke Lewis, Tim Chester, Mike Williams, Tom Goodwyn, Rebecca Schiller, Krissi Murison, Emily Mackay, Matt Wilkinson, Laura Snapes, Jamie Fullerton, Alan Woodhouse. In fact the track, their only single to top the US Modern Rock charts, makes itself known with the force of the US Army in total ‘destroy nations’ mode from the outset, all whipcrack crash cymbals and crunchy riffs that dissolve into a series of freefalling drum triplets and even more thunderous guitar abuse. The track shakes all over itself with about three different rhythms happening at once while de facto DC leader Beyonce proves her mettle by perfecting an offbeat vocal style that would later become her trademark. Like that time some gormless bint yelled “Lesbian!” at me in the street as if it was an insult and I yelled back “Yeah, you wish love” and all her mates laughed at her. Plenty have tried, none have got close. 10 facts you need to know about 'Whole Lotta Red' rapper, Capital XTRA's Ones To Watch 2021: Enny, Sheff G, Bellah, Rihanna's new album: release date, tracklist & everything, Quavo gifts girlfriend Saweetie a custom Bentley for, Playboi Carti 'Whole Lotta Red' album: release date, Download 'What You Know Bout Love' on iTunes. This opening shot from the duo that used myth and obfuscation as their own media breadcrumb trail was appropriately strange and brilliant. (PE), https://www.youtube.com/watch?v=1HvjK29Gpn0, Are we human? But he was more versatile than that, and could turn his hand to anything, including mellifluous Prince-esque soul, as on this extraordinary track, released after his death in 1997. In many ways it’s hard to believe that Hop Along has been around fifteen years. On her final, self-titled album this was the haunting lead single; a song about questioning a relationship’s compromise when it seems pointless (someone would always come off worse off). Because life is short and we still don’t have the technology to go back in time. “You-oo… are.” You are what? Throughout LCD Soundsystem’s career, James Murphy cornered the electronic mid-life crisis market, and this was the first, explosively brilliant, burst of that. https://www.youtube.com/watch?v=i6J-hxmjqII, Wunderkind producer Rodney Jerkins seemed to peak early before disappearing behind less-than-stellar work that came later in the decade, but 2000’s ‘Say My Name’ found Darkchild at his innovative best, only rivaling Timbaland and Missy Elliot in the bold sonic innovations department. It still sold 720,000 copies, and remains one of the standout tracks from Oasis’ not-as-good phase – a titanically self-assured work of blustery-bollocks brilliance. (MW), Cornershop were – still are, actually – an underrated albums band who became defined by the one hit they had that took over the world and, in “Everybody needs a bosom for a pillow“, germinated a phrase that should have been as all-encompasing in British culture as “am I bovvered?” The original version was a slowed, stretched guitar meander that only sounded right when delivered – as the band tended to – when sat cross-legged; this remix was the party-starting peak of Norman Cook’s career and became the pop and dance anthem of the year. On this date 15 years ago, Destiny's Child began its longest Billboard Hot 100 reign, as "Independent Women Part I" spent its first of 11 weeks at No. Looped around the kind of melody that demands the nodding of head and swinging of pants, this, of course, will always be remembered for that whistle. (TG), Was there ever an album more outrageously stuffed with room-igniting, we-have-lift-off choruses than ‘Hot Fuss’? And not forgetting that drum beat and of course that immortal “woo-ooh”. Timbaland always saved his best beats for his ‘baby girl’ and ‘…Resolution’ was no exception. Writer(s): Raymond Smith. (PE), A nocturnal proclamation of love (that veers into dangerous co-dependent territory) this was The xx’s finest moment thus far; a simple, effective take on dark, nocturnal love action. Pah!) New Music Reviews. Again: how he rolls. When all is said and done and Chris Martin awkwardly shuffles off towards the pearly gates, this is what he’ll be judged by. The fact that we’re not even close is testimony to its masterful control. 1 pop and R&B singles going back to the 1940s along with their Hot 100 list to collect the top singles. (RS), By far the pinnacle of Tellier’s career to date, ‘La Ritournelle’ is also one of the most beautiful love songs of the last decade. (PE), The sirens blared, the harmonies popped with engergised urgency, the verses were the sonic equivalent of Burroughs’ stateless city. (TC), Pete Doherty used to lie that he’d written it and sold it to James Skelly in a pub aged 15. Dangerously attached to the zeitgeist it may date worse than David Brent but for now, a top track. Inextricably linked to Chris Cunningham’s horrific, genetically mutated ‘kids’ in the video, ‘Come To Daddy”s thrash pop gloom was one part ghost train camp (“COME!TO!DADDY!“) and many parts compressed, lo-fi, drum and bass riffing. While it might sit awkwardly in Foals’ cannon (imagine the surly buggers letting one of their tunes be used on Skins now), ‘Hummer’ is a relentless and joyous reminder that while their output may dally in the realms of serious-face, they’re only a glitchy riff away from pop perfection. And ‘Clocks’ is the sound of the band finding their voice in heroic style. After an underwhelming first album, many had written off the five-piece – until they heard this. Every bleep, twang and spasm of Timbaland’s minimal production blew a hole in the fabric of the pop tune as we knew it. It was the first single to be released from the group’s ‘XTRMNTR’, whose pummeling, pile-driving music and overtly political lyrical content proved a surprising winner with fans more used to the band’s hedonistic approach to life. “You know where you are,” he coos over and over in his best choirboy voice. But what do you know, sometimes the best bands are those that give us what we never knew we wanted. (PE). (LL), At the peak of their powers with 2001’s ‘Discovery’, everything the duo did sounded so damn effortless. “Our lives are changing lanes…You’re no longer laughing,” feel eerily prescient and seem to describe the current, passive aggressive mentality of the band. 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