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Michael Holloway
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Tash Jayasinghe
Music Times
CibbuanoThe MusicTimes Mixtape - June 2006 Part One
June 29th 2006 23:58
Ahh mixtapes. Unfortunately, while I was born in the 80s, I am not a true 80s kid, and don't have the full memories of the mixtape days, when teenagers everywhere would spend hours making the perfect mixtape of their favourite songs. But the tradition has kept on, through the days of compilation CDs and, finally, mp3 playlists. In commemoration of this tradition I have decided to create a monthly MusicTimes Mixtape, of the best new songs of the month, and some old ones to mix it up a little. So here;s part one:
The intro track from the 1999 album is definitely a good way to start off the album. A simple guitar riff, ambience, combined with an unknown conversation about punk rock and general music between two intellectuals, focusing on the importance of independent music over commercialism and corporations' monopoly on pop music. Listen to this song closely, and try and understand what they say.
Unfortunately, the only partially good song on the latest album from the 14-year-old Swedish pop group. Like the rest of the album, it is kind of generic, but has its up moments.
Revisiting the indie group's debut LP, I finally understand what critics are talking about - the album seriously doesn't change its tempo in the slightest throughout the entirety of the fast songs. Nevertheless, this song remains a good one, full of perfectly timed repetition, a catchy tune, and that nice combination of the Killers and the Bravery.
Another debut album, the opening track from this totally random British indie group is a smasher, opening with a synth riff, before breaking into a true punk beat. The whiny vocals of Tom Woodhead are not for those in search of soothing music, but it will, in the name of their own label, get you to dance to the radio.
A track from Muse's new album was inevitable on this mixtape. But, of the many excellent tracks on the album, Starlight is a standout, mixing the heavy distorted bass so characteristic of the British Alternative Rock group with what I can only describe as a David Bowie-piano riff, and Matthew Bellamy's trademark vibrato. The song is catchier than their others, but it doesn't at all detract from the song, since it continues to retain all the very established characteristics of the brilliant Devon band.
This song is so simple and yet its so good. Consisting merely of a looping narration track, a simple beat and reversed piano riff, Mylo has exhibited his genius as a DJ to make a dance song out of almost nothing. This is definitely a shiner from the album, and his most unique track.
An extremely simple, yet catchy ballad from the 2003 album of the southern British band Athlete. In a similar strain to Keane and Coldplay, Athlete go even simpler, sticking simply to acoustic, though always willing to mix things up with out-of-time electronic beats, and whatever unique synth noises they can come up with to add extra dimensions to the band. This song definitely has a British pub feel to it, exemplified in the last chorus, with a choir joining in, in the least structured way possible.
Another classic from the Harpmeister, and my favourite on his latest offering of schizophrenic reggae/acoustic rock. While the zitar and the screaming halfway through both caught me unawares, they fit into the song extremely well. The political tendencies of Harper shine through on this song, but the screaming tends to shroud this slightly.
Another one from Mylo's genius mind, this song is much more traditional, yet still retains that essential Myloness. A simple electronic beat, jazzy electronic piano and recurring narration make this song sound like it was created by a DJ, but a DJ with something to prove, trying to escape the stereotype of DJs simply planting dance beats under songs. This track places Mylo as one of the best DJs out there at the moment, breaking the mould every single time he comes out with something.
In my mind, this song simply had to be on the album. The disco group Boney M are only famous for a couple of hits, but this classic hit from 1978 exemplifies their ability to churn out catchy and instantly popular tracks. If you haven't heard this song, you've been living on Mars, but this is one of those songs you either love or hate. Personally, I can't naught but love it. You know you want the Funk.
Stay tuned for part two tomorrow...
The intro track from the 1999 album is definitely a good way to start off the album. A simple guitar riff, ambience, combined with an unknown conversation about punk rock and general music between two intellectuals, focusing on the importance of independent music over commercialism and corporations' monopoly on pop music. Listen to this song closely, and try and understand what they say.
"What sounds to you like a big load of trashy old noise, is in fact, the brilliant music of a genius"
Unfortunately, the only partially good song on the latest album from the 14-year-old Swedish pop group. Like the rest of the album, it is kind of generic, but has its up moments.
Revisiting the indie group's debut LP, I finally understand what critics are talking about - the album seriously doesn't change its tempo in the slightest throughout the entirety of the fast songs. Nevertheless, this song remains a good one, full of perfectly timed repetition, a catchy tune, and that nice combination of the Killers and the Bravery.
Another debut album, the opening track from this totally random British indie group is a smasher, opening with a synth riff, before breaking into a true punk beat. The whiny vocals of Tom Woodhead are not for those in search of soothing music, but it will, in the name of their own label, get you to dance to the radio.
A track from Muse's new album was inevitable on this mixtape. But, of the many excellent tracks on the album, Starlight is a standout, mixing the heavy distorted bass so characteristic of the British Alternative Rock group with what I can only describe as a David Bowie-piano riff, and Matthew Bellamy's trademark vibrato. The song is catchier than their others, but it doesn't at all detract from the song, since it continues to retain all the very established characteristics of the brilliant Devon band.
This song is so simple and yet its so good. Consisting merely of a looping narration track, a simple beat and reversed piano riff, Mylo has exhibited his genius as a DJ to make a dance song out of almost nothing. This is definitely a shiner from the album, and his most unique track.
An extremely simple, yet catchy ballad from the 2003 album of the southern British band Athlete. In a similar strain to Keane and Coldplay, Athlete go even simpler, sticking simply to acoustic, though always willing to mix things up with out-of-time electronic beats, and whatever unique synth noises they can come up with to add extra dimensions to the band. This song definitely has a British pub feel to it, exemplified in the last chorus, with a choir joining in, in the least structured way possible.
Another classic from the Harpmeister, and my favourite on his latest offering of schizophrenic reggae/acoustic rock. While the zitar and the screaming halfway through both caught me unawares, they fit into the song extremely well. The political tendencies of Harper shine through on this song, but the screaming tends to shroud this slightly.
Another one from Mylo's genius mind, this song is much more traditional, yet still retains that essential Myloness. A simple electronic beat, jazzy electronic piano and recurring narration make this song sound like it was created by a DJ, but a DJ with something to prove, trying to escape the stereotype of DJs simply planting dance beats under songs. This track places Mylo as one of the best DJs out there at the moment, breaking the mould every single time he comes out with something.
In my mind, this song simply had to be on the album. The disco group Boney M are only famous for a couple of hits, but this classic hit from 1978 exemplifies their ability to churn out catchy and instantly popular tracks. If you haven't heard this song, you've been living on Mars, but this is one of those songs you either love or hate. Personally, I can't naught but love it. You know you want the Funk.
Stay tuned for part two tomorrow...
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