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TyronneMusicTimes August 2006 Mixtape Part One
August 31st 2006 01:39
The MusicTimes Mixtape August 2006 Edition. Bound to conjure up various emotions from readers, since it is so different in style to the last one. More rock, more dance, more electronica - what you will, this edition is different but just as charged with excellent songs. Peruse and enjoy.
The quintessential intro song for any album. Ambient strings and electric guitar build the song, before crescendoing in a consistent acoustic rhythm that continues throughout the song. Frontman Jon Hume has one of those voices that aren't suited to many songs, but this is one of them.
Antiskeptic's new materials is a far cry from "Memoirs of a Common Man" and even more ambitious than "Aurora" ever was. This track in particular is heavier, darker, and most likely inspired by the return of Sean Daly as bassist.
The French duo have attempted to outdo themselves on this track, experimenting way beyond their existing repertoire into something that is unrecognisable as Cassius and likely only to be a favourite for new audiences, rather than established ones.
I heard a Triple J Host (don't ask me which one - I'm so bad with voices on the radio) say the other day that "Sweden is the new black" and, with successes as diverse as Sigur Ros, Mew and now the Similou, it is no wonder why. A mix of dance of pure pop, this song will probably grate on some, but damn it's a great song.
Contrary to popular belief, the nerdy quartet from Chicago do more than just dance on treadmills - they make music too. Chances are you probably thought that music video was a spoof, but it ain't - it's their real music video, and as good as they're dancing is, their music is better. While this track starts off sounding like Weezer's Beverly Hills, it quickly makes a way for itself as pure rock, without room for gimmicks.
Ok, I put this in for pure novelty value, but I can't help but like this song. The third-party mashup mixes one of Tatu's less popular songs with Rammstein's Mein Herz Brennt and it works so well. From the shrill screech of the Russian duo, to the building kick and finally into the heavy riff that is so common amongst Rammstein songs, this song is a must-listen.
I'm a little hesitant about this song, but for some reason I always end up listening to it. Definitely the best on the EP, it has an acoustic rhythm that sounds like it belongs in an R&B song, and soothing harmonies in true Aussie fashion.
The biggest drawcard for this song for me is the first time I heard the song - as a live performance on Australian variety show, Sunrise. He's got a generic name but damn he's a good musician - he managed to play the song with an acoustic, piano, drums, and his vocals, all through a loop box. Maybe it was because I hadn't seen it done before, but it worked right down to a t, and made the song all that more memorable.
This classic song was reworked as a disco hit back in the 70s, and revived by Quentin Tarantino when he included it in the Thurman-Liu fight at the end of Kill Bill Volume 1. The clapping rhythm is enough to get anyone dancing, let alone the guitar and trumpet riffs. At ten and a half minutes, it wouldn't get very far in the charts today, given the attention span of the mass audience in the 21st century.
The quintessential intro song for any album. Ambient strings and electric guitar build the song, before crescendoing in a consistent acoustic rhythm that continues throughout the song. Frontman Jon Hume has one of those voices that aren't suited to many songs, but this is one of them.
Antiskeptic's new materials is a far cry from "Memoirs of a Common Man" and even more ambitious than "Aurora" ever was. This track in particular is heavier, darker, and most likely inspired by the return of Sean Daly as bassist.
The French duo have attempted to outdo themselves on this track, experimenting way beyond their existing repertoire into something that is unrecognisable as Cassius and likely only to be a favourite for new audiences, rather than established ones.
I heard a Triple J Host (don't ask me which one - I'm so bad with voices on the radio) say the other day that "Sweden is the new black" and, with successes as diverse as Sigur Ros, Mew and now the Similou, it is no wonder why. A mix of dance of pure pop, this song will probably grate on some, but damn it's a great song.
Contrary to popular belief, the nerdy quartet from Chicago do more than just dance on treadmills - they make music too. Chances are you probably thought that music video was a spoof, but it ain't - it's their real music video, and as good as they're dancing is, their music is better. While this track starts off sounding like Weezer's Beverly Hills, it quickly makes a way for itself as pure rock, without room for gimmicks.
6. Rammstein - Mein Herz Brennt (Tatu Remix)
Ok, I put this in for pure novelty value, but I can't help but like this song. The third-party mashup mixes one of Tatu's less popular songs with Rammstein's Mein Herz Brennt and it works so well. From the shrill screech of the Russian duo, to the building kick and finally into the heavy riff that is so common amongst Rammstein songs, this song is a must-listen.
I'm a little hesitant about this song, but for some reason I always end up listening to it. Definitely the best on the EP, it has an acoustic rhythm that sounds like it belongs in an R&B song, and soothing harmonies in true Aussie fashion.
8. David Ford - State of the Union
From "I Sincerely Apologise For All The Trouble I've Caused"
Listen here
From "I Sincerely Apologise For All The Trouble I've Caused"
Listen here
The biggest drawcard for this song for me is the first time I heard the song - as a live performance on Australian variety show, Sunrise. He's got a generic name but damn he's a good musician - he managed to play the song with an acoustic, piano, drums, and his vocals, all through a loop box. Maybe it was because I hadn't seen it done before, but it worked right down to a t, and made the song all that more memorable.
9. Santa Esmerelda - Don't Let Me Be MisUnderstood
From "Don't Let Me Be Misunderstood"
From "Don't Let Me Be Misunderstood"
This classic song was reworked as a disco hit back in the 70s, and revived by Quentin Tarantino when he included it in the Thurman-Liu fight at the end of Kill Bill Volume 1. The clapping rhythm is enough to get anyone dancing, let alone the guitar and trumpet riffs. At ten and a half minutes, it wouldn't get very far in the charts today, given the attention span of the mass audience in the 21st century.
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