Archive for Qbot

Ou Est Le Swimming Pool: Dance The Way I Feel

About a week ago, Ou Est Le Swimming Pool’s lead singer, Charlie Haddon, walked off the stage after his performance at the Pukkelpop festival in Belgium and jumped to his death from a telecommunications mast.

As the news hit the blogs, a whole lot of people asked not “what would make someone do such a sad thing?” but “who is Ou Est Le Swimming Pool?”. Having released all of three singles, the British synthpop band has made something of a name for themselves touring for La Roux, but were still under most people’s radars. The thing is, though, those three singles were really really good. And like so many bands before them, we’re left wondering what might’ve become of Ou Est Le Swimming Pool, and what great music we’re now missing out on, as a result of one key band member’s suicide amidst a swirl of depression that we can’t understand.

R.I.P. Charlie Haddon, we hardly knew ye.

official website

Colin Meloy: I Know Very Well How I Got My Name

ok ok ONE LAST COVER, ok? It’s time for another tribute to The Smiths/Morrissey tonight, and besides, it’s Colin Meloy…

The album Colin Meloy Sings Morrissey was The Decemberists’ lead singer’s first solo effort, released in 2005 and limited to 100 copies sold only on the accompanying tour, so we’ll forgive you if you haven’t heard of it.

The fact that Meloy finds Morrissey inspiring should be a surprise to no one at all. So much as a cursory listen to both singers’ respective bands speaks for itself. But Meloy is far more than a cover artist, and The Decemberists are far more talented than to be tossed off as yet another indie-rock throwback to The Smiths. Though the storytelling lyrical style might be familiar, The Decemberists reach for a more folksy, Americana tone than their British predecessors, and this is where they shine. Meloy’s covers are no different, but stripped down and backed merely by an acoustic guitar. Applied here to “I Know Very Well How I Got My Name”, it challenges Morrissey’s lyrics to stand on their own.

The Decemberists’ official website
Buy The Decemberists on Amazon.com

Editors: Lullaby

It seems like I’ve been posting a lot of covers lately. I hope you don’t mind, but here’s another, a bit inspired by Nocturna this evening. If you’ve somehow managed to not hear Editors before, go check them out; this may be a cover, but it’s an excellent example of their style.

In a statement about their most recent album and criticism of its tone, Tom Smith wrote, “dark is interesting, dark is exciting, dark can be funny, there’s real life in the dark, real life IS dark…I am so fucking bored of people asking us why we’re so “dark”, or worse questioning our integrity for being this way, this is how we do it, it excites us to express ourselves like this, to be honest we don’t even understand what the alternative is and the alternatives we can imagine are too boring for us to even consider”. Did he just write the Grufti Manifesto?*

Who better to rework a Cure song, then, than Editors? Smith invokes Ian Curtis to make Robert Smith’s lyrics a little more paranoid, but I’m still not buying that he’s really afraid of “the spider man”. In fact, I suspect that he might just be inviting him over for dinner.

This track is taken from the BBC Radio 1 Established 1967 2 disc compilation, released in 2007 and bizarrely listed as being a Kaiser Chiefs album (they contributed the first track). It chronicles 40 years of the legendary radio show with 40 artists doing a cover for each year. Editors were assigned 1989; they certainly did right to choose a song off of Disintegration.

official website
Buy Editors on Amazon.com

*I prefer the word “grufti” because it’s much more inclusive than “goth”. I encourage you to use it as well!

Soviet: Circuit Love

I really can’t help but love Soviet. I’m a sucker for bands who are suckers for vintage synths, and these guys are all over it, albeit they’re using old instruments to make futuristic music. Similar to Solvent, this is pop music for robots and people who live in those super techy sky homes that we were supposed to have by now. I’m pretty sure the only reason Keith Ruggiero isn’t in Valerie is that he hasn’t moved to France yet.

“Circuit Love” is from the very synthpop 2001 album We Are Eyes We Are Builders, but there’s actually a newer Soviet release out called Spies In The House of Love that’s a little more rock, and sounds like something I’d expect to hear in a John Hughes movie.

official website
Buy Soviet on Amazon.com

B-Movie: A Letter From Afar

Best known for their single “Nowhere Girl”, B-Movie was an ’80s new romantic could-have-been, never quite reaching mainstream success. Formed in 1978 in Mansfield, they named themselves after an Andy Warhol painting and trudged their way through the music industry in vain until 1985. The unbelievably detailed and exclamation point-filled biography on their website blames their record labels, management, Soft Cell, former band members, and anyone else they associated with for their failures (and frankly makes the band sound like egotistical jerks).

Too bad anyway, since they wrote some great pop songs that hardly anyone remembers now. “A Letter From Afar” was meant to be their comeback single, produced by pop hitmaker Jellybean Benitez, but it never made a blip on the charts. I’m sure it was all Marc Almond’s fault…

Buy B-Movie on Amazon.com
official website

Olin: Head Over Heels

Very quietly working his way around Chicago’s afterhours scene, Olin has been closing his sets with Tears For Fears’ “Head Over Heels” for a while now. A few weeks ago, I told him that he should make some kind of remix of it, and was surprised to learn that it had already happened (not surprised that he’d done it, just surprised that I didn’t know about it). Well, here it is, and even better, not so much a remix as an entirely new track. The minimal beats and barely-there samples of the original give the vocals a beautiful, ethereal feel they never had before.

Olin will have the honor of the first release on Forem, the newest imprint of Chicago label Dust Traxx. You can hear a preview of it here.

Olin on Soundcloud

Tiger Baby: Love Will Tear Us Apart

Since we’re doing a tribute to Ian Curtis this week, I’m going to take this opportunity to post a song that I love but never play: Tiger Baby’s excellent cover of “Love Will Tear Us Apart”. Done in their signature sweet-but-meloncholy style of synthpop, this is by far my favorite cover of this song that I’ve ever heard. As I mentioned in a post last month, this isn’t their only great cover, either. If you like this, you’ll find it’s very representative of Tiger Baby’s original material, which I highly recommend.

As for why I never play it:
Frankly, I don’t have the balls. I’m afraid the crowd will lynch me if they hear anything but the original. Also it has this 30 second long beatless break in the middle–that’s a long time on the dance floor. But Darrel keeps requesting it, so maybe someday…

Taken from their 2006 album Noise Around Me, available directly from the band’s own online shop.
official website

Upstation: Get It On

Moscow-based new wave band Upstation is surprisingly good for an act that has existed for less than a year. Their analog synths are sprinkled with bits of disco, and not afraid to hang out with some guitars. Between these guys, Cut Copy, and the Valerie collective, I hereby stop even using the term “retro”, as it is clearly pointless. 21st century pop music sounds like early ’80s pop music. I’m ok with that.

From their self-titled EP, available to download for free on the Upstation official website

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