Music To Start The Week With #052
by: Diego Martínez
September 24, 2012
Every single visitor on The WILD’s webpage is invited to a very special celebration.
This week marks the first anniversary of “Music To Start The Week With,” and we’ve come a long way since that initial playlist was published a year ago. Over 500 songs have been showcased so far and quite frankly, I am shocked at how all of them were received by you all. Our aim of discovering rising talents and rediscovering old nuggets remains the same, and will be after this.
I’ll raise my glass, but I promise I won’t be sappy — just want to publicly thank our loyal readers for the support, and a special shout out to our Editor-In-Chief Giovanna and Senior Editor Blaine, for without their good ear and advice, none of this would’ve ever happened.
Care to share this WILD playlist with drinks and a piece of cake? From 1 to 10, here are some birthday-infused selections:
We kick off this celebratory playlist with the latest single from the Cincinnati group WHY?, off their fifth full-length album Mumps, Etc. out October 2 via Anticon. This melodic indie rock ditty picks up where the lively “Jonathan’s Hope” left off and it makes us anxiously anticipate their forthcoming release even more.
Everybody who has been in love knows how downright difficult and painful it is. It can also be filled with tremendous sweetness. We’re guessing Monika Faludi and Mathias Dahl took notes from such experiences and came up with a gorgeous debut single. These two from Copenhagen are collectively known as Furns, and they are making their splash with the intimate “Love Aches.” Feel free to fall in love with this. If you do, head over to Lilystars Records and get it.
Most Brazilian acts are particularly amazing and Turtle Giant is no exception. This trio formed in São Paulo (currently residing in Macau, China) draw on a similar sound comparable to The National, Arcade Fire, and Radiohead. “We Were Kids,” from their just-released All Hidden Places EP, is an addictive surf-rock track with sugary guitars and energetic drums that will make anyone strike up a party anywhere.
Besides Brazil, another musical export is Australia. They might not have a lot of history in post-punk, but if anything, Crime And The City Solution is a fine example of the genre. After breaking up in 1990, the cult band is reforming, just in time for the release of their compilation An Introduction To…Crime & the City Solution / A History Of Crime – Berlin 1987-1991 out September 25 via Mute. They will also be on the road for the first time in 20 years, playing to audiences in Detroit, Chicago, San Francisco and NYC.
Mette Lindberg and her gang are known for delivering an unique brand of soul, funk, and psychedelia-tinged pop, all wrapped up in sing-a-long tunes with lyrics that make no sense most of the time. This is the case for “Suburban Space Invader,” from their acclaimed latest album Out Of Frequency. Be sure to catch them on their headlining US tour, starting this Fall.
Did I tell you that I really enjoy rediscovering things? Reissues are very helpful, and recently the self-titled debut album from pioneering Hip-Hop trio Fat Boys came out after being 28 years out of print in, of all shapes, a pizza box. The music is as fresh as it was in 1984, when Prince Markie Dee, Kool Rock-Ski and the late Buff Love were just teenagers catching a break and craving pizza pies.
Some things are meant for the dance floor, and the lead single from Body Language’s Grammar EP is one of them. This track from the Brooklyn-based experimental outfit is filled with a driving beat, wildly catchy chorus, and hypnotic vocals from Angelica Bess to keep you sweating. Basement Disco at its current best.
It’s never too late to have a ball without caring for prejudices. That’s a principle the Scissor Sisters took to heart all through their career. “Let’s Have A Kiki,” off the band’s Magic Hour is already a gay anthem but this bootleg remix is certainly funky and sexy. Never mind the bollocks, just have fun with it.
Tocadisco’s “Morumbi” was originally released in 2007 but the timeless quality of this groove makes it vibrant and a major mainstay at almost every DJ set since. Plenty of remixes are available by the likes of Popof and Solaris Heights but the original by the German producer is basically perfect.
On a final note, it’s one of my favorite tracks from Teengirl Fantasy’s album Tracer. It’s got a grandiose Orbital vibe to it, a mix between subtle and over-the-top, almost flirting with New Age without getting there all the way. Still, it leaves evident their love for 90s house music and its cheesy parts (I can tolerate the flutes, some can’t). One thing is certain, the feel is very much ‘eternal’.