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12 regulars FEATURES
02 music preview of 2013 Cher, Justin Timberlake, Beyonce, Lady Gaga, Britney Spears, The Hurts...they’re all coming out with new music in 2013. Catch up on all the exciting news for what to expect musically in the upcoming year.
06 Kylie minogue AFTER 25 YEARS WE STILL CAN'T GET HER OUT OF OUR HEADS 2013 marks 25 years of Minogue dominating the pop charts worldwide. Our Paul Hagen interviews Kylie and learns all about K25, her new album The Abbey Road Sessions, film ambitions, and starring on "Fashion Police."
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10 reviews The Scissor Sisters new album, Justin Timberlake’s new hit single, Ellie Goulding in Concert, and more!
12 in the mix We catch up with Calvin Harris as he shares with us his secrets of success.
13 rewind We rewind and review one of Madonna’s most iconic dance-pop albums: Madonna (1983)
T
< editor's notes > here is SO much confusion surrounding the illegality of music downloading. Music piracy is defined as any form of unauthorized duplication and/ or distribution of music including downloading, file sharing, and CD-burning. File-sharing programs that offer instant and unlimited access to free music, such as Limewire, are examples of unauthorized music distributors.
Most people with sound moral convictions have a problem with stealing. Not many people would steal money from their best friend or food from a local grocery store. This is because our sense of right and wrong prevents us from doing such things. The problem with music piracy is that not everyone finds it wrong to download music. “Everyone does it, I didn’t even know it was really illegal,” said senior, Oscar. For some, it is hard to find justice in the illegality of music downloading when popular music artists are already well paid, and often flaunt their lavish lifestyles on MTV Cribs or popular magazines. Sometimes people download music because they may not enjoy every song of an album, and just want to hear one or two songs. Sometimes people download music before they buy an album just to sample the music to see if it is to their liking. Often times, people download music because it is more convenient and compatible for their portable music devices. “Usually, I download a song just to see if I like it. I buy the real album if it’s from a musician I like,” said senior, Monique. Those who feel that their illegal actions will go unnoticed on the basis that everyone else does it are mistaken. If you think that no one will find out about your downloading history, think again. Your downloads can be traced by way of an IP address that acts like an inerasable footprint you leave on any websites you download from. According to U.S. News & World Report, in July of 2009, a Boston University graduate student was ordered to pay a total of $675,000 in damages for illegally downloading 30 songs and sharing them online. Stealing music hurts everyone. It diminishes the hard work of songwriters and recording artists, it stifles the careers of new artists and up-and-coming bands, it tapes foreclosure signs on music store windows, and it puts the music industry in danger.
Reporting Industry Association of America (RIAA) stated claims that the music industry is at a 20% revenue loss since 1999. Senior, Briaja Lloyd fears that music piracy stifles her possibility of breaking into the music industry. “I’m an aspiring singer, and I don’t want anyone stealing from me.” Perhaps the lack of remorse for stealing music stems from the widespread misconception that illegally downloading music won’t personally affect you. Once you download music to your computer, you have opened yourself to security breaches, viruses, and programs that can contain tracking devices and spyware that expose your computer and personal information. “ I used Limewire once and my computer got a virus. I immediately stopped using Limewire and opened up an itunes account,” said A.S.B. Advisor, Mr. Camacho. Many people feel that music should not be exclusive, and that there is no validity to the idea that music is private property. “It’s not like stealing a car or a hat, you can’t steal something you can’t touch,” says senior, Oscar. Is illegal downloading wrong? The answer to this question depends on your personal beliefs and
over-weight gaga?
S
he is the woman who made sense of the music industry in a digital age by selling albums for 99 cents and building a digital footprint of record proportions (22 million Twitter followers, 50 million Facebook friends). In LittleMonsters.com she developed a fansite that has constructed a whole new relationship within online communities. So far, so commercial. But now she has a wider mission. Pursued on her current tour by pseudo-anxious
moral convictions. Is illegal downloading against the law? That answer to this question, regardless of how firmly you disagree with it, is yes. Regardless of how you feel about illegal downloading, there is no escaping the fact that it is illegal and punishable by law. RIAA states that criminal penalties for downloading copyrighted music can be as high as five years in federal prison or $250,000 in fines for just one song. There are alternatives to illegal downloading. It is legal to download music from reputable sites that have permission to distribute music, such as iTunes, Napster, or Rhapsody. Most songs costs about one dollar, but there are also free songs that are available to download. $675,000 is much steeper a fine than the $30 you would have spent on the same music. Musicians have a right to the music they create. If mass illegal downloading of music does not stop, the music industry will continue to suffer.
Shawn Banks, EDITOR-IN-CHIEF
commentary about her body shape – toothsucking about her slenderness has been replaced by hand-wringing about weight gain – she has launched a typically in-your-face fightback by posting pictures of herself in her underwear and discussing the eating problems she reveals she has wrestled with for years. Her fans, the little monsters of her website, have responded in all their diversity. Lady Gaga is sometimes dismissed as a new-model Madonna. But Madonna has never dared to be big. Cathy Thomson
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FROM LADY GAGA TO DAVID BOWIE HIMSELF, 2013 PROMISES TO BE A GOLDEN YEAR FOR POP MUSIC. CATCH UP ON ALL THE IMPORTANT DETAILS AND READ THE MUSICAL TRENDS WE PREDICTTO SEE OVER THE NEXT 12 MONTHS.
Compiled by Brett Ferrin & Clover Hope
AZAELIA BANKS Title: BROKE EXPENSIVE TASTE Release: Spring 2013
........................................ When she’s not busy dissing out Perez Hilton or fellow upcoming rapper Angel Haze, Harlem-bred rapper Azealia Banks is putting the finishing touches on her eagerly anticipated and long-awaited debut album, Broke Expensive Taste.
david bowie Title: THE NEXT DAY Release: March 8 2013
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The legendary David Bowie is back with his first album of new material in a decade. The Next Day, has been a secret project in making for two years between Bowie and his longtime producer Tony Visconti.
The 66-year old artist is said to have embraced a strong, rock direction with this album. The lead single Where Are We Now? is an introspective and melancholy number, but it is not necessarily indicative of the rest of the album. There were so many new tracks recorded for The Next Day that they are likely to spill into another new album that Bowie will start work on later this year. Unfortunately Bowie has insisted that he has no plans to tour in support of the album.
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Banks’ hype has been steadily building for over a year now, drawing wide-spread attention first with her frenetic club smash 212. The girl’s rapid-fire rap style over 90s-style house beats sparked a new trend in the dance/hip hop world. Broke Expensive Taste is expected to be a fierce collection of uptempos that weave between house music and hip hop, with a strong nod to ‘90s Crystal Waters influences. ........................ "The theme [of my album] is of a girl trying to find 'it'....success! Herself! Her path! The young girl trying to make it! That girl who's at the end of her childhood trying to get a job and make some money, you know? She needs to get what she can get! She needs to go out there and show people she knows how to work for it." AZAELIA BANKS ........................
the hurts Title: EXILE Release: March 8 2013
...................................................................................... British duo Hurts is set to launch their sophomore album Exile on 8 March, signalling a new instalment of moody electro pop and more cinematic music videos. The pair first made headlines in 2010 with their impressive debut Happiness, which spawned the singles Wonderful Life, Sunday and a collaboration with Kylie Minogue called Devotion. It garnered rave reviews and sold more than a million copies worldwide If the new tracks Miracle and The Road are any indication, this second album could be their darkest and murkiest foray yet.
CHER Title: TBA Release: Late March 2013
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It’s been 12 years since we last had a Cher studio album and while she’s doing pretty well for herself as a fulltime Twitter personality, it’s time for the premiere goddess of pop to get back to work.
Cher’s upcoming 26th studio album is expected to be an “eclectic” mix of dance music styles, with the diva already touting it to be as defining as her 1998 album Believe. Her new single Woman’s World, produced by Paul Oakenfield, is a slamming Eurodance anthem. And if that’s a taste of what’s to come, queens, hang on to your wigs. Both Pink and Lady Gaga have confirmed their participation in the Album. Expect more to come.
LITTLE BOOTS Title: TBA Release: Summer 2013
...................................................................................... It's been 4 years since Little Boots released her hit electro-pop debut album Hands and we're glad to report that her long-awaited return has come. The English artist recently tweeted that “we’re just putting the finishing touches to it."” Seriously though, get on with it. “It’s great when you’ve been locked in the studio for ages. At the moment I’ve only got about five people listening to the songs. It’s crazy! You really need to get the music out there and get a reaction. It’s been a while!”
BEYONCE Title: TBA Release: Spring 2013
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All signs are pointing to a massive new era in music for Queen Bey as she prepares to release her fifth, yetuntitled solo album this year.
Following the critically-lauded 2011 album 4 the favoured child of Destiny is threatening a full-bodied return to R&B music with her latest project. In her latest interview with GQ, Beyoncé revealed that she’ll be serving up a blend of R&B with rock and soul influences – name checking influences from Prince, D’Angelo, Aretha Franklin, Diana Ross and a bit of 60s doo-wop music.
........................ Beyonce describes the album as a combination of her last LP 4 and 2008's I Am... Sasha Fierce with an added amount of "Sensuality" and "Empowerment." ........................
Collaborators on board include Pharrell, Timbaland, Justin Timberlake, The-Dream, and Azealia Banks.
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LADY GAGA Title: ARTPOP Release: Spring 2013
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She took the pop world by storm, hurricane and all the forces of Mother Nature, but Lady Gaga has uncharacteristically pulled back from the limelight a little to work on her third studio album ARTPOP.
Gaga has teamed up with producers from her first two albums Fernando Garibay, RedOne and DJ Shadow. She has also collaborated with electronic dance music artists Zedd and Madeon. The pop artist mused on her social networking site Little Monsters that the album will be released in two volumes, one bearing more commercial material and the second more experimental cuts.
the wanted Title: THIRD STRIKE & TBA Release: May 2013
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After enjoying a stellar 2012 the British group decided against releasing their third record (Third Strike) so they could allow themselves time to perfect their new music. To make up for stalling the release, they have now promised their followers two records over the next 12 months.
BRITNEY SPEARS
JUSTIN TIMBERLAKE
Title: TBA Release: Fall 2013
Title: 20/20 EXPERIENCE Release: March 19 2013
The American popstar garnered plenty of praise for her 2011 killer Femme Fatale and now Britney's set to focus on music again in 2013.
By now you might’ve already stumbled on mixed reviews of his comeback single Suit & Tie (featuring Jay-Z). But I’m here to tell you that this is all going to be worthwhile.
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Although not much is known about the new album, it was teased on the X Factor that Britney was back in the studio with hit producer Darkchild, who had produced smashes like Lady Gaga and Beyoncé’s Telephone. Other names involved in the project so far include Danja (who produced Britney’s 2007 album Blackout) and Grammy-nominated songwriter Elijah Blake (Usher’s Climax). Spears herself has stated that she’s working with “new, inspiring producers” for her eighth album. Is the world ready for urban Britney 2.0? 6 • JANUARY 2013 • PULSE
........................ " I'm fascinated with the decay of the blonde pop icon and how culture loves to build and give birth to fantasies and then destroy them and what that means. It's something I want to explore on my next album." LADY GAGA ........................
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It has been over six years since JT released the brilliant FutureSex/ LoveSounds album (with the help of producer Timbaland) and frankly, while the masses are still expecting a sequel to SexyBack – I think the future for Justin Timberlake lies in classy, more mature soulful pop. Suit & Tie is a stylish, R&B slow jam that recalls a few seductive singles served by Robin Thicke. But if FutureSex/LoveSounds is anything to go by, JT could well have a few different sounds and styles percolating in this project that we aren’t expecting.
sky ferreira Title: I'M NOT ALRIGHT Release: TBA
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In 2009, aged just 17, Sky Ferreira signed to Polydor in a huge deal. They threw the kitchen sink at promoting her debut single One. It was A-listed at Radio 1. It entered the chart at No 64. Ferreira started again. She hit gold this year with the Dev Hynes-produced Everything Is Embarrassing, an uptempo piano ballad that sounded like pop decomposing. It was universally praised and landed on nearly every critics "Best of 2012" list. A brandnew debut album, I'm Not Alright, could propel her to pop's top table. The album is anxiously overdue however. Last March Sky had promised the release of the Album, only to announce a delay soon after....which was followed by another delay. An EP titled Everything is Embarrasing will be released in March of this year and is featuring two brand new songs. This small treat will have to hold us over till the full album arrives... hopefully sometime this year.
music trend
............................ by James Wolfson ............................
predictions
But don't hold your breath.
people who made very good eps in 2012 will make very good albums in 2013
...................................................... Recently, we burned the end-of-year EPs by Solange, Katy B, Azealia Banks and Haim on to a CD-R and realised we had made the album of the year. They're all releasing full-lengths soon, meaning 2013's end-of-year lists are likely to be full of artists you were reading about last spring. The immediacy of releasing music on the internet means, perversely, that new bands progress much more slowly, with an increasing number of artists following the route of: mixtape; free EP; debut album; deluxe edition of album with shonky free tracks tacked on for an extra £11.99. Bad news if you're expecting a Joey Bada$$ record before 2015.
british producers will save amerian pop music ...................................................... After two years of EDM-influenced pop, British producers will set the charts back on course. Surrey youngsters Disclosure are likely to turn to big-bucks pop production
after they finish their own UK garageinfluenced album next year. Julio Bashmore, whose "swashbuckling house" found a home on the Jessie Ware record, and Jamie xx, who has already produced for Alicia Keys, will find themselves called upon by more US acts willing to take a risk. With any luck, Bieber's next album will sound like room two at the Warehouse Project.
guitar music will make a comeback
...................................................... Last month, Kiss FM's programme director said he expected guitar music to return to radio playlists in the near future. The corners of the internet that cheerlead moments like this as if they were victories for the common man got very excited. But Kiss, an R&B and dance station, said they expect new guitar music to be "a fusion of something we will all be able to play". This has already started, and is producing some of the worst music in history. Bands like Fun and Of Monsters And Men have fused twee art-rock with the production values of RedOne. Worryingly, they are the future.
90's r&b will go even more mainstream
...................................................... Scan the BBC Sound Of 2013 list and almost every artist feels compelled to reel off their R&B influences. It's difficult to have a night out these days without enduring repeated plays of R Kelly's She's Got That Vibe. This can only end one way: an ITV1 special. The show will be entitled Jumpin' Jumpin'. It will be presented by Kate Thornton and feature McFly, Olly Murs, Little Mix and a reformed 5ive performing their favourite early90s slow jamz.
bashment will be the new 90's r&b
...................................................... Unlike R&B, bashment has never gone away, with artists such as Jamaica's Popcaan and London's Stylo G turning out big carnival tunes in 2012. But now it's becoming the party music of choice for under-30s who scream along to Beenie Man's Who Am I. Expect big tunes from London-based vocalists Lea-Anna and Smoodface.
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AFTER 25 YEARS WE STILL ............................................................... AN INTERVIEW WITH THE PRINCESS OF POP kYLIE mINOGUE by paul haegan Over the course of the 25 years what sticks out as especially memorable? KM: God, the first time I heard “Loco-motion” on the radio was a moment I will never forget. There was a segment on the radio called “Top 8 at 8” and listeners would call in and request a song. So I had gathered around with my family. It was like, “At number eight is…” something, something. “Number seven is…” We got halfway and had gotten more and more dejected. By number two, we just literally thought there was no way. And then it was number one! You’ve done so much for K25. What’s the next anniversary for which you’d plan such a big celebration? KM: Babe, I’m not planning one in a hurry! It’s been a big year. It’s been great, and I know that fans have loved it and appreciated all the extra effort we’ve gone to with it. But I think it might be a while before we do a another big one like this. And, hey, that’s assuming I get that far! Is there something specific that you haven’t yet had a chance to do in your career that’s a priority for you? KM: Plenty of things, really. I don’t even know how to say what. I’ve been asked for ages, “what is left to do?” I say, “What isn’t there left to do?” … But what have I specifically not done? I haven’t done a film musical. I mean, I was the green fairy in Moulin Rouge, but I haven’t done a whole film musical.
That would be! The stage musical based on your hits that they put together about a decade ago in Melbourne, is it something that you’d be interested in seeing revived or working on as a film? KM: I’ve been working on a musical myself with William Baker, which may or may not end up being a musical, but i think there’s a lot of scope to do a musical with the amount of songs I have. You need the songs, and I think I’ve got the songs. It’s just finding the right story. And I can’t rush it. It has to be right. I would agree with that you have the songs — even more having heard “Abbey Road Sessions.” I was wondering — especially considering how iconic some of the songs have become — how you and your team approached rebuilding them in a new way? KM: This album, I actually think, it’s been a long time coming, because I’ve worked so closely with Steve Anderson — who is one of the producers of “Abbey Road” — but he’s [also] my musical producer for tours. So we first did a “torch” version of “I Should Be So Lucky” in 1998, which was quite a shocker at the time. [Audiences were] like “What?” People didn’t recognize the song for the first verse and when it got to the chorus — “I should be so lucky…” — there was this ripple of laughter and appreciation, and they got it. And it sounds so beautiful like that. So that was pretty much the starting point for us as in looking for other ways to present the songs, and the only way I’ve been able to do it so far is on tour. … So we’ve experimented.
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Do you have a favorite from among all the “Abbey Road” tracks turned out?
I could not have predicted
KM: I don’t have one, but I think: Obviously, I’m pleased with “Flower” on there. I think “On a Night Like This” is great. I’m gonna list them all: “Better the Devil” and I think “Loco-motion” is really good.
none of us
It’s adorable! KM: It’s come full circle from where I had it in ‘87. I’ve done all sorts of different versions of it: slinky, sassy, whatever. It’s almost gone round to its originator, and it sounds sort more like a ‘60s song [on “Abbey Road Sessions”]. I think it’s a really fun version, and it’s so much fun to do it live like that! It’s got authentic Doo-Wop flavor. In many ways, yours is the story of a very promising acting career interrupted by a phenomenally successful singing career. Considering both the wonderful critical reception to “Holy Motors,” is acting something you’d like to concentrate more on in the future? KM: Yup. That’s the short answer. Yes, it is — because I feel like they occupy a different space — singing and acting. And I feel like the acting side — wherever that is: the acting place — has really been neglected or ended up in the wrong projects, which has put me off a little bit. So, yeah, it’s been really liberating and inspiring to be in “Holy Motors.” I have just loved you on “Fashion Police” this year. You’re charming; you’re funny; you’re insightful. Has it made you consider doing more fashion commentary or comedy? KM: I love comedy. I love it. Love it. Love it. Love it. I’ve had some opportunities to do it in England when it’s for a comedy special or the various shows they have there. But I love that kind of banter. [“Fashion Police” is] Joan’s gig, and I left that show just kind of mesmerized by her. She is such a powerhouse; such a dynamo. It was fun.
And there were no question asked as to, “Am I part of the team?” because they were just like, “We’ll have you! Thanks!” I was like, “Whoa! Ok! Cool!” I mean, it wasn’t like I came from some where gay people were this exotic breed. I mean, you start working in TV — there’s a gay hairdresser, gay make-up artists. So I’d always been around gay people. But I didn’t ever foresee that I would be a gay icon. I mean, I’m even a bit uncomfortable using the term myself but that’s the term that is used.
the last twenty five years,
know what’s around the corner
Oh, and you are! KM: I feel like my gay audience adopted me, and I love that. And I love that it was very organic. In England, at a certain point, they were saying companies were marketing toward “the pink pound” because [gay people] had expendable cash and would buy this, this and this. At that point, I thought, “Oh, I’ve never done that.” … I was just really thankful that there’s nothing fake about it.
We’ve seen you in so many great looks over the years, but I was wondering — when you picture yourself in your mind’s eye: what are you wearing? A fabulous gown? A show costume? T-shirt and jeans?
This next question might involve some guesswork: Is there anything that you’d like to tell your fans about what to expect from the next 25 years?
KM: In my mind’s eye? I’m probably naked. Probably stripped of everything and just a blank canvas. I don’t know because, obviously, I think it is within me that I am that showgirl persona. There have been periods in my past when I haven’t worked for a bit, and I remember my girlfriends saying, “Can you just get a job? You’re really exhibiting yourself around here.” I was with my girlfriend at [a swap meet in the ‘90s], some music was pumping, and I started doing a thing up and down. [Minogue pantomimes dancing.] And that’s the time I think of when I’m describing that person [inside] me. So I’m a little bit of everything up there. If I had to choose one look that would define me — I can’t. I don’t pretend to be a chameleon; I am. Even if I did not have this job, I don’t think I’d show up for work looking the same every day.
KM: Oh my God! You saved the most difficult to last. I don’t know what to expect myself. I really honestly do not know. That’s fair. KM: I could not have predicted the last year or the last twenty five years. All I know is that none of us know what’s around the corner. And I think I’ll take whatever is thrown my way — good, bad or ugly — and try to make the most out of it. Fabulous. This has been a pleasure. Thank you so much. I can’t say how much I love your music.
What has the support of the gay community over the years meant to you?
KM: So if you’re asking me questions that I find hard, would it be hard if I asked you, what’s your favorite song of mine?
KM: ‘Cause there have been no questions asked.
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A quick look back at Kylie’s albums and greatest accomplishments from 1987 to now.
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- OCT 1991 -
LET’S GET TO IT
- SEPT 1994 -
KYLIE MINOGUE
- MARCH 1997 -
IMPOSSIBLE PRINCESS
- SEPT 2000 -
LIGHT YEARS JUNE 2000 Releases SPINNING AROUND and wears her infamous hot pants
- NOV 1990 -
RHYTHM OF LOVE
August 1994 Releases CONFIDE IN ME
- OCT 1989 -
ENJOY YOURSELF
April 1992 Releases the hit ballad FINER FEELINGS
Dec 1987 Releases I SHOULD BE SO LUCKY
JULY 1987 Release of 1st Single THE LOCOMOTION
KYLIE
April 1990 Releases BETTER THE DEVIL YOU KNOW
- JULY 1988 -
No, it’s not. But I will say, listening to “Abbey Road Sessions,” the voice and piano re-imagining of “Come Into My World,” it brings tears to my eyes. I was listening to it on the way down here, and I was just like…[Kylie and I sigh wistfully in unison.] KM: When I was listening to the mixes — when they were first finished and you’re listening to it on headphones, I was transported… It was so lush, and it just filled your head. Thank God it worked. It worked beautifully. I could really feel your emotion. Your voice is so eternal and youthful. Not a stitch lost between “Abbey Road” and earlier recordings. I’m amazed. I know you probably hear “yays” and praise all the time… KM: No, I don’t, actually. Sometimes all I hear is the other stuff. But that’s really nice to hear. Well I hope that you hear more of the good stuff! KM: With that kind of recording, when I’ve dropped that kind of moment into a show, it’s funny, because afterward people will say, “Oh, you know that part where you just sat down and it was just you and the piano? We loved.” And people will think that that was more difficult for me, or very brave and exposing. And it’s the other way. That’s actually easier for me: to just communicate the words of a song, perform it with emotion and be intimate with it — instead of wearing crazy heels, a ridiculous dress, clambering over six naked guys and doing a hula hoop and a double twist at the end [while] trying to sing a song and make it sound like the record. … People go, “Pop, schmop!” but actually it’s really hard work. So it was so great to finally be able to do an album’s worth of material that is a different type of performance, and one that I actually feel comes very naturally to me. Paul Haegan
For more information go to Kyliecom/timeline
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- JULY 2010 -
- OCT 2013 -
MAY 2012 Releases TIMEBOMB
ABBEY ROAD SESSIONS 2012 Marks Kylie’s 25th year in the music industry
2011 APHRODITE LES FOLIES WORLD TOUR
APHRODITE JUNE 2012 Releases ALL THE LOVERS
X
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MARCH 2012 ANTI-TOUR
- NOV 2007 -
2006 After overcoming breast cancer Kylie goes on SHOWGIRL HOMECOMING WORLD TOUR
- NOV 2003 -
BODY LANGUAGE 2004 Grammy for Best Dance Recording
SEPT 2001 Releases her biggest single: CAN’T GET YOU OUTTA MY HEAD
FEVER
DEC 2004 Releases her hit ballad: I BELIEVE IN YOU
- OCT 2001 -
< REVIEWS >
magic hour scissor sisters
It’s been a long two years since the Scissor Sisters unleashed the near-perfect Night Work on the pop world. Since then, the genre has seen some major disappointments (see: Madonna & Lady Gaga) but luckily the band is back in fine form with Magic Hour, their most eclectic record yet. Stylistically, Magic Hour covers more ground than your average pop album. There are plenty of tracks primed for club play, a few slower, borderline-ballad tracks and everything in between. The band worked with a large number of contributors on the record (everyone from Boys Noize to Pharrell), leading to a clash of sounds that somehow still manages to come together as a cohesive record. Things start off strong with Baby Come Home, a piano driven track that is sure to reignite comparisons between the Scissters and Elton John. The track has real soul and one of the best hooks on the record, not to mention relatable lyrics about a lover who stays out just a bit too late at night. The campy Let’s Have a Kiki literally starts out as a telephone message that quickly turns into a dance track that sounds as though someone tossed Madonna’s Vogue and RuPaul’s Supermodel into a blender with an extra helping of club beats and ridiculous lyrics. This song is set to become a staple of gay clubs for approximately the next 100 years, so if that’s what the band was aiming for they succeeded. Best In Me brings back the dancehall sounding beat of Keep Your Shoes On, but offers far more introspective
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lyrics. It’s one of the albums more serious moments alongside Secret Life of Letters.
Aguilera’s music with her warm and embracing TV presence. [PHIL MONGREDIEN]
If dance clubs had a unique brand of gospel music, Somewhere would be a standard. Filled with soaring synths and a buzzing drum and bass track, the song is a prime example of the band’s ability to create simple pop songs that really stick with you. Magic Hour is easily one of the best pop records in 2012. The album covers an insane amount of musical terrain, offering something for anyone who craves the kind of song that will get stuck in your head and never leave. While the album features more collaborations than ever for the group, they’ve largely maintained their uniqueness, crafting a damn fine record in the process. [DAMON LOUISE]
DOWNLOAD: My Body | Blank Page | Army of Me
DOWNLOAD: Let’s Have a Kiki | Baby Come Home | Somewhere
LOTUS
CHRISTINA AGUILERA Don’t let the spiritual rebirth title of Xtina’s fifth LP fool you. Christina Aguilera has only one religious affiliation – the cult of the voice. And she has a great diva theme to rap her pipes around: surviving a divorce. “Spin around in circles on my middle, middle finger,” she sings on “Circles.” Producers like Shellback and Max Martin give her top-line tracks to body-slam, but, sadly, her bombastic breakup ballad with Blake Shelton, “Just a Fool,” sounds more like a battle round on The Voice than a friendly duet. It’s just one very telling moment where this vitriol-tsunami of a record misses a chance to connect
electra heart marina & the diamonds
The second studio album from Marina Lambrini Diamandis finds the mercurial Welsh singer/songwriter assuming the role of diva in waiting, trading in the ballsy, quirky retro-pop of her 2010 debut, Family Jewels, for the glitzy (and still relatively ballsy) electro-thump pomp of Ke$ha and Lady Gaga. Produced by Dr. Luke
(Katy Perry), Liam Howe (Sneaker Pimps), Greg Kurstin (Lily Allen), and Rick Nowels (Madonna), Electra Heart is a brooding, sexy, desperate, overwrought, and infectious record that’s both aware and unashamed of its contrivance. In short, Diamandis is trying to expose the artifice of bigbox pop music by using its own voice, and despite the obvious trappings of the concept, she does a fairly respectable job. Her resonant operatic voice is expressive enough to make a lyric like “Candy bear, sweetie pie, I wanna be adored/I’m the girl you’d die for,” from the capricious opener “Bubblegum Bitch,” feel less like a floozy come-on and more like a malicious schoolyard taunt. When she sticks to that persona, as she does on standout cuts like the Lykke Li meets “Viva la Vida”-era Coldplayinfluenced single “Primadonna” and the saucy, Lana Del Ray-inspired “Teen Idle,” Electra Heart beats with the feral blood of an army of disenfranchised high-school loners coming into their own, but deeper, more depressive cuts like “The State of Dreaming,” “Living Dead,” and the grim, dancefloor - ready downer “Homewrecker,” despite their catchy melodies, clever wordplay, and meticulous, radio-savvy production, reveal the lonely rebel, defiantly eating lunch alone, secretly wishing for acceptance. [DORIAN LYNSKEY] DOWNLOAD: Prima-Donna | How To Be A Heartbreaker
heartthrob tegan & sara
These twin sisters from Calgary worked the jittery end of the coffeehouse throughout their twenties, crafting a sharp folk-rock sound that was a touch emo, but still Canadian-
modest. But now, at 32, the Quins have decided to get sweaty. Their seventh album is a veritable bouncy castle of lush, up-to-the-minute indie synth-pop and blown-out radio choruses, less fussy and more whee than anything they’ve done. Producer Greg Kurstin (Ke$ha, Kelly Clarkson, etc.) surely deserves some thanks for the dance-floor churn. But the duo draw you as close as ever with their bittersweet silk-over-sass harmonies. Emotional processing should always be so liberating.[JAMEY BLAKEN] DOWNLOAD: CLOSER | I WAS A FOOL | GOODBYE, GOODBYE
suit & tie
justin timberlake ft. jay-z Among other virtues, Justin Timberlake’s first new single in six years is utilitarian: a gift to the world’s wedding DJs. It’s a 21st century “Puttin’ on the Ritz,” an ode to dressing to the nines and going dancing that will be soundtracking nuptials, proms, and other formal-wear occasions for the foreseeable future. It sounds the part. Co-produced by Timberlake’s longtime maestro Timbaland, “Suit & Tie” is natty – as expertly tailored and crisply pressed as a high-end tux. It opens with a fake-out – Timberlake drawling “I be on my suit and tie shit,” over a woozy, downtempo synths – before segueing into the song-proper: an airy, swinging groove, with tinkling harps, finger-snap percussion, and tooting brass. There are traces of R. Kelly’s Chicago-stepping songs, Robin Thicke’s neo-Seventies soul, and, of course, the beatific Michael Jackson of “Rock with You.” But there’s no mistaking the JT touch. [BRENT BARNEY]E
The great thing about Ellie Goulding is that when you strip away all the intricate electronic production, the core of her songs revolve around simple piano and acoustic guitar. Indeed, Ellie treated her audience to several acoustic renditions throughout the night. “I Know You Care” and “Guns and Horses” provided a nice emotional break mid-set, while her cover of Elton John’s “Your Song” inspired the sold out arena into a three minute sing-a-long during the encore. It wasn’t all down-tempo though. After a tricky key change from “Only You” into “Under The Sheets,” Ellie played her most recent successful single, “Anything Could Happen.” While still a relatively fresh cut in the States, the London crowd immediately squealed with joy upon hearing the catchy intro riff with Goulding’s chopped vocals. The Herefordshire native also switched it up a bit at the end with a dubstep outro on “Lights” that highlighted the influence this particular genre has had on her over the past year or so. For me, the absolute highlight of the night was actually her closing song of the evening, “Starry Eyed.” Of any song from her first two albums, this one transitions most exquisitely from studio to stage. The additional piano trills (reminiscent of the infamous Russ Chimes remix) added during tonight’s live performance helped quite a bit as well. I remember seeing Goudling’s first few releases on New York indie Neon Gold back in the day and it’s truly amazing to see how far she’s come. [CORY MATTHESON]
For more information & tickets visit ELLIEGOULDING.COM
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< In the MIX >
the secrets of my success
Katy Perry crowd-surfing. I thought: "OK, this will definitely never happen again, so let's remember this for all time."
Making great pop is like making a great ham sandwich … It's incredibly easy to do, but hard to do perfectly. I'd struggle to make a perfect ham sandwich because I never make them, whereas pop music comes naturally to me – it's what I do every day.
EDM has got an unfairly bad rep … What's happened in America with dance music has had an amazing knock-on effect. Even the most underground DJs … they might not be up for being billed alongside me or Avicii or David Guetta or whatever, but they've told me their bookings have increased.
Growing up in Britain helps you make good music … In Britain you know there are people waiting to tear your stuff apart, so it's important for me to know that my music has subtleties and depth to it. If anyone slags it off then they obviously haven't picked up on those things. Growing up around British music you realise how much depth there is to it … my stuff is different to the likes of Pitbull for that reason.
I trade musical favours like cattle … I can't remember the last time I did a remix for actual money. For me I try and get a good swap. I remixed Spectrum for Florence in exchange for a vocal part from her … it's old-school but it worked out beautifully. Every remix I've done in the last couple of years has been a swap for some other musical thing. As for money, that's not even a factor – you could not buy me to remix one of your records.
Female vocals make for the best dance tracks … They're always at the perfect frequency to play in a club. A good, soaring, high-mid female vocal bounces off the walls nicely, and it doesn't interfere with the bass or drumbeat. It's basic science. A man's voice is likely to interfere with the bassline which is why you don't hear many classic dance tracks with a male lead.
There aren't many dance producers who could make a record with Florence Welch … I'm not sure I could name one. She's a fan of dance but not necessarily all that's around right now, and she brings an intense credibility to everything she does. To make a track that was worthy of her singing on took extra effort on my part.
Some pop moments are more like outer body experiences … I remember playing We Found Love with Rihanna at Coachella. There was a sea of camera-phone lights and I was up on this big riser, taking it all in. Then I looked down and saw
Computers help people make music – get over it! … There are still people out there complaining that my music is made on computers. But every single band and every single act whose CD you have bought or downloaded on iTunes or listened to on Spotify, they have all used computers at some
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stage! It's the best technology out there, whether you're Björk or Mumford & Sons or Dina Carroll! What do you expect people to do? Sit at home and cut up bits of recording tape? Chart placings mean a lot to me … You can say they don't matter, but if a record I put a lot of thought into got to 93 in the charts I'd be gutted. Whereas if something I just bashed went to No1 I'd be elated. Annie Mac told the Guardian that all of her friends fancied me … If that's true, it's a great compliment. It's the Vegas tan that has done it. When I came to America it made me recognise the benefits of sunlight. Oh, and I also got a good haircut. I used to have a terrible haircut. The best way to judge a track is by a crowd's reaction … Even if you have a big tune, live crowds can get sick of it. It's about the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power. People should give DJs a break … I was misquoted recently saying that DJs just turn up and press play. But I genuinely don't know any DJ who would get any enjoyment out of playing a pre-recorded set. What I meant was that obviously the records are pre-recorded, because that's what disc jockeys do, they play records. You're a DJ! What are you supposed to do? Hire a 20-piece orchestra and get them to perform every song while you conduct? Absolutely ridiculous. Tom Jonze
< rewind > 1983, Madonna's debut album
lthough she never left it behind, it's been easy to overlook that Madonna began her career as a disco diva in an era that didn't have disco divas. It was an era where disco was anathema to the mainstream pop, and she had a huge role in popularizing dance music as a popular music again, crashing through the door Michael Jackson opened with Thriller. Certainly, her undeniable charisma, chutzpah, and sex appeal had a lot to do with that -- it always did, throughout her career -- but she wouldn't have broken through if the music wasn't so good. And her eponymous debut isn't simply good, it set the standard for dance-pop for the next 20 years. Why did it do so? Because it cleverly incorporated great pop songs with stylish, state-of-the-art beats, and it shrewdly walked a line between being a rush of sound and a showcase for a dynamic lead singer. This is music where all of the elements may not particularly impressive on their own -- Madonna's singing isn't particularly strong; the songs, while hooky and memorable, couldn't necessarily hold up on their own without the production -- but taken together, it's utterly irresistible. And that's the hallmark of dance-pop: every element blends together into an intoxicating sound, where the hooks and rhythms are so hooky, the shallowness is something to celebrate. And there are some great songs here, whether it's the effervescent "Lucky Star," "Borderline," and "Holiday" or the darker, carnal urgency of "Burning Up" and "Physical Attraction." And if Madonna would later sing better, she illustrates here that a good voice is secondary to dance-pop. What's really necessary is personality, since that sells a song where there are no instruments that sound real. Here, Madonna is on fire, and that's the reason why it launched her career, launched dancepop, and remains a terrific, nearly timeless, listen. Stephen Thomas Erlewin
A
onna Summer and Giorgio Moroder's breatrough hit "I Feel Love" is one of the most visionary pop hits of all. Its minimal electronic sound presaged all manner of electronic pop and its impact on dance music is incalculable. When Brian Eno first listened to this, he told David Bowie, "I've heard the sound of the future." Thanks to synthesizers and Summer's vocals, "I Feel Love" claimed tomorrow in the name of disco. Kim Pagel
D
.................................................. Madonna's first album is state of the art dance-pop loaded with hits from "Holiday" and "Lucky Star" to "Borderline." Irresistible pop hooks glide across shimmering synth beats to make this a landmark album of the early 80's. ..................................................
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