WATCH: The latest Beyoncé video

SingleladiesIt’s disturbing how well this synchs up (even though, as well all know, Lovey is definitely not a single lady).

One question: Since there are only seven castaways, and three are onstage and three are in the audience and one is introducing the act …. who pulled the curtain open?

—  Arnold Wayne Jones

Perry Twins post high energy Houston tribute

While we may continue to honor Whitney Houston’s legacy, I think it’s fair to say we could be a little Whitney-ed out by the constant playing of her cover of Dolly Parton’s “I Will Always Love You” in every tribute since last week’s tragic news. Heck, even Aretha couldn’t come up with another idea at her Radio City Music Hall concert Saturday night. But this just came on my radar. The Perry Twins, who performed at Station 4 in 2009, offer their tribute to the singer with this hour-long mix of deep cuts and big hits. It’s a welcome reprieve from the overuse of ballads used to remember her by, but also a reminder of her contribution to the dance floor. She was the Queen of the Night, remember?

—  Rich Lopez

ALBUM REVIEW: Of Montreal, Seal, The Twilight Sad, Metallica, Ultra Dance 13

Pop falters while rock and folk ascend to strong releases

RICH LOPEZ  | Staff Writer
lopez@dallasvoice.com

Of Montreal
Paralytic Stalks
Polyvinyl Records

Kevin Barnes and company get off to a wobbly start with “Geld Ascent” in OM’s new release. If static and feedback had a child, this would be it. It feels more like a shock move to explode the opening, but they fall back into the more familiar sound with second track “Spiteful Intervention.”
I never know what OM sings about, but they know how to create a song that’s feel good in sound and yet it’s never, ever dumbed down. They don’t write lyrics as much as they create eclectic odes set to music in tracks like “We Will Commit Wolf Murder” or “Authentic Pyrrhic Remission.” I wanna ask what the hell that means, but then I’m entertained to the point of forgetting my complaint and just want to groove along.

The thing is, it’s nothing new. OM delivers the energy, just more of the same. Quirky lyrics, falsetto breaks and confetti like puffs of music are much like what they’ve done in 2010’s False Priest or 2008’s Skeletal Lamping. I don’t want them to change their personality, but they’ve gone so off the chart with obscurity, they sound like they’ve gotten stuck there.

Two and half stars (out of five).

Seal
Soul 2
Reprise Records

The former Mr. Heidi Klum proves his voice is topnotch as he revisits soul classics again.. His voice is complementary to the covering of tracks by predecessors such as Gaye, Green and Pendergrass. The real question is why?

Seal’s voice is like comfort food. It’s easy to relish in and this sound works for him, but for a set of soul classics, the album is on automatic pilot. There’s nothing quite wrong with his rendition of “Love T.K.O.,” but he never sounded present in it.
There was also an immediate safeness to the album. The track selections are obvious like “Let’s Stay Together” or “What’s Going On” that plays uninspired.

He’s basically following the Rod Stewart reinvention strategy, but I’d rather hear Seal get back to his original stuff that was always an edgy alternative to contemporary pop.

Two and half stars.

The Twilight Sad
No One Can Ever Know
Fatcat Records

In their third full-release (six overall), these Scottish indie rockers deliver a grand episode of shoegazing. Singer James Graham’s thick accent is a character in itself, but strangely inviting. They head into darker territory, but opener “Alphabet” sets an inviting tone off the bat.

The move to a slightly harder sound is a wise one. They thrive with pumped up energy but don’t neglect their folkish sensibilities. Instead, it’s smartly elevated with these additional layers of sound.

Titles like “Sick,” “Dead City” and “Kill it in the Morning” sound depressing, but there is a wealth of strongly structured tunes that are engaging and cohesive. Even when they veer into Smiths territory with the dreamy “Don’t Look at Me,” they keep a strong sense of self and pull off a killer album.

Three and half stars.

Metallica
Beyond Magnetic EP
Warner Bros. Records

Released as an accompaniment to their 30thh anniversary concerts, this EP is a set of four songs recorded during their 2008 album sessions for Death Magnetic and is intentionally released in a more session style rather than high production value.
With signature guitar and drum rampages, Metallica doesn’t falter with first track, “Hate Train,” and its force is like a fist to the face. That’s a good thing. Skip over the annoying repetition of “Just a Bullet Away” (or listen to it below), but soak in and worship the muscularity of their chord action in “Hell and Back.” If this song were on Scruff, he’d be a haggard-faced muscle daddy still worthy of a “woof.”

Final track “Rebel Babylon” closes out this small chapter with Herculean strength and Hetfield just pushes his gritty vocals to the max and the band lays down the rock that requires either a head banging or a fist pumping — or maybe both at the same time.

Three stars.

Various Artists
Ultra Dance 13
Ultra

The grooves are in overdrive in this 13th volume of the popular dance compilation. Big names like Gaga, Britney Spears and Pitbull are placed next to budding dance DJ/producer tracks by Avicii and Calvin Harris. However, it left me asking, “Where’s the party?”

Remixes of Jason Derulo’s “It Girl” and Lady Gaga’s “You and I” never find their right footing and Danny Verde’s Gaga mix of her ballad stuck her vocals in peanut butter while the beat has left it behind.

The label was good to leave Spears’ “Til the World Ends” alone as it has enough weight to be a great party song and that chant alone needs no help. Such restraint is barely held through the rest of the album — and there are 24 tracks. Alexandra Stan’s “Mr. Saxobeat” doesn’t suffer much from its extended mix and is a fine listen that doesn’t beat into your head like a jackhammer.

Steve Aoki’s “Earthquakey People (The Sequel)” is absolute torture without remix, but it’s also representative of the album — soulless and pumped up without reason.

The other barely saving grace for this bit is deadmau5’s entry at the very end. “Raise Your Weapon” doesn’t rape your ears with a sonic force. It calms the energy but still goes into erratic directions that are fascinating. Otherwise, create your own dance mix if you need a party.

One and half stars.

(NOTE:This is a slightly longer version of the mix than on the album.)

—  Rich Lopez

Watch: Tons of F**king Sequins, The Remix

Sequinz

You knew a remix of THIS had to be coming.

Jake Benson (remember his Moment of Crazy?) drops it, AFTER THE JUMP



Towleroad News #gay

—  admin

Glee Cast – Teenage Dream Remix


(Tipped by JMG reader Jeff)

Joe. My. God.

—  admin

Watch: Glee ‘All-Guy’ Teenage Dream Dance Remix and Video

D_criss

DJ MichaelAngelo (remix) and DJ DigiMark (video) sent along this unofficial dance remix and video of the all-guy "Teenage Dream" from last week's Glee.

Watch it, AFTER THE JUMP

The track, which is set to become Glee's biggest-selling track of all time, likely sold close to 200,000 copies last week.

Reuters reports

"The track was released on Tuesday and is on course to sell perhaps 150,000 to 175,000 downloads by week's end on November 14, according to industry prognosticators. According to Columbia Records, which releases 'Glee's' music, the track did gangbusters on its first day, racking up 55,000 in sales via iTunes — marking the highest first-day sales for any 'Glee' track. Currently, the cast of the Fox TV show saw its best sales week with its debut single, a cover of Journey's 'Don't Stop Believin'.' It bowed with 177,000 according to Nielsen SoundScan upon its release in May of 2009."

In an interview with AfterElton, Glee creator Ryan Murphy confirms that the show just signed a deal with Darren Criss and the bullying storyiline should continue through the end of the season, with ramifications on everyone.

Said Murphy of the single: "That’s our biggest-selling single ever in the history of the show and the fact that it’s one boy singing to another boy on a network television show and it’s a No. 1 song and it sold probably 200,000 copies in one week is a very profound thing that I’m personally very proud of. I never expected that to happen. I’m catching up with the week that was and figuring out, OK, now we have this great commodity in something that people have really embraced. It just shows to me that people are hungry for that."

Watch the unofficial dance remix and remixed video, AFTER THE JUMP

Glee Cast – Teenage Dream (DJ MichaelAngelo's Sing Mix)(DJ DigiMark Remix Video) from DJ DigiMark on Vimeo.


Towleroad News #gay

—  admin