Posted By Adem / January, 5, 2013 / 0 comments

So before I announce the Top 5 albums in the Top 25 Albums of 2012 list, I thought we’d take a look at what I felt were easily the greatest Extended Play releases of the year.

A lot of albums made an impact in 2012, but it was the E.P. which really came back with a vengeance; more artists vying for the short, precise and to-the-point artform of the E.P. over full length records. People like Kate Nash, for example, delivered solid extended play’s in 2012 but in a year when the EP has obviously made an enormous comeback, there wasn’t room for solid – only spectacular. So here are the five most spectacular Extended Players of 2012.

Better luck next year, Havana Brown.

01. KATY B “Danger”

British choralist Katy B’s 2011 debut album “On A Mission” harboured a few instant hits but was, primarily, a bit of a mixed bag. Although it still remains a decent listen there are a number of turkeys that can’t be avoided, let alone excused. But with the emergence of 2012’s stunning “Danger E.P.” (an E.P. that is – quite extraordinarily – still being offered as a free download via B’s website), Katy has not only teamed up with some of the hottest producers and vocalists the world has to offer for this four-track masterpiece, she’s also managed to retain 100% of herself and her own musical agenda – everything from the razor-sharp lyrics to the way Katy shoehorns this total dub throwback to the 1990’s and manages to also interweave that into the sounds of her guest producers.

Opening track “Aaliyah” plays as a tribute to the work of the late pop star, whilst a hypnotic club-house beat that’s been lifted right out of 1991 thumps along in the background. Jessie Ware takes on the role as guest vocalist on “Aaliyah” as well, a song which pays more homage to the singer via lyrics than it actually does via its production. Aaliyah never sounded this rooted into the world of house and Timbaland – the late singer’s original producer – hasn’t sounded this fresh or relevant in well over four years.

“Got Paid’ sees B teaming up with Wiley and Zinc for a clusterfuck of drum ‘n bass beats and dubstep tidings. To call this the E.P’s only low-point is somewhat insulting to the song itself – the worst song on “Danger” still remains better and contains more creativitey than a number of people’s feature-length albums in 2012. Australia’s own Iggy Azalea takes a rap feature on the Diplo produced “Light As A Feather”, marrying Diplo’s signature clunky-synths and basslines with Katy’s smooth-as-silk voice. Iggy’s rap is inspired and perhaps the least offensive of all of her work – there’s this maddening blend of Ke$ha’s white-girl-trash-rap and Azealia Banks’ hard-hitting, sailor-mouthed potty-storm that really make the song a highlight, but – once again – it’s Katy B herself who takes ownership of the songs greatest moments.

Production appears from Jacques Green on E.P. closer and title track “Danger”, which is by far the most “On A Mission” sounding track here. Thick percussion over a very slow-paced synth, with Katy singing “Yeah you passed my love to the left-hand side – smoked it right down to the roach, so I might as well put it out.” This dark-bass ballad caps off this beautiful E.P. nicely, keeping her old sound in-check but also making sure she’s taking a few steps into the future.

As a whole, “Danger” is a prime example that not only has Katy sharpened her wits since the last time we saw her, she is also now ready to play ball.


02. FLORRIE “Late”

British dominance in the Top 2 – would you expect any less?

The Brits do pop better than most and Florrie, who just so happens to be Xenomania’s in-house drummer and fellow songwriter, delivered the cream in 2012 with her third Extended Play release, “Late.” Easily the best of her three packaged releases, this Xenomania produced romp into pop perfection remains one of the year’s biggest hallmarks.

Opening track “Shot You Down” is nothing short of a revelation, with its psychotically repetitive hook over one of the strongest, most exciting musical build-ups of 2012. The sheer disco-rave brilliance of “Every Inch” – complete with one of the most deceiving and simultaneously rewarding intros of the year – and career hallmark “To The End” (co-written alongside Xenomania and Norway’s Annie), the latter which takes Florrie into a league of pop legend and is probably one of the Top 5 Songs of the Year. The “Late” EP is evidence enough that whilst Girls Aloud have been on hiatus, Xenomania have been crafting their finest with this incredible one-woman show.

Surely 2013 is the year of The Florrie Debut Album™, amirite or am I right?



Remember when I met Solange at Summadayze a few years ago, and I was so drunk that I said “Hello Sunlounge” but it was so loud with the DJ playing before her screaming over the festival PA system that “Beyonce from DESTINY’S CHILD’s sister is DJing up next!!!!” that she couldn’t hear me? Needless to say, I got my photo (thank you) and about ten minutes later, Solange got moved to another stage. I’ll let you fill in the gaps.

Sunlounge Knowles, sister to Beyonce but let’s not mention that ever, surprised us all during the tail-end of 2012 with this magnificent extended-play venture. It’s hard to narrow down ‘the best moments’ from something as blissful as this, but you really can’t go past first single, the haunting “Losing You”, a song that not only snatches Beyonce’s over-bleached skin-weave but then goes to use the CD inlays from unsold copies of “4” to wipe the floor with. “Some Things Never Seem To Fucking Work” is a more aware mid-to-late 1980′s Clive Davis dream – and that middle-8! That rap! “Locked In Closets” seems to be an incredibly classy way of bringing soul and melody back to urban-pop –  this is some Montell realness right here.

“Lovers In The Parking Lot” is almost completely amazing and is only let down by its distractingly repetitive chorus, but all is forgiven pretty quickly with the mind-blowing triple-threat finale of “Don’t Let Me Down”, “Look Good With Trouble” and the ‘Verdine Version’ of “Bad Girls”, which just so happens to be the sexiest Solange has sounded on record.

The E.P. is a sign of things to come and was produced by Dev Hynes, who is currently working with Solange on her upcoming feature-length album, due later this year.


04. PURPLE CRUSH “MadonnaWannabe”

LA’s Purple Crush are one of America’s best kept secrets. Independent Pop at its finest, it was hard work trying to decide which of their two E.P. releases in 2012 was actually the best. Their most recent, the “Bitch EP”, remains a highlight and consistent go-to on the iPod, but it was the MadonnaWannabe project which was dearest to my heart.

The project that saw the duo not only take on some of Madonna’s most loved songs (“Physical Attraction”, “Live To Tell”), but also produce two original songs: the EP’s title track “MadonnaWannabe” and the incredibly popular “Reductive (Look It Up)”, which samples that infamous Madonna interview. The great thing about “Reductive” is how much of a banging club tune it is. You could (and people have, trust me) play that to a packed nightclub (you’ll probably get an even better reaction if it’s a nightclub full of gays) and have everybody pulling shapes in no time.

Independent pop like Purple Crush are, often at times, exactly the kind of acts where Commercial pop borrow ideas from. This brilliant duo are just as exciting live as they are on disc; so do a bit of YouTubing and let’s hope we get them out here soon for an Australian Tour.


05. AZEALIA BANKS “1991”

There’s been an interesting backlash with Azealia. A lot of people I’ve spoken to loved “212″ but seem to have gotten lost with the rest of this EP and the subsequent mixtape that followed, the incredible “Fantasea.” After the enormous success of last year’s “212”, Banks came at 2012 in full force with not only that free mixtape, but also this confronting and 1990’s jack-housing EP.

Hearing Azealia say “I’ma ruin you, cunt” in “212” remains one of the best moments in pop of all time, as is hearing Banks name-drop Madonna very cleverly in the funky-as-hell title track “1991.” “Van Vogue” sounds like Azealia teaming up Technasia (an amazing Techno duo hailing from Hong Kong and France that I’ve been following since I was a teenager – they’re very, very bloody good), and the bonkers “Liquorice” seems to live in the same Techno-ballpark, proving that gurlfriend has well and truly been doing her homework.

All of these acts, songwriters and producers that have been borrowing from 1990′s dance, club and rave music over the last two years haven’t quite nailed the old-school definition of Tech-House or Techno quite the way Banks has. But not only has she done that she’s also delivered something extremely fresh to lay on the table. This is, to me, what Azealia represents with her 1990′s throwbacks. She’s a little bit New York House, she’s a lot Detroit Techno, but she’s also a foul-mouthed city girl with a razor-sharp tongue, cutthroat talent as a rapper and the owner of a recordable set of pipes.

What Azealia does with her sound is that she finds this incredibly happy medium where the world of Techno from Yesteryear can flourish amongst urban-stylings and rap-culture of today. What Azealia does with her sound – at least for now – is perhaps where a lot of us thought Nicki Minaj was headed for around the “Monster”-verse era. Don’t get me wrong – I am here for Nicki, I’m just also very happy that somebody like Azealia has finally joined this crazy game of chess we call the Pop Charts, because 2012 would not be the same without the musical peaks she’s bestowed upon us.

A playlist on Spotify.

Posted By Adem / August, 5, 2012 / 1 comments

Here is a playlist of about 55 tracks comprised of 100% Ace Pop that is – mostly – from 2012. Let’s have a look at some of the songs on this Very Good Playlist Even If I Do Say So Myself. If the above widget isn’t working (or is curiously not displaying 55 tracks) then point your browser hurr.

PURPLE CRUSH – Basic Bitch
Brooklyn duo Purple Crush are a big favourite of mine. Their 2011 EP “Welcome 2 The Underground” was one of my most played last year and, if I ever decide to finish my 2011 year round-up’s, a number of songs (including this one) feature throughout that end of year songs list. You should also take a gander at their excellent homage to Madonna’s “Reductive” moment from earlier in the year and also their GREAT cover of Fischerspooner’s “Emerge.” One of the brightest emerging acts (ho ho!) in Pop.

FLORRIE – Shot You Down / To The End / Every Inch
Florrie, as featured in my fun new banner next to Queen Madonna, has released what is by far-and-away the most exciting bunch of pop songs of her career. The frantic soundscapes of “Shot You Down”, to the no-prisoners rave-up of “Every Inch”, to the monumental “To The End” – her defining moment – Florrie is a properly amazing pop star and with each release she trumps herself greatly.

MADONNA – Gang Bang / I’m Addicted / Love Spent / I Don’t Give A
How different a campaign Madonna’s “MDNA” would have been with “I’m Addicted”, the superior dance moment, as its lead single. “I’m Addicted” is the best, freshest thing Benny Benassi’s produced since “Satisfaction” and could have given Madonna the club-pop crossover hit she deserved with this album. Even the Nicki Minaj feature “I Don’t Give A” would have made for a better, more striking first single than “Give Me All Your Luvin’”, which – all things considered – failed to do what it should have for Madonna on the charts because it was the wrong single. The singles should have played out with “I’m Addicted” as the first, “I Don’t Give A” as the second, “Gang Bang” as the controversial third and “Love Spent” as the albums final single. “Love Spent” is one of the most underrated Madonna songs in a very long time; the fact that it contains two completely different choruses has seemingly been lost on its critical detractors. It’s also the most lyrically vulnerable song on the album. And the thing that I love the most about “Gang Bang” is its obvious tribute to that iconic early 2000′s German Hard Trance sound. People teetered with German techno from the 90′s but nobody has really taken direct inspiration from that truly golden era of early millennium rave and that is something Madonna needs to be commended for. The song itself is a little like Madonna doing Neils Van Gough’s stadium-rave anthem “Pulverturm“, but with a lot more vitriol and anger. It’s also the most experimental and forward-thinking thing Madonna’s done since the American Life record and is said to be the final single from the MDNA era.

Portland duo Van Go Lion are another of my big favourites from 2011. This song in particular encapsulates everything brilliant about their pop songs and their “Body Moves” EP from last year is something worth chasing up. Big things coming for them in 2012.

VAN SHE – Sarah / Coconuts / Radio Waves I & II / We Move On
“Sarah” is Van She’s big Fleetwood Mac moment from their incredible sophomore album “Idea of Happiness.” Vocally Nick hasn’t sounded better and on a production front this is their grandest moment to date. A massive review of this excellent album is on the way, I just have to get it right y’know? There’s a lot to say about an album as good as this one, and the other four tracks amongst this playlist that are lifted from the record are a great sample of what to expect when you eventually invest and Buy The Album.

PET SHOP BOYS – A Certain “Je Ne Sais Quoi”
I’m not the biggest fan of PSB’s new single “Winner” but this B-Side is where the money is at. Non-apologetic classic Pet Shop Boys pop. How Very.

GOSSIP – Move In The Right Direction
After “Heavy Cross (Fred Falke Remix)”, this is the Gossip at their very best. A stomping pop song with Xenomania on production credits – not exactly a terrible fusion is it? And the album “A Joyful Noise” delivers exactly what it says it does on the tin.

Imagine if this had been the new Veronicas single instead of “Lolita”? Get this on Australian radio at once.

MARINA & THE DIAMONDS – Lonely Hearts Club / Teen Idle / Valley Of The Dolls / Fear & Loathing
Marina’s “Electra Heart” is one of 2012′s best records and these four songs are a great slab of the cream of the crop to be lifted from it. “Lonely Hearts Club” sounds like it’s been ripped right out of a 1980′s Molly Ringwald movie, “Teen Idle” is pretty much the most incredible thing Marina has ever penned, “Valley Of The Dolls” is eerie with its end-of-the-world talk and Illuminati undertones therefor making it one of the most interesting and captivating pop creations of the year, and then there’s “Fear & Loathing” which, funnily enough, seems to follow similar themes. A full (and completely schizophrenic – you’ll understand what I mean when it goes online), rather lengthy piece reviewing this complexly wonderful album is on the way.

LADY GAGA – Scheiße
Shoulda been a single, my god. The best moment during Gaga’s epic Born This Way Ball.

NO DOUBT – Settle Down
I am here for this song and comeback, yes I am. This is 6 minutes of bliss.

WILLAM BELLI & FRIENDS – Let’s Have A KaiKai / Love You Like A Big Schlong / Chow Down / The Vagina Song
The break-out controversial star from RuPaul’s Drag Race and literally every TV show ever created is also one of the best pop stars to come from the series. Willam’s update on the Scissor Sisters song “Let’s Have A KiKi” manages to outdo the original, her stunning tribute to Selena Gomez and Enormous Cocks is truly touching, her collaboration with Vicky Vox & Detox, a take off-of Wilson Phillips’ “Hold On” that lyrically pays tribute to Chick-Fil-A Chicken, is Current, and of course “The Vagina Song” which really speaks for itself. I am a proud Willam Belli Stan and I will not Rupologise for it.

CASSIE – Queen Of Hearts
How has this not been the biggest Urban single of 2012?

LANA DEL REY – Off To The Races / Blue Jeans (Kris Menace Mix) / This Is What Makes Us Girls / Radio
I had the honour of seeing Lana live a couple of weeks ago and then the extended pleasure of meeting her afterwards (Full review with photos incoming) and I can’t get her out of my mind. “Born To Die” is obviously the album of the year and the tracks I’ve picked from the record for this playlist don’t even do the majesty of the whole record justice. If you haven’t yet, then you should. Lana is EVERYTHING.

This flawless tribute to Deborah Harry is a truly lost gem from the Rogue Traders incredible final album “Night Of The Living Drums.” Second only to “In Love Again” as the bands finest creation.

SANTIGOLD – Pirate In The Water / Fame
Santi’s new album “Master of my Make-Believe” is a revelation, but these two tracks in particular are the records biggest slabs of self-assured Jamaican-tinged punk-pop. “Pirate In The Water” is the lighter pop moment but “Fame” is the lyrical clencher.

THE PRESETS – Youth In Trouble (Green Velvet Remix)
This incredible remix of an already bonza dance song from Australia’s very own is hopefully a nice example of the kind of anti-radio dance music the band started out creating. In its original form, “Youth In Trouble” is this acid-house rave explosion that is exactly the kind of rave I want to be hearing in 2012 and exactly the kind of rave Australian radio weren’t expecting from the boys. An inspired club-cut.

SNEAKY SOUND SYSTEM – Really Want To See You Again
Connie & Angus bat it completely out of the park once again. Lifted from my favourite Album of 2011.

I’m not entirely sure what this electro-infused Chicks On Speed-esque dance bomb is all about but it came on at the end of Sandra’s excellent stand-up album “Everything Bad & Beautiful” and I just had to share it.

The theme-song from Kathy’s new talk show is all kinds of fun and literally makes Carrie Underwood completely redundant. Bitch bye! There’s a MIAMI MIX (!!!!!!) on its way too which you can hear in this video of Kathy & Gloria Estefan singing it together on stage. Amazing.

The playlist also features songs by Muscles, Azealia Banks, The Saturdays, Garbage, iamamiwhoami, Justin Bieber, Queen of Hearts, Loreen, Ricki-Lee, Nicki Minaj, Kylie Minogue, RuPaul and Jessica 6. Each month (or so) I’ll attempt to create a new playlist to share with you on the blog; let me know what you think!


Posted By Adem / November, 29, 2011 / 0 comments


Whilst Florrie’s “Experiments” may not exactly be an L.P, this E.P plays better than most albums people have been sinking their teeth into over the last twelve months. It’s eligibility in the chart is not up for question; at the end of the day if this had just another two tracks on it I would have chucked it way higher because then I could classify it as an album. Alas, it is an EP, and its inclusion in the lower end of the chart is only because of this. I also believe it’s the first time in a couple of years I’ve included an EP in the chart, and my rule generally for any exceptional EP’s I want to include in the final chart is that I will always place them in the lower spectrum. But make no mistake; this EP is flawless from beginning to end and is evidence that Florrie is the freshest, most exciting pop act to emerge from the UK since Girls Aloud.

On Experiments, Florrie not only sings and writes everything but she also plays instruments. Several, actually. Originally starting out as Xenomania‘s in-house drummer, Florrie not only has the monumental songs, she also has a powerful-punch of talent. EP opener “Speed Of Light” is her big Blondie moment (and conjures up the interesting suggestion that whatever Deborah Harry does do next in the recording studio, it should perhaps be done with Florrie), whilst the almost-six-minute powerhouse “Experimenting With Rugs” comes packed with biting lyrics (some of her career best) and a stunning guitar closer in its final 30 seconds that could bring a musically encouraged tear to the eye of the coldest of men.

“What You Doing This For” is mid-tempo glory that combines violins with some really cool The Cars-esque production. Ace single “Begging Me” plays as effortlessly as it did when first released, and the Balearic-bonkers “She Always Gets What She Wants” is almost the EP’s greatest cut. It’s the pristinely gorgeous “I Took A Little Something” that takes the cake though as not only Experiments greatest, but Florrie’s finest piece of work to date.

When this British genius who creates nothing but A+ Grade Pop Music finally releases a full-length album, be prepared for the content to slay all of your faves.