It’s been a minute since I’ve DJed at The Mermaid, long enough where I hadn’t seen how the corner near the DJ booth now looks like an underwater cave (see pic above). It’s super cute. Anyhow, last night was an open format set, so you heard everything from new Alison Goldfrapp and Tyler the Creator to oldies from Brenton Wood and Creedence Clearwater Revival to everything in between. Set list is below.
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If you’ve been paying attention to the singles that Alison Goldfrapp has dropped this year, then you have an idea of what to expect from the singer’s new album, Flux. It’s a pop-minded album that does, at least at times, recall her work with Goldfrapp, the duo that bears her name. Still, “Reverberotic” and “Find Xanadu” aren’t the only jams on this album and, if you’re a fan of those two songs in particular, definitely get Flux in your queue asap.
Flux is Goldfrapp’s second solo album. Two years ago, she released The Love Invention, a dreamy disco collection that was one of my favorite albums of 2023. With Flux, the sound is a little more rooted in the singer’s legacy while maintaining a contemporary sound.
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For singer/guitarist Ramesh Srivastava, there are distinct eras of Voxtrot, the band he fronts. The first he references centers around the band’s 2005 EP, Raised by Wolves, where he sings about his first major love and heartbreak. “To me, those songs are very clearly that and don’t really have much poetic diffusion,” he says on a recent video call. With the band’s self-titled album, released nearly 20 years ago now, Srivastava sang about the pressure he says he felt being in a group with a record deal and big opportunities before them. “It was a very challenging time, so I feel like that album is lyrically mostly about my psychology. It’s not really about other people,” he explains.
Emerging from Austin, Voxtrot’s first run coincided with the rise of music blogs, file-sharing and early social networks like Friendster and MySpace, what people now might fondly refer to as “the good internet.” The band gained a buzz online, as well as in traditional media, with the EPs leading towards their 2007 album. While a couple singles followed the debut full-length, Voxtrot split in 2010.
A 2022 reunion and successful tour led to recording Voxtrot’s recently-released full-length, Dreamers in Exile. In the 12 years that passed between the band’s first and second lives, plenty changed, including Srivastava’s lyrical approach. “Now, I feel that I try to talk a lot about my own experience, to talk about my experience, being gay and of mixed race and how weird it is to be that and be from Texas and how hard it is to be that anyway,” he says. “I try to talk about my unique human experience, but also constantly bringing in stories and references of people and works of art that inspire me.”
He adds, “I’m really into creating a world that is both deep and meaningful, but is also aesthetically enjoyable.”
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Over the weekend, I realized that it’s been a few months since I made a mix, so this is a quick set with some dance tunes and some rock tunes. It’s mostly new music, but I threw in a couple oldies that fit my mood. There’s no real adherence to genre because that’s not how I listen to music at home. All of the artist names on the set list below link to where they’ve been previously mentioned on Beatique.
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At a certain point, getting stuck at JFK isn’t so bad. By midnight, the crowds are gone. After 2 a.m., most of the few travelers left are sleeping. I don’t know how they do it. The chairs at the gates are uncomfortable and I can’t bring myself to stretch out on carpet that people have been trampling over all day. So, I pop in my earbuds and finish an assignment that’s due on Monday while bobbing my head along to the Bob Vylan and Kneecap albums on my laptop. Then I remember that Saint Etienne’s latest, and last, album, International, came out on Friday, so I look it up, buy a digital copy, and tune in.
International is a perfect finale for the long-running, British indie pop trio and, really, the ideal music for this very strange night. Saint Etienne have spent the past 35 years making music, and creating an image, that blurs the past, present and future. Their breakthrough single, “Only Love Can Break Your Heart,” was a cover of a Neil Young song reconfigured with a Burt Bacharach-meets-Stone Roses sensibility. From there, Bob Stanley, Pete Wiggs and Sarah Cracknell made mod pop and house jams, flirted with Eurodance and experimental electronic music and played with psychedelic and ambient sounds, all the while showing a real reverence for both the most commercial and underground histories of 20th and 21st century music. As International is an intentional final album, it draws from all of the influences that have appeared in Saint Etienne’s music since the dawn of the 1990s.
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IDK how much I should explain here, but I’m just going to assume that we don’t have the same timeline and don’t hear all the same music in our scrolls. Confidence Man is an Australian dance-pop group with a weirdo KLF sensibility. If you go to my DJ gigs, you’ve probably heard “Angry Girl” many, many times, often with The Rapture “House of Jealous Lovers.” Jade Thirlwall is a British singer who I don’t really know much about outside of the Wikipedia entry I read. Last month, they released a song called “Gossip” that’s fire. It’s very Basement Jaxx-meets-Princess Superstar. I finally got around to playing it last week at Underground and it did pretty well. This week, it did even better.
Most of the new tunes turned up early in the set: Alison Goldfrapp “Find Xanadu,” Pulp “Got to Have Love,” Ora the Molecule “Nobody Cares,” etc. I don’t even know what really constitutes “new” anymore, but we’ll save that rant for another day. Thanks to Larry G. for having me play Underground last night and thanks to everyone who hit the dance floor, especially those of you who stuck it out until the end of “My Girls.” Set list is below.
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There is no shortage of killer new music out this month and handful of those have already appeared here on Beatique, but I’m just one person and there aren’t enough hours in the day to listen to everything that’s out now, let alone write about it. I didn’t want to shout out a few more new releases, like Soft New Magic Dream from Black Moth Super Rainbow, plus an impressive goth/industrial club-friendly new album and two lovely full-lengths out now via long-running indie label Slumberland.
Before we get to the reviews, though, I just want to say thank you reading. I started updating Beatique with reviews and original reporting in January because it looked like the situation for music, arts and culture journalism, my day job for well over a decade, in the U.S. would grow even more dismal and it has. But, at the same time, Beatique has had its highest amount of traffic this month and a lot of it is repeat visitors (from outside the U.S. too!) who are checking out multiple stories. Maybe I’m correct in thinking that people actually want to read things written by actual human beings who actually go out into the world and do the reporting themselves. Maybe I’m deluding myself. Either way, thanks for joining me on the ride. There’s more to come, so if you’re interested, check out the ways you can stay up-to-date on Beatique (and my DJ gigs) at the bottom of this post.
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I don’t know if the annual “best of” lists are necessarily fair. There is still a virtual pile of 2023 albums on my Bandcamp wishlist and running list in my head of albums that I need to hear. There are likely new albums from bands I follow that I don’t know about because, well, you know how social media works these days. Then there are the albums and bands who aren’t even on my radar, but will be next year, or the year after that, or maybe a half-decade down the line. Still, I made a list of my top 10 albums of 2023 that include music you may have heard in my DJ sets IRL, on Mixcloud or a few of the radio appearances I’ve done this year.
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With only a handful of gigs left for this year, I figured that now is a good time to post my top 10 jams for 2023. Technically, these aren’t all songs that came out this year, and my top pick I actually started playing in 2022, but they all made an impact on my DJ set in 2023. Check out the list below and I hope to see you on the dance floor soon.
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Last night was the first time I played Gold Diggers, which is a small music venue/hotel/recording studio on Santa Monica Boulevard in Hollywood that’s filled with disco balls and good vibes. It was Dum Dum Records Second Anniversary party and Taleen Kali had asked me to DJ alongside Ann Eliza for the night. So, this was also the third event with Taleen that I’ve played this year. (I DJed for shoegaze night at the band’s Harvard and Stone residency and at the Flowers of Life album release afterparty back in April. However, it was, Taleen noted late in the night, the first where we both ended up on the dance floor at the same time. It was also initially going to be the first time Ann Eliza and I DJed together, but we both ended up playing Vidéothèque’s reopening party last month.
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