The latest edition of Beatique is online now and features new music from Soft Cell, Hercules and Love Affair, Boy Harsher, ADULT. and more, plus a few old favorites, including a New Order song that is neither “Blue Monday” nor “Bizarre Love Triangle,” a Bauhaus song that isn’t “Bela Lugosi’s Dead” and one of my all-time favorite club bangers. Listen here or on Mixcloud. Set list is below.
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I love Slayyyter’s remix/cover of Turnstile’s song “Birds,” which is on Never Enough: Versions. It’s such a unexpected take on the song, clubby and with a dubstep twist. Plus, Slayyyter is really good with aggressive vocals. I included “Birds” on my September mix, but didn’t get the chance to try it out in a club until last night. Set list is below.
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I’m way into “You You You,” from Arab Strap’s new album, Half-Told Tales. Played in my set for the first time on Friday night at Club Underground. It’s a groovy, dance-rock track that’s good for the warm-up portion of the night. Anyhow, it’s been a long-hot weekend so I don’t have much to say, except that the set list from Friday night is below. I’ll be back at Underground on October 16 for the Fontaines D.C. album release party. Get your tickets for that asap.
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There’s a new Hercules and Love Affair album out now. It’s called Danseur and it’s fantastic. If you were upstairs at Underground last night, you might have heard “Heaven,” which features Faris Badwan of The Horrors on vocals and is my favorite song on the album. (Read the review here) Other new releases in the set include the title track from Soft Cell’s final album, Danceteria (review) and “Exploded View” from Actors latest, Our Love Will Live Forever (review).
It was The Cure Nite, but, I was playing in the not-The Cure room upstairs. Got a few Fontaines D.C. songs in for those of you who came to the club after the show, and those of us who didn’t get tickets. As usual, releases from the past two years are highlighted and link back to other mentions on the blog. Thanks for dancing.
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There’s this cover of The Waterboys’ song “The Whole of the Moon” that I’ve been playing throughout the summer (if you see a “secret track IYIYK” on some set lists, that’s what it is) and a bunch of you have asked about it, so here are the details. (You can also hear the song on this month’s Beatique mix.) It’s a one-off project called The Watergirls featuring a bunch of different artists who came together to pay tribute to Keith McIvor, aka JD Twitch of Optimo, who died last year. The Watergirls was spearheaded by DJ/producer Teamy. Lead vocals are from Mhairi McClymont. James Murphy sings in his David Bowie voice on the bridge. DFA is releasing the single, the digital version of which is available now. You can pre-order the vinyl, like I did, which is out in October. All the links are here. Proceeds benefit Beatson Cancer Charity and Scottish Brain Tumor Research Centre of Excellence.
Set list from last night at Club Underground is below. New-ish stuff (released in the past two years) links back to previous mentions here. That’s all. See you back at Underground soon.
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Fontaines D.C. dropped a new song last week. “Marianne” is the lead single off the Irish band’s forthcoming album, Dopamine Chamber, and it’s a good one with a sinewy groove that’s similar to ‘90s Depeche Mode. The band, whose last album, Romance, is one of my favorites in recent years, only dominated my Instagram feed for a couple days. It was just long enough to convince me to sign up for the Hollywood Forever ticket pre-sale, which I don’t even know if I’m going to do because I’m not in the mood to fight with bots over tickets that probably cost more than I should spend. I guess I was supposed to pre-order Dopamine Chamber, which is out in October, too. I could take my pick between the $47.58 deluxe gatefold, the $28.03 blue vinyl and the $25.48 regular vinyl on Bandcamp, but, nah, I would rather wait until the record is out and support my local brick-and-mortar indie record store.
In the lifespan of today’s clip loops, this Fontaines D.C. one was pretty short. It was quickly supplanted by Slayyyter’s cover of Hole’s song “Violet,” which popped up on my feed through most of the weekend. I don’t think I’ve heard the whole song yet, but the chorus is good, I guess. I don’t know. I had the sound off most of the times it appeared. All I can tell you is that MTV was never this bad about repetition. Instagram, though, has no chill. Like one song and, all of a sudden, the artist usurps your timeline.
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After the algorithm decided that I wanted to see little more than Madonna clips for virtually an entire weekend, I lost some of the enthusiasm for Confessions II. It was overkill and I resent feeling like I’m being manipulated by my fucking phone. On Friday morning, though, I gave the whole album a listen. Then I bought it and listened a second time and a third. I think I’m on the fourth listen as I start to write this. It’s good. Really good, but maybe not in the way the album’s title to leads you to believe.
Confessions II is a real sequel to Confessions on a Dance Floor. It’s not a rehash of the 2005 hit album, but rather a continuation of the work that Madonna and Stuart Price began some twenty-odd years ago. So, it’s an album of club music that’s about the club and about life. It’s incredibly smart and thoughtfully made, the opposite of the slop that overwhelms us on the daily. That might be part of the point. (Speaking of slop, ignore all the hype clips and watch the full video of Madonna’s tour of her London home in Vogue Italia. It’s worth 10 minutes of your time.)
Back to Confessions II. It’s a heavily referential album, both to Madonna’s back catalogue and to other dance music artists. It’s also an album-as-a-memoir, with Madonna delving into stories from her early years in New York, her romances and her relationship with eldest daughter, Lourdes Leon. The music history and personal history come together on “Danceteria,” which is the song that I played at Club Underground last night. It’s an important song because all the song’s musical references, as well as the names she drops throughout the song, are foundational to what we know as alternative and club culture now. This is the album’s, “Listen to Mother” moment.
I’ll probably have more to say about Confessions II in time, but, my first impression is that this is an incredibly strong Madonna album, easily up there with Confessions on a Dance Floor, Ray of Light and Music in the hierarchy of Madonna albums. Get it. Listen to all one hour and four minutes of it. No skips.
And now onto last night’s set list from Club Underground. New-ish songs (released in 2025/26) are in bold and link back to previous mentions here on Beatique.
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“Compliment” by Rare DM has been sitting around on my laptop, waiting to be played, since the album, Attention, came out a couple weeks ago. Last night, it finally turned up in between Depeche Mode and Boy Harsher earlier in the night at Underground.
You might have seen Rare DM, the analog synth project of New York-based Erin Hoagg, before, as she played Substance LA a few years ago. Attention is her second full-length. It’s a poppier sort of darkwave, sounding somewhere in between Boy Harsher and “Bad Guy” Billie Eilish, but with a stronger techno influence. My actual favorite track on the album is “Significant Other,” a killer minimal synth/techno instrumental that reminds me of a cross between Soft Cell’s “A Man Could Get Lost” and early Matthew Dear. It’s a solid album, so check it out on Bandcamp when you have the chance.
Full set list from last night at Underground is below. New-ish songs (less than two years old) are linked back to previous mentions on this site. As always, thank you for dancing.
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You might not expect to read this, but I’m way into Nature Is Healing, the new album from horsegiirL. If we’re IRL friends, though, you might think, yeah, Liz would totally be into something that sounds like the rave at an anime convention. And that’s true. But, there’s also a lot more to horsegiirL than DDR beats and pitched up vocals.
Just to back up a second for anyone who is like, wtf are you talking about? HorsegiirL is a DJ/producer/singer known for wearing a horse mask, or horse prosthetic face makeup, who had a viral hit some time back called “My Barn My Rules.” She’s known for playing hard, fast dance music- roughly equivalent to what ‘90s ravers would know as hardcore or happy hardcore- and has been buzzy for a good while. She played Coachella in 2025, made guest appearances during Wet Leg and PinkPanthress’ sets at this year’s Coachella and will be opening for Robyn at the Forum in September.
Nature Is Healing is horsegiirL’s debut album. It dropped yesterday and it’s a genuinely strange and subversive album. Musically, it’s not really something you can categorize. You’ll have something like the single “That’s My Beach!” that brings together a summer party sound with a play on words to talk about respect for the beach or “Only the Best,” which satirizes materialism. Then there’s “An Apple a Day,” with its relentless kick drum and campy, Europop-style lyrics and vocals, and “Fun Guy Fungi,” an avant-garde, new age interlude. Last night, I tried out “Hands Hands Hands,” a synthpop tune with bit of a Kylie Minogue vibe and a touch of house percolating underneath. Hopefully, sometime soon, I’ll have the chance to play “Music Goes On” because I love how it morphs from euphoric rave track to Pure Moods jam. The sounds are all over the place on Nature Is Healing, but it makes sense as an album because the songs all seem to tied to this very My Little Pony: Friendship Is Magic-meets-Nausicaä Valley of the Wind message about taking care of the planet and each other. Right now, it’s not too often that we see people making art that’s both light-hearted and serious, so, if you’re looking for something that hits those notes, I recommend checking out Nature Is Healing.
Last night’s set list from Club Underground is below. As always, the new-ish stuff links back to previous mentions on this blog. In addition to horsegiirL, the other brand new song from last night is “Every Single Weekend” from The Avalanches and Jamie XX.
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Last night was The Smiths x Joy Division Night at Club Underground. It was also the release of Gorillaz new album, The Mountain, which features multiple contributions from my all-time favorite guitarist, Johnny Marr, so I kicked off the open-to-close set downstairs with “Casablanca,” from Gorillaz, featuring Mr. Marr and bassist/dapper punk Paul Simonon.
“How Soon Is Now?” was going to be the last song, but I underestimated how long it is. Then “Unloveable” was going to be the last song, but I could totally squeeze in “Please Please Please Let Me Get What I Want” after that because it’s only two minutes, so that was going to be the last song. Then the crowd asked for one more, so you got a bonus track, “Morrissey” by Robbie Williams. It’s on his new album, Britpop. Totally in theme. Anyhow, set list is below. Songs from the past year or so link back to previous mentions on the blog.
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