Heart Skipped A Beat

Los Campesinos! want to give new things a try. More post-coital and less post-rock as they themselves put it. After all, who would want to be the cute nerdish band forever? No, we are growing up and so should our music. We make adjustments and throw away old ideas that might not interest the audience (who is also growing up with us, right?).

So Gareth Campesinos! takes out his pen, nervously writes on a piece of paper “But let’s talk about you for a minute” and draws the vivid picture of a fucked up couple of youngsters. Violins and twinkles and abrupt guitars join him as In Medias Res blooms. But what he does on the second half of the intro for their new album, Romance Is Boring, shows despair and his search for peace and quiet amidst all the chaos of youth. “If you were given the option of dying painlessly in peace at 45/But with a lover at your side/After a full and happy life/Is this something that would interest you?” he asks, and almost burns a whole through your heart.

Guitars swirl and turn into There Are Listed Buildings and Gareth’s pen seems determined to twist words with Morrissey-an skill (‘We are but two atheists in lust, you know, we gotta make our own luck’). The chaos on the inside is morphed on the outside in noisy guitars, shouts, ideas thrown randomly, heavy bass lines and dissonant trumpets. But as the title song comes in, it is Gareth himself who dismisses the last lines of the first song, not his new lover. “We are two ships that pass in the night, you and me are nothing alike” and sounds awfully a lot like Eddie Argos. And then both Aleks and Gareth burst into a “Prove to each other that romance is boring” while the rest of the band create a very Art Brut musical piece.

The picture of the second minor emotional breakdown of the two atheists is painted on We’ve Got Your Back. Every line seems to be either something vile you’d shout at your other half or something that doesn’t let you sleep at night. Every guitar chord seems to be a shout. Every drum beat seems to take the form of one’s heart pounding out of their chest. And then the silence is blown to piece by Plan A and its Help She Can’t Swim atmosphere. As Gareth takes another breath between Mal- and TAH, the guitars plunge into heavy distortion and squeal over the rest of the instruments. And every second declares the death of Hold On Now, Youngster – era Campesinos.

To make sure you get the point, these youngsters take out random percussion instruments and create 200-102, a short interlude that could be mistaken for Modest Mouse and that quickly flows into Straight In At 101. A sometimes post-rock (sic!) orientated musical piece that proves to be yet another lyrical tour de force. It has strange and rapid key swifts and Gareth knows how to twist the knife really deep.

“It pains me, but I'm sure she's still yours” goes a line on Who Fell Asleep In leaving no doubt what it is all about. And for the first time, Los Campesinos! are clam and their music doesn’t translate into despair but acceptance and silent pain. And then they return to Help She Can’t Swim textures and lyrics with I Warned You: Do Not Make An Enemy Out Of Me. But now the violins and Aleks’ voice take to song into a world familiar to those who loved the first materials.

We are swiftly reminded this is a record about heartaches and Heart Swell/100-1 reaps your heart out and walks over it. Gareth’s voice is but an echo, the instrumental seems to be his body that is drenched of life because of all the hurt and the lyrics are so simple but so perfect: “By now it's just the three of us: me./ Your shadow./Your echo./I do not believe that I've ever felt any more alone.”

Yet again Gareth’s pen is awaken and paints rabidly another heart-wrenching unshared love story, I Just Sighed. I Just Sighed Just So You Know. The nervous guitars clash with twinkles in the back as the two singers take you through daggers in thoracic walls, eulogies in guest books and a lifetime of dedication. And all they want is to “be the one to keep track of the freckles and the moles on your back.”

A Heat Rash In The Shape Of The Show Me State; Or, Letters From Me To Charlotte takes things closer to older Los Campesinos songs. The pounding drums of the intro leave place for a big orchestra and the story of a perfect couple that seems so absurd and unlikely to ever exist. And then get yourselves ready because an all-so-know song is about to start: The Sea Is A Good Place To Think About The Future. So let your heart beat out of your chest, your mouth run dry and a hole form in your stomach once more as Gareth sings “This thing hurts like hell” and his words are met with a “But what did you expect?”.

Just as the violins of The Sea… calm down, the first line of This Is A Flag. There Is No Wind hits you: “CAN WE ALL PLEASE JUST CALM THE FUCK DOWN?”. Swirls of guitars and Aleks and Gareth both shouting the chorus for a song that needs maximum volume for full effect. The ending song, Coda: A Burn Scar In The Shape Of The Sooner State, is, hands down, the perfect ending for one great album. It grows into a mass of woozy reverbs and it ends in one of the most painfully delivered lines of all times: “I can't believe I chose the mountains every time you chose the sea... “.

And as the feedbacks dye down, Romance Is Boring comes to an end and you realize none of it was boring. It was hard to swallow and it remind it you of every ‘no’ a loved one ever told you and it might’ve opened scars that you had forgotten of. But it was one great little gem.

I Only Want....

There should be no wonder Hot Chip can make one swoon in an instant: every dreamy loop and every quirky vocal charms you. Their laid back approach to music makes them an electro band for the bedroom and not the dancefloor. They add a heavy dose of emotion so that they give electronica a big pounding heart.

With Thieves In The Night, it’s obvious Hot Chip aren’t using a different recipe for the new album One Life Stand. Guitars that clash with synths while Alexis Taylor sings “Happiness is what we all want” only to make you take off those shoes, put on some cozy slippers and maybe have a cup of tea with your new best friend.

Hand Me Down Your Love’s almost Spoon-like piano and robotic vocals see the guys take out one of their best weapons: those quirky sensual beats that remind one of how white they are and how cool they are. And an Auto Tune used with a shitload of brain cells makes I Feel Better an instant slow-disco anthem. Pop music that sounds too good to ever make it into the mainstream charts this is.

I Feel Better’s lyrics are all but a prelude to the title track, One Life Stand. “I only want one night” morphs into “I only wanna be your one life stand” and Hot Chip veer into a sound that reminds one of The Warning days. But what is so delicious about the track is how it coyly builds up in the beginning and then the chorus takes it to a whole new level.

Brothers knows how to take you back to those slippers and that cup of tea and maybe make you feel a bit teary with all its cheesy lyrics and dreamy textures. And then Hot Chip hit you with Slush or the way they understand the concept of a ballad. It’s maybe weird this one is here as it sort of cuts though the energy of the album but it’s a good piece nonetheless.

With Alley Cats they trick you this is a Kings Of Convenience song only to insert little bits of electro along the way that remind you what’s it all about. And then Hot Chip throw you into a very Simian Mobile Disco world as they put together the layers of We Have Love, one song that calls for singing along and dancing on the beach at five in the morning.

But as Keep Quiet kicks in, they get back to their usual selves: dreamy guitars, sharp synths, high-pitched vocals intertwined with low-pitched ones, music that seems to have been written by black guys but sang by white dudes. Ending track Take It In should’ve, could’ve been part of Made In The Dark: sort of dark (shocking, I know), sort of sinister, bleeps that surround you. But the chorus seems to be the perfect antithesis: it’s solar and hopeful. There is even a dove mentioned in the lyrics.

One Life Stand is by all means one incredibly well-thought album: it’s pure Hot Chip but never boring nor repetitive. They manage to reinvent themselves without actually leaving their bubbly world or giving up being nerds. And they manage to make pop music with a brain and a heart, which, yes, is what they got us used to.

Attention, Overdose Might Be Fatal

Fleetwood Mac meets Grandaddy meets Radiohead – that's how I tend to describe Midlake's music. However, that might seem quite unfair, because their music wants to be more than just a good mix. And their third album, The Courage of Others, scheduled to be released at the beginning of February, tries to prove that.

The album reminds you even less about their lo-fi roots than the previous one, The Trials of Van Occupanther. Hell, let's forget about nice words. It yells "folk fucking rock" from one hundred miles away. And that isn't necessarily a bad thing, you know. But when you have an eleven tracks album composed only of slow tunes, you might get the feeling it's a little bit too much. At a certain point, I, too, got sick of the same dreamy, autumn-rainy-day-like atmosphere – and, as I was reaching the final track, my mind started to yell: That's all?

Now don't get me wrong. I don't want to say that this album is the worst piece of crap they ever released. No; the instrumentals are okay (even if I miss the keyboards, there's nothing really disturbing there – as a matter of fact, at certain points I thought I felt the phantom of Nick Drake coming up from behind, and yeah, this is a praise) and Tim Smith's vocals are as good as ever (please read: really, really good). But no matter how sweet the cake is, if you eat too much, you will get sick for sure. And that's how it is – The Courage of Others stands as a collection of good songs becoming, not bad, but rather boring after more than an audition on the same day.

*photo courtesy of Midlake official site

Love Story

Norway’s stellar atmosphere and its unfolding layers charm you instantly and what could be a lifetime. They creep in your bone marrow and Victoria Legrand’s Nico-like voice replaces your blood. It’s almost crazy that music can have such an effect. But Beach House, with their shyness, were always the kind to create moving tunes that turn out to be perfect bittersweet gems.

Norway is the most nervous piece on Teen Drama. It boils, it runs up and down, it has the most obvious feeling that any minute now something will crack or someone will have a breakdown. Not that when Legrand sings on the rest of the album, her heart’s not trying to pound out of her chest. But no, on a closer inspection, it’s not her heart, it’s the albums heart. And each song, with the chiming cymbals and blooming musical textures, seems to be a heartbeat.

But Teen Dream is quiet and clam, not once letting despair win. Each broken hint of disco and each polished edge makes it strangely solar. Each ghostly piano note gives the album a pureness that seems so rare these days. And, timid as it may be, the duo’s music oozes an incredibly sexuality, with each guitar crescendo leaving place for what could the breaths and murmurs of a shy lover.

“I’ll take care of you/If you ask me to” sings Victoria as the album draws to an end and it sounds by no means stupid or childish: it’s naïve and heartfelt even heart-wrenching. A fitting end for a majestic and tender album that paints the story of a young love. An album that will find its way into many people’s hearts and could easily be one of this decade’s best releases.

The Band Fool's Gold!

Fool’s Gold, the record label, the movie or the song from Stone Roses? Neither. Actually, a band. In a polluted environment filed with musical releases of similar cultural inspiration, words like African and Hebrew draw attention like new exotic words in relation with musical inspiration and foundation for an album.

The self entitled album from Fool’s Gold, as a whole, came out as a rather libertine movement wanting to prove that different instruments and styles put together can make good impression. Even if most of the time the lyrics are quite romantic (and sometimes funny ‘I’m trapped in air conditioning’), the rest of them you won’t understand (some lyrics are kept in Hebrew). Yet, the lyrical impressionism is very effective, even-leveled with the complexity of the melodies.

The album’s tracks are sort of divided in terms of tempo: one sort would be the slight merry Moroccan feeling Surprise Hotel, Poseidon and Night Dancing and the rest of the tracks, that lie in a tender melodic flow, with still Islamic tendency such as Nadine (whose chorus is reminiscent of non other than Dolly Parton’s Jolene). Yet in all of them the percussion is of clear African touch and there is also an omnipresent trumpet that graces the melodies. And this is done in a quite pondered way, never feeling musically displaced or ruining the harmony of all the other instruments.

The musical complexity, so many instruments and sound variety make this album a wide cultural exposé. It is to be admired that, for an album far from original in terms of oriental style, it still manages to be without any doubt a breath of fresh air with the most optimistic musical sensation.

*picture courtesy of Amazon

Chew On Something Else

Here’s a fact I am sure you all know: hype is a very bad thing. Attention is drawn to your band, but there are expectations to be met and you have to be really really good to get away with it. One can’t exactly call a band like Chew Lips a daring band: they don’t really run off on a boat to visit India and discover America, now do they? On the contrary, it’s like they still think the earth is flat. Their first songs tackle the some old indie-dance-whatever we all know so well. Sure, Solo and Salt Air are nicely executed pieces, but they are ordinary ones.

However popular they are, these two ones were left off the London-based trio’s debut Unicorn. Bold move, after all. And while the intro song Eight tricks you into believing there is so much more to this band (hence the absence of the said songs), mediocrity takes over again as soon as you get to the second track. In fact, the album is so mediocre the songs sound the same: same vocals that make you think of a fallen from grace Beth Ditto, same instrumentals that sound like a really washed out version of SMD’s Cruel Intentions (which wasn’t really one of SMD’s best), same chord shifts, same same same. They even try a bit of New Young Pony Club but it’s painfully obvious Chew Lips are a bunch of talentless copycats. And when they want to sound meaningful (the slower Piano Song and Too Much Talking), they end up being just risible.

It’s strange the trio decided to leave their debut songs off the record, given the fact that, well, at least then Chew Lips sounded like a band with some sort of potential. For, you see, Unicorn only tells us they should spare the world of yet another bland and unremarkable “indie” band and break up.

*Photo courtesy of Rough Trade

No Hope?

Roll your eyes all you want, but truth is Good Shoes are actually a really good band. “Loads of potential” was the choice of words back in 2006/2007 when they were still not fully developed instrumentally but when their lyrics shone through and made every almost-too-generic chord worth it. On stage, they were a shy and quiet band, but, both I saw them, they were good and charmed the crowd.

As you hear The Way My Heart Beat’s pop-punkish vibes, you might think there is no or little change on their sophomore, No Hope, No Future. Alas, they shall fall in the pit of mediocrity. The first single, Under Control, makes a head or two turn: the video is off the hook (what’s going on there?!), but the songs sparkles and, while borrowing off Bloc Party, departs from the said generic chords and dives into the world of catchy dance-math-rock hooks.

Math-rock, which Good Shoes seem to be enjoying a lot: Then She Walks Away sounds like a minimalist approach to Foals’ music. I Know keeps some elements of math-rock, but veers in the land of lo-fi punk and sees lead singer Rhys Jones ranting on about religion. Not to forget the boys know how to treat you, as they play around on Everything You Do, a song that seems to be straight out of The Cure’s world, or on Our Loving Mother in a Pink Diamond, with its marching drums and prog rock solos.

But what’s really heart-wrenching and could turn easily into a favourite is the closing song, City By The Sea, with a minor progression chord and Rhys’s voice sounding completely hopeless. And, while the album has its faults (Do You Remember showcases the band's inability to get past the jangling pop of Think Before You Speak), there’s plenty of proof these guys are a well worth it band.

RE - Hadouken!

Hadouken! – For the masses. We all remember the previous album, that double ‘c’ product (catastrophe creation), that has clouded our opinion about Hadouken! and sadly an impression about any future creation released by them. When I pressed play on the new album, my fingers were even tingling to unleash my clear hate and distaste. I was convinced that my young but experienced ears will be hurt. Ha! I played the first one, the next, and continued. And then listened to the album again. Seriously, like the first track Rebirth, Hadouken! pulled a remarkable one. It feels good to say this: it’s a damn good album!

A reminder of Does it Offend You Yeah?, but the voice is clearer, yet it stands aside; a closeness to Prodigy, yet the younger touch is crystal clear.

From the first track until its last, it blends and pushes into beats and electrifying feelings. An album that is techno, is trance, is pushy and proves the veracity of a talented Hadouken!. Rebirth will blow your mind, the calm before the tempest. If Turn the lights out (and its well deserved two amazing remixes) is a tease of a Prodigy offspring, Bombshock is the clear offspring and Ugly is definitely the next step in the genre.

MAD is the album’s sensuality and that certain interlude (you’ll notice it for sure) is SICK! Evil and House is falling down will blend further into the album, but Mic Check (slightly reminiscent) will make you bounce that head and ass. Play the night is the trademark with its original touches and combined sound variations. And the start of Lost - the album’s roughness. Retaliate is what it all goes down to: a new sound and a new attitude.

Whether a track is more impressive than the other or edgier, all the tracks give a sense of soundtrack for either a dance floor out of control or even an action battle sequence. Not childish but rather young and impressive, after all the word ‘hadouken’ means a series of martial art moves. An album for the masses … to bounce!

picture courtesy of Wikipedia

Love Is All Around Us

Fly Yellow Moon is not only an album, but also a premiere for Fyfe Dangerfield – because it is his first solo album. I suppose that you're very curious about how Dangerfield's music will sound without his band mates, so I won't waste your time with any introduction anymore.

The album is basically a collection of love songs – by love I don't mean only its sad, full of suffering and pain aspects. It's also about love in its wonderful, full of warmth aspects – or, as Dangerfield himself says in opening song, When You Walk In The Room (which happens to be one of my favorites), "In this moment no one is pulling me down into the ground / I can't help it if I'm happy not to be sad". However, the dark side of love is not forgotten at all (Barricades is an example,among others), and it can't be said clearly if you really can surpass everything if that certain someone is beside you.

Instrumentally speaking, Dangerfield passes from slow, acoustic tunes (sometimes piano, other times acoustic guitar) to songs filled with energy (those drums are magical). In other words, ups and downs – the feeling that you habe the world at your feet followed by melancholy and the dangerous approach of an end. As I said before, it's all about love.

All in all, this is a really remarkable album, and hearing that Dangerfield recorded it in only five days just makes me appreciate it even more. And I can't help but be curious about what the next Guillemots album will bring us.

*photo courtesy of Fyfe Dangerfield official site

War Tactics

Bands develop as time goes by. They add new layers to their music, shift creative direction and play with structures, concepts and melodies. The Horrors did that with Primary Colours and the world’s jaw dropped. People barely had a chance to recover after the shock and These New Puritans released We Want War.

Now, if you had a bite of Beat Pyramid, you are aware that these boys aren’t exactly the normal ones out of the post-punk-Horrors-group. They indulged in sickly passions, three to be more precise. Number one: an obsessive love for Mark E. Smith, hence the insane repetitions. Number two: a snobbish usage of French. Number three: guitars that were at war with the rest of the instruments as done by Gang Of Four (a band we’re all sure TNP have a shrine of).

But, alas, being artists, TNP were not content with being just the odd post-punk revivalists and, with Hidden, they aim to take the crown from the likes of Animal Collective and cover the whole “alternative” area. So they borrowed like mad from different areas: opera, operetta, classical music and, yes, non-musical structures. Rest assured, their old loves are still present on this musical project.

For ‘album’ is not the word to be used when talking about Hidden. “Musical project” is because Hidden exists to alert the imagination and sharpen the senses. Appropriately, the first thing the four Southenders hit you with is Time Xone, a sea of calm that’s sole purpose is to wake you up from the lethargy. And so, they continue the attack. We Want War is half menacing drums, half choral chants and swords being sharpened. No, no radio play for you, puppet!

Three Thousand feels like it flows out of We Want War but brings in the equation part of the nauseating love for The Fall: broken spoken words. “They keeping the obsessive repetitions for later”, you think. And that’s when things take a 180 degrees turn: Hologram has a delicate piano and soothing vocals. Endless loop and we’re back. Attack Music finally showcases the same paranoid band that created C±16^th: it’s incredibly hypnotic and maniacal. You know you’ll be singing the lyrics next morning. And yes, you get swords again (or maybe knives, who can tell?).

Shamelessly, TNP sink deeper into repetition: Fire-Power and “I’m in the fire, fire”, while adding marching drums and a bass that cries out for a good soundsystem. Orion takes the drums further and that’s when you know Thomas Hein is one of those out of this world drummers. Among all these intricate instrumentals, you get another sea of calm this time in the form of a flute and called Canticle. One minute and twelve seconds of rest before yet another climax: Drum Courts – Where Corals Lie. Mechanical drums, whispered lyrics, a choir, cold synths, elements of electronica.

And, as it draws closer to the end, Hidden brings you White Cords. Dub-scented, Jack Barnett’s barely sung (yet, sung!) lines, heavy drums that fill your speakers. And, at the very end, TNP remind you their love for something else: cyclic things. Yes, Beat Pyramid began with ...ice I Will Say This Twice and ended with I Will Say This Tw… . While it’s not that obvious this time, 5 with its xylophone, choirs and trumpets does bring you back to the zone of the intro.

So, you press play again. And while you listen to Hidden one more time, you realise all it needs is a big stage production to underline the beauty and complexity of the instrumentals. I’m thinking something involving an apocalyptical landscape.

Kids, it's WAR time!

Cold War Kids and a new EP called Behave Yourself. Four songs, that’s all. I had no expectations, made no assumptions. Rumor has it the songs were leftovers and pushed from one side to another, eventually they were given the spotlight. Impression: oh dear!

Audience is a sick masterpiece; the track, until its middle, tempts like a new shiny music box and once you open it you get transfixed, believing you’re the one audience they play for. Then on to Coffee Spoon the metaphoric serenade of a resurrected soul “inside my china room / you are my coffee spoon’’. Santa Ana Winds holds the geographical touch in the EP as well as the edging beat. The ‘Santa Ana Winds’, a meteorological phenomenon famous in Southern California, emerge as poetical influence for these kids. And Sermons, the bitter vision over life. The track’s lyrical content is its forte, praised by its dramatically beat – a strong track nonetheless. Amazing EP, grounded, impressive and intelligent.
Yup, they’re good.

Tomorrow... In Two Months

On 4th of August last year, The Knife announced they will write an opera for the Danish performance group Hotel Pro Forma. The opera is called Tomorrow, in a Year, and is based apparently on Charles Darwin's book On the Origin of Species. Recently, the band announced the studio release of this opera, which will include fifteen tracks (nine on the first CD and six on the second one) plus one bonus track. The album will be released on March this year. Meanwhile, you have the chance to listen to Colouring of Pigeons, the first single, which can be downloaded for free from the band's official site.

The eleven minutes track starts with a drum line, with tribal influences, soon accompanied by some ah-ah-oh-oh-eh-eh vocals (not surprising, considering that we're speaking about an opera here). The instrumental turns little by little to something more melodic, with synths in the background, which bring a really creepy note, somehow balanced by Karin Dreijer-Andersson's vocals (yeah, she's as good as always). From a certain point on, the voices disappear and the instrumental slowly fades away, leaving you with your mouth opened and with a "what the hell was that?" in your mind. I don't know what exactly it was, my friend, but it wasn't a track that can be easily forgotten, that's for sure.

Considering the fact that this song is actually just a part from a biggest story, it is a little difficult to say something about the meaning of the lyrics, but I guess time will help us here. We'll talk about it in March.

*photo courtesy of The Knife official site

(We're sorry for the lack of posts lately. We're all a bit busy with exams right now, so we'll be posting every other day, not daily as we use to. But have no fear, this will only happen for the next two weeks. See you guys on Monday)

Soon

“Really, it’s too easy for this album to turn you into a pretentious twat. Be very careful!!!” writes Mike McGonigal, editor of Yeti, an American arts and culture journal. He’s talking about a modern masterpiece, and I am well aware this strikes you as a shocking statement. Part of the 33 1/3 book series, he writes about his favourite band and its seminal album. My Bloody Valentine and Loveless, the masterpiece Kevin Shields & co never followed.

But what this book stands out for is not the album and musicians it talks about. It’s McGonical’s own writing style, the way he talk about the album and makes you feel sick in the stomach after every vivid description of a feedback, that way he sinks deep into culture to find similarities between painters and the Irish band. He is a fanboy and not afraid to show it. He is a rabid music nerd before being a journalist and a professional. He knows very well that music is a visceral experience. And here he presents his own insides.

You really don’t have to be a MBV fan or even know the band that well in order to enjoy this book. All it takes is a passion for well written idiosyncratic material and teach your brain new figures of speech.

Great OK!

In a world with tendencies towards strict rules, like risotto with white wine and no ice in your whisky, Ok Go have managed to spring and conquer like chips dipped in icecream: fabulous! Wtf, not ‘wtf’ to what I just said, but rather the first track that is a clear itch for scratching of the whole album. Ok, so Ok Go got the itch and the rest of the album is definitely the irritation - in the most positive way. Let me explain: irritation not from creepy leaves in the forest but from too much truffles pumped into you after two whole days with no sweets in the house – that kind of irritation!

One of my first thoughts regarding the negatives is that the album should be listened to on loud speakers and an incredibly good sound system. On something else, you are listening to just noise, not music. That thin, is the line between considering the album brilliant and considering it stupid. I have no idea what these boys were thinking, but they proved to be bolder and attempted at being cryptic and above all suave. If sometimes the voices are reminiscent of Lenny Kravitz and even Prince, the negatives are reminiscent of clear jazz and blues. The guitar solo on Skyscrapers is … wow. White Knuckles takes you to the dance floor where you can swirl around a guy/miss and sing along with the tune on “I want you so bad I can’t breathe”. End Love is so techno and edgy you have to make out with somebody.

Another track passes for you to be brought pondering on Last Leaf, that is such a sweet track you need another truffle. Last time I heard somebody mention Kathmandu was in this amazing animation called Anastasia (with Meg Ryan and John Cusack); well Ok Go revives the word in Back from Kathmandu where the boys intertwine dreams with reality and say this truth: “everybody needs to get through the night”. Amin! The boys continue with While You Were Asleep that is, go figure, a sweet lullaby and then round it up with the last track, by resurrecting the beat one more time with In The Glass. Magnificent percussion, a tiny of piano, a tempered base and a decisive organ, all sustain the boys with the chorus “What have I done?”. Well, I say the boys did great. 2010 for music is looking quite promising when starting with albums like Of The Blue Colour Of The Sky from Ok Go.

photo courtesy of Wikipedia