Tag Archives: dance

Monthly Playlist – Apr. 2022

15 May

After a short break, we are back with our Monthly Playlist series! This month, we saw the releases of much-anticipated albums from Wet Leg, Fontaines DC and more – not to mention news of perhaps the year’s most anticipated release, Kendrick Lamar’s new album. Read on to find out our picks from the month of April 2022, and let us know if you agree or disagree!

“Down” by Hot Chip

English synthpop band Hot Chip have been around for quite a while now – almost two decades, in fact – and they’ve got quite a few notable albums under their belts. Their second and third albums were particularly successful, with sophomore album The Warning (2006) fetching a Mercury Prize nom and third album Made in the Dark (2008) spawning the massive hit “Ready for the Floor”. Now, a few so-so albums later, the band is back with new single “Down” as the lead single for their eighth album Freakout/Release, set to come out in August 2022. “Down” is a jagged, off-kilter party romp that’s up there with the band’s best works. It’s just a fun dance music with a strong bassline, infectious breakdowns, and an insanely catchy phrase (“Girl, know how to break it on down!”) running through the background – definitely check this one out. 

“About Damn Time” by Lizzo

(Note: This song was actually released in March 2022, but since we missed a Monthly Playlist in that month, we just had to include it in this one. Trust us, you’ll see why when you listen to the track!)

Speaking of irresistible dance music, there are few active artists today who can keep churning out the hits quite like Lizzo. In the latter part of 2021, she released the catchy “Rumors” with fellow artist du jour Cardi B – a track we liked so much that we put it on our year-end list. At the time, she mentioned that “Rumors” marked the start of a new era for her, possibly ahead of her planned 2022 album. Now she’s added another milestone to that new era with “About Damn Time” – a song seemingly about Lizzo re-discovering her confidence after a rocky few months. The world’s foremost flutist / funk-pop star describes how she’s finally in a mood to celebrate and get back out there. “Oh, I’ve been so down and under pressure, I’m way too fine to be this stressed, yeah / Oh, I’m not the girl I was or used to be, Uh, bitch, I might be better,” she says in her classic confidence, all set to a riff that would make Nile Rogers proud. The best thing is that this track also serves as a post-COVID anthem for those that are ready to get back out there after a couple of difficult years; when she says “Is everybody back up in the buildin’? It’s been a minute, tell me how you’re healin’”, we felt that.

“Barely on My Mind” by The Regrettes

The Regrettes are a punk rock band with a couple of albums to their names. But they seem to have taken a bit of a left turn with the dance-pop track “Barely on My Mind”. There are almost Phoenix-like turns of melody on the track, mixed with the magnetism of lead singer Lydia Night’s vocals. The track is part of their third album Future Joy, which was released in April 2022. We’ll surely be checking out the rest of the album with an introduction like this!

“Autopilot” by Dev Lemons

If you’re a TikTok regular, you are probably familiar with the work of Dev Lemons – not as a musician, but as the creator of the popular @songpsych page which boasts almost a million followers and 26 million (!) likes. On the page, Dev Lemons (real name Devon Schmalz) breaks down popular songs into the byte-sized format that suits the preferences of her Gen Z audience. However, not content with just being a music critic of sorts, Dev Lemons has now taken her insights into what makes songs popular (e.g., this video about the new Lizzo song that we also loved above) and has begun releasing original music too. Vaguely reminiscent of acts like Lily Allen, “Autopilot” amps up the synths on the chorus for a fun, catchy romp. Definitely check out Dev Lemons’ music – and of course her @songpsych channel if you’re on TikTok!

“Oh Algoritmo” by Jorge Drexler feat. Noga Erez

Jorge Drexler, the artist behind our final pick “Oh Algoritmo”, is one of the most interesting people you’ve never heard about. First and foremost, he’s a medical doctor – an otorhinolaryngologist (ENT) to be exact. Secondly, as if excellence in one specific skillset wasn’t enough, the Uruguayan won an Academy Award in 2004 for composing “Al Otro Lado del Rio” from the Motorcycle Diaries. This is not counting the numerous Latin Grammy Awards he’s racked up, including Album of the Year and Record of the Year. Suffice it to say, you owe it to yourself to at least give a listen to “Oh Algoritmo”, in which Drexler has paired up with Israeli singer-songwriter Noga Erez. The song immediately draws you in with a funky bassline and Drexler’s vocals set against a lively background of shakes, bops and beeps. By the time Erez’s confident English-language vocals come in, we’d bet that you’re hooked on to the angular, groovy vibes on this track. 

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Jessie Ware – What’s Your Pleasure

14 Aug

Pop singer-songwriter Jessie Ware is familiar to most English audiences. Her debut album Devotion (2012) straight away bagged a nomination for the Mercury Prize, won that year by fellow Brit pop act alt-J. That album introduced listeners to Ware’s powerful voice, typically set against hefty drums and assertive synths. Subsequent albums Tough Love (2014) and Glasshouse (2017) followed the same theme, resulting in fantastic singles such as “Tough Love” and “Midnight”.

This June, Ware released What’s Your Pleasure, her fourth album – and undoubtedly her best. Over 53 minutes, Jessie Ware takes us on a journey back in time to the peak-disco world of late 70s, as epitomized by dance clubs like Studio 54. What’s Your Pleasure finds Ware at her freest – less bound by the rules of commercial pop music – and the result is a bold, highly enjoyable dance-pop extravaganza for the ages.

When we say dance-pop, we aren’t kidding. What’s Your Pleasure is filled to the brim with 70s-inspired dancefloor gems. Disco is, of course, the theme du jour among pop stars, but Jessie’s interpretation is slinkier than Dua Lipa, more refined than Lady Gaga and more inspired than Doja Cat.

From start to end, the album centers along the same few years – perhaps 1972 to 1978 – but manages to capture all the subtle nuances of that era. The album kicks off with “Spotlight”, which opens with a dreamy, vocal-heavy section in line with Jessie Ware of old – but then jumps right into the unmistakable disco synths that color the rest of the album. “Ooh La La” opens with a fat bassline that could soundtrack the entrance of a glamorous socialite into a plush dancefloor. A couple of songs later, “Save A Kiss” goes into the house music arena with a head-spinning beat, tempered by electronic blips and dramatic violins. “Read My Lips”, with its electric-guitar licks and distant synths, is pure flirty fun all the way through.

Lyrically, much of the album deals with obsession in all its facets – longing, lust, sex and sometimes just romance. Ware introduces the theme right at the start with “Spotlight”: “If only I could let you go, If only I could be alone / I just wanna stay, In the moonlight, this is our time in the spotlight”. “Adore You”, the first single off the album, is sweeter. “Stay ’cause I want you / We can tell everybody, tell everybody,” she suggests, perhaps the starting notes of what will soon become an unhealthy obsession. “Mirage (Don’t Stop)” is her paean for the morning-after: “Last night we danced, and I thought you were saving my life,” she confesses.

Both musically and lyrically, the album really hits its peak on the eponymous “What’s Your Pleasure”: a fast-paced, riveting, instant-classic disco hit that’s honestly one of the best songs of the year.

Recently, fashion godfather and Vogue legend Andre Leon Talley released an auto-biography entitled Chiffon Trenches. In the book, Talley describes his life through the fashion world in the past half-century, especially underlining the carefree, lascivious few years in the 70s between the sexual revolution and the AIDS wildfire. Jessie Ware’s What’s Your Pleasure is the perfect soundtrack to this era: confident yet vulnerable, joyous yet filled with longing, but above all – free.

What’s Your Pleasure is an audacious, glittery antidote to this godforsaken year, and we couldn’t be happier that Jessie has bequeathed us with this gift.

Best songs: “What’s Your Pleasure”, “Read My Mind”, “Spotlight”

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Pushing the Envelope: An Interview with LIFAFA

23 Jan

LIFAFA is the solo electronic project from Suryakant Sawhney, the lead singer of famed New Delhi indie / jazz outfit Peter Cat Recording Co. While Peter Cat’s music is often a dizzying mishmash of influences ranging from cabaret to psychedelia, LIFAFA is more focused in its palette: desi, electronic, nostalgic, intimate – yet danceable, too.

After a well-received debut EP (In Hi Ko) in 2014, Sawhney released a follow-up EP, Jaago, this month. Our favorite song from the album is the title track. With its harmonium-based intro and Sawhney’s wistful vocals, the listener is immediately pulled back into a Technicolor yesteryear. About halfway through, however, the song melds seamlessly into a dance track that references the same old-timey tones – cinematic swirls, dramatic embellishments – but in a fresh, modern way.

We recently sat down with LIFAFA for a quick chat about the new music, artistic influences, and much more. Read on:

Top Five Records: On Soundcloud, you describe your new track “Jaago” as Bhajan EDM, and honestly we could not put it any other way. How would you describe the LIFAFA sound overall?

LIFAFA: It’s a place where I’d like to imagine I have a completely blank infinitely large canvas to try whatever I like, however niche an idea  and attempt to refine it till its limit before wiping it all clean and starting again on something else. So I guess right now what I’m working on is the sort of Hindi music I wish I heard playing around me. I’ve been driven insane by the fucking awful shit I hear playing outside on radios and giant tower speakers and I hope people steal or buy my music just so some of those speakers are tranquilized.

TFR: Where does Peter Cat end and LIFAFA begin? For example, are there some snippets that you shelve away because they have a more “LIFAFA” sound to them?

LIFAFA: For one, I’ve generally tried to steer those songs which require the precision of dance music production towards LIFAFA. I don’t necessarily separate on the basis of language or quality. But most importantly I’m never in both mind frames simultaneously anyway. It’s a switch I have tried to build slowly which allows me oscillate between a human who thinks and feels in English and one who thinks and feels in Hindi. It takes a bit of time to turn into either person again and everybody must suffer.

TFR: As with Peter Cat, your solo music has a dreamscape kind of feel – it’s often like listening to a lucid dream. How would you describe your creative process? Do you land on the mood of the track first, or is it something else?

LIFAFA: My music all hinges on there being one definite moment where the initial melody, beat or combination struck home. It’s important to remember why you fell in love with a song or were attracted to it and then later down the road, the real test is in trying to recreate that moment in time while upgrading its general production (without losing what give it that soul). I can generally remember the exact moment a song was born. That’s a large reason I made more lo-fi music, because I also felt that, during the process of cleaning it up or re-recording, something vanishes.

TFR: Your music references so many types of art – other genres of music, the Technicolor drama of old Hindi films, and so on. What would you say are your key influences as a musician?

LIFAFA: It’s an ever growing list, starting from my childhood or my memories and tragedies, to neoclassical American music, to jazz, to Vrindavan, to physics, to YouTube, to Jordan Peterson and the Internet. Ultimately in time, I’d like to reference reality and not other art which is just somebody else’s reference to reality. There is no key influence, just the desire to keep re-informing myself and constantly changing.

TFR: You just had your new album launch in early January. Congratulations! Tell us a little about the album. What’s different this time around? What inspired you on this one?

LIFAFA: Well, for one, it’s better produced than my older work. It’s all in Hindi or Hindustani. It’s hard for me to answer this. I think a lot of what I said in the first question is relevant here. I was certainly driven by the idea of attempting to push Indian culture forward, in its own way, and ingest global ideas without become one. Blah, blah, blah. Also, I grew tired of making deeply personal music which I do in English and attempted to find a place where I responded more to my external environment, being Delhi and India, rather than just my own inner psyche.

TFR: Very interesting, thank you. Before we wrap up this interview, we have a few quick-fire questions for you. Here goes!

TFR: What are some album(s) on constant rotation recently?

LIFAFA: Pavilion of Dreams by Harold Budd (can’t get enough). However, I generally listen to tracks and not albums. I’m obsessed with “After the Rain” by John Coltrane these days. “Jamuna Kinare Mora gaon” by Prabha Atre has become a favorite, thanks to a friend.

TFR: What’s your favorite Hindi movie of all time?

LIFAFA: Muqaddar ka Sikander for its music, dialogue and beautiful approach to morality and tragedy. Everything about it is sublime and it never ceases to be accessible, which is the real achievement.

TFR: Drink of choice?

LIFAFA: Bourbon. Bailey’s.

TFR: What’s been your best gig so far?

LIFAFA: So far – at a particular show at the Serralves festival in Portugal, a couple decided to get married while I played “Irradon” and asked me to announce it for them.

TFR: And finally, who would you say is an Indian artist you love? (Not necessarily a musician)

LIFAFA: Amit Dutta, a filmmaker. I only saw fragments of his work and instantly knew he was on a another level. Yet to watch anything by him completely because I keep forgetting to. Some people just frighten me.

You can listen to LIFAFA on Soundcloud, Bandcamp, Apple Music and YouTube. Check out the official website for more information.

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Spoon – Hot Thoughts

12 Dec

Hot thoughts

No band embodies the idea of independent rock better than Spoon. Since 1996, the Austin band has churned out a great album every two to three years (see: Gimme Fiction, Ga Ga Ga Ga Ga).

Every other band with similar discography and enduring success (U2, RHCP) inevitably seems to fall prey to arena rock and millions-strong fan followings. Not Spoon though. They don’t wear leather pants. They don’t talk about their fame in songs. They never moved en masse to LA or NYC; one of them still lives in Austin, where he’s been a key element of the city’s music scene for decades. After all these years, Spoon’s self-worth seems to stem not from the limelight, but from an innate source of cool. And that’s what makes them truly indie rock.

Lead man Britt Daniel doesn’t like the “indie rock” label, though, and it kind of makes sense. In in our present understanding of the term, indie rock often refers to great-sounding upstarts that shot to fame through a combination of luck, marketing and the Internet – but whether their fame endures beyond the debut is a different matter. Spoon grew up in a different world, painstakingly building their sound (and fan base) without sacrificing their passion.

Hot Thoughts, their ninth full-length album, is the latest fruit of this passion. It’s full of the typical Spoon sound – punchy drums, wailing guitars, feverish bass lines and Daniel’s megaphone-via-voicemail singing style – peppered with a certain Spoon-y quirkiness that makes it a unique new album in their discography.

It’s the quirky details that make the songs stick: the first listen may entertain, but the fourth will truly intoxicate. On “Do I Have to Talk You into It”, the swaggering drums over a nervy piano are enough to make a great song, but Daniel’s idiosyncratic renditions of the song title is what stays with you. He shimmies up and down the scale one time; shout-asks in another; fades into the overpowering drums in a third; a magnetic presence on a magnetic track.

One of the verses on “First Caress” talks about a girl who likes to tell Daniel that coconut milk and coconut water are the same thing; it’s such a weird detail, but you somehow end up replaying the song just to hear him say that line. “Pink Up” has a dreamy, atmospheric sound, full of light xylophone touches and folksy maracas, as Daniel exhorts the listener to live life in the moment by taking the train to Marrakesh.

Of course, Spoon isn’t all about the quirk – some of their songs are just pure rock classics. The eponymous song is a good old-fashioned paean to a girl who gives Daniel some sexy ideas, set over fretty licks and Jim Eno’s confident drums. The frenetic energy of the drums and bass on “Shotgun” could and probably will incite a riot at some point, which is fitting because it’s about getting into fisticuffs. “Can I Sit Next to You” thumps along to a funk guitar and dance beats, a strutting theme song to Daniel’s unabashed pick-up line (“Can I sit next to you? Can you sit next to me?”).

Hot Thoughts is a very enjoyable album through and through by the guys who basically invented the genre. You’d be doing yourself a disservice if you don’t give it a listen.

Best songs: “Do I Have to Talk You Into It”, “Can I Sit Next to You”, “Shotgun”

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Five Fresh Songs for Your Feel-Good Sunday Morning Fix

13 Apr

We have already expressed our deep and undying love for Saturday mornings soundtracked to new music, so here’s a companion piece to that. This list is about those magical hours of optimism on a Sunday morning, right after a Saturday night party and right before the weekend rapidly fades away. And what better way to make the feeling last than with five fresh new songs? So, without further ado, here’s our suggestions for a soundtrack to your feel-good Sunday morning. And we promise it’ll only take 22 minutes and 6 seconds of your life to listen through it. Go on, then.

“Alley Cats” by Madboy/Mink

Madboy/Mink is a jazz-dance outfit from Bombay that has been blowing our minds since their debut EP All Ball dropped on SoundCloud last week. The group comprises the young and talented pair of Saba Azad (“Mink”) and Imaad Shah (“Madboy”). Azad has the perfect voice for electro funk/jazz: velvety, eccentric and deliciously retro at the same time. She’s worked with the legendary Blackstratblues before (source: Rolling Stone), and she seem to carry along that band’s nonchalant sense of joy in music with her. Shah has already created quite a following for himself as Madboy, courtesy a raw talent for musical arrangement (see: “Martinis in the dark”). He’s also otherwise known for being Naseeruddin Shah’s son (!).

Azad and Shah.

Azad and Shah.

“Alley Cats” is about snazzy, bowling cats with snazzy bowler hats, and the fun doesn’t stop there. The duo tells the silliest tale – of fish-stealing, rat-chasing cool cats – with such verve that you just can’t help feeling great just listening to the track. Madboy/Mink boasts at the end of the song, “Yes, this band is pretty tight/We’re the kings and they’re the rats,” and they may really be onto something there.

“Dont Stop” by Tankbund

The first minute of “Dont Stop” features lead singer Ritwik De vocalizing what could be the soundtrack to someone’s unsaid feelings on a rainy, lonely Saturday evening. His gauzy, warm voice lulls you into a false sense of introspection, so that when the song suddenly breaks into six-beats-a-second, you tend to feel just a touch of disorientation. De’s soulful, deep voice syncs perfectly with the stop-start, almost trip-hop electronica in the background. His plaintive request (“No, don’t stop”), stretched over several heartwrenching seconds, is persuasive, emotive and entirely lovely. If you loved this track, be sure to check out “Tres Bien”, also from their debut EP Inside. We’re definitely listening to more of this New Delhi band.

“Good to You feat. Siddharth Basrur” by Sandunes

Sandunes, aka Sanaya Ardeshir, is one of the most intriguing artists in the country. Her music is an eclectic confluence of influences: there’s a lot of Air and Zero 7 in there, with playful hint of old-school jazz thrown in for good measure. “Good to You”, featuring Goddess Gagged lead singer Siddharth Basrur, seems to be a post-break-up ode of promises and thinly-veiled remorse, backed by Ardeshir’s top-class production sensibilities.

Sanaya Ardeshir

Sanaya Ardeshir

“Good to You” breaks and crests and pulses at exactly the right places for exactly the right amount of time. There’s a point in the song, about two and a half minutes in, when Basrur’s repeated “I’ll be good to you” precisely syncs with splashes of woozy electronica, that especially blew our minds. Listen to it on a Sunday morning, and we promise it’ll leave you feeling chill the whole day. What more could you want?

“Fire” by Machli

Bangalore-based electro-acoustic outfit Machli is made up of design students who, true to stereotype, have an uncanny sense of aesthetics. “Fire” is a lush, ambient tapestry carried by Sandhya Visvanathan’s despondent, lilting voice and Aniruddh Shivakumar Menon’s percussive talents. The song is addictive and just perfect for half-sleepy Sunday mornings. Also check out their ‘Tigerbalm Mix’ (found here) for a more dreamlike, trip-hop take on the song.

“Epileptic” by 30ton Capacity

Bangalore has seen its fair share of talented post-rock bands lately: Space Behind the Yellow Room and Until We Last come to mind. With their debut EP Season One Episode Nil (you know, like S1E00 like at the beginning of a series), post-rock-veering-on-prog band 30ton Capacity joins the growing list. Our favorite track from the EP is “Epileptic”. The track starts with a quirky, Radiohead-like spoken-word sample (“Try to relax your toes, Gloria. Feel them tingle. Relax them one by one…”) that immediately sets the young band apart. Robin Srivastava’s shrouded vocals create a beautiful, delicate wall (curtain?) of sound, complemented ably by drummer Sumanth. We’ll definitely be listening to this band a lot more!

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Here’s the full playlist for your easy listening pleasure.

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The Top Five Songs of 2013: Neeharika’s List

23 Dec

With about a week to go before the end of the year, 2013 is being hailed by critics across the board as a good year for music. We saw the emergence of new, promising artists like Haim and Lorde, and saw great followups by established acts such as Arctic Monkeys and Daft Punk. My Bloody Valentine made a reappearance twenty-two years (!) after their previous album, while Kanye West released a mad-hatter album whose hype rivals, if not exceeds, that which surrounded his blockbuster from 2010. Chance the Rapper and Earl Sweatshirt, too, released important rap albums. All in all, it was a good year for music. Here’s my take on the top five songs of the year. Hope you like it!

– Neeharika

5. “The Wire” by Haim

Haim

There are a handful of songs in the world where all the elements – the music, the lyrics, the style and the influences – sync perfectly and irrefutably together. These songs are very, very few and far between, and are invariably propelled to ‘instant classic’ status. It can be said, beyond the shadow of a doubt, that “The Wire” is one of these songs.

Haim, a trio of sisters from sunny California, has been making all the right kind of headlines since their debut Days are Gone released in September. Even though they have been compared to everyone from Fleetwood Mac to the Dixie Chicks, Haim has an unshakeable foundation which lets them use their influences as flavoring rather than as the main ingredient. However you look at it, Haim is one of the most attractive and truly talented bands out there today.

“The Wire”, a confessional about wisely letting go of a failing relationship, is an irresistibly catchy example of Haim’s allure. Existing in a universe where The Bangles open for Madonna (or maybe the other way around), “The Wire” is one of the best songs of the year and perhaps one that 2013 will be remembered for, well into the future.

View our full album review here.

4. “Right Action” by Franz Ferdinand

In early 2004, a Scottish indie rock band released an eponymous debut album, smartly titled after a European archduke who catalysed one of history’s largest events. Fittingly, the album provided a similarly intense shot-in-the-arm for the indie rock world, which had been languishing since The Strokes released their unbeatable debut three years prior.

Franz Ferdinand’s post-punk/steampunk hit “Take Me Out”, which was coupled with a video that showcased the band’s monstrously creative art-school sensibilities, remained the band’s song to beat. Now, almost a decade later, Franz Ferdinand has finally created a true successor to their best-known song – and man, it’s good.

“Right Action” is an almost-love song (“Sometimes I wish you were here, weather permitting”) that paraphrases Buddhist tenets (“Right thoughts, right words, right actions”) over a relentless dance-party riff. It wouldn’t be incorrect to say that the song’s a riot and a half. The video, like all Franz Ferdinand videos, is mindblowingly artsy, and the boys are as slick and well-dressed as ever. Alex Kapranos has said that the band’s raison d’etre is to make music that girls can dance to. Franz Ferdinand may be a decade old, but you can bet your skinny tie that they can still own any dance party.

3. “Bad Girls” by M.I.A.

London-via-Sri Lanka swag goddess MIA has always been known for her ridiculous amounts of devil-may-care confidence. But nowhere in her career has she been as swagtastic as in the video for “Bad Girls”. In front of an audience of traditionally-attired Arab men, MIA drag-races – on cars tilted 45 degrees to the vertical – while repeating her feminist, fuck-you mantra: “Live fast, die young, bad girls do it well.”

MIAThe implicit understanding that the video is taking place in Saudi Arabia – where woman drivers, let alone irreverent women atop cars, are forbidden – makes “Bad Girls” one of the rowdiest things that MIA has ever done. The song itself tilts, much like MIA’s cars, between exotic mysticism and gilded braggadocio, and in a way, it’s a metaphor for the artist herself. Whatever the angle, though, it’s just a ridiculously good song.

2. “Royals” by Lorde

Ironically aristocratic teenage sensation Lorde is, ironically, 2013’s It-girl. On “Royals”, her break-out, chart-topping lead single, Lorde sings about her inability to associate with the gaudy extravagance of popular musicians. “We don’t care, we aren’t caught up in your love affair,” she asserts, placing herself firmly in the zone of the non-celebrity.

Over a deep-drum, threadbare beat, Lorde eschews the trappings of fame for a more localized aristocracy: “Let me be your ruler, you can call me queen bee,” she says. Ironically, though, this very song catapulted her into immediate pop royalty, charting her over self-indulgent pop mainstays such as Katy Perry and Miley Cyrus. Not bad for a sixteen year old, wouldn’t you say?

View our full album review here.

1. “Get Lucky” by Daft Punk

“Get Lucky” was first released into the world through a 15-second advertisement on Saturday Night Live in early March. The rabid craze that followed that brief snippet foreshadowed the near future: a particularly enthusiastic fan even spun that 15-second sample into an extended 10-hour jam (!).  At that point, the world didn’t even know much about the song – apart from a warm, glittering riff that somehow automatically brought to mind a disco ball. By the time Daft Punk released the song in April though, everyone knew all the words. It was, in mid-spring, already the song of the summer.

“Get Lucky” is musical perfection enveloped in four minutes. It’s the reckless abandon on a disco dance floor. It’s the magic of meeting someone more promising than you’ve met in years. It’s the realization that love keeps the planet spinning, that music rebirths from itself like a phoenix. “Get Lucky” is a gift from a pair of robots to humankind, reminding us of a forgotten truth: that the past is golden and the future holds endless possibilities.

In 2013, musicians around the world made music that impacted some of us in certain ways. In 2013, Daft Punk made a song that could – and should – eventually be sent out of our world into endless space as a symbol of what humankind can achieve… with a little help from robots, of course.

View our full album review here.

So there you have it! Stay tuned for more Top Five lists coming up soon, including our Top Five Albums of 2013!

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