(188 comments)

[freakytigger.livejournal.com]

The recent Now polls have been total blockbusters in terms of comments - and lots of votes too. This runs us up against the technical limits of LJ, i.e. that an over-50 comments thread is a chore to read, and a 2-page one requires particular dedication even beyond that. Not much we can do about that, other than pass the thematic ball forward more often (i.e. start new threads).

So why's it happening? Well Poptimists is bigger now, and this is a period we all remember, and a lot of us were online then and fighting various crucial ideological pop battles (ahem) and so there's an urge to either defend territory hard-won - or complicate history by asking questions which Pop Fervour made us less likely to pose at the time.

It's interesting* that there's a definite hard kernel of a 00s Pop Canon there - after poll after poll with winning scores in the 70s, Britney, Kylie, S Club, Destiny's all post scores of 90%-ish, and I can think of a few more tracks that are likely to do similar. (Obviously a lot of this is a quirk of demographics - we've set up a community where ppl who like that sort of thing can wander in.)

*especially cos of the relative lack of majority-votes and high-scorers for the current month polls stevem runs - has pop got worse, or just more diverse?

Comments

[freakytigger.livejournal.com]

But "an [x] sample thrust into a massive pounding house environment" is the definition of eurobosh/eurotrance/tacky high street filterdisco, and sure we all loved Eric Prydz but I didn't see any evidence that he was going to Save Pop.

(Though as my tickys this month indicate he sort of did for me)

[alexmacpherson.livejournal.com]

This is where dance can get snobby and stuff but there are different kinds of massive pounding house environments - stuff like LMC is LCD-dance, the kind of cheesy boshing thing which will always have the occasional top 5 hit regardless of the vagaries of fashion. It can be fun but compared to eg Tiefschwarz, Tomas Andersson etc, it's cheaper-sounding and isn't going to fuck with your head (and also it's played in different clubs - meat markets and so on). Madonna isn't aligning herself with that - though actually JLC's genius is in taking what it does well and marrying it to what the darker, more minimal dudes do well. I guess it's not just what Madonna's current singles sound like as the scene, the individuals, she's using.

Also the Eric Prydzs and Shapeshifters of this world aren't pop stars in the way Madonna is!

[freakytigger.livejournal.com]

But if the difference between them is detectable largely by the dance snob's ears and not the general public ears, how likely is a significant level of crossover? I'm not saying, oh Shapeshifers are better than Tiefschwarz (though judging from what I've heard I like them more!), I'm saying, this is a pop niche that is already being filled.

I think as you mentioned before "Slow" and the Kylie album were much more of a pointer to an unfilled niche - that got a lot of stuff right, it just didn't have many or any good hooks, and the settings exposed Kylie's voice as kind of awful.

[alexmacpherson.livejournal.com]

I think the key is the fact that a proper bona fide Pop Star is doing dance stuff - the occasional dance hit by an artist unlikely to trouble the charts again has always happened, it kind of pootles along every so often regardless of the prevailing winds. Also all the examples of this sort of stuff that we've talked about are actually quite old! I think this recent move away from dance in the charts is still pretty recent, I mean as recently as 2004 'The Show' was a massive hit and it was basically Vitalic on pink wine.

[freakytigger.livejournal.com]

Just from the most recent stevem poll I'd point you to Beatfreakz and Sunblock - these tracks aren't getting to #1 right now but that's more cos it's not summer!

(And 'being in touch with the dancefloors' has nearly always been part of Madonna's thing, so she's kind of a special case.)

[freakytigger.livejournal.com]

Plus the whole marketing theme of Confessions was "Madonna goes back to her disco roots, is this her last album?" etc. - so it's been pitched and sold as a return to/update of disco, not - unlike Music - as Madonna The Trendmistress. Judging by the reactions of my 20something officemates, a lot of the people who bought Confessions on those terms were disappointed by the trackier/newer-sounding JLC stuff on the rest of the album.

[alexmacpherson.livejournal.com]

Bah i thought I replied to this earlier before WORK took over my AFTERNOON but apparently not. It was along the lines of "the 'back to disco roots' line is a v consumer-friendly one and she's banged in a massive Abba sample to make it obvious but what she is doing simultaneously is basically the total awesomeness of selling minimal house and fucked-up techno AS disco, which is apt because it IS nu-disco, and by plastering her album in it she is getting the public's ears used to this so that when other popstrels look and learn and maybe get people to write better songs for them, people aren't going to reject them because they're not going to be TOO new-sounding and so what Madge is doing is in fact using STEALTH to KILL ROCK which is ENTIRELY COMMENDABLE and I WUV HER!!!!111"

[freakytigger.livejournal.com]

I guess my argument boils down to:

- the difference between boshing high street house and trendy minimal house is small enough to be entirely erased in the transition overground, so prepare for disappointment!

(I think househeads sometimes overestimate the potential for micro-shifts in underground house to somehow change the face of mainstream dance music, which isn't to say it CAN'T happen but I don't think the Madonna record will have had much to do with it)

[alexmacpherson.livejournal.com]

I think her album will be more important in the long run in the US actually, where to my knowledge they don't have high street house at all, or any kind of dance presence on radio/the charts. Selling ANY dance to America = impressive feat indeed.

Over here it's kind of a two-pronged attack because it's coming up through the indie as well - Justice, Ed Banger, Feadz and our old friend Mr Oizo are quite rock-based, and with various indie groups (eg Test Icicles) working closely with them who knows what will result? And Uffie's 'Ready To Uff' is exactly the kind of novelty white-girl hip-hop I can imagine gatecrashing the charts..

[freakytigger.livejournal.com]

I think I heard that Uffie record - it was horrible! Exactly the kind of thing I'd imagine would totally enrage you, Lex.

[alexmacpherson.livejournal.com]

Uffie and Lily Allen are good/evil flipsides of the same coin, yes. But it's a lot more fun to dance to Uffie, and she isn't as up herself as Allen (well she is but not musically), and I can't resist that whole stutter effect on "I - I, I, I - I'm ready to fuck!"

'Pop The Glock' also OK but would be better if it sampled 'Sweet Dreams' outright rather than puttering around the riff.

[freakytigger.livejournal.com]

Oh it was "Pop The Glock" I heard - atrocious, hugely worse than anything Lily Allen's done.

Did you ever hear Northern State?

[alexmacpherson.livejournal.com]

'Ready To Uff' is the better Uffie banger by miles (nb many people disagree with me here). I did hear Northern State, and I didn't mind them, I think I enjoyed their album in a vague way - I approved of them more after that infamously dreadful P-fork review, but I can't even remember what the songs were called now let alone how they went.