MOMENTS of the year, 2004

- "You! think you're slick! trynna hit!" - Ciara's sudden, operatic dismissal in "Goodies"
- "the way she GET LOW" - the moment in "Yeah" where Usher finally gives in to lust, the big 'fuck you' to fidelity
- "Hellooo! This is MIA! Would you pleeease! Come get me!" Come-on, shout-out and playground chant all in one - I love MIA's enunciation
- Cheryl Tweedy's perfect performance of the line "we're gift-wrapped kitty cats, we only turn into tigers when we gotta fight back" in the "Love Machine" video
- "Burberraaayyyy, St Tropaaayyyy, when you gonna learn to speak properlaaayyy" - Lady Sov 1, Jentina 0

more to come

oh GOD yes

- The Magnetic Fields, 'I'm Tongue Tied'.

The string/cymbal hits at the beginning of "Lean Back".
The sparkly bit before the vocoder in "Emerald City" by U.S.E.
Demon's "What, should I spit now? When when when when man?" from "Gangsta Toys".
Dizzee talking over himself during the intro on "What U Talkin'" on Lord of the Decks 2.
"Sorry, wrong beat", and the subsequent shift from the Zone 4 remix of Mya's "Fallen".
The opening line "I was born, I hate this part" from "I Was Born" by The Magnetic Fields.
The euphoria of the opening bars of Dykehouse's "Chain Smoking".
Listening to Assassin's "Girls Gone Wild" on the French Vanilla riddim and knowing it's going to be a hit even before the beat drops.
The moment the vocals come in on Jake Fairley's "Nightstick".

More to come.

ELECTRO CHIMING

Haha that makes it even sadder year for them then.

- the STOMP! STOMP! STOMP! part in "Take Me Out"
- the insanely funky guitar riff that comes in right after the line, "and you should leave it for her, the girl around the way." in "Your Cover's Blown"
- "You're an acid junkie college flunkie dirty puppy dirty bastard."
- "Fuck you, you ho. I don't want you back."
- when the drum fills come in on "Assessment"
- "It's a wonderful night, ya gotta take it from me. It's a wonderful night. (I'm gonna break it on down.)"
- the ringing guitar riff in "Float On"
- the harmonica in "Can't Stand Me Now"
- "Like I give a FUCK! Like I give a SHIT!"
- "AMERICA KICKS ASS!!"
- the first forty-five seconds of "Can't Stand Me Now," especially how the guitar riff gradually arrives
- "Imagine. How. It would be. To be at the top. Making cash money."
- "Uno! Dos! Tres! Catorce!"

and of course...

- "Waddleeengaboomyboodeediddly-dat dodo. Waddleeengaboomyboodeediddly-dat dodo."

oh so many more

-The beautifully chopped vocal samples for the unbearably touching Madvillain track "Fancy Clown."

-"January twenty-EIGHT. 1968." The very beginning of Nas' first verse on "U.B.R."

-The gigantic synth-swoops of Lil Scrappy's "F.I.L.A."

-Timbaland at the end of Brandy's "Who is She 2 You" - "Timbo the king! Brandy the Queen!" for some reason 10x as affecting as usual because a) the beat is so terrific and b) Timbaland is fading from popular consciousness.

-When the drums come in on Annie's "Come Together."

-Hearing CL Smooth and Pete Rock together again on "It's a Love Thing" and "Appreciate."

2. The whooshy noise just before the bass kicks on "Drumpads of Jericho"

3. "I sleep in hooded jim jams" off of Boogeyman

4. "My name is problem"

5. The squealy squiggly bits on the "rocker" intro. I never want to hear the big euphoric synth riff again, but the squeals are still great.

6. "I don't dance, not that I can't, but there's a pistol in my pants" in one line Eminem outshines his entire new album (probably)

1) The oasis of stillness and the sweet bassline drifting in on "The Feeling (Post Rave Dub)"
2) Too many moments to mention on "Frei/Hot Love", but maybe I'll mention the joyous little stuttering breakdown bit.
3) That moment on Mayer's "Amabile" where the eerie synth hook suddenly becomes stickier and more bittersweet, its microscopic tendril hooks grafting onto yer ears as it cycles past
4) "And the wind, and the wind, and the wind is in my hair!" - Teedra Moses, "Backstroke"
5) That bit in Ada's "Lovelace" where the incredibly morose trembling synths start to underscore and undermine the pealing rave energy.
6) "Stop! Baby remain as you were!" - Vybz Kartel, "Picture This"
7) "This is for all the girls who love fi have sex!" - TOK, "Sex on my Mind"
8) The henchmen backing vocals in "Some Girls"
9) The stadium rock drums halfway through "Strangest Things (Freeform Reform Dub)"
10) "Oh! Take it.. SLOW!" in "Move Ya Body"
11) "That's cool, I'm bigger now" in "Pies"
12) Dave Gahan's "Bottle Living (T. Raumschmiere Mix)" descending from pumping 4/4 into swamplike schaffel.
13) The rasp overtaking the wail as Fantasia sings "You see i've waited all my life..."
14) The sudden lurch into S&M porn groove in Mei Lwun's "Too Late"
15) BLARE/CRASH/BLARE/CRASH in the into of "Prototype"
16) "ARGH! LETHAL B'S GOT A GUN!"
17) "STOP! THAT BOY LOOKS LIKE CRAZY! STOP! THAT BOY LOOKS LIKE J!"
18) Freeway screaming "From Philly to Milanos!" in "Just Blaze, Bleek & Free"
19) The eerie mandolin on Luciano's "Mother, Madre & Mere"
20) The seering electronics interspersed with "Let it inside you!" on the Tiefschwarz mix of "Kinda New"

- JC Chasez goes from pounding tech-indie synthpop to breakdance videogame rave in 5 seconds on 'All Day Long I Dream About Sex'.

- The warm synth wash on Janet's 'All Nite (Don't Stop)' and the extended middle 8 - the beat shuts down, the background coos, Janet comes and then asks in cyberwhisper, "Can't we take this party higher?" and the Jam & Lewis bots oblige.

- The ending of the Cornelius mix of Kings of Convenience - 'I'd Rather Dance With You', when the acoustic coyness starts to blister and stutter smoothly.

-The subtly sinister synthaction in the middle of Cagedbaby's mix of Benny Benassi Presents The Biz - 'No Matter What You Do'.

- "HEY! STOP! You made a promise! to make me a star!You made a promise! I'd get to the top!" And the b/g. And the chorus. That'll be 'Some Girls', by Rachel Stevens, then.

- Plus-Tech Squeeze Box - 'Fiddle Dee-Dee!' switches from funky cut-up, stammering Japanese-Missy 'n' Tim in the verses, to a gleeful, Energiser powered power punk pop chorus to a calmer indie-pop-with-keyboards chorus within a minute. That's like 3 moments in one.

- The intro into the first verse on 'Toxic'. And the dance she does while trying not to singe her fingers during the middle 8 in the video.

- And when she goes into bot mode at the end of 'Brave New Girl' and unloads the "doo-doodoo-doo-doo"s.

- "I won't forget, the greatest times I had when I was dancing with you" and "This is D. This is I. This is F.F.I. This is C. This is U.L.T. If ever there's a girl that could rock your world then that girl sure is me." Hi, Annie!

-Best retro-synths of the year: 'Me Plus One', JC's 'All Day Long...' and 'Come To Me', Benassi/Cagedbaby and the entirety of Cut Copy's album.

- 10 Things I Love About JC Chasez - 'Shake It' (reposted):
1. The quick kickoff.
2. The backing vocals in the verses - "Hypno-tise mee", "Low-oh-oh-oh-oh" - and the choruses.
3. The technically unstunning but totally fitting dancehall breakdown.
4. The lyrics. "Do you know my na-ame!"
5. The beat - it wobbles but it don't fall down.
6. The post-chorus instrumental part. Absolutely bonkers.
7. The "la la la la la la la" bonkersness.
8. His'n'hers Camille voices.
9. It's the ultimate balance of popcraft and production savvy Kish Kash almost perfected and is therefore its ultimate embodiment.
10. It's the male 'Toxic' (or the 'Rock Your Body' of 2004) and it probably would've broken him everywhere.

- The oddly mournful, big-haired Dr Fink synth on Felix's 'Ready 2 Wear'.

- The '1985 BBC2 nature documentary' synth line on Captain Comatose's remix of Chelonis' 'I Don't Know'.

- The woozy backing on the Wernham Hoog rmx of The Concretes - 'Chico', and the lovely way the singer flows forth with "Wernham Hogg" at the start.

- Utter disco euphoria - the chanting late into the DFA mix of Junior Senior's 'Shake Your Coconuts'.

- BEP get into the circle at the climax of the 'Hey Mama' video and pop, lock, break, bend, spin and jazz step to dancehall. And Usher gets pwned.

- The delicate balance between twee pop and metal-grinding electro gets severely disrupted when Fanatstic Plastic Machine puts a Telecaster Mix on Markus Nikolai's 'Bushes'.

- The chorus of Junior Boys' - 'More Than Real' - emo lyrics, the phrasing, the doomy electrofunk - it's all there.

- The shift from 'Ah Oui Comme Ca' to the title track of Chromeo's She's In Control and the familiar drum machine, disco noises and awesome Cameo keyboard riffs and melody on the chorus of said title track.

- The final appearance of that dirty lowdown synth riff on Black Strobes The Abwehr Disco.

- "More concerned with, y'know, the grime" - Dizzee, Showtime, especially the bit when his voice lurches upwards on 'the grime'.

- The moment at the end of the DFA mix CD when they layer "BEAT! A-CONNECTION!" over the acid freakout on Yeah.

- "Motherfuckers motherfuckers motherfuckers motherfuckers motherfuckers motherfuckers motherfuckers motherfuckers motherfuckers gonna drop the pressure", *HUGE whooshing noise*, bass kicks back in again, everything goes mental. This only really happens in Erol's edit but man it kills.

- Empty Cans descends into violent Super Tennants-soaked misanthropic hell, then rewind, and those warm, rising strings kick in, and you know everything's going to be alright. So much so that you forget to ask how Mike can be watching This Morning with a beer when his TV's broken.

- "You know this time, you've got to let it go. It's gone" - Annie, Me Plus One.

- "IF YOU WANT THE POSITION OF GOD THEN TAKE THE RESPONSIBILITY!" - The moment at the end of Orbital's You Lot when Chris Eccleston's rant reaches fever pitch and it all kicks back in.

- The Tiefschwarz remix of Lost'n'Alive's Feels Like Love seems to be falling apart, there's this huge echoing bashing noise, then silence. Then the loop comes back, spinning around and around you head, then the bouncing bass and the hi-hats, "and it feeeeeeeeeeeeels like love." Of course it does.

- Fiery Furnaces, that final "my dog was lost but now he's found" to the sound of hackneyed church organ, and suddenly you get the joke.

- "To the man who don't like me, to the woman who don't like me, that's cool I'm bigger now" - Wiley, Pies.

- "Jentina... this is not a dree-aam... IT'S A FUCKING NIGHTMARE YOU BITCH!" - Lady Sovereign - Bad Ass Stripper

- "Woaaaaaaaaaaaaaaaaaaaaah... doesn't matter who you are, when you're moving up with Alcazar", while twatted round a tape player at 2am at Glasto, wasted on the last of the perry and the dregs of the Racist Calamachao.

the 'warp ten' middle eight in Orbital's 'You Lot' where it drags you into a weaving tunnel of audio doom

'sometimes...i feel....like i...'er, something on Beta Band's 'Assessment'

climax of 'Laura (Simone)'

the second 'I wanna be human human human human' on Felix 'Neon Human' (also the first chorus on 'Ready 2 Wear', when 'Watching Cars Go By' kicks back in for the last time, and the daftness of 'Devin Dazzle Theme')

when the beat drops on 'What You Waiting For?' with the 'tick-tock'

Petey Pablo's rap on Ciara's 'Goodies'

hearing The Knife's 'Heartbeats' for the first time, and the remix

the holler break towards the end of 'Galang'

'don't matter now cos there's a tune comin' in' (Blinded By The Lights)

first chorus on The Go Team's 'Huddle Information'

Hystereo 'Winters In The City' - just all of it

when the kids start singing on Loo & Placido's mash-up of Queen and Althea & Donna

"BABYLON BABYLON BABYLON BABYLON BABYLON BWOY"

Oh god yes. Also how did I miss that one, let alone the end of Galang?

Also Rex The Dog - Frequency - the bit where that squealy melodic line lurches up an octave and you think it can't get any more intense AND THEN IT DOES. Probably my tune of the year.

* Being round JB's house in a dire emotional state, watching TotP with the sound turned down while we have dinner, and seeing Franz Ferdinand coming on for the first time and persuading him to turn the sound on the telly right up and the line 'I know I won't be leaving here with you' feeling terribly right.

* Going to see Fiery Furnaces at the Garage alone, the moment the singer stared out everyone in the front row - being utterly transfixed by a rock band for the first time in years.

* Going back to D's house for the first time, staying up all night getting sticky mouthed and drunk on sloe gin as 'Loveless' played over and over on repeat.

* Coming out of the pub before we went to the festival at the Botanics, and somehow the grey skies that had shrouded Glasgow had been replaced with endless blue, and Monica Queen coming onstage singing with such apt and summery gusto.

I don't know, maybe this kind of thing deserves a thread of its own.

OT motherfucking M.

- "Waddleeengaboomyboodeediddly-dat dodo. Waddleeengaboomyboodeediddly-dat dodo."

(The Real) Tuesday Weld? Fuggin' marvellous! Soon to be on an advert near you, apparently. The whole album's splendid.

how come no "dry your eyes" love?

And I'm just standin' there, I can't say a word 'Cause everythin's just gone I've got nothin' Absolutely nothin'

(i was thinking about putting in similar things to JtN too:

* watching these blokes make snakebite and black (with their own 2 litre bottle of ribena) whilst listening to soul ii soul ripping gleefully through their back catalogue at glasto

* almost bouncing up fleet street after a meeting when huddle formation came on the ipod and having to try very hard not to grin like a lunatic at hard faced lawyers

* there is a light that never goes out, in a field, in somerset)

Absolutely. In a Jerry the Nipper way, Sov has been the character of my year. "When I say 'I'm hungry' you say 'want haggis'" and all.

* there is a light that never goes out, in a field, in somerset)

That was an odd one. I was on my own, a long way back, surrounded by people who didn't care much and I wasn't sure if I did or not, but then I started staring at a big tree in the distance against the fading light and it all got a bit weird. I wasn't on drugs.

Other more Nipper-friendly personally relevant moments include:

- Playing House of Love at Club FT and watching the dancefloor fill with people. It would stay that way for the rest of the night.

- Karl Bartos playing a beefed up version of The Robots in a huge tent at Roskilde, at the end of a no messing around Kraftwerk Greatest Hits set, and then walking out into the rain and mud blinking in awe.

- Being on the dancefloor at an artschool warehouse party in East London, absolutely off my tits and hearing You Shook Me All Night Long dropped in its entirety in the middle of a straight acid techno set and people going mental like it was the most euphoric house tune ever.

- Whatever the dirty goth death metal electro rave thing Ivan Smagghe played at about 5am on Saturday at Fabric was, as the lasers went ballistic and the ILX Massive stared at each other in awe. And then danced like maniacs.

- Basement Jaxx doing Where's Your Head At at Glasto as the most almighty downpour came down, and this robotic voice booming out through the rain "YOU HAVE NOW FOUND YOURSELF! TRAPPED IN THE INCOMPREHENSIBLE MAZE!" This is the only thing I can remember from that entire set, so it must have been good.

- Club FT again, in Euro2004, as Holland had just been knocked out by Portugal on the big screen. Chris playing records over the top of it... "Dry your eyes, mate" coinciding perfectly with the footage of an Oranj bloke crying.

finally Guy Chadwick gets his props! oh wait

Oh god, so OTM. Switching on the TV, hours having moved into my new place, a week before Glastonbury, at the start of a tournament We Were Going To Win (haha), and hearing Good Luck playing out. It seemed to sum up the optimism of the early summer so perfectly.

xpost

--Two weeks later. John Peel plays 'Torpedoes' while I'm cleaning the kitchen with Alex and I remember it and it sounds so neonpink and simple and fine that I can't even imagine what it would be, to go back.

--Before, and I'm in Aldgate watching the Butterfly Stitch mark the beginning of the end of the last eighteen months. They look bronze and good. And then "you're my kinda girl" and kate's on fire and trumpets and suddenly I can feel all that resentment slipping away as it builds and builds until all I have left is that whatever this band is doing to me, this is a still a song that justifies the whole of indie pop on its own.

extreme track of the year: co-existant species from French Black Metal band Seth
http://www.innomineseth.com/us/indexus.htm
Laser guided precision futuristic black metal - hyper complex chopped up orchestral black metal - stunning production.

The iPod. Man.

The first time I heard 'Crown Of Love' by The Arcade Fire. The moment wasn't significant (I think I was walking up some stairs or something), but the song... oh boy...

Similarly - The Futureheads. 'Hounds Of Love'. "So here I GO-HO! Don't lemme GO-HO!" End of February, that's not number one, then it'd better be 'Heartbeat''s second week at the top, or There Will Be Trouble.

Finally loving Universal Audio. All the weeks of worry, and then - BAM! Everything, Everything, Everything falls into place, all at once... moment is probably the guitar solo at the end of 'The City Consumes Us'.

Listening to 'The City Consumes Us' while walking alone round a near-deserted Whitgift Centre one dark and rainy Thursday morning.

"SPIKE HEELS & SKINTIGHT JEANS GOTTA FISTFUL OF LOVE IT'S COMING YOUR WAY BABY COME BABY COME YOU KNOW WHAT I MEAN"

Paul Heaton intoning the opening lines of 'Don't Stop Moving'. It feels wrong. Then it feels right. Then it feels perfect.

Junior Masterskanking to 'Trick Me' while walking round Safeway.

further unmentioned Sov-ness - "Oh mah Godd, PIANOS!!!"

Chair-dancing to Tyler James.

However many consecutive weeks I spent listening to Gallowsbird's Bark.

Turning the lights off in the radio studio, then turning on some fairy lights instead and playing 'A Sister's Social Agony' by Camera Obscura secure in the knowledge it most likely won't ever get better than this.

Minor indie disco hand-clapping to 'You Can't Hurry Love' (Concretes version) while walking round Tesco Express.

Dancing to 'Yes Sir I Can Boogie' at Club FT with such vigour that the CD started skipping.

And probably some others.

P.S. Matt - the trumpets are at the start of Junior Kickstart.

Field Music
http://www.memphis-industries.com/field_music.html
just Signed to Memphis Industries

They sound like XTC / Felt / Monochrome Set/ Split Enz / early Aztec Camera - very addictive crisp sounding and rhythmic.

More please, Gravel.

Different trumpets. The ones on Junior Kickstart are more Goal Of The Month trumpets.

- Getting to freestyle to 'Ring My Bell' during an outdoor party.

- Listening to almost all my CDs on the big speakers in the gym (club volume Cornelius is almost as special as headphones Cornelius - drowned in sound either way) and working out to all my dance albums and DJ mixes (my buddy Benign, Tiga, Zdar, Alkan, MANDY, Classic Records, DJ Milo, my other buddy Beatniked, Waves 1 et 2).

- Unleashing the hatred on Stefaneeeee.

- Memorising Purple Rain (the film).

- Seeing Usher get slapped in the face in his own video.

-Holly winning MTV: Shakedown, because it meant I could stop caring.

- Having my initial cynicism completely melted away by the 3rd minute of my premier listen to The Knife and Rex's 'Heartbeat'.

- A lovely couple of chats with Annie, records signed and 'Me Plus One' danced to.

--And when they do, in Plymouth, back to Florence's and fall asleep to MTV and when I wake up its 'Fit But You Know It' and we're laughing and I feel as if the weight of too many too twee years is finally lifted, only not even that because it's just gone and all that's left is the happiness of a fat man jumping into a pool.

- The time sig of Archigram's 'Padre' and the way the track elements cascade upon each other to screw with your head.

- The finale of the video to Braxe and Falke's 'Rubicon' when the girl embodies the teenage highs of the song on passing her driving test.

ah yes, both of us looking at each other and starting to dance to 'Love Machine' at The Social is also up there

Yeah, only now it sounds gay.

Why don't Steve and Barms play the game?

Walking down Streatham Common in the sunshine and listening to 'Lola's Theme'.

"Cos you and I know THEYEE-EEEE-YETTT!"

"I've got nothing. Absolutely nothing."

Falling asleep on the bus to the sound of Misty Dixon.

"You're so cruel to my - HEAR-ARRRR-ARRRT! HEAR-ARRRR-ARRRT! HEAR-ARRRR-ARRT!"

The intro to 'You Are The Generation That Bought More Shoes And You Get What You Deserve'. Anytime. At all.

Sat at the table in some carvery with my brother, and every time we look at each other we start singing the chorus to 'Dragostea Din Tei' and laughing uncontrollably. Our parents haven't got a clue what's going on.

Dom ringing me while I'm at the bank to tell me John Peel's dead. The following 15 minutes. Cashing the cheque. Walking across campus, looking for someone to talk to and finding no-one, feeling more alone than ever. Put the headphones in. It's The Delgados. Then Pulp. Ring some friends from Brum that I've not spoken to in about nine months. And then that night. Me and Dom on MSN. Lamacq does his tribute programme at 11, half an hour in he plays Ballboy and Laura Cantrell doing 'I Lost You But I Found Country Music'. The world caves in.

(The rest of the mix was hott - Mylo vs Aloud, some uneasy electrohouse and a beautific disco soul tune featuring a male/female sung lovers' tiff that I still know nothing about)

- the final big drop in Vitalic's remix of Cish Cash, when it sounds like the choirs of heaven are jamming on a million electric church organs

- 2 nights ago, at the beta band's final ever show in england, when they finished 'dry the rain' and had to start it up again because the crowd wouldn't stop singing the refrain. triumph turned into defeat turned into some unbearable combination of the two.

- the ferocious, whispered 'Thank you' at the heart of Jamelia's song of the same name

- in The Show, the moment when everything drops out and we're left floating with the girls towards the ceiling of some space-age superclub

- the time on ILM when someone (prob Ronan) pointed out that the only thing wrong with Call On Me was that it didn't go on for 10 minutes longer

- the re-appearance of the irresistible, implacable bass riff in DJ T's Phantomas

- after the extended spoken intro from Missy, Tweet's voice finally, sublimely sails into Turn Off The Lights and it's like an old friend is back

- watching Television at Glastonbury this year, by myself, on a horrible comedown, cold & wet, missing my girlfriend like never before, and sobbing uncontrollably as they play Venus. Happy tears, really.

- WE ALL LIVE AND DIE seconded!!

That night with Annie at the Social is up there, especially when Me Plus One was played and I realised she'd never marry me.

Oh god, Television at Glasto! Another reason for Sunday. Coming back after being caught in the downpour to end all downpours, getting into my tent across from the New Bands Tent and suddenly hearing "and now for our main band, Television!" Myself and Starry Sarah were the only ones at the site and we bombed across and they were incredible. I had a huge grin on my face the whole time, made even better by the fact I'd nearly missed it.

especially when Me Plus One was played and I realised she'd never marry me.

Tell me more.

To be fair, the "Annie, have my babies - OR ELSE" t-shirt he was wearing can't have impressed her much.

Yes! Or, even more, in the video when she makes the tiny half-motion to start flexing a bicep, the first time, the subtlest pop moment of the yeah.

when the eggshell-delicate guitars come in on gwen's 'hollaback girl'! and that recurring bit in the same song where it threatens to break out into avalanchesesque technicolour swoonery and then suddenly pulls back

Someone please tell me what this is from. I really want to know.

The way in "Valio la Pena," the band falls away and it goes to rumba-like drumming. Something unexpected actually happens in a Marc Anthony song.

The way the chorus on Youssou N'Dour's "Tijaniyya" starts to overlap with his singing, creating a sort of appropriately out-of-sync feeling. There's kind of "grace beat," an anticipation, a false start in some cases where the chorus comes in. (Sounds very Arabian, as in Saudi Arabia or Kuwait, rather than Egyptian, to me, but it may simply be African.)

-On Headman's Dance Modern, "SHE HIT, MY HEAD................" followed by fucked up acid hi-hats and 303s.

-Moonstarr's "Detriot", when everything slows down and the massive Derrick May synth washes start giving way to panicky melody all over again.

-Spirit Catcher-Dirty Circuit-when the synths perforate the track and you're just struck by this proggy "wow" moment.

-John Tejada's "Sweat"-"where are you gonna go tonight??? what drugs are you gonna do???? this one time, I went to a party, and there was swwwwwwwwwweaaaaaaaat dripping from the walls, getting in your hair, messing up your gel...................................AND THEN THE ROOF OPENED UP!"

Hystereo-Gly-"I don't care what those other people say, I'm gonna love you anyway!"

-Playing the Superpitcher remix of the MFA and watching people get huge grins on their faces as it kicks back in. happiest song ever!

-"Lovefood", "Touch" and ESPECIALLY "Funky Handclap" off the Mayer album, the latter I mix with the James Holden remix of Nathan Fake and it's amazing. So far I've only done it in quiet sets but one day I will do it at 5 in the morning when people are beginning to get a little sweaty and high again from the booze they've left at the party for after the club: and it will kill these people!

-Crispin J Glover-It's Over Now (Kenny Hawkes Mix)-THAT insanely catchy deep acid riff, over and over and over and over and over, and then almost two thirds of the way through the song that huge swooping diva vocal, the only real diva vocal I actually felt in this electroey year: "I'd do anything to get over you, cryin' all night just to help me get through, now I'm, gonna change my hair, the clothes I wear, the life I lead............"

Losoul-You Know-how crazily deep is this track, wish someone would play it out, it'd sound amazing after "Heiden". again the vocal is just perfect, imagine being in the right frame of mind and hearing "right now I belong to this place, wherever I'm going wherever I'm staying..."

Chelonis-mainly for "I Don't Know", testimony to the greatness of straight up direct lyrics.

Le Dust Sucker-Fancy Ball-"now let's get doooooooooooowwwwwwwwn", everything people said about Mylo but with some grit to match the fun and goofiness.

DJ Koze-Brutalaga Square-THIS OFF KILTER TECH TUNE IS RATTLING CLUBS TO PIECES. THIS SONG WILL MAKE SENSE FOR THOSE WHO LIKE THEIR ROUGH PRODUCTION JOBS DONE BADLY. TIP!

John Tejada-Chorgs-Don't know what to call this, I really hope 2005 gives us more of these weird tech/detroit/micro/prog/deep type tracks, or in other words, really loved up trippy synth washy click tracks which just sound amazing in a set together.

maybe more later!

-- s1ocki (parrisactava...), March 24th, 2004 11:40 PM. (slutsky)

In "Kids on Holiday" by Animal Collective, when the "HOLIDAYHOLIDAYHOLIDAYHOLIDAYHOLIDAYHOLIDAYHOLIDAY" part comes in.

The endless squelching keyboard at the end of "Yeah (Crass Version)" (which yeah, fuckers, probably isn't 2004, but it is for me so whatever).

* Discovering Interpol's "Evil". And discovering it, and discovering it. Damn shame about the album, though.

* Realizing, after the jillionth attempt at an end-to-end listen to Deloused In The Comatorium, that I really don't care for the Mars Volta.

* Buying, but not listening to, The Weakerthans' Reconstruction Site. I loved Left & Leaving so much that I'm afraid the new album will disappoint me terribly.
Yes, I suck.

* Conversely, buying and absolutely not being disappointed in The Streets' A Grand Don't Come For Free. Mike Skinner in great second album shocka.

* Attempting to sit through 3 absolutely awful hardcore bands that were opening for Candiria (the hands-down "WTF?" band of my current tastes, seeing as I care for neither rap-metal nor prog), giving up, adjourning to my local watering hole, and getting back just in the nick of time.

* "Rok One's Crazy", Rok One. "... and this song belongs to Queen & David Bowie." Righteous.

* Byron Stingily live. One of the last of house music's real artists.