Our Diamond Slippers

click artwork for review
18th Mar
+DOME by Seekae In other reviews of this album I’ve read, attempts to slap a genre onto its sound usually involve at least five hyphens, and absurd numbers of ‘post’s and ‘nu’s. I think the very nature of this album (and perhaps more so with their previous full length release) is that it appears free from definition, and without an often stifling, “scene”. Whilst I haven’t the slightest knowledge of the Sydney electronic music scene, this album manages to experiment and draw from a number of different genres, in much the same way as ‘The Sound Of Trees Falling On People’, without feeling the need to conform to any one sound. ‘+DOME’s great strength is that it draws together Seekae’s many different ideas, and refines them in both sound and structure in such a way that their sprawling 73 minute debut did not. The album opener, ‘GO’ is an example of one of the new directions the band goes in. We hear rapidly strummed guitars and live sounding drums (rather than the obviously computerized percussion of the last album) building in speed, volume, distortion and most importantly tension until a sudden stop, only to be revived by the slow, melodic guitar of ‘3’, the next track. After the first minute of this track however, the guitar takes a back seat and appears only once or twice more until we reach the final track of the album. This noticeable and structured progression of thought sets the album apart from many of its kind. Perhaps more evocative, however, is the change in tone and feeling in the album. From one track to the next we seem to be seamlessly guided through a range of human emotion, which many electronic albums cannot offer. I have heard speculation that some electronic music is, by its very nature inhuman and therefore without emotion, owing to the “unearthly instrumentals” and “absent vocals”, but this album manages to transcend that. The chirpy and sunny feel of ‘Gnor’ following the serene, yet melancholy interweaving of orchestral strings and synthesizers in ‘Underling’, seems as natural as any album progression I have heard, particularly when compared to their previous album. Even ‘Gnor’ does not keep its mood static; with the addition of layers seeming to corrupt the bubbles of the opening notes creating something of a dance beat, until the melody descends into chaos before finally petering out in a swirl of incoherent sound.Seekae draw the curtains with a song which repeats the slow, melodic guitar plucking and a soft, distant voice of longing which would not sound entirely out of place on a Dido album. It is this unpredictable edge that gives the album its charm, and it is the skillfully drawn together and structured nature of the album, which makes it great. LWR
13th Mar
Bee Thousand by Guided by Voices Probably the worst thing about Bee Thousand is the blink and you’ll miss it nature of the tracks. Rarely clocking in at anything greater than the two minute mark, all twenty tracks take just thirty seven minutes to get through. The worst aspect of a good thing however, is not necessarily bad. The short tracks mean that Guided by Voices are able to cram in a huge amount of ideas into this relatively small space, they are careful not to spoil us. Almost every great moment on the record occurs in a fleeting singular instance; rarely do the tracks extend beyond a verse and a chorus. And while song to song, this can be a shame, I’ve wished that certain tracks lasted longer (‘Echos Myron’, ‘Ester’s Day’ and ‘Awful Bliss’), that’s what the rewind button’s for. Guided by Voices are infamous for their embrace of the ‘lo-fi’ sound. This album was notably recorded completely on consumer grade recording equipment meaning the whole album foregoes the harshness that can sometimes come about from studio recordings for a much softer sound which suits the approachable charm of the melodies.  Guided by Voices make their music with guitars, drums and infectious melodies, it’s ‘indie pop’ as purely distilled as it’s ever come.  DAJ
1st Feb
Slip In And Out Of Phenomenon by Liquid Liquid Released in 2008 Slip In And Out Of Phenomenon catalogues most of Liquid Liquid’s output for the years they were initially active 1980-1983. Having never released any albums, rather a series of singles and EPs long out of print SIAOOP is perhaps to only place it is possible to listen to this band’s material without a record hunter’s nose and wallet.   In general my attitude to compilations is one of antipathy due to their inherent lack focus and structure; both things which are certainly true for SIAAOP. Regardless, it has proven to be a record I’ve revisited again and again; and not just for its cool, abstract cover art. Liquid Liquid play very stripped down, minimalist live dance music. The foundation for almost all their songs is a simple infectious bass rhythm best characterised by tracks like the oft sampled ‘Cavern’, whose main bass riff is made from just two notes. While the bass line provides the driving force, it comes down to their two percussionists to really ignite their music. Their kit drummer is responsible for holding down the beat and keeping things steady while their auxiliary percussionist (who plays marimba, cowbells and whatever else falls in front of him) adds real colour to their music.  Perhaps the least conventional aspect of SIAOOP is the way their vocalist uses his voice. To a greater extent than any other front man I’m aware of, he treats it not as a tool to tell stories or sing catchy melodies but rather an instrument all of its own using a variety of modulation techniques to manipulate  it as much as possible. The songs on this album lack any obvious song structure and some of them a downright weird but if anything that makes SIAOOP all the more compelling as an album. Within their niche, Liquid Liquid are downright unpredictable but I really couldn’t care because while I’m listening to this all I want to do is dance. DAJ
30th Nov
All Eternals Deck by The Mountain Goats Recording since 1991, the biggest change in The Mountain Goats’ music has been in how they record it; starting off using tape decks and boom boxes and more recently moving to a studio setting. Settling on a formula that works is something many bands appear to be afraid of resulting in the clichés of ‘The Difficult Second Album’ and the point where a band ‘Goes Electronic’. While some innovation is important The Mountain Goats’ sustained success over the last two decades shows that it is not always necessary. So, as has always been the case, the focus of the music on this album is John Darnielle’s lyrics. Each track on the album is its own story which, owing to the quality of the lyrics are easy to follow making for a satisfying listen, though on occasion lucidity is sacrificed for the sake of a rhyme. The tales told on the album feature a wide range of emotion; from guilt (but not shame) on ‘Prowl Great Cain’ to nostalgia and regret on ‘Estate Sale Sign’. The later track is a stand out on the album, made more enjoyable by the flair with which Darnielle delivers his lines (his emphasis of the letter ‘h’ in the word ‘when’ each time the chorus rolls around being particularly fun). The lyrics are accompanied by music of a standard folk-pop style featuring acoustic guitars, drums and bass and on occasion a piano. Fortunately the band does break the mould on some tracks, most notably on ‘High Hawk Season’ where Darnielle’s lyrics are mimicked and harmonised by what can only be described as a ‘Man Choir’, so successfully in fact that it made me wonder why they’re not used by more bands. ‘All Eternals Deck’ is an album where The Mountain Goats are as they’ve always been, and have proved once more that there’s no reason for them to be anything else but that. To be able to surprise and endear as much as they do after 13 albums (and countless EPs) without some sort of musical shift is something very few bands can claim to have achieved and I am thankful for their obstinacy, as it’s unlikely ‘All Eternals Deck’ could have otherwise existed.  DAJ
25th Nov
You’re Living All Over Me by Dinosaur Jr. Released in 1987, Dinosaur Jr’s seminal second LP, ‘You’re Living All Over Me,’ has since become a key influence on several indie rock subgenres (including lo-fi, shoegaze, and, perhaps most notably, grunge), while firmly establishing frontman J Mascis as one of the greatest guitarists of 80s alternative rock.The music itself is a noisy, visceral fusion of hardcore punk and more traditional hard rock, underpinned by bassist Lou Barlow’s melodic but often overdriven basslines, and drummer Murph’s pounding beats. Despite the sludgy distortion that immerses almost every song on this album, Mascis’ guitar playing shines through as remarkably lyrical, and his frequent solos are so expressive that they rarely come across as self-indulgent, if ever. The song structures are reasonably unconventional, with Mascis cramming as many hooks, riffs, solos and bridges as he can into his songs, instead of always sticking to the ‘verse-chorus-verse’ structure more common in rock music. This unpredictability, coupled with the fact that several of the songs are quite abrasive, and the fact that practically the whole album is drenched in feedback, could make the music quite inaccessible, but instead it lends it an exciting edge, thanks in no small part to the catchiness of the majority of Mascis’ riffs. Both the riffs and the solos are extremely engaging, picking up the slack for Mascis’ relatively weak vocals.Barlow also contributes two songs. The first, ‘Lose,’ is a propulsive hard rock track, driven by a heavy, distorted bassline, and containing typically self-deprecating, desolate lyrics. The other, closing track ‘Poledo,’ is one of the record’s most interesting compositions. Half the track consists of Barlow singing and playing ukulele, while the other half is an avant-garde sound collage, made up of white noise, distorted and modulated vocal samples, ukulele strumming and ambient textures. The end result is (for lack of a better comparison) an alternative rock version of The Beatles’ ‘Revolution 9,’ and it closes the album on an entrancing, if slightly unsettling note. Picking highlights from the album is a rather difficult affair, as all of the tracks are extremely enjoyable. ‘Raisans’ is probably the best Mascis offering, containing one of his most intense and passionate solos, along with a catchy chorus, an emotive bridge and some impressive drum work from Murph, but ‘In A Jar,’ ‘Little Fury Things,’ ‘Kracked’ and ‘The Lung’ are almost as good. Additionally, Dinosaur Jr’s influence on later bands like My Bloody Valentine and Nirvana is palpable all over the album, from the proto-shoegaze of ‘Tarpit’ to the raw aural assault of ‘Sludgefeast’.Overall, ‘You’re Living All Over Me’ is an astonishing record, one of the defining albums of alternative rock, and anyone with even a passing interest in the genre would do well to check it out. JW
7th Nov
The Sophtware Slump by Grandaddy Recently we have been subject to a torrent of re-issues including Pink Floyd’s entire career, and Nirvana’s Nevermind. Unfortunately when faced with such prolific competition, it is inevitable certain re-issues will get buried, and this is likely to be the case with Grandaddy’s excellent 2000 album, ‘The Sophtware Slump’. The album is the second from the band and is primarily about the dangers of technology (explaining the word play of its title) and while having a clear message, never seems preachy in its execution. Despite the obvious restrictions of working within such an inherently inhuman subject the band have managed to create moving and personal pieces of work which even at their most ‘sci-fi’ can stir the sort of emotion one might expect from more traditional ballads. Perhaps the song the best fits the template is ‘Jed the Humanoid’, a song about a robot who eventually drinks himself to death. The tension is palpable throughout the track and despite the subject of the song being robot the shock felt when his fate is revealed is never blunted. The album definitely deserves a better fate than Jed; every track on it is catchy, thoughtful and ambitious and all feel cohesive with the underlying theme, giving a distinctly subtle message. Be wary of progress. Please. DAJ
3rd Oct
Unknown Pleasures by Joy Division It took me a long time to fall in love with ‘Unknown Pleasures’. With an album as revered and acclaimed as Joy Division’s full length debut, high expectations can, and often will, lead to disappointment. It would be all too easy after a cursory listen to denounce this album as overrated. Equally, a new listener might be turned off by the depressive nature of ‘Unknown Pleasures’. You should know going in that you have to be in a very particular mood to enjoy this album. Despite the name of the band, this music is neither joyful nor light-hearted. This music is serious, dark, and immersive. However, I’d like to make it clear that this isn’t a criticism. In my opinion, art should display a whole range of emotions, and if you’re feeling depressed, confused and alone, there is no antidote as potent as this album.When we are at our lowest, the discovery that there are other people out there confronting the same problems as we are is sometimes greatly comforting; we feel a connection with them, an affinity created by a common feeling. For me, the best lyrics are those that sum up how I feel better than I ever could, and in his summaries of his own isolation and depression, Joy Division’s singer and lyricist, the late Ian Curtis, does just this. On the aptly named ‘Insight,’ for instance, Curtis sings, ‘I guess your dreams always end,’ while on standout track ‘Disorder,’ he tells us, ‘I’ve been waiting for a guide to come and take me by the hand’. It’s easy to relate to lines like this, and as a result, the album ultimately has a very cathartic feel.The music itself is atmospheric to the highest degree, enforcing the sentiment of Curtis’ lyrics well. Peter Hook’s unique bass sound underpins every track, laying a solid foundation for Bernard Sumner’s menacing guitar lines, Curtis’ deep, distinctive vocals and Stephen Morris’ clattering drumbeats. Meanwhile, Martin Hannett’s spacious production gives the album an immersive feel. Sound effects such as the sound of glass smashing on ‘I Remember Nothing’ also contribute to the album’s ominous mood.While ‘Unknown Pleasures’ is an album I have truly grown to love, I can’t unreservedly recommend it. The air of hopelessness and melancholy that pervades this album is sometimes overwhelming, and I know many people find such depressing music difficult to enjoy. But for the release this dark, atmospheric album provides, it will always be one of my favourites. JW
27th Sep
Songs in A&E by Spiritualized During the creation of Songs in A&E Jason Pierce (the only constant member of Spiritualized) technically died twice, and it certainly shows. Despite most of the album having been written before he fell ill it is evident that his experience informed how the album would end up.  The way Pierce sings is harrowing, he sounds older than a man his age ought to, and sits well with the three topics Pierce has sung about since Spiritualized’s inception; love, drugs, and religion. These not only form the basis of the lyrics on the album but also the musical direction. Many of the songs are wrapped in a gospel aesthetic (‘Sweet Talk’) featuring choirs and horns while others (though fewer than on past albums) step towards psychedelica (‘You Lie You Cheat’). Also prevalent on this record are themes concerning death. No more is this more noticeable than on standout ‘Death Take Your Fiddle’ where the backbone of the drum beat is a medical ventilator ‘breathing’, as a result the track sounds as though Pierce had recorded his prayer for death’s company from his hospital bed making him seem all the more vulnerable. Over the course of the album Pierce’s lyrics, which while basic, manage to convey his emotion’s clearly enough such that when combined with the fantastic instrumentation even after repeat listens, I cannot sit through the whole album without feeling moved.  DAJ
19th Sep
Dummy by Portishead Beth Gibbon’s vocals, in my eyes the most iconic thing about Portishead’s music, are effortlessly cool and calm, yet have a raw power all too rare in much contemporary music. She never sounds like she’s trying to impress us but never fails to and nowhere is this more pronounced on their debut offering, 1994’s excellent ‘Dummy’. Her voice is very commanding, the sort of voice one might expect attached to the resident singer of a jazz club a 50’s detective might visit and proves to be appropriately emotive; especially on tracks ‘Roads’ and ‘Glory Box’. The music on the album always feels very measured and restrained next to Gibbon’s vocals, giving her room to make each track her own. This is especially true for the bass, which always feels sparse enough to accommodate the vocals, and the drums (both real and programmed) which are equally suitable and at the same time interesting enough to be compelling in their own right. Outside of these two instruments Portishead have given themselves much room to breathe using a variety of samples and effects (they’re particularly fond of synthetics strings) to round off their music. The sum total of all this is an album as eerie as it is stunning, a feeling captured fantastically by its album cover: a distorted shot of a woman. She’s certainly beautiful but at the same time completely terrifying. Very much like how this album sounds.  DAJ
3rd Sep
Cryptograms by Deerhunter Cryptograms is the release many consider to be the first true Deerhunter album. Singer, Bradford Cox himself has sought to separate himself from the band’s debut “Turn It Up Faggot”, named after one of the many jeers the band received in its infancy. The band’s sound has progressed between every album, and this is the favourite of many due to the richness of sound, created by the ambient samples of drummer Moses Archuletta and the instrumental haze created by each member. This first true full-length release of the Atlanta band opens with a three-song medley.The centrepiece of this opening, Cryptograms, is one of the catchier songs on the album. Having said this, it is also one of the loudest and at times most abrasive, both in sound and subject matter. The opening words of the album “My greatest fear…” set the tone for the entire album lyrically – the anxieties and tortured imaginings of Bradford Cox. The song ends with words that sum up the first half of the album: “My vision blurred, there was no sound”. These last four words are wailed continually until they sink back into the mix of instrumentals and swamp-like water sounds closing out the song, before we drift into the next ambient interlude of the album White Ink – a fadeout of sorts.Lake Somerset starts as it means to continue, with one repeated base note being pummelled through your speakers, by bassist Josh Fauver, like a throbbing headache. This strong bass is used to tremendous effect in one of my favourite songs from the album, Octet. The song opens like a panicked and violent version of White Ink, but builds into a combination of heavy drums and bass, with Cox’s incomprehensible cries filling the background, joined by screeching guitars and a discordant, sporadic organ. The whole image in mind is that of a ghost, rattling its chains – an image that many of Bradford Cox’s lyrics (and even his form) might bring to mind. We emerge from the haze of the first half with the click of a lighter and a puff of a cigarette. From this point onwards the songs are (with the exception of Tape Hiss Orchid) much catchier tunes, which verge on having an ‘indie-pop’ sound. Following the deep breath of smoke, Spring Hall Convert starts with a clear, refreshing voice. Not drowned in sound, but with a lone guitar. From here the song progresses, and builds into a four and a half minute continuous climax, the haze of reverb and multi instrumentals being reintroduced. My favourite song on the album comes in this half, and is likely the most accessible on the release. Hazel St. describes the death of a loved one (albeit a pet), and the dazed numbness that comes with it. Not typical subject matter for a song which is as close to a sing-along as Deerhunter come on this album, but nonetheless this and the last track provide a smooth and enjoyable end to the ride, being the least blurred songs on the album. The album draws to a close with the ominous words, “were not seen again, were not seen again”. At the time of release this may have meant more to listeners, as Deerhunter’s fate was still in the balance. Few would have predicted that they would continue to such an illustrious career. Despite this, the album has been accused of not maintaining the full attention of its listeners throughout, particularly the first half. One reason for difference in the song writing in the first and second halves of the album is that the first was written six months or so before the second. In many albums this can make be damaging, dividing the album and preventing any kind of flow, but it in many way aids Cryptograms. The progression of the album, and the emergence from the mire of sound the band wallows in makes the entire piece riveting and hugely cohesive. This over-arching movement, coupled with fantastic song writing and mesmerising interludes, make the album a must.Favourite Tracks: Hazel St., Octet, Spring Hall Convert LWD
Bad As Me (Single) by Tom Waits (First listen reaction)As the joke goes, he should’a called it ‘Bad Ass Me’. From the moment the horns and piano come in, I was hooked. The dirty, booming production on the drums and the lo-fi screeching of Mark Ribot’s guitar licks bring to mind a polished Real Gone, and certainly this track seems to see Waits taking the raw power, energy and brilliance of that album and actually taking time to produce it. The band are tight, slick and completely in tune with Waits’ bombastic eccentricity, couching his ravaged voice in the tightest, bluesiest rhythms I’ve heard since I saw Bob Dylan’s fantastic backing band play together.Lyrically, this song has completely classic Waits’ lines (‘I’m the mattress in the back/I’m the old gullysack’), with the token Waits howls and pants cut with the most Beefheart-esque vocal interludes in his career (‘No good you say? Huh’). All the pictures of Tom Waits’ ‘weird America’ are here, as well as the sudden juxtapositions of images that make his lyrics so visually interesting (‘I’m the car in the weeds/If you cut me I’ll bleed’).Bad As Me rolls along like one of Waits’ old freight trains, and doesn’t let up until the 3:10 mark. The guitar/horn drop in the third verse is flawless, and helps to create a nice variation of sound, (along with the vocal drops), that keep the song interesting throughout. It also allows the song to breathe, giving the listener a break from the frenetic, mad pace of the track.For me, the ending made me fall in love with this song. After Waits lets the musicians jam for a couple of seconds, he lets out a screech and intones ‘unos dos tres cuatro’ before presumably walking out of the studio to go drink beers next to an abandoned rusty Buick with Clint Eastwood while the sun sets.If Bad As Me (the album) has any of the power and energy of Bad As Me the song, then it’s going to be one of Waits’ best. I loved it.NLC
31st May
Mother Protect by Niki & the Dove possible from an album coming out in the next 12 months ‘There is no Niki, and there is no Dove’, begins the Guardians ‘New band of the day’ article on this band (published last November… so yeah kinda late). I hate to be a stickler for detail but… Yeah, so there’s a dove. And while he was right about there being no ‘Niki’ (the lady holding the dove is called ‘Malin’) there is no excuse for getting your facts wrong. This track is a very danceable affair, straight away featuring a bouncy bass line and some imaginative percussion. Malin’s voice suits the music, quite harsh and commanding bringing to mind Fever Ray, though that comparison was inevitable thanks to both women’s Swedishness. She’s definitely at the center of the band’s sound but having listened through this track a few times it would be unfair not to laud their percussionists with praise. The central beat of the track is energetic as hell but it’s the little flairs that really stand out, odd hits really give the song character making for a much more interesting track. The actual music also has this same chaotic feel and I guess the single’s artwork describes how it sounds better then I can put into words.  As with my last review (Youth Lagoon’s July) this is a song of two halves. The second of which (as with July…) is much more epic, Malin trades her more reserved ramblings about eagles (possibly a metaphor) for all out mad as shit shouting. ‘YOU CAN’T KEEP ME DOWN!’ she screams, turning the track into something of an air punching hi-fiving feel good dance ballad. . The main vocal melody is mirrored on a synthesizer which keeps going as the song fades out. Malin is no longer singing but I still feel happy, and as far as I can tell, I still want to be dancing. And for a band that seems to be something of an alt-dance outfit, what more could they want? DAJ
July by Youth Lagoon from the upcoming album The Year of Hibernation  I wish that I could say I discovered this song for myself, but as with so much of what I listen to, that honour goes to Pitchfork. And with a provenance like that it would be hard for this review to be anything but pretentious. So kinda, as per usual. This track start small with vocals (which sound suspiciously like they belong to a 10 year old) and what I imagine is a synthesized organ, eventually joined by a glockenspiel or a xylophone playing a melody complimenting the sung ‘Ahs’. From here we the song gains real weight with a drum and a bass joining the mix giving it much more of punch than earlier. Now the song is primed to explode, with one last addition, that of a guitar, the songs emotional climax is certainly large enough to rival most ‘drops’ in more club oriented music and even likely to challenge the king of unconventional drops; ‘A Matter of Time’ by The Leisure Society. On a blog somewhere I read that this song is a sonic metaphor for a firework going off in slow motion and while every un-pretentious bone in my body urges me to disagree having listened to it I sort of do. The way the song slowly swells before erupting into its brilliant second half does feel like this video, except without the German man talking over the top of it (obviously). So quite clearly, they’ve arrived (well 2 months ago) with an undeniable youth(lagoon)ful charm and a track so sublime that every time I sit down at a computer I put it on. Hell I almost got into a fight with someone when they threatened to change this song when I played it to them (I won).  DAJ
14th Mar
Marque Moon by Television Television’s debut is perhaps one of the greatest albums ever made, a 45 minute post-punk masterpiece that most people have tragically not heard.  Moments into the first track (‘See No Evil’) the entire band begins to play, with the four members creating an almost hypnotic interlocking rhythm, the type of which is recurrent throughout the album. Most noticeable are the duelling guitars of singer/songwriter Tom Verlaine and lead guitarist Richard Lloyd, though I use the term ‘lead guitarist’ here in the loosest possible way as it is often difficult to determine who is playing the lead part, such is the skill of both guitarists. They also treat the listener to some of the finest guitar soloing I’ve ever heard, flowing effortlessly around the chord progressions of each song. As a lyricist Verlaine is capable of crafting cryptic narratives that are as likely to baffle you as they are to get stuck in your head. As for the rest of the band, the drummer (Billy Ficca) and the bassist (Fred Smith) are also incredibly talented meaning the band can afford to be much more precise than any of their contemporaries, allowing the complex rhythms which dominate the albums to flourish. Yet the band never feels as though they’re trying, no matter what Verlaine sings about or how complex the guitar solo Television mange to maintain a sense of laid back coolness. Technically impressive and catchy, Marque Moon is completely devoid of pretence, something few albums can be said to have achieved. DAJ
23rd Feb
Swim by Caribou Caribou’s Dan Snaith has a Phd in mathematics, something quite appropriate for one of the foremost artists in the genre of ‘intelligent dance music’. Branding music as intelligent, to me, always seemed rather pretentious and a poor attempt at making one’s music taste ‘exclusive,’ but I think ‘intelligent’ might be a word I’d have to use to describe this album. Caribou is an artist who effortlessly combines synthetic and organic sounds to great effect. There are few musicians so capable of making a beautiful trombone melody and trumpet flares sit so well with electronic beats and other sounds more suited to a dance floor. As a result you are as likely to hear elements of experimental jazz here as you are dance or electronica. Synthetic beats aside, Snaith makes use of a huge variety of percussion throughout the album, which provides a satisfying break from the monotony of one drum kit and a tambourine that many bands are content to stick with. He uses steel drums, sleigh bells and oil drums almost mesmerizingly, most notably in the sweeping crescendo of the last track and album highlight ‘Jameilia’. Snaith has also exposed himself as a talented lyricist with this LP, particularly on ‘Odessa’ and ‘Kaili,’ discussing matters of love and loss in a sensitive and thoughtful manner that suits his music perfectly. Unfortunately, Snaith’s vocals are rather airy and lack any particular power often taking a back seat on his tracks meaning that his lyrics often disappear with them. But perhaps Swim’s greatest victory is its fulfilment of the second clause in its alleged genre. This is music that will make you want to dance. DAJ

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