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When the svengali of Cash’s reinvention Rick Rubin contacted Nine Inch Nails’ Trent Reznor to request if the country legend could cover the song on Rubin’s suggestion, Reznor, replied that he was ‘flattered’ but concerned it’d be ‘gimmicky’. They’re going to have trouble topping this with album number two. Constructed around a skyscraper-sized beat, the track’s lyrics might be cruder than the bits that were deemed too rude for Viz magazine, but it’s still stupidly catchy and hummable, as proved when Nicki Minaj’s underwhelming re-telling of the hook still left you singing along. It would be a tragedy if they were remembered for being merely ‘a blog band’, rather than what they actually are, which is simply an incredible band.ĭebut smashes don’t come with much more swagger and bombast than The Big Pink’s breakthrough did. Yeah, loads of idiots like to write a load of nonsense about them in corners of the web that no one with any semblance of a life ever visits, but ultimately, stripped of any context, songs such as the taster for ‘Merriweather Post Pavillion’ exhibit a band who trade in come one, come all euphoro-rave. The fact that Animal Collective are to blogging what the electric guitar was to rock and roll music is not their fault. It manages to pull off that early U2 trick of being both a misty-eyed call of romantic defiance, and a song you can bounce around to with your mates. The final refrain of “ I got soul but I’m not a soldier” is a meaningless phrase when you think about it, but when you’re yelling it in a field along with thousands of people while your seventh pill of the night is threatening to change your sex, it can feel pretty powerful.
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The Killers truly touch greatness on this stirring, huge-hooked, last-song-of-the-night monster. Compare, though, the original track on HEALTH’s debut album with Ethan Kath’s reworked version and it’s amazing how it subtly smoothes a jagged, brutalist and tortured thing into a melancholy, gently blooping and squelching, 8-bit mooch of some beauty, bringing the soft fear in Jake Duszik’s actually rather lovely voice to the fore. They’re not normally noted for their emotionalism, Crystal Castles, so much as for their shrieking, bleeping, sulking and bottling. Preceding ‘Sound Of The Underground’ by several months, it never falls into the slightly nudge-nudge Carry On ‘knowing’ territory that Girls Aloud often do – Sugababes were by far the cooler proposition. Probably one of Xenomania’s most perfect tracks, ‘Round Round’ is mean, it’s taut, it’s sexy and it’s awesome. It heralded the new barrel-chested, gladiatorial Morrissey, who was soon seen brandishing a tommygun on the cover of his ‘You Are the Quarry’ album. Morrissey’s truly great ‘comeback’ song, a stirring little nationalistic drama which comes across as impassioned rather than bombastic.