Category: CoolCounterMusic


They are our friends but their sound has progressed quite a bit since Justice vs Simian penned track ”We Are Your Friends”. That’s one thing I’m grateful for because groups of girls jumping around yelling the lyrics like it’s some kind of fraternity anthem was getting very old, very fast.

Fortunately for Techno lovers the world over, James Ford and Jas Shaw decided to hit the lab and concoct something you won’t find on the next ”Now This Is What I Call Shit” release.

A Species Out Of Control is a beauty of a track from their new album Unpatterns and is listen-able from start to finish both on and off the dance-floor. It does sound like some kind of weird alien sound running amok with some oscillators, filters and a sequencer.

Just the way we like it here at CCC.

If you don’t know much about Simian Mobile Disco, they’re from London and doing their thing for the last 7 years and have had 3 full length album releases. James Ford, who is one half of the duo is as well-known for his work with SMD as he is with other bands having produced Mercury Prize–winning album Myths of the Near Future by The Klaxons and two UK number one albums by Arctic Monkeys and The Last Shadow Puppets.

Not too shabby. These boys have credentials so head over to their website to get a better taste of them. And remember, if you do they’ll be your friends.

If there’s a better named act out there at the moment, I haven’t heard of it because Orlando Higginbottom’s musical moniker takes pole position as far I’m concerned. We’re also going to refer to him as TEED from this point on. Save the ole fingers some unnecessary work.

If you haven’t heard of TEED, then much like a potato man at a U2 concert; where the hell have you been!!

Most people will know him from the catchy Nokia Lumia tune:

If you still don’t know him, then get on board for his album, due to be released on Polydor on June 11th.

Head over to his website too.

Usually I try to break some new music that you haven’t heard before and introduce some unfamiliar artists but since The Rolling Stones are one of the greatest bands since the inception of music I thought why not feature Mick, Keef and the boys for this CoolCounterMusic?

The cut in question is ”Waiting On A Friend” which was released in 1981 from their Tattoo You album which was the follow-up to Emotional Rescue and it proved to be a huge critical and commercial success. Some might say it was the last great Stones album and it’s hard to argue.

The track reached #13 on the US singles chart and was released as the second single on Tattoo You after “Start Me Up”

The Stones hired jazz saxophonist Sonny Rollins to perform the solo on this song, as well as two others on the album. On his addition to the track, Jagger said in 1985:

I had a lot of trepidation about working with Sonny Rollins. This guy’s a giant of the saxophone. Charlie said, ‘He’s never going to want to play on a Rolling Stones record!’ I said, ‘Yes he is going to want to.’ And he did and he was wonderful. I said, ‘Would you like me to stay out there in the studio?’ He said, ‘Yeah, you tell me where you want me to play and DANCE the part out.’ So I did that

Forget that Sebastien Tellier represented France in the Eurovision in 2008. Once you’ve done that and erased any thoughts of Jedward or Dana International comparisons you can kick back and enjoy an actual artist.

La Ritournelle is seven years old and makes me feel numb and old saying that, but it was initially released in 2005 on Tellier’s second album Politics.

It has everything you’d want in a track; melodic piano, stuttering drums, haunting vocals and some beautiful string action.

Get acquainted with the cool glasses wearing, eccentric Frenchman here at his Soundcloud.

What do you get when you add two folk singers and lack of contraception in New York together? The answer is the wonderfully eccentric Rufus Wainwright.

Wainwright was born in  New York, to parents Kate McGarrigle and Loudon Wainwright III. Having a father with a name as vaudevillian as that, it makes sense that he would produce a homosexual, operatic enthused piano player of a son.

The cut through the whole ”I knew I was gay when I was 11” histrionics, Wainwright moved from Montreal moved to New York City in 1996, performing regularly at Club Fez. He relocated to Los Angeles that year and began his first studio album, 1998’s Rufus Wainwright. Waronker paired Wainwright with producer Jon Brion, and the two spent most of 1996 and 1997 making the record. Wainwright recorded 56 songs in total, on 62 rolls of tape. The sessions cost $700,000.

Wainwright’s self-titled debut received critical acclaim; Rolling Stone recognized it as one of the best albums of the year, and named the singer “Best New Artist” of the year.

Wainwright was nominated for four awards by the Gay & Lesbian American Music Awards, including Album of the Year, Pop Recording of the Year and Video of the Year, and won for Best New Artist.

Add another 6 albums to the discography and you end up talking about his latest album, Out Of  The Game. The track in question is of the same name and it’s pretty special. It’s piano heavy as you would expect but has a timeless quality to it.

What makes Wainwright’s stuff fascinating is that you can’t pin it to a particular time period. It could have been made in the 70’s or the 00’s. Regardless of the year, just enjoy it for what it is.

If you like the man Rufus go to his website for further info.

Beach House’s fourth album Bloom is pretty much everything you’d expect from the duo at this stage in their career. After what was a huge commercial breakthrough with their third album, Teen Dream their sound is doing what the name would suggest; it’s blooming.

That doesn’t mean that it strays from the archetypal Beach House sound, they still present evoking, atmospheric, monstrous sounding tracks without the need for loud instrumentation or raised voices. It’s an art to be able to fit this much into an album while leaving enough space for it to digested by the listener.

On The Sea is the second last track off the new album and the trademark Beach House chord progression is instantly recognisable. You know they’ve made it, you’ve heard something similar before but that doesn’t mean it’s not as enjoyable or short on ideas.

When the mandolin-esque guitar floats in just around 90 seconds it all starts coming together. The track progresses, synths enter, the piano melody becomes layered and it all sounds incredibly epic.

It’s what Beach House do and Victoria LeGrand and Alex Scally are masters of it. Check out their website for more details on the new album and touring schedule.

I generally tend to hate most tracks that feature either auto-tune or something resembling a chipmunk. As you can well imagine I utterly abhor Lil’ Wayne for those reasons and the fact that he’s just an awful rapper.

Fortunately Canadian based d’Eon only has sprinklings of both but relies heavily on fat dollops of crunchy, creamy synth work. That more than makes up for any Kanye West tendencies.

Al-Qiyamah is the track in question and is the closing number on his new long-player, being released on 5th June this year and is economically entitled ”LP”

The track is a nine minute journey through synths, vocals, distortion and features the sound of a mobile phone/bordering on dial-up Internet connection sound at the end.

All sound a bit strange and weird? Well it is and it’s brilliant so throw and the headphones and get listening.

If you like the good man d’Eon have a look at Hippos In Tanks website. That;s the label who’s releasing the new LP.

It’s flashback time for this CoolCounterMusic. Usually we try to post up some new bands or acts but when old music comes this good then why not revisit it?

Temple of the Dog was an American rock band that formed in Seattle in 1990. It featured vocalist Chris Cornell of Soundgarden as a tribute to the late Andrew Wood, lead singer of Malfunkshun and Mother Love Bone.

The line-up included Stone Gossard on rhythm guitar, Jeff Ament on bass guitar, Mike McCready on lead guitar, Matt Cameron on drums and Eddie Vedder providing lead and backing vocals.

Quite the line-up when you think that those five would become future members of Pearl Jam. This was also the first track ever released to feature Eddie Vedder’s vocals on it.

Like this track? Why not pick up the full album, which is exemplary from start to finish.

If you haven’t heard of these guys before, Last Dinosaurs are a five-piece indie band from Brisbane, Australia and they look about 16 years old. If they are, power to them because they make some sweet music.

Honolulu is a track taken from their début long player ”In A Million Years” which was released this year on Dew Process and was heavily supported by Australian station Triple J.  It’s quite the trend setter Down Under and has been the catalyst for many an Oz band’s success.

Honolulu sounds like summery and shimmering and is reminiscent of some of the guitar work on Wu Lyf’s debut album ”Go Tell Fire To The Mountain”.

Last Dinosaurs make music to make you feel good even if , according to the bad themselves, ”virtually every song” on the album had been inspired by an ex-girlfriend.

Have a listen to the track and if it grabs your attention, why not check out the band’s website?

The most disappointing thing about this Jools Holland show(not something I say very often) is that Grimes was only allotted enough time to perform one song but Jools was happy enough to let Norah Jones croon on in a style that hasn’t changed since I first heard ”Don’t Know Why”

Grimes’ performance of Genesis is dazzling both in is emotiveness and application and is reminiscent of the first time I heard James Blake perform ”The Wilhelm Scream”. It’s captivating in a sort of ”I don’t know what she’s saying but I like it” kind of way.

Grimes’ birth cert reads Claire Boucher and she hails from Vancouver in Canada. Genesis is the second track on her third album entitled Visions.

If you want to know more about her and see her utterly awful website go here