The January 2011 installment of my Disco Potential mix series is now available.

Danny Byrd, Rave Digger
Danny Byrd’s second album aggressively flirts with multiple genres (g-funk on “Judgement Day,” hardcore on “Hot Fuzz,” funky breaks and two-step on “We Can Have It All”) even as it helps push the Hospital Records strain of drum and bass forward. In a lot of ways it recalls Daft Punk’s Discovery: a dance record that nods to the past and provides a set of twenty-first century songs, not tracks. Melodic, funky and downright beautiful in places, Rave Digger serves as a reminder that drum and bass is still vital. Key songs include opener “Ill Behaviour” and the Liquid-sampling “Sweet Harmony.”



Robyn, Body Talk
There I go ignoring my disclaimer. I’m pretty sure you guys already know how amazing this one is and I’m just typing make sure you know that I know. Collecting work from the three Body Talk EPs released this year, this is one of those records that I wish got attention from people who weren’t on the internet as it proves that the quality dance-oriented pop is out there, even if Black Eyed Peas are trying to murder it with every step. Production by Röyksopp, Diplo, Max Martin and others accentuates Robyn’s ability to find new angles on teenage innocence (“Dancing On My Own”), post-twenties female-friendly sexuality (“Call Your Girlfriend”)* and even plain old giddy love (“Indestructible”).

*Something that Marty Brown at The Factual Opinion writes about very nicely



Moon Wiring Club, A Spare Tabby At The Cat’s Wedding and VHSHead, Trademark Ribbons Of Gold
I quite like the genre dubbed  ”confusing English electronic music” and both of these albums represent major entries into its canon. Moon Wiring Club have been doing their thing for a while, all radiophonic workshop and Hammer horror films pumped through rhythms that are deceptively laconic. Their albums so far have followed a similar strain, but this one (which is available with two completely different track listings depending on which format you choose) goes a bit darker, a bit more deep space in places. VHS Head, meanwhile, run amuck in the studio, throwing in snatches from a billion different sources chock-a-block into a beaty bouillabaisse while creating something that’s almost, but not quite, dance music. Fans of Autechre’s middle period would do well to check into their work.



Anoraak, Wherever The Sun Sets
Give up trying to figure out if Frédéric Riviè is being sincere or ironic with this collection of dreamy pop songs and instead just savor the damned thing. “You Taste Like Cherry” is Phoenix mugging Hall & Oates while Talking Heads play rhythms, “Midnight Sunset” is made for a Miami Vice driving montage, and Sally Shapiro’s sweet vocals make “Don’t Be Afraid” into an instant mixture favorite, right next to “You Taste Like Cherry.” Wherever The Sun Sets is a great example of how to do a “retro” album that sounds fresh.




Adam Warrock, The War For Infinity
I’m biased, but Euge really is that good. It’s not nerdcore, it avoids jerking off the listener with easy references and it’s produced wonderfully by Ruckus Roboticus.

Oops.

1. “Pur,” from Four Calendar Cafe
   
2. “Wax & Wane” (The Peel Sessions Version is preferred, but The Pink Opaque is a magnificent album.)
   
3. “Aloysius” from Treasure
   
4. “Eyes Are Mosaics,” from The Moon And The Melodies, the album they recorded with Harold Budd.
   
5. “Fuk U In The Ass” from 1 Polish, 2 Biscuits And A Fish Sandwich.

From the 1989 book Pet Shop Boys, annually. here’s a look at vocalist Neil Tennant’s career at Marvel Comics’ UK offices in the 1970s. I’d normally post this sort of thing over at Disco Potential, but this features confluence and synergy with my medium of choice, so here we are.