(t5!) My Year In Lists 2006: Singles! 5 to 1
"Can’t you live and be thankful you’re here?” Fyfe Dangerfield asks the world with those Jeff Buckley-esque vocals. While the headlines are populated with feats of terrorism, the world is quivering, constantly looking over their shoulder. “Trains To Brazil” is the perfect vehicle to transport you away from today’s gloominess, to a warmer setting. Each snare is hit, each piano is stomped, and each horn is blared with overflowing optimism. But the Guillemots aren’t blissfully innocent; they’re aware. They’re simply acknowledging that, instead of worrying about what might happen, you should enjoy what is happening. “See it could be you tomorrow, next year,” but until then, put this single on and wash all the fear away.
Four glimmering notes of Daft Punk-inspired synth lead surrounded by a default disco beat and looped until it’s irrefutable. Along with stripped inhibitions, that’s all it took for you to irrationally move along to this single. But, like what many electronica artists face, the challenge lies in stirring some emotion from a listener; and Hot Chip’s definitely victorious at it. When Alexis Taylor and Joe Goddard reminisce with their brokenhearted harmony about their awkward experiences as an adolescent outsider, it’s impossible not to be afflicted. And when those four notes and that disco beat subside into a tinkling tranquility, you feel a bit guilty that you were enjoying their melancholy way too much.
That 60’s pop melody—first whistled merrily, then sung by Peter Morén, and then counter-sung by ex-Concretes vocalist Victoria Bergsman—is effortlessly lovable no matter what its method of delivery. It isn’t done perfectly, it’s out of tune at some parts, but it’s loved for its quirkiness because, you know, it’s adorable like that. Then, in comes an enfilade of bongos and maracas, respectively smacked and shaken without care, to uplift you and the melody to heights that are unattainable otherwise. While you’re up there, you’ll be stupidly whistling for a fair amount of time and none of the “young folks,” “old folks,” or “wrong folks” will be able to shoot you down to the ground.
Separated, Cee-Lo and Danger Mouse were relatively anonymous from the world. But, when their powers combined, they summoned this addiction that haunted you wherever you went. When first heard, that persistent bassline pecked its way into your brain and it never left; perhaps, it may never will. Its enduring grasp was evident when it launched its way to UK chart stardom from downloads alone, a week before the physical single’s release. “Crazy” is pop heroin, imbuing a desire within to mimic the sensation felt at first hit. Fortunately, with Cee-Lo’s soulful high registry and DM’s technical precision, every repeat guarantees to satisfy your fix. You’re forever hooked and there’s no amount of rehab to do away with it.
“Rough Gem” is simply uninhibited fun. No reason, no agenda, no concerns; just fun you were used to having when innocence hasn’t been lost yet. Islands intent with this song is shown in its frivolous lyrics: you can try to over-analyze it but it’s plainly satirizing Nick Diamonds’ name. Don’t think it’s political, Kanye already took that route. So, if by the time the first call-and-response between the synth woodwinds and the plucked violin strings hit and you’re still not dancing, then you’re beyond saving. “Rough Gem” reminds us that a single doesn’t have to be emotional or socially conscious or have “meaning” to be considered brilliant, the best all year. “Dig deep but don’t dig too deep” because you’ll totally miss the point.
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