black and blood

Darren Hayes has released some deets about the second single from his forthcoming longplayer, "Secret Codes And Battleships".

"Bloodstained Heart" is scheduled to be released in Australia on September 5.



It's a beautiful ballad that starts with a lonely, throbbing guitar and builds through a beautifully heartbreaking chorus and ends with a brutally epic arrangement which would make Jimmy Webb shed a jealous tear. Simply gorgeous.

On October 2, the rest of the world outside Oz gets a different track, "Black Out The Sun".



It's another big pop number, but it's dressed in some hip hop inspired drum programming without the melody ever being compromised. The chorus is very expressive with a smattering of Middle Eastern flavored string arrangements laid over the top.

Three singles in and Mr. Hayes' next elpee sounds quite promising, indeed. "Secret Codes And Battleships" is due to be available from all fine "shops" on October 17. Many friends who have heard the new longplayer at recent playback sessions in London and NYC have indicated that this might be his finest and fully satisfying album to date.

Unfortunately, I wasn't able to attend the session during my recent visit to London as I was deeply ensconced in various studios across the capital working on songs for other artists. I guess I'll have to wait until the album is unleashed!

promises, promises

Swedish DJ maestros, Drop Out Orchestra, have reswizzled, "Promised Land", an often forgotten, late 80s, dance jam by The Style Council, a record which itself was a cover of a Chicago house classic by Joe Smooth.

"Promised Land" was TSC's penultimate single before being shown the door by their record label. Paul Weller went on to tremendous solos success as the godfather of Britpop a few years later. Reinvention is the mother of popular music, my friends.

Well, they've certainly done the business once again. Drop Out Orchestra have taken the original and added tasty bits including a new, funky bass line, horny horns, some whooshes and a few electronic touches. Voilà! A reswizzled revisit of a a record that really should've been a hit upon its release back in 1989.

In a flash of synchronicity, Drop Out Orchestra have just been commissioned to put their delicate touch on Paul Weller's current single, "Starlite".

The sound of PW recapturing a bit of TSC sonic glory. We knew he had it in him.

heavenly action

Hello, my lovelies. I'm writing this blog entry from a cozy little corner at Starbucks in Maida Vale which is located in the bosom of northern London. There are many songs being written in various studios throughout the capital this week. The journey to and from each session has been accompanied by one song which makes it's debut at #2 on the UK singles chart today.

The gloriously anthemic "Heaven" from Emeli Sandé has crashed the consumer consciousness in Great Britain and filled the airwaves with gospel voices set to a funky drummer beat. Yes, we have firmly revisited the sound of the 90s, ladies and gents. And it appears Emeli's producers have listened to copious amounts of "Blue Lines", the genre defining, trip hop, debut from Bristol's finest, Massive Attack.

But first, let's have a look at the video which was just lensed for "Heaven".



The twenty year cycle of nostalgia is in full effect for the 90s. Gritty street scenes, ashen faces, wandering homeless men and lost children. For a visual and sonic comparison, let's check out "Unfinished Sympathy", the track that launched the Massive Attack phenomenon. Pay particular attention the the string lines.



Of course, the two songs don't sound the same, but Emeli definitely captured some of the vibe. Big things are tipped for her. We will keep a watchful on this rising diva.

the centre of the heart is a suburb to the brain

Erasure have just announced the details of "When I Start To (Break It All Down)", the lead single from their forthcoming, fourteenth longplayer, "Tomorrow's World". The single sleeve, like the album cover, has been designed by Tom Hingston and uses another sculpture by artist Kate MacDowell.

I must admit that I have always enjoyed the continuity of the artwork for Erasure's singles and album campaigns. Much like Depeche Mode and Pet Shop Boys, Vince and Andy put a lot of loving care into the visuals of their packaging.

The single will be available on CD and as a download on September 26. Additionally,
"When I Start To (Break It All Down)" will be available as a single track download a full month ahead of the extended configurations.

The full, official tracklisting for the single include the following:

1. When I Start To (Break It All Down) (Single Mix)
2. Tomorrow's World
3. When I Start To (Break It All Down) (Steve Smart & Westfunk Main Room Mix)
4. When I Start To (Break It All Down) (Kris Menace Remix)
5. When I Start To (Break It All Down) (Little Loud Remix)

"Tomorrow's World" is a cover of the theme music from the UK TV series of the same which inspired the album title.

And as if that wasn't enough good news for Erasure fans, the tracklisting for the deluxe edition of "Tomorrow's World" has been announced. The first disc will feature the album in its entirety. The second disc will feature exclusive mixes, a bonus track and demos from the album recording sessions. The tracklisting for the bonus disc will include the following tasty nuggets:

1. I Lose Myself (Extended "No Self Control" Mix)
2. Give Me Life [bonus track not available elsewhere]
3. Fill Us With Fire (Extended "Fired Up" Mix)
4. When I Start To (Break It All Down) (Frankmusik Remix)
5. Clash (demo version of "I Lose Myself")
6. Big Song (demo version of "Fill Us With Fire")
7. Major 7th (demo version of "Be With You")
8. Save Me (demo version of "You've Got To Save Me Right Now")

The mixes of "I Lose Myself" and "Fill Us With Fire" were produced by Erasure mainstay, Gareth Jones. "Tomorrow's World" is scheduled to hit the "shops" on October 3.

collages and codes collide

Darren Hayes has revealed the gloriously colorful artwork for his forthcoming, fourth, solo longplayer "Secret Codes And Battle Ships". Is there a hidden message within its imagery?

First single, "Talk Talk Talk", is head and shoulders above much of the current pop pack. Let's hope everyone's favorite Aussie troubadour stacks the zeros and ones with more of the same shimmering goodness.

Apparently, the album isn't scheduled for release until October. However, Darren will be having exclusive playback sessions of the elpee throughout August in London, New York, Sydney and Brisbane. Such a generous chap!

never turn your back on Mother Earth

Hard on the heels of the deluxe editions of their first two elpees, "Wonderland" and "The Circus", Erasure announce the release of their forthcoming, fourteenth longplayer, "Tomorrow’s World".

The album sleeve, another artistic triumph for the duo, retools the band's logo once again. The cover design is by Tom Hingston who has done magnificent work for artists like Massive Attack, Garbage, The Chemical Brothers and Robbie Williams among many others. It also incorporates sculptures made by Kate MacDowell. It's very pastel. No? Hearts flowers and butterflies, ahoy! Thankfully, no unicorns.

The album, the band’s first in more than four years, is produced by Frankmusik (a.k.a. Vincent Frank) and mixed by Rob Orton. We're still a big fan of Frankmusik's debut longplayer, "Complete Me", from 2009. Even though his new single, "Do It In The AM" is complete shit and giant step down from his pop glory, I'm really looking forward to his contribution to Vince and Andy's electronic odes to love. The first single plucked from it will be “When I Start To (Break It All Down)”.

The standard album features nine songs, but the deluxe edition will come with a bonus disc featuring remixes, demos and a bonus track. The full, official tracklisting for "Tomorrow's World", which is scheduled to be released on October 4, features the following tracks.

1. Be With You
2. Fill Us With Fire
3. What Will I Say When You’re Gone?
4. You’ve Got To Save Me Right Now
5. A Whole Lotta Love Run Riot
6. When I Start To (Break It All Down)
7. I Lose Myself
8. Then I Go Twisting
9. Just When I Thought It Was Ending

Have we lost what it takes to advance?

Such is the question posed in "Sleeping Satellite" as covered by Kim Wilde on her latest album, "Snapshots", a collection of her fave raves. It does make you wonder about the validity of such a project. What is the motivation? Laziness? Lack of inspiration? No faith in original material? Just good fun?

Whatever the reason, at least KW has taken the opportunity to record some unexpected covers. And now, as part of an old fashioned double a-side single, Kim has decided to release "Sleeping Satellite" alongside "It's Alright".

She spent a few euros on a video, too. Amazing that she was able to squeeze out some cash from the label for two clips!



Love those retro looking, fingerless, black lace gloves!

And here's the original from Tasmin Archer which was a #1 hit in the UK way back in 1992.



The full, official tracklisting for "Snapshots" includes the following fourteen nuggets.

1. It's Alright (originally recorded by East 17)
2. In Between Days (originally recorded by The Cure)
3. About You Now (originally recorded by Sugababes)
4. Sleeping Satellite (originally recorded by Tasmin Archer)
5. To France (originally recorded by Mike Oldfield)
6. A Little Respect (originally recorded by Erasure)
7. Remember Me (originally recorded by Diana Ross)
8. Anyone Who Had A Heart (originally recorded by Cilla Black)
9. Wonderful Life (originally recorded by Black)
10. They Don't Know (originally recorded by Kirsty MacColl)
11. Beautiful Ones (originally recorded by Suede)
12. Just What I Needed (originally recorded by The Cars)
13. Ever Fallen In Love (originally recorded by The Buzzcocks)
14. Kooks (originally recorded by David Bowie)

all talked out

Oh, we love a good mash up here at So Hip It Hurts HQ. Darren Hayes has been slogging around the globe promotion his fabulous new single, "Talk Talk Talk".

And now, everyone's favorite Aussie troubadour has chucked it in a high speed blender with the Hall And Oates "classic", "Out Of Touch", to magnificent effect. The resulting aural cocktail is called "Out Of Talk" and it is available from all fine digital retailers from today.



Good gravy! That's a nice mashie.

For the uninitiated, here are the separate parts!

it's alright

Oh, dear. Over the last twenty years, there are two words the mere mention of which strike fear in the hearts of music lovers - "covers album". And now, thirty years into her career, everybody's favorite love blonde, Kim Wilde, has decided to fondle her favorite tunes and put them on display with her twelfth longplayer, "Snapshots".

One of the nice surprises about the first single plucked from Kim's new elpee is that it isn't an obvious choice.



Well, it doesn't blow me away but it's alright. Literally. KW has reached back into the 90s for some inspiration in the shape of "It's Alright", an anthemic choon originally recorded by East 17. It was a #3 hit in the UK singles chart way back in 1993. That's nearly twenty years ago for those that feel like counting.

If you look closely at the video, you will see Kim's brother, Rick, on keys and Nick Beggs, member of Kajagoogoo, on bass. Oh, the life of a trainspotter.

Here's the original hit by Brian Harvey and co.



Nice hats, lads.

I'm not a fan of covers albums, but I quite like her "interpretation" of the East 17 "classic". Good thing she left out the rap in the middle eight.

Of course, KW is no stranger to cover versions. Her stellar rendition of "You Keep Me Hangin' On", a hit in the 60s and 70s by The Supremes and Vanilla Fudge, respectively, was revived by Kim in the 80s. She hit #2 in the UK with it in 1986 and then topped the US singles chart with it the following year.



"Snapshots" will be available from all fine "shops" on August 21.

tears dry on their own

At first, I was going to refrain from adding my tiny voice to the clattering din. Social media can overwhelm the senses every now and then. And in times of "news" overload, it's easy to feel like the information highway is crashing down around us all. This week was particularly difficult, but we soldier on. That is the essence of the human spirit.

With the passing of Amy Winehouse, I thought it best to find an oasis of peace. No need to contribute my thoughts. Enough would be more eloquently said across the interwebs. Then, pieces fit together throughout the day as I disengaged from my online activities. No smartphone. No computer. No internet connection. No zeros and ones. However, the music never stops at So Hip It Hurts HQ whether it's on the old victrola or deep inside the confines of my head.

Randomly but obviously, Adele came blaring out of someone's parked car on the steamy city streets. Oddly, I heard Duffy trilling outside an Indian restaurant in Greenwich Village. Some old school Ashford & Simpson turned up inside a tiny record emporium in SoHo. And images of London, my second home, started filling my headspace. Naturally, thoughts turned to the Amy Winehouse tragedy. So talented. So young. So successful. So fleeting.

At times like these, my mind doesn't turn to the burn and churn news conglomerates. I don't chatter on about how sad it is. Instead, I look inward and relive the beauty of the art. It's the optimist inside. The indelible mark of someone's talent never fades even after their physical presence has.

While people ponder her motivations, judge her movements and spin tales around someone they don't even know, it's the art that speaks most clearly to the heart and shines brightly through the media smoke.

Amy's croaky, bourbon soaked, lovelorn vocal delivery is a treasure. The modern amalgamation of Billie Holiday, Nina Simone, Frank Sinatra and Dinah Washington. In these times of pristine, nondescript, sanitized, auto corrected, robotic vocal blanching, Amy's voice truly stood out among the pack.

Add to that a lyrical prowess and wit of someone twice her age, it's mind numbing to try to comprehend from where all that substance came from. There's a deeper story there. One we may never uncover now that Amy has floated into the ether.

Rewind to 2003. I recall seeing a raven haired beauty peering over the record rack at me. The sleeve seemed to beckon me. Who was this statuesque figure?

My trusty music guide's eyes lit up. He didn't have to utter a word. I knew he thought I would dig the sound captured within the grooves of the vinyl tucked inside the rose hued sleeve. Indeed, I was smitten with Amy's debut single, "Stronger Than Me". Unfortunately, the great British public, or at least the radio pluggers and programmers, were not yet entranced by her slurry, urgent, soulful delivery. As a result, the single limped in at #71 on the UK chart.

Pinned against a hip-hop track and a simple, jazzy guitar figure, Amy delivers a sultry tale detailing the disappointment in her love interest's lack of conviction. The other side of love - unrequited, lost and gone astray - seems to have been a recurring theme in Amy's work.

However, the sparkle of humor, even dark at times, could be heard glimmering deep inside her lyrical weave. In fact, it was one of the few times I've heard a female singer question her male love interest's sexuality by asking him if his weakness meant he's gay. Not politically correct by any means, but daringly insightful in the context of the song's message. Amy was not afraid to wear her thoughts and emotions on the very end of her sleeve.



And who would've had the audacity to release "Fuck Me Pumps" as a single, let alone write, record and feature it on their debut longplayer? Guts, determination, drive and vision all wrapped up in the unlikeliest of tattered bouffants.

Amy's debut album, "Frank", garnered quite a lot of attention, but it didn't bother the charts too much. Initially, it peaked at #13 and she was left to create the follow up. Greatness wasn't immediately expected. But with every passing month, her label couldn't contain their excitement over the developments. Little by little, the press and lucky insiders were made privy to the magic being constructed in the studio.

Many column inches have been dedicated to Lady Winehouse following her magnificent sophomore effort, "Back To Black", in all of its doo wop, 60s girl group, boozey, blusey glory. Grit and grime with a heartache chaser sung by a woman wiser than her years in some ways.

Rock n' roll was built on talent like Amy's. It was always the outsiders, the strangers and the challengers that pushed the limits of music. They pulled from the past, got inspired by the progenitors of their chosen genres, and blazed a trail into the future. Sadly, some of them burned out in a brilliant flash rather than simply fade away and tread on past glories. Amy Winehouse has entered that pantheon of performance like many before her. A bewitching force of nature like no other.

Without digging too deeply into the obvious touchstones, I'd like to share my fave rave from "Back To Black", "Tears Dry On Their Own". It's based around the chord sequence from "Ain't No Mountain High Enough", hence the Ashford & Simpson writing credit. The song encapsulates the elation and subsequent fall from grace that Amy, much like many great loves, experienced and endured.



Unfortunately, these days people are more interested in tragedy than talent. Titillated by someone's misfortune rather than find inspiration in them overcoming their personal struggle. So, for a moment, think about the people Amy left behind. Her family, friends, fans and musicians. People that might find consolation in her art. Art left to shine in the light of her short, sharp legacy while we reflect. Even though we are saddened to hear of her passing, tears do, indeed, dry on their own.