By Paul V.

Singled Out

Robyn - Konichiwa Bitches - Konichiwa

Sweden’s platinum pixie has voiced tracks for Basement Jaxx and Teddybears, but now she re-releases this frickin’ badass electro, booty-bass manifesto. Go rumble in the jungle and search for the spaghetti-Western remix from Trentemoller. Just how hot is it? Like she boasts, “You ain’t call the cops, you call the fire station!”

LCD Soundsystem - The Sound of Silver - DFA

James Murphy—the man responsible for making the cowbell cool again—still thinks the best place to be in the whole wide world is the dance floor, and with his second LCD Soundsystem disc just released, you won’t be leaving anytime soon. The man’s extensive record collection and love of multigenres thrills once again, but comes across even more focused and streamlined than his equally excellent 2004 debut. Add to the mix an even sharper sense of melody and songwriting that now matches his manipulation of the beats, and this sound of silver is blindingly superb. Murphy channels some masters here, most notably Brian Eno, New Order and Bowie. Opening cut “Get Innocuous” is an undulating snake-charmer of downtown funk-junk; “All My Friends” sports a jumpy piano line and a big build-up vibe that sounds like The Secret Machines being remixed by Underworld; “Time to Get Away” and “Us Vs. Them” sport simple, uncluttered beats and scratchy guitars that nod to Talking Heads’ work with Eno—and are the two lone cowbell jams; and “North American Scum” and “Watch the Tapes” both thrust post-punk disco into the stratosphere. But perhaps the zenith here is the spine-tingling electro percolations of “Someone Great,” a simply gorgeous and hypnotic elegy to a lost friend. Murphy proves he has all the chops–but now with added charm—to make one of the most essential records of the year. Yes, it really is that great.

Klaxons - Myths of the Near Future - Geffen

U.K. buzz/hype hipsters Klaxons are the supposed leaders of the “nu rave” movement, but that’s really just a misleading tag for lazy journalists. Yes, they take some cues from the early ‘90s Manchester canon—the euphoric fervor of an ecstasy-fueled, glowstick party—but rather than using samples, synth-stabs or programmed beats, they simply (and only occasionally) chuck in a noise that sounds like a rave-siren kind of effect. At the end of the day, they’re really just a tight indie rock trio. As each track plays out, though, more and more layers to this musical carousel get revealed, from the immediate radio-friendly pop of first single “Golden Skans” to the relentless adrenaline NRG of “Totem on the Timeline” and “Atlantis to Interzone” (think Moby meets Fugazi) to the dark and mysterious strains of “Two Receivers.” At each turn, they succeed in surprising—be it their mythology-inspired lyrics, rough yet melodic chops, or just how huge-sounding producer James Ford has shaped their sound. It’s also an undeniably British-vibed affair, from the accented lyrics to the mutated-from-British-pop leanings. One complaint is that they left one of their best tracks off the U.S. release, and that’s their cover of the actual underground rave hit, “The Bouncer.” This isn’t the second coming like a lot of their press is spouting, but this is probably the most assured (and least self-conscious sounding) debut from the U.K. since Franz Ferdinand or Bloc Party.

Mika - Life In Cartoon Motion - Universal

Mika is another Brit sensation stirring up the tastemakers, and his bubbly debut is worthy of the hype. Sporting devilishly good looks and a musical handbag full of influences, this might-be-queer sensation is bound for hugeness. In America, that means audiences who dig a fey falsetto or a little taste of showtune flamboyance mixed in with their rock ‘n’ roll. Easy comparisons are obvious, from George Michael to Rufus Wainwright, Freddie Mercury and Elton John, but he sounds most like Scissor Sisters’ Jake Shears, and shares said bands’ flare for retro-leaning homage. His arrangements bounce on the boisterous side, namely lead track “Grace Kelly” and “Lollipop,” two stomping ditties that sparkle like Broadway glam rock—and are quite infectious in the process. First single, “Relax, Take It Easy,” is a bit more hushed yet discofied, and partially draws its melody from Cutting Crew’s “(I Just) Died in Your Arms Tonight.” Vying for crossover appeal is the bold “Love Today,” an electrified slice of uplifting dance rock, and the piano driven “Ring Ring.” I’m also quite liking the delicious “Billy Brown,” too, a horn-laden, Queen-meets-Herman’s Hermits ode to Mr. Billy and his fabulous new—male—lover. A few ballads here suck the energy out of the room (and the broken-English skits between songs start to grate), but Mika is someone you’ll be hearing a lot about in 2007. The big question, though? Is he in—or soon coming out?

Check out DJ Paul V. spinning at Bootie L.A. the first Saturday monthly at The Echo, and Dragstrip 66 the second Saturday monthly at Ex_Plx.Tune in Indie 103.1 FM on Fridays at 5:30 p.m. for the “Smash Mix” and on Saturdays from midnight until 3 a.m. for “Neon Noise.” More info at www.myspace.com/smashsix.