"WHITE WINTER HYMNAL" FLEET FOXES (2008)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

It sounds and feels like Christmas. Like many Fleet Foxes songs, “White Winter Hymnal” feels like a cascade of echoing melodies from the mountains. The song is sung in rounds, a traditional form of singing that seemed to be given a new lease on life through the ban'd’s trademark harmonies where each vocal part comes in round after round. This approach has a way of sweeping me up and away, regardless of circumstance. And the words overdelivered. They felt more like classic literature than song lyrics, leading me to believe the character Michael was an allegory for something far greater.

“I was following the pack. All swallowed in their coats with scarves of red tied 'round their throats.”

"O COME O COME EMMANUEL" SUFJAN STEVENS (2006)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

You know, the thing I love most about Sufjan Stevens’ music isn’t the experimental aspects. It’s the reflective parts. Looking inward, not forward. Sufjan is no stranger to Christmas music, having recorded an extensive multi-disc Christmas album which is headlined by “O Come O Come Emmanuel”. The track represents both a modern interpretation of a traditional Christmas carol as well as a personal reflection of Sufjan’s own Christian faith. It’s not all ho-ho-ho’s, but it’s not all ho-hum either. “O Come O Come Emmanuel” captures the quiet, reflective mood of the artist’s musicality and the quiet mystery and wonderment of the season.

“O come, Thou Day-Spring, come and cheer. Our spirits by Thine advent here. Disperse the gloomy clouds of night and death's dark shadows put to flight.”

"SLEIGH RIDE" ELLA FITZGERALD (1960)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

After all these years, the best version of “Sleigh Ride” still belongs to Ella. That warm, inviting, rich voice is paired with a band that’s crushing it with class on the upright bass, horns and piano. Ella’s rendition is one of the most iconic Christmas songs ever recorded. Who hasn’t heard it? It’s at home pretty much everywhere – perfume-filled department stores, ridiculously crowded Starbucks stores, and another dazzling company holiday party. And a Christmas song that makes you feel right at home is my kind of Christmas song.

“Giddy up, giddy up, giddy up, let's go. Let's look at the snow. We're riding in a wonderland of snow.”

"CHRISTMAS WRAPPING" THE WAITRESSES (1982)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

When new wave took it to Christmas with jangly piano treble keys, bells and an unjoyous Christmas stoy. But the best part of “Christmas Wrapping” is the blaring sax and Tracy Wormworth’s killer base line which mimics the chaotic, frenzied pace of the holidays. It’s the story of Christmas gone wrong… at first. But then there’s redemption with a last-minute hunt for cranberry sauce. It feels all too familiar. With that, The Waitresses have helped capture the holiday spirit yet again. Happens every single year.

“A&P HAS PROVIDED ME WITH THE WORLD’S SMALLEST TURKEY. ALREADY IN THE OVEN, NICE AND HOT. OH DAMN! GUESS WHAT I FORGOT?”

"HARK, THE HERALD ANGELS SING" VINCE GUARALDI TRIO (1965)

So much of the Christmas season, for me, is all about the music. I have no problems with you if you want to start your Christmas celebrations a little early. After Halloween seems excessive. After Thanksgiving is fair game. Then let’s bring on the real Christmas songs and the fake ones, too. I don’t discriminate. From Dec 16-31, it’s all Christmas music playing on Mental Jukebox.

This is the opposite of Mariah Carey’s “All I Want For Christmas Is You”. And that’s exactly why I like it so much. It’s stripped down, not overproduced. It’s plain-and-simple, not over-the-top. The entire Vince Guaraldi’s A Charlie Brown Christmas album is a must-listen for the holidays. And “Hark, The Herald Angels Sing” is my favorite track because of the children’s chorus and church organ. This sounds like a choir practice happening inside a small neighborhood church, not a glitzy studio. It's as real as real gets. Some of the kids are out of tune. Some of them aren’t even singing in unison. It’s messy. It’s quaint. It’s beautiful. And it reminds me so much of the original Christmas story.

“JOYFUL, ALL YE NATIONS, RISE. JOIN THE TRIUMPH OF THE SKIES. WITH TH’ANGELIC HOST PROCLAIM CHRIST IS BORN IN BETHLEHEM!”

"MR. DISCO" NEW ORDER (1989)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Technique (1989)

There are two sides to one of my favorite bands of all time, New Order. There’s the rock-based side, which has always been my preference. There, the band relies mainly on Hooky’s melodic bass lines, Sumner’s contributions on guitar and Stephen Morris on live drums. Then there’s the dance rock side where Stephen typically joins his wife on keyboards and sequencers and the drum machines kick in for a more electronic aesthetic. Technique undoubtedly is an example of the latter, born out of the group’s time in Ibiza, soaking in the rays during the day and the club scene at night. While it’s not my favorite side of the band’s sound, I believe Technique is New Order’s most cohesive and consistent album. Every track could’ve been a single, including the fan favorite, “Mr. Disco”.

The track starts with that throbbing, sputtering synth bass line with Hooky’s own electric bass line humbly – and perhaps resistantly – taking a backseat by dotting the club-like landscape in the background. The band wastes little time getting to Sumner’s catchy melody and lyrics, affirming his ability to write lasting pop songs with the best of ‘em. But Gillian is the star here, concocting not just one irresistible synth hook, not two, not three, but four. “Mr. Disco” is surprisingly resilient over thirty years later.

"PORCELAIN" MOBY (1999)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Play (1999)

My early experience with Moby’s music consisted of devouring “techno” CD compilations and attending the occasional rave. These middle-of-the-night dance parties were fueled by Moby’s electronic vision. They were fun times. But it wasn’t until Moby released Play that I appreciated not just how his music made me move, but how it made me feel. From the first moment I heard Play, I just thought it was one the finest, fullest albums ever recorded, from top to bottom – rewriting elements of soul, funk, gospel and classical, just to name a few of the genres. “Porcelain” is one of the standouts from this breakthrough album.

This is the one track I always want to hear first. Delicate. Gorgeous. Soulful. Not rave Moby. This was a totally different side we hadn’t heard before. And it almost didn’t make it onto the album. Moby’s manager had to convince him this song was more than just “average”. Moby reluctantly agreed to include it. Thank God. Unlike many of the other tracks on Play, “Porcelain” relies mainly on its original synth compositions, not samples. There are still samples, but it’s Moby’s angelic keyboard wanderings and symphony-like chords that steal the show every single time.

“In my dreams I'm dying all the time. Then I wake it's kaleidoscopic mind. I never meant to hurt you. I never meant to lie.”

"ISLANDS" THE XX (2009)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: XX (2009)

In 2009, the XX’s debut album was released, introducing a sound that seemed to fill a clear void. The music was minimalist in every way. Almost shockingly minimalist. Sparse in instrumentation, the melodies thrived in space. XX mastered pregnant pauses and the power of stripped-down riffs and notes. And the album cover reflected back this stark simplicity. Looking back at the album release, “Intro” was probably their most well-known song. It was the track that caught my attention, but “Islands” was the track that made me a believer.

“Islands” is an unassuming track that reeled me in with its simple groove and quiet strength. It was never a threat to be over-produced. There’s a tremendous confidence in how it was composed, clearing the way for Romy Croft and Oliver Sim to deliver the vocals. Like lovers lying in bed whispering sweet nothings, “Islands” had an unexpected vocal approach, treating it like words between two lovers who have sworn loyalty. They’re singing to each other, not to us. The guitar and synth interludes remind us that skill and complexity aren’t everything. Sometimes, the best musical arrangements place an equal emphasis on instrumentation and space. “Islands” is all the proof you need.

“SPEND MY NIGHTS AND DAYS BEFORE SEARCHING THE WORLD FOR WHAT'S RIGHT HERE.”

"STRIPPED" DEPECHE MODE (1986)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Black Celebration (1986)

Some Great Reward was the album that introduced me to Depeche Mode. But the next record, Black Celebration, is the one that made me a fan for life. This is the album that solidified DM’s brand of dark, ominous electro-pop. The band took a major leap forward on this record. It oozes with confidence and swagger. Gore’s songwriting was in the zone. Gahan sang songs that allowed his baritone voice to elevate and dominate. Wilder created some of the band’s most memorable synth compositions. And Fletch’s behind-the-scenes, unfettered command of bass, drones and support keyboard parts can’t be denied. Want proof? Listen to “Stripped”.

One of the band’s all-time best tracks, “Stripped” is Depeche Mode. And Depeche Mode is “Stripped”. It’s far more characteristic of the band’s defining sound than “Just Can’t Get Enough”, “People Are People”, “Personal Jesus” and “Enjoy The Silence” combined. “Stripped” gets under your skin, inside your bones and messes with your head. The opening sound effect is reminiscent of a car driving incessantly on a flat tire. If that doesn’t rope you in, Gahan’s lead vocals with Gore on back-up will. The insistent darkness is compounded by multiple synth riffs – a darting arpeggio in the lower registers and the ominous treble notes that soar over us. “Stripped” is a song that I can listen to again and again and again.

“Metropolis has nothing on this.”

"MER DU JAPON" AIR (2007)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Pocket Symphony (2007)

Air built its momentum from soundtracks off of three Sofia Coppola films: The Virgin Suicides, Lost in Translation and Marie Antoinette. They are chill-out at times and dance floor-ready at other times. But all of their musical output is subtle, intricate and sophisticated no matter which end of the electronic spectrum they choose to lean into. Pocket Symphony is one of my favorite Air albums because it adds an unexpected layer of traditional Japanese instruments beyond the drum machines, synthesizers and assorted percussion instruments that are part of Air’s known arsenal. My favorite track off the album is “Mer Du Japon”.

Rather appropriately, many Air tracks create a sense of buoyancy and depth. On “Mer Du Japon”, it feels like we’re cruising along the surface of the Japanese Sea at breakneck speeds in one moment, diving deep toward the sea floor in another, and gasping for air in another. The koto, a Japanese floor harp, joins forces with the shimmery synth waves, pristine piano arpeggios and menacing bass line. The sound of waves sashaying along the shoreline can be faintly heard toward the end, signifying that our little trip has also come to an end. We have reached land.

“J'EN PERDS LA RAISON DANS LA MER DU JAPON.”

"PEARL'S GIRL" UNDERWORLD (1996)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: The Saint Soundtrack (1996)

There may not be another soundtrack with as unified a vision as The Saint’s. The album was nearly all-electronic by design, featuring Orbital, Moby, The Chemical Brothers as well as lesser electronic-inclined artists like David Bowie and Duncan Sheik. The album, as a whole, jacks up its collection of musical notes on steroids. I’ve already paid homage to Bowie’s “Dead Man Walking” in an earlier post on Mental Jukebox, so this time I’ll go with the frenetic, relentless “Pearl’s Girl” from electronic masters Underworld.

“Pearl’s Girl” comes at you in attack mode, swarming your ears from every angle like a helicopter raid. It even sounds like a fleet of helicopters are hovering over the track from beginning to end. The drums are like machine guns, loading and reloading and unleashing, while the samples take over like brainwashing devices. Ever have one of those days where you just need to let it all out? Turning up “Pearl’s Girl” at full blast might help with that.

"PHANTOM BRIDE" ERASURE (1988)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: The Innocents (1988)

The second of two albums where I’m featuring the synth virtuoso Vince Clarke. First was the Yaz record Upstairs at Eric’s. I would say that Yaz record was a pioneering effort in many ways. It helped define the genre of synth pop. Erasure’s The Innocents came along much later, a bit past the prime of the 80’s genre. But this album clocks in as my top 7 pick purely for nostalgia reasons. Few albums bring me back to my teenage years as awkwardly and beautifully as this one. We all know “A Little Respect” and “Chains of Love”, but “Phantom Bride” was the go-to track on this album, in my opinion.

I’m not going to get over analytical about the pros and cons of “Phantom Bride” and the entire Innocents album. It was just fun to listen to back then, and it’s fun to listen to today. “Phantom Bride” exemplified that circus-sounding synth world that Clarke created and explored over multiple albums. It was like a three-ring circus act: the synth hooks, electronic drums and Andy Bell’s vocals. The melody here is like confectionary sugar. Clumped together in heaps to be devoured.

“And in her mind she'd drift away. A secret place to steal away.”

"SO FLUTE" ST. GERMAIN (2000)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Tourist (2000)

I don’t know how I first stumbled upon St. Germain. It was probably a friend who introduced me, although it sounds like music that could’ve easily seeped through the speakers at a cafe or at a Uniqlo. Maybe I should hate it because of that, but I can’t deny how fascinating I find his music to be. Its heart is electronic, but its soul is analog – comprised of brass, woodwinds and not your typical percussion elements. I love all of Tourist, but “So Flute” is still my favorite track to this day.

Outside of the orchestra woodwind section, you have to go way back to find anything that uses the flute as memorably as “So Flute”. Like Jethro Tull / Genesis / Peter Gabriel-way back. Hearing this track 20 years after it was recorded, I’m amazed at how well it holds up. The best compliment I can give “So Flute” is that it feels like it could’ve been recorded this year. That’s how timeless it is. Back in 2000, St. Germain made people who had no previous interest in flutes start to see the possibilities. Myself included.

"DA FUNK" DAFT PUNK (1997)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Homework (1997)

I’ve already covered French synth-pop earlier in my Electronic LP Top 15. Now it’s time for some French house from the motorcycle helmet-clad duo Daft Punk. In 1997, there was a New York City club called Au Bar that my crew frequented quite a bit. When I say “frequented”, I mean going Wednesday, Thursday, Friday and Saturday night within one week wasn’t exactly unheard of. We devoured the music. Daft Punk was a big part of that scene. The debut album introduced us to a genre that most of us didn’t know even existed. It was the soundtrack for our nights for the next couple of years until we all settled down and got girlfriends. One of those tracks was “Da Funk”.

A simple, repetitive synth hook that goes on repeat dozens of times. Driving, bass-heavy break beats. Electromagnetic treble chords. And not much else. The beauty of “Da Funk” is that it wasn’t overly complex. This minimalist approach had a way of making you feel it so viscerally. And what is music’s job to do other than allow you to feel it and experience it. Back at Au Bar, that’s all it was to us. And “Da Funk”, “Around the World”, “One More Time” and countless other Daft Punk tracks served their purpose. But what we didn’t realize was how pioneering the French duo was at the time, and how influential they would become.

"IT'S ALRIGHT" PET SHOP BOYS (1988)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Introspective (1988)

The task of picking one Pet Shop Boys record to highlight isn’t easy. There are several great ones. I went with Introspective because of the versatility of the album – from grand, cinematic explorations to Miami-influenced sonics to reimagined covers. It’s an album that proves the naysayers wrong. These aren’t one trick ponies. Pet Shop Boys have carved out a multi-faceted approach to synth pop that has kept them relevant over several decades and kept their live shows electric. “It’s Alright” is one of the lesser heralded singles from the record, but one of my favorites.

I’m a bigger fan of the single version, but I’m focusing on the album version in this post. The beginning is immediately distinguishable with the choir vocals, and then continues to stand out from other synth pop tracks with Lowe’s analog, piano sounds while the drum machine brings the hammer down and the bass part is as low as low can go. Together, these electronic elements are like waves for Tenant’s vocals to surf along on and on and on.

“I hope it's gonna be alright. And the music plays forever.”

"THE MOMENT" TAME IMPALA (2015)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Currents (2015)

One of the greatest testaments of electronic music is that whole genres continue to evolve and be either refined or redefined. For proof, all you have to look at is the vast evolution of synth pop since the late 70’s. As a music fan, sometimes I doubt if a new band can come along and create a different sound within a genre that’s been around for several decades. But I shouldn’t doubt anymore. Bands keep creating and innovating. Tame Impala did it with their brand of synth pop that doesn’t sound like anything else that preceded it. Currents was the album that turned me onto the band. The textures, beats, riffs and melodies weren’t just unique, they were immediately addictive. One of the tracks that led the way was “The Moment”.

What makes this track so special compared to all the countless great synth pop anthems? Well, the dimensions in this track are incredibly palpable, for starters. The treble chords are so light and lofty, they feel like they’re hovering above us. Meanwhile, the bass line snakes and slithers beneath our feet. The drum machine parts further reinforce this juxtaposition of light, airy treble with thick, heavy bass. “The Moment” also possesses that rare combination of a highly accessible pop melody and frequent experimental tendencies. Stunning.

“In the end, it's stronger than I know how to be.”

"IN MY ROOM" YAZ (1982)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Upstairs at Eric’s (1982)

The topic of great electronic music can’t be had without mentioning Upstairs at Eric’s and the talented duo of Vince Clarke and Alison Moyet. While I do love Depeche Mode, I was never a real fan of the Vince Clarke years. But, for me, things were different with Upstairs at Eric’s (not to mention many of the early Erasure albums). This is when I truly began to appreciate Clarke’s unique synth pop stylings paired with Moyet’s vastly underrated and underexposed prowess as a lead singer (at least here in the States). Upstairs at Eric’s showcases both commanding synth arrangements and vocal performances. And “In My Room” stuck out like a sore thumb. I love it.

Most of the songs on Upstairs at Eric’s were built to make you dance. Well, not “In My Room”. It’s packed with more samples than dance-worthy keyboard hooks. It’s a sprawling track with miles of space built in between those electronic drum hits. The song prominently features the Lord’s Prayer read robotically and repeatedly, and accompanied by recordings of conversation bits and shattered glass. “In My Room” is a spiritual experience. Clarke’s synth lines are intentionally understated to bring greater prominence to the gravity of the spoken words and Moyet’s resolute vocals.

“I stand alone and watch the clock. I only wait for it to stop.”

"EL PICO" RATATAT (2004)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track. #15ElectronicLPs

Album: Ratatat (2004)

The world of Ratatat is a lot like video games. I’m not much of a gamer, but something about the music from this Brooklyn duo reminds me of the prodding and pacing and occasional explosiveness inside video game worlds. The music even sounds pixelated, like blips, beats and bits of animation that form together to create something mesmerizing. One of my favorite instrumental albums of all time, Ratatat’s self-titled debut album was an instant favorite of mind – and “El Pico” is still a track I turn to again and again.

Speaking of video games, “El Pico” seems almost perfect as a video game soundtrack. The progression from the instrumental “verse” section to the instrumental “chorus” section captures the rewarding feeling of slugging it out and earning one’s way to a battle with the boss. Ratatat accomplishes this feat with drum machines and synthesizers. Electronic bands have come and gone. But to this day, there’s nothing else that sounds like Ratatat, and likely there never will be.

"FENCES" PHOENIX (2009)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track. #15ElectronicLPs

Album: Wolfgang Amadeus Phoenix (2009)

Back in 2009, a second wave of synth pop bands was rising. The bands that were leading the charge were Phoenix and MGMT. Their songs made you dance. They made you feel young again. Wolfgang Amadeus Phoenix gave me a renewed interest in electronic music once again, like their French countrymen Daft Punk. Their synth lines hovered, floated and soared. They didn’t overpower you. This is sugary pop, not a rock and roll album full of bangers.

You don’t over explain songs like “Fences”. You just have fun with them. But I will say this. Phoenix, with these delicious pop songs, found their own brand of rhythmic hooks, lifting spirits with their pregnant pauses, tempo shifts and clever musical layering. “Fences” changed up the instrumentation in a way that made you feel like you were being ushered from one dance floor to another. This is a track that you can let loose to without rocking out.

“Once remembered now forgotten.”

"CLOSE TO ME (CLOSEST MIX)" THE CURE (1990)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track. #15ElectronicLPs

Album: Mixed Up (1990)

Hardly ever mentioned among the great Cure albums, Mixed Up was an oddity. It rode off the sweeping momentum of Kiss Me, Kiss Me, Kiss Me and Disintegration, but never came close in terms of its significance in the greater Cure canon. For many fans, it was an album that we were preoccupied with for a short period of time and then we forgot about it just like that. The Cure, by nature, is far from an electronic band. Their emphasis on multiple guitars and live drums affirms this. But on Mixed Up, they gave their previous un-electronic staples an electronic feel. One of the best from this remix collection is “Close To Me (Closest Mix)”.

If you needed to validate the electronic prowess of this particular remix, all you need to do is name-check. The Cure enlisted the help of Paul Oakenfold on this Head On The Door classic. This is a delightful remake of an already delightful song. It proves that you don’t need to completely deconstruct a song to get a strong remix result. This one focused on replacing the sugary drum beat with a electronic, house-infused percussion. The unforgettable bass line is sharpened and turned up to help solidify the house vibes. “Close To Me (Closest Mix): and the entire Mixed Up album bring back fond memories of musical discovery and imagination during my high school years.

“I never thought that this day would end. I never thought that tonight could ever be This close to me.”