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DJ Highlights

DJ Profile: Rainbow Riot

DJ profiles: Rainbow Riot

DJ Name: Rainbow Riot

Show Name: The Riot Hours

Show Description: The Riot Hours with Rainbow Riot airs every Wednesday morning only on WKNC 88.1 FM. Playing you the very best in music from all decades, including all the hits, back catalogue tracks, and forgotten tunes your speakers can handle. Tune in from 7 to 10 every Wednesday morning to experience The Riot Hours.

Without ruining the magic of it all– can you walk me through the process of how you curate your sets?

Sure, oh my gosh, it’s so much listening to radio. It really is. It’s a very organic process. For me, if I hear something that really catches my ear, I’m like, “oh, that’ll be in the set.” …At any given time, I’m working on three or four sets at a time, just because I hear so many different songs, because I’m always kind of looking. And I think that’s maybe part of the process, is the insanity of it. I would say each set is curated, based off of one singular, fleeting, I guess we’ll use the word “magical” moment when you hear a song. And it’s like, that’s what that song is.

From the Beatles to Lily Allen, a lot of different types of music live within the Riot Hours Realm, how do you determine if a song is up to par to be included in a set?

I am really bad about this… because I have a third hour that’s solely for requests in my show. The first two hours, I kind of make those sets without anyone else in mind. So it’s, it’s very, very selfish and very narcissistic. But it’s all kind of it really is a joy to make every playlist because that’s me in it and so it just kind of feels like almost like character development in a really weird like way. Like for a writer, that’s kind of what it is for me. So I guess it does just kind of click and I figure it’s almost like the, like Marie Kondo method of like, does it spark joy? And if it does not, it does not go in the set. 

Is there a story behind your DJ name and show name?

I really wanted to do a drive-time show. […] My DJ name I got from a Herbie Hancock song. And I loved it. I was like, this is amazing, because I think one of the songs is called “Rainbow Riot,” I was like– wait, not Herbie Hancock, I’m so sorry, BB King. It’s a BB King song. And it’s got a big fat cake on the cover of the album and I just thought that was so lush and so cool and very, like, almost Sofia Coppola’s Maria Antoinette. Like I just love the lusciousness of it all. It’s kind of both of these things where it’s like really chaotic and crazy, and kind of runs off the rails sometimes and is also a burst of joy and color. That’s where Rainbow Riot comes from. And I just thought it fit, I felt like Rainbow Riot. So it’s pretty natural and The Riot Hours kind of transcended from The Riot Hour because I was originally doing one hour but I didn’t want to do anything too complex or abstract. Because my DJ name was already a little bit weird so I figured I’d just make it you know be the blank hours and riot fit in. 

What is your aspect of being a DJ?

I love becoming a completely different person. It’s second-best only to talking to listeners which is so fun. Because the best to hear that kind of be back. I feel like you have a really solid degree of narcissism to be a DJ because it’s just kind of like constant reinforcement. But I am normally pretty introverted, unless I really know the people by which I’m surrounded. It’s difficult to love performing, but hate performing in front of other people. Which is something that I definitely struggle with. Yeah it’s the worst combination. And so to just shut the door, have that light turn on on the outside and be like, I’m going to be this person for two hours, and they have jack sh** idea that I’m not this person. And that’s so funny to me. So it’s an element of transformation that I really get a kick out of.

Were you expecting such a dedicated listenership?

This is so nuts because I didn’t realize they were there, literally. […] And so I was kind of chugging along, you know, I was doing my show, and then out of nowhere, like maybe my 16th or 17th set, I got a bunch of calls. And it was like, I don’t know why this is happening. But up until that point, I mean, I’d get like one or two calls during my other sets, like my mom, being like, “What do you want for dinner?” You know? I mean, and it wasn’t even, it was like 10 calls. And I was like, “Oh, I really like that.” It’s really good to hear people being like, this reminds me of that memory, or this person or whatever. And so it just kind of hit all of a sudden, and it just kept climbing and climbing and I form bonds with people and you start to recognize people’s voices who call? It’s easy. Yeah, that’s kind of how that happened. And I completely did not see it coming.

Do you hope to do radio after college?

I do plan on it. I won’t lie. Right now I’m applying for my doctorate. But I would really love to, I think a part of me that loves neuroscience, which is what I’m applying to, is also really communication inclined. So yeah, I could definitely see myself continuing this. And I feel like it’d be such a waste. Because two years ago, Rainbow Riot did not exist. So I don’t want to throw her to the wind and be like, “Okay, I graduated and so I’m done. So, you know, there goes all that.” So yeah, I definitely want to continue this.

How has your show evolved over time?

It was a hot mess. [During my first set] … I was red in the face and so, so nervous. I had stayed up all night writing this script. And I remember I played “Custard Pie” by Led Zeppelin and was like “this is going to be the very first song of my set.”  And I wrote out this huge dribbling monologue about who wrote it, and you know, the different studio versions. And so I went in the studio…and I just started talking and then I hit play. And then Jamie came in the room. And she’s like, “Are you okay?” And I’m like, “Yeah, I’m fine.” I had just delivered the best friggin opening of my set. She’s like, it was two minutes of dead air. I never turned my mic on.  I looked at my phone and I had texts from my parents who were like, all the sudden worrying if I was dead or passed out. And I was like, “No!” It just felt like such a waste. […] I think it’s all kind of the part of the humiliating learning curve that you go through, when everybody kind of starts out not fantastic…but it’s kind of just transformed, based off of experience, and really finding a niche that I love making kind of kind of similar linked playlists that aren’t all the same, but have kind of the same idea.

Do you have any guilty pleasure music?

I had to make a promise to Jamie that I would never play Wham! I love George Michael and really love Wham!  And I also really, really loved bachata and Selena Quintanilla. I’m a massive Selena fan. I don’t even feel embarrassed about her. But I just don’t know where I would even fit that in my set. Yeah. But yeah, Wham! is a really big one. I really do enjoy some early 80s synth-y bubblegum pop.

Categories
Miscellaneous

Deserted Island Albums

deserted island album

You know those ludicrous scenarios people make up for icebreakers? Like, the ones where you can only bring a certain amount of items to a deserted island, or only save one thing from a burning building. Those questions have always felt weird to me. Like, if I’m on a deserted island I’d want food and if I’m in a burning building I’m going to save myself and whatever I’m currently holding (which is probably my phone). However, today I’m going to create and entertain one of these odd scenarios.

You’re on a deserted island, and you can only choose five albums to listen to while you’re trapped there. You could be trapped there for days, weeks, or the rest of your life. You have plenty of food and water, but these five albums are your only form of entertainment, which five albums do you choose?

Without further ado, here are my Deserted Island Albums.

“Any Other City” – Life Without Buildings

Much of this album is just random words strung together in a way that sound pretty—and I heavily dig that. This is by no means one of my favorite albums ever, but it’s a solid and beautiful piece of math-rock. Having this on a deserted island will be a refreshing departure from some of my other albums, which focus heavily on storytelling.

“evermore (deluxe version)” – Taylor Swift

This isn’t even my favorite album of hers, but it’s by far her best at storytelling (at least in my opinion). Having some wintry and fall vibes through this album will certainly boost my morale, as I’m under the assumption that this island is tropical and therefore hot and humid. 

“Rubber Soul” – The Beatles

This album will probably be the one I turn to when I’m emotional about being trapped on a deserted island. With tracks like “In My Life,” “Nowhere Man,” and “Norwegian Wood (This Bird Has Flown)” I’ll be bound to be caught crying to this at least once or twice.

“Hot Pink” – Doja Cat

I need at least one album to have fun with. While “Any Other City” is a departure from the lyricism of the other albums, it’s not fun like “Hot Pink” is. This is also a great workout album, so if I decide to take up exercise as a hobby while I’m trapped, this would be excellent for that.

“Fetch The Bolt Cutters” – Fiona Apple

This album is a wonderful mixture of lyricism and noise, and is also one of my favorite albums of all time. What more is there to say, besides that it’s perfect from start to finish?

What albums would you bring to a deserted island? What would your priorities be when choosing these albums? I had fun thinking about it and you might, too.

Until next time,

Caitlin

Categories
Playlists

It’s My Party and I’ll Cry If I Want To

Birthday Playlist

Birthdays are a weird time, because you never quite know how a person feels about their birthday. People have a love/hate relationship with them; I personally end up crying almost every year on my birthday for some trivial reason. Other people enjoy their birthday because they love planning things, or the attention from everyone or maybe they just genuinely don’t mind getting older.

A while back, I stumbled upon a TikTok in which a person showed off a playlist they had made of indie songs that mention birthdays, even if it’s only once. When brainstorming for blog ideas, I wanted to do one about my birthday since it’s this week and I kept thinking about this TikTok and the playlist.

However, I didn’t want to steal the exact idea, and that playlist is very intricately thought out. So instead, I decided to make a playlist of songs more explicitly about birthdays and parties by artists and bands I already like.

Without further ado, here is the playlist:

“Birthday” – The Beatles

“Happy Birthday 1975” – Joni Mitchell

“Happy Birthday To Me (Feb. 15)” – Bright Eyes

“Birthday Song” – The 1975

“It’s My Party” – Amy Winehouse and Quincy Jones

“Swingin Party” – The Replacements

“Every Morning” – The Cranberries

If it’s your birthday soon when you’re reading this, consider this playlist my gift to you.

Until next time,

Caitlin

Categories
Playlists

Proto-metal Starter Kit

"Budgie" Album Cover

If you’ve kept up with my blog posts, it’s pretty obvious how obsessed with the 1970s I am — the fashion, the design trends, the hairstyles (can I get a cheer for shags anyone?), but most of all, the music.

Though hard rock was born in the ’60s, it truly reached its peak in the early ’70s. These two decades both proved how music and current events were deeply connected. Mainstream America was starting to become more and more cynical surrounding our involvement in the Vietnam War. There was a massive sense of government distrust, especially among younger people. The flower-child, happy-go-lucky, swingin’ 60s were over, and a rawer, more honest cultural movement slowly took its place. This change was very much so reflected in the music that came out of the early to mid-’70s. Rock shifted into something heavier and darker. Heavy blues were mixed with psychedelia, down-tuned guitars and leather. Hence, proto-metal was born.

Now you might immediately jump to thinking of Black Sabbath, Led Zeppelin and Deep Purple when you hear the words “early metal,” but there were tons of lesser-known groups experimenting with heavy rock around the same time. There’s a lot to sift through (and not all of it is that great), so that’s why I’ve laid out some of my favorite proto-metal tracks, both mainstream and underground:

The Obvious Picks:

1. Communication Breakdown – Led Zeppelin

2. Sweet Leaf – Black Sabbath

3. The Ostrich – Steppenwolf

4. In-A-Gadda-Da-Vida – Iron Butterfly

5. Rock Me Baby – Blue Cheer

6. Into the Void – Black Sabbath

7. Black Night – Deep Purple

8. Freelance Fiend – Leaf Hound

9. One of These Days – Ten Years After

10. Master Heartache – Sir Lord Baltimore

Lesser-Known Gems

1. Guts – Budgie

2. Lions, Christians – Bang

3. Toxic Shadows – Lucifer’s Friend

4. Magic Potion – The Open Mind

5. Chocolate Piano – Orangutan

6. Long Tall Sally – Cactus

8. Plastic Man – Bodkin

9. MOTHER GREASE THE CAT – Ancient Grease

10. Hunter’s Moon – Yesterday’s Children

Enjoy the thrash,

DJ Butter

Categories
Playlists

Forgotten Techno Sets Of The 90s

Back in May, I discovered something wonderful. A forgotten Sony webpage dedicated to educating the Japanese public on techno. On the site, you can access DJ sets, electronic concert venues, old interviews and more.

The night I found this webpage, I spent HOURS exploring, translating and listening. The content on it is truly endless. Below, I’ve compiled an hour’s worth of my favorite tracks I discovered on this internet adventure.

  1. “Shangri-la” by Denki Groove – A (1997)
  2. “Supernature” by Cerrone – Cerrone I, II, III (1977)
  3. “Extra” by Ken Ishii – Jelly Tones (1995)
  4. “Pulstar” by Hypnosis – Hipnosis (1984)
  5. “Money” by The Flying Lizards – The Flying Lizards (1979)
  6. “Cocoa Mousse” by Ken Ishii – Jelly Tones (1995)
  7. “Push Eject” by BOOM BOOM SATELLITES – Outloud (1997)
  8. “Hope We Never Surface” by Two Lone Swordsmen – Stay Down (1998)
  9. “I m Not In Disco” by Popacid – I M Not In Love (1998)
  10. “Polynasia” by Takkyu Ishino – BERLIN TRAX (1998)
  11. “Bonny” by Popacid – Compact Disco Volume Four – Ladomat 2000 (1999)

Listen to my full Spotify playlist HERE.

Categories
Playlists

Imitation as Art: A Covers Playlist

"MALDO: Influences" EP cover art
"MALDO: Influences" EP cover art

On June 22, 2021, the notorious indie rock band Car Seat Headrest released two EPs. These EPS are a continuation of their newest album “Making a Door Less Open.” The acronym “MALDO” marks the two EPs, the first of which are remixes from the album. The second EP “Influences” are covers of the music Car Seat Headrest was inspired by. In “Influences” they cover four tracks, David Bowie’s “Golden Years,” the Who’s “Substitute,” Nine Inch Nails’ “March of the Pigs,” and Kate Bush’s “Running Up That Hill.” I love their tributes to these classic artists that inspired their music. The cover of Kate Bush’s song surprised me; I did not know how it would compare to the ethereal original. I actually enjoyed their rendition, with 80s synth Toledo’s chill vocals fit perfectly.  

While listening I started thinking about all the covers that capture the original perfectly, the covers that end up more recognized than the originals, and the covers that take the original to new heights. When an artist records a cover there is usually a certain amount of respect and appreciation for the first band/artist. I think by adding a new spin to the track, it can elevate the initial recording. Covers are also an entry into making music for so many people. Playing covers can give folks the confidence to start their own musical journeys. 

I’ve compiled a playlist of some of my favorite covers for your listening pleasure. As a huge 80s music fan most are tracks written and recorded in the 1980s then covered recently by newer artists. You can listen on Spotify. 

Hope you all enjoy 

-DJ lil witch

Categories
Music Education

From Classical to Experimental Pt. 1

Igor Stravinsky looking terrifying
Igor Stravinsky looking terrifying

So, I’ve been on a personal mission to get back in touch with classical music. This doesn’t normally apply to the popular music covered by WKNC, but for the next few weeks I’ll be sharing some musical history that might interest you, even if classical music isn’t really your thing. The subject in question is experimental music, and how it came to be the way it is.

To begin, let’s talk about what these two genres are, and what they have to do with each other. Experimental music is a loosely defined genre of popular music that features unusual or unconventional elements in a way that will be challenging but accessible for a general audience. The related to interchangeable term “avant-garde” means basically the same thing, but is generally less accessible and more out there.

“Classical music,” while it is a term with a technical meaning among musicians and academics, has come to be a catch all term for written music from the European tradition prior to World War II. This typically includes music composed for orchestra, piano, solo stringed instruments, and ensembles.

These two genres seem to be at opposite ends of the spectrum. One is rigid, formal, and based in traditional Eurocentric traditions, while the other is defined by experimentation and challenges to rules and has often been embraced by those in the margins. However, this has not always been the case. Most classical musicians today pull from an era known as the “Common repertoire,” while includes everything from Bach to Debussy (roughly 1580-1910), and is generally conservative in taste and inoffensive. However, orchestra and piano composers didn’t just stop writing music after 1910.

After 1910, classical music started getting really weird. Unmarketably weird, and while you might not recognize many songs from this era, the influence of 20th century classical on experimental rock, jazz, metal, and by extension mainstream pop, is massive. Noise, atonality, drone, synthesizers, many of these innovations have some roots in this era. Additionally, many famous indie musicians including the Velvet Underground, Pharoah Sanders, and the Sonic Youth have backgrounds in 20th-century classical music. So, it’s worth taking a look at this era to see what popular music borrowed and what it added.

[Also, I just bought a book on this topic and I feel like I need to justify that purchase somehow.]

I’ll be back in a few weeks to discuss modernism, but if you want some light previews of what’s to come, here’s some recommendations from modern day backwards:

  1. Lingua Ignota- Caligula; contemporary music fusing classical back with noise
  2. Glenn Branca- The Ascension; an interesting touchstone for noise rock and alt rock
  3. Steve Reich- It’s gonna rain; an early use of electronic tapes in composition
  4. Terry Reily- In C; a pretty famous piece of minimalism, precursor to synthesizer music
  5. Elaine Radigue- Trilogy de la Mort: early inspiration of drone music
  6. Karlheinz Stockhausen- a Young Person’s Guide to Music; the definitive precursor to noise
Categories
Concert Review

Ranking 10 of the Concerts I’ve Attended

The Garden's "Mirror Might Steal Your Charm" Album Cover

As concerts slowly return, I’m reminded of sweaty men, beer-covered floors, and body-rattling bass. I’ve missed it. In honor of the post-COVID concert comeback, I’ve ranked (some of) the concerts I’ve attended. My rankings are based on varying combinations of enjoyment, artist delivery, venue, and atmosphere. In descending order, here they are:

10. 5 Seconds of Summer (Opener: Hey Violet)

When: September 2015
Where: Coastal Credit Union Music Park at Walnut Creek
With: My mom

Give me a break; I was 13. We sat in the row of chairs directly in front of the lawn, it stormed incredibly hard (which stopped the concert multiple times), and the music was terrible. That being said, I had a nice time with my mom and it was my first concert so it holds a special place in my heart.

9. Bay Faction (Opener: Superbody)

When: February 2020
Where: Cat’s Cradle Back Room
With: Friend

This concert simply wasn’t good. The opener took the stage alone, and while they tried to get the crowd riled up, it didn’t work. When Bay Faction came out, the crowd was still mostly dead. Some young people flocked to the front of the stage and the lead singer weirdly leered at them while simultaneously flirting all night long. Actually, it wasn’t all night, because the set lasted for about 20 minutes and the band refused to come out for an encore. I still listen to some Bay Faction songs, but this concert wasn’t worth it.

8. TV Girl (Opener: Yohana)

When: May 2019
Where: Local 506
With: Myself

Let’s just say they don’t sound the same in person. If they had, I would have enjoyed this concert. This was the only concert I’ve ever left early.

7. Girlpool (Openers: Hatchie, Cosmo Punk)

When: April 2019
Where: Motorco Music Hall
With: Myself

I’ve loved Girlpool since my sophomore year of high school, but I was somewhat disappointed with the concert. The band only played tracks from “Powerplant” (2017) and “What Chaos Is Imaginary” (2019), save for the last song they performed: “Chinatown.” Had they included more tracks from earlier records, I think the audience would have been happier. However, they were both still wonderful performers and kept the crowd involved.

6. Joy Again (Opener: Indigo De Souza)

When: June 2019
Where: Kings
With: Friend

Joy Again is one of those bands I always come back to. I’m a big fan of ARTHUR, so it’s sort of a given that I like them. As far as the opener goes, I was mostly unfamiliar with their music at the time but Indigo De Souza was smiley and lively. I went with a close friend and while we made the experience worthwhile, Joy Again seemed a bit lethargic when they came out. It was towards the end of their tour, however, so I imagine they were fairly tired. Despite the low-energy set, the music was great and they sound the same in person.

5. Tyler, the Creator (Openers: GoldLink, Blood Orange)

When: October 2019
Where: Greensboro Coliseum
With: Friend

GoldLink was an incredibly dynamic opener, and while I’m not as big of a fan of Blood Orange, they also delivered a solid performance. As far as the main show, Tyler is a true artist and it was clear throughout his entire set. His infamous crowd-teasing seemed especially aggressive that night, but I was able to look past that. I wish there’d been more moshing, but it was still an exciting night.

4. BROCKHAMPTON 

When: January 2018
Where: The Ritz
Who: Friends

The concert I attended was pre-Ameer exposure, so the full BROCKHAMPTON outfit took the stage with no opener for their SATURATION III tour. When I saw them, I was still fully in my BROCKHAMPTON phase, so it resonated a lot more than it would now. They played all my favorite songs, the crowd was fun, and they ended with “HEAT.” What more could a high school girl ask for?

3. The Front Bottoms (Opener: Basement)

When: November 2017
Where: The Fillmore
With: Friends

My folk punk guilty (but not really) pleasure. The Front Bottoms will always be special to me, as will this concert experience. The Fillmore was packed to the brim and it was pretty clear that everyone there had a lot of love for TFB. The members of the band were energetic throughout the night and delivered great performances. It was a sweaty, emotional, and fulfilling concert.

2. Alex G (Openers: ARTHUR, Tomberlin) 

When: October 2019
Where: The Grey Eagle
With: Friends

Seeing ARTHUR open was one of the best concert moments I’ve experienced. His set was gorgeous, fun, and special. I was already fully satisfied after ARTHUR, so Alex G’s nearly three hour set was just the (very long) cherry on top. The room was electric when he played “Bobby.”

1. The Garden (Opener: Cowgirl Clue)

When: April 2018 (4/20 to be exact)
Where: Local 506
With: Myself

It still surprises even myself that this is my favorite concert I’ve been to thus far. I went by myself, got into the venue fairly late, and felt anxious leading up to the main act. Somehow, however, I ended up right in front of the stage and had an amazing time. The Garden are the best and most vibrant performers I’ve ever encountered. They’re delivery was loud and gruff and the instrumentals were overwhelmingly impressive. While I don’t listen to much of The Garden anymore, I’d go to one of their shows again.

Here’s to concerts: The Good, The Bad, and Those To Come,

Silya Bennai

Categories
Music News and Interviews

Big Red Machine is Back

Album Cover of "How Long Do You Think It's Gonna Last
Cover art for "How Long Do You Think It's Gonna Last?"

Big Red Machine, a duo composed of Aaron Dessner of The National and Justin Vernon of Bon Iver, has announced an album coming at the end of this summer. The album is named “How Long Do You Think It’s Gonna Last?” and will contain features from Fleet Foxes, Taylor Swift, Anaïs Mitchell, Sharon Van Etten and more. In fact, nine tracks on this 15 track project will contain features. This will be the indie-folk-rock duo’s sophomore album and will be released under the labels Jagjaguwar and 37d03d.

Upon teasing the release of this album, Swift fans almost immediately recognized that she would be involved with the project due to her particular handwriting. This was also suspected due to her past work with both Dessner and Vernon on her two most recent albums, “folklore” and “evermore.” Dessner also assisted in the production of “Fearless (Taylor’s Version).” Swift has two features on the album, on tracks “Birch” and “Renegade.”

Two singles off of the album have already been released, “Latter Days (feat. Anaïs Mitchell)” and “The Ghost of Cincinnati.”

Dessner says that themes of the album include “childhood, family dynamics and mental health.”

Big Red Machine circa May 29th 2019. Image used under the Creative Commons License, taken by Ralph_PH on Flickr.

The tracklist is as follows:

  1. “Latter Days” (feat. Anaïs Mitchell)
  2. “Reese”
  3. “Phoenix” (feat. Fleet Foxes and Anaïs Mitchell)
  4. “Birch” (feat. Taylor Swift)
  5. “Renegade” (feat. Taylor Swift)
  6. “The Ghost of Cincinnati”
  7. “Hoping Then”
  8. “Mimi” (feat. Ilsey)
  9. “Easy To Sabotage” (feat. Naeem)
  10. “Hutch” (feat. Sharon Van Etten, Lisa Hannigan and Shara Nova My Brightest Diamond)
  11. “8:22am” (feat. La Force)
  12. “Magnolia”
  13. “June’s a River” (feat. Ben Howard and This Is The Kit)
  14. “Brycie”
  15. “New Auburn” (feat. Anaïs Mitchell)

The sources for this article include:

Categories
Playlists

All I Listen To Are Lady Voices

Motoko album cover

The past couple of months I have been OBSESSED with a particular genre of music that was popular in the 1990s and early 2000s. I am not exactly sure what to label it as, but the best way I can describe it is entrancing feminine voices layered over intelligent dance music (IDM) tracks.

If you appreciate chill electronic music and soothing feminine voices then this post is for you. Listed below is an hour’s worth of my favorite tracks from this genre.

  1. “It’s a Fine Day” by Opus III – Mind Fruit (1992)
  2. “Breathe” by Telepopmusik – Genetic World (2001)
  3. “Edge of The Ocean” by Ivy – Long Distance (2001)
  4. “Sweet Child Of Mine” by Akasha – Cinematique (2006)
  5. “The Sea” by Morcheeba – Big Calm (1998)
  6. “That Girl” by Esthero – Breath From Another (1998)
  7. “I’m In Love With A German Film Star” by The Passions – I’m In Love With A German Film Star (2006)
  8. “Autumn Leaves – Irresistible Force mix” by Coldcut – Ninja Tune Retrospect (No.1) (2008)
  9. “Overcome” by Tricky – Maxinquaye (1995)
  10. “Day for Night” by Moloko – Do You Like My Tight Sweater (1995)
  11. “Blue Jeans” by Ladytron – Light & Magic (2002)

Click here to listen to my playlist on Spotify.