Welcome to Make-Out Music, a music blog written by Ryan Sheridan, for those in search of the perfect pop song. Forget you actually gave freak-folk a chance and take comfort in discovering pop music that can still be sophisticated. Find the perfect remix, forgotten guilty pleasure, original sample or secluded Scandinavian sound with MP3s, interviews, features and original video mash-ups. Befitting a spot on your next mixtape, it's Make-Out Music: because getting to second base needs a soundtrack.
If you have comments, questions or music of your own you'd like me to hear, please e-mail ryan [dot] makeoutmusic [at] gmail.com. New music is always welcome. MP3s taken down upon request.
Wednesday, October 20, 2010
FLASHBACK: FAMED RÖYKSOPP VIDEO ILLUSTRATOR ANIMATES LITTLE RED RIDING HOOD
Tomas Nilsson, winner of the 2002 MTV Europe Music award for “Best Music Video,” is back, unfortunately not for Royksopp’s latest LP
t’s been a few weeks since Röyksopp’s third LP, Junior, leaked and despite its strong line-up of guest vocalists, I’ve concluded it’s a snore. So, let’s take today to harken back to a time when the Norwegian duo released not only interesting downtempo music but also interesting music videos that coincided with 2001’s Melody A.M. While that debut spawned four wonderful singles, only the third one, “Remind Me,” was animated by Tomas Nilsson. Nilsson, a design student at Sweden’s Linköping University, took us on a fascinating, day-long British commute using infographics to illustrate in fine detail how our daily objects (alarm clock, toilet, cereal, train, escalator) and environment (weather patterns) all function.
Nilsson is finally back. Earlier this month the animator returned with a new class project that took on the story of Little Red Riding Hood. Again, breaking things down to even the cost of Red’s bottle of wine, we see Nilsson’s engrossing use of infographics. Who knew Grandma was so high in fiber?
oday’s songs may initially bring your sexuality into question. And if they do, I must ask you to chill out, homophobe. They’re actually as close to the 80s pop sound we’d all like to remember than anyone this side of the Killers has gotten. Besides, the decade would have fallen to RATT had the music industry not turned a blind eye to sexually ambiguous pop stars (here’s lookin’ at you, George Michael). I’ll start this series out with five tracks from across Europe, all of which I’ve secretly been devouring since last year:
He was the mastermind producer behind Junior Senior’s “Move Your Feet.” Now fronting Danish chart-toppers Private, Thomas Troelsen unveils the bouncy and infectious “My Secret Lover.” It’s a song anyone a slave to their hormones could relate to: “I met you at the club no further comment / I said ‘Baby, let’s go back to your apartment and girl, take off your clothes, let’s make this place a mess.” While lyrically it may have been a bit crass for the 80s, the chorus’ vocal melody has been snatched from the Reagan era’s own King of Pop. Not to mention the music video’s intro, which sports the same cheap, green strobe effects seen in MJ’s “Rock With You.”
This haunting slow jam swings in beautiful harmony much in the same way Tears for Fears would have 23 years ago. Like Tears’ “Head Over Heels,” sweeping synths and desperate lyrics make “Rush” a heartbroken Swedish companion.
I’ll be honest: Whereas the other songs in this post come from genuine, established acts, “3 Little Words” brings the cheese as evidenced by the song’s music video. Still, London’s FrankMusik, a fashion school dropout, may just be 2009’s synth pop band to beat — that is, if you trust the BBC’s Sound of 2009 poll, which also ranked Passion Pit, another new favorite of mine, 2K9’s “best new music talent.”
Perhaps the most modern-sounding electro song of this bunch, Heartbreak’s “We’re Back” starts out like a B-side to the first Ladytron album. But once the first chorus hits, it’s the deep baritone of frontman Sebastian Muravchik going on about the disco that puts “We’re Back” somewhere along the Italo-Disco timeline. As a duo, Heartbreak also bares some resemblance to fellow Londoners Pet Shop Boys — in a retarded cousin (note the pasteled windbreakers and overly enthusiastic flailing) sort of way.
The fretless bass that travels throughout this song is most likely synthesized. The angelic voices probably are, too. But this song, along with all of Juvelen’s output, is some of the freshest synth pop I’ve heard in a while. Vocally, this Swedish seducer is the second coming of Prince. And while that’s probably most listener’s selling point, it’s the driving bridge at 2:53 that strikes like Hall & Oates on the verge of suicide.
ot even Sweden was immune to the Vampire Revival Craze of 2008. Whereas goth tweens and their middle-aged Midwestern moms got wet for Twilight and HBO’s True Blood, Tomas Alfredson’s Let the Right One In served up boners to both horror and indie fans alike. It had such buzz that an American remake is already in the works for 2010. And since we don’t have the best reputation for adapting films, the chances of grasping the true heart of the story — an innocent romance that burgeons between the helpless Osker and protective Eli — are unlikely as the studio heads demand more ketchup blood.
Ripping off Butter Team’s“zany mash-ups,” here’s Make-Out Music using a vampirical idiom to introduce a mash-up of a movie that had more bark than bite with music bySwedish trip-hop duo Plej.
Wednesday, October 20, 2010 
t’s been a few weeks since Röyksopp’s third LP, Junior, leaked and despite its strong line-up of guest vocalists, I’ve concluded it’s a snore. So, let’s take today to harken back to a time when the Norwegian duo released not only interesting downtempo music but also interesting music videos that coincided with 2001’s Melody A.M. While that debut spawned four wonderful singles, only the third one, “Remind Me,” was animated by Tomas Nilsson. Nilsson, a design student at Sweden’s Linköping University, took us on a fascinating, day-long British commute using infographics to illustrate in fine detail how our daily objects (alarm clock, toilet, cereal, train, escalator) and environment (weather patterns) all function. 
oday’s songs may initially bring your sexuality into question. And if they do, I must ask you to chill out, homophobe. They’re actually as close to the 80s pop sound we’d all like to remember than anyone this side of the Killers has gotten. Besides, the decade would have fallen to RATT had the music industry not turned a blind eye to sexually ambiguous pop stars (here’s lookin’ at you, George Michael). I’ll start this series out with five tracks from across Europe, all of which I’ve secretly been devouring since last year:
ot even Sweden was immune to the Vampire Revival Craze of 2008. Whereas goth tweens and their middle-aged Midwestern moms got wet for Twilight and HBO’s True Blood, Tomas Alfredson’s Let the Right One In served up boners to both horror and indie fans alike. It had such buzz that an 
