The Hated Opinionated One

Presets Bring Forth Dancefloor Armageddon

Posted by Scotio on April 11, 2008

Riding on the wave from their extraordinary 2005 album, Beams (not to mention there numerous EPs and Kim’s solo release of System Breakdown), Australia’s own The Presets sets their sights higher with Apocalypso. From jump, the dynamic duo shows why they deserve the exposure they’re getting (and it took bloody long enough for them to get it, too). “Kicking And Screaming” pumps out the speakers with full forced Club Music fury. Offering every perfect ingredient for a sure-fire hit: Catchy hook, semi-non-intelligible lyrics, synths to drive Daft Punk batty. They set the bar high directly from the gate. Luckily, “My People” is able to keep the party going. As the album’s lead single, it already had people salivating in impatience for this album. With a thumping bass drum parading its way around the song with the pride of a well-groomed lion, it’s hard to bypass or even depress the fierceness of such a track. When hearing the line “And it feels so good” repeated with growing intensity, you have to agree . . . it feels SO good when music feels so right. The second single from this unbelievable album is “This Boy’s In Love.” And, if this music is supposed to represent how a boy is supposed to feel when he’s in love, then a lot of young gents have a ways to go before they can feel real love of this caliber. With Julian’s vocals for the verses sounding like they are trailing off into ghost-like vapors, the song haunts you with the spirit of Dancefloor’s Future. With a chorus so simple, it screams out the genius behind it. Hard to miss, even harder to resist once it does catches you in it’s sweat-inducing grasp. “Yippiyo-Ay” pulls out Michael Jackson when all he had was an overly moisturized jheri curl, and no skin bleaching. Possessing a melody, tempo, and singing-style that would find comfort on MJ’s magnificent Thriller album. Resting somewhere between Techno and Disco, you don’t have to be a friend of Bruce Leroy(Last Dragon, anyone?) to recognize that The Presets have The Glow. Not to alienate the Goths with a sense of Dance Fever, “Talk Like That” conjures up a hit that even Dracula would have to shake a wing to. Saying “Uh Oh,” you feel like you’re overhearing a dance party filled with preppies and the morbid misfits have just arrived. Brilliantly, neither of the two groups would feel black sheeped for this particular tune. The old Horrorwood organ playing doesn’t just make the song cheesy, but make it a memorable moment for Party Music history. There are some even odder moments, though, such as the rock-a-billy influence on “Eucalyptus” and overly technological SID-chip assisted, porn-midsectioned chopped up tune “Together.” As the album’s sole instrumental track, “Aeon” manages to bring out the inner flux that lies dormant inside of you. Taking you on a microchipped soul-stirring journey inside of your own psyche, it’s almost like you’re waiting for Morpheus to offer you pills(no, not that kind) at any moment. Starting off with the chantings of “Deeper, I know you want it” and “Faster, I know you want it” you’re tempted to see if the Aussie boys aren’t trying to lure you into some homemade Risqué moments between you, a camera, and the one that drives you wild for the closer track “Anywhere”. Housing nothing but the bare essentials, it drives the point home even harder than if they had sampled a sledgehammer teaming up with a jackhammer. Clocking in at 6:17, it doesn’t hit you repeatedly over the head with the constant badgering of lyrics. Rather, the terrific twosome decided to let the song be equal amounts instrumental and vocal. It’s not hard to see that The Presets were supposed to be where they are at(even if majority of their US following came from the feature of their song on the reality dance show, So You Think You Can Dance). Just like Julian said, “Farther, you know we’re going Farther . . .”and farther past their contemporaries they go.



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