1. Ignore the Lukelike guitar spangles — as responsible pop listeners no doubt know to — and you’ll hear the true antecedents: those shiny city-exceptionalism anthems by Starship, ABBA, Patrick Stump and the rest. But Dragonette goes an extra step. Everything and everyone in the city exists for Martina. The indie rockers who’ve probably retched at those three referents, the rioters presumably occupied, the high-rolling 1% — all naught if not for her solipsistic, noisy, chrome-gleaming self. They exist so she can blast noise at them, tap-dance over the pronunciation of “city,” sneer through everything, because she can. It is ridiculous. It is stunningly callous. It is, in other words, the stuff of pop legend. The great thing about solipsism is that you can’t prove it wrong; deny Dragonette this, and they’ve already spat tinsel at you, smothered your disdain in synth lines and laughed and laughed.
    — Me, Jukebox, “Live In This City.” 
  2. The site just came out with our midyear bests and worsts, and unsurprisingly, “Call Me Maybe” is our choice for the year’s best song. Here’s something I put together in conjunction with that*.

    * OK, also because Cassadee Pope’s song reminded me so much of “Call Me Maybe” that I couldn’t resist extrapolating, and because that Catcall song is so utterly fantastic that I almost dropped $60 on an Amazon import after my tenth listen. (There are probably better deals.) I wanted to put Milla’s song on here, too, but it’s not really along the same lines.

  3. Today is capsule review day, apparently.


    T.I. loves this life the way you’d love a chamomile-coated blanket by a fireplace: drowsily, without much movement.

    And Dragonette:

    It’s the right time for a new Dragonette smash. Their Martin Solveig collaboration “Hello” got big enough to crack the U.S. charts, earning Solveig a stash of MDNA tracks and Dragonette a bit more gloss. Arguably, they had that already. So many acts right now sound like them, both in the indie/electronic world–too many examples exist to list, particularly now–and in pop. You could swap songs without much notice between their repertoire and, say, Nicola Roberts’ peppy, yearning pop (some of which Dragonette produced), Marina and the Diamonds’ scoffed-up Stargate or even some of Katy Perry’s fizzier tracks.