ballade de johnny-jane ジョニーとジェーンのバラード

洋楽の紹介! johnny:rock,singer-songwriter,folk, acoustic,electronic jane: female vocalists

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Category :  jane (famale vocalists)
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3D Moomin

Row Three Page here
Moomins and the Comet Chase

Director: Maria Linberg
Writers: Joel Backström, Iivo Baric, Minna Karvonen, Anders Larsson
Based on the books by: Tove Jansson
Starring: Max Von Sydow, Alexander Skarsgard, Stellan Skarsgard, Mads Mikkelsen, Peter Stormare

Yes, I know it’s a bizarre choice of film to begin my Cannes experience, but my fiancé is a patriotic Finn and Moomin lover so would give me no end of grief if I missed this one. Also, I wanted something easy going after my stressful travel problems. It’s got an incredible cast too (Max Von Sydow, Stellan Skarsgard, Peter Stormare) so I thought I’d give it a chance. I’m struggling to decide what I thought of it though in the end. It’s a film that is either terrible or brilliant I can’t quite decide. It’s aimed at very young children so a lot of the film is a little too pleasant and quaint to stomach with little excitement along the way, but at the same time it’s strangely dark, with a story concerning the end of the world riding alongside scenes of Moomins picking flowers and making cakes. I also liked the look of the film, using stop motion and simple cut out fabric designs like the old series that was released years ago. Unfortunately it was transferred to 3D, which suits the film, giving it a pop-up book quality, but the 3D wasn’t done particularly well with some odd layer-blending issues and a couple of faulty shots here and there (it might not have been the final polished version though to be fair).

I can’t see it making a big splash on it’s release, but it’s a sweet, odd little film that very young children (1-5 year olds) will enjoy and adults might find a certain charm to it’s surreal whimsy, so long as they can sit through the overly quaint simplicity of it all.

Björk - The Comet Chase Song - The Moomins And The Comet Chase

the movie the moomins and the comet chase is out in August 2010.

Category :  johnny (rock,ambient etc...)
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big_banner.jpg Page here


In the late 1960s and early 1970s, Dr. John made his bones (at least with the national audience) with a spooky, swampy blues / psychedelia / R&B / funk / pop / rock / jazz-influenced musical gumbo that included the originals "Right Place, Wrong Time," "Mardi Gras Day," "I Walk on Guilded Splinters," "Such A Night" as well as covers of "Iko Iko," "Big Chief" and "Tipitina." Though Dr. John has never changed his approach or his sound, Tribal (to some) can be considered a return to his roots.

On this disc, Dr. John continues doing what he does best―playing his own hybrid brand of New Orleans "fonk" (as he pronounces the word). As such, Tribal is a worthy addition to his musical canon. It has been said that on the album, Dr. John makes a complete return to his Night Tripper persona (though in the eyes of many he never left―he just kept it lurking the surface). Along with his crack band, The Lower 911―bassist David Barard, guitarist John Fohl, percussionist Kenneth "Afro" Williams and drummer (and co-producer) Herman "Roscoe" Ernest III―Dr. John has crafted a CD that evokes his earlier work in sound, feel and, in many cases, social commentary.

After Hurricane Katrina, Dr. John released the Sippiana Herricane EP (Parlophone, 2005), which grieved for the city of his birth and took the government to task for its lack of action. In 2008, he released City That Care Forgot (429 Records), on which he directed his considerable anger at the White House, the mayor and police force of New Orleans, insurance companies, crooked, thieving contractors/roofers and everyone else who was making money off the Katrina disaster. Though Tribal settles into a more classic New Orleans groove, Dr. John, though nearing 70, does not and will not fade softly into that good night. The songs recall his earlier work while remaining accessible, relevant and political.

The Doctor, whose gravely voice sounds like it was drenched in a bottle of expensive cognac, growls his way through the album's 14 tracks while the band lays down a rhythmic New Orleans soul and R&B groove behind his funky piano rolls and licks.

This is a very New Orleans-centric CD, both in musical scope and with regard to guest appearances. Political statements (environmental, economic and social issues) abound on the title track (co-written by the late Bobby Charles, the composer/singer of "See You Later Alligator"), which features Mardi Gras Indian chants with a funky blues backbeat, "Only In Amerika" with its Latin rhythms and protest lyrics, the bluesy "Lissen At Our Prayer" (arranged by Wardell Quezergue), which laments the state of the world, and the soul / gospel of "Big Gap" (co-written with Allen Toussaint), which is about the state and inequality of the people's income levels. The disc also features "Them" (co-written by Toussaint), and the jazzy "Music Came" (co-written by Harold Battiste and featuring vocals by Barard), as well as two other tracks on which Charles collaborated ("Change Of Heart" and "Potnah"). "Jinky Jinx" is a track that sounds as if it could have been recorded in the late 1960s―it's funky, part African and part American-Indian, with Creole influences mixed in, and featuring equally exotic voodoo rhythms and lyrics.

"Manoovas" (the disc's hardest rocking track which also features the slide guitar fretwork of Derek Trucks), sounds as though it was recorded back in the day. The opener, "Feel Good Music," and "Whut's Wit Dat?" feature the patented Dr. John groove that makes the listener want to jump up and dance.

As with any Dr. John release, the music is upbeat, funky, chunky, moody, spiritual, oozing with a voodoo vibe. In some cases the music as well as lyrics on this disc is angry, dark and moody. In short, it is a classic post-Katrina Dr. John album on which he has resurrected the Night Tripper persona and seamlessly woven him into the fabric of the music.

Tracks: Feel Good Music; Lissen at Our Prayer; Big Gap; Change of Heart; When I'm Right (I'm Wrong); Jinky Jin; Manoovas; Tribal; Music Came; Them; Only in Amerika; Whut's Wit Dat; Potnah; A Place in the Sun.

Personnel: Dr. John: organ, piano, vocals; Herman V. Ernest III: percussion, drums, vocals; John Fohl: guitar, vocals; Kenneth "Afro" Williams: percussion, vocals; David Barard: bass, vocals; Derek Trucks; guitar; Charlie Miller: trumpet; Donald Harrison: sax; Marcel Richardson: organ, piano; Natalia Casante: violin; Helen Gillet: cello; Harry Hardin: violin; Lauren Lemmler: viola; Carl Blouin: sax; Alonzo Bowens: sax; Erica Falls: vocals; Elaine Foster: vocals; Lisa Foster: vocals; Charla Herman: chant; Lulu Siker: chant.

Let the Good Times Roll - Helsinki Finland 10.7.2010

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boomkat_logo.gif Page here
Various / Kompakt - Total 11
Now eleven installments deep, Kompakt maintain the highest standards with their latest 'Total' roundup featuring 26 tracks from DJ Koze, Wolfgang Voigt, The Field, Gusgus, Matias Aguayo and many more. Opening duties are ably handled by Koze who successfully goes out on a limb with 'Der Wallach', an acutely experimental number with distinct similarities to Wolfgang Voigt's awesome Sog 12" for Profan. Beligerantly, Sog turns up with the luscious 'Silbereisen', which sounds nothing like the Koze track, but check his 'Abweichung' 12" for justification. The Field track 'Caroline' moves further towards the Kosmische truth, sounding like a later Moebius & Plank track for 2010, and Superpitcher cuts loose with 'Lapdance', one of his weirdest jaunts in memory. Robag Wruhme can always be counted on for heavier dancefloor goods and 'Rollmoff' is no exception, while the more poppy end of the label's agenda is handled by the likes of Ada's mix of Gusgus's 'Hateful', and Popnoname's 'Hello Gorgeous', whereas Ivan Smagghe's It's A Fine Line project and Mugwump give glam-rocking dancefloor variants. For fans of the mature modern European dancefloor, this is a must.

Read full review of Total 11 - VARIOUS / KOMPAKT on ©


Scissor Sisters

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Wikipedia Scissor Sisters
Scissor Sisters are an American pop and rock band whose musical style draws from disco, glam rock and the New York City club scene. Formed in 2001, the group consists of vocalists Jake Shears and Ana Matronic, multi-instrumentalist Babydaddy, lead guitar/bassist, Del Marquis, and drummer Randy Real who replaced former drummer Paddy Boom. "Spawned by the scuzzy, gay nightlife scene of New York",they took their name from a sexual position between two women known as tribadism.
The group rose to public attention with the release of their self-titled debut album in 2004, from which they gained chart success in Australia, Canada and parts of Europe – particularly their "spiritual home", the United Kingdom,where Scissor Sisters was the best-selling album of that year – although not their native United States. Several singles from the album were also successes, including "Comfortably Numb", "Laura" and "Take Your Mama". They followed this with their second album, Ta-Dah, in 2006, which again proved to be a commercial and critical success, with singles including "I Don't Feel Like Dancing" and "Land of a Thousand Words". Their third album, Night Work, was released in 2010, and displayed a shift towards a more club-oriented sound.
The band have collaborated with a number of other well known pop musicians, including Elton John and Kylie Minogue, and were received positively by a number of other notable figures, with Bono describing them as "the best Pop group in the world at the moment" in 2004.


Scissor Sisters (2004)
Ta-Dah (2006)
Night Work (2010)


Scissor Sisters / Nightwork
01. Night Work
02. Whole New Way
03. Fire With Fire
04. Any Which Way
05. Harder You Get
06. Running Out
07. Something Like This
08. Skin This Cat
09. Skin Tight
10. Sex and Violence
11. Night Life
12. Invisible Light

Scissor Sisters feat Kylie Minogue - Any Which Way

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Wikipedia Belle and Sebastian
Belle and Sebastian are an indie pop band formed in Glasgow in January 1996. Belle and Sebastian are often compared to influential indie bands such as The Smiths, as well as classic acts such as Love, Bob Dylan and Nick Drake. The name Belle & Sebastian is inspired by Belle et Sébastien, a children's book by French writer Cécile Aubry. Lauded by critics, Belle & Sebastian's "wistful pop" has nevertheless enjoyed only limited commercial success.
After releasing a number of albums and EPs on Jeepster Records, they are now signed to Rough Trade Records in the United Kingdom and Matador Records in the United States.

Belle & Sebastian official website here

A Note From Stuart Wed 11th Aug - 2010
The new record is called Belle and Sebastian Write About Love.
While I was doing the art, I got Kim from the ace Glasgow band, Zoey Van Goey, to write this in chalk in a few secluded spots in Glasgow and I took her picture. If you haven't already, you can see her on the splash page.
What I was thinking is that it would be fun if some of you tried the same thing, and either filmed yourself doing it, or got someone to take a picture (it would be good to see you with your work!). You can then upload them to our Flickr group here for everyone to see (you will need to sign up to Flickr if not already a member and join the group).
We'll choose some of the most scenic, artistic and elaborate ones and present the best submissions with a trophy of some sort!
To sum up, I'd like to see pictures or footage of you writing either Belle and Sebastian Write About Love or Write About Love in secret or public places, in the town you live in.
Post them here and remember to use chalk or at least something non-permanent!

11 August 2010

Sukie in the Graveyard from Belle & Sebastian on Vimeo.



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lastfmlogo.jpg Lorn Biography
An electronic musician from the United States
Lorn is a producer based in Milwaukee. He has become the first non-L.A based (or related) artist to sign to Flying Lotus’ Brainfeeder label/collective, on which he released his first official album, Nothing Else. Lorn’s debut album perfectly linked the scene’s current state back to those early years of experimentation that so few people know about.

Nothing Else
Label: Brainfeeder
Release Date: Jun-08-2010

Alpha Pup Records & Digital Distribution Lorn Page here
Nothing Else is the debut album by Lorn, the first release on Flying Lotus' Brainfeeder label since the monumental release of Cosmogramma. With his futuristic and forward-thinking imprint, Flying Lotus aims to bring together his extended family of avant-garde musicians in order to encourage and nurture the growing constructo-creative L.A. attitude. Lorn's Nothing Else, a work pounding in its own regard, is more than up to fill this heavy order.

An epic, melancholic and brutal affair, Nothing Else is a rewarding listen. From the fairground dramatics of "None An Island" and military momentum of "Army of Fear," to the discombobulated atmospherics of "Bretagne" and the off-centre melodic catchiness of "Cherry Moon," this is a record which feels like it's been hewn from stone. Taken as a whole, Nothing Else is a raw, emotional, angry, beautiful and real album. A remarkable, transcendent achievement with the FlyLo stamp-of-approval.

1. Grandfather
2. None an Island
3. Army of Fear
4. Bretagne
5. Automaton
6. Void I
7. Void II
8. Tomorrow
9. Glass & Silver
10. Cherry Moon
11. Greatest Silence
12. What's the Use

LORN : NOTHING ELSE from StrangeLoop on Vimeo.

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The Hurst Review here
Ray Lamontagne & the Pariah Dogs: “God Willin’ & the Creek Don’t Rise”
Posted on August 11, 2010 by Josh Hurst

It’s all very sad, very soulful, very quiet: He still sings in a hush, and the band is more about maintaining ambiance than burning down the barn. (Admittedly, they leave nothing but ashes on that opening cut.) Lamontagne essentially takes a solo turn on the sad lullaby “Are We Really Through”– the waste of a perfectly great band, perhaps, but the music on this ten-song set is wall-to-wall beautiful and moving. Lamontagne is nothing if not deep here, as he chooses to burrow inward instead of expanding his sound outward. The result is a record that feels lived-in, alive, and way older than it actually is: “New York City’s Killing Me” is a weary tearjerker that could have been a standard, “Beg Steal or Borrow” is a lively and spirited mid-tempo number, and “Old Before Your Time” is a terrifically Gram Parsons-esque, banjo-driven country number. This is his best-yet set of lyrics– worldly, wise, tough-talking but ultimately very sensitive.
It is, in short, a Ray Lamontagne album– a singer/songwriter album that’s in touch with its roots and deep with its own character. It’s personal music that speaks in a universal vocabulary. It’s a charming collaboration with a new group of cohorts– let’s hope they stick around, and bring some additional heat next time around– but it’s also, in a sense, the first album Lamontagne’s made himself. Calling it his best may be a slight stretch, but it is, if nothing else, his purest.

Carry Me

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ballade de johnny-jane Ray LaMontagne Page here

God Willin' & The Creek Don't Rise
LaMontagne's fourth studio album, God Willin' & The Creek Don't Rise, will be released on August 17, 2010.

MusicDirect Page here
Ray Lamontagne And The Pariah Dogs God Willin' And The Creek Don't Rise on 2LP Set
God Willin' And The Creek Don't Rise is Ray Lamontagne's fourth studio record, and follow-up to the heralded Gossip in the Grain. Entirely self produced (for the first time), the album was recorded in two weeks at the homemade recording studio in LaMontagne’s newly restored historic home in the woods of western Massachusetts. With Ray’s vocals at the forefront of the songs and a loose, almost live sounding recording, the album stands as a testament to a band at the height of their powers. The newly coined Pariah Dogs consist of Jay Bellarose (drums), Jennifer Condos (bass), Patrick Warren (keyboard), Eric Heywood (guitar) and Greg Leisz (pedal steel guitar). Individually, these musicians have contributed to the live work of such heralded musicians as Beck, Joe Henry, Tom Waits, Lucinda Williams, Ryan Adams and Joe Cocker to name a few.

Ray Lamontagne And The Pariah Dogs God Willin' & The Creek Don't Rise Track Listing:

1. Repo Man
2. New York City's Killing Me
3. God Willin' & the Creek Don't Rise
4. Beg Steal Or Borrow
5. Are We Really Through
6. This Love Is Over
7. Old Before Your Time
8. For The Summer
9. Like Rock & Roll and Radio
10. The Devil's In The Jukebox


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<a href="">Here, Here and Here by Meg &amp; Dia</a>

This album, with the exception of track 6 (Hug Me Remix), is all acoustic and was recorded live in the Hurley studio by Matt Grabe.
released 01 July 2009
Meg - Acoustic Guitar & Vocals
Dia - Vocals
Carlo - Acoustic Guitar
Jonathan - Bass
Nick - Percussion


ballade de johnny-jane Meg&Dia Page here

Wikipedia Meg&Dia 2010
In July 2010, Meg & Dia announced that they were dropped from their label, Warner Bros. Records. Meg & Dia remain unsigned. The band has confirmed that they have recorded a new record, independent of a label with producer Charlie Vela. Neither a title or release date have been announced, but the songs will be released as an EP and a full-length sometime in 2010.


Lights Out Asia

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official website >here


n5MD Page here
“In the Days Of Jupiter” is the 4th album from tri-state post-rock trio Lights Out Asia. Just as Jupiter eclipses the other planets in our solar systems, Lights Out Asia have eclipsed expectations by delivering their most expansive album to date. Not only in relative scope and emotional depth but also in proper use of something they have used sparingly on previous albums - open space. Their previous use of guitars in a more deliberate melodic role is somewhat subdued on “In The Days Of Jupiter”. The guitars here are utilized more just to drive a point home with the strings, field recordings and electronics being more of a prominent, and key, ingredient. Hidden below these expanses is a new sense of urgency within the band's songwriting which may shed a bit more light into their collective personal persona. Is it unrest? Anxiety? Loss? Are they at some personal crossroads? Or have they cultivated their collective emotions into one of their finest works to date.

Lights Out Asia
In The Days Of Jupiter

Format : CD
Release date: 08.09.10

Lights Out Asia Wikipedia History
Lights Out Asia is an ambient musical project that was formed in February 2003 when Chris Schafer and Mike Ystad, themselves members of Aurore Rien, had considered to work on music together. Over the next few years, they would begin to record in various places. From bedrooms to basements, to living rooms and outdoors, the duo had finally written and mastered enough material for a full length album. The album would soon be come known as, 'Garmonia', Lights Out Asia's first documented recording as a band. 'Garmonia' found itself in the willing arms of Sun Sea Sky Productions, and Lights Out Asia found themselves ready to play live shows.
Asking for the services of fellow friend and musical talent of Mike Rush on the bass guitar, Lights Out Asia began to develop their live performance and accustom themselves to the musical scene. When not busy playing to a live group of avid listeners, the band continues to write and record material for a follow-up release.

Garmonia (Sun Sea Sky, 2003)
Tanks and Recognizers (n5MD, 2007)
Eyes Like Brontide (n5MD, 2008)
In The Days of Jupiter (n5MD, 2010)

lilies of the subway

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official website here


Clinic are currently working on a new album.


Clinic MySpace Biography here
Clinic formed over easter in Liverpool '97. First single 'IPC subeditors dictate our youth' appeared that October, on their own Aladdin's Cave of Golf label. As an opener it set the stall out for how their unique sound would progress; pounding rhythms, heavily distorted organ and intense vocals, a cryptic mix of surf punk with a mutant house beat. The single was top ten in John Peel's festive fifty and ironically in both NME and Melody Maker. In an indie sense, the band had arrived (despite their ambitions lying elsewhere).

After two more Aladdin's releases (both voodoo based), Clinic signed with Domino in '99 and set about constructing the extreme dementia and peace that would become 'Internal Wrangler'. Their first album proper, 'Wrangler' easily delivered on the promise of the early singles, sounding like nothing else extant, your planet or mine. A London NME astoria show followed, with the band in full Pearly King gear playing to an appreciative audience. A true celebration of the capital.

The second long player 'Walking With Thee' came in 2002. A much spacier take on their sound but still containing the fuzzed organ freak out of the title track. Surreally and deservedly, the album was nominated for a grammy, through a year of growing intrigue in America. This included the genuinely disgraceful and captivating Beatlesesque appearance on the David Letterman show. Not for the faint hearted.

After a spate of living dangerously in '03/'04 'Winchester Cathedral' began to take shape. A dense mass of psyche and senseless music hall, it was Clinic doing what they do best - ignoring the tenets and trends of the music industry. It was a British triumph, borne out of several joyous rural events and circus happenings.

October 2006 saw the release of a new record, 'Visitations'. 'Funf', a compilation of b-sides from the last ten years was released in June 2007. This was followed by a new album 'Do It!' in April 2008.

Clinic's new album 'Bubblegum', is released on Monday the 4th of October 2010, preceded by a beautiful new single 'I'm Aware' out September the 20th.

Domino Clinic Page here
Bubblegum, the mind-blowing sixth album from Clinic, is exactly 40 minutes long. Usually, long-players by this most extraordinary British band clock in at a clipped half-hour. That makes an extra 33% of murky psychedelic/punk excellence. But there’s a little more to it than that. This one comes from another planet, baby. Here’s why.

Clinic ? singular, ambitious, revered by fellow musicians ? forever sound like no-one else but themselves, because no-one else could even begin to sound like them. Since the tail end of the ’90s, they’ve beamed in other-worldly psychedelic-pop transmissions from their own parallel dimension (geographically, it’s in Liverpool, but…), each with a vibe and quality consistent with its predecessors, oblivious to passing trends.

Across five darkly phantasmagorical albums, they’ve channeled their ’60s-vintage influences through inspired juxtapositions, compulsive experimentation in mood-elevating FX, a punky-surrealist perspective, and plain brilliant songs. Every track has broken the rules implicit in everything foregoing. There has never been anything cosy about Clinic’s reliability: cue up their latest record, and you always know you’re in for a brain-battering.

Bubblegum, however, is a different bag of butternut squash. On one listen, it feels instantly warmer, lusher, less uptight. It glows like dusk in a balmy Indian Summer.

The revelatory opener, "I’m Aware", ushers in an exquisitely languorous sound based around lazily-strummed acoustic guitars, muted synths, distant wah-wah, soft lyrical murmurings and, on this one occasion, quietly lavish strings. Any other band would’ve hired in the orchestra for the whole album, but not this one. There are instead all manner of strange sonic delights subtly laced through. The prevailing mood: hazy, wistful, bittersweet, evocative of lengthening shadows, and the imminence of autumn.

First single "I'm Aware" is out September 20

Felt Mistress blog here



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lastfmlogo.jpg Telekineses Biography
Seattle, Washington, United States (2009 – present)
Telekinesis is Michael Benjamin Lerner, an indie rocker based out of Seattle, Washington, United States who is currently signed to Merge Records.

Lerner signed to Merge Records in early 2009, and shortly afterward released the eponymously named debut album Telekinesis! on April 7, 2009. Recorded in September of 2008, the album was produced, mixed, and engineered with the help of Chris Walla (guitarist for Death Cab for Cutie), recording one song per day on analog tape.

While on tour, Lerner is joined by Chris Staples (electric gtr), David Broecker (electric / acoustic / bass gtr), and Jonie Broecker (bass gtr / keyboards) to make up the touring band.

official website here
April 1, 2010
Quasi just put out a new record.
This is the first song on that record.

merge-label.jpg here

This is the first new music from Telekinesis since their 2009 Merge debut, Telekinesis!, which was described by NPR Monitor Mix's Carrie Brownstein as 'perfectly crafted and utterly gleeful.' These three tracks are available on 7-inch vinyl only!

A1: 'Dirty Thing'
B1: 'Non-Toxic'
B2: 'The Drawback'

Dirty Thing

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ballade de johnny-jane These New Puritans Page here


popmatters here
These New Puritans
Releasing: 18 January (UK), 2 March (US)
Britain’s These New Puritans released a stellar debut two years ago in Beat Pyramid, a record we deemed an 8 and Chris Baynes called an “idiosyncratic, swaggering, and intellectual album, but more importantly for the listener, a damn exciting and original one too.” The group follows with their sophomore effort Hidden this month in the UK, March in the US. The first single, the cerebral and atmospheric “We Want War”, bodes well for the overall quality of the new effort.

01 Time Xone
02 We Want War
03 Three Thousand
04 Hologram
05 Attack Music
06 Fire–Power
07 Orion
08 Canticle
09 Drum Courts–Where Corals Lie
10 White Chords
11 5

“Hologram” is the third single from These New Puritans’ second album Hidden.


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ballade de johnny-jane Robyn Page here


Robyn @ Music Hall Of Williamsburg (With Kelis) & P.C. Richards Theater, NYC 7/28 & 7/29/10
Page here
Over the last two nights, I took distinct portraits of the artist. But then this is an artist with many incarnations and even more aesthetic angles. The line I constantly drop on Robyn is that she’s the increasingly rare pop star you can love without a trace of irony. But that doesn’t mean she’s not full of cheek (patiently prowling like a pugilist, peeling a banana to “Don’t Fucking Tell Me What To Do”) or chests of drawers (check the wardrobe changes both within the MHOW night and the formalwear for the next evening’s mini-set for iheartradio’s contest winners at the tiny P.C. Richards Theater on 6th Ave. in Tribeca). I live-tweeted the crap out of Wednesday’s show, not something I often do because I don’t like annoying people. But there wasn’t a choice: between the vigorous dance clinic to rearranged Robyn cuts and Body Talk’s visceral triumph (“Dancing On My Own” received the extended applause reserved for classic jams, presumably so everyone could clap off their goosebumps), she was at her most uninhibited, dancing creatively, ceaselessly, a two-drummer/two-keyboardist band at her back, full of thanks for our support in pulling off an unlikely mid-career transformation, from teenaged-pop sensation into the smart man’s pop projection. Robyn called Williamsburg her best crowd yet. With some basis for comparison, I’d agree.

"Dancing On My Own" (LIVE) at iheartradio