Your basket is empty

Categories :

Similar artists

Albums

From
CD$26.99

Electronic - Released June 1, 2018 | Universal Music Australia Pty. Ltd.

From
CD$26.99

Pop - Released September 12, 2005 | Universal Music Australia Pty. Ltd.

The Presets' first full-length record differs slightly from their more happy-go-lucky Aussie dance compatriots, mostly for aesthetic reasons. The detached nature of Beams is more about subtle darkness and underlying sinister intentions, as evidenced on the slow-building opener, "Steamworks" -- which begins with the bassline from "Billie Jean" and moves into much more explosive sonic territory (and a rave horn for good measure). Beams represents a uneasy yet unforgettable combination of '80s gaudy pop flair and dark, propulsive rave beats, all with an unsubtle sense of humor. Borrowing nothing from their timid Blow Up EP (most of the songs from that release have been since adapted in live shows to sound more similar to Beams), the Presets have an impulsive, almost primitive charm to their dance music. With heavy bass throughout, keyboardist/vocalist Julian Hamilton experiments with heavy distortion and vocal alterations. On the wild electro-pop treat "Down Down Down," the group keeps to the song's namesake and effortlessly weaves in and out of looped tambourine percussion and dirty synth beats. The middle section is surprisingly experimental given the concise pop of "Are You the One?," "Down Down Down," and the minimalist, winsome cool of "The Girl and the Sea" (it's the only time Hamilton shows some true restraint in his singing, and it gives the song a mysterious edge throughout). "Worms" plods along to a wince-inducing squelching keyboard loop and doesn't feel like anything more than an unrealized experiment. "Kitty in the Middle" contains more hyper-sexual lyrics and whip sounds, and is saved by its simple and funky bassline. The best moment on the latter half is the rave-inspired sped-up/slow-down shifting on "I Go Hard, I Go Home," benefiting from the same wobbly vocal effect used on Tommy James & the Shondelles' "Crimson and Clover." Either heralded for its effectiveness or denigrated for its stupidity, the double-entendre heavy sexual lyrics sung by Hamilton would be a distraction if not for his ability to blend his call-and-answer shouting with the music so surreptitiously. Despite the darker tone, Beams is still a dance album at heart -- and a carnal one at that -- thereby making his mechanical yelping the ideal background noise. © Erik Leijon /TiVo
From
CD$36.39

Electronic - Released April 12, 2008 | Universal Music Australia Pty. Ltd.

What with Vince Clarke living in semi-retirement in rural Maine and New Order suddenly realizing after 30 years that they don't like each other all that much, it's a hard time to be a fan of synthesizer dance pop from the '80s. Until the Presets' second album comes on, that is. The Sydney-based duo of singer Julian Hamilton and synthesist Kim Moyes is straight-ahead old-fashioned electro-pop circa 1984, when the fusion of the Human League and Giorgio Moroder was complete but the cold, hard demands of techno and house hadn't yet asserted themselves outside of Detroit and Chicago. Tracks like first single "My People" and its surging follow-up, "This Boy's in Love," have the characteristic blend of steely synths, thumping electronic beats, and Motown-derived soul-tinged vocals that characterized the predominant strain of mid-'80s synth pop. It's not entirely retro -- "Eucalyptus," the Daft Punk-like "Talk Like That," and the soaring "A New Sky" would sound at home in any mainstream club DJ's set circa 2008 -- but the overall feel of the album from its arrangements to the sci-fi-themed cover art and even the album title (which several artists used for songs back in the day, from the Monochrome Set and Lords of the New Church to the Motels and Mental as Anything) harks back to the day when the Fairlight CMI was the height of musical sophistication and Jellybean Benitez and Arthur Baker were the hottest remixers on the block. © Stewart Mason /TiVo
From
CD$20.59

Electronic - Released April 7, 2008 | Universal Music Australia Pty. Ltd.

What with Vince Clarke living in semi-retirement in rural Maine and New Order suddenly realizing after 30 years that they don't like each other all that much, it's a hard time to be a fan of synthesizer dance pop from the '80s. Until the Presets' second album comes on, that is. The Sydney-based duo of singer Julian Hamilton and synthesist Kim Moyes is straight-ahead old-fashioned electro-pop circa 1984, when the fusion of the Human League and Giorgio Moroder was complete but the cold, hard demands of techno and house hadn't yet asserted themselves outside of Detroit and Chicago. Tracks like first single "My People" and its surging follow-up, "This Boy's in Love," have the characteristic blend of steely synths, thumping electronic beats, and Motown-derived soul-tinged vocals that characterized the predominant strain of mid-'80s synth pop. It's not entirely retro -- "Eucalyptus," the Daft Punk-like "Talk Like That," and the soaring "A New Sky" would sound at home in any mainstream club DJ's set circa 2008 -- but the overall feel of the album from its arrangements to the sci-fi-themed cover art and even the album title (which several artists used for songs back in the day, from the Monochrome Set and Lords of the New Church to the Motels and Mental as Anything) harks back to the day when the Fairlight CMI was the height of musical sophistication and Jellybean Benitez and Arthur Baker were the hottest remixers on the block. © Stewart Mason /TiVo
From
CD$26.99

Dance - Released August 1, 2014 | Universal Music Australia Pty. Ltd.

From
CD$7.99

Electronic - Released August 16, 2019 | Universal Music Australia Pty. Ltd.

From
CD$6.39

Dance - Released August 1, 2014 | Universal Music Australia Pty. Ltd.

From
CD$3.49

Electronic - Released May 10, 2018 | Universal Music Australia Pty. Ltd.

From
CD$7.99

Electronic - Released May 24, 2019 | Universal Music Australia Pty. Ltd.

From
CD$13.39

Pop - Released January 16, 2004 | Universal Music Australia Pty. Ltd.

From
CD$3.49

Electronic - Released November 16, 2018 | Universal Music Australia Pty. Ltd.

Electronic - Released May 10, 2018 | Universal Music Australia Pty. Ltd.

Download not available
From
CD$3.49

Electronic - Released August 31, 2019 | Universal Music Australia Pty. Ltd.

From
CD$10.99

Electronic - Released April 27, 2018 | Universal Music Australia Pty. Ltd.

Electronic - Released February 9, 2018 | Universal Music Australia Pty. Ltd.

Download not available
From
CD$3.49

Electronic - Released February 9, 2018 | Universal Music Australia Pty. Ltd.

From
CD$20.59

Pop - Released September 11, 2005 | Universal Music Australia Pty. Ltd.

The Presets' first full-length record differs slightly from their more happy-go-lucky Aussie dance compatriots, mostly for aesthetic reasons. The detached nature of Beams is more about subtle darkness and underlying sinister intentions, as evidenced on the slow-building opener, "Steamworks" -- which begins with the bassline from "Billie Jean" and moves into much more explosive sonic territory (and a rave horn for good measure). Beams represents a uneasy yet unforgettable combination of '80s gaudy pop flair and dark, propulsive rave beats, all with an unsubtle sense of humor. Borrowing nothing from their timid Blow Up EP (most of the songs from that release have been since adapted in live shows to sound more similar to Beams), the Presets have an impulsive, almost primitive charm to their dance music. With heavy bass throughout, keyboardist/vocalist Julian Hamilton experiments with heavy distortion and vocal alterations. On the wild electro-pop treat "Down Down Down," the group keeps to the song's namesake and effortlessly weaves in and out of looped tambourine percussion and dirty synth beats. The middle section is surprisingly experimental given the concise pop of "Are You the One?," "Down Down Down," and the minimalist, winsome cool of "The Girl and the Sea" (it's the only time Hamilton shows some true restraint in his singing, and it gives the song a mysterious edge throughout). "Worms" plods along to a wince-inducing squelching keyboard loop and doesn't feel like anything more than an unrealized experiment. "Kitty in the Middle" contains more hyper-sexual lyrics and whip sounds, and is saved by its simple and funky bassline. The best moment on the latter half is the rave-inspired sped-up/slow-down shifting on "I Go Hard, I Go Home," benefiting from the same wobbly vocal effect used on Tommy James & the Shondelles' "Crimson and Clover." Either heralded for its effectiveness or denigrated for its stupidity, the double-entendre heavy sexual lyrics sung by Hamilton would be a distraction if not for his ability to blend his call-and-answer shouting with the music so surreptitiously. Despite the darker tone, Beams is still a dance album at heart -- and a carnal one at that -- thereby making his mechanical yelping the ideal background noise. © Erik Leijon /TiVo
From
CD$6.39

Electronic - Released December 15, 2017 | Universal Music Australia Pty. Ltd.

From
CD$26.99

Dance - Released March 7, 2014 | Universal Music Australia Pty. Ltd.

From
CD$6.39

Dance - Released September 27, 2008 | Universal Music Australia Pty. Ltd.