Independent Clauses | n. —unusual words about underappreciated music

Kitsuné Maison cranks out a killer dance compilation

November 19, 2011

I’ve been training for a half-marathon since August, and I now only have two more training runs before the 13.1 miles of something-vaguely-akin-to-glory transpire. My interest in running music has been directly proportional to the increasing length of the runs, which is one of the reasons IC readers are treated to the RunHundred top ten list every month. I haven’t jumped into the continuous mix boat yet, but Kitsuné Maison’s 12th compilation The Good Fun Edition is pretty close to one.

Kitsuné is an interesting story in itself: it’s a record label, music magazine and fashion store all at once, in addition to putting out compilations of electronic/dance music. The label roster boasts the excellent Two Door Cinema Club, as well as IC new faves Is Tropical. (Neither appear on this particular compilation, sadly.)

But plenty of other great tunes fill out the fifteen-track compilation: “Goose” by The Cast of Cheers takes a profoundly post-punk angle on dance music, providing a Bloc Party-esque indie rock extreme to the compilation. “Record Collection 2012 (Plastic Plates Remix)” by Mark Ronson and the Business Intl. and “Let’s Work” by White Shadow form the extreme end of the dance spectrum, as both are essentially clubby beats and melodies with minimal lyrics (and song structure) provided.

Tons of different angles on dance music fall in between those, like the Phoenix-goes-house genre mashup that is “Excuse Me” by Lemaitre (easily the most infectious track on the comp, as well as the most baffling). “Zimbabwe” by New Navy is all up in that post-disco/hipster-world-music groove. MuteMath is checking its discography to make sure it didn’t write “Closet Anonymous” by Man Without Country. There’s plenty of ’80s-inspired stuff, if you’re into that—although none of it reaches the transcendence of Chad Valley’s work.

If a good compilation is supposed to sound like a radio station that you don’t want to change, Kitsuné’s The Good Fun Edition is working exactly as it should. I expect nothing less from the compilation series that helped launch Icona Pop, although I don’t hear anything as immediately arresting as that find on this version. Still, the overall effect of the comp is impressive; you could leave this in your car and spin it for a long time without getting bored. And “Excuse Me” will most likely never get boring.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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