Abel Tesfaye's dark, twisted album is at odds with the glossy pop world he's been thrust into
Tony The Beat (Korova)
This, their signature tune, is sleeker than a rubber body-stocking. Scientifically intricate with its powerchord chorus and shiny keyboard lines, this inescapable new-wave humdinger shimmies across the dancefloor of your future with such unfettered style, it’s hard to imagine how you lived without it.
Its straddling status as pop monolith is suggested by the fact it can be heard everywhere from your local multiplex (featured in the Drew Barrymore/Hugh Grant love-in Music And Lyrics, popcorn fans) to music channel The Box to drrrrty nights in White Heat.
Like Blondie before Debbie Harry became a bag lady or MSTKRFT body-popping with Nico (before the smack years – otherwise that would be just plain messy), ‘Tony The Beat’ is the first great pop song of 2007. We imagine (alleged) fan Britney Spears heard this, realised she and her harem of writer/producers could never top it and shaved her hair off to mark the end of her pop reign.
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