Despite The Passage Of Time

Mekons have returned with a new single on Tuesday. 

 

You're Not Singing Anymore is three minutes of alt. pop perfection, Jon Langford on lead vocals, band in full flow, and irresistibly singalong even if the lyrics are in reflective and arguably maudlin mode.

 

As if that weren't good news enough, Mekons have signed to Fire Records with the promise of more new music next year. I'm assuming we're talking an album as the band has also announced an extensive tour of the UK and Europe in May, followed by the USA in July and August. The closest gig to me will be The Corn Exchange in Newport on Friday 9th May...

 

The Mekons line-up is Jon Langford, Sally Timms (happy birthday for 29th!), Tom Greenhalgh, Dave Trumfio, Susie Honeyman, Rico Bell aka Eric Bellis, Lu Edmonds and Steve Goulding. All 'lifers', Dave Trumfio the relative newcomer with a mere three decades with Mekons under his belt...!

 

Mekons sound like a band on fire. And I don't just mean their label. I can't wait to hear more.

Citizen Kane

Celebrating Jonathan Saul Kane, on the devastating news yesterday of his death at age 55. 

 

I'll aim to add some comments and notes in the days to come. For now, here's a selection of a dozen remixes from 1988 to 2004, mostly as Depth Charge, which is how I first discovered his music.

Rest easy, J.

Post Script / Sleeve notes, 20th November 2024

The first record I owned with a J. Saul Kane credit was by accident in 1990. I'd bought Nothing To Lose on 12" by S'Express in the reduced crate at a local record shop, with a pile of other records. When I got home, I found that although the sleeve was the standard issue, the vinyl inside was the remix 12". 

 

I loved the original version of Nothing To Lose, but J. Saul Kane and Yashiki Gōta's reworking transformed the song from a rousing club anthem to a melancholy imaginary film soundtrack. With beats. It was great and I held onto it. The version here is an edit featured on the 8th volume of the Deep Heat series, which I guess at the time was the 'dance' equivalent of Now That's What I Call Music. Sonique's vocal remain the anchoring point, but the remix takes it on a wildly different journey.

I became quickly familiar with Depth Charge in the early to mid-1990s, not a great surprise perhaps, given my love of Andrew Weatherall, Jack Dangers and Red Snapper and the many points of reference and crossover between these artists, musically speaking. Perhaps no surprise then to find that J. Saul Kane has remixed songs by all three during the 1990s.

The Depth Charge remix of Tow Truck by The Sabres Of Paradise originally appeared on a 12" double A-side with Chemical Brothers providing the other version. Various other reworkings of music from the album Haunted Dancehall were released on 7" and 10", but I held out for the Versus EP compilation on CD, with gathered them all together and threw in a second Depth Charge remix for good measure. All fantastic.

J also offered up two mixes of Acid Again for Meat Beat Manifesto's 1998 single. I've picked the second one mainly because it's shorter running time meant that the selection as a whole didn't push too far over the hour mark. Mix 1 is equally wonderful, believe me.

J has remixed Red Snapper twice too, though different songs, seven years apart. I was tempted to include 1996's Son Of Mook from the Son Of Mook EP, but ultimately went for Regrettable from 2003's Redone album, one of three early 21st century selections. No regrets here, it means business!

Planet Telex is a beloved Radiohead song in any version, but the Depth Charge remix seems to have appeared as a one-off on the 2CD compilation Altered States as I've never seen any reference to it being released as a promo or official single. A shame, as it deserves better than it's relative scarcity.

Midi Rain completely passed me by at the time in the early 1990s, but I subsequently traced them years later during a hunt for J. Saul Kane/Depth Charge remixes. I discovered that Midi Rain was a project/alias for John Rocca, better known to me in the 1980s as the main man with Freeez, who had a massive hit with I.O.U.

J was clearly a fan, as he provided mixes on all five Midi Rain singles and co-mixed the sole album One in 1994. Lots to choose from then, I've picked the Depth Charge remix of Eyes, Midi Rain's 2nd single in 1991.

I could go on, but it's all in the listening. And these are just a few remixes. There's plenty more to delve into and I've not even touched on J. Saul Kane's own catalogue, not least the phenomenal albums Nine Deadly Venoms (1994) and Lust (1999), the latter so huge that it had to be spread across two separate releases. 

Gone, but J's legacy will remain.

1) Dream On (Octagon Man Mix): Depeche Mode (2001)

2) Acid Again (Depth Charge Mix 2): Meat Beat Manifesto (1998)

3) Nothing To Lose (Remix By J. Saul Kane / Gota) (Edit): S'Express ft. Sonique (1990)

4) Woke Up This Morning (Depth Charge): Alabama 3 (1997)

5) Tow Truck (Depth Charge Mix): The Sabres Of Paradise (1995)

6) Beat Dat (Freestyle Scratch Mix By Tim Simenon & Jonathan Saul Kane): Bomb The Bass (1988)

7) Out-Side (Depth Charge Remix): The Beta Band (2004)

8) Eyes (Depth Charge Mix): Midi Rain (1991)

9) Planet Telex (Depthcharge Remix): Radiohead (1995)

10) Regrettable (Depth Charge Remix): Red Snapper (2003)

11) Knowledge 'n' Numbers (Depth Charge Mix): Screaming Target (1991)

12) Fear (Original Mix With Bats) (Remix By Eon & J. Saul Kane): Eon (1991)

 

1988: Into The Dragon: 6

1990: Deep Heat 8: The Hand Of Fate: 3

1991: Eyes EP: 8 

1991: Fear: The Mindkiller EP: 12

1991: Knowledge 'n' Numbers EP: 11

1995: Versus EP: 5 

1996: Altered States: Distorted Dance & Remix Rock: 9

1997: Woke Up This Morning EP: 4

1998: Acid Again EP: 2

2001: Dream On EP: 1 

2003: Red Snapper Redone: 10

2004: Out-Side EP: 7

 

Citizen Kane (1:02:45) (KF) (Mega)

Blue Sky Thinking

A few random videos for you today, featuring Erlend Øye & La Comitiva.

It's Monday morning and I've used my small window of early morning free time, pre-Clan K chaos, to set up an account on BlueSky Social as a belated attempt to ditch the toxic sludge dump that is Twitter (hopefully soon-to-be ex-X). If you're so inclined, you can find me here.

I have a guest post or two lined up for this week, but neither ready in time. So, here's a gentle shuffle into the week with a handful of songs from one of my favourite Norwegian singer songwriters, who will be celebrating his 49th birthday on Thursday (21st).

Have a good one, Erlend!

 

 

Electrical Urges, Rhythmic Surges

I was at SWX in Bristol again last Friday (8th), my second visit to the venue this year and the first time I've seen Ibibio Sound Machine live on stage. 

 

It's no spoiler to say that, over a week later, I'm still aching from dancing so much. It was one of the most intense, euphoric, overwhelming, energetic, uplifting and downright funky gigs I have ever been to. The band was on fire and the audience were fired up, which all made for a terrific night out.  

 

It's always a logistical challenge to get from work to Bristol in good time for a weekday gig and this was no exception. After a quick change at home, drive to the city and parking, I made my way with some bemusement through the vibrant Christmas market (on 8th November?!) to the venue.

 

The support had been listed as 'TBC', but I fully expected to miss them anyway as I went through the doors just before 8.00pm. As it happened, I don't think there was anyone preceding the tour DJ, who was still playing as I queued at the bar for my £3 soft drink. 

 

The show was advertised with a strict curfew of 10.00pm, common practice these days to turf out the gig goers and get the clubbers in until the wee hours of the next day. After what seemed like an interminable wait, although in truth barely half an hour, Ibibio Sound Machine took to the stage.

Even that takes a little bit of time, given that there are eight of them. From left to right from the audience, Afla Sackey (percussion), Derrick McIntyre (bass), Jose Joyette (drums), Max Grunhard (sax), Tony Hayden (trombone, keys), Scott Baylis (trumpet, keys) and Alfred Kari Bannerman (guitar) all take their places.

And then Eno Williams makes her entrance, sending the already ecstatic crowd into a paroxysm of pleasure. I get the impression that I'm in the minority as a first timer here.

 

Resplendent in striking yellow and black costume and headdress, with an accessorised cape with rigid edge enabling her to sweep and twirl it like a flag, Eno launches into Electricity, the title track of Ibibio Sound Machine's fourth studio album and my proper entry point, thanks to an irresistible review by Jez at A History Of Dubious Taste in 2022.

In fact, the bulk of the set is split fairly evenly between this album and their current offering, Pull The Rope. I haven't yet caught up with their first three studio albums, so it means that the majority of the songs played tonight are familiar to me. 

 

Not that it really matters. By the time Eno introduces Fire, the first song to be performed from the current album, I've already surrendered to the groove and am giving it everything, although in a way that means that I'm respecting everyone else's personal space and not flailing carelessly everywhere. In my mind, I'm dancing like a pro; in reality, to the people next to me, it probably looks like someone's emptied a packet of itching powder down the back of my T-shirt. 

Every time a song ends, the cheering and applause washes back and forth like waves hitting a cliff face; Eno and the band are clearly moved by the outpouring of love and enthusiasm for their performance. It's justified. Even when Ibibio Sound Machine deliver an extended work out, such as I Need You To Be Sweet Like Sugar (Nnge Nte Suka), it's tight.

 

Eno's performance is the attention grabber, but every member of the band is really into it, with Afla and Kari holding their own on either side of the stage. Eno frequently engages with all of the band members, with Max Grunhard stepping to the fore on several occasions. I'm often left cold by sax showcases in a live show, but the brass kicking in on Protection From Evil sounds huge in this setting.

In fact, all of the songs are transformed in their live incarnation. Whereas the studio versions sound fantastic, they are rooted in electronica; a much different proposition on stage, which gives the music an energy and heft that grabs the audience and refuses to let go.

 
After a rousing rendition of Let's Dance, it's suddenly all over, Eno giving her thanks and goodbyes as she and the band head back stage.

There are a few minutes of sustained cheers, calls and applause before Afla comes back to ask us if we really want more. We're clearly not making ourselves heard! Afla takes position again behind the bongos and treats us to a powerful display of his prowess on percussion. It could be minutes or hours, it keeps the energy going until finally his band mates rejoin him.

There's just one more song to go, Pull The Rope of course. Again, it's a song that gains stature and weight from this live performance. It's over far too soon, of course, and once more we're clapping and cheering as Eno tries to express her appreciation for the reception from the Bristol crowd tonight. I couldn't hear a word of it, some way back, as yells and screams from a delighted audience filled my ears.

And then, it really was over. I didn't hang around at the merch stall afterwards, though Eno was apparently there, signing records and chatting with fans. For me, it was back outside into the city centre, through the Christmas market and the smell of gluhwein and bratwurst and back to the car park, at which point I realised that it still wasn't yet 10.00pm!

Ibibio Sound Machine played for about 70 minutes and I reckon they played roughly 11 songs. Unfortunately I was too busy having a great time to take photos or make a note of each song played. Judging by the minimal activity on social media and Setlist, I'm guessing the same for my fellow audience members!

For today's selection, I looked to the US dates Ibibio Sound Machine played in September and October and whilst the number of songs played/listed varies, there is consistency in the running order of songs. I've opted for the lengthiest set listed, performed at The Music Hall at World Cafe Live in Philadelphia on 24th September. 

You therefore get 15 songs, coming in at roughly 70 minutes, not all played at Bristol, but what the heck. Album versions for the most part, plus remixes and a couple of radio edits. I've also included a trio of their earlier songs, taken from their 2020 album Live At Earth. It's as close an approximation of what I experienced last Friday as you can get and is an essential purchase if you're a fan of their music...or have become one, after listening to this selection.

Only a few dates left on the current UK tour: Edinburgh (Mon), Nottingham (Tue), Newcastle (Fri) and Bethesda near Bangor (Sat) with a handful more dates early next year. If you haven't seen Ibibio Sound Machine before, get there if you can.

1) Electricity (Album Version) (2022)

2) Talking Fish (Titeknots Remix) (2015)

3) The Chant (Iquo Isang) (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

4) Fire (Album Version) (2024)

5) Political Incorrect (Album Version) (2024)

6) Protection From Evil (Album Version) (2022)

7) Wanna See Your Face Again (Album Version) (2022)

8) Them Say (Album Version) (2024)

9) I Need You To Be Sweet Like Sugar (Nnge Nte Suka) (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

10) All That You Want (Joe Goddard Remix) (2022)

11) Give Me A Reason (Radio Edit) (2017)

12) Power Of 3 (Live @ EartH (Evolutionary Arts Hackney), London) (2019)

13) Got To Be Who U Are (Vanguard Remix) (2024)

14) Let's Dance (Faze Action Radio Edit) (2015)

15) Pull The Rope (Captain Planet Remix) (2024)

 

2015: Remixes EP: 2, 14

2017: Give Me A Reason EP: 11

2020: Live At Earth: 3, 9, 12 

2022: All That You Want EP: 10 

2022: Electricity: 1, 6, 7

2024: Pull The Rope: 4, 5, 8

2024: The Black Notes EP: 13, 15

Electrical Urges, Rhythmic Surges (1:09:31) (KF) (Mega)

You Don't Dance...Except At The Weekend

2024 has served up it's fair share of top notch electronic music and remixes and here's another eight reasons why.

Just over an hour of tunes that have been pumping on my stereo, a mix of well-known names and artists that I've heard for the first time on my many online shopping runs this year. 

All of today's selections are available to purchase digitally (links included in the song title), if you're considering a gift to yourself as a thank you for buying presents for all those other people.

1) Like This (Mindbender Remix By Mårten Attling): Stylic

2) You Don't Dance (Kenneth Bager Remix): Hess Is More

3) Ecce Homo (Apparition Remix By Michael Heffernan): Gavin Friday

4) Blind On A Galloping Horse (Sons Of Slough Remix By Duncan Gray & Ian Weatherall): David Holmes ft. Raven Violet

5) Aerodromes (David Holmes Remix): Acid Klaus ft. Philly Piper

6) Weekend Machines (Shubostar Remix By Jiyoung Bak): Jezebell

7) End Of Times (Rude Audio's Protean Remix By Mark Ratcliff): David Harrow + Little Annie

8) Real Magnificent (sLEdger Remix By Robin Dallison): Fluke ft. Leah Cleaver

You Don't Dance...Except At The Weekend (1:01:13) (KF) (Mega)

Party Down, Rock The House, Burn The Cat...Beware Of Sudden Impact!

It's Friday, time for some rabble rousing!

 

1,315 posts in and I'm still finding plenty of music - and artists - that I've not featured on this blog before. 

 

All songs today come from 1980 or 1985 (and a couple in between), are presented in remixed or extended form and make their debut appearance in a Dubhed selection*.  

 

It's also the first time that The Lotus Eaters and Electric Guitars have featured here, full stop.

Some production heavyweights at the controls: John Leckie, Paul 'Groucho' Smykle, Dave Bascombe, Martin Rushent, Rusty Egan and Bob Sargeant. 

The lyrics are lifted from Sudden Impact! Now, whilst Mick Jones and the lads may be B.A.D., do not take them literally. By all means party down and rock the house, but please don't burn the cat!

 

1) Bankrobber / Robber Dub (12" Version): The Clash (1980)

2) Cruiser's Creek (12" Version): The Fall (1985)

3) Sudden Impact! (12-Inch Mix): Big Audio Dynamite (1985)

4) Ed's Funky Diner (The Keinholz Caper): It's Immaterial ft. The Christians (1985)

5) German Girl (Glasgow Mix): The Lotus Eaters (1984)

6) Language Problems (Extended Version): Electric Guitars (1982)

7) Come Back (White Label Remix): Spear Of Destiny (1985)

8) Psychedelic Rockers (Dubweiser): The Beat (1980)

1980: Black Market Clash: 1

1980: Too Nice To Talk To EP: 8

1982: Language Problems EP: 6

1985: Come Back EP: 7

1985: Cruiser's Creek EP: 2

1985: Ed's Funky Diner EP: 4

2010: This Is Big Audio Dynamite (Legacy Edition): 3

2011: The 12" Collection: 5

Party Down, Rock The House (47:33) (KF) (Mega)

* although Bankrobber / Robber Dub by The Clash appeared here with a variety of versions in August 2023.

We Call It Something Else To Disguise Our Memory

I don't know a lot about Squid, but I like this. A lot.

Crispy Skin is the lead single and opening song on third album Cowards, due in February 2025 (which is shaping up to be a bumper month for new LPs).

Lots of reference points, most or all of which I'm sure have been done to death in previous reviews, including Pavement and Tortoise, even bits of The Who in the intro and That Petrol Emotion's Chemicrazy in the rolling rhythm. I love the synth stabs and piano ripples and Ollie Judge's laconic vocals stretched over six minutes and nineteen seconds.

And the video...inspired. Japanese writer and director Takashi Itô is drafted to adapt his 1995 short film Zone - you can find the original 12-minute version here. 

Crispy Skin isn't simply a remake, however. The narrative is more overt, the editing more frenetic at times to keep pace with the music, and the visuals work just as well with this soundtrack, making for a very satisfying audio and visual experience. 

What more can you ask for?

This Pain, It Is A Glacier Moving Through You

Back in September, I was introduced to John Glacier via a guest spot on the Jamie xx single Dafodil. Continuing a run of releases this year, she has just released a new single, Found. 

 

It's a memerising listen, spoken word rap over skittering, glitchy beats and keys. The video is also a compelling watch, fashioned as a seemingly collage of outtakes for a 'proper' video, grainy excerpts, switch between colour and monochrome, but all focused on a central figure. A black woman at the microphone, Afro, flowing dress split at the thigh, weeds (or dead flowers?) rising up around her.

 

This is John Glacier: Hackney resident, Jamaican parents, six siblings, Ehlers-Danlos syndrome, steeped in a stew of musical genres since childhood, poet and rapper.

And the name? “I’m one thing and another thing at the same time,” she replied in a 2022 interview with Dazed magazine. But why? “Because I am John Glacier.” 

Her first name is actually John, but she expanded on the choice of surname. “I like glaciers because you see them for what they are but within that one thing, there are so many layers,” she said. “In my mind, glaciers are these blocks of preservation.” 

 

Found is the second track to be shared from forthcoming second album Like A Ribbon, although there was also a preview EP of the same name earlier this year, all but one of the five tracks making the full album cut. 

 

Previous video Money Shows, directed by Glacier herself, places her front and centre, dispassionate delivery underpinned by a chugging guitar riff.

 

John's Bandcamp page includes Broken Macbook, what I assume to be her debut release from 2017, as well as the Duppy Gun EP, which came out in June. Both recommended. 

 

Debut album SHILOH: Lost For Words emerged in 2021 via the PLZ Make It Ruins label. I've been listening to it for the first time whilst writing this post and it's quite something. A dozen songs, only one over three minutes, the whole thing done and dusted in just over twenty five. Yet, none of the songs feel like incomplete sketches. Here are a couple of examples.

 

 

 

Not content with a steady flow of music under her own name, John has collaborated on the aforementioned Jamie xx single, and also with her go-to producer Vegyn for the title track of the latter's A Dream Goes On Forever EP, which dropped in February.

 

Vegyn followed this up in April with an album, The Road To Hell Is Paved With Good Intentions. A Dream Goes On Forever is the opening track, but there's a second guest spot, the rather spectacular In The Front.

 

John revisited the glacier analogy in the 2002 Dazed interview. “My existence isn’t what it looks like. When you break down a glacier, there’s more to it than meets the eye – your understanding of what you thought it was isn’t exactly it.” 

 

Pause. Smile. “And at the same time, they’re cold and icy as well!”

 

Personally, this is a voyage of discovery I'm glad to have embarked on. I'm looking forward to seeing what's revealed next.

 

For those of you with a passing interest in my penchant for choosing song lyric extracts for post titles, today's is lifted from John Grant's song Glacier. Why? Because a JG post was the first that came up when I typed 'John Glacier' into the Dubhed search engine to track down and include the Jamie xx link. It seemed like an apposite pick!

Agitated, Organised And Over-Educated

Momus' umpteenth album Ballyhoo came out in late July, yet before I've caught up, Nick Currie's popped out another three releases, one new song, one cover version and one revision of an old song.

 

But, Ballyhoo first. Succinctly described as "An album exploring AI composition tools and influenced by K-Pop.", it's exactly that though through Momus' cracked, muddy filter and overlayed with the deft lyricism that typifies his work. And who can resist song titles like The Enshittification Of Everything or Kleptoglade?

Not an album to convert the unconvinced, but if like me you've enjoyed Momus' work over the years, then there is plenty to enjoy here. In an age where Pet Shop Boys, O.M.D. and Gary Numan continue to release new music that reflects but doesn't replicate the sounds of past glories, it's good to see Momus shaking his syrup alongside them.

 

Catchy? Hell yes.

 

I wish I'd caught Orange Pills in time to add it to my post on the US election result last week. The gentle bossanova beat belies the lyrical arrows, each finding their mark. An easy target perhaps, but no reason not to take aim and let fly.

I don't subscribe to Momus' Patreon page although I'm considering it. One of the perks is the opportunity to ask Momus to cover a favourite song of yours, and this has become an ongoing series called, unsurprisingly, Versions. 

In early October, Momus' own choice was a cover of Fad Gadget's "nuclear swinger" Fireside Favourite, (more or less) the title track of his 1980 debut album. Momus' version isn't radically different but in an interesting take on the accompanying video, his vocals are synced to footage of Fad aka Frank Tovey performing the song live, four decades previously.

An early Momus favourite of mine was I Was A Maoist Intellectual from his 1988 album Tender Pervert. A live performance from French TV at the time is available on Momus' YouTube channel, though annoyingly audio is confined to a single channel. Thankfully, "Lee Jones" posted a stereo version a while back. It loses a bit of the song at the start, and the picture quality isn't great, but enjoy the music and the days when Momus had lengthy, lop-sided hair, all his own.

 

Fast forward to last Sunday and Momus posted a 2024 remake of the song, which is frankly wonderful. The music has been updated and although the lyrics are unchanged, they still hit the mark, don't they?

 

I was a Maoist intellectual in the music industry I always knew that I could seize the world's imagination And show the possibilities for transformation I saw a nation in decay, but also a solution: 

Permanent cultural revolution Whenever I played my protest songs the press applauded me Rolled out the red carpet, parted the Red Sea But the petit bourgeois philistines stayed away They preferred their artists to have nothing to say How did I pass my time on earth? Now it can be revealed: I was a Maoist intellectual in the entertainment field I showed the people how they lived and told them it was bad Showed them the insanity inside the bureaucrat And the archetypes and stereotypes that were my stock in trade Toppled all the ivory towers that privilege had made Though I tried to change your mind I never tried your patience All I tried to do was to point out your exploitation But the powers that be took this to be a personal insult And refused to help me build my personality cult How did I pass my time an earth, what on earth got into me? I was a Maoist intellectual in the music industry I left the normal world behind and started living in A hinterland between dissolution and self discipline I burned the midnight oil to build my way of seeing A miner at the coal face of meaning The rich despised the songs I wrote which told the poor their worth Told the shy to speak and told the meek to take the earth But my downfall came from being three things the working classes hated: Agitated, organised and over-educated How did I pass my time on earth, how did I bear witness? As a Maoist intellectual in the entertainment business And how was I treated in this world and in this industry? As a Maoist intellectual in a business would be I became a hotel doorman, I stood there on the doormat Clutching my forgotten discs in their forgotten format Trying to hand them out to all the stars who sauntered in The ones who hadn't been like me, who hadn't lived in vain I gave up ideology the day I lost my looks I never found a publisher for my little red books When I died the energy released by my frustration Was nearly enough for re-incarnation But if I could live my life again the last thing that I'd be Is a Maoist intellectual in the music industry No, if I could live my life again I think I'd like to be The man whose job is to stop the men who think like me Yeah! If l could live my life again that'd be the thing to be The man who plots the stumbling blocks In the lives of the likes of me!

A Woman In The Moon Is Singing To The Earth

I've belatedly started dipping into the Cibo Matto catalogue, with their debut album Viva! La Woman from 1996, and Pom Pom: The Essential Cibo Matto compilation, released in 2007.

Cibo Matto enjoyed two runs, initially from 1994 to 2001 and again from 2011 to 2017 before splitting for good. The first phase two albums, severals singles and EPs; the second phase a third and final album. 

Sugar Water is from Viva! La Woman and is accompanied by a fabulous video by Michel Gondry, who created many memorable videos for Björk (and many others) around the same time. 

The spilt-screen narrative follows co-founders Yuka Honda and Miho Hatori, seemingly going about their (entirely separate) business, although...Yuka is moving forward and Miho is in reverse. At precisely the halfway mark, the narratives intersect, and the direction of travel is reversed. Ingenious.

Sugar Water is credited as sampling Sospesi Nel Ciero by Ennio Morricone and Hung Up by Paul Weller. The bit that hooked me though is the drum and bass loop lifted from Bryan 'Chuck' New's Strange Mix (aka Extended Dub Mix) of Pictures Of You by The Cure. 

Great stuff all round.