by Paul V.

Singled Out

Nine Inch Nails “Discipline” (digital)

OK boys, admit it: Y’all would love Trent Reznor naked with a riding crop in hand, right? Boned or not, Nine Inch Nails drop one of their most scorching but tuneful tracks in ages. But it’s all about the animated video, where the band takes on the personas of the Village People. And, yeah, that’s Trent who picked the “leatherman” as his muse!

Madonna Hard Candy (Warner Bros.)

You gotta give props to Madonna, because if you step back and really digest this career that’s lasted a healthy 25-plus years, it’s a pretty astounding feat. Being the shrewd artist she is, Madge knew she had to stomp back on to the musical playground with a fresh sound to compete in a 2K’s landscape. Like Willy Wonka with all new flavors, it’s Timbaland, Justin Timberlake and the Neptunes who alchemize the effort with sugary layers of hip-hop covering a pure dance-oriented core. Justin cameos on the horn-y “4 Minutes” and three other songs, including the excellent “Miles Away”—a collision of acoustic strums and a jaunty rhythm that verges on reggae. “She’s Not Me” blasts off with Chic-esque guitars reminiscent of “Holiday,” before morphing into the kind of pulsing grooves heard on her last album. Second single “Give It 2 Me” is one of the discs’ few out-and-out pop moments, featuring a cute, bouncy beat and a sense of humor not heard since her earliest days. The true heart of this record hovers around immediate tracks such as the joyous “Incredible” and the mirror-ball danceathon of “Heartbeat.” Both stand out as Madge anthems a la “Vogue” or “Into the Groove.” It’s not a record without flaws, mind you: Kanye West’s “Beat Goes On” gets a C-grade and “Spanish Lesson” borders on embarrassing. But having said that, Madonna absolutely proves she’s got many more licks left to go on this lollipop.

Robyn Robyn (Cherry Tree/Interscope)

I cannot extol my love for Robyn any louder. Yeah, she made us wait nearly three years to get this record released in America, but this still sounds like the freshest disc you will hear all year. This Swedish pop-tart has it all: a keen knack for delicious melodies, smart ‘n’ sassy lyrics, a gorgeous voice, an absolutely eclectic and diverse musical palette, great beats and a truly bitchin’ haircut. Like Madonna, Robyn deals with sex/relationships in her songs and proves time and again she won’t easily fulfill any predetermined conception of a female. She can be tough and boastful (on the bip-zoom-electrofied “Konichiwa Bitches” or “Handle Me”) then turn around and drop something like the string-laden and unbelievably poignant “With Every Heartbeat” (think Kate Bush on a 3 a.m. dance floor). One of the first tracks birthed for the record was the pulsating “Who’s That Girl?” (not the Eurythmics or Madonna track), which was co-written with the Knife. And speaking of fellow Swedes in the mix, it’s like a communal orgy here, as cats from the Teddybears and Peter Bjorn & John sit in the co-writer or producer seats. There are very few records one can deem flawless, but this happens to be one; there is not a dud to be found here. And I hate to say it, but this is what Gwen Stefani’s sophomore disc wishes it sounded like, and even Madonna could learn something from the Robyn’s immaculate magic.

Heloise & The Savoir Faire Trash, Rats, and Microphones (Yep Roc)

Lord knows I’m a sucker for retro-inspired new wave. The dynamic and high-energy Heloise and the Savoir Faire (an electro dance-rock ensemble from New York) have put together a debut album that’s an ecstatic collision of late-’70s disco-infused dance punk and ’80s synth-pop. The group is fronted by the charismatic Heloise Williams and backed by two dancers (Joe Shepard and Sara Sweet Rabidoux) plus a trio of players. With a skin-tight spandex mix of No Doubt meets the Cars meets Peaches meets Blondie, buzzing electro rock jams like “Members Only” (which references both the cheesy nylon jacket and the VIP area) and “Disco Heaven” make for some pogo-dancin’ fun. Speaking of Blondie, Deborah Harry even steps in on back-up vocals on the bass-bobbin’ “Downtown” and the cowbell-funky “Canadian Changs.” Debbie’s voice isn’t readily identifiable, but her presence serves to sweeten Heloise’s sometimes-shrill vocals. Another highlight is the naughty ditty “Memorial Day,” which tells the tale of one raucous holiday weekend in the life of a Kid Rock-loving, horse-breaking, man-banging “real freak” of a gal. I also dig “On Fuego,” about a vacation gone glam at a Mexican spring break spot, complete with brief mariachi horns and some clever, roll-off-the-tongue lyrics. Be warned that sometimes the kitsch overpowers the songs, and frankly, some of the lyrics are just plain duh (“Datsun 280z”). But the more I listened to this, the more I got lured in to these party-like-it’s-1982 charms.

Check out DJ Paul V. spinning at Bootie L.A. the first Saturday monthly at the Echoplex and Dragstrip 66 at Safari Sam’s. Tune in to Indie 103.1 FM on Fridays at 5:30 p.m. for the “Smash Mix” and on Saturdays from midnight-3 a.m. for “Neon Noise.” More info at www.myspace.com/neonnoise.