Broken Pencil - - Features -

When asked about his new book’s ti­tle, Eric Kostiuk Wil­liams ex­plains, “It was kind of in­spired by my fa­vorite genre of mu­sic: what I call Heart­break Disco. It’s very dancey and upbeat but also su­per melan­cholic — like there’s some­thing cathar­tic about just be­ing on the dance floor but just danc­ing away your pain. I feel like we’ve all been do­ing that as ne­ces­sity. That’s kind of the only thing you can do some­times, when things are so out of con­trol and there are these great big forces mov­ing.”

Here’s a playlist Eric put to­gether for your lis­ten­ing plea­sure.

An­nie and Richard X’s “In­vis­i­ble” is a brood­ing, in­fec­tious jam telling of a re­la­tion­ship that’s gone cold. The bit­ter, shoul­der-brush­ing lyrics are re­in­forced by in­tensely steely, bass-heavy pro­duc­tion val­ues, urg­ing you to ex­or­cise any of those lin­ger­ing break-up feel­ings on the floor.

The quin­tes­sen­tial “heart­break disco” track is Kylie Minogue’s 2007 sin­gle “The One”, which deftly bal­ances glit­ter­ing melodies and pro­duc­tion with a melan­cholic nar­ra­tive yearn­ing des­per­ately for deep con­nec­tion. In an ex­pan­sive cat­a­log full of catchy hits, it stands as one of her best.

Ten years ago, in­die pop band Of Mon­treal de­liv­ered a stun­ning left-turn opus of an al­bum, Hiss­ing Fauna, Are You The De­stroyer?, tack­ling themes of de­pres­sion and mar­i­tal alien­ation over freaked-out funk and elec­tro-in­spired pro­duc­tion. “We Were Born Mu­tants Again With Leafling” closes the record and serves as an ap­pro­pri­ately bit­ter­sweet, and gor­geous come­down.

”Till The World Ends” was Brit­ney Spears’ true come­back sin­gle, and led the pack of pop stars re­leas­ing dance-y tunes about the apoc­a­lypse in the early 2010s. I re­mem­ber danc­ing to it at a New Year’s party and tak­ing in, with joy and un­easi­ness in equal mea­sure, the ec­static crowd singing along to the hook: “Keep on dancin’ till the world ends!”

On her re­cent sin­gle “Light In Places”, Canadian elec­tro-clasher Peaches traded in her sig­na­ture lo-fi pro­duc­tion for a dark, pul­sat­ing Gior­gio Moroder-in­spired beat, which she har­nessed to launch into a bold man­i­festo call­ing for a queer, egal­i­tar­ian, and su­per-sexy future. Who bet­ter to lead the charge?

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