For some reason, an image search for all three of them yields this mulleted sweetheart.
These R just Xcerpts -- links provided if you wanna read the whole things. AND YOU DO.
Ultimate Pet Shop Boys
"Now, if you shell out a not-unreasonable sum of money for the Special Edition, which includes two discs of live performances, including a complete set from Glastonbury earlier this year, you’ll get all of the above songs and plenty of others you may or may not wanna hear. Look, there’s “Rent” on Top of the Pops! Crazy smoke machine; it really gets you inside the febrile mind of the kept woman. Of course, if you’re reading this review, you probably already own “Rent”, not to mention “Opportunities”. If not, go buy Pop Art. (The first Pet Shop Boys compilation, Discography, shouldn’t be considered in light of its rash decision to exclude “Go West”, the Boys’ most heartrending four minutes of bliss—said bliss, after all, is perpetually in the future, somewhere else—ostensibly because it “hadn’t been recorded yet” or something.) As a single disc compilation, Ultimate lives up to that audacious adjective worse than any album in recorded history, with the possible exception of Radio Disney Ultimate Jams, which rashly excluded the A*Teens’ “Halfway Around the World”. Se a vida é." (7/10)
Ke$ha -- Cannibal
"“Cannibal” opens the EP with a blank-eyed rap, delivered almost in monotone, and then explodes into a chorus of at least three different Auto-Tuned voice effects. During the second verse Ke$ha breaks out her party-girl voice. Now, this voice is plainly an act. When K speaks in an interview, she sounds like a normal Midwesterner—some lazy Valley vowels aside, she could be a nightly news anchor. In song, she lays down a calculated mix of diphthongs, growly Midwestern “errrrr”s, and even some southern tics; so the phrase “stir my tea” comes out “sterr mah teeeeeeah”. If there’s a guiding principle to her cobbled “accent”, it seems to be “sound as improper as possible”. This back-and-forth, between unrefined Eliza Doolittle impropriety and blatant computer manipulation, would justify a couple online theses. Above all, it’s Ke$ha’s way of selling her transgressive pop-music niche." (7/10)
Coati Mundi -- Dancing for the Cabana Code in the Land of Boo-Hoo
"Mundi and his collaborator E-Love have composed straight up disco beats, grounded on solid four-by-four thumps and layered with polyrhythms. Not for nothing is one song called “Dancing Disco 101”. The beats are dense, too—they really fill up the aural space. At first, the effect is monolithic, but once you get accustomed to the sound and let your ears wander into the rhythmic thicket, previously unheard elements—synth squeals, cheering crowds, congas, Mundi’s vibes and scatting—reveal themselves like exquisite rare flowers. Although apparently simple, these rhythms are impossible to fully grasp on first listen." (8/10)
