Lush’s newest release, Best Day of All Time is out now and boasts a whopping 31 songs from the noughties which have been reimagined by a host of talented artists. The fifth installment of Lush co-founder Mark Constantine’s “musical autobiographies” is a nostalgic trip back to the decade of flip phones and iPods and below is just a taster of what the album has to offer.
Chisara Agor magically breathed new life into Muse’s 2006 track Supermassive Black Hole. Heavy beats and electronic elements flare erratically during the intro before Agor’s gravelly vocal launches into the opening lines of “oh baby don’t you know I suffer, and oh baby can you hear me moan?” The rock elements of the original track have been retained with sporadic guitar riffs and soaring electronic flourishes but there’s a layer of elegance added by the hand drum percussion and mandolin-style guitar plucks. Agor’s vocal is powerful, controlled and comfortably reaches Matt Bellamy’s high notes. The fun that was had while this track was recorded can be felt through every note as Agor allows herself to let loose towards the outro, improvising sensationally while the harmonies reach a powerful peak.
Daft Punk’s 2000 hit One More Time has been given a stripped-down re-work by Mass featuring Liberty Madison. The female vocal works beautifully when coupled with the ethereal-sounding soundscape built up with electronic reverb, guitar plucks and woozy synth elements. It’s almost like an out of this world feeling that’s been created, paying homage to Daft Punk’s iconic space-themed accompanying video. This multi-layered track is a definite stand-out and the way it builds and builds towards the end is mesmerizing.
Stealing Sheep have completely flipped Nelly’s 2002 track Hot in Herre on its head with a pop-tastic reinvention. The original heavy beat remains but synthesizers reign supreme, with Charli XCX-vibe electronic flourishes and manipulated vocals pulling the track into 2026. The female vocals lend a softer edge to the lyrics and the rap is executed with multiple layers and playful flourishes which add a hedonistic feel to proceedings.
Christina Alden and Alex Patterson’s rendition of Blink 182’s 2003 hit I Miss You is stripped back, raw and haunting. The female vocal is angelic but also sharp and commanding while the male vocal acts more as a harmony to add depth. The accompaniment consists of barely-there guitar plucks and strings which further add to the haunting and melancholy air of the track.
Esther’s Laboratory has covered Paramore’s The Only Exception and have paid a beautiful homage to the 2009 original. With a vocal reminiscent of Imogen Heap, we’re treated to a mesmerizing and playful rendition which the band have made their own with subtle tweaks to the chorus structure. Initially pared back with just guitar plucks and some subtle keys, the track builds as flourishing electronic elements and heavier guitar riffs eventually come to the fore. A nod to Parmore’s rockier roots can be heard as we head into the breakdown of “I’ve got a tight grip on reality, but I can’t let go of what’s in front of me here” as all the instrumentation clashes, resulting in a powerful and memorable outro.
Sia’s 2004 single Breathe Me has been beautifully re-imagined by electronic folk/trip pop singer Clara Pople. Clara builds harmonies and ambience by looping vocals and sounds, creating a soundscape that’s wonderfully layered, ethereal-sounding and with Celtic folk melodies at its root. The track builds gradually from layered and looped vocals, to the introduction of a beat born from electronic reverb. Pople’s vocal is stunning in its gracefulness and her effortless, choral-sounding high notes clash wonderfully with the urban trip-pop beat. The track’s been given a modern reawakening and it’s just as stunning in a live setting as we found out in the Lush album launch party event where Pople treated guests to a live version of this song and well as some of her own original tracks, flooding the venue with a warm ambience.
Another performer at the Lush album launch party, Essence Martins turned her hand to Somewhere Only We Know, one of Keane’s most popular singles from 2004. Martins possesses an incredibly angelic and soft vocal which is the perfect fit for the melancholy ode. Slowed down a touch, the listener can really enjoy the layered harmonies and strings which lend the cover a slightly choral edge. The piano and strings interlude further ads to the airy and magical feel of the track before Martins’ effortless vocal returns for one last triumphant rendition of the chorus.
Xenia Garden successfully captured the vibrancy of Outkast’s 2003 hit Hey Ya! with her fun and jolly re-work. The heavy RnB-inspired beat of the original has been substituted for acoustic guitar strums, tambourine percussion and keys re-creating the original tune of the chorus. Another artist with a gentle and angelic vocal, Garden surprises the listener by rattling through Andre 3000’s rapid lyrics with ease. The interlude of “Shake it like a polaroid picture” is less of a mantra and more of a pause for thought where the accompaniment ebbs and flows and each instrument is brought more heavily to the fore. The final flourish is the key change towards the end where Garden’s vocal range is highlighted wonderfully on this beautiful folk-influenced re-telling.
That’s just a taster of some of the fantastic covers featured on Best Day of All Time and the full album is available to stream now. Find out more about the compilation album here and have a listen to my favourite track below.