Music - The Singles Collection

IndieLondon gleefully checks out the cream of the week's singles. All you have to do is click on the pictures to order them...

MONDAY, AUGUST 30

SINGLE OF THE WEEK - BENT - COMIN' HOME: Having raved about Bent's recent album, Aerials, it will come as no surprise to find us equally singing the praises of the first single to emerge from it, Comin' Back. Having decided to turn to instruments for the first time in their career, the Bent duo of Nail Tolliday and Simon Mills prove themselves amazingly adept at creating music, providing the sort of blissful melodies and beats that make for dreamy listening. The upbeat, guitar-laden Comin' Back is a wonderul insight into the sort of thing to expect from the long-player, while bonus tracks, Sunchime and You Have Been Watching merely serve to confirm the suspicion that Bent are on the cusp of a major new direction. The former, in particular, is a chiming, instrument laden burst of musical sunshine that contains hints of early Chemical Brothers, and the sort of happy-go-lucky melodies that the Lemon Jelly boys have been creating. It's that good, so waste no time in travelling out to discover Bent in both single and album form. Click here for our verdict on Aerials, or here for a special feature on the new material.

THE KILLERS - ALL THESE THINGS THAT I’VE DONE: A million miles from the breezy, happy-go-lucky style of Mr Brightside, The Killers’ latest track is an excellent example of why their debut album, Hot Fuss, provides such an eclectic listen. Kicking off with the blip of a radar, a sprinkle of piano and organ and an insistent drum beat , All These Things That I’ve Done develops into an epic anthem, mixing the band’s trademark 80s-based indie rock with a totally unexpected gospel segment during its middle eight section (certain to have people singing, 'I got soul, but I'm not a soldier', along with it). Such brash inclusions serve to explain why this Las Vegas outfit continues to be so highly-rated, as they don’t appear content to stick with the tried and tested formula of most 80s-based post-punk bands of the moment. It will come as no surprise to report that this rates as one of the best tracks on the album. Click here for our verdict on the long-player...

THE OPEN - ELEVATION: The Open are probably best known for their epic take on rock, courtesy of singles such as Just Want To Live and Never Enough (taken from the equally sprawling album, The Silent Hours. Elevation, their latest, actually throws the shackles off somewhat, arriving as an altogether brighter number than some of their previous work, with its catchy chorus and bright guitars. It is further evidence of why the band appears to be on the brink of the success their songwriting clearly merits. Elevation certainly marks their most mainstream yet, and it is a delicious rock-indie anthem that quite possibly marks their best single effort yet. Click here for our verdict on the album...

THE THRILLS -WHATEVER HAPPENED TO COREY HAIM?: The hotly-tipped Irish band return with the first track from their keenly-anticipated second album with mixed results. The style remains the same and the cheeky title is born out in the equally comical lyrics, but the freshness has gone and there remains the sneaking suspicion that The Thrills could become one-trick ponies. Indeed, much of the material on the debut album falls victim to the same problem. On the plus side, there is a feel-good flavour to many of the harmonies they concoct (which owes a lot, in style, to The Monkees), while the vocals remain as strong and distinctive as before. But this has to rate as a disappointment, prompting the inevitable question, whatever happened to The Thrills of Big Sur? Click here to pre-order the album, Let's Bottle Bohemia.

EMBRACE - GRAVITY: The former kings of the indie ballads, Embrace, return with another of those ponderous, brooding affairs, that aims to be deeply romantic, yet falls some way short instead. Notable for being co-written by Chris Martin, of Coldplay, Gravity proves that, despite being away for some time, Embrace does not appear to have progressed in any way, shape or form, seemingly content to rely on the formula that has helped to deliver their biggest success. The presence of Martin may heighten the curiosity value, while the suckers for a good ballad will no doubt lap it up as ‘beautifully poignant’, but you can’t help lamenting the fact that this brings nothing new to the format, making it seem like only five minutes ago since the last Embrace ballad. Taken from the forthcoming album, Out of Nothing, which can be pre-ordered by clicking here…

ARMAND VAN HELDEN - MY, MY, MY: The prolific Armand Van Helden releases another silken-soul disco anthem, in the form of My, My, My, to follow the success he recently enjoyed with his New York: A Mix Odyssey compilation. The track is driven by a Gary Wright Coming Apart sample and a funky, Summer-laced beat that makes it ideal for the hotpants generation, and some serious booty shaking. The soulful vocals occasionally provoke memories with the style of the recent Basement Jaxx track, Good Luck, but, sadly, it can't quite achieve such widespread appeal. This, in the main, caters for the dance generation, and will probably find its safest home amid the Kiss FM, Ibiza-Miami club crowd. The remixes do offer some funky fun, however, most notably in the Deekline and Wizard Vocal Mix, featuring Yolanda, and Ashley Beedle's New York Fam remix. Click here to order the New York: A Mix Odyssey...

JO JO – LEAVE (GET OUT): It’s hard to believe, when listening to Leave (Get Out), that the singer behind the voice is a mere 13-years of age. In fact, it’s downright staggering. Her PR bills her as someone who could be Christina’s little sister, ‘who’d rather to moody than bimbo’, and she certainly demonstrates a maturity well beyond her years with this track. A favourite among the Capital/Kiss FM crowd, this sultry little ballad may not appeal to the alternative listeners, but there is no getting away from the fact that Jo Jo sounds more mature, at 13, than many mainstream divas currently plying their trade at the moment. It’s assured, it’s catchy, and above all, it doesn’t outstay its welcome. This is an introduction to an outrageously talented singer-songwriter, who on the strength of this first single alone, looks set to have a massive career ahead of her. Look out for the self-titled debut album, which follows along shortly, and which can be ordered by clicking here. Alternatively, click here to check out our verdict on it.

EASYWORLD – HOW DID IT EVER COME TO THIS?: Easyworld could well be one of the breakthrough mainstream rock/pop acts of the year, if How Did It Ever Come To This? Manages to build on the success of Til The Day, which marked their first top 30 hit in February. The song is designed as an uplifting rant against what singer, Dav Ford, and other musicians frustratedly describe as the cheating of their art, by increased downsizing and corporate takeovers. However, far from being anything too melodic, the track is rife with a strong melody, hook and some take-notice harmonies, that make it well worth a listen for anyone not introduced to Easyworld yet. Bonus track, Celebrity Killer, even rocks things up a little, hinting at the possibility that there could be more to Easyworld than a slot on Capital. It’s worth checking out.

NELLY – MY PLACE: The sexy R&B rhythms and hip-hop grooves of Nelly return with the first tracks to emerge from the forthcoming double albums, in the form of the double-A sided, My Place and Flap Your Wings. And it’s pretty much normal service resumed, picking up right where the Nelly of Dilemma and Nellyville left off. Lead track, My Place, features a guest vocal from Jaheim, which adds an extra layer of sugar to Nelly’s smooth style, easily provoking comparisons with his duet with Kelly Rowland. Flap Your Wings, meanwhile, starts off like It’s Hot In Here, before adding some extra beats late on, to help it sound a little different. It may not mark much of a progression, but there is no escaping the fact it will be huge among the Nelly crowd, easily smoothing the way for another monumental album success, in the form of Sweat and Suit. My Place will appear on the latter, while Flap Your Wings can be found on the former. Click here to order Sweat, or here for Suit.

THE BLACK KEYS - 10AM AUTOMATIC: 10 A.M. Automatic is the first single to be lifted from The Black Keys third album, Rubber Factory, and is an out-and-out rock 'n' roll number, packed with fuzzed up guitars and dirty Delta Blues. Harking back to the Seventies era, when the Stones were at their peak, and Zeppelin and co were belting out the guitar anthems, this contains all the same traits, without any of the embellishments of the modern era. In terms of getting back to basics, it will probably appeal to the purists only, given that The Black Key duo seem content merely to let their music do the talking, rather than basking in any controversial limelight that has helped some of their contemporaries to reach the lofty heights that they have. For anyone who fancies a nostalgia trip of pure unadulterated blues rock, this provides a perfect meal ticket. Click here to order the album...

PRODIGY - GIRLS: Widely touted to be the best track on Prodigy's latest album, Girls marks the return of the dance outfit in typically take-notice fashion. With its tech-funk and old skool electro charge, coupled with its Clash-inspured guitar riffs, Girls is a suitably loud and in-yer-face effort from The Prodigy, with the focus firmly on the beats, rather than guest vocals. Sadly, there is something missing. The new Prodigy seems to have regressed somewhat, but not in a good way. While The Beastie Boys rediscovered their roots, while managing to sound contemporary, The Prodigy have been unable to repeat the trick. Girls sounds distinctly 80s-based, and probably deserves to be left there. It is as disappointing, to me, as the rest of the album. For the purists, or the newly-converted, however, both formats also feature the exclusive re-working of the title track by Liam Howlett, entitled More Girls, and the original version of You'll Be Under My Wheels, which is currently being used for the high-profile launch of the new BMW 1-Series, and which is different to the album version. Click here to order the album...

MONDAY, AUGUST 23

LOST PROPHETS - LAST SUMMER: Hurrah for the Lost Prophets. They may sound like their trying to follow in the exact same footsteps as US punk-rock bands such as Blink 182, but at least they sound like they’re having fun at the same time. And it’s no mistake that their sound is going down as well in the States, as it is here. Last Summer is, as its name suggests, a genuinely feel-good seasonal rock-out, crammed with gutsy, joyous guitar riffs and sing-along vocals that the Blink boys would be proud of. Not as heavy as some of the Welsh outfits more recent material, it nevertheless contains an infectious energy that could well gain it the wider following it probably deserves. Click here to order the album....

MAD ACTION - SMILE: Another indie-rock anthem being championed by Xfm’s Claire Sturgess, Mad Action’s Smile bears all the hallmarks of becoming an underground indie classic. The band boasts Black Rebel Motorcycle Club among their friends and it’s easy to see why - their influence reverberates throughout the track, despite sounding a great deal more upbeat than some of the grungy sounds of BRMC. The best thing that can be said about it, however, is that it probably will put a knowing smile on your face, in terms of quality, given that its hooks and guitar riffs, not to mention the catchy chorus, will probably grab you from the first moment you listen to it.

NEON - HIT ME AGAIN EP: Neon are the latest signings to Graham Coxon’s Transcopic label and possess a nostalgic mix of Tom Petty, Cheap Trick and Redd Kross that makes it easy to see why they appealed to the former Blur guitarist. Certainly, with lead track, Hit Me Again, the guitars hark back to early indie sensibilities, while the old-school vibe that surrounds the track makes for a refreshing alternative to the current post-punk haze. The track is another favourite of Xfm’s Claire Sturgess, not to mention Radio 1’s Zane Lowe, and regularly features prominently among the evening requests on both radio stations. Whether it has the accessibility to crack into the mainstream, a la Kasabian, remains to be seen, but with this and Mad Action vying for prominence on the record shelves this week, it means that indie-rock fans are spoilt for choice at the moment.

JET - COLD HARD BITCH (Download only version): Aussie rockers, Jet, deliver another barnstorming blast of rock ‘n’ roll nostalgia from their hugely successful Get Born long-player. Cold Hard Bitch harks back to the Seventies style of Tumbling Dice/Streetfighting Man era of the Rolling Stones, while also being reminiscent of early Primal Scream. It’s a little bit harder and more angry than Are You Gonna Be My Girl, but looks certain to continue the positive word of mouth surrounding the outfit. Having established themselves among the current rock ‘n’ roll elite, however, the trick will now be for Jet to follow it up with a new album. Certainly, Get Born seems to have been milked for all it is worth, but you can click here to get hold of a copy.
The download version of Cold Hard Bitch, meanwhile, was recorded live at the Mercury Lounge NYC; it’s available for 99p/£1.50 (SMS) from http://www.jetmusic.co.uk and all other good online retailers. It comes with free downloadable artwork and the chance to watch the video for Cold Hard Bitch.

MAROON 5 - SHE WILL BE LOVED: Maroon 5’s third single has been likened to the Red Hot Chili Peppers’ Under The Bridge in terms of what it could do for the band. A ballad that seems destined to land on the soundtrack to countless movies, She Will Be Loved is a hopelessly feel-good record that goes some way to explaining why there is such an air of excitement surrounding them at the moment. The love-struck romeo’s and hopeless romantics among you will no doubt flock to it, while there’s no getting away from the fact that it does offer a slightly more grown-up love song than anything the boy bands can deliver. Taken from the successful Songs About Jane album, this could well become the band’s biggest mainstream success yet, easily overshadowing the previous joy they experienced. Click here to order the long-player...

BLUE NILE – I WOULD NEVER: Although not renowned as a singles band, The Blue Nile release their first single since January 1991, in the form of I Would Never, taken from the forthcoming album, High. The track is a heartfelt love song which, according to the PR, was written one morning in the Autumn of 1995 at the recording studio owned by Blue Nile engineer, Calum Malcolm. According to Paul Buchanan: “At the time, we had very little money but we poured everything we had into this record.” The result is a record that’s sure to wet the appetites of Blue Nile fans, given that it marks a return to the bittersweet, melancholy style of previous records. What’s more, the single also contains two rarities – the first ever Blue Nile single, I Love This Life, which was released on limited edition vinyl, in 1981, through the band’s own Peppermint Records and subsequently through RSO – and it’s B-side, The Second Act. Both have been extremely rare until now and original vinyl copies have been known to sell for around £200 at record fairs. Click here to pre-order the album, or here for further details on The Blue Nile...

AMY WINEHOUSE - HELP YOURSELF/PUMPS: You could be forgiven for thinking that the new, double-A side Amy Winehouse single could be something from the Nelly Furtado single. The vocal style is not disimilar. Taken from the debut album, Frank, both Help Yourself and Pumps demonstrate the fearless, savagely witty songwriting style that helped Amy to secure an Ivor Novello Award earlier this year (she won best contemporary song for Stronger Than Me). Of the two, Help Yourself, with its bluesy trumpet interludes, and lazy beat, is probably the stronger, dripping with the style of an accomplished, even old-school, songwriter. But Pumps is equally as fun, and a suitably well-timed reminder of why the album was so well regarded when it emerged last year. Click here for our verdict on the long-player.

FRIED - WHATEVER I CHOOSE I LOSE: Fried are hotly-tipped to become one of the breakthrough acts of 2004 and it's easy to see why when listening to the soulful, blues-laden debut track, Whatever I Choose I Lose. Consisting of former Fine Young Cannibals songwriter, David Steele, and the gifted 23-year-old New Orleans vocalist, Jonte Short, Fried's breakthrough single has already drawn favourable comparisons with the likes of Lauryn Hall and Macy Gray. It's dripped in deep, soulful lyrics, yearning, Motown-style vocals, memorable slide guitars, gospel-tinged backing vocals, and a deeply lazy beat that makes it easy just to relax into. The PR proclaims that Jonte's vocals 'would make a car melt', and it's easy to see why. If this is the calibre of what we can expect from future material, then roll on the album, and make sure you get yourself in the queue for the live performances. This girl's hot!!! Click here for more details on Fried, or here to here the audio...

MOUSSE T - IS IT COS I'M COOL?: Musical supremo, Mousse T, delivers the launch-pad for his new album, Right About Now, in the form of the ridiculously feel-good Is It Cos I'm Cool, featuring the delicious vocal talents of Emma Lanford, who shimmies her way through the pop-laden melodies and funky shuffles with an effortless breeze. The track is made for the term, easy-listening, and draws you in from the moment you hear it, with its smooth, Motown-tinged style. Mousse is, of course, the musician best-known for the singles, Horny and Sexbomb (featuring Tom Jones), but also founded the successful Peppermint Jam Records. His DJ experience is all over this track, in particular, making it an easy dancefloor filler. It's easy to see why he has worked with people such as Ziggy Marley, Randy Crawford and Michael Jackson - easy because of his ability to deliver tracks such as this, which are so darn cool! Click here to order the long-player...

SUGABABES - CAUGHT IN A MOMENT: The Sugababes continue to release the ballads from their Three album, preferring them, seemingly, to the more pop-laden, and openly infectious qualities of tracks such as Situation's Heavy or Nasty Ghetto. This is another of those supremely moody, ultra breathy numbers, which eschews all the values that helped to make both Stronger and Too Lost In You such huge successes for the outfit. That said, while the lack of bouncier numbers is something of a disappointment, the girls continue to set the standard for this sort of thing, and there is something undeniably sultry about Caught In A Moment, which should guarantee another huge hit for them. Click here for our verdict on the long-player, or here to see the video to the single...

DEEPEST BLUE - SHOOTING STAR: Deepest Blue duo, Joel Edwards and Matt Schwartz, remain firmly in pop territory with the catchy, melody-driven Shooting Star, which rates alongside past singles Is It A Sin and Deepest Blue, as examples of the Late September album at its weakest. For while the track rates among the better examples of boy band/Capital FM territory, it doesn't really do the rest of the album justice, given that contained within are some fairly decent tracks (which provoke comparison with the likes of Moby, rather than the boy band routine which would appear to provide their best chance of mainstream success). Shooting Star is ok in a drippy, lovey-dovey sort of way, but it's best reserved for the party crowd, or those who are just breaking into their teens. The remixes, too, veer towards the Ibiza massive, rather than anything that some of their better influences might have been proud of. Click here for our verdict on the long-player...

MONDAY, AUGUST 16

SINGLE OF THE WEEK - KEANE - BEDSHAPED: Third single to emerge from Keane's breathtaking debut album, Hopes and Fears, and another expert demonstration in how bands can sound fresh, exciting and downright awe-inspiring without guitars, or any particular adherence to any one genre (post-punk, 80s anyone?). Bedshaped is not the single many would have expected to be the band's follow-up to Everybody's Changing and is probably far more ballad-based than the majority of the stuff on the long-player, but there's no denying the raw power contained within the lyrics, and the power of the music which looks set to help it become a timeless classic in the Coldplay mode. It's no coincidence that this has become a live favourite, given that it seems virtually guaranteed to bring the lighters out at concerts. Keane's overwhelming success story should easily be continued with Bedshaped. Make no mistake, this looks like a band that is here to stay (and there isn't even any controversy surrounding them; how refreshing!). Click here for our verdict on the album, here to listen to the track and watch the video, or here for a special feature.

FRANZ FERDINAND - MICHAEL: More jerky indie pop from band-of-the-moment, Franz Ferdinand, fresh from their Mercury Music Prize nomination. A fan-favourite from the live shows, this is a rowdy, cheeky and frequently camp affair, that boasts plenty of the band's trademark ragged guitar riffs, as well as a decidedly gay outlook, courtesy of lyrics such as 'Michael, you're the only one that I ever want', and 'I'm sexy, so sexy, so come and dance with me, Michael'. The track is the fourth to emerge from the long-player, and is said to be the last. With that in mind, the prospect of new material looms. Click here for our verdict on the album, or here to see details of this year's Mercury nominees...

THE STILLS - STILL IN LOVE SONG: The Stills continue to demonstrate why they are at the forefront of the New Wave movement coming out of Montreal at the moment, with this third single to emerge from the excellent Logic Will Break Your Heart album. Still In Love Song is a typically dark and brooding record, that showcases Tim Fletcher's vocals at their most aching, while also tossing in the 80s vibe that surrounds the movement at the moment. It may not be as instantly catchy as Lola (Stars and Stripes) which remains the benchmark for the album, but I defy you not to be singing the chorus along with it by the second or third time of listening. Click here for our verdict on the album, or here for a special IndieLondon exclusive interview with the band, conducted earlier this year.

PEARL - I WANNA LOVE YOU: Pearl may hang in the right circles (she's partner to Supergrass' drummer and friends with Sadie Frost), but there is more to her than merely hanging out with the 'in-crowd'. She knows her music, for one thing, and is more than capable of delivering some truly West Coast flavoured blasts of summer songwriting. I Wanna Love You arrives like a breath of fresh air, and as a perfect companion piece to Charlotte Hatherley's Summer, as a harmony-laden, hand-clapping joyfest, complete with dreamy vocals and lush acoustic guitar. The B-side, Lotta Love, merely continues the feel-good vibe, dripping in the Sundays style that makes listening to these sort of indie chick records so pleasurable.

KRISTIAN LEONTIOU - SHINING: The unmistakeably powerful voice of Kristian Leontiou is back in all of its glory once again, providing a fitting follow-up to his runaway success, Story of My Life. If anything, Shining is a little better than its predecessor, being in some ways more satisfyingly soulful, and a little less earnest. The beats and rhythms wrapped around it also provide a fitting backdrop, while lyrics such as 'who am I to break this young girl's heart', and 'I will not be beaten/you have yet to see me shining' provide a more uplifting, less self-pitying change from the likes of Mario Winans and The Streets for the moment. A genuine surprise and a real contender for one of the breaktrhough acts of the year. Click here to order the debut album, Some Day Soon, or here to listen to the single and see the video.

ABERFELDY - HELIOPOLIS BY NIGHT: Scottish day-dreamers, Aberfeldy, allow their imaginations to run loose with this enticing second single, a tale of the much overlooked issue of alien/sun god abduction, coupled with a journey over the ancient city of Heliopolis (Sun City!). Sound pretentious? You wouldn't think so, when listening to its breezy, happy-go-lucky melodies, which contain plenty of sunshine harmonies and nursery rhymn melodies, guaranteed to put a smile on your face. As a follow-up to Vegetarian Restaurant, it provides a mouth-watering insight into what to expect from the forthcoming album, Young Forever, which could well be one of the quirky highlights of the year when it arrives. Click here to pre-order it...

LAMBCHOP - SOMETHING'S GOING ON: It's taken some time, but Lambchop finally release the first single from their double-album, Awcmon/Noyoucmon, in a slightly different version. The principal difference is that Kurt Wagner has recorded a new vocal, this time backed by a choir, while the entire song has been remixed by Marky Nevers. Amazingly, it does the trick, with some of the sweet backing vocals serving as an arresting and quietly affecting backdrop to the gravel tones of Wagner, which tend to get in the way of some of the album's softer melodies. Lamchop is certainly an acquired taste, but the soulful makeover and neat strings given to this track, in particular, works to its advantage, making it recommended for the alt-country crowd. Click here for our verdict on the album...

GOLDIE LOOKIN' CHAIN - GUNS DON'T KILL PEOPLE, RAPPERS DO: The Welsh massive return with another humour-laden dose of hip-hop, in the form of the comical Guns Don't Kill People, Rappers Do. The track contains a blatant nod to KRS-One's tune, Sound Of The Police, while also poking fun at some of the most high-profile names in the rap world. The video, too, is hilarious, featurng the Welsh massive chasing a traffic warden in wheelchair-style buggies. Whether it possesses the ability to appeal to the urban crowd in America remains to be seen, for this is distinctly English in flavour. But it certainly has novelty value, even if the overall effect is one of dubious distinction. Click here to listen to the track...

THE CALLING - THINGS WILL GO MY WAY: The second single to emerge from The Calling's second album is a ballad, in the style of Pearl Jam, which looks tailor-made to bring the band yet more success. Alex's gruff vocals bare un uncanny resemblence to Eddie Vedder's during the opening moments, while the brooding guitars are typical of this sort of rock effort. It's also the sort of track that you can easily imagine cropping up on a soundtrack to countless movies/US TV programmes. But while it is hopelessly generic for this sort of thing, and isn't a patch on Pearl Jam, it is ok for a radio listen. Click here to order the album...

DEUS - IF YOU DON'T GET WHAT YOU WANT: dEUS mark their return with an exclusive, download-only single, that eschews all the values we have come to expect from the hot-rocking outfit. If You Don't Get What You Want, available from the band's website, builds slowly, before unleashing a series of fiery guitar riffs and hard vocals that should certainly go down a storm if played live during the forthcoming dates. The track is an exclusive song from their recent album sessions and will be a must-have for all dEUS fans. Click here for more details and the download link...

NATASHA BEDINGFIELD - THESE WORDS: It pains me to say this, but the little sister of mainstream resident, Daniel Bedingfield, is actually making a pretty decent fist of things. These Words, the follow-up single to Single, is a fairly catchy r’n’b track that is better than average for this mainstream-fixated sort of thing. Boasting some catchy lyrics - such as read some Byron, Shelley and Keats/recited it over a hip hop beat - the track delivers further proof that she is not merely riding on the success of her brother, and could even surpass Daniel in terms of quality. The bass heavy rhythms contained on this track should guarantee its position as one of the better dancefloor anthems of the Summer for the Capital FM crowd. But let’s not get too excited…

MONDAY, AUGUST 9

THE LIBERTINES - CAN’T STAND ME NOW: The non-stop gossip surrounding The Libertines’ will they/won’t they rise to the top is aptly summed up in this gutsy first track to emerge from the band’s self-titled second album. Can’t Stand Me Now is credited with describing the tumultuous relationship between band leaders, Pete Doherty and Carl Barat, which continually places an uncertain future ahead of them. It would, however, be a shame if the band were to break up, given the undeniable ability demonstrated by tracks such as this. Can’t Stand Me Now is packed full of the striking indie guitars and edgy vocals we have come to expect from them, while also aptly demonstrating their no-nonsense song-writing ability. The line ‘You can’t stand me now/but have we enough to keep it together/or do we just go on pretending/and hope our luck is never ending’ may yet prove to be the most telling lyric they have written. Click here to pre-order the new album..

KASABIAN - LSF (LOST SOULS FOREVER): Kasabian follow-up the brilliant Club Foot with another indie gem which, if I’m not mistaken, also serves as bedding music on the current Fifa 2004 football game, on EA Sports. LSF (aka Lost Souls Forever) is a refreshing blast of old-school indie, with a cleverly building style that virtually invites you to sing-along with it. Taken from the forthcoming album, Test Transmission, this could well catapult the hotly-tipped band into the musical spotlight their music, thus far, has richly deserved. Once you hear it, I guarantee it’ll reside in your head for days afterwards. Click here to pre-order the album...

AIR - ALPHA BETA GAGA: Air release the third single from their excellent Talkie Walkie album - and it’s probably the best yet. Having rediscovered their mainstream potential with the likes of Cherry Blossom Girl and Surfing on a Rocket, the French outfit deliver their catchiest tune yet; a whistle-laden blast of pure electronic pop perfection that simply cannot fail to muster a smile or a feel-good vibe whenever it comes on the radio. The happy go-lucky whistles are also neatly offset by the brooding back beat, which lends the track a grittier edge when it starts. Another terrific reason for owning this particular record, is the Mark Ronson remix, which adds some rap, some extra funk, to deliver one of the most hip makeovers for a track this year. You will want to join the fraternity. Click here for our verdict on the album, or here for a live review…

CHARLOTTE HATHERLEY - SUMMER: Like its name suggests, the latest single from Ash guitarist, Charlotte Hatherley, is a sun-drenched anthem for the Summer season, which merges the breathless indie pop of Belly with the 60s girl-group influence of bands like the Shangri Las. The easy accessibility of this power-pop record is also rooted in Ash territory, delivering the same sort of dreamy, feel-good melodies that Tim Wheeler would be proud to call his own. The track even offers a marked improvement on its predecessor, Kim Wilde, and an excellent, mouth-watering indication of what to expect from the soon-to-be-released debut album, Grey Will Fade. Click here to pre-order the album, here to listen to the track, here for our verdict on the long-player, or here for a special feature on Charlotte.

RASMUS - GUILTY: Finland’s band of the moment, the Rasmus, follow-up their huge hit, In The Shadows, with another stomping guitar-based anthem, which follows much the same format as before. But while you can’t help but admire the way in which the outfit has managed to sound as comfortable among the Xfm crowd, as it is with the Capital FM listeners, therein lies its biggest problem. Guilty, like In The Shadows, is a little too mainstream for its own good - the sort of European rock epic that has one eye on the stadium fillers that helped to make Bon Jovi such a huge name, without enough emphasis on its indie roots. Catchy it may be, but it’s also instantly forgettable. Click here for the album...

SOULWAX - ANY MINUTE NOW: The Belgians also known as Too Many Djs return with the first track from their second album in suitably extravagant fashion. Mixing thrashing, driving guitars with some trademark scratching, and all manner of quirky knob-twiddling, this is undeniably the sound of what Soulwax do best. It may not be as instantly accessible, or catchy, as Much Against Everyone's Advice, or as take notice as some of their mixing work, but it is still a worthy comeback and hopes are high for the new album. Click here to pre-order it.

BIFFY CLYRO - GLITTER AND TRAUMA: And so we come to another of Britain’s bright young hopes, Biffy Clyro, as they bid to release their latest long-player. Glitter and Trauma is the first taster of what to expect, and contains the usual blend of catchy guitar hooks and distinctive vocals that first helped the band to become noticed. Needless to say, the grittier, more indie style has made it a favourite with the Xfm crew, especially Claire Sturgess, but as accomplished as it remains, there may be a few listens required to get the most satisfaction from it. There is also the suspicion that you could tire of it pretty quickly. Breaths are held, therefore, in anticipation of the album.

SIA FURLER - WHERE I BELONG: Sia Furler delivers another reminder of her vocal prowess with this moody, heartfelt ballad, taken from her latest album, Colour The Small One. Where I Belong is characteristic of the more pensive nature of the long-player, packed with moody lines such as 'don't cry, we've all lied, but there is always room for forgiveness, my friend', and a lot more serious in tone than some of the happy-go-lucky stuff she delivers for Zero 7. There is still the sneaking suspicion that Zero 7 bring out the best of her, but there is no denying the power of her voice, or some of the truth in her lyrics. And while this isn't the best of the singles released thus far, it's still miles better than anything Dido or her sort put out. Click here to listen to the track, here for a review of the album, or here for a special feature.

KEALER - CRY: It's been 20 years since Godley and Creme put out the memorable Cry, together with its ground-breaking technology showing people's faces morphing into one another. Well, equally memorable is the cover version, delivered by singer-songwriter, Kealer (aka Jason Kelly), who has given the track an epic makeover, packed with piano and string arrangements, and a sweeping, guitar-led chorus. In what is proving to be a good time for worthwhile covers, Cry rates alongside Ryan Adams' version of Wonderwall and The Vines' take on Miss Jackson as classic updates of classic former tracks. What's more, the video for the track has been produced by Kevin Godley, because he was so impressed with Kealer's version of the record. And just in case you were wondering, Kealer proves himself equally adept at delivering his own, memorable material, in the form of brooding bonus track, Out Of A Sun, and the piano-laced Remission (which, dare I say, provokes comparisons with the style of Keane). Go check this out, we urge you!

THE KOREANS - STILL STRUNG OUT: While the likes of Chikinki and Kasabian draw all the big headlines at the moment, The Koreans have been quietly going about making the right sort of impression, with their deft blend of Stones-influced rock 'n' roll and New Order-style electronic disco beats. Still Strung Out is typical of the sound we have come to expect and, if anything, surpasses the likes of Chikinki in terms of easy accessability, immediate likeability and all-round quality. The scuzzed up pop mixed some sharp guitars (there's a terrific, sweeping solo), with a killer chorus, and some snazzy, groovy disco beats, that lends it easy crossover appeal. The track is taken from the upcoming album self-titled album which, on the strength of this, could well be one of the summer's essential purchases. Expect to hear more from The Koreans on IndieLondon soon.

THE VAULTS - FRIDAY NIGHT/MONDAY MORNING BLACKOUT EP: Think the grungy, Seventies-fused rock style of Black Rebel Motorcycle Club mixed with an almost Zeppelin-styled rock-out style and you have some idea of what to expect from The Vaults - one of Radio One's favourite acts of the moment. The Friday Night Monday Morning Blackout EP is a really barnstorming affair, from the Suffolk-based quartet, which looks set to build on the success of the No Sleep No Need EP that helped to catch Radio 1's attention. The stand-out track is definitely the first one, Straight Faced, with its growling guitars and pounding drums, which really does sound like it belongs in a different era, although the fast and furious Crawl Away is another fitting showcase for Beaz Harper's earthy vocals. The Vaults are well worth unlocking for rock fans.

AGENT BLUE - SOMETHING ELSE: More head-stomping punk rock, this time from Stoke-based Agent Blue. Yet again, this is another of the hotly-tipped bands of the moment, but there's nothing really here that suggests they are anything different (or should I say special) from most of the punk-rock Jam/Clash wannabes that seem to be jumping on the current revival for career progression. It's fast, furious, breathless stuff, and is sure to find a cult following among fans of edgy guitars, short, sharp repetitive lyrics and quick fix songwriting (this comes in at a little over two minutes), but there is simply too much of this sort of thing around at the moment - and I'm afraid this just blurs into everything else. Mildly diverting, at best.

LLOYD BANKS - ON FIRE: A club-driven, head-nodding anthem in the G-Unit mould, Lloyd Banks funky On Fire is another of those attitude-laden, hopelessly cool affairs, that looks set to become another popular anthem. It boasts similar production values and a comparable vocal style to 50 Cent, and includes another catchy hook, which makes it easy to see why it appeals so quickly to the mainstream. The neat piano interlude, which brings the track to a tight finale, is also a nice touch. It may sound like many other tracks doing the rounds at the moment, but there is something strangely compelling about it. Fans of G-Unit and 50 Cent will, no doubt, find Lloyd Banks too hot to resist as well.

MONDAY, AUGUST 2

SOUTH - MOTIVELESS CRIME: The second single to emerge from South's brilliant With The Tides long-player and still, incredibly, the band is not generating the sort of radio play they deserve. Motiveless Crime contains all the hallmarks we have come to expect from the band - strong songwriting values, excellent guitar hooks and an anthemic style which places them easily alongside the likes of Doves, The Stone Roses and Elbow in terms of indie style. And as good as it is, it's still not one of the best songs on the long-player, which means fans should rush out and buy it to catch a taste of what they are missing. Like Snow Patrol, this is is a band which has existed in the shadows for too long. It's time for them to get the recognition and record sales that their music deserves. Click here for a review of the album, here for a gig review, and here for a special feature on the band.

GRAND NATIONAL - CHERRY TREE: Various critics have labelled Grand National's latest single, Cherry Tree, as joyous - and it's an appropriate description. Effortlessly upbeat, the single exemplifies all that is great about the album, Kicking the National Habit, which is about as close to New Order as you can get without buying one of the their albums. Rupert Lyddon and Lawrence 'La' Rudd have skillfully crafted a dance number that should send most clubbers delirious with delight, which has the capability even of putting a smile on your face in the middle of the rush hour. Bonus track, Rabbit Facts, is a worthwhile B-side, which slows things down a little, but still manages to retain its upbeat style. Click here for our verdict on the long-player.

A MAN CALLED ADAM - BAREFOOT IN THE HEAD: A brand new, acoustic version of A Man Called Adam's classic track, Barefoot in the Head, is a beguiling piece of chilled out brilliance that neatly marks the arrival of the retrospective long-player, All My Favourite (which couples eight new tracks with nine classics from their vault). The original, dance-orientated version (which also appears on the single) became an instant classic, tapping into the sort of cool, laidback dance vibe that provided the likes of The Beloved with such instant success. In acoustic form, however, the vocals seem crisper than ever, while the track itself feels a little more melancholy and pensive. It should provide a neat comedown for any Summer excesses. Further remixes come from Fug, which makes things even more atmospheric, A Man Called Adam themselves, which adds a little funk to proceedings (as well as some urgency), and Justin Robertson and Caged Baby (possibly the worst of the three). Nevertheless, this remains an essential purchase (across the formats) for any Man Called Adam fans. Click here for a review of the album, or here to order the single.

DEPARTURE - ALL MAPPED OUT: It’s no mistake that Northampton-based five-piece, Departure, recently supported The Killers on their recent sold-out UK dates, given the fact that this is cut from exactly the same cloth. All Mapped Out is another of those angular, indie/art school rock-outs that contains plenty of edgy vocals and cut and thrust guitars. That it is also drawing comparisons with the likes of Franz Ferdinand will probably tell you all you need to know about it. It’s accomplished, even catchy, but try listening to it without being told the name of the band, and you could be forgiven for thinking it’s just the latest single from one of any number of bands who seem content to churn out this sort of thing. Not the Departure the name of the band suggests.

SWITCHFOOT - MEANT TO LIVE: Switchfoot are being hailed as the new Nickelback (is that a good thing, necessarily?) and they’re latest offering comes from the soundtrack of the blockbuster, Spider-Man 2. And, like Chad Kroeger’s Spider-Man offering last year, it’s a typically thumping rock anthem, tailor-made to work within the confines of the movie format. That means that while it works well within the context of the movie, when you’re caught up in the super-hero exploits of its central protagonist, it loses much of its impact when away from the images, and ends up sounding like any other generic rock anthem that could, ironically, have come from the likes of Nickelback instead. Stick to the soundtrack, rather than picking off any of the singles.

ANA JOHNSSON - WE ARE: The second single to emerge in a week from the Spider-Man 2 soundtrack is another power ballad, in the goth-rock tradition, that seems designed purely to cash in on the success of the movie. Johnsson is a 25-year-old, Swedish-born singer-songwriter and her style automatically provokes comparisons with the same rocky style of Evanescence, Nickelback and The Rasmus. Its designed to be epic and broody, but we’ve heard it too many times before to get excited, and there’s no escaping the feeling that this is best left on the soundtrack, which can be ordered by clicking here...

ZENA - BEEN AROUND THE WORLD: Zena is being touted as an artist capable of conquering the urban/pop market, and her PR states that her sound is 'urban, sexy and street'. Been Around The World comes backed with some vocal support from Vybz Kartel, Jamaica's latest export, and is as smooth grooved and funky as you might expect from the above descriptions. In truth, however, it could easily be just another single to have rolled off the production line of a Janet Jackson or J-Lo, with only the Jamaican-tinged rap interludes marking it out as anything different. It's an ok listen, and will probably find a safe home among the Kiss crowd, but it certainly doesn't do enough to warrant the hype surrounding the artist at the moment.

AVRIL LAVIGNE - HAPPY ENDING: Avril Lavigne seems content to follow in the footsteps of Alanis Morissette with another of those agitated rants against a lost love. Happy Ending, taken from the artist’s phenomenally successful second album, Under My Skin, is jam-packed with blistering guitars and Lavigne’s gutsy style, making it a worthy follow-up to her previous work to date. And while there is undoubtedly a ‘heard it all before’ quality about it, there is no denying that, at her best, Lavigne can produce some catchy material. This, quite possibly, rates alongside Losing My Grip, as one of her finest efforts to date. The happy ending Lavigne appears to be searching for is probably contained within the record sales. Click here to order the album...

GABRIELLE - TEN YEARS TIME: Another of those soul-laden pop records that Gabrielle seems to excel in, Ten Years Time is taken from the current album, Play To Win, and probably represents one of the better efforts of it. In truth, the track seems tailor-made to provide a soul-searching musical accompaniment to the soundtrack to the latest Working Title/Hugh Grant movie, but there is a certain guilty pleasure to be found in it. Plus, there's no getting away from the fact that Gabrielle's smooth vocal style rates among the better soul divas currently riding high on the mainstream circuit. It may not be great, but it is bearable. Click here to order the album...

MARK MORRISON - JUST A MAN: Dubbed by many to be 'the bad boy of British pop music', Mark Morrison returns with a soul-laden ballad, Just A Man. Oozing heartfelt lyrics, the track is another of those tracks that seems tailor-made to appeal to the mainstream - with fans of Morrison, no doubt, lapping up the singer's attempt to find a softer side to himself. Normal service is resumed with the Daz Dillinger mix of Backstabbers, which livens things up a bit, and probably goes down a storm on the smooth groove dance scene. It's accomplished stuff, and will probably bolster Morrison's reputation as the British soul king, but it doesn't really bring anything new to the genre, and remains a fairly average output for this sort of thing.