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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, FEBRUARY 23
 SINGLE
OF THE WEEK - PLACEBO - ENGLISH SUMMER RAIN: Another barnstormer
from the rapidly improving Placebo (even though their fans wouldn’t
agree), this electronic heavy mood-piece is just as likely to
appeal to the sceptics as it is the hardcore fans. Brian Molko’s
distinctive vocals are ideally suited to lyrics such as English
Summer rain/seems to last for ages, effortlessly tapping into
the frustrated fury that I frequently associated with the Goth-like
outfit. The track is also notable for featuring a video created
by one of the band’s fans. Click here
for associated story, or here
for details of a special edition Sleeping With Ghosts album.
Alternatively, click here to watch
the video...
 ELBOW
- NOT A JOB: As with their previous release, Fugitive Motel,
Manchester’s indie kings of the moment, Elbow, release their
current single in an alternative version from the album, complete
with a three CD-format, featuring cover versions, alternative
videos and bonus tracks for fans to feel they have got their money’s
worth. Not A Job, itself, is probably the most infectiously catchy
indie anthem they have delivered for a long time, and is a straight-forward
slice of indie-pop, as opposed to the more sweeping, thoughtful
approach of tracks such as and Fugitive Motel. Click here
to watch the video.
 ZERO
7 - HOME: It's been three years since Zero 7 enthralled us
with their Simple Things debut, and the seductive voices of the
likes of Sia Furler, but now they return with a new album, some
new vocalists (as well as some returning favourites) and the cool
vibe still intact. Home, which is available for download via the
band's website, features all of the hallmarks of classic Henry
Binns and Sam Hardaker smoothness, yet with a notable hint of
progression. So while the flavours remain the same, the track
still feels innovative, even more upbeat, while the presence of
Denmark's Tina Dico add a suitably intoxicating presence to the
sweet melodies and moody bass. With a tour to come, at Brixton,
and the new album just weeks away, this is shaping up to be another
classic slice of essential chill out from the masters of such
things. One to take Home and play many times. And if that's not
essential, then consider there are also Stereolab and Ben Watt
remixes... Click here
to pre-order the album, or here
for further details about it.
 THE
FIERY FURNACES - TROPICAL ICELAND: Quirky, catchy and downright
fun, this excellent new single from The Fiery Furnaces is the
type of record that could yet provide a cult following in the
B-52/Loveshack type of mould. Packed with off-beat injections
of synths and some sharp guitar, the single provides a breezy,
effortlessly likeable showcase for the talents of this brother
and sister duo, who have already been tipped for big things in
2004 by the NME and The Guardian. If this is anything to go by,
then we can't wait to hear more. This rocks in a feel-good, party
way, which smacks of off-kilter charm and quirky individuality.
Don't let it pass you by. Click here
for the album, Gallowsbird's Bark.
 50
CENT - IF I CAN'T: The fourth single to emerge from 50 Cent's
Get Rich Or Die Tryin' long-player (which has now gone multi-platinum)
is another in the same mould as we have come to expect - although
still some way short of the classic status of In Da Club. Given
that this is a special edition release, however, it's the added
extras which should prove more enticing, including street track,
Poppin' Them Thangs, which is taken from G-Unit's debut album,
Beg For Mercy, and a live version of In Da Club. Both of the new
tracks are produced by Dr Dre, and bring all the hallmarks of
the hip-hop style of both artists. Another lucrative cash cow,
then. Click here
for the album, or here
for G-Unit's long-player.
MONDAY, FEBRUARY 16
THE STILLS - LOLA, STARS AND STRIPES: Hailing from Montreal,
but possessing the same New York vibe attached to the likes of
The Strokes and The Rapture, The Stills finally release the long-hailed
first track from their terrific debut album, Logic Will Break
Your Heart. Epic, sweeping and possessing all the hallmarks
of string-laden indie-pop signature tunes, this is the type of
record which more than justifies the hype surrounding them at
the moment. Heck, when Radio 1’s Zane Lowe, formerly of Xfm,
raves, it’s definitely worth listening! Click here
for a review of the album, or here
for an EXCLUSIVE indieLONDON interview with the band.
 KINGS
OF LEON - CALIFORNIA WAITING: Easily the best track to emerge
from the highly-rated Kings of Leon so far, California Waiting
is an effortlessly feel-good slice of ‘hillbilly’ rock,
which sounds tailor-made for one of those long, sunny drives along
a Californian coastal highway. Evoking memories of classic songs
from the likes of The Allman Brothers and Free, this effectively
fuses elements of the post-punk movement sweeping northern America
at the moment, with a classic sense of Americana reserved for
bands from The Sunshine State. Extremely addictive. Click here
for the album...
 KEANE
- SOMEWHERE ONLY WE KNOW: Along with Snow Patrol and Franz
Ferdinand, Keane appear to be the new British indie act of the
moment. Somewhere Only We Know is also, perhaps, the most
pop-friendly, given its ballad-like tendencies. Keane, however,
are also notable for being an indie act which doesn’t rely
on guitars to create its trademark sound (in fact, they don’t
play them), preferring instead to wrap their lyrics around some
charming piano melodies, and subtle drum beats, to create an altogether
softer, but no less noteworthy, sound. Think early Travis, without
the guitars (obviously!), and you might get an idea of what to
expect if you haven’t already heard them.
 DEATH
CAB FOR CUTIE - NEW YEAR: The Seattle foursome who consistently
attract the attentions of the Xfm elite (especially Claire Sturges
and Eddie Temple-Morris), finally deliver the type of track which
might allow them to make some significant steps into the mainstream.
Death Cab for Cutie remain one of the US underground’s most
lauded bands, and are amassing quite a cult following here, but
this possesses the same sweeping feel of Snow Patrol’s recent
Run, albeit with a slightly brighter outlook. Anthemic
in every way, this is a brilliant showcase for the band’s
distinctive guitar sound, not to mention Ben Gibbard’s delicious
vocals, while also possessing a sound that is distinctively American.
 HUNDRED
REASONS - WHAT YOU GET: The second single to emerge from Hundred
Reasons' upcoming Shatterproof Is Not An Option long-player
is a routine, if somewhat catchy, slice of Brit rock which does
everything you would expect, and nothing more, from the band.
Typically heavy, and with a trademark huge rift, and huge, anthemic
chorus, this is unmistakable Hundred Reasons - and doesn't attempt
to do anything other than rock. Fans will no doubt lap it up,
ahead of the eagerly-anticipated second album, but it won't really
bring any new admirers and, by sticking so rigidly to formula,
feels like something of a disappointment when the ears have stopped
ringing. Click here
to pre-order the album...
 BELLE
AND SEBASTIAN - I’M A CUCKOO: The single that marks the
first time Belle and Sebastian have ever released two tracks from
the same album is another of those quirky indie-pop gems that
people will either love or hate, with no middle ground whatsoever.
From the opening, deliriously happy strains, through to its distinctive
chorus, this is one to brighten the darkest mood, if veering from
the mainstream is your thing. An excellent indicator of the type
of thing to expect from the current album, Dear Catastrophe
Waitress. The Avalanches remix is as upbeat and quirky as
you might expect, and quite charming to boot, making a happy song
ever happier, if that were possible. It only serves to make the
release more essential. Click here
for a review of the album...
 JAGA
JAZZIST - DAY: The Norwegian jazz-funk specialists continue
to build on a growing reputation with this catchy blend of sunny
acoustic guitars, super sharp shooting double bass and that trademark
ratchetted, precise drum and bassiness that is something of a
mainstay. Things are made more epic this time around with some
finely realised strings, making it the type of blissed out record
you're likely to catch playing in the background of one of trendy
London's hip bars. Their style is distinctly European, and their
taste probably an acquired one, but there is something refreshingly
catchy about their subtle beats and happy melodies, which makes
it difficult to dislike, even though it may not be one of the
first CDs you reach for at the end of a long day. Cool, and worthy
of finding out more about the Jaga Jazzist crew. Click here
for the album, Stix, or here
for more details...
 ALEX
PARKS - CRY: I never thought I'd be writing this (but it's
always best to keep an open mind!), but former Fame Academy winner,
Alex Parks, delivers a single which actually marks her out as
a potential talent to watch. Distinctly harder than the usual
bland of manufactured pop pap that comes from reality TV-based
music winners, this is a gutsy, emotional ballad, which serves
as an excellent showcase for Parks' striking vocals, as well as
a keen ear for musical composition. It's certainly tailored towards
chart succes, but then so are Coldplay's singles, to which this
has been likened, in terms of style and heartfelt honesty. Forget
Will Young and all those wannabes, Parks is the only time, so
far, I have wanted to take notice of one of TV's manufactured
musicians. Cry really ought to deliver the artist the breakthrough
she craves.
MONDAY, FEBRUARY 9
 RAM
- FOR YOUR LOVE: Another hot prospect to emerge from the creative
Manchester music scene, Ram is David Potts, another indie child
with a penchant for writing instantly catchy rock tunes. This
one contains lyrics such as 'praise you for your love', in a Fatboy
Slim/Praise You sort of style, and, in a nod to The Stone
Roses (?), a line 'swing for the monkey man, swagger the monkey
man'. But this is such a busy record, that the beats and loops
appear incessant, with an addictive base, some psychedelia thrown
in for good measure, and a fair old smattering of brisk drum loops,
Holmes-inspired organs, and indie-based guitar riffs. It's a heady
mix, but instantly appealing, and one which is sure to set tongues
wagging about the prospect of another great act from Manchester.
Second track, Two Fine Lovers, is a much more deliberate,
serene affair, with a nice collection of beats midway through,
while Dream Away is as psychedelia-laden as its title surrounds,
bringing out the best in Potts' laidback vocal style (albeit with
a banjo-led/mouth-organ finale which prompts comparisons with
Badly Drawn Boy). The Fink remix of For Your Love is well
worth paying attention to, as well, given that it ups the funk
quite considerably.
 THE
STROKES: REPTILIA: The second single to emerge from The Strokes’
brilliant Room on Fire is a return to the more familiar,
out-and-out guitar sound of the first album, with the same sort
of urgency which has become the band’s hallmark. Demonstrating,
once again, the ability to fine-tune the three-minute track to
blistering effect, this is an urgent, aggressive and hopelessly
hip offering from one of the classiest acts of the moment. If
you haven’t picked up the album yet, then we advise that
you do so, as soon as possible. Click here
for a review of the album…
 STEREOPHONICS
- MOVIESTAR: The first single to emerge from The Stereophonics
since the decision to sack their drummer, Stuart Cable, Moviestar
is a classic rock track, which provides an excellent showcase
for Kelly Jones’ strained vocals, while drawing in some electro-production
values, which evoke memories of recent Dandy Warhols material.
As progressive for the band as much of the material on the last
album, You Gotta Go
There, To Come Back, this should go some way to removing the
criticisms of certain indie critics, who feel their material had
become too ballad-driven and pop-fixated. This possesses an air
of cool, cocky incredulity that first marked them out as a band
to watch in their heyday. The future continues to look very bright,
indeed, if this is the standard we can expect…
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 STANDS
- HERE SHE COMES AGAIN: Indie-pop doesn’t come much better
than this gloriously upbeat, and effortlessly catchy record, from
a Liverpool-based band that has set tongues wagging throughout
the industry. Having already secured an endorsement from the Gallaghers
themselves, Here She Comes Again possesses all the hallmarks
of a timeless indie classic, much in the mould of The La’s
There She Goes, thanks to its melodic guitars and simple
hooks. We defy you not to be singing it almost as soon as you’ve
listened to it! An instant classic. Click here
for a review of the album, or here
for further details about The Stands...
 THE
RAPTURE - LOVE IS ALL YOU NEED: One of the best tracks to
emerge from The Rapture's Echoes album, with a slight make-over
to make a bit of a difference. Bearing all the hallmarks of the
disco-punk vibe which marks them out from the likes of The Strokes,
or StellaStarr*, this contains plenty of nods to their influences,
from Velvet Underground to the dance culture, right through to
the Mad-chester indie scene, while remaining tremendously upbeat
and funky to boot. If you haven't had chance to check out the
album, then this should prove the clincher for you to go out and
do so. Click here for our
verdict on the album...
 THE
POPPYFIELDS - 45RPM: The Poppyfields is another of those bands
which seem to revel in the ability to deliver catchy post-punk
rock-outs, in three minutes or less, at the moment. Think The
Strokes, or The Ordinary Boys, or, further back, The Clash or
The Sex Pistols, and you’re not too far away from what to
expect from this sparky debut. It’s fast, furious and suitably
geared towards joining the post-punk party, and could well set
the band on the road to success.
 ILYA
- BELLISSIMO: The second single from Ilya's forthcoming debut
album, They Died for Beauty, is a typically evocative number,
which boasts a sultry set of 'I believe in love lyrics', sang
in a laidback, seductive and remarkably French style. It's not
quite as addictive as the first single, Soleil Soleil,
but it does provide another enticing selection of cool beats,
offset by some suitably husky vocals, which could well provide
the ideal backdrop for a romantic night in for countless lovers,
ahead of Valentine's night. For the record, Ilya are a Bristol-based
trio who write, produce and play everything themselves, even though
their roots would appear to be from the French arthouse scene,
given the composition and style of their records thus far. On
the strength of this, the album should be interesting, while the
accompanying remixes - most notably the guitar laced Ilya remix
- is the pick of the bunch. Click here
to order the debut album...
 SPEEDWAY
- CAN'T TURN BACK: Scotland's rapidly emerging Speedway deliver
another heady showcase of their undoubted pop-rock talents, with
another storming single, which hooks you from the moment you hear
it, thanks to the edgy guitars, aggressive drums, and excellent
vocals which inevitably provoke comparisons with the likes of
fellow country(wo)men, Texas. This could be the one that helps
break them into the charts, given that it lacks the out-and-out
edginess of Genie In The Bottle, but it still retains a rawness
which keeps it firmly rooted in indie territory, and really ought
to have the fans hankering for more. Well worth listening out
for.
 BLUESKINS
- CHANGE MY MIND: Slide guitars rule in this brisk slice of
Brit-pop which probably represents The Blueskins' best work to
date. Containing plenty of crowd-pleasing 'whoohs', presumably
to make it a fast and furious live favourite, this is an upbeat
bluesy affair, which boasts some impressive guitar work, even
if the vocals feel a little lazy by comparison. The Blueskins
hail from Yorkshire and while they seem to be amassing a strong,
cult following, among the more rock-prone indie crowd, they still
feel a long way short of properly gaining public recognition -
but then, given the style of the songwriting, it's probably just
the way they like it. They're from the Jack Black School
of Rock, paying a fast and furious to the likes of Zeppelin
and co, rather than attempting to cash in on the post-punk revival
which seems to be the ticket to success for many a band nowadays.
The Led Zep influence is particularly strong on the track, I
Wanna Know. Click here
to pre-order the album, Word of Mouth, which is out on
April 26...
 CARINA
ROUND - LACUNA: The NME wrote that 'at her best, she fucks
up the blues like no Midlander since Led Zep', and while there
isn't too much to suggest that here, Lacuna is an excellent indicator
of what to expect from Carina's raw, bluesy vocal style, as contained
in the acclaimed album, The Disconnection. The guitars
are also strong, particularly during the solo midway through,
which set the symbols crashing, but this is mainly about the vocals
and they are as strong as we have come to expect. On the strength
of this, we should be hearing a lot more from Ms Round in the
very near future. Compelling. Click here
for the album...
 LOKA
- BEGINNINGLESS: The Ninja Tunes label comes over all atmospheric,
and even jazzy, for this brooding track from the hotly-tipped
Loka which has been likened, in certain quarters, to 'Radiohead
jamming with Fourtet'. The effect is quite beguiling, and hopelessly
addictive, featuring, as it does, a heady mix of scuzzed-up electronics,
Morricone-inspired guitars and sweeping orchestral washes. Loka
first came to prominence on Ninja's Xen Cuts compilation, where
the track, My Life Is In These Bottles, was quickly acclaimed
as one of the standout offerings from the compilation. Beginningless
merely builds on that early promise to make Loka one of the names
to watch from the Ninja staple over the coming year. Bonus track,
Airfling, is another laidback groove, which wouldn't sound
out of place in a late-night jazz venue frequented by Lalo Schiffrin,
while Safe Self Tester is a sympathetic, string-laden affair,
which builds invitingly to its headier, psychedelia-strewn excesses.
A class act.
 SIA
FURLER - DON'T BRING ME DOWN EP: A suitably sultry, and effectively
moody affair, from Australian vocal sensation, Sia Furler, which
should prove (if there was any justice) an excellent draw to her
latest album, Colour The Small One. Deeply brooding, this
string-laden, bass-line driven ballad is a spine-tingler of a
single, when played loud, which serves as a haunting, and deeply
passionate, insight into Furler's strong will to succeed. The
title speaks for itself, for anyone pondering what to expect.
Of the remaining tracks, which don't appear on the long-player,
Broken Biscuit is a melancholy, heartbreaking affair, which
makes only subtle use of instruments early on (as if to bring
out the best in those aching vocals), before building to a gutsy,
string-laden finale, while Lucky feels like a Cole Porter
throwback, more akin to Norah Jones' vocal style. Still, at least
it marks a more upbeat direction for the EP, particularly as she
talks of 'I'm getting lucky tonight'. The only complaint is that
there isn't something a little more upbeat, or beat-driven (in
the Zero 7 mould), for it seems that in solo form, much as on
the album, Sia seems content to stick with the ballads, which
have a danger of becoming repetitive. Click here
for a review of the album, or here
for a special feature on Sia.
MONDAY, FEBRUARY 2
 SIMPLE
KID - TRUCK ON: Simple Kid is being hailed as a maverick genius
to rival the likes of Beck, and this re-release, which was formerly
only available as a Fierce Panda EP, certainly makes you take
notice of another emerging talent. Laidback and effortlessly cool,
Truck On is one of those records that contains plenty of feelgood
retro vibes, while also possessing the ability to have you singing
along to its chorus almost as soon as you’ve heard it. It’s
great just to kick back and relax to, much in the same way that
some of Beck’s work is too. One to look out for in 2004.
 JOHN
SQUIRE - ROOM IN BROOKLYN: I happen to live with two ardent
Stone Roses fans, both of whom put this on with a great deal of
excitement, only to turn it off, midway through, with disgust.
The problem being, Squire's voice, which does little to suggest
he has any sort of solo career outside of The Roses. And while
they admit that Ian Brown's voice wasn't always the best, either,
at least it sounded great on record form. Squire, here, attempts
to build on the limited success of his debut album by reverting
back to the trademark guitar riffs which helped to make his name.
And while the guitar work remains as impressive as ever, it is
much less essential when accompanied by the vocals which, according
to one of the two housemates (and the bigger of the Roses fans),
sound as though he has been smoking 'about 200 cigarettes a day'.
The track is taken from the forthcoming, Marshall's House
long-player. Click here
to pre-order the album. Alternatively, click here
for further details of an exhibition of John Squire's artwork,
here for a review of
the album, or here for
more details on the long-player.
 VON
BONDIES - C'MON C'MON: Hitherto more famous for being the
band which landed Jack White in trouble, following the now notorious
dust-up, the Von Bondies now release their latest single in the
UK, the distinctly 'fight club' sounding C'mon C'mon. This
features a host of swirling, glammed up guitars, and the usual
rock beat, making this a fairly routine affair, albeit one which
works in small doses. Xfm continue to champion bands such as this,
and overplay them to a certain extent, for while it's refreshing
to support the rock/indie revival, too much of the same thing
can become a little wearing. And this, at the end of the day,
is by-the-numbers and fairly routine. Produced by Jerry Harrison,
who has worked with Talking Heads and the Modern Lover, this is
the first single from the Von Bondies' new album, Pawn Shoppe
Heart. Click here
for the album...
 CONSTANTINES
- NIGHTTIME: Toronto-based The Constantines are the latest
band to jump on the post-punk bandwagon, and this first single
to emerge from their second album, Shine A Light, is a suitably
fiery affair, which boasts some distinctive guitars. There is
also something a little more brooding about their style of songwriting
than most punk bands of the moment, but there's no escaping the
fact that there isn't really enough here to get overly excited
about. The single includes the band's cover of Talking Head's
Thank You For Sending Me An Angel, as well as the previously unavailable,
but frankly tedious, Hotline Operator, which seems to get lost
midway through in a monotonous drone. Guitar work aside, this
would be extremely forgettable. Click here
for the album...
 THE
ORDINARY BOYS - MAYBE SOMEDAY: They've been compared with
everyone from The Jam to The Libertines for this aggressive slice
of indie-punk rock. The track is actually named after a Morrisey
track and has been heralded as the future of English guitar music
by the NME and The Times. It is simple, fast, furious and typically
English (the lads hail from Essex), but it lacks something - perhaps
the cheekiness of a band like Blur in its early days. When they
sing 'waiting for an inspiration', you can't help feeling this
is an appropriate metaphor for the song itself. It's accomplished,
and the guitars are urgent and striking, but the song itself feels
a little laboured. As an introduction to The Ordinary Boys, however,
it does hint at a future talent; so let's just hope they strive
to become more than just ordinary in what they do... Click here
for further details on the band...
 MAROON
5 - HARDER TO BREATHE: This is one we missed, upon release
in January, but one which we feel warrants a mention. Described
by HMV as an amalgamation of Lenny Kravitz, Red Hot Chili Peppers
and Incubus, this is a rock/hip-hop crossover track, much in the
same mould as some of those bands, which creeps its way into your
subconscious until you find yourself singing along with it, and
wanting to know more. The stifled pace of the record also makes
it easy to believe the band when they sing it's getting harder
to breathe as well, which is a pretty neat trick. For the record,
Maroon 5 hail from LA, and are a rapidly-emerging five-piece.
This track is well worth checking out, if you haven't already.
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