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, FEBRUARY 28

SINGLE OF THE WEEK: THE BRAVERY - AN HONEST MISTAKE: New York's hot new tips, The Bravery, follow-up their Unconditional EP with their first single proper in the UK, the melody-laden An Honest Mistake. Proving that the distinctive guitar rifts of Unconditional were no fluke, the band look set to take Britain by storm with their endearing mix of brilliant music and edgy lyrics, all powered by lead singer, Sam Endicott's raw style. The track is taken from the upcoming self-titled album and expertly justifies the hype that has been building around them since their sold-out UK shows last year. Make sure you get on board quick - for these guys could become just as big as The Strokes and bands of that ilk.
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SOUNDTRACK OF OUR LIVES – HEADING FOR A BREAKDOWN: Swedish-based rock ‘n’ rollers were hailed as the new Hives when they burst onto the scene a couple of years ago, but they’ve struggled to gain a foothold ever since. With Heading For a Breakdown, however, they might just get the breakthrough they deserve. The track is a foot-stomping, Sixties based classic that recalls the guilty pleasure of the Beatles and the Stones in their heyday, while also bringing to mind more modern sounds such as The Bees and The Dandy Warhols. The track is driven, first and foremost, by Kalle Gustafsson's Entwistle-style bass and given added street cred by Ebbot Lundberg’s gutsy vocals. It’s a feel-good re-introduction to a sextet that really ought to be a lot bigger than they are by now.
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STEREOPHONICS - DAKOTA: Upon first listen, the new single from Welsh rockers, the Stereophonics, was a bit of a head-scratcher. Much less guitar-based than previous efforts, and far more mixed up and funky, Dakota didn't even sound like the outfit straight away. But from the moment Kelly Jones kicks in with the chorus, it becomes distinctly their own sound, and it's a tribute to the band's continued progression that Dakota sounds like one of the freshest tracks to emerge from them in a long time. The trademark pop guitar riffs are present, complete with an emotional vigour that is sure to have the unconverted running to find out more. Refreshing, anthemic in its way, and laden with bright hooks and feel-good melodies, this is a very welcome return indeed for one of Wales' finest exports. You can only look forward to the rest of the album.
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HANDSOME BOY MODELING SCHOOL – THE WORLD’S GONE MAD: Super-producing duo, Handsome Boy Modeling School, unveil the first single from their mercurial album, White People, which surely has to rate as one of last year’s finest efforts. The World’s Gone Mad features an impressive line-up of musical and vocal talent, including Barrington Levy, Del The Funky Homosapien and Alex Kapranos (of Franz Ferdinand fame), and comes across as a hip-hop coated fusion of The Gorillaz mixed with Beck. It’s a deliriously chic affair, featuring a pulsating beat, a memorable guitar riff and some pertinent observations on the state of our planet. The single is also split into three parts, all of which register strongly on the quality scale. If you haven’t caught up with the Handsome Boy’s school yet, then it’s time to enrol.
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SKALPEL - BREAK OUT: Anyone who recalls the release of Skalpel's eponymous debut album last year will remember that Ninja's Polish electronic jazz maestro ran a competition to find great remixes for some of his album tracks. Well, the boys at Ninja were so impressed by the quality of what emerged that they have put out a remix EP with some of the winning entries, plus a couple of ringers. Hence, the latest remixing talent gets a fantastic workout courtesy of Ninja, which serves as a two-fingered salute to anything Pop Idol could come up with. The track in question, Break In, is a suitably atmospheric jazz number that sounds as though it could be Miles Davies and Lalo Schiffrin combined with David Holmes. The winning mixer, Backini, takes this concept and runs with it, delivering a deliciously brooding makeover, complete with vocal samples and an ever-increasing soundscape. Dr Rubberfunk's Live @ No.10 remix is, however, the best one for me - a suitably upbeat and funky remix that would effortlessly find a place for itself among the gangster chic of Holmes' Ocean's 12 soundtrack (especially given its Seventies-style hammond organ workouts). If that's not enough to entice you, then Paradowski adds his own signature to the mix, as does Skalpel himself (in typically classy style), while there are also lively workouts for album tracks, Low and Break In. All of which makes Skalpel's EP another break out success for Ninja.
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MOBY – LIFT ME UP: It’s been some time since we had anything new from Moby, but the prolific artist returns with Lift Me Up, the first track to be taken from his forthcoming album, Hotel. Recorded and mixed during 2004 at Moby's apartment, Electric Lady Studios and Loho Studios in Manhattan, Lift Me Up continues to play to Moby’s strengths – electro-disco beats and haunting vocals – while also coming across as far more upbeat than some of his more famous stuff. It takes a few listens to properly get used to but once it gets into your head, the track is an uplifting, energetic and consistently invigorating effort that puts the lie to the claim that Moby is only capable of producing elevator music. Mixes come from the likes of Mylo, Superdiscount and Abe Duque – just to ensure that your attention is suitably grabbed.
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REM – ELECTRON BLUE: It’s been a while in coming, but REM finally release the third track from their latest album, Around The Sun, in the form of Electron Blue (the second track). Accentuated by guitar fuzz and atmospheric synths, the track marks Michael Stipe and co at their most ethereal and emotive, while eschewing all the values we have come to expect from one of the world’s biggest and most enduring bands. Around The Sun unfairly fell prey to some harsh criticisms around the time of its release last year, but given that it features tracks of this quality (together with Leaving New York and The Outsiders, to name but two), you find yourself writing them off at your peril. Electron Blue might not rate among the very best of their work, but it’s a strong entry nonetheless and well worth owning for any lifelong fans.
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KANO – TYPICAL ME: East London rapper, Kano, looks set to become a very hot prospect if Typical Me is anything to go by. The single has Kano shrugging his shoulders outside the Ministry after being thrown out by steroid-pumped bouncers. “I’m trying hard not to be aggressive but it’s just one of those days,” he explains. “A typical situation encountered by our nation’s youth countless times up and down the UK every weekend”. Typical Me is therefore a cautionary confessional of street reality made more notable by having the singer, himself, as both the playa and crestfallen loser. What’s more, it’s set against the backdrop of a grinding slice of rock guitar that evokes memories of Jay-Z’s 99 Problems. Needless to say, the track screams attitude, as well as marking the arrival of a major new English rap star.
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ANNIE - HEARTBEAT: Having first made an impression late last year with Chewing Gum, Norwegian pop singer, Annie now returns with another funky number in the form of Heartbeat. The track impeccably demonstrates the singer's ethereal vocals (which provoke almost immediate comparisons with the likes of Kylie) and the shamelessly catchy vibe surrounding most of her material to date. It's strictly for the mainstream, of course, but given the dire state of pop at the moment, it's fairly gratifying to find an artist who is fun and good enough to not be relying on cover versions or hum-drum dance beats. Heartbeat, with its cascading drum beat and funky bassline, serves to confirm that Annie looks like being an artist to watch. Let's hope the dullards embrace her!
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LCD SOUNDSYSTEM – DAFT PUNK IS PLAYING AT MY HOUSE: Great name, great single, great artist. LCD Soundsystem release the magnificently titled Daft Punk Is Playing At My House, a pulsating, beat-driven anecdote of France's favourite robotic dance act. Featuring alluring guitar grooves and relentless strumming over heavy snyths, the track bounces up and down with an irresistible force, and provides an excellent example of why the debut album is so darn impressive. What’s more, remixes coming from the equally prodigious Soulwax. What’s not to like?
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RAMMSTEIN - KEINE LUST: Keine Lust is the second single to be taken from the album, Reise Reise. The first single, Amerika, was the first time the band had recorded and released a song that was partly sung in English. But no real surprise the German rock sextet is back in their full "more metal than thou" in full Deutsch. With a beat reminiscent of Marilyn Manson’s Beautiful People this single appealed to me more than their last release, plenty of headbanging metal/industrials and painted Goths at Rockscene, Slimelight and Full Tilt will adore this track. Can’t really imaging anyone else will like it though? Hurrah for the German Metal/Industrial music minority! (Evelyn O'Connell)
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FATBOY SLIM – JOKER: It’s somewhat baffling to find that Norman Cooke and Bootsy Collins have chosen to release one of the worst tracks from his latest album as the third single. Given the quality of tracks such as his Damon Albarn collaboration, it’s desperately disappointing to find Fatboy Slim turning to cover versions to try and attract chart success. The Joker is a Steve Miller Band classic, given a tepid makeover that’s supposedly designed to put a smile of recognition on the face. Sadly, it does just the opposite, merely serving to underline the suspicion that Mr Cooke has lost his touch. It does the album no favours whatsoever, which actually contains some inspired moments and some positive vibes for the future.
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BJORK – TRIUMPH OF A HEART: You can count on Bjork to be different – and anyone who enjoyed her last album, Medulla, will know what to expect. The album was recorded without any instruments, relying solely on the power of the human voice. Here, we have her distinctive vocals offset by the human beat-boxing of Japanese wonder, Dokaka, who makes a very strong impression. Triumph of a Heart has been described as Bjork’s most commercial single in ages and it’s easy to see why given the deft mix of beats that could easily translate to any dancefloor. It’s most definitely the best track to be taken from Medulla (which otherwise comes across as too quirky and clever for its own good) and comes in a variety of formats, all of which boast remixes. Recommended.
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SHANIA TWAIN – DON’T: Taken from Shania’s double-platinum selling Greatest Hits album, Don’t is another of those moody ballads that the singer-songwriter has earned a career out of penning. Featuring heartfelt lyrics such as ‘let me love you’ and ‘don’t pretend that it’s ok’, the song is sure to appeal to the Radio 2 brigade, as well as the country and folk army of fans that have helped her amass such a loyal following. However, there’s no escaping the feeling that this is a little too generic for its own good and not really that much of a stretch for the artist. One to avoid.
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BRITNEY SPEARS – DO SOMETHIN’: Britney is increasingly facing stiff competition from the likes of Gwen Stefani and her ilk, so it’s hardly surprising to find her re-teaming with producers, Bloodshy and Avant, to deliver Do Somethin’, a ghetto shout-out that does actually scream of desperation. The track may boast funky grooves, angry guitar, jerky beats and street lingo, but it crucially lacks street cred and seems lost between the crunk style of Ciara and the electro-pop of Girls Aloud. Sadly, it’ll probably make bucket loads of money.
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MONDAY, FEBRUARY 21

SINGLE OF THE WEEK 1: IDLEWILD – LOVE STEALS US FROM LONELINESS: A very welcome return for Idlewild with a trademark single that manages to showcase some form of progression while hinting at the band’s brilliant past. Featuring some blistering vocals from Roddy Woomble, that manage to combine anger and melancholy, the track is a confused ballad that smacks at the emotional torment the singer must have been feeling while writing. Naturally, it comes enveloped in the rich guitar sound and bass that has become the band’s calling card, as well as a fiercely emotive video, featuring the Irish actress, Alexandra McGuinness. Roll on the new album!
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SINGLE OF THE WEEK 2: AKON - LOCKED UP: Hotly-tipped new US R&B sensation, AKON, looks set to make a similar splash in the UK as he did in the States with the release of debut single, Locked Up, featuring Styles P. The single is taken from the Senegalese artist's debut album, Trouble, which is, according to AKON, 'evolved from the struggles I went through and what I did and am still doing to correct those things'. There's no denying the track has widespread appeal, thanks to some hard-hitting lyrics, a cool beat and some nice underlying piano, coupled with the artist's own distinctive vocals. Given the theme of the record and the issues it tackles, it's almost refreshing to hear it done in a laidback, soulful hip-hop style than that which is more usually to be found coming from the lips of, say, Eminem. Classy stuff indeed.
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KAISER CHIEFS - OH MY GOD: Yet another of 2005's hotly-tipped acts, Kaiser Chiefs, deliver a track that is worthy of the hype surrounding them. Oh My God is a fresh, invigorating and truly inspirational track that marks an interesting change of pace from the band's previous best effort, I Predict A Riot. Almost Beta Band-esque in style, Oh My God hooks you in from the moment you first hear it and just keeps getting better. It builds slowly before unleashing a fiery crescendo that showcases the band at their absolute best – and which has got listeners of Radio 1, Xfm and Virgin all very excited.
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ENGINEERS – FORGIVENESS: Having impressed considerably with last year’s Folly EP, Engineers now release Forgiveness, a track taken from that EP which is also set to feature on the outfit’s imminent eponymous long-player. As such, it has been beguiling Xfm listeners for some time with its intoxicating blend of chilled out vocals and dreamy, symphonic instrumentals. Forgiveness, which builds slowly but delivers huge rewards, is ideal for blissful afternoons and evenings with the stereo cranked up loud to best appreciate the epic scope of the songwriting. It certainly marks Engineers out as yet another name to watch in 2005, when the promise that is rife throughout Folly looks certain to be fully realised. It’s no wonder that Xfm listeners were so quick to embrace it because it’s the sort of track that has you yearning to find out more about the band from the moment you hear it.
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LOW – CALIFORNIA: The name alone suggests sun-drenched vistas, long, lazy coastal drives, and that feel-good vibe that is almost synonymous with the sunshine state. Hell, it’s provided the inspiration for countless other tracks of the same name, so it’s only fair that Low should get in on the act. Needless to say, California (‘where it’s warm’) is one of the best tracks from the band in a long while, one that makes the most of David (Mercury Rev, Flaming Lips) Fridmann’s excellent production skills, to deliver an effort rich in 12-string Rickenbackers, staccato drums and near-perfect sun-drenched harmonies. You can practically smell the sea air. California marks a new direction for Low, which is fully realised in the excellent album, The Great Destroyer.
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EMILIANA TORRINI - SUNNY ROAD: Now here's something worth checking out. Half-Icelandic, half-Italian singer, Emiliana Torrini, releases Sunny Road, from her Fisherman's Woman LP, and lives things up for the single format. The result is something altogether more enchanting than anything on the album, and one that instantly conjures images of idyllic summer days spent floating in a field. Far less intimate and atmospheric than the ponderous album, it arrives like a breath of fresh air complete with a wonderful, Morcheeba-style Manasseh Main Mix and an equally beguiling Atom TM Mix. Given the disappointing nature of the long-player, perhaps the way forward for Torrini would be to put out a remix version of Fisherman's Woman - on the strength of this, it could be quite an absorbing listen. This one's certainly worth investing in, fully doing justice to those distinctive, Bjork-style vocals.
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THE FUTUREHEADS – HOUNDS OF LOVE: The Futureheads deliver their finest single to date in the form of this art-rock oddball take on Kate Bush’s classic, that will probably deliver the band the sizeable hit they have long been threatening. Brimming with the catchy melodies and beats that are rife throughout the debut album, Hounds of Love is a bouncy slice of eccentric song-writing that pretty muck eeks its way into your subconscious from the moment you hear it and hounds you for the rest of the day. As an introduction to the band, it’s sure to win them a whole new fanbase – making the debut long-player one to check out for anyone who’s missed it.
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DOGS - SHE'S GOT A REASON: Dogs deliver the type of anthem that should appeal to anyone who can admit to being even slightly obsessive about a broken relationship. Featuring a yelped vocal chorus/chant of 'I liked you better when you liked me as well' and a spiraling lunacy in the ragged guitars, the track is three and a half minutes of swagger and snarl that demonstrate the hotly-tipped rockers at their punk-rock best. Headed by lead singer, Johnny Cooke, Dogs are a five-piece from London that look set to achieve big things. In 2004, they released the much sought-after limited edition London Bridge, while She's Got A Reason has had the likes of NME, The Sunday Times and The Independent raving. What's more, an album is on the way in the summer. You'd be barking mad to ignore them, it seems.
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KT TUNSTALL - BLACK HORSE AND THE CHERRY TREE: Scottish singer-songwriter, KT Tunstall, follows up the release of her excellent album, Eye To The Telescope, last year with the release of this dazzler, which provides an eye-catching showcase of her considerable talent. A gutsy blend of bluesy guitars and dusky vocals, the track is a feisty, old-school declaration of intent that went down a storm when it was performed on Later With Jools Holland. Tunstall's vocal style has provoked comparisons with everyone from Norah Jones to Sheryl Crow, but her upbeat style is very distinctive and the quality that's evident in Black Horse and the Cherry Tree runs rife throughout the album. It was one of the best-kept secrets of last year - so be sure to look it up and then try and catch Tunstall during her forthcoming dates in the capital. They're sure to blow you away, for this is a major work from a majorly talented female artist.
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KEISHA WHITE - DON'T CARE WHO KNOWS: Yet another hot young vocal talent arrives on the sultry R'n'B scene, in the form of Keisha White. Hailing from London, Keisha first came to the attention on Paul Oakenfold’s The Harder They Come, before emerging as an artist in her own right. Her latest single, Don't Care Who Knows, features guest vocals from US rapper, Cassidy, and could easily be the sound of an established R&B artist in her own right, given the confident delivery and accomplished production values. She prides herself on being able to deliver something from each of her inspirations, the three As - Aretha Franklin, Aaliyah and Anita Baker - and looks set for a fantastic career. Don't Care Who Knows is an infectious blend of UK/US vocals that provides an intriguing insight into all the artist has to offer, while several of the tracks on the album sampler I have listened to prove that Keisha is someone who's here to stay.
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SIMPLE PLAN - SHUT UP: Canadian alt-rockers, Simple Plan, return with another Blink 182-influenced blast of juvenile rock that's fun while it lasts but ultimately forgetabble. Shut Up marks the opening track to their album, Still Not Getting Any, and is as loud, energetic and bouncy as we have come to expect from this sort of thing. Like most other American/Canadian bands that don’t want to be labelled as punk or grunge or whatever, the lyrics entail the usual mix of fire and rebellion, imploring people not to tell them what they want to be, or bring them down. But it's hard to distinguish between the sound of Simple Plan and the likes of Good Charlotte - making it a fairly routine entry into the ever-expanding US alt-rock scene.
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SNOOP DOGG – LET’S GET BLOWN: Hip-hop legend, Snoop Dogg, releases the second track from his epic album, R&G (Rhythm and Gangsta): The Masterpiece, in the form of Let’s Get Blown, a typically laidback and cool affair. Featuring The Neptunes on production values, and Pharrell on guest vocals, it’s as smooth a hip-hop anthem as you might expect, with Snoop’s distinct vocal style being offset nicely by the soulful vocals of Pharrell. It might not be quite as good as the amazing first single, Drop It Like It’s Hot, but it does provide telling evidence of why The Masterpiece is so highly-regarded in hip-hop circles. It also provides a nice mixture of styles for Snoop fans. Expect it to be massive.
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CHARLOTTE HATHERLEY – BASTARDO: You have to love the infectious charm that surrounds all things Ash guitarist, Charlotte Hatherley. Bastardo chronicles a fateful one-night stand between the singer and a seemingly lovely Antonio, which turns sour when she awakes the next morning to find her beloved guitar has been stolen by ‘the two faced lothario’! The ensuing track is driven forward in whimsical pop/rock style, and features Hatherley’s trademark jangling guitars and fast-emerging sugar-sweet vocals. Taken from her debut album, it confirms that Hatherley has emerged as something far more than merely Ash’s guitarist – she is a talented singer-songwriter in her own right. If you haven’t heard the album yet, it’s well worth checking out.
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RADIO 4 – TRANSMISSION: Hip New York five-piece, Radio 4, release this limited edition 10” of Transmission, one of the best tracks to emerge from their glorious album, Stealing of a Nation. Featuring a typically blistering vocal turn from lead singer, Anthony Roman, which continues to recall memories of INXS’s Michael Hutchence whenever I hear it, the track is a disco-charged slice of punk-rock that has since become a very firm live favourite. The 10” is notable, however, for including remixes from the likes of Alex Smoke, Mad Professor/Darkfantom and Stilzy, which increase the dancefloor vibe surrounding it. Smoke’s remix of Transmission is an edgy, atmospheric beat driven monster, while Black Ark Experyments dub-heavy take on album title track, Stealing of a Nation, is quirky but strangely addictive. Radio 4 fans will no doubt want to tune in.
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RAY LAMONTAGNE – TROUBLE: It took Ray LaMontagne ten years to emerge from shoe factory labourer to emerging singer, but the wait looks to have been worth it given the acclaim currently surrounding the talented singer-songwriter. Trouble marks the first single to be taken from his debut album, of the same name, and is steeped in the classic style of those who inspired him – most notably Bob Dylan and Neil Young. Featuring a gruff set of vocals offset by some lazy folk guitar and the odd blast of mouth-organ, Trouble is a deeply brooding, yet quietly affecting effort, that grows on you the more times you hear it. The biggest compliment, though, would be to say that Trouble sounds like the work of an old master.
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MANDO DIAO – YOU CAN’T STEAL MY LOVE: Swedish rockers, Mando Diao, deliver a suitably madcap effort from their debut UK album, Hurricane Bar (out in March) that justifies the buzz of excitement surrounding them. The band is due to tour with New York hot-tips, The Bravery, soon and on the strength of this single (and The Bravery’s Unconditional) it should be a very hot gig indeed. Here, songwriting partners Gustaf Noren and Bjorn Dixgard, display their ability to deliver high-octane yet melody-strewn blasts of pop-rock. If anything, You Can’t Steal My Love provokes comparisons with the guitar style of The Libertines, but there’s something a little more accessible that makes it all the more enjoyable. Keep a look out for the album.
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NELLY – OVER AND OVER: US rapper, Nelly, certainly knows how to mix things up a little and still provide what’s needed for a massive hit. Having already scored huge hits with his own Flap Your Wings/My Place double-A sided release, and his Christina Aguilera duet, Tilt Ya Head Back, he now unites with US country superstar, Tim McGraw, for a heartfelt ballad that’s already made a huge splash on the other side of the pond. It’s a moody lament about a lost love (‘I remember the day you left’) that features a memorable guitar riff, some laidback beats and a really good mixture of different vocal styles from the rapper and country singer. It could well provide Nelly with his biggest UK hit to date and is taken from the album, Suit, which was one of two released simultaneously by the prolific artist last year.
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USHER – CAUGHT UP: The fourth single to emerge from Usher’s hugely successful album, Confessions, ups the pace considerably, and feels far better than some of the lacklustre ballads that preceded it. Caught Up is a feel-good funky club anthem that features a lively beat and some slick production values, courtesy of Andre Harris. It’s not quite as good as Yeah, the monster Grammy winner, but it does represent a refreshing change of pace that’s sure to go down a storm on the dancefloors this spring.
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50 CENT - DISCO INFERNO DOWNLOAD ONLY: 50 Cent releases an exclusive internet only track, Disco Inferno, from his forthcoming long player, The Massacre. The track not only features on the album but is also on the flip side of his impending new single, Candy Shop - due out through his own G Unit Records on the March 21, 2005. New album, The Massacre, is released on March 7 in the UK and features the usual heavyweight executive producer credits from Dr Dre and Eminem. Disco Inferno will be available through all download networks.
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TOKYO DRAGONS – WHAT THE HELL: The self-styled ‘greatest rock ‘n’ roll band in Britain’, Tokyo Dragons, return with another slice of grandiose, stadium-filler rock in the form of What The Hell. Think Deep Purple mixed with Led Zeppelin, with a touch of The Darkness’ glam, and you’re pretty close for what to expect. It’s big guitars, expansive vocals and probably enough denim and leather to pack a convenience store. What The Hell is an exuberant, flashy re-introduction to the London-based outfit that could well give The Darkness a run for their money in the glam-rock stakes. For me, however, it’s a little too much of the same thing and simply not inspired enough to get that excited about.
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WONDER STUFF – BILE CHANT/ESCAPE FROM RUBBISH ISLAND: It’s been a while, but The Wonder Stuff finally return with a maxi-double A side download-only track, featuring re-recordings of Bile Chant and Escape From Rubbish Island, from the album of the same name (Escape From). Given the names of the tracks themselves, it’ll come as no surprise to find their guitar-driven, fiery indie anthems that recall the glorious heyday of the band. Miles Hunt (vocals/guitar) and Malc Treece (guitar/vocals) are still front and centre, stamping their own style all over the singles, of which Escape From Rubbish Island emerges as the most triumphant – a blistering indie workout that kicks off with the lyric ‘on a motorbike on the open road, on a destination yet untold’. What’s more, Alabama 3’s Johnny Dope provides remixes of both tracks which merely serve to enhance the feel-good vibe. A welcome return.
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GIRLS ALOUD – WAKE ME UP: Brit-pop queens, Girls Aloud (and that’s not saying much) return with another of those bland, supposedly catchy, hopelessly mainstream numbers that have become their hallmark. Wake Me Up fuses elements of electro and punk but remains predominantly pop and mostly annoying. The best that can be said about it, given the name, is that it’s not a cover of Wham’s Wake Me Up Before You Go-Go and it does boast another of those teasing videos, featuring the girls in varying states of undress. That, however, is not an endorsement to buy it.
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MONDAY, FEBRUARY 14

EMBRACE - LOOKING AS YOU ARE: Embrace continue to revel in their newfound popularity with the release of Looking As You Are, an epic indie-ballad of unrequited love that arrives just at the right time for Valentine's. The track eschews all the values of a classic Coldplay number - yearning vocals, sweeping choruses, and strong use of both piano and guitar to reach several musical crescendos - all delivered using Danny McNamara's distinctive vocal style. Will there be a better anthem for sweethearts this Feb 14? The dreamy lyrics and wistful sentiment seems tailor-made for another huge chart success, which would mark the third single to be taken from the excellent album, Out of Nothing.
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BIFFY CLYRO – ONLY ONE WORD COMES TO MIND: Biffy Clyro kick off 2005 with a little belter of a single, Only One Word Comes to Mind, which helps to explain why the album, Infinity Land, emerged as one of Kerrang’s best of 2004. The single is an epic, sweeping indie-style anthem featuring some really crisp guitar and a memorable chorus that gets into your head from the very first moment you hear it. The track certainly rates as one of the best things Biffy Clyro have put out in a long time and could well set them up well for the coming 12 months. Less heavy than normal, it’s sure to have wider appeal, while also appealing to the hardcore fans among you. Well worth checking out and a regular Music-Response favourite on Xfm.
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ABERFELDY – LOVE IS AN ARROW: It begins with the lyric ‘love is a thing that I can’t describe’ and proceeds to deliver a charming dissertation on the L-word, so what better day to release it than Valentine’s? Edinburgh-based five-piece, Aberfeldy, release the very welcome Love Is An Arrow from their acclaimed debut album, Young Forever, which showcases the bitter-sweet acoustic pop, tinged with country, that is rapidly becoming their hallmark. Packed with the kind of sentiment that could put Cupid out of business, it’s a quirky yet endearing one-of-a-kind that deserves a much wider listener base than it will probably receive. If, however, you were dazzled by former single, Heliopolis By Night, and are smitten with Love Is An Arrow, then Young Forever is most definitely the album for you. It was one of last year’s best-kept secrets.
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THE GAME feat 50 CENT – HOW WE DO: New West Coast ‘hip-hop saviour’ The Game continues to build on his reputation with the release of How We Do, a heavyweight in all senses of the word. Produced by Dr Dre, who has taken The Game under his wing, and featuring a guest rap from 50 Cent, it’s an attitude-heavy yet totally cool single that is sure to go down a storm with anyone who likes G-Unit, D12 or the new urban hip-hop sound (needless to say, it has already gone down a storm in the States). In truth, it owes more in style to 50 Cent than it does to The Game, but it’s an effective showcase of what to expect from the debut album, The Documentary, which goes some way to justifying the hype surrounding him. The single, while nothing special for this sort of thing, is a slick effort from a very impressive ensemble team.
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MARK JOSEPH – LADY LADY: Comparisons with the style of Robbie Williams are almost inevitable when you first hear Mark Joseph’s epic ballad, Lady Lady, for the first time. The vocal style is not dissimilar, particularly during the chorus, while the crooning, easygoing style is almost certain to get noticed by those love-struck ladies among you. Taken from Joseph’s debut album, Scream, the track is an epic power-ballad, packed with soaring strings and melodies, that looks set to further the artist’s reputation as a self-made singer-songwriter to watch. But better still is the Dave Fridmann remix, which lends the record an even more sweeping and expansive feel. It’s little wonder that the track has emerged around the Valentine’s period, given its deeply romantic leaning. It ought to be huge.
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WILLY MASON – OXYGEN: Rapidly-emerging singer-songwriter, Willy Mason, takes a nihilistic and stark look at society with his brilliant new single, Oxygen. Beginning with the telling lyric, ‘I wanna be better than oxygen’, the track goes on observe that ‘the future looks dark/but it’s there that the kids of today must carry the light’. It’s typical of Mason, though, to offset society’s pessimism, as a whole, with equalled amounts of optimism, urging people to start solving their problems rather than dwelling on them. Sound pretentious? It could have been but Mason is such a jovial fellow – just try listening to the story about his ‘arrest’ experience – that it’s difficult not to listen and agree – that sense of hope is conveyed in the subtle acoustic guitar chords and laidback vocal style that is sure to become his trademark in 2005.
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STEPHEN FRETWELL – RUN: Having made a huge impression while supporting Keane last year, Stephen Fretwell is gradually emerging as an artist in his own right. Run is the first single to be taken from his highly-acclaimed album, Magpie, and is best described as an uplifting ballad, tinged with folk and country, but filled with the Northern guile that Fretwell injects into all of his songs. Designed to tug at the heart-strings and tailor-made to accompany the soundtrack to a Working Title romantic comedy, it’s a thoughtful, pensive and deliberately subtle effort from an artist whose star is very much on the rise. Run to discover Fretwell now – he is playing a number of UK dates across the UK in February.
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DEATH FROM ABOVE 1979 – BLOOD ON OUR HANDS: Canadian power-rockers, Death From Above 1979, deliver the second single from their album, You’re A Woman, I’m A Machine, in suitably incendiary style. Inspired by a bitter relationship, the track features some suitably gutsy lyrics (‘you have blood on all the shoes you’ve worn, from the people you been stepped on’), backed up by some headbanging drums and scuzzed-up guitars that effortlessly evoke memories of the band’s debut track, Romantic Nights. The brash, no-nonsense style might be too much for some people (and occasionally sounds pretty generic given the re-emergence of this type of guitar sound), but the song is delivered in such heartfelt fashion that it’s ultimately difficult to ignore. But then what else could you expect from a band called Death From Above?
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JENNIFER LOPEZ – GET RIGHT: Jenny from the block returns with another formulaic single that heralds the release of another new album, Rebirth, which is notable for seeing her reunited with long-term producer, Cory Rooney. Get Right is a suitably feisty hip-shaker that comes with a funky trumpet sample and a new raunchy dance routine (made to maximise that world-famous behind), but which also sounds a little too familiar to be truly memorable. That said, by surrounding herself with talent, such as producer, Rich Harrison, and singer, Fabolous, there’s no denying that J-Lo knows what it takes to provide the formula for success. This ticks just about every box and should provide another sizeable hit. It’s just nowhere near as good as the artist at her best.
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LL COOL J - HUSH: It's hard to believe, but singer-turned-actor, is now up to his 11th album, The DEFinition, and Hush represents the latest offering from it. Described by the singer, himself, as 'a real melodic', it tells 'a beautiful story' about two people who are destined to be together no matter what. "It's about how we all need to just hush and have faith that we can make it," adds LL Cool J. There's nothing like being modest, eh? In fact, it's a jolly enough mid-tempo slice of R'n'B, produced by and featuring 7 Aurelius, that's sure to go down a storm on the R'n'B circuit. LL Cool J prides himself on his silky smooth looks and persona, cutting a suitably debonair ladies man whether on-screen or behind a microphone - Hush only looks set to further that reputation for anyone that has been seduced thus far.
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TRICK DADDY – LET’S GO: Miami bad boy, Trick Daddy, is a suitably heavy slice of attitude-laden hip-hop also featuring Lil Jon and Twista, that is notable for carrying an intense sample of Ozzy Osbourne’s cult classic, Crazy Train. Let’s Go is certainly for the more hardcore hip-hoppers among you, courtesy of its bellowing vocals and no-nonsense tone, but it’s good to see Trick Daddy incorporating his rock and roll roots as well, given the piercing guitar riffs and urgent bass. The track is taken from Trick Daddy’s sixth studio album, Thug Matrimony: Married to the Streets, which, needless to say, is a profanity-laden treat for the more hardcore among you.
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ANGEL CITY - SUNRISE: Cheesy modern dance music gets a yawn-inducing outing in this tired effort from the Angel City crew. Sunrise features another of those sub-standard Kylie Minogue-style vocals from Laura McAllen that really begins to grate after a certain amount of listens. The bouncy, generic beat is the musical equivalent of a tacky popcorn movie, designed with chart success and dancefloor filling in mind. In short, it's a wretched, pointless, soulless advert for the album, Love Me Right, which contains 11 tracks that are virtually the same. Let's hope the sun sets early on this particular style of music now that guitar-based bands seem to be making a comeback. The remixes, as you'd expect from this sort of Ibiza-styled thing, are all about big beats and laboured melodies. Avoid.
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MONDAY, FEBRUARY 7

U2 – SOMETIMES YOU CAN’T MAKE IT ON YOUR OWN: An intensely personal ballad, written about Bono’s late father, marks the other side of U2 to Vertigo – thereby providing a fitting showcase for how they have been able to blend styles so consistently throughout their years of existence. Sometimes You Can’t Make It On Your Own – which, in its title alone, bears a message for all of us – is a piece of songwriting every bit as poignant and memorable as One, and which marks the new album, How To Dismantle An Atomic Bomb, at its quietest and most thought-provoking. As usual, Bono’s powerful vocals send a shiver down the spine, while The Edge’s classic guitar work provides a fitting backdrop. This is a band that just keeps getting better and better.
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U2 - SOMETIMES REMIXES: The Jacknife Lee remix of album track, Fast Cars, is a lively reworking of an already uptempo song that crucially doesn't stray too far from the original, while Redanka's take on Vertigo clearly has the dancefloor in mind. It chops and splices elements of the original, building plenty of samples around The Edge's distinct guitar rifts and emerging as a feel-good triumph to boot. The weirdest offering is the Jacknife Lee remix of Ave Maria, in which Bono gets political with the help of Pavarotti. The song, in itself, is deeply poignant and completely pertinent to the world troubles of today, yet try as hard as I might, I couldn't see the point of the Jacknife Lee remix, save to make the track a little more atmospheric. It's still a good effort, though, and evidence of the quality that Bono and co invest in just about everything they put out.
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DOVES - BLACK AND WHITE TOWN: I have no idea what singer/songwriter, Jimi Goodwin, has been up to since Glastonbury 2003, but boy has he emerged sunny side up! Taking an unexpectedly happy turn, Doves return in a big way this week with their new single, Black and White Town. It is the first single to be taken from their hotly awaited third album, Some Cities. It has been described as a turbo-charged, sonorous assault, at points crunching and urban, sounding like a midnight high-speed joy ride through the industrial beating heard of their hometown city Manchester. An anthem for satellite town teens and a spirit-lifting tune for the rest of us!
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DESTINY'S CHILD - SOLDIER: The second single to emerge from Destiny Child's platinum-selling album, Destiny Fulfilled, Soldier is another of those trademark chart-busters that ooze sultry lyrics and heavy beats, making it a surefire bet for dancefloor favouritism at clubs across the globe. In truth, this one's a little more laid back than the military-drum rolls of its predecessor, but it's still a classy effort from three heavyweight acts. What's more, it comes complete with guest raps from T.I and Lil Wayne, thereby adding a layer of attitude to counteract the sassiness. Expect it to be rather huge - and deservedly so.
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ROOTS - DON’T SAY NUTHIN: Having really broken into the mainstream off the back of their wonderful Seed 6.0 single last year, The Roots return with Don’t Say Nuthin, another great hip-hop classic that confirms their reputation as one of the masters of the movement. More stripped down than previous efforts, but retaining a funkiness associated with the best hip-hop tracks, Don’t Say Nuthin brings out the best in Black Thought’s lyrical dexterity, while also providing a fitting showcase for Questlove’s drumming prowess. The Roots, by going back to basics, may yet find their popularity continues to grow and grow. A class act.
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ADAM GREEN - EMILY: Feel-good guitar riffs and swooning vocals are rife throughout Emily, the first single to emerge from anti-folk troubadoor, Adam Green's latest album, Gemstones. It's a typically offbeat affair, that amply demonstrates the singer-songwriter's quirky style, but which also highlights the new album at its best. Green, who used to be part of the Moldy Peaches, has consistently attracted the attention of some of the biggest names in the music industry, with The Strokes' Julian Casablancas describing his style as both eccentric and down-to-earth. Emily, an off-kilter love song/ode, is certainly to leave listeners divided, but it probably rates as the singer's most mainstream effort yet and could well bring him a new army of admirers. There's no denying, it has an unlikely appeal that's difficult to put your finger on - probably because it contains such a distinctive personal style.
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THE KILLS - THE GOOD ONES: Boy and girl combo, The Kills, return with more of their dirty blues and rock mixed with punk-disco. The Good Ones is the first track to emerge from the new album, No Wow, which follows the critically-acclaimed Keep On Your Mean Side, from 2003. The objective is simple, according to their PR, and that's to put the WOW factor back into music. Certainly, the throbbing disco beats and scuzzed up guitars of The Good Ones shows them taking no prisoners in achieving this objective, but it's a little too stripped down and ragged for its own good. It clearly aspires to PJ Harvey, especially in the raw vocals, but it lacks a certain finesse and isn't as good as the title suggests.
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M83 - DON'T SAVE US FROM THE FLAMES: Anthony Gonzalez follows up the recent release of his curious Before The Dawn Heals Us album with its first single, Don’t Save Us From The Flames – a stridently optimistic and uplifting anthem that showcases the album at its best. The track contains the trademark M83 wall of sound and beguiling backing vocals, all delivered at a breakneck pace. It’s certainly an acquired taste but one which is certain to force you into an opinion – is it pretentious dance, or a moody work of art. In our opinion, it slips into both in long-player form, although the release of this single makes for a worthy stand-alone addition to anyone’s record collection if they like things a little obscure. Bonus track, Until The Night Is Over, offers a nice respite from the theatrics, coated in lush piano, while the Superpitcher and Booom Blip remixes bring very little to the equation.
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ELVIS COSTELLO - THERE'S A STORY IN YOUR VOICE (DOWNLOAD-ONLY): Elvis Costello and the Imposters release a download-only version of their rollicking There's A Story in Your Voice, which is notable for featuring a bravado giest vocal from Lucinda Williams. Taken from Costello's widely-acclaimed new studio album, The Delivery Man, it is a track rich in the musical landscape of the American south, which provided the inspiration for much of the material on the album. Having never been that big a fan of Costello, however, it comes as little surprise to find that his raw, ragged style did little to persuade me otherwise, and as musically accomplished and feel-good as the track sounds, it failed to make a strong impression with me. Williams, however, does lend the record a touch of class, while the infectious nature of The Imposters' music is sure to translate well to long-term fans.
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THE VACATION - DESTITUTE PROSTITUTES: The Vacation have been described as Jet's favourite band, and it's easy to see why. They possess the same sort of take no-shit rock attitude as Jet's recent Cold Hard Bitch, but with an altogether harder edge. Destitute Prostitues, for instance, contains the gritty, swaggering brand of rock 'n' roll that recalls the visceral punch of punk, mixed with the anarchic energy of turn of the 70s garage bands, as well as the monster hooks of The Clash and The Kinks. The guitar solo, especially, is pure vintage rock 'n' roll, absolutely down and dirty, and with a take-no-prisoners style. Singer, Ben Tegel's ragged vocals are certainly a defining feature, but it's the guitars of Steve Tegal that probably leave the lasting impression. Forget novelty acts such as The Darkness, this should be the real rock deal, and deserves to be a lot bigger than it will probably become, especially since this is a re-release of a track released last September.
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HALL & OATES - I CAN DREAM ABOUT YOU: Hang on, didn’t Hall & Oates have some dodgy hits back in the ‘80’s? You know, I Can’t Go For That? Maneater? Well it appears they’re doing it again anyway. I Can Dream About You is from Daryl Hall & John Oates new album, Our Kind Of Soul. All I can really say is that if their hits from the eighties are quite forgettable to you, as they are for me, then you might want to stop reading this article now and skip to the next single release. However, if you just simply adore Soul/Motown music and are avid easy listeners then you’ll probably like this single. Dan Hartman originally wrote this song for them more than 20 years ago, but Hartman went ahead and released it himself as Hall & Oates 'weren’t really doing covers' and apparently had really big hit with it. No, I’ve not heard of it either. Let's see if Daryl Hall & John Oates have any success with it. God I hope not, it was bad enough when Darius entered the charts. (Evelyn O'Connell)
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THE NOISE NEXT DOOR - CALENDAR GIRL: Pop/rock Busted wannabes, The Noise Next Door, release their second single, Calendar Girl, determined to fill the 'void' left by the aforementioned baby-faced rockers. The group boasts loud guitars, a style ripped right from under early Green Day/Sum 41 noses, and bright red hair - yet as curiously infectious tracks such as Calendar Girl remain, it sounds too generic and a little too refined to be really worth paying much attention to - particularly with childish lyrics such as 'girl you make me hotter than July'. It's the sort of nonsense that would make an American Pie-style montage in a movie, and comes back with an equally puerile bonus track, Another Girlfriend Another Disaster, which, in its title alone, speaks for where the band is coming from.