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, JANUARY 31

SINGLE OF THE WEEK 1: EMINEM – LIKE TOY SOLDIERS: I’ve often said that Eminem is at his best when breaking up his rapping with samples – such as Stan (using Dido, of all people) and Sing For The Moment (featuring Aerosmith). Here, he uses a classic Martika sample, from her hit Toy Soldiers, and punches in another telling set of vocals, all backed up by a typically emotive video featuring gang violence. It hooks you in from the moment it begins and just gets better with each listen, proving that no matter what you think of him, Eminem is capable of producing some of the most provocative music of the moment. Little wonder, then, to find it rates as a single of the week, as well as one of the highlights of his current album, Encore (which is now multi-platinum).
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SINGLE OF THE WEEK 2: BLOC PARTY – SO HERE WE ARE: Another of 2005’s hottest tips, Bloc Party, deliver their most melodic effort to date – a happy go lucky slice of summer-edged music that marks the band at its most artistic and confident. Having already carved a niche for themselves as the new darlings of the indie scene, the band has decided to digress slightly from its angular guitar/pop sound, to tip-toe into the mainstream, making this a surefire contender for chart success. It’s the type of track that appeals from the outset, thanks to its easy-going charm, and which should feature prominently once the warm weather starts to deliver some much needed rays of sun. It’s also an apt title to announce Bloc Party’s opening salvo for the year 2005 – so here they are!
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HEAD AUTOMATICA – BEATING HEART BABY: Punk-funk outfit, Head Automatica, release the first single to be taken from their widely-praised album, Decadence, in the form of Beating Heart Baby – a stirring blast of rock ‘n’ roll that pretty much epitomises what to expect from the outfit. Think Ash’s guitar sound blended with a slightly more edgy style, and you’re somewhere close. Produced by Howard Benson and written by vocalist, Daryl Palumbo (who is also frontman of Glassjaw) and guitarist, Craig Bonich, Beating Heart Baby is a strong showcase for Palumbo’s soulful, yet hard-edged vocal style, that is nicely offset with some female vocals during the catchy chorus. It may take a little getting used to, but you can see why Head Automatica are being so hotly-tipped!
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22-20s – SUCH A FOOL: The 22-20s release their fourth and final single from their brilliant self-titled debut album in the form of the loud, classic rock anthem, Such A Fool. As intensely ferocious as we have come to expect from the outfit, the track provides a fitting showcase of 21-year-old singer/songwriter/ guitarist, Martin Trimble, considerable talents. And for those who might not be tempted because they already have the album, then consider that the release also features the brand new track, The Light, which was recorded in December 2004 with Martin Trimble finalising the vocals for the track while on tour in Australia, as well as the highly sought-after Spaceman remix (aka Jason Pierce, of Spiritualized) of the album closer, Hold On.
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GOOD CHARLOTTE – I JUST WANNA LIVE: A fairly generic offering from the Good Charlotte boys that doesn’t sound a great deal better than some of the UK boy band offerings from the likes of McFly and Busted. I Just Wanna Live is suitably angst-ridden, but it pales by comparison to the band’s brighter stuff and doesn’t really justify the considerable hype surrounding them at the moment. All things considered, a disappointment and hopefully not the shape of things to come!
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DURAN DURAN - WHAT HAPPENS TOMORROW?: Duran Duran release their second single from their album Astronaut, Duran Duran’s first album with the original five band members since 1983’s Seven And The Ragged Tiger. What Happens Tomorrow has strong bass lines, rhythm and Le Bon’s vocals carry the song very well indeed. Duran Duran seem to have left their ‘80s style behind them, gone but not forgotten as they still have the roots of their history together laying deep in their music, yet now with a sound very much updated for the here and now. What Happens Tomorrow is poignant but I feel it is also a little cheesy, with a message of hope for the world in one verse and in another it looks at how we hurt the ones closest to us the most. That said I think this track is stronger than their last release, Reach Up For The Sunrise, but not as catchy. Duran Duran are touring again this year, after their very successful sell-out gigs last year. I thoroughly recommend you catch them if you can as it was one of the best concerts I’ve seen in a while and you’ll be singing along to What Happens Tomorrow as well as the classic Duran Duran tunes. (Evelyn O'Connell)
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NARCO - EVIL BROTHER: London-based five-piece, Narco, apparently sit somewhere between scuzzed-up pop/punk and dirty r'n'b, with the influences ranging from Iggy Pop and Kraftwerk to Suicide. In truth, they wear such influences on their sleeves, especially with the new single, Evil Brother, which is a pop/punk assault that comes armed with a scatter-gun style drum beat, and some Stranglers/Inspiral Carpets laced keyboards. Once it gets going, however, it's a totally scuzzed-up punk song that doesn't really have anything new to offer to the genre. There's no denying the band sound musically tight but the track is just a little too routine to make any sort of great impression. Far better is the bonus track, Getting Low, which offers a far more promising insight into what Narco might have to offer on their debut album, Control of the Stereo, which is heading our way in March. For anyone thinking they might have heard the name Narco before, the band provides all the non-licensed music for many computer games, including Driver3, Getaway2 and the forthcoming Grand Turismo4.

MONDAY, JANUARY 24

EDITORS - BULLETS: Now here's something worth getting excited about. The first take-notice new band of 2005 proves to be Editors, with their brilliant track, Bullets. The band first came to attention at the close of 2004 with support slots with Oceansize and The Bravery, as well as support from Zane Lowe and John Kennedy, and it's easy to see why. Described as 'an internal dialogue of discomfort', Bullets is a strident first single, featuring some blistering blasts of fractured guitar riffs from Chris Urbanowicz and a tense vocal style from Tom Smith that, in the singer's own words, marks 'the closest we have yet come to a love song'. The guitar work is such that you have to take notice from the moment you hear it (rather like Modest Mouse's Float On last year), while the track itself keeps getting better each time you hear it. Bonus efforts, You Are Fading and Dust In The Sunlight, provide further proof that this is, indeed, a band to get excited about (the latter track, especially, provokes comparisons with the heartfelt intensity of Long-View early on).
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LEMON JELLY – THE SHOUTY TRACK: Only Lemon Jelly could deliver a tune with a title as silly yet-still-cool as The Shouty Track. Yet, in true Lemon Jelly style, this wobbles frantically out of your speakers to become one of the outfits’ most shamelessly enjoyable tracks yet – a loud, brash, fun collective of all that we have come to love about Fred Deakin and Nick Franglen’s particular brand of music-making. The track is taken from the duo’s hugely-anticipated third album, ’64-’95, which was partially showcased during the live shows last year, and which looks set to propel the Lemon Jelly sound further into the mainstream (it’s little wonder they have dates lined up at somewhere as big and prestigious as Brixton Academy later this year). The bonus track, Baby Battle Scratch, is similarly worthy of being added to any record collection.
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MYLO – DESTROY ROCK AND ROLL: Mylo’s most accessible single finally gets a release with a number of club-friendly remixes to ensure its longevity amid the club scene for the rest of the year. Very much one to divide listeners, this list of artists set against a buzzing electro bass and some soft guitar riffs has either been labelled a lazy collection of artists’ names, or a borderline genius dance anthem. I’m not convinced either way, although it does mark Mylo out as an artist to watch in 2005, while providing something that’s worth debating on the club scene. The fact that it’s actually a re-issue of Mylo’s first-ever release shouldn’t matter a jot.
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THE USED – TAKE IT AWAY: The Used are among the hot tips for 2005 and take the form of a hot-rocking US outfit, who have amassed quite a huge following on the other side of the Atlantic. Their latest single, Take It Away, is taken from the US top ten album, In Love and Death, and is aptly described as a violent, dynamic attack that blends aggravated screamo assault with a full-on rock ‘n’ roll mentality that is evocative of The Used in live format. It’s produced by John Feldmann and occasionally sounds like a Linkin Park-wannabe – but lacks a certain finesse and is far more raw. Head-bangers will delight; others will probably be reaching for the Panadol.
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HARD FI – CASH MACHINE: Hard-Fi describe themselves as the products of their suburban west London environment; the sound of twenty-something gunslingers on the minimum wage, who grew up being inspired by the likes of The Clash, Dexys Midnight Runners, Curtis Mayfield and the Happy Mondays. Hence, debut single, Cash Machine, taken from their album, Stars of CCTV, is a boisterous, somewhat lippy, but totally streetwise effort that contains enough swagger about it to make it worth taking notice of – heck, it even won Zane Lowe’s Radio 1 Fresh Meat competition. The dub machine version even possesses enough cockney swagger to remind people of a young Damon Albarn in Richard Archer’s raw vocals. Could Hard-Fi be the new Blur? (The rest of the band is comprised of Ross Phillips on guitar, Kai Stephens on bass and Steve Kemp on drums). Check out the video, too – the band recorded it after dodging Terminal 3 security to spend two hours performing 30ft below incoming planes at the arse-end of the main Heathrow runway.
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HAL - WHAT A LOVELY DANCE: Celebrated Irish quintet, Hal, look to build on the successes of 2004 with a lovely new single, in the form of What A Lovely Dance. Having already scored a Top 50 success, and support dates with artists including Starsailor, Grandaddy and Delays, Hal have spent the past few months writing and recording what is being touted by industry insiders as a possible album of the year contender. Epic, sprawling and quietly mesmerising, What A Lovely Dance is a pop record which smacks of songwriting quality, powered by a fantastic vocal from Allen. On the strength of this opener, 2005 could be a huge year for Hal, so waste no time in finding out about them. Fans of accomplished songwriting and slowbuilding classics can't fail to be impressed.

MELODY CLUB - ELECTRIC: Swedish chart-toppers probably consider themselves to be a happy combination of the Pet Shop Boys and New Order (with a dash of Erasure thrown in). Certainly, their latest effort, Electric, stands up to comparison with all three - electronica heavy, slightly camp and definitely bouncy. But it's rooted in a Euro pop style that dates it and hinders it, not to mention making it sound like a potential Eurovision Song contest nil-pointer. Electric is the first UK single from Melody Club, taken from their gold selling debut album, Mean Machine. And for anyone who wants to know more, the outfit is led by Kristofer Ostergren, and are a fivepiece who have toured extensively - playing over 160 shows since the release of their first Swedish single, Palace Station.

ASHLEE SIMPSON - LALA: Ashlee Simpson, kid sister of Jessica, follows-up the success of her Pieces of Me debut single, with a down and dirty rock track that pretty much epitomises what to expect from the album as a whole - that is, lots of raunchy lyrics, sung in frustrated, vociferous style, by another of those young rockers with their eye on the Alanis Morissette throne. This one features such choice lyrics as 'You make me wanna lala in the kitchen on the floor, I'll be a French maid when I meet you at the door, I'm like an alley cat, drink the milk up I want more'. Rather than getting anyone hot under the collar, however, it'll probably have you checking the ID card to make sure she is old enough. Ok in small doses, but you tend to feel that Ashlee has some growing up to do.
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TEARS FOR FEARS – SHOUT REMIX EP: Tears for Fears fans have something new to shout about, it seems! To mark the release of the band’s Best Of collection – and the upcoming tour dates - one of the leading synth acts of the 80s put out one of their biggest hits in a very special remix format that has been commissioned by the likes of Skylark, Jakatta and Fergie. Much like Depeche Mode’s remix package last year, some of the makeovers work wonders for the track, while others merely serve to exist for the dance crowd. But with the original version of Shout still present as a welcome reminder of the boys at their best, this provides an effortless way for old-school fans and members of the uninitiated to break their way into the Tears for Fears sound.
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MONDAY, JANUARY 17

FEEDER - TUMBLE AND FALL: Feeder mark their return in some style, complete with Fran Healy on backing vocals. Their first release in over a year is a typically dreamy affair, with some psychedelia thrown in, that certainly raises expectations ahead of the forthcoming fifth album, Pushing The Senses (which we've heard and which is excellent). Dripping with laidback vocals and lush melodies, it's an excellent way to begin the New Year and an excellent reminder of why Feeder continue to be so highly-regarded as one of our best British bands. Just check out the excellent building guitar and the sweet, melodic chorus for evidence of what I mean.
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ATHLETE - WIRES: Athlete kick off the New Year with some welcome new material that looks set to emulate, if not surpass, the success of tracks such as Westside and You Got The Style, from their debut long-player, Vehicles & Animals. If anything, Wires demonstrates a far more mature style of songwriting than the edgy earlier material, which owes a lot in style to the Coldplay style of composition, thanks to some really great use of piano and a strong vocal performance. It also probably rates among the band's finest work and certainly looks set to have a more enduring lifespan, making the sophomore album, Tourist, one worth getting excited about. I doubt, in fact, whether there will be a more emotional record this year, given the personal experience it was inspired by.
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THE MOONEY SUZUKI - ALIVE AND AMPLIFIED: The Mooney Suzuki have been championed for some time by Xfm's Lauren Laverne, and even made record of the week on her drive-time show last year (when it was originally due for release). But it's easy to see why, given the infectious quality of this barnstormer, which is aptly summed up in the PR as three and a bit minutes of decadent rock n roll brilliance. Alive and Amplified is a head-turner of a track, an old-school record that manages to mix the camp glam-rock of, say, T-Rex, with the anthem-like stadium-filler zest of a Led Zeppelin record, complete with the sort of vocals that Mick Jagger would be proud of. It is the title track for the album, which, on the strength of this, is a must for rock 'n' roll fans.
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CHEMICAL BROTHERS – GALVANIZE: The first new material to emerge from the Chemical Brothers stable since last year’s singles collection duo is another of the full-blooded dancefloor anthems that helped to first bring them to our attention. Unfortunately, it doesn’t carry the same sort of punch as the likes of their earlier work or, indeed, It Began In Afrika, despite a strong guest vocal from US rapper, Q-tip. Whether or not it is a sign of what to expect from the forthcoming long-player, Push The Button, remains to be seen, although the brooding nature of the track is rumoured to be a feature of the album as a whole. At the very least, Galvanize and Push The Button should serve to keep the duo at the forefront of the clubland movement – a statement that seems justified given the current demand for tickets for their forthcoming tour dates. Looks like the Brothers are working it out well in their tenth year of prominence.
Tour news l Pre-order the album l Greatest hits review l Push The Button review

IAN BROWN - TIME IS MY EVERYTHING: Former Stone Roses frontman and king monkeyman, Ian Brown, won widespread critical acclaim for his latest album, Solarized, when it was released last year. For me, and a lot of people I know, it was a disappointing effort that you could practically pick the singles from. One such track, unsurprisingly, is Time Is My Everything, which arrives amid a Mexican trumpet-fanfare that heralds quite a lively song. The trendy beat provides a perfect showcase for Brown's laidback vocal style, making it a strong follow-up to his Noel Gallagher collaboration, Keep What You Got. The UNKLE remix is also a belter, furthering the excellent partnership between Brown and co. Just don't go expecting the same sort of quality throughout the album.
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SOULWAX – E TALKING: The mighty Soulwax return with a very welcome track from their latest album, Any Minute Now, which puts together a huge, throbbing bassline with a chilled out sonic rush. In terms of recent material, this stands head and shoulders above a lot of their work and comes backed with plenty of remixes and bonus tracks, including a Soulwax nite version featuring Nancy Whang and a Jagz Kooner Black September vocal. Bonus track, Teachers, is none too shabby either, making this a very bright start to the New Year for the Soulwax boys. And that can only be a good thing.
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ROOTS MANUVA – COLOSSAL INSIGHT: Leftfield hip-hop gets a terrific workout from Roots Manuva with Colossal Insight, the first new material to emerge from the artist since his MOBO-winning debut album, Brand New Second Hand, in 1999, and his Mercury-nominated, gold-certified follow-up, Run Come Save Me in 2001. The artist, also known as Rodney Smith, has developed a strong following over the years, based around his inimicable voice and UK style that puts him at the forefront of the alternative leftfield UK scene. Colossal Insight is an electro-psych workout that eschews all the values we have come to expect from Roots Manuva, as well as a grinding beat, and a somewhat more chart-friendly vibe. What’s more, remixes are available from the likes of Royksopp (disappointing) and Jammer. Look out for the new album, Awfully Deep, which is on its way soon.
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CIARA – GOODIES: Ciara is the latest artist to emerge from ‘the ATL’ with her form of Crunk&B, Goodies. It’s a suitably sassy introduction to the self-made star, with production values from Lil Jon, that marks her out as a name to look out for in the future. Featuring a provocative but feel-good riff and a really terrific beat, this one looks set to become one of the big dancefloor anthems of the year on the Crunk&B circuit, while also serving to wet plenty of appetites ahead of the debut album, which is also called Goodies. Radio 1 and Kiss listeners have already embraced it, so expect something of a big chart debut.
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LUCIE SILVAS - BREATHE IN: Rapidly-emerging British singer, Lucie Silvas, follows up her No.7 hit single, What You're Made Of, with something a little fiestier, in the form of the title track of her debut album, Breathe In. It's probably the most upbeat track on the long-player and certainly provides a fitting showcase for Lucie's expressive vocal style, yet it still remains better suited to the Radio 2 brigade where, no doubt, it'll find a loyal fanbase among anyone who lives the piano-based ballad style of the likes of Vonda Shepherd or Sir Elton John. The track was written by Lucie in collaboration with producer, Mike Peden, Judy Tzuke and Graham Kearns, and is described in its PR as 'infectious and uplifting'. Easy listeners may agree.
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STONEBRIDGE – TAKE ME AWAY: The second single to emerge from Stonebridge’s debut album, Take Me Away, is pretty much more of the same from the latest Ibiza king. The track re-teams the super-producer and DJ with Swedish vocalist Therese, for more generic sounding dancefloor shenanigans, that really could come from any one of the current Ibiza DJ sect. Anyone who bought Hed Kandi’s winter collection before Christmas, or who likes to strut their stuff in Miami or Ibiza during the height of the Summer club scene, will no doubt cherish the effort. But, for me, it remains a sad indictment of all that’s wrong with the modern dance scene. Boring is a compliment.
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MONDAY, JANUARY 10

THIRTEEN SENSES - THRU THE GLASS: We love Thirteen Senses. Described by many as a band which shares the same sensibilities as Coldplay, Keane and Radiohead, their debut album, Invitation, quite possibly eclipsed even Keane's outstanding effort, to emerge as one of the best of 2004. Now, they re-release Thru The Glass in a re-worked format to that which appeared in limited edition form at the beginning of last year. And it's a mighty effort, packed with lush melodies, big guitars and an epic chorus, that properly does justice to everything you can expect from the brilliant album. The track has been remixed by Mark 'Spike' Stent and comes in different formats, all of which feature new, previously unreleased material, including the tracks Lights Out, Picture This and Turn Out The Light. 1005 looks set to be a big year for this outfit.
Album review l Buy the album l Best of 2004 l Interview feature

LONG-VIEW - ONLY WHEN YOU SLEEP/COMING DOWN: It's been a while since we've heard anything from Long-View (and they've even picked up a hyphen in their name), but this double-A side confirms they have lost none of their appeal. Only When You Sleep finds Rob McVey and co at their most expansive, rocking out with true energy and passion, while remaining careful to deliver a rousing, sing-along chorus. Needless to say, the track has emerged as a live favourite and is indicative of the quality that resonates throughout debut album, Mercury. The second track, Coming Down, is all new, however, and the real reason for wanting to own the single. Featuring a chiming guitar riff that conjures memories of The Cure's work, as well as another haunting, brooding vocal from McVey, it is a thoughtful, poignant and deeply memorable track, which smacks with all the emotional resonance we have come to expect. And it comes with some pretty smart remixes as well. Roll on more new material and look out for the new remix album, Subversions.
Album review l Order the album l Caught live l Pre-order Subversions l Exclusive interview

THE KILLERS - SOMEBODY TOLD ME: A welcome re-release for The Killers' edgy Somebody Told Me, one of the first singles to emerge from the Las Vegas outfit's critically-acclaimed Hot Fuss long-player (just before the became really famous). It may ultimately be a little less ambitious in scope than All These Things That I've Done, and far more pumped up than the catchy, melody-driven Mr Brightside, but it serves as an excellent showcase of the diversity on the album, as well as proving that the best American bands aren't merely confined to New York at the moment - even though the sound, on this track especially, is vaguely reminiscent of the similarly edgy style of StellaStarr*. For anyone who doesn't know what they've been missing out on, it's a heady mix of eighties synth-pop, blistering vocals and catchy hooks. And yeah, somebody should have told you already.
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THE MUSIC - BREAKIN: The second single to emerge from The Music's excellent second album, Welcome To The North, seems tailor-made for chart success, not to mention live favourite status, thanks to its infectious 'uh-ho, uh-ho' chorus and lively style. It's one of a handful of tracks on the long-player that actually mark a maturer direction for the band, which breaks free from some of the more full-on moments that helped to make a name for themselves (see also Guide and Bleed From Within). Ironically, it wasn't supposed to be released as a single this early, as the band had wanted a ballad to be the second track from the album, but due to problems with the video, Breakin' is the track which will now guide The Music into 2005. And it should guarantee one heck of a start for them.
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KINGS OF LEON - FOUR KICKS: After the mainstream accessibility of The Bucket, Kings of Leon return to heavier and more characteristic material for Four Kicks, the second single to emerge from their latest album, Aha Shake Heartbreak. It's a shame, for the track lacks a certain melody, or sparkle, when compared to the previous effort, emering as a far more bog-standard effort that doesn't really mark much of a progression. Don't get me wrong, the Kings of Leon sound is a distinctive one, and very accomplished in its own way, but I sometimes don't understand the level of hype surrounding them, given that their brand of music is merely stripped down rock in its purest form. Four Kicks is a serviceable effort, but I had begun to expect a little more from them.
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MANIC STREET PREACHERS - EMPTY SOULS: The Manics kick off 2005 with another excellent single from their eye-catching latest album, Lifeblood. Empty Souls, like its PR states, is packed with 'jaunty piano melodies' and a pounding rhythm which works supremely well with the typically powerful and emotive lyrics - such as 'exposed to a truth we don't know / Collapsing like the twin towers / Falling down like April showers / Colossal endless like a marathon'. The electronic sound, which does bring about comparisons with New Order at their peak, is indicative of what to expect from the album, which marks a worthwhile change of direction for the band. They sound much less dreary than normal, even if their songs pack the same sort of punch.
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DARIUS - LIVE TWICE: The second single to emerge from Darius' latest album is the title track and far from being the 'truly beautiful song' hailed in the PR, it's another tedious ballad that could just as easily be sung by any number of boy band/Ronan Keating wannabes. As I've mentioned, Darius probably has a better voice than most mainstream crooners at the moment, but it's not being used to particularly memorable effect. When the likes of Keane and Coldplay are delivering the ballads of the moment, tracks like this drippy affair pale by comparison and deserve to be condemned to the teenie bopper/house-wife favourites lists they will surely make. And lyrics such as 'nobody told me I'd only get one chance' are just plain stupid, when singing how he'd like to live twice to correct past mistakes. He can't, thank God!
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MONDAY, JANUARY 3

KASABIAN - CUTT OFF: One of the bands of 2004 kick off 2005 in typically confident swagger with the fourth track to emerge from their self-titled debut album. Kasabian, the new darlings of the indie world, who possess enough confidence to give the Gallaghers a run for their money, deliver a re-worked version of album and live favourite, Cutt Off, complete with an all-new drum track, a different mix and some slight lyrical changes. It's still totally Kasabian in style, making it the sort of swaggering indie anthem to ease alternative fans into the new year, extolling the virtues of one of the genre's brightest new prospects. If you haven't got Kasabian already, we urge you to rectify that situation. The mix of rock and electronica is simply too enticing to resist any longer.
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INTERPOL - EVIL: Everyone's new favourite New Yorkers return with a belter of a track to kick us into the New Year. Evil is widely considered to be one of the best tracks from the excellent album, Antics, and it's easy to understand why. Through the creation of the mystery character, Rosemary, the distinctive vocals of Interpol frontman, Paul Banks, takes listeners on an abstract journey of attraction and anxiety that really gets under your skin and refuses to budge. Banks' vocal style is as hard-hitting, raw and exciting as ever, while the guitars are once again a riveting feature. It ensures that the first week of 2005 gets off to a quality start.
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KINISON - YOU'LL NEVER GUESS WHO DIED: The Kinison are the rock band signed onto the La Salle Records label owned by Blink 182's Travis Barker, who may recently have made an impression supporting the Blink boys during their recent UK tour dates. But anyone expecting some feel-good rock to rival the Blink 182 sound is in for an ear-splitting surprise, for Kinison are an altogether heavier affair, packed with shouty lyrics, wailing guitars and intense drum rolls. You'll Never Guess Who Died, taken from their album, What Are You Listening To?, is one of the tamer, more mainstream efforts to emerge from it - so if the idea of someone screaming down the mic at several points doesn't really grasp you, then you'll know to avoid.
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ERASURE - BREATHE: Is that the sound of synths in the air? Must be the return of glam 80’s poptastic band Erasure! The combination of Andy Bell’s vocals and Vince Clarke’s synthesizer work are as superb as ever on this latest release, Breathe. It seems like a long time since they were last in the charts but they’re last hit reached number 10 in the charts in 2003 with a Greatest Hits compilation released the same year. Breathe follows in a similar vein as Blue Savannah, a slightly slower tempo to their other big successes, such as A Little Respect and Stop! Very enjoyable, it instantly makes you want to sing along and hear it again. If you liked Erasure back in the ‘80’s and ‘90’s you’ll find that Erasure’s sound has changed little over time, but I do not think this is a bad thing, maybe they’ve added an update beat, but it is still undeniably Erasure without sounding too ‘80’s retro. Breathe comes from Erasure’s forthcoming album, Nightbird, released later this year and a tour will follow in March. (Reviewed by Evelyn O'Connell).
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SCISSOR SISTERS - FILTHY/GORGEOUS: One could argue that New York's Scissor Sisters have milked their self-titled debut album for all it's worth, given that Filthy/Gorgeous marks the fifth and final single to be taken from it. Given the diversity of the album, though, it's well worth releasing, especially since the thumping bass line and groovy beat conjures memories of a 70s blaxploitation film soundtrack, while being neatly offset by Shears' typically striking vocal style which are joined by co-vocalist, Ana Matronic. It's an effective showcase of why the Scissor Sisters emerged as one of the best bands of 2004 and why the album continues to ride high in the music charts. Oh, and don't forget to check out the remix album as well.
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LE TIGRE - TKO: Le Tigre have amassed something of a cult following over the past couple of years, thanks to the outspoken antics of original 'riot grrl', Kathleen Hanna, and the band's outspoken political views in the US (they are among a legion of performers who hate Bush with a passion). TKO, taken from their latest album, This Island, is a far more funkier affair than most of their material, infused with 80s sensibilities and, in the words of Tower Records, uniting 'Pat Benatar/Joan Jett rock-chick oomph with B-52's-style New Wave in unholy matrimony'. If the idea of this sort of concoction grabs you, then the off-kilter, post-punk style of the band is likely to impress. If, like me, you're beginning to tire of this particular new wave, then it's probably not worth bothering to get wet.
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DANA RAYNE - OBJECT OF MY DESIRE: Another deeply insipid dance track, this time from US dance diva, Dana Rayne, which grates from the very first moment you hear it. Hailing from Long Island, Dana is already a huge success on the American club scene, having started as a DJ in New York. Her debut UK track was inspired by her DJ-ing and is a cover version of the huge 80s States-side hit by a band called Starpoint. Yet what started out as bad merely gets worse with this relentlessly grim Ibiza-style anthem which is so generic as to be non-existent. Doubtless, it will pack dancefloors on both sides of the Atlantic, but there's no accounting for mainstream taste at the moment. And the remixes featuring everyone from DJ Puddy and Mark Simon to Northstarz, offer little solace. It's safe to say that this sort of output is pretty much the object of my despair.