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Music - The Singles Collection
Heard a great single, but yet to buy it? Well, we may have reviewed it. Previous month's reviews: 2005 2004 |
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SINGLE
OF THE WEEK 1: VAN DER KILL – ECHO BEACH: A sublime
cover version of Martha and the Muffins’ Echo Beach (released
in 1980), this dark, moody barnstormer marks a real breakthrough
triumph for its creator, Van Der Kill. For those who don’t
know, Mr Van Der Kill is an Australian singer-songwriter who has
decided to go it alone following years as a session guitarist.
His cover version of Echo Beach shares all the hallmarks of Ryan
Adams’ similarly well-realised alternative take on Oasis’
Wonderwall, in that it’s stripped down, dark and much more
sinister. What’s more, it’s another example of how
cover versions should be performed, rather than merely slapping
some insane dance beat over the top of an existing track and churning
it out for the masses. This one has real soul, real depth and
a power that’s difficult to get out of your mind. It’s
a killer anthem from someone who is undoubtedly a name to look
out for in the future.
SINGLE
OF THE WEEK 2: COMMON – GO!: They don’t come
much cooler than Chicago rapper, Common, at the moment. Backed
by Kanye West, the artist is a genuine performer capable of outrageous
moments of freestyle, yet as laidback and chilled out as anyone
on the hip-hop scene. Go! is the second song to emerge from Common’s
acclaimed album, Be, and is a supremely delicious summer soul
hop track that is perfect just for chilling along with. It’s
tip-top melodies and restrained vocal style carries a vibe that
is all too easy to kick back with. Production duties come from
Kanye West, while the single is also backed by a remix version
of The Corner featuring Scarface and Mos Def. If you haven’t
had chance to check out the album yet, then maybe now is the time.
HUSKY
RESCUE – CITY LIGHTS: Marko Nyberg, founder of
Husky Rescue, describes his music as being 'like spring's sunbeam
after the long dark sunless winter time'. Listening to the blissful
beats of new single, City Lights, it’s easy to discover
what he means. Using the blissfully dreamy vocals of Reeta-Leena
Korhola, the track provides another excellent insight into the
pleasures that await on the brilliant Country Falls album. Fans
of Air, especially, should waste no time in checking it out, while
fans of Rob Da Bank and Chris Coco’s Blue Room selections
on Radio 1 should rush to acquire it. City Lights is quite enchanting
and the remixes – from Product.01 and Vector Lovers –
aren’t bad either.
NINE
INCH NAILS – ONLY: Nine Inch Nails return with
the second single to emerge from their latest album, With Teeth,
in the form of Only. In keeping with the more personal nature
of the album, the track is a retro-style slice of atmospheric
rock that emerges triumphantly as a self-expose of how lead singer,
Trent Reznor, sees himself. It’s more restrained than a
lot of Nine Inch Nails material (another feature of the new album)
and is very orientated towards the mainstream. But given those
distinct vocals and their unique style, it’s still a mighty
anthem for the band that hits home hard with an emotional intensity
reserved for the best bands of the moment. It was a recent live
favourite during their sold-out Brixton dates.
FUN
LOVIN’ CRIMINALS – MI CORAZON: Taken from
the Fun Lovin’ Criminals’ eclectic new album, Livin’
In The City, which hits stores in August, Mi Corazon is a summer-tinged
Latin rock smash that is, by Huey’s own admission, ‘a
loosely-based autobiographical story about a girl that I loved
who don’t love me no more’. The track is indicative
of the smooth-talking, easy-going vibe surrounding the Criminals,
while offering something that can be embraced by the dance crowd
and picnic crowd alike. It’s an excellent taster of what
to expect from the album, which takes the form of an ode to New
York City, and which probably rates as one of the finest long-players
of their career. It’s a particularly strong comeback for
them.
JULIET
– RIDE THE PAIN: It’s been a little while
since Juliet first checked in with the brilliant dance single,
Avalon. Ride The Pain marks the return of the 24-year-old Philadelphia-native
who has determined to spice up the dance scene with her unique,
alternative dance/electronic pop sound. Ride The Pain is the first
track to emerge from the forthcoming long-player, Random Order,
that sees her furthering her relationship with celebrated electronic
producer, Stuart Price (aka Jacques Lu Cont/Les Rhthmes Digitales)
for a upbeat club record that strives to be a little bit different.
At a time when most mainstream dance records are bland, repetitive
and tedious, Avalon mixes things up considerably, while providing
a truly dusky set of vocals that play well off the energetic beats.
Comparisons with the style of Everything But The Girl aren’t
far wide of the mark, although Ride The Pain, in particular, contains
a darker, even kinkier, edge. Roll on the album!
EMINEM
- ASS LIKE THAT: The third single off Eminem's Encore
album is probably the worst yet. It's another lyrical assault
delivered in the artist's own distinct style that contains plenty
of eastern-tinged melodies and rhythms. The best that can be said
for it, given some of the lyrics, is that it sounds as though
Eminem is having fun but it doesn't feel like that much of a stretch
for him and is completely throwaway. The video features Triumph
the Insult Comic Dog and pays tribute to Eminem's favourite show,
Crank Yankers. It's worth checking out but only really serves
to make the song more disappointing.
LEYA
– ALL ON THE BLACK: The debut single from Belfast-based
rockers, Leya, is an extremely sophisticated and powerfully brooding
affair that only goes to strengthen comparisons with the likes
of Muse and Radiohead. Despite having only been together for 18
months, the band have won friends all over the place (providing
support for Embrace and Interpol in Ireland) and look set to breakthrough
in a big way with the release of All On The Black. It’s
epic on an indie rock scale and comes back with bonus tracks,
Open Up Your Eyes (a power-chord laden anthem in the
making) and The Start of Something Good, which showcases a quieter,
more refined style. The name of the latter could also serve as
an appropriate metaphor for the future, given the quality of Leya’s
early releases.
EL
PRESIDENTE - WITHOUT YOU: Xfm favourites, El Presidente,
deliver a blistering summer anthem in the form of Without
You. Featuring a delicious slide guitar riff that runs throughout,
Without You successfully captures the essence of lost love but
delivers it with a typical band from the Glasgow quintet. It's
sure to become a popular track on the festival circuit especially
since it has already gone down a storm during the band's own live
shows, it is a moutherwatering taster of what to expect from the
band's forthcoming eponymous debut album, which is due out in
August.
DANIEL
POWTER – BAD DAY: It may be called Bad Day,
but this new single from singer-songwriter, Daniel Powter, has
brought many good ones for him. The infectious pop song has already
spent seven weeks at the top of the French airplay charts and
looks set to repeat the feat in Austria, Sweden, Italy and Spain.
Anyone expecting a distinctly Euro flavour for the single had
better think again, however, given that the record is more American
sounding. It’s piano-based, yet upbeat and catchy in spite
of its title, and sure to make a name for the Canadian artist
in England as well. What’s more, it’s almost certainly
going to crop up on some television or movie soundtrack in the
very near future – it boasts that sort of emotive style.
NATALIE
IMBRUGLIA – COUNTING DOWN THE DAYS: The Natalie
Imbruglia comeback should all but be complete with Counting Down
The Days, the follow-up to Shiver, which broke radio airplay records,
and spent an incredible 14 weeks in the UK Top 40 chart. Produced
by her husband, Daniel Johns of Silverchair, Counting Down The
Days is more emotionally-tinged pop that stands out because of
the musical diversity employed and the strength of Imbruglia’s
sweet vocals. This one’s about eagerly anticipating being
in the arms of your beloved (‘I wanna travel through time,
hold you so tight’) and comes with a suitably drippy video,
but it’s pleasant enough and an example of the better side
of pop music. Fans will lap it up.
TONY
CHRISTIE – AVENUES AND ALLEYWAYS: It had to happen
sooner rather than later. But following his No.1 Amarillo triumph
with Peter Kay (which is so far the biggest selling single of
the year), Tony Christie releases the retro cool Avenues and Alleyways,
which was originally used as the theme to The Protectors, starring
Robert Vaughn. Destined to become a cult classic, in the same
way that all things Austin Powers-related have been, the new-look
Avenues and Alleyways is accompanied by a suitably cool video,
featuring a Bond-style intro and a pastiche of all those great
70's cop shows, and cameos from the likes of Nick Moran. It’s
fun while it lasts and plays well as part of that retro-cool,
so expect it to mark another chart triumph for the endearing Christie,
while featuring prominently at wedding reception dance-offs throughout
the rest of the season!
LEE
RYAN – ARMY OF LOVERS: As a member of Blue, Lee
Ryan was part of one of the biggest acts of his era (sadly). As
with most boy bands, however, when the end came it was only a
matter of time before the members broke off into solo territory.
First up is 22-year-old Lee Ryan and his debut single, Army OF
Lovers, which actually showcases a strong set of vocals, along
with emotive, acoustic-driven guitars and plenty of strings. Indeed,
the instrumentation is the single’s biggest selling point,
given that the lyrics (and chorus in particular) are typically
drippy for this sort of ballad. Encouragingly, however, it’s
better than most boy band breakaway singers (including Ronan Keating)
and probably will cement Ryan’s position as a singer in
his own right.
LUCIE
SILVAS - DON'T LOOK BACK: Lucie Silvas has become something
of a favourite among the Radio 2 crowd thanks to the platinum-selling
success of her debut album, Breathe In. Her music is rich in emotion
yet very ballad-driven, relying on a piano sound mostly for instrumentation.
Don't Look Back is arguably the best track to emerge from it,
one which benefits from slightly bigger production values and
a feistier, more defiant style from the singer. It won't win over
the indie crowd, or find much space among the Radio 1 brigade,
but from the strength of her vocals alone, it's clear to see that
Silvas has some considerable talent - even if her style of music
threatens to pigeon-hole her a little too much. The video was
directed by Howard Greenhalgh and filmed on location in City Point,
East End. It finds Lucie in a world of words that were never said,
but should have been. And it features her two sisters.
BANANARAMA
- MOVE IN MY DIRECTION: Bananarama are back! proclaims
the PR for this comeback single from Keren and Sara. Yet it begs
the question, why bother? Bananarama were synonymous with the
sort of pop records now being churned out by the likes of Girls
Aloud and/or Rachel Stevens, so it's disappointing to find that
they're comeback doesn't seek to expand on their reputation. Rather,
Move In My Direction is a generic slice of glitterball disco house
that could just as easily have been written and delivered by the
likes of Girls Aloud. There are plenty of remixes designed to
lend the track a wider appeal on the club circuit but they merely
serve to emphasise that this is all about the pop and the mainstream,
without any of the quality. Disappointing.
LETHAL
BIZZLE – UH OH! (I’M BACK): Uh oh indeed!
Lethal Bizzle is back with a club banging slice of grime that
pretty much exemplifies all that’s rotten about the grime
movement. Where the likes of Roll Deep win plaudits and friends
for attempting to expand on the sound of grime, Lethal Bizzle
seems content to go through the motions, while playing up his
own ego. As the artist, himself, states: “Uh Oh is about
a crazy artist – me – coming back into the scene.
I’m making a statement to show everyone I’m here.
People are always trying to block me in certain ways from being
successful in the music industry. So I am just letting the haters
know I won’t stop – I’m just going to keep on
making hits.” Uh oh!
LINCHPIN
– JESUS HAD LONG HAIR EP: Foo Fighters’ Dave
Grohl refers to Linchpin as ‘fucking awesome’, so
it’s probably worth checking out if you’re a fan of
the heavy rock scene, or follow the recommendations of Xfm’s
in-house rock expert, Ian Camfield. The band are South London-based
and specialise in delivering epic anthems of head-pounding, heart-stopping
intensity, with more than a passing nod to the style of Foo Fighters.
They also display something of a sense of humour in their lyrics,
with lead single, Jesus Had Long Hair, a typically cheeky effort
that is built around the chorus, ‘Jesus had long hair, so
why can’t I’. The band is comprised of Joey Cass (vocals),
Paul Bulgar (guitar), Olle Som (drums) and Mike Cass (bass) and
they will be appearing at the Borderline in London on the first
Saturday of every month from September to December 2005. Of the
other tracks on the EP, Take All You Can stands out as a fun piece
of mainstream rock in the style of Good Charlotte (who they will
also be supporting in the near future).
SINGLE
OF THE WEEK 1: STEPHEN FRETWELL - EMILY: 'Just look at
you, you're a tragedy' sings Stephen Fretwell on his gorgeously
melancholy new single, Emily. The talented singer-songwriter
is frequently credited for his ability to combine the musical
sophistication of Jeff Buckley with the melodic, quirky tunes
of a Neil Finn, Damien Rice or Badly Drawn Boy. Emily
is a touching acoustic ballad about a one-sided relationship that
stays with you long after the record has stopped playing. With
his rich talent for delivering catchy, sophisticated tunes that
come packed with genuine emotion, Fretwell could quickly become
a household name, especially since his allure seems to span the
radio stations - he is at home with the Xfm crowd as he is with
Capital and Radio 1 listeners. His album, Magpie, is
certainly worth checking out.
SINGLE
OF THE WEEK 2: HOT HOT HEAT – MIDDLE OF NOWHERE:
Quirky indie-rockers, Hot Hot Heat, return with their delightfully
catchy second single from their latest album, Elevator,
in the form of Middle of Nowhere. Eschewing all the values
of the band’s sunshine new-wave rock, this is a rousing,
melody-filled anthem that soars to giddy instrumental and vocal
heights, while simultaneously taking you on its rollercoaster
ride of happy emotion with it. The track was produced by Dave
Sardy (of Oasis and Jet fame) and is an excellent indicator of
what to expect from Elevator, which deserves the acclaim that’s
been heaped upon it. If you haven’t had chance to pick it
up already, then maybe now’s the time to catch up with what
you’ve been missing out on.
BLOC
PARTY – PIONEERS: New indie heroes Bloc Party follow-up
their recent headline night at Somerset House with yet another
storming single from their world-wide album hit, Silent Alarm.
Pioneers is another spikey piece of indie-rock, complete
with an almost tribal/rhythm section that helps to make their
sound so distinct. It’s as energetic and urgent as ever
and features some more great lyrics, further demonstrating the
band’s ability to deliver catchy hooks and melodies that
appeal to the masses despite being a little harder edged. As evidence
of their growing confidence, why not check out the surreal cartoon
video, which confirms that their vision isn’t just confined
to creating music. By the way, fans will be delighted to hear
that new material is on its way this autumn.
ROLL
DEEP – THE AVENUE: The 13-strong outfit, Roll Deep,
created quite a stir when this distinct track first appeared on
the underground circuit. Avenue samples the 80's Maisonnetts’
cheesy classic, Heartache Avenue, and rounds it off with
the grime style that is reminiscent of artists like Dizzee Rascal
and co. It’s a clever way of bringing grime into the mainstream
and is sure to go down a storm in all sorts of dance clubs, thanks
to its quirky blend of samples and raps that ensures the name
Roll Deep is one to look out for in the future. Both retro and
forward looking in equal measure, it also serves as a pertinent
reminder of the delights that await on the critically-acclaimed
debut album, In At The Deep End, which offers one of
the breakthrough triumphs of the year.
MAXIMO
PARK – GOING MISSING: A current Xfm favourite and
deservedly so. Going Missing is a shimmering indie-pop
gem from the Newcastle outfit that is certain to follow the success
of Apply Some Pressure and Graffiti on an even
grander scale. The track arrives like a well-timed summer anthem
amid a very well-realised spiral of art-rock chords and energetic
melodies that are given added zip by the energetic vocals of lead
singer, Paul Smith. It’s taken from the album, A Certain
Trigger, and rates as easily the band’s best single
release yet. It’s sure to bring them a much wider following.
PAUL
WELLER – FROM THE FLOORBOARDS UP: Paul Weller returns
with a track he describes himself as ‘two minutes and 25
seconds of rock ‘n’ roll’. From The Floorboards
Up begins with a choppy opening riff and dancefloor tempo
before launching into a hard-driving Weller classic – the
sort that draws comparisons with the recent style of Graham Coxon
and which is sure to go down a storm with fans. Better still,
however, is the more tender bonus track, Oranges and Rosewater,
which shows the range of the artist, especially in terms of his
guitar work. It contains a really enchanting melody and kicks
in with a really nice Eastern rhythm about the halfway point.
It’s a good mix of contrasts from Weller that demonstrates
the artist has lost none of his passion for stretching himself
musically.
TERMITES
- SET YOURSELF ON FIRE EP: The Termites defy easy categorisation
given their wildly OTT style of music. Packed with fast and furious
instrumentation and a raw, jagged vocal style that's only vaguely
reminiscent of Hot Hot Heat and co, the band seem to specialise
in quick-fire songwriting that takes you on a musical rollercoaster
ride. Their debut EP, though outlandish in places, is worthy of
attention because it is so different. The title track, for instance,
is packed with crazy organ loops, while Wrong sounds like early
Blur on speed (ie, Bank Holiday or Popscene).
It hints at indie, contains elements of Brit-pop, is as frenetic
as the style of Kaiser Chiefs' Everyday I Love You Less and
Less, but is still undeniably fresh (complete with lyrics
such as 'I've been making a fool of myself again'). As such, it's
bound to annoy as many people as it delights, but there's no denying
that these guys have an infectious energy that is frequently impressive.
It's an acquired taste but one worth checking out for fans of
the distinctly alternative independent scene.
DOGS
- SELFISH WAYS: Shambolic indie-rockers Dogs have already
been hailed by Radio 1's Zane Lowe as one of the hottest new acts
on the planet right now. Selfish Ways, their latest single,
is sure to further that claim in Mr Lowe's eyes. A hook-laden
rocker that is full of hateful sentiment ('I'll burn your house
down to the ground'), Selfish Ways is a real statement of intent
from the band that gloriously puts forward the case for their
particular brand of music - all barbed guitars, snarling vocals
and unrelenting rhythm. It's more of a rottweiler than a shitsu
in terms of musical pets, so beware when taking it off the leash.
But it's a useful indicator of the sort of power we can expect
from the imminent debut album, Turn Against This Land,
which is being tipped as another of the debut releases of the
year.
YARDS
– FORGET YOUR REGRETS: York-based five-piece, The
Yards, return with another slice of melody-heavy 60s psychedelia
in the form of Forget Your Regrets, the excellent opening
track from their glorious self-titled debut album. Fans of Channel
4 programme, Teachers, may recognise its driving style, which
is vaguely reminiscent of some of Kings of Leon’s work,
albeit with a nostalgic twinge. Live shows, meanwhile, have drawn
favourable comparisons with the accomplished likes of Buffalo
Springfield, The Stooges and Velvet Underground. Bonus track,
Get Off My Back, is a live version of another album highlight
that shows a quieter, more restrained side to the band, who –
by the way – are comprised of ex-Seahorses member, Chris
Helme, with Stu Fletcher on bass, guitarist Chris Farrell, drummer
John Miller and Jon Hargreaves on keyboards.
GRAMERCY
– HOLD ON: Gramercy are Crispin Hunt, Dylan Rippon
and Nigel Hoyle and hail from a different era. They may be comprised
of members of the early indie movement (Hunt, most notably, was
the long lost lead singer of Longpigs, one of the most criminally-overlooked
bands of that era), but their music is more inclined to tip its
hat to the Rumours-era Fleetwood Mac. Hence, Hold On
is a glorious throwback to a classic style of rock song-writing
that contains an easy-going vibe tailor-made for the summer. It’s
a million miles way from Longpigs but capably demonstrates the
maturity of a group of artists who have been there, done it and
just about survived. Please Don’t Lie, one of the
bonus tracks, is another humdinger, a slow-builder that contains
a beguiling acoustic vibe reminiscent of Crowded House at the
peak of their form. On the strength of this, the debut long-player
is well worth checking out.
NATE
JAMES – UNIVERSAL: Nate James describes himself
as a soul singer and his tunes draw comparisons with the classic
feel of Stevie Wonder and the more contemporary vibe of Jamiroquai.
Universal, the latest track to emerge from his highly anticipated
debut album, Set The Tone, is an easy-going, charming
and occasionally funky track that provides a welcome showcase
for James’ smooth vocal style and effortless energy. It’s
an enticing blend of soul and funk that should carry the artist
well through the summer months, while heightening interest ahead
of the album’s release in August. Bonus track, Betty
Boo, carries the same sort of infectious, cheeky energy and,
if anything, even more of a Stevie Wonder vibe. It’s little
wonder the hype surrounding Mr James is so hot at the moment.
MOKE
– SLIDE: Moke first burst onto the indie scene
in 1999 off the back of the critical success of their debut album,
Superdrag, when it seemed like they were headed for big
things.But when their record label, Ultimatum, faced
bankruptcy, the funding needed to take the band up a level was
promised but never materialised, meaning that Moke - who had now
based themselves in America - split and returned to the UK in
2003. Their sophomore effort has only therefore recently seen
the light of day because lead singer, John Hogg, is about to release
solo material. The album is great, packed with terrific indie
melodies, glorious guitar riffs and catchy hooks galore and this
single, Slide, is one of the highlights. It’s an indie anthem
in the making that is instantly catchy and, if there was any justice,
one that will lead music fans to this glorious album.
LOUIS
XIV – GOD KILLED THE QUEEN: Louis XIV combine a
glam-rock swagger with an R&B edge and have already received
critical acclaim from the likes of the NME. Their style is as
raw, ragged and retro as the likes of T Rex, The Strokes and The
White Stripes and they take no prisoners when it comes to delivering
emotive lyrics or artwork for that matter (check out the knife
hovering above their queen on this single). As a result, you really
have to expect a hard-hitting style of song that’s delivered
with a rampant, almost angry energy, and a full-on punk-style
edge. God Killed The Queen, a follow-up to the limited
10” release of Illegal Tender, is a gritty little
shaker that hints at a bright future. As things stand, Louis XIV
could yet emerge with a fresh sound of their own, but seem a little
too prone to comparisons for the moment in what is becoming quite
an overworked genre.
A
– BETTER OFF WITH HIM: The second single to be
taken from A’s forthcoming fourth album, Teen Dance
Ordinance, is a melodic slice of pop-punk with a hyper-infectious
chorus and the same sort of bouncing style as classic Blink 182.
Recorded in Seattle’s legendary Studio X and produced by
Terry Date (of Pantera, Deftones fame), the single showcases the
more fun side of the band and provides an effective contrast to
some of the darker, heavier moments on the long-player, which
demonstrate the sound of a maturing band. It’s sure to go
down a storm with the skater boys and surfer dudes this summer,
while almost inevitably being bound for some US teen movie soundtrack
as well.
PEST
– PAT PONG: Deptford-based five-piece, Pest, return
with what Ninja Tunes are hailing as a more refined sound –
ie, less samples, more playing and a more controlled approach
to their own hyperactivity. Pat Pong is therefore a bass
heavy piece of house-laced funk that should become a huge dance-floor
smash with the Balaeric Islands crowd. The trombone and guitar
solos are a nice touch, as are some of the piano solos, but the
drum programming and driving b-line that’s almost ever-present
tend to become a little cumbersome and really root the track firmly
among the Ibiza faithful. As such, it’s a disappointing
effort with remixes that only serve to highlight the house-dance
vibe. The track is taken from the ensemble’s forthcoming
long-player, All Out Fall Out.
HAYLEY
HUTCHINSON – HERE’S THE LOVE: York’s
Hayley Hutchinson was born into a musical family but her path
to success hasn’t been easy. She funded her debut album,
Independently Blue, by soldering circuit boards. But
the wait has been worth it, if the sunshine melodies of Here’s
The Love, are anything to go by. The track is a gorgeous,
sun-drenched slice of musical happiness that provides a tremendous
platform for Hutchinson’s sweet vocals and her acoustic
harmonies. The country tinge that is present on the bonus tracks
is sure to help draw comparisons with the likes of Joni Mitchell
and Shania Twain but on Here’s The Love alone,
we have every reason to expect great things from the forthcoming
album.
MARTIN
GRECH - GUILTLESS: Martin Grech re-issues Guiltless,
the lead single from his latest album, Unholy, in a stripped
down form. Grech creates music in the form of a dark, disorientating
landscape, as informed by artists such as HR Giger and Joel Peter
Witkins. Hence, nothing is an easy listen. Guiltless
is a brooding, even creepy number, that builds slowly towards
its Nine Inch Nails' style finale, during which Grech's aching
vocals become somewhat demonic. It's a bold statement of intent
that's certain to divide people squarely down the middle in terms
of loving it or hating it. Yet in re-issued form, it curbs some
of its artistic excess, clocking in at a little over three minutes,
as opposed to the seven minute-plus album version that does tend
to outstay its welcome. For anyone who likes their music to be
different, dark and challenging, this certainly delivers on all
fronts (even if the album is a little too pretentious to be worth
recommending).
ADAM
GREEN – CAROLINA: That 23-year-old American troubadour,
Adam Green, returns with another quirky slice of art-pop from
his Gemstones LP. Carolina is a typically kooky
piece of beatnik burlesque that features lyrics such as 'she's
from Texas, red bricks drop from her vagina, oh her lips taste
just like sunk ships, but her breasts taste, just like breakfast'.
Green can count The Strokes among his many fans, while he will
lay claim to be a hopeless romantic with a barbed wit, but his
music is certainly an acquired taste – something that’s
sure to raise plenty of smiles but not, necessarily, that many
record sales. It’s very American, very naughty and very
funny is small doses. Carolina is certainly worth getting
to know, even if you don’t end up taking her home with you!
DADDY
YANKEE – GASOLINA: Former baseball player turned
singer, Daddy Yankee, is creating quite a storm among the Kiss
FM/Radio 1 crowd with this Latin slice of reggaeton. Gasolina
is taken from the artist’s album, Barrio Fino, and is packed
with urgent, Latino flavoured beats. Sadly, it’s one of
those summer anthems that begins to grate almost from the first
moment you hear it, courtesy of its monotonous style and repetitive
vocals. It’s sure to have people chanting ‘gasolina’
at all the main club venues this summer, and is designed to crank
up the temperature whenever it is played, but this is a pretty
lame effort from an artist that we’re almost certain to
hear more from based on the success of this single.
SINGLE
OF THE WEEK 1: IDLEWILD – EL CAPITAN: Idlewild
continue to impress with their new material by finally releasing
one of the outstanding tracks from their latest album, Warnings/Promises.
El Capitan begins with a gentle piano sound, before unleashing
a lively drum beat and more of the great guitars we have come
to expect, not to mention a genuinely sing-along chorus (‘stand
up, stand up’). Comparisons with REM are completely dispelled,
given that this owes more in style to the early work of the band,
while retaining its fuller, more expansive and certainly more
mature sound. If you haven’t yet got round to purchasing
the new album, then surely you must now be asking yourself why.
Outstanding.
SINGLE
OF THE WEEK 2: LEMON JELLY – MAKE THINGS RIGHT:
I’ve been in love with this single ever since catching it
first at the 
QUEENS
OF THE STONE AGE – IN MY HEAD: Queens of the Stone
Age return with another hook-laden slice of rock 'n' roll from
their latest album, Lullabies to Paralyze. Originally
featured on Josh Homme’s Desert Sessions 9 & 10
collaboration album, In My Head is given a beefier edge,
now being a driving rock force of barbed and spiky riffs that
is based around the vocal dexterity of Mr Homme.What’s more,
it contains the more chart-friendly vibe that is evident at several
points throughout the album, thereby demonstrating Homme’s
ability to tap into different styles of rock for inspiration.
It’s certainly one of the highlights from an album that
is packed with them.
CHEMICAL
BROTHERS – THE BOXER: A welcome third track from
the Chemical Brothers’ latest album features yet another
partnership between Tom Rowlands, Ed Simons and long-time collaborator
Tim Burgess, of The Charlatans. It's as spiky and energetic as
you might expect, featuring a number of big-beat combinations
and a killer punchline. Burgess’ distinct vocals lend it
a vibe that’s pure 70s funk and a welcome addition to the
summer dance scene. The single includes a brand-new recording,
Swiper, as well as an immense 10-minute extended re-wiring of
The Boxer from NYC's finest, the DFA, which takes the
track into an ethereal Balearic meltdown. A compulsory purchase
for Brothers enthusiasts.
EDITORS
– BLOOD: Birmingham-based Editors have long been
impressing with their sharp guitar riffs and hook-laden melodies.
Past singles, Munich and Bullets, marked them
out as a band to watch, while third single, Blood, confirms
their reputation as a serious challenge to the likes of 
THE
RAVEONETTES - LOVE IN A TRASHCAN: Danish duo, The Raveonettes,
return with their bright and breezy homage to loose women and
ambitious groupies in the form of Love In A Trashcan.
Featuring some delicious guitar hooks and a really catchy style,
the song is packed full of hand-clapping melodies, guitar twangs,
60s pop rhythms and summer-perfect feel-good sentiment. The track
is also designed to highlight Sune Rose Wagner’s deep affection
for early rock ‘n’ roll and girl-group bop and marks
something of a departure departure from The Raveonettes’
trademark fuzzy sound.
IMOGEN
HEAP - HIDE & SEEK: Anyone moved by the music used
in the closing sequence of the second series finale of The OC
will probably be asking themselves who was it recorded by? The
answer is Imogen Heap, the Frou Frou lead singer, whose eloquent
track, Hide & Seek, marks the first solo single to
emerge from her forthcoming album, Speak For Yourself.
Fans of Frou Frou will no doubt already be aware of Heap's lush,
mesmerising vocal style, yet newcomers can't fail to be moved
by the power of her voice and the intricacy of the song she has
created. Hide & Seek is a beguiling number, perfectly
suited to the sort of emotive use a soundtrack can provide, that
is as haunting as it is beautiful - and achingly poignant to boot.
If you already love this, then make a date with the album. It's
certain to satisfy.
REM
– WANDERLUST: Released to coincide with REM’s
recent Live 8 appearance and their forthcoming Hyde Park date
(now re-scheduled to July 16 in light of recent events), Wanderlust
is the third single to emerge from the band’s latest
album, Around The Sun. It’s a curiously restrained
effort for them, lacking the out and out joy of some of their
biggest anthems, yet not really as pensive as the likes of Everybody
Hurts and Leaving New York. It’s good, solid
stuff from Michael Stipe and co, but nowhere near the album’s
best effort. Still, sales will probably be buoyed by their presence
in the UK. I just want to know when, or if, they’ll get
round to releasing The Outsiders (featuring Q-Tip).
THE
KOOKS – EDDIE’S GUN: The PR states that fresh-faced
upstarts, The Kooks, look set to challenge the Britpop status
of Supergrass and Blur, but their jerky style owes more to 
FOUR
TET – SUN DRUMS AND SOIL: Hot off the back of the
release of his latest album, Everything Estatic, Keiren
Hebden, aka Four Tet, releases the new single, Sun Drums and
Soil in a variety of remix formats. In original album form,
the track is an electronic jazz monster reminiscent in places
of the Lalo Schiffrin era, yet in single form, it takes on a Calypso-inflicted
style that’s purely the work of the Sa Ra Creative Partners.
It’s one of those remixes that almost assumes a life of
its own, given its upbeat energy and distinct style. It makes
for a terrific companion piece to the original version and one
that should send Four Tet fans out in their droves to the nearest
record shop to acquire it. The album is certainly worth checking
out as well.
CLOR
– OUTLINES: Clor demonstrate a broader sound for
the latest single, Outlines – one which capably
demonstrates the growing buzz surrounding them as well as the
quirky nature of their music. Outlines is an electro-tinged,
hook-laden anthem for the band that combines elements of punk
and funk, yet retains an idiosyncratic vibe. It has already been
embraced and turned into a record of the week for several Xfm
DJs and certainly bodes well for the forthcoming eponymous debut
album. With so many emerging bands cropping up at the moment,
it’s safe to assume that Clor will shine brightly among
them.
TERRI
WALKER – THIS IS MY TIME: Funny that in the same
week Terri Walker contributes her sultry vocals to Lemon Jelly’s
latest single, she should also deliver her latest solo single.
It truly can be said that this is her time. The track is a heavy,
heavy R&B number designed to showcase those distinct vocals
that comes complete with plenty of laidback beats, some cool scratching
and a funky beat that will probably go down well on the late-night
dance-floors. Walker’s sultry vocals elevate it somewhat,
it has to be said, but there’s no denying that this singer
has presence and that This Is My Time is a sassy statement
of intent.
ROOSTER
– DEEP AND MEANINGLESS: The title of this track
serves as an appropriate metaphor for the sort of impact it makes.
The song runs rife with deep emotions but ends up utterly meaningless,
given its generic sounding delivery. The Rooster boys have hitherto
shown potential as one of the more distinctive boy rockers of
the moment, yet this over-earnest ballad owes too much in style
to the type of turgid material that Robbie Williams puts out.
Indeed, there are times, vocally, when the track seems destined
to become another Williams ballad. The girls will swoon; the boys
will run a mile. Any self-respecting music fan should steer well
clear. Needless to say, it’s aching sentiment became embraced
by the cigarette-lighter wavers at the band’s live shows.
THE
MARS VOLTA - L'VIA L'VIAQUEZ: The Mars Volta defy easy
description. Omar Rodriguez-Lopez and Cedric Bixler-Zavala formed
the outfit in 2001 deliberately to dispose of labels and limitations
of any kind, and to move beyond genres. Hence, Francis The
Mute, their latest album, is one of the most challenging
listens of the year that revels in its diversity. Current single,
L'Via L'Viaquez takes this one step further and capably
demonstrates what to expect. It is among the highlights on the
album, a Latino-flavoured epic that bristles with energy and diversity
all in the one record. It also provides a virtuoso moment from
just about everyone involved - from Bixler-Zavalas' en Espanol
vocal and Rodriguez-Lopez' guitar speaking in tongues, to Jon
Theodore's wild drum rolls and Juan Alderete's half-tempo salsa
grooves. It even features guest appearances from Red Hot Chili
Pepper's Flea and John Frusciante - although you may be too busy
trying to get your head around it to notice.
ELTON
JOHN - ELECTRICITY: It had to happen sooner or later.
West End musical hit, Billy Elliot, is so popular that a single
was obvious, especially given the score was penned by Elton John.
Electricity is the lead single from the show, which launched
in May at London's Victoria Palace Theatre to rave reviews. It's
steeped in all the tradition we have come to expect from a typical
Elton track - plenty of piano and earnest, heartfelt lyrics. But
as with most of his recent material, it lacks any spark and is
far too ponderous to generate much enthusiasm. You only have to
compare his breezy sample from Tupac's current single, Ghetto
Gospel, to know what I mean. The young Elton John was a genuine
crowd-pleaser; the older Elton John is too ballad-based and important.
I've heard from several critic friends that Billy Elliot lacks
any really big numbers, despite being a good show. Electricity
merely serves to heighten the suspicion that they might be
right.
THE
FEATURES - THE WAY IT'S MEANT TO BE: Sparta, Tennessee-based
alt-rockers, The Features, release the latest song from their
Exhibit A album in the form of the rowdy The Way
It's Meant To Be. A heady slab of guitar-driven indie/pop,
the track is a raucous combination of screeching guitars, 60s
organs and shambolic garage-rock vocals crammed into two minutes.
Fortunately, it doesn't last any longer for this is a laboured
listen that really fails to highlight what's good about the rest
of the album. At their best, The Features marry some killer guitar
hooks with a genuinely feel-good vibe (as on previous single,
Blow It All), but there are times when the punk-rock
tendencies come to the fore and their music spirals out of control.
The Way It's Meant To Be falls into the latter category
and is not a very good advert for the delights that await on the
album.
SINGLE
OF THE WEEK 1: JOSEPH ARTHUR – CAN’T EXIST:
Joseph Arthur is another New York artist that music fans should
really be getting excited about. He’s been around for some
time but looks set to make his biggest impression yet when he
releases his sublime new album, Our Shadows Will Remain,
next week. It’s a rich collection of some terrific alt-rock
tunes that swept all before them upon release in America late
last year (it was named in many critics’ year-end best of
lists). Current single, Can’t Exist, is typical
of what to expect – a multi-layered, vocally powerful rock
track that unfolds magnificently into a guitar-driven chorus that’s
as catchy as it is epic. Arthur is a major talent and this new
single should provide the perfect introduction to what will certainly
become one of the year’s best reviewed long-players. Sublime.
SINGLE
OF THE WEEK 2: BECK – GIRL: Having returned in
emphatic fashion with his brilliant track, E-Pro, Beck
now follows it up with something even better. Girl is
the outstanding track to emerge from his Guero album,
a completely addictive, effortlessly breezy summer anthem that
encapsulates everything that's great about listening to Beck.
You'll want to dance and sing-along all at the same time, while
feeling good about yourself (and music) to boot. With it’s
infectious chorus, breezy style and expert blend of instruments
and styles, the track really ought to become one of the biggest
anthems of the year, while bringing even more fans to one of the
most fantastically gifted and musically diverse recording artists
on the planet. Don’t let the single or the album pass you
by.
BRENDAN
BENSON – COLD HANDS (WARM HEART): Brendan Benson
returns with an absolute corker of a single that appeals from
the moment you first hear it and just keeps getting better. Coated
in lush melodies and an easy-going singing style, the track is
ample evidence of an artist growing in both confidence and maturity
and is sure to become one of the best-kept secrets of the summer.
It’s laidback style and breezy nature is perfect just to
kick back and relax to at the end of a scorching, stressed-out
day. Little wonder, it is one of a number of quality tracks being
championed by the likes of Claire Sturgess (Xfm) and Zane Lowe
(Radio 1). You should make sure you track it down –or buy
the album it’s taken from (namely, The Alternative To
Love).
KANYE
WEST – DIAMONDS FROM SIERRA LEONE: Kanye West has
a tall order ahead of him in surpassing the success of his prolific
debut album. But on the strength of this, he’s going to
give it a damn good try. Diamonds From Sierra Leone bears
all the hallmarks of an artist at the peak of his form and growing
in confidence. It’s built around a classic sample of Shirley
Bassey’s James Bond anthem, Diamonds Are Forever,
and features a guest rap from Jay-Z. The electro-tinged background
is also evidence of an artist not afraid to experiment, while
the title alone suggests that West has his eye on human rights
atrocities in Africa. It’s a terrific return and a sure-fire
summer anthem. What’s more, it is one of very few tracks
around at the moment that has been able to use a sample properly,
rather than making it sound tacked on. It should be very interesting
to see how West’s follow-up album, Late Registration, shapes
up.
DAFT
PUNK – TECHNOLOGIC: The second single to emerge
from Daft Punk’s latest album, Human After All,
is typical of what to expect from pioneering French dance duo.
Oozing the robotic style that has become their hallmark, Technologic
is an insanely catchy dance-floor filler that features a distorted
vocal, some smart beats and a breezy style that’s not always
evident in the darker tone of the rest of the album. Anyone who
liked their previous efforts is sure to dig this, especially since
it comes backed with remixes from the likes of Brixton's finest
Basement Jaxx, Canadian art house rebel Peaches and fellow countryman
Vitalic.
JOSS
STONE – DON’T CHA WANNA RIDE: Young soul
diva Joss Stone successfully merges an old-school classic with
modern R&B for Don’t Cha Wanna Ride, the latest
track to emerge from her ultra-successful second album, Mind,
Body and Soul. The song is built around a sample of Soulful
Strut by Young-Holt Unlimited and features the memorable
opening lyric, ‘I know you got the Hummer for the summer,
baby / But I got your number, baby’. It’s also the
closest Stone has come so far to recapturing the sultry vocal
style of her debut album, 
THE
BOY LEAST LIKELY TO – HUGGING MY GRUDGE: Great
name for a great single that was criminally overlooked the first
time around. Having been praised to the hilt by Claire Sturgess,
of Xfm, there’s every chance that this catchy summer anthem
might just make a bigger impression this time around, thanks to
its warm, Badly Drawn Boy-style melodies and vocals that come
laced with some breezy harmonica. The track is taken from the
critically-acclaimed album, The Best Party Ever, which
is well worth checking out for any fans of the single. And for
anyone wanting to know just who The Boy Least Likely To is –
then it’s composed of composer and multi-instrumentalist,
Pete Hobbs, and singer, Jof Owengle. The single is definitely
one to chill out with on a hot summer’s day.
THREE
DOORS DOWN – LET ME GO: Having sold 12 million
albums since their 2000 debut, Three Doors Down have to rate among
the bigger American acts of the moment. For those who don’t
know what to expect, the band specialise in radio friendly pop/rock
in the same vein as Nickelback, Hoobastank and The Calling. It’s
accomplished, a little over-earnest, but provides an OK listen
and bodes well for the new album (Seventeen Days). It’s
all about love (‘you love me but you don’t know who
I am’) but is typically mixed up in sentiment – an
angst ridden rock ballad that is designed with a good video in
mind. Needless to say, that comes complete with a heavyweight
cast featuring Jesse Metcalfe of Desperate Housewives and Lyn
O’Keefe, of Boston Legal. A live version of former hit,
Kryptonite, is included as a bonus track.
FAT
JOE feat. NELLY – GET IT POPPIN’: Fat Joe
(aka Joseph Cartegena) is a hip-hop native of the Bronx and returns
with the first single from his new album, Get It Poppin’.
It’s a chart-friendly effort, featuring Nelly, that’s
sure to go down a storm among the Kiss FM crowd. But in spite
of a lively vibe and more of the usual attitude, it lacks something
and sounds too similar to countless other hip-hop/RnB tracks currently
doing the rounds. Nelly’s presence merely adds to that feel
of over-familiarity, even though some sassy female vocals provide
a nice contrast to the male vocals that take centre stage. It’ll
be massive, of course, and should heighten interest ahead of Joe’s
latest long-player, All or Nothing, which drops on July
18.
BROOKE
VALENTINE – GIRLFIGHT: Brooke Valentine clearly
has her sights set on the Missy Elliott throne. Her latest single,
Girlfight, is a ‘rhythm and crunk’ party
starter that beaks many of the hallmarks of classic Missy Elliott
– sassy vocals, guest vocalists and a heavy, grinding back-beat
that’s all about attitude. Produced by self-described 'King
of Crunk' Lil' Jon and featuring Outkast's Big Boi, the song brews
tension between two groups of women that finally festers into
an all-out street brawl. It takes no prisoners and ought to appeal
to the crunk crowd, while heightening interest ahead of Brooke’s
album, Chain Letter.
CUT
COPY - FUTURES: Australian alt-rockers, Cut Copy, follow-up
the release of their critically-acclaimed debut album, Bright
Like Neon Love, with the single, Futures –
an indie-electro paen to lost love that features wistful lyrics
and plenty of synth slabs. Cut Copy occasionally recall the electro-heavy
80s vibe attached to the likes of The Pet Shop Boys and New Order,
but this particular track quickly settles into a laidback routine
that isn’t always as satisfying as you might think. It’s
ok in small doses but you tend to get the feeling the track could
easily outstay its welcome if over-played (something its exposure
on Xfm might well give rise to happening). That said, they won
many friends when they joined the line-up at this year’s
Wireless Festival in Hyde Park.
RACHEL
STEVENS – SO GOOD: The former S Club singer returns
with another breezy blast of lightweight pop that contains a distinctly
similar vibe to some of Girls Aloud’s recent material. So
Good is full of breezy, synth-soaked melodies, and strident
lyrics designed to place Stevens at the forefront of the girl-pop
movement. Sadly, it’s way too generic for its own good and
not really a stretch of Stevens’ vocal talents. Fans of
her FHM photo shoots will probably want to check out the accompanying
video, which remains as raunchy as ever, but Stevens has yet to
impress as a female solo pop artist in the same way as, say, Natalie
Imbruglia or Natasha Bedingfield. That said, she’s better
than Geri Halliwell!!
WHITE
ROSE MOVEMENT – LOVE IS A NUMBER: The debut single
from London’s White Rose Movement is another of those 80s-heavy
efforts that is supposedly part of the nu-wave started by the
likes of New York’s The Rapture and co. It’s clearly
inspired by early Depeche Mode but lacks the finesse of that band,
or the darkness. Fans of the 80s revival might like what it has
to offer, but it’s hard-driving guitars, falsetto chorus
and electronic disco-beats feel like they belong in the decade
they were inspired by (and left there). For those who wish to
know more, White Rose Movement is comprised of Finn Vine (vocals,
guitar), Jasper Milton (guitar), Owen Dyke (bass), Taxxi (keys)
and Ed Harper (drums). They also recently supported The Kills
in May.
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Music - The Singles Collection
Heard a great single, but yet to buy it? Well, we may have reviewed it. Previous month's reviews: 2005 2004 |
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