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, MARCH 29

SINGLE OF THE WEEK - SCISSOR SISTERS - TAKE YOUR MAMA: New York’s cool-campers banish the memories of their over-hyped Pink Floyd cover with this gloriously funky retro-styled single, which harks back to the Seventies chic of Elton John. Take Your Mama is the real reason why this band is worth getting excited about, complete with a Stonesy honky-tonk piano, some breezy acoustic guitar, and just the right combination of disco-based rock ‘n’ roll. This one should be rocking the indie-based dance-floors throughout the summer, as well as appealing to the mainstream as well. It possesses that rare crossover ability. Click here for the album...

DISTILLERS - HUNGER: Stepping easily into the slot vacated by Courtney Love is The Distillers leading lady, who brings Love’s trademark husky vocal-style to Hunger, as well as some of her anger. The Distillers are rapidly making a name for themselves as the punk-rock masterblasters, and this raw, exhilarating fix of passion and pain is an excellent reason why so many are tipping them to take Love’s throne (particularly in light of her bad girl antics of late). Fem-rock has seldom looked this healthy, since Hole were in their heyday. Taken from the album, Coral Fang, which can be ordered by clicking here.

NORAH JONES - SUNRISE: The first single to emerge from Norah Jones’ critically-acclaimed second album is a country-tinged breeze through all that is successful about this artist - ie, honey-sweet vocals, wrapped around lush melodies, and simple, but soothingly effective, piano notes. This is trademark Jones, and an excellent start to the album, which should further the phenomenal success she has so far enjoyed. Yet it is also credit to her growing talent and confidence as a singer/songwriter in her own right, that the album, Feels Like Home, isn’t merely content to deliver this sort of thing, wholesale, and does actually explore different genres. For the Jones purists, though, this is bliss. Click here for a review of the album…

BEYONCE - NAUGHTY GIRL: Not content with appearing sexy enough in the tracks Crazy in Love and Me, Myself and I, Beyonce now sets herself up as a naughty girl, to rival the likes of Britney and Kylie. The result is a fairly routine track for the R’n’B queen, which feels like a final attempt to round-up some last-minute sales for the album. Once again, the artist introduces some eastern breaks, splicing them with a sample of the Donna Summer club anthem, Love To Love You Baby. But that’s not really enough to recommend it. Click here for the album

DILATED PEOPLES - THIS WAY: Hip-hop is in a rich run of form at the moment, and this new single from rappers, Dilated Peoples, continues the trend. This Way is the first single to emerge from the outfit’s third album, Neighbourhood Watch, and employs the services of Kanye West. It features a suitably catchy chorus, and some neat gospel backing, making this a quick favourite among the fans, while also being capable of appealing to a wider listener base. Click here for the album…

SLEEPY JACKSON - THIS DAY/COME TO THIS: A welcome reminder of one of last year's great albums, The Sleepy Jackson release the double A-sided This Day and Come To This. This Day is a sumptuous, instantly catchy piece of folk-rock, with a 'na, nana, na, naa;-type sing-along chorus and some really take note guitar riffs, while Come To This follows chirpily along in the same vein, despite some more downbeat lyrics, which focus in on the hopelessness of a situation. The Sleepy Jackson were the names on everyone's lips when they released Vampire Racecourse from their Lovers long-player last year, yet have been a little too quiet ever since. If you didn't wake up them in 2003, then this double-header should provide the perfect alarm call to the Sleepy Jackson. Click here for a review of the album...

AUTOMATO - WALK INTO THE LIGHT: Six-piece New Yorkers, Automato, release their debut UK single in fine style, as Walk Into The Light is a sharp, urgent rap song, which builds on the hot vibe coming out of the Big Apple at the moment. The record will only be available on 12", but for anyone who loves rap/hip-hop, this is a hot effort from another of the emerging acts of the moment. The scratching is also superb, as is the subtle piano which weaves its way around the words, lending things a classier edge than some of the more in-yer-face material around at the moment. These guys seem to be having fun with what they are doing and this translates well to the record. Walk Into The Light is cool stuff, and comes backed with four other records that are all worth getting excited about. The vinyl lovers among you should rush to check it out.

MONDAY, MARCH 22

SOUTH - COLOURS IN WAVES: Almost half a year has passed since the release of South’s glorious first single from the excellent new album, With The Tides, and yet only now do we have some movement on the second. Colours in Waves, though, is an extremely worthy follow-up to that banjo-led classic, bringing in the sweeping guitar style of Coldplay’s In My Place, and its song-writing brilliance to boot. It’s the simple things that can so often prove the most effective, and this is a classic example of an overlooked band going about what it does best. South really ought to be the name on everyone’s lips - so, hopefully, this single will put them there. The album, out on March 29, is definitely worth picking up, too. Click here for a review of the album, or here for an interview with the band, about the new album...

DELAYS - NEARER THAN HEAVEN: A welcome re-release for The Delays’ first single, which became criminally ignored when first released last year. Now, hot off the back of Long Time Coming, and with the band’s recent sold-out London gigs still fresh in the memory, this effortlessly appealing slice of jangle-pop should send the Southampton-based band’s star into orbit. Nearer Than Heaven features yet more enticing guitar loops and a divine set of vocals from frontman, Greg Gilbert, and arrives like a welcome breath of fresh air, amid the current crop of trendy punk-rock bands of the moment. As another taster of what to expect from the album, it is well worth getting excited about. This lot are going to be huge. Click here to pre-order the album, or here to watch the video...

OUTKAST - WAY YOU MOVE: There is a very real danger that this latest single from Outkast may get lost amid several radion stations' continuing desire to play Hey Ya, but that would be a tragedy, for Way You Move is just as trendy in its own right, and another excellent example of why the Speakerboxx/The Love Below long-player was continually rated among last year’s finest. Big Boi’s smooth, staccato rapping lends the track a really slick, feel-good vibe, while the upbeat, funk-laden chorus, is a real grower. As hip as anything that N*E*R*D is putting out, this probably represents the contemporary hip-hop movement as its finest. Click here for a review of the album...

MAGNET feat. GEMMA HAYES - LAY LADY LAY: Magnet continue to enhance their reputation with this inspired cover version of the Bob Dylan classic, which comes complete with a drooling set of supporting vocals from Gemma Hayes. Taken from the album, On Your Side, the track is a laidback, deeply entrancing gem, which effortlessly does justice to the legacy of Dylan, while also casting a fresh prospective on things. The presence of Hayes breathy vocals, on backing, merely lends the record a classier, more seductive, edge, making this a great track to listen to at the end of a long day. It almost eases you into a more relaxed state of mind. If they continue to produce tracks of this quality, Magnet should prove a fairly magnetic mainstream presence. Click here for more information on Magnet, here for the chance to win the album, or here to order the album...

SKALPEL - 1958: Another hip new act to emerge on the Ninja label, Skalpel are Marcin Cichy and Igor Pudlo DJs/producers from Wroclaw, Poland. The year 2000 was a landmark for them, as they traveled the country with DJ Vadim. What they have done so effectively, is ressurect the dusty and smokey spirit of Polish jazz, from the 60s and 70s, and given it a contemporary makeover. Hence, the latest track, 1958, is a hopelessly hip, swinging affair, with a delicious vocal sample, that gets under your skin from the moment you hear it, and refuses to shift. Ideally suited to the trendy live venues of, say, Camden's Jazz Cafe, this is a nice introduction to a duo who are beginning to attract a lot of industry buzz. Needless to say, remixes come from Quantic and Skalpel, themselves, and they continue to eschew the qualities we have come to expect from artists associated with the Ninja Tunes label. Click here for a feature on how to get involved in some remixing - and win a trip to the launch party of the album, in Warsaw! Or click here for a review of the album...

THE DARKNESS - LOVE IS ONLY A FEELING: The fourth single to emerge from The Darkness’ Permission to Land long-player is actually one of the best. An unashamedly cigarette-lighter friendly rock ballad, Love Is Only A Feeling represents the band at their most restrained, allowing the instruments (and guitar work, especially) to take precedence over Justin Hawkins’ high-pitched vocals. The band is still ridiculously over-hyped, of course, but the track does go a little way towards justifying the ever-increasing hype surrounding them. One for glam-rock lovers everywhere. Click here for the album...

TRAVIS - LOVE WILL COME THROUGH: Travis have not, as yet, enjoyed the chart success that their latest collection of singles, from 12 Memories, warrants, which is more than a little baffling, given the quality contained within. Love Will Come Through may not be the most striking of the tracks, thus far, but it is a typically competent effort, which features some good guitar work and another solid set of vocals from Fran Healy. Available for the first time as a commercial single, Love Will Come Through, was originally written and recorded for the film, Moonlight Mile, starring Dustin Hoffman, Susan Sarandon, Jake Gyllenhaal and Holly Hunter, and featuring a lilting melody with Fran Healy’s poignant vocals, this is less political than Beautiful Occupation, but just as accessible. Click here for a review of the album, or here to watch the video...

DIVINE COMEDY - COME HOME BILLY BIRD: Neil Hannon returns with the Divine Comedy for another slice of quirky, offbeat song-writing, which delivers its harmonies in ways similar to the equally aloof likes of Belle and Sebastian. This one is actually better than most Divine Comedy fare (of which I’ve never been a fan), in that it’s catchy chorus, featuring backing vocals from the likes of Xfm’s Laurel Laverne, is actually quite appealing. But Hannon’s vocal style remains as irritating as ever, and the track is just too darn offbeat to make it work buying. Fans, no doubt, will rush out in droves to prove me wrong.

SUGABABES - IN THE MIDDLE: Having come over all sultry for the Love Actually ballad, Too Lost in You, Sugababes revert back to the style of pop-friendly single that made Round Round and Freak Like Me such a success. Instantly catchy, and knowingly funky, In The Middle aptly demonstrates why the Sugababes continue to be the band of choice for people who don’t usually listen to such mainstream, pop fare. They possess a feistiness not usually associated with the genre, as well as a more trendy vibe than the likes of teen-fixated Britney or girl bands. If you’ve liked all the singles so far, then Thirteen, the album, is definitely worth delving into. Click here for a review of the album, or here to listen to the single...

WHITE STRIPES - THERE’S NO ROOM FOR YOU HERE: Could it be that the White Stripes are getting a little lazy amid the effortless success of late? There’s No Room For You Here not only marks the fourth track to emerge from the Elephant album, but also sounds like a virtual cover version of their own, Dead Leaves and the Dirty Ground, from the White Blood Cells album. It’s typically punchy, raw and accessible, but the comparisons with past work aretoo obvious to ignore, lending you the feeling that this should really be a great deal better, and more rewarding than it is. That said, it will appeal to the devotees only, as it is only being released on a strictly limited edition 7" only, with a B-side featuring a previously unavailable medley of the band’s I Fought Piranhas and Let’s Build A Home, recorded live at New York’s world famous Electric Lady Studios. Click here for the album

MISSY ELLIOTT - I’M SO HOT: The second single to emerge from Missy Elliott’s acclaimed This Is Not A Test long-player is a pretty trademark effort from the rapper, complete with slick production values from Timbaland, and those unmistakable beats of late. Pal Joey also contributes some old skool horns and famous
jazzy house breaks to make the single all the more appealing to fans. With efforts such as this, it is little wonder that Elliott continues to be one of the hottest properties in the urban music world. Click here for the album.

FEVER - PINK GREASE: The first single to emerge from Sheffield-based sleaze rockers, Pink Grease, since 2003’s All Over You mini-album is a typically dirty affair, riddled with sleazy guitars, aggressive lyrics and a raw sound that effectively serves to underline the energy that is said to be contained within their live performances. It's loud, sometimes crude, but for fans of this sort of thing, well worth checking out - particularly for those seeking something a little bit harder from the glam-based sleaze of Electric Six. The bonus tracks, including Killer Killer, for my money, are better than the single, offering more than the straightforward guitars - but that's not saying that much.

MONDAY, MARCH 15

HAVEN - WOULDN'T CHANGE A THING: Haven return with more chiming guitars and heartfelt, poignant lyrics, which mark them out as another in the long-line of indie-rock bands, in the Doves/Longview mould - and that's no bad thing. Their forthcoming album, All For A Reason, has been produced by the heavyweight duo of Marr/Dave Eringa (who recently worked with South on their brilliant new album), and this single is an excellent reason why people are getting excited. Anthemic in style, and certainly worthy of the acclaim being bestowed upon it, Haven seem to be equipped with what it takes to step up to the table currently occupied by the aforementioned indie bands. Classic stuff, which hooks you from the first moment you hear it. Click here for the album, or here for further details of the band's forthcoming tour.

CYPRESS HILL - WHAT'S YOUR NUMBER: Dubbed the godfathers of hip-hop/rock fusion by many within the industry, Cypress Hill make a welcome, overdue return with the first single to be lifted from the album, What's Your Number? Best-described as an alternative-rap musical tribute, as well as a hip-hop homage to The Clash's Guns of Brixton, What's Your Number is a typically attitude-laden, but funky (and fun) effort from the street-wise masters. It may take a little while to get used to, and certainly doesn't possess the classic vibe of Insane in the Brain, but it does grow on you with each listen, and is another compelling reason why this outfit's legacy continues to be so enduring.

USHER feat. LUDACRIS - YEAH: Destined to become one of the big urban hip-hop anthems, this monster of a return from Usher is being touted by Radio 1's Westwood as the absolute nuts, not to mention by every hip-hop afficionado from Kiss through to Capital. Musically, Yeah is a tribute to the 'Crunk' sound, which originated in the artist's hometown of Atlanta, and which has dominated the US charts throughout the past year. It is no coincidence, then, that the self-styled leader of the sound, Lil Jon, produces, while fellow ATLien, Ludacris contributes a telling verse, midway through, which merely serves to widen its appeal. The type of record which carries widespread appeal, beyond its genre, and which should heighten expectation to fever pitch, ahead of Usher's new album, Confessions. Click here for the album...

AQUALUNG - EASIER TO LIE: Matt Hales should continue to widen his fanbase with this beautifully observed track from his second long-player, Still Life. Achingly heartfelt, and hopelessly poignant to boot, Easier to Lie is typical of the songwriting quality we have come to expect from Aqualung and an excellent reminder of why Still Life was among last year's most highly-rated albums. This single version has been given a makeover from the one which appears on the album, and is a little zippier as a result, but it's a compliment to Hales that he is willing to offer fans something a little different, making this an essential purchase, and one which feels richer for it. Comparisons with the equally melancholy (at times!) likes of Coldplay and The Doves are not misplaced. Click here for a review of the album, or here to listen to the track...

N*E*R*D - SHE WANTS TO MOVE: Hailed by many to be the coolest people in music today, thanks to their friends and collaborators, N*E*R*D seek to bolster that position with the release of the first single from their forthcoming long-player, Fly or Die, which is as hip and trendy as we have come to expect. Featuring a driving bassline, some laidback acoustic guitar, and a really lazy, yet funky, beat, She Wants To Move certainly possesses all the hallmarks of hipness we have come to expect from the alter ego of The Neptunes. For the record, N*E*R*D are Pharrell, Chad and Shae and their chemistry is such that everyone seems to want to work with them. I still believe they're better at remixing than producing their own material, but this is a worthy successor to the likes of Lapdance and Provider, which definitely is a grower. Click here for a review of the album

KILLERS - SOMEBODY TOLD ME: Las Vegas-based The Killers return with more of the same Eighties-based synth-pop that made their limited edition debut, Mr Brightside, so memorable, in this case with the insanely catchy Somebody Told Me. Fun, striking and completely in your face, the track boasts cheeky lyrics such as 'somebody told me, that you had a boyfriend, that looked like a girlfriend, that I had..'. It's devoid of the punk-orientated vocal style of, say, StellaStarr* but certainly feels retro in style and content. If you enjoyed the likes of Franz Ferdinand and The Strokes, with a hint of Pulp thrown in, then this is most definitely for you.

COUNTING CROWS - HANGINAROUND: A timely remix for one of Counting Crows’ best known hits, which serves as a reminder of the Greatest Hits album, as well as their recent tour dates. In truth, there’s not that much different about it, save for making an already lively track that bit livelier, and adding some fresher beats, even though that distinctive guitar loop remains faithfully intact. But if it serves to give them their biggest ever hit (currently held by their worst track, the cover of Big Yellow Taxi), then good on them, as their back catalogue contains many classics that should have done better. Click here for the greatest hits album, or here for a gig review from the recent Hammersmith gigs.

COURTNEY LOVE - MONO: Never one to shy away from controversy, Courtney Love announces her return with a suitably vitriolic rant against the New Rock Revolution, spearheaded by the likes of The Strokes and The Datsuns. Mono is a fast and furious slab of old-school rock from the queen of the rock chick/wild child movement herself, and a gutsy indicator of the type of thing to expect from her new solo album, America’s Sweethearts. As in yer-face and ballsy as it remains, however, you can’t help wondering when she’ll show some restraint. Click here for a review of the album.

NICKELBACK - FEELIN' WAY TOO DAMN GOOD: US rockers, Nickelback, have taken a little while to follow-up Someday, from their latest long-player, The Long Road, but this signature tune is probably the best way to do it for them. Feelin' Way Too Damn Good is everything we have come to expect from Chad Kroeger and co - big guitars, aching lyrics, and a slow-building nature, into a rousing chorus. It's not in the same league as Someday, or that other rock monster from them, but it's listenable, even if they seem to be on auto-pilot. As an indicator of what to expect from the album, it can be a little deceptive, as a lot of the album fillers veer into heavy metal territory - so be warned if you like the sound of this! Click here for the album..

MARK JOSEPH - BRINGING BACK THOSE MEMORIES: The story behind Mark Joseph's path to success is probably more remarkable than the single itself, but there is no doubting that here we have an emerging talent to look out for - one who is not afraid to do things for himself. Not for him the Pop Idol route to quick-fix success (and crap), Joseph took the long road by setting up his own record label and then touring schools and colleges to get his single heard. It was only when class-loads of pupils began to ask where they could buy the records that he set about getting them pressed. The result is a record that's been compared to Robbie Williams in indie pop mode, as well as Coldplay/Oasis, which is no mean feat. In truth, it is pop-tinged rock - easy to listen to, catchy, but ultimately throwaway. By Joseph's own admission, he writes 'pop songs, but they’re not Britney Spears; it’s rock, it’s pop and it’s very simple'. Still, you have to tip your hat to him and any success is hard-earned.

MONDAY, MARCH 8

JET - LOOK WHAT YOU’VE DONE: Having made a name for themselves with the type of Seventies-laced rock of tracks like Are You Gonna Be My Girl and Rollover DJ, Jet suddenly slow things down and display another side to their vastly talented make-up. Look What You’ve Done, which is another track to be taken from the Get Born LP, is a poignant, tender (by their standards), and really noteworthy piano-led ballad, which proves there is more to the Aussie band than just pure rock outs. What’s more, it could be one of the best tracks on the album, and contains a fantastic, albeit blatantly Beatles-esque, breakdown midway through. Essential stuff from the boys from Oz. Click here for the album...

FOUNTAINS OF WAYNE - STACY'S MOM: Only the Fountains of Wayne could come up with a brand of indie-rock that was this fun and infectious. Evoking memories of classic Cars, in terms of structure, this sets its stall out as a Graduate-inspired tale of a High School boy who finds himself smitten with the sexy mother of his current girlfriend. And the story is told in such a way that you can't help but smile as you sing along to it, and reminisce about those childhood crushes on sexy, older women. The lyrics are terrific, the song, itself, just sublime. If you haven't uncovered the delights of the album, as yet, then maybe now's the time. It's no fluke that Fountains of Wayne have been credited with the ability to write near-perfect rock-pop melodies such as this - although the album contains quite an eclectic mix of styles. It was one of last year's highlights. Click here for a review of the album, here to watch the video, here for a live review, or here for a feature on the band.

THE VINES - RIDE: They're back, but on the strength of this, have they ever been away. Picking up almost exactly where they left off, Australia's brightest, wildest exports explode back onto the alternative scene with this beast of a single, which smacks of the hard-rocking fury of old. Beginning with a guitar riff straight out of Elastica's back catalogue, the single then sets into the usual routine, with wailing choruses, punchy verses and that old ability to hook you with some aggressively catchy choruses. It may not have progressed much, but no one excels like The Vines at this sort of thing, and if this is an indicator of what to expect from the next album, then rock on, baby! Click here to pre-order the album.

MY RED CELL - KNOCK ME DOWN: A hard-rocking Welsh collective, who boast a Strokes/Pixies vibe, My Red Cell release their second EP in fine style, delivering an adrenalin-charged rock anthem packed with edgy energy. The song structure of the lead track is such that it looks destined to become an instant classic - building on the band's reputation, and almost certain to sell out just as quickly as the debut (which has quickly become a much sought-after collector's item). If you haven't heard it yet, then rush out and buy it, so that you will be able to recommend My Red Cell to your friends, rather than playing catch up.

STELLASTARR* - MY COCO: Dubbed by HMV as New York’s ‘latest purveyors of cool’, StellaStarr* provide a timely reminder of why they became one of the breakthrough acts of 2003 with this self-consciously hip slice of retro-styled indie rock, which lays its roots firmly in the 80s. My Coco tells of frontman, Shawn Christensen’s feelings when first dating a new girl, and is a suitably excitable and breezy affair, packed with the lush guitar loops that can be found throughout the band’s excellent debut album. A real grower. Click here for a review of the album, or here for a live review...

MONDAY, MARCH 1

GRAHAM COXON - FREAKIN OUT: As the rift between Graham Coxon and his Blur buddies continues to worsen (it seems), the majestic guitarist makes a further bid to go it alone, with another brash single. Faring better than Stone Roses’ guitarist, John Squire, at least vocally, this is a punk-laced rock-out which is indicative of much of Coxon’s previous material; with a more impressive edge. The vocal style is strangely reminiscent of Albarn's cheeky Essex boy vocal style, while the guitars are fast, furious and hip to boot. In terms of setting Coxon well on the road to solo success, this could well do the trick, and is sure to have the Blur fans running out to get it, if only for the nostalgia trip it represents. They may even argue this is Blur, stripped of the pretension.

JENNIFER LOPEZ feat R KELLY - BABY I LOVE YOU: Just how lazy can J-Lo get in a bid for success. This smooth grooves-style duet with R Kelly attempts to cash in on previous high-profile hip-hop/r'n'b collaborations by taking the successful elements of both artists and merging them into a routine record. R Kelly may just as well be re-hashing his Ignition mega-hit, while J-Lo attempts to play it sultry, with some longing vocals, in the form of 'baby I want you, baby I need you'. The worst thing about it, however, is just how damn catchy the whole affair is. You end up liking it in spite of yourself, much like earlier J-Lo efforts such as Jenny From The Block. Whether that's a strong enough reason for buying it, though, is a different matter. Click here for the album...

ARCHIE AND THE INSTINCTS - BURNING HEART: Archie and the Instincts have every reason to feel optimistic about 2004. Having won the Xfm Unsigned competition in April 2003, the band finally release their debut single, following months of playing hard and recording sessions. Listing influences such as Jimmy Eat World, Biffy Clyro and Elliott Smith, among others, this breezy indie outfit appear to be riding the crest of the wave if this is anything to go by. Instantly catchy, and certainly one to make you sit up and take notice, Burning Heart more than justifies the band's success with Xfm listeners, who should now go out and do the decent thing - ie, buy the single.

JAMIE CULLUM - THESE ARE THE DAYS/FRONTIN': It's been a long time in coming, but Jamie Cullum finally releases his first single from the platinum selling album, Twentysomething, and provides mainstream evidence of why he is such a sought-after songwriter. The real reason for us reviewing this, however, is the cover of Frontin', which, laced with piano, and stripped of the street-cred vibe of Pharell's original, comes over as quite a find - and well worth owning as an alternative in anyone's record collection. Cullum has come a long way in an extremely short time, and done it off the back of word of mouth, more than singles sales. For that reason alone, he has to be applauded, while he has also yet to become obnoxious. Click here for the album.

BLINK 182 - MISS YOU: Anyone who thought that Blink 182 were mere one-trick ponies had better think again, if this is anything to go by. Already marked out as a classic by Xfm’s Christian O’Connell, who made it a recent record of the week, and who refused to tell listeners who it was until they had heard it (for fear of pre-judgements), this is one of those tracks which forces you to sit up and take notice. Acoustically driven, with a terrific snare drum beat, Miss You also boasts a terrific vocal turn, which only really becomes identifiable during the chorus. A genuine surprise from an always fun band, this deserves to be massive if only to encourage them to continue turning out records such as this. As Lauren Lavern suggests, this could be set to fill the soundtrack of many a dewy-eyed Hollywood flick. Click here for the album...

STARSAILOR - FOUR TO THE FLOOR: The third single to emerge from Starsailor’s Silence Is Easy album continues to show the progress the band seem to have made since their debut, Love Is Here. Four to the Floor is a string-laden, epic-sounding record that boasts a memorable chorus, even if some of the verses which build up to it veer into the same sort of dreary territory that beset most of the band’s earlier tracks. The new material, however, while still sounding unmistakably Starsailor, feel much broader in scope, and a great deal richer for it. It’s just a shame they still resort to the whining at all; and remain, for me, an outfit best heard live. Click here for the album, or here for a review of their support for the Rolling Stones at Twickenham…

CRACKOUT - THIS IS WHAT WE DO: On the strength of this, Crackout could be another band to keep an eye on in 2004. Boasting production assistance from Clive Langer and Alan Winstanley (who've worked with David Bowie, Madness and The Smiths), this bears all the hallmarks of a classic alternative outfit, complete with Cure-inspired vocals, and sweeping guitars. Instantly catchy, and with a classic bassline to give things a familiar grounding, this is cracking stuff - and if the band is announcing that 'this is what we do', then we can only show our appreciation by walking out and buying it! A big improvement on earlier work.

SHINS - SO SAYS I: The PR states that if the Beach Boys were still all alive, this is the type of music they'd be making. Maybe so, but while the breezy riffs and high-pitched vocals are quite catchy, there is also something curiously missing in the single, So Says I. It's trying to be cool and funky, but sounds a little too familiar to warrant too much excitement. And while the lyrics may bemoan the state of humanity, in a worthy sort of way, you may find yourself not really taking notice. Better work comes in the form of bonus track, Mild Child, which slows things down a notch, and bears all the yearning harmonies and endearing innocence that their publicity is keen to highlight. If this is truly the sound of what we can expect from The Shins, then it might just be worth getting a little more interested. Gone For Good, meanwhile, is an ok track, which flits between The Kinks and, more recently, Hot Hot Heat for style. Click here to pre-order the album, Chutes Too Narrow.

GOLDFRAPP - BLACK CHERRY: Alison Goldfrapp chills out and the result is truly intoxicating. Black Cherry is the type of dreamy, blissed-out daydream of a record that Air are more closely associated with, marking a neat change of pace from the beat driven, dancefloor focused emphasis of many of the previous releases from the album. This title track is a sexy slice of electro-pop which provides yet more proof of why the album remains so highly-rated. Click here for our verdict on the long-player…

OPEN - CLOSE MY EYES: Hailed by the NME as 'the sound of the future', The Open seem to possess more than a passing nod to the past. Evoking memories of early Echo and the Bunnymen, in terms of the epic nature of their songwriting, the band could well be one to look out for, although touting them as something amazing is somewhere wide of the mark. Close My Eyes is certainly a catchy record, which smacks of the ability to write good, grand, sweeping songs, but frontman, Steve Bayley, has some way to go in the vocal stakes. Catchy, but by no means a classic.

CHICKS ON SPEED - WORDY RAPPINGHOOD: The eccentric Chicks on Speed return with another quirky slice of electro-funk pop, featuring a variety of guest vocalists for this vamped-up version of a track which was originally written and recorded by Tom Tom Club. Most notable is the presence of Tom Tom Club's own Tina Weymouth, which lends it a little more credible. It possesses a kitsch value, much like any Chicks on Speed material, and is the first single proper to emerge from the girls' acclaimed 99 Cents album. But you get the feeling that its allure may be shortlived and what begins as trendy (given the current lust for high-camp, a la Darkness and Scissor Sisters), could quickly become irksome. The Playgroup remix belongs on the Eurpoean club circuit, or amid the designer chic of the 80s-based Miami Vice. Click here for the album...

BEENIE MAN - DUDE: With its backdrop of Jamaican steel drums, Shaggy-inspired vocals, and a cheeky guest spot, from Ms Thing, this arrives like an infectious burst of energy from the Beenie Man, despite being a little repetitive to boot. The remix, which adds vocals from Shawnna, doesn't do much different, but bounces along in the same catchy way as the single. But while you may get with its rhythms for now, chances are, you'll be scratching your head in exasperation come the end of the year. A guilty pleasure, made to be thrown away.

MARS VOLTA - TELEVATORS: Jazz-punk mentalists, Mars Volta, return with another surreal fantasy, epitomised by the stunning visuals on the cover of the single. Cedric Bixler and Omar Rodriguez formed the Volta to indulge their mind-blowing, spaceage jazz/punk-rock fantasies and with the surreally-named Televators, they expand their horizons. Unlike some of their grander work, however, this is a soft and heartfelt effort, which is likely to appeal much more to the mainstream than some of their earlier work. This contains a poignancy and a beauty that is all too absent from the manufactured nonsense of the mainstream. Mars Volta are well worth checking out.

KYLIE - RED BLOODED WOMAN: Video aside, this isn't a bad record, and certainly one of the better efforts from the, quite frankly, disappointing Body Language long-player. Possessing the same sort of breathy sexiness that made Slow such a saucy number, Red Blooded Woman is a taut, electro-based track, which finds the diminuitive Aussie at her raunchiest. That it comes complete with another teasing video should ensure another huge success, but it might just detract from the fact that this is one of the artist's better efforts to boot. It's just a shame that the rest of the album can't match the quality of the first two singles, or the as-yet-unreleased Chocolate, which is another one to get the boyfriend's hot and bothered. Click here for a review of the album.

HOTHOUSE FLOWERS - YOUR LOVE GOES ON: Hothouse Flowers return with their first new material since the release of their Best Of album four years ago - and the surprise is, it's not that bad. Featuring The Dublin Gospel Choir on backing vocals, this is an enticing blend of acoustic driven folk, which draws on the various experiences the band members seem to have had since last recording together - which have included touring America, playing festivals in Europe, Japan and Africa, and supporting the Rolling Stones on their Bridges to Babylon tour. Hence, the single includes a trumpet solo, midway through, not to mention a hint of banjo, which stands it out from the typical soft-rock wannabes which seem to be two a penny nowadays. This, at least, has an ambitious edge, which is borne out by the bonus track, Learning To Walk, which gives things a less breezy edge, and feels a great deal better for it. The new album, Into Your Heart, emerges the following week, and this is an excellent taster of what to expect. Click here for the album...