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 28

SINGLE OF THE WEEK 1: THIRTEEN SENSES – THE SALT WOUND ROUTINE: Another classic single from Thirteen Senses, from their brilliant album, Invitation. Eschewing all the values of a classic Keane ballad – strong pianos, great vocals – The Salt Wound Routine is a soaring, sweeping indie anthem that shows a more sensitive side to the band, following the more upbeat rock of Thru The Glass, their last single. At a time when everyone is clamouring to heap praise on Keane, and anticipating the release of a new Coldplay album, Thirteen Senses seem to be going about their business with a quiet confidence that is equally as appealing. We would urge people to make sure that come the year end, they are as successful as both of those bands, given that their music is worthy of such widespread admiration. Emotive, powerful and heartfelt, this deserves to be embraced by the masses.
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JIMMY EAT WORLD – WORK: You can’t help but fall in love with the infectious melodies of bands such as Jimmy Eat World. Featuring indie-darling, Liz Phair, on backing vocals, Work is an infectious rock anthem that showcases the band in slower, more reflective mood. Yet it still retains the killer hooks and catchy chorus that have rapidly become a hallmark of the band. Work is the second track to emerge from the band’s latest album, Futures, which was rightly hailed as a more mature piece of work. In what is proving to be a busy time for them, they’re soon to be seen supporting Green Day, whose style is not dissimilar. Work, however, rates as one of Jimmy Eat World’s best efforts in a long time and even has a crossover appeal that can only help them in the long-run.
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THE WIRE DAISIES – EVERYMAN: IndieLondon has been raving about The Wire Daisies for some time now and with good cause! The Cornish four-piece seem to specialise in delivering tracks of shimmering brilliance, as epitomised by new single, Everyman. Taken from the terrific debut album, Just Another Day, the single is an excellent showcase of the band’s many skills – from lush melodies, haunting vocals right through to brilliant guitar riffs. Lead singer, Treana Morris, sultry vocal style is both melancholy and uplifting, especially during Everyman’s epic chorus, while the chilled out guitars of Alden Evans simply enhance the overall quality. In album form, the track is intoxicating, but live is where it really gets the chance to breathe and soars to heavenly heights. If you’ve not had chance to check them out yet, then make sure you acquaint yourself with The Wire Daisies in 2005. We heartily recommend it.
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DO ME BAD THINGS – WHAT’S HIDEOUS: South London nonet, Do Me Bad Things, can rightly lay claim to being one of the most unique bands of the moment. They combine sweet soul and hard rock with FM pop and glam metal to winning effect, continually challenging listeners to try and pigeon-hole them with little or no success. Their latest, What’s Hideous, finds the band in riff-heaven, tossing in elements of grunge rock with a touch of outrageous glamour – thanks to the alternating raucous male and soulful female vocals. It takes a little bit of getting used to, but there’s something oddly fascinating about it, making the band’s forthcoming debut album, Yes!, an intriguing prospect. In music terms, Do Me Bad Things are probably the UK equivalent of New York’s Scissor Sisters, with a touch of The Darkness and Loose Cannons mixed in. Weird but kind of wonderful.
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DJ FORMAT – 3 FEET DEEP: Ever since breaking through with his excellent debut long-player, Music for the Mature B-Boy in 2003, DJ Format has slowly been amassing a solid fanbase on the hip-hop scene. Now with long-time collaborator, MC Abdominal, and Canadian MC D-Sisive, the DJ returns with another funk-heavy vocal workout that merely heightens the anticipation ahead of his second album, If You Can’t Join Em… Beat Em. The single is a lively blend of old jazz, funk and samples that displays the artist’s knack for knocking together some genuinely infectious crowd-pleasers. And if it’s not quite as good as some of the highlights on the first album, it still serves notice that this Brighton-based DJ could become a real player on the hip-hop scene. It’s well worth checking out.
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ESTELLE – GO GONE: Estelle’s appetite for mixing things up a bit with each new track shows no sign of letting up if this infectious, Motown-laced single is anything to go by. The third single to be taken from her debut album, The 18th Day, Go Gone is a bouncy, sassy, soul-laden affair that was re-recorded with Lenny Kravitz band on a recent trip to LA. As such, it’s an enticing mix of fast beats and cute guitar riffs that contain plenty of energy. As the singer, herself states: “With Go Gone, people will see some of my influences which go way back to classic soul and 60s R&B. I think people will see a new side of me and realise that I am a singer as well as a rapper.” It’s hard not to agree.
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FISCHERSPOONER - JUST LET GO: All hail the 80’s synth! It’s back and in a big way with the release of electro gods Fischerspooner’s latest single, Just Let Go. It is the first single to be lifted from the New York duo’s forthcoming album, Odyssey. After a long break from the dance scene Mr Fischer and Mr Spooner have remerged armed with filthy beats and synthetic bass loops. The stylishly crafted track is currently receiving the worthy support of the likes of Pete Tong and Deep Dish. With deliciously dark vocals and a kick-arse guitar rift, Just Let Go is sure to have the dancefloors smoking this summer! (Emma Whitelaw)
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YETI – NEVER LOSE YOUR SENSE OF WONDER: With The Libertines in disarray, it’s little wonder to find that the talented musicians that comprised it are now branching out into all manner of side projects. First there was Pete Doherty’s Babyshambles, then Carl’s The Chavs (with Tim Burgess) and now bass-player, John Hassall, stakes his claim for career stability with Yeti, a London five-piece who seem to be more interested in making music than creating headlines (as proclaimed by Xfm’s Claire Sturgess). Their debut single, Never Lose Your Sense of Wonder, is an infectious blend of Teenage Fanclub-style guitars and edgy vocals that should well go down a storm among the post-punk indie crowd, not to mention ex-Libertines fans. It certainly shows plenty of promise and could yet emerge to be the most enduring of all the post-Libertines side projects.
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MARIAH CAREY – IT’S LIKE THAT: I never thought I’d be writing this but some of Mariah Carey’s new material is actually very good! Having heard several tracks from the new album, The Emancipation Of Mimi, it seems that Mariah has developed a hip-hop groove, toned down the ballads, played up the sassiness and added a great deal of funk. First single, It’s Like That, which was written by Mariah and co-produced by uber-producer, Jermaine Dupri, is rife with eastern-urban rhythms and melodies and possesses a genuinely feel-good vibe that should translate well to the dancefloor. It’s one of several tracks to have grabbed my attention, including collaborations with Snoop Dogg and Wu-Tang brethren. To say the single comes recommended, especially to the R&B/hip-hop crowd, is quite a surprise – just don’t tell anyone that I told you so!
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KYLIE MINOGUE – GIVING YOU UP: More raunchy grooves from everyone’s favourite Australian, Kylie Minogue, courtesy of last year’s Greatest Hits collective. Giving You Up is an electro-tinged disco anthem that features another sassy set of vocals, wrapped around one of those shamelessly catchy Kylie beats. Its produced by Brian Higgins and Xenomania (of Girls Aloud and Sugababes fame) and is clearly aimed at the mainstream market, whose young record-buyers will no doubt be clamouring to dance along to it, while checking out the latest video (which finds a 15ft Kylie dancing through the streets of London). Now there’s something to help our Olympic bid!
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AVRIL LAVIGNE – HE WASN’T: Another of those angry rants against the male of the species that young Miss Avril Lavigne seems to specialise in. He Wasn’t is the latest track to emerge from the Under My Skin long-player and brings nothing new to the CV. Lyrics include such lines as ‘he never made me feel like I was special, he wasn’t what I was looking for’ and ‘this is when I started to bite my nails’. It’s a teenage variation on the Alanis Morissette theme, sung in the high-energy style of former hit single, Sk8er Boi. For that reason alone, it has a fairly limiting appeal, given that it’s a little over-familiar now. That said, I’d rather listen to Avril’s gutsy tirades than the sappy likes of Girls Aloud any day.
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MORRISSEY – THERE IS A LIGHT THAT NEVER GOES OUT: Ian Brown is doing it (revisiting classics from his former band, The Stone Roses), so it only seems fair that Morrissey should now do it with former Smiths classics. Having re-established his credentials as a solo artist of genuine importance with last year’s comeback, You Are the Quarry (which spawned a series of sold-out gigs), Morrissey now comes back with a cover version of The Smiths classic, There Is A Light That Never Goes Out, to mark the forthcoming release of a live CD and DVD. The track merely serves to demonstrate that old Smiths songs have lost none of their appeal. Also included, is a cover version of the Patti Smith song, Redondo Beach, making this a release that all Smiths fans and Morrissey fans won’t want to miss.
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MILLENCOLIN – RAY: They may hail from Sweden but Millencolin’s new single, Ray, is straight out of America, with its infectious, high-energy blend of melodic punk rock and skateboarding sensibilities. The single arrives like a shot of adrenaline, fuelled by the band’s love of the American sound, and their outlook on life (‘now shut your mouth now big boy, it’s in my nature to be changing’). It even name checks Greek philosopher, Herakleitos’s expression, Panta Rei. Or, as Nikola puts it: “It basically means that you don’t go down in the same river twice and I guess that’s symbolic of life.” The band is due to support Good Charlotte during their March UK dates and will probably be a regular feature of the approaching festival season. Expect their catchy guitar hooks and bouncy energy to become a welcome feature of the sunshine among the skater boy/surfing brigade. Ray is taken from the forthcoming new album, Kingwood, which is due for release on April 4.
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MICHAEL BUBLE – HOME: US jazz/pop sensation, Michael Buble, has been taking the world by storm thanks to the phenomenal success of his debut album, It’s Time. Yet on the strength of his debut UK single release, Home, the singer doesn’t really offer anything different from the likes of Ronan Keating and Will Young, making his heartfelt ballads just as excruciating. Vocally, Buble is strong, while the country-tinged melodies and simple style of proceedings are likely to win him plenty of female fans. But given the hype surrounding him (and the extortionate price of his concert tickets), we had every right to expect something more. Jazz fans are far better off sticking to another of America’s current sensations, Peter Cincotti, whose more ambitious style really does impress!
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LEMAR – TIME TO GROW: I once heard someone refer to Lemar’s latest effort as being perfect for the soundtrack to a Disney movie. Certainly, the cheese value on this ballad is high, yet there’s no doubting it will probably appeal to the ladies out there that Lemar is singing out to. Vocally, there’s no denying that Lemar has something pretty special, but tracks such as this do him no favours, emerging as clichéd, tired and a waste of his talents. With that in mind, the radio play alone suggests that this will be massive, so expect more of the same from the artist in the coming months and years. It’s heartfelt, drippy and hopelessly flat yet destined for chart success nonetheless.
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TWISTA AND FAITH EVANS – HOPE: Twista’s Hope is the lead track from the urban Samuel L Jackson movie, Coach Carter, that features a nice vocal contribution from Faith Evans. It’s been picked up and championed by Kiss FM and comes with all the slick production values you might expect from this sort of thing. Ironically, the track also appears on Twista’s Kamikaze album, with Cee-Lo’s vocals, but Faith Evans lends her support to the soundtrack version that does, at the very least, fit in nicely with the film. Given its name, and the fact that it appears in a film about an inspirational teacher, it’s pretty obvious that the track is designed to be an uplifting anthem. But it’s merely ok and geared specifically towards the crowd it will undoubtedly hit with.
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BUSFACE feat. MADEMOISELLE E.B. – CIRCLES: Busface returns with Circles (Just My Good Time), a dance anthem that’s certain to achieve huge success thanks to the presence of Sophie Ellis-Bextor on vocals. Busface are Hugh Broker and Seb Wronski and both have enjoyed hardcore dance success using solo guises. Busface, however, represents a collaboration of their talents which looks set to go down a storm on the dancefloors of Ibiza this Summer. It’s got that same repetitive beat that is the calling card of most dance music nowadays and a soulless, empty quality about it that, quite frankly, grates. The remixes don’t fair much better – merely upping the hardcore elements of the dance beats. It’s taken from the album, Devils Sharks and Spaceships, which is scheduled for release in April.
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MONDAY, MARCH 21

HUSKY RESCUE – NEW LIGHT OF TOMORROW EP: I must confess to only having recently heard of Husky Rescue, but the introduction was worth the wait. Billed as cinematic electro-country music, the outfit certainly no how to chill people out and New Light of Tomorrow is an excellent showcase of their beautiful skills. Layered with some delightful piano, some beautifully understated vocals and some shimmering acoustic guitar, the single in album form arrives like a delightful daydream designed to remove all of the stresses of the day. The EP, however, comes backed with several remixes, most notable of which is the Bonobo workout that, if possible, chills things out still further, while tossing in one of those individual Bonobo beats. Evil 9 funk things up a little with a more lively workout for the track, while the Linus Loves Remix finds the track at its most cute and poppy. It’s good, however, to find a remix EP that is capable of mixing the styles a little, rather than merely setting a throbbing dance beat over everything. Husky Rescue and Bonobo, though, makes for quite a mouth-watering prospect, should the pair of them decide to unite further in the future!
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KASABIAN – CLUB FOOT: It’s impossible to ignore the vibe surrounding Kasabian right now, such is the confidence that exudes from just about every single they have released so far. The mighty Club Foot is actually a re-release designed to cash in on the band’s recent good fortunes and deservedly gets another airing given the fact it went overlooked first time around. It is, quite simply, the sound of indie dance pumped full of amphetamines that takes its cue from early Primal Scream mixed with the arrogance of Oasis. Aggressive, pumped-up and totally in yer face, Club Foot is Kasabian as their swaggering, all-consuming best and one of the undoubted highlights of the equally brilliant debut album. You’d be foolish to miss out on owning it at the second time of asking!
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IAMKLOOT – OVER MY SHOULDER: The Northern lyricism and beautiful melodic sound of I Am Kloot returns to quite mesmerising effect with new single, Over My Shoulder, taken from their forthcoming long-player, Gods and Monsters. Featuring a lovely slice of guitar, a bouncy melody and a clap-happy style beat, the single makes the most of John Bramwell’s distinctively laidback vocal style, while succeeding in putting a smile on your face when listening. The forthcoming album is equally endearing in places, but this is certainly one of the stand-out tracks. So make sure I Am Kloot doesn’t pass you by. It is a stunning return from one of Britain’s quirky elite.
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BRITISH SEA POWER – IT ENDED ON AN OILY STAGE: British Sea Power impressed many with their debut album, so it comes as no surprise to find that expectations are high surrounding their sophomore effort, Open Season. The good news is that first single, It Ended On An Oily Stage, looks set to continue the feelgood vibe surrounding them. The track is a soaring, guitar-led anthem that contains hints of early Echo & The Bunnymen, albeit delivered in a more mature and listener-friendly style. The track has a vibrant energy about it that should serve to ensure it continues to win the band new friends, as well as quite possibly crossing over into the mainstream. We await the long-player with heightened anticipation.
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BRIGHT EYES – FIRST DAY OF MY LIFE: Bright Eyes return with a truly heartfelt ballad that pretty much encapsulates all we have come to love about the outfit. Featuring some wonderful lyrics, more of the usual acoustic brilliance, and touches of electronica to lend the song a more accessible pop edge, this is an understated piece of indie/folk brilliance that’s terrific just to listen and chill out with. Taken from the I’m Wide Awake, It’s Morning album that was released to considerable acclaim in January, it’s an affecting record that really ought to win the singer a wider fan-base (he has already gone down a storm in the States). Little wonder that Xfm (and Claire Sturgess in particular) have adopted it as a record of the week – it’s emotive, fun and a truly great listen.
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THE SUBWAYS – OH YEAH! With its abrupt style and thrashing guitars, The Subways Oh Yeah! is a rousing hybrid of punk, rock and true soul that goes some way to justifying the hype surrounding them, thanks to the likes of Radio 1’s Zane Lowe, as well as NME and Q. Driven by lead singer, Billy’s angry vocals and Charlotte’s sassy and understated backing, the song screams out to be heard by the disaffected youth of London (‘these teenage years, well they don’t last’), who will no doubt embrace their raw energy and hip likeability. Comparisons with the styles of both The White Stripes and The Von Bondies are not misplaced. Bonus track, Take Me Away, is another lively effort, all fierce guitars and an even grittier vocal turn from Billy, that really does mark them out as a band to watch. We have every reason to expect big things from them.
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50 CENT - CANDY SHOP: Just weeks after the release of his massive new album, The Massacre, 50 Cent releases the first single in the form of Candy Shop, which looks set to become a hip-hop monster. The track contains another addictive hook, like In Da Club, that is neatly offset with Eastern-style strings and the sultry vocals of G Unit first lady, Olivia. It rates as one of the best tracks on the album which is still big on guns, women and attitude, but mostly for the over-18s. It's also good to see the artist employing some outside influences into his trademark rapping style, that comes with all the slick production values you would expect from an album that's co-produced by Dr Dre and Eminem. Needless to say, the West Coast hip-hop scene has never had it so good, given 50 Cent's return comes just months after The Game's emergence (which also features the same production team). World domination is only a fingertip away.
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ROOTS MANUVA – TOO COLD: ‘Sometimes I hate myself, sometimes I love myself’ – so sings Roots Manuva on his new single, Too Cold. Its typical of the artist – hailed as ‘one of Britain’s most imaginative and entertaining black musicians’ by the Sunday Times – that such a sentiment is delivered in a cheeky, humorous tone rather than the more depressing, hard-hitting style of several US rappers doing the rounds. It’s a tribute to Roots Manuva’s growing maturity as both singer and songwriter, and the esteem with which he is now held within the industry, that the single has also attracted remixes from the likes of Sa-Ra (whose credits include NERD) and Nightmares on Wax. And here’s the real reason for buying the single – Sa-Ra’s take on Too Cold (which also features Ninja Tunes stalwart, Daedelus), is a catchy, slick affair that adds a new cool vibe to the Roots Manuva sound, while the Nightmares on Wax remix is a sly, chic and totally bouncy affair that manages to mix the different sounds of both artists to surprisingly good effect.
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BRANDY - WHO IS SHE 2 U: The deeply soulful vocals of Brandy get a good workout on new single, Who Is She 2 U, a lively R&B cut that should serve to boost the singer's forthcoming greatest hits LP. Produced by Timbaland and featuring a video from one of the UK’s finest, Jake Nava (also responsible for Beyonce’s Crazy In Love), Who Is She 2 U is suitably feisty and comes complete with some good samples and a sassy beat. The single also includes the Josh Harris old school edit, which funks things up considerably, and which should go down a storm on the dance circuit. In original form, the single appears on Brandy's fourth studio album, Afrodisiac, which should serve to continue the positive word of mouth surrounding the singer-turned-actress.
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THE THRILLS - THE IRISH KEEP GATECRASHING: Having started out as quite a big fan of The Thrills, it frustrates me somewhat to keep being consistently disappointed by new material. The Irish Keep Gatecrashing is another of those songs that is obviously well-written, jolly in its own way, and certain to have the critics praising it, but for me it doesn't mark that much of a progression. It is distinctly The Thrills. Probably because the vocals are so unique, but the band seems content to churn out the same sort of melodies, and I find myself reaching for the skip button whenever their stuff comes on. It's a shame because The Thrills are certainly a class act - just not one to really suit my tastes.
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MARIO - LET ME LOVE YOU: Another of those monster US hits that looks destined for similar success in the UK is Mario's Let Me Love You, an urban slice of smooth groove R&B that marks the singer out as someone to watch for the future. Incredibly, Let Me Love You remained at the number one spot for eight weeks in the US, topping the urban, pop and rhythm radio formats. What's more incredible is that the single is fairly ordinary for this sort of thing. It's heartfelt, slickly produced and possesses a great set of vocals, but it doesn't really do anything special, or bring anything new to the genres it remains rooted in. It remains to be seen what Mario's album, Turning Point, sounds like, given that the success of the single helped it to become certified gold in the first month of its release States-side.
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FABOLOUS – BABY: Using a hook from Michael Jackson’s I Can’t Help It (which was, itself, written and composed by Stevie Wonder and Susaye Greene) should ensure that Fabolous’ new single, Baby, appeals to the Jackson/R&B crowd, if nothing else. It’s a slick, smooth groove-laden affair, designed as Fab’s commentary on the romantic game, and backed up by Mike Shorey’s soul-filled vocals. And if that wasn’t enough, it also contains a sample from Biggie’s Big Poppa, just to ensure that the artistic references come from the very best. Little wonder, then, that the single release comes complete with an instrumental version, where the samples really stand out. Sadly, the track itself doesn’t really cut it as anything original, comfortably residing in the Kiss FM smooth groove neighbourhood, without really bringing anything special to the mix. That won’t stop it from being massive, though! Taken from the album, Real Talk.
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NATALIE IMBRUGLIA – SHIVER: It’s been a long time since Natalie Imbruglia has had anything new on the music front, but given that she represents pop at its best, her return is a welcome one. Shiver, the first track from her forthcoming third album, Counting Down The Days, revisits the acoustic brilliance of her breakthrough hit, Torn, while also demonstrating a more mature song-writing approach. The song has been co-written by Eg White, the man to blame for Will Young’s Leave Right Now, so it comes as little surprise to find that it strikes all the right notes for chart success. No doubt, Natalie will swiftly be embraced by her fans, while also reaching out to a new generation of listeners. It’s breezy, lightweight, but kinda fun.
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ALSOU - ALWAYS ON MY MIND: R&B has a new name to contend with - Russian starlet, Alsou. Signed to Mercury Records, the 21-year-old singer is attracting some heavyweight attention and it's easy to see why from her debut single, Always On My Mind. It's a sultry, slow-building ballad in the style of Mariah Carey and Shaznay Lewis that should go down well among R&B enthusiasts. It's probably a little too generic to warrant too much excitement, but it does herald the arrival of a new talent to watch, especially as she has already helped to change the face of popular music in her homeland. Always On My Mind is taken from her debut album, Inspired, which also boasts a guest appearance from Nelly, while the single itself boasts a video from Joseph Khan, who has helped to further the reputations of the likes of Britney and Missy Elliot.
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MONDAY, MARCH 14

BECK - E-PRO: You can't fail to be impressed with the ingenuity that Beck always brings to each new release. Remember Loser? Devil's Haircut? Lost Cause? Each very different songs in their own right, but screaming out quality. Now we have E-Pro, another classic cut from the genius songwriter, which manages to be both forward-looking, while retaining that downright essential Beck vibe. The track therefore expertly blends folk, blues and garage rock with a mouthwatering Beastie Boys sample to deliver a track that will probably rate among the most feel-good of the year. It also marks the artist's first major collaboration with The Dust Brothers since his breakthrough album, Odelay, way back in 1996. On the strength of this first offering, new album, Guero, looks like being a real humdinger.
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QUEENS OF THE STONE AGE - LITTLE SISTER: Josh Homme's hard-rocking Queens of the Stone Are are back with a vengeance. They may have lost friend and bassist, Nick Oliveri, in the interim, but the quality of the music is still up there with the best of them, all delivered in the raw, unapologetic style that fans have come to know and love. Little Sister is the first track to emerge from the forthcoming long-player, Lullabies To Paralyze (great name!), and contains a mighty guitar riff which seems to elevate Homme's trademark desert-drawl vocal style. Yet while the track certainly retains that hard-rocking edge, it also contains enough about it to make it capable of appealing to new listeners - a neat trick that helps to keep Queens of the Stone Age on the cusp of the mainstream.
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JACK JOHNSON – SITTING, WAITING, WISHING: Multi-talented singer-songwriter and film-maker, Jack Johnson, releases the first single from his excellent new album, in the form of the blissful Sitting, Waiting, Wishing. Inspired by a friend's amusing pursuit of a girl, the track is rife with the sun-drenched melodies and relaxed acoustic guitar that are a feature of the album. Indeed, listening to lyrics such as 'I can't always be playing, playing the fool' and 'if I was in your position, I'd put down all my ammunition, I'd wonder why it's taken me so long', one can’t help but long for those lazy, hazy days of summer, when we can all sit and watch the girls (or guys) go by. You don’t want to miss out on this album, or the single, given the quality of the bonus tracks as well. Jack Johnson could well breakthrough in a big way in 2005.
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GREEN DAY - HOLIDAY: Green Day follow-up the phenomenal success of the first two singles to be taken from the American Idiot concept-album with Holiday, a vitriolic lyrical attack on America’s war campaign set to a stomping punk soundtrack. Far more gutsier than Boulevard of Broken Dreams, and a little more edgy than the single, American Idiot, this feels far more like a throwback to the band's early days than anything as forward-looking as, say, Wake Me Up When September Ends. That said, it has quickly become a live favourite, has plenty to say for itself in the band's inimitible style and is a welcome blast of power-punk guitar playing that serves as another fine reminder of why Green Day's album probably rates as the best of their career. Let's hope the band won't be taking any holidays of their own in the near future.
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ALTERKICKS – DO EVERYTHING I TAUGHT YOU: Fierce Panda new recruits, Alterkicks, look set for big things, judging by the reaction to them at last week’s Thirteen Senses gig in London, and the quality of their new single, Do Everything I Taught You. Featuring some sharp and urgent blasts of guitar and a really catchy chorus, the track amply demonstrates the arrival of an addictive new sound. Bonus tracks, The Cannibal Hiking Disaster and Do Me A Favour are similarly impressive. The fantastically named Cannibal Hiking Disaster is a slow-builder, packed with tortured vocals and some more great guitar hooks, while the demo version of Do Me A Favour is an acoustic-folksy daydream of a record that showcases some really high-quality song-writing and yet more impressive vocals. The mixture of styles is another strong feature of the release.
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RILO KILEY – PORTIONS FOR FOXES: Xfm is raving about Rilo Kiley right now and listening to Portions for Foxes, it’s easy to see why. With its shimmering country-tinged indie/pop credentials, and the addictively sweet vocals of singer, Jenny Lewis, the band seem to have tapped into the sunshine melodies of the likes of The Sundays with an effortless ease. Portions for Foxes contains plenty of enticing guitar chords, a genuinely feel-good chorus and a cutely, toe-tapping rhythm that makes even the dullest day seem bright. It makes a perfect accompaniment to Jack Johnson’s Sitting, Waiting, Wishing, and looks set to propel Rilo Kiley into the big time. Quirky, endearing and fun - all at the same time.
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THE MARS VOLTA – THE WIDOW: An aching, epic, 70s-influenced helping of off-centred guitar rock marks The Mars Volta’s new single, The Widow, as a strikingly brilliant effort which conjures memories of PJ Harvey at her finest (albeit in the trademark Mars Volta style). Taken from the critically-acclaimed new album, Francis The Mute, the single is probably the sound of Cedric Bixler Zavala and Omar A Rodriguez-Lopez at their most accessible, yet it remains distinct enough to make listeners aware that they are listening to something different and special. If you like what you hear, then be quick to snap it up as the single is only available for one week only. Alternatively, you could rush to buy the album…
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HEXSTATIC – DISTORTED MINDS: Special guest, Juice Aleem, adds a telling rap to Hexstatic’s Distorted Minds, one of the standout tracks to emerge from his latest long-player, Master View. Released by Ninja Tunes, the track is a must-have for any fans of the label, embracing the usual Hexstatic traits, as well as some telling makeovers. The Zero DB vox, for instance, scuzzes things up somewhat, but it’s a moody, atmospheric remix that continue to make good use of Juice Aleem’s emcee skills. The real reason for owning this single, however, is the Rainstick Orchestra’s supremely chilled, xylophone-led remix of Perfect Bird, which takes the Hexstatic sound and puts a uniquely Japanese spin on things. It brings the EP to a surreal, oddly beautiful close and really puts you in a good mood. If anything, it’s better than Distorted Minds.
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GWEN STEFANI – RICH GIRL: Gwen Stefani hits back with her second single, Rich Girl, from her first solo album Love Angel Music Baby. Rich Girl featuring Eve, repaying the favour for 2002’s Let Me Blow Your Mind, blatantly steals from Fiddler On The Roof and comes out with a great pop track that you will either find yourself singing along with or find really irritating. Gwen is no longer the punk tomboy from No Doubt, but rather embracing ‘80s electro-pop and R&B. This may well be an instant turn-off to fans more familiar with Gwen’s punk-rock roots but has broken Gwen into a whole new fanbase. Love it or loathe it, Rich Girl is a great pop song with an R&B edge that will storm the charts.
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TERRI WALKER – WHOOPSIE DAISY: The infectious R&B rhythms of Terri Walker blast back onto the scene, to herald the arrival of her second album. Quick-witted and melodic in the extreme, Walker’s Whoopsie Daisy is the sort of easy-going anthem that makes it difficult not to fall in love with her sweet vocal style and effortlessly funky melodies. Little wonder Lemon Jelly snapped her up earlier this year to provide vocals for one of the tracks on their latest album, given that this sassy little diva possesses a confidence about her that places her vocals on a par with anything that Destiny’s Child and co have to offer. It’s good to have Walker back.
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BASEMENT JAXX – OH MY GOSH: Released to mark the arrival of Basement Jaxx’s greatest hits album, Oh My Gosh is another of those infectious dance tracks that the Jaxx seem to have mastered the art of delivering in recent years. Featuring a brisk urban disco symphony and the gutsy vocals of Vula Malinga, the track will no doubt raise awareness ahead of their career retrospective. In truth, though, it’s not in the same league as their best work, which includes the likes of Where’s Your Head At and the criminally-overlooked Good Luck, which needed two releases to finally get some acclaim.
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THE GLITTERATI – YOU GOT NOTHING ON ME: The Glitterati pride themselves on being a band that aren’t content to merely go through the motions. Hence, their brand of stadium rock is designed with the show in mind and playing things as loud as possible. New single, You Got Nothing On Me, does exactly that – only unspectacularly. It’s a sub-Jet, sub-Darkness style of rock ‘n’ roll that doesn’t really do anything special whatsoever. The punk/rock may be influenced by their sneering attitude and hedonistic approach to making music, but it crucially lacks anything to mark it apart from countless other rock ‘n’ roll wannabes. It’s a shame given that some of the axe-guitar solos hint at brighter things. But in the main, this is shamefully generic and loud for the sake of it.
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BLACK VELVETS - 3345: Another of the UK's hot rock tips are the Black Velvets, who look set to rival the likes of Nine Black Alps in terms of intensity. 3345 marks the band's second single and is a powerful, guitar-led stadium anthem that comes across like a clash between Oasis, The Stereophonics, Led Zeppelin and AC/DC. Yet it is for this reason the single isn't as entirely successful as its predecessor, Get On Your Life, given that it seems to want to have its cake and eat it. The track unfolds with some infectious hooks, yet gives way to out and out guitar solos and Paul Carden's bellowing vocals, which render it pretty ordinary. No doubt the track will go down a storm in live form, but as a single it doesn't quite cut it when compared with some of the similar bands plying their trade at the moment.
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VHS OR BETA - NIGHT ON FIRE 12": The 80s revival continues apace with Kentucky natives, VHS or Beta, a band which take their cue from Duran Duran and The Cure to create catchy retro grooves. Their album, Night on Fire, is rife with 80s influences and has gone down a storm in America, where the appetite for all things retro shows no sign of abating. The title track also forms the basis for this 12" release from the band, emerging as an oddly triumphant slice of old-school disco-punk, that does indeed recall the sound of Simon Le Bon and Robert Smith, as well as some contemporary influences, such as Radio 4 and Scissor Sisters. If that blend of sounds interests you, then also consider that the 12" comes backed with remixes from the likes of Carlos D Famous (Interpol), Tommie Sunshine (Felix Da Housecat’s production partner and remixer for Fischerspooner, Scissor Sisters, Junior Senior, etc) and Cut Copy.
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NICK CAVE AND THE BAD SEEDS – GET READY FOR LOVE: Nick Cave and the Bad Seeds finally release the gospel-laden Get Ready For Love, the opening track to his Abattoir Blues album, which comes complete with a highly-charged Blues vibe, and some characteristically throaty vocals. It marks the singer-songwriter at his most inspiring and provides a nice contrast to some of the quieter moments that appear on The Lyre of Orpheus, which was released simultaneously last year. I’ve hitherto not been that great a convert to Nick Cave’s brand of music-making, but tracks such as Get Ready For Love have helped me to dispel some of my misgivings. Well worth checking out.
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MONDAY, MARCH 7

NEW ORDER – KRAFTY: It’s been a while but New Order finally return with a real humdinger of a single – one which encapsulates everything we have come to love about the band that was recently recognised for their ‘Godlike Genius’ at the recent NME Awards. Krafty blends some flourishing synths and taut drum sequences with lush orchestral loops that recall the polished rock of their more recent work as well as the electronic sound of some of their earlier material. What’s more, it effortlessly recalls memories of their seminal track, Regret, thanks to its fantastic guitar loops. It’s difficult not to love this single.
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JAMES BLUNT – WISEMEN: I really rate James Blunt. Ever since hearing his debut album, Back To Bedlam, I’ve been urging people to discover it. Debut single, High, for instance, was an all-consuming, passionate love song that marked Blunt, the former soldier, out as a singer-songwriter of mesmerising beauty. New single, Wisemen, is a worthy follow-up, a soaring, beautifully constructed record that features strong melodies, a distinctive chorus, some telling vocals (‘got to ask yourself the question, where are you now?’) and the quality that his growing fan-base has come to acknowledge as being among the very best of his generation. It’s little wonder that live dates in the capital have had to be up-scaled due to demand for tickets because on the strength of what we’ve heard so far, James Blunt could be one of the major artists of the coming years. So wise up and buy this!
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NINE BLACK ALPS – SHOT DOWN: Hailed by many as the saviours of rock, Nine Black Alps deliver an incendiary two-and-a-half minute burst of guitar rock that goes some way to realising that potential. Shot Down is an absolute belter of a single, the type of track which forces you to sit up and take notice. Combining the expansive brilliance of The Foo Fighters and Queens of the Stone Age with a guitar sound that is quintessentially British, Nine Black Alps prove that last year’s Cosmopilitan was no mistake. Grunge-rock may not appeal to all tastes, but fans of the genre can’t fail to be impressed. Shot Down hits with all the accuracy of a sniper’s bullet.
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STEREOPHONICS - DAKOTA: Upon first listen, the new single from Welsh rockers, the Stereophonics, was a bit of a head-scratcher. Much less guitar-based than previous efforts, and far more mixed up and funky, Dakota didn't even sound like the outfit straight away. But from the moment Kelly Jones kicks in with the chorus, it becomes distinctly their own sound, and it's a tribute to the band's continued progression that Dakota sounds like one of the freshest tracks to emerge from them in a long time. The trademark pop guitar riffs are present, complete with an emotional vigour that is sure to have the unconverted running to find out more. Refreshing, anthemic in its way, and laden with bright hooks and feel-good melodies, this is a very welcome return indeed for one of Wales' finest exports. You can only look forward to the rest of the album.
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PHANTOM PLANET – CALIFORNIA (THEME FROM THE OC): Given the success of television programme, The OC, it’s little wonder that its anthemic theme tune, California (by Jason Schwarzman’s Phantom Planet outfit) is being re-released. And why not? The track is perfectly suited to the beautiful people that populate the series, practically screaming out with sunshine melodies and the feelgood vibe of the Sunshine State. It’s a glorious single in its own right that really ought to have spawned a bigger hit for the band when it was released a while ago, so its success now is certainly worthy. We defy you not to be singing along with it, while quietly imagining yourself on some winding coastal highway, or sipping margaritas in the Californian sun.
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OCEAN COLOUR SCENE – FREE MY NAME: It would be fair to describe the new Ocean Colour Scene single, Free My Name, as something of a labour of love. The track was actually written some time ago in the late 90s. Both PP Arnold and Liam Gallagher liked the song and played around with their own versions. Steve (Cradock) and Liam worked on the song further whilst in the studio recording the Weller cover, Carnation. He says: “We always wanted to release the track but were waiting for the right moment. Then whilst we were recording at the Lodge one day, Steve started putting some of the chords down for the track and before we knew it had taken a life of its own and blossomed into Free My Name.” The track is typical Ocean Colour Scene and a suitably rousing return to form, featuring a big brass intro, some urgent melodies and the raspy, distinctive vocals of lead singer, Simon Fowler. The sweeping chorus even hints at classic Motown, which is not bad for a guitar-based band. OCS fans will lap it up while others should get a kick out of it. The slower bonus track, Make It Better, also emerges as a strong indie-ballad.
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JON B – LATELY: One of America’s most prolific R&B stars is Jon B, so it comes as no surprise to find him really bracing himself for a big UK push. The start of 2005 saw him joining a new label and delivering a new album, his fourth, which is due to hit UK shelves later this month. Ahead of its release, however, comes the single, Lately, which provides a fitting introduction to the warmth and soul of Jon B’s vocal ability and his capacity for marrying this to catchy beats. Lately is therefore a quietly catchy listen that gets better the more you listen to it. Driven by strong melodies, it contains a distinctly US vibe, but will no doubt cause quite a stir over here. Some of the bonus mixes are worth checking out too. R&B fans are certainly advised to keep their eye on Jon B.
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THE DONNAS – I DON’T WANT TO KNOW (IF YOU DON’T WANT ME): Bay-area based girl rockers, The Donnas, unleash another blistering rock ‘n’ roll anthem that is sure to hit home with their fans, courtesy of its infectious hand-clap driven melodies and no-nonsense style. The song recounts a tale of unrequited love that eventually leads to late-night stalking and subsequent restraining orders – all delivered in the feisty style that has become The Donnas trademark. Comparisons with the energetic rock ‘n’ roll style of Courtney Love’s Hole are sure to be made, but this is far more mainstream, and one of the better tracks to emerge from the girls in ages. It also serves as a nice antidote to those wimpy girl bands. The track can be found on The Donnas’ latest album, Gold Metal.
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AGENT BLUE - CHILDREN'S CHILDREN: Agent Blue take a break from the angst-driven songs that helped to make a name for them with a slightly more mature outlook on life, pondering the question of what we will do with our children's children. It's far less shouty but no less guitar-driven than previous tracks, but serves as a pertinent reminder that this is a band that's clearly designed with career longevity in mind. It is taken from their eagerly-anticipated debut album, A Stolen Honda Vision, which is due for a spring release. Rock fans should be excited.
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TWEET feat MISSY ELLIOTT – TURN DA LIGHTS OFF: R’n’B welcomes yet another new singer into its fraternity, in the form of Tweet. First single, Turn Da Lights Off, is a suitably impressive opening salvo that looks set to get extra prominence because of the presence of Missy Elliott. In truth, though, it doesn’t need any help, thanks to some slinky beats, the odd bit of scratching and some nice samples, that help to make it an eye-opener in the same way that Ciara’s recent number one was. Expect to be hearing plenty more of Tweet over the course of the coming year.
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THE MODERN – EASTERN BLOC EP (DOWNLOAD ONLY): Wait a minute! I’ve just had an Eighties flashback, courtesy of The Modern. If glamour, theatricality and a cheesy synthesizer overload does it for you, then rush to check out The Modern’s breakthrough EP, Eastern Bloc, which offers nothing more than pure pop and electro-clash by the bucketload. Their PR hails them as being as extravagant as The Darkness, and as flamboyant as The Scissor Sisters, but I couldn’t help thinking they sounded more like a New Wave Human League. Lead single, Suburban Culture, is catchy in an unlikely way, thanks to the infectious chorus, but Model 426 remains rooted in 80s culture and simply not accessible enough. If this takes your fancy, however, then the EP is now available through all the usual outlets, iTunes, Napster, OD2, etc.
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TYLER JAMES – FOOLISH: Tyler James first started to attract attention when he scooped the coveted T4 One To Watch 2005 award at the Smash Hits Poll Winners party, as well as supported Amy Winehouse on her sell-out UK tour. Yet the mere mention of Smash Hits makes the heart sink. Foolish marks the latest single from the 22-year-old Londoner and it’s not a bad effort, to be fair, thanks to its bouncy rhythms, distinct vocal style and the easy accessibility of its versus. The chorus, however, lets it down badly, given that it sounds far too generic for its own good. Still, at least Tyler writes his own material and, with this in mind, it’s fair to say that Foolish represents an intriguing introduction to someone who could yet live up the billing of being ‘one of the most exciting young talents in the British music scene’.

THE MITCHELL BROTHERS – ROUTINE CHECK: The Mitchell Brothers are the first signing to Mike Skinner’s The Beats label, and comprise Tony and Teddy Mitchell, both 24. They inked their deal after Tony Mitchell performed a reverse pickpocket manoeuvre in the queue at Barclays in Brixton and slipped a demo CD into Skinner’s pocket. Needless to say, it contains all the hallmarks of The Streets’ own distinct style, in that it’s basically a set of lyrics set over a very tepid beat. The tune in question relates to a group of youths in jeans and creps being stopped by the police and is intended to reflect the Mitchell Brothers’ own experiences of being ‘routine checked’ by police. It’s notable only for featuring verses from Kano, the emerging rapper, whose own single, Typical Me, fares much better. He clearly has an infectious sort of energy. Otherwise, it’s just another monotonous affair from the Skinner stable that will no doubt be hailed as genius by all those who think The Streets rule.

MCFLY – ALL ABOUT YOU: Is there anything more dispiriting than having to listen to tepid boy bands (and girls too) who clearly rip off better bands to cater for the teenie sector. McFly actually come across as quite instrumentally accomplished, but there’s no getting away from the fact they lack ambition and their songs are quite simply tedious efforts that are inspired by far greater acts. The drippy All About You is a classic case in point, a cheesy, supposedly happy-go-lucky effort that will probably wind up on some Working Pictures soundtrack for a montage featuring love-struck romantic leads gazing romantically at each other. Endearing? Pass the sick bag! It’s shameful that this has become the official single for Red Nose Day when far better heartfelt material is available from the likes of James Blunt this week.
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