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, MAY 31

SINGLE OF THE WEEK - BEASTIE BOYS - CH CHECK IT OUT: A long-awaited and oh-so welcome for hip-hop pioneers, The Beastie Boys. Taken from the forthcoming album, To The 5 Boroughs, the first single, Ch Check It Out, is as take-notice and fresh as we have come to expect from the outfit, and destined to appeal to their ever loyal fanbase. Packed with memorable beats, explosive lyrics and that New York attitude that seems intrinsic with music of this sort, Ch Check It Out is being hailed as another of those anthems for the block-party rockers that should confirm the Boys position among hip-hop’s leading artists. Now roll on that album (the sixth in their illustrious history). Click here for the album, or here for a feature on the long-player…

THIRTEEN SENSES - DO NO WRONG: Thirteen Senses is another of those bands which seemed doomed to become laden with the ‘next Coldplay’ or ‘next Keane’ tag, thanks to their earnest style of songwriting, and fondness for guitars flittering back and forth, tinkling pianos, and incessantly catchy tunes. Second single, Do No Wrong, is another of those sweeping epics that seem tailor-made for the cigarette-lighter brigade, but is an eye-catching track nonetheless, proving that the British music industry is ripe with songwriters of genuine worth at the moment. Some pundits are tipping Thirteen Senses to be among the stars of the next few months - not to mention potential show-stealers at next year’s Glastonbury. Let’s just hope their name doesn’t translate to any bad luck on the path to success. Click here for a feature on the band...

MARIO WINANS - I DON’T WANNA KNOW: Super-producer, Mario Winans, steps out from behind the producer duties to deliver an absolute gem of an R&B work-out, that feels a little fresher than many of the current anguish-laden rants that occupy the top-slots in the charts. Rather than dressing down his lover for an indiscretion, he here chooses to ignore it, and the track which results looks certain to be one of the anthems of the Summer. For those who aren’t sure which track I’m referring to yet, it’s the one that also features P Diddy, that Fugees sample, plus a little bit of Enya, and which features the memorable line, ‘I give you extra cheese’. Little wonder it got American listeners so excited… Click here for a feature on the artist.

JETPLANE LANDING - BRAVE GRAVITY: The third single to emerge from Jetplane Landing's acclaimed album, Once Like A Spark, is probably the best. Brave Gravity boasts the same sort of feel-good rock-pop sensibility that Ash have made their own, with a catchy chorus, and driving versus, that can't help but make you nod along in appreciation. Not only that, but its release perfectly coincides with the arrival of the sun, making this a sun-drenched rock track that you'd be proud to have blaring out from your car stereo during the hot weather. It is a breeze. Only available in a strictly limited edition, the CD also boasts bonus tracks, We Are The Pragmatists (another acoustic-driven gem), and the heavier rock-out, The New Standard, which veers into metal territory, and probably finds the band at their most relaxed, and least likeable. Click here to order the album

PHANTOM PLANET - BIG BRAT: Phantom Planet probably remain best-known for their glorious single, California, particularly as that anthem is now being used as the theme tune for Channel 4 US import, The OC. Well, anyone expecting more of the same from the outfit is in for a big surprise, for with Big Brat they've gone much rockier, and the result is quite an eye-opener. Featuring a driving guitar rift, and a frantic beat, the single is a bit of a monster for alt-rock/indie fans, and features a character who is 'always up to no good'. Where California was sweet and good-natured, evoking memories of sun-drenched Californian highways at the peak of the Summer, this is a far more grittier affair, more akin to the bouncing off the walls urgency of tracks such as Blur's Song 2. And that's no bad thing, for this is a track which continues to get better, the more you hear it.

FAITHLESS - MASS DESTRUCTION: At a time when it has become fashionable for musicians/artists to make political comments, it comes as no surprise to find Faithless jumping on the bandwagon with their comeback single, Mass Destruction. Featuring lines such as ‘race can be a weapon of mass destruction’, and a knowingly controversial tone, the track is backed by a pulsating beat and resonates with bitter sentiments against those who have helped to land the world in the precarious situation it is faced with today. It should, at the very least, raise the band’s profile, ahead of the release of their next album, No Roots. Click here for the album.

HOOBASTANK - REASON: Another of those moody rock epics that evokes memories of Nickelback and co, Reason marks the first track to be taken from Hoobastank's second album of the same name. And, yes, they are American, they are huge over there, and, thanks to the likes of Virgin and co, they're set to make a big impression over here with the release of Reason. In truth, it's no better or worse than a lot of the powerhouse American rock anthems, and it's sure to feature prominently on some movie soundtrack, but there is that feeling you've heard it too many times before, which hinders its enjoyment. Ok in small doses, but nothing really to write home about. Click here for the album.

VEGETARIAN RESTAURANT - ABERFELDY: Aberfeldy are comprised of Riley Briggs, Ian Stoddart, Ruth Barrie, Sarah McFadyen and Ken McIntosh and, off the back of this breezy introductory single, could well be set for big things. A folk-soaked slice of alt-country rock, Vegeterian Restaurant possesses those all-important nods to the likes of Dylan and co, while also maintaining an identity of its own. The lush melodies, and sweet vocals occasionally veer into Belle and Sebastian territory, too, but the presence of some good old mouth-organ and banjo also add to the individuality of its charm. Bonus track, What You Do, is another heartfelt number that certainly has you pining for more from them. For the record, Aberfeldy were named after a small Scottish coastal town, and marks a collaboration of like-minded folk, who met in Edinburgh's pubs and cafes, and who share an appreciation for making choral pop music. They have been picked up by Rough Trade, who immediately fell in love with their soothing boy-girl melodies. It's easy to see why. Click here.

EMMA BUNTON - CRICKETS SING FOR ANAMARIA: Emma Bunton continues to be credited with being the only Spice Girl that is any good on her own, but while she certainly boasts a strong voice, much of her pop-driven music leaves a lot to be desired. It would be interesting to see what might happen if she decided to set her sweet vocals to something a little harder. Crickets Sing for Anamaria is, at least a step in the right direction, a cover of a traditional South American folk/jazz standard, given that all-important pop makeover. The beat is actually quite lively, and the South American flava a neat change from the usual bland pop melodies we have come to expect from her. But it's still not enough to warrant a recommendation. And the Latino version of former single, Maybe, also serves as a turgid reminder of the singer at her mainstream worst. Baby is showing signs of growing up, but her musical progression is still very much in its infancy and there is someway to go yet before she finds any respect outside of the teeny-bopper/Capital FM crowd. Click here for the album...

STACIE ORRICO - I COULD BE THE ONE: A brunette diva to rival the likes of Britney and Christina, Stacie Orrico delivers another of those tedious, sound-alike r'n'b numbers that seems designed to appeal to the mainstream dancefloor crowd. It's all over-produced, soulless and pretty, and pretty much symptomatic of everything that's bad about the modern charts. Indeed, were I not staring at the CD cover as I'm writing this, I probably wouldn't be able to pick it out from the likes of J-Lo, Britney or any other of those sorts of pop princesses doing the rounds at the moment. I Could Be The One is that drab.

MONDAY, MAY 24

SINGLE OF THE WEEK: THE VINES - WINNING DAYS: The title track to emerge from The Vines' cracking second long-player, Winning Days seems tailor-made for those long Summer days, such is its psychedelic, laid-back and woozy style. Demonstrating a noteworthy ability to move away from the punk-based rock workouts of earlier efforts, this is The Vines at their most refined and resplendent, harking back to the glory days of the Sixties and Seventies, while conjuring memories of early Oasis. Without question, the track is one of the finest on the album, as well as a record to rival the beguiling brilliance of their Miss Jackson cover, proving that the band are no mere one-trick ponies. Expect it to be massive throughout the Summer season, as genuine music lovers seek to chill out and kick back with what it has to offer. Sublime. Click here for the album.

SUPERGRASS - KISS OF LIFE: A major change of direction forms the basis for one of Supergrass’ best single for some time. Kiss of Life marks one of two new tracks put down for their forthcoming ‘Best Of - Supergrass is 10’ and is probably one of the band’s funkiest efforts to date, featuring another typically striking vocal turn from Gaz, as well as a catchy chorus, some Prince-like influences, and a totally addictive beat. Indeed, such is the distinctive nature of the track, upon first hearing, that you may not even notice it’s Supergrass at first. But then the ability to change style and remain essential is the sign of a good band. Exciting times would appear to lie ahead for Supergrass fans. Click here for the album.

STANDS - OUTSIDE YOUR DOOR: The timeless melodies of The Stands are back, with the fourth offering from the excellent debut album, All Years Leaving. Outside Your Door is another of those country-tinged slices of Scouse pop that will probably prompt countless comparisons with the Coral. Yet it seems perfectly poised to herald the arrival of the Summer, with a throwback to the breezy psychedelic style of the Beatles in their heyday. Bonus track, When This River Rolls Over You, which is also taken from the long-player, is another gloriously-styled retro number, that contains the same sort of instant likeability about it as The La's. The mouth-organ solos are pretty mouth-watering too. Excellent stuff from one of the British bands of the year so far. Click here for a review of the album...

KILLERS - MR BRIGHTSIDE: Hot off the back of their successful Somebody Told Me, The Killers return with another catchy, Eighties based anthem that is provoking plenty of comparisons with other American acts, such as The Strokes. HMV refers to the single as containing a 'neon-pop buzz' about it, and there is certainly an element of this about their music. It's fast, it's fun, and, at three and a half minutes, seldom outstays its welcome - even when played to death by some radio stations. Mr Brightside merely confirms that The Killers have stardom firmly in their sights. Roll on the album. Click here for the album...

MY RED CELL - IN A CAGE: A fiery tale of outsiders living in a small town full of bigots and the murderous urges that brings about, My Red Cell's latest single, In A Cage (On Prozac) is a suitably take-notice affair which continues to mark the band out as the UK equivalent to StellaStarr*. That said, as sharp and snappy as things become - and controversial, with lines such as 'I've got a knife and I know how to use it', In A Cage is not as good as the band's previous effort, the excellent Knock Me Down EP, which means the jury is still out on these guys. They could yet blossom into something marvellous, or they could get stuck in the rut occupied by so many noisy, punk-rock, angst-driven bands, who seem to specialise in two to three minute adrenaline charges at the moment. Click here for the previous EP.

OFFSPRING - CAN'T GET MY HEAD AROUND YOU: It's been quite some time since Offspring delivered a record of this genuine intensity, but (Can't Get) My Head Around You is a return to the pure punk fury of their heyday (and tracks such as ?), which is the best thing they've done in ages. Forget the gimmicks of recent attempts to jazz things up a little, or make it more dance-based, this is the band at its best, delivering uptempo, feel-good pockets of anguish-laden fun. It's typical, it's old school, and really ought to guarantee another massive chart success. Taken from the album, Splinter, which many are hailing to be the band's best long-player in ages. Click here or here to order the album.

JET - ARE YOU GONNA BE MY GIRL: A welcome re-release for one of the overlooked rock classics of recent times. Aussie rockers, Jet, finally have been receiving the acclaim their music deserves, following the success of Rollover DJ and Look What You've Done, but this really should have paved the way. Billed as 'a hard stomping anthem of lager-fuelled romanticism', the single has subsequently become the band's most popular track, thanks to its generous airplay and attachment to a certain Mr Beckham's camera advert. It is typical of what we have come to expect from Jet - fast and instantly catchy, and one which is almost certain to have you singing along to it. The Jet name should be sent into orbit with this one. Click here to order the album.

M83 - AMERICA: M83, whose recent remix of Goldfrapp caused more than a few palpitations on the dancefloor, gleefully release a 30-minute EP, entitled America, which arrives like a modern, dancefloor variation of Jean Michel Jarre's sound, cranked up to the max with swirling keyboards and frantic beats. M83 are comprised of Nicholas Fromageau and Anthony Gonzalez, who hail from the South of France, and the track, America, features the duo at their nob-twiddling, mind-bending best - paving the way, nicely, for their next album, which has provisionally been scheduled for a late autumn release. Second track, Tsubasa, slows things down completely, to ultra-chilled out and almost surreal and haunting, while God of Thunder sparks things back to life, chucking in plenty of electronic flourishes. It's an acquired taste, but for those who buy into the European flavour, it's downright irresistible! The EP also features the mind-bending video for America, directed by Jamie Scott.

KELIS - TRICK ME: Hot off the back of her phenomenal success with Milkshake (which seems to be everywhere still), Kelis returns with Trick Me, a typically feisty put down to the bad behaviour of her errant man. The dub-laden track contains another of those hopelessly catchy beats, not to mention the trademark sassy lyrics and attitude, making it another essential addition to the dance scene this Summer - not to mention the radio airwaves blaring out from hundreds of car stereos. It's not quite as addictive, or as enduring as Milkshake, but then that's a tough act to follow and, to be fair, Kelis has certainly come close. The likes of Beyonce and Missy Elliott had better start looking over their shoulders. Click here for the album...

MASS - TESTIFY: Mass have been building a solid fanbase among some of the more high-profile Djs, including Radio One's Steve Lamacq and Xfm's Claire Sturgess, ever since the release of their first two singles, Hey Gravity and Live A Little. This, however, could be the track to catapult them into the limelight, as it represents a monster of a rock anthem, thanks to the raucous nature of the music and the kicking and screaming vocals. Loud, but unquestionably worth taking notice of to boot, this represents a Mass-ive step forward in the band's career progression, and is set to go down a bigger storm than the wailing guitars that permeate throughout.

THE FEATURES - A MILLION WAYS TO SING THE BLUES: Following the sell-out success of their second limited release for Fierce Panda, The Way It’s Meant To Be, (which garnered 19 Radio One plays and an evening play-list at XFM), The Features return with new single, A Million Ways To Sing The Blues, which is another adrenaline-fuelled rock anthem packed with sonic overload. Hailing from Sparta, Tennessee, The Features are Matt Pelham (vocals/guitar), Roger Dabbs (bass), Parrish Yaw (keyboards) and Rollum Haas (drums), and their sound is drawing comparisons with everyone from StellaStarr* to Kings of Leon - with some saying they are better! On the strength of this blistering single, don’t bet against them to Feature highly on Dj play-lists for the remainder of the year.

POLLY PAULUSMA - GIVE IT BACK: Polly Paulusma releases the latest single to emerge from her stunning album, Scissors in My Pocket, and does much to bolster her reputation as a singer-songwriter to watch. While comparisons with the likes of Kate Melua and Norah Jones are virtually guaranteed, she has more in style to the joyful melodies of Joni Mitchell, and Give It Back is an excellent showcase for her upbeat songs, and seductively sweet vocal style. It is an uptempo gem, which is typical of what to expect from the album - which shouldn't be overlooked. Bonus track, Two Stars, slows things down considerably, and could quite easily fit into the Norah Jones writing catalogue, but her voice still shines, as do the chiming guitars late on; while the sorrow-laden Leave Your Keys is a truly heartfelt lament for a lost love she is telling to leave. Click here for a review of the album...

DEEPEST BLUE - IS IT A SIN: Another of those turgid pop-rock anthems, with the emphasis on pop, which contain insipid lyrics such as 'is it a sin to love again?' Deepest Blue's Is It A Sin is soft-rock in the extreme - designed to appeal to the rose-tinted spectacle brigade, or pre-teens, who dream of happy endings. The bland equivalent of a cinema chick flick, the record has been picked up by the likes of Radio 1 (!) and Capital as one of those anthems of the Summer, from one of the promising young bands of the moment. But for the more discerning listener, the biggest sin might be to actually go out and buy it. Wretched. Click here to pre-order the album...

MONDAY, MAY 17

SINGLE OF THE WEEK - AUTOMATO - THE SINGLE: Fast rising six-piece New York hip-hop collective, Automato, aptly demonstrate why they are so busy at the moment, with this classy single, from the eponymous debut album. The Single is all-style, effortlessly fusing classic hip-hop beats and vocals, with elements of soul and a downright funky, contemporary dancefloor savvy. The tingling pianos, which run throughout, coupled with the uptempo beats and melodies, make this one of the finest hip-hop records of the year so far, and a damn fine reason why rushing out to buy the long-player should be somewhere near the top of your list of musical priorities right now. Automato are the business, right now, and The Single is an essential purchase, coming, as it does, with a handful of excellent remixes. Click here for the album, or here for a feature on the outfit.

MUSE - SING FOR ABSOLUTION: Having rocked out to the max for their last single, Hysteria, Muse return with a third track to emerge from the powerhouse album that was last year's epic, sprawling Absolution long-player. Sing For Absolution finds Matt Bellamy at his most angst-ridden and powerful, possibly even outdoing Radiohead's Thom Yorke on the tortured vocals style. The song is a slow-builder, and almost operatic in form, with subtle pianos eventually giving way to sprawling guitar solos, that tip it into the type of track Queen was producing, circa Highlander days. Coupled with the much more aggressive Hysteria, this is an excellent showcase for the eclectic nature of the album, and features the band at its most boldest, refusing to give in and take the easy route to chart success, but always doing something surprising (and excellent) instead. Another humdinger. Click here for the DVD single, or here for a review of the album.

PJ HARVEY - LETTER: PJ Harvey returns to the stripped down menace of her earlier work for this first single to emerge from the forthcoming long-player, Uh Hu Her. Letter is no doubt influenced by her time spent out in the desert with Josh Homme and co, for his sessions long-player, and is driven by a brooding guitar throughout. Fans of latter-day, award-winning Harvey may lament the broader, more expansive (and commercial) style of her Stories From The City effort, but purists will probably lap it up - as this marks Harvey at her purest and most extreme. All in all, Letter is a first-class return from one of rock's great female performers. Now, roll on the new album. Click here to pre-order the long player, or here for a review of it...

AGENT BLUE - SEX, DRUGS AND ROCKS THROUGH YOUR WINDOW: Hailed as the sound of youth gone wild, Agent Blue are five teenagers who have decided to take it back to the hardcore punk style of the Seventies, unleashing a fury unlike much of the more contemporary punk revival stuff. The title, alone, sums it up, while their PR credits the band with 'mixing the inner city tensions of 70’s punk with a loud, bombastic backdrop of angry, snarling 21st Century noise'. And noise is excatly what it is. At two minutes and 50 seconds, it's mercifully short, but that isn't saying much. Punk rock fans will probably lap it up, while hurling themselves about to it, but for me Agent Blue, are a long way from the 'best new band in Britain' tag that some have lavished upon them.

NICK DRAKE - MAGIC: To mark the 30th anniversary of the death of this seminal musician, Island Records is releasing a new compilation of his genre-defining work, and Magic, Drake's first-ever single. Hailed as being a major influence on pretty much anyone who has ever picked up an acoustic guitar, despite only achieving the fame he deserved after his death, Drake continues to be cited as a major inspiration for a new generation of songwriters. Needless to say, Magic will delight the fans, while serving as a useful insight for any young listener who is intrigued to find out why so many artists continue to hail him. Click here for the album.

STING - STOLEN CAR (TAKE ME DANCING): Another of those typically moody, quintissentially Sting records that boasts all the hallmarks of the hugely successful artist. This is a re-worked version from that which appears on the Sacred Love album, with B-sides that feature Will I Am, from Black Eyed Peas, and Twista, in a bid to give the artist a more contemporary edge. The single isn't bad, either, proving that Sting can certainly move with the times, yet it also feels a little too self-important at times, missing out on the easy access style of his earlier solo efforts, or, more tellingly, his Police days. By no means a disaster, but no classic either, this is typical of what to expect from the current album. Fans will no doubt remain faithful, but it's doubtful whether it will reach out to as many new people as it is clearly intended to.

IMA ROBOT - DYNOMITE: Ima Robot crash back onto the scene with this deliriously breezy opening track from their eponymous debut album, that marks them out as another of those quirky pop-punk-electronica bands to savour. Dynomite is one of a handful of genuinely mainstream tracks on the long-player, which boasts a teasing Breeders-style bassline, before exploding into the sort of jump around your bedroom anthem that eptiomises the likes of Hot Hot Heat and The Rapture. If you like this, however, then you're bound to love the album, which is packed with tight little anthems such as this. A little firecracker. Click here for a review of the album.

KATY ROSE - OVERDRIVE: At first listen, the debut single from Katy Rose immediately provokes comparisons with the likes of Avril Lavigne and Alanis Morissette, courtesy of the hard-edged rock guitars and synth backdrop, coupled with the same feisty vocal style of her peers. Yet delve a little deeper, and there could be much more to Rose than meets the eye. She hails from a musical background (her father played with Crosby, Stills and Nash) and she seems to have much more in common with the alternative scene, than pop. While certainly gutsy, Overdrive suffers, a little, from cheesy lyrics such as 'I need to take a shower when I look at you,' and 'yeah, yeah, I'm cherry cola, yeah, yeah, I'm candy-eyed, yeah, yeah, I'm California', but it survives thanks to the choppy guitars and harder edge. One to watch for the future, if you like this sort of musical style. Click here for more details on the singer...

THE BLUESKINS - STUPID ONES: Hot off the back of their album release a couple of weeks ago, The Blueksins blast back on to the scene with a three-minute slice of rock 'n' roll mayhem that recalls the Stones at their most aggressive, as well as The Ramones and The Buzzcocks. Ironically, it's in single form that the band works best, when the adrenaline-fulled mini-anthems can best be savoured in small doses. Stretched over the course of a whole album, their unrelenting style becomes somewhat exhausting, but Stupid Ones remains a better example of what to expect, and a really catchy guitar-fuelled anthem, which aplty sums up the sound of a disaffected youth. Be prepared to thrash that air guitar, while bouncing around the bedroom hollaring 'we're the stupid, stupid ones'. Click here for a review of the album.

LENE MARLIN - ANOTHER DAY: The title track from Lene Marlin's second long-player is a suitably accomplished affair, from the Norwegian singer-songwriter, which benefits from the presence of producer, Mike Hedges, who has worked with U2, The Cure and Travis. Another Day is a shimmering ballad that is the musical equivalent of a chick flick. The guys will hate it, the women will lap it up, while Marlin should enjoy a return to the limelight. As a showcase of the singer's laidback vocal style, it aptly demonstrates why she is so highly-regarded, even though success on the level of her debut album, Playing My Game (which went platinum in the UK) hasn't seemed to have been mirrored in the new album, as yet. Maybe this will do the trick. Click here for a review of the album, or here for a feature on the artist.

THE CALLING - OUR LIVES: The Calling return with the type of track that seems to have one eye on the type of power-ballad delivered, occasionally, by U2 (especially in early vocal style) and which seems destined to end up on the soundtrack to one of those Summer teen movies (you know, the moments when the film gives way to a musical montage). Lyrics take the form of 'these are the days we're living, these are the years we're giving, these are the moments, these are the times, let's make the best time of our lives', which seem designed to appeal to the slacker ambitions of today's youth. Starship were doing a similar sort of thing a few years ago, when they declared 'we built this city on rock 'n' roll', and while it has a certain charm, these are the sorts of songs which become annoying very quickly and which date all too soon. The type of record which keeps Virgin Radio listeners extremely happy.

CORRS - SUMMER SUNSHINE: Looks aside, The Corrs have a beautiful vocal style that can, all too frequently, turn a mundane track into something worth listening to. Summer Sunshine, the Irish band's long-awaited return, is as upbeat as they come; hopelessly mainstream, of course, and designed purely with the charts in mind, but it's easy to imagine that this will be a massive success, and is certainly brighter than most of the drivel doing the rounds in this market. The women will lap it up, the boys will dig the video, while for the singers themselves, chances are the long absence will be forgotten by the fans. The style is such that it will probably be played throughout the Summer by the likes of Capital and Radio One, while the hints of Abba should ensure this thrives beyond the teen market. Click here to order the new album...

MONDAY, MAY 10

SINGLE OF THE WEEK - GOMEZ - SILENCE: Gomez display another side to their make-up with this altogether more rockier second track to emerge from their forthcoming album, Split The Difference. Silence contains a real 60s, psychedelia-laced throwback, evoking memories of the type of catchy anthems that bands like The Monkees or The Stones were producing, in their heyday, while also sounding bright and contemporary as well (their PR mentions Ride). The southern fried blues of previous efforts is completely missing, effortlessly dismissing early criticisms that this was all they were capable of. Its back for bonus track, Blind, of course, but even that retains an upbeat, poppier edge, that really ought to elevate the band to the recognition they deserve. As an indicator of what to expect from the excellent album, it sure whets the appetite, for this is quality stuff. Click here for the album

ZERO 7 - SOMERSAULT: A lazy, hazy daydream of a record from the Zero 7 crew, which marks the outfit at, possibly, their strongest, courtesy of Sia Furler's husky vocal style. It was Furler who first helped Sam Hardaker and Henry Binns catapult into the limelight, and here she demonstrates why the combination is so compellingly addictive, for Somersault is typical of the beauty that lies within the majority of Zero 7's work. Effortlessly cool, and hopelessly chilled out, the track is the type which sends shivers down the spine, when played live, and features a number of instruments, including a hammong organ, which compliments the folk-style and those knee-trembling vocals. A class act from a class outfit, which is indicative of what to expect from the new long-player, When It Falls. And for those who have seen it live, then the memory of Sia line-dancing is a pleasant one to accompany the playing of it on your stereo. Click here for a review of the album, or here for a live review of their recent Brixton date.

CHARLATANS - UP AT THE LAKE: The Charlatans return from a brief hiatus, during which Tim Burgess went solo to discover himself, and critics everywhere slowly woke up to the fact that Wonderland was a great album. With a sold out tour to look forward to, positive vibes surrouding the forthcoming album, and intimate dates at London's Islington Academy to boot, the band seem hotter than ever. Sadly, though, the debut single, Up At The Lake, isn't worthy of the adulation the comeback has so far warranted. While marking another change of direction, and a slight departure from the falsetto style which was threatening to become a trademark, there is something lacking from it, which makes it neither as striking as the Wonderland material, or as memorable as earlier work. It's probably more a grower than an instant classic, but this is far too basic for a band which is better known for pushing its boundaries. It's also far too chirpy, despite the downbeat lyrics. A bit of a disappointment from Burgess and co. Click here for the album.

JAY-Z - 99 PROBLEMS: A suitably attitude-laden track to emerge from Jay-Z's Black Album, 99 Problems has, somewhat surprisingly, been picked up by Xfm's Christian O'Connell as a former record of the week. Its appeal is also surprising, given the rock elements that have been added to the traditional hip-hop sound. Think Tone Loc's Funky Cold Medina, in terms of style, and you'd be somewhere close for what to expect, as Jay-Z sympathises with a friend by stating he has 99 Problems, by his bitch aint one. Needless to say, the single comes in clean and foul-mouthed form, and is very worthy of the Xfm attention. It marks a great change of pace for the hip-hopster, and terrific fun to boot. Click here for the album.

MORRISSEY - IRISH BLOOD, ENGLISH HEART: Morrissey appeared to be on the brink of oblivion a few years ago, given that his last two singles, in 1997, charted either side of number 40, while his most recent tour, in 2002, took weeks to sell out; yet now he has returned, stronger than ever, with a new single, a forthcoming album, and an artistic director slot at this year's Meltdown (the line-up for which has yet to be announced). Irish Blood, English Heart is, needless to say, a welcome return from the master singer-songwriter (and former Smiths frontman), which is as political and scathing as we have come to expect. Packed with brooding guitar chords and blatant attacks at the expense of Labour, the Conservatives, Oliver Cromwell, and English national identity, this is sure to further the artist's musical resurrection and install him, firmly, as one of the industry's all-time greats. It's over-played, of course, but then could we really have expected anything less? Click here for the album.

JOSS STONE - SUPER DUPER LOVE: Joss Stone returns with the second single from her amazing Soul Sessions album, the upbeat and super-funky, Super Duper Love. The 16-year-old singing sensation, from Dover, continues to sound like one of the great soul divas from days gone by, which makes her achievement (and her subsequent success) all the more astounding. Super Duper Love is, as its title suggests, a pretty 'super duper' affair, recalling memories of those giddy Motown moments of days gone by, albeit with a contemporary edge that makes her album compulsive listening. The single comes backed with a breathtaking version of James Brown's It's A Man's World, which was recorded with the man himself, at the Kennedy Centre Honours Concert, in Washington, during a recent tribute concert. It displays a maturity that belies Stone's tender age and is an absolute must-have for anyone seduced by her vocal charms. Epic stuff indeed. Click here for a review of the album, or here for biography details....

ALANIS MORISSETTE - EVERYTHING: It's been a little while since Morissette released anything new (not since 2003's Under Rug Swept) but here she comes back in blistering form - if a little more calmer than usual. Everything is a slow-builder, which finds the singer in more self-confident mode, extolling the virtues of herself ('I'm the most gorgeous women you've ever known'), rather than harking on about some spurned lover. The gutsy, gritty vocal style is the same, though, as are the distinctive beats and background sounds, which should serve to keep her as the undisputed queen of the power-ballad, despite the fact that young pretender, Avril Lavgine, is putting out her new effort on the same day. As a taster of what to expect from the forthcoming long-player, So Called Chaos, it does heighten the excitement, as we have long been fans of Morissette - right back to those Jagged Little Pill days. Emotional, as ever, and downright addictive. Click here for the album...

AVRIL LAVIGNE - DON'T TELL ME: Dubbed the 'mini punk princess', Avril Lavigne, returns with another trademark single to mark the arrival of her latest album, Under My Skin. And it's somewhat ironic that she has chosen to release the single on the same day as the new one from Alanis Morissette, the artist she is often compared to. Don't Tell Me is a typically feisty effort, with Lavigne reverting back to the same angry young lady routine of past successes, such as Complicated and Losing My Grip, without really sounding as though she is progressing. That said, it's catchy enough, almost certain to keep the fans happy, and worthy enough to make the album an interesting proposition. The angst-ridden, angry routine is always far better than the drippy, 'I love you' stuff that tends to dominate the young diva music scene. Click here for the album...

FRANKEE - F.U.R.B. (FUCK YOU RIGHT BACK): As painfully annoying as that number one Eamon track is becoming right now, you have to admire the balls of Frankee to put out her no-less explicit-laden retort (even though it comes with the same backing track as Eamon's), with her own, equally bitter version of their 'break up'. F.U.R.B, as it is shortened, is a hilarious slap in the face to the New York upstart, which arrives like a real put-down to the hip-hop crooner's fresh-faced smugness. Whether the music buying public will want to shell out for the same record, told differently, remains to be seen, but it would be quite a neat trick, and equally as hilarious, if Frankee could land a further kick in the balls to her ex-lover, by displacing him from the number one spot herself. Not that this sort of public humiliation should be encouraged, of course, or makes for a particularly good record. Click here for a review of Eamon's album.

GOLDFRAPP - STRICT MACHINE: The re-release of Goldfrapp's Strict Machine provides another example of why the band's latest long-player, Black Cherry, is so highly rated. Strict Machine is a glam rock/disco fusion, with a bouncing bass line and breathy vocals that is among the more energetic tracks on the album and is great fun to have on. The CD also features several remixes, such as the We Are Glitter version, as well as the Benny Benassi Sfaction extended mix and dub. Click here for a review of the album...

MONDAY, MAY 3

GRAHAM COXON - BITTERSWEET BUNDLE OF MISERY: Graham Coxon's first single, Freakin' Out, was only available as a limited edition 7" which makes this the real deal for fans of the former Blur supremo. And from the opening moments of Bittersweet Bundle of Misery, you know that this was the driving force between the old-school style of Blur, circa Coffee and TV, courtesy of its distinctive acoustic guitar style and cheeky, Cockney-styled lyrics. An out-and-out gem from Coxon, this is far more chilled out than Freakin' Out, but tailor-made to become one of the indie anthems of the Summer. It also serves to make the forthcoming album damn near essential. Click here for the album...

ASH - ORPHEUS: Ash bid to intensify their sound with the release of new single, Orpheus, which is said to mark a harder direction for them, more akin to their earlier material. The result doesn't, in truth, sound like that much of a stretch for them, once the early guitar rock-out has given way to its melodic verses and signature chorus. Lyrics like 'I need the sunshine in the morning' don't help, either, while Tim Wheeler's vocal style isn't really tough enough for the bigger rock sound you feel this may be striving for. Not that this is a bad thing, of course, for this particular dose of Ash is still infectiously cool and great fun to boot, with some driving guitars and a sing-along chorus. More Burn Baby Burn than Shining Light, this should suitably wet the appetite ahead of the forthcoming album, Meltdown. Not their best then, but still hopelessly addictive. Click here for the long-player, or here for a special feature on Ash and Star Wars...

KEANE - EVERYBODY'S CHANGING: Keane follow-up the massive hit that was Somewhere Only We Know with this delightful track which, in many ways, is even better than its predecessor, courtesy of a breezier style and feel-good vibe. Everybody's Changing is actually a re-jigged version of their first single, while still on the Fierce Panda, and represents a truly life-affirming slice of indie, which actually demonstrates a lighter side to the band. The melody is especially strong, while the vocals just scream out to be sang aloud with. With tracks like this, it is little wonder that Keane are being tipped to step into the forum currently occupied by the likes of Travis and Coldplay - their sound seems tailor-made for success... Click here for the album, or here for a feature on the band.

VON BONDIES - TELL ME WHAT YOU SEE: Detroit's Von Bondies to a credible job of following up their former single, C'mon, C'mon, with this latest effort from their sophomore album, Pawn Shoppe Heart. Tell Me What You See is crammed full of the trademark foreboding guitars and screeching vocals that we have come to expect from the band, not to mention some pleasant 60s girl group harmonies from the ladies. Lead singer, Jason Stollsteimer's distinctive style won't be to all tastes, but there is certainly something powerful about it, which marks the Von Bondies out as a band to look out for. Heck, they're hanging in all the right circles, if their popularity with Xfm and Radio 1 Djs is anything to go by. Interesting more than essential. Click here for the album...

NATASHA BEDINGFIELD - SINGLE: With older brother still banged up from his crash, it's left to little sister, Natasha Bedingfield, to pick up the mantle for the family coffers. On the plus side, it's a great deal better than almost anything Daniel has put out, thanks to its roots in r'n'b territory, but then that's not saying much. It's still hopelessly geared towards the mainstream, and even sounds a little borrowed from the artists she is trying to emulate, most notably Beyonce and co. It's listenable, but it seems a little childish and throwaway. As a declaration of independence, it aint bad, but it would be interesting to see Natasha take on something a little more gutsy - and a little more original - to really make her mark, other than someone attempting to ride on the coat-tails of big brother's success.

PLUMMET - CHERISH THE DAY: Plummet return from the success of their huge club-dance anthem, Damaged, with yet another dancefloor filler that seems designed purely for the Kiss FM/sun-drenched Ibiza crowd. Following pretty much the same format as Ian Van Dahl's Castles in the Sky, popular beats and sedate female vocals, which sound almost sad and longing, Plummet's only consolation is that it's not as bad as some of the bigger beat-laden dance efforts that are doing the rounds nowadays. It'll be massive, of course, and is apparently the record of choice of the mainstream Djs at the moment, but it's symptomatic of the soulless state of play of that musical genre and best ignored by genuine music lovers.