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, OCTOBER 25

SINGLE OF THE WEEK - SNOW PATROL - HOW TO BE DEAD: As Christmas approaches, Snow Patrol deliver a timely reminder of why they have become one of the bands of 2004, and why their album, Final Straw, is among the most sought-after. How To Be Dead is a beautifully melancholic slice of indie brilliance, which quietly impresses in the same way that Run did. Although less catchy than Chocolate or Spitting Games, it's still an effective showcase of the band's songwriting expertise and a truly beguiling listen to boot. The single, which is also the opening track on the long-player, comes complete with a live version of You Are My Joy (recorded at Somerset House) and an interesting Grand National remix of Chocolate.
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CHIKINKI - ALL EYES: Everyone's favourite electro punk-rock pioneers, Chikinki, serve up another mesmerising slice of quirky brilliance with All Eyes, the latest track to be taken from the excellent album, Lick Your Ticket. Coming across like a more funky Super Furry Animals, and infused with some terrific guitar riffs, All Eyes rates among the highlights of the album, and comes complete with a Deadly Avenger remix and no-less enchanting Six Finger instrumental. The track, which is more ballad-driven, is a completely kettle of fish from the more disco-orientated Ether Radio, and further proof of the band's songwriting scope. Once more, as all eyes head towards those Christmas presents, All Eyes presents a timely reminder of one of the year's better albums that you might just have missed.
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GRAHAM COXON - FREAKIN' OUT/ALL OVER ME: Ex-Blur guitarist, Graham Coxon, has already released Freakin' Out as a limited edition vinyl-only 7", ahead of his latest album, Happiness in Magazines, so it comes as a bit of a surprise to find him returning to it so soon. For those who can't afford the album, and don't possess a record-player, however, the re-issue represents a great opportunity to own this cracking blast of punk pop magic in CD single form. Packed with the sort of Cockney swagger and razor sharp guitars that helped Blur to early success, Freakin' Out is a masterclass in all that Coxon stands for, and a glorious nostalgia trip for any Blur fan who has become disillusioned with their change of direction (NOT that I am one of those). Fast, edgy and totally manic, Freakin' Out is an excellent example of why Coxon's latest solo long-player is regarded as one of the year's best albums.
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THE LIBERTINES - WHAT BECAME OF THE LIKELY LADS?: The Libertines would appear to be tip-toeing a fine line between brilliance and simply pretentious at the moment, given the real-life turmoil they continually seem to find themselves in, and the close-to-the-bone lyrics of both of their recent singles. What Became Of the Likely Lads is another personal effort from them, which encapsulates the delicate friction that exists between Carl Barat and the wayward Pete Doherty. Yet, rather than simply singing about it, why not simply resolve the differences and continue making the records that are so well-received by fans everywhere. Rant aside, What Became is one of the best singles to emerge from the self-titled long-player and is as catchy as anything the band has so far put out. It's sure to become an anthem - let's just hope it doesn't also serve as an epitaph!
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THE EARLIES – MORNING WONDER: As psychedelic slices of electronic indie go, The Earlies have delivered one of the feel-good anthems of the moment; a breezy, joyous throwback to the Sixties, that effortlessly recaptures the vibe of a sun-drenched Californian summer, with all of its laidback excesses. The single marks the band’s first commercial release from their acclaimed long-player, These Were The Earlies, and is as trippy as we have come to expect from the outfit, who are being touted as one of the most innovative new arrivals of the year by the likes of Xfm and the Radio 1 evening shows.
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DO ME BAD THINGS - TIME FOR DELIVERANCE: Nine-piece, mutli-vocalist conglomerate, Do Me Bad Things, admit to a number of influences, including Queens of the Stone Age, Turbonegro, Rufus Wainwright and Randy Newman, but their new single, Time for Deliverance, sounds more like something that might happen if the Polyphonic Spree abandoned their robes, turned all Goth, and picked up some Darkness guitarists into the bargain. It's an edgy, sprawling, mess of a single, that recalls the epic excesses of the Seventies, in a hopelessly kitsch, glam-rock style. Do Me Bad Things are already being tipped as one of next year's hot propsects, but on the strength of this, I would have to say the jury remains out. Ambitious it may be, but too quirky by far.

THE HIDDEN CAMERAS - I BELIEVE IN THE GOOD OF LIFE: The happy-go-lucky, Sixties-infused melodies of The Hidden Cameras return with this deliriously chirpy single, taken from the band's second album, Mississauga Goddam. The Toronto-based outfit, who can number a dozen, have earned a reputation for their ability to deliver chart-friendly melodies with controversial lyrics, many of which tackle their sexual orientation, yet I Believe In The Good of Life mostly steers away from shock tactics to serve as an excellent showcase of the band's undoubted talent. Frontman, Joel Gibb, has an excellent vocal style, which fits in perfectly with the outfit's inspired instrumentalisation and enthralling lyrics, making this a foot-tapping, life-affirming track that serves as an excellent introduction for anyone wishing to seek out more. They may be different, but that only adds to the allure in this case.
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AGENT BLUE - CROSSBREED: Kerrang! favourites, Agent Blue, unleash another storming rock anthem which effortlessly blend the anarchic spirit of punk with the hedonism of early Nineties baggy and hard-driving rock. Evoking memories of the energy of The Cult, with the guitar power of The Music, Crossbreed is the third single to feature from their forthcoming album, A Stolen Honda Vision (scheduled in January 2005), which encompasses all the power and fury of their live performances (they went down a storm at the Leeds and Reading festivals). Kerrang! proclaimed that 'here at last is a British band that play guitars with some actual conviction - spiteful, alluring and definitely to be encouraged'. If the sound of that description grabs you, then get down to the record shop now. You're sure to hear a lot more from Agent Blue during the early part of next year.

ALEX CUBA BAND - LO MISMO QUE YO: Now here's an act that boasts some impressive credentials. Fronted by Alexis Puentis, the band is comprised of sons of the legendary Buena Vista Social Club, while the track also features the vocal talents of Canadian singer/songwriter Ron Sexsmith, which looks set to make it one of the crossover hits of the year. Steeped in Cuban passion, Lo Mismo Que You (If Only) is an epic, heartfelt ballad, that really tugs at the heart-strings. The presence of two-times Grammy award-winning pianist, Chucho Valdes, also lends the track a more cinematic feel, while the subtle beats and sultry acoustic guitars work wonders together. It's not to everyone's tastes, but it's a darn sight better than most of the generic ballads doing the rounds at the moment, and possesses that rare quality - genuine emotion. Expect Alex Cuba and co to become very highly-regarded. The debut album is out on November 8.
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GOLDIE LOOKIN' CHAIN - YOUR MOTHER'S GOT A PENIS: The supposedly hip Welsh collective, Goldie Lookin' Chain, return with another moronic slice of comedy hip-hop, in the form of the deliberately shocking novelty record, Your Mother's Got a Penis. Crude as hell, and totally surreal, the track comes with all the usual melodies that are designed to poke fun, presumably, at the harder hip-hop urban sound. Yet, while the collective are sure to become one of the talking points of the moment (for the name of the single alone), one has the feeling that this is the type of record that might find its way into people's collections only to become that embarrassing discovery several years later. What appeal it has is very limited and the track won't age well. Still, if you feel like discovering more, then it's taken from the Greatest Hits album - which does seem to be picking up good reviews.
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NO HOPE IN NEW JERSEY - INVADERS (OF MY SPACE): Available as a download-only, No Hope In New Jersey's latest rock anthem, Invaders (Of My Space) bears all the hallmarks of classic Queens of the Stone Age, Muse and Foo Fighters. A follow-up to the band’s debut single, Narcolepsy/Sober, that was released in July, Invaders feels like the sound of a band that is becoming more comfortable with itself, with Andy Garratt's vocals in particularly fine form, and the guitars of Steve Marsden sounding as though they've been around for ages. The PR for the track states that Invaders (Of My Space) arrives at a time when 'the last thing you need in your life is another Jam-a-Clash-a-like', and it's fair to say, this sets its sights on far greater things. The earlier comparisons are not unjust, making No Hope in New Jersey a very big hope for future progress. On the strength of their work so far, their forthcoming album could well be a rock belter.
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THE BEES - ONE GLASS OF WATER: A limited edition version of The Bees' album classic, One Glass of Water, is a track that eschews all the values of those swinging Sixties, which recalls the brilliance of The Beatles in their heyday. Glorious, snappy drum loops, wrapped around sun-drenched chiming guitars, and a catchy chorus ('I would like, just one glass of water') - what's not to like? It can only be a matter of time, however, before the band deliver the one track everyone has been waiting for from the sophomore album, Free The Bees - namely, Chicken Payback. Until then, however, this more than fits the bill. Rush out and buy the album if you haven't already.
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KINGS OF LEON – BUCKET: Having never been a huge fan of Kings of Leon, I can honestly say that I was pleasantly surprised by the first new track from their upcoming album, A Ha Shake Heartbreak. Bucket is a typically lively affair, packed with ear-catching Strokes-style guitars, albeit with a country twist, that has helped to shape the band’s own unique sound. And as sing-along as the effort remains throughout (and more mainstream to boot), it carries a serious message, dealing with the trials and tribulations that have come with the band’s recent fame. It’s little wonder that the music Djs are getting excited about it, for this marks a major return from another of the promising acts of the moment.
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ELLA GURU - PARK LAKE SPEAKERS: Ella Guru are a quietly addictive eight-piece, fronted by John Yates, who have slowly been building a loyal following, thanks to their well-received debut album, The First Album. Park Lake Speakers is undoubtedly one of the best tracks to emerge from it, a breathless slice of countrified indie that continues to get stronger the longer it continues. Yates' relaxed, slightly husky vocals lend a tremendously affecting presence to the beautiful music, which includes some very well-observed mouth organ, not to mention a nicely chilled out beat. If you haven't already had chance to check out the long-player, or haven't heard of the band, then this provides a suitably intriguing introduction. It could be one of the year's best-kept gems.
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MICK JAGGER & DAVE STEWART - OLD HABITS DIE HARD: The first track to be lifted from Jagger's soundtrack to the film, Alfie, is a curiously flat affair, that doesn't really convey the breezy nature of the film at all well. A blues-laden, slow-building number, it is designed to reflect the eponymous bachelor at his most melancholy, but is neither a good showcase for the film's charms, or Jagger's talents. That said, it works well within the context of the film and is very definitely a soundtrack-filler. Whether it can possibly make an impact on the charts is a different matter entirely.
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DANIEL BEDINGFIELD - NOTHING HURTS LIKE LOVE: The title could just as easily read, Nothing Hurts Like Bedingfield, for this is another of those painfully protracted ballads that young Mr Daniel seems to specialise in and which, sadly, make female listeners swoon in sympathy for his dull tones. The track marks the first single to be lifted from his sophomore album, Second First Impression, and has been written by Diane Warren and produced by Jack Joseph (of Beck, No Doubt and Rolling Stones fame). The kindest thing that can be said about it is that it sounds a little like a bad modern-day Stones ballad, the sort of which wouldn't even make a chart entry. Because it carries the Bedingfield name, however, it will. Bring back Natacha, she's far less onerous.
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MONDAY, OCTOBER 18

BLOCKHEAD- SUNDAY SEANCE: The beguiling beauty of hip New York DJ, Blockhead, is in full effect for this masterful cut from the Music by Cavelight long-player, that has to rate among the best albums on the track. Wrapped in an inherent sadness, most notable in the tear-stained piano keys of the opening moments of Sunday Seance, the track is a tender slice of melancholy that just becomes more and more beautiful each time you hear it. It's little wonder that Blockhead has been credited with producing some of 'the most sublime, understated, melancholic hip hop you're likely to hear this year' - for this effortlessly encapsulates all that is terrific about listening to the album. Strong, too, is the Loka remix (another of Ninja's classic label-mates), which adds to the atmospheric nature of the record, with plenty of crashing symbols and epic strings; while bonus track, Jet Son, features Aesop Rock and Camu Tao giving a rap makeover to one of the more trendy tracks on the album. It's essential stuff.
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TRAVIS - WALKING IN THE SUN: Travis delve into happier territory for their latest single, a shiny, happy go-lucky slice of Byrds-infused joy, that pretty much sums up the band at its best. Taken from the forthcoming Singles collection, Walking in the Sun is rife with gorgeous melodies, Sixties-infused sensibilities and a strong vocal performance from lead singer, Fran. It also makes you contemplate why the Scottish band don't venture into this sort of territory more often, given the easy listening appeal of the track, which has to rate among the finest singles they have ever put out. Pure joy .
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THE CURE - TAKING OFF: The second single to be lifted from The Cure's latest eponymous album harks back to the heyday of the band, featuring yet more shimmering guitars and richly distinctive vocals from lead singer, Robert Smith. Think Inbetween Days and you might have some idea of what to expect from its catchy, joy-laden hooks and insanely catchy lyrics. Taking Off is probably The Cure at their most retro-looking, as a lot of the remainder of the album is forward-looking, in terms of musical style (and mostly due to the presence of Ross Robinson, of Slipknot, Limp Bizkit and At The Drive-In fame, on producer duties). A brilliant reminder of why The Cure remain one of the most influential bands of the day.
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PLACEBO - TWENTY YEARS: A typically left-field slice of androgynous rock, Placebo's new single, Twenty Years, is the perfect platform from which to launch their Best Of album, encapsulating all the traits we have come to enjoy from the band over the years. Indicative of the brilliant direction they have taken in recent years, the single provokes favourable comparisons with the style of Special Needs and English Summer Rain, which find lead singer, Moloko's vocals at their most striking. The guitar work is another feature, lending the track a haunting quality that begs you to listen to it again and again. Roll on the Best Of...
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THE HIVES - TWO TIMING TOUCH AND BROKEN BONES: The Hives deliver another timely slice of Sandinavian power-garage rock in the form of Two Timing Touch and Broken Bones, a typically aggressive power anthem that encapsulates the band at its jerky best. Taken from the Tyrannosaurus Hives album, the track features a stop-start guitar style that consistently threatens to veer into more classic territory, such as classic (I'm Not Your) Stepping Stone, and harks back to a Sixties style. It's a heady affair and undoubtedly one of the best tracks on the long-player, which, taken as a whole, can become a little repetitive.
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ZUTONS - DON'T EVER THINK (TOO MUCH): Fresh from the success of their debut album, Who Killed The Zutons, the band delivers a new track, in the form of the effortlessly catchy Don't Ever Think (Too Much). It's another infectious slice of quirky rock-based indie, featuring a clap-happy start and a 'da, da, da, da' sing-along chorus. The track will eventually find its way onto a re-packaged album of the debut long-player later this month, but for now stands as a timely reminder of why the band are widely considered to be among the cream of the crop of the new elite. The Mercury Music nomination earlier this year was no mistake, for these Scousers certainly know how to deliver a feel-good anthem.
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RAMMSTEIN - AMERIKA: German rock sextet, Rammstein, release their new single, Amerika, which is taken from their fourth studio album, Reise Reise, that was released in September. Rammstein sing in German. In contrast to most of their colleagues, they have never sought to do otherwise. "Why should we?" ask Rammstein. "We wanted to do our own thing, and that has to do with where we come from. And we are from the German nation." Fair enough!
Amerika is the second single to be released from Reise Reise and is not as appealing as the last release, Mein Teil, even if it was about the actions of Armin Miewes, the 42-year-old German computer analyst, who was charged earlier this year with cannabalising Bernd Juergen-Brandes, a man he met over the internet. The usual heavy guitar and German lyrics are interspersed with a chorus of 'we’re all living in America' and you may be able to pick out a few select phrases in English, such as 'Mickey Mouse', 'Santa Clause', 'Coca Cola' and perhaps a poke at PiL’s This Not A Love Song? It’s almost quite operatic, in a weird German Industrial/Metal way, but I’ll be leaving this one off my Christmas wish list. (Review by Evelyn O’Connell).
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THE DEPARTURE - BE MY ENEMY: A former record of the week on Xfm's drive-time show, Be My Enemy marks the second single from the hotly-tipped new five-piece from Northampton, who have recently attracted a lot of attention from their support slot with The Killers. Be My Enemy is angular, art-school rock, with big driving guitars and a repetitive, no-nonsense chorus, that is likely to provoke plenty of comparisons with the likes of Franz Ferdinand and co, but which contains enough of its own identity to mark The Departure out as a band to watch in their own right. We defy you not to be singing along with it, in spite of yourself, come the second or third time you hear it.

IAIN ARCHER - SUMMER JETS: Talented singer-songwriter, Iain Archer, is hitherto best known as guitarist of the Reindeer Section and Snow Patrol, who contributed tellingly to that band’s overdue success on the single, Run, so it is little wonder that his solo work eschews many of the values that have come to make both of those bands so popular. Summer Jets, taken from his excellent Flood The Tanks album, and remixed by Steve Osborne, this is an uplifting slice of shimmering guitar brilliance, that provides an excellent showcase of Archer's skills in his own right. The CD comes complete with two new bonus tracks, in the form of the Coldplay-inspired Colouring In and the moody, pensive See The Survivors, both of which encapsulate many of the themes that run through the album.
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FREEFORM 5 - EEEEAAAOOWW: Having achieved massive dancefloor success with their Strangest Things cut, Freeform 5 return with a new version of their classic Eeeeaaaooww, featuring a guest vocal from Jamaican Dancehall icon, Bounty Killer. The track was first released as a 500-only vinyl 12" in late 2003, after which it quickly established itself as a club favourite. The 2004 version ups the ante, courtesy of Killer's deep vocals, even though it clearly caters for a niche market and, therefore, has limited appeal. So while the dance brigade will love it, I doubt that many other people will. Taken from the forthcoming album, Strangest Things, which is released on October 25.
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FUTUREHEADS - MEANTIME: Quirky indie-pop outfit, The Futureheads, have been dubbed Sunderland's answer to Franz Ferdinand, thanks to the same sort of energy and gusto they inject into their music. Arriving off the back of the Top 30 chart success of Decent Days and Nights, Meantime is probably the band's finest hour yet, a formulaic but still catchy guitar anthem, that contains an instantly infectious chorus, and plenty of the attitude we have come to expect from bands of this ilk. They may be destined to remain in the shadow of the likes of Franz Ferdinand and co, but the future still looks bright for this outfit, especially since they have the backing of Radio 1's Zane Lowe.
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JAMES BLUNT - HIGH: Former soldier-turned-singer, James Blunt, makes an intriguing debut with High, a heartfelt ode to an inspirational lover. The lyrics, about beautiful dawns and uplifting emotions, perfectly compliment Blunt's unique vocal style, which contains a husky, yet compelling quality about them. The guitar riffs and hammond organs simply add to the enchanting effect of this likeable track - you can practically imagine the picture he is creating. It makes for a fascinating insight into the songwriting talents of Blunt, a former member of NATO's peace-keeping force in Bosnia, who then protected the Queen on horseback and the Queen Mother while she lay in state, before signing to Linda Perry's Custard Records. With such a rich well of life experience to draw from, it is little wonder that Blunt's tunes cover everything from love to war, and you can find out more by listening to the album, Back to Bedlam, which is already in the shops.
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DEPECHE MODE - ENJOY THE SILENCE REMIX 04 (MIKE SHINODA): Released to mark the forthcoming triple-CD remix album, Mike Shinoda's alternative take on the timeless classic Enjoy The Silence puts a contemporary and interesting spin on the track, without really messing around with it too much. The haunting, orchestral nature of the verses is still present, but the chorus really takes off amid a wail of nob-twiddling and some epic, surreal beats that soup things up a little. It's an exciting new version, which recalls all that was brilliant about listening to the track in the first place, while also bringing something new and worthwhile to the mix. As one of two remixes on the long-player, it should suitably wet the appetite ahead of the album's release, which is well worth a listen. The Goldfrapp remix of Halo, which serves as the bonus track, is also on the album, but is no-less worthy.
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SIXTOO - BODY ACHE SUMMER 10" SINGLE: Another of the seminal Ninja Tune artists releases the type of track which is sure to become highly-sought after among the trendy alternative crowd. Kicking off with a new nine-minute, three-part epic, Body Ache Summer is all about continuing the psyche rock/hip-hop angle of his album, Chewing On Glass, which marks another huge success for the Ninja label. It features a smoking Harpsichord solo, which expertly demonstrates the Montreal musician's ability to mix his instruments and give his fanbase something to think about. The EP also boasts another new track, in the form of the moody Bricklayers' Union, while there is also a superior Alias remix of Karmic Retribution/Funny Sticks. Don't you just dig those names?
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MANIC STREET PREACHERS - LOVE OF RICHARD NIXON: A welcome return for The Manic Street Preachers, which sees the band tinkering with their sound yet again - and successfully so. Love of Richard Nixon plays down the guitars in favour of a more electronic sound, akin to New Order, while showcasing a much deeper set of vocals from lead singer, James Dean Bradfield. There is a guitar solo at the end, of course, but it merely serves to add to the overall effect of the track, which brilliantly exposes the band's ability to construct some powerful, pertinent lyrics around some equally memorable hooks and melodies. As an insight into what to exepct from the forthcoming seventh album, Life Blood, it certainly succeeds in getting the fans excited.
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MILLIONAIRE - KELIS feat. ANDRE 3000: Of all the musical collaborations flying about right now, this has to rate among the finest on the block. Marrying the striking vocals of Kelis with the silky tones of Outkast's Andre 3000 is a master-stroke, which helps to ensure that this is one of the coolest cuts on Kelis' latest album, as well as an intellectual take on the superficiality of money along with the yearning for success. Thanks to the electronic sounds and subtle beats that weave their way around the vocals, this could just as easily find its way onto the Outkast album, as it could Kelis. You just have to wonder why they waited so long to release it.
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SIA - NUMB: The blissful, yet melancholy tones of Sia (of Zero 7 fame) get another solo outing in the form of Numb, the latest track to emerge from her beautiful sophomore album, Colour The Small One. It's a typically addictive ballad, kicking off with the heartbreaking lyric 'I saw you cry today', before a gentle, yet effective, beat kicks in, along with some sly piano. Furler has to rate among the finest female soloists doing the rounds today and there is something achingly poignant about this track, which demonstrates the intensely personal emotions running throughout the album. If you love her in Zero 7 guise, you'll want to take her home and comfort her after listening to the material on the album. Numb by name, enchanting by nature.
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SHAZNAY LEWIS - YOU: Former All Saint, Shaznay Lewis, provides further proof that she might just have the best voice of all the former members of that girl-band, with this beautifully constructed, but none too drippy ballad, that really ought to catapult her into the upper echelons of the charts. Mixing a trip-hop beat with a deliberately heart-tugging set of vocals, this is a soulful anthem for lovers everywhere, that still contains a sassy edge. Taken from the album, Open, which has already given the single, Never Felt Like This Before.
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DARIUS - KINDA LOVE: Oh dear! Former Pop Idol Darius is back with another set of dreary tracks, to herald the arrival of an equally tedious long-player. To be fair, the Scotsman probably does have one of the better voices of a former Pop Idol discovery, but there's no excusing the shamefully work-manlike nature of the tracks, which come steeped in the Boyzone/Ronan Keating style of song-writing that provides an obvious and easy recipe for success among the undemanding mainstream masses. Symptomatic of all that's wrong with the charts, this is for the teen pop idols among you, who really haven't been bothered to broaden your musical horizons yet.
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MONDAY, OCTOBER 11

KASABIAN - PROCESSED BEATS: Undoubtedly the band of the moment, Kasabian mark a return to the sort of foot-stomping, feel-good indie anthems of the early 90s, which marks a refreshing departure from the all-too familiar post-punk rennaissance going on at the moment. Processed Beats is indicative of the sound we have come to know, love and pine for. Preivously released as a limited 10-inch at the start of their career, it has now been re-issued to cash in on the band's newfound radio dominance - and deservedly so. It contains elements of classic Roses, mixed with all the verve of bands such as The Music, guaranteeing its appeal to all but the most cynical indie followers. It is one of many delights on the eponymous album, which should find its way into every record collection come the end of the year.
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MORRISSEY - LET ME KISS YOU: Having got political with first comeback single, Irish Blood/English Heart and then examined the LA gang culture with First of the Gang To Die, Morrissey now comes over all loved-up for this heartbreaking ballad, Let Me Kiss You. The third single to emerge from his ultra-successful You Are The Quarry long-player, it reverts back to the same sort of dreary, whiney vocals that have become his trademark, and lacks the bite, or the swagger, or the accessibility of his previous two releases. The single is notable, however, for including the much-awaited recorded debut of Don’t Make Fun Of Daddy’s Voice, which Morrissey has been playing live this year, and which is far more livelier, as well as another ballad, Friday Mourning, which, as its name suggests, is one for the depressives among you.
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SCISSOR SISTERS - MARY: Having dazzled with the disco anthem Take Your Mama, enthralled with Laura, and given Pink Floyd a wake-up call, the Scissor Sisters return with another change of pace, veering into deeply romantic territory for the heart-tugging ballad, Mary. Eschewing the same sort of glam values that are rapidly becoming the band's hallmark, Mary sounds like early Elton John made trendy again, and is sure to feature on many requests for the broken-hearted. It also stands as a testament to the diverse nature of the Sisters' album, which will probably rate among many of the critics' favourites come the year-end round-ups. It might not be their best, but it probably still remains just as essential, especially since it features the intriguing prospect of a Junkie XL remix of the track.
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THE DONNAS - FALL BEHIND ME: The Donnas don't mess around when it comes to rock - their singles are renowned for being hard-rocking, no-nonsense slabs of female empowerment, containing plenty of guitar riffs that Ash's Charlotte Hatherley might be proud to call her own. Fall Behind Me, the first track to emerge from the girls' forthcoming Gold Medal long-player, is as aggressive and catchy as we have come to expect - screaming female defiance and take-no-shit attitude, with more than a passing nod to the grunge-laced vocals of another female rocker, Courtney Love. It's punchy, AC/DC-inspired, and a mouth-watering indication of what to expect from the album - if you're into this sort of thing.
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ROOSTER - COME GET SOME: Music Week has credited West London rockers, Rooster, with having 'the swagger of Oasis with Aerosmith riffs', yet while comparisons with the latter are certainly to be found, I'm not sure about the swagger. There's no doubting the hot-rocking energy which is incumbent with this current single, Come Get Some, which features an infectious dose of bluesy-rock with some 70s leanings and hook-filled, slide guitar heavy riffs, but they sound a little too young to be counted among the big boys just yet. That said, Nick Atkinson's vocals do possess an uncanny resemblance to Aerosmith's vocal style at times, and on the strength of this catchy introduction, the future looks bright for Rooster - especially if the album sampler that comes as part of the CD is anything to go by.

BRAND NEW HEAVIES - BOOGIE: Brand New Heavies trio, Jan Kincaid, Simon Bartholomew and Andrew Love Levy, have enlisted the talents of feisty Anglo/Italian, Nicole Russo, whose vocal seduction looks set to continue the Heavies knack for collaborating with cool new people. Russo lends some much-needed swagger to Boogie, a classic Heavies dance record, with the usual heavy bass line, which should go some way to bringing their inimitable sound into the present, while also promoting the upcoming album, allaboutthefunk. The song is especially directed to women, featuring lyrics that beckon them to be empowered and not be drawn into situations that would compromise them. It's as sassy as one might expect from the outfit and geared towards getting on down to the dancefloor. As such, it should be another big hit for them.
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ASTUDIO - SOS: Another dance track that epitomises the empty, soulless sort of music that seems to pack out every dancefloor at the moment. AStudio's are being billed as Russia’s finest export, thanks to independent dance label, Ark Records, who are proud to introduce the quartet. Needless to say, the track has been creating quite a storm on the dance floors across the UK, where it's ideally suited to the Ibiza-style crowd who like their dance material to be overly repetitive. To give it extra impetus, Skylark have turned out a floorboard-ripping version of the track, which has been getting support from Deep Dish, Sasha, and most of the Radio 1 fraternity. It merely adds to the tedious nature of the track, even though some will doubtless call it funky.

MONDAY, OCTOBER 4

DOGS DIE IN HOT CARS - LOUNGER: The rapidly emerging Dogs Die In Hot Cars deliver a near-perfect anthem for the slacker generation in the form of Lounger, a deliriously catchy slice of breezy pop that provides an excellent reminder of why the debut album, Please Describe Yourself, is so highly regarded. Featuring the usual blend of ravishing melodies and freakishly imaginative arrangements wrapped around intelligent lyrics, this is undoubtedly the feel-good record of the week. It will also be available in two CDs and a vinyl picture disc, with CD1 featuring a new track, the equally catchy Mandarins, and CD2 showcasing The Sun Doesn't Revolve Around The World But The World Revolves Around You, as well as a special guest remix of Lounger. If you haven't taken the advice of music critics so far, then Lounger should provide all the evidence you need to go out and buy the album. It's one of the year's best.
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JIMMY EAT WORLD - PAIN: The edgy guitars and emotional confusion of being young and in love are back with a bang, thanks to Jimmy Eat World's eagerly anticipated return to the limelight. Already huge in America, where K-Roq have been championing it, Pain is a blistering return to form for the former kings of this sort of thing. It's as melody-driven and heartfelt as ever, and provides an excellent taster of what to expect from the new album, which looks set to confirm the band's position back at the forefront of the angst-driven, teen guitar rock movement. The pain of the title screams out in the vocals and power guitars. A welcome return to form.
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SUM 41 - WE'RE ALL TO BLAME: Sum 41 continue their journey towards a heavier sort of music with We're All To Blame, the first single to emerge from the forthcoming long-plater, Chuck, which is going down a storm in the States. Heavy in the same way as Hell Song, from Does This Look Infected?, it also marks a more mature approach from the goofy skater boy image they first sought to gain mileage from. This one features heaps of scattergun drumming, ragged riffs and throat destroying vocals that are sure to appeal to all fans of Metal-infused punk.
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MARILYN MANSON - PERSONAL JESUS: Depeche Mode would appear to be the cover artist of choice at the moment, especially their classic track, Personal Jesus. While Johnny Cash did it low-key and melancholic, Marilyn Manson gives it a techno-Goth overhaul, with all the trimmings you would expect from the dark lord. The track has been updated to prodive a damning verdict on the state of America following September 11, 2001, and the rise of President Bush as a tyrannical leader (according to Manson). It's powerful, gutsy, and probably rates as one of the best tracks that Manson has ever done (although that isn't saying much). Yet it still doesn't come close to the original. For Manson purists and Goth metallers only, this is listenable, but equally forgettable.
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BRANDY - AFRODISIAC: Having teamed up with man-of-the-moment, Kanye West, for her recent single, Talk About Our Love, Brandy now places Timbaland on production duties for the funky, sassy new single, Afrodisiac, which is also the title track of her latest long-player. The track includes a rap from the singer, but is notable mainly for the funky rhythms running through it, as well as Brandy's typically soulful vocals, which add an extra layer of style to proceedings. As an indicator of what to expect from the album, it should have people flocking to it. Like it's name suggests, Afrodisiac is difficult not to fall in love with for anyone into this sort of music.
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SONS AND DAUGHTERS - JOHNNY CASH: Having supported the likes of Franz Ferdinand and Dogs Die In Hot Cars, Sons and Daughters now re-release their gutsy single, Johnny Cash, which provides a fitting platform for their own brand of music. Guitar-heavy, and rife with moody, deep-cut vocals (as provided by singers, Adele Bethel and Scott Paterson), this is a notable effort from the Glaswegian quartet, who could well be poised for big things. Bonus track, Hunt, is similarly edgy, with a Strokes-inspired drum beat, a sweeter set of vocals, and some nice slide guitar. The NME sums it up as 'Glaswegian Americana with a post-punk edge' and that pretty much hits the nail on the head. Little wonder, then, that the band are now casting their net wider, wowing audiences at the South By South West and now reuniting with Franz Ferdinand, as well as Clinic, on US tours.
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DURAN DURAN (REACH UP FOR THE) SUNRISE: Hot off the success of their recent comeback/reunion tour, Duran Duran serve up a new track in the form of the instantly catchy (Reach Up For The) Sunrise, which eschews many of the values that made them so popular in their heyday. Certainly, when showcased as part of the Wembley dates, the track proved the most popular of the new material, so it's a good choice as a showcase for the Astronaut long-player that accompanies it. In truth, it's fairly lightweight Duran Duran fare, when compared to the likes of Come Undone or Ordinary World, but it has a message behind it (about uniting the world) and is probably designed with the maximum mainstream success in mind. It remains to be seen, however, whether Le Bon and co still have what it takes to reside at the top of the charts.
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THE KNIFE - HEARTBEATS: The Knife, aka Karin and Olof Dreijer, have become one of Sweden’s hottest acts courtesy of electronic tunes such as Heartbeats, the first single to emerge from their Deep Cuts long-player. Best described as emotive songwriting married with forward thinking production, Heartbeats is synth-powered pop in the catchy, Daft Punk sort of style, that will probably go down a storm on the European club circuit. It's ok, if you like that sort of thing, but it feels a little outdated, rather than forward-looking, even if it contains a sort of guilty pleasure. Better yet, is the Rex The Dog remix, which funks things up considerably and feels like a more rounded single. The Knife, while not as sharp as they might like to think they are, will probably become quite a cult act on the British synth scene.
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RACHEL STEVENS - MORE MORE MORE: Certain artists only have to take off their clothes and reveal a bit of flesh to become critic-proof. The undeniably beautiful Rachel Stevens falls into that category. No amount of criticism is going to stop More, More, More making money, particularly as the video features the young temptress in various stages of undress (green bikini, anyone), or with scantily-clad backing dancers for company. I mean, just look at the current number one (wretched). For her latest track, Stevens takes a song originally released in the 70s, by True Connection, and gives it a full-blown pop makeover, featuring elements of disco and house. It passes the time, if you replay the video in your head many times over, but it's ultimately as generic and lame as anything else that permanently seems to reside in the boy/girl band obsessed top ten at the moment.
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LUCIE SILVAS - WHAT YOU'RE MADE OF: If I told you that the new single by Lucie Silvas has been A-listed on Radio 2, you might have some idea of what to expect. It's another deeply personal, piano-laden ballad, in the Vonda Shepherd sort of mode, that looks set to bring Lucie the same sort of success she has brought the likes of Rachel Stevens, Gareth Gates and Liberty X (whom she had already written songs for). Taken from the album, Breathe In, the track seems ideally catered for a strong female fanbase, but it certainly provides a fitting showcase for Silvas' powerful and striking vocals. It's just not my cup of tea, so don't let that put you off. Heck, Silvas can already count such musical luminaries as Chris Martin, Burt Bacharach and Lionel Richie as fans, so the world looks to be her oyster.
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ROBBIE WILLIAMS - RADIO: While I can't claim to be a Robbie Williams fan, even I have to admire his ability to diversify with each new effort. Radio is an electro-funk workout that probably had even the most ardent fans scratching their heads to begin with, yet which contains a catchy quality that you'll probably buy into in spite of any misgivings. Decidedly old-school in style, it certainly isn't an original style, and seems designed to cash in on the current retro-vibe winging its way around the charts at the moment, but it is notable for bringing something new to the forthcoming Robbie Williams greatest hits album.
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