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Music - The Singles Collection
Heard a great single, but yet to buy it? Well, we may have reviewed it. Previous month's reviews: 2005 2004 |
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SINGLE
OF THE WEEK 1: JOSEPH ARTHUR – EVEN THO: Joseph
Arthur has fast garnered a reputation as one of America’s
most astounding live performers – sounding less like a solo
artist that an electro-rock quartet. He is tireless in his ability
to diversify and his latest album, Our Shadows Will Remain,
is rightly regarded as one of the best of the year. The new single,
Even Tho’, is an absolute belter, opening up with
some blissfully chilled out beats which unfold into another melancholy
masterpiece - an achingly heartfelt record that's rich with strings
and tender desperation. What’s more, it features a remix
from Dan The Automator (of Gorillaz fame) proving that artists
are lining up to work with Arthur. As with all singles of the
week, we would urge you to rush out and buy it – although
if you haven’t yet picked up the album then make sure you
do so as well.
SINGLE
OF THE WEEK 2: ROYKSOPP – 49 PER CENT: Norwegian
duo, Royksopp (aka Svein Berge and Torbjørn Brundtland)
release the second track from their latest album, The Understanding,
in suitably impressive fashion. 49 Per Cent features
the vocal talents of Chelonis R. Jones, whose delightfully soulful
performance complements the psychedelic electro grooves perfectly,
making it an instant dance classic. 49 Per Cent is the
sort of track that will have you on the dance-floor instantly,
effortlessly capturing the feel-good vibe that surrounds so much
of Royksopp’s work to date. It is also a useful indication
of why the latest album continues to attract such good reviews
from whoever listens to it. For those in search of good remixes,
there’s also plenty to choose from, including an even funkier
Angello and Ingrosso effort that extends to nine minutes without
outstaying its welcome. At a time when dance music tends to conform
to one mainstream identity, this provides the much-needed alternative.
EDITORS
– BULLETS: A welcome re-issue for Editors’
Bullets, one of the undisputed highlights of the debut
album, The Back Room. First released at the tail end
of 2004, the track described as 'an internal dialogue of discomfort'
that hits home with all the accuracy of, well, a bullet. The track
features some blistering blasts of fractured guitar riffs from
Chris Urbanowicz and a tense vocal style from Tom Smith that,
in the singer's own words, marks 'the closest we have yet come
to a love song'. The guitar work is such that you have to take
notice from the moment you hear it (rather like 
BEDOUIN
SOUNDCLASH – WHEN THE NIGHT FEELS MY SONG: A quirky
Xfm favourite, Bedouin Soundclash’s When The Night Feels
My Song is a curious affair because it’s quite different
from anything else on the radio station’s playlist –
by its own admission! Comparisons with the style of Bob Marley
are not mis-placed, courtesy of its reggae-based rhythms, but
to pigeon-hole it completely isn’t something that easy to
do given that it also boasts an equally feel-good modern folk
acoustic vibe. The track could also be classed as a chill out
number that will probably go down a storm with the come down crowd.
It certainly has cult classic written all over it – not
least because of the name of the band itself (which is comprised
of three members from Canada). It’s well worth seeking out
if you haven’t heard it already given that its overall vibe
seems tailor-made for the summer sun. Taken from the album, Sounding
a Mosaic. 
SEBASTIEN
TELLIER – LA RITOURNELLE: Sebastien Tellier first
began to attract the sort of attention his music was due when
he appeared on the soundtrack to 
STORY
ONE – DISPOSABLE EP: Nottingham four-piece, Story
One, continue to provide something of a revelation. To look at
them, you’d immediately think indie kids. Once you’ve
heard them, however, you realise that they provide something a
little different, most notably because of the presence of a violin
as lead instrument. Sound restrictive? Possibly but lead singer,
Tom Evans, employs it to excellent effect, so much so that his
croaky vocals (which sound as though they might have been fuelled
by a lifetime of fags and bourbon; he is only 23) actually sound
all the better when placed alongside it. Lead track on the EP
is Disposable, a slow-building lament that provides quite
a tender listening experience made all the more memorable by the
interwoven violin. Yet it’s quickly followed by the livelier
Coming Up, when the guitar and bass of Barny Barratt
and Gerald Youna also get given a greater workout. It’s
an eye-catching change of pace that reveals a great deal of diversity
(not to mention raw energy). Final track, Delhi Funeral,
begins with an almost cinematic sweep, before Evans’ violin
eases you into a quietly ponderous affair that is rife with foreboding
menace. The first chapter in Story One’s tale is a very
impressive affair indeed.
THE
FLIES – WALKING ON THE SAND (DOWNLOAD ONLY): You
may not have heard much about The Flies as yet, but there is definitely
a buzz surrounding them and the odour is good. Fronted by ex-Spiritualized
member, Sean Cook, the band seem to specialise in dreamy, hypnotic
and downright cinematic songs that contain a genuinely chilled
out vibe. Current single, Walking On The Sand, is a real
barnstormer, coming across as a modern variation on the sort of
moody, hazy Doors past classic that could easily find its way
onto the soundtrack of a film like Apocalypse Now. It’s
subtle but oh-so rewarding and one that demands repeat listens.
It’s a shame, therefore, that there won’t be a single
release in record shops for the track, but rather on download
only. It has, however, been Single of The Week on iTunes where
downloads have been taking place fast. To join the queue, simply
follow the links…
MISSY
ELLIOTT – TEARY EYED: Missy Elliott returns to
her musical roots and singing for new single, Teary Eyed,
which is the second track to emerge from her excellent current
album, The Cookbook. The track is sweeter than usual
for Missy Elliott, featuring a gentler beat and less of the attitude
that marked out tracks like Lose Control, but it’s
a good change of pace and evidence of the artist’s constantly
evolving style. That is also remains at the cutting edge of the
R’n’B/hip-hop scene is further proof that Missy Elliott
remains at the forefront of her genre in terms of music-making.
The track features a vocal collaboration with Tweet and is produced
by Warren Campbell, who has also worked with Brandy and Luther
Vandross. The instrumental version is worth checking out, too,
given that it showcases the melodies and rhythms to best effect.
X-PRESS
2 (feat) KURT WAGNER – GIVE IT: Having scored a
massive hit with Lazy, their collaboration with David
Byrne, X-Press 2 now return with another inspired collaboration,
this time featuring Lampchops' Kurt Wagner. The track defies easy
categorisation, emerging as a chilled out dance track with traces
of gospel, soul and country thrown in. Wagner’s croaky vocal
style lends it a gritty, almost preacher-like edge that is later
offset by a gospel backing, while the Moby-esque instrumentation
is augmented by a suitably delicate beat. Remixes come from the
ever-reliable Switch, who merely tops up the dance element, as
well as Dab Hands and the Quantic Soul Orchestra, who supply a
downtempo rendition that only increases the pleasure. It’s
little wonder that Xfm’s Lauren Laverne turned it into a
recent record of the week on her Drive-time show. It’s a
welcome return from X-Press 2 that bodes well for the forthcoming
album.
KING
BISCUIT TIME – C I AM 15: Former Beta Band frontman,
Steve Mason, lends his distinctive vocals to the guise of his
alter-ego, King Biscuit Time, for a taster of what to expect from
the debut album (scheduled for release in early 2006). C I
AM 15 is as musically inventive as anything the Beta Band
concocted, fusing some loose, hypnotic grooves with a surprising
dancehall section featuring the gritty vocals of Top Cat. Needless
to say, TC’s urban style provides a stark contrast to Mason’s
own mesmerising approach, thereby making it a single of two halves,
but one that is certainly worth getting to know as soon as possible.
The track is available on two 7” vinyle and CD formats and
includes a remix by Mason himself, as well as two new tracks in
the form of People Happy and Paperhead. On the
evidence of this, the solo album, which is reportedly nearing
completion, could be among 2006’s brightest works.
DIEFENBACH
– GLORIOUS: As Glorious as the title suggests,
Diefenbach’s second single is a bright, summery affair that
is one of the freshest indie-rock anthems of the moment. It’s
already been picked up and embraced by early evening Xfm listeners
(Claire Sturgess is a fan) and is a dreamy effort that pays homage
to the late Sixties, as well as artists such as Tom Petty and
Neil Young. What’s more, it boasts a strangely endearing
offbeat lyrical style that’s born out in a chorus that includes
gleefully violent lyrics such as ‘as you smash my teeth
in, you could find we were glorious’. The track is taken
from the band’s third album, Set And Drift, which
marks something of a major progression from their early post-rock
beginnings six years ago. This rates as a really pleasant surprise
that is well worth taking the time to find. Bonus track, Travel
The World, is another little gem that justifies the band’s
early notices as being ‘the next Beta Band’.
PAUL
WELLER – COME ON/LET’S GO: The Modfather,
Paul Weller, unleashes an unapologetically upbeat new single in
the form of the rowdy Come On/Let’s Go, featuring
such choice lyrics as ‘sing you little fuckers, sing like
you got no choice’. The track re-unites Weller with the
production team behind his stripped-back album Studio 150
and is similar to the abrasive style of his biggest hit in
years, From The Floorboards Up. It’s an urgent,
up-tempo summery rock track that is accentuated with strumming
acoustic guitar riffs reminiscent of The Jam at their heyday –
as are Weller’s vocals. The new album, As Is Now,
is released on October 10 and is already being hailed as one of
Weller’s best new works in ages. Also worth checking out,
however, is the gutsy B-side, Shine On, which slows things
down somewhat but still piles on the intensity.
SIMPLE
PLAN – UNTITLED: Montreal-based Simple Plan usually
specialise in the sort of infectious rock-punk melodies that helped
Blink 182 to fame but Untitled marks a dramatic change
of pace, having been inspired by a personal look at what happens
when tragedy hits close to home. It’s a piano-led effort
shot through with aching vocals and lyrics (‘how could this
happen to me’ and ‘I’ve made my mistakes, there’s
nowhere to run’) that carries quite an emotional punch when
listened to properly. What’s more, it’s accompanied
by a powerful and hard-hitting video that has been nominated for
two MTV Video Music Awards. It’s well worth checking out
– much like the album, Still Not Getting Any, from which
it is taken.
SUGABABES
– PUSH THE BUTTON: Sugababes have long been at
the forefront of the pop movement, given their ability to add
a little extra something to their radio-friendly format (be it
extra sass, attitude or darker rhythms). Sadly, their new single
seems like a step in the wrong direction, veering into the pop-friendly,
electro-tinged style of Girls Aloud and Charlotte Church. The
track is produced by Dallas Austin (TLC, Madonna, Gwen Stefani)
but it lacks the edge of earlier efforts and the video –
which finds them parading about in skimpy outfits – while
certainly the norm for this sort of thing, feels as generic as
the record itself. A bit of a disappointment. The new album, Taller
In More Ways, follows on October 10.
ANDY
BELL – CRAZY: Andy Bell is better known as one
half of Erasure but he has now signed a worldwide solo recording
deal with Sanctuary Records and announced details of his debut
album, which will be released on October 3, entitled Electric
Blue. Crazy is the first single and it does still
have the familiar “Erasure” feel and is along the
similar lines of what you would expect from half of Erasure. But
it is a very strong dance track even though it reminds me a little
of tracks from Erasure’s last album, Nightbird.
The single will be released on three formats, with club remixes
from Erasure partner, Vince Clarke, plus Cicada, MHC and King
Roc. It will also feature additional non-album tracks and the
video, which is being made by the award-winning Al + Al. Those
that love Erasure will certainly enjoy Crazy and the
album it comes from. (Evelyn O'Connell)
KATHRYN
WILLIAMS – BEACHY HEAD: Kathryn Williams recorded
her latest album, Over Fly Over, with the classics in
mind, citing Joni Mitchell's Blue and Bob Dylan's Blood
On The Tracks as inspirations. As such, the tracks are
as lyrically dark as anything she has penned before, but still
contain a rendering of pop innocence that keeps them on the cusp
of the mainstream. Beachy Head, her latest single, delivers
more of the same in Williams’ typically classy style. It
serves as a pertinent reminder of the quality that’s to
be found in abundance on the album. Williams’ vocals, like
the aforementioned Ms Mitchell, are subtle, yet husky, and perfectly
suited to the slightly more downbeat style.
NATE
JAMES – THE MESSAGE: Mobo Award nominee Nate James
tries to exude bright positivity in most of his music, as the
success of his last single, the Stevie Wonder-influenced Universal
proved. His latest effort, which is also taken from debut album,
Set The Tone, is a bright and funky effort that provokes
instant comparisons with the breezy style of Jamiroquai. The message
in question refers to getting up and dance and, no doubt, James
would perceive the track as a tireless little floor-filler. It’s
not quite a classic but it’s energy is such that you’re
feet will probably be tapping along to it in spite of any reservations
you might have. Bonus track, Get This Right, continues
the Jamiroquai vibe and is similarly funky, driven by some enthusiastic
piano chords. The album is worth checking out if you’ve
been impressed with James’ singles collection to date. 
NICKELBACK
– PHOTOGRAPH: Nickelback, the band behind the monster
hit, How You Remind Me, return with Photograph,
the premiere single off the forthcoming new album, All The
Right Reasons. For fans, it’s pretty much more of the
same thing – hook laden, melodic and boasting the same sort
of catchy, sing-along chorus that helped bring How You Remind
Me so much attention. It maintains the big rock sound of
old, as well as sounding distinctly American, yet for those pining
for a return from the band, this delivers the goods in spades.
The single boasts a cover version of the Queen classic, We
Will Rock You. It’s not bad, especially once the guitars
kick in, but it don’t come close to the original.
INFADELS
– JAGGER ’67: Bursting out of East London
with a swagger, a sneer and a sharp hat, Infadels propelled onto
the London live scene in 2003, shredding the musical rulebook
along the way. The Hackney-based five-piece unapologetically follow
their instincts with their unorthodox DIY approach, fusing electronics
with rock ‘n’ roll to create a collision of art, ideas
and raw energy that sits well alongside the current post-punk
phase. Jagger ’67 looks set to become their biggest
hit yet, effortlessly tapping into the live experience amid a
hysterical mix of jagged rock hooks, madcap electronic beats and
a retro vocal style that recalls early INXS. It’s a guilty
pleasure that’s difficult to dislike, even though it is
so rough around the edges. What’s more, it comes armed with
plenty of B-sides, including a lively, electronica-heavy bonus
track in the form of the excellent Get Into Me, and remixes
of Jagger ’67 from the likes of Eraserhead and
Propellerheads.
RED
ORGAN SERPENT SOUND – IN SEARCH OF ORGASMUZ: Another
band with an overlong name, Red Organ Serpent Sound are headed
by the walking contradiction that is singer Rory Moore, a self-confessed
super-villain who describes his band as something of a physical
conduit for his background in performance art. Their single, In
Search Of Orgasmuz, is billed as the sound of the circus
coming to town- a combustible chemistry of New Wave meets 70's
Rock, glam atomically fused with psychedelia and pop galvanised
with arthouse edginess. Sound enticing? When broken down, it’s
a riot of noise inspired by the likes of early Inspiral Carpets
(courtesy of the Hammond organs), The Stranglers and the vocal
Olympics of Johnny Rotten. The mix is a heady one and is best
reserved for people who like their music fast, manic and loud.
Sadly, it wasn’t for me.
BOBBY
VALENTINO – TELL ME: Hot on the heals of the smash
hit Slow Down, Disturbing Tha Peace’s southern
cutie Bobby Valentino returns with Tell Me, another trademark
slice of slick old school R&B. The track features a fine hip-shaking
beat, some Oriental flavoured strings, and a sultry female vocal
midway through that helps to lend the track a slicker than average
edge. Tell Me may be rooted firmly within the R’n’B
genre but its slick production values actually prevent it from
sliding into generic territory given that it brings something
a little different to the mix. Lil’ Wayne crops up on the
remix but, somewhat disappointingly, it doesn’t sound that
much different and is the only really lazy thing about the single.
The video, however, features Bobby on the beach surrounded by
girls - all of whom are wearing his own brand of customised BVJs
– Bobby Valentino Jeans! On the idea, Bobby says: “I
like a girl in jeans, especially nice fitting ones, so I designed
my own BVJs – every girl will look hot in these.”
t.A.T.u
– ALL ABOUT US: It’s been two years since
Eastern European pop duo t.A.T.u first delivered that raunchy
breakthrough single which featured a video that gave rise to the
question ‘were they lesbians?’ Keen to emphasise that
they’re not, and to move on, they now deliver the orchestral
pop song, All About Us, an insanely catchy affair that
could well serve as a statement of intent about their comeback.
The girls (or Julia Volkova and Lena Katina to give them their
names) are all about doing their own thing, whether it’s
kissing seductively in videos or on The Tonight Show, or refusing
to perform at the MTV Europe Music Awards unless they were allowed
to use real guns. In truth, their music is too lightweight to
be taken that seriously and they lack the natural raunch of a
breathless Britney or Christina, but as a guilty pleasure it passes
the time and it’s good to have someone prone to doing the
unexpected back on the scene – if only to see what they’ll
get up to next!
SINGLE
OF THE WEEK: HARD-FI – LIVING FOR THE WEEKEND:
Staines-based Hard-Fi release another lively single from their
acclaimed debut album, Stars of CCTV. This one’s
designed as a playful lament on the lacklustre state of the Staines
clubbing scene (if you lived there, you’d know!), and contains
more of the same clap-happy beats and infectious melodies that
helped to make Hard To Beat such a big hit for them.
Its lyrics alone should guarantee its status as a weekend anthem,
particularly as the sentiment is sure to be shared by many 9 to
5 workers who, quite literally, live for the weekend. As with
most of their work so far, it’s extremely accomplished,
instantly catchy and certain to broaden their appeal. The album
is one of the best debuts of the year and a tribute to their persistence
in making themselves one of the hottest acts of the year. We can
only really raise our pint glass in appreciation.
STEREOPHONICS
– DEVIL: The third single to emerge from the Stereophonics’
latest album, Language. Sex. Violence. Other, is another
gritty rock anthem that continues the fine standard of work that
has helped redefine the band somewhat. Different in style to both
Dakota and Superman, Devil features another distinct
set of vocals from Kelly Jones, as well as some dark, sinister
guitar riffs befitting of the track’s title. It’s
the third single to have emerged from the album so far, which
is certainly one of the finest of the band’s career. With
the singles alone, they have continued to defy the critics who
have been unkind at several points in their career.
RICKY
MARTIN – I DON’T CARE: Puerto Rican superstar
Ricky Martin has been quiet for some time but his comeback suggests
that he should have no trouble in recapturing the world-wide appeal
that has helped him to sell over 30 million albums world-wide
in his career so far. It’s savvy stuff, too – not
so much returning to the samba/pop rhythms that helped him to
success, but updating them to include some of the contemporary
sounds of the moment. Hence, we have the presence of Amerie on
the record, as well as Fat Joe, and a mixture of grinding rhythms
and funky basslines, delivered with all the passion you might
expect from Martin’s intense vocal style. It’s a heady
mix and one that works surprisingly well, making this one of the
bigger tracks of the moment on stations like Kiss FM and Capital.
FRANZ
FERDINAND – DO YOU WANT TO?: The comeback single
from one of the biggest breakthrough bands of 2004 is, well, something
of a disappointment as far as we’re concerned. It retains
the trademark sound of the Glaswegian band – angular, spiky
guitars, raw distinctive vocals – while expanding it slightly
with the addition of the odd new instrument. It’s also bouncy
enough to suggest it’s been written with live shows in mind.
But there is also something lazy about it, highlighted in its
repetitive, chant-heavy chorus of ‘well do you, do you,
do you want to’, which threatens to outstay its welcome.
The distinctly mainstream style is also a million miles from the
multi-layered breakthrough single, Take Me On, which
remains one of the band’s finest tracks and which has already
disappointed some fans who’ve caught it on the radio. It’ll
be huge, of course, just because it’s from Franz Ferdinand
and it will set things up well for the forthcoming album, You
Could Have It So Much Better With… Franz Ferdiand (out
in October).
LADYTRON
- DESTROY EVERYTHING YOU TOUCH: Liverpool-based boy/girl
four-piece, Ladytron, credit their new material as their best
yet. On the strength of new single, Destroy Everything You
Touch, it's easy to see why. The single, like the forthcoming
album, Witching Hour, finds the band combining their
trademark electronic sound with their leftfield indie roots. It
fizzes with energy, contains a spiky, urgent beat and more of
the haunting vocals that have helped the band to amass such a
strong global following (they are big in America as well). It's
little surprise to find that Jim Abiss serves as producer, given
that this single contains all of the sheen that Abiss has already
leant to past collaborators such as DJ Shadow, Kasabian and Placebo.
JERMAINE
DUPRI – GOTTA GETCHA: Urban artist, Jermaine Dupri,
releases his first single for Virgin in cheeky, fun fashion. As
the artist himself states: “Gotta Getcha is just
an upbeat party record. It’s fun. It’s about me having
this fascination with a stripper where I go to the club…
every night to see this same girl. All I’m thinking about
is her.” The track features a grinding bassline that’s
perfectly suited to the subject matter and video – which
features plenty of pole-sliding action. Dupri is rapidly becoming
an emerging force in the urban/crossover scene and as evidence
of his widening appeal has recruited both Janet Jackson and Nelly
to appear in the video – with Janet appearing as a saucy
stripper. Expect the track to be massive. It’s taken from
the forthcoming album, Jermaine Dupri Presents… Young,
Fly and Flashy, Vol. 1.
K-OS
– MAN I USED TO BE: Hip-hop star, K-os has enjoyed
a prolific time of late, including winning the Source Award for
Best International Hip Hop artist. Evidence of his appeal is all
over the new single, Man I Used To Be, a hip, soulful
ode to the King of Pop that provides a unique twist on some of
the coping mechanisms that popular artists employ to deal with
their celebrity. It features a laidback beat, some cracking lyrics
and a really swinging chorus that provides it with a hook that’s
difficult to ignore. The track is taken from his second album,
Joyful Rebellion, which is ‘about knowing that
living the truth, you have to sort of rebel against the system,
but at the same time you have to be happy about it’. Happiness
is guaranteed for hip-hop fans with this one.
SHERYL
CROW – GOOD IS GOOD: Sheryl Crow returns with her
first new material since 2002's C'mon C'mon. Lead single,
Good Is Good, is typical Crow - a mid-tempo country-tinged
ballad that benefits from the presence of long-time collaborator,
Jeff Trott (who co-penned Everyday Is A Winding Road, My Favourite
Mistake and If It Makes You Happy). Indeed, Trott
also contributes some Dylan-esque slide guitar that lends the
track a distinctly 70s feel. As an indicator of what to expect
from the new album, Wildflower, it's impressive stuff. Sheryl
Crow fans ought to be looking forward to her forthcoming live
shows in London, which will be a concert of two halves –
one involving a full run through of Wildflower complete with a
local symphony orchestra, and the second featuring Crow’s
greatest hits.
KATIE
MELUA - NINE MILLION BICYCLES: Having achieved astonishing
success with her debut album, Call Off The Search, Katie
Melua now looks to repeat the trick with her new album, Piece
By Piece. On the strength of first single, Nine Million
Bicycles, she should pull it off effortlessly. The single
is notable for its Chinese influence, acknowledged by the offbeat
vocals (which equate the certainty that there are nine million
bicycles in China with her feelings of love), as well as the trademark
tender but deeply melodic vocals we have come to expect from the
singer. It is one of several tracks on the album which represent
a bolder direction for the singer-songwriter, who could well have
come of age with her sophomore effort. Of the bonus tracks, Market
Day In Guernica continues the international theme of the
single, but sounds better suited to a West End show, while Stardust
is a piano-soaked daydream of a single that is certain to appeal
to Melua's hardcore fanbase complete with some jazzy nods.
THE
DUKE SPIRIT - CUTS ACROSS THE LAND: Self-confessed outsiders,
The Duke Spirit, return with the title track from their debut
album, Cuts Across The Land. It's a thrilling assault
of pounding rhythms, swooping guitars and Liela's typically rousing
vocals (that provoke inevitable comparisons with the likes of
PJ Harvey). The Duke Spirit are credited by many as being expert
purveyors in the art of dark rock 'n' roll and their debut album
is certainly packed with memorable moments. The title track is
one of the highlights and offers a uesful indication of what to
expect, as well as some of their influences (who range from The
Stones and Siouxsie And The Banshees to Bjork and The Velvet Underground).
BODYROCKERS
– ROUND AND ROUND: Bodyrockers unleash the second
single from their acclaimed self-titled debut album in the form
of Round and Round. It’s a melodic, guitar-infused
anthem that is designed as a cheeky homage to the godfathers of
rock, ZZ Top and, in particular, their anthem, Sharp Dressed
Man. The guitar riffs are ripped straight out of that record,
while the chorus, ‘I guess that I’m a sucker for a
round and round girl’, replaces ‘every girl’s
crazy for a sharp-dressed man’. The good thing is that it’s
not merely a retread, adding some funky beats to compliment the
classic guitar riffs, and strutting its stuff in suitably impressive
fashion – making it a cheesy but endearing dance-floor crowd-pleaser.
It’s a worthy follow-up to their breakthrough hit, I
Like The Way, and provides easy evidence of why the album
has proved so popular with critics.
BOY
KILL BOY – CIVIL SIN: East-London based Boy Kill
Boy consist of Chris Peck (vocals/guitar), Shaz (drums), Kevin
Chase (bass) and Pete Carr (keyboards). Their name actually stems
from front man, Chris, mishearing a bloke in Bethnal Green bar
talking about a group called 'A Band Called Roy'. Their music
is guitar-based, edgy and similar in style to the nu-wave sound
of both Franz Ferdinand and StellaStarr*. Civil Sin begins
softly, lulling you into a false sense of security, before letting
go with some blistering quick-fire hooks and a catchy, sweeping
chorus. It may take a couple of listens, but this is certainly
worthy of taking its place at the forefront of the nu-wave.
JAMIE
CULLUM - GET YOUR WAY: 'What game shall we play today,
how about the one where you don't get your way?' So declares Jamie
Cullum's new single, Get Your Way, the first to emerge
from his hotly-anticipated new album, Catching Tales.
The track benefits greatly from being co-written by hip-hop DJ
and Gorillaz producer, Dan The Automator, who helps lend it a
more urgent feel. The jazz is still present but there is a restrained
hip-hop style about it that marks something of a pleasant surprise
and which increases the hip vibe surrounding the already hot Mr
Cullum. It's funky, it's got the trademark sanguin vocals and
it's an excellent indication of what to expect from the new album,
which features plenty more collaborations to savour.
VANESSA
BROWN - WHIPPED: Hotly tipped new soul talent, Vanessa
Brown, releases her debut single Whipped through AandM/Polydor
records and immediately raises eyebrows. The singer is already
causing quite a stir in America where her soulful style belies
her tender age. Whipped is a sassy, funky breakthrough for her
that recalls the zest of Soul Sessions Joss Stone, as well as
the heyday of the Motown era. It's fun, bouncy and catchy and
looks set to provide a deserved platform for Brown's talents.
Let's hope that future material can live up to the protential
displayed here.
ROB
THOMAS - THIS IS HOW A HEART BREAKS: Matchbox 20 lead
singer, Rob Thomas, releases the fairly routine This Is How
A Heart Breaks from his debut solo album, Something To
Be. Aside from providing a suitably lovelorn platform for
the singer's distinct vocal style, it's a fairly generic affair
that isn't too great a departure from the Matchbox 20 sound. It'll
probably end up on the soundtrack to some slick US teen television
drama courtesy of its emotive sentiments and sassy backing vocals,
but it's a track that will best be embraced by the Capital FM
crowd, who will enjoy its cheesy value.
CHARLOTTE
CHURCH – CALL MY NAME: More bouncy, pop-friendly
chart fodder from Charlotte Church that continues her transition
from child soprano in the classical field to sexy would-be pop
princess with a penchant for skimpy outfits. Call My Name
bounces along in the same way that every Girls Aloud/Rachel Stevens
single does nowadays without really offering anything different
other than another raunchy video. It’s the sort of track
you might well find yourself dancing along to drunkenly at a cheesy
disco but it lacks the depth, or maturity, that initially marked
Church out as a potential future talent. Still, it will sell by
the bucket-load and ride high in the charts, where it sounds as
generic as everything else in the pop world nowadays.
SINGLE
OF THE WEEK: THE ALL-AMERICAN REJECTS – DIRTY LITTLE SECRET:
Now here’s a track we really like. The All-American Rejects
were the band behind the shamefully enjoyable single, Swing Swing
a couple of years back, and this belated follow-up (from the new
album, Move Along) is a breezy blast of American campus-style
rock that’s as cheesy as hell – but insanely enjoyable.
The track expertly offers a near-perfect slab of power-pop that's
simply great fun in a sun-drenched American kind of way. It'll
have you bellowing out its throwaway chorus for hours after hearing
it, while bouncing around the living room to its melodic riffs.
What’s more, it expertly encapsulates ‘the Brian Wilson
approach to song-writing’ that lead singer and bass player,
Tyson Ritter, candidly admits to adopting when penning the album.
SUBWAYS
– WITH YOU: Another barnstorming single from Subways,
which confirms their reputation as the hard-rocking band of the
moment. This, like Rock ‘n’ Roll Queen and
Oh Yeah before it, is cranked up the max, emerging as
a fiery, feisty love song designed to inspire the disenchanted
youth of today. It includes lyrics like ‘when I’m
with you, it seems so easy’ and ‘my best days are
with you, they are so easy’. Intriguingly, the album, Young
For Eternity, breaks up the hard-rocking format with some
mellower stuff that displays a great musical diversity. It’s
among the year’s best releases and ought not to be missed
by anyone with their eye on good new music. With You completes
the hat-trick of quality singles produced so far by the band and
is well worth picking up.
50
CENT/MOBB DEEP – OUTTA CONTROL: 50 Cent and Mobb
Deep present a truly massive hip-hop anthem in the form of Outta
Control, with its attitude-laden style and screeching background
hook. Taken from his massive new album, The Massacre,
the track features a collaboration with Mobb Deep, one of several
heavyweight hip-hop names to feature on the album. It’s
already been embraced by the Kiss FM crowd as one of the summer’s
big anthems and should go down a storm when 50 Cent visits Britain
later this year. It certainly rates as one of the best tracks
from the album and is owes more in style to In Da Club than
a lot of the artist’s recent work. Well worth checking out.
MY
COMPUTER – LONELY: Manchester duo, My Computer
(aka Andrew Chester and David Luke) continue their efforts to
push musical boundaries by releasing Lonely from their current
album, No CV. The track, which also marks the opening
song on the album, is a rowdy affair, arriving amid a wail of
guitars and with the despairing lyrics, 'I'm so lonely', suggesting
a style that has been inspired by the Foo Fighters. Yet midway
through, it changes pace, easing into a piano-laden mini-ballad
that becomes almost classical. It’s fairly typical of what
to expect from the album, which remains a challenging and interesting
listen – no matter what you may ultimately think of it.
LENE
MARLIN – HOW WOULD IT BE: Having impressed greatly
with her first album, Playing My Game, Norway’s
Lene Marlin returns with the uptempo pop song, How Would It
Be, the first track to emerge from her second album, Lost
In A Moment. Whimsical in outlook, yet distinctly summery
in flavour, How Would It Be harks back to the classic
rock style of, say, Fleetwood Mac and is as catchy as pop records
get. As usual, Marlin’s tender voice provides the perfect
backdrop to the sunshine melodies and breezy style that is sure
to further the singer’s growing popularity (she has already
sold 1.8 million copies of her debut album world-wide).
BON
JOVI – HAVE A NICE DAY: Bon Jovi release their
first single for three years in the form of Have A Nice Day –
and it’s not a cover version of The Stereophonics’
record of the same name. Far from being a greeting card sentiment,
the have a nice day of the title refers to the band’s adoptive
attitude whenever things don’t quite go their way. Says
lead singer, Jon Bon Jovi: “There’s obviously a sense
of irony when you say it. You can say it one way and take it another.”
The record is a typical retro rocker from the band, packed with
fiery slabs of guitar and a sweeping, cheesy chorus – but
it won’t appeal to anyone new courtesy of its distinctive
style. It remains to be seen whether the album of the same name
offers anything different from the usual formula. Still, at least
it’s not a drippy ballad!!!
PRETTY
RICKY – GRIND WITH ME: Miami-based R’n’B
newcomers, Pretty Ricky, are being billed as the hottest family
of brothers to hit the urban scene since the emergence of the
Jacksons. Listening to their new single, Grind With Me, it’s
hard to think why. Their line-up is comprised of three rappers
– Slick ‘Em, Baby Blue and Spectacular – and
one singer, Pleasure, who blend hip-hop rap with smooth r’n’b
beats and rhythms. Grind With Me is designed as a slow-builder
in the smooth groove style, courtesy of its mellow, head-nodding
melodies. It’s clearly aimed at a female audience but feel’s
hopelessly generic for this sort of thing and isn’t really
a promising indication of what to expect. Fans of this r’n’b
scene will lap it up, though.
SEAN
PAUL – WE BE BURNIN’: Sean Paul continues
to serve up his own particular brand of 21st Century dancehall
with We Be Burnin’, the first track to emerge from
his new album, Trinity, which hits stores on September
26. It’s as bouncy as you might expect and distinctly Sean
Paul, courtesy of those deep, grinding lyrics. The track is certain
to appeal to the Kiss FM crowd, especially since the former DJ
did actually hijack the radio station recently to present his
own afternoon show. It struggles to achieve much of a crossover,
however, and is probably best left to anyone with a passion for
dancehall, or those who may have enjoyed shaking their hips to
it as part of the Ibiza summer scene.
SUGASHAK
- SUNSHINE DAZE: Another ball-busting dance anthem from
the Sugashak boys that builds huge, Ibiza-style rhythms and beats
around a popular sample. With The Greatest, it was a
vocal sample from boxing legend, Muhammad Ali; with Sunshine
Daze, it's a sample from Osibisa's cheesy classic that's
designed to ease the track into the dance fraternity's psychology.
It's a full-on house workout that contains an element of some
Latino/Samba style rhythms but which sadly struggles to escape
its Ibiza roots. The single is packed with remixes from the likes
of Trick Or Treat, Dirty Box and Zooloo but most of these merely
serve to underline the fact that this was conceived as a big summer
club anthem and therefore exists purely for the masses.
SINGLE
OF THE WEEK 1: COLDPLAY – FIX YOU: Coldplay look
to banish all memory of The Crazy Frog fiasco by securing their
first number one with the whimsical Fix You, another
gem from the superb X&Y album. Featuring playful
lyrics such as 'when you get what you want, but not what you need'
that come wrapped in the reassurance that Martin and co 'will
fix you', this one’s destined to be embraced by song lovers
all over the world, as well as sung out loud at numerous concert
events. It’s another perfect example of why Coldplay are
one of the best and most consistently powerful bands in the world
at the moment, courtesy of their uncanny ability to deliver simple
but oh-so telling songs that reach out across the musical genres.
SINGLE
OF THE WEEK 2: JACK JOHNSON – BREAKDOWN: One of
the undisputed highlights to emerge from Jack Johnson’s
brilliant new album, In Between Dreams, is Breakdown,
a laidback piece of acoustic excellence that confirms Johnson’s
elevation to one of the coolest artists of the year. The track
contains one of the year’s best choruses and effortlessly
eases a smile onto the face, guaranteeing its status as a summer
anthem that’s perfect for any generation to enjoy. It’s
little wonder that The Mail on Sunday hailed him as ‘the
21st Century Bob Dylan’ given the seductive nature and global
appeal of his simple but effective song-writing style. The album,
In Between Dreams, has now sold over 200,000 copies in
the UK and reached the Music Week Top 20. It deserves to continue
that success. It’s also worth keeping an eye out for the
Handsome Boy Modelling School’s version of the track, which
adds a healthy beat and sublime whistle that enables it to just
keep getting better. The single itself comes backed with an exclusive
Hawaiian version of the album track Constellations, as well as
Girl I Want To Lay You Down and the new video.
PUSSYCAT
DOLLS – DON’T CHA: LA-based temptresses,
the Pussycat Dolls release a genuinely hip slice of sultry r’n’b,
featuring the vocal talents of Busta Rhymes (for extra added interest).
The track features a really addictive hook and an urgent beat
that drives it along, as well as all manner of sassy vocals that
recall the sexed up pomp of Tom Jones. As provocative as the lyrics
and the dancing are, however (‘don’t cha wish your
girlfriend was hot like me’), the Pussycats insist the record
is all about female empowerment. “It’s all about being
who you are, having fun and being confident… and feeling
hot,” maintains Nicole Kea, lead singer. If they continue
to deliver R’n’B of this quality, then they might
soon be giving the likes of Destiny’s Child a run for their
money. It’s a teasing, tempting sizzler.
FOO
FIGHTERS – DOA: The second track to emerge from
the Foo Fighters’ excellent new album, In Your Honour, is
another rock beast that looks set to follow Best Of You
into the Top 40. Taken from the plugged in A-side to the double
CD, DOA is classic Foos – featuring powerhouse
vocals from Dave Grohl over some more trademark pounding drums
and infectious riffs. It’s the sound of Foo Fighters at
their purest and should provide an excellent single accompaniment
to the band’s forthcoming UK live dates. Given the no-nonsense
style, however, it makes the softer, acoustic-focused second album
on In Your Honour all the more noteworthy. Needless to
say, the album should be high on your must-buy list if you haven’t
already added it to your collection.
IAN
BROWN – ALL ABLAZE: Taken from Ian Brown's forthcoming
greatest hits album, All Ablaze is a musical melting
pot of sounds past, present and future from the former Stone Roses
lead singer. It’s a funky, spaced-out rock/dance hybrid,
packed with squidgy synth stabs and a brooding dub vibe, that
provides another fitting backdrop for Brown’s particular
vocal style. Sadly, the track lacks a little something, falling
some way short of the singer’s best work, and feeling more
of a greatest hits filler than anything else. It does grow on
you the more you hear it, but the electronic vibe just doesn’t
feel right and the catchy chorus is a little too familiar to Brown
enthusiasts who may be disappointed that such a prolific performer
hasn’t chosen to stretch himself a little further.
ARCADE
FIRE - REBELLION (LIES): Xfm's Lauren Laverne has rightly
made this a record of the week on her Drivetime show, given the
cold, stark beauty that it encapsulates. Arcade Fire is the dark
sound of young Montreal and Rebellion is a track that
finally justifies the cool vibe surrounding them. The track possesses
traces of Bloc Party, courtesy of some angular guitars, but is
a far more hauntingly intense record that encapsulates the band's
eccentricity. From its lumbering bassline and ethereal turned-on
drone intro, to the fantastically anthemic chorus and crescendo
finale of shimmering chords and hand-clapping euphoria, this is
inspiring stuff that's certain to widen their appeal to a whole
new fanbase. It is one of the undoubted highlights from the debut
album, Funeral - which, from its name alone, suggests more of
the same darkness.
FALL
OUT BOY – SUGAR, WE’RE GOING DOWN: Chicago
four-piece, Fall Out Boy, recently had the distinction of being
named by Rolling Stone as one of the '10 artists to watch' of
the year. Listening to the joyful exuberance of Sugar, We’re
Goin’ Down, it’s easy to see why. The band specializes
in energetic, catchy punk anthems that feel like a cross between
early Green Day and Sum-41. The track is a lively and genuinely
catchy punk workout that will probably have you singing along
to it after a couple of listens, courtesy of its glorious hooks
and towering, anthem-like chorus. It’s taken from the Gold-selling
second album, From Under The Cork Tree, which really
is worth checking out if you’re a fan of this sort of thing.
We certainly recommend it.
THE
BLACK VELVETS – ONCE IN A WHILE: The latest single
from The Black Velvets, Once In A While, is another confident
piece of epic rock that bodes well for the forthcoming album.
The track has quickly become a live favourite because of the way
it veers into the glam-punk rock style of Marilyn Manson, courtesy
of its driving guitars, pounding drums and anthem-like chorus,
before pulling the listener back into more mainstream territory.
It's typical of the heady mix of styles that the band is fast
becoming renowned for that the song is both heavy and melodic,
embracing a number of influences without ever resorting to merely
copying them. The self-titled album contains more of the same
– sometimes better. It’s well worth checking out,
particularly if you like the old-school style of Zeppelin and
Oasis and possess a black leather jacket in your locker.
SIMIAN
– LA BREEZE: Hard to believe but this track has
been knocking around since 2003, when favourable comparisons with
the sound of The Beatles were effortlessly being drawn. It’s
a car advert that’s helped put it back in the public spotlight
and which will probably help it to deserved chart success at the
second time of asking. For there’s no doubting that this
is, indeed, something of a chant-worthy anthem courtesy of its
brooding style, sing-along lyrics (‘here it comes, here
it comes’) and rousing chorus. It’s retro melodies
are very much in vogue at the moment, so something would be amiss
if it didn’t hit home hard this time.
GOLDIE
LOOKIN’ CHAIN – YOUR MISSUS IS A NUTTER:
I think it was Radio 1’s DJ Spooney who said it best. How
the hell does this get a release when other, quality bands struggle
to make a breakthrough? It is baffling. Your Missus Is A Nutter
is the first track to emerge from Welsh hip-hop collective Goldie
Lookin Chain’s second album, Safe As F*ck and is
designed as a hilariously freaky femme fatale anthem featuring
insults galore – such as ‘I’ve never seen a
woman make a fucking skinhead cry’ or ‘last week she
went on a binge, she got off her tits and showed the bouncer her
minge’. The electric guitar backdrop also suggests the boys
are poking fun at the glam-rock sound of The Darkness. But it’s
puerile, hopelessly juvenile, amateurish and pointless. This particularly
Missus, I’m afraid, belongs in the gutter.
THE
RASMUS – NO FEAR: Finland’s The Rasmus look
to follow up the breakthrough success of their album, Dead
Letters, with the slightly heavier, Hide From The Sun.
As an introduction, we have No Fear, a power rock track
that is, quite literally, dripping in darkness – from its
lyrics (‘destination: darkness’) to its gothic video,
that features a beautiful sleepwalker, plenty of moths and dimly
lit shots of the band themselves in action. It’s very much
a mainstream slab of goth-rock that contains easy hooks and riffs,
as well as a catchy chorus (designed with singing along at concerts
in mind) but it also feels a little as though it’s trying
too hard to be something that it’s not – mature and
adult. It should, nonetheless, appeal to the teen Goths among
you.
MYLO
VS MIAMI SOUND MACHINE – DR PRESSURE: Mylo continues
to impress with his cheeky blend of old-skool cheesy classics
mixed with some pretty hip contemporary beats. Hot-on-the-heels
of the excellent In My Arms comes his Doctor Pressure mix-up against
the Miami Sound Machine’s Dr Beat. It’s dripping in
80s nostalgia and was originally spliced together by two cheeky
chaps, Phil N Dog, with the blessing of Gloria Estefan and the
Miami crew. The re-jig gets the Mylo style stamped all over it,
thereby turning it into another colossal club anthem that can
be enjoyed and danced along to by just about anybody given the
current summer climate. It’s not as good as In My Arms,
but as bootlegs go (this also features Mylo’s own Drop
The Pressure), it’s sure to become a party-pleaser.
SHAGGY
– WILD 2NITE: International reggae star, Shaggy,
returns with another distinctive single that’s sure to further
the success story of an artist who has already won a Grammy, a
Brit, a Billboard and a Mobo. Wild 2Nite features a vocal
collaboration with G Unit’s Olivia, which actually works
in the record’s favour by providing a nice contrast between
the gruff style of Shaggy and the sassy R’n’B quality
of G Unit’s favourite diva. The grinding bassline and urban
rhythms feel very contemporary in the current climate and show
that the reggae superstar knows how to develop his style in keeping
with current trends. It’ll be big among the Kiss FM and
Radio 1 crowd, while its energetic remixes are tailor-made for
the dance scene. The track is taken from the forthcoming album,
Clothes Drop, which will be Shaggy’s sixth.
SUPAFLY
V FISHBOWL – LET’S GET DOWN: Written on one
of the hottest days in Melbourne’s history, this mix-up
between Supafly and Fishbowl is, according to the instructions
on the PR, supposed to be taken with copious amounts of sunshine!
Featuring a powerhouse vocal from Andrew Tumi (aka One), the track
is a big dance-floor shaker that’s already become of the
biggest tunes of the year at the Miami Music Conference, where
it drew support from the likes of Pete Tong, Roger Sanchez, David
Guetta and Paul Farris. Those names alone should tell you all
you need to know about the track, which will probably be familiar
to anyone who has partied on the beaches or clubs of Ibiza this
summer, or anywhere else that’s renowned for the Kiss FM
style of music catering. It’s cheesy, it’s loaded
with monotonous remixes, and it’s fairly generic for this
sort of thing.
C-JAGS
– SANDY: London-based C-Jags follow-up their debut
single, Paradise Work, with another foot-stomping limited edition,
which is available as a 7” and via download. The track is
full of the twisted harmonies and playful melodies the band is
becoming renowned for, all delivered in the edgy vocal style that
is fast becoming a trademark. Think the high, frenetic energy
of The Clash mixed with the streetwise credibility of New York’s
Stellastarr* and you might get some idea of what to expect. Their
particular brand of jerky pop is inspired by the likes of Richard
Hell And The Voidoids, The Police and Iggy Pop – so you
have been warned what to expect. If you like your new music to
be raw and seedy, then apply within.
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Music - The Singles Collection
Heard a great single, but yet to buy it? Well, we may have reviewed it. Previous month's reviews: 2005 2004 |
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