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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: SIGUR ROS - HOPPIPOLLA: Quite what the title
means remains a mystery but Hoppipola is the beautiful other-worldly
first full single on EMI from this enigmatic, Icelandic, alternative
rock act. It’s been lifted from their critically acclaimed
Takk album and continues to beguile listeners with its epic, dream-like
quality as a single. Alternative radio station, Xfm, is one of
few daring enough to play it during the daytime given its pensive,
slow-building style but the effect is completely enchanting every
time – so much so that Hoppipolla should rightly attract
more fans to the album and other work from this excellent alt-rock
act. We defy you not to be spellbound. Expect it to crop up on
some Cameron Crowe soundtrack soon!
DOGS
– TARRED AND FEATHERED: The best single from Dogs
yet, Tarred And Feathered is a rabid chant-a-long for the land's
underdogs – those who are stuck in crap jobs and nowhere
suburbs. The track is certainly the band’s most anthemic
offering yet, complete with rolling slabs of drum and some killer
hooks. In the words of singer, Johnny Cooke, the track is rife
with balls out optimism for the ‘out of control and misunderstood’
young. Having escaped the confines of his own white van job, the
message is clear: “I’m on the road, I’m making
plans, and if I fail at least I tried out of this jail, I’ll
still be dreaming’. The mix of punk and rock has never been
so infectious and this could well be the band’s biggest
hit yet.
OASIS
– LET THERE BE LOVE: Oasis release their bid for
Christmas chart success in the form of the Lennon-style Let There
Be Love, one of the schmaltziest tracks to be taken from their
current album, Don’t Believe The Truth. The track is built
around the sort of piano key that Lennon made his own, before
drifting into a tender duet between the Gallaghers about the importance
of love that recalls the chorus of Slide Away. It’s the
final track on the album and devoid of the arrogance that accompanies
some of the band’s brasher tracks. But it also feels a little
too generic for an Oasis track and isn’t one of their better
efforts of recent times. It’s message is certainly worth
embracing, however, and given that slower Oasis numbers tend to
perform better in the charts because of their wider appeal expect
this to be another massive hit for them.
BLINK
182 – NOT NOW: Taken from Blink 182’s recent
Greatest Hits' album, Not Now is a typically frantic and edgy
previously-unreleased track from the recently departed godfathers
of punk-pop. The track is both fun and sad in equal measure –
fun because it captures all the madcap energy and guilty pleasures
of early tracks such as What’s My Name Again and All The
Small Things; sad because it is a reminder of what we’re
missing (and what bands like Son of Dork simply cannot replicate).
The track comes backed with their early, rare favourite Dammit
as well as their classic All The Small Things as B-sides. It’s
a guilty pleasure and one that should be embraced given the break-up
of the band. The Greatest Hits collection is well worth checking
out as well.
THE
FUTUREHEADS – AREA: Area marks the first new release
from Sunderland's Futureheads since their eponymous debut album.
It is another fast and furious snapshot of inner city decay that
finds the band expanding on the complex vocal arrangements they
experimented with on Hounds Of Love, their biggest hit to date.
The infectious nature of the track is summed up in the upbeat
‘da, da, da’ intro that recalls memories of Dexy’s
Midnight Runners. The catchy chorus, however, is all about the
sound of The Futureheads and is effortlessly cool. The EP is a
stand alone single and will not be included on their forthcoming
second album, which they are currently recording for an early
2006 release. Bonus tracks include Help Us Out (sung by Ross Millard)
and We Cannot Lose (with lead vox by Jaff) – both of which
serve to highlight the growing vocal ambitions of all members
of the band.
BABYSHAMBLES
– ALBION: It’s been another rollercoaster
year in the life of ex-Libertine, Pete Doherty. Drug scandals,
love tugs, band break-ups and make-ups – oh and an album.
The third single, Albion, arrives in time for Christmas to round
things off on a high note. It marks a return to the downbeat,
epic ballad territory of his Wolfman collaboration, For Lovers
from 2004, and aims to celebrate all things British. It’s
actually one of the better tracks to be taken from the album,
Down In Albion, and has been put together in a strong package
that includes bonus tracks, Clementine and Why Did You Break My
Heart/Piracy, as well as the video and bonus acoustic footage.
Fans will continue to hail Doherty as a mixed-up genius, much
like the NME who placed him in their cool-list, but the jury remains
out. Albion isn’t bad but it’s not that great either.
DAVID
GRAY – HOSPITAL FOOD: The second track to emerge
from David Gray’s latest long-player, Life In Slow Motion,
is a conscious effort to get away from his trademark brooding
style. Hospital Food therefore functions as one of the more upbeat
tracks the talented singer-songwriter has released so far in his
career, complete with a much richer soundscape. It is catchy,
satisfying and a strong indication of the broader, more complete
and ambitious sound of Life In Slow Motion, which looks set to
continue the success story the artist has enjoyed so far. Fans
will lap it up and the unconverted may even find their feet tapping
along. The release of the single coincides with Gray’s first
major headline tour of the UK and Ireland in three years, including
nights at Hammersmith Apollo on December 12 and 13 and Brixton
Academy on December 14 and 15.
JAMIE
CULLUM – MIND TRICK: Jamie Cullum releases one
of two collaborations with his brother, Ben, in the form of Mind
Trick, a smooth groover that owes much of its style to the feel-good
vibes of both Marvin Gaye and Stevie Wonder. The song was one
of several on the new album, Catching Tales, that came together
overnight and was devised as a soul classic that ought to get
people dancing. The easygoing style, funky melodies and smooth
vocals certainly provide a winning formula, helping it to emerge
as one of the standout tracks on a very good album. It’s
little wonder Catching Tales has remained in the Top 20 albums
list for so many weeks. The single is available as an enhanced
CD only, featuring a remix by Johnny Douglas of the title track,
a new self-penned song, A Night In Bath, which features an appearance
by Jamie’s mum’s choir, The Silver Ring Choir, and
a new remix of Get Your Way by Allen Toussaint.
THE
ROLLING STONES – RAIN FALL DOWN: It’s a busy
release week for The Rolling Stones, given that this second single
from A Bigger Bang' (their first new studio album since 1997's
Bridges To Babylon) comes out on the same day as a new Rarities
album. Rain Falls Down is a jerky rock track that displays a slightly
more funky, contemporary side to the band, reflected in the choice
of Black Eyed Peas' Will.i.am as remixer for the A-side version
of the song. It goes to show that Jagger and co continue to keep
their finger on the pulse of modern trends and are prepared to
refine their sound, while still managing to sound the class act
they have always been (complete with heavily sexual overtones).
It’s not, of course, anything really special but it does
enough to suggest why A Bigger Bang is one of their best albums
in a while. There is even a heavy disco radio version from Ashley
Beedle to contend with.
WEAPONS
OF MASS BELIEF – DEATH OF A NATION: Welsh punk
rap politicos Weapons of Mass Belief unleash another fiery rock-rap
hybrid that, in the words of JG, ‘is about watching our
nations die through cultural corrosion – urban alienation,
religious fanaticism, racism, a brainless media – at the
same time being part of that death, being responsible for it somehow,
but not knowing how to change anything – and finding a voice
that can be heard’. Play this loud enough and it will be
heard, thanks to some crunching guitar riffs, a boisterous chorus
and JG’s explosive vocals. It’s enticing in that it’s
a heavy track with a message but it’s not brilliant enough
to truly stand out from the rap-rock-metal hybrid acts and is
too easily prone to accusations of being a little too self-satisfied.
Bonus track, The Last Place She Went To Was The Ocean, is a fairly
routine rocker.
EARLY
YEAR – BACKLIGHT EP: The second release from North
London four-piece, Early Year, is the Backlight EP and it serves
a notice of intent in suitably stylish fashion. Opening track,
Always Up, is a brooding, intense slow-builder that boasts U2-style
guitars during the verse that give way into a compelling crescendo
of drums, piano, vox and guitars during the emotive chorus. It’s
an excellent opener that’s sure to provoke the odd comparison
with the epic style of Coldplay – albeit with a slightly
harder vocal style. Second track, Iona, is another eyebrow raiser,
a dark tale of stalking and leading someone up the garden path,
that feels even more brooding (as well as vocally haunting). The
melancholy continues with Inside You, a look inside the mind of
a friend with manic depression who sadly took his own life. It
features a heart-beat like kick-drum opening and some strong,
shimmering acoustic guitar chords that manage to lend it an upbeat
vibe. Last but not least is Last Laugh, a lighter finale that
proves the band aren’t gearing up to be the new Radiohead.
This one focuses on the relief and release of breaking from a
doomed relationship and includes some more lively guitar riffs
and another strong chorus. Keep an eye on Early Year – the
Backlight EP suggests big success may beckon.
THE
PUSSYCAT DOLLS – STICKWITU: The Pussycat Dolls
follow-up their excellent No.1 breakthrough hit, Don’t Cha,
with this utterly disappointing ballad, Stickwitu. The track is
designed to showcase the more sensitive side to the girl band
but winds up coming across like just another generic R’n’B
smooth groove ballad that could be churned out by anyone from
Mariah Carey to Destiny’s Child. The video, directed by
Nigel Dick, is also a letdown, given that it showcases what life
is like on the road for The Dolls. But there is a feeling that
this is just following a tried and tested path to success –
breakthrough with a bouncy, upbeat chart-pleaser and then follow
it up with a ballad. The material needs to be much better than
this to really register that strongly though.
RIHANNA
– IF IT’S LOVIN’ THAT YOU WANT: New
R’n’B star, Rihanna, lokos to follow up her explosive
dance-floor hit, Pon De Replay, with another sun-drenched party-pleaser.
If It’s Lovin' That You Want is packed with the Caribbean
chimes and chilled out beats that are becoming a trademark, complete
with a nod to her Bajan roots. The track is designed to reflect
the soul of her cultures lifestyle, with a traditional reggae
touch to her upbeat vocals. It’s a completely addictive
pop record that should deliver another massive hit for the talented
young singer, whose debut album, Music Of The Sun, is also worth
checking out if you like what you’ve heard so far.
THE
SPINTO BAND – MOUNTAINS/BROWN BOXES: The Spinto
Band release the double-A sided Mountains and Brown Boxes and
immediately conjure memories of The Flaming Lips and Pavement
mixed with Razorlight. Their catchy indie-rockers are both quirky
and energetic, making them well worth spending time with. The
story behind the band begins in the heart of Mississippi Delta,
where band member, Nick Krill, was rummaging through the personal
effects of his late grandfather, the guitar player, Roy Spinto.
For years, Roy had penned lyrics on the inside of Cracker Jack
boxes and in one simple juxtaposition of time and fate, Nick found
the lyrics that would inspire the creation of The Spinto Band.
The rest could well be history, as this six-piece certainly seems
to have talent in abundance and aren’t afraid to flaunt
it in typically kooky but endearing style. This double-header
is certainly worth locating – although, for us, Mountains
is the stronger of the two offerings.
SEAN
PAUL – EVER BLAZIN’: Sean Paul releases another
snooze-fest in the form of the hopelessly generic Ever Blazin',
which re-unites him with Steven 'Lenky' Marsden, producer of his
2002 smash hit/dancehall anthem, Gimme The Light. Lenky's Masterpiece
rhythm provides the backdrop as Sean testifies about a ‘love
that's never ending’ in his usual, distinct style. The track
is a popular favourite among the Kiss FM brigade and Radio 1 daytime
listeners and it’s sure to bring the singer more success.
The reason why escapes me as most, if not all, of what Sean Paul
has produced so far sounds the same – pop mixed with dancehall
engineered for easy chart and dance-floor success. It pretty much
epitomises the stale sound of the mainstream at the moment.
BOB
MARLEY – AFRICA UNITE: Single number five from
the collectible six-single series is Africa Unite – another
Island Records release to mark Bob Marley's 60th birthday. This
one has been remixed by Will.I.Am and features the Black Eyed
Peas, which lends it a contemporary and funky edge. Following
hot on the heels of last week’s Clapton collaboration, it
marks another worthwhile addition to the limited edition series.
What’s more, it comes with a live version of I Shot The
Sheriff, recorded at The Roxy on May 26, 1976. If you haven’t
already had chance to check out the accompanying album, Unite:
The Singles Collection, then maybe now is the time to add it to
your Christmas list.
SINGLE
OF THE WEEK 1: GORILLAZ – DIRTY HARRY: Another
stand out track from one of the albums of the year is Dirty
Harry, Gorillaz excellent follow-up to Dare. As
genre-defining as ever, Dirty Harry features more funk-driven
electro-pop with a Kraftwerk-esque synth line, swelling strings,
vocals from The Pharcyde and an amazing contribution from the
San Fernandez Youth Chorus. It’s testament to Damon Albarn’s
vision as a creative artist and the production skills of a certain
Danger Mouse that Gorillaz have emerged as one of the brightest
and most ambitious mainstream acts of the moment. One only had
to listen to the feedback from their gigs at Manchester’s
Opera House to realise that what they do is special. As a bedfellow
to Clint Eastwood (from the first album), and as a strong
indicator of what to expect from the rest of the Demon Days
album, this is virtually peerless. We can’t sing its praises
highly enough. To coin a cheesy catchphrase, it really makes our
day whenever we listen to it.
SINGLE
OF THE WEEK 2: STEREOPHONICS – REWIND: Having demonstrated
the eclectic style of their latest album, Language. Sex. Violence.
Other in such terrific fashion thus far, the Stereophonics
change pace again for Rewind. Loaded with happy-sad hooks,
the track finds Kelly Jones' vocals at their most melancholic
and addictive, hinting at some of the biggest hits of their past
while embracing the more forward-looking approach they have recently
adopted. It is during this beautiful track that new Argentine
drummer, Javier Weyler's skills get a notable workout but the
single really works as a whole to emerge as one of the best rock
ballads of the moment. The single comes in two formats, the first
of which features a new track, Hammerhead, that cranks
things up a notch or two in expert fashion, featuring a brooding
guitar riff and a much more rock-driven vibe. CD2, meanwhile,
features a version of the Goldfrapp song Ooh La La taken
from the band’s performance on Live Lounge with Jo Whiley
on Radio 1, as well as a live version of Maybe Tomorrow
from the band’s recent sold out UK tour.
FOO
FIGHTERS – RESOLVE: The third single to be lifted
from the excellent In Your Honour double album is Resolve,
a powering slice of West Coast rock that pretty much epitomises
all that’s great about this band. Following in the wake
of the far heavier DOA, which reached No.25 back in September,
Resolve is packed with memorable riffs that brings out
the best in Dave Grohl’s lyrics, as well as an easygoing
style that conjures easy memories of that Californian sun. It
is one of several highlights on the album that has to rate as
one of the finest creations of their career, not to mention one
of the best rock albums of 2005. It will be interesting to see
if the band chooses to release one of the tracks from the acoustic
second album, which includes some absolute stunning pieces of
work.
KORN
– TWISTED TRANSISTOR: Multi-platinum, Grammy-winning
rock band, Korn – aka Jonathan Davis, James ‘Munky’
Shaffer, Fieldy and David Silveri – unleash the first single
from their forthcoming album, See You On The Other Side,
in the form of Twisted Transistor. The track rates as
one of the more ambitious Korn records so far, fusing some hybrid
funk with the usual metallic shimmer. It’s glam, but heavy,
twisted yet not so angry that you can’t bear to listen to
it and certainly capable of being classed as radio friendly. Within
its first two weeks of being played on US radio, Twisted Transistor
became the number one most added track at Alternative Rock Radio.
Fans will lap it up but it also has some crossover appeal for
the more meek and mild.
UNION
OF KNIVES – UNION OF KNIVES EP: A firm favourite
of Radio 1’s Zane Lowe, who described their mix of Radiohead,
DJ Shadow, Aphex Twin and The Eels as ‘incredible’,
Union of Knives burst onto the scene in spectacular fashion with
their self-titled EP. Evil Has Never kicks off things
in terrific fashion, featuring a boy/girl duet smudged by nu-wave
analogue riffs and a catchy, edgy beat, while second track, Operated
On, is doused in thundering drum kick to create an epic of
rippling guitars and twisting vocals. Of the two, Evil Has
Never probably edges it as the best effort, emerging as a
dark duet about two lovers who can’t quite get to grips
with each other. The synth riffs, subtle guitars and soft beats
are truly hypnotic, while the vocal trade-off works really well.
Operated On, meanwhile, is much more energetic, full-on
and edgy although its haunting vocals still manage to impress,
conjuring the inevitable Radiohead comparison. Don’t just
take our word for it, Zane Lowe has been hailing them as well.
This is an EP that’s well worth seeking out. It’s
one of the sharpest tracks of the week.
AKIRA
THE DON – CLONES: Akira The Don is nothing if not
eclectic. Clones, his latest single, is a pop classic
produced with James Brown, the studio engineer for Nine Inch Nails.
The song is constructed around an Alice Cooper sample and includes
an industrial James Brown backdrop loaded with live instrumentations
over which Akira drops some verbal bombshells with his trademark
acerbic wit. As usual, the targets are ‘evil politicians
and sick celebrities’, while helping him out on this occasion
is North West London MC, Bashy, who lends the track a distinctly
urban flavour. The mix is certainly edgy and takes a while to
properly get used to, but stick with it and the rewards are well
worth seeking. Bonus track, Liverpool, recalls one of
Akira’s adventures when he ran away from home as a youngling.
It has been remixed by Keith Tenniswood, Andy Weatherall’s
production partner, and is suitably dark and sinister.
50
CENT – WINDOW SHOPPER: The first track to emerge
from the soundtrack to 50 Cent’s movie debut, Get Rich
or Die Tryin’, is Window Shopper, a really
smooth performer that oozes the trademark sound of 50 Cent as
it exposes the mentality of a rapper who can't afford to buy the
things he wants and feels he deserves. It boasts another catchy
chorus and 50's vocals at their most laidback and honest and is
one of several highlights from the soundtrack, which boasts collaborations
with the likes of Mase, Nate Dogg and newly-signed G Unit members
Mobb Deep and MOP. The film opens in UK cinemas in January but
has already attracted its fair share of controversy in America,
owing to the nature of the posters - they have been perceived
by some as promoting gun crime.
GOLDIE
LOOKIN’ CHAIN – R’N’B: Welsh
hip-hop collective, Goldie Lookin’ Chain finally release
a semi-decent track in the form of R'n'B, an effective
blend of R'n'B beats with lyrics that are genuinely funny. The
track is designed to transport listeners to the ‘legendary’
places that boy bands such as Nsync, Westlife and Blue can only
dream of (in the band’s own words), paying tribute to ‘the
most sexually exhilarating form of electronic communication known
to man’. According to the PR, each beat is soaked in the
perspiration of romance – or at least the sort of romance
you might expect from a collective like GLC. Unlike Your Mother
Is A Nutter, this has heart to back up the more outlandish
moments. It marks a rare delight from an otherwise crappy album.
ANTONY & THE JOHNSONS – YOU ARE MY SISTER:
Having won this year’s coveted Mercury Music Prize, Antony
& The Johnsons release the second single in the form of
You Are My Sister, a duet with Boy George. The track is typical
of the haunting, piano-led style of the band, that falls somewhere
between a gospel hymn and a cabaret showstopper! Having won this
year’s Mercury Music Prize, at the expense of bands like
Coldplay, expect the profile of Antony & The Johnsons to grow
quite considerably. Their music is very individual and often quite
contemplative, veering into the sort of territory occupied by
Nick Cave on his soundtrack work. It’s a little too ponderous
and prone to art-house pretension for my liking, however, and
the vocals are difficult to really embrace, appearing a little
too cold and troubled to really be pleasing. An acquired taste
but certainly one worth checking out given their new-found status.
SYSTEM
OF A DOWN – HYPNOTIZE: What with a new single from
Korn and System of a Down hitting the shops this week, it’s
a good time for metal fans. Hypnotize is the first single
from System of a Down’s forthcoming second album of 2005,
following Mezmerize, and features more of the idiosyncratic,
ironic and schizophrenic qualities that makes the band so distinctive.
It’s loud, of course, and very distinct in tone and outlook
but fans will no doubt revel in the excess of it all, particularly
given the critical acclaim that met the first album of 2005. Radio
1’s Zane Lowe is one of the band’s biggest champions
so it comes with some great backing. That said, it’s for
diehard System of a Down fans only and is likely to upset anyone
who likes their music chart-friendly. I can take it in small doses
only. The album of the same name is out today.
DEAD
60S – GHOSTFACED KILLER: Ghostfaced Killer
is the final single to be taken from The Dead 60s' debut album,
which is widely regarded as heralding the ‘summer of ska’
movement that swept all before it this year. The track finds the
band wearing their influence on their sleeves (The Specials) and
is described as their most playful effort to date, blending their
dub-style indie rock with the Ska/Two Tone undercurrent that runs
through most of their material. It’s sure to raise their
profile even further, although the ska roots made it difficult
for me to like and the rough, edgy sound is a little too over-familiar
at the moment. One of their biggest previous hits, Riot On
The Radio, is featured in live form as a bonus track. It
remains one of their strongest efforts to date.
LADY
SOVEREIGN – HOODIE: Following her recent Top 30
hit, 9 to 5, Lady Sovereign releases the Basement Jaxx
produced Hoodie, an ode to Adidas and SOV’s favourite
attire which also serves as an attempt to save the hoodie from
what she perceives as ‘the current wave of middle England’s
alarmist tactics’. By dedicating a positive track to her
first fashion love, SOV aims to outline the ‘absurdity’
of banning an item of clothing and to draw the greater social
issues at heart. A website – 
BOB
MARLEY – SLOGANS: Another week, another Bob Marley
re-issue. As previously reported, this year marks Bob Marley's
60th birthday and to celebrate this landmark, Island Records has
already released Africa Unite: The Singles Collection,
along with six limited edition singles. The fourth, Slogans,
is a brand new Bob Marley and The Wailers track, discovered in
the archives and fleshed out with Eric Clapton on guitar. The
reggae rhythms are as distinct and bouncy as ever but it’s
Slowhand’s work on the guitar which really makes it worth
adding to the record collection – the guitar master has
lost none of his magic and put together with Marley’s unique
vocal style, it’s a mouth-watering prospect. This is probably
the most worthwhile of the single releases so far. Clapton’s
solos are terrific.
SINGLE
OF THE WEEK 1: JACK JOHNSON – SITTING, WAITING, WISHING:
Multi-talented singer-songwriter and film-maker, Jack Johnson,
re-releases the first single from his latest album in the form
of the blissful Sitting, Waiting, Wishing. Inspired by
a friend's amusing pursuit of a girl, the track is rife with the
sun-drenched melodies and relaxed acoustic guitar that are a feature
of the album. Indeed, listening to lyrics such as 'I can't always
be playing, playing the fool' and 'if I was in your position,
I'd put down all my ammunition, I'd wonder why it's taken me so
long', one can’t help but long for those lazy, hazy days
of summer, when we can all sit and watch the girls (or guys) go
by. You don’t want to miss out on this album, or the single,
given the quality of the bonus tracks as well. Jack Johnson has
emerged in a big way in 2005 following the deserved success of
singles Breakdown and Good People. He has just
released a couple of live dates in London for 2006.
SINGLE
OF THE WEEK 2: FUNERAL FOR A FRIEND – HISTORY:
Funeral For A Friend continue to span the divide between rock,
pop and metal in endearing fashion. New single, History,
taken from the Hours album, successfully serves to highlight
the depth and maturity that the Welsh band has achieved over the
years. Gone are some of the more grandiose guitar riffs and killer
stadium hooks, replaced instead with subtle melodic interplay
and sincere lyricism. It’s the sort of track that Dave Grohl’s
Foo Fighters would be proud to call their own – emotive,
epic and sweeping in the way that all good rock ballads should
be. The video accompanying the single is similarly emotive, being
based around the heart-rending effects of the miner’s strikes
in the mid-Eighties. It is a little piece of History
that holds special significance for them, as they explain: “We
have all grown up within the hills and mountains of small mining
communities in South Wales. The events of the strikes hit heavily
on our areas and some of us had family members who were deeply
involved in it, whether it was our fathers or uncles who worked
the mines or close family friends. It has affected our families
deeply.” Expect to be similarly affected by the record itself.
GREEN
DAY – JESUS OF SUBURBIA: Green Day finally release
one of the two nine minute epics from their excellent current
album, American Idiot. Jesus of Suburbia is
certainly the better of the two, fully demonstrating the band’s
ability to continue to stretch themselves while providing a wonderful
showcase of their musical versatility. The track changes pace
several times throughout the opus that is to punk-rock what Bohemian
Rhapsody was to classic rock. The hard-rocking first section
sets things in motion in spectacular fashion and is quickly followed
by a well-orchestrated middle section that gives way into some
really great guitar fireworks. In live form, the track has become
a real highlight, allowing fans to jump along joyously to its
giddy rhythms. It’s a riot and further compelling proof
why American Idiot is widely regarded as Green Day’s
masterpiece.
THE
WHITE STRIPES – DENIAL TWIST: Another rollicking,
Sixties vibed classic from The White Stripes that once again serves
to illustrate the musical diversity that is rife throughout the
band’s latest album, Get Behind Me Satan. This
one is notable for its short, sharp bursts of piano that punctuate
the lyrics to telling effect. It’s not quite as catchy as
My Doorbell, the stand out track from the album so far,
but it does get your feet stomping and will doubtless have you
singing along in the same joyful fashion as that previous classic.
The single also boasts another terrific video, this time from
Michel Gondry (director of 
ATHLETE
– 24 HOURS: Athlete look to round off a brilliant
year with another track from their acclaimed album, Tourist.
24 Hours is another emotive slice of Brit-pop, packed
with striking melodies and another heartbreaking vocal performance
from their hugely talented lead singer. The chorus, as ever, is
designed to break hearts and win fans the world over, while the
deliberate, slow-building style is typical of the band’s
progression, complete with a string-laden backdrop and intelligent
lyrics. As heartfelt as the whole thing is, however, Athlete never
stumble into depressing territory – all of the singles from
Tourist have been pleasant listens, while the album itself is
a major step forward from their debut, Vehicles and Animals.
Epic in scope and completely beautiful, 24 Hours should
end 2005 on an epic high for Athlete.
ARCADE
FIRE – WAKE UP: The fourth single to be taken from
Arcade Fire’s critically acclaimed Funeral album
is another epic slice of leftfield indie from Canada's latest
exports. Following Rebellion (Lies), Wake Up is
a thundering and rousing ramshackle barnstormer complete with
choral interludes and a shimmering climax that brings things to
an unexpectedly jolly close. It’s typical of the sound of
the album, which continues to win fans and draw favourable comparisons
with the likes of The Flaming Lips (especially in terms of instrumental
scope). In what has proved a busy period for the band, Arcade
Fire show no sign of letting up – their Autumn schedule
includes Brazil’s Tim Festival alongside The Strokes, as
well as some hometown shows with U2, before work begins in earnest
on their new album.
FORT
MINOR - BELIEVE ME: Fort Minor is the eagerly anticipated
side-project of Linkin Park's Mike Shinoda and on the strength
of their debut single, Believe Me, it could well prove
a lucrative venture. Taken from the debut album, The Rising
Tied, that is due for release on November 21, Believe
Me is very similar vocally to the Linkin Park style, but
places a little more emphasis on the hip-hop elements rather than
the guitars. Shinoda gets to showcase his passion for several
music forms, having written and played virtually every note on
the album, which Jay–Z serves as executive producer on (no
doubt having been enlisted following the Jay-Z and Linkin Park
collaboration album last year). Believe Me is instantly
agreeable and the sign of an artist very much at the peak of his
game. We can't wait to give the rest of the album a spin.
COLDCUT
– EVERYTHING IS UNDER CONTROL: Coldcut return with
their first single from their latest album, Sound Mirrors,
in the form of the effortlessly hip Everything Is Under Control.
The track features a brutal guest vocal from Jon Spencer (of Blues
Explosion fame) and is a real hip-hop, blues-rock monster (described
in its PR as ‘a Hunter S Thompson of a tune’. Coldcut’s
lively beats blend seamlessly with the drawled vocals and edgy
guitars of Spencer to create a dark, menacing but totally addictive
comeback single that bodes well for the forthcoming long-player.
There’s even a hint of Alabama 3 in the sound that has been
created. Being a Ninja release, there’s also plenty of remixes
to enjoy, the pick of which come from DJ Kentaro and Theory 0.1.
Kentaro’s Japanese makeover is particularly effective, enhancing
an already great track to maximum effect. But the likes of Return
of the Underdog and The Quemists fail to add anything new other
than faster beats and a more aggressive, headache-inducing style.
Our advice is to pick the remixes carefully, but stick with the
original for the best results.
BLACK
EYED PEAS – MY HUMPS: Another change of pace for
the Black Eyed Peas that allows Fergie to take centre stage with
a sassy tough girl and tease routine. My Humps is a raw,
electro stomp track that tip-toes R’n’B –pop
territory. It’s not as instantly catchy as previous single,
Don’t Lie, but it does serve to highlight the band’s
ability to mix things up and appeal to a wide range of listeners.
We’re just hanging out and hoping that their collaboration
with Jack Johnson, Gone Going Gone, gets a release. For
while My Humps is still a good track, complete with trumpet
fanfare to begin with, it falls someway short of the Black Eyed
Peas’ best and most satisfying work. For those who want
to know what the band is up to at the moment, they are about to
commence their tour of Australia and New Zealand with John Legend
and will be joining Gwen Stefani on her forthcoming 16-date tour
of the US. They will then be in the UK from December 15 to 20,
including two dates at London’s Hammersmith Apollo on the
18th and 19th.
THE
FRANK POPP ENSEMBLE – LOVE IS ON OUR SIDE: Frank
Popp and his crowd are DJs, singers and musicians inspired by
a joint love of vintage 60s rock vinyl, rare Northern Soul, early
R&B and freak beats. They produce music to put a smile on
your face and that’s certain to get your body bouncing to
their beats. New single, Love Is On Our Side, taken from
their eponymous album, is a genuinely funky slice of Northern
Soul that puts the copycat likes of Charlotte Church and Girls
Aloud to shame. It’s fresh, inventive, seamlessly blended
together and downright funky that you can’t fail to want
to shimmy along to it. The James Brown-style samples merely add
to the feel-good vibe surrounding it. The album, which follows
next week, is sure to be one of the forthcoming party season’s
best kept secrets, for the Frank Popp Ensemble have so far failed
to generate the sort of radio play their music deserves.
GEMMA
HAYES – HAPPY SAD: Gemma Hayes looks set to follow
up the success of her 2002 debut release, Night On My Side,
with new album, The Roads Don’t Love You. Debut
single, Happy Sad, is a strong indicator that she should
have no problem. The singer has teamed up with renowned drummer,
Joey Waronker (REM, Beck, Smashing Pumpkins and Johnny Cash),
to produce an album that’s dripping in the country-rock
style of Americana (her new home) and which really sets Hayes
on the road to becoming the new Sheryl Crow. With its bittersweet
lyrics and addictive guitar riffs, Happy Sad is a lively
record that benefits from Hayes’ husky style and Waronker’s
accomplished production values. The new album is indeed an interesting
prospect and well worth checking out.
THE
DARKNESS – ONE WAY TICKET: Having sold 3.5 million
copies of their debut album, Permission To Land, The
Darkness were always going to have to work that extra little bit
harder to avoid the pitfalls of the ‘difficult second album
syndrome'. The departure of bassist, Frankie Poullain didn’t
help in the process, fuelling rumours of creative differences.
Yet his departure seems to have had little effect on the band’s
trademarked sound, which remains easily identifiable and, quite
frankly, repetitive. One Way Ticket is business as usual
for The Darkness, complete with deliberately OTT falsetto vocals,
monster guitar riffs, and pun filled lyrics. The formula worked
the first time but it hardly serves to stifle the suspicion that
this band is a mere one-trick pony. One Way Ticket is
a disappointment and the novelty is wearing pretty thin.
THE
RASMUS – SAIL AWAY: Finnish rockers, The Rasmus,
take a break from the power rock anthems they’re more usually
associated with to deliver one of their most melodic records yet.
Sail Away was written by Martin Hansen and Mikael Nord
Andersson, the team behind their breakthrough hit, In The
Shadows, but charts an altogether different chorus, drawing
in strings and violins to compliment the shimmering guitar riffs
and emotive chorus. The track maintains the dark lyrical themes
of hide and escape that dominate the band’s current album,
Hide From The Sun (their sixth) but it makes a refreshing
change to find them slowing things down a little and finding some
room for maturity. It all adds up to a genuinely pleasant surprise.
SIRENS
– LOVE HURTS: From the single cover alone, Sirens’
Love Hurts suggests a glam-rock track that is all about
wailing guitars and girl-power attitude. Imagine my surprise when
they turned out to be an urban-pop outfit with designs on filling
the gap left by All Saints. Sirens hail from Newcastle and while
their third single, Love Hurts, isn’t quite in
the same league as material from the Appletons and co, it is a
better-than-average track for this mainstream sort of thing. The
track effortlessly fuses R&B and hip-hop with some tight vocal
harmonies, a nice beat and a guest rap from the late ODB. The
Pussycat Dolls’ Don’t Cha has set the benchmark
for this kind of thing so far this year, but Sirens’ Love
Hurts works on its own merits as an interesting alternative.
It’s well worth paying some attention to even if the remixes
do it very few favours at all.
THE
MODERN – JANE FALLS DOWN: The Modern are a self-proclaimed
'antidote to pub rock' and deliberately bask in a ‘sexy,
synthetic and forward thinking space’. They are obsessed
with glamour, theatricality, synthesizers and style and sound
like a cross between The Human League and Erasure. The electro-clash
that is Jane Falls Down is designed to appeal to everyone
from rubber-clad Goths, to New Cross indie scenesters and unashamed
pop kids alike. It’s certainly bouncy enough to suggest
a crossover appeal but the song works best when adopting the female
vocals – veering too far into edgy glam-rock territory during
the male ones. A guilty pleasure that’s probably best enjoyed
on the dance-floor after a few beers.
LOUIE
– TREES: Louie are barely out of their teenage
years and listening to their ballsy brand of punk-rock it’s
easy to tell. Trees is a fast, furious piece of teenage
punk that has drawn favourable comparisons with the sound of the
New York Dolls, The Libertines and Supergrass. In truth, it’s
nowhere near as good as any of those bands, partly because it
lacks much cohesion, any real direction and sounds pretty much
the same as a lot of other punk rockers on the overcrowded circuit
at the moment. Back-up track, One Big Repeat, is as repetitive
as its title suggests, although at least the guitars get given
more of a chance to shine and singers, Jordan Smith and Gaz Tomlinson
(both 19) are slightly (and I did say slightly) more restrained.
Take a deep breath before diving in, for this will leave your
head in a spin. For the record, the complete Louie line-up is
comprised of Jordan, Gaz, Russell Ditchfield (lead guitar), Luke
Morris (rhythm guitar), Andy (bass) and Mikey Parrish (drums).
TWISTA
– GIRL TONITE: A fast-talking smoothie from Twista
that marks the first single to be taken from Twista’s latest
album, The Day After (which features collaborations with
everyone from Jamie Foxx and Mariah Carey to Snoop Dogg and Pharell).
Girl Tonite, which is best categorised as a slick piece
of smooth groove R’n’B, features a soulful set of
backing vocals from newcomer, Trey Songz, as well as some sultry
female support. It’s probably best suited to the end of
the night given its sexy lyrics that are all devoted to a girl
who has taken the artist’s breath away. But while fans of
the genre will no doubt lap it up, this is pretty average fare
for this kind of thing, even though the lyrics are delivered faster
than the norm (Twista claims to be the fastest MC in hip-hop history).
GIRLS
ALOUD – BIOLOGY: Girls Aloud once again enlist
the help of Brian Higgins and Xenomania for latest single, Biology,
one of their more adventurous pop records. The track is notable
for its early blues riff and slightly distorted central vocal
from Nadine. But it all too quickly gives way to more of the same
bland pop melodies and chart-friendly electro-pop that seems to
be the sound of the moment. The chorus, especially, is so run-of-the-mill
you could be listening to any number of previous Girls Aloud tracks,
or the likes of Rachel Stevens or Charlotte Church for that matter.
It’s the first track to emerge from the band’s third
album, Chemistry, which is due out in December. Would
anyone be willing to guess that another of the tracks is called
Physics?
WILL
YOUNG – SWITCH IT ON: It’s been two years
since the release of Will Young’s Friday's Child,
so you could have been forgiven for thinking he’d gone away.
Sadly, Switch It On marks his return, ahead of the forthcoming
album, Keep On, and a new film, Mrs Henderson Presents.
The good news is that at least Switch It On marks a departure
from the drippy ballads we have come to expect from the singer,
featuring some boisterous guitar hooks, plenty of harmonica and
a livelier style. But it comes as small consolation for a track
that is still a little too fixated on achieving chart success
rather than really stretching Young as a singer. The video, a
ridiculously camp Top Gun pastiche, does the artist very few favours
as well.
SINGLE
OF THE WEEK: KAISER CHIEFS – MODERN WAY: Having
conquered Britain with their lively tracks, Every Day I Love
You Less & Less and I Predict A Riot, Kaiser
Chiefs slow things down a notch with another of Employment’s
highlights, Modern Way. The track is a stirring and emotionally
informed song on Ricky Wilson’s disenchantment with love
that serves to underline the fact that there’s so much more
to the band than the chart hits have suggested so far. Modern
Way delivers its own form of epic indie-rock without sounding
as though it is trying to conform with the masses and confirms
Kaiser Chiefs’ arrival as one of the most exciting new prospects
of 2005. And that’s no mean feat for a track that even comes
complete with cowbell!
ELBOW
– LEADERS OF THE FREE WORLD: Leaders of the
Free World is the majestic new album from Elbow, which drifts
effortlessly between moments of haunting melancholia, inspiring
rock and tender love songs. The title track, now released as a
single, falls into the rock category, courtesy of some rich guitar
riffs, a lively vocal from Guy Garvey and a generally uplifting
outlook that finds the band at its most epic and upbeat. It comes
in stark contrast to some of the more pensive moments on the whole
but marks the sound of Elbow at their most unapologetically mainstream
and approachable. If you have yet to discover the delights of
the album, we would urge you to add it to the Christmas list –
or simply splash out and treat yourself. Every track resonates
with a quality that helps place it among the best of the year.
MADONNA
– HUNG UP: The Queen of Pop returns with a new
single in the form of Hung Up, a dance-floor hip-grinder
that’s taken from her eagerly anticipated album, Confessions
On A Dancefloor. The track is notable for featuring a sample
of the classic Gimme Gimme Gimme by ABBA, albeit with
a modern dance vibe attached to it. Yet while it will undoubtedly
appeal to the less discerning on a drunken night out, it feels
a little too lazy for someone of Madonna’s stature. Should
such a music icon resort to sample-based music for hit generation?
I’m not sure, especially when the dance beats are as mundane
as the one’s featured here. What happened to the Madonna
of Music? Or Drowned World? Let’s hope
the dance-orientated album contains some more innovation.
THE
GAME – PUT YOU ON THE GAME: Dr Dre’s latest
star pupil, Jayceon Taylor, aka The Game, releases the fourth
single from his hip-hop epic, The Documentary, in the
form of Put You On The Game. This time, the self-confessed
‘angriest man in hip-hop’ gets vocal support from
Timbaland for a track that comes dripping in West Coast attitude,
crunching basslines and another effortlessly hip vibe. It’s
another highlight from the album that will probably confirm The
Game’s status as the new hip-hop heavyweight on the block,
although many of the lyrics do conform to the sort of genre stereotypes
that have begun to cast a dark cloud over the medium for a lot
of people.
KUBB
– WICKED SOUL: Kubb appear to be on the threshold
of big things following the success of previous singles, Somebody
Else and Remain. It’s testament to their talent,
however, given that singer-songwriter Harry Collier's musical
story began while working as a waiter in a North London organic
café. Rollo, brother/collaborator of Dido, was in for a
birthday meal and Harry was delegated to sing 'Happy Birthday'
to the celebrant. Instantly knocked out by Harry, Rollo invited
him round to his Highbury studio and together with his three band
mates and producer Youth (who worked on The Verve's Urban
Hymns), Kubb was born. Third single, Wicked Soul
is a stirring, piano-driven effort that is both instrumentally
and lyrically stirring. Comparisons with the style of Keane and
Damien Rice aren’t too far misplaced, for this is emotive
song-writing delivered in an intelligent, catchy style. It’s
little wonder that excitement is building ahead of the band’s
debut album, Mother.
THE
HIVES – A LITTLE MORE FOR LITTLE YOU: In preparation
for the release of their debut DVD, Tussles in Brussels, The Hives
release a re-recorded version of A Little More For Little
You, taken from their last album, Tyrannosaurus Hives. It’s
a typically infectious effort, recalling the sound of the stomping
Sixties while also providing something that’s fit to grace
any indie dance-floor. It’s also one of the highlights from
the Swedish band’s last long-player. The DVD, meanwhile,
is released on November 14 and includes a 20-track gig filmed
in Brussels in 2004, as well as a documentary by Kalle Haglund
that charts the history of the band from when they played their
first gig in their bleak industrial hometown of Fagersta, as seen
through the eyes of fictional investigative reporter, DW Johnson.
It’s a must for anyone who counts The Hives as their new
favourite band.
MANDO
DIAO – DOWN IN THE PAST: Swedish pop-rockers Mando
Diao released a belated new single from their current album, Hurricane
Bar, which continues to deliver the sort of shining pop melodies
covered in guitar scuzz that they love. Down In The Past
was produced by Richard Rainey, the man behind the controls for
U2’s 11 million selling album All That You Can't Leave
Behind, and sounds very British in style, harking back to
a classic indie-rock sound. It’s a useful indication of
the infectious, energetic sound of Hurricane Bar that has rightly
become a massive success in their home country. If you haven’t
had chance to check them out yet, then maybe the release of this
current single will provide the necessary incentive.
DANIEL
POWTER – FREE LOOP: Having registered a massive
hit with his debut single, Bad Day, Daniel Powter now
releases his second single in the form of Free Loop.
Taken from his self-titled debut album, the track contrasts a
melodious sound with a darker lyrical story of man suggesting
to a girl that they both cheat on their partners. It’s fairly
typical of Powter’s style that slightly melancholic subject
matter comes wrapped in a pop style but it’s testament to
his skills as both singer and song-writer that it remains so effortlessly
catchy. Free Loop isn’t quite as memorable as Bad
Day but it does suggest a bright future lies ahead for this
interesting new talent. The falsetto vocals are also quite endearing,
hinting at a sort of Scissor Sisters style.
FOUR
DAY HOMBRE – 1,000 BULBS: Four Day Hombre can count
the likes of Chris Martin and Kate Moss among their fan club and
it’s easy to see why on the basis of current single, 1,000
Bulbs. The track is an emotive ballad that is dripping with
soaring melodies and an amplified vocal sound that helps stretch
the cinematic sweep of the record to maximum effect. Instrumentally,
the track is really strong, having been built around a shimmering
central riff, while the vocals are suitably delicate but emotive.
For those that don’t know, Four Day Hombre triumphed in
a Radio 1 One Music competition where the quality of their music
shone through to listeners. 1,000 Bulbs shed some overdue
light on the outfit who could well be following in the footsteps
of both Coldplay and Athlete if they continue to produce songs
of this quality.
MY
CHEMICAL ROMANCE – I’M NOT OKAY (I PROMISE):
Another typically dark effort from My Chemical Romance that contains
the sense of menace and despair that is quickly becoming a trademark.
From its name alone, I'm Not Okay (I Promise) suggests
angst, depression and twisted logic and true to form the lyrics
and edgy guitars back this up with aplomb. It’s loud, yet
radio-friendly and should continue to build on their ever-increasing
fan-base. The track is taken from their sophomore effort, Three
Cheers For Sweet Revenge.
THE
DUALERS – TRULY MADLY DEEPLY: Having caused a chart
upset by entering at 21 with their debut single, Kiss On The
Lips, despite having no record company or management, busking
brothers, The Dualers, return with their equally lively follow-up,
Truly, Madly, Deeply. The track delivers a unique blend
of ska, reggae and soul that is totally infectious – and
belies their roots on the streets. But then music has always been
Si and Tyber Cranstoun’s first love, as they entered the
industry at an early age. Success has done little to dampen their
enthusiasm, however, given that they still like to busk regularly
for their fan-base, who are credited with bringing them the success
they have enjoyed so far. Truly Madly Deeply is genuine
fun and free from the pretensions of a lot of the over-produced
pap currently riding high in the charts.
LIL
KIM – LIGHTERS UP: The self-proclaimed ‘queen
bee of hip-hop’, Lil Kim releases Lighters Up from
her fourth solo album, The Naked Truth. The track finds
the first lady of Junior Mafia throwing down fierce lyrics over
a reggae-tinged beat that should go down a storm among the Kiss
FM crowd. Sadly, it’s a little too generic for my liking
and lacks that certain little spark to lend it true crossover
appeal. Vocally, Lil Kim possesses a sassy style that screams
out to be noticed but the reggae-tinged style does the track no
favours at all and, if anything, makes it feel cumbersome and
slow. The lyrics are as attitude-laden as you might expect but
overall Lighters Up lacks the spark that its title suggests.
THE
FEELING – FILL MY LITTLE WORLD: The Feeling are
another of those bands, like Meeky Rosie, who met at college (this
time in London) and decided to form a band. They’re comprised
of Dan Sells (vocals/guitar), Richard Jones (bass), Kevin Jeremiah
(guitar), Ciaran Jeremiah (keyboards) and Paul Stewart (drums)
and they specialise in easy-going, soft-rock songs. Current single,
Fill My Little World, is a breezy guilty pleasure, packed
with nice melodies, simple but foot-tapping guitar riffs and a
catchy chorus that is designed to win you over quite easily. There’s
even an ELO-style backing vocal section that merely adds to the
feel-good vibe surrounding it. The Feeling on this one is nothing
but good.
BANANARAMA
– LOOK ON THE FLOOR (HYPNOTIC TANGO): Bananarama
seek to cement their return with second single, Look On The
Floor (Hypnotic Tango), an electro-disco tale of dance-floor
dramas and steamy shenanigans. It’s taken from the forthcoming
album, Drama, and is designed to showcase Keren and Sara
at their sexiest. But from the bland electronic beats and low-key
vocal style, this feels like a laboured effort from the outset
and one that fails to recapture the cheesiness of past hit singles.
For those who have been pining for the return of Bananarama, this
fails to deliver any sort of reward. The track was co-written
and produced by the Korpi and Blackcell and mixed by Jeremy Wheatley.
SON
OF DORK – TICKET OUTTA LOSERVILLE: Fronted by ex-Busted
member James Bourne, Son Of Dork release their debut single, Ticket
Outta Loserville, a guitar-tinged pop track that desperately
wants to be Blink 182. On the plus side, it’s a great deal
better than Busted material and contains a juvenile pleasure that
should guarantee its appeal to the undemanding mainstream crowd.
But given who it’s trying to emulate, this pales by comparison
and lacks the cutting edge or maturity that might lend them more
crossover appeal. It’s instantly forgettable – bouncy
but lightweight in the extreme. It remains to be seen whether
future material will provide Son of Dork with the ticket out of
Loserville that they so seem to crave.
BOB
MARLEY – I SHOT THE SHERIFF: Following last week’s
re-issue of No Woman, No Cry live comes another of Bob
Marley’s all-time classics, I Shot The Sheriff.
The track is being released to commemorate the fact that this
year would have been Marley's 60th birthday and is also being
backed by the release of the album, Bob Marley Africa Unite:
The Singles Collection. Much like the Elvis Presley re-issues
earlier this year, you can’t help but feel this is a cash-in
on behalf of Island Records, especially in light of the long-player
as well. But Marley fans might like to collect the limited edition
releases which certainly provide a timely reminder of the talents
of one of music’s great icons.
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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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