I’m the biggest Blood Brothers fan. Inconsolable I was when I heard they’d ended the band. I wonder why because Young Machetes was a great record and looked like being a crossover hit. What’s done is done though I guess.

So here are Jaguar Love, making up two of the aforementioned Blood Brothers; Cody Votolato on guitars, and Johnny Whitney on vocals, along with J Clark (previously of Pretty Girls Make Graves) on percussion.

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So, The Twilight Sad releases a little something-something to hold us until a new album, hopefully released this year. Here, It Never Snowed. Afterwards It Did is a re-imagining of five tracks off of the magnificent debut album Fourteen Autumns And Fifteen Winters released last year, and a cover of a Daniel Johnston song, ‘Some Things Last A Long Time’. The aspects of their original sound are polarized, the looser tracks that employ more than just a shoegazing guitar are really good and interesting, perhaps more interesting than the droning ambient route they sometimes go down. Continue Reading

It’s a novel attempt to promote an untitled album, your 13th, but a good one nevertheless. For the next four months we get a taster of where The Cure are headed, and whether that destination is actually worth visiting.

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I love the opening forty seconds of ‘Violet Hill’, even though I know the radio will always cut it. I’ve always been a sucker for swirling soundscapes and had Chris and the boys called it quits when Eno steps back and the whacking begins, I would have been happy. Sadly, the Coldplay boys have to go and spoil it all with a song that at best could be described as adequate, despite its efforts to look like a musically muscle-bound bouncer at a festival.

Because the fact the opening forty seconds of noise are the most interesting moments of this piece do not bode well, do they. When it does finally start, it’s ponderous, over produced, thumping you into submission with little emotion or passion. Guitars squeal like slaughterhouse pigs and the solo is no-where near as impressive as it wants to be.

I am sure this song will sound colossal live with sparky pulsing lights to the beat of the dum-dum, but it is hardly an invitation to promote much promise in the new album. It lacks the sonic punch found in ‘Speed of Sound’ and is more of a throw-away b-side than a glorious return. “If you love me, won’t you let me know? ”. I am going to have to be a no on that one I’m afraid. Whilst I am still interested to hear what the album has to offer, my anticipation is now somewhat diminished.
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What do you, dear readers, think of the new Coldplay single? Let us know below…

Recent Bella Union signee Our Broken Garden is primary singer/composer Anna Brønsted supported by a host of other musicians. Brønsted is a member of Efterklang’s live set-up, and it could be said that this EP carries a similar feel to that band’s work, but Our Broken Garden is certainly a different entity, with it’s own sound. Continue Reading

Malakai are a Bristol based duo consisting of two guys named Gee (on vocals) and Scott (on the decks/music). They use a mix of processed drums, organic and non-organic samples and an elastic laid back vocal to create songs that recall hip hop, reggae, dub, soul, 60s pop and even Western soundtracks. Continue Reading

It comes as no surprise to learn that Susu, a Brooklyn-based three-piece, have recorded their latest work, this three track EP, with sound engineer Martin Bisi at B.C. Studio’s in New York. It’s seen the presence of such noise-rock greats as Sonic Youth and Swans. Once you’ve pressed the play button, Susu remind you of all those great bands and more. The problem is you spend most of your time playing spot the influence than actually enjoying the music.

The thirteen minutes that pass during “Anarchitect”, “Part Not Bloodhound” and “Hands Up (The Race)” do so with a surge of fuzzed up guitar, dueling male/female vocals and a barrage of drums that initially strike you as pure Sonic Youth. And it never quite escapes it. Sure Michael Andrew’s vocals sound a touch like Gareth Liddiard from The Drones, but otherwise it’s a Thurston Moore / Kim Gordon tag team.

The opening track contains the refrain “It’s not that interesting, but it is happening” and that, unfortunately, sums up this EP. It’s hard to see where Susu fit in. There are plenty of bands that make the same racket, but do it better and with a touch more imagination. It’s not bad; it just lacks anything that makes it stand out.
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Links
Susu [official site] [myspace]

The Sargasso Trio are, perhaps unsurprisingly, a trio, hailing from the East Anglian metropolis known as Norwich. Having met as members of a 40 piece marching Samba band, they split off and whittled down to develop their love of all things contemporary. On the same label as one of our favourites Turner Cody, this 4-track EP doesn’t share the same twisted folk meanderings of that American, and it’s altogether worse because of it.

The main problem with this EP is that it sounds so much like all the other, slightly twee, folk influenced bands doing the rounds at the moment. There’s the perfect female vocals of Monkey Swallows The Universe, the sinister and slightly perverted lyrics of Belle & Sebastian topped by the jangling percussion of the Mystery Jets. It doesn’t quite break out from its influences into its own shining voice.

The Latin rhythms of the title track suggest their roots, but it doesn’t really take and develop these themes which would make it a little bit different. “Sandy” starts with vaguely sinister “You know your ass is something else” delivered in a syrupy female vocal. But that’s the only memorable part of it, the gentle accompaniment is plain and drab. “Why Do Birds Fall In Love” is similar except you’ve got some droning male vocals instead.

I don’t like to dump on new bands, but this really does lack anything to set it out from the crowd. In this day and age where there’s so much music out there, bands need to do something a little different to stand out and get noticed. I fear that the Sargasso Trio will soon be following the way of the Dodo.
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Links
Sargasso Trio [myspace]

It may have been three years since they emerged out of the throng of post-Britpop bands with a gutsy, unfashionable album called Cuts Across The Land. Their dusty, grunge-influenced songs bristled with greatness. Taking their cues from the Pixies and American female rock acts of the 90’s, it was a breath of fresh air during a time when the UK charts were awash with Oasis-aping monkeys.

The Ex-Voto EP is the sound of a band refreshed, recharged and full of ideas that have finally had the chance to crystallise. Recorded out at the Joshua Tree, all four songs have a wide, expansive feel to them. Bursting to life with the outstanding “Lassoo”, it’s obvious that the time spent touring with the Yeah Yeah Yeah’s has helped develop their sound. The production is more focused whilst the guitars sound urgent, driving and perfectly complimenting Liela’s breathy and aggressive vocals. “Dog Roses” is full of Western promise, a soundtrack to a long lost Sergio Leone film; you can imagine Clint Eastwood strolling purposefully through a dusty, ramshackle town with this echoing his every move.

“A Wild Hope” might begin with some of the most off the wall lyrics I’ve heard for a while “I wish I tasted like a buttered angel“, but its chugging guitars and piercing vocals are reminiscent of Howling Bells, who’ve stolen The Duke Spirits thunder whilst they’ve been away. “Masca” finishes the painfully short EP. It broods and seethes under Leila’s sultry vocals, the killer line “I’ll bet anything for gold” echoing around the gently building guitars and marching drums that build an air of menace which titillates and tantalises but just falls short of reaching the cusp of something great.

This EP just wets the appetite for their new album which is set for release early next year. The question is, now that they’ve raised the bar to this height, can they maintain it?
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Look out for an interview with the band later on today…

Links
The Duke Spirit [official site] [myspace] [live review] [interview]

It’s actually not a bad week for singles this week. Once again there’s a mix of brand new artists in with the more established acts and something a little more left-field for our single of the week.

We’ll kick off with The White Stripes and the second single from Icky Thump. You Don’t Know What Love Is (You Just Do As You’re Told) maybe a hell of a mouthful for a single, but it’s what you’ve come to expect from Detroit’s favourite son (and daughter). It’s all here - the bubbling organ, the aggressive blues-tinged riffs and Meg’s tub-thumping. It’s not a bad track but, like most of the tracks on Icky Thump, it doesn’t quite jump out at you. There’s something missing…

The same goes for the second single from the resurrected Smashing Pumpkins, including a long title with brackets… That’s The Way (My Love Is) contains none of the originality of the Pumpkins at the height of their powers. It’s predictable, meandering and, quite frankly, boring. There can be nothing other than money that drove Corgan to bring these guys back from the dead.

Regina Spektor releases yet another single from her album Begin To Hope. Surely she’s release every track from it now? This, though, is a “Radio Recut” of Better which means they’ve made it slightly friendlier - there are more strings, it’s shorter and she sounds even more like Kate Bush. She’s still streets ahead of most other female singer-songwriters; it’s just a shame that Warner seem to be exploiting her at the moment.

The Dead 60s return with Stand Up this week. It’s not as good as Riot Radio and that’s all you need to know.

Another week, another single from The Enemy. Those Oasis-aping scallies return with You’re Not Alone. They’re still rubbish.

At least these are a bit different. Black Cat is the debut single from The Broken Hearts - a performance and DJ duo of Amber and Nisha who are well know faces on the Burlesque scene. It’s hard to describe what this actually sounds like. The simple and repetitive guitar riff drives the song over some distant drums as the duo both sing their broken hearts out. It could be described as a derivative, but it sounds like they actually mean it.

As far removed from The Broken Hearts as almost possible, iLiKETRAiNS return with the first single from their upcoming album. The Deception is another slice of genius from this fast rising band. A blend of post-rock melodies and guitars covered with the almost Nick Cave vocals and lyrics: “This is the devil’s game and it turns me on”. Its epic vision is unlike anything else being made in the UK at the moment. As the phrase “England expects, England expects” is echoed, we can’t help but think the same of their album.

Single of the Week though goes to The Domino State. Now, I heard these guys on 6Music one evening and was so impressed that I had to rush to get a pen and paper to write down the name of the band. Iron Mask is their debut single and it reminds me of all the great bands from the early 90’s. There are aspects of My Bloody Valentine, Joy Division as well as early Editors. The earnest vocals rise above the chiming tremolo guitars, it might be similar to some other bands around at the moment until you here the harmonica. Oh yes, the harmonica. Suddenly it’s like The Charlatans at their most baggie and anthemic. Great stuff and a promising debut from this London five-piece.

After our hiatus last week (we hadn’t received any shiny silver discs via the Postie) we’ve got a bumper crop of stuff to make up for it. Mostly new artists, some of them worth spending your hard earned dosh on whilst others should be avoided like the plague.

Kick starting this weeks round-up is Paul Steel with Your Loss. Seemingly getting endless play on MTV2 at the moment, it’s like witnessing the birth of Supergrass again. I’m not saying this is bad, it’s an enjoyable romp through Beach Boys harmonies, 60’s guitars and sunshine rhythms, but I can’t listen to it without the nagging suspicion in the back of my mind that I’ve heard this song before…

There’s no nagging suspicion here though. This is just bloody tedious. She’s So Lovely by Scouting For Girls. For some reason, even the band name offends me. As for the song, it’s so repititious as to be pointless with the added element of being completely annoying. The Spice Girls reunion excites me more than this pile of steaming horse shit.

This is something a little out of the blue though, Malakai with their debut EP, cunningly titled EP1. It’s a mix of a whole host of influences from the Wild West (opening track The Battle) to a reggae inspired take on a debate in the Houses of Parliament (Words Like Humble). When playing it, it feels like a breath of fresh air. Processed beats walk hand-in-hand with regular drums, the vocals shift in pitch whilst the ideas flood from your speakers like a tsunami. An impressive start… let’s hope they can maintain it.

I Was A Cub Scout continue their plan for world domination with the single Our Smallest Adventures. Their bouncy beats, cheery keyboards and angular guitars can do nothing but put me in a good mood (which is what I need today). Reminding me of a more simplistic Maccabees it should cross, not only musical, but world boundaries as a means of creating peace across the land. Lovely.

Something a bit more Radio 2 now as Stephen Fretwell releases the single Scar as a taster for his new album. Nothing to get excited about, it’s a perfectly executed song with some nice acoustic guitars, his voice hinting at some deep emotional trauma just underneath the track which has a folk tinged country feel to throughout. All very pleasent.

Now this has got a bit more bite. Paramore release Hallelujah off their recent album Riot! Whilst it might not be the most original take on the whole Emo scene, it’s got some nice riffs in it, but I just can’t quite get past the fact that it sounds like Avril Lavigne fronting a more aggressive rock act… Oh well, I guess I’m getting old.

Interpol return with a single of *ahem* Mammoth proportions. The second helping from current album Our Love To Admire, the band have rarely sounded so vitriolic and spiteful with Paul Banks spitting out “that’s enough with this fucking incense” against a backdrop of soaring guitar and skull bashing drums. It sees the New York miserablists dumbing down the usual moody atmospherics in favour of a full on assault of the senses. A highlight from the album and a hands down single of the week.

After a week off for good behaviour, our twisted and bitter round-up of the weeks singles has returned. And it’s a bit of a bumper one this week with releases from established acts such as Maximo Park and Brakes plus debuts from the Manchester Orchestra and Cat The Dog.

We’ll start with the indie-pop of the 1990s. Seemingly intent on wrestling back the ground made by their arch nemesis Franz Ferdinand, You Make Me Like It is a joyous slice of pure pop goodness. Nothing entirely original, but it’s done with such gay abandon that it can do nothing other than put a smile on your face and a spring in your step. No music has a right to be this happy…

This brings things back to black. Cat The Dog with I’m A Romantic. Now, when I first heard this I couldn’t get beyond the Nirvana stylings, even the vocal tics were reminiscent of Cobain. What this suggests though is that the time is right for Nu-Grunge (I’ve named it before the NME does), and it’s dirtier take on music, none of this polished post-Libertines nonsense for the common man. This is for the disenfranchised youth. Get beyond the Nirvana similarities and what you have is a debut single that’s not afraid to be influenced by, and sound like, something else.

Which is more than can be said for Manchester Orchestra. Wolves At Night is their debut single, but this could have been released anytime in the last five years. I’m not saying it’s bad, there’s a cracking riff in the middle, but it doesn’t really stand out from the crowd.

At least Brakes are here to shake us from our slumber. But, wait, they’ve release the title track from last years album, The Beatific Visions, which isn’t one of their more raucous moments. It’s a gentle, jangly slice of guitar-pop that doesn’t really play to their strengths and seems like an odd choice of single to me. Oh well, it’s only on download only…

The weird, left-field choice of the week goes to Neil Burrell with Ooompa Zoompa. No, not the soundtrack to the new Charlie & The Chocolate Factory film, but an oddly addictive slice of Syd Barrett styled anti-folk. The haunting acoustic guitar and sinister synths would make this sit comfortably on Mad Cap Laughs. Flip side Eveyln is a bit more straightforward, but Burrell could be one of the more left-field successes of the year.

It comes as no suprise that Lost and Found, the new single by ex-Concrete Victoria Bergsman (aka Taken By Trees) was penned by none other than Tracy-Ann Campbell, lead singer with Camera Obscura. This hazy, sun drenched slice of joy has the mark of the Scottish popsters all over it, albeit a slightly more subdued version. The lilting strings and accompyiang piano stroll alongside a lovesick Bergsman as she goes out walking to try and clear her head - “this time I’m fearing heartbreak / look at the time it’s almost day break”. Two words; simply devine.

Quite possibly one of the biggest dissapointments of the year thus far was Maximo Park’s second offering, Our Earthly Pleasures. Nothing more than a re-hashed version of their debut, it was uninspired and lacked the bite and immediacy of A Certain Trigger. So much so in fact that it had TLOBF’s Rich Hughes crying into his tea for at least a week. Now, taken out of context of the album, Girls Who Play Guitars isn’t that bad. It has everything you would expect from a Maximo single, jagged guitars, soaring chorus, but it just lacks Paul Smiths lyrical prowess that featured so heavily on the bands debut. Which, for a short time, made them one of the UK’s most promising new act.

The geek in me loves snappy packaging. So when the new single by Yoshi dropped through my letterbox I was suitably impressed with the retro game cartridge stickers plastered on the sleeve. Even better was the music inside. Headphones is a menagerie of styles and influences. Yoshi mix up computer game samples with squelching analog synths and riffing guitars all topped off with cocksure vocals that are talked rather than sung. It really shouldnt work, but it does. A nice little discovery, keep your eyes peeled on these fellas.

The grand vision of Windmill gets a single release in the form of Fit this week. This oblique and symphonic vision of Matthew Thomas Dillon is an acquired taste. The vocals are suspiciously like Kermit The Frog in places, but its a voice brimming with an emotional range that sounds like a thousand hearts breaking at once. A tale of alienation might not seem like a natural choice for a single but it’s one that needs to be heard.

Single of the week though is the second single from Foals. These really are one of the most adventurous and ambitious bands currently gracing the UK music scene. A post-post-punk mish mash of influences from techno to indie to dance to rock. Mathletics is one of their seamlessly woven tunes that wraps all these ideas into one perfect song. The twitching guitar riff, the crackle of drums and the yelped vocals punctuate the positively funky bassline that hints at the fact that you could, quite possibly, dance to this. Brilliant.

The summer is always a little devoid of good music. It’s the only reason Kate Nash is getting any press at the moment, some shrewd marketing from her label there. Anyways, we’ve got a whole host of singles this week vying for your money. Most of them are acts just bubbling away under the surface of recognition, but we’ve also got the welcome return of Sheffield’s favourite son, Richard Hawley.

Attacking the senses first up this week are The Courteeners, this week’s post-Libertines fodder. Though they sound very much like The Jam, lead singer Liam Fray has Weller’s snarl, their lyrics deal with the more mundane side of life like taking drugs and trying to be cool. Cavorting is the title, but I was a little tired by their pretention’s of grandeur by the end.

Something a little fresher are The Soundcarriers. I Had A Girl is the perfect soundtrack to the summer, now that it’s arrived. Dreamy, Californian melodies and harmonies, it’s rich in the summer of love vibe and feels like a flowery stream washing over you. It’s a glorious sunshine filled song, with the B-Side Without Sound building on this Mama & The Papa’s feel that sounds, in today’s climate, as fresh as the morning dew. Lovely.

Back to the streets now with Innocence from Autokat. The dirty riffs and thumping drums really do mark this out, the hazy vocals seem to give this track a retro feel and one steeped in late night trawls through a city. It’s really rather good and Autokat have definitely marked themselves out as someone to watch. Hailing from Manchester, they’re more influenced by New Order than the current crop of indie-boys with guitars and it makes a welcome change.

This week also see’s the second release from The Beep Seals. Another British band that are looking beyond our shores for influences. Stars is like the bastard love child of the Super Furry Animals and Pavement, a twisted indie-pop song that bounces along with harmonies, organs and a thumping bass line. Nice.

DFA’s latest darlings Prinzhorn Dance School release the, quite frankly bonkers, Crackerjack Docker. These guys show a lot of potential and sound unlike anything else out there at the moment. It’s hard to see them get quite the same following as LCD Soundsystem, their songs are completely deconstructed. The odd, stream of conscious lyrics that seem to be made up of random thoughts and sayings are accompanied by nothing more than a bass, guitar and drums that sound so minimal that you probably wouldn’t notice them if they weren’t there at all. It’s just plain different. And I like it. And it would be single of the week if it wasn’t for…

The return of Richard Hawley. The man from Sheffield who has a voice that doesn’t seem to fit with his exterior is back with Tonight The Streets Are Ours. It’s all you’d come to expect from one of Britain’s finest, and still under-rated, songwriters. The music seems to have been beefed up a bit, there’s some luxurious strings in the background that bring to mind romantic strolls along a river, steeling kisses under a clear night sky with the stars acting as a blanket. Yes, it’s that good. It does, however, raises expectations for the forthcoming Lady’s Bridge out in a couple of weeks.

mp3:> Richard Hawley: The Nights Are Cold (acoustic)
[From Late Night Final; out now on Setanta]

Jeff Tweedy of Wilco

After a brief hiatus (don’t worry, you’ve not missed anything of note, Rihanna is still number one) we’re back with a batch of quality singles. From Sweden’s Loney, Dear to our very own Electric Soft Parade whilst our single of the week comes from one of the greatest American bands of recent times.

Kicking things off this week are Their Hearts Were Full Of Spring. A rather promising new act with their roots firmly planted in the more twee side of British indie rather than the current breed of dirty young scamps with guitars singing about having sex with tramps in alleyways, or something… No, theres nothing like that here - A Question Of Trust is a sunshine filled gem of a track, where the light and breezy rhythm section and sugary sweet harmonies blanket the songs theme of a nation losing faith in their government. With a new album in the works these guys are certainly ones to watch.

Riding off the back of the critical acclaim that followed the release of Electric Soft Parade’s latest album No Need To Be Downhearted the brothers White release Misunderstanding. A two and a half minute slice of guitar led pop. These boys have always had the knack of writing a catchy hook, and they are in their absolute element here. Think Island In The Sun by Weezer mixed with a motown inspired melody and you’d be on the right track. Great stuff.

This week sees the return of Loney, Dear as Regal release the second single from one of this years finest albums Loney, Noir. Saturday Waits is somewhat of a slowburner of a track - the acoustic ripples and and tenor synth cosey up with Emil Svanängen’s pondering lyrics. It’s an obvious choice for a single, but it works best when listened to in the context of the album - so just go out and buy that instead! Check out the video though, directed by Andreas Nilsson it tells the tragic love story between two dogs, cos, you know, dogs have feelings too.

Wilco release the opening track from this years sleeper hit of an album, Sky Blue Sky. It’s been the one album this year that has slowly, but surely, worked its way into my subconcious. I reach for a Wilco album to put on (usually Yankee Hotel Foxtrot) but my hand now waivers and chooses their most recent release instead. Either Way is a perfect slice of American rock. Wrapped in a soft, 70’s blanket it won’t rattle the bastions of rock ‘n roll, but that’s not the point. This is a beautiful song about love, doubt and understanding - the holy trinity of what makes up relationships. This probably won’t get in the charts or get any radio play. But who cares. It’ll be Single of the Week just for Nels Cline’s guitar solo.

Loney, Dear - Saturday Waits [video]

Who said the single was dead? This week sees the release of a whole host of tracks that deserve your hard earned cash, whether you download from the internet or pop down to Woolworths. There’s also a bit of a comeback theme as well, from the atmospheric return of Interpol and TV on the Radio to the indie rock of Battle and on to the stadium rock of The Smashing Pumpkins.

First up is the welcome return of TV On The Radio with Province. From their excellent album, Return To Cookie Mountain, this is an EP with new material tucked away on it. Continuing their exploration and deconstruction of rock ’n roll, they’re one of the most exhilarating bands currently making music. Forget the lead track, we’ve heard it’s brilliance before, but of the extra tracks Dumb Animal is worth downloading alone. With its rippling drums, twisted harmonies and jittering guitars it’s a perfect development of their sound.

Battle are also back this week with the single The Longest Time. Seemingly content on releasing excellent singles and EP’s, we’re still waiting for their debut, but this will tide us over in the meantime. Channelling all your favourite indie rock bands into one perfect blend, this has the haunting guitars, anguished vocals and driving drums that should fill venues the UK over. Just wait till Zane Lowe gets on board, they’ll be huge.

Roisin Murphy continues her post-Moloko career with this slice of pop-tinged dance. Overpowered maybe the title, but it really should be Underwhelmed. It sounds like Kylie with the squeaking beats, electronica and the strangely echoing vocals, but it struggles to match her perfectly poised execution. I think we’ve heard this all before.

In the same mould as Slow Hands and C’Mere from Antics, Interpol return with new single The Heinrich Maneuver and its a scorcher. Using the same old ‘if it ‘aint broke don’t fix it’ mentality this is Interpol at their leanest and meanest, give or take a dodgy lyric or two from Paul Banks. A welcome return from one of Americas finest bands. Lets just hope new album Our Love To Admire lives up to expectations. Check out the video for The Heinrich Maneuver at the end of this weeks post.

Now, when I heard that The Smashing Pumpkins were reforming, I wasn’t that bothered. They never did anything for me and Billy Corgan just annoyed me. I’ve never forgiven myself for buying Zwan as well. When Tarantula popped through my letterbox I wasn’t really that fussed to play it. However, I’m glad I did. This is an absolute belter of a single. All comebacks should begin with a wall of guitar feedback and crashing drums. I never thought I’d hear myself say it, but The Smashing Pumpkins is Single of the Week. This is the thundering sound of a band tearing through the stratosphere. Welcome back Corgan, all is forgiven.

Interpol - The Heinrich Maneuver

Is it me or are Jack Penate’s songs all becoming very similar? Listening to the new single Torn on the Platform I’m reminded a lot of his last release, Spit at Stars. Maybe not initially, as he gently delivers his lyrics over a simple acoustic guitar, but when the song kicks in properly I’m confused. The same jangling beats and hacksaw guitars, it’s as if he’s one got two gears to his musical delivery. The lyrics are still full of great one-liners, but at this rate he’s going to finish a very distant second to his mates The Maccabees.

When you search for “Scouting for Girls” on the Amazon website, you get The Twang. I won’t tell you what I get when I search using Google, but the Police are probably on their way. We’re already off to a bad start. And yet, once you’ve listed to their debut EP It’s Not About You, it suddenly becomes clear where The Twang come into it. This is more of the same, heat-felt, geezer rock about not being able to live with your girlfriend because “she’s driving me crazy” and yet, of course, the protagonist can’t live without her because he loves her. Urgh. NEXT!

Well this isn’t going to get any better. Green Day trashing Lennon’s classic Working Class Hero. Yes, I know it’s for Amnesty International but, honestly, couldn’t they have come-up with something original? Without even hearing it you can guess what it’s going to sound like. A simple acoustic intro before they let rip… And, to make matters worse, it actually ends with Lennon’s version just to prove the point that their’s is rubbish. Unbelievable.

Here’s something that’s nice though. The comeback single from Crowded House. Does no band stay split any more? I’m a huge fan of these guys though and whilst this might be a bit too smooth and Radio 2 friendly for some, it’s nice to have them back. Not quite hitting the heights of singles from Woodface or Together Alone, this is a bit more straight forward, but Neil Finn’s vocals on Don’t Stop Now are worth the asking price alone.

The Klaxons squeeze another single out of their inconsistent debut album, this time It’s Not Over Yet. At least it was one of the highlights from the album. The song bursts out of a quiet, Nu-Rave, glow-sticking waving intro into a wall of sound created by some thrashing guitars and exploding synthesizers. It is, quite simply, brilliant. It’s just a shame someone else has come along to take its Single of the Week crown.

And that band is Beirut with the Elephant Gun EP. Carrying on from last years amazing Gulag Orkestar, this is the same Eastern European musical extravaganza. Chirping brass, accordians and Zach Condon’s amazing falsetto of a voice, quivering and soaring through the song. There really isn’t anything else like this out there at the moment. Condon may have last been seen in the south of France “worrying about the new album” but, on the strength of this, I don’t think he needs to.

As an added bonus, the video for Elephant Gun is absolutely brilliant:

The singles sack is a little on the low side this week… must be preparing itself for Glastonbury or something. Anyways, we here at The Line of Best Fit will take our time to listen to these 4 release for you and advise which of them deserve your money.

Let’s start with one that you should stay well away from. Air Traffic and Shooting Star. You know my feelings on these generic Coldplay-esque bands. So I won’t even bother repeating myself. Though, if you drive a mondeo, you’ll probably like this and be impressed with it’s heart-felt lyrics and big guitars.

Something that might also appeal to you is Ash’s comeback single Polaris. It’s got strings. And guitars. It suspiciously sounds like the Manic Street Preachers in places and, whilst I’m not offended by it, the song’s a bit safe, a bit bland. It sounds grand and all, but fails to break out of it’s pedestrian pace and go anywhere of interest. If this is the future for Ash, I’d rather they just gave up now.

Something a bit more uplifting now with a, now all too common, re-release for the Fields and Song for the Fields. A cracking video for this, which you can see here, and the song is one of the highlights from their, slightly disappointing, debut album. This has everything for a classic single - switching acoustic and electric guitars, powerful harmonies and, after its gentle intro, a shock and awe attack on your senses. Great stuff… just seems odd that they’re re-releasing it…

Pick of the week though is Idlewild with A Ghost in the Arcade. It’s great to hear these guys back on song, a classic slice of indie-rock with a weird catchy riff, Roddy’s vocals as strong as ever and one of the many highlights from their back-to-basics new album. Whilst it probably won’t get any radio play, it’s still a whole magnitude better than most of the other shite being release at the moment… Yes, I’m looking at you Twang boys. God I’m in a bad mood today… perhaps I should have a lie down. Till next week then.

Blimey! It’s Monday already, that means it’s time for our weekly singles round-up. We’ve got a few this week from the bed wetting Aqualung to the dirty Sex Music of The Deadbeats and the return of some band called The White Stripes…

Here we find a promising second single from Manchester five-piece The Deadbeats. Raised on Son House, Robert Johnson and Neil Young it would be fair to say these young guitar slingers have a certain swagger about them, and in Sex Music, their second single they’re “taking the Mick out of the Jagger” - as they click their heels with this country influenced stomper. Cut throat guitars, whiskey stained vocals and a sing-a-long chorus all feature. And, having been praised heavily by Mojo and Michael Eavis these guys are ones to watch, keep an eye out for their debut album, due out later this year.

Currently causing quite a stir with their flamboyant live shows are Icelands’ Trabant. Imagine a more masculine, punk infused Scissor Sisters and you’d be almost there. New single The One, which comes with a host of remixes most notably from the Filthy Dukes is a quirky slice of electro pop with enough bite to keep you interested. Currently on tour in the UK, check their myspace page for more details.

Any Keane fans reading this? Thought not. It seems that Matt Hales (AKA Aqualung) has been paying close attention to those potato faced chart whores as new single Cinderella sounds so much like Keane I had to stop the track halfway through and vomit. More upbeat than Aqualung’s previous offerings, this is sure to appeal to Lexus drivers and stay at home mums throughout the land. But, for the discerning music fan - avoid like the plague. If only he would re-form his old band Ruth and get back to playing Beatles-esque powerpop. Oh well…

Speaking of powerpop, here comes The Ripps with their summer anthem Holiday. Now, these guys are an interesting bunch, they have an obvious love of all things Sixties, but there’s a hint, at least with this single, of Busted and those trailer trash pop youngsters. “Wakey, wakey rise and shine and swear to God you’ll never drink again” maybe trying for Blur’s Girls and Boys territory but it falls well short. It’s just a bit bland and tries to be too many things and, in the end, becomes nothing.

Next up is the intriguingly named Its A Buffalo with Divorce Song. Now these guys actually sound like they’re having a good time with their jangly guitars and shuffling drums. There’s the dusty feel of Country-influenced Stones whilst the xylophone tinkles in the middle that gives the song some added lift. This is actually well worth seeking out as B-side Somewhere In Range is another rough diamond of a song. This time, the generally underused, Harmonica wrestles itself into the song and sounds like something you’d hear around a campfire during the upcoming festival season. One’s to watch.

The week sees the continual rise of The Be Be See. Their indie pop tunes have been getting them some serious air play via Zane Lowe and it’s not hard to see way. Upbeat guitars, strings and feel good vocals all combining to make Disney Eyes a sure fire indie anthem over the coming months. It’s just a shame that it doesn’t sound that original. It’s like The Coral at their most poptastic but without the charm.

But enough pop, bring on the Stripes! Yes, the Jack and Meg red, white and black show has returned. And what a single to wake the world from it’s slumbers. A track with no chorus, some twisted organ and a guitar riff that peels your face off. You don’t need me to describe this as, no doubt, you’ve already made your mind up not only on The White Stripes in general but Icky Thump as well. But, for us here at Line of Best Fit towers, it’s easily our Single of the Week.

This week’s singles in TLOBF’s sack of goodies is split straight down the middle between aggressive punk rock and sunshine filled indie-pop. There’s lovely.

Kicking, screaming and spitting it’s way to the front is Gallows with Abandon Ship. Crashing riffs and shouty vocals ahoy! Current darlings of the rock press, Gallows don’t exactly do anything different, but they certainly do it with plenty of energy. The riffs crash and burn into one another, the vocals rasp and grate against the backdrop of noise. Exhilarating stuff.

Time for the come down and who better than The Little Ones to sooth my throbbing brow. Lovers Who Uncover is designed for the summer time. Those chiming guitars and high pitched vocals bring the Delays to mind. This is great, feel good music that may, given time, take the indie-pop mantel away from the lost and wary Shins. Oh, and did I mention there were hand claps? I didn’t? Well, they go nicely with the chorus of “hey ho’s” that make this sound like one great big party that you want to join.

Something else suitably chipper to follow that and it’s To My Boy with Model. Which, from it’s opening bars of quirky electronica, reminds me of Kraftwerk’s The Model. It chugs, throbs and generally buzz’s with synthesisers and tilting guitars. If Ladytron had listened to more pop records perhaps they’d be To My Boy. This track bounces it’s way into your conscious until you find yourself humming the chorus over and over…

With such a strong set of singles, this weeks highlight was always going to be difficult. But this week see’s the continuing rise of Future of the Left with adeadenemyalwayssmellsgood. Crunching riffs entwined with Andrew Falkous’ oddly haunting and twisted vocals, this channels the same left-field vein as early Mclusky. This is a stripped back and basic thrill, there’s something deep in your skull that responds to those riffs, to those howling wails. It feels good. Really good.

An interesting mix of stuff this week. Two “skinny guys with guitars” bands, two warbling ladies and a dance outfit. Surely there’s a joke in there somewhere…

First up sees a Dirty Little Shop by Dogs. This is normally a cue for me to ramble on about these being this weeks “guys with guitars” band, but this is actually really good. It might start slowly and predictably but when the chorus crashes in, this becomes something very anthemic and I find my foot tapping and my mouth singing the words. In fact, the chorus feels out of place when following the usual angular, post-Libertines opening, but it’s a real highlight and what drags this out of the mire.

This week sees the debut single release of Bella Union’s latest signing Stephanie Dosen. They can’t seem to do any wrong at the moment, their current rosta featuring bands that create some of the most ambitious and beautiful music. And Midlake. Anyway, this falls into Fionn Regan territory, with it’s gentle folk arrangements and acousitc guitar. What makes This Joy stand out is Dosen’s amazing voice, crystal clear and yet hinting at some deep and dark emotional craving just under the surface. Maybe not an obvious choice for a single, it’s still a song of real and gentle beauty.

As a duel of female singers, up next is Regina Spektor with her double A-Side release of Samson and On The Radio. The latter was released as a lead single from her last album, but never mind. Whilst not as straightforward as Dosen, Spektor’s music is also rooted in some kind of twisted folk music. On The Radio is just that, but it’s embellished with flourishes of drums and odd haunting electronica. Samson, however, is more stripped back with just a piano and some gentle strings as accompaniment. Coming across very much like Tori Amos, it’s really a lovely song and Spektor’s voice haunting and yet lulling at the same time.

And now for something completely different. LCD Soundsystem return with their indie-dance anthems, this time with All My Friends from the quite stunning album Sound of Silver. By default, and with my brimming love for this album, this would usually be my single of the week, but it doesn’t quite work as a single for me. The sparse arrangement doesn’t really lend itself to the shortened format. Though every time I hear the New Order-esque guitars I feel like throwing my arms in the air and dancing around the room like a loon. Anyway, this misses out this week…

To some, no doubt skinny, guys with guitars. Who’d have thought it. I’m like a twisted, contradictory bastard. Anyway, The Changes are my Single of the Week with their double A side Such A Scene / Her, You & I. It might not be the most original piece of music here, but there’s something about it that I like. From the opening reverberating chords and the Beatles-esque vocal delivery of Such A Scene, I feel myself falling under their spell. The guitars seem to be guiding me on some weird and wonderful journey along a rugged and impressive coastline, the cheeky solo towards the end just augments this feeling of air and movement. Her, You & I is a little more straightforward and suspiciously sounds like Maroon 5 in places, but its oddly angular guitars and vocals seem to be steeped in lounge acts of the 50’s and 60’s until the tempo slowly increases and it descends into something more aggressive and unsafe, like The Stones in their 60’s prime. Great stuff.