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We haven’t seen her since All Saints disappeared from the scene in 2006, but Shaznay Lewis is back with a banging* new collaboration with Wideboys.
Daddy-O isn’t just catchy. It’s one of those songs that gets lodged in your subconscious and won’t come out. In fact, Daddy-O proves Lewis should ditch the dead weight in the Appletons and the other sexy All Saint, and go it alone.
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OK, let’s get up to speed on these Shadow Puppets people. The Last Shadow Puppets are Arctic Monkey Alex Turner and Miles Kane from The Rascals.
I trusted Alex Turner not to simply rehash Arctic Monkey’s type material and pass it off under a different name. Boy, does he deliver. This is good stuff.
The Age Of The Understatement has all the ingredients of an epic tune. Big drums, a galloping rhythm, Kane and Turner sharing vocal duties with a sense of suspense during the verses.
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Praise be to Ronson! It wasn’t hard to spot the influence of Mark Ronson in Adele’s latest single, was it?
There’s all of Adele’s atmospheric moodiness in this track, but this time it’s married to an ambitious quasi-military snare drum, soaring strings and punctuated by clean sharp guitar lines.
The arrangement brings out the best in Adele’s voice as well. She’s on top form here, letting us see the full power of her voice.
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You can’t keep Kanye out of the charts these days, can you? His latest, Flashing Lights, isn’t getting quite as much attention as his collaboration with Estelle, but it’s doing pretty well all the same.
Flashing Lights tackles the thorny issue of how famous folks manage to have affairs while they’re in the limelight. Basically, they can’t. And those flashing lights belong to the paparazzi that follow Kanye and his peers around everywhere.
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Cops And Robbers is to be the fourth single from The Hoosiers’ debut album, The Trick To Life. They’ve got their tongues planted firmly in their cheeks yet again, as the video for the tune whisks them off to Dickensian times for crimefighting capers.
I’ll admit, I was skeptical that they could continue the fantastic run of singles that they’ve had with this album, but the Hoosiers have come out again with an exuberant, fast-paced record.
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The Wombats are firing out singles thick and fast at the moment. Their latest, Backfire At The Disco, continues in a similar vein to Moving To New York. In sharp contrast to their ode to insomnia, Backfire At The Disco is a relentless Indie anthem with healthy dose of floor filling goodness.
Following in the tradition of many breaking acts, Backfire was released a while back, before the band hit the big time. Now that the world has taken notice of The Wombats, they’ve decided to dust off this excellent tune and give their new fans a chance to buy it.
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I like The Kooks, I really do. But do you get the impression that Always Where I Need To Be isn’t quite the stunning leap forward you expect from a band about to release their second album?
After having been fed a diet of She Moves In Her Own Way and Naive, I was kind of expecting a progression of their sound. As far as the single goes, though, Konk (the new album) looks likely to be disappointment.
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A bit like the folks at Urban Review, my first thought when I saw the video for will.i.am and Cheryl Cole’s single, Heartbreaker was “Hell, British artists must be hot in the States right now.”
My second thought was “When did Cheryl Tweedy start calling herself Cheryl Cole? Did I miss a memo on that one?”
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This new phase of Natasha Bedingfield’s career is an interesting one. Seemingly she’s out to make it in the US of A in a big, big way.
Critics have picked up on this, and I’ve read more than a few comments that suggest Love Like This is targetted to hit a large market very quickly and make as much impact as possible. The inclusion of one-hit wonderboy Sean Kingston is a strange one. Yes, he’s had one massive single, but is he really a big name draw to partner with from a publicity standpoint? And does he really add anything to the song? (hint: the correct answer is no)
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It’s been kind of hard to ignore this tune recently. I’m given to make comparisons with Alphabeat for the colourful video, the boy-girl vocal blend and the shouty, upbeat chorus.
And given the foaming mouthed rave review I gave Alphabeat, you can take it for granted that Black Kids are every bit as vibrant and infectious as their Danish peers.
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