AFI - Beautiful Thieves

AFI’s eighth album ‘Crash Love’ landed with mixed reviews, a 4.5/5 from Alternative Press and a 3/10 from Drowned in Sound, so how does the second does single ‘Beautiful Thieves’ fair? Unlike Alkaline Trio’s latest offering which has been hailed as a return to their original form, ‘Beautiful Thieves’ is in keeping with the modern AFI sound and sees them moving further away from their early work. This is, however, no reason to dismiss the song out of hand. As per usual there is a great sense of belonging that accompanies AFI’s work, the chanted ‘Ohs’ that precede each chorus and the constant references to ‘us’ and ‘we’ combined with the songs theatrics leave the listener enthralled, swept away by the band’s grandeur. Whilst the song is unlikely to win any prizes for its originality, it is more than likely to capture the hearts of old fans and the attention of new ones as the well oiled ‘AFI-machine’ grows.

- James Davies

We Are Scientists - Rules Don't Stop

After numerous changes to the line up and the less immediate sophomore album Brain Thrust Mastery, it seems that with Razorlight ex-member Andy Burrows on the drums Keith Murray and Chris Cain have rekindled that raucous sound that made 'With Love and Squalor' rattle and shine so brightly amongst the indie disco nation. 'Rules Don't Stop' is the We Are Scientists that initially broke them into the mainstream, sharp, punky, and undeniably funky. It pummels its way through one ear and soars out the other leaving the chorus behind to make itself at home just like their previous hits. The word 'like' perhaps being a double edged sword in this instance in that it doesn't show much progression for a band who are on their third album compared to others dominating the field. We will just have to wait till June when 'Barbara' is released to see if We Are Scientists can really break the rules.

- Adam Starkey

Goldfrapp - Rocket

What's this? An 80's inspired sound that doesn't sound tired and outdated? Goldfrapp have truely achieved mission impossible and have took the cheese and camp of the 80's synth and have made it seductive and sleek creating a pop gem in the process. That's not to say it's lost any of the charm of the 80's with Alison Goldfrapps vocals rasping the words 'Ive got a rocket, your going on it' giving it an almost tongue in cheek edge. With this as an indicator for things to come on their new album 'Head First', it is looking like Goldfrapp are about to once again conquer another dance orientated field following on the success of 'Supernature'. Just be prepared for a more glitzy twist as it lands on March 22nd. If you fancy a better look at Goldfrapps rocket just check out the video, I dare you.

- Adam Starkey

Doo Wah Doo - Kate Nash

With a new sound and a stronger influence of guitars as suggested by the release of album track 'I Just Love You More', an online release to fans, it could seem that Kate Nash has lost the charm people fell in love with her for from tracks like 'Foundations' and 'Mariella'. However, nothing could be less true. Nash is bouncing back to top form with 'Do Wah Doo', a charming 60s tinged pop ditty about a girl she just 'thinks is shady'. Sounding evermore confident, Nash's songwriting skills have advanced and the chorus is incredibly catchy. Trumpets and steel drums adorn the piece, and the song serves listeners with a great 'feel good' sensation, reminding people, in Nash's honest way, to enjoy life. With new album 'My Best Friend Is You' being released on the 19^th of April, 'Do Wah Doo' is a perfect slice of popcake to mark Nash's comeback.

- Sean Howlett

Number One Enemy (Ft. Chipmunk) - Daisy Dares You

Despite the list of incredibly credible influences on her myspace (think Kurt Cobain, Graham Coxon and Grizzly Bear), the debut single of Daisy Coburn is a predictable bubblegum pop record with nods to Katie Perry and reminiscent of the teenage hyperactivity of Lil Chris (remember him?)

Fuzzy guitars attempt to add depth to the irritatingly chirpy synth part that underpins the polished production. The chord progression repeats throughout the entirety of the piece, doubling its rate of progression in the chorus, symptomatic of the juvenile nature of the songwriting. Daisy’s autotune-heavy vocals are wordy in the verses but the simpler chorus melody is undeniably catchy. Chipmunk’s cameo adds familiarity (and sales) but her next collaboration, due to feature You Me At Six, may bear more fruit.

Daisy’s voice has enough character about it to make her distinct in the plethora of similar Radio One pop acts, despite the predictable and occasionally muddy production on which it sits. It feels like Daisy has already begun to distance herself from this earliest of offerings: she claims to have written this song when she was 14. There will be much more to come from Daisy and this is a reasonable, if unspectacular place to start. As Chipmunk tells us, Daisy’s about to take off.

- Matthew Tyzack

Ellie Goulding - Starry Eyed

As the BBC Sound of 2010, as well as the Critic’s Choice at the Brits, Ellie Goulding starts the year with immense expectations. Her second single, “Starry Eyed” completes the formalities of turning hype into sales with minimal fuss, yet appears to be primarily a vehicle for the requisite remixes that it has inevitably spawned. Personally, I feel that the production of the song actually takes away from what’s special about Ellie - her remarkable vocals are tamed by autotune and compression. They’re much more evident in the BBC Radio One Live Lounge performance (http://www.youtube.com/watch?v=QoGeH6lIqc4), where her flutters and leaps are free to be at their genuinely engaging and moving best, like a modern day Joni Mitchell. I also preferred the angular bass and synth interjections that punctuated her debut single “Under The Sheets”, which allowed her vocals to shine.

Through her links with electro and dubstep, Ellie appears to have captured the credibility that rather eluded her contemporaries La Roux and Little Boots and I hope that gives her the freedom to be more adventurous than this rather timid offering.

- Matthew Tyzack

Groove Armada - Paper Romance

After the slower 80s feel of first single 'I Won't Kneel', Groove Armada's second single from their sixth album, Black Light, has reminded people of what they do best – bloody good dance music. Although it doesn't quite add up to 'Song 4 Mutya' (and that's completely down to the ex-Sugababes' sultry vocals) it's a stomping tune, and should be on its way to dominating the dancefloor. A 'hands in the air' moment indeed, albiet slightly reminiscent of GaGa's "Bad Romance"
However, there are no 'm-m-m-m-mahs' or claws to be seen – thank God. A pretty solid re-introduction to what Groove Armada are all about. Strong enough to secure them some festival rotation this summer when you'll really be able to appreciate these carefree beats

-Sean Howlett