Ou Est Le Swimming Pool - Dance The Way I Feel

The debut single from Ou Est Le Swimming Pool is a refreshing blend of indie lyrics and vocals, with a synth pop sound. The track builds up throughout, with more and more people joining in the singing. This draws similarities to Black Kids, who utilise this sound well. The electro bass line which runs the whole way through would be inspiring on any dance floor; an alcohol fuelled student night would react well to this kind of music. This new combination of electro and indie may be the future of indie pop music. The remixes that accompany the single show how much scope there is for music of this type, and I would expect this band to produce an enigmatic live show.

-Jonathan Adams

Flymore- All The Time I Bled

All The Time I Bled, from Flymore’s debut album draws together a variety of sounds from different musical genres. The intro to the song has a great deal of similarity to Rage Against the Machine, but also with a blend that sounds much like Korn. Indeed, the vocals throughout are very similar to Jonathan Davis’ from ‘Life is Peachy’. What the track does well is its combination with an electro sound, whilst being heavy at the same time. The constant note being sung in the background some may find musical, but this instead comes across as irritating. However, there is not much you can take away from this song, it will definitely appeal to those who prefer grungier and more heavier sounds

-Jonathan Adams

3OH!3 - feat Katy Perry - Starstrukk

3OH!3 – feat. Katy Perry

Since emerging on the scene in 2008 after playing Warped Tour in America, 3OH!3 have been everywhere. Their debut single “Don't Trust Me,” quickly went Platinum as they infested the music channels and charts both here and Stateside where they originate from Boulder, Colorado. Let's be clear about one thing...these boys don't make serious music. At-least, you couldn't say they're aiming to make a political statement or start a musical revolution. It's fun. It's dumb. But in all honesty, it's annoying in any other scenario than a packed nightclub at 3am when you've drunk one too many vodka-red bull's.

If you're looking for a track to chill out to, listen to in the library or on the bus, look elsewhere. I mean, what is with all the whistling? Stop it! Please! Given, it's horribly, horribly catchy but then, so is chlamydia. So that doesn't make it any good does it? This songs one redeeming factor is it's guest appearance from Katy Perry who seems to be loved by men and women alike, though for completely different reasons, I'm sure. Apart from her appearance there is nothing original about this song. The verses are the out-takes from a bad rap album and the chorus is an electronic rehashing of any good pop-punk song in the last three years. “How do I say sorry 'cause the word is just never gunna come out?” sing Sean and Nate in the oh-so-sickly chorus. I don't know boys but if I were you, I'd work it out because this song needs apologising for.

- Chris Chadwick

Little Boots - Earthquake

Victoria Hesketh, aka Little Boots, is one of a barrage of critically acclaimed females who've broken into the mainstream in the last 18months. To be credited amongst a group that includes Ladyhawke, Le Roux and Lady Gaga shows just how much the 25 year old musician has to live up to.

In relation to her contemporaries this song falls far short of living up to this reputation. Sure it's reminiscent of that 80's electro genre so popularly reused at the moment but where as the likes of Le Roux and Ladyhawke have added to this genre, this song feels a little dated if i'm honest. And I am. Having said that, what this song aims to be is completely different. Whilst the likes of Le Roux and Ladyhawke seek to reshape and push their genre forward, what Hesketh and Gaga have in common is the ability to craft a perfect pop song. Earthquake is simple and catchy and even if the original version gets a bit tiresome on third or fourth plays, the four remixes included on this single definitely make up for this. I'm not sure this track is going to make quite the “earthquake” that the title suggests but it'll certainly register on the Richter Scale and that's enough...for now.

- Chris Chadwick

Imogen Heap - Canvas

Imogen Heap has long been one of the most undervalued and underappreciated British singer-songwriters around. Her mix of dark, hypnotic vocals and acoustic guitars with intricate beats and beautiful orchestration have found a home not only amongst her acoustic contemporaries but among the dance scene where her tracks have been spliced, sampled and remixed as everything from R&B to Drum and Bass.

Her much anticipated album Ellipse was released at the end of August and this track is the first single to be released in the UK. As a taster for what Heap is all about it beautifully illustrates her capabilities as a musician. The picked guitar weaves in and out of the electronic beats and ambient noise and the whole piece sort of feels as though it could have been recorded in a cave with all of it's echoes and reverberations. Let's be honest. She's no KT Tunstall. Her albums don't contain rousing folk ballads to get rowdy and sing along to. But what Imogen Heap does is right music to sooth the soul. It's music to reflect to. So when you listen to this song [because you definitely should listen to this song] don't listen to the lyrics. Don't pick it apart. Just close your eyes and enjoy.

- Chris Chadwick

Noah And The Whale - Love of An Orchestra

This band have doubtlessly been one of the hot new bands of '09. I'm sure that, even if you're not aware of it, the majority of you know the actions to previous single 5 years time and, for a band that plays folk-laced acoustic ballads to play the main stage at Reading festival is a sign of just how much Noah and his accompanying sea creature have sky-rocketed in the past year. The expectations for the band's Sophomore album The First Days of Spring therefore are bound to be high and if this single is anything to go by then the band will not disappoint.

On first listen, you'd be forgiven in thinking you'd accidentally been given a recording of a church choir. Persevere however, and you'll be rewarded. Over the angelic choral harmonies, the driving drum beat and tinkling piano fade in to accompany singer (and songwriter) Charlie Finks fragile vocals. I'm not going to lie, normally this isn't my cup of tea at all but this two minute nugget of folk lyricism meets a night at the opera was short enough that I didn't get tired of the classical violins and uncannily catchy. I think I'd struggle were the new ..Whale album to contain nothing but this overzealous orchestration but give this track a listen and I guarantee you'll be humming the opening melody for a week.

-Chris Chadwick

Wolfmother - Back Round

After an impressive start with their single ‘Woman’ becoming one of the greatest Guitar Hero rock songs, there was much expectation from their second album. But with the loss of Chris Ross (bassist/keyboardist) and drummer Myles Heskett, Andrew Stockdale needed a new team behind him. And with that they brought to us ‘Back around’, another epic guitar rock song. With a great guitar solo and Stockdale’s strong leading voice, they have certainly done it again.

- Natalie Cippola

Deadmau5 - Ghosts 'n' Stuff [Rerelease] feat. Rob Swire

I know what you're thinking. We've heard this before haven't we? And you'd be right. Ghosts 'n' Stuff was originally released in '08 with huge success on the club scene. This new version, however, is remixed, sliced, diced and now features vocals from Pendulum's Rob Swire. Cut down from an epic 6 minutes to a much more manageable 3, the remix will appeal to a much wider audience than just those on the house and electro scene. The sugar sweet and gently intertwining synth lines were already as catchy as swine flu but Swire's vocals give the song a whole new dimension. It's no longer just another club anthem, it's a piece of radio friendly, pop mastery. Ghosts 'n' Stuff is released as a single alongside the new album, For Lack of A Better Name, which is out now and this is accompanied in the UK by a string of tour dates through October. With Zimmerman's reputation for spellbinding live performance, built up over the last few years and cemented by his slots at Reading and Leeds Festivals this summer, these dates promise to be intense. The next time this song comes on in a club or party remember this. Joel Zimmerman is not a DJ. He's an innovator, showman and a songwriter and this track shows him at his best."

- Chris Chadwick

Levi Roots - So Out Of My Mind (+Remixes)

Levi Roots ‘So Out of My Mind’

Levi Roots (that’s right it is the Reggae Reggae sauce guy) is back and is bringing summer kicking and screaming with him whether you like it or not via his new single ‘So out of my Mind’ taken from his forthcoming album Red Hot. The single is a cover of John Holts ‘Stoned out of my Mind’ and is basically a carbon copy, bar the drug reference. The track tells the story of heart break and betrayal and combines it with Shakespeare and a standard reggae pop beat with added synth fresh from the Crazy Frog. ‘So out of my Mind’ aims to be a laid back summer tune, unfortunately it’s a few months too late and the melody nor Roots vocals are strong enough. If you weren’t a big fan of calypso reggae pop before, this probably isn’t going to sway you.

For fans of: Shaggy, Ziggy Marley, Inner Circle, John Holt


Levi Roots ‘So out of my Mind’ Remixes

Levi Roots attempt at being ‘down with the kids’ starts with two remixes of his new single ‘So out of my Mind’ by 96 Bulls and Alaye. The 96 Bulls remix starts off similarly to the Fedde le Grand summer anthem ‘Put your hands up for Detroit’; however the remix seems to have taken the worst aspects of the dance and electro genre, making the remix extremely repetitive and seem far longer than it is, which is never a good sign. The Alaye remix in contrast to the 96 Bulls remix fares a lot better, showing contrasts within the song and focuses on the lyrics, that being said the Alaye’s remix is nothing special, especially when compared to other remixes of songs out there at the moment e.g. Skream’s remix of La Roux’s ‘In for the Kill’. Overall neither remix takes anything away from the original but neither adds anything either.

Reviews by Martin Cheung

Snow Patrol - Just Say Yes

Due for release on the 2^nd November, a week before the bands grates hits album “Up to Now” of which it will be featured along with another two new tracks, this single will not disappoint. The track is relatively upbeat in comparison to some of the bands previous singles and is slightly different to Snow Patrols usual format with its use of synth, however still being “Undoubtedly Snow Patrol” (Q Magazine). Overall a good song to head up the forth coming album.

-Rosie Ashton

Chase and Status (Feat Plan B) - End Credits by Adam Starkey

Chase and Status( Feat Plan B)- End Credits

Taken from the forthcoming film 'Harry Brown' which is already being slated as the British answer to Gran Torino, End Credits featuring previous collaborator Plan B has the task of reflecting British urban music of today whilst still making it comfortably cross eras with the 'cool' of the Michael Caine generation, so that he doesn't look like a financial advisor selling Nike trainers. A hard task that Chase & Status have somehow pulled off with flying colours. In what is a very subdued affair compared to some of the duos most notable songs, it perfectly bounces from soft, acoustic melodies to their more signature Drum and Bass style with Plan B's vocal being both soothing and moving. Think the opening minute of previous hit 'Pieces' stretched across 3 minutes and you have the general idea. Now bring on the film!

By Adam Starkey

Fighting Fiction - A Lesser of Two Evils EP

Fighting Fiction

When thinking of the Bristol music scene, electro and dance bands such as Massive Attack and Portishead come to mind, however Fighting Fiction are planning to break the mould with their indie reggae pop fusion, (which would probably break the mould in most music scenes). Formed in 2007 the band have completed a 30+ day tour and supported the likes of Laura Marling and The Automatic. Fighting Fiction takes obvious influences from bands like The Clash; this can be heard in their raw sound and in the vocals. Their debut EP titled A Lesser of Two Evils contains four tracks and is ‘a powerful collision of indie rock guitar riffs, reggae tinged punk and socially aware lyrics’. Though the band does what it says on the tin (kind of), it does so in a pretty mediocre fashion.
A Lesser of Two Evils, the title track of Fighting Fiction’s EP kicks things off with a reggae tinged beat which leads into the band’s so called ‘collision of indie rock guitar riff’ chorus. The track is meant to be a statement of what the band are all about, however it’s held back with the fact that the track is really run of the mill. The reggae aspect is there but doesn’t really add anything to the song and the chorus is neither catchy nor anthemic enough to really stay inside your head.
Second track on the EP, Camera phones and Choruses see the band step up a notch by abandoning the reggae and opt for a more conventional indie pop song. The song wouldn’t feel out of place in the Tony Hawks games of old that were played back in the day, showcasing Fighting Fiction’s raw sound and strong melodies. Camera phones and Choruses is probably the strongest track on the EP and should really have been the bands title track.
The Third track You Mean the World to Me is an attempt to demonstrate that the band is three dimensional and more than just a one trick pony, by showing off their slower, sensitive and albeit more cheesy side. Like Camera phones and Choruses the song shows off Fighting Fiction’s knack for writing a strong melody, however the lyrics are much to be desired and it all gets a bit cliché with lyrics like ‘but I love you more than you could know’.
The EP closer Sanctuary sees the band unfortunately go back to the reggae, and with that lose the pop hooks of the pervious two tracks. The track has obvious political overtones and tackles the subject of asylum seekers and immigration. However in the track Fighting Fiction seem to be trying too hard to write ‘socially aware’ lyrics.
Though Fighting fiction’s selling point is that they fuse reggae and indie, it’s also they’re biggest weakness as the title track and the EP closer are clearly the weakest tracks as they sound unsettled and not sure which sound to go for. Overall the band and EP are mediocre nothing more, nothing less

- Martin Cheung

Isolated Atoms - Tell me What I Want

Isolated Atoms’ debut single ‘Tell me what I want’, and B-side ‘Here we go’ present a very fresh sound to the music market, the sort of sound that has been missing from mainstream music. The band has been dubbed the missing link between Joy Division and New Order, it is possible to see this within the music; in both tracks the vocals sound very similar to both Ian Curtis and Bernard Sumner. However, there are also similarities to Morrissey, David Bowie, and Depeche Mode within the vocals.
Both songs have faced paced and snappy lyrics, which go hand in hand with the guitar which plays with a rock sound. The use of keyboards over the chorus lines is very effective, Joy Division esq, and adds another dimension to the songs.
I would definitely say there is a future for this band, the songs have been very professionally produced; already they sound established, and it will be exciting to see what the future has in store for them.

-Jonathan Adams

Green Day - East Jesus Nowhere

Green Day’s new release is an impressive follow up to the singles ‘Know your enemy’ and ’21 Guns’, and bears a resemblance to their highly acclaimed album American Idiot; fans of which will be able to hear the similar punk-rock sound they achieved. However fans of the early Green Day music will be sorry to hear that the band seem to have fully departed from the light hearted music of old, and have moved further towards a more ‘classic rock’ sound, with heavier guitar riffs, and lead guitar lines on top of these. Gone is the softer sound that can be heard in their old material such as ‘When I Come Around’, and ‘Basket Case’, replaced with something that sounds more at home in a huge stadium venue.
There has been something of a lyrical change in Green Day too. Although this single follows along the story of the album ‘21st Century Breakdown’, the lyrics sound pretentious, something which is disappointing, although this is to be somewhat expected, as the band has gone through something of an image makeover. Personally I think this song will excite and please the new generation of Green Day fans, but disappoint fans of their older sound

- Jonathan Adams

La Roux- I’m Not Your Toy

After being featured as “One of the best new bands 2009” by The Guardian and their previous single “Bullet proof” hitting the chart at number 1, there have been high expectations for the bands 4th single. “Bulletproof” was always going to be a tough act to follow and “I‘m not your toy” has not been as well received as hoped, although sticking the theme of the album of “teenage love” there are other songs e.g. “Tigerlily” which would have been a better option for release as a single. With its repetitive chorus the single has not made as much of an impact as “In for the kill” or “Bulletproof”, however, although the single is currently only at number 27 in the charts it does have some redeeming features including a very catchy pre-chorus which makes the song a “grower” and hopefully the synth-pop band will be back on track with the release of their next single.

Rosie Ashton

Personal Space Invaders- Not My Boyfriend.

The aim of the band to “capture a young, modern and international London” has not been fulfilled with this single. Even though it has catchy lyrics, they are very repetitive and irritating, however the track is upbeat, and for electro-pop lovers, this may be enjoyable, but for people who don’t like this genre of music, it is a track to be avoided.

Rosie Ashton