Don’t you completely heart Bank Holidays? A whole extra day of holiday; a day’s break from working for The Man; not having to go into work; a full day off… it’s not the strongest argument in the world, granted, but we‘re probably not having to work too hard to convince you, eh? Plus, you lucky sons of bitches, you get the Single Reviews early…
It’s somewhat depressing to consider that a band containing members still in their teens are considered stalwarts of the modern music scene. Still, you can’t begrudge them -
McFly remain one of the most consistent and capable pop acts of the moment, a sentiment underlined by the double A-side
Baby’s Coming Back/Transylvania (the latter of which, if slightly gimmicky, easily wins a proverbial toss between the two).
After a deluge of heavily-indie
Single of the Week choices, this week’s title goes to a woman who effortlessly towers above her R&B contemporaries.
Amerie presents the ingenious
Take Control, the perfect example in how to stage a comeback. Much like
1 Thing, the blasts of ballsy horns give this song its personality, though special mention must also go to the slinky vocals and the dirtily-twanged riff running beneath the whole circus.
The Maccabees sneak out from beneath the clumsy buzz piled upon them to provide us with a tune ironically worthy of the aforementioned buzz. The intense, violently-rattling drums sprint
Precious Time along at an interstellar rate, making for a tremendous - if bloody knackering - four minutes.
Seriously, when did
Faithless go from resolute champions of the mainstream dance genre to composers of BBC ident music?
Music Matters is a low-key, lifeless affair that sinks into the background before it’s even begun. Though it’s novel to hear Cass Fox borrow the lead from Maxi Jazz, who’s somehow morphed into a half-trick pony in recent years, it’s just all very unexciting - perhaps not a major trait of house music…
Finally, take cover, as a commercial jet manned by cocksucking shop dummies and fuelled by mucky innuendo is about to explode somewhere around Helsinki this month. Yes, fucking
Scooch are still back, despite our hopes that Justin Hawkins would take them out with an axe fashioned from guitars he no longer has use for. We’re not sure what’s more embarrassing - the fact that unjustifiable shit like
Flying The Flag (For You) exists, or that it’s gearing up to represent Britain to a worldwide audience…
Don’t you completely heart Bank Holidays? A whole extra day of holiday; a day’s break from working for The Man; not having to go into work; a full day off… it’s not the strongest argument in the world, granted, but we‘re probably not having to work too hard to convince you, eh? Plus, you lucky sons of bitches, you get the Single Reviews early…
It’s somewhat depressing to consider that a band containing members still in their teens are considered stalwarts of the modern music scene. Still, you can’t begrudge them - McFly remain one of the most consistent and capable pop acts of the moment, a sentiment underlined by the double A-side Baby’s Coming Back/Transylvania (the latter of which, if slightly gimmicky, easily wins a proverbial toss between the two).
After a deluge of heavily-indie Single of the Week choices, this week’s title goes to a woman who effortlessly towers above her R&B contemporaries. Amerie presents the ingenious Take Control, the perfect example in how to stage a comeback. Much like 1 Thing, the blasts of ballsy horns give this song its personality, though special mention must also go to the slinky vocals and the dirtily-twanged riff running beneath the whole circus.
The Maccabees sneak out from beneath the clumsy buzz piled upon them to provide us with a tune ironically worthy of the aforementioned buzz. The intense, violently-rattling drums sprint Precious Time along at an interstellar rate, making for a tremendous - if bloody knackering - four minutes.
Seriously, when did Faithless go from resolute champions of the mainstream dance genre to composers of BBC ident music? Music Matters is a low-key, lifeless affair that sinks into the background before it’s even begun. Though it’s novel to hear Cass Fox borrow the lead from Maxi Jazz, who’s somehow morphed into a half-trick pony in recent years, it’s just all very unexciting - perhaps not a major trait of house music…
Finally, take cover, as a commercial jet manned by cocksucking shop dummies and fuelled by mucky innuendo is about to explode somewhere around Helsinki this month. Yes, fucking Scooch are still back, despite our hopes that Justin Hawkins would take them out with an axe fashioned from guitars he no longer has use for. We’re not sure what’s more embarrassing - the fact that unjustifiable shit like Flying The Flag (For You) exists, or that it’s gearing up to represent Britain to a worldwide audience…
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