Happy New Year! 25 days into January, we know, but we’ve been enjoying the Florida sun, for which we make no apologies. But during our break we did determine the following: Radio 1 would do well to ship XL106.7’s Johnny & Jayde over to relieve Chris friggin’ Moyles of his breakfast duties; Low by Flo-Rida is alarmingly catchy, and is undoubtedly this decade’s Baby Got Back; and, based on the inescapable fawning, it would seem America does have a monarchy, headed up by one Miley Cyrus (no, us neither).
So, now you’ve learned something, how about sticking around for the Single Reviews?
Having not provided anything form of bitching for nearly a month, what better way to kick off 2008 by releasing the bile?
Elliot Minor offer themselves up as deserving targets off the back of
Still Figuring Out, a track which proves any previous comparisons to McFly are way off - McFly wouldn’t wipe their permanently-exposed arses with this. Sounding rather like a bunch of choirboys royally pissing off the vicar by doing an impression of The Darkness, this is one CD destined to enter its new life as a pizza cutter very soon indeed.
In contrast, a tasty serving of uptempo elation is dished up by
One Night Only, in the form of
Just For Tonight. In spite of their average age of eight (or something similarly ridiculous), they’ve rolled out a winning amalgamation of towering vocals, superb electro-riffs and a constant teasing of high-hat, which collectively make for 2008’s first
Single of the Week.
Next up, a rather impressive track from
Hot Chip, a band we admittedly never really took to. However,
Ready For The Floor is going to great lengths to change that. A far more progressive and vivacious offering than anything
The Warning provided,
Ready For The Floor is charming, different, and most importantly, free from the torrent of jaded twiddles and blips that have dominated their sound thus far.
Kelly Rowland takes another stab at pushing her disquieting non-starter of a sophomore album with
Work, which is perhaps the first Freemasons rejigging that hasn’t been a work of utter butchery. Quite why the original even needed the once-over is puzzling, as either way we’re left with a generic R&B blehhfest. All of a sudden,
Stole feels like a Lennon/McCartney behemoth as performed by actual angels. Ah, it’s good to be back…
Happy New Year! 25 days into January, we know, but we’ve been enjoying the Florida sun, for which we make no apologies. But during our break we did determine the following: Radio 1 would do well to ship XL106.7’s Johnny & Jayde over to relieve Chris friggin’ Moyles of his breakfast duties; Low by Flo-Rida is alarmingly catchy, and is undoubtedly this decade’s Baby Got Back; and, based on the inescapable fawning, it would seem America does have a monarchy, headed up by one Miley Cyrus (no, us neither). So, now you’ve learned something, how about sticking around for the Single Reviews?
Having not provided anything form of bitching for nearly a month, what better way to kick off 2008 by releasing the bile? Elliot Minor offer themselves up as deserving targets off the back of Still Figuring Out, a track which proves any previous comparisons to McFly are way off - McFly wouldn’t wipe their permanently-exposed arses with this. Sounding rather like a bunch of choirboys royally pissing off the vicar by doing an impression of The Darkness, this is one CD destined to enter its new life as a pizza cutter very soon indeed.
In contrast, a tasty serving of uptempo elation is dished up by One Night Only, in the form of Just For Tonight. In spite of their average age of eight (or something similarly ridiculous), they’ve rolled out a winning amalgamation of towering vocals, superb electro-riffs and a constant teasing of high-hat, which collectively make for 2008’s first Single of the Week.
Next up, a rather impressive track from Hot Chip, a band we admittedly never really took to. However, Ready For The Floor is going to great lengths to change that. A far more progressive and vivacious offering than anything The Warning provided, Ready For The Floor is charming, different, and most importantly, free from the torrent of jaded twiddles and blips that have dominated their sound thus far.
Kelly Rowland takes another stab at pushing her disquieting non-starter of a sophomore album with Work, which is perhaps the first Freemasons rejigging that hasn’t been a work of utter butchery. Quite why the original even needed the once-over is puzzling, as either way we’re left with a generic R&B blehhfest. All of a sudden, Stole feels like a Lennon/McCartney behemoth as performed by actual angels. Ah, it’s good to be back…
