With a new week comes a new batch of singles (except for the fact that’s not technically correct now the chart is made up from almost 100% downloads with no defined release date), so we’re here once more to sift through the slurry and bring you the gems (except for the fact we make a point to leave the slurry in as well). Sit back and let the scrunity commence...
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Stateside electro-newbie
Sky Ferreira
opens proceedings with the bibbling, overtweaked
One. It’s instantaneously maddening stuff, the scratched CD loop effect worsening an otherwise fairly passable iPod filler-outer. It’s not the greatest introduction to an artist, who, while not quite at Pixie Lott levels of dead-eyed pointlessness, doesn’t seem to offer much aside from autotune abuse and a range of porno expressions.
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Those all-American mainstays of mom-rock, the
Goo Goo Dolls
, are back with their ninth album, preceded by the somewhat predictable single
Home. It’s every inch the Goo Goo Dolls, all imposing melodies and elevating lyrics and typically radio-courting riffs – the quality is there, but it was perhaps foolish to hope for a drum ‘n’ bass breakdown and a guest MC.
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One-time
X Factor finalists
The Unconventionals at long last get around to unveiling
Strawberry Sunshine, a lightly-comedic, cheddar-inflected summer ditty which has been languishing on the release schedules for a good two years. They’re less likely to be associated with
The X Factor than they are to be mistaken for the Mike Flowers Pops, and yet, they’ve got a million times more personality than eventual winner Leona Lewis. But then, so does a pitta bread.
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And our
Single of the Week is awarded to the debut solo effort from
Brandon Flowers
, the mightily-impressive
Crossfire. It’s close to topping some of the Killers’ best material, its unashamedly grandiose pop melodies melding nicely with a wee touch of rock-lite sharpness. Not to say it’s at all disposable, merely a more diffused sound, which bodes incredibly well for forthcoming album
Flamingo.
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