This isn’t just any old Single Reviews. Oh no, this is a very special post, as it’s our 400th. Momentous, huh? And to celebrate, we bring you an exclusive interview with Lady Gaga, preview clips of the Abba comeback album, and an affidavit from Justin Bieber stating he’ll never record another song ever again. (Not really. We’ve just listened to some new releases and commented on them.)
The ongoing barrage of accusations that Oasis were little more than a Beatles tribute act must have been taken as a compliment by a naive Liam Gallagher, as
Beady Eye have not only taken the baton but put it in a pair of round glasses and sat it upright in a bed next to Yoko Ono.
The Roller is, aside from its Beatles leanings, a fairly watery radio-rock ditty with a disappointing shortage of character, and hardly the stuff of launch singles.
Birmingham-based buzz-gatherer
Clare Maguire lives up to the generous mentions bouncing around the music press with
The Last Dance, an atmospheric demi-house number that puts to use some seriously impressive pipes. In fact, she almost sounds rather like Cher when her face still moved. That’s proper Cher, by the way, not Cher Lloyd. Her face moves
too much. But we digress – thumbs up for Clare Maguire.
Coming out of leftfield with a pseudo-military, social-commentary, electronica-enhanced anthem are
Take That, although not to great results. Mark Owen gives a largely weak vocal, and the attempt at cheeky bravado was best left at the bottom of the septic tank with Rudebox. Aside from that,
Kidz gains kudos for the stabs at such a daring new direction, and for the apparent lack of contribution from Robbie Williams.
And lastly,
Morning Parade claim our
Single of the Week with the difficult-to-resist immediacy of
A&E. Alluring, bewitching verses make way for a forceful chorus, all displaying a clean, measured boisterousness and an innovative mélange of skilful rock and thumping dance sensibilities. Now if they could hurry their asses up and give us an entire album of this stuff, we’d be eternally grateful.
The ongoing barrage of accusations that Oasis were little more than a Beatles tribute act must have been taken as a compliment by a naive Liam Gallagher, as Beady Eye have not only taken the baton but put it in a pair of round glasses and sat it upright in a bed next to Yoko Ono. The Roller is, aside from its Beatles leanings, a fairly watery radio-rock ditty with a disappointing shortage of character, and hardly the stuff of launch singles.
Birmingham-based buzz-gatherer Clare Maguire lives up to the generous mentions bouncing around the music press with The Last Dance, an atmospheric demi-house number that puts to use some seriously impressive pipes. In fact, she almost sounds rather like Cher when her face still moved. That’s proper Cher, by the way, not Cher Lloyd. Her face moves too much. But we digress – thumbs up for Clare Maguire.
Coming out of leftfield with a pseudo-military, social-commentary, electronica-enhanced anthem are Take That, although not to great results. Mark Owen gives a largely weak vocal, and the attempt at cheeky bravado was best left at the bottom of the septic tank with Rudebox. Aside from that, Kidz gains kudos for the stabs at such a daring new direction, and for the apparent lack of contribution from Robbie Williams.
And lastly, Morning Parade claim our Single of the Week with the difficult-to-resist immediacy of A&E. Alluring, bewitching verses make way for a forceful chorus, all displaying a clean, measured boisterousness and an innovative mélange of skilful rock and thumping dance sensibilities. Now if they could hurry their asses up and give us an entire album of this stuff, we’d be eternally grateful.
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