The Singles Bar - 02/01/12

As The Singles Bar creaks open after a well-earned break and the fog of New Year’s Eve begins to lift, what are we left with? Well, it’s 2012 as you’ve probably noticed, which means business as usual (unless you’re Mayan, in which case, best start flogging your stuff on eBay fairly soon). The opening week of the year is a chance for acts to steal a march on a stagnating singles chart and for new, hotly-tipped acts to finally break through into the mainstream. Fret not though, there are also a host of people releasing the same old rubbish too. Happy New Year!

JLS – Do You Feel What I Feel?

It seems poor old JLS have slightly lost their way of late. After the insipid ballad, Take A Chance On Me, they’ve returned with the inevitable club-style “banger”. However, it sounds like a poor replica of some of the group’s better efforts (Eyes Wide Shut, Beat Again) and passes without too much incident. JLS are one of the more successful X Factor alumni and churn out the odd good track now and then, but two poor efforts in a row mean that the alarm bells should be ringing. In the dog-eat-dog world of pop, their next single really could be make or break. 3/10

S.C.U.M – Faith Unfolds

You can just imagine the conversation. “Mum, we’ve formed a band.” “How exciting – what are you called?” “We’re called S.C.U.M.” “That’s nice dear, would you like some mashed potato?” With a name like that, you’re expecting some kind of assault on the eardrums. Instead, Faith Unfolds sounds like a downtempo Placebo who have been given a new keyboard for Christmas. Apparently, S.C.U.M claim to be not influenced by any other groups at all, which is fairly laughable considering this track sounds like about a million other ones you’ve already heard. It must be some kind of incredible coincidence. 4/10

Mark Lanegan Band – The Gravedigger’s Song

It’s been a long while now since Lanegan has released a record without the assistance of the gossamer-light vocals of Isobel Campbell. The Gravedigger’s Song is the kind of track that’s definitely more suited to just his voice, as it’s all lumbering low end and menace. There’s a brooding scuzziness to the song that complements Lanegan’s threatening, throaty growl rather well, and there are signs of an electronic influence creeping into his work. Although Lanegan/Campbell collaborations offer a bit more light and shade than the full-on gravelly assault of Lanegan himself, this is a pretty damn fine return. 7/10

Various Cruelties – Great Unknown

There’s something rather unappealing about such a will-this-do? band name as Various Cruelties. That said, Great Unknown starts off intriguingly, with pretty, almost cheap-sounding keyboards and vocals that pitch up somewhere between Plan B and Maverick Sabre. Sadly, the chorus is fairly standard rock-by-numbers which doesn’t do much to quicken the heart rate. Various Cruelties claim to make “shabby Motown pop”, and there’s one word in that description that doesn’t seem to belong at all. I certainly can’t hear an ounce of Marvin Gaye et al on Great Unknown, and it sounds like a trick to get people talking about them, which I will NOT be falling for. Oh… 5/10

Michael Kiwanuka – Home Again

Michael Kiwanuka is on the BBC’s Sound of 2012 longlist, and Home Again is all over the radio, so there’s a decent chance he’s going to making a few quid in the coming twelve months. On the evidence of Home Again he certainly deserves to, and it’s a beautiful, tender acoustic ballad framed by his wonderfully rich voice and a smattering of strings. He’s the kind of artist who’s so clearly got “it”, you wonder why he’s not a household name already. Home Again has been produced wonderfully – it’s not over-egged at all – and the gospel influences get a chance to come through. But it’s that voice that’s the star; understated, exceptionally clear and capable of displaying emotion almost effortlessly. Remember where you heard of him first (unless you’d heard of him before reading this, in which case just pretend you heard of him first here). 8/10

Bombay Bicycle Club – Leave It

Bombay Bicycle Club are an interesting proposition. Adored in some quarters and roundly ignored in others, they seem to have changed style altogether with each passing album without so much as a round of applause from many critics. Leave It showcases a band who have firmly got to grips with being part of the furniture in the indie scene – there’s a good melody, a big chorus and bits for people to sing along with. It’s a little on the average side, but there’s a little bit of afropop creeping in around the edges, which sets it apart from your standard four-to-the-floor hitmakers. BBC should probably be bigger than they are, but not on this evidence… if that makes sense, which it probably doesn’t. 6/10

The Maccabees – Pelican

And speaking of standard four-to-the-floor hitmakers, here’s The Maccabees, a band whose appeal – the sublime Toothpaste Kisses aside – completely mystifies me. Anyway, they’re back with a new album, Given To The Wild, and Pelican is its lead single. It appears that three years away hasn’t changed their musical palette whatsoever, as Pelican could easily have come off their last record, the disappointing Wall Of Arms. There’s some choppy guitar, some two-part harmonies, some bits you think you’ve heard before but actually haven’t and an overwhelming sense of indifference (Can you be overwhelmed by indifference? I’m saying yes). It’s the same as it ever was; the NME will get excited about this, no-one else will really care and somehow, the world will continue to spin on its axis. 4/10

Rihanna – You Da One

We’re not even 48 hours into 2012, and already Rihanna’s releasing yet another track. I’m starting to believe that she can’t be just one person due to the sheer amount of music she puts out. She can’t have had a holiday since she was in school. But, I digress. You Da One is the opening track from last year’s Talk That Talk LP, and one of the better songs on that album. It’s relatively slow for a Rihanna track, but it still fizzes with energy and is underpinned with sparingly utilised bass. There’s also a glitchy, dubstep-inspired bridge which gives You Da One a little edge and saves it from being too fluffy. Not the best thing she’s ever put out, but still the kind of track a million wannabes would commit murder to be able to put their name to. 7/10

Taio Cruz – Troublemaker

Taio Cruz’s real first name is actually Jacob, which has completely shattered my ideas of him. Actually, that’s not entirely true, because hit single, Dynamite, aside, he’s one of those singers that’s indistinguishable from a plethora of others. Troublemaker was released in France in August 2011 but don’t worry, everyone, we haven’t missed too much. It’s Guetta-esque house pop with some Euro-dance tomfoolery in the chorus and lyrics generated from the big book of dull pop clichés (“I throw my hands up”; “I love the way you dance, it makes me crazy”; “Let’s take it to the top, push it to the limit”). If Mr. Cruz informs me Troublemaker is actually a scathing diatribe on the behaviour of government officials during the Biafran War then I might revise my opinion but for the moment, I think this is a load of old toss. 1/10

The 2 Bears – Work

See, Jacob, this is how you do house-infused pop music. The 2 Bears (Raf Rundell and Hot Chip’s Joe Goddard) follow up last year’s sublime Bear Hug with this great track. Imagine, if you will, that Ian Dury had been born about 40 years later and spent his formative years in Pacha. Then, you might have some idea of what Work sounds like. OK, the lyrics aren’t exactly vintage, acerbic Dury, but the half-talked vocals replete with glottal stops are here, and they’re joined by a nodding dance beat which is impossible to ignore. Even better, about 20 seconds from the end, the whole thing climaxes with an incredibly fun, fuzzy bass breakdown. More of this sort of thing, please. 8/10 – SINGLE OF THE WEEK

Come On Over (Turn Me On)

The shuffle function built into most mp3 players is certainly a plus point for most. It may well irk the purists, and I can see why people would be resistant to the idea of splitting up albums into their constituent parts, but not enough is made of the serendipitous aspect of having your record collection available on random. From time to time, a track will pop up that you’d never have consciously chosen, but it seems to arrive at the right time and remind you of what a fantastic song it is.

This has happened to me twice today. Firstly it was Confetti by The Lemonheads: a wonderful slice of bittersweet power pop that led me to listening to its parent album, It’s a Shame About Ray, in its entirety only fifteen minutes later. The other was from Isobel Campbell and Mark Lanegan’s Sunday at Devil Dirt record: Come On Over (Turn Me On).

Often I’m a complete sucker for any song where the lyrics are completely at odds with the tone conveyed by the music. I’m a huge fan of both Belle & Sebastian and Tindersticks, two bands who specialise in beautiful tracks that have something sinister lurking beneath the core. However, Come On Over (Turn Me On) is a perfect example of when the tone of the music and the theme of the lyrics complement each other expertly.

The concept is simple; over the bassline from Nina Simone’s Feeling Good, a tale of sexual frustration is told where the protagonist is impatiently waiting for the object of their affections. Both Lanegan and Campbell sing the entire track together, so Lanegan’s yearning is conveyed through a menacing, throaty, rumbling growl, while Campbell is seemingly so overcome with desire, her voice is a barely-there, gossamer-thin whisper.

Crucially, the whole thing is incredibly sexy. Starting off brooding and slow, it slinks from line to line, with each chorus more powerful than the last. It teases too; some of the verses appear to be building up to some kind of payoff, before returning to the start of a new verse at the last possible moment. “How should I know what is right from wrong? Come on over, turn me on” they purr, as strings build, drums crash and just as you feel they’re about to let loose, we’re back where we started.

The strings are reminiscent of a James Bond theme that doesn’t actually exist, and as the song progresses, the drum fills become more robust, cymbal crashes more frequent and the guitar solos are less measured and more freeform. Just as it seems the song is about to reach its apex, it’s finished with just a sustained, bending guitar chord to keep you company.

Watch the video below and see for yourself. I’ll warn you though; you may well need a cold shower afterwards.

The Best of the Decade: 40-31

31: Laura Marling - Alas, I Cannot Swim (EMI/2007)

At the beginning of 2007, the real answer to the “Adele or Duffy?” question that the music press were asking incessantly, was the secret third option, Laura Marling. Alas, I Cannot Swim is such a fine record, it’s practically impossible to believe its author was only in her teens. Whereas Adele and Duffy went for slick production and big vocals, Marling traded in understated windswept folk with a sweet voice that was the perfect bedfellow to her acoustic arrangements. Just because it’s folk, doesn’t mean it doesn’t have some guts - you wouldn’t want to be the ex that Marling trashes on Failure - and the whole album is clearly the work of someone who really believes in what they’re doing. In an industry where bright, young things are ten-a-penny, the smart money is on Marling to be the one who outlasts them all.

32: Nada Surf - Let Go (Heavenly/2002)

After Weezer made a promising start to the 21st Century with 2001’s self-titled “green” album, it was downhill from thereon. Thus, it was left to Nada Surf to write the power-pop album of the decade. Tracks such as The Way You Wear Your Head and Hi-Speed Soul are hook-laden sunshine pop classics, while slower numbers such as Blonde on Blonde and the epic Killian’s Red demonstrate an extra dimension that wasn’t present on previous album, The Proximity Effect. Every track on Let Go is an earworm waiting to be discovered, and once you’ve let this album into your life, you’ll be impervious to its charms and humming snatches of melody when you least expect it.

33: The Duckworth Lewis Method - The Duckworth Lewis Method (Divine Comedy/2009)

This is the best album made about cricket in the history of recorded music… but that’s not exactly strong praise. The Divine Comedy’s Neil Hannon and Pugwash’s Thomas Walsh teamed up in 2009 for an album that showed their affection for the game but you don’t need to be a fan of cricket to appreciate it, just a fan of good music. Taking their cue from the often-maligned 70s AOR of bands such as ELO, The Duckworth Lewis Method is a joy to behold. The production is warm and comforting, but that doesn’t mean it’s boring - one listen to fantastic lead single, The Age of Revolution, will confirm that. A synopsis of this album wouldn’t be complete without a mention of the peerless Jiggery Pokery - a music-hall romp which tells the story of Shane Warne’s famous ball in the 1993 Ashes series with a words-per-minute figure that would shame the average rap artist. Delightful, eccentric and fun; just like the album itself.

34: Mylo - Destroy Rock & Roll (Breastfed/2004)

Myles MacInnes of the Isle of Skye produced one of the dance anthems of the decade with Drop the Pressure, which was then reworked with the Miami Sound Machine to produce Dr. Pressure. What too few people discovered was the fantastic and imaginative album that the great track came from. Fusing old-school house with cutting-edge electronica and shades of chill-out ambience, Destroy Rock & Roll was that rarest of beasts: a dance album that can maintain your interest throughout its duration. Mylo used extensive sampling, but no sample proved more effective than the Church Universal and Triumphant list of “ungodly” 1980s artists for the title track, which was looped over a banging house loop. That track is demonstrative of the innovation of the man, a great producer who made an album ideal for the home or the club, and fingers crossed there’ll be a second album in the not-too-distant future.

35: Fleet Foxes - Fleet Foxes (Bella Union/2008)

With all the hype surrounding this record upon release, there was bound to be some sort of backlash, which there was. However, a year on, it becomes clear to see upon revisiting this record just why it caused such a stir. Fleet Foxes visit the alt-country of Crosby, Stills and Nash on their eponymous début but what really wins you over is the strength of the melodies and those irresistible three-part harmonies. Fleet Foxes seemed to be singing of a time that music forgot but somehow made you want to be there too and in He Doesn’t Know Why, created one of the most perfectly-formed songs on the decade. Only time will tell will happens for Fleet Foxes in the next decade but right now, they have the world at their feet.

36: Wilco - A Ghost is Born (Nonesuch/2004)

As this decade progressed, Wilco shed their previous alt-country image and became the music critics’ darlings. 2002’s Yankee Hotel Foxtrot may have been their breakthrough, but it’s A Ghost is Born which is the true career-defining album. This album is a slow-burner which may take time to reveal its charms but when it does, it’s astonishing the breadth of styles on show. The Krautrock motorik of Spiders (Kidsmoke), the brittle At Least That’s What You Said and the rocking I’m a Wheel showcase this variety, while subtle tracks like Handshake Drugs and Theologians are somehow heartbreaking yet simultaneously uplifting. With A Ghost is Born, Wilco elevated themselves to the next level and showed that they’re anything but your run-of-the-mill guitar band.

37: Dogs Die in Hot Cars - Please Describe Yourself (V2/2004)

Saddling yourself with an awful name is a great way to limit your career trajectory and so it proved when Dogs Die in Hot Cars disbanded after just one full-length album. But what an album it was. Please Describe Yourself picked up the baton from XTC and Orange Juice and ran with it into the 21st Century. Jerkier and twitchier than a child with ADHD on Christmas Eve, Please Describe Yourself is packed with sharp, direct, punchy tunes which never outstay their welcome. In a fair world, tracks such as I Love You ‘Cause I Have To and Godhopping would have rubbed shoulders with the pop elite near the top of the charts, but DDIHC proved there was more to them than just power pop with regret-tainted ballad Somewhat Off the Way. Fellow Scots Franz Ferdinand may have taken all the plaudits for reintroducing new wave to the mainstream, but this is the album that’s stood the test of time.

38: Ryan Adams - Love Is Hell (Lost Highway/2004)

Initially released as two EPs with minimal fanfare at the insistence of his record label, public demand meant that Love Is Hell was eventually given the single disc release it deserved. Unsurprisingly, Love Is Hell is not easy listening - it principally charts the descent of one man into his own private despair brought about by the death of a loved one - but it’s horribly compelling nonetheless. Adams seems constantly on the verge of tears throughout the majority of this album, but it’s that raw emotion paired with the delicate instrumentation that make this album so essential. Ostensibly the perfect (or, depending on your disposition, worst possible) lonely, late-night record, Love Is Hell is sewn together by Adams’ unique reading of Oasis’ Wonderwall; taking a bravado anthem and reducing it to its bare bones before squeezing every last drop of longing from it. It’s albums like Love Is Hell which remind you what a special talent Ryan Adams really is.

39: She & Him - Volume One (Double Six/2008)

Ugh. Reality TV, everybody being famous for five minutes, talent shows which invite you to sneer at the deluded, actors moving into music and vice versa - all bad things, right? Well, not necessarily, as Hollywood starlet Zooey Deschanel teamed up with indie royalty M Ward in the latter part of the decade to form duo, She & Him. It may sound a badly-contrived idea and you may expect Deschanel to be something of a passenger, but it’s a joy of a record with most of the songs written by the actress in question. The songs on Volume One also have an immediacy and pop sensibility too often lacking from M Ward’s other work, whether it be the 60s backing vocals of standout track Why Do You Let Me Stay Here? or the weaving of vocals and accompaniment on I Thought I Saw Your Face Today. Far better than it has any right to be, Volume One is the best album Conor Oberst never wrote and proves that Deschanel can change disciplines with comfort and ease.

40: Isobel Campbell and Mark Lanegan - Ballad of the Broken Seas (V2/2006)

After being a founder member of Belle and Sebastian and having a nice line in side-project folk albums, there were more likely collaborative partners for Isobel Campbell when she went fully solo than grizzled ex-Screaming Tree, Mark Lanegan. But opposites attract, so they say, and that was definitely the case on Ballad of the Broken Seas. Against your preconceptions, Campbell’s gossamer-thin whispers and Lanegan’s nicotine-dulled growl compliment one another perfectly. Plus the lightness of the arrangements (primarily the work of Campbell herself) and abundance of strings bring out qualities in Lanegan’s voice that it’s unlikely even he knew he had. On the title track, Lanegan croons “I’ll sing you a tale of the broken seas when I’m drowning in whisky and beer” and that sums up Ballads… perfectly - an album of beautiful stories and shanties tainted by regret, sadness and the promise of something greater. Unlikely bedfellows they may be, but a second album (Sunday at Devil Dirt) and a Mercury nomination for Ballads… show that maybe they knew what they were doing all along.