Singles - February 2009

Lily Allen - The Fear

What is it with the current wave of Essex girly vocalists who trade in that half spoken, slightly dopey vocal delivery? I presume it's a stab at cute and endearing. Lily Allen's latest offering parades shamelessly in 1980s clothing, and would be tragically dated if we weren't in the midst of an electropop revival. Allen flutters along on a wave of shallow observations about materialism in society which will probably be lost on many of her core audience, who will see it as aspirational rather than critical. I can't help thinking it's a little hypocritical for somebody to be writing about peer pressure after trading on a video not too long ago that glorified happy slapping and drink spiking. The record buying public seem to completely disagree with me on this, which is probably a good thing. Vacant pop for the next generation of footballers wives.

All American Rejects - Gives You Hell

Ah, the staple of pop-punk - the breakup song. Gives You Hell is an amiable enough chunk of radio friendly angst tempered by a bouncy syncopated backbeat and choppy guitars. It's quite a breezy little track as long as you don't expect lyrical miracles and can see past the slightly tacky crowd-shouty middle eight. All American Rejects have a very tight and together sound that could quite easily step up a few gears without losing resolution, and I'll be interested to hear what happens when they do. I have no doubt it'll strike home perfectly with the fans and probably become a live favourite among the pogo-set.

Morrissey - I'm Throwing My Arms Around Paris

The first single from Morrissey's forthcoming album 'Years of Refusal' couldn't have come from anyone else really. Mozza has managed to sound precisely like himself (and nobody else) for many years now, and in this case that might not be such a good thing. It's a decent enough song and likeable in its own way, but doesn't have the fire of the lead release 'English Blood, Irish Heart' from a couple of albums back, for example - I'd imagine there are only so many slightly bitter songs about rejection that one artist can write, and Morrisey might have reached his limit at least three of those ago. I've heard a couple of other tracks from the album (That's How People Grow Up, and All You Need Is Me) and they're great so this isn't the sparkiest first impression he could have given. Fingers crossed the rest of the album will make up the difference.

Rise Against - Audience of One

I was expecting Rise Against's new single to be tough, no-nonsense melodic hardcore in line with my past experience of them, and was surprised to find that it really isn't.. not by a long stretch. Audience of One is an altogether softer, more introspective affair, more Seattle than CGBGs. This is emotional and dynamic, ebbing and flowing through dense layers of guitar and subtle vocal harmonies and not afraid of a solid hands-in-the-air chorus. There's none of the edgy politics and tightly controlled rage you might have been prepared for, instead steering a course into the realms of Idlewild rather than Black Flag. As I said earlier, it's unexpected but very easy to like.

Guns N' Roses - Better

No it's not. Let's get that out of the way to start with. Axl's new songwriting recipe seems to involve starting with a waffly pointless intro, singing as if his throat is about to explode, changing pace at least twice to make you feel you're getting two substandard songs for the price of one and making sure there's at least one godawful (preferably out of tune) solo in there. I can't stress this last point enough - the new guitarist takes the opportunity to widdle, sweep pick, charge about like a chromatic rhino and generally make unpleasant noises with no sense of restraint or feeling for the song. He makes one small concession to Slash style blues, but just leaves you wishing he hadn't and isn't enough to save this five minute tune from being at least four minutes too long. Being mighty and falling isn't always a bad thing because it creates drama you can trade off. Being mighty and slowly slipping into decrepitude is nowhere near as appealing.

The Saturdays - Issues

I feel completely unequipped to have an opinion on this, and am starting to realise my age. It's clean, sparkly chartpop.. smiley, utterly inoffensive, safe for childrens parties and not at all likely to be found in a pool of something unplesasant outside a nightclub. It's perkier than a baby bunny on a trampoline and will probably be beloved of Highschool Musical fans. I'll tell you what The Saturdays are - they're a female version of the Backstreet Boys, complete with the same approach to sharing vocal roles and light and breezy arrangements. I would imagine it's actually pretty good in those terms, or at least just as good as any other band of the same ilk, but me attempting to appreciate it is like a haddock trying to understand the concept of platform shoes.

The Answer - On and On

This is a tough one for me. I find it impossible not to like The Answer, especially as the absolutely storming track 'Never Too Late' (yup, the Guitar Hero one) starts with an unaccompanied 30 second guitar solo and rocks like a Harley running on molten Led Zeppelin. At their most average they kick most bands all over the stage and at their best they're like Free, Led Zep, Deep Purple and the Black Crowes swirled into one glorious riotous fuzzfest. So why is this a tough one? Out of all of the tracks of theirs I've heard 'On and On' just doesn't really do it for me and I don't want to give the impression to new listeners that this is what you should expect. It's fun in a brash, shallow pub-rocky way, but next to something as transcendent as Never Too Late it sounds a bit Vauxhall Conference. If you like this you'll positively explode over the rest of their stuff, but if you don't then go and listen anyway. You can thank me later.