EP: Ejectorseat - Not My Girl EP (Taste Media LTD )

When did pop music get so good again? The infectious charm of the ridiculously good Ejectorseat is displayed in perfect in-your-face fashion with the electrifying 'Not My Girl EP.' Title track 'Not My Girl' is a punchy, indie pop wonder of a track, igniting an uncontrollable urge to dance ‘til you drop in even the loneliest of souls. With melodies so bouncy they could be marketed as a vigorous exercise program and jovial vocals swirling around this catchy-as-hell number, it’s a wonder Ejectorseat are only just releasing their first ever E.P.

'To Be More Animal' offers a darker, and slightly satirical side to the band. Sickly synths and beastly basslines are combined to make a striking clash when compared to the fuzzy pop wonder of 'Not My Girl.' Different as it may be, it’s still a perfectly awesome track; vocals spat with an alarming aggression add to the alternation, whilst pronouncing Ejectorseat as one of the greatest new bands in a long while.

Standout and closer 'Hopeless and Emotionless' proposes a perfect end to this faultless EP. With magnificent harmonies and even more added electropop ace-ness, this colossal attack of indie-pop stomp closes this joyous EP in a spectacular fashion, reaffirming Ejectorseat’s triumphant success.

Best band of 2008? Definitely.

Standout: Hopeless and Emotionless

Olivia Jaremi

SINGLE: Computerclub - Electrons and Particles (Split Records)

Bands these days are pretty boring, aren’t they? With the same old drum patterns, the same old melodies and the same old bass rhythms turning independant music into a laughing stock, causing those who tend to shy away from the mainstream to despair, give in, and retune their vintage radios back to Breakfast With Chris Moyles once again. It’s not all doom and gloom though, with the excitement and energy of Birmingham’s finest – Computerclub – set to save us all.

'Electrons and Particles' is a fast-paced, frantic jangly guitar wonder; combined with frontman Paul Hampton’s soothing vocals, this single is nothing short of an art-rock masterpiece.

Straight from the offset, 'Electrons and Particles' is an angular pop delight. However, b-side 'These Bones' is a much more aurally pleasing affair, offering an edgier, hysterical alternative to the fantastic aforementioned Electrons and Particles. With it’s frenzied rhythm and utterly awesome chorus, it’s evident that Computerclub have much more to offer than their soulless, bleak musical peers.

After almost seven minutes of dark-pop glee, Computerclub have indefinitely proved their worth. All hail CC!

Olivia Jaremi

SINGLE: Crimes of The Future - Screen Villains (Zap System Records)

The not so easily formed Crimes of The Future are a new-wave/indie band who have just recorded their new single Screen Villains with producer Trevor Heaton.

The drum machine controlled guitar riffs give us a glimpse back to Nirvana's days of ‘Polly’ but don’t hope for something further to happen. The song dies instantly when the retro melodies take over and the sonic forefront is confronted by Sally Moriarty and followed up by backing vocals. Near new-wave disaster strikes the single but all is saved by well known guitar riffs and drum machine buildups.

The B side of the single, ‘Secret Blue’ sounds more together and a sound on which Crimes of the Future can build their general foundations on. It's nothing bright either, but a glimpse of hope.

Robert Dreija

EP: What Would Jesus Drive - We Made This EP (Split Records)

Photo by: Ross Halfin

A pretentiously rousing intro, girl/boy duo, irritatingly catchy shouts for ‘Never Again!’, pun on now defunct 80s pop LEGENDS Boomtown Rats, What Would Jesus Drive tick all the boxes and make no qualms about it. Indie Pop to get the kids at the disco dancing, the pair sound worryingly similar to the tooth achingly sweet Ting Tings; odd, the group started life as a garage rock band.

There’s no reason why these two shouldn’t succeed, ‘Boomtown Twats’ is catchy, if not a bit superficial and lifeless, never mind it only lasts for over a minute. Supporting the likes of Art Brut and The View confirms the ‘Anglo/Aussie two piece’ are clearly on the right track. 'I Think We Rushed Into This’, their second offering and clearly the best on the EP, is sweet, perhaps even genuine. The pair share vocal duties, the shouting has disappeared, replaced by heartbreaking lyrics "why would you tie yourself down, to someone so insecure," I’m tricked into thinking there more depth to these two.

And just when I was starting to like them, they had to ruin it with a cover, ‘You’re The One That I Want’, why? Grease is for drunken karaoke only, sorry, it’s all just so wrong; WWJD, I find you guilty on all charges.

Lorraine Okuefuna

SINGLE: The Outside Royalty - Falling (Bloody Awful Poetry Records)

Image: www.tiedeye.de

I can definitely hear why they’ve been compared to Pulp and The Arcade Fire with the kitchen sink realism directed more about love, slightly disco-ish but drier drum beats and the baroque string arrangements alongside the pulsing guitar and bass which make for a brilliant combination of sound. The band use contrast to great effect by putting the lively and cheerful violin squeaks up against the melancholy lyrics which are brilliantly rendered with an almost tangible intensity and slightly weird accent that makes the singer sound a little bit plumy like when you hear James Blunt in interviews but not annoying. But posh sounding or not, it’s a slightly morose but beautiful love song that any listener can’t fail to appreciate.

B-side ‘Voice Beneath the Rubble’ is even more bleak and downbeat with the same violins now delivering mournful wails on top of a bed of acoustic guitar and more noticeably glum lyrics. From the moment the acoustic guitar comes in to that great moment in the song when the drums, violin and guitar all pick up to the finale when the murky violin section fades out the b-side confirms the earlier comparisons and proves The Outside Royalty have what it takes to be great.

Ollie Khakwani

SINGLE: White Light Parade - Turning All The Lights Down (Split Records)

‘Turning All the Lights Down’ is a vivacious indie rocker starting up with some Strokes-like guitars and load of youthful spirit. Clearly singer Danny Yeats can deal the playful storytelling lyrics just as well as Kate Nash with the fantastic irony of the nasal whining ‘I’m too young, I’m too young, I don’t know where I went wrong’ building up to the anthemic chorus and other brilliant lines like "too young too talk about it, so we just fight about it." Besides that the chorus nails itself to your brain the second it starts and the song even deals with all the fisticuffs and ASBOs up north. The single shows all the elements of a great band – a wild sense of fun, killer hooks and even insightful lyrics.

B-side ‘Shotgun’ takes the theme of Northern crime a little more seriously than the single, worrying about getting out alive rather than freaking about what your parents will say when they have to bail you out with rockier and more complex guitar lines and pounding drums. Obviously it’s not as catchy, otherwise it would be the single but its lyrics are no less intelligent and it’s another testament to a band that really deserves to make it.

Ollie Khakwani

EP: Rosalita - What Would Your Mother Say? (Animal Farm Music)

Photo by: E. O'Brien]

Although Rosalita sound like a middle-aged Mexican woman, musically they’re a hell of a lot more exciting than any Mexican woman even if she was a drug trafficking skydiving professional assassin, but it’s a pretty fair comparison judging by the subject of the title track. Whilst ‘What Would Your Mother Say?’ rides its disco-ish drums and synths in a way that’s so catchy it’ll force you to dance all the complaints about "what would your mother do if she knew about all the substances you take" are so preachy and clumsy that it sounds like another ‘Ask Frank’ ad campaign. Maybe Rosalita are trying to be really clever by putting the cautionary tale on top of a mental disco track but it’s just so annoying and patronising that you’d be much more compelled to go and do drugs just to spite the lead singer. ‘If You Can’t Dance’ on the other hand capitalises on their addictive tunes leading with an even better hook, retro sounding synths and a more light-hearted attitude. Sadly this much needed loosening up doesn’t last long. Closer ‘Bedtime’ starts with a much more techno sound but quickly morphs into a stomping whine about an ex which sounds worrying Eurovision-esque with the retarded bleepy synth solos that belong in trashy eurodance songs.

With three tracks it hardly counts as an EP but considering that only one track was actually any good I can’t blame Rosalita for lacking material, at least they didn’t rely on filler. ‘If You Can’t Dance’ shows they’re not a lost cause but with all the whiny crap I’ve heard I’m not about to buy the album.

Ollie Khakwani