Fights and Fallouts... The Knives are Drawn in Singled Out!

Without any need of an introduction, it’s the mighty White Rose Movement with ‘Love Is A Number’. Imbued with an uncontrollable energy, an irresistible bass hook, layered guitars and Robert Smith-esque vocals (we’re even getting wafts of The The in there) from Finn Vine and a sprinkling of synths thrown in, you’d really be pushed to find a more assured debut single this side of the millennium. Together with The Longcut, Editors et al, WRM are forging an early-eighties inspired renaissance and boy does it sound good. Better still it seems the Movement have the aesthetics to match the tunes. Brilliant.

‘U Don’t Know Me’ sees Brixton’s prodigal sons, Basement Jaxx, on familiar playful territory. Now trademark Jazz beats are fused with crunching guitars, crazy electronic whirs all with the infection vocal talents of a gutsy female vocalist on top. True, it’s far from the greatest moment in their glittering career, lacking a bit of much-needed mayhem and oomph that we’ve come to expect from them, but undeniably Mr Buxton and Ratcliffe have served up a decent enough offering that’s sure-fire top-ten bound. A lot more jazz next time please lads.

Affable Mancunians I Am Kloot give us a nice bit of melodic, acoustic-driven fodder with ‘I Believe’. Thankfully just about staying on the right side of pleasant than MOR, it’s the kind of tune you’d quite happily listen to on a sunny, hazy festival afternoon, which, hey, isn’t a bad thing. Very ‘Hour of The Bewilderbeast’ era Badly Drawn Boy-esque though, old tea cosy head must be quaking in his loafers at this, whatever he’s up to… anyone? Sadly our version of the single is devoid of the Two Lone Swordmen mixes which surely would have been thoroughly ace… damn those single track promos!

Let’s cut to the chase here, Gigwise really did want to hate Fightstar’s ‘Paint Your Target’. In reality, once you’ve thrown all of those preconceptions and grumblings out of the tenth storey window, it’s not that bad. For the lanky caterpillar-eye-browed toff and his chums skulking in the shadows give us a fairly virtuoso slab of highly generic, immensely chart friendly pop-rock that will keep definitely keep the kids happy, if anyone else. All in all, not a bad effort.

Slightly nerdy, very jerky and oozing with glorious guitar-pop melodies… ah it can only be The Five O’Clock Heroes. Spelt ‘Head Gmes’, yes, that’s without the ‘a’- oh how those New Yorkers play tricks on our crania! – it’s all veritably enjoyable stuff, if lacking in bit of belly. Apparently, the band have hooked up with Eli Janney on their forthcoming debut album, famed for his work with The Rapture and the likes, so there’s sure to be plenty of hollering, electronic-based, romper stomping action on the album then. Actually, maybe not.

With such general ethereal grandiloquence, dreamy vocals and swooning sound there’s no doubting Engineers tick all the right boxes for critics, just like kindred spirits Mercury Rev, The Flaming Lips etc. have done before them. Opening track from their lovely eponymous debut, ‘Home’ typifies this somewhat mystical and very soothing sound. Really, they should patent their songs to anti-stress companies, who needs Valium or Prozac when you’ve got Engineers? Quite where the band go from here is anyone’s guess, but for now we’re going to forget such frivolties, kick our shoes off and relax. Nice.

Clint Boon thinks Earl are, quote, ‘Supercool’, and accolades surely don’t come any higher than that? In fairness though lead track of this double A-side, ‘What Are You Waitin’ For?’ is a highly melodic, attitude-packed, synth-guitar hybrid buoyed by pouting vocals from frontwoman Ruth Daniel. And the sketchy production only adds to their charm. On second track ‘Safe’ we see a sultry, sexy, clearly Goldfrapp- inspired side to the band, but sadly they don’t quite pull it off with as much gusto. We won’t mention bonus ditty ‘Risky Disco’ - ahem, indeed.

‘Black History Month’ is not quite frenetic as previous offerings from Death From Above 1979, but in a slow brooding kind of way it still kicks quite a throbbing punch. A melodic (yes, you read that right) ode to loneliness, centred on the line “Hold on children, you’re mother and father are leaving”, the elephant nosed duo even manage to be a bit affecting… but wait, before you fill up, the tempo suddenly shifts - crashing guitars are coupled with vocals teetering on breaking point, all topped off with a glockenspiel plonk at the end. Interesting fuzzed-up version of Bloc Party’s ‘Luno’ on the flip side, although a cover of ‘So Here We Are’ surely would have been much more interesting?

The Knife’s ‘Pass This On’ is perhaps the greatest song to use steel drums since Super Furry Animals’ ‘Northern Lites’. Some achievement, indeed. Aside from this, the warm, textured, housey tune wreaks of sexiness with a slightly androgynous vocal asking “I need love with you brother, what’s his name?” Come on love, it’s not a school disco, pluck up the courage yourself! Amazingly, even better things are to come in the clubbier Dahlback & Dahlback mix (as championed by Mylo and the likes) complete with relentless lost-in-the-moment techy loop, and M.A.N.D.Y’s spliced, abstract electro mix. 

Kano is a man who sounds like he’s been doing the rounds in the hip-hop fraternity for aeons now. Surprising then that he’s still only 19. With ‘Remember Me’ he’s even got the confidence to throw in horns aplenty and jazz leanings, and coupled with the funky-as-**** beats and Kano’s own dextrous, scatty raps, it all adds up to a potently great tune. B-side ‘Mic Check 1, 2’ shows a tougher, if a bit more obvious, side. Muchos respect for the line “My album’s out in May, Should be platinum by August”, **** does that boy exude confidence!

True, on paper The Fallout Trust’s traits make for a pretty dire prospect, with their introvert, slightly tortured indie-warbler leanings and all that. In reality though, and in a delicate, subtle way ‘When We Are Gone’ is actually pretty damn nice. Imbued with an understated splendour, with soft electronic drum beats, lush instrumentals and Joe Winter’s fragile falsetto, the opening two minutes of the tune are stunning. The rousing bit at the end is a tad predictable though. Word on the street is that The Fallout Trust are well read – fingers crossed their debut album isn’t a bit too far up their rectal passage, then.

Turkey Of The Week: If you’ve never heard a Simple Plan track before, imagine Green Day watered down – and without character or the tunes. Formulaic and devoid of any individuality, on ‘Welcome To My Life’ the Canadian lads toddle through a quite bit, a jumpy-up-and down-bit and don’t really do anything worth of note in-between. True, it’s not as painfully dire as most of the tracks relegated to this lowly position in Singled Out!, but heck is it boring. Still with 2million album sales under their belts, it’s them who’re laughing in their skater shorts all the way to the bank.