Pop Blitz

Beyonce ft. Lady Gaga - Video Phone
I probably would have never listened to this if Gaga wasn't on it. As it is, her part is definitely the highlight. Like the worst Beyonce songs, the track's utterly tuneless. Oddly enough, it's growing on me a little. Maybe it's the ridiculous lyrics. C+

Marina & the Diamonds - Mowgli's Road
Sort of a feistier Feist, this track has a a distinctly "arty" feeling to it. If I'm being honest, I've heard better from this band. But still, as their breakthrough, this is alright. B

The Killers - Happy Birthday Guadalupe!
Weird. I wish they'd just release another album and forget about all of these Christmas singles (wait, is this for charity? Then scratch that, I guess). Anyways, I've always been a fan of this band but this song is pretty uninspired. It hardly sounds like them at all. More like an unfinished demo. C-

Jay-Z ft. Alicia Keys - Empire State of Mind
I maintain my position that there is nothing remotely interesting about Alicia Keys. I find her utterly, annoyingly dull, and it's her more than Jay-Z that prevents me from liking this. The hook is droning, and I don't see why anyone who wasn't from NYC would care about it. C-

Lily Allen - Who'd Have Known?
I'm not a big fan of the album as a whole, but there's already been a few nice tracks from Allen this year. This one's got a very memorable chorus that makes up for some sleepy verses. All in all, one of her better singles. B+

Shakira ft. Lil Wayne - Give it Up to Me
I should hate this. It's so much less inventive than most of Shakira's releases, but for some reason it's completely addicting. The production is circa 2007, but the chorus totally makes it. Lil' Wayne isn't even all that annoying. A-

Jennifer Lopez - Louboutins
Not sure what exactly Jennifer was attempting here, but this is utter crap. I mean, no one was expecting miracles with a voice and personality like hers, but it sounds like she's hardly trying here. It's quite lifeless and the production sounds very cheap. F

Melody Club & Anna Järvinen - I Don't Believe In Angels

"I don't believe in angels, but I've just seen one"

How the hell did I miss this?!? Seriously, it combines two of my favorite things (Melody Club & Christmas), PPG and Jessica have both posted about it, and it's been out for a month now. Sheesh! I must be really off my game. Melody Club is, after all, a card-carrying member of my holy trinity of music (see sidebar) and I'm guaranteed to love everything they do. This Christmas track, with newcomer Anna Järvinen, is no different, though it's more of a curio amongst their impressive catalog than anything else. It sounds like you'd expect a holiday-themed MC midtempo to sound: an instantly singalong melody, cheesy lyrics, and lots of sleigh bells. I hope that it's a success for them. Maybe it'll rejuvinate interest after their last (flippin' fantastic) album failed to light the charts on fire. Either way, it's always a pleasure to have them around.

Melody Club & Anna Järvinen - I Don't Believe In Angels

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the single here. Follow me on twitter at nickajames)

Track-by-Track: Allison Iraheta - Just Like You

On her debut album, American Idol contestant Allison Iraheta comes across as a mix of Kelly Clarkson and Pink, but her vocals and attitude really shine. It may not be the most original work ever created, but it's a solid debut... certainly better than I expected.

1. Friday I'll Be Over U - A blast of youthful power pop, this was an obvious choice for the first single, though somewhat of a red herring since this style doesn't really repeat itself until the end of the album. It's undeniably a Max Martin-penned track, with those big punchy choruses and mammoth instrumentation. 10/10

2. Robot Love - Over a glam-rock-meets-electro beat, Iraheta sings/chants an addictive song about a boy in love with technology. It's one of the album's most interesting detours, and a style she'd be wise to follow, as it really sets her apart. This is another big sounding record, and something very current. 10/10

3. Just Like You - Now we're in Kelly Clarkson territory. Iraheta has a very strong voice and presence, so this works, but it's nothing innovative or different. There are better Clarkson-esque tracks on here. 7/10

4. Don't Waste The Pretty - A strummy little upbeat number, this feels tailor-made for radio, and that's one of its weaknesses. I like the melody and the overall sound, but something's just a little irritating. Maybe I'm just not a fan of these type of "inspirational" message songs. 8/10

5. Scars - The first big ballad, and Iraheta really shines here, sounding much older than she is. The lyrics are nice, and the chorus is especially beautiful. It's very Breakaway-era Clarkson. 9/10

6. Pieces - This kicks off sounding a little like Kings Of Leon's Use Somebody, but never scales the heights that they achieved with that hit. The verses are better than the chorus, which is kinda weak. 7/10

7. D Is For Dangerous- Another exercise in attitude, this one also feels a little lacking. The tempo's a little middling, missing the extra boost of energy that this song needs to be successful. The chugging guitar stomp of the verses is nice. The chorus is a little shrill. 7/10

8. Holiday - Now this is more like it! A straight up rock song, this sounds like something from Green Day's last couple of albums or even Hole's Celebrity Skin. The melody is great, and Iraheta really comes into her own here. It's probably the rockiest song on the album. 10/10

9. Still Breathing - Radio fodder, for sure, but pleasant enough. The melody in the verses is especially nice, and the dramatic chorus works well enough. Still, it's one of the more forgettable tracks. 8/10

10. Trouble Is - Some of this is a total rip-off of Christina Aguilera's Beautiful, but then there's that bluesy chorus, one of the best on the album. The strings at the end are absolutely gorgeous, and Iraheta sounds particularly stunning here. 9/10

11. No One Else - Now this actually sounds like Melissa Etheridge. It's a ballsy rock song where Iraheta really gets to sing her heart out. I love these harder edged tracks. This feels like a real catharsis, and it's the type of thing she does best. 10/10

12. Beat Me Up - Back to the style of the first track, this 80's rocker possesses probably the finest, most instant pop melody on the album. I take some issue with the lyrics, which really don't fit the song, but the melody and energy alone earn this a 10/10

13. You Don't Know Me - Another pop rocker, this is sort of a comedown after the last track. It's sort of middle-of-the-road, which would certainly work for American radio, but isn't one of the strongest tracks here. 7/10

Album Grade: 8.6/10

Allison Iraheta - Beat Me Up

"I know this isn't just a phase"

Allison Iraheta came in fourth place on this year's Idol, and her debut marks the last Idol album released from this season worth caring about. It's pretty good (look for a full review soon), and pretty eclectic too. Her single, Friday I'll Be Over U, is certainly a standout, as is Beat Me Up. I do have an issue with the lyrics of this song, since it really seems strange for a 17-year-old to sing about wanting to be abused. Not sure I quite get what she's going for there. But, the music more than makes up for it. Melodically, it's in-your-face and striking--a punchy 80's pop/rock masterpiece, bringing back the days of Joan Jett and Pat Benatar. On an album where she sounds more like Pink and Kelly Clarkson, this is a very promising direction.

Allison Iraheta - Beat Me Up

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the album here. Follow me on twitter at nickajames)

Adam Lambert and the Easily Offended American Folk

Before Thanksgiving break, I thought it was a good time to get out my thoughts on this whole Adam Lambert thing, seeing as I was such an ardent supporter during his Idol days and he’s now dominating the news cycle on American TV. I already posted my review of the album (it’s fantastic, by the way) and I’m very pleased to see that he’s on track to sell 200-250k this week. I am, however, sick of how easily this country gets offended.

Now, it takes a lot to offend me, and anything sexual is not gonna do it. I was not the least bit offended by Adam’s now infamous AMA performance. I did think it was somewhat lazy and unnecessarily distracting, but that’s a different story. The bottom line, like Adam said himself, is that this was a performance being aired at eleven PM on an awards show already rampant with sexuality. Children should have been in bed (it’s a school night, after all) and the offended adults should really get out more (or grow a spine) if they’re watching the AMA’s and expecting some lame Donny & Marie act.

It’s Christian Conservative America striking again, and it takes me back to 2004 and “Nipplegate” (aka the destruction of my favorite female performer’s successful career). I don’t think Janet Jackson’s ever recovered from the ire of the “family values” parents and their ilk. These people are out to destroy creativity and expression, in favor of blind allegiance and stagnancy. Lambert looks to do just fine, especially if his stunning performances on The Early Show this morning are any indication, but it’s still frustrating. Every time someone interesting comes out of the pop machine in this country (happens about once or twice a decade, if we’re lucky), Evangelicals set their sights on them, hoping to rip them to pieces before they can subvert America’s youth. I’m surprised they haven’t gone after Lady Gaga with pitchforks and fire.

At any rate, I'm thrilled that a male performer that openly nods to glam, electro and pure pop has finally burst onto the scene. And the kicker is, he’s talented as hell. It remains to be seen if there’s a vision in him to match that talent, but we’ll never know if we don’t give him a chance.

For today, an excellent bonus track from his debut album. Have a great Thanksgiving, everyone!

Adam Lambert - Down The Rabbit Hole

Vivek Shraya - I Am A Bass Drum

"The swagger in your shoulder"

Welcome back, Vivek Shraya! His last album was one of the most refreshing indie releases of 2007. Now he's back with his new one, Keys & Machines, and it's more of the same disco/electro/pop concoction. I'm a huge fan of Shraya's vocals, which on some tracks remind me of George Michael, Jake Spears and (more recently) Tommy Sparks. Not only that, but I love the simplicity and catchiness of his songs. I Am A Bass Drum was the album track that stuck with me most instantly, an aggressive anthem filled with handclaps, electronic squiggles and a whole lot of attitude. It sounds like the brother to Tommy Sparks' I'm A Rope. Both amazing pop songs.

Vivek Shraya - I Am A Bass Drum

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the album here. Follow me on twitter at nickajames)

Martin Solveig - Rejection

"I spend so much energy"

A bit of a flashback today. This song is from a few years ago, but I'm betting (hoping?) that a lot of you haven't heard it. I hadn't paid Martin Solveig any attention until his brilliant duet with Dragonette this year. Looking at his back catalog, there are a few real stunners I uncovered. Rejection is perhaps the best, and reminds me very much of beloved Danish band Private. It's got that old school, soulful Prince/Michael Jackson sound to it--totally bright and happy, even when the guy's singing about being rejected. The minimalist video is ridiculously entertaining as well. This guy is a real ham. I was actually surprised when I found out that he's French. This is not really the type of music I'd expect to come out of France, especially sung in English.

Martin Solveig - Rejection

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the album here. Follow me on twitter at nickajames)

Hedley - Don't Talk To Strangers

"My mama said don't talk to strangers"

Easily the most successful thing to come out of Canada's now-defunct version of the Idol franchise, Hedley is a punk-pop band with a lot of radio appeal. I've written about them several times already. I'm a huge fan of lead singer Jacob Hoggard's voice. Their new album ups the electronic influence (think Boys Like Girls, Cobra Starship, etc) and though I haven't had time to listen to most of it, the first handful of tracks are quite good. Lead single Cha-Ching was incredibly catchy, and they'd be wise to follow it up with Don't Talk To Strangers, a similar-sounding track that is just as hooky. It reminds me a lot of 3oh!3, but with much better vocals and far less offensive lyrically. Plus, it's a song about Cougars (and not the feline type). What's not to like?

Hedley - Don't Talk To Strangers

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the album here. Follow me on twitter at nickajames)

Track-by-Track: Adam Lambert - For Your Entertainment

I've learned never to judge an Idol contestant on their first album. Each time, it's primarily a producer's effort, filled with songs plucked from the vaults to appeal to as wide an audience as possible. If they're lucky, the artist will get to nudge parts of the album in an interesting direction or two. I adored Adam Lambert on the Idol stage, but what about as a recording artist?

1. Music Again - Kicking the album off in the best way possible, this Justin Hawkins-penned track is a template Lambert would be wise to follow in the future. He promised us that glam rock is back. This song delivers fully on that promise, with a sugary hook and one hell of a vocal performance. 10/10

2. For Your Entertainment - The first single, and not entirely representative of the album as a whole. This sounds very much like a male version of Britney Spears (a male version who can, y'know, sing). It ditches guitars in favor of a straightforward electro stomp. I wasn't completely sold at first, but this is a grower. 9/10

3. Whataya Want From Me - In some ways, this could be considered the most middle-of-the-road, radio-friendly song on the album. Luckily, Lambert's vocals imbue it with enough character to keep it from sounding too anonymous. This would be a wise crossover choice for radio. 10/10

4. Strut - The beat is nice, as are the guitars. The lyrics (often the weakest facet of the album) are the real letdown here. They're just pretty lame, honestly. The chorus has an interesting shout-along melody that displays Lambert's range pretty stunningly, and the song sounds better the louder you play it. 8/10

5. Soaked - A Muse castoff, this ballad was totally underwhelming in demo form, but Adam manages to transform it into something quite dramatic. His vocals get the full workout here, and they're as impressive as they always were. It opens with a dramatic orchestral flourish and never really lets up. The only downside is that it still sounds very much like a Muse song, rather than an Adam song. 9/10

6. Sure Fire Winners - One of my least-favorite uptempos on the album, this seems to nod to the double-punch of Queen's We Will Rock You/We Are The Champions, but something about it doesn't quite gel. It has the glammy punch I like, but isn't nearly as strong as the first track. Still, at least it's identifiably Adam. And the guitar riff towards the end is really nice. 7/10

7. A Loaded Smile - The song that always seems to fade into the background. It's more of a placeholder than anything. It's a pretty placeholder, for sure, and very atmospheric, but needs a stronger melody to be truly effective. It's nice to hear the falsetto, though. 8/10

8. If I Had You - A high octane dance track, this sounds like something that would be popular in Sweden (think BWO, Ola Svensson, etc). And, surprise, it was written by the always-reliable Swedes. Great beat, great lyrics and fantastic delivery. This gets the album back on track with a jolt. 10/10

9. Pick U Up - The second highlight after Music Again, this uptempo (co-written by Weezer's Rivers Cuomo (!)) has a melody that builds and builds until it absolutely explodes at the end. It's a fantastic, gripping production that utilizes Lambert's ridiculous vocals to full-effect. Even the annoying laugh at the end doesn't derail this stunner (friendly note to Adam Lambert: don't ever laugh on a song again. Doesn't work unless you're Janet Jackson) 10/10

10. Fever - Continuing the strong streak, I loved this song as a Lady Gaga demo and I'm happy that they've changed it up for this album. Instead of the classic-rock styling of the Gaga version, the song's been transformed into a Scissor Sisters vs. George Michael electro number, and it works well. Lambert sounds like he's having a lot of fun with this one. The feeling's contagious. 10/10

11. Sleepwalker - You can spot a Ryan Tedder song miles away, and that's really the only thing that holds this one back. Kicking off the string of ballads at the end of the album, this is a strong one, with a big, multitracked chorus. Lambert sounds a lot like Darren Hayes on the ballads. That's a good thing, by the way. 9/10

12. Aftermath - The cheesiest sounding ballad on the album, this sounds very much like a song you'd expect to hear from an Idol contestant and seems the furthest from the sound Adam is aiming for. Still, for this kind of a track, it's above average. 8/10

13. Broken Open - A beautiful way to end the album (before the bonus track), this atmospheric electro-ballad displays Lambert's falsetto at its Mad World best. It's a very promising musical statement that bodes well for his longevity. 10/10

14. Time For Miracles - I won't score, since this is basically a bonus track, but I've gotta say I still really like it. I'm a sucker for these big disaster movie ballads.

Album Grade: 9.1/10

(Editor's note: Fans of Adam Lambert, do yourself a favor and check out glam-rock band The Ark and their albums--We Are The Ark, In Lust We Trust, State Of The Ark, & Prayer For The Weekend. I feel like this is the sound Adam Lambert is going for. He's not quite there yet, but it's fantastic that he's trying. Anyways, Lambert fans would certainly love this band.)

Adam Lambert - Music Again

"You make me wanna listen to music again"

I'll have my full thoughts on the new Adam Lambert album later (probably tomorrow), once I've had some time to digest it properly, but today I want to post the hands-down best track he's recorded. It's always slightly frustrating when the highlight is also the first track, since it inevitably invites a certain level of disappointment. Music Again, co-written by Justin Hawkins from the Darkness, is EXACTLY the sort of thing Lambert needs to be doing. It effortlessly blends classic rock with the type of modern electro that's found later on the album. Most importantly, the melody is a total kicker. There are traces of Queen, Sweet and (of course) the Darkness, but the swagger and vocal prowess is all Adam. The falsetto in the bridges puts Mika to shame, while the chorus could pass for a choir of Freddie Mercurys. This is brilliant stuff.

Adam Lambert - Music Again

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Preorder the album here. Follow me on twitter at nickajames)

Track-by-Track: Lady Gaga - The Fame Monster

Coming off of such a massive debut success, Lady Gaga had a lot to prove with her second album. Luckily, she's more than up to the task, eclipsing her debut in every way possible. The Fame Monster is her official arrival, a declaration that she's in this for the long run.

1. Bad Romance - Her best single to date, and surely one of the defining singles of her career, this takes everything that was wonderful about her older songs and amps it up, adding a rock edge and multiplying the hooks by ten. Gutsy, dramatic and undeniably catchy, this is an absolute masterpiece. 10/10

2. Alejandro - Slowing down the tempo, Alejandro goes for a Middle Eastern/Latin American Ace Of Base pop sound. It's a surprising detour, but one that's an absolute success and displays Gaga's ample pop skills. The chorus is especially addictive. 10/10

3. Monster - One of the many highlights, this uptempo features some of the best lyrics on the album, and a brilliant spoken intro that sets the tone for the dark, tongue-in-cheek feel of the song. The drums in the verses are a personal highlight, as is the "he ate my heart" refrain. 10/10

4. Speechless - Her best and most dramatic ballad to date, this showstopper leaps right out of the seventies (think Bowie, Queen, etc) and cuts the album in half, sounding like nothing else on it. Her vocal talent is certainly highlighted here, as are her skills on the piano. This feels very much like the type of song Gaga feels most comfortable writing. 10/10

5. Dance In The Dark - The big Madonna moment of the album, this track even has a Vogue-style spoken middle eight. Probably the most straightforward dance track on the album, the synths are gorgeous and the beat is huge (so huge, in fact, that it often seems to fuzz up coming out of my speakers). 10/10

6. Telephone (ft. Beyonce) - Originally written for Britney Spears, this is like a Britney song on steroids. Of all the tracks, it's the one that caters most to radio's taste, but this is not a bad thing when the sound is so mammoth. Beyonce's verse isn't all that necessary, though it does add some urgency to the song. 10/10

7. So Happy I Could Die - The only song on the album approaching filler. Of course, Lady Gaga's filler is better than most artists' singles, but I still wish this was just a little bit stronger. It's a midtempo, synth-driven "lay in the sunshine" type of track. Pretty, but just not as strong as the others. 9/10

8. Teeth - Now this is really left-field. Probably the only track she's recorded that actually matches her crazy image, this theatrical stomper mixes elements of big-band, swamp rock and Broadway musical. It sounds like nothing else she's ever done. "Take a bite of my bad girl meat." Brilliant. 10/10

Album Grade: 9.9/10

Track-by-Track: Rihanna - Rated R

Well this is certainly different, isn't it? Amidst all the speculation and anticipation, Rihanna's gone and recorded an album of sparse, emotionally dark pop music without an obvious single in sight. It's easily the strongest statement (and album) of her career so far.

1. Mad House - An intro, so I won't give it a number grade. It's somewhat frustrating, because this would have made an interesting full song and should have been one. Also, it doesn't segue into the next track very well at all. As a statement of intent, though, it works.

2. Wait Your Turn - This is the album's "buzz single." I was instantly taken with the chorus, especially the way it opens up the harsher, less melodic verses. The braggadocio before she drops her guise mid-album. 9/10

3. Hard (ft. Jeezy) - A smart single choice in this hip-hop obsessed country, I didn't think I'd like this as much as I do. It's got a tough sound, and Rihanna spends more time rapping than singing, really. Another attitude-driven song. 9/10

4. Stupid In Love - The first overtly Chris Brown related song, this has the classic Rihanna ballad feeling to it. It could have easily been on her last album. The big difference comes lyrically, and the lyrics here are very nice. 9/10

5. Rockstar 101 (ft. Slash) - Probably the weakest link on the album. The bombast is all there, but it lacks a real melody. It's meant as a posturing song, but with Slash on guitar, I feel like she could have come up with something more dramatic and classic. 7/10

6. Russian Roulette - The soaring guitar solo that opens this fits perfectly after the last track, and kicks off the string of songs that make this album such a triumph. The chorus to this is still quite good, though it's more of a mood piece than a smash single. 9/10

7. Firebomb - One of the absolute standouts, Firebomb features a soaring melody, chugging pop guitar and lyrics that are at once very personal and totally universal. If released as a single, this could do wonders for her career. It's beautiful. 10/10

8. Rude Boy - Taking a cue from Beyonce, this trancey, r&b-flavored uptempo packs more of a punch than I realized on first listen. It does slightly break up the theme of the album's second half, but it's one of the catchiest tracks on the album. 9/10

9. Photographs (ft. will.i.am) - This is what the Black Eyed Peas would sound like if they weren't annoying. It reminds me of a sped-up version of Cheryl Cole's 3 Words, which is a very good thing. The track has a subtle, shimmery feel, complimented by will.i.am's more aggressive rap. 10/10

10. G4L - A moody revenge fantasy, this is incredibly dark material. It's not overly concerned with melody, but that's okay. It's pretty compelling regardless. The lyrics are over-the-top ridiculous, but delivered in a truly chilling way. 9/10

11. Te Amo - Already a number one hit in Brazil, this is melodically one of the strongest and poppiest songs on the album. Lyrically, it tells the story of another woman coming on to Rihanna, and Rihanna's attempt to let her down gently. The synth after the chorus is gorgeous and very trancey. 10/10

12. Cold Case Love - The late-album highlight, this Timberlake-penned track is nothing short of extraordinary. Beginning with a dramatic, organ-backed classic rock melody, by the time this is over it's exploded into a full-on epic. The drums, when they finally come in, are spine-tingling. The lyrics, too, are genius. 10/10

13. The Last Song - Flowing naturally from the last track, this continues the rockier, dramatic sound. The lyrics here are very dark, presumably detailing a suicide, or at the very least a death. Extremely atmospheric and moody. 10/10

Album Grade: 9.3/10

Pop Blitz

Pink - Funhouse
I've gotta say I'm happy that she finally released another uptempo single, but this is not one of her strongest. Her vocals don't mesh with such a poppy/funk track, and the lyrics in the chorus are pretty stupid. C

Snow Patrol - Just Say Yes
This has a gorgeous synth intro, but quickly becomes yet another Snow Patrol song. The difference here is the electronic atmosphere and the presence of something resembling tempo. The music is a hell of a lot better than the actually melody, though. B-

Iyaz - Replay
This sounds just like Sean Kingston. It's utterly forgettable and likely to be a one-hit wonder, but it's pleasant enough. The chorus is certainly catchy. The major problem is that it sounds like everything else. C

JLS - Everybody In Love
This could have come out in the 90's, released by Boyz II Men. If that's what these guys are going for (and judging by their X-factor performances, it is), then it's a huge success. If ever there was a template for "big boy band ballad," this would be it. Whether that's a good or bad thing, I'm not sure. B

Leona Lewis - Happy
Here's an idea: why don't we write the sonic equivalent of Bleeding Love, only not as good, and pretend it's a new song? This isn't horrible (though it's a bit plodding), but it's so lazy. C+

Amanda Jenssen - Happyland
This is an interesting hybrid, and more exciting than I expected from Amanda. Few songs are very adept at melding the past with the present, but this does a pretty good job. She sounds great and the background vocals are a nice touch. A-

Jason Derulo - Whatcha Say
This has been floating around on U.S. radio waves for awhile now, and it's allowed me to warm to it a bit. The best parts by far are the female backing vocals. The chorus is pretty good, too, but Derulo's voice is utterly uninteresting. B

Robbie Williams - Arizona

"Highway to the stars tonight"

I'm a sucker for aliens, especially songs about aliens. And after the semi-recent tabloid stories about Robbie Williams going on an "aliens are out there" rant, the subject matter of his latest bonus track, Arizona, is especially clever. Not only that, but the song itself has a moody electronic feel that hearkens back to his Rudebox days while at the same time expanding the aural palette. It's an epic little tune, especially for a b-side. Very cinematic. I wanted to write about this today not only because I love it, but because I wanted to repeat how much I'm loving the album as a whole. It's a very strong comeback, and the public should treat it as such.

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Buy the album here. Follow me on twitter at nickajames)

Penguin Prison - A Funny Thing

"We can't ever be alone"

Penguin Prison is an NYC Dj known for his remixing, but now he's releasing his own material. Maybe someone can tell me the significance of the band name (if there is any) because I honestly don't know. Doesn't matter much, though, because the music's what counts and the music leads me to believe that we've got an interesting new talent here. His accessible electropop has just enough of an indie edge to it to make it cool without being boring and pretentious. This is definitely party music with an edge. A Funny Thing has a downright brilliant, disco-fied chorus and I'm very impressed with the range and character of his vocals. It reminds me a lot of Tommy Sparks, an artist I loved earlier this year. Hopefully this guy can find even greater success.

(Music posted for evaluation purposes only. If you like what you hear, support the artists. Listen to more here. Follow me on twitter at nickajames)