Stan & Jessica's Blockbuster Video

A couple of days ago I posted the cover of Jessica and Stan's awesome duet and today the video arrived. Ever since "Get Em Girls" did for green Lycra what Jaws did for swimming, I'm kind of terrified when J Malley drops a new clip. They always seem to go horribly wrong and spoil an otherwise great song. Happily, Sony stretched the diva's budget to four figures this time around and "Galaxy" is largely inoffensive. I'm not sure about that peach dress or the cheap floating crystals but I like the red moon and meteors.

More importantly, Stan is there for eye candy and he works his trademark chest clap for extra emotional impact. They look so cute together! And after seeing them perform the song on tonight's X Factor, I'm even more excited about their joint tour. The current King and Queen of Aus Idol sounded great and I loved their pared back version of "Galaxy". This is a good song and deserves to be a big hit. The ballad is rocketing up iTunes - #14 at present - so, mission accomplished.

Jessica & Stan Fly The Idol Flag

Jessica Mauboy and Stan Walker have finally blessed the world with the duet we've all been waiting for! No, really. I love them both and think a collaboration is smart for several reasons:

1. It gives them something to sing on their upcoming joint-tour of RSL clubs - no shade, this is actually happening and I already have tickets!
2. They are two of the nation's most successful pop stars and I'm a firm believer in cross-promotion.
3. Anyone is a better duet partner than Jay Sean.

As for the song, it's a total grower. After returning to the top 5 with her double platinum smash "Inescapable", I thought J Malley should go with another upbeat number like "Run" - or the still brilliant "Maze" - but "Galaxy" is fun too. It reminds me a lot of "No Air" (AKA the last time Jordin Sparks was relevant). It doesn't knock your socks off on the first listen but slowly creeps up on you like a pervert. Radio will love it and I'm sensing a sexy beach-themed video if the cute single cover (above) is any indication. We'll know soon enough. The song hits iTunes tomorrow and the delicious duo perform the song on next week's X Factor. Here's a sneaky listen below.

The Return Of Amy Pearson

It's the news that millions of pop fans around the globe have been waiting for - Amy Pearson has blessed us with a new single! Two years have passed since "Butterfingers" killed her career but the big-lunged diva has kept busy writing songs for colleagues like Zoë Badwi. Well, the British import is finally ready to move on from her glorious ode to anal-probing. Ms Pearson jazzes up DEVolution's new single with her powerful pipes, helping "Good Love" climb the ARIA club chart. It's a great song and I hope it returns Amy to the lower reaches of the top 40 but why isn't she credited as the feature artist? And why is her lovely visage missing from the film clip? I'm not here to watch some teenage slut dance for her boyfriend when I could be soaking in the face of an angel. Obviously, the producers were worried that her magnetic charisma would be distracting for viewers. And they could be right. In any case, I'm just happy she's back. Close your eyes and imagine Amy getting her butterfingers in a twirl to the uplifting synths of "Good Love" (below).

Ricki-Lee Returns With Raining Diamonds

There has been a flurry of activity from Australian Idol alumni of late. Jessica and Stan are about to release a cute duet, Shannon is predicted to hit the top 10 with his awesome new album and Anthony Callea recently reached number 88 on iTunes with "Oh Oh Oh Oh". But Ricki-Lee has outdone them all with "Raining Diamonds". The 25-year-old diva was a staple of this site for years until everything went tits up with her scrapped "See No, Hear No, Speak No" album and she threw in the towel to become a weight-loss spokeswoman. That opus was actually rather amazing and should still be released for her fans at some stage. But I digress. Ricki-Lee's enormous talent was being wasted and I applaud EMI for dragging her newly pert butt into the studio and re-launching the career of one the nation's best pop stars.

And what a way to return! "Raining Diamonds" is an absolute monster. Written by Billy Mann and produced by David Schuler, this is the angelic songbird's finest moment since she slayed Agnes by radically improving "Love Is All Around". Imagine Kelly Clarkson singing a towering house anthem and you get some idea of what Ricki-Lee's latest sounds like. From the opening "woah woah woahs" to the glorious Casey Donovan-sized chorus, "Raining Diamonds" is an absolute triumph that perfectly showcases the stunner's powerhouse pipes. I loved the maligned "See No, Hear No, Speak No" era but it did sound slightly dated. Happily, Ricki-Lee has tapped into something much more current. Leona Lewis wanted "Collide" to sound like this. Dev would kill for a song like "Raining Diamonds" (if she could actually sing). Listen to one of 2011's best singles below. The song is already rocketing up iTunes, so get downloading.

Anthony Callea - Oh Oh Oh Oh No

Four years have passed since Anthony Callea released his last single. During that time he came out of the closet, hooked up with Tim Campbell (hi!), left Sony and spent a lot of time in America working on his independent comeback. The only thing the pint-sized pop star forgot to do is record a decent song. "Oh Oh Oh Oh" is awful. As much as I like the idea of an openly gay Australian pop star who isn't Darren Hayes, I still have (admittedly low) standards. And there is nothing redeeming about this generic club-banger.

The pocket rocket made a fuss about working with frequent Black Eyed Peas collaborator DJ Poet in recent interviews but a big-name producer doesn't guarantee a good song. As this shocker proves. The lyrics are awful, the production sounds dated and Anthony's powerhouse vocals are hidden under levels of autotune that would make T-Pain balk. I don't get it. The 2004 Australian Idol runner-up has a great voice. Why not record a track that shows it off? On the bright side, I recently caught Mr Callea supporting Sophie Ellis-Bextor in Sydney and the first song he performed was vastly superior to this. Very good even. If that's already in the can, it needs to be released sooner rather than later.

In the meantime, check out Anthony's #88 Australian iTunes smash "Oh Oh Oh Oh" below.

Shannon Noll - 'A Million Suns' Interview

Shannon Noll has been flying under the radar for the past couple of years but he's back with his long-awaited fourth album "A Million Suns". Now with a new record label and fresh outlook the music industry, the former farmer is hoping to re-capture the spark that resulted in ten straight top 10 hits between 2004 and 2007. A lot has changed since the 36-year-old rose to fame on Australian Idol but he remains one of the country's favourite singers and proved he still knows his way around a catchy pop/rock chorus on "Switch Me On", which is turning into a sleeper hit. The album delivers more radio-ready goodness and should please the anyone who loved classics like "Drive", "Shine" and "Lift". Check out what Shannon has to say about his comeback, Idol and the surprise involvement of Sophie Monk on "A Million Suns" (available now!) in our chat at Universal HQ last week.

You've been missing from the music scene for the past couple of years. What have you been up to?
Mate, I've been writing mainly. I wrote 57 songs for this album, so that was over that 2 year period and we did a lot of acoustic work. I did the big show around the country and then I went around the country again acoustically and then nearly around it again with another acoustic show.

You did the acoustic thing for a long time.
Yeah so now I'm really looking forward to getting back into the rock side of the show, bringing back the lights and all the guitars and rocking out again. So it seems like I haven't been doing a lot but I've just been under the radar.

Going back to your first three albums, I was looking at the stats and they did huge numbers. Is it daunting to have those expectations to live up to?
Mate, definitely. But that had a lot to do with the hype of the show and things always will taper off a little bit but they were great albums and I'd like to think I've got another one in a similar ballpark. At the end of the day, I listen to them all with equal thoughts about them. That's the most important thing. Being happy with the finished product.

How has the music world changed since you had all those hits?
Just with how everything works now. These first couple of singles we put out. They're on sale the day the day they go to radio instead of being at radio for 6 weeks. So now they debut really low and you've got to try and get them up as opposed to trying to start them up high and then they go down. It really has changed. It's a whole new world and there's no physical singles anymore.

It's a shame because I love them.
Yeah I know. But that's just the way we're going. The industry has definitely had to evolve and move forward to try and combat the downloads. This is how it's changed.

I love the first song "Switch Me On". Did Benji Madden co-write that?
Yeah I wrote that one with Benji. We're both signed to EMI publishing in Australia. So I think he was out here with a couple of days up his sleeve and someone said he wanted to do some writing. So he was aware of my music already because of his connection with Sophie Monk, who's a friend of mine and she put him on to me. So when the opportunity came up he was up for it.

I've heard the rest of the album, which is awesome, your next song "My Place In The Line" has a bit of a "What About Me" vibe to it...
It has! It also has a "Lift" sound to it. I wrote it with the same guy I wrote lift with. It's similar to that style. The first one was a little bit more uptempo and bit rock. That's the Good Charlotte influence in there as well. The current one now is more similar to the stuff that I've done in the past.

I was speaking to Benn Jae (the director of Shannon's past two video clips) a couple of weeks ago and he was telling me you're almost not in the video.
Yeah I'm just intercut into it. There's a storyline with it, explaining the lyrics and the song's about trying to find the place where you fit in and the story explains that in the way of two young people who are struggling to fit in, so they end up finding each other. I'm intercut through it, just doing performance pieces. But I love having a story, like a mini-movie type thing.

Is the title track ("A Million Suns") going to be a single because that's, for me, the song that really just pops out.
That's great because we're actually having a conversation about what single to go with next. I'm fairly sure it probably will be, mate. Just because it's different and I think it's more current in a way, more like the music that's going around these days. That's why I wanted that track on there because it's a little bit left of centre and a little bit more now.

The lyrics to that one are a little unusual. What is the inspiration for that song?
It's about that time when you're trying to find... you're striving to do something and you're waiting for something to happen. Which was like me before the show (Australian Idol), driving tractors and singing along to the radio. Singing to the steering wheel and hoping what you believe in your heart... is possible, comes true. It's all combined by the million suns. Out home where I come from it gets really, really hot and sometimes it feels like there are a million suns out there.

I really like that one. I think it's a real standout. I also love "Come Home" and "Long Way Home". There almost seems to be a bit of a theme throughout a lot of these songs...
Yeah, there is a little bit.

Have you been in the dog house?
Yeah! "Come Home" definitely is a reconciliation song but "Long Way Home" explains all the not-so-glamorous parts of the business. I think before you're actually involved in it, you just look at the glossy parts. It's not all parties and gigs and after-parties. It's a business and it's a career. There's so much involved in the day-to-day. Like I've got friends back home who just think that I do gigs and that's it. You'd be surprised at the actual amount of time taken up by the interviews and by the writing and by the recording - all them things you do in the day time. And then you've got the weekend work as well.

For me the big surprise on this album was the cover of "It's A Man's World". That seemed a bit adventurous. Are you moving into the Jazz field?
No. It's just everybody I worked with in the States that had no idea who I was or where I came from or anything, said time and time again I must have negro in my family somewhere because the soul or technique I use with my vocals. It's soul, I think. It's a big ask trying to do a song that James Brown sang. There's only one James Brown but it's a song that really suited my voice with the gravel in it and that sort of thing. I love it and we wouldn't have done it if we didn't think it was going to come up good and everybody who's heard it.. and I wanted to add another dynamic to the show too. So I'm going to put it in the live set as well. And it's something that just takes it away from the ballads and the rock stuff and the mid-tempo stuff. It's a complete different place in the show. It's a real moment.

Did you also cover it to show your versatility?
Definitely. It's an example to say what do you think about that? I enjoy that. It's another string to my bow.

Do you think that there's any kind of lingering stigma attached to Australian Idol or is that just so long ago now that nobody remembers or cares?

Mate, at the end of the day, I got my start in Idol and I'll never forget that but it's not the reason why I'm here today. There's been a lot of hard work and time put in to continue my career. The show was only ever an opportunity and it was up to the individual then to make the most of it and push forward and try and create a career from it. Given the fact that I got the start with it, I think that plus what I've done in the last 10 years is the reason why I'm still here.

That's a really good point because how many hundreds of people have gone through that show...
Yep!

And maybe five are still working.
Yeah, that's right. That's the whole thing about it, there's no guarantees with it and it doesn't mean for one minute that you've made it. It's a foot in the door. You've got to keep your head down and work as hard as you can to walk through that door.

Do you think that's what set you apart from a lot of Idol alumni - that you went out there and played show after show?
Yeah the whole thing is... the live side of it is what I dig, that's my love. That's why I do music. So it was something that was natural for me to do next. Going to a show is so different from sitting in your room and listening to a CD. You get the vibe and it's entertainment. It definitely helps because a lot of people, who are your fans... they'll be your fans but if they can get to see a show then they'll be a fan forever. As much as they'll support somebody else the next year, they'll still keep you in their heart.

Do you think your approach has something to do with the fact that you're a little older than some of the kids that go through Idol. They just seem to think that it's all just going to fall in their lap, while you went out there and grabbed it.
I actually think it's a little bit more that we were the first. The first show was massive and because of how Guy (Sebastian) and I handled it, people saw that and thought that was because of the show initially. There was no template for us because it was the first season. We went out and did the best we could to try and make a future out of it and I think a lot of people who were sitting at home watching it, just thought that came because we were on the show. They didn't see the behind-the-scenes, the hard work put in to build it into something special. So I think a lot of the kids that go on the shows these days think that just because they've got into the top 5 or 10 that they think that we did post the show, is what happens.

Do you still remember that moment 8 years ago when you thought fuck it I'm going to apply for that show?
Yeah, definitely.

Does it feel like fate?
Yeah I'm a strong believer that things happen for a reason. I saw the ads for it (Australian Idol) back in Condo but they didn't show where the auditions were. I was 6 hours drive from Sydney. I just happened to have to go to Melbourne to pick up my wife and the kids because she was down there for a dress fitting for her sister's wedding and her sister said to me "are you going on Idol?" and I said I dunno, I dunno where the auditions are. So she got on the computer and said they're here in Melbourne next week. There are too many parts of it that came to pass for it just to be a luck thing. I was put in that situation so close to when the auditions were on that it was fairly uncanny.

That's a cool way of thinking about it. Getting back to "A Million Suns", are you going to promote it the same way you did the first couple - by playing as many shows as you can?
Yeah, that's been the best thing about the little bit of downtime in the last two years. I'm so excited again. I think I'm more excited now than I was after the show. Because I've been around and done the shows in the past, I know what's coming and I know how to approach it. I'm really excited about it. Plus the repertoire now is great. I've got all the singles that have been really massive and now the only other songs in the set are the new ones off the new album.

So it's your greatest hits plus your new stuff?
Exactly! There's six or seven tracks on there that are from the previous albums but they're all songs that people wouldn't let me leave the building if I didn't play.

One question that I've always wanted to ask - with your greatest hits album was that originally supposed to be a fourth studio album?
Um... I sort of got pushed into a corner with that one because that was at Sony's discretion in the contract to release a 'best of' whenever they wanted. I mean, I wouldn't have done it... I think it was a little bit early for it in my opinion. You do a 'best of' when you've got a 'best of'. I don't think the time was right for it then but it was out of my control. That was the beginning of the end for my relationship with Sony.

"Summertime" also broke your run of all these huge hits.
Yeah, it did. Like I said, it was something that I had no say in, so I just had to go with it. It was a little bit disappointing at the time because I was wanting to do another studio album and then I got thrust into that but you can't worry about that sort of stuff. You just move on and keep looking forward.

Were there more songs from those sessions that didn't make the greatest hits?
We sort of had a handful but we weren't ready for a new one and they just wanted to do it right then and there. I think I should have just kept working in the studio until I had the next album instead of putting that one out. And the once that one was out that sort of put me out of the market for the next 18 months.

Then you had a lot of interesting things happening in the UK...
Well in saying that... if you... what they do when they release you internationally is they put all your biggest hits together on one album and that's what that 'best of' really did, so it was handy for that reason. So it worked out well in that respect. It gave me the album that I needed to release.

Is the international market something you're thinking about with "A Million Suns"?
Mate, you know. It's always been in the back of my mind from the start but it doesn't hold the priority it used to. I just want to try and get back on track here in Australia. I've written this album in Australia for Australians. I'll cross that bridge when I come to it but my first thought is to try and make it work here. As I'm getting a bit older, I sort of realise How lucky we are to be living here in this country. And I'd prefer to be here that have to relocate. You can go over there and waste a lot of time, do you know what I mean?

The songs have a distinctly Australian vibe. Did you take your inspiration from where you came from?
Definitely. I wrote with guys who knew my history and knew my past. The ideas that they put on the table are ideas that I just clicked with straight away because they were so me. They knew where I was coming from, what I'm about and where I was at at that point. So it was awesome to know that instead of going and writing with a bloke from America who has no idea what you're about or what you stand for.

Do you feel in a way that you have come full circle with this album?
Yeah, definitely. I think now for the first time really, new label. I feel now it's legitimate. Not that I disrespect the past at all because I'm so lucky but now it feels right. It feels like it's real now and not propaganda from a TV show. I'm with a new label. Signed as an artist not a celebrity.

Good luck with the album. Thanks for your time.
Thank you!

Here's the awesome video for Shannon's latest single "My Place In The Line". Get downloading!

Elen Levon Competition Winners

Thanks to everyone who entered my competition to win a signed "Naughty" promo CD single. The song is set to debut at number 60 on this week's ARIA chart, which is a great achievement for a new artist. With any luck that will rise as the song continues to gain spins on radio! But now for the winners. The following Elen Levon fans have won a copy of 17 year old's catchy anthem:

@Azza316
@jordddz
@Gaosalad
@jordanhirst
@LAjredini
@DanielJay92
@trigmoxie
@Ryan_Ogden
@shortielaura

Congratulations! Send me a note with your details (my email is listed under my profile on the top right) and I'll put your promo in the post. Oh and here's a cute behind-the-scenes documentary from the rising pop star's recent industry showcase. Check out Elen in action (below). That was really fun night.

From Here To Anywhere - Album Review

This is a revised version of a review I wrote for Channel V, which might explain why it's a bit more... restrained than usual. Enjoy!

Sneaky Sound System's third album picks up where their underrated 2008 sophomore effort "2" left off - with a dreamy mix of '80s synths and cutting-edge electronica. Only this time around, the Australian duo is less concerned with crafting radio-ready pop hits (although there is no shortage of singleworthy material) and more intent on putting their own unique spin on an ambitious array of dance music sub-genres.

Album opener "Friends" rides a thumping bassline all the way to a gigantic chorus that heralds the return of two of the nation's best songsmiths. The track is seeped in lashings of late '90s house-beats, which should prove irresistible to clubbers and pop fans alike. That gem is followed by their current radio hit "Big" and the album's misguided lead single "We Love". The latter is the easily the weakest moment on "From Here To Anywhere" and, unfortunately, gives a false impression of what the third-coming of Sneaky Sound System is all about.

Happily, that generic club-banger makes way for the shimmery "Really Want To See You Again" and all is forgiven. Miss Connie really shows her vocal chops on this effortlessly pretty tune and continues to mine the heartbreak on the Human League-inspired "Remember". Albeit this time against a towering wall of synths. After a couple of sonic detours, the duo return to more commercial ground on "The Colours" and "I Need You So". Both are expertly crafted floorfillers and will, no doubt, find their way to a nightclub near year you in the not too distant future.

Perhaps more interesting is the ambitious "1984", which sounds like a bizarre cross between Pet Shop Boys and Enigma. The quirky lyrics and experimental production flourishes mark this as one of the band's most accomplished tunes. "I'm Not Leaving", on the other hand, is the record's pure pop moment. An irresistibly catchy blend of '80s Donna Summer and early noughties Kylie Minogue, this summery tune is destined to be a future single.

The album closes with "Lovetown", a sexy Balearic anthem that shows how far Miss Connie and Black Angus have come in the past three years. "From Here To Anywhere" is a perfectly judged comeback from one of the country's most consistently brilliant pop acts.

8/10

Edit: My only criticism of this fantastic album is the lack of killer singles. It suffers a bit from Aphrodite-itis. there are lots of very good songs but only two that really scream out to be played on the radio ("Big" and "I'm Not Leaving"). I like that the band is exploring new sounds but it would be sad to see them descend into the cool-electronica-that-nobody-buys ghetto currently occupied by Miami Horror and Cut Copy.

The 10 Worst Things About Natalie Bassingthwaighte's 'All We Have' Video

I can't believe this shameless cunt is back. Nobody wanted Natalie's abysmal solo material the first time around, so I don't like her chances now. The pioneer of mutton-dressed-as-lamb chic is clearly hoping X Factor will jumpstart what's left of her career but I think she'll be lucky to snag more than a one-off novelty hit. Particularly with music this bad. "All We Have" blatantly rips off J.Lo's "On The Floor" - from the lazy sample down to the cover art and video premise. Only there's no Pitbull to give it credibility, no RedOne to make it annoyingly catchy and no Jennifer for eye candy. What you're left with is the biggest turd of 2011. The song is dying on iTunes but I'm sure Sony will pull out all stops - like a big budget video from the always impressive Benn Jae. Unfortunately, even his talented team can't distract you from the aural trainwreck that is "All We Have".

To save your retinas and eardrums lasting damage, here is a summary of the 10 worst things about Horsey's latest film clip:

1. Natalie Bassingthwaigte is in it.

2. Someone forgot to airbrush her Sarah Jessica Parker hands.

3. These costumes were clearly intended for a woman under 45.

4. Kylie called and wants her "I Believe In You" birdcage back.

5. Just because Natalie is the same age as Tina Turner in Beyond Thunderdome doesn't make ripping off paying homage to "We Don't Need Another Hero" acceptable.

6. The appalling soundtrack. All is forgiven, Vanessa. "All We Have" makes "Gossip" sound like "Rolling In The Deep".

7. Choreography of this quality shouldn't be wasted on someone with two left cankles.

8. The unbelievable premise. How many post-menopausal women are still hitting up the club? Well, apart from Madonna.

9. Stealing Fergie's inimitable Meth-head chic is just rude.

10. The fact that so much time, energy and money was wasted on someone this void of talent.

Win A Signed Elen Levon Promo

To celebrate the release of Elen Levon's awesome debut single "Naughty" - available on Australian iTunes NOW - I'm giving away 10 incredibly rare signed promos. Only 50 were printed, so these are harder to find than Rihanna's dignity. They are numbered and include the following tracks:

1. Naughty (Radio Edit) Ft. Israel Cruz
2. Naughty (Radio Edit) (No Rap)
3. Naughty (Vandalism Remix)
4. Elen Levon (Back Stage Interview)

To enter, you need to be following Elen on Twitter and like her Facebook page. Once you've done that just tweet me saying you want a promo and you're in the draw. It's that easy! Double your chances by also entering The Prophet's competition. Australian residents only.

Zoë Badwi - Album Review

Zoë Badwi's album has been out for a while now but as Sirens' biggest (and possibly only) fan, I feel it's my duty to preach the virtues of this wondrous listening experience to anyone who will listen. There's another reason why this project is close to my heart. A long time ago in galaxy far, far away I did some work for Neon Records and one of my first tasks was putting together digital promos for Zoë's early club hits like "Don't Wan'cha", which didn't make the album, and "In The Moment", which did. Since then I've followed the blond bombshell's career closely and know how much hard work has gone into this extremely impressive album. Here is my track by track review:

Freefallin'

Zoë's irresistible commercial breakthrough needs no introduction. Co-written by legendary three-hit wonder Amy Pearson, the uplifting dance anthem rocketed into the national top 10 and ruled the airwaves for months. Everything about this is perfect, from the uplifting lyrics to Denzal Park's perky production. It was always going to be hard to duplicate the magic but a couple of tunes come close.

Until You're Over Me

I love DNA. The songwriters behind Marvin Priest's "Own This Club" - among other hits - team up with the omnipresent Amy Pearson to create another epic floorfiller. This is being bandied about as the album's next single but I'm not convinced it's the right choice. "Until You're Over Me" is lovely (and I've always had a soft spot for bittersweet dance music) but it's a bit too soft and pretty for commercial radio.

Release Me

This fucking song could survive a nuclear war. Three years after it was released, I still hear "Release Me" every time I go out. And that's the way I like it. The TV Rock-produced anthem is insidiously catchy and easy to sing along to while inebriated making it a true Oxford street classic.

Carry Me Home

Zoë's cover of Sarah Connor's "Carry Me Home" is the kind of classy, mid-tempo electronica that rarely gets made in this country. The song's thoughtful dance overhaul works a treat and it has a rich, dreamy quality that sets it apart from the usual club fare. I still don't get the video but you can't have everything.

Accidents Happen

Time to come clean. I never liked this clumsy pop tune and only pretended to be mildly enthusiastic to avoid offending anyone. Sorry!

Never Let You Go

I swear Amy Pearson's butterfingers are all over this album. The British sex symbol has songwriting credits on 8 of the 12 tracks. Unfortunately, this is easily her worst contribution. "Never Let You Go" isn't awful. It's just kind of there. The lyrics are generic and Zoë inexplicably sounds like Alison Goldfrapp with a head cold. Only slightly better than "Accidents Happen".

Reckless

After a couple of underwhelming cuts, the album bounces back on track with this killer anthem. Another DNA production, "Reckless" is furiously upbeat and extremely catchy. I love the chorus and sentiment of the lyrics. This sounds radio ready and should be a strong contender for the LP's next single.

One Step Behind

This is great too! I love the spacey production - courtesy of Grant Smillie and Nordean - and the quirky sound palette. It's thematically odd but I'm twisted so I kind of like that. From what I can tell "One Step Behind" is a darkly romantic stalker anthem. Play this loud the next time you're having a Single White Female moment!

In The Moment (Denzal Park Edit)

I love "In The Moment" but the original trance-tastic version is infinitely superior. Download that from iTunes instead and brace yourself for the magic of this fabulous 90s flashback.

Believe You

Zoë Badwi tackling a pared-back ballad is like hearing Barbra Streisand experiment with death metal. Somewhat disconcerting. It took me a couple of listens to wrap my head around this startling development but ultimately "Believe You" is as satisfying as a freshly cooked cheesy nugget. Exquisite!

Relapse

And the award for my favourite song on the album goes to "Relapse". If Nicki French covered ABBA the resulting masterpiece would struggle to be as camp as this piping hot mess. On an album heavy with sleek floorfillers, this poptastic gem stands out like a sore thumb. In a good way. This would be my choice for the next single. It's big, dumb fun that gets stuck in your head after one listen. I'm obsessed.

The Other Side

Happily, "Zoë" ends on a high note. "The Other Side" covers similar lyrical ground to "Freefallin'" - it's about moving forward with your life - but it has a distinctly darker edge. I like the brooding production and understated chorus. This is further proof of Zoë's growing versatility and depth as an artist.

8/10

New Laura Imbruglia!

By now you're probably used to my Laura Imbruglia obsession. I have reviewed both EPs, ranked her debut album the 5th best of 2007 (in retrospect, she was robbed) and named her sophomore effort the second-best offering of 2010. I've even waxed lyrical about her stunning Microsoft Paint wizardry! Then there was the time I got drunk and wrote the counter-culture icon a long email, explaining that we were destined to be best friends because I've also worked with gay vegans, love The Carpenters and dream about white goods. Shockingly, she never replied but I'm sure it's on her to-do list. Anyway, my future boo is back with the lead single from album number three and it's a triumph. "Why'd You Have To Kiss Me So Hard" is probably Laura's most commercial track since "Looking For A Rabbit" and I have high hopes this will extend her fanbase beyond me and the five depressed lesbians I see at every show. It took a couple of listens to get into but the chorus has well and truly wormed its way into my head. I love the song's simplicity and think the avalanche of guitars will help the thinking man's Imbruglia grab a slice of the JJJ pie. Download "Why'd You Have To Kiss Me So Hard" from iTunes now. You won't regret it!

Shannon Noll - 'A Million Suns' Showcase

For a while there Shannon Noll was Australian Idol's biggest success. And based on sales - he probably still is. The 36-year-old's first three albums went nine times platinum between them and he had a run of ten straight top 10 hits (eleven if you include "Rise Up"). Unfortunately for Nollsie, his brand of perky pub-rock fell out of favour and he's been quiet for the past couple of years. But the rest seems to have done him good. "Switch Me On" (below) was a real return to form and the nicest man in the music business has plenty of other tricks up his King Gee sleeve if last night's album showcase is any indication.

Nollsie kicked off the acoustic set with the album's Benji Madden-penned lead single. I love "Switch Me On" and I love his pared-back live version even more. I don't think Shannon's ever sounded better. He followed that with "A Million Suns". The album's title track sounds like a real gem - as does his next single "My Place In The Line", which closed the showcase. After that, Universal played the album and liked what I heard. There are a lot of similarities to his first two offerings - that would be the influence of Bryon Jones - but the songs have a grittier feel this time around. Pay particular attention to the contributions from DNA and Adam Reily, which sound very promising. "A Million Suns" is released on October 14. Pre-order it now for the bargain price of $15!

Elen Levon Covers Britney

With her debut single set to drop on September 30, Australian pop princess-in-waiting Elen Levon is ramping up the promo with a series of shows around the country. I caught the first of them on Friday night at Sydney's RNB Superclub and the 17-year-old delivered the goods, overcoming the dodgiest sound system in Australia. The setlist was pretty much the same as her recent industry showcase. She belted out a note-perfect rendition of "Naughty", while burning up the stage with her trademark killer choreography. It was amazing to see the audience response. One guy was literally crying and shaking. Elen has her first stan! The Year 11 student also dusted off the James Ash-penned "Like A Girl In Love" and "Ooh Yeah".

The big surprise of the night was the aspiring pop diva's energetic cover of Britney's "Til The World Ends". It seemed an appropriate choice given the comparisons that have been made between them. Elen did an amazing job with Ke$ha's quirky lyrics and Brit's robotic phrasing. In addition to performing the song live (something Ms Spears has never accomplished), she also knocked out some cute choreography with a little help from her always-flawless dancers Morgan and Carly. Listen to a one minute clip of the song below. The sound and visual quality isn't the best - it was taken on my crappy phone - but you get an idea of how the teenager's version turned out. "Naughty" hits iTunes this Friday. Pre-order your copy now!

Australian Pop Update

Since re-opening the blog, I've written about a number of Australian pop songs - from the sublime to the ridiculous - but there are too many noteworthy singles to comment on individually. So I thought I'd do a round-up post. Here are some random musings on the latest tunes by some of the country's best (and worst) purveyors of pop music.

Stan Walker feat. Static Revenger - Light It Up (Video)

I love Stan and know Dennis (Static Revenger) through Luciana but this unlikely pairing turns out to be a little underwhelming. While "Loud" was slightly generic, it was on trend and positioned the 20-year-old as Australia's answer to Taio Cruz. The track was also fun, catchy and memorable. Three adjectives that don't really apply to "Light It Up". Perhaps it's a grower.
B-

Anthony Callea - Oh Oh Oh Oh (Video)

No.
F

Darren Hayes - Bloodstained Heart (Video)

There's something about Darren Hayes that I just don't like. Maybe it's the fact that he looks like a serial killer. Or it could be those hideous Savage Garden power ballads that mum used to torture me with on the way to school. But I digress. This is first song from Darren that I've liked since "Crush (1980 Me)". It's beautiful and I think everyone should buy it.
A-

Tonight Alive - Let It Land (Video)

These punk/pop rockers are being hailed as the next big thing and they have already amassed a loyal following of crazy stans. I'm not convinced but "Let It Land" is easily their most commercial single to date and at least they're not Short Stack. Keep an eye on these guys.
C+

Shannon Noll - Switch Me On (Video)

Shannon can switch me on anytime he likes. This is a good, old-fashioned pop/rock tune that would have been a massive hit five years ago. It's a little too dated for 2011 but, ironically, that's the main reason I like it so much. "Switch Me On" is a warm and fuzzy flashback to less complicated times. I can't wait for his album.
B+

Gotye feat. Kimbra - Somebody That I Used To Know (Video)

Having already notched up six weeks at number one, there's not much left to say about "Somebody That I Used To Know". Apart from labelling it the "Someone Like You" for underfed hipsters.
A

Marvin Priest feat. Wynter Gordon - Take Me Away (Video)

I really like Marvin and sang the praises of "Own This Club" months before it charted. Furthermore, everyone knows that I worship at the alter of Wynter Gordon. So it pains me to admit that this leaves me cold. The song is fine, the production is tight and the video is a winner but something is missing. Bring on single number three.
B-

Washington - Holy Moses (Video)

This is the bad, indie version of Lady Gaga's "Judas". Seriously, Megan. From "Rich Kids" to this shit?
D-

Architecture In Helsinki - Escapee (Video)

AIH is one of those bands I never mention on the blog but like. A lot. This is a typically clever and well-crafted pop song from one of the country's best pop acts. I love the video too. They are due a commercial breakthrough.
B+

The Potbelleez - Midnight Midnight (Video)

My old friends copy pay homage to the Black Eyed Peas' "Rock Your Body" on the latest single from their sophomore album. Not as embarrassing as it sounds.
C+

Living End - Song For The Lonely (Video)

Unfortunately not a Cher cover but still amazing. The iconic punk rockers continue to be better than your faves 17 years after their debut. Admittedly, this is not their best single but there's better on the album.
B-

Emma Louise - Jungle (below)

"Jungle" is that rarest of finds - a smart, quirky and catchy pop song that isn't so far up its own arse that you automatically want to hate it on principal. Kimbra, I'm looking at you. Emma Louise is starting to get some serious buzz with good reason. She's got the voice, look and sound to cause some serious damage. I can't wait to hear what she does next.
A+

The Second Coming Of SSS

Ok, that headline is a little dramatic but "Big" is so breathtakingly brilliant that it feels like a whole new beginning for Sneaky Sound System. Over the years, the electro-pop pioneers have been a regular feature on the blog - I still maintain that "2" is one of the best Australian albums of the noughties - but I almost lost interest with "We Love". The song isn't as jaw-droppingly awful as Rogue Traders' "Love Is A War" or Vanessa Amorosi's "Gossip" (two notable hari-kari lead singles from hit acts) but it was a generic bore with the year's most pretentious and embarrassing video. It was enough to put me off their whole third album until I randomly heard "Big" in a shop and stopped dead in my tracks.

This is the kind of euphoric electro-pop that sets Sneaky Sound System apart from the competition. Miss Connie and Black Angus deliver a sweeping dance-ballad with dreamy synths and a devastatingly gorgeous chorus. It's easily one of the best songs of 2011 and a stunning return to form. I'm just not sure how a soft and pretty love letter of a song like this will compete against the formulaic club bangers and cheap RedOne knock-offs currently clogging the airwaves. "Big" is probably too refined and sophisticated for its own good but all of a sudden I'm counting down the days until "From Here To Anywhere" drops. If the rest of the album is this good, we're in for something special. And happily, the video is also a step in the right direction. Basically Miss Connie stands on a balcony looking wistful but at least there are no anal beads this time around.

Ness Ness Is Back On Track... Kind Of

I'm angry at Vanessa Amorosi. After a seven year gap between top 20 hits, Ness staged one of the decade's most unlikely comebacks in 2007 and has been on a roll ever since. It's been a treat to witness her career revival but the perennial underdog of Australian pop took ten steps back with "Gossip". As a card-carrying fan since 1999, I've supported Vanessa through some bad decisions - her unconvincing R&B phase springs to mind - but I can't find a single kind word to say about the lead single from her fifth album. And neither, it seems, could anyone else given the track's abysmal chart run. The only saving grace of the whole debacle was the much appreciated physical single.

So what's a down-on-her-luck diva to do next? Go into major damage control by releasing a virtual remake of her 2008 smash "Perfect". It's hard not to be disappointed by "Amazing" (below). It's so safe and predictable. Is this the same woman who sang about dating a meth addict and the joys of masturbation on "Hazardous"? But despite those misgivings, the track has grown on me. A lot. Vanessa's status as the country's best singer is undisputed - at least until Tina Arena comes back from France - and the sweeping chorus lets her unleash those powerhouse pipes. "Amazing" doesn't quite live up to its title but it is very nice. For her sake, I hope it's massive.

Havana Brown, I Really Don't Get It

I've spent the past couple of hours trying to make sense of the new Havana Brown single. And I still have no idea what's going on. "Get It" sounds like "Firestarter" mixed with every dodgy house record released in 1997 - finished off with a sprinkling of the superstar DJ's trademark reed-thin vocals. Who threw this mess together? D:Ream? It's so disappointing given the double platinum success of her stunning Cascada knock-off "We Run The Night". That gem established Havana as the nation's hottest dance diva. A niche she could have made her own with a smart follow-up. Instead, she shat out this noise. Don't get me wrong. I'm sure clubbers will love "Get It" - after their third vial of G - but the crossover appeal of her debut is completely MIA. Fingers crossed the video is hot or the busty beauty's pop career could be over before it started. Someone please drag Dannii out of retirement. Australian nightclubs need her now more than ever!

Elen Levon - Sydney Showcase & Video

Elen levon first graced Pop Trash Addicts way back in April. At the time I called her demo the best I'd heard in a long time and told everyone to remember her name. Four months have passed and the 17-year-old school girl is all over Australian radio and burning up the blogosphere. Mystic Meg has nothing on me! Her debut single "Naughty" will take over iTunes on September 23 - pre-order it now - but her promotional campaign began last Wednesday with an industry showcase at the Beresford Hotel.

Like most people who have been following Elen's career, I knew she could dance like a demon but wasn't completely sure about her vocal chops. Don't get me wrong. "Naughty" is pure fire but there's enough autotune on that fucker that make Cassie sound good. So, it was a pleasant surprise to discover that Elen has an impressive set of pipes. She tore into "Naughty", looking every inch the superstar surrounded by her dancers. Next up was a new track called "Like A Girl In Love", which is a stone-cold smash. The heavy synths show Elen in an edgier light and I love the anthemic chorus. That flowed effortlessly into "Ooh Yeah". Don't worry about the dodgy title. Team Levon has cooked up another radio-ready winner that gets lodged in your brain after the first listen.

Yours truly with Elen

While the songs were uniformly excellent, the most impressive aspect of the short (but sweet) showcase was the budding diva's poise. Elen held her nerve like a veteran, hitting every note - while dancing like a non-gutter whore Ciara. Jessica Mauboy can't move like that. Havana Brown would probably break a hip trying. Only time will tell if she connects with the Australian public but the Year 11 student has the raw talent to go a very long way.

Now in case you haven't seen Elen's recently released "Naughty" video yet, here are five points to mull over while soaking in the visual extravaganza.

1. It reminds me of Amy Pearson's "Butterfingers" video - only with competent dancing and enough financial backing to afford a set.

2. My favourite look is the singlet and pony-tail. Leave the heavy make-up and edgy clothes for sad bitches who need to distract from their face. Like Lady Gaga and Cassie Davis.

3. The "Slow" inspired floor-dancing routine is adorable.

4. Why are these children hitting up the club with no parental supervision? It's clearly past their bed-time and I fear they've been drinking more than Powerade.

5. Choreography is back! I feel like we're returning to the 80s/early 90s when a killer dance moves were absolutely essential.

Make sure you follow Elen on Twitter to get the latest news and check out the following links for more stanning:

- Idolator review
- Toya'z World commentary
- Interview with The Prophet
- The expert musings of Feed Limmy

STOP PRESS: Chloe Lattanzi releases debut video

This is the moment I've been waiting for since 2003 - the year Chloe first started work on her album. Olivia Newton-John's breathtakingly talented and gorgeous daughter has finally got around to releasing her first video! And it was well and truly worth the wait. While "Play With Me" doesn't quite reach the heady heights of her upbeat anorexia anthem "Delicious" or ode to being clinically depressed "Make It Stop", the video is everything we've come to expect from Chloe and more. You know you're in for something special when a clip opens with a man sitting on the toilet. From there on it just gets more and more classy. Australia's gift to music spends the rest of the clip trying to kill herself, crying blood and snorting copious amounts of cocaine. Could your fave? I particularly love the future Grammy winner's stunning facial expressions and glamorous outfit. How annoying that this was released a couple of days after the MTV Video Music Award nominations were announced. It would have swept the pool! Now when is this masterpiece hitting iTunes? It must be mine. Brace yourself for the wild ride that is Chloe Lattanzi.