Miike Snow's album 'Happy To You'

This open minded trio of Swedes released their second album 'Happy To You', following up from their eponymous first album. With a strong set of catchy riffs that would make MGMT jealous, drums to startle an army and a genre that can be shortly defined as electronic indie pop, the album includes a scattering of strong re-mixes alongside their own masterpieces in their full glory.

So there's not the usual instrumentation ('Enter the Joker's Lair' including a Marimba), lyrics ('Paddling Out') and mad rushing ('Archipelago') you may hear in an extrovert Indie-electronica group such as Foals, Justice, Hot Chip or MGMT but it carries it's own niche sound very well. With the inclusion of Swedish military drums in 'Bavarian' and 'The Wave' to the Miike-Snow-typically white washed vocals in 'The Wave' to the synths in 'Vase'. The group sustain their unique sound which is so distinctive from their previous hits such as 'Silvia', 'Black and Blue' and 'Animal'.

Tracks to WATCH OUT! (in a good way) for are include 'Devil's Work'-a favourite of mine (and Tiesto's) with it's big brass, singable vocals and break down on the second half of the chorus with stabbing strings and full of emotion, the song is perfect for pulling apart which is precisely what DJ Alex Metric has done. It'll also most probably be the next release off the album... 'Bavarian' includes a delicate and repetitive minimalist piece that warms the heart. With it's strong structure, and genteel approach to layering against the harshness of the snares in the military drums, the track really clings onto something unique. Not to mention the vocals and harmonies which include surprising directions that inevitably round up into the repetitive riffs that were introduced at the very start. Genius.

Unfortunately the album has low production on an overall scale. Play it after any dance track you have on your ipod and you'll hear the failure in the size of the sound that's produced overall. This is probably a result of less cash been thrown at the band as say, DJ Fresh or Madonna but at the end of the day, the rest of the album points out that the album IS produced to a very high level of production. Tracks 'Enter the Joker's Lair', 'Devil's Work' and 'Archipelago' just point to the range of the production techniques from creating soundscapes in 'Enter..." to the typical band sound with rock drums, driving keys, strings, brass and functional bass that is required in 'Devil's Work'.

The first single 'Paddling Out' is a real keyboard basher with condensed songwriting and excellent builds in the bridge up to the chorus which provides a brilliant release. The single was the reason I delved further into the album and the lads should be proud of it, exploit it for re-mixes (which they have) and really channel it as a dance anthem for the summer. Unfortunately there's a distraction bleep/glitch that sounds somewhere between an Apple Mac uploading something and a metronome which really grates on me. However, remixes on the album are also noteworthy- Wolfgang Gartner's remix is a bass and dancefloor friendly version that underpins the entire track with a simplified but big drum sample and a contrasting chorus including a heavy, trance - chunky synth part which holds a strong line throughout the rest of the track after it's initial introduction. The Jacques Le Cont remix includes a tad more creativity, thought and brilliant build ups, releases and alternative structure to the instrumentation whilst it also pulls apart and stretches out the track. Much more Justice-like and adds a layer of grandeur.

I hope that the extent of the band's creativity and lack of fear to try anything new will help this album rocket. With Radio 1 plugging them on Annie Mac's show and Tiesto including them in his podcast, I think they'll be able to capture a pretty large audience.

Michael Kiwanuka's 'Home Again'

This British musician offers a fresh injection (and for some, introduction) of soul into the charts. Recognition in the BBC's Sound of 2012 Poll has evidently led Kiwanuka to the bright lights of fame and the ever important airplay. His jam packed festival timetable this year includes Bestival, Liverpol's Sound City, Latitude and naturally, Radio 1's Big Weekend which just goes to shows how high in demand this new talent is.

Opening with track 'Tell Me a Tell' is a fantastic and simplistic introduction about what this artist and his music represent. Soul, country and blues. With heavy accents on upbeat vocals, a subtle use of soft brass and the flurry of polite flutes as well as brushes on drums a genre is defined in seconds. There's a real rush that the verse provides which contrasts against the coolness and release of the chorus ('Goooood gooooood lovin').

First single 'I'm Getting Ready' is one which breaks up the average grafters day as it floats through your radio speakers against the background of Swedish House Mafia and Katy Perry. The swung guitar rhythms and swishing of the snare on drums is delightfully refreshing, meanwhile Kiwanuka's mature and rich vocals transcend his years by about two decades. The next single which features on the album, 'Home Again' is a heavily guitar-fill filled track. Strings here are not an understatement but a necessity to chunk out the layers and emphasise the chorus on 'One day I know I'll be home again'. I'm glad however, that the producers and Kiwanuka have kept it relatively simple to reflect its bluesy roots.

As the album moves through soulful tunes including acoustic guitar licks, flute flurrys and more off beat rhythms, tracks to listen out for include 'Bones', a bluesy love song with saloon styled piano and irresistible backing vocals. Its horse and cart styled rhythm with extra swooning on the vocals allows the song to propel itself as well as pick up the pace of the album.

'Always Waiting' is a darkly charming track which delicately balances the effects to allow a softness on the acoustic guitar part. Minor chords interject the upbeat guitar licks whilst a troubled trombone slides in and out of the orchestration to add extra sincerity and loneliness. A lack of lyrics in the chorus adds an air of hopelessness. All in all, I consider this track to contain many elements that pull the fundamental intention of hopelessness, loneliness and acceptance together.

For something a bit different, skip to track 'I wont Lie' for it's impressive brass and instrumental interjections that swamp the vocals. It sort of reminds me of a Christmas track. The primary focus appears to be on the grandeur nature of the orchestration and creating a big sound whilst the vocals play a secondary part. Furthermore, I don't feel that the vocal line is that strong or catchy but it certainly stands out on the album.

Finishing off, 'Worry Walks Beside Me' is an electric guitar accompanied track that shuffles the album to a close. Not only is the vocals lazy but it's a great sing along song when drunk and I think has potential as a single. The pain and recognition of blues here is evident. A slight downer to finish an album on, but a track that certainly makes an impression.

To have succeeded in such a stark genre in today's chocca-dub-block styles that are flittering around, Kiwanuka goes to show just how some time out is desperately needed by some of us.

Florence and The Machine plays Alexandra Palace

Following her outrageously and gloriously overly exuberant performance at the Brits, the swiping of 2 NME awards and much dancing at the after party with Rizzle Kicks just a few weeks ago... Florence Welch took on Alexandra Palace on Thursday the 8th March 2012.

The Horrors, as second in line for support set up in a very casual state while Faris got his fringe flinging on. They were tight, they were cool and their new stuff is brilliant. Despite the Southend group hardly pumping me up for Florence and the Machine, it was music at a good calibre of musicianship and if at the end of the day, I hadnt got that from the Horrors, with their four albums, countless festival performances and being the teacher's pet of NME, I would have been disappointed. And disappointed I was not.

After a diva-ishly long wait for Flo.....she came out from behind her 1920s deco-adorned stage in full cape, sparkly shoulder pads and pinned up deep red hair. YES, gold and sparkles is still in season apparently (check out the fcuk website if you dont believe me). Backed by a ten piece choir and a string section TO DIE FOR (not to mention her Mcfitty lead guitarist) and of course, the harp. All in all, it was a very impressive presence on stage. Opening with Only If For A Night Florence set off with her stationary new style although there was some twirling and pointing with the arms to get some movement into that cape.

She continued through various tracks off the new record and then launched into some of her old stuff including Cosmic Love with an outstanding break-down in the middle where she completely owned the entire room. (I'm going to also state here, quite outrageously, that I believe Welch to be one of the strongest vocalists certainly in the UK and potentially in the western world right now.)

Once she'd proved her worth of owning the palace she launched into a bombardment of uplifting tunes and ever so gradually returned to her immature character which encompassed Lungs. Beginning with current single Shake It Out and moving a bit more around the stage (the cape was long gone by now to reveal a black velvet catsuit) the next song progressed to Dog Days Are Over where suddenly she returned to her old self, flailing arms around, skipping and general fiasco.

Alternative adaptions included Heartlines where a 12 string guitar was introduced to create a more folky approach and initially softer drums which gave all the more impact when they did play in full. Leave My Body was dowsed by the choir and given a more soulful vibe. There was a brief interlude as the strings did their thing over a few chords to introduce You Got The Love and naturally, the room was filled with the punter's voices fused with the intermediately overwhelmed and giggling, but fantastic Florence's.

As the first of many, many gigs I hope and have no doubt that the rest of the tour is to the same standard. Florence appeared affectionate to Alexandra Palace as a venue, especially as her family was there (apparently a rarity). But to be honest, I think the girl's got it all under control and will nail the rest of the tour as it sets off across the country and Europe this spring before a handful of festivals, come summer.

Emeli Sande's 'Our Version of Events'

The eagerly anticipated album makes a huge impact within the first 30 seconds of the single 'Heaven'. No messing about on strings. No faffing about with the drum sample and no pissing about with some showey-offy overly ridiculous over the top vocal gymnastics. Just a concise, strong and tightly composed track. Heaven makes a reliable, catchy, well orchestrated and satisfying introductory track to the album.

Other singles 'Daddy' (WHICH by the way you haven't youtubed the remixes, then go and have a root around) is passionate, involves a bell and has shape, direction with once more, good orchestration and song writing. Meanwhile, 'Next To Me' proves to be an upbeat, soulful, strong, vocally led track. It sounds like it belongs to a GOOD Bridget Jones soundtrack. Singalong stuff. (I dare you NOT to attempt the backing/high pitched ooooos).

Ballads you should tune into include 'My Kind of Love' and 'Where I Sleep' which, in parts, admittedly does sound like a slowed down version of 'Next To Me'. But is otherwise concise, and gets the job done. 'Mountains' is a diamond track. Electric guitar led, with a gradual increase in texture that wraps itself like a cozy cozy blanket round the listener. Her voice wraps itself round the listener. Pretty effortless for Emeli, this one. But that's exactly what the track needs. (I heart 'cellos. They make everything wonderful.) 'Hope' is a strong track with R&B influences, predictable chords but just perhaps a tad too much reverb.

Slightly more up-beat track 'Maybe' uses a deliciously close vocal mike. I feel like I'm INSIDE Sande's MOUTH. If it wasn't for the repetitive 5th interval that gets pushed in the chorus and it'd been a little little bit more creative I'd really really love this track. Instead I just like it a lot. It spells out spring for me. I think it portrays potential well, it's not definitive in its musical tonality or direction vocally. It gives and takes a lot with no overly exploitative vocals until the end where it inevitably gets a bit passionate. Otherwise, I think it's very clever.

Tracks to sit up, shut up and listen to are; all the singles, ' Where I sleep', 'Breaking the Law' 'Mountains' and 'Lifetime'. In general, a good, uplifting album for this time of year, also for listening to on your bus route and when you have people over for a posh dinner.

Lana Del Rey's 'Born To Die'

My relationship with Miss Del Rey is a complicated one.... I fell in love with her in January when Video Games had been played a couple of times on Radio 1 and was then nicked by Danny Smith to feature on Radio Verulam's Drivetime playlist. I couldn't stop listening to it (don't get me started on that bassline, though) and thought it both intriguing and outstanding against anything else that was played on the radio and the British public, (as ever!) followed my lead and also fell for her.

THEN single 'Born to Die' came out...and the lips and the mumbling and the draaaaaaawl started to get on me nerves. THEN giant photos of my girl-crush appeared everywhere. She was on the front cover of British Vogue BEFORE her album even came out!! WHO THE HELL WAS HER MANAGEMENT AND PUBLICIST AND WHAT GOD GIVEN SPECIAL POWERS DID THEY POSESS?!

Then Ms Del Rey hit a couple of low points such as on French TV channel Canal-plus where the singer was reportedly 'ambushed' by the channel to show that the singer had lifted an older song to produce Video Games which lead her to storm off and the entire strop to be edited out. Her live performance on Jools Holland was quite frankly awful, awkward and the poor girl seemed unable to think of anything else but THE hair and THE lips.

The album however, is obviously well produced (well it WOULD wouldn't it, with that much money behind her), the musicality of it isn't outstanding and the main focus is of the artists' voice, which is a change I spose when we consider today's bubble gum pop of The Wanted and Little Mix alongside dance giants Skrillex and Guetta where it's all about build ups, drops and suspension. Tracks 'Born to Die' and 'Video Games' do their fair share of uniting recognisable material. Meanwhile tracks 'Blue Jeans', 'National Anthem' and 'Diet Mountain Dew' do fantastic jobs as representations of a solid mix between American patriotism, social comment and catchy, twisting, state-sounding music with modern flair. Fame Academy champ, Sneddon assisted with songwriting to 'National Anthem' which I think will be the next release.

My fave tracks are sarcastic and ironic-drenched 'Off to the Races' for it's sheer exploitation of Del Rey's innocent vocals, 'National Anthem' for its dark observations on society, sex and the US. Obviously 'Video Games' is fantastic. Shame Lana isn't her real name... or that there isn't more creative flair in the song writing.

The Black Keys 'El Camino'

El Camino is the band's sixth studio album. I'm ashamed of myself for only picking up the duo on my radar this far into their career and not a moment before. ASHAMED!

The album kicks off with the very, very feisty and southern state sounding 'Lonely Boy'. Effects on the guitar, alongside a simplistic and stripped down production does the album wonders. 'Lonely Boy' is a fantastic representation of the band's genre and general feel of the duo. Third on the album is the single 'Gold On the Ceiling' which grabs the listener. What with its massive riffs, off-beat clapping, White Stripe-esque harmonies and chant-able lyrics, the single is sure to do well and guaranteed to be a festival anthem.

Other tracks worth noting include the bass driven 'Run Right Back', the utterly predictable and yet brilliant 'Sister' alongside reminiscently U2 sounding 'Money Maker'. 'Stop stop' offers Arctic Monkey fills and rhythmic guitar parts to break in the track. Again, the ease to sing along to the vocals make this band a strong contender to pull in a big crowd at all big festivals, come summer.

So whoever is claiming guitar music to be dead is a FOOL. Hats off to all Indie rockers, we salute you in these dark and Dubstep days.

Lianne La Havas 'Forget' EP

The EP features 5 songs, with the titling 'Forget' single as the outstanding and shining track. As La Havas' second EP, the record contains a good mix of soulful acoustic music from the dramatic and ear grabbing single 'Forget' to the piano accompanied, vocally shining ballard 'Gone'.

Close and personal production here is what really highlights Lianne's soulful, soothing and distinctive sound. Everything from the closeness of the microphone, to the intensity of the backing vocals which is usually shoved up somewhere against the wall of drums. Here, every instrument and musical element is made poignant. In 'Forget' the use of layering, contrasting vocals from the whispers to the sustained notes on the word 'Forget' are brilliant. Meanwhile the heavy use of reverb and closeness of the vocals in 'Same As Me' really blends together smoothly with the guitar.

La Havas' voice is one which I think shall really stand out this year. It contains a depth and warbling sound which really sets her apart from her musical peers. Providing she continues firing out singles as catchy as 'Forget' and the previous single 'No Room For Doubt' featuring Willy Mason she'll be a huge success in 2012.

The inclusion of the 'Au Cinema' live performance proves La Havas' potential as a live musician with more use of chromaticism and off beat vocals. I'm gutted I cant get any gig tickets for her. No doubt she'll be rocking the festivals this summer, and what a sound to be heard outdoors, with cider in hand!!!