Described on her MySpace page as alternative pop, Alev Lenz is a name probably unfamiliar to many. The German-Turkish singer songwriter released her debut album Storytelling Piano Playing Fräulein in Austria, Switzerland and Germany last year with her latest release now available worldwide on iTunes. Released independently through her own label in May 2010, Alte Schönhauser is comprised of an eclectic mix of genres, ergo being dubbed under the heading of ‘alternative’. Having been compared to that of Norah Jones, Lenz’ vocals are reminiscent of several other folk artists, namely Holly Conlan and Emiliana Torrini, which creates a warm sense of familiarity on a first listen.

With the majority of the songs on the EP consistent of acoustic composition, the songs have a simplistic and stripped back charm about them, accentuating the apparent folk and traditional genres within her music. Lenz’ talent for storytelling is presented across a collection of five exceptional tracks, ranging from the serene, soothing sound of ‘Dance’ to the upbeat, rock and folk infused ‘Song For Sea’. Despite the record’s conventional nature, it encompasses some surprises on first listen; the eccentric and wacky nature of the third track on the album, entitled ‘Band-Aid Man’, is evocative of late Dresden Dolls tracks, through the almost theatrical and melodramatic nature of the song.

The album, a compilation of love songs, takes the listener on a journey with Lenz, enabling us to empathise with the situations she sings about; the first song ‘Write About It’ expresses her initial anger about love and relationships, which contrasts to the final song on the record ‘Serve With Milk’ which presents the notion of self-discovery and atonement through the calm and tranquil composition.

I can only describe Alte Schönhauser as an unanticipated pleasure. Each song’s unique and off the wall charm, combined with flawless vocals, creates a sheer sense of variety among the album. Despite the numerous triumphs of the record, it is my belief that in the current state of the music industry, and with a chart saturated with overproduced nonsense, Alte Schönhauser’s success is surely limited.

Sometimes, from the first bar of a song, you feel like you know exactly where that track is going and some people like that kind of reliability in their music but, for me, the best music is usually found in the tunes that keep you guessing until the very end. Surprisingly, Brighton quintet ‘Rob The Rich’ come under the latter heading and their new single ‘Better’ is a shining example of forward thinking British indie music.

Kicking off with a laid back Foals-esque introduction I was expecting to hear another sound-alike but, in that respect, I was disappointed in the broadest sense of the word. Moving swiftly on from the purely instrumental, ‘Better’ takes a Vampire Weekend inspired twist into the more lively indie-pop genre and – with excellent production, stand out vocals and fantastic musicianship – is a beacon amongst it’s contemporaries.

While all of this puts you in the mood to move and the entire track gives you a quick and spirited lift, it is in many ways fairly un-sensational; the influences are plain to the ear and the structure isn’t exactly groundbreaking. But here comes the big however: if you listen through to the end of this track you will be rewarded with a frenzy of fast guitar, emphatic percussion and steel drums so wonderfully fresh that you’ll instantly forget any previous comparisons or preconceptions you might have had about this band. Having given some of their other material a listen (I highly recommend you do), their whole sound screams of early mornings, tropical sunsets and dancing through till morning.

I’ve never been a lover of indie-pop, with a few special exceptions, but I can say - with no hint reluctance – ‘Rob The Rich’ are both in a league of their own and the future of their genre.

I can practically smell the coconuts and I love it.

Barnsley based alternative pop outfit The Exhibition were formed in the spring of 2008. The band's previous EP was released in February and garnered radio play from Tom Robinson and BBC Raw Talent, as well as landing them support slots with Roses, Kings Castles, Hatcham Social and The Kabeedies.

Latest release THE CROWN / COMA was recorded with Dave Sanderson at 2fly Studios and showcases this four-pieces style of moody indie rock, with echoes of Bloc Party, Radiohead and Joy Divison.

THE CROWN opens in a muted and syncopated reverb heavy guitar groove, The Exhibition a band not shy of letting atmosphere and space play a large part in their sound. As the band slowly build to more expansive and noisy indie rock highs, they create a slow burning menace that reeks of moody introspection and dark, brooding intensity. With vocals that have a definite echo of ex Bloc Party main man Kele Okereke about them, The Exhibition craft a darkly, delicious atmosphere here with THE CROWN, one that's full of promise and definite potential. Whilst COMA doesn't quite achieve the same highs, a more straightforward and obvious sounding affair, The Exhibition do deliver another decent sounding moment here; that atmosphere and brooding intensity still very much front and centre; despite some unnecessary guitar noodling that feels a little too forced and show off y.

A promising and darkly brooding single, THE CROWN / COMA suggests that The Exhibition are a band capable of great things and one that leaves you eager to hear just where they go next.

You might be surprised to hear that a band who have probably played less than ten shows, and have no monstrous PR war machine backing them, are currently nestled proudly at number two in the play.com pre-order charts (enviably just behind Kylie Minogue), having ousted Example, Shutterbug and the cast of Glee from their positions. It’s impressive, no doubt – but it’s not a surprise; what I have on my desk is one of the most well written, best produced and most stunningly executed releases I have ever received – and, without a doubt, the best debut.

Echo Lake is a combination of two brothers (Joe and Dan Henley) and one close friend (Matt Oakman) who, collectively, have created an homage to fellow Brit-Rockers (and cult favorites) Hundred Reasons & Hell Is For Heroes whilst incorporating the flair for melodramatic popular song so well coined by Jimmy Eat World. And they’ve done this, without being a sound-a-like band – the influences are unashamedly plain to see, but Echo Lake are not a carbon copy.

The Sink EP (digital release only) is a collection of four songs that possess, in equal parts, the best of good, melody driven pop-punk and balls-out, open string, rock. EP Opener (and title track) Sink is an unexpectedly crunching assault that wouldn’t have been out of place on one of the Biffy Clyro albums of old and, yet, swings effortlessly to sing along melodies - and that’s a theme that seems to play out through the whole EP.
There’s a trend in music, particularly rife among British bands right now, to try and sing unspeakably high and ditch your accent – and the ones that aren’t doing that, tend to be using their accent for evil a la The Wombats. Thankfully, Echo Lake don’t fall in to either of these categories; all three men have held on to their (real) accents and intonation – as a result the diction is spot on and incredibly relatable. There are one or two falsetto lines that aren’t so hot, but in a strange way it makes for a more interesting and more relatable piece of music – honesty is the best policy, after all.

Real standout tracks for me are ‘Untied’ (track 2), whose low tones and well-plotted lyrics seem to make it instantly re-listenable and the EP’s closer ‘Eyelids’ with it’s tinge of folk that rings vaguely of Mumford and Sons.
But, all in all, this four track EP houses the best of British rock music but with some owning to America; without bands like Jimmy Eat World and Something Corporate, they might not be so well rounded. But, as it happens, they are – the hooks are huge, the tracks are sing-along quality after a single listen and the group harmonies are spot on. You couldn’t ask for more from a debut really, could you?

I’ve always been an advocate of that old adage of not judging a book by it’s cover, but anyone that’s ever tried knows that it’s considerably more difficult sometimes – being presented with folk-pop-acoustica duo Merchandise’s (AKA Brad Wood and Conrad Astley – no relation) new album ‘For The Masses’ is one of those times; sadly, the bright orange amateur-photoshopper thematics aren’t specific to the artwork.

To say this album was bad would be too harsh, it isn’t, it does possess some positive attributes; the production on the acoustic tracks is excellent, for example, and there are one or two tracks (such as Enemy) that have vaguely catchy hooks. But, that said, it does have a thick haze of Nizlopi clinging to it, with all the lyrical prowess of Scouting For girls or a dead cat.
In a modern world of enigmatic album titles and bizarre stage shows it is, however, refreshing to come across an act like Merchandise. ‘For The Masses’ probably couldn’t be more accurate or informative – their music is inoffensive and a little round at the edges – that said, there are one or two tracks that I wouldn’t consider out of place on my (admittedly optimistic) barbecue playlist; ‘You Were Right’ does have an almost Ibiza chill-out streak running through it which, though a little staid, is interesting and does have the desired effect. Similarly, ‘Lonesome Beauty’ is a song I could happily play in my car on a slow summer drive – it’s got a steady beat, a catchy tune and is interesting enough to keep me awake but not so interesting as to be distracting. Make of that what you will.

Having made the unpleasant comparisons above, I would say that ‘For The Masses’ also has a faint reverberation of Badly Drawn Boy echoing through some of the tracks; but it is faint, and the down-tempo tracks where Badly Drawn Boy excel feel a strained and the drawn out notes that don’t feature so much on the majority of the album and it’s upbeat track listing feel tired and out of singer Brad Wood’s comfort zone.

In ‘For The Masses’ Merchandise have produced a collection of mostly well-produced songs with one or two stand out tracks. But for me, as an album, it doesn’t work and I would be surprised if under different circumstances I had listened past track two.

A Swedish folk singer for whom words like bewitching and ethereal seem to have been invented for, Lisa O Piu is the kind of artist who instantly transports you to other worlds the second you hear here whispery voice. On her latest release, BEHIND THE BEND the singer/songwriter delivers a collection of songs about as achingly beautiful and dreamlike as any you've ever heard.

WAS IT THE MOON opens things up in shimmering style, Lisa O Piu in possession of a voice that's hauntingly beautiful, a half whispered croon that puts her somewhere between Vashti Bunyan, Elizabeth Frazer and Bjork. Delivering delicate melodies over gentle guitar arpeggios, harps and violins, Lisa O Piu and her band conjure up a wintery wonderland of ethereal folk that's both eerily spooky and gracefully welcoming.

Songs like DREAMS OF GOATS and WORLD FALLING DOWN may not bring anything particularly new to the mix, but they do offer up further examples of this artists charming world view, further drawing you to an otherworldly place.

GOING FOR HOURS (JUPITER'S UNDER THE MOON) is a more ambient and minimalist take on affairs, echoes of Harold Budd and Brian Eno ringing out; the sparsest of musical sound effects conjured up on an instrumental climax that incapsulates BEHIND THE BEND perfectly.

A dreamlike and beautiful record, BEHIND THE BEND introduces Lisa O Piu in charmingly delightful ways, for bewitching woodland folk that transports you to otherworldly places, this is the record for you.

Led by California born New Zealander Ryan McPhun, Ruby Suns are a band garnering quite a buzz as of late. With the likes of The Guardian and Uncut clamoring to sing their praises and released ahead of an extensive summer tour and following album, FIGHT SOFTLY released earlier in the year, CINCO is the latest single to emerge from Ruby Suns.

With obvious comparisons to recent alt-pop darlings like Animal Collective, Yeasayer, Grizzly Bear and Passion Pit, Ruby Suns mine similar musical ground here with CINCO but never quite achieve the same sense of wonder or awe. Though dealing in the same psychedelic realms and aiming for the same transcendent highs, Ruby Suns don't quite conjure the same magic, CINCO feeling a little too slight and undernourished to quite satisfy completely. There are hints of something special sparkled here and there, the odd shimmering flourish and the glimpse of a glorious melody, but McPhun and company don't quite bring it all together in the same way as their contemporaries on CINCO, a single that's ultimately painfully close to greatness, but just not quite.

With better material waiting in the wings, Ruby Suns are definitely a band to be excited about, but with CINCO they just aren't putting their best foot forward unfortunately.

Toro Y Moi, otherwise known as Chaz Bundick is a 23 year old Columbia, South Carolina resident whose debut full length album CAUSERS OF THIS was released a while back. Abandoning the electronica vibe of that release, new single LEAVE EVERYWHERE, released through the Carpark label sees Bundick dipping into the more psychedelic pop realms, a trippy affair that conjures images of Animal Collective quietly jamming with sixties era Beach Boys at some sun drenched barbecue.

It's a left turn for sure, an unexpected but not entirely unwelcome change of pace for Toro Y Moi, LEAVE EVERYWHERE, the kind of gently insistent summer single that creeps innocuously beneath your skin, leaving you with a scratch you'll itch and itch but never quite be rid of. Surprisingly, both entrenched in the bombastically expansive and the quietly lo-fi, LEAVE EVERYWHERE is the kind of song designed to reveal new treats on each and every listen, a single that slowly reveals its true potential over time. Chaz Bundick crafting something here that's wonderfully beautiful and surreal.

Toro Y Moi may have made something of a left turn musically wise with LEAVE EVERYWHERE ,but its a change of pace that proves this South Carolina musician someone capable of very special things indeed and leaves you restlessly anxious to hear just what comes next.

Indie pop darlings of 2009, The Pains Of Being Pure At Heart were one of last years most lauded and applauded new bands with their self titled debut album scooping praise all over the place, and the likes of NME and Pitchfork creaming themselves with indie jubilance.

The US jangle poppers return here with a brand new single in the form of SAY NO TO LOVE, proclaimed by singer Kip's “a perfect summertime single full of fuzz and feelings” statement, this is certainly business as usual from The Pains Of Being Pure At Heart, all Belle And Sebastian meets The Smiths on a shimmery summers day pop. Guitars shimmer, melodies swoon and indie pop beats shuffle by in perfect unison; SAY NO TO LOVE is everything you want from your sun drenched alt-pop, all wrapped up and presented in near perfect fashion.

The Pains Of Being Pure At Heart don't offer up anything big, clever or fresh with SAY NO TO LOVE, but for lovers of this kind of thing, this is a summer single that delivers each and every wonderful indie pop promise you could ever hope for, leaving you with one massive smile on your face in the process.

A London based band fronted by Maltese raised singer/songwriter Fraser Gregory, Fraser are an outfit dealing in laid back indie rock that takes its cues from the likes of Travis, Damien Rice and Coldplay. Formerly of Rough Trade signings The Beangrowers who enjoyed success in Malta, Fraser are a band formed when Gregory relocated to London and met band mates Stuart Davenport, Josh Bergson and Nick Winters.  Recorded at Temple Studios and produced by David Vella, A GARDEN AT THE TOP OF THE TREE is the band's debut album and one that showcases this outfit's way with a mellow groove and gentle chorus.

Although in essence extremely formulaic and musically over familiar and pedestrian, Fraser are a band that possess a warmth, heart and soul that's hard to fault, injecting each and every song here with enough thought and feeling to ultimately charm and win even the most cynical of hearts.

Songs like RELEASE ME, FIND LOVE and LAY IT ON THE LINE are honest sounding indie pop songs that shimmer like a warm breeze, Fraser Gregory adopts a gentle croon that whilst unassuming and far from unique, is a presence that suits these songs perfectly, shot through with just enough of a sense of longing, searching and delicacy to impress. Launching into satisfying choruses with almost military precision, Gregory tugs at the heartstrings and has you humming along with an innate sense of the gently melodic, echoes of Crowded House ringing out loudly and proudly throughout.

LET IT RAIN and LAUGHTER (EVERYDAY) do nothing to mess with the formula that Fraser have established, further examples of delicate indie rock expertly crafted and polished to perfection, nothing that'll set the world on fire or shift any musical paradigms, but nevertheless songs that wash over you in a gentle wave of heartwarming whimsy.

OLD TREE is a slightly more melancholic sounding entry to the album, stark guitar chords brushing up against the minimalistic patter of drums and Fraser Gregory's hushed croon. With THERE IS A FOREST, Fraser go about briefly channelling the Beatles, mellifluous pop that has definite echoes of the Abbey Road era of that bands lifespan. BOUBOULINA SUNSHINE finds the band continuing in the Beatles-esque vein, Gregory delivering a Lennon like croon whilst sha-la-la backing vocals and bluesy guitar licks pepper the musical landscape.

Climaxing with ALWAYS WITH YOU, Fraser finally unveil a slightly more experimental sounding side to their repertoire, seemingly taking musical cues from Radiohead's Kid A and a smidgen of Sigur Ros, it's refreshing to hear the band attempt something a little more left field however mild the shift ultimately is; more a side step than fully fledged musical shift.

A GARDEN AT THE TOP OF THE TREE is an album that whilst not breaking any musical boundaries or offering anything profound or new, is a collection of songs from Fraser that are gently satisfying and expertly delivered. If you're looking for laid back indie rock that both tugs on the heart strings and delivers a steady supply of gentle pop hooks, A GARDEN AT THE TOP OF THE TREE is a record that will satisfy and charm.