Something of a big name back in her homeland, France, Emilie Simon is a female singer/songwriter looking to repeat that success worldwide with album number four, THE BIG MACHINE. A French multiple award winner since 2004, her soundtrack for La Marche de l'Empereur – the original version of March Of The Penguins was nominated for a Cesar, the French equivalent of an Oscar.

Fifteen years since their inception in San Francisco back in 1994, multi-platinum selling Grammy award winners Train are back with their first new material in three years. SAVE ME, SAN FRANCISCO follows 2006's FOR ME and is a record that certainly doesn't mess with the formula that's seen them along so well in the past.

Another collection of super slick pop rock that practically has the words 'radio friendly' stamped cryogenically into its DNA, SAVE ME, SAN FRANCISCO is the kind of record the phrase 'if it ain't broke, don't fix it' was designed for. An autobiographical account of Train's beginnings, this is an album that plays out like a love letter to the bands hardcore fans, giving that fan base strictly more of what they've come to expect; each song hinged on a anthemic chorus and major chord bounce, their Beatles by way of R.E.M. And Aerosmith pop-rock a formula Train have obviously decided to steadfastly stick to, to the bitter end.

Born in London's Kensaltown Studios with KT Tunstall, Jason Mraz and James Morrison producer Martin Terefe in April and May of 2009, SAVE ME, SAN FRANCISCO is an undoubtedly accomplished and slick sounding record, Train crafting an album here that delivers potential hit after potential hit of AOR pop, front man Tom Monaghan seemingly incapable of not crooning a radio friendly anthem on each and every try.

Opener and title track SAVE ME, SAN FRANCISO is a definite case in point; from the warm acoustic chords that kick things off to the songs bluesy, upbeat chorus, Train are a band who certainly know how to craft smooth pop-rock. Despite an avalanche of lyrical cliches and the general by-the-numbers formulaic-ness that permeates the air, there's no denying that this is a band very good at what they do. Likewise, the equally upbeat pop of HEY, SOUL SISTER ticks the self same boxes with a breezy lightness of touch, Monaghan again crooning out infectiously catchy melodies like it's the simplest thing in the world.

The awkward mix of bluesy rock and reggae that Train attempt on I GOT YOU is a less appealing affair though, an anaemic sounding mess that imagines an even more watered down and bland version of Jack Johnson; not a pretty sight, sound or thought.

Train are a band who constantly straddle the line between the overly slick and derivative and the genuinely buoyant and upbeat with SAVE ME, SAN FRANCISCO, songs like PARACHUTE, THIS AIN'T GOODBYE and YOU ALREADY KNOW whilst still incredibly obvious and by-the-numbers are nevertheless enjoyable and accomplished slices of pop rock chock full of anthemic choruses and major chord guitar work. Songs that despite a niggling sense of cynicism regarding their inception, you can't help but at the least admire in their blatant commercialism and bounding pop sensibilities. The likes of IF IT'S LOVE, WORDS and BRICK BY BRICK meanwhile that cross the line into definite cheesiness, Tom Monaghan grimacing his way through forced melodrama, Train attempting to deliver heartfelt ballads that sound like Aerosmith's more pompous moments filtered through some marketing teams watered down idea of what a radio hit should sound like.

The shadowy grooves of BREAKFAST IN BED represent the closest Train get to experimentation on this record, synthetic beats that sound like they where programmed in 1992 dance around shimmery guitar work and Tom Monaghan delivers a sinewy croon that attempts to cross pollinate Michael Hutchence, Prince and Beck; you've at least got to credit the band for attempting something a little more inspired and unsusual.

The gentle acoustic ballad, MARRY ME is your typical campfire sing along, Train delivering their usual AOR pop in muted and understated fashion, Monaghan still finding time to throw in infectious melodicism even amidst the melancholic whimsy. Closing out with a live take on their biggest hit, DROPS OF JUPITER does feel a little calculated and cynical, throwing in a bonus live song at the end of the record in order to sell a few more copies. A shame really, as it throws the flow of the record off and feels incredibly forced and shoehorned in; hell, it's not even a particularly well recorded or performed version.

SAVE ME, SAN FRANCISCO is the sound of Train on strictly familiar sounding footing, a record that showcases their slick AOR pop rock. Fans of the band will no doubt find plenty to enjoy here, a handful of songs here amongst the best material Train have recorded so far, and in SAVE ME, SAN FRANCISCO the band deliver an album of mainly accomplished pop that proves there's still some life left in them fifteen years on. Just don't go expecting anything fresh, inspired or musically challenging.

It’s often been said of music, that it’s not what you actually play, but what you leave out that’s important.
I think this is true of any creative art form, but I’ve yet to hear a group demonstrate this theory quite so overtly as Belgium duo, Bix Medard in the release of their new album ‘Y-Dress?’ out this week (July 5th)

‘Y-Dress’ (Why Dress?) is the second album of visual artists and musicians, Bix Medard (vocals & flute) and Peter Clasen (bass player & monophonic synths) who joined forces early 2008 and released their first album, Kokkola last April.

The musical ensemble insist the album is designed to ‘reflect the contradictions and plurality of today’s society, a multicultural, contemporary and digital world’.
However for me, it’s like walking into an art gallery with all the best pieces hung next to each other on the exact same wall.

Similar to Bix Medard’s album, there really is too much going on all at the same time, to primarily concentrate on, and more importantly enjoy, the brilliance of certain key pieces.
And make no mistake, there are moments of brilliance within this album, but the duo’s inability to edit and highlight not only the album for tracks, but also those that are featured, makes it a confusing listen throughout.

From the opening track, ‘La photo en noir et blanc’ you are introduced to Bix’s distinct, sweet and breathy vocals which in isolation will have you hoping you’ve discovered the next Goldfrapp. When accompanied by Clasen, however you are instantly transported to the early 80s and in particular to the one-hit wonder, Kajagoogoo’s ‘Too Shy’.
‘Je respire’ is destined to feature in a perfume commercial, but it’s repetitive and at times irregular synthesized beats prevent it from being a must hear track you’re likely to want to add to a play-list.

Fans of la nouvelle chanson française are sure to instantly fall in love with ‘Paris 58’ and Coco Rosie-esque ‘Cest Si Bon,’ which highlight the purity of Bix's vocals while showcasing the electro ear of Clasen.

For me, ‘Arabesque’ is the most contemporary track on the album, and one I’m confident will be adopted by modern boutique bars, hotels and clubs, throughout Europe’s most fashionable cities. With hauntingly enticing vocals similar to that of the UK’s Portishead and the synthesized seduction of the award-winning French duo, Air, for me it’s easily a favourite on the album.

It’s been a while since anyone covered John Lennon’s ‘Imagine’ and I’m still at a loss as to why the Belgium duo felt the need to include their version of it at the end of their latest album. Whether it be an indication of their eccentricity or merely a selfless dedication to one of their many muses, it definitely deserves a listen and is likely to spark interest & discussion wherever this album is lucky enough to be aired.

Named as one of Rolling Stone's Best New Bands Of 2010 and boasting producing from Mark Batson of Dr Dre, Eminem and Jay-Z fame, Grace Potter And The Nocturnals are one of those bands seemingly on the verge of very big things.

Debut single TINY LIGHT is a healthy indication that this outfit have the potential to live up to some of the hype too, the kind of pleasantly infectious middle of the road pop that's previously steamrolled the likes of Jack Johnson and others to mega worldwide stardom. Make no mistake, this is strictly middle of the road and impossibly safe sounding stuff, Grace Potter And The Nocturnals showing no interest in risk taking or left turns here; Potter's bluesy croon delivering radio friendly pop hooks over plodding guitar licks and a none more steady and sturdy rhythm section. The Fleetwood Mac comparisons are just ripe for the picking with TINY LIGHT, not necessarily a bad thing, but just predictable as hell and most definitely nothing new or inspired.

Grace Potter And The Nocturnals aren't going to change the world or shift any musical paradigms with TINY LIGHT, they instead opt to deliver radio friendly middle of the road pop, soothing rather than revolutionary. As pleasantly plodding mainstream pop goes though, TINY LIGHT ticks all the right boxes and proves that Grace Potter And The Nocturnals have all the elements to truly succeed.

OH MY HEART is one of those singles that grabs you from the very get go, from it's Pixies like bass rumble introduction through to the infectious melodic intent and the throbbing, thrusting guitar work; Canadian indie rockers Mother Mother conjure up one of the songs of the year here in gloriously care free style.

On the back of their debut UK live appearances and the release of second LP, OH MY HEART, Mother Mother are a Canadian outfit who've already made sizable waves both in their home country and the US; performing live with the likes of Pearl Jam, The Killers and Spoon and playing SXSW, CMJ, V Fest and Pop Montreal, the five piece look likely to repeat that success over here.

Produced by Tegan and Sara and The New Pornographers mainstay, Howard Redekopp, OH MY HEART is the kind of song to instantly win Mother Mother a slew of dedicated fans, vocalists Ryan and Molly Guldemond delivering sweet male/female melodic interplay over the aforementioned bass rumbles and guitar throbs. Sharing a certain musicality with the alt rocking likes of the Pixies, Broken Social Scene and Stars, Mother Mother are an outfit it's almost impossible not to warm to here, the marriage of pop melodicism and indie-rock scuffle, a winning combination to say the least.

OH MY HEART is already a contender for single of the year, a warm hearted and impossibly infectious slice of indie-rock romanticism up there with the best the genre has to offer.

Right off the bat, the Paramore comparisons are glaringly apparent and obvious when listening to Brighton pop-rockers Mimi Soya. Everything from the crunchy crashing guitar riffs, the feisty female vocals, the upbeat melodies and general aura of exuberant pop rock attitude; heck, even front woman Jorja seems to share the same red headed hair style as Hayley Williams judging by photos adorning the CD packaging.

Saying all that though, Mimi Soya do make an extremely enjoyable and envigorating racket with new EP, I CAN'T STAND POP BANDS, a quartet of songs so jammed packed with pop hooks and grin inducing attitude that it's sure to leave you suitably wide eyed and impressed. From opener MILLIONAIRE to closer DOCTOR! DOCTOR!, Mimi Soya inject each and every moment with an energy and bounding exuberance that's truly infectious, vocalist Jorja seemingly incapable of not infusing everything she utters with winningly melodic intent, catchy hook after catchy hook of cascading pop rock, just the right side of sickly sweet. Title track, I HATE POP BANDS proves the EP's finest moment, Mimi Soya firing on all cylinders and delivering a slice of day-glo pop-rock to die for, the “goodbye to the cynics, we're in it to win it” tag line both a tongue in cheek aside and manifesto waving call to arms all wrapped up in one delicious whole.

Mimi Soya may not be delivering anything you haven't heard before with the I CAN'T STAND POP BANDS EP and those Paramore comparisons are mile high neon letters in Vegas type of obvious, but for exuberant pop thrills and infectious hook laden melodicism, this is a quartet of songs to die for.

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?