Although from Bridgend, Broken City Skyline’s new single ‘City Lights’ doesn’t have a hint of its birthplace in it.  
The band – made up of brothers, Dewi, Alun and Mark Bowen, as well as their friend Danni Kennedy – have perfected an Americanised sound with throaty vocals, much like the material produced by Springsteen and bands like The Gaslight Anthem. With a piano accompaniment that boosts the song into stadium rock territory, ‘City Lights’ seems more suited to New York rooftops than dingy Welsh gig venues.

Formed in 2006, Broken City Skyline been touring Wales and England with what they call their “majestic skyscraper power pop”. They reached the semi-finals of the Welsh Surface Unsigned Festival and have supported acts such as Kids in Glass Houses, The Blackout and Straight Lines.

Although the band has mimicked a good sound, ‘City Lights’ seems to lack the messiness and unpredictability of the aforementioned alt rock artists like Springsteen and Gaslight Anthem. It ends up sounding like the theme tune to a cheesy American sitcom. Think Frasier or Cheers.

‘City Lights’ is a good song, but there’s nothing different here that will really propel it to the stadium rock level that its pianos seem to aim for.

This hard hitting West London trio has been making a name for itself on the rock scene since the bands formation in late 2008.

Self confessed 'alt rockers', although after listening to the snippet of what's to come, in the form of debut single '145', I prefer to put them in the 'punk rock' genre. This track is reminiscent of '70s punk rockers The Clash and The Jam during each verse yet breaking into pure rock, competing with the likes of Bush and The Hives, for each chorus.

A varying tempo throughout, clearly separating verse and chorus, allows the listener to catch his breath after singing and 'air guitaring' in appropriate measures. A typically rock guitar solo, permitting Ian George the opportunity to showcase his abilities, makes way for a soft drumming session backing  soft, almost 'warming up' vocals before plunging into the next rock phase.

Unlike most rock bands however, Katalina Kicks' lead vocalist and lead guitarist is one in the same, meaning Ian George's vocal chords are the only part of him to take a break during each guitar solo!

Katalina Kicks would certainly not be out of place kicking up a storm on the rock stage at any major UK festival with followers and fans head banging and singing to their hearts' content.

Debut single 145 is due for release on 5^th July 2010, second single following in September 2010 with the full debut album hot on its heels in October 2010.

** Other facts:

Ian George's last solo project, 'Number One Creation' (ft musicians from 'Remember') was released in October 2008 and made it into the Top 30 in the European MTV Charts. Ian's former band 'Kyro' enjoyed global satisfaction which led to a US publishing and record deal after the release of the band's first album; the second album was rated as a top 'Napster recommends' album and made the Top 50 in the UK –  with this proven talent Katalina Kicks can only follow suit.

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.

There's a quote from Billy Corgan of The Smashing Pumpkins describing Rush's brief eighties dalliance with the mainstream during documentary, BEYOND THE LIGHTED STAGE, where he proclaims, “Rush middle of the road is still somebody else's left field”, and it's perhaps the perfect summation of this bands forty year career trajectory, arguably the world's biggest cult band, a trio able to deftly balance the sublime and the ridiculous.

 Directed by filmmakers Scot McFadyen and Sam Dunn, the duo behind Iron Maiden: Flight 666, Metal, A Headbangers Journey and Global Metal; BEYOND THE LIGHTED STAGE takes Rush from their seventies beginnings in Toronto through to present day super stardom, one of rock's most influential bands and one that ranks third for most consecutive gold and platinum albums behind The Beatles and The Rolling Stones. Winning the Heineken Audience Award at the ninth annual Tribeca Film Festival in New York City earlier this year, BEYOND THE LIGHTED STAGE has been critically acclaimed and offers an engaging look at band members Geddy Lee, Alex Lifeson and Neil Peart.

Featuring interviews with musical luminaries and fans such as Trent Reznor, Billy Corgan, Kirk Hammett, Gene Simmons, Taylor Hawkins, Sebastian Bach and Jack Black, the documentary proves the influence and ultimate staying power of this Canadian power trio, charting their rise from Led Zeppelin esque beginnings through robe wearing prog rock craziness, eighties synth pop experimentation, anthemic stadium hard rock glory and all manner of weird and wonderful hair and mustache combinations along the way. If BEYOND THE LIGHTED STAGE illuminates anything, then it's the general down to earth groundedness and lack of cynicism that runs through these three musicians musical veins; Geddy Lee, Alex Lifeson and Neil Peart offering up unguarded and good humored insights into their forty year career, not afraid to poke fun at their own nerdiness and lack of fashionable sense; Rush's peculiar, unique sounding and at times ridiculously over the top style prog rock awkwardness not something lost on the band members themselves.

Though you don't exactly get a warts and all, no holds barred work of probing documentary here, BEYOND THE LIGHTED STAGE offers up enough insight into the band to leave most fans satisfied, the band giving great interviews throughout and providing entertaining commentary on each album, time period and musical shift along the way. Early footage of their humble beginnings at tiny venues in Toronto are fantastic looks into Rush's formative years, and watching Alex Lifeson mumbling his way through family dinner as a moody long haired teenager is both hilarious and cringe worthy viewing; his present day self as embarrassed and amused as everybody else judging by the ensuing interview footage.

Interviews with the likes of seventies touring partner Gene Simmons of Kiss, various producers and collaborators also add to the insight; adding context to the Rush story and a bit of tension and dissent amidst some of the more congratulatory moments on offer here; able to poke some playful fun at the bands eighties synth and mullet period. Fans Billy Corgan, Trent Reznor, Sebastian Bach and Taylor Hawkins are a little more gushing, offering up variations on why they think Rush are so awesome.

For fans of the band, BEYOND THE LIGHTED STAGE is a real treat, rare archival footage, insightful interviews and backstage looks at the Rush experience are all presented with loving reverence, this a documentary that covers the entire span of the band's career with an attention to detail that is impressive. Coupled with an extra discs worth of out takes, interviews and live footage, BEYOND THE LIGHTED STAGE is a must have for any real Rush fan out there and for even the most casual or merely curious onlooker, pretty damned essential stuff too.

I wouldn’t consider myself religious in any way, shape or form, but I think you can safely say I have found GOD, or should I say the ‘GODS’, that is Gentlemen of Distorted Sound.
While there may not be anything remotely heavenly about the four part London based rock band, it’s quite evident just four years after forming, they’ve developed a devout following for whom Rock ‘n’ Roll is in fact a religion.

This month sees the official launch of their debut EP, Bone Idol and if the hits for taster tracks; ‘Electric’ and ‘La Grange’ both on their homepage and YouTube are anything to go by, they can look forward to it being a potential success.

‘Electric‘, an obvious opener, is as addictive as it is indicative of their 80’s influences; Aerosmith, the Smashing Pumpkins and Guns n Roses - to name just a few.
A heavy classic rock intro (just to be sure their listeners know what’s in store) instantly reduces to whispering vocals and an accompanying oxo beat from Richard Fordham (drums) before Irish born front man, Gareth Nugent lets rip and unleashes his full-on rock vocals for the chorus.  Forget the three play rule, there’s enough repetition of the catchy chorus and key chords to have you singing it hours after, making it a definitive track which begs to be played live.
In stark contrast, ‘Beautiful Face’ (for Evil) is a grower, but there’s no disputing the lyrics.
In between selling his dog for a bottle of gin and bedding his mum’s friend, Nugent finds the time to front a predictable chorus immediately reminiscent of Scott Weiland, formerly of Stone Temple Pilots, and now lead singer for Velvet Revolver.

They say your signature track should be memorable, and ‘The Gods’ is that, but it’s likely to leave true Rock fans hitting the pause button and reaching for their CD collection, as the intro has Led Zepplin’s classic, ‘Kashmir’ stamped right the way through it.
This aside the track boasts a well crafted melody and provides the perfect platform for the band to showcase some well positioned harmonies, and a leading bass line from Lawrence Santi (bass).

Boasting the second highest number of ‘plays’ on their home site, ‘La Grange’ sees the band acknowledge it’s rock n roll roots with a late 1960’s early 70’s classic rhythm and blues riff sure to equal instantaneous foot taping and finger drumming.
Once again Nugent’s low-key almost whispering vocals, make it easy to see why it’s generated so much interest and is fast-becoming a hit on Myspace.
There’s no substitute formula for saving the best until last, and loyalty is well and truly awarded in the fifth and final track, ‘Breathe’ which sets itself aside from the rest on the EP.
The band’s lead guitarist, Mako revels in the spotlight supporting Nugent as he layers verse after verse in the build up to a knuckle-busting chorus worthy of any big stadium.
Listeners will start out following Nugent’s command of; “breath just a little, feeeeel just a little” but are sure to unconsciously find themselves seamlessly shifting to follow Mako’s compelling and overriding riffs, a skill few bands manage to master and one that should be applauded at such infancy.

An excellent first EP produced by Mark Williams who also worked on recent albums for Biffy Clyro and Enter Shikari, and if the first five tracks are an indication of what‘s to come, there’s no rhyme nor reason why Gentlemen of Distorted Sound shouldn’t eventually enjoy similar success.

No stranger to the art of collaboration, having made his name teaming up with the likes of Lily Allen, Amy Winehouse, Alex Greenwald and Daniel Merriweather in the past, DJ and pop star Mark Ronson returns here with his latest musical venture, The Business Intl., the multiple Grammy award winner teaming up with a collection of over thirty musicians and singers. Boasting names such as D'Angelo, Nick Rhodes, Ghostface, Nick Hodgson, Spank Rock, Miike Snow, Simon Le Bon and Wiley this time round, it seems that Ronson is in typically eclectic musical company for the release of forthcoming new album RECORD COLLECTION.

Released ahead of that, new single BANG BANG BANG sees him teaming up with A Tribe Called Quest main man Q-Tip and MNDR aka Amanda Werner for a slice of electro pop disco that announces his return in mile high day glo neon letters.

As surefire a pop hit as you could ever hope for, Ronson and friends bring out the synths, beats and grooves here in party style; Q-Tip and MNDR delivering the feel good heart and soul whilst Ronson works his magic like its a 1980's block party behind the scenes. If you're going to do straight to the point pop, this is the way you go about it, Mark Ronson and the Intl. delivering radio friendly grooves here that imagine Basement Jaxx partying with The Scissor Sisters whilst The Chemical Brothers and Lady Gaga nod along approvingly.

BANG BANG BANG is superior sounding pop from Mark Ronson and the Business Intl. and is a single that leaves you desperately eager for more.

Pretty Little Thing is the latest single from Australian soft rockers Black Chords.
With all the experimentation and try-hards floating around the music scene at the moment, it is refreshing to find a band who have subscribed so unashamedly to the NME-friendly, indie template. And they have done a pretty good job of it too.

Originating from Melbourne, Australia, the band is fronted by 27-year-old songwriter Nick Milwright and has already excited Australian music critics. The band’s self-titled album was released in October 2009 and they are currently spreading their chocolatey, soft rock sound across the Atlantic.

Perfecting the build ups and breakdowns of all the best alternative rock hits, ‘Pretty Little Thing’ is a moody creation of heart-warming Snow Patrol vocals with climactic drums and guitars. The sound is reminiscent of early Coldplay and Biffy Clyro – chart friendly yet alternative enough to entertain fans from both sides of the mainstream tracks.

There are oodles of promise in this latest offering from Black Chords; ‘Pretty Little Thing’ is set to cause an almighty stir in the UK music industry, turning Black Chords from rock n’ roll seedlings into fully-fledged festival favourites.

The coming together of James Mercer of The Shins and Brian Burton aka Dangermouse is one of those dream indie line ups that can only harken very good things indeed. With Dangermouse's proven track record as creative genius behind such projects as The Grey Album where he combined accapellas from The Beatles White Album with Jay Z's The Black Album and Cee-Lo Green collaboration Gnarls Barkley's St. Elsewhere and The Odd Couple, not to mention being the production guru behind such smashes as the Gorillaz's debut, Beck's Modern Guilt and Dangerdoom's The Mouse And The Mask and Occult Hymn; Dangermouse is someone who's no stranger to zeitgeist capturing gold. James Mercer, as front man, founding member and main singer/songwriter with The Shins since 1997 is also someone no stranger to bashing out timeless pop songs at the drop of a hat, his Grammy awarding winning band hailing from Albuquerque, New Mexico having released three critically acclaimed albums of winning indie pop.

The duo have come together under the Broken Bells monicker here to release a debut album every bit as wonderful and timeless as you'd imagine, Mercer and Burton crafting a record that takes everything these two musicians have learnt and distilling it into a collection of songs as heartwarming and life affirming as you could imagine. Opener and lead single, THE HIGH ROAD heralds BROKEN BELLS as a record you can truly get behind, Mercer's trademark harmonies and melodies dancing effortlessly against Burt ons production magic and warm musical touches. Electro synth grooves blend with subtle beats as Mercer croons effectively, delivering killer pop hooks with an ease that's almost frightening, as the chorus kicks in and Broken Bells prove their worth, you know you're in safe hands here.

The acoustic led VAPORIZE feels like classic Shins from the outset, Dangermouse's contributions a little more subtle and subdued this time round, the lush instrumentation, intriguing beats and bass and brass flourishes adding texture and colour to proceedings in mariachi meets dub directions. Another standout moment, THE GHOST INSIDE finds Broken Bells delivering on all that promise with effortless ease. One of those classic sounding summer pop singles in the waiting, Mercer sings in a delightful croon, coming on like an alt-pop take on Prince, delivering sun drenched melodies against rich musical instrumentation that's at once both disarmingly complex and straight to the point simple.

The melancholic swoon of TRAP DOORS keeps standards at the highest of levels, another richly textured slice of atmospheric pop that marries killer pop hooks, dreamy melodies and textured sonics to fantastic effect; Broken Bells truly on the very finest of forms. The dappled organ chords that herald CITIZEN point towards a mid seventies groove, all lazy sunday afternoon vibes and laid back atmospherics whilst the piano led OCTOBER proves the duo are in no danger of running out of pop hooks and melodious ideas; Broken Bells crafting another gorgeously realised slice of timeless pop.

With MONGREL HEART, a spidery guitar line has the faintest echo of The Cure, but the duo quickly dispel any new wave goth tendencies in place of the usual sunny disposition and pop melodicism; things shifting in a spaghetti western meets baroque musical direction briefly, another surefire indication of this outfits inventiveness and playfulness.

Truly, living up to the promise of both parties involvement, BROKEN BELLS is a record that marries Mercer's timeless pop sensibilities with Dangermouse's creative genius and golden touch. A near flawless album, BROKEN BELLS is the perfect accompaniment to the impending summer months and is a collection of pop songs with both the killer hooks and the inventive complexity to keep you coming back for taste after taste.

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?

It was always expected that once the dust had settled on Oasis’ disbandment, floods of new rock n’ roll stars would rise up from the ashes like wannabe rehashes of the legendary Manchester band.

As hyperbolic as it sounds, Glasgow 4-piece Annie Stevenson seem to have all the capabilities to fill that hole in the music scene. From the opening chords of ‘Get Off the Street’ you realise that this band are the Kasabian-esque lad rock that 2010 has been waiting for.

Infused with that Glaswegian edge that has worked so well for their hometown’s rock heritage, you will find Annie Stevenson’s mix of slurring Pistols vocals and cheeky Fratellis pop absolutely irresistible.

‘Country Killer’ veers away from heaviness and more towards a softer indie sound much like The Coral.
‘TV took My Soul’ is a whirling mass of grunge, incorporated with the sort of riffs that wipe out any chance of this band being labelled amateur.
Final track ‘I’m the One you Hold’ is a heart-achingly good indie love song, set to make the girls swoon and the boys burn with envy. The production is weak but absurdly, the muffled, garage band feel actually adds to the authenticity of sound.

Therefore it seems it is time to throw Mumford & Sons out the window and burn your Dubstep CDs. Concrete British indie rock n roll has returned in the form of Annie Stevenson. This band is set to storm the music charts much like those four Manchester lads who came before them.