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.

Released ahead of their forthcoming third album, AMERICAN SLANG, released early this summer, American rockers The Gaslight Anthem return here with the first single to be lifted from that record.

With all the usual Springsteen by way of the Replacements style rock bluster,  AMERICAN SLANG finds The Gaslight Anthem drawing from the same well of influences as before; this another chest-beating slice of anthemic rock that brims with confidence and vigor. Front man Brian Fallon still croons like Springsteen in his fired up prime, delivering the choruses with that none more American rasp to his voice, true stadium rocking glory pitted against rapid fire drum beats and cascading guitar chords.

AMERICAN SLANG is The Gaslight Anthem sounding resolutely confident and full of swagger, they may still be incredibly indebted to their obvious influences and strictly stuck in some retro rocking time warp, but this is the band sounding more self assured and driven than ever before. Boding extremely well for the forthcoming long player of the same name, AMERICAN SLANG is a single that proves The Gaslight Anthem are setting their sights on stadium rocking glory this time round; this may be derivative and over familiar sounding stuff, but it sure is satisfying at the same time.

Soulful 22-year-old Obehi is being tipped all over the internet as the next big thing for R&B this year.

Nigerian-born and raised in Glasgow, the pretty young songstress offers a refreshing alternative to some of the wild, in-your-face artists around at the moment. Quite frankly, it’s just nice to see a female artist who doesn’t use sex appeal to flog her music.
‘Everything’ is the debut EP from Obehi; three tracks that all differ in their own special ways but all of which boast Obehi’s sugary sweet vocals throughout.
Lead track ‘Everything’ mixes piano-tinkering verses with a modern R&B beat and no one can argue with a love song that makes you want to dance.

On ‘For You’, Obehi’s voice is sassy but still as sweet as before. The vocals are layered across the sort of ice cool Timberlake-esque sound which sounds too good for just any old dance floor.

‘Don’t Come Home to me’ has all the attitude and attraction reminiscent of 90s queens of R&B, TLC, with its addictive chorus:” Don’t come home to me/ And kiss me on the cheek.”

This EP is a good effort from a very talented singer, but is this really the time for R&B? As previously mentioned, there are so many outlandish artists out there, a naturally talented artist like Obehi is going to have to work extra hard to get herself noticed in the wilderness of the music world.

Die! Chihuahua Die! are a band whose high octane brand of riff heavy punk rock noise recalls outfits like The Jesus Lizard, The Melvins and Les Savy Fav. We're talking no frills, balls to the wall hardcore here, all heavy guitar riffs, growling vocals and frantic drum beats, this is a band who certainly don't do subtle or subdued.

With their debut album, BITCH SONGS, the South Wales based band unleash nine songs that fly by in a chaotic barrage of intensity and eardrum damaging volume, short sharp shocks to the senses that leave you in no doubt that Die! Chihuahua! Die! are a fired up, raw and 100% committed outfit.

The mellow-yellow in-lay building the tone, before you even get the chance to open the case.
A horn section blasts, 'Ladies and gentlemen. Let us begin!', joined by a sweet uplift of piano. The scene is set for the album, through reggae stomping opening track, 10/10. The fourth single to be released from Sunny Side Up, a track that has received a brilliant reception. It is the perfect way to kick off the album. The voice himself is back in full force. If you don't get the urge to jump out of your seat, and pull the nearest person into a shoulder swaggering skank, there is something seriously wrong with you.

Smoothness is the name of the game. Seamless connecting track Coming Up Easy, is a gentle roller, allowing the raw, natural depths of Nutini's voice to play alongside the fluent, Stax style bass line effortlessly, climaxing in an explosion of horns and vocal solo power. It is hard to believe that an artist could move from head bopping ska, into laid back, attractive soul so well, but it couldn't have worked out any better.

On a multi-tonal road trip like Sunny Side, it is only fair that sometimes you stop off at the nearest services, for a little breather and a tea. While boasting an impressive cast of toe-tapping numbers, these breathers come in a few shapes throughout the album. Prime example is third track Growing Up Beside You. An emotional attachment of love and honesty, 'I don't always get the way you feel, But now I've learned to live with that'. The mood set into a timeless guitar led, country-like ensemble.

Sunny Side is an eclectic mix of Nutini's best attributes. He has written his artistic licence into every song, and rightly so. If you have the matches, why not light the fire? You get the feeling he didn't get the same privilege on 2006's release These Streets. I feel that it is a mix of him growing as an artist, and the record company hounds realising that, to be understood, he doesn't need to be tucked into the pop blanket that suffocated Sunny Side from surfacing earlier.

A personal favourite appears in track Pencil Full of Lead. A playful outline of simplicity, in which he is showing you, that the fame of past successes isn't making his head swell too much. Playing on a trumpet opened, blues based mash of hip swinging jives, and the killer,mouth organ solo, slap, bang in the middle is another reason to move your feet.
Although it may be the most simple, and the least productive of all the twelve tracks on the album, Worried Man is worth noting. The line, 'Cause he feels he is getting old before his time', sets a slightly darker undertone. A clear example of Nutini's view of himself laid naked for any listener. Voice and guitar, aided by a full, folk chorus and eire strings, leaving the album on a thoughtful but dark note. Matching that of following and final tune, Keep Rolling, the track to leave you to your slumber, while your head is at it's heaviest. Not good-bye, more, until next time.

If you want to have a 'real' view of what Paolo Nutini can achieve, this album is exactly that. A mix of genres, pulled off with-out a stumble, a sturdy middle finger to anyone who has previously labelled him pop.

And the reminiscence begins. Chimed into a thoughtful look at what 'The Loss' EP has in store through opening track, 'Lament'. Taking your senses back to every festival you have ever been to, through a connection of beat and melody, cleverly wrapped up in glockenspiel. The guitars and massive projection of vocals set the scene for the attachment, and thought processes that Club Smith have exposed through, 'The Loss'.

  It is not hard to believe that their songs have previously been remixed by the Kaiser Chiefs, also Co-Pilots (Jamie Ellis/ Russell Bloc Party) and have live dates this year with the likes of The Sunshine Underground, Johnny Foreigner and Das Pop.

The well structured instrumental abilities, and powerful vocals, instantly make Club Smith the perfect band to grace the festival stage's that 2010 have to offer. These songs were meant to be blown out into the night, in front of a sea of dancing wellington fairies. It is difficult to believe that such an interesting and individual band, with the tight musical standard that Club Smith boasts, were formed only a short time ago in 2009.

Showing their variability, in the slightly darker tone set in proceeding track 'Courtyard'. Raising chin's with their ability to mix thick, deep guitars, with simple synth waves. Using notably catchy, echoing vocals, allowing them to take over your thought processes. This EP states the obvious, which is to fully understand Club Smith, you need to see them live.

Final tracks, 'Connected' and 'No friend of mine', play on stereotypes through personal experience. Giving a chance to show that as a band, they can put across these emotions simply, but most effectively. With a second EP due to come out in summer, Club Smith will no doubt, be one of the bands to watch out for in 2010. 'The Loss' has depth, without being hard to understand. An exciting EP from a band I hope we see more of this year.