Daveportivo's Cultural Evaluation Facility

"Start Without You" is impressive; it has been a long time since I last heard a pop single that was this vapid, this bland, this morose, this repetitive and this uninspired. Granted Burke is obviously playing the track for laughs with a cheeky arrangement that bursts, without warming, into Carribean shimmy in time for the chorus. Lyrically the track is uniformly embarrassing. Burke appears to be attempting a cheeky girls on top anthem, but unlike Lily Allen, or even the Sugababes, this track lacks any feeling of sincerity and is more akin to her previous eye roller "Broken Heels". Tragically, it has clear "fun summer hit" potential.

Back in 2007 Aggro was causing a stir with his slick (albeit crude) punchlines and crunching grime beats. Fast forward to 2010 and he's the latest Grime MC to get the Mainstream make over. Surprisingly his charisma and image suits the clean cut populist image better than most, and while many may scream sell out, his previous work was hardly "edgy and intellectual". In reality it was anything but. "Saint Or Sinner" sounds thoroughly dated but isn't unappealing. There nothing about "Saint Or Sinner" that is remotely essential, but if you want a fun throwaway jam, you could do much worse (see above).

While Only Revolutions may have left many long term Biffy fans cold, there is no doubt that the album and its subsequent singles have been an absolute triumph. Conquering the radio waves even more thoroughly Puzzle, Only Revolutions was crammed full of charming low key balladry and "God & Satan" is no exception. While the lyrics are so blunt and direct they may leave the listener groaning on occasion, the arrangement is remarkably stirring and the strings swell so deliciously that "God & Satan" cannot help but succeed. Effortlessly charming.

The Killers were never a band short of ambition; they were the masters of the gloriously anthemic indie-pop anthem. So when Brandon Flowers announced a hiatus and a solo project many expected artistic experimentation and an outlet for creativity that may have been vetoed by his former band mates. It was surprising then to hear "Crossfire"; a track that feels like a hybrid of Sam's Town's lyricism and Day And Ages' sound. There is a certain disappointment that greets such a predictable outcome, but there is still reason for optimism. Flowers may be in Springteen-lite mode but you suspect that his hybrid sound (minus a truly killer guitar solo) is where the Killers' best work ultimately lies, and "Crossfire" is no exception. A fine pop single, more low key and infectious than outright anthemic but still a welcome addition to Flowers' ever expanding back catalogue.

The contemporary dance world has been overtaken by the likes of Pendulum and Chase & Status so it's actually refreshing to hear two old pros like The Chemical Brothers taking it down with piece of spacious laid back electronica. "Another World" may not be boiling over with new ideas but it's conceptually gorgeous. The track has a great open ended feel, it's as if the track is gentle washing over you, as if your merely passing through it. It has an ethereal quality mixed with blasts of steam like percussion, it's a short track that feels far more epic and opened ended than it's 2:56 running time would suggest. (Note: the video included is the five minute album version, the tree minute single has had embedding disabled by request)

Xenomania (Girls Aloud) and Greg Kurstin (Lily Allen) turn their hand to prodigious youth Gabriella Climi with dissapointing results. "Defender" has all the hall marks of It's Not Me It's You era Lily Allen; a twirling light electronica driven by soft sounding keys. Kurstin's soft shimmering arrangements were the perfect contrast to Lily Allen's harsh lyricism and sugary deceptive vocals. However, next to Climi's bland uninspired lyricism and limp balladry his arrangements appear utterly forgettable.

"Magic Carpet Ride" the other half of this double A side release is the polar opposite. This time the arrangement is anything but subtle. It's big and imposing. It has a cheeky big band feeling that actually helps to show off Climi's raspy tone, unfortunately while this is a fun retrospective dabble it's ultimately inessential.

"Wonderful Life" almost warrants a five star review for it's quite frankly hilarious music video. I hope that Hurts were intending to parody the super serious, overly stylized but ultimately vacant music video. A cheap shot at White Lies and Glasvegas or a unintentionally comical misfire? Whatever the answer the video almost manages to distract the listener from a rather unimaginative slice of synth-pop. Synth-pop can be a wonderfully charming genre at it's best but it is desperately in need of new ideas. Sadly these innovations are not forth coming on "Wonderful Life".

It's great to hear a genuine sense of urgency and drive behind Kano's rhymes. "Uspide" sees the classic contrast of slow chorus and rapid fire verse. With a warm horn arrangement powering the track Kano spits his hit and miss rhymes at a refreshing pace, his cadence gives the track a real sense of rhythm. At times his vocals feel more like an added layer of instrumentation rather than a focused lyrical assault. Sadly the track leads to a rather limp and unsatisfying conclusion, which is a shame, because otherwise this is a short, sharp and effective pop single.

Sky Ferreira certainly earns points for quirkiness on her heavily auto-tuned single "One". Goofy burbling synths, intense repetition and knowingly silly vocal effects certainly give this internet darlings latest effort a healthy dose of charm. For all the garish effects, it's really quite understated and pleasant (qualities you really can't take for granted these days). In the post Allen, post Gaga, Perrified world; the market for quirky female solo artists is rather over subscribed, and while Sky may lack the vocal power of Marina & The Diamonds she has enough girlish charm to succeed on a cultish level. Both contemporary and a willing throwback, "One" isn't good per se, but it's not bad either. Approach with a knowing pinch of salt of and you might just enjoy yourself. (This track will not age well)

Stornoway are latest the recipients of a post Glastonbury boost having been highlighted on the BBC's coverage. "Zorbing" was a natural hit, whereas "Watching Birds" is less obviously and more scatter shot. Despite its inconsistency "Watching Birds" has layers and layers of hooks, both catchy rhymes and infectious vocals, this track is almost too stacked and too chaotic as each hook cascades carelessly into the next. Stornoway's ability to switch between the super serious and the loose and carefree is quite brilliant. "Watching Birds" won't blow you away, but as vibrant slice of quirky British summer time pop you could do a lot worse.

There is a fine line between brain-dead thrills and cringe inducing embarrassments. Alexandre Burke found her self on the wrong side of this line with "Start Without You", Taio Cruz however is more shrewd. "Dynamite" is a slice of unpretentious fun. The chorus is intentionally euphoric and happily spreads feel good vibes. Taio is careful not to big foot the track; he doesn't appear self centred, he's just out for a good time and his enthusiasm carries track. The beat is low key and infectious and unlike so many of his contemporariness (or even his own past efforts) he avoids a guady in your face sound. Next to Akon and The Black Eyed Peas, Cruz appears positively charming. It's this central likeability that makes this track a sure fire club banger and helps the track overcome it's complete lack of originality. Ulimately "Dynamite" has a feel good energy that recalls Yves La Rock's party starting (or concluding) "Rise Up". A surprisingly agreeable success.

It's been fire long years since the Pippettes trail blazed the retro-pop revival with a simple but staggering album; full of gorgeous strings and beautiful melodies. They're due to make their return later this year, and what better way to celebrate the forerunners of the British pop revival than by reliving their finest moment "Pull Shapes". It is quite perfectly the most perfectly pure pop song ever composed. Every last note is in its right place. Each melody and three part harmony is utterly inescapable. Infectious, refined and utterly endearing make no mistake this is pop music done right. This is pop music how Phil Spector imagined it, perfectly produced and full on wonderful little flourish (notice the big bass drop on "I Like To Hip Hop"). "Pull Shapes" is the perfect example of how to make the fundamentally un-intellectual into art. Ultimately it's the ideal expression of one of life's great desire; "I Just Want To Move, I Don't Care What The Songs About".