"Killing In The Name Of" - Rage Against The Machine

I won't be reviewing any new Free Singles until the holidays end, I need a break like everyone else. Someone else deserves a break; Zac de la Rocha. If RATM weren't already awesome enough, this time they've slain Simon Cowell. So adding to their "kill list", which I guess includes the US government, capitalism and the KKK, is the X Factor. Thankyou, Tom Morello - your revolutionary's anthem has saved British music for us all. Only in Britain could a screaming, bawling, flaming metal song that ends in a scorching crescendo of earthquake guitars and the immortal line "fuck you I won't do what you tell me", reach number one to defy the pop puppetmaster. It didn't have to be a "good Christmas song" (do those exist? Are you one of those people who actually likes "Mistletoe and Wine"?!), but it was the perfect song for the occaison. But enough waffling, here's my Christmas present; a damn good Christmas Number One.

"No Time" - The Heavy

No Time is a biting, growling, whiskey-sodden tune, a delicious rock song with an ice cold southern drawl. Fans of The Black Keys, early Kings of Leon and The Dead Weather will feast on this gorgeous rock and roll treat. Taken from their second album, The House That Dirt Built, "No Time" tears its way through the air to land in your ears with a crash. Southern blues, made punch-drunk and mixed in with sharp acid funk give this track a modern twist on blood n'tears brawler rock.

With fast, lyrically fireborne vocals juxtaposed to the introductory riff and percussion, funky horns and brass, and eardrum-crunching guitar, Kelvin Swaby's first haunting wail fires the starting pistol for Dan Taylor's opening guitar salvo. Overall, No Time is delicious. It's got a fanstastic, uplifting chorus that blends heartache and alcahol-blurred rock, and is a thouroughly enjoyable track for followers of that rockin', rollin' star in the sky.

Genius reccomends; The Go, The Black Angels, Port O'Brien, Marmaduke Duke, Drummer

"Pon de Floor" Major Lazer & Vybz Kartel

The collaborative project of DJs Diplo and Switch, Major Lazer is - apparently - a veteran of the secret Jamaican zombie war of 1984; he rides a hoverboard, battles nocturnal nasties such as vampires and the undead, and "parties hard". Moving aside from the musical persona of the Major, the duo have just ended a US tour and were nominated in the MTV Video Awards for Best Breakthrough Video (for Hold The Line)

Taken from the debut album "Guns Don't Kill People... Lazers Do", Pon de Floor is remeniscent of Basement Jaxx, Santigold or Chemical Brothers; catchy repetetiveness hooked up to an beat. If you wanted more of a sound compass, vocalists such as Santigold, Vybz Kartel, Ward 21, Busy Signal and Nina Sky. Pon de Floor is a turbulent, choppy track, slipping in and out of consciousness - a rolling, thunderous electronic sea. It should be used as the soundtrack to a mobile phone advert. Basically, if Mr T was into dub, this is what he'd come out with.

Genius Reccomends: T.O.K., Chase & Status, Diplo, Turbulence, Vybz Kartel

"Apple Bobbing" - Joe Goddard

The first single from ex-Hot Chip Joe Goddard’s debut solo album, “Apple Bobbing” is an eclectic, blissful skydive through a kaleidoscope spectrum. Or, it sounds like the original Donkey Kong theme tune – depends how cynical you are, really.

“Apple Bobbing” bears all the hallmarks of Hot Chip’s easy-going repetitiveness – all hooks and lines; rarely a sinker. Goddard has created truly kineticised electro pop here and the beats and keyboard-riffs vibrate like atoms colliding in an audible chain reaction - the burning heart of a musical star.

Genius Reccomends: Bibio, Hot Chip, Capacara, Fuckpony, Zomby

"Some Misunderstanding ft Mark Lanegan" - Soulsavers

"Some Misunderstanding" is a resurrected antique from times past. With a delicious guitar that could have been lifted from a Neil Young song, and searingly emotive vocals, Soulsavers have created a gorgeously listenable track. Their third album shows a marked departure from previous efforts, and this new direction adds gravity and authority to Lanegan's rough-edged sound.

A slow-burning, flame grilled epic of a song, "Some Misunderstanding" could be likened to O.A.R., early Stereophonics or even late Oasis - filled with grinding voices, raging guitars and classic rock/folk/americana influences. Overall, it's a sturdy, heart-rending track, tinged with melancholy, a reverbrating rock soliloquy.

Genius reccomends: Pissed Jeans, Star Club West, Graham Coxon, Theoretical Girl

"Living The Life Of A Dreamer - Mr Scruff Remix" - Alice Russel

"Living The Life of a Dreamer" is pretty rubbish. Even the description on the iTunes store doesen't sound very enthused, instead pointing out the rather ambigious fact that Alice Russel has been featured on Free Single before.

However, aside from the initial bad impressions, Russel sounds a lot like Laura Izibor or even Belleruche, with clear influences of Stevie Wonder and 70's funk/soul. Skillful vocals mix in with a toe-tapping beat and in general is a fun party song. But seven minutes of slipping in and out of soul, jazz and dubstep gives a haphazard, haywire feeling. The song lacks focus and direction, having no clear themes and lacking any sense of collection - a winding, unexciting and self-indulgent track that could be from a bad 90's Pringles commercial.

Genius reccomends: Kylie Auldist, HardKandy, Diplomats of Solid Sound, Uptown Funk Empire and The Boogoos.

"Airplanes" - Local Natives

Part of me really likes this song; the part of me that loved Mumford & Sons and the part of me that can listen to Belle & Sebastian for hours and hours on end. The odd honky-tonk piano intro, with the addition of bar-brawler cheering, is reminiscent somewhat of The Drums, though the meat and potatoes of this song bears a signature resemblence with New Orleans-esque Cold War Kids (who are actually from California). The low-key nature of the verse compared with the louder, soul-raising chorus is particularily common to their first album, Robbers & Cowards.

Another artist that "Airplanes" evoked memories of was Hot Club de Paris; not so much the happy-happy, polka-dot sunshine riffs of Live At Dead Lake but the internal, post-it note songs like "Hello, I Wrote A Song For You Called 'Welcome to the Jungle'". So yeah, I like this. It's sweet, laid back and pared down, following the wider movement carved out by minimalist mystery kids The xx. Enjoy.

Genius reccomends; Fitz & the Tantrums, Wild Beasts, Django Django, Michachu and Gold Teeth.

"Edith" - The Hot Melts

Slamming into fifth gear this week are The Hot Melts, with chart-ready single "Edith". With a air-guitarist's riff and a bassline to match, the Hot Melt's sound like post-How To Dismantle An Atomic Bomb U2, and it's not just the guitarwork that's similar; the singer has a discernably Bono-ish inclination to jump off of the vocal high board. Other reference points could be Nine Black Alps' song Cosmopolitan or a non-emo Lostprophets (whose video for Rooftops appears to actually be about misunderstood middle-class kids with piercings. And then one screams and plates explode. Obviously we need to take care to not insult Urbis).

Anyway, overall, "Edith" is a fun, jumpy, track - a fist-pumping gig-favourite. I liked it, but I wouldn't plumb the depths for any serious substance. A modern pop-punk, indie-rock hybrid for fans of The Big Pink or Theoretical Girl.

Genius reccomends: Blakfish, Glamour of the Kill, Die! Die! Die!, Proceed, The Subways.

"Burst its Banks" - Kill it Kid

Kill It Kid seem to be an amalgamated version of Anthony (of the Johnsons) and the Raconteurs. I'll be frank and cruel, and say that the lead singer sounds a bit like cape guy from Britain's Got Talent. Maybe that's an odd reference, but the song just doesen't seem suited to this sort of voice; the first minute, and then pre-chorus with the female backing singer could have been lifted from a Los Campesinos! song, yet it seems ruined by the presence of this totally uninspiring, unkooky vocalist.

I should be more objective about "Burst its Banks", and on the whole, it isn't terrible. There's a nice riff and the addition of strings gives it a unique, folkish sound; Kill it Kid are like a more rock & roll rendition of The Mummers.

Genius reccomends; Anthony and the Johnsons; Tom Waits; Nick Cave.

"Let's Go Surfing" - The Drums

Beach party, anyone? Following the recent trend of blending 80's revival, indie guitar beats and minimal beauty, The Drums have created a song that sounds like a DJ battle between the Beach Boys and Peter Bjorn and John. "Let's Go Surfing" is not just a joyful clichéd twirl through caspardrillo-nostalgia; the echo-ey vocals and repeted lyrics add a somewhat stolen, rogueish element to the track. With chamber-rock authenticity along the same lines as Belle & Sebastian's "The Blues Are Still Blue" evolving alongside summerside Coral-like reminiscings, "Let's Go Surfing" is a catchy yet fleeting song.

The clapping and whistling present throughout the track gives it an amalgamated sepiatone; this is the musical equivalent of watching home videos of your childhood seaside holidays. The whole song eminates this sense that it was recorded on the sand, amongst the spray and salt of a rare sunny day in June (or that there wasn't that big a recording budget). The harmonic-vocals remind the listener of Hot Club de Paris' 2007 album, Pop Till It Drops but the shadowy riffs and stripped-down melodies present on "Let's Go Surfing" hark of 2009-chic.

Genius reccomends; The Big Pink, Bombay Bicycle Club, Wild Beasts, The Pains of Being Pure At Heart, The Rumble Strips

"Sigh No More" - Mumford & Sons

"Sigh No More" is a focused, emotionally charged track with echoes of Arcade Fire and Bob Dylan. Simple acoustic guitar accompanied by choir-like vocals give the song a celestial, religious quality; a modern hymn for the disillusioned generation. Although the band name could be lifted straight from a Dickens novel, the musical influences are clearly vested in heart-breaking specialists Anthony & The Johnsons, and take inspiration from Larrikin Love's dalliance with acoustic joy. Minimalistic genius, as demonstrated by the ghostly, haunting, pantheon sound of The xx,is taken and applied to more familiar ground (you won't find a single chorus about love on XX)

"Sigh No More" is a pared-down, melancholy song that has a gorgeous listenability to it. Although the first half is a inwards-dwelling soliloquy, the second half lifts itself out of the darkness in much the same way that "Sweet Disposition" rang out through the speakers and spoke directly to the listener. "Love will not betray/ dismay or enslave you/ it will set you free" spurs the song on with a hair-raising crescendo, and a coat-tailed bow at the last curtain.

Genius Reccomends: Jay Jay Pistolet; Marcus Foster; Bombay Bicycle Club; Miles Benjamin Anthony Robinson; Slow Club

"Too Fake" - Hockey

"Too Fake" is the opening track on Hockey's new album Mind Chaos. Following their single Learn To Lose, it sets a synthy, catchy precedent for the rest of the record. A New Wave outfit from Portland, Oregon, the band comprises of singer Benjamin Grubin's driving, signature twang, guitarist and bassist Brian White and Jeremy Reynolds (respectively), and drummer Anthony Stassi. "Too Fake" is a jumpy, Lego Technic track (imagine toys animated and playing at Glastonbury) that shares roots with eighties junkette La Roux. Synths and guitar combine to create musical volcanism; reminiscent of the soaring heights reached on Conditions, the debut album from The Temper Trap.

Aside from the comparisons to similar New Wave artists of the moment, Hockey sound most like indie-idol band Los Campesinos!, with clear similarities in the guitar riffs and cheeky basslines. At the core of "Too Fake" is a solid gold pop heart, beating and pulsating and pushing oxygen through Grubin's lungs, like Jason Mraz electricuted.

Genius reccomends; The Strokes; LCD Soundsystem; Los Campesinos; Passion Pit; The Temper Trap

"Old Man Chicago" - Alberta Cross

"Old Man Chicago" is taken from Alberta Cross' upcoming album Broken Side Of Time, and is emblematic of their bluesy, rolling sound. Acoustic and electric guitar combine to complement the gruff vocals of Swedish lead singer Petter Ericson Stakee, shot through with organ backing - creating a catchy, classic-rock song. Having suported Oasis on their 2008 tour, and The Dave Matthews Band as well as The Shins and Bat For Lashes, Alberta Cross are alike to a rock n' roll version of Peter Bjorn & John.

Stakee's soulful voice fills the track, a signature cry alike to Jet's 2004 hit Are You Gonna Be My Girl, whilst the guitar-organ-funk combo will strike a chord to those who enjoyed Oasis' final album, Dig Out Your Soul, or for the more refined music lover, The Raconteurs first album, Broken Boy Soldiers. "Old Man Chicago" is a heady mix of stadium rock, blues influence and postmodern funk, filling the void left by Oasis' modest, civilian departure earlier this year. Broken Side Of Time is slated for release this September.

Genius reccomends: Simian Mobile Disco, The Band, Neil Young, Kings of Leon and Sparkadia.

"Dominos" - The Big Pink

I heard this song first played on Radio 1, though for the life of me I can't remember where. That's pretty bad journalism, but life is hard. Either way, "Dominos" is a strong track, with a driving bassline and a catchy hook. Showing clear similarities with MIA, Massive Attack, and the fanged lyricisms of The Twang, The Big Pink have made a track that in an ideal world, would have been a summer anthem. Instead, it's September, it's cold, and the song doesen't exactly reflect the country's collective mood. But apart from releasing it at an unfortunate time of the year, it's great. Robbie Furze's vocals push the song forward, whilst multi-instrumentalist Milo Cordell's synthesizer backing to the song provides a static-thick backing to the memorable repetitions.

The band recently won the prestigious Philip Hall Radar Award at the NME Awards earlier this year, adding critical acclaim to their growing popularity in the charts. Their new album, A Brief History Of Love, was out in the shops on the 14th of September. The duo are pencilled in to supprt Muse on their European tour, along with Biffy Clyro, which is pretty darn cool.

Genius reccomends: M83, School of Seven Bells, My Bloody Valentine, Sunn O))), Spacemen 3.

"40 Day Dream" - Edward Sharpe and the Magnetic Zeros

Sometimes quirky just ain't enough to get by. Especially when that quirkiness sounds prefabricated by a Central European-based timber construction company*. Alas, the previous statement applies all too much to "40 Day Dream" by Edward Sharpe and the Magnetic Zeros, who fail in emulating a sect of indie-folk long past. Here's the story; in old London town, a fellow named Edward Larrikin made an album with some of his chums; Larrikin Love's Freedom Spark was released in 2006 - part of the "Thamesbeat" genre, an offshoot of indie/bluegrass/reggae/irish folk/rock. The band didn't last long, and neither did the genre. But that one album is a fantastical, roving adventure in sound, delving into pseudo-politics, dream states and kaleidoscope visions. Put simply, it's brilliant.

Admittedly, Edward Sharpe and his band of Laurel Canyon rogues, sound more alike to Official Secrets Act or Wave Machines, but that balance of synergeticism so charicterised by Larrikin Love sneaks into the aforementioned artist's sound so much that I can't ignore how much this song reminds me of Well, Love Does Furnish A Life or Happy As Annie. Back to the matter at hand - "40 Day Dream" basically, doesen't cut the mustard. It's not sweet, it's not fun or post-modern or illusionary. It's normal, with some good post-production effects on top. It is a McDonald's song - the sort of thing given to you with your Happy Meal. If you grew up listening to this sort of pulp-music, you'd have a brain much like Morgan Spurlock's liver in Super Size Me.

*I saw that in an episode of Grand Designs once.

Genius reccomends: I'm From Barcelona, The Youngbloods, The Doors, The Grateful Dead, Plants and Animals.

"Days Even Years" - Dan Arborise

Dan Arborise is a folk/acoustic artist and songsmith - "Days Even Years" is taken from his new album Of Tide And Trail. Unfortunately, it's an underwhelming offering from a bland and uninteresting musician. Dan's fingerpicking has undertones of José Gonzales and possibly Jack Johnson though manages to sound like a (male) cheap man's version of Tracy Chapman.

Although "Days Even Years" is inoffensive, but disappointingly unimpressive. The whole song seems dragged out, like a tribute-version of a Newton Faulker song. But stunning this is not, and neither is it quirky, outdoorsmanlike or folkish. It pushes none of the buttons that make acoustic music work - a mediocre, tame track with underdeveloped ambition. Ultimately, this is dentist's lounge music (even worse than doctor's lounge music because dental work is rarely urgent or important. Dentists are doctors who didn't make it).

Genius reccomends: Scott Matthews, Tunng, Karine Polwart, Findlay Brawn

"I" - Donae'o

"I" from established soul/r'n'b artist Donae'o is a melodious, smooth track with a groovy bassline and honeyed vocals. Despite being primarily a rock fan, this song didn't make me annoyed and did not provoke the usual response my mind generates when given an earful of Beyoncé or Usher - "This is crap".

The religion-inspired lyrics of the track also help differentiate it from the competition; allowing the verses and chorus to be less like injection-moulded American Idolite products and touching closer to the true roots of soul and rhythm & blues. Even a uselessly-inundated worshipper of indie and rock like me can see that this song is from a different planet from its contempories. Although the lyrical content of "I" is far from chart-material, the rest of the song bears hallmarks of records that have made it to the top - for instance, Jamiroquai's "Feels just like it should".

Overall though, the song is a sprawling mess. It's a chilled out, acid-jazz-esque tune that follows along the same lines musically as electronique group Belleruche, though it has no real form and in parts devolves into nothing more than backing vocals and the dull bassline - when the lead vocals do feature, they don't offer anything profoundly stunning or awesome. This is a song to have on in the background.

Genius reccomends: Kyla, Fr3e, Wiley, Geeneus.

"Crystalised" - The xx

The xx are a band that use the lower case musically and grammatically. With minimalistic poise, "Crystalised" is strangely evocative. Resemblant of the same brand of electro-indie/artrock being played by The Invisible, Hot Chip, or The Temper Trap, The xx manage to gouge out their own tiny niche in a genre charicterised by its variety as much as its depth. If this were art, it would be abstract in the extreme. The combination of male and female vocal duties is slightly alike to the musical style of Belle & Sebastian, though is a more modern, sleek and streamlined machine compared to the Glasweigan hipster's snowflake-chic tunes.

Although on first listen I found this track unremarkable, it's growing on me (partly because I've put it on repeat whilst writing), but it's relaxing and thought-provoking in the same instance. It might seem a strange comparison, but this song is incredibly similar to the artrocker's bible, The Velvet Underground & Nico - abstract, sharp and minimal. So much so that it sounds like an artist's persona taking control; at the point where the chorus rises up from the melancholy verse, the song takes on a darker, larger form - and the overall sound achieved is exotic as it is futuristic. In a way, this track is an extension of the recent movement within rock and indie towards electronica (see Yeah Yeah Yeah's). "Crystalised" is an excellent showcase for a band who are at the forefront of innovation.

The Genius reccomendations for this song were; Horrors, Hockey, Bat For Lashes, Primal Scream, The Temper Trap

"Sweet Disposition" - The Temper Trap

"Sweet Dispoition" is one of those diamond-in-the-rough songs you find sometimes on Free Single. Do you remember that rush you got when you first heard the guitar gallop in on Coldplay's "Fix You"? Of course you do, that's why the song was such a massive hit. Well, this is one of those songs. The harmonising of the twin vocals when the tune cranks itself up a notch provides a brilliant chorusline that soars higher and higher into deserved acclaim. As for the general sound of the band itself, they resemble a mix between Passion Pit and U2; the latter's influence is clearly discernable on The Edge-like guitar riffs, and Bono's singing style also comes through - though with the delicacy and refinement of Passion Pit's youthful zest.

It's one of those tracks that seems to evoke summer, colour - being a teenager, and the repeated lyrics of "Don't stop till it's over/don't stop to surrender" compliment this aural aesthetic accordingly. Once I'm finished writing this I'll go and buy the album, and then investigate whatever suggestions the internet comes up with afterwards because, discovering this new area of music, this new brand of chamber rock has changed my week.

Genius reccomendations for this track were: British India; Van She; Expatriate; Red Riders and Children Collide.

"Get Over It" - Solid Gold

Yet another 1980's reboot I'm afraid. Although "Get Over It" is pleasing to the ears, it's unremarkable. Solid Gold have cashed in on the recent craze of sounding like something that would be played on Flash FM, though have tried to gain a middle ground between pop and eighties rehash - and not done very well.

It is an okay song, just predictable. It's got tones of Calvin Harris and Kasabian, but ultimately is destined for the graveyard. This is hardly a new trick and, the reinvention of music long past its sell-by date has to be done right - otherwise you end up with this; boring, shop-front soundtrack - TV advert music.

As part of an overall scene of music, this is a good solid track, but from a band that is clearly a bit of a one-trick pony. If you wanted to buy into the genre as a whole, then by all means get the album. Their credibility has been proven in other means; The Ting Tings handpicked them to as support, and they obviously can make a good pop track - but that's just it. This song has no hook, no sonic-boom of a chorus, and no discernable features differentiating it from the better artists out there. Or maybe I've just got a spot of review-fatigue (it seems that the last three IFS offerings have sounded exactly the same).

Genius reccomendations for this track were; Cloud Cult; Haley Bonar; Wild Beasts; Chris Koza and Jeremy Messersmith.

"You'll Disappear" - The Phenomenal Handclap Band

"You'll Disappear" could have been the soundtrack for GTA Vice City. The slick, streamlined intfo is about as eighties as Topman's latest collection - the music video should simply be footage of people in suits with shoulder pads and rolled-up sleeves walking the streets of Miami, carrying an oversized tapedeck over their shoulder. And yet, although this is yet another song infused with the spirit of reaganomics, The Phenomenal Handclap Band seem to have made it into a very catchy tune. Although sparse with lyrics, the mesmerising vocals keep make You'll Disappear into a hypnotically relaxing track. In layman's terms, Belle & Sebastian plus Neon Neon equals The Phenomenal Handclap Band.

Having looked at the most popular tracks from the rest of the album, this act seem to have every base of the decade everyone wants to forget covered. For instance, "Baby" sounds like the credits music for Columbo, and "15 To 20" is so bubble-wrapped and resonating of materialistic lust it might be a radio commercial for a bank loan - even the album's artwork resembles a stage show by Iron Maiden.

The Phenomenal Handclap Band's debut album is available right now on iTunes, and if you're a fan of artists like Sam Sparro or Neon Neon, this is your foot in the door into the non-mainstream quarter of the genre.

Genius reccomendations for this track were; N.A.S.A.; Camera Obscura; The Bravery; Grace Jones and TV On The Radio.

"To Ohio" - The Low Anthem

This week's Free Single is a laid-back road song from songsmith trio The Low Anthem. "To Ohio" is a chilled out, summery track that seems to conjure up images of campfires and cowboys. Saddle up the ponies, its rustlin' time! Aside from the clichéd use of the harmonica amongst the acoustic melodies, lead singer Ben Knox Miller does kindly refrain from actually talking about sleeping under the stars, which would make sense seeing as he's from New Jersey. It'd be like me slapping on a Cockney accent and complaining about how my market stall in the East End isn't attracting very much business these days, and how I'm having "an auntie an' uncle finding some bunsen".

The folk-rock feel of this track evokes similarities between Iron & Wine or even José Gonzales, though keeps a marked independance from the more recognisable artists present in the genre. It seems odd that even though The Low Anthem have two full studio albums, they have only just been featured on IFS; this song appears to have "compilation album" stamped all over it.

"Oh My God, Charlie Darwin" and "What The Crow Brings" are both up for sale on iTunes right now - get them while they're still cheap because they're probably not worth spending real money on (it would damage the hobo-image they are so painfully projecting. "Look at me, I have fingerless gloves and I eat out of cans! Let me play you a bluegrass song!!!").

Genius reccomendations for this song were; The Felice Brothers; Jack Johnson; Alabama 3; A Weather and Iron & Wine

"I Go I Go I Go" - Wave Machines

The reason I enjoy the iTunes Free Single so much is that it's completely random. Far from being that obnoxious friend who forces their music onto you at the slightest provocation, it knows its place. You've got to take it with a pinch of salt; sometimes it will be absolute crap and sometimes you find a diamond in the rough.

"I Go I Go I Go" by Wave Machines is an example of this cross-section of music at it's finest. Similar to the hybrid-genre edginess of previous IFS resident folktronica act James Yuill, this track is quirky pop gold. With clear influences eminating from disco, Bowie and the current New Romantic resurrection reverberating throughout the indie world, I Go I Go I Go is fun and eclectic. The mishmash of acoustic guitar and polka-dot electronica scream 80's revival. If you want a overview, think Pet Shop Boys in a car crash with The Invisible. It really should be in the charts because most of the stuff up there is rubbish; alas, nothing on IFS ever makes it on there (it would defeat the purpose).

"I Go I Go I Go" is a bouncy, chromatic, careless track - what it may lack in emotional substance it makes up for with its sense of youthful energy. Wave Machines' album is currently available on iTunes and elsewhere, so listen to the track and decide for yourself.

The Genius reccomendations for this track were; Brakes; Detachements; Phenonema; White Rose Movement and We Have Band.