"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.