NASA - THE SPIRIT OF APOLLO

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N.A.S.A is two sparkly LA scenesters called Squeak E. Clean and DJ Zegon (of course they’re not actually CALLED these names, they’re pseudonyms like – they’re CALLED Sam Spiegel and Zé Gonzales respectively). Squeak, or Spiegel, is Spike Jonze’s brother and Zegon, or Zé is a pro skater. Yessir, these guys are some talented guys AND they’ve got some friends too…

The Spirit of Apollo boasts “over 40 guest artists”. You might expect this to be all kinds of too-kool-for-skool unheard of LA DJs and MCs – and there are some of those – but for the most part these are some really BIG names. There’s everyone from the getting-big (Lykke Li, Santogold and the Cool Kids) via the pretty-darn-big (Karen O, David Byrne and John Frusciante) to the shitting-huge (Sizzla, Chuck D and Tom Waits!). Nigh on every song has at least two guest stars on it bleating away to differing degrees of success.

Ok, so there’s Eff-loads of stars there, but does it work? Well, sometimes. The album veers so massively from one song to the next, as you’d expect if you get forty egos flying around, that it’s difficult to feel it as a coherent album.

They do successfully bring the party and you can bust some moves. Karen O’s seductive mantra over Ol’ Dirty Bastard’s and Fatlip’s gruntings on 'Strange Enough' cannot fail to get your arms bouncing. Equally, the combo of MIA and Santogold’s booty shakin’ riddims, Nick Zinner’s (Karen O’s bandmate in Yeah Yeah Yeahs) geetar and Spank Rock’s crazy scat shouting, makes the song’s name 'Whatchadoin’?' the right question to ask anyone who isn’t bouncing.  

So what’s wrong with it? Well, it’s N.A.S.A. They pipe on about unity and equality, and these grand ambitions about new world order on the 'Intro', but then proceed to fall on their own sword. With a roster this Phat you just have to do more. The stars strut their thing, but there’s no sense of anyone taking control. There’s no Bob Geldof to organise this rap version of Live Aid. And, in this case, we need a Bob Geldof.

MICACHU - JEWELLERY

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Mica Levi had a good 2008: two secretly successful seven inches, a couple of grimy mixtapes, a piece commissioned for the London Philharmonic Orchestra and some choice column inches devoted. She is only 21, studies at Guildhall, has been signed to Matthew Herbert’s Accidental Records and is now about to release her debut album Jewellery. 

It’s a peach. With the help of her two trusty Shapes – Raisa Khan on electronics and Marc Pell on percussion – she’s put together a record that’s all over the place, but works: it’s a pop record. 

Jewellery is 15 pop songs that shift from bumpy hip hop to jangly, geetar crunk, via some Herbert-influenced (he’s worked with Roisin Murphy) swing moments, and is all over in under 35 minutes. There’s hundreds of other styles in there too… but at it’s heart Jewellery is unabashed pop. Mica herself said it’s indecision rather than experimental.

Micachu’s vocals have the straight up chat quality of fellow Lahndaner Billy Bragg. She chats about things like shit blokes on Worst Bastard: “When you pinched her arse she slapped you hard cos you’re a perv,” and taking precautions on the album’s catchiest moment Just In Case: “I Don’t have sex because of STDs.” 

While for some artists indecision holds them back, Mica just ploughs on leaving potential mistakes cloaked in ambiguity. The album is full of found sounds and electronic flourishes that compliment the acoustic rattle and solid drums. On final track Turn Me Well she brings in a Vacuum, blending dissonant, ambient noises with crisp bass-heavy beats to create another album highlight.

Other stand out tracks include previous single Golden Phone, replete with dubsteppy backing vocal, Sweetheart for her Snoop-from-The-Wire-esque gurgles and Guts for the pots and pans percussion. Micachu is the shit yo!

THE PAINS OF BEING PURE AT HEART - S/T

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There’s a new set of horses vying for your dollar out of the New York stable. They come with knitted sweaters on, eyes wide as starships and records full to bursting with C86 jangle. They are Vivian Girls, they are Crystal Stilts, and they are The Pains Of Being Pure At Heart. Washed out, shoegaze indie is due its turn to try winning back the aching hearts of another generation of struggling, side-lined youthful lovers. The Pains Of Being Pure At Heart are four cute-as-koalas twenty-somethings from New York, led by the impossible combo of Kip and Peggy. Feeling a bit sick yet? Get this – they formed for Peggy’s birthday at a Brooklyn warehouse AND they refer to their upcoming tourmates The Wedding Present – a combination so made in heaven it hurts – as “The Weddoes”.

Swill the sickly sweet taste (or should that be the sweetly sick taste) from your mouth, you can engage your ears. Their self-titled debut album takes a wide-eyed walk through the late eighties shoegaze scene, taking in big slices of early Cure, Belle and Sebastian and The Cure. There’s even a big hint of The Stone Roses on 'The Tenure Itch': one of the album’s highlights. With their choice of influence comes a great burden of responsibility. These are bands that inspire obsession – fans would throw themselves in front of bullets to preserve this music.

The reason TPOBPAH can survive with this on their shoulders? They ARE those fans, they have pored through every note these bands have ever written. It pours out of the record, not as theft, but as homage – obsession. They know these bands better than they know themselves. 'Come Saturday 'is like their answer to Robert Smith’s 'Friday I’m In Love'. Friday’s done and now we’re free to spend Saturday whirling around our bedroom, arms by our sides, head lifted to the sky, eyes closed, like Audrey in Twin Peaks.

It’s all over in under 35 minutes and you’re free to remember where you are again. You’re left with the taste of Jesus & Mary Chain’s 'Just Like Honey' in your mouth from album closer 'Gentle Sons'. But it’s definitely over. But just maybe you’re a better lover for it.