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Released: January 2006

The case for Alex Turner as indie poet laureate is nowhere better served than on this closing track from their debut. The ‘bad side of town’ here is dangerously lug-headed and crassly unfashionable. Turner stands stock-still, taking the temperature of a land over the wall where “there’s only music so that’s there’s new ringtones.” But even as the key janglers are paraded before us, Turner...

 
 
 

Released: June 2000

OK, so the lyrics are about as advanced as a Moonpig Valentine's card - Martin sounds like he's actually wetting the bed while singing - but somehow it all comes together into one of the great indie anthems of the 21st century. When all is said and done and Chris Martin awkwardly shuffles off towards the pearly gates, this is what he'll be judged by. And it's easy to see why 'Yellow' was Coldplay's breakthrough...

 
 
 

Released: July 2007

In amongst Natasha Khan's obsession with storybook fantasy and delicate experimental songwriting, there beats the heart of someone who'd actually quite like to be a pop star. And on 'What's A Girl To Do?', both worlds collide perfectly, with Khan building her David Lynch-inspired fantasy world around an insanely catchy pop chorus which perched on top of twinkling pianos and driving drum beat. It was with this that...

 
 
 

Released: April 2002

Hard to imagine Doves getting a Number Three hit now, isn't it? And although 'There Goes The Fear' achieved the feat largely due to some rather crafty single pricing strategies, it's hard to argue that it doesn't belong in the realms of the 'featuring Chipmunk'. It was more of a journey than a song – a dance music-inspired canter with that twinkling intro riff, as Jimi Goodwyn relayed the emotions of a...

 
 
 

Released: August 2003

Even though she’s moved far and beyond from this one, she’ll forever be remembered as the girl who sang that weird, euphemistic song, bragging about how excellent her milkshakes are. But we don’t really need to tell you how great this song is, because Kelis did that for us. “You kind of have to be retarded to deny that [‘Milkshake’] literally changed female vocalists," she told the Associated Press...

 
 
 

Released: December 2004

Legend has it that Britney Spears and Katy Perry hit makers Dr. Luke and Max Martin started the process of writing this song by studying (and then ripping off) the low-ended, bass heavy guitar sound of The Strokes and the Yeah Yeah Yeahs. The results are line-for-line authentic (the track begins like ‘The Modern Age’ played in a different key); whilst Clarkson’s vocals – steeped in the over-emoting Mariah...

 
 
 

Released: June 2005

It seems strange now, but in 2005, no one knew quite what the fuck to make of Antony Hegarty. Part Nina Simone, part Boy George (with a splash of Robert Smith and Alison Moyet lobbed in for a laugh), he was a jazz diva on one hand an a 6ft 4in transgendered lost child on the other. No wonder we were confused. What was obvious to everyone was that Antony was a unique talent and a master of refined melancholy. This...

 
 
 

Released: February 2011

The Strokes had been away for four years when this came out, so it was a colossal relief when 'Under Cover Of Darkness' arrived - as spring-loaded and energetic and irresistible as anything on 'Is This It'. OK, the rest of 'Angles' turned out to be a bit undercooked, but - on this song at least - The Strokes regained their long-lost songwriting mojo, and it was glorious: bursting with that weirdly chirpy,...

 
 
 

Released: October 2001

At the peak of their powers with 2001’s ‘Discovery’, everything the duo did sounded so damn effortless. Their robo-personas were put into full effect as they intoned the Presbyterian work ethic of the lyrics, slowly going out of their tiny, worker ant minds as the words became disjointed and rotten by the climax of the track. The music shuffled along with a snappy groove, echoing the non-stop nature...

 
 
 

Released: May 2001

Being somewhat revered now, it's easy to forget how worried Radiohead fans initially were after 2000's bleep-fest 'Kid A' arguably signaled the point by which the band would never return from their 'experimental' crusade inside their own back passage. But heralding the arrival of 2001 follow-up 'Amnesiac', 'Pyramid Song' showed that they could still toss off ghostly hymns of stunning beauty, Phil Selway's...

 
 
 
 
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