Today's Pick

Luke Bryan crashed The Today Show to premiere the music video for his summer-friendly tune, "Crash My Party," the lead single and title track from Bryan's upcoming fourth studio album, "Crash My Party," is scheduled to be released on August 13. "I think in the same way fans will definitely hear some surprises on my new album. It still reflects my sound but you will get to hear a little bit deeper, different side to me musically as well," says Bryan.
Written by Rodney Clawson and Ashley Gorley, the song title may sound like a party anthem, but "Crash My Party" is actually a sweet charming love song about a guy who's so infatuated with the girl he just met. The mid-tempo ballad is a continuation of themes introduced with "I Don't Want This Night to End" and "Drunk on You," two No.1 hits for the ACM Entertainer of the Year, a man at the top of his game. This is a hopeful love song, but the chord structure and tone trigger some sadness that is never justified.
It's difficult to become excited about a song that's so familiar. The 36-year-old country superstar keeps delivering the kind of song that's helped make him the superstar he rightfully is. Catchy arena-ready choruses, earnest verses and a melody that pulls from other genres. Vocally he's a little stiff, but plenty genuine and passionate as he almost begs this girl to come his way. The hook of Bryan's "Crash My Party" is between the lyrics, in the way he indicates that his love may not be reciprocated. "Call me, call me, call me." That's the subtle message that will likely become more obvious with time and several dozen listens.
The Shaun Silva-directed video has a heavy storyline that kicks off with a conversation between two friends - one girl inviting the other to come to party that evening. The other girl isn't sure - she doesn't want to run into the guy who hurt her, but she goes anyway. As the music starts, Bryan singing in the middle of a crossroad while driving up to an old run-down house where he picks wildflowers and sets a table for dinner in the middle of a field. Meanwhile, the girls are setting up a field party of their own. The girl and her ex-boyfriend reconcile during a fireworks display while Bryan surprises his lady.

Benny Benassi, the brilliant Italian EDM producer and DJ has recruited soulful crooner John Legend to sing the vocals on his new single "Dance the Pain Away." The studio edit of the song was released just mere days ago, and now Benassi unleashes the official video for the moody dance track via his label Ultra Records. "Dance the Pain Away" will be the first single off Benassi's forthcoming album; its title and release date have not yet been announced. Legend originally wrote the song as a guitar ballad for his upcoming album, "Love in the Future," due September 3.
Legend gets his feet wet in the electro-pop/dance world with Benassi on "Dance the Pain Away." Unlike many R&B artists who venture into this genre, Legend made certain to maintain his soulful delivery as he croons the uplifting and inspirational lyrics. Benassi's hard bass and Legend's smooth croon are an unlikely pairing, and the two musicians' dance-floor-ready collaboration on "Dance the Pain Away" was similarly unexpected partnership. "This song came about by chance. Working with John is the result of a series of coincidences," Benassi tells Rolling Stone. "Not only is he unbelievably talented, he's also really nice."
Benassi counts the partnership as one of his best moments, particularly Legend's surprise appearance when he performed the track for the first time at Coachella in April. "It was one of the highlights of my career," Benassi says. Legend's vocals are absolutely brilliant - the lyrics are a bit cheesy but his soulful vocals just don't really blend well with Benassi's super mega dance beat. Benassi's bass thumps still drive the track, but the synths wash over Legend's vocal caresses. It's even better here, as the ache in Legend's voice elevates this to a level above most dance anthems, proving that sometimes the heart beats louder than the rhythms on the floor.
Legend searches for an escape in the video for "Dance the Pain Away." Directed by Cameron Duddy, the black-and-white clip brings the song to life as it takes fans for a drive along the scenic and storied stretch of famous road known as Los Angeles's Pacific Coast Highway, with Benassi behind the wheel of a classic Porsche 550 Spyder, while Legend belts out the uptempo track in a black suit at the beach among the seaside hills, and a beautiful girl enticing the camera. The video grips the gut of the track and captures the essence of searching for escape.

North London-based trio Daughter has recently released a new stark video for the poignant and beautiful track, "Youth," a track off of their 2012 EP "The Wild Youth," one of the strongest self-releases I have heard, as well as recent debut album, "If You Leave," which is out now via Glassnote. Calling to mind a stripped down Bat For Lashes with a forlorn Florence Welch-esq vocal, the four mid to slow tempo tracks on "The Wild Youth" are brooding and beautiful, yet never boring. Subtle, yet confident in U.K. indie folk rock band's delivery while displaying a knack for smart and incredibly effective arrangements, color me impressed.
To say it's been a busy year for Daughter would be a massive understatement. For those who have been following the development of the solo artist (real name Elena Tonra), who creates gorgeous music that is stuck in limbo between personal singer-songwriter confessions and bombastic swells of slick indie rock, with the focus very much settled on the delicate intricacies of Tonra's vocals and the sweet simplicity of the accompanying acoustic guitar. Her latest collection of songs build upon the ambient ideas first explored in short bursts on the mostly acoustic tracks on previous release "His Young Heart," which dedicated an entire track to lengthy synth chords and layered vocal sounds.
As a track itself, "Youth" is a somber and simple ballad about lost love. For the bombastic drums in the final moments of "Youth," Tonra has decided to express aggressive ideas in swathes of production techniques, the acoustic ideas swapped for clean electric guitars and synths that reverberate so heavily one could be forgiven for getting lost in them in the dark. Tonra's voice softly and surreptitiously shoots bullets like "And if you're in love, then you are the lucky one... 'cause most of us are bitter over someone," and the verses are colored in nuances of nostalgia, regret, accusation, anger and love! In my view, a perfect blend to illustrate the title.
The black-and-white video is extremely simple and effective and it adopts a minimalist approach, allowing the song to speak for itself. Tonra and her bandmates: Igor Haefeli and Remi Aguilella stand fixated to their designated spots, on an entirely darkened stage-save for three spotlights-and allowing themselves only enough movement to successfully play their instruments. It's moody and straightforward, just like the song. "Youth" is a wistful, heavy-hearted track, but there's still an underlying melancholy, and the combination synchs up for a simple yet effective end result. Tonra's voice is so mesmerizing that a simple video is all the band really needs, and it is rather fantastic.

The always talented, interesting and energetic, M.I.A. returns and continues to purvey her rebellious sound with astonishing comeback visual for her 'insane' new song "Bring The Noize," which pays tribute to Public Enemy's 1987 classic of the same name, and is the first official single lifted from the British rapper's upcoming fourth studio album, "Matangi," which in Hindu is a goddess, of music and word. It's also M.I.A.'s real name - Mathangi "Maya" Arulpragasam. A fertile combo with sensational, radical, halting, genre-bending and political songwriting, spiritual maxims, pop cultural context.
It's been over a year since she taught us that “bad girls do it well” and now the 37-year-old singer is ready to bring the noise. Born a Sri Lankan and spending most of her life in England, M.I.A. always compliments and correlates those two cultures. Perhaps it's her status as both a visual and musical artist that makes her so intriguing, or her unabashed, strong and sometimes controversial political line. M.I.A. moves to her own rhythm and doesn't allow herself to be highly sexualised as others do. She has now decided to delve deeper into electronic music with "Bring The Noize," which demonstrates the diversity of her artistic ability as she effortlessly spits verses over a hard hitting bass line throughout the entire song.
M.I.A. tends to release the sort of songs you might hear if you added a drum beat to the fast-forwarding of a Pixar movie. Her musical style has always been a kind of manic clusterfuck, and she while she’s been incredibly successful she’s also been accused of releasing full albums – full artistic statements – with no actual songs. "Bring The Noise" changes all that. The breakthrough single is a drum-heavy record with chopped up vocals and a whole lot of noise. It keeps with M.I.A.'s brutal and heavy beat sound. Slightly tribal, the samples range from club noise to fairly average hip-hop synth strikes, and evokes feelings of a conscious anthem reminiscent of Public Enemy's classic track with a beat you can actually dance to.
The clip is a colorful, intriguing, and as always, energetic number that finds M.I.A. showing off her both soft and wild sides. Armed with her pink hair the video's expose in underground London falls in line with her poignant messages. As M.I.A. passing through barbed wire to reach a dark underground club where She crowning herself a goddess in a temple of dance, bejeweled around rows of mostly male worshipers, who have removed their shoes and dressed all in white. Here  M.I.A. introduces her goddess-among-men in style, as an icon of worship. It's at least an intriguing watch, playing with cultural unfamiliarity within familiar fashion and art.

Indie rock band Yeah Yeah Yeahs rocks the Empire State Building, NYC's monstrous 1,454-foot symbol in their new visuals for "Despair," the second single off their latest fourth studio album, "Mosquito." Shooting the video on top of the Empire State Building marks a milestone for the trio as they officially become the first group to ever shoot a video in the famous landmark. It is somewhat inappropriately titled "Despair," and no, there are no "Sleepless in Seattle" homages at any time during Yeah Yeah Yeahs' up-tempo garage punk anthem.
This aching anthem finds vocalist and pianist Karen O singing about wasted days and nights and tears stinging her eyes, before concluding, "Nothing to fear." It is one of the most melancholic tracks on "Mosquito," but drummer Brian Chase said he feels it reflects the album's "wise and peaceful sense of love." He explained: "Love has always been there in different forms. In the form it takes on 'Fever to Tell,' it's very wild and passionate. This one seems to be not quite omniscient, but can see situations from the other side, so there's a peaceful sense to it, but at the same time, encouraging whatever it is to go through its process."
Karen described this track as "a love song to despair." She added: "It's a feeling that you have that visits you time and time again. It's an incredibly uplifting song , though, about wanting to run away from certain darkness in your life. It was certainly "an iconic moment", Karen told the New York Times about video shooting. But it was also the 34-year-old singer's first visit to the summit of the legendary skyscraper. The same was true for the video's director, Patrick Daughters. "I don't like heights," he explained. While Yeah Yeah Yeahs performed on the 86th floor, a camera crew circled in a helicopter. "It was plenty loud," Daughters said. "I don't think they had to worry about the neighbors."
Karen starts the clip by making a scene in a bar, before the action shifts to show guitarist Nick Zinner in a cab and Chase napping on the subway, each on his way to the Empire State Building. Fittingly with the lyrics, the trio eventually convene at the summit of the skyscraper, where they ultimately rock out as the track adds whirling guitar and pounding drums to Karen's spare vocals. She's all smiles as the song unfolds and the band takes a minute pause momentarily to take in the view from their heightened perspective, the camera pans out to the amazing sights around New York City, and it's clear just how far Yeah Yeah Yeahs have come.

Ahead of their appearance at this weekend's Glastonbury festival, Manchester synth-pop duo Hurts are back and have revealed a brand new video for their latest single, "Somebody To Die For," the third cut, follow-up to recent singles "Miracle" and "Blind," to be lifted from their latest Top 10 sophomore effort, "Exile." Revealing the video on their official Facebook page, the band said: "Special thanks to the beautiful people of Slab City, California for the magical few days we spent making it. A true wonder. Enjoy..."
Formed in 2009, UK electro-pop duo Theo Hutchcraft and Adam Anderson look like they would be on the cover of Vogue with their sharp suits, slick hair and stark visuals. The pair have been compared to Tears for Fears. Their music is elegant and mysterious Hurts released their first single "Better Than Love" and toured the UK and Europe during the summer of 2010. "Somebody To Die For" is the follow-up track to the singles "Blind" and "Miracle," with "Miracle" receiving strong support from the likes of Huw Stephens and Zane Lowe at Radio 1 with the band performing the track on the Jonathan Ross show.
While "Blind" was crowned Record of the Week at Radio 2 with 'Hurts' recently performing the track on the Graham Norton show. The new single "Somebody To Die For," co-written by band members Hutchcraft and Anderson and produced by Grech-Marguerat, is a dramatic and passionate track that builds into a huge emotional chorus and is a firm favorite from new album "Exile." The track will be releasing on July 21st. The clip comes in the lead-up to the duo's appearance at Glastonbury Festival this weekend. The visuals keep up with Hurts’ usual dark and emotive theme and showcase all that Hurts are known for, sharp suits, intense synth beats and fronman Hutchcraft's strong, emotive voice.
A rather more colorful offering then we're used to, don't be fooled; the tone of the clip is still crawling with darkness. The accompanying dramatic music video is typical of Hutchcraft and Anderson - it's dark, dramatic, emotive and wonderfully overblown. The clip sees the duo perform the track in the desert while surrounded by Christian iconography, as they carry a heavily religious theme with nuns, baptism, flaming effigies and more than a few shots of Hutchcraft striking a Jesus Christ pose.

A bit of good news for folky roots-music fans, The Civil Wars are back with a studio cut clip for their new single, "The One That Got Away," the lead single off their upcoming sophomore self-titled album, is due out August 6. The acclaim for country-folk duo The Civil Wars is probably as high today as it's ever been. They've won Grammys, they've recorded with T-Bone Burnett and Taylor Swift, and their debut album "Barton Hollow" has been certified Gold. The trouble is, the two bandmates Joy Williams and John Paul White appear not to be in a place where they can truly enjoy their well-earned success.
In creating the song, Williams and White just poured the amazing passion they have for music and the band as well as all of the angst and stress they have been feeling into one perfect song about lost love. It is completely stripped of any excessive production so prevalent in music today. What we get is a heartbreaking story about the two people who are singing. The tension builds to the chorus where they end up wailing in a beautifully haunting harmony, "Oh, I wish I'd never, ever seen your face," Williams sings over hard-strummed acoustic guitar, "I wish you were the one that got away."
And while the song is simplistic in its approach, so is the video for this studio cut. It isn't high concept but is as painful as it is beautiful. More of a behind-the-scenes-type presentation, it consists mostly of a series of shots showing Williams and White recording the song in the studio. But it's a painful video to watch because it gets directly at your heart and stays there, as it seems to show that whatever rift exists between these two talented musicians is heartbreakingly real. For starters, as Williams and White harmonize beautifully on the song's often-painful lyrics, they never look each other in the eye. Glances are made back and forth, but there's a connection that's missing.
The Civil Wars have put everything they've got into their new single, "The One That Got Away." What we get is an amazing look at the anatomy of a band on the verge of a break-up. Then again, perhaps we shouldn't get carried away just yet: Judging by "The One That Got Away," not everything is heirloom peaches and artisanal cream between Williams and White now. Whether this is manufactured to emphasize the melancholy mood of the song, or is simply the way things are between them these days, we may never quite know. But either way, "The One That Got Away" is a haunting song you won't soon forget.

Electro pop siren Natalia Kills is back doing what she does best: being a bad girl steeze with her new raunchy music video for her foot stomping summer anthem, "Problem," the grunge-pop number serves as the official lead single taken from the 26-year-old British trendsetter's upcoming sophomore album, "Trouble," which she describes as a representation of her generation with high impact pop, expected in stores on September 3rd via will.i.am music group and A&M. Beware of Natalia Kills! She's pure danger! According to Kills, she's a "god damn problem."
The current ’90s revival in pop culture has been going strong for about two years now. Like most artists, Kills is getting in on the throwback action, but she's exploring a part of the '90s that hasn't really been touched by the pop scene yet: riot grrrl rock. Kills' snarly new single, "Problem," takes the punky feminist genre and drags it into 2013 by throwing hip-hop, industrial rock, and pop into the pot. It even features a heavy dose of Major Lazer swag, as heard when the song's bridge erupts into twerkable handclaps and piercing sirens. "Problem" somehow manages to put together the trendiest sounds of the moment, whilst simultaneously spitting in the face of today's top forty music.
Produced by Jeff Bhasker, "Problem" continues the harder pop sound and offering a dark, pop-rock edge and is deliciously naughty as Kills stirs up her problem pot with some hip-hop and '90s rock influence thrown into the mix. The ultimate bad girl anthem is a feisty in-your-face pop record packed with grimy riffs and infectious hard-hitting drums. You know those fabulous entrance scenes every high school clique film, such as "Mean Girls," "Heathers," and "Clueless?" "Problem" is that song that should be playing in the background. It is that good.
The accompanying visual for "Problem" is fire and has a storyline of "a love story of debauchery and badassness." It sees British dark pop singer strutting her smoking hot body in different sexy and revealing outfits - one of them consisting of only a bikini, fishnet stockings, and high-heels - at different locations, messing around with the police, setting a car on fire, and making out with a man on bed. Just watch this montage on mute and blast "Problem" and you'll quickly see what I mean. Kills should have no 'problem' getting this one to take off. Just EPIC!

Three years after breaking through with her self-titled debut album, Eliza Doolittle makes her long-awaited return with a brand new video for her new single, "Big When I Was Little," will be the first single to be taken from British pop and indie performer's upcoming as-yet-untitled sophomore studio album, which is a "discovery" record, with songs about love and loss. The "Pack Up" singer is preparing to release her new album in October and says it will be interesting as she has learned lots about life since her debut in 2010.
Doolittle's album will tell a story of her journey in life and "Big When I Was Little" is just the beginning of that. She explained: "It's about love and life and on my first record I hadn't really experienced much of either of those. I've gone through growing pains since then and I've experienced things I haven't experienced before. I think [love] is the most important thing in the world." The 25-year-old songbird said the new album also features some songs about the darker side of relationships, including break ups: "When I look at the album as a whole though it's not a break up record, it's more the outcome of how a break up made me feel about life and how I wanna go about living from now on."
Produced by Steve Robson and Wayne Hector, the self-penned feel-good track "Big When I Was Little" perfect for the summer. The track is a fun, quirky, upbeat number that demonstrates Doolittle's increasingly mature songwriting direction and finds her effortlessly showing off her vocal abilities as Doolittle spends time reminicising about the past when she was little. As Doolittle explains: “I was in the studio and I was rambling on about something saying 'that was big when I was little' and Steve goes 'that's a great song title!' So I wrote down some ideas and references and we wrote the song. It's the first song off of the new record and I can't wait for the whole album to be in your ears."
Cooling on the stoop of your brownstone, dumb dancing with your friends, and crashing the community pool after-hours. UK style. That's how British songstress Doolittle does it in this clip, released just in time for the start of summer. The breezy, colorful promo is collection of shots that frame Doolittle well, showing the UK singer perform the track in a variety of comfortable scenes having good times with good friends, while dressed in an assortment of '90-inspired outfits. It's just a splash of feel good entertainment from Doolittle.

Rock guitarist Orianthi has just come out with a music video for "Heaven In This Hell," the lead single and title track from Australian singer's new solo third studio album, "Heaven in This Hell," which finds the virtuoso guitarist and singer moving away from the melodic pop/rock of 2009's sophomore album "Believe," and toward a more adult contemporary and modern blues-rock sound. This is a more gritty, less pop-oriented album than anything Orianthi has done before. Orianthi cited modern country and blues as the main inspirations on the album's sound in the hope of reshaping and reclaiming her image.
From writing her first song at the age of 6, to being discovered and playing alongside her idols Carlos Santana and Steve Vai early in her career, Orianthi has made an enduring mark on the music industry. While many were introduced to this timid guitar goddess when she played the Grammy Awards in 2009 as part of Carrie Underwood’s band, it was being selected for Michael Jackson’s ill-fated "This Is It Tour" that exposed her to mainstream audiences. In the fall of 2009, Orianthi released "According To You," her first solo single, which went platinum in the U.S. and abroad. More than just a gifted guitarist, this success showed she had serious vocal chops as well.

If the goal was to put some dirt under Orianthi's nails then the album opener and title track certainly achieves that. "Heaven In This Hell," which Orianthi describes as a "stylistic mix of voodoo rock blues, with a bit of country," is a blues-rooted rock song which features swampy guitar riffs with an edgy Zeppelin-esque vibe. Orianthi wrote this song with Dave Stewart, lead singer of the Ska-Punk group Goldfinger, John Feldman, and Canadian record producer Gavin Brown. According to Orianthi it was Stewart's idea to put the nylon-string acoustic at the end. She recalled: "'Let's take it to heaven,' he said. He wanted it to float. I used an Alvarez classical for that part."
The 28-year-old guitar goddess takes footage from her "At Guitar Center with Nic Harcourt" podcast episode to come up with the visuals for "Heaven In This Hell." The clip is a black and white extravaganza, and shows what a classic rock chick our Orianthi is. It features Orianthi clasping her guitar and rocking out with band mates Tommy Henriksen on bass, Glen Sobel on drums, and also features Cyril Niccolai of The Fairchilds who plays her Voodoo Cowboy love interest. With the monochrome treatment by director Paul Boyd, Orianthi's image stands out. Her golden locks, fair skin and white guitar are sticking out in the contrast.

Three years after first flaunting her new found maturity in "Can't Be Tamed," Miley Cyrus is still out to prove that she's a grown up. She couldn't wait any longer to rock out and has emerged from a creative cocoon of sorts to release an outlandish comeback mind-blowing surreal video for "We Can't Stop," the lead single to her upcoming fourth still-untitled effort. The 20-year-old former Disney star can't stop trying to shed her Disney image and just wants to clear the air once and for all.
Cyrus has asked her followers to repeatedly watch the "We Can't Stop" clip in order to break a record on Vevo -- a goal that may just come to fruition. Less than two hours after it was posted on YouTube, the video has so far received 2,581,767 views (and counting) and more than 100,000 likes. The clip is fantastically unhinged and purposefully button-pushing; this music video simply needs to be seen to be believed. The song itself was quick to stir up controversy with a reference to cocaine and an easily misheard non-reference to the drug Molly.
Cyrus described the Mike WiLL Made-It produced song as "more funky and R&B, pop" than her earlier records, calling it "infectious"; she also said that it is "exactly what I wanted the first sound to be," and that she kept the song in secret for one year. The lyrics of the song talk about a party, such as, "This is our house/ This is our rules and we can't stop/ And we won't stop." Cyrus admits that the single says "where I am in my life right now." There's something kind of brilliantly woozy about it; it sounds quintessentially California. The whole thing just feels strange, and kind of wonderful. It's a grown-up sequel to "Party in the U.S.A." She's just partying a little harder now.
Directed by Diane Martel, the house party-themed clip is kind of an extreme mashup between a Sky Ferreira video and Lady Gaga's "Just Dance" video infused with Cyrus' new image. It's more reminiscent of Fiona Apple's provocative "Criminal" video than anything the former Disney Channel star ever did in the past. When she's not twerking, spanking her pals or dry-humping the bed, she is seen dancing with teddy bears and making out with her Barbie doll alter-ego in the pool. Smoke billows from crotches, paint spills from hands and Cyrus continues to think that wearing sunglasses indoors is cool. All in all, proving that she is, indeed, about dat life.

The English electronic pop duo Pet Shop Boys, Neil Tennant and Chris Lowe, return to their dance music roots with s new clip for the Stuart Price-produced electric track, "Vocal," the closing tune from their dancefloor-oriented twelfth studio album, "Electric," due for release in July 15 through the band's own x2 imprint, which is a subsidiary of Kobalt Label Services. The video, complements the song's celebratory mood with archival footage from late-'80s dance parties along with scenes from legendary Manchester club The Hacienda, is a bit of a time warp and a trippy rave culture flashback. Welcome back, Boys!
Like all transcendent moments in electronic music, this new video from legends Pet Shop Boys could make us dance and cry at the very same time. "Vocal" is a loving ode and look back to the euphoria of the dance floor, something the electronic duo know a lot about since starting Pet Shop Boys in 1981, and the video is a bittersweet, sepia-toned collection of raw footage from the UK rave scene of the late 1980s. The boys have always been wistful and a bit nostalgic, but as we found out when we interviewed them last year, the passing of time is both happy and sad for them, and "Vocal" seems a direct response to that complicated emotion.
The Joost Vandeburg-directed clip is comprised of "authentic amateur film footage shot at various raves in the late '80s" as well as images from the renowned New Order-owned Hacienda club in Manchester. As the Synth-pop vets explained in a statement following on their official site: "The video (and the song) was inspired by the way British youth at this time found its own freedom with a new culture epitomised by dance music and raves, It's in the music/It's in the song/And the feeling of the warmth around us all is so strong."
In this short film, Pet Shop Boys take a cue from the song's lyrics ("everything about tonight feels right and so young / and anything I'd want to say out loud will be sung") and literally transport us back to the Thatcher-era Euro rave scene - a time period and culture that inspired some of the duo's most highly-acclaimed work. Ever eager to experiment and step out of the box, Tennant and Lowe tapped the filmmaker and photographer Vandebrug, to edit together by using authentic amateur film which consists of grainy, authentic VHS footage of ravers of various stripes accompanies the uplifting, outrageous synth stabs and snare rolls. Like the best imperial and late era Pet Shop Boys tracks, the heady tug of nostalgia lies at the very heart of the song.

Multi-platinum, Grammy-nominated Goo Goo Dolls have unleashed the official music video for their new song "Rebel Beat," the lead single from American alternative rock band's just-released tenth studio album "Magnetic," via Warner Bros Records. The cheerful, exuberant tone of "Rebel Beat" is indicative of what the Goo Goo Dolls had in mind for their new album, "Magnetic," according to frontman John Rzeznik, the trio's primary singer, songwriter and guitarist since it was founded in Buffalo in 1986.
Rzeznik and his bandmates - bassist Robby Takac and drummer Mike Malinin - employed a markedly different method in making "Magnetic." "Rebel Beat" is the first single from the rock outfit for over three years, which has been described as "celebratory." The anthemic pop rock track that finds the band toying with drum machines and swimming synth riffs without neglecting their trademark stadium-sized guitars when the chorus comes, and the track oozes with apathy towards the band's core fan base.
In an interview with Billboard.com, Rzeznik explains "Rebel Beat" is a collaboration with Gregg Wattenberg, built from a rhythm idea. "I was playing this great old guitar that had kind of a (Led) Zeppelin tone to it," Rzeznik recalls. "I started playing this real sort of basic kind of riff, and we just went form there and then started burbling out lyrics." The final lyrics, Rzeznik says, were inspired by being in New York and walking around the Little Italy and Chinatown districts. "They had this street closed off and a huge party going on," he remembers. "I was thinking, 'I love this! I want to be part of this!' So basically it turned out to be a song about celebrating everything and (saying) no matter what, you've got to have fun. That's really it."
The video for "Rebel Beat" was directed by P.R. Brown and it depicts the band members performing and having a blast during a G-rated huge neighborhood block party, packed with chilling seniors, fun-loving toddlers and hula-hooping dancers. Both frontman Rzeznik and bass player Takac are seen rocking out at the party. Drummer Malinin joins the guys after watching all the fun from a nearby fire escape. This summer, the band will hit the road with Matchbox Twenty for a co-headlining tour to support "Magnetic," The nationwide co-headlining run will kick off on June 25th at the Verizon Wireless Arena in Manchester, NH and run through August.

She first piqued our interest earlier this year with her single "Stay Out" and now folk's newest darling Nina Nesbitt takes us on a trip to the seaside and in the music video for her beachy "Way In The World," the infectious lead and tilte track from Scottish singer and songwriter Nesbitt's next fifth EP, due out July 22nd through Island Records, as well as the next single and third taken from her upcoming untitled debut studio album that's scheduled for release later this year via Universal Music Group. It's a slice of summer with the acoustic feel and funtime video. Be warned though you may hop in the car and make your way to the seaside before you even realize it's raining outside!
It's been a fantastic start to the year for Nesbitt, the half Scottish, half Swedish singer-songwriter, who is still only 18. She started her music career by writing and recording songs in her bedroom and uploading the videos to her YouTube channel and her rise has been remarkable. After going back to basics and all emosh on her last piano-ed track, Nesbitt is back with a summery slice of acoustic pop about finding yourself and all that malarky. And it makes us wanna go to the seaside, have a go in the 2p machines and eat a massive stick of rock with 'Sugarscape' running through the middle of it.
Written by herself, "Way in the World," is the perfect follow up to "Stay Out" with its whip-smart lyrics and catchy chorus. It has a lighter, more summery vibe than its predecessor, and both were co-produced with Jake Gosling and Iain Archer. "Way In The World" takes another step forward in lyrical prowess with the delivery bounding with unmatched skip. Despite the acoustic guitar being Nesbitt's weapon of choice since the beginning, "Way In The World" is her tentative first step into the world of folk and, as you can expect, it's an impressive dance. Nesbitt is on the rise and "Way In The World" is the track to bring her all the way up.
That's pretty much what happens in the video too, actually. Dan Henshaw delivers this carefree and charming promo for "Way In The World," shot in Worthing on the English south coast. The director manages to capture a rare sunny day in Blighty, follows Nesbitt and her friends as they lark about under Worthing's decaying iconic pier, on the beach at twilight and around a campfire. Check out the video below. Hooray and hoorah. It'll make you do a funny little jig and give you serious wardrobe envy. Swear down.

Steps back in time, Bruno Mars has personally released the brand new but definitely old school video via Twitter for his sprightly disco thumper, "Treasure." The groovy disco-funk track serves as the official third single from the Hawaiian's sophomore album, "Unorthodox Jukebox," which, as of this post, is en route to hit the 1.5 million copies sold mark in the US. Again, Mars gives the retro, VHS recording look to his new clip, which is basically a performance one as Mars and his band, all dressed in matching in red suits, groove, jam and bop to the might "Treasure" beat and lyrics.
On May 19, Mars began the 2013 Billboard Music Awards with a performance of the single. Described as funky, retro and amusing, the performance was reminiscent of classic Jackson 5 stage shows, from the matching ensembles to the simple, in-line choreography that Mars and his band employed. The song itself is an energetic disco thumper, one of several genres that Mars utilized on "Unorthodox Jukebox." "This is me locking myself in the studio and being free recording whatever it is I want to record," Mars told VH1 about the record. "Just being inspired by all different styles of music, and isn't that what music should be?"
The 27-year-old entertainer insists over sugary early '80s smooth funk guitars and retro-styled disco beats, before declaring his woman, his "treasure" and "golden star" with a sense of unabashed affection. With its grand harmonies, classically kooky hooks and slyly sexual undertones, "Treasure," is stripper-theme funk-pop with gooey synth pads and enormous slap-bass fills that punch through like air-humps. It's a creamy Michael Jackson/Prince-schooled disco soul and the musical mode that makes Mars the happiest. The song makes silk-jumpsuit disco feel contemporary, and the result sounds like a modern day "Rock With You," a feat that few could get away with pulling off so authentically.
The throwback video was shot in Las Vegas on the day after the band's performance on the Billboard Music Awards. Mars directed the video alongside Cameron Duddy, shot it in somewhat Jackson-esque fashion, as treats us to a little time-traveling, which hurls us right into the late '70s with more sparkly suits and disco guitars than we know what to do with. The Hawaiian hitmaker dances under a disco ball with his full band, the Hooligans, in matching red suits and leopard-print shirts, rainbow graphics, grainy camera pictures and charms a young lady in the grainy visuals, which are reminiscent of a VHS recording.

Alicia Keys travels to Las Vegas and carrying two jobs as a showgirl and a cabaret singer in search of stardom in the music video for "Tears Always Win," the fifth single off Keys' fifth studio album, "Girl on Fire," which was released last November, debuted at No.1 on Billboard 200. Despite all the glamour and glitz in Sin City, and the fact she's getting good money moonlighting as cabaret dancer - headdress, feathers, fishnets, and all - and the 32-year-old bluesy singer just cannot stop thinking about her ex. It's stylish and emotional.

The powerful ballad "Tears Always Win," is produced by Jeff Bhasker, and co-penned by Bruno Mars and his Smeezingtons partner Phillip Lawrence. Fiery songstress Keys revealed the inspiration behind the song during one of her live performances while on tour, stating, "Some things don't always work out the way that you wish that they would, but you have to give it a try, and at the very least, I have a song for that too." In the R&B diva Keys' hands alone, this missing-my-baby ballad might have fallen victim to overly sappy platitudes about life on the road without her man by her side.
The song finds Keys nursing a broken heart. She explained its meaning to MTV News: "'Tears Always Win' is really about a relationship that's over and you're remembering all the times that it was there," she said. "You're remembering all the ways they filled your space and now that it's not there. You're telling yourself you don't need them, but you're missing them and you're crying about it." Keys also told MTV of the story behind her video: "It's a girl and her working two jobs and she's got all these things going on, but the whole time, she's totally distracted because she's only thinking about how she feels [about her ex], almost at the point [where] you're thinking about the person, but you're also thinking about, kind of, your loneliness and how you feel. How're you gonna get through it?"
The Robert Hales-directed visual, is totally beautiful, really unexpected, features Keys plays both a showgirl and cabaret singer working hard for the money on the Las Vegas strip, all the while longing for her far-away love. It opens with Keys waking up alone and she's looking kind of sad in her motel room in Las Vegas. But she doesn't stick around her place for long, she throws on a leather jacket and walks down the Vegas strip toward the action and lights, where she does her job as a hardworking showgirl, then transforms into a lounge singer accompanied by some backing singers, and plays the piano and sings the emotional ballad about loneliness and lost love in front of some guests.

Irish pop-rock band The Script reflect on the riotous evening of some young Irish drunkards in their brand new music video to their brilliant single, "Millionaires," the fourth single to be lifted from the Irish soft rock band's third studio album, aptly called "#3," which topped the Irish charts and is available to download right now. The Irish boys just finished their Asian leg for their "#3" World Tour last March and are set to perform back in Europe for the following weeks.
Following lead single "Hall of Fame," which features Black Eyed Peas' leader and record producer will.i.am, this Country style ballad "Millionaires," is the closing track of "#3" and it ends the album on an upbeat note as the frontman Danny O'Donogue sings of those precious moments spent with the one you love. "Walking these streets like they're paved with gold," he croons. "Any old excuses not to go. Neither of us wants to take that taxi home. Singing our hearts out. Standing on chairs. Spending our time like we are millionaires."
The Script's biggest problem here is that it sounds like plagiarism and there's no escaping it. Just when you think the similarities are going to stop, the chorus ends with a repeated 'aires' in a moment that will either make you laugh or drop your jaw with indignation. The only real difference between the two is O'Donogue's preference for stadium-friendly guitar licks, but that can't redeem that's being dogged by its own identity crisis. "Millionaires" is not an all-out belter like the previous singles, but this ode to youth and living on a shoe-string is a sure to be a anthem for the summer.
Known for their relatable and heartfelt lyrics, the video, set on an estate in London, features less of the band and rather focuses on two young lovebirds enjoying a night out with their group of friends as they wander around the streets of London making the best of what they can – yes, quite reminiscent of our sleepless nights and reckless youth. Armed with nothing more than a little ingenuity and light-fingered hands, the group manage to have a lot of fun, hit the pub to basically just to hang out, have a laugh and launch flares, as the trio sing along to the tune and roll out some pretty good lyrics.

Gabrielle Aplin has just released her brand new video for her original composition, "Home," the fourth single from from debut studio album, "English Rain," and the title track from her third EP, "Home," which might suggest something dreary and dismal, it's only because, as a songwriter, she explores the dark side of love. At the age of 20, this YouTube phenomenon and English rose has proven that she has the voice to do great things and with a voice as elegant as hers and with a knack for crafting dynamic pop tunes, you probably won't hear too many people complaining.
The "Home," is a prime example, basking in warm nostalgia while gradually unraveling to a background of tender acoustic strums and hushed drum beats. The lyrics seem to tell Aplin's present story, painting the picture of someone who loves her home dearly, but knows she can't stay there if she is ever to find herself. The track's lyrics capture the sentiment perfectly, proving that Aplin is just as effective on paper as she is on a microphone. It is this type of maturity that may lead you to believe that she is older and has more experience, but the realization that she still has her entire life (and career) ahead of her only raises her figurative ceiling.

"The song isn't about the house you live in or where you're from. For me it's about being with people you love, and appreciating it, even when its far away. I wrote 'Home' when I moved away and felt lost" Aplin explained about track. Aplin is one who thrives under pressure. Especially on "Home," she never seems pressured to do anything besides what she wants to do, thus resulting in one of the most refreshingly unforced sounds in modern day pop. In a recent interview with Digital Spy, Aplin said about the updated version of the track: "I'm also excited for people to hear the new recording of 'Home' - it's slightly bigger-sounding than before and it's exactly how I wanted it to be in the first place."
The accompanying music video begins with a nervous looking Aplin walking back to her car before being mugged by a group of boys, who take her keys. The talented singer is then forced to walk throug the desert in order to reach home. Struggling through the days, Aplin takes to hitching rides, washing cars, and staying in motels, before reaching her destination and buying her beloved guitar to busk on the streets of Los Angeles! Don't worry guys it has a happy ending.

In advance of her album's release next month, Skylar Grey gets frisky with his on-screen boyfriend and shows her dark side once again while out camping in the music video for her latest single, "Wear Me Out,"  the third single and fourth overall taken from the Wisconsin singer-songwriter's upcoming debut studio album, "Don't Look Down", due in stores July 9 via Interscope, the project features Eminem, Angel Haze, Big Sean, and Travis Barker.
The J.R. Rotem-produced "Wear Me Out," is yet another piano, moody song. The kind Grey so loves and keeping it honest. The the 27-year-old sweet voiced soulful singer-songwriter, the protégée of Detroit native rapper Eminem, singing about being worn out by a certain love interest and showcases a more soulful side as she sings over the piano-driven record and I like the melody, subtle production, and of course, Grey's clever lyrics.
Grey has garnered much success as a featured artist and looks to break further into the solo spotlight with her July release. "I am going back to my roots as a piano-driven singer-songwriter with this song," said Grey. "The song and the video were both inspired by events in my childhood, like sneaking out of the house to camp with my friends and flirt with boys." The video thankfully, is not as creepy as her "Final Warning" video. In typical Grey fashion, "Wear Me Out" is still a dark visual, but no one appears to be possessed or in need of an exorcism.

As for the Isaac Rentz-directed "Wear Me Out" visual, it succeeds in capturing the essence, and vibe of the song. The clip hews closer to the chanteuse's roots than the more stylized aesthetic of videos like "C'Mon Let Me Ride," follows Grey, her boyfriend, and a few friends going camping at night. It also featuring shots of the singer-songwriter ready to cause mischief with love her interest Noah Segan and looking au natural by the campfire and playing piano in the woods under the moonlight, and makes love to her man in camping tent, but mystery and mischief lies in her eyes.

Running on the shoreline with a girl and busting out his best moves, Austin Mahone has released new video for his catchy banger "What About Love," which puts Mahone's signature smooth moves. The debut comes just days after he dropped the new tune Friday. Mahone is done being just a YouTube sensation, the Texas singer's ready to be an international superstar. The song will be featured on Mahone's upcoming debut album, "Junior Year," as he recently shared "It should be out by the fall, for sure."
Mahone's come a long way in the last couple of years. After building a gigantic fan army via "awww," inducing YouTube covers and innocent clips for songs like "Hand In My Heart (Live From The Beach)," "Say You're Just A Friend," and "Say Somethin," now he's 17-year-old and he's got a lot of growling, sneering, and angry-dancing to do in his latest single and video for "What About Love," in which he's decked out in tank tops of various colors in the video as he breaks out some energetic Sakinah's choreography with his slick dance moves and his biceps. It shows that he might be more like Chris Brown than Justin Bieber!
Directed by Colin Tilley, "What About Love" kicks off with Mahone and a gorgeous girl on vacation, where they're laughing, taking beach selfies, and playing in the ocean. Suddenly it's all over and Mahone's alone and staring forlornly in a motel mirror. Looks like his girlfriend just straight-up ditched him mid-vacation! Now all that's left for Mahone to do is angry-dance with his crew and follow his ex out of the motel, asking, "What about love? What about our promises?" Oh my, we feel the pain. It's all very *NSYNC circa "Tearing Up My Heart."
The clip has a more mature vibe than his loyal Mahomies have seen from Mahone in the past, as he pines, smolders, dances and rocks a few choice tank tops. The video will certainly leave his fans swooning and wanting more from the singer. Mahone is definitely on the upswing. Not only will he dish about the swoon-worthy video and the RedOne-produced tune, but he's also expected to open up about his debut album, slated for release this fall, as well as hitting the road for Taylor Swift on her “Red” tour, plus Selena Gomez invited him to dinner after the Billboard Music Awards on May 19.

Australian dance music diva Havana Brown takes over the screen in her new official music video for her next single "Spread A Little Love," the third official, fourth international and final single taken from teh 28-year-old Aussie singer-songwriter, model, producer and DJ's five-song debut EP "When the Lights Go Out," which fuses shimmering dance floor ecstasy with stadium-size pop flare more seamlessly than any of her peers, available in stores now.
Brown has her own compilation series in Australia, "Crave" and last year released her debut album, "When The Lights Go Out." She has previously collaborated with Pitbull and has had two No.1 on the U.S Hot Dance Club Songs chart with "We Run The Night," and "Big Banana." She's also supported Chris Brown, Pussycat Dolls and Rihanna on tour. Brown has effectively bridged the gap between the club world and the mass market because she came up in the dance world. She's gone from spinning the hot spots to straight up running them as a triple threat DJ, singer, and performer.
Brown has that real commercial appeal and I think she could be a huge global star. "Spread A Little Love," is a powerful, summer dance anthem and it could be the track which could get her more exposure in the UK. The RedOne-produced inspiring, upbeat and generic dance-pop number probably won't be stuck in my head for days like her previous hits where, but I'm sure the typical cookie-cutter RedOne production will penetrate the fragile minds of some pop-music enthusiasts and the song as a whole; vocals, lyrics, and beat, it's all decent, and will find some love in their iPods, that's for sure.
The video features the beautiful Aussie lady mesmerizing the camera as she sings the inspiring "Spread A Little Love" looking straight to it, while wearing a sexy, and cleavege-y red dress. Her scenes are intertwined with the actual storyline of the music video, which follows a young girl who is carrying diverse objects, and materials to a location in order to create a heart-shaped sign and "get well soon" message for his little brother, who is really ill, to see over his window in his hospital room. Brown serves pure glamour shots throughout the visual and it all comes together quite nicely towards the end.

The newest sassy pop sensation Ivy Levan has just delivered a eye catching visual for her debut single, "Hot Damn," taken from her recently released debut EP, aptly titled "Introducing The Dame," that unveils Levan's refreshing new sound, was inspired by a range of different musical influences and inspirations. It perfectly demonstrates her brilliant roughneck wit as a pop lyricist. "When I was a kid, I adored Whitney Houston and Michael Jackson," Levan explains in a press release. "And then in my preteen and teen years I got into a lot of darker stuff, like black metal and Portishead and Siouxsie & The Banshees."
The Arkansas native is a porcelain skin beauty and the fine purveyors of pop, who applies her big, powerful voice, and delivers a brassy brand of music created by her very own genre she called "swamp-hop," which is a fitting reference to her Southern roots with hip-hop's rougher edges to create accessible pop, and yes, a darn good way to sum up her stomping brand of retro-styled and cheeky soul-pop. It's a down and dirty brew of brass beats and swagger with a unique sound built around sultry vocals full of grit and venom. It also has attitude, memorable melody, and style to burn and there seemed to be a narrative here of the femme fatale variety.
It's not easy to put a label on Levan's unique style of music, and judging by the amazing sounds emitted from Janelle Monae, Levan says of her own music, "I'm not here to preach a message, I'm just telling my story through my songs and hopefully others can relate and get down! It's a win win." Levan cuts a striking figure with her sleek skyscraper frame, diamond-cut cheekbones, and blonde pompadour with the brash attitude of a noire femme fatale.
"Hot Damn," is a deliciously naughty little tune about wreaking enough havoc to set the world on fire. Plus, it's got a toe-tapping ragtime rhythm, which nostalgia enthusiasts will love, and some sultry vocals from Levan. There is a retro feel to the music, but somehow the approach feels completely contemporary. There is also a hint of a sunnier Amy Winehouse. Check out Levan striding across your screen and swinging a mean cast iron skillet in the video below. Despite that gritty/badass concept, director Daniel Carberry goes for a timeless black-and-white palette and styling that gets increasingly glamorous as Levan kicks more and more ass. It is a tongue-in-cheek play on comic-book violence, and ends with a cliffhanger that'll leave you wanting more. There's a rawness to Levan that I like, and I'm sure you will too. Enjoy!

Hotly-tipped UK singer-songwriter Tom Odell has released a new version of music video, which has been billed as a short film, for his stirring piano ballad, "Another Love," the the lead single and title track off his acclaimed debut extended play, "Songs from Another Love," that earned him the 2013 British Critic’s Choice Award, as well as the third single from Odell's debut long-player, "Long Way Down," which is due out June 24th through Columbia records, as he told Digital Spy, "is about the end of a relationship."
Atop beautiful piano compositions by this classically trained musician, who storing all his ideas on a Dictaphone for years before moving up to London so that more people could hear his music. Disguised by unmistakable youth and porcelain skin, Odell carries experience, heart break, and emotional depth. The British 22-year-old falls into a space that borders James Blake's minimalistic territory, yet spills over into Alex Clare's soulful emotionality. "Another Love" has a similar recipe in its soft-sounding verse: "I want to cry and I want to love, but all my tears have been used up." Suddenly, it gets all fired up giving it a grand atmosphere, where violent acoustic strums, heavy keys and solid beat align it with Mumford and Sons.
Odell explained the tune: "It's about a particular relationship that I had. It's that feeling a lot of people have when they're in a new relationship but they can't stop thinking about the last one. When I was 16 or 17 I fell in love with someone and she broke my heart, and that's what 'Another Love' is about." The track reminds us that love knows no age and teenagers can often feel the brunt of its lasting scars–for the unlucky in love. He explains, "All my tears have been used up on another love. I want to fight, but my hand's been broken one too many times. Yeah, I'll sing a song that'll be just ours, but I sang 'em all to another heart." Will he love again? We hope so, for the sake of one lucky heart out there.
British heart wrenching crooner Odell has channeled the pain and tears of "Another Love" into a mysterious video that chronicles the search for a missing woman, and the protagonist's inability to recognize his lost love even when she's right in front of him. The visuals are compelling because they speak to the message of the song, what happens when we let our heart get stuck so far in the past, bound in fear, that we don't see the happiness that could be ours, that's within arm's reach. Filmed by Jamie Thraves and was filmed whilst Odell was in LA for his sold-out Troubadour show in May. Like most good narratives, the film ends with serenity even though there’s not complete closure.

Taylor Swift and Ed Sheeran are fully return from cynical adults to the wonders of childhood and play princess and knight in the impossibly adorable video for their collaboration single, "Everything Has Changed," the fifth single off Swift's multi-platinum fourth studio album "Red." They showcase miniature doppelgängers building an everlasting friendship and first childhood love at a tender age. "I've been excited about this for a very long time. Now I get to share it with you," Swift tweeted.
"Everything Has Changed" is a country pop song in an acoustic style. The lyrical content explores two lovers finding the things around them changing after they first met. Swift described the track as simply "about falling in love. It's about meeting someone and all of a sudden your entire perspective on the world changes - you're thinking for two, instead of one." She also told MTV News how she transforms her emotions into songs. "When I'm writing a song, I'm so in that zone that it's really sort of a trance I go into and I'm just kind of thinking about what I would say to this person that I'm writing the song about if I could just say whatever I wanted to them right now; that's kind of where I go in my head."
Though Sheeran comes from a folk background and Swift a country one, they serenade each other on this sweet duet about the sudden impact of new romance. Thematically, this is Swift at her most familiar and clichéd, but Sheeran's tender harmonies lend the song some much-needed depth. It is a gorgeous love song that uses simplicity as its prime weapon - it's just the two of them, a vague guitar, and almost distant drums - in order to show that she doesn’t need any extra effects to still write a stirring ballad. Rather, her sense of harmony will do the track just fine.
This has got to be the most adorable thing ever! The super sweet video follows a tall, longhaired little girl goes on the school bus and interacts with a redheaded little boy. It is clear that they are meant to look like miniature versions of Swift and Sheeran. They play together and get adventurous at school and strike up a friendship that sees the pair doing arts and crafts, building forts and experiencing life, as only a child knows how. The climax of the clip is a heart-melting slow dance in an empty gymnasium; just try to resist the urge to sob, even before Swift and Sheeran show up as their parents at the end.

Carrie Underwood paying tribute to the victims of the recent deadly tornadoes in Oklahoma in the new video which exclusively on ABC's "Good Morning America" Wednesday for her latest tearjerker single, "See You Again," the fourth single and one consistent fan-favorite from Underwood's fourth studio album, "Blown Away." The 30-year-old singer also appeared on the CMT Music Awards on Wednesday night in Nashville’s Bridgestone Arena and performed "See You Again," recasting it as a somber memorial and she says the song is just right for these times. It's got us curled up in a ball of emotion.
Underwood wrote this power ballad about reuniting with a loved one in heaven with Nashville songwriter Hillary Lindsey and former Evanescence member David Hodges. "See You Again" tells the story of moving onwards after experiencing the death of a loved one in life. The lyrics provide hope and promise through Underwood's strong Christian faith that one will reunite with every fallen loved one in the afterlife. The song's opening consists of a solo piano, followed by a backing chorus and band kicking in shortly after. The song to be truly a taste of heaven, carries a hope-filled, inspirational message about a love that lasts forever, and, that's a sentiment she thinks people can really use.
The lyrics hold a simple ‘death is not the end' message but suffer from a lack of context; it is a flaw that given the song's origin I can overlook. The song isn't looking to tell a story, but rather just trying to describe a feeling. What is mostly in the way of doing that is the 1990's power pop production with vocal delays and big choruses. Underwood's voice has always been most effective when left unadorned, as she promptly demonstrates in the well-executed breakdown. What pulls it over the line however, and presumably why it has become a fan-favorite, is its sincerity in wishing to bring comfort and Underwood’s confident performance.
The emotional clip builds on the faith-based message of the song that runs through vaguely inspirational footage and tugs at heartstrings with several emotional shots, including soldiers saying goodbye to their families and dedications to the victims of the Sandy Hook school shooting in Connecticut and the tornadoes in Oklahoma, while the country-crooner belts out her inspirational lyrics and looking luminous in a gauzy white dress in a gauzy white room, all blonde and gauzy and pretty and bathed in heavenly light. Nothing illustrates this more than the adorable little girl running to her dad, who has returned from war. Lots of patriotism here in true Underwood fashion!

British urban pop starlet Katy B is back, takes to the streets and giving us a lesson in the brand new gloomy music video for her stand-along rave-pop track, "What Love Is Made Of," the lead single to come from Katy's soon to be announced second album, which is expected for release in October via Rinse/Columbia. The mellow house-pop track is out on July 8, and it's also the follow-up to the 24-year-old singer's 2011 debut album "On A Mission." Apparently it's made of street racing and dancing which is exactly what I thought!
Back in March, Katy revealed that she had nearly completed work on her sophomore studio album. "Everything is great," she said of the record. "I've basically got some great tracks and I think I'll just keep writing until the end. A lot of stuff is getting mixed and mastered at the moment, so you just never know when you can just write something special at the last minute." Katy also revealed that there were more tracks which "you can imagine me singing in my bedroom rather than in the middle of a dance floor", and went on to add: "Where I am in my life at the moment, and with my age group as well, I think reality has kind of kicked in."
Katy blew us away earlier this month with her scorching potential song-of-summer, "What Love Is Made Of." Seriously though Katy delivers an infectious synth-pop/trance track that makes you move your head without even realizing it. The upbeat number showcases an undeniably pop-heavy sound that is sure to warrant significant radio spin. Katy's vocals are so ethereal and flawlessness. If she is to be believed, love is made of catchy-as-hell hooks and bouncy synths that make you want to dance like school just let out for summer break.
The accompanying visuals is quite the butch affair, directed by Emil Nava who's taking inspiration from the movies, or, more specifically, the "Fast And Furious" franchise. The video features the "Aaliyah" singer in the middle of a melee of London boy racers, as Katy sings and scowls over the hot house/alt-disco beat and surveys all sorts of tricked-out rides with lights, glitter, and custom paint jobs. Katy not only gets involved in the world of underground of street racing, but she falls hard for a new and potentially dangerous love interest. Back away slowly, girl... this might not end well.

Teasing us with a snippet of the song a few months ago, The X Factor Britain 2008 semi finalist Diana Vickers is back as the new age Cinderella and dropped the brand new visuals to the fairytale re-make, "Cinderella," the lead single to English singer/songwriter's upcoming sophomore album, "Music to Make Boys Cry," due out  September 9. Having a few drinks? Running away? Okay not the old classic we know and love, but hey its 2013, and Vickers is a pop princess. Just like our own high school prom, Vickers gets dressed up, going to the ball, and meeting her prince.
With a successful break from her run on The X Factor, the 21-year-old singer is a shining example of life after the talent shows. A brilliant debut album, festival tours and great singles, Vickers has been delivering us with some classic pop, and she's back again with a bang with her new amazing pop track, "Cinderella," which is set to be released July 21st, and seems to have created herself anew in terms of her look, yes, A fresh faced Vickers.
Co-written by Vickers with Miranda Cooper, Simen Eriksrud and Simone Eriksrud, this song is a take on the classic fairy tale. "'Cinderella,' is about being in love and not caring about any of the material things in life, just wanting to be with that one person you adore," said Vickers. "It's about being prepared to lose anything and take every chance to be with them. It's a play on the classic Cinderella story," she added, "but in this version she's fallen for her prince so much she would lose both her shoes on purpose if it meant she could win him."
With the story line based on the role of "Cinderella," its only fitting for the video to see Miss Vickers in a more glam light, living the life of a princess as she walks into a masquerade ball in a black dress and a mask, stays at a fancy house and parties the night away with Prince charming without running the risk of her ride turning into a pumpkin and ends up taking a dip in the swimming pool water engaging in a kiss. "She'd be a fool not to follow you everywhere/ Because for you I would lose both, both of my shoes" croons Vickers and by the end of the video she makes sure she loses one of her pair of shoes to symbolize the theme of the track.