One Inna Million

Brace yourself. Romania's leading dance diva is one hit away from kicking Cascada's Natalie Horler to the curb as the Queen of AATW. Sultry Inna is already a superstar in her homeland and has been on something of a roll in the rest of Europe, topping the charts in 9 countries with "Hot" - her appropriately titled debut single. She now has her sights set on the UK and only time will tell if her success continues or she joins September on the stinking scrapheap of pop. At first, I didn't understand the fuss but by the second listen you'll be humming along to this trash if you want to or not. "Hot" is just one of those incredibly annoying catchy dance anthems that gets stuck in your head and refuses to leave. Produced by Play & Win, the outfit behind Akcent (you might remember their fabulously dirty ode to Kylie) and Alessia, the song is a refreshing jolt of high energy Eurotrash. I just wish AATW went with the original version or the freshly commissioned Cahill remix. The UK radio edit (below) leaves a lot to be desired and the missing minute has rendered the video clip almost unwatchable. Instead of the stripper with a heart of gold subplot, we're left with Inna perving on some bitch in a club. Classy. Anyway, I hope it takes off because I like the diva's follow up singles and think it's about time we had an Eastern European pop star. And no, Ruslana doesn't count.

Close Your Eyes, It's Kate Ryan!

First of all, let me apologise for burning your retinas with the... incredibly glamorous cover of Kate Ryan's latest album. The androgynous stripper stuck in an 80s time warp look isn't easy to pull off but the pride of Belgium almost manages to retain some of her dignity. Anyway, you're probably wondering why I decided to write about this trash in the first place. I'm not exactly Kate's biggest fan and her collection of French cover versions was released months ago. Well, there's a simple reason. I spent the weekend driving my French friends around Sydney and needed something appropriate to play in the car. After spending an eternity ripping Mylène Farmer and Lorie CDs, I remembered "French Connection" and thought I'd let the Belgian diva do all the work for me. Kate's relentless destruction of 80s pop classics went down a treat (every song was preceded with "c'est horrible... turn up the volume!") and I developed a whole new appreciation for one of the year's guiltiest pleasures.

"French Connection" collects the greatest French hits of the 80s and gives them a Hi-NRG overhaul for the new millennium. I'm sure fans of the original versions will be tempted to molest Kate with a stale baguette after listening to this but the majority of tracks were new to me and I loved being exposed to so many wonderful gems. A case in point is the album's biggest selling point, "Ella elle l'a". France Gall's original is actually a rather classy tribute to Ella Fitzgerald - not that you'd know it listening to Kate's trashtastic update. I love everything about this, from the cheesy Eurodance beats to the ridiculous bad CGI extravaganza doubling as a video clip. Unfortunately, the next song (another France Gall cover) isn't quite as successful. "Babacar" was released as a single in French speaking countries to promote the album but it's fucking awful and flopped just about everywhere. Kate's destruction of Mylène Farmer's iconic "Désenchantée" is also pretty fucking awful but it was a massive hit for her in 2002 and the 2009 remix deftly slides into so bad it's amazing territory. The Mylène covers keep on coming with "Libertine" (AKA the song about proudly being slut) but I actually rather like Kate's version and think it makes a nice addition to the "French Connection".

If I had to choose my favourite song on the album it would be "Évidemment" - hands down. Raping a France Gall classic for the third time in the space of five songs speaks volumes about Kate's complete lack of originality but the song is so perfect it weathers the Belgian's lacklustre vocals without so much as a dint in its beautiful armour. Make sure you also check out the fabulous 2N Remix, which transforms the ballad into a sublime slice of dance-pop. "Évidemment" (below) is the album's latest single and deserves to be a #87 smash hit in Poland. At the very least. Don't faint but the next song is actually a Kate Ryan original. "Mon cœur résiste encore" is the French language version of the diva's 2001 debut single "Scream For More". The original was cheap dance trash and it doesn't sound much better en français. Kate has considerably more success with "La Promesse", the French interpretation of her 2004 hit "The Promise You Made" (itself a cover version). I hate to say it but the 29 year old (in Lady GaGa years) should stick with ripping off other divas. For further proof check out the album's only other original - "Dans Tes Yeux", which first appeared on her 2008 album as "Your Eyes". Unfortunately, time hasn't made it any less shit.

One of the best things about "French Connection" is the exposure it gives to unknown/forgotten acts (outside France). If it wasn't for this trashy bunch of covers, I wouldn't know Jeanne Mas ever existed - let alone spent hours trawling Ebay to find more of her music. "Toute Première Fois" is an adorable 80s gem and Kate's version does the original justice. I love this and would have chosen it as a single over "Babacar" (if it hadn't already appeared on "Free"). The canny Belgian sniffs out another winner by covering Lio's lovely "Sage Comme Une Image" and ups the trash ante by revising Philippe Cataldo's camp "Les Divas Du Dancing". Someone really needs to initiate me into the magical world of French pop (circa 1985) because I think I'm hooked!

Kate briefly returns to the present by including "Caminaré", her stunning duet with Soraya. Spain's greatest living musical talent valiantly tries not to outshine her Belgian counterpart too severely but it's an impossible task for the Spanish legend. Soraya brings some much needed class, style and non-Botoxed beauty to the album, so Kate should be grateful. It was always going to be difficult to top that clash of the titans but "French Connection" fittingly ends with the diva's catchy cover of "Voyage Voyage" - a #1 hit for Desireless (the original La Roux!) in 1987. As usual, the Belgian's version falls short of the original but she deserves some credit for breathing new life into so many great songs. I used to joke that Kate was the continental Lisa Scott-Lee but after this opus I see her in a whole new light - as the Benelux September. There's nothing particularly creative or original about "French Connection" but it is hugely endearing and, all jokes aside, easily one of 2009's most enjoyable albums.

EliZe - More Than Meets The Eye

When it comes to Europop divas most gays cling to established Scandipop acts like Robyn and Annie, while other lower class individuals worship faux Kylie (ie. Little Boots) and that 29 going on 45 year old Belgian "stunner" Kate Ryan. Personally, I bow down to EliZe when I need a Europop fix. The Dutch Queen of Dance has been an obsession of mine since 2006 when "Automatic" was picked up by Central Station and became an underground pop hit in Australia. I spent a lot of time and money tracking down EliZe's debut album (not to mention the small fortune I dropped on the Japanese re-release) but it was worth every cent. "In Control" ranks alongside "Neon Nights", 'Light Years", "State Of Mind", "Bring Ya To The Brink" and "Sin Miedo" as one of my favourite pop albums of the decade. There's no pretence with EliZe - it's just relentlessly upbeat pure pop, usually accompanied by a sexy video and so bad they're good lyrics. Needless to say, I was extremely excited when the Dutch icon released her sophomore album last month. I finally managed to track it down a couple of weeks ago and haven't stopped playing it since. "More Than Meets The Eye" is another goldmine of cheesy dance anthems and is running neck and neck with Sally Shapiro for my album of the year (albeit for very different reasons). Here is my track by track review of EliZe's latest stunning masterpiece:

Can't You Feel It
"More Than Meets The Eye" kicks off with its misjudged third single, which recently became EliZe's biggest flop in Holland when it stalled at a Dannii-tastic #65. I'm not surprised. "Can't You Feel It" is great fun but it's not singleworthy. The song is a fairly mechanical attempt at recapturing the "Automatic" magic but it comes off sounding like cheaply produced dance trash - not that there's anything wrong with that! The chorus is great but the verses are stilted and it just feels like something is lacking. Like a hook. Think of this as AATW Dannii without her trademark club sample.

Get Up (Do It Now)
Now this is a pure pop trash explosion. "Get Up" represents everything I love about EliZe. The production is total Eurodance cheese and the lyrics are so comfortingly inane that if you close your eyes tightly you could be mistaken for thinking you're back in 1995. EliZe's Hi-NRG beats and repetitive chorus would make her fellow countrymen 2 Unlimited proud!

Lovesick
The album's lead single is something of a grower but it ended up becoming one of my favourite tracks of 2008. I was initially somewhat surprised by the move towards a harder dance sound after the pure pop of "In Control" but it works and gives EliZe a commercial edge that she was previously lacking. As for the song, "Lovesick" is little more than a slick re-working of "Automatic". I love the "Ah ah ah ahs" and the chorus is pretty irresistible. I'm convinced the song could be a radio hit in Australia and the UK. It's every bit as catchy as "Cry For You" but unlike poor September, EliZe doesn't look like a 40 year old housewife. This is top notch pop.

I Can Be A Bitch
Apparently EliZe wrote this song after downing one too many Vodka lime sodas and kicking a guy in a nightclub. Not surprisingly the lyrics are pure gold. Elize warns people to avoid her on "vodka night" before lamenting "I wish you met me at a different hour but you didn't, so go fuck yourself!" For that line alone this trashtastic chav anthem deserves be a worldwide #1 smash! "I Can Be A Bitch" is the album's first taste of Elize trying out a more American pop sound and she almost pulls it off. This is currently my favourite guilty pleasure and was just released in the Netherlands as the album's 4th single.

Mr Know It All
You just know a song beginning with the line "la la la leave me alone" is going to be fabulous. This is another slightly Americanised pop anthem but it stays true to Elize's Europop roots. "Mr Know It All" has more than a touch of Britney's "Toxic" about it but this canny Cathy Dennis knock off is as charming as it as derivative. "Circus" would have far more bearable with this shiny pop gem on it. A definite highlight.

Hot Stuff
Lord knows I worship the ground Elize walks on but this Donna Summer cover is best described as ill advised and tragifabulous. On the one hand, turning Donna's disco classic into something that sounds like it was shat out by Nicki French is actually something of an achievement, on the other hand, EliZe can do so much better than this trashy Hi-NRG cover. That rubbish can wait until she is inevitably snapped up by Klone records! But what do I know? This became Elize's equal second biggest hit when it rocketed to #11 in Holland. Trash lovers may want to check out the craptacular video below.

Shine Like A Superstar
Latvian diva DJ Ella recently released this song as a single and it's hard not to compare her version with EliZe's. I like Ella's version but criticised the production as being very 2002 on a recent Pop Panel. Happily, EliZe gets it just right. Her version is less cheesy than Ella's and has a harder dance edge. The chorus is still magic and I love the fact that old school trance elements are starting to creep their way back into popular music. This is one of my favourite songs on the album and think not releasing it as a single is a huge missed opportunity.

Favourite Rebound
This classy anthem begins like a Destiny's Child B-side before switching gears and entering familiar dance territory. I love the divatastic chorus and the quirky production. The vocal is great, EliZe really turns it out. With a bit of tweaking, this could be a huge club hit. "Favourite Rebound" is begging for a hands in the air house remix. Cahill, WAWA or Moto Blanco could work wonders with this gem.

Let's Give Love A Try
After trying her hand at a more American pop sound, EliZe returns to her Europop roots with this ultra cheesy dance anthem. Fans of Scandipop divas like Velvet and Therese will love "Let's Give Love A Try". The slick beats come thick and fast, while the chorus is corny enough for a Romanian Eurovision entry. This is perhaps a bit too sickly sweet for me but EliZe delivers another cracking vocal. She doesn't get a lot of credit for her powerful pipes but I think EliZe has one of the most versatile voices in pop.

So Funkable
"He said Señorita, you look like the Mona Lisa" is one of the classiest lyrics I've heard in a long time and that's just one of the many unintentionally hilarious lines on this remarkable anthem. "So Funkable" is possibly the trashiest thing I've heard all year. EliZe's urban makeover is about as convincing as Diana Ross's "Workin' Overtime" album but I love every second of it. Rihanna needs to fuck off. Bitch has nuthin' on the Dutch queen of dance!

Hook You Up
"Hook You Up" is probably my favourite song on the album. EliZe has delivered a pop track of the highest calibre with this gem. I'm not sure if it samples ABBA or just ruthlessly rips off "Gimme! Gimme! Gimme! (A Man After Midnight)" - not that it matters. The unexpected ABBA flavour helps make "Hook You Up" one of the best pop songs of 2009. It's a hook laden triumph with a glistening chorus and splashes of 90s piano. I have no idea why this wasn't released as a single. If Kylie covered it, she would be celebrating a #1 smash.

First Class Liar
It's a shame that such a strong album ends with one of its weakest tracks. "First Class Liar" is a bit of a throwback to EliZe's 2006 hit "No Latino" with its Latin beats and sassy brass. Unfortunately, it's not a patch on that trash classic but the track is still a lot of fun. This is probably the kind of shit J Lo would be doing now if she tried to revive her early noughties sound.

BONUS TRACKS

Automatic (Acoustic Version)
I'm usually not a big fan of acoustic versions of dance songs but this rendition of EliZe's biggest hit is excellent. They have transformed "Automatic" into the kind of earthy torch song that Shirley Bassey normally belts out. It really showcases EliZe's voice and works surprisingly well.

Shake (Radio Edit) (Video)
This was probably my least favourite single from "In Control" but it's still a great pop song and serves as a potent reminder of how strong that album was. The heavy synths are still current and the chorus is undeniably catchy. However, I'd still wish they included the ridiculously camp "Itsy Bitsy Spider" instead.

Automatic (Radio Edit) (Video)
This is the song that introduced me to the stunning genius of EliZe and I still think it ranks as one of the best pop songs of the decade. If you look past the hilarious "Can't Get You Out Of My Head" rip off video, you're left with a crisply produced pure pop gem with an explosive chorus that grabs you by the balls from the first listen. A modern classic.

No Latino (Radio Edit) (Video)
Don't be fooled by the title, this isn't a Cheryl Cole penned right wing anti-immigration anthem but a fabulously cheerful J Lo rip off. As much as I adore "Automatic", this is my favourite EliZe single. I love the cheesy lyrics and the fact that she's referring to herself as "no Latino" (a male) instead of "no Latina" (a woman)! This is as cute as a button and well worth another listen.

ALBUM RATING: 9/10

Unfortunately there are no plans to release "More Than Meets The Eye" in Australia (that I know of) and the album is yet to grace iTunes with its presence. It took a year for "In Control" to be released internationally, so don't give up hope just yet.

Hannah - Pop, Puppies & Jason Donovan

After a decade of massive hits in her native Estonia, "Keeping Score" represents Hannah's (not to be confused with our own legendary diva) first attempt at grabbing a slice of the UK pop pie. I featured the track on the Pop Panel a couple of weeks ago and the response was pretty mixed. Personally, I love "Keeping Score". It doesn't reinvent the wheel but it's a well crafted pop tune with a great little chorus and some killer remixes. There's something warm and uplifting about her music that really appeals to me. I couldn't wait to ask Hannah about that song, her forthcoming album and touring with Jason Donovan when I interviewed her recently. Check out what she had to say below.

Hannah, was it scary to start again from scratch in the UK?

It's always a bit scary to work in a different country to your own but it's very rewarding at the same time when you have some success.

Your music has a more organic sound than most Europop divas. Will you continue with that or have you made a conscious decision to embrace the dance genre?

I plan on doing my music and finding new fans in lots of different genres – I had a big hit in the US dance charts in 2002 so it's really cool to be doing dance music again and being part of its major rebirth.

Was giving Beyoncé a run for her money on the club chart with "Keeping Score" completely unexpected?

Totally! It's great that "Keeping Score" is hitting the right spot in the clubs right now and I was so proud to see it chart and am so grateful that people like it.

Is that track reflective of the rest of your album? I understand you've collaborated with some amazing writers and producers.

I've been very lucky to collaborate with some amazing writers and producers – I had no idea I would be that fortunate to work with the amazing Steve Robson who co-wrote "Shine" for Take That or the legendary Steve Booker who worked with Duffy on "Mercy". You have to remember I'm just a young girl and these people are really brilliant and the fact that I could get to work with them was even more amazing.

I read that you toured the UK with Jason Donovan. What was that like? Did he ever drag you on stage to sing "Especially For You"?

We had great fun touring the UK – Jason was really easygoing and friendly towards me and I loved every second of being on tour in the UK and performing and then meeting the public. That's the best bit. No "Especially For You" though! I saw him again recently in Priscilla Queen of the Desert which is on in London's West End and there were lots of Kylie jokes, very funny!

You mentioned re-recording "Blinded" as a duet. I love that song. Can you tell me who your duet partner is?

Not yet. It's all a bit secret at the moment as we are still working through stuff for it but I can't wait to give it a new flavour and new style for the dance floor. Just watch this space as I hope we can tell you soon.

Will there be any old tracks on your new album? "You & I" is so beautiful.

No it’s all brand new – we might add a bonus track though, that’s not a bad idea, thank you!

I saw the photos of your dogs on Myspace. As a crazy dog person, I can't resist asking about their age and breed.

They are amazing Akitas – and they’ve just had 8 puppies. It was beautiful and a little crazy for a while at home looking after them and eventually finding them good and loving homes.

Thanks for your time. I really hope the album takes off!

Thank you.

"Keeping Score" was released in the UK on Monday. Download it now from iTunes, 7digital, HMV or Tunetribe. The Riffs & Rays remix is now available on Australian iTunes.

Hannah's beautiful Akitas

The Legendary Raffaella Carrà

Raffaella Carrà can probably bend steel with the sheer power of her fabulousness. One nod of that beautiful blond bob and the Eiffel tower would melt to the ground like an ice cream on a hot summer's day. There's just no way to adequately convey the depth of Raffaella's brilliance without spending hours watching her amazing clips on youtube but I'll do my very best. In my opinion, the Italian diva is the ultimate showgirl - the epitome of all things camp, flamboyant and glamorous. Her ability to belt out a tune, while performing complicated dance routines in costumes that would paralyse most drag queens, is simply unparalleled. If you mixed Kylie's DNA with Cher's and then threw in a little Amanda Lear for good measure, you still wouldn't come close to replicating La Carrà.

I'm ashamed to admit that I knew very little about Raffaella until I visited Spain last year. Despite being a superstar in her native Italy and most of the Spanish speaking world, La Carrà remains an underground gay icon in Australia. It's our loss. I don't know how I survived all those years without her! Anyway, back to Spain. On one of my all too frequent visits to FNAC, I came across a Raffaella CD and asked my friends about her. They insisted she would be right up my alley and they were right. It was love at first listen. After that I spent many an hour digging through second hand music stores to satisfy my Carrà addiction but I only became a true disciple after seeing a documentary about her life when I was shacked up with some loser in Jaén. The footage was magical. Seeing Raffaella in action gave me a whole new appreciation for her amazing gift.

Since returning home, I've spent a lot of time researching Raffaella's career but it hasn't been easy. It's almost impossible to find her studio albums (I've had to make do with about 15 different "Best Of" compilations) and the information about her online is almost exclusively in Italian or Spanish. From what I have been able to ascertain, La Carrà entered the entertainment industry way back in the 1950s as a nine year old. She appeared in several Italian films before trying her luck in Hollywood in the mid-60s. Tinseltown obviously couldn't cope with Raffaella's fabulousness because she returned home a couple of years later. It turned out to be a fortuitous move because things really exploded for her in the early 70s. Raffaella finally found her niche hosting variety TV shows - a medium that allowed her to showcase her singing, dancing and acting abilities. In true Carrà style, she revolutionised proceedings with extravagant sets and sexy costumes. The diva even drew criticism from the Vatican for exposing her navel on national TV! How times have changed.

The 70s were very kind to Raffaella. She scored her first big hit in 1970 with "Tuca Tuca" (it even had an accompanying dance - kind of like the Macarena but less shit) and followed that up with many others, the most notable being "Chissà se Va", "Tanti Auguri", "Rumore" and "I Thank You Life". In the later part of the decade, La Carrà embraced a more modern style (namely disco) and really hit her stride. 1977's fabulous "A Far L'Amore" was translated into English as "Do It, Do It Again" and became a top 10 hit in the UK in 1978. Unfortunately, lightning didn't strike twice and Raffaella turned her focus to the Spanish market, which was much more receptive to her unique talent. Confusingly, Raffaella then re-released many of her Italian hits in Spanish. "Fiesta", "Lucas", "Soy Negra", "Male" and "California" are some of her better known tracks from this period.

Having conquered Spain, La Carrà set her sights on South America and moved to Argentina in 1979 at the height of the Dirty War. It's hard to imagine Raffaella as the puppet of a right wing military dictatorship but that's exactly what appears to have happened! She became a regular entertainer on Argentine television and her popularity spread across most of South America. She even starred in her own movie musical (1980's "Bárbara"), a film I would desperately love to see. I find the whole situation incredibly fascinating. It must have been very controversial but Raffaella seems to have emerged from her Argentine exile completely unscathed. I wonder if she has ever expressed regrets for associating with such a corrupt regime. There's next to no information written about the topic in English, so I'm hoping a Spanish or Italian fan will fill me in on the details.

Raffaella packed her bags and returned to Italy in 1982, picking up exactly where she left off - by hosting extremely popular variety programs and churning out fabulous pop hits. While La Carrà's 1970s musical output is generally considered to be her best by fans, most of my favourite songs were released in the mid-80s. I'm obsessed with tracks like "Dolce Far Niente", "Amigo", "Bolero" and "Stupida Gelosia". I love the synthesizers and upbeat pop melodies. The hits kept coming well into the late 1980s. Raffaella channelled the Stock Aitken Waterman sound on her 1988 album, which produced catchy Eurodance tracks like "1,2,3,4 Dancing" and "Chicos, Chicos". By that stage, Raffaella was well into her mid-40s but still kicked up her heels like a diva half her age. Check out her amazing duet with Donna Summer (above). I love how Raffaella totally steals Donna's thunder, making her American guest look like a novice in comparison. The bitter look on Donna's face says it all!

The 90s signalled the end of Raffaella's career as a chart force but she remains a regular on European television and continues to release a new compilation album every couple of years. Kind of like Tina Turner, only more shameless. Last year Raffaella started hosting her very own talk show in Italy, which I'm told is a great success. Now in her mid-60s, La Carrà can look back on an amazing career that spans over half a century. She is in a league of her own, a true living legend.

For a bit of fun, I've listed my ten favourite Carrà classics. As you can see - I really, really love her 80s material!

1. Dolce Far Niente (1984)

I think the title literally means "It's Nice Doing Nothing". I couldn't agree more! This track is just so camp and synth-tastic. The production is pure 80s magic, while the chorus will have you coming back for more. I think "Dolce Far Niente" was used in one of Raffaella's TV shows if the amazing clip (above) is any indication. The part where she dances with the boy in the orange lycra shorts is just surreal!

2. Amigo (1984)

"Amigo" was also released in Italian but I'm more familiar with the fabulous Spanish version. This is another dose of high camp 80s pop - complete with barking dogs! A trashtastic delight.

3. Fuerte, Fuerte, Fuerte (1978)

This gorgeous ballad is a Spanish version of an Italian hit but they're both equally superb and perfectly showcase the loveliness of La Carrà's voice.

4. Fatalità (1983)

Raffaella jumps on the Italo disco bandwagon with truly spectacular results. "Fatalità" is a soaring slice of 80s dance music that boasts some truly sublime production.

5. A Far L'Amore

Raffaella's biggest international hit is a winning disco anthem. I prefer the Italian version to the English re-make ("Do It, Do It Again") and the Spanish version ("En El Amor Todo Es Empezar").

6. 1,2,3,4 Dancing (1988)

This 80s gem is so Stock Aitken Waterman it hurts. It wouldn't have sounded out of place on a Kylie or Sinitta album, which is a very good thing indeed! The video is stunning. I can't believe La Carrà was in her mid-40s! Check it out above.

7. I Thank You Life (1977)

This adorable ballad could just be the campest thing ever captured on record. What a diva moment!

8. Chicos, Chicos (1988)

Ok, forget what I said about "I Thank You Life", this Hi-NRG treat takes things to a whole new level of camp. I seriously need to track down these amazing 80s albums.

9. Soñando Contigo

"Soñando Contigo" or "Dreaming Of You" is a sleek disco triumph. I love the brass and the strings. This is a classy affair all around.



10. Bolero (1984)

Welcome to 80s synthesizer heaven! "Bolero" is one of Raffaella's best English pop hits. It's hard to believe this didn't take off internationally. It captures the zeitgeist of 1984 so perfectly. Check it out above.

Spain's Best Musical Act - EVER!

Even if Soraya, Marta Sanchez and Mónica Naranjo joined forces to form a girlband (assuming for a moment that Mónica is actually a woman), they still wouldn't be able to compete with Madrid's breathtakingly fabulous and stunningly gorgeous Las Supremas de Móstoles. I've come across a wealth of trashtastic talent during my travels but these heavenly beings are truly in a league of their own. Susi, Vicki and Luisi represent everything I love about music. The ladies are irreverent, outrageous and endlessly entertaining. Not to mention the fact that they positively exude glamour and camp appeal from every saggy orifice! Las Supremas de Móstoles are probably my favourite girlband since Germany's legendary Jacob Sisters died of old age and their music is essential listening for fans of quality trash.


The sisters (I know it's hard to believe that one family could be so blessed!) started their career as backing vocalists for acts such as Paulina Rubio and Los del Río. After standing in the shadows of lesser talents for years, perhaps decades by the look of them, Las Supremas de Móstoles finally struck out on their own in 2005 and submitted a song for Eurovision called "Eres Un Enfermo" - basically, "You Are A Pervert"! The competition must have been rigged because their stunning anthem only came second and their dreams of Eurovision glory were rudely shattered. On the bright side, Spain was completely overwhelmed by their sex appeal and Las Supremas de Móstoles scored a record deal, resulting in the album "A Go Go". However, I'm more interested in their English language debut, which was released in late 2007 to much acclaim. By Spanish drag queens.


An album mainly comprised of hits from the 70s and 80s, "Philadelphia Disco Party" is about as much fun as you can have without a condom. Covers albums are hardly rare but this stands out from the crowd with its quirky song selection and the ladies' heavily accented English. You haven't lived until you've heard Las Supremas de Móstoles destroy/improve on classics like "We Are Family" and "I'm So Excited"! As much as I enjoy those tracks, I prefer the less obvious choices like Boney M's "Gotta Go Home" and Gloria Estefan's "Everlasting Love". I particularly love the four covers of hits by The Three Degrees - surely one of the greatest girlbands of all time. "Philadelphia Disco Party" is available on both UK and Australian iTunes. If you have to download only one song, go for "Take Good Care Of Yourself" or "Dirty Old Man" (watch a fabulous live performance below). Many thanks to Pablo and Fernando for giving me this masterpiece. A boy couldn't ask for a better souvenir from Madrid.

Baccara's Back!

Fuck Donna Summer and her hideous "Crayons", the real treat of 2008 for disco fans is the highly anticipated comeback of Spain's Baccara! Even if you're not familiar with the name, you'll know their 1977 #1 smash hit "Yes Sir, I Can Boogie", which has been covered (badly) by everyone from Sophie Ellis-Bextor to Goldfrapp. Try as they might, those cheap whores never had a chance in hell of matching the fabulous allure of Mayte and Maria, who continued to enthrall fans around the globe with their exquisite disco anthems until parting ways in 1981.

Failed solo careers lead both ladies to reform the group, albeit with new partners - resulting in two official Baccaras! Maria's Baccara (often referred to as "New Baccara") initially experienced considerably more success, scoring hits with the stunning "Call Me Up" and glorious "Fantasy Boy". However, Mayte's Baccara made an unexpected return to prominence in 2004 when they were robbed of Melodifestivalen glory with their breathtaking "Soy Tu Venus". Make sure you check out the clip of their performance. The moment when the old birds rip off their skirts is Euro camp at its best! It is this incarnation of the group that is about to embark on a comeback in Germany.

I haven't heard Baccara's new album yet but I already know I'll enjoy at least half of it. The glamorously titled "Satin...In Black And White" contains six of their classic tunes, including not one but three versions of "Yes Sir, I Can Boogie"! Personally, I'm dying to hear the reworked versions of "Darling" and "Sorry, I'm A Lady" as well as the new material. Excitingly, the album reunites Mayte with Rolf Soja - their original producer and the mastermind behind "Yes Sir". With Rolf's return and song titles like "Girls Are One Half Of Heaven" and "The Mathematix Of Love", I have a feeling this could be the Euro-trash album of the year! Here's the tracklisting:

1. Nights In Black Satin
2. Sorry, I'm A Lady (New Version)
3. Cara Mia (New Version)
4. Girls Are One Half Of Heaven
5. Yes Sir I Can Boogie (Latin Version 2008)
6. Yes Sir I Can Swing
7. Simply Forget
8. The Devil Sent You To Lorado (New Version)
9. The Mathematix Of Love
10. Sleepy-Time-Toy (New Version)
11. Darling (New Version)
12. (I Don't Want) To Lose Lautrec
13. German Medley (Yes Sir I Can Boogie / Ich bin eine Lady / Dich schickt der Teufel nach Lorado)

While you're in a Baccara kind of mood, check out this stunning rendition of "Sorry, I'm A Lady" from 1977 (below). Mayte is the bombshell in the black dress. Words can't adequately describe how much I love this riveting performance. Their lovely accents, stunning dance moves and fabulous outfits - utter perfection! I really was born in the wrong era. Today's music just sounds so lifeless and shit in comparison. You can pre-order "Satin...In Black And White" from German Amazon. It's released officially on the 27th of June. Be warned, it's priced at a whopping 29 Euros!

Kerli - Walking On Air

It's a long journey from failed Eurovision contestant to the cusp of American stardom but that's the impressive path Estonia's Kerli Kõiv has navigated over the past four years. Despite bombing out in Sweden's 2003 Melodienfestivalen and missing Eurovision selection for her homeland in 2004, Kerli's distinctive style and unusual voice obviously caught the attention of the right people because she was snapped up by America's Island Def Jam records (the home of Mariah & Rihanna - no less) in 2006. Suck on that, Charlotte Perrelli! I have to admit, I didn't know what to expect when I first received a press release about Kerli. The pretentious 'gothic Barbie doll' styling made me slightly nauseous and the proud comparisons with Bjork instilled me with the fear of God. However, Kerli turned out to be a very pleasant surprise indeed.

"Walking On Air" is one of my favourite singles of 2008 but the first time I heard the song, I almost turned it off half way through. The gloomy first verse is not exactly a toe tapper but then something wonderful happens. Strings herald the magnificent chorus and all of a sudden "Walking On Air" turns into a beautifully twisted poptastic delight. It's a difficult song to describe but imagine a catchy yet depressive cross between Nelly Furtado's "I'm Like A Bird" (the structure is quite similar) and Bjork's only decent song, "All Is Full Of Love". The result is edgy and different, while still retaining a strong pop sensibility. The Def Jam execs obviously realise they have something special on their hands because a small fortune was spent on the terrifying video clip. No, I'm not referring to Kerli's disturbing prima ballerina prostitute get-up but the evil doll. That porcelain bitch is going to haunt my dreams for weeks! "Walking On Air" is available to download now from US iTunes. Fingers crossed that Kerli brings her hot freak show to Australia in the near future!

Check out the magnificent video clip!

Chucky has nothing on this bitch!

Born This Way - Pall Oskar

In keeping with my Mardi Gras theme, today's subject is the reigning queen of the European gay pop scene. If Iceland's Pall Oskar were any more out of the closet, he'd be in outer space! Loud, outspoken and extremely camp - Pall has been winning fans around the world since first coming to fame as a Eurovision contestant in 1997. He might have only placed 20th in his heat but his outrageous performance (accompanied by a group of PVC clad sluts) left a lasting impression. Over the past decade, Pall has become a national hero in Iceland and a familiar face at Pride events across Europe.

As much as I enjoy Pall's latest album (check out this camp delight!), I find the language barrier too overwhelming. I'm sure I'd appreciate the music a lot more if I had some idea what he was singing about. I guess that's the reason why I'm still so enamoured by Pall's 1999 English language debut, "Deep Inside". The album is a brash portrait of gay life, from the bitter ( the touching "No One To Love") to the sweet. My favourite cut is the bright and shiny pop explosion, "Born This Way". This strikes me as the ultimate Mardi Gras anthem - an unapologetic declaration of self-acceptance. Be warned, this tune is gayer than Kylie and Dannii rollerskating past a Streisand concert!

If you think "Born This Way" is the pinnacle of fabulousness, check out Pall's amazing Dionne Warwick drag act (below)! I was stunned by the physical transformation and the uncanny performance. I'm completely mesmerised by his faithful rendition of "I Say A Little Prayer". I hope Pall brings out an entire album of swinging Bacharach & David covers. Check out Pall's Myspace for more information and order his music from here. Mardi Gras really needs to import this fabulous fag for next year's event!

The Delightful Donna Lynton

With Sydney's Mardi Gras season in full swing, I've decided to spend this week focusing on some of the campest anthems in my collection. Two of my favourite slices of poofter pop come to you courtesy of Holland's finest disco diva - the extremely fabulous Donna Lynton. I guess you could say that Donna is the Dutch Marcia Hines - an American expat who discovered fame in her adopted homeland courtesy of a brilliant voice and some extremely fabulous tunes.

Donna spent the early part of the 1970s touring with a late incarnation of the legendary girl group The Ronettes. In 1976 Donna married a Dutchman and moved to the Netherlands, where she quickly established herself as a local star, largely thanks to her discotastic Theme From Charlie's Angels. As fabulous as that song is, the best was yet to come. By 1982 disco was all but dead - everywhere it seems except groovy Holland. Donna's first Dutch album, the classily titled "Prima Donna", contains two of my favourite disco anthems. I haven't heard the whole album but I can only imagine how brilliant it is if "Bridge Of Love" and "Passion For Paris" are any indication.

"Bridge Of Love" is the ultimate camp delight. From the opening horns to the ridiculous lyrics about building "a bridge of love across the sea", this fabulous anthem makes me swoon. Donna's fierce vocals and the song's booming chorus are just two reasons why this is one of the underrated gems of the entire 1980s. Close your eyes and you can see the spinning disco balls! "Passion For Paris" is just as delicious. Donna's ode to French nightclubs not only contains the immortal line "I'm feeling Ooh la la for France!" but generally rips off "Lady Marmalade" in the most exquisite way. The "Paris is burning in my soul" refrain, in particular, is just divine. These two tunes are guaranteed to light up any dancefloor!

Like most disco queens, Donna's string of hits came to an abrupt halt in the mid-1980s. However, this diva soldiered on - singing at parties and on luxury cruises until making a comeback in 2004 thanks to a tv appearance. Donna has since formed a Supremes tribute act and currently has a role in the Dutch production of "Fame". If you're still not convinced about Donna's unparalleled fabulousness check out the amazing clip below. 55 year old Donna whips at least 20 fans into a frenzy with a stunning rendition of "I've Got The Music In Me" at a Dutch shopping centre. Lovely Donna works the crowd like the old pro that she is - dancing with the security guard is a particularly classy touch! I'm forever grateful to my friend Jeroen for bringing this magnificent diva to my attention.

Toy Toy's Trashy Duet

It's time for a trash flashback! With the release of "Thriller 25" and the impending arrival of Janet's latest porn soundtrack, I've got to thinking about my favourite Jackson - holy Toy Toy. People always think I'm being sarcastic when I declare my love for La Toya but I'd easily rank her as one of my 10 favourite divas - top 5 if the lazy bitch would hurry up and release something new. As a pop trash icon, Toy's fabulousness is unparalleled. While other divas have thrown in the towel, La Toya has weathered a 30 year career of flops and failures with the determination of a mule. None of Toy Toy's 10 stunning albums have produced any hits but she keeps on rolling with the punches. Today I'm going to focus on one of Toy's most outrageous career lows - her trashtastic duet with Tom Beser, "Don't Break My Heart".

By 1997 La Toya was at an all time low (even by her standards). She had finally escaped from an abusive husband only to discover that she was a virtual leper in the US. So La Toya turned to Europe, where she could still trade off her surname. Never one to take a lucky break, poor Toy Toy ended up on the books of Tom Beser - a German producer of some disrepute. Tom tried to drum up publicity by claiming he had sex with Toy and allegedly conned her into a German club tour on the pretext of carrying out charity work. La Toya eventually came to her senses and left the project. Most producers would have called it a day but Tom pressed ahead, releasing their duet in 1998. To cover the absence of his duet partner, Tom simply hired a La Toya impersonator for live appearances!

Amazingly, "Don't Break My Heart" isn't a complete disaster. In fact, far from it. I love the tacky Euro-pop production and La Toya's stunning vocals are always sweet music to my ears. The whole damn thing is actually pretty catchy. The chorus is great and Tom's mind boggling "rap" is more amusing than it is embarrassing. I can't help but feel "Don't Break My Heart" would have at least been a small hit without Tom's unusual approach to promotion. Fans of cheap and cheerful Euro-pop should find a lot to like about this trashy gem. Enjoy!

Vanilla Sky's Umbrella

What could be more perfect for a rainy Saturday morning than a craptacular Eurotrash cover of "Umbrella"? From country queens to pop divas, it seems like every cunt with a microphone has had a go at Rihanna's ode to friendship and wet weather. Youtube is positively flooded with covers but none match the craptastic glory of Vanilla Sky's rendition. Under normal circumstances, I can't imagine paying too much attention to this Italian boyband. Their music is pleasant enough - catchy pop punk of the McFly/Good Charlotte variety with a distinct Euro twist - but I prefer my music coming out of the mouth of an ageing has-been diva, preferably accompanied by a trashy dance beat. It takes something extra special to take me out of my comfort zone and Vanilla Sky deliver just that in the form of a jaw droppingly fabulous video clip!

Not content to simply transform Rihanna's urban jam into a heavily accented pop rock anthem, the boys reenact the film clip - dressed as the Barbadian diva! The result is one of the funniest videos I've seen in a very long time. The opening scene is kind of disturbing but I love the drag ballet and the guy straightening his hair with a hot iron. However, I think my favourite part is the dorky guy working it in a wet nightie. Rock videos haven't been this camp since the glory days of Freddie Mercury! Vanilla Sky originally posted "Umbrella" on their Myspace but I believe it's starting to gain airplay across Europe. Rihanna must be pissed!

Listening To This Hurts The Most

Even the most casual reader of Pop Trash Addicts has surely realised by now that I don’t give a fuck about musical credibility, originality or artistic integrity. Disco dykes? Yes, please! Poptastic grannies? Gimme more! Foul mouthed trannies? Even better! And yet, as much as I revel in the trashy side of pop, I remain strangely immune to the dubious charms of Cascada – the massively successful Eurotrance outfit fronted by a horse faced German diva called Natalie. A collection of trance cover versions cheesier than a piss pig's cock, their debut album seemed destined for an AATW clearance sale but stunned everyone by becoming a global chart smash despite sounding like it had been dragged kicking and screaming from 1996. Don’t get me wrong – I like Cascada’s music but I fully expected them to slide into oblivion with the grace of 2 Unlimited or the Real McCoy. Their continued success seems, well, completely unnecessary.

Cascada returned to the UK top 10 in December with another craptastic cover version, “What Hurts The Most” and it’s now Australia’s turn to experience the wonder of their latest Euro-turd. Surprisingly, I’m finding it hard to muster a lot of enthusiasm. “What Hurst The Most” is shiny slice of commercial trance that will no doubt compel trashbags across the nation to grab the nearest glow stick but I can’t get past the grimly manufactured sound, the almost clinical lack of emotion and the lazy song selection. “What Hurts The Most” has been covered several times, first by Jo O’Meara (of S Club 7 “fame”) before more recently being given the country treatment by Rascal Flatts. I like both versions but Jo’s lovely rendition is proof that pop and emotion are not mutually exclusive. Shame she turned out to be a suicidal racist. It’s not all bad, I guess. D’Luv revealed his secret heterosexual yearnings by waxing lyrical about Caskanka’s breasts, while Jamie from Poplicious highlights the innate camp appeal of the video clip (below), which finds our beloved Teutonic automaton singing heartbreaking lyrics with a beaming smile while being tattooed –no less!

As rubbish as the song is, I'm still rather taken by Yanou's obligatory Candlelight Mix. Stripped of its cheap trance trappings, this version actually sounds like it was sung by a human being instead of an emotionless robot. If “What Hurts The Most” rings your bell, take heart. Cascada’s new album, “Perfect Day”, serves up more of the same. I could only listen to it a couple of times before putting it to better use as a beer coaster but their version of Avril Lavigne’s “Sk8ter Boi” is a rather delicious concoction. “What Hurts The Most” is released in Australia on the 18th of February. Order your copy here.

Copacabana - Amanda Lear Style!

Sorry for the recent lack of updates but I've spent the week doped up at home after having an operation on Tuesday. I'm having internet withdrawals, so I thought I'd use the fifteen minutes before Bold & The Beautiful to write a quick post. Expect this to be a high quality read! I've been meaning to review a couple of albums but I think I'll leave that for a time when I've swallowed less pills than Liza Minnelli. Instead, I've drawn inspiration from two of my favourite Blogs. Poplicious and Disco Delivery both currently feature the divine Amanda Lear. This goddess is truly in a league of her own. Amanda's life story plays like an Almodovar film on crack. There are prostitution rumours, reputed sex changes, celebrity lovers and an engagement as Salvador Dali's muse. Read a fantastic summary of Amanda's amazing life here. I particularly love this excerpt about Amanda's run in with Claudia Schiffer:

A Hollywood movie producer had optioned Lear's book My Life With Dali and wanted Schiffer to play Lear. "I ran into Claudia at a restaurant," Lear recalls. "She said, 'I love your book! Who wrote it for you?' I said, 'I did, darling. Who read it to you?' So that was the end of that. They never made the movie."

Amanda's fabulous career has spanned 4 decades. I love Miss Lear's superb disco albums but I'm also rather partial to her recent forays into dance music. I'd like write something coherent about Amanda when I'm not high on painkillers, so I've decided to post Amanda's tragic 2005 cover of "Copacabana". Amanda obviously put no effort into recording it, so I'm hoping no one will mind if I put minimal effort into reviewing it! "Copacabana" originally appeared on Amanda's 2005 best of "Forever Glam" and it's representative of the fabulously camp crap that she has been releasing lately - spoken vocals, hilarious production and interludes in French. You'll either love it or hate it. I fall squarely into the former category.

You can purchase "Forever Glam" from Amazon UK and Amazon Germany. Make sure to check out Amanda's website. I'm off now to see if Stephanie takes away Brooke's children!

Belgium's Golden Goose

Brace yourselves for something a bit more cutting edge than the fabulous rubbish I usually serve up! It's been a while since I had a guest contributor but it's definitely been worth the wait. When Jay first introduced me to Goose, I thought they sounded like every other electro act doing the rounds. It's funny how your opinions can change. After a few listens, the melody in their songs comes to the fore and Goose distinguish themselves by displaying an uncanny pop sensibility. Many thanks to Jay for this great article!

When you think of Belgium, you think of stuffy EU bureaucrats passing laws about bendy bananas and not much else. Yet they managed to produce one of the best electronic acts since the invention of the keyboard. Goose are a quartet hailing from somewhere in said country. Despite not having any commercial success in the UK to date, they have created a massive buzz in the UK Dance and indie scenes alike (and the lead singer has a massive following on myspace). Unlike most acts these days who rely on hype and TV talent shows to get established, Goose are doing things the hard way and have built up a solid fan base through sheer hard graft and a never ending world tour.

Apparently they are very popular with the Brighton crowd – which is where they filmed the video for their debut single, the rather excellent "Black Gloves". The sight of four grown men whizzing round Brighton in a bunch of old skool go-karts is rather funny, but very appropriate for the rather catchy (mostly) instrumental tune - its like the Wacky Races all over again!

Debut album "Bring It On" is a slice of fantastic electronic music, mostly dancey but with a few mellower tracks thrown in for good measure such as "Slow Down" and the sublime "Safari Beach".

The buzz around Goose isn’t limited to a few NME journalists though as the Scissor Sisters commissioned them to remix "She’s My Man", turning it from rather bland “safe” 3rd single to a heady electro pop anthem. The mix can be heard in full on their myspace page. Latest single "Bring It On" follows the trend of previous singles, and gets JFK from MSTRKRFT on board for a fabulous remix and a rather strange video.

"Bring It On" the album is available from some good music retailers, and a few bad ones as well as several digital stores. Though it is easier to find on ebay along with the promo singles. If you are lucky, you might find the deluxe edition in your local HMV which includes several remixes and the rather fabulous Masters On Top.

In a strange coincidence, Goose are currently touring Australia as part of the Parklife extravaganza. Sounds like a pretty hot ticket to me!

Swedish Trash Kings - Sunblock

Sunblock is a dance group comprised of two Swedish DJs. Not that you would know it from looking at their videos and album covers, which generally depict three buxom ladies in various states of undress. As you have probably already guessed, there is nothing high brow about Sunblock. Their first single was a remix of the Baywatch theme song, they specialise in trashy dance covers and their videos often feature Swedish tarts flashing their tits. Basically, they are my idea of musical bliss!

I feel like I've indulged in too much culture lately. I've been ranting about Robyn for days and I'm still buzzing about Brielle's acoustic show. An acoustic show with a real guitar! It's time to get back to my trashy roots and you can't really get any deeper into the gutter than Sunblock. Well, actually you can - but I need to keep something up my sleeve! Sunblock first came to my attention with their remixed Baywatch theme, "I'll Be Ready". I loved their sleazy image but was not particularly overwhelmed by the song. Given the group's non-existent profile in Australia, their other European hits passed me by until my friend Jay insisted I pay Sunblock some serious attention. I'm glad I did because Sunblock's treasure trove of trashy dance/pop gems is positively overwhelming!

Sunblock's stunning "The First Time" Clip

This post will focus on my two favourite Sunblock anthems. "The First Time" will be instantly familiar to anyone old enough to remember the late 1980s. Robin Beck scored a worldwide smash hit with the original when it was picked up as the theme song for a Coke advertisement. I've always considered Robin to be one of the most underrated divas in pop, so it's nice to discover that Sunblock invited her back to perform the vocals on their version. The resulting song sounds like Kelly Llorenna on crack. Yes, it's that good! "The First Time" made the top 10 in the UK and much of Europe but has been shamefully ignored in Australia. The same goes for Sunblock's stunning debut album, "I'll Be Ready". Even the album tracks are brilliant. I particularly love, "Tune In (My Frequency)". I'm not sure which diva provides the vocals but she is seriously fabulous!

If you need any further proof of Sunblock's brilliance, check out their latest video for "Baby Baby" (a stunning cover of Corona's 90s classic)! It comes in three formats. The standard clip with busty bimbos, an adult's only version with an eyeful of boobies and just to prove that they're not complete misogynists, there's even a classy poofter edit with shirtless men riding mechanical bulls! Bless.

A big thanks to Jay for all his help with this post! If you live in Europe, you can buy "The First Time" maxi-single as well as Sunblock's album, "I'll Be Ready", from CDON. Otherwise, you can order a copy from HMV UK or Amazon UK. Chaos are also selling import copies locally for $30.

Robyn Conquers Sydney

Last night's Robyn showcase was one of the most electric live performances I've ever seen. As someone who has played her recent album on repeat since its Swedish release in 2005, the opportunity to see the great woman in the flesh was something akin to a spiritual experience! I was expecting Robyn to be brilliant after reading rave reviews of her recent UK shows but I didn't count on such an amazing atmosphere. Within 30 seconds of Robyn taking the stage, you could almost sense the dawning realisation that we were witnessing something extraordinary. I have no doubt that Robyn's next Australian tour will grace far bigger venues than the tiny Art Factory. The chance to see a superstar at the height of her game, in such intimate surrounds, was an honour.

Robyn’s reputation as the queen of cool was reflected by the attendance of Sydney’s hilarious “it” crowd. The usual mix of painful socialites, z-list celebrities, underwear models, musicians and ex-Australian Idol contestants were all accounted for. A special mention goes to the delightful Roxane LeBrasse, who threw a bit of a diva tantrum in the queue outside the venue. Admittedly, the door Nazi was incredibly rude – even by Sydney’s lofty standards. Once everyone had descended into the freshly graffitied bowels of the old Central Stations Records warehouse, the posing began in earnest. I often wonder if there's some kind of unspoken competition to see who can look the most disinterested. Thankfully, there were enough genuine Robyn fans and Scandinavian groupies to inject some life into the proceedings.

At 10pm Robyn finally appeared on stage wearing a t-shirt printed with lyrics from Muscles’ dance smash “Ice Cream”. I've often thought that Robyn looks like an extra from The Lord Of The Rings in her videos and album covers, so I was really quite taken aback by how pretty she is in person. It’s also hard to believe she’s almost 30. Robyn still looks like a teenager. The set kicked off with a ferocious version of “Cobrastyle”. Robyn seemed genuinely surprised by the huge audience response. Fans were singing along to every word and even the posers put their attitude aside long enough to look vaguely excited. The setlist could not have been any more perfect with most of the album being covered. “Who’s That Girl?” followed “Crash And Burn Girl”, while the audience went wild for “Be Mine” and “Konichiwa Bitches”. I was very excited that Robyn sang my two favourite songs from the album – “Handle Me” and “Bum Like You” – and I think I might have slightly ejaculated when I heard the opening strains of “Keep This Fire Burning”!

One of the biggest surprises was Robyn’s poptastic interpretation of “Dream On”, which is infinitely superior to the studio version. The set ended with an exquisite rendition of “With Every Heartbeat”. Robyn even made forgetting the lyrics seem artistic by doing a crazy little dance towards the end! The frenzied crowd were not going to let Robyn leave that easily and she dutifully returned for an encore. I was hoping for some old school Robyn and was utterly thrilled to hear her bizarre, pared back version of “Show Me Love”. Robyn claimed that the song had been around since before she was born, which I find somewhat bizarre – isn’t Robyn listed as one of the co-writers? The spectacular show reached it conclusion with a punk interpretation of “Jack U Off”. Robyn’s performance lasted for slightly less than an hour but its impact on her Australian campaign will be massive. Robyn is one of the very rare artists who not only matches but surpasses the hype.

PS. “Konichiwa Bitches” is in stores today! Order your copy online here.

Konichiwa Bitches - Australian Release

Expect an outbreak of Robyn-mania when the Swedish pop diva releases her first Australian single since 2003 on the 15th of September. "Konichiwa Bitches" has been an internet phenomenon since its Swedish release, so it's a smart choice to kickstart Robyn's Australian campaign. The record company has wisely coupled the hip hop anthem with "Cobrastyle", a song which better reflects Robyn's underlying pop sensibility. The tracklisting has been announced and there is at least one exciting surprise:

1. Konichiwa Bitches
2. Cobrastyle
3. Konichiwa Bitches (Trentemellor Remix)
4. Cobrastyle (Muscles Remix)
5. Konichiwa Bitches (Clean)

All of the songs have previously appeared on international versions of the single, except track 4, "Cobrastyle (Muscles Remix)". Muscles is possibly Australia's hottest DJ at the moment, recently scoring a huge dance hit with "Ice Cream". I can't wait to hear his take on "Cobrastyle"!

You can order "Konichiwa Bitches/Cobrastyle" from Chaos. In the meantime, check out the amazing "Konichiwa Bitches" film clip here.

From A*Teen To Glamour Bitch?

I'm not a huge fan of Swedish pop music. I love Robyn and worship stunning Bionda but I can take or leave most of the other budget divas. Until recently, I would have lumped Sara Love in the same trash can as her hideous former A*Teens bandmate, Marie Serneholt. Sara's first solo release, a cheap and nasty remake of Olivia Newton-John's "Physical", was inoffensive but entirely forgettable. I expected more of the same but I almost fell off my seat when Tommie sent me Sara's upcoming single, "Glamour Bitch"! The former A*Teen has followed in the footsteps of Fergie and Gwen Stefani by embracing her inner ghetto diva. The result is one of the least credible urban tracks in the history of modern music and I can't get enough of it! If the rest of Sara's album is this wonderfully craptastic, I'll be the first to sing its praises.

You can learn more about this tragifabulous diva on Sara's Myspace and fan site.