All’s not what it seems in the mind of Adam Lambert.

The Ray Kay-directed clip for “Better Than I Know Myself,” the lead single off of Lambert’s upcoming sophomore record Trespassing, takes us on a split-screen tour of Lambert’s psyche, revealing a fiery duel of emotions: A little bit of darkness, a little bit of light. Some angel, some devil. The good and the bad. One can’t exist without the other–it’s the yin and the yang, ya dig?

Gorgeously shot, brilliantly acted (the liquor-guzzling shots of Lambert are particularly venomous), “Better Than I Know Myself” is undoubtedly his finest work to date. Kudos to you, Adam!

“Better Than I Know Myself” was released on December 20. (iTunes)

Oh, you want MOAH? Well, I’ll give you more!

On Friday, I posted the first batch of MuuMuse’s Most Anticipated releases of 2012–round-up of what we already know, what we’ve already heard, what we want to hear in the next year. Naturally, one post just isn’t enough–so here’s round two!

Girls Aloud, TBA (Sixth Studio Album)

What it is: The epic return of the Almighty Aloud.
Expected shelf date: Late 2012.
Confirmed tracks: TBA
Production by: Xenomania (?)
What we know: It’s been two painful years since Girls Aloud announced their temporary hiatus in 2009. (Don’t remind me!) Earlier this year however, manager Hilary Shaw confirmed to MTV UK that the girls would return in 2012 to perform a few live shows. Now, there’s whispers of new music altogether: Nadine Coyle told me personally that she assumes new music’s in the works. Kimberley Walsh said “we’re doing something next year – we never intended to stop for good.” Queen Nicola vaguely told RWD Magazine that she would “hope there was something from us.” And, if you trust him, Perez Hilton says an album’s coming in December 2012.
MuuMuse hopes to hear: Anything. We are not worthy.

Christina Aguilera, TBA (Seventh Studio Album)

What it is: Floptina’s chance to rise from the ashes.
Expected shelf date: Spring/Summer 2012.
Confirmed tracks: TBA
Production by: Dr. Luke (?)
What we know: Aguilera’s last album–2010′s severely misguided Bionic–redefined the concept of commercial failure. The album performed poorly on the charts, worse in the press, and earned the notoriously egotistical diva a new moniker: Floptina. Now, a diva needs her comeback. Christina herself told Croatia’s RTL earlier in 2011 that the upcoming record would be “very heartfelt, deep-rooted and introspective.” According to Hot 99.5, RCA’s Joe Riccitelli says she’s been recording everything from “uptempo dance” to ballads, and Dr. Luke may be working with the fallen-from-grace princess. Recent rumors suggest the first single may come as soon as January.
MuuMuse hopes to hear: Stripped part deux, and the triumphant return to form of Legendtina.

The Veronicas, TBA (Third Studio Album)

What it is: A power-pop Aussie sister act’s long-awaited third act.
Expected shelf date: TBA
Confirmed tracks: “Cold,” “Let Me Out,” “Dead Cool”
Production by: Nellee Hooper
What we know: After almost five years since their 2007 studio album Hook Me Up, the Aussie electro-pop/rock sister duo are finally returning to the scene with a studio album in 2012. The girls recently confirmed working with Nellee Hooper, describing their new music as “a really new sound” that includes some rock influences, as well as “trip-hop and drum and bass.” In August, the duo previewed several promising new tracks during a showcase at L.A.’s Viper Room, including “Cold” and “Let Me Out.”
MuuMuse hopes to hear: Even more infectious hooks, jagged electro-pop/rock and darker, angst-ridden lyricism.

No Doubt, TBA (Sixth Studio Album)

What it is: The ten year reunion of a legendary pop-rock outfit.
Expected shelf date: TBA
Confirmed tracks: “Push and Shove,” “One More Summer,” “Settle Down,” “Undercover”
Production by: Spike Stent, Diplo, Anthony Gorry
What we know: The band’s been writing and recording this upcoming LP since 2008 (their first in over a decade since 2001′s Rock Steady). In June, Rolling Stone described some of the tracks off the upcoming record during a preview at producer Spike Stent‘s studio, including the “party-ready reggae” of “Settle Down” and the “pounding dance beats” of “One More Summer.” More spoilers have come by the way of Twitter, including a Major Lazer (Diplo) collaboration back in July, as well as a tweet from Brixton Angels‘ Anthony Gorry from inside the studio.
MuuMuse hopes to hear: Ska-pop for the 22nd century and beyond.

JoJo, Jumping Trains (Third Studio Album)

What it is: One of pop’s most talented vocalists finally breaking free.
Expected shelf date: Early 2012
Confirmed tracks: “Disaster,” “Jumping Trains,” “Lie To Me”
Production by: Mario Marchetti, Darkchild, Danja, The Interns, The Messengers
What we know: Shady dealings at her former label kept JoJo’s third record under lock and key for over four years. Now that she’s signed to Interscope Records, the talented chanteuse is finally ready to go. Earlier this year, JoJo told MuuMuse that the upcoming album would feature production by Darkchild, Danja and The Messengers and that the music will sound more aggressive–or as she described it, “pop with an anger management problem.” Apart from her current lead single “Disaster,” JoJo’s been performing new tracks from the record, including “Jumping Trains” at Girls Who Rock 2011 and the punchy “Lie To Me” while on tour with Joe Jonas and Jay Sean.
MuuMuse hopes to hear: The pop equivalent of a T.K.O.

Nicki Minaj, Pink Friday: Roman Reloaded (Second Studio Album)

What it is: The pink-haired princess of rap-pop returns–as a boy.
Expected shelf date: February 14, 2012
Confirmed tracks: “Roman in Moscow”
Production by: StreetRunner, Sarom
What we know: To record the follow-up to her 2010 debut Pink Friday, the Young Money rapstress has enlisted one of her alter-egos: Roman Zolanski, a mischievous gay boy. Weeks ago, the singer unleashed the first taste of the upcoming record called “Roman in Moscow,” a rapid-fire attack of ferocious lyricism and hilarious accents on top of a hectic beat, suggesting a return to the spitfire Minaj of her early mixtapes. Recent rumors suggest the first single will be called “Va Va Voom.”
MuuMuse hopes to hear: Pre-fame Nicki: All fire-hot hooks, no singing please.

Adam Lambert, Trespassing (Second Studio Album)

What it is: Pop’s reigning bad boy coming back stronger than ever.
Expected shelf date: March 20, 2012
Confirmed tracks: “Outlaws of Love,” “Trespassing,” “Better Than I Know Myself”
Production by: Dr. Luke, Bruno Mars, Pharrell Williams, Benny Blanco, Nile Rodgers, Claude Kelly
What we know: It’s a big one: MTV confirms that the singer worked with an staggering array of top pop producers, including Dr. Luke, Bruno Mars and Pharrell (who co-wrote the title track). Earlier in November, Lambert told The Advocate that he was crafting his “dream album,” promising a “more personal” record mixed with “singer-songwriter tracks, electrofunk” and “Nine Inch Nails meets George Michael” synth-pop. The album’s lead single, “Better Than I Know Myself,” just dropped this week–which we quite like.
MuuMuse hopes to hear: An unexpected pop masterpiece that propels Lambert from pop star to music royalty.

Neon Hitch, Beg, Borrow & Steal (Debut Album)

What it is: The UK gypsy-pop princess’ grand entrance to the music scene.
Expected shelf date: TBA
Confirmed tracks: “Get Over U,” “Silly Girl,” Bad Dog,” “Fuck U Betta”
Production by: Benny Blanco
What we know: Hitch has been banging out smash Benny Blanco-produced hits from her debut record for well over the year now–from “Get Over U” to “Silly Girl” to “Bad Dog”–as well as performing new songs live, including “Fuck U Betta.” As soon as the singer comes off of her high as a feature on Gym Class Heroes‘ new single “Ass Back Home” which is currently building at radio, the new album should be ready to go.
MuuMuse hopes to hear: More kick-ass power pop that’ll give Neon the credit she so dearly deserves.

Nelly Furtado, TBA (Fifth Studio Album)

What it is: Furtado’s first English record in over five years.
Expected shelf date: TBA
Confirmed tracks: “The Edge,” “Mystery”
Production by: Timbaland, Salaam Remi, Ryan Tedder, Mike Angelakos
What we know: After Furtado’s stellar collaboration with Timbaland on Loose in 2006, the multilingual singer-songwriter returned to the studio with the acclaimed producer for another go. But that’s not all–since then, she’s been working with Salaam Remi, Ryan Tedder and Passion Pit‘s Mike Angelakos. Last year, she told the New York Post that the new record shares the “organic and raw feel” of her debut Whoa, Nelly! and described it as a “refreshing, clean pop sound.” In February, Furtado tweeted about an upcoming song feauring rapper Nas, which has yet to be released.
MuuMuse hopes to hear: An updated Loose, with folk and dance elements.

Get ready, y’all, because the evolution of Adam Lambert has just begun.

See, I’ve had a chance to listen to the new Adam Lambert single, “Better Than I Know Myself,” — in full. Great news — it’s really, really good.

First off, I should say that the snippet, which was released today, doesn’t really do the song justice. You can hear that the chorus sees Adam reaching into the higher part of his register, with booming, “Halo”-like drums and a skittering backbeat. But part of what makes the song magical is the way it builds from the opening of whining synths and a nicely percussive backing track, then builds instrumentally into the chorus. Dr. Luke‘s signature style as a producer is the juxtaposition of relatively subdued verses and a huge, explosive chorus, and “Better Than I Know Myself” does that magnificently.

The added talents of Claude Kelly, too, who remains one of the finest songwriters currently in the game, augment the song’s impact, since Claude has a way of cutting to the core of an emotional conflict with quick, elegant images. “Cold as ice, and more bitter than a December winter night/That’s how I treated you,” Adam sings in the opening lyrics, a blink-and-you’ll-miss-it simile that speaks volumes.

The most emotionally potent moment is the bridge, where the richer synths yield to a tinkling piano and the lyrics turn unexpectedly vulnerable: “I get kinda dark/Let it go too far/I can be obnoxious at times/But try and see my heart.” It’s a lovely turn, with a candor that’s refreshing to hear in pop music, and it makes the song truly memorable.

In my piece last week for MTV Buzzworthy, I wrote that “My sources tell me that ‘Better Than I Know Myself’ is a piece of flaw-free radio candy, a stunning midtempo track with a powerhouse chorus that’s like a pumped-up ‘Whataya Want From Me,’ and it should cement Adam’s place in the pop A-list.” I’m sticking by this, especially the latter statement. “Better Than I Know Myself” is more radio-ready as anything on his last album, and I would be stunned if it didn’t perform excellently on the charts, and catapult Adam way further into the realm of superstardom than he’s ever been before.

“Better Than I Know Myself” is the lead single off of Adam’s upcoming album, Trespassing. (iTunes)

I could cry…this is my BAYBEH right here!

Britney just TwitPic’ed a shot of herself from the set of “Till The World Ends” after having wrapped a major dance sequence.

The upcoming video is being shot by Ray Kay, the director responsible for Cheryl Cole‘s “Fight For This Love,” Adam Lambert‘s “For Your Entertainment,” and Willow Smith‘s “Whip My Hair” amongst other amazing clips.

According to a Sony sales sheet, the video is due for release on April 6.

The sick, studded leather studded jacket…the ripped tights…the UGGS! MY QUEEN!

I LOVE THIS WOMAN SO VERY MUCH.

Wait, isn’t that Adam Lambert and Amanda Lepore?

Fair warning: My experience at the Scissor Sisters concert involved a great deal of celebrity ogling, thanks to a very kind VIP pass courtesy of the band. Shameless name-dropping and self-absorbed ramblings begin…NOW.

As we made our way into Terminal 5 on Wednesday night, my friends and I quickly hustled through the crowd and took our spot to the right of the stage, dancing like fools to the very good remixes being played by DJ Sammy Jo (There was Kylie playing!) and getting pumped up Jersey Shore style.

Though my good friend (and loyal Muuser) Parker and I had received VIP passes for access to the balcony above, we ultimately decided that it would be more fun to simply dance with our other friends at the show within the general admission crowd. Well, at the time anyway.

“Wait, isn’t that Adam Lambert and Amanda Lepore?” someone in our group asked, pointing up toward the aforementioned balcony. With a quick glance, it was confirmed: That was indeed Adam Lambert, guy-liner and all. And as for Lepore? Well, she has a way of sticking out like a sore, swollen thumb.

“Yeah okay, maybe we should go up there,” I decided.

And so, Parker and I shoved our way out of the pack, rushing to every corner of the venue desperately trying to find our way up the stairs. We eventually did (it’s in the back by the bar!), climbed our way up and, with a flash of the VIP bracelet (~glamourous~), we were up there too.

Instantly, the mood changed. It was more calm surely, but there was a strange buzz in the air. Like everyone just knew there were a gaggle of celebrities and socialites standing about. The faces started to look familiar: Club kids and scenesters swarmed about, including boys wearing glittery shoes and coat jackets with pom-poms glued to the collars. There was also a long-haired man wearing white who I’m vaguely confident was Jesus Christ himself.

Nonetheless, we elbowed our way closer until we finally reached Mr. Glambert. For a pop star, he was looking fairly understated, wearing a simple gray tee and black gloves. When we reached him, he was just sort of standing there waiting around behind his more extravagant looking entourage.

Okay, so look: I didn’t want to be perceived as an obnoxious fan boy standing around waiting for a photo at a concert. Believe me: I was there for the Scissor Sisters first and foremost. But how in the fuck was I going to prove that I was standing in the VIP balcony with Adam Lambert? I needed a photo.

Taking a deep breath, I tapped him on the shoulder (it felt like glitter, for the record), and said “I’m sorry. Can I have a picture?” He shrugged and said sure, turned around, and allowed Parker to snap the above shot. As you can see, there was a sad case of the blurs upon review, but I just couldn’t work up the courage to tap him again. Besides, he was already giggling along with his friends anyway. NONETHELESS MISSION ACCOMPLISHED.

Slowly but surely, the balcony grew more jam-packed. More glitterati filled the narrow aisle, and we started getting pushed back into the wall. “Maybe we should go back down,” I started to say.

“Look at that table,” said Parker, pointing in front of us. I read the place-holder resting on top: ‘Reserved for Katy Perry.’ And, at the table directly to the left: ‘Reserved for Drew Barrymore.’

“Yeah okay, so maybe we should stay,” I decided.

About five minutes later, a small troupe wormed their way through the velvet rope. It was Miss Purry herself, looking gorgeous in a leopard mini-dress. I immediately noticed her hair, which looked extra fabulous. I guess it’s either new or I just didn’t notice when I saw her perform on Live On Letterman, but she now has luscious strands of blue and red scattered within (I guess she’s really loving up that candy-coated theme lately).

So there I was, sandwiched behind Katy Perry, Adam Lambert, Susan Sarandon, Amanda Lepore, and Drew Barrymore, leaving me no choice but to do what has always come naturally: I stood there awkwardly. I mean, what else does one even do in these situations? I had no idea.

As the lights dimmed, the crowd downstairs began to roar and the Scissors took to the stage. Even in the VIP section, the buzzing bodies took to their respective places and began looking on eagerly. Sadly, we quickly discovered that if we weren’t standing directly against the banister among the celebrities (which we were not), we weren’t going to see much happening on stage–especially standing at 5′ 4″. And so, we decided to rush back into the crowd downstairs.

For a good story’s sake however, I am heretofore claiming that it was solely because I couldn’t see past Katy Perry’s head. It’s basically the truth!

As we rushed back down the stairs, the grinding sounds of “Night Work” kicked into the speakers. Parker and I quickly squeezed back into the main audience during the second verse of the song. Although we couldn’t get as deep into the crowd as where we stood prior to what I shall refer to as ‘the balcony situation,’ we still had a pretty good view of the stage (and Del Marquis’ crotch–I DIGRESS).

Throughout the night, the Sisters would bang out a bulk of their incredible album released in July, Night Work including “Fire With Fire,” “Any Which Way,” “Something Like This” and “Skin This Cat,” as well as favorites from their past records, including “I Don’t Feel Like Dancin’,” (which got the entire venue moving) “Tits On The Radio” (which got the entire venue vamping), and “Take Your Mama” (which had the entire venue crooning at the top of their lungs).

Every member of the troupe supplied their own flare of personality to the stage: From Babydaddy‘s cool swagger, to Jake Shears‘ unstoppable sexy, to Ana Matronic‘s endless attitude and vamp, to Del Marquis‘ stoic, cocky strumming. Admittedly, I did end up swooning a bit hard for Mr. Marquis and his tight black leather pants as the show went on. Again, I digress.

There were also a few delicious introductions before songs, as with “Skin Tight.” While taking a quick breather before launching into performance, Shears explained that the song was dedicated to his boyfriend who–after eleven or twelve weeks of touring–finally fucked him the night before. A sweeping “Aww…” came across the crowd, along with whistles, cheers and cat calls. A precious moment, no doubt.

“Skin This Cat” was a personal favorite, as Mizz Matronic came strutting out with the band’s sexified, lace-and-leather back-up singers and purred the song’s gloriously sexy lyrics along with some rather frisky choreography. Meeeow. (Hint: IT’S ABOUT HER VAG.) Loved it!

For the group’s final number (at least, before the encore), Ana came center stage and told us about the inspiration for the track (“Night Life”), which came from her first club experience as a 15-year-old in Portland, Oregon. She never wanted that feeling to end, she cooed to the audience, so she vowed never to stop living like that to this very day. Now that’s the spirit of a proper disco diva, my friends.

After a quick dash off-stage for a quick change after the song, the troupe soon returned for an encore, beginning with “Comfortably Numb,” with Jake now wearing an American flag-inspired jacket (it didnt last long–the man just doesn’t take well to clothing) and Ana in a gorgeous, geometric green dress.

Then came “Invisible Light,” the song I had been patiently waiting for the entire night. I can now officially confirm that the six minute opus is, in fact, as utterly EPIC live as it is on a record. By the time that swelling, cascading break in the song came in around the five minute mark, the entire room erupted into a manic, frenzied hands-in-the-air euphoria. The moment was absolutely perfect, and no doubt the night’s shining highlight for me.

After a quick announcement of their after-party location, the band took on their final song of the night: “Filty/Gorgeous.” By the time the song was wrapping up, pure pandemonium began to ensue on stage: Jake Shears took a quick dive into the crowd, at this point wearing an ass-less latex one piece (I can only imagine the unholiness he’s experienced while being passed around in that outfit). Miss Matronic doused him in water and ripped off the top of her dress to reveal a black bra underneath. Mic stands went flying, and confetti and fake cash baring the Night Work album cover and the motto “Make Some Cash – Fuck The Rich” burst high into the air, showering the crowd. It was utter insanity in the most fierce, most glamorous rock ‘n’ roll sort of way.

“We are the Scissor Sisters, and so are YOU!” Ana shouted out as the audience roared for the final time.

The Sisters delivered an immense, electrifying performance for their adoring fans in New York City. It was an endlessly fun experience–not to mention an impressive display of the band’s talent and professionalism.

Honestly, I wasn’t even that close to the stage for the show, and I still had such a blast. The band is just so much fun! An amazing experience, without a doubt.

Now if you’ll excuse me, I need to take a call: My new BFFs Kitty Purry and Glambert are tots blowing up my phone right now.

Many thanks to Parker F. for the photos (and upcoming videos).

Behold: The evolution of the male pop star this way cometh.

Simon Curtis, one of MuuMuse’s major “One to Watch” artists, just pulled off his first ever live performance at The Roxy while opening for A.J. McLean on May 6. The superstar-to-be performed in front of an audience that included Darren Hayes, Adam Lambert, and Frankmusik (the latter two lauded the singer with congratulatory tweets later that night.)

Judging by the clips above, Simon did a damn fine job. Like, really. This is a boy who’s still operating outside the realm of label support (although a record deal seems all but imminent at this point.) I’m so proud! Next step, global domination.

Click here to see the rest of his performances from Wednesday.

The singer will be opening for La Roux in a few months.

Miike Snow is the collaborative project formed by Christian Karlsson, Pontus Winnberg, and American producer Andrew Wyatt–the former two perhaps better known as Swedish production team, Bloodshy & Avant.

Having sculpted some of the most career defining tracks for Queen B (“Toxic”, “Unusual You”, “Piece Of Me”) as well as countless tracks for more MuuMuse favorites (Madonna, Kylie Minogue, Sugababes, BoA), it’s almost too obvious that this ambitious solo project should follow in step with the excellence we’ve come to expect from the producers.

And yet, it does and doesn’t. If you’re looking to find a compilation of some of the most sizzling electro-pop stompers you’ve never heard, you’re sadly mistaken–they’re not here. Is that a bad thing? No. Because this is still a release from some of the finest musicians in the game, and as a result, this is still a quality piece of work.

Complex drum rhythms, lilted piano melodies, and an afterthought of sprightly synthesizers fill out the contrasting sounds of “Animal” and “Burial,” the lead tracks off of Miike Snow’s eponymous debut. The lyrics here alternate between humility and reprimand, eventually leading to the stinging, contemptuous chorus of “Burial”: “No I, I don’t want to get thrown in your ocean. Don’t try, you know that already we know it…it’s over. At your own burial, don’t forget to cry.” Ouch.

As skilled producers, the members of Miike Snow demonstrate the ability to explore less traveled paths in their music while still manging to reel themselves back to familiar territory within seconds. “Black & Blue” jitters and slides between Prince-like crooning and Darren Hayes‘-like electro-crunchiness, while “A Horse Is Not A Home” dances the line between glam rock (Adam Lambert, take note), alt-electronica, and balladry without ever settling. As with much of the album, it’s simply a sound undefinable.

“Plastic Jungle” is perhaps the poppiest part of the album, playing like a kind of lo-fi parody of Kylie’s mindless mega-smash “Can’t Get You Out Of My Head.” Further on, Miike Snow prove that the most exciting producers in Pop can do a much more than a simple verse-chorus-verse-chorus progression: “Sans Soleil” offers cool drips of electronica atop the rooftops of a French chateau, mixing solitary piano riffs with choral coos and glittering bells, while “Silvia” gorgeously unravels to the tune of scattering synthesizers of all shapes and sizes and a vocal performance soaring beyond human proportions.

I didn’t (and still don’t) know quite what to make of Miike Snow. They’re a curious creature, a force as shrouded in mystery as their borrowed mascot–the elusive jackalope. With a release as peculiarly scattered and layered, you’re bound to catch something new with every listen. Different moods and times invite different emotions, and no track seems to sound as it did the time before. At least one thing’s certain about this release–I can’t stop listening.

Miike Snow is currently streaming their entire album at their MySpace.

Click below to preview & purchase Miike Snow’s self-titled debut NOW!

WOW. Well done, Jordin Sparks and Ryan Tedder (or, as Paula Abdul‘s Twitter would have you believe, “Jordan Sparks and Ryan Tetter”). You did the damn song.

“Battlefield” (which is, again, “Halo” plus “Impossible” plus…“My God Is An Awesome God”) is going to be huge all over the radio this summer, and I’m taking the opportunity to love it now while I still can.

Superb vocals, and an incredibly worthy performance from a singer I would otherwise classify as simply “okay.” Props to Tedder for wisely choosing to arrange the song so that the chorus is quickly followed by the epic bridge: “BETTAGOANGETCHURAAAMMAAA,” which will perhaps take the title of greatest bridge of ’09.

Oh yeah, and girlfriend looked fierce to death in that dress. Gorgeous! Suddenly that purity ring’s becoming more and more of a burden.

Minutes later, out came stomping lil’ Miss Katy Perry to perform her new shit single, “Waking Up In Vegas.” It’s a tuneless, gassy track that basically serves to let the bug-eyed brat strap on a psuedo-Elvis costume (Britneydiditbetter) and fail at being Viva glam for a minute or two.

But before she began croaking out her go-nowhere number, a wall of white feather plumes opened to reveal the “pop star” turned away from the camera; the words “Adam Lambert” stiched in bright red on her white outstretched cape.

Now, it didn’t help that Adam eagerly shouted “I want to see Katy!” with a wildly mischevious grin on his face pre-performance, but I don’t fault him for what happened. Simply put, Katy Perry is trash; not only is she a mediocre warbler that owes her fame in its entirety to her super BFFL Perez Hilton, but she’s classless too! Sure, I’m pulling for Adam too, but how would everyone be reacting if it’d been Danny Gokey’s name bedazzled across her ass cheeks? Not as pleased, I’m sure.

If she wanted to vet for Lambert, she should have waited post-performance to give her insight into the matter. Then again, it’s not as though the home audience would hear it–they’d still be taking their bathroom break.