Behold: The video premiere of Rita Ora‘s debut US single, “How We Do (Party)”!

It’s fitting, then, that the video for “How We Do (Party)” is one big party (and bullshit): Dancing! Laughing! Shenanigans! Quickly however, the song and video all congeal into one messy mega-mix of Katy Perry‘s “Last Friday Night (T.G.I.F.)”, Jessie J‘s “Domino” (the song, anyway), a dip into Ke$ha‘s vomit-filled closet and basically everything about Rihanna, ever. It’s all a bit, well…

It’s not as though the comparisons are unfounded, either: After all, Ora herself told The Guardian that while there won’t be a “next Rihanna,” Jay-Z hopes to repeat her success. Oh! Well, alright then.

As for her UK single “R.I.P (feat. Tinie Tempah)”? Now that’s a song that’s got my full attention…even if that’s mostly because it’s Rated R RiRi-rific.

Look: She’s got an amazing voice and definite star wattage, but the comparisons (and/or blatant acts of swagga jacking) are kind of overwhelming. I mean…HELLO! This is Rihanna!

Here’s hoping she becomes more of her own beast in due time.

“How We Do (Party)” was released on March 27. (iTunes)

Sounds like: Rihanna, Jessie J
Genre: Pop, Dub-pop

Prepare for the rise of Rita Ora.

After catching the eye and ear of an A&R in London, the 21-year-old Kosovo-born, U.K.-bred songstress was introduced to Jay-Z in New York and soon signed to Roc Nation (Rihanna style!) back in 2009.

Since then, she’s been working with just every heavy-hitter in the pop industry to craft her upcoming 2012 debut, including Ester Dean, The-Dream and Stargate.

Admittedly, I wasn’t too bowled over by Ora’s lead US single which premiered recently on Z100: “How We Do (Party)” (originally titled “Party & Bullshit), a carbon copy of the Katy Perry “Teenage Dream”/Jessie J “Domino” strumming power-pop formula. It’s a hit, for sure…but, well, it’s been done to death at this point.

Her debut UK single “R.I.P.,” however, tickles my fancy far more: Penned by Drake, produced by Chase & Status and Stargate and featuring Tinie Tempah (that enough talent in one track for you?), the dubstep-infused number sounds a lot like something off of RiRi’s Rated R, featuring gritty guitar licks and dark, searing synths. “R.I.P to the girl you used to see/Her days are over!” Ora declares.

With powerful pipes and a bevy of top song scribes at her disposal, Rita Ora’s got plenty of potential to take over in 2012 as one of the newest pop princesses. You ready?

Here we go again: The end of another year in music!

2010 may well be remembered as the Year of the Future (if not the Year of All Hearts–hint hint!): A year of fembots, androids, bionic women and time-traveling adventures deep into the 22nd century.

Space-age love stories and robo-dramatics colored a large portion of the year’s biggest releases in pop, no doubt a response to the reign of the machine on the pop charts as synth-pop productions continued to dominate the digital airwaves in 2010.

Below is the list of MuuMuse’s Top Albums of 2010, which was based on a variety of factors–from individual song and single goodness, to the complete album experience, to overall artistic integrity, to an album’s ability to ‘stick’ as the year progressed. Basically I’m trying to say that it’s a bit of a hot mess, but I tried my very best.

There’s also a rather controversial dishonorable mention prior to the Top 40 list that will likely blow my chances for that much coveted position as editor of Rolling Stone. DAMN IT.

Now…LET’S DO THIS.

Without further ado…the list!

I first discovered Nicki Minaj back in December of 2009 through a promotional video for “Itty Bitty Piggy,” one of the tracks off of Minaj’s 2009 mixtape, Beam Me Up Scotty.

Gum snapping, eyes rolling, breasticles ready to burst from her tight blouse at any given moment–I knew it was love at first sight.

Read More…

Photo taken by Markofthehorse.

On Wednesday night, Natalia Kills, Maluca and Robyn took to the stage at Terminal 5 in New York City.

This is what transpired.

Read More…

So, since so many of my Muusers (three actual requests) have been demanding that I do a weekly wrap-up of the X Factor performance night. I’ve decided to fulfill those wishes/dreams/desires. The show was boring in spots, so I’ve decided to highlight only the moments I had things to say about. Makes sense, right? Good. We’re on a roll.

Treyc Cohen. Amazing. Oh my God.

I love the jailbait that is One Direction, both for their knack for life-threatening injuries (like when one of them hurt their foot playing in the ocean during the auditions) and their ability to elicit pantie-wetting shrieks from the audience (myself included) for merely standing on the stage. They sang Kelly Clarkson‘s “My Life Would Suck Without You” which is kind of genius for them, and the results were pretty good-ish.

Then came the judging, and Cheryl just couldn’t keep it in her pants. Seriously. So much so, that she forced Simon to restrain her from pulling a Paula right in the middle of a live show. It went like this:

Cheryl: “You boys are just so cute and I–”
Simon: “Cheryl.”
Cheryl: “Everyone loves you so much, and I–”
Simon: “Cheryl.”
Cheryl: “Don’t know what it is, I just–”
Simon: “Cheryl.”
Cheryl: “–just so cute, I just want to–”
Simon: “CHERYL.”

Brilliant.

And then came the announcement that Cher Lloyd was up next, and so the seas parted and surging claps of thunder rang out across the land and all of God’s creatures nestled together to watch the Almighty Lloyd perform.

In the now usual Lloyd fashion, the young Cherylita was both simultaneously shit and amazing in the most awe-inspiring of ways with her weird-but-great performance of Jay-Z‘s “Hard Knock Life”: The chorus–AMAZING. What pipes! The rap: Spot on! But the awkward moments in between…OH, THE AWKWARD, MEDIOCRE VERSES. I just don’t understand what’s happening there, but then the pretty dancers distracted my brain and then I start remembering how amazing her audition was and then the next chorus comes and she’s really good again and my brain just sort of goes “Well, I give up. YOO AH RAHYT UP MAY STREET.”

I love you, Cheroleeza Lloyd.

And then Diva Fever happened and they ruined music for all of mankind once again.

If the British public has any sense of decency, they’ll do away forever with this tragic mess of ‘entertainment’ once and for all. But if Jedward is any indication of a camp act’s staying power on X Factor then…oh, Cheezus Christo.

Then came Rebecca Ferguson, and everything in the world was right again. The judges were on the money in their critiques (i.e. Dannii describing her as making classic feel modern, James Bond theme, etc.). Rebecca delivered a chic, smart, tight performance of Nina Simone‘s classic “Feeling Good.” Loved everything about this–the look, the sound, the drama (not too much drama!) Everything was just right.

Then came Ellie Goulding Diana Vickers Katie Waissel, who proved to have a surprisingly strong night, stripping it back a bit for a pretty amazing rendition of Etta James‘ (one of my favorite classic songstresses!) “I’d Rather Go Blind.” To be fair, all I kept thinking about was how much she looks like a cross between Martina from Dragonette and Nelly Furtado, but in the fleeting moments where I actually listened to her sing, I found it to be v, v good.

And then–OH! Belle Amie! This is HANDS DOWN my number one favorite girl group to be named after a gay porn production agency.

They sang “You Really Got Me” by The Kinks, and it was somewhere between Girls Aloud at their least amazing and The Saturdays at their most amazing…so it was sort of very good! “There aren’t many girl groups in this country that are as good as what I saw tonight,” Simon remarked while sitting next to former girl group member, Cheryl Cole. Ahem.

On a similar note, in the too real moment of the night: Cheryl Cole, on Belle Amie arguing over lead solos: “Sometimes other people just sound better on other songs, and that’s just something you have to accept.” *Awkward silence* *Nuhdeen‘s Irish Mist Burger comes flying on screen and slaps into Cheryl’s face.*

But it was Mary Byrnes, faithful Tesco worker and beloved jewel of Britain, who graced the stage and proceeded to BLOW. ME. AWAY. Seriously, performance of the night by FAR. From the very first note, she had chills running straight down my spine. Spot-on performance, classic vocals. Insanely amazing. As Cheryl Cole so eloquently stated: “I GET GOOSEBUMPS ALL OVER. I RESPECT YOU AS A WOMAN.”

Oh, and Matt Cardle. You did rull good too–amazing, actually. I mean…you did it. You hit the High C!

And…that’s everything that happened that you should care about, really. Thank you for your time.

My mom was dancing the entire time which is LOL now that I think about it, but in the moment I was just like, ”mom…..no…please no”.

- Lourdes Maria Ciccone Leon, in a blog post from her Material Girl Collection website.

The budding fashionista writes in reference to her mother, former ’80′s pop star and professional Lady Gaga impersonator, Madonna, who joined Lourdes in attendance at a recent Jay-Z concert.

How can you become the best at anything? The way you do it is you just try to kill it every time.

Natalia Kills is a very new kind of radio killer.

Starting with the release of her murderously good buzz single at the end of 2009, “Zombie,” the soon-to-be superstar began capturing new fans left and right with her noir-gone-glam style and urban-meets-dance sound, immediately awarding herself the title of “Most Anticipated of 2010″ here at MuuMuse.

Now, with her self-produced, self-directed “Love, Kills XX” web series (check out the fifth installment, which just premiered yesterday), the singer has prepared herself a unique platform to introduce herself, her creative vision, and her music to the world.

As one of Cherrytree/Interscope’s newest artists on the brink of debut (with an album to be released in the fall), Kills was nice enough to chat with me on the phone last Friday about her background, as well as providing plenty of hints for what’s to come.

Check out our full conversation below to learn more about Natalia’s influences, ambitions, and plans for world domination. And yes–she’s deadly serious about all of it.

Hey Natalia! How are you?

I’m fine, thank you. How are you?

I’m doing great. You’ll have to forgive me. I’m getting over a bit of a cold, so my throat’s kind of scratchy today.

No problem! I hope you feel better.

Oh, thank you! So, you are, of course a very new artist under Cherrytree. I was wondering how you ended up under the label?

Actually, it was quite a while ago. Basically, I’m from England and I made a demo and put it on the internet in 2008. Perez Hilton blogged about me and I got all of this buzz. One of my songs got two million plays in a very short period of time. So, I went to L.A. and had kind of been going for a while hoping to make some contacts and follow my dreams–you know how a lot of people go to Hollywood to make it and such. So I went back to L.A. and I met a lot of people, but it wasn’t that hard to know if you go with Will [Will.I.Am].

I met with labels and a lot of other producers and artists: Timbaland, Justin Timberlake and just many people that had a really creative connection with Will. He signed me to Interscope. He has a label at Interscope and one of the labels I had actually met with that I was very excited about was Cherrytree at Interscope. So, once I signed with Will to Interscope, he has a really good relationship with Martin Kieszenbaum, who runs Cherrytree and is the head A&R of Interscope International and we kind of navigated my project back to there while Will was on the road with the Black Eyed Peas

Would you say that the image or narrative that you’re projecting right now is something that you started out with when you were searching for labels–the whole persona of Natalia Kills?

No, it’s definitely been an evolution. It’s definitely been a growing process. When I made my demo, it was actually called Wommanequin. It was under my real name, Natalia Cappuccini, and the whole thing was about searching for perfection. Being a girl; a mannequin being the perfect female form as a woman. So, I definitely started with the idea. My album is called Perfectionist. It’s literally the next step up from that demo; that idea. So, that idea hasn’t changed.

Developing who I am and making it more obvious was the first thing I was really encouraged to do once I was signed. You know, “Black Eyed Peas”–it says something. It’s a group. There are groups out there like The Knife, and certain words are very easy and invoke a certain feeling so that fans immediately identify. I thought to myself, in this quest for perfection and this great life and everything, “What do I want to do? How can you become the best at anything?” The way you do it is you just try to kill it every time. So, the label said “Maybe that’s what your name should be,” and I stuck with Natalia Kills.

I can see all of the influence that channel into the image because you have a sort of Tumblr style website with different pictures and quotes that inspire you and there’s of course the “Love, Kills XX” series. What sort of influences or references inspired the series?

I’ll give you a really small background of how I got into the film making. Basically, before I decided to do music, when I was quite a bit younger I was 14, I was doing a lot of acting. And you know a lot of creative people slide in and out of music, acting, and theater because it’s all a kind of system of being an expressionist. You have to express. You have to perform. So, I was doing that before I realized that music was what I really wanted to pursue.

I was on all of these sets learning lines and seeing how it was really done for years, and I have learned to a certain degree how it works. You write the script, you write the characters, you find locations, you find a director, you find a producer. and you make the show. So, when I was actually signed to the label they said “Look, I know you’re into all of this [Alfred] Hitchcock, [Stanley] Kubrick sort of stuff. But how are you going to translate that to people? What you need to do is be on the internet and make a diary or talk to the camera while going to the studio.” And I said that was silly to me, because I didn’t really want to be talking to the camera like “Yo, guys! I’m in the studio!” That’s not who I am. That’s not what I like.

So, I said “Well, how about the fans really get to know me through film?” They get to see me being me, but in almost imaginary and extraordinary situations. I’m writing, producing and co-directing it, so really, they’re getting a full-on take of my imagination, and that’s how they get to know me. Not just by seeing this Natalia Kills running around being a femme fatale maniac. They also get to see exactly what I think about, exactly how I feel by me writing all of this and actually directing it and making it real.

So, that’s kind of the general idea of the show, and we’re going to have twenty episodes. I’ve done most of them, but obviously you have to wait until they come out once a week. I’m very glad people are responding to it because it basically brings a very direct and visual impact to show people what it’s about instead of just pictures and interviews or whatever. It’s a different level of entertainment.

Are they leading up to something? Will there be a single or album release when they’re all said and done?

Yes, absolutely. We finished the album and it’s been wonderful. The single will hopefully be going on air in the summer and building from there.

Oh, good! Because you released two buzz singles..

Well, it’s funny. They were really buzz singles. “Zombie” was the first song I even recorded for the record, but I do have a first official uptempo–could be played radio; could be played pop single.

I’m so creative that it’s hard for me to hold back and make people wait for so long, so it was really good that the label allowed me to officially leak a couple of the songs so that people could get a really good feeling. The first single won’t be either of those songs, but definitely in the same vein. Same sound, same style.

You also gave a little preview in the latest series of another song..

Yep, and that will continue to happen, actually. That will keep happening, but if it was up to me, I would want my music to go out into the world and want people to hear it. I would be playing full versions, but I definitely have to leave a bit of mystery so when people get the album there are surprises on it.

Who have you worked with on the album besides Will.I.Am?

I’ve worked with really incredible producers. I’ve worked with Jeff Bhasker. He’s done work on Kanye West’s last two records and the one that’s coming up. Alicia Keys and Jay-Z’s albums as well. He did “Zombie” and is very rhythmic, dark and creative. It’s a lot of fun.

I’ve worked with Akon, who is a wonderful person. I was kind of wondering how he’d be before I met him because I had no idea, and you see people all over TV and they have a certain sound of music. But, when I met him he was very intelligent and creative. I totally understand why he and Will.I.Am. have achieved the level of success that they have because they’re really, really, really good.

I’ve worked with Fernando Garibay and Cherry Cherry Boom Boom [Martin Kierszenbaum] who have worked with Lady Gaga on her new album that no one has heard. She’s working on it right now.

I’ve worked with Ron Feemster who worked with Dr. Dre for five years and Michael Jackson for four years. He was Michael Jackson’s protégé. Michael’s new album that no one has heard (and probably won’t hear now) was all done with Ron. He was looking for a new artist and project after the passing of Michael, and it was really wonderful to work with him. He’s phenomenal, and I believe he could probably change the world with his music. He’s excellent.

That’s a great mix of producers. It sounds like some different sounds all in one..

Yeah, but you know what? The best thing was I got into the studio with Jeff and he started playing away. I do this thing were I choose all the sounds, so we’re kind of musically creating the actual music together. Once we found the sound and all of the different synths and rhythms and stuff, I went to all of the other producers and said “The songs we make have to marry this. They have to out-do it, they have to undo it, they have to re-do it, they have to all be absolutely consistent.”

So, even though I’ve worked with a couple of people on my album, all of those sounds and all of those ideas are absolutely consistent and flowing one after the other. It doesn’t sound like a patchwork of different sound, one in pop, one in hip-hop, one is urban or whatever. It actually sounds almost like the same person might have done every song, but just taking it to another level.

Do you know at all when it will be released?

Yes. In fall, my album will be released while we’re still growing the first single over the summer. I’m very excited for my album to come out. I am.

A lot of my readers were tweeting “When does new music come out?! Finally!”

Yeah, I know! I really want everyone to hear the music! At least the through the webisodes I can kind of leak little snippets so that people are already familiar.

Final question: A lot of artists in the industry are being compared to the same artist: Lady Gaga. What would you say to critics who may try to compare you to Gaga?

I would say thank you for comparing me to someone creative and talented, and not somebody who relies on other people or other sides of the industry to manufacture who they are. That’s what I would say. Thank you very much.

Good answer!

Thank you! Feel better!

Thanks!

Bye.

Bye.

Special thanks to RJ Kozain for transcription assistance.

Click here to visit Natalia Kills’ official website. To hear more, click here to preview and purchase songs from Natalia Kills on iTunes.