Well, this was a weird/amazing week of The Voice.

Almighty Queen Legendtina performed a rocky rendition of “Fighter” which apparently no one seemed to notice, Justin Bieber popped up out of nowhere to debut a clip of his new video for “Boyfriend” (SHAKING AND CRYING!!1!!!1), and to my greatest of great delights, my British boyfriends The Wanted took the stage to deliver their first ever (excluusive!) performance of “Chasing The Sun,” their brand new Example-produced banga.

And they did so good! Voices on point. There was so much happening on stage, too: Smoke! Flashing lights! Lady dancers humping the stairs! Tom sliding down the stairs! Waving flags! Wait, flags? Whatever! And then Blake Shelton‘s team came out to…err, I don’t even know what that was, clap excitedly and make whatever the fuck this noise is? Yes!

And then that was it, and everybody was slayed.

I think what I love most about this performance is how genuinely stunned/pleased with themselves the boys look for performing on The Voice in America. All of them just keep looking around dazed with disbelief, their facial expressions the equivalent of “LOL WUT.” Face it, boys–you’ve hit the big time now!

Okay, wait. That’s not what I loved most about last night. What I loved the very most about last night was this:

SHADETINA SIDEEYEGUILERA STRIKES AGAIN.

“Chasing The Sun” was released on April 17. (iTunes)

Here’s the thing (we started out friends…): Carly Rae Jepsen‘s “Call Me Maybe” may very well be the catchiest song in the world, and it’s about to be literally everywhere.

If you weren’t already familiar with Ms. Jepsen, the Canadian-born 26-year-old chanteuse first rose to fame after placing third on the fifth season of Canadian Idol in the summer of ’07.

Her debut album Tug of War, which came out in 2008, did approximately nothing on the charts more or less, but her second attempt–an EP called Curiosity released in February, fared better due to a certain lead single released in September: “Call Me Maybe.”

The track, which was co-crafted alongside band-member Tavish Crowe and Marianas Trench lead Josh Ramsay, isn’t just catchy–it’s irresponsibly addictive, and all because of the chorus.

Those urgent strings (OH, THOSE STRINGS!), mixed with an equally urgent sugary-sweet plea, leads to one disastrously memorable hook: “Hey, I just met you, and this is crazy/But here’s my number…so call me, maybe?” NOOOOO! So earnest, like a less country-fied Taylor Swift! You’ll never get it out of your head, ever! EVER! It’s like Contagion, but more Canadian! Oh God, it’s just so GOOD.

Canadians quickly latched on, which is why “Call Me Maybe” slowly grew to become a radio hit by the holiday season. But Canada simply wasn’t enough. Nay, not if a certain Canadian crooner–one with the power to incite war, endless Twitter death rumors, lay hands and cure all ailments with a single wink–had the power to do anything about it. That’s right: Justin “God” Bieber.

So tweeteth The Bieber while on holiday in December:

“Call me maybe by Carly Rae Jepsen is possibly the catchiest song I’ve ever heard lol.”

And just like that, the Internet literally shat itself.

The unspeakably catchy tune soon started climbing rapidly at radio, eventually clawing its way to the #1 spot on the Canadian charts by early February.

Then, on Valentine’s Day, Bieber announced that Jepsen was going to be signed to his manager Scooter Braun‘s label, School Boy Records.

The kerfuffle only further exploded in the next few days when Bieber’s ladyfriend, Selegenda Godmez, tweeted a silly singalong video featuring herself, Bieber and the Legendary Ashley Tisdale (amongst countless other tweens), leading to over 22 million views to date and counting (which, for the record, far surpasses the original video).

“Call Me Maybe” has since been submitted to mainstream radio on March 6 in the US, and the song’s already climbed from #38 to #31 on the Billboard Hot 100 charts in the past two weeks. How long until Beliebers/the general public get this one to #1? Oh, I’d give it about two more weeks, tops.

In the meantime, Jepsen’s already been flown out to LA to meet Braun and Bieber to record, calling the experience “like Entourage, but swankier.”

So start scribbling your phone numbers on napkins now, everyone–you’ll never be the same again.

A big thank you (and also a curse!) to Muuser Ben T., who first brought this earworm to my attention weeks ago.

“Call Me Maybe” was released on February 22. (iTunes)

The gorgeous and talented Selena Gomezmerizing keeps the promo train rolling in support of her forthcoming studio album When The Sun Goes Down with the release of her next iTunes Countdown single: “Bang Bang Bang.”

Keeping it strictly ’80′s electro-pop (somewhat similar in sound to Ashlee Simpson‘s deeply under-appreciated “Boys”), Gomez taunts her triflin’ ex by recounting all the ways her new man is just, like, so much better: “My new boy knows the way I want it / He’s got more swagga than you,” she knowingly taunts. My, my!

All stanning aside, “Bang Bang Bang” is truly a fun electro-pop kiss-off track–and if you can forget that the “new boy” is actually “Justin Bieber,” the song suddenly becomes way, WAY less creepy!

GET IT, SELEGENDA!

“Bang Bang Bang” was released on June 7. (iTunes)

I’m still not quite sure what to make of SoundGirl.

On the one hand, the first two tracks that surfaced on their SoundCloud, “The Game” and “Walking On Air,” were some of the most promising material I heard from a new artist last year.

Initially, SoundGirl evoked the things I loved most about the Sugababes — not the recent Heidi-Amelle-Jade Sugababes, but the Keisha-Mutya-Siobhan Sugababes of yesteryear. That is, SoundGirl seemed like three lovely teenagers making moody pop music, rather than three fame-starved inflatable sex dolls who happen to sing and dance. (Sorry, loves.)

“The Game” and “Walking On Air” are both likable urban-pop confections; and like the early image of Sugababes, the SoundGirl aesthetic is refreshingly age-appropriate. Izzy-B, Olivia, and Little Nikki (bear with me, folks) feel like real girls, without the hyper-sexual, focus-grouped cynicism that has accompanied acts like Jessie J or Girlicious.

But their first single, “I’m the Fool,” throws something of a wrench into the mix. Co-written by frequent Xenomania scribe Miranda Cooper, the track is a boisterous, goofy romp featuring a terrific earworm of a chorus.

And yet, “I’m the Fool” leaves me puzzled. A lackluster guest spot from an off-brand Tinie Tempah-esque rent-a-rapper named Twizzle (really?) makes the whole affair feel sort of ponderous, and a burst of pop culture references that should evoke the nonsensical whimsy of the Almighty Aloud just feels a little sad and forced. (“This ain’t Glee, I’m back on The Wire, if this was Twilight I’d be a vampire.” Wut?)

In a savvy marketing move, the group is giving away “I’m the Fool” free via their official website, and touring in support of established artists like Pixie Lott and Justin Bieber should help build the girls some hype — but I think only time will tell if SoundGirl really are the second coming of Sugababes.

Genre: Dance-pop, electro
Sounds like: Ke$ha, Uffie, Jessie and the Toy Boys

Meet Kay, nee Kay Kristin Boutillier, the newest electropop princess on the block who already seems poised for world domination.

Kay first popped up on my radar just over a year ago, when her glitchy, ambient interpretation of Nancy Sinatra‘s classic “Bang Bang (My Baby Shot Me Down)” began circulating. Kay’s version featured an instrumental track sampling Lil Wayne‘s “Lollipop”–an unlikely pairing that reminded me of Sky Ferreira‘s similarly haunting “Happy Dre” mash-up.

A few well-chosen buzz tracks followed–including the swaggerific “M.A.J.O.R.”, produced by MuuMuse fave Doctor Rosen Rosen, a tongue-in-cheek cover of Justin Bieber‘s “Baby,” and a dance floor-ready collaboration with Tiesto titled “Work Hard, Play Hard”–but Kay really grabbed my attention with her official first single, “My Name is Kay.”

Penned with mega-hitmakers Ryan Tedder and Evan “Kidd” Bogart, “My Name is Kay” combines the contagious teen spirit of “Hollaback Girl” with the faux-gangster posturing that Ke$ha perfected with “Sleazy.”(Unsurprisingly, the track has already been championed by ArjanWrites and Perez Hilton.)

Better still than the studio version, though, might be Frankmusik‘s “Lost the Damn Gameboy” remix, which swaps the stop-and-go vibes of the original with a driving house beat.

Kay’s as-yet untitled debut album is due out via Interscope/Universal sometime this year.

It’s that magical time again!

A time when–year after year–music enthusiasts of all walks of life come together to scratch their heads in complete and utter befuddlement while sifting through bizarrely incomplete, lackluster lists of nominees for the biggest categories of the most coveted award in the music industry: ~The Grammys~!

So let’s have a looksee at the four major categories announced on the live CBS broadcast tonight, shall we?

Song of the Year
Eminem & Rihanna – “Love the Way You Lie”
Cee Lo Green – “F**k You”
Miranda Lambert – “The House That Built Me”
Ray LaMontagne – “Beg, Steal, or Borrow”
Lady Antebellum – “Need You Now”

While none of these songs are actually anywhere near the greatest songs of the year (my own list will come in the following few weeks), the title ought to go to Em and RiRi for their seven week #1 summer mega smash, “Love the Way You Lie.” It’s an excellent production, if nothing else but for the leading lady’s aching chorus.

That being said, many, many props for the Cee Lo recognition!

Best New Artist
Drake
Esperanza Spalding
Justin Bieber
Florence + the Machine
Mumford & Sons

While Bieber will likely swipe this (despite having been around for–what, three years now?), there’s no competition: Florence + The Machine is the ultimate pick. Powerful, mystical and entirely fresh, their debut album Lungs continues to blow my mind nearly a year and a half after its release, still on heavy rotation.

Florence Welch is a serious force to be reckoned with–and this won’t be the last time her name will appear at this awards ceremony. Just wait and see.

Best Album of the Year
Drake
Eminem
Lady Antebellum
Lady Gaga
Katy Perry

First, let me bitch: Excuse me? Do not.

Do not even tell me Teenage Dream is anywhere near worthy of attaining the title of “Best” anything. Other than its sublime title track, Teenage Dream is nothing more than a showcase of big label dollars and cheap gloss. Cheap fun? Sure. Quality? Stop it. Stop it right now.

In a year that saw the release of Robyn‘s Body Talk, Kelis’ Flesh Tone, Kylie Minogue‘s Aphrodite, Sia‘s We Are Born and countless other releases–the fact that Teenage Dream is getting the glory is actually a damn near crime.

Anyway, the title goes to Lady Gaga (obviously)–The Fame Monster was the greatest album (EP) of 2009.

Record of the Year
B.O.B. – Nothing On You (feat. Bruno Mars)
Eminem – Love The Way You Lie (feat. Rihanna)
Cee Lo Green – Fuck You
Lady Antebellum – Need You Now
Jay-Z – Empire State of Mind (feat. Alicia Keys)

While Princess RiRi and Em may also snatch this one for their summer chart stretch, the title should really be handed to Jay-Z for his “Empire State of Mind.” The song is an instant classic upon first play, destined to go down in history as the first truly major 21st century ode to NYC.

As usual, the industry’s bigwigs remains (mostly) oblivious, frivolous and startlingly outdated.

The 2010 American Music Awards aired live tonight. I live-tweeted the event. Well, most of it. (The Walking Dead came on at 10–I do have my priorities, after all.)

So, rather doing a rather drawn-out summary of the affair, I figure I’d just regurgitate what I just said–except with pictures and video links. Lazy, right? Oh, and if you couldn’t tell yet, you should totally be following me on Twitter.

Like Diddy-Dirty Money says…LET’S GO!!111!!! (I luv Jesus.)

LET’S GO!!!

Between the two glasses of complimentary champagne and Wynter Gordon grinding on my lap for a photo,
I slowly began to wonder: “What is my life?”

On Tuesday, I was invited to a private party in the evening–we’re going to call it a soiree–in honor of the release of Wynter Gordon‘s official debut EP, The First Dance. The event, which was held at the Polar Lounge in New York City (gawwgeous, by the way), was thrown for about a handful of bloggers to hang out with Ms. Gordon and jam to the sound of her new release.

I, of course, came to see Miss Wynter. Well, and the free alcohol.

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