How, now! To start off the new year right, it’s the cover for Kelly Clarkson‘s new single, “My Life Would Suck Without You”!

I still don’t know how I feel about it. Aside from the overly obvious rendezvous her people must have had with Mariah Carey‘s retoucher, I’m 75% certain that I approve.

I’d like to find me a lollipop as sparkling as that…Looks luscious!

What a way we’ve come from Happenstance. Following up her striking debut album from nearly four years ago, Rachael Yamagata has returned to the scene with her collection Elephants…Teeth Sinking Into The Heart. The album is really a two-part collection: The first ten tracks, comprising Elephants, are slower, pondering drifters that comprised much of what we came to know through Happenstance. The last five songs comprise the stunning collection of …Teeth Sinking Into Heart, a rocky explosion of carnal, vindicated energy that comprised my futile dreams for what Kelly Clarkson‘s self-penned album should have sounded like.

There’s also the tender duet with Indie recluse, Ray LaMontagne. The track is so thoroughly stripped and intimate, the two artists might as well be performing at the listener’s side. Yamagata’s voice seems to have matured, maintaining an androgynous, Pink-like dose of rasp throughout the album. The stand away from the pack here is the soaring “Sunday Afternoon,” a ten minute foray through a forest of ambient air, longing strings, and marching beats, building mechanically to crashing heights: “I wont live for you, or die for you, do anything anymore for you, because you leave me here on the other side,” Yamagata climatically seethes, before the song drops out into its gorgeous, melancholy finish. The Country-tinged “Over And Over” is briefly mezmerizing, as the lonely twang of the guitar melds with a repetitive, aching chorus of “Over and over, and over and over again…Let it rain, let it rain.” The soundtrack to a rainy night’s drive home, for sure.

Much of Elephants moves slightly above a snail’s pace, so when the grinding guitar of “Sidedish Friend” comes rippling into the atmosphere with its confident intensity, it offers a welcome balance to the moody first half of the album. “Accident” comes in, unapologetically catchy, bends the twanginess of “Over and Over” into an all out bar-crashing, Western shoot-em-’up. “Faster” is an incredible moment on Teeth, as Yamagata growls atop a clapping, stomping rocky crunch, “I’m going faster, you’re going backwards, you’re gonna miss me when I’m gone.” The taunting, “da-da-da” middle eight of the track is a brilliant moment, oozing cockiness and confidence previously unimagined by the aritst. The only disappointment that Teeth closes when it does, as I could have listened to that album for another ten tracks or more.

An entirely fulfilling follow-up to her debut, Elephants….Teeth Sinking Into Heart, Yamagata offers both signature style and unexpected new tricks, proving that we’ve not heard all that the artist has to offer. The album is a wonderful accomplishment for its genre this year, and perhaps one of the finest.

Be sure to check out Rachael’s site here, and go to iTunes to buy the record.

DL: Rachael Yamagata – Over And Over
DL: Rachael Yamagata – Elephants
DL: Rachael Yamagata – Sidedish Friend
DL: Rachael Yamagata – Accident

Opening up with a mockish piano ballad, Alicia “P!nk” Moore quickly drives a stake into her momentary bout of sweet with a whining declaration of, “Ahh…Fuck it!” on top of a kicked up drum beat. It’s classic Pink, impatient as always. Much like her fantastical faux-rap “Cuz I Can,” P!nk takes the piss out of herself with sex panting and sarcastic lyrics (“50 Cent said we could all lick his lollipop / He’s gonna take us to the candy shop!”) If this is consistent with her direction on the follow up to 2006′s I’m Not Dead, then we’re in for another solid album.

Then there’s “Can’t Help It,” a Kelly Clarksonesque, headstrong mid-tempo ode. It’s tomboyish and predictable…Not terribly exciting or new. If this is consistent with her direction on the follow up to 2006′s I’m Not Dead, then we’re in for a rather safe album.

It’s funny how these kinds of things crop up whenever I start revisiting my obsession with an artist. In this case, Kelly Clarkson. I had been watching her performance of “Stuff Like That There” just yesterday, wondering what her new sound would be like. I haven’t really mentioned her here yet–though she clearly needs no introduction, but I do sincerely believe she has one of the best vocal talents in the entire industry. Without a doubt.

Now I’m not sure what these are quite yet, as I’m in class. Then again, I shouldn’t be blogging right now either…but that’s beside the point. Frankly, this is too urgent to ignore! Four Kelly demos, and perhaps more, have just leaked. I haven’t had the chance to hear them (obviously), but I’m posting them anyway. Leave me comments to let me know how they sound before I get home. The posters on the Envvy forums are referring to the songs as similar in style to Jack Johnson and Surfjan Stevens. No word on what demo session they’re from, or if they’re for the upcoming album.

EDIT: I’m back from class, though I’ve made the decision not to post any of these demos, as a result of some serious drama surrounding their release. Apparently these are stolen tracks, and not leaked in any way. If you’ve got your hands on them, great. If not, I’m sorry. Frankly though, these are the most mature sounding and melodic acoustic sessions I’ve ever heard from Kelly so far. I’m absolutely blown away by “Ready” and “Close Your Eyes”. They’re like lighter-hearted Tegan & Sara songs, subtracting the more dramatic crashing sounds of their music, and adding a sprinkle of Indigo Girls. Each one is preciously constructed, and most refreshingly free of bitter hooks. I love her to death for all of her angst, but it was time to recover from the heartbreak. This is truly a revitalization.

Source: Envvy Forums

In a somewhat unexpected decision, Kelly Clarkson will be touring with fellow singer, Mandy Moore during the Australian leg of her My December tour. I can’t say I saw that coming, but I can see it working pretty nicely…besides, Australia gets a bit shafted in the whole “touring” aspect of the music industry. Kelly could share some vocal tips with Mandy, and Mandy some helpful lyric skills to Kelly. Preferably the kind that don’t deal with revenge-sought sorrow over a cheating lover. I love you Kelly, but for God’s sake, we get it. He did you wrong. I’m ready to move on.

And before you roll your eyes at Mandy, listen to her latest release, Wild Hope from 2007, featuring co-written tracks with writers like Michelle Branch, Rachael Yamagata, and The Weepies. Who knew there was an authentic little indie-folk crooner hiding beneath that manufactured shell? Watch her performance of her single, “Nothing That You Are,” from Yahoo Music:

Read on for the tour date locations!
Source: KCKellyville Forums
And you, what do you think?

Tour Dates/Info as announced:

March 3rd – Adelaide, SA – Adelaide Entertainment Centre

March 4th – Molbourne, Victoria – Rod Laver Arena

March 6th – Sydney, NSW – Sydney Entertainment Centre

March 8th – Broadmeadow, NSW – Newcastle Entertainment Centre

March 9th – Boondall, QLD – Brisbane Entertainment Centre

As promised, I present my picks for the top tunes that did a fair share of tickling my fancy throughout 2007. As a result, my fancy is currently in the process of pressing charges. This list involved a lot of thinking, which is usually against my better judgment. But in the meantime, I shall present the culprits (in no particular order, but just assume any and all Britney entries to be considered first):

Flavor of Life – Utada Hikaru – Don’t be fooled by the CD art. This song involves neither pastel colors, nor rice balls, NOR sheep (a bit disappointed by the latter exlusion). Nay, Flavor of Life was a major tickler during the first quarter of 2007. Floating on top of simple piano chord progressions and string accompaniment, Utada’s breathless vocals made the song both haunting and beautiful.

Gimme More – Britney Spears
I can’t actually describe what happened when I heard the song for the first time, besides a lot of jumping, followed by complete stillness to listen closely, followed by giddy hand clapping, again by intense silence, and then manic laughter. No need to introduce this one. It’s not her best, but it’s damn good. Even the haters couldn’t shake the impossibly catchy chorus. If only she was aware. Come back BB.

. The One – Kylie Minogue
Sometimes I wonder if Kylie wrote this little ditty especially for me. I wrote about this song a few entries ago. It’s timeless, iconic, and especially hypnotizing.

Cry For You – September / I Won’t Be Crying – Infernal
During the lonely winter months of the first quarter, music was a bit dire. By now I’ve learned, there’s only one multi-vitamin supplement jam packed with cheap thrills to fill the void of talent: Euro-Dance! Fun, defiant nothings about getting over him and being the bigger man/lady. September’s entry is more heartfelt, but the vocals in Infernal are much more raw sounding. Equally distracting until the pop wheels began to churn once again.

BUT – Koda Kumi – Wait, why isn’t she lyrically gyrating and riffing nonsensically?? I don’t know, but I think I like it…a LOT. It’s as if she’s trying to make a new sound, instead of regurgitating her songs over and over. Dark, broken electronic beats and vocal aerobics. Now this is the kind of Kumi I want.

Umbrella – Rihanna
We’re tired of it. Accept its brilliance, nothing else to see here.

Declare Independence-Björk
Volta was not good. At least, not to me. Too much ballad, and the ballads were too monotonous. It sounds very harsh and judgmental, but Björk has produced “Joga” and “Hidden Place” for goodness sake. She isn’t exactly dull. This one rocked the socks off of the album, though. Using a new instrument called the ReacTable, Björk elicited electric noises never before used in such an interesting way. Her inherently guttural voice is wonderfully excitable throughout the song. Watch a live performance of this to understand how cool the process actually is.

Bamboo Banga – M.I.A.
I’ll admit. I don’t love Kala as much as everyone else does. I myself am an Arular advocate. But I do happen to enjoy many of the tracks off of her second album. Most notably (XR-2 is perfect, but I heard earlier versions for almost a year already), Bamboo Banga. When I heard the song, I was ecstatic to think that the album would build off of this more jungle-esque electro. However, it just doesn’t flow for me like Arular did.

Foundations – Kate Nash
Didn’t want to like it. Didn’t want to like anything by someone who shared similarities to Lily Allen, but lo and behold, I was addicted. It’s like a much more lemon tart-filled version of Lily, with more tongue-biting and less egotism. The spoken bits are genius, and bonus points have been added for the opportunity to sing with a British accent. A pissed off British accent, no less.

Sober – Kelly Clarkson
If only the album could live up to its impossible expectations, this song would have received so much more deserved attention. It truly is the rawest experience on the album, and one that was sorely misrepresented in the public atmosphere. Though at the same time, it would have never performed on radio. The song is by far the most haunting and riveting song of the year. By the end, the listener’s ears are practically pleading for that oh-so-necessary shouting that only Kelly could provide. But as a favor: Please stop straining your voice so much on every other song Kelly. Save it for the best moments, such as the finale of this very song. Thank you. I love you. Why don’t you call?

True Believer – Dragonette
I didn’t get it at first. But then I kept listening. I absolutely love the carousel effect of the chorus, dizzyingly obnoxious and catchy at the same time. The track picks up and slows down, but it was a great tune to relax with during the last of the summer.

Lips Are Unhappy – Lucky Soul
Around the same time as Dragonette’s release, I discovered Lucky Soul. The throwback -band’s album contains many care-free songs resembling great pop music from the 1960′s. This pleading number, though short, is one of my favorites. The intro is pretty much representative of who they are as a group: a simple tambourine intro followed by the ever-increasing drum lead-in, leading up to the ultra-delicate vocals of lead singer Ali Howard. The lyrics are unapologetically dated. However, the shake-shimmy breakdown after the two minute mark is particuarly impossible to resist.

State of Grace – Britney Spears
Without a doubt the injustice of the year, Britney’s true soul-searching and almost-adult mid-tempo love croon is without a doubt one of her best works. Yet it was left of the album in order to keep the Donna Summer vibe afloat. The song is beautiful and sincere. The background sound is somewhat Bohemian. VERY Ray of Light Madonna. I’m thinking “Frozen”-ish. And she uses words that are way beyond her vocabulary like “transient” (not a stretch, but work with me). You have to hear it. Such a shame that the song was not released. It’s not B-Side material, so I fear this track may never see the light of day. And P.S. I would add nearly all of the Blackout tracks and outtakes to the list, from the blip-filled “Radar” to the over-sexualized “Pull It,” but that would be too expected.

Bleeding Love – Leona Lewis
I don’t particularly find her interesting, nor did I bother to catch her debut album, but I could not ignore the massive success of her first single. Well, except for the United States. But seriously, it was so big that she’s even being released here. That’s hard to do nowadays. It’s a page out of the Mariah hand book, but the craft is immaculate. I know Leona’s voice is near perfect…if only she’d do something unexpected.

Call The Shots – Girls Aloud
I’ve spoken about this track already as well. Haunting, convincing, and heartfelt. It’s nice and wintery, yet I see purple and pink when the song plays. Which may be the signs of looming epileptic episodes. Just saying.

And you, what do you think?