According to a tweet from songwriter Chris Jackson, Cheryl Cole‘s camp has selected “Promise This” as the lead single from her as-of-yet untitled sophomore album, which is currently expected out sometime either later this year or early next.

Jackson also confirmed that the track was produced by Wayne Wilkins and penned by both himself and fellow writer, Priscilla Renea.

Wilkins, who is a part of the songwriting team The Runaways, produced Cole’s “Fight For This Love,” as well as some other incredible songs including Keri Hilson‘s “Energy” and Michelle Williams‘ “We Break The Dawn.”

In other words: Yes this is going to be another #1 smash for Ms. Cheryl Tweedy.

Let the record show: I love Keri Hilson. I think she has an excellent knack for songcraft, a lovely voice, and keen insight into the music industry.

Well, not so much the latter right now.

Hours ago, Hilson premiered “Breaking Point” on Atlanta radio station V-103, the debut Timbaland-produced single from her upcoming sophomore studio effort. You can now hear it at The Fader.

Spoiler alert: It sucks.

No, really: There’s no melody. No hooks. It’s completely and utterly tuneless. There’s literally nothing redeeming, exciting or memorable about this song.

Church organs and soulful crooning enter at random on top of an uninspired Timba beat, desperately attempting to come together as a kind of female empowerment anthem. Instead, the song falls flat on its erratic face.

I just don’t understand how the writer responsible for such a strong debut record (“Alienated,” “Energy”), as well as such smashes as Britney‘s “Gimme More,” “Break The Ice,” and the massively underrated bonus track, “Outta This World,” could produce something like this as a comeback of sorts. It’s not strong enough to be considered as an album track- let alone a single!

I gave it a second, and then a third listen thinking that perhaps “Breaking Point” would be a grower for me. It’s not–just the reverse effect, actually.

Step your game up, Miss Keri Baby. You can do so, so much better.

Above is a look at Keri Hilson‘s photo editorial for Issue 109 of Flaunt Magazine. Work it, mami! Looking great.

The singer is currently working on her sophomore studio album, which is expected to be released later this year.

Apparently, this is happening. I had no idea!

On February 10, BoA will be releasing her seventh Japanese studio album Identity, a release made all the more impressive considering she’s already done eight in Korea and one in America. You can now preview the tracks right here.

Truth be told, I couldn’t be bothered by most of her Japanese work. While I may love me some BoA, I find her Japanese albums to be overly formulaic, often filled with safe, uber-pop filler.

Now don’t quote me on this (or rather, go ahead–I’m writing this after all), but Identity sounds as though it could be an album I actually enjoy.

There are some funkier, glittery grooves that remind me of her Korean work (“LAZER”), as well as a few mid-tempo duds (“まもりたい ～White Wishes～”). All in all, this may be the first Japanese album to interest me since Outgrow.

Here now is the completely unannounced, rather exciting video for “Possibility,” a duet with Daichi Miura.

Judging by the new style and sound, it’s almost as though she’s aiming to become the Japanese Keri Hilson. I like, I like.

It’s a familiar situation: The songwriter seeking to transition to the stage.

For some artists, it’s worked. For others, not so much: While it seems Lady Gaga has all but eclipsed the songwriter title with her newly found icon status, other incredibly talented heavyweights, including Cathy Dennis (“Toxic,” “Can’t Get You Out of My Head”) and Linda Perry (“Get The Party Started,” “What You Waiting For?”) have garnered a moderate, niche popularity that, while enough to establish a devoted following, ultimately pales in comparison to the success enjoyed by the superstar singers of some of their greatest works.

It’s hard to say exactly where Keri Hilson will wind up along that scale. As one of today’s leading modern pop songwriters, she’s already proven herself as an accomplished talent, with credits on such radio smashes as Britney‘s “Gimme More,” Omarion‘s “Ice Box” and Timbaland‘s “The Way I Are.”

Yet her solo career singles, including “Energy” and “Knock You Down” have largely wavered in popularity. Of all the singles off of In A Perfect World…, the most successful of them all happen to sport a “featuring” spot from the likes of Kanye West, Lil’ Wayne and other mega-wattage superstars, ultimately begging the question: Can Keri carry herself as an artist in her own right?

“I Like” is Keri Hilson’s latest release, a German-only single penned by David Jost (Tokio Hotel) and Robin Grubert released on December 11. The song was selected as the theme song for the German film, Zweiohrküken, and has since peaked at #1 on the German Music Charts.

Though “I Like” seems destined to slip past the world’s radar, the smooth, slinky electro-tinged number happens to be one of Hilson’s finest solo tracks–and ironically, one which she had almost nothing to do with. According to an interview with songwriter David Jost, Hilson was selected because he thought she would supply “the perfect voice” for the track.

In a perfect world, this song would be rocketing up the radio charts right now, but just because the rest of the public hasn’t caught on to this sublime track doesn’t mean that you shouldn’t.

I like, I like…I love.

As Torrance Shipman once said in the 2000 classic, Bring It On, “Missy’s the poo…so take a big whiff.”

While that quote doesn’t really apply here (aside from suggesting that Gaga is indeed ‘the poo’), the point is this: As the driving force behind the writing and recording process of her music, the creative director of her album artwork, music videos, tour visuals, merchandising and just about every other minute facet of her career, Lady Gaga is a very new kind of pop star; one that sings live, writes and records, dances, styles photoshoots, and waxes poetic about the lifestyle of the artiste.

While many have managed to break the market on their own terms, I can’t think of a single mainstream female pop artist in recent times who has exercised nearly as much creative control in both the audio and visual department as Lady Gaga.

In fact, I can’t think of any.

November 23 will see the release of Lady Gaga’s The Fame Monster, an 8-track concept album originally intended to be a re-release of her debut, The Fame. Written as a kind of antithesis to the subject matter of The Fame, The Fame Monster centers around horror and fears–from love, to loneliness, to death.

After some squabbles with her label (and a few inspired writing sessions while out on her Fame Ball Tour), Lady Gaga decided that this newly formed collection of tracks was enough of a living creature in its own right to merit release into the wild all on its own, rather than being slapped onto her pre-existing album. Of course, you could opt to purchase the album as a 2-CD bundle, but as a whole, the record is capable of standing on its own feet–however many feet a monster may have.

Now then, let’s run down the tracklisting.

The Fame Monster begins with “Bad Romance,” the current single that continues to power its way up the radio play charts. Better known as the song of 2009, “Bad Romance” is an unstoppable barrage of catchy hooks, hymn-like chants, and soaring crescendos. It’s a raw, raucous affair, best served at max volume in cars and clubs, and arguably the greatest track that Gaga has ever recorded.  Starting off with such a praise-worthy number, it’s fairly easy to forget that “Bad Romance” is just the first song off of the album.

“Alejandro” comes next, an Ace of Base-like mid-tempo, tropical track. While my reaction to the track was initially lukewarm after hearing the song in demo form, the album’s revamp adds a nice punch to the mix, creating a solid introduction and some reworked vocals. Watch out, though–the repetitive melody is addicting, and you may find that the song’s play count racks up faster than you can say “Alejandro,” “Fernando,” or any other man-of-Latin-origin’s nombre.

“Don’t call me Gaga,” Lady G announces as “Monster” begins to play. At this point, there’s really no need to progress any further into the album, as Gaga’s about to nail it: “Monster” is the epitome of the album’s essence, mashing a killer bass line with cheeky, creature feature lyricism: “We french kissed on a subway train / He tore my clothes right off / He ate my heart, and then he ate my brain,” Gaga laments during the song’s massive, glitchy (perhaps even picopop inspired?) breakdown. It’s a major hit, and is pretty much destined to be an upcoming single sometime soon.

“Speechless,” the next song on the album, comes with plenty of baggage in the Gaga Claims Department over the past few months, with “My favorite song of all” and “The greatest song I ever recorded” being just a few of the quotes offered up by the pop star during interviews. As one might imagine, the song has built a substantial amount of hype.

Mercifully it delivers, and the pay off is rich: “Speechless” is the ’70′s power rock ballad that always been hinted at in her earlier work (“Brown Eyes”, “Again Again”), though never fully realized until now. Penned for her father, “Speechless” is the result of Lady Gaga’s appreciation for the arena-rock legends and glam gods of yore (David Bowie, Freddie Mercury) that avoids imitation and plays like the torch ballad Gaga always needed. It may not be the greatest ‘hit’ of the album, but it is the most aurally adventurous (and surely the most personal). “I’ll never talk again / Oh boy, you’ve left me speechless,” Gaga croons with a swagger hitting somewhere between classic Elton John and Liza Minnelli. Concertgoers, be prepared–this one’s made for the lighters-in-the-air moment.

Coming in thereafter is “Dance in the Dark,” the album’s chilliest moment. “Silicone, saline, poison, inject me / Baby, I’m a free bitch,” Gaga scowls at the song’s beginning, which happens to double as the greatest opening line of the year. A hands-in-the-air dance song about a woman being harassed by her boyfriend, Gaga’s “Dance” is a murderous slice of pop complete with industrial whirls, haunted synths and occasional screams of anguish in the distance.

Part of the songs appeal, aside from being as danceable as it is dark (thus, “Dance in the Dark”…get it, eh?), lies in its occasional nods to the classics–from the  pulsating injection of Depeche Mode‘s “Strangelove” into the opening chords to its homage to Madonna‘s “Vogue” throughout the song’s spoken word middle eight:  “Marilyn, Judy, Sylvia…tell ‘em how you feel, girls!”

However unlike Madge’s celebrity roll-call, Gaga limits her subjects according to theme, choosing only those who’ve suffered a tragic end by way of, or indirectly because of, the fame. By the end of it all, you’ll want to know only one thing: Who knew emotional abuse could inspire such happy feet?

The next track, “Telephone,” is a doozy–a duet with Beyonce? Even on print, you’re already asking for trouble. “Telephone” was originally penned and serviced to Britney Spears by Gaga, rejected, and then reclaimed by the writer herself.

Along with a beat recalling Timbaland‘s “The Way I Are” and a frantic, stuttering electro-bass line, “Telephone” is a mish-mosh of synths, phone sounds and above all, rampant telephone talk. While Beyonce’s vocal runs are a welcome addition to the track, the song functions best as an unapologetic celebration of the vocoder. Just dance, as someone around here might say.

“So Happy I Could Die” seems to pick up where The Fame‘s “Starstruck” left off, borrowing its squeaky synthesizers and urban flavoring to engage in some self-indulgence. “In the silence of the night, through all the tears and all the lies / I touch myself and its alright.” While some reviews have likened the track to Britney Spears‘ “Touch of My Hand,” the music and lyrics seem far too dark to place “Happy” in the same realm as Spears’ ode to self-exploration. As the verses fade, the unusual anti-chorus fills the void: “Happy in the club with a bottle of red wine / Stars in our eyes ’cause we’re having a good time / Yeah, yeah / So happy I could die.”

Minimal and moody, “Happy” provides food for the mind while moving back and forth between Gaga and an unidentified “she.” It could be herself she’s referencing, but I’m still uncertain. Sasha Gaga, perhaps?

“Teeth,” the album’s premature closer, takes a surprising turn in sound: A stomping, hoot-and-holler-worthy chant-along, the final track of The Fame Monster invites listeners to cut loose and…well, sink their teeth into the music. Part musical, part country, and a little bit tribal in spots, Gaga snarls and taunts above an incessant, stomping march: “Take a bite of my bad girl meat / Show me your teeth.”  It’s an odd choice to end the album, though a surefire crowd pleaser for live shows if the addictive backing beat is anything to judge by.

Out of the eight excellent tracks of the album, the greatest part about listening to The Fame Monster is not the catchy beats or silly lyrics (of which there are many), or even the lock of Gaga’s own hair included with the Super Deluxe Fan Edition (with which I still have no idea what to do with)–it’s the fact that the album is history in the making.

For better or worse, Gaga is on the path of legendary status:  With only one album under her belt, Lady Gaga has already broken a world record for most #1 singles from a debut album, written for Britney Spears, Keri Hilson and the Pussycat Dolls, collaborated with high-profile photographers and artists including David LaChapelle, Araki, and Markus Klinko (which is not to forget her sheer influence on the runway, as well as scoring the devotion from runway legends like Alexander McQueen and Marc Jacobs). Along the way, she’s performed across the world to millions from San Francisco to Jerusalem, including a recent concert in New York where a newfound fan named Madonna watched along with her daughter, Lourdes, in the audience.

While I may be prone to hyperbole, I do believe that The Fame Monster is without a doubt the pop album of the year, if not one of the finest pop records of the decade.

And to think, this was just going to be a re-release.

Pre-Order The Fame Monster from Lady Gaga’s Official Store | Buy tickets to The Monster Ball Tour | MySpace | Official Website

Until this summer, Philadelphia-bred mistress of ceremonies Amanda Blank could be found both everywhere and nowhere; a fixture found in the liner notes and “featuring” sections on collaboration tracks from just about every hip-hop tested, indie cred-approved artist since the mid-’00′s, including Santigold, M.I.A., Spank Rock, Pase Rock, Ghostface Killah, and N.A.S.A.

As a result, Amanda Blank is an artist inexorably linked to her mix-tape origins: Put together the in-your-face, Cristal and cocaine drunk-pop of Ke$ha, the funk and grind sound of album producer Diplo, the super-slick badassery of Peaches, and perhaps even the cool breathiness of Britney Spears on the chillier grooves, and you’ve still only got half of what Blank’s all about.

Within seconds of hearing the garage-rock-gone-hip-hop intro of “Make It, Take It,” it becomes all too clear that we’re in for a sweat-drenched, sex-stenched affair on Blanks’ long-overdue debut, I Love You. Tracks including the throbbing, pistol pumping “Something Bigger, Something Better” and electro-jittery “Might Like You Better” are at the very least danceable–at their best, nearly irresistible. Even the faithfully minimal cover of “Make-Up” off of the 1982 debut of Prince‘s short-lived sexperiment Vanity 6 inspires moments of vogue.

But this collection isn’t all about the mmphing and, shockingly enough, benefits most from the few breathers in between. The bleary-eyed, post-consummation contemplation of “Shame On Me” is the best track Britney’s never recorded, while the neurotic-friendly “DJ” proves a luscious dancefloor treat riddled with all the best reasons to dance the pain away–anger, bitterness, and sorrow.

It’s midway through however, when Blank gets down to business, unleashing her signature unstoppable lyrical flow on the Spank Rock-assisted track, “Gimme What You Got,” and “Lemme Get Some.”

This, after all, is the meat and potatoes of her craft: Amanda Blank is a talented artist. Not only can she spit out verses faster than most male rappers in the industry, but she commands a devastating mastery of rhythm and flow–plus, she’s a seemingly fearless lyricist. The only problem is that there simply isn’t enough of that grit to go around. A few harder numbers would have done wonders here, especially considering the wide range of tracks we’ve heard from her over the years.

The album’s final moment is also its most unexpected: “Don’t act so surprised,” Blank croons along with Swedish delight and MuuMuse favorite, Lykke Li on “Leaving You Behind” as the gentle guitar strums away into nothingness. I just can’t help it, Amanda–I’m considering this album the surprise of the summer.

DL: Amanda Blank – Something Big, Something Better
Choice Tracks: “Something Big, Something Better”; “DJ”; “Shame on Me”; “Might Like You Better”

Purchase I Love You on iTunes | MySpace