Singles for the week starting 11 July!

Mojo Fury
We Should Just Run Away
(Graphite Records)
* * * * *

The art of 'running away' doesn't generally tend to get good press: take Middle Eastern leaders who 'run away' from their palaces to avoid being barbecued alive by millions of pissed off citizens, or the cowardly knights from Monty Python & The Holy Grail who chant "Run away! Run away!" every time they see a rabbit with pointy teeth.
It's about time someone did the art of scarpering a favour then, and Northern Ireland's finest melodic grunge-rockers Mojo Fury have got just the ticket. 'We Should Just Run Away' not only endorses the concept of fleeing in its title, but it's also one of the best singles of the summer - and that can't do any harm, can it?
Starting off with a sci-fi vortex and some jingle bells, the song revs up to a funky electro groove, hits you with a 'hands in the air' chorus, moonwalks backwards on an awesome funk solo, then drives the chorus home again just incase there's any lighter fluid left in the house.
Yet those are just the ingredients: where Mojo Fury have succeeded so expertly here is by capturing the feeling of shit just before it hits the fan - and the last-minute chance to do something about it. Heavy scenes are on the horizon, but it would appear that for once, fleeing seems like a fine option indeed.
Ric Rawlins

Dry The River
No Rest
(RCA)
* * * *

When 'No rest' kicks off, you might well raise a suspicious eyebrow and be tempted to turn the dial, assuming that it's just another one of those pesky folk songs with million dollar orchestration and bugger all soul. But do not! Because it does, in fact, rouse into an absolutely HUGE finale (we're talking Mega Shark VS Giant Octopus huge here, too). Edge of seat stuff.
Ric Rawlins

Dry The River
No Rest
(RCA)
* * * *

When 'No rest' kicks off, you might well raise a suspicious eyebrow and be tempted to turn the dial, assuming that it's just another one of those pesky folk songs with million dollar orchestration and bugger all soul. But do not! Because it does, in fact, rouse into an absolutely HUGE finale (we're talking Mega Shark VS Giant Octopus huge here, too). Edge of seat stuff.
Ric Rawlins
Out 11 July

Ute
Brother
(Alcopop Records)
* * *

Folky fairgroundy vibes ahoy from this Oxford three-piece, and they've justifiably received an encouraging thumbs up from Huw, Bethan and a variety of other radio gurus.
'Brother' walks a nice balance between snoozing-in-a-barnyard fresh-aired haziness and kooky circus-themed romance. Lacking perhaps the one vital ingredient of a memorable melody, the song nonetheless comes alive on the rather special B-side, a version with various Oxford folk bands jamming together to create all sorts of atmospheric magic.
Danny Canning

Avi Buffalo
How Come
(Sub Pop)
* *

The stop gap single - a tune that comes out between albums but isn't attached to one - is usually an opportunity for something a bit fun, experimental or weird. Curiously then, this stop gap single is nothing especially earth shattering, and could have been one of the more standard surf-meditation tunes from the band's mostly excellent debut of 2010. Giddy up, ye Buffalos, and deliver us something to get excited about again!
Cindy Suzuki

Beastie Boys (ft. Santigold)

Don’t Play No Game That I Can’t Win

(Parlophone)

* * HH

With a career spanning over 30 years, the fact the Beastie Boys are still able to make exciting, relevant, new music is testament to their genius. Having said that, I can’t see this single being looked on as highlight of their undisputable legacy: it feels like a Santigold single featuring the Beastie Boys, as opposed to vice versa. A reggae beat and Santigold’s seductive vocals dominate throughout, with the Boys’ distinctive sound taking a back seat. While the song sounds fresh and inventive, it lacks the impact of previous releases.
Joe Woolmer

Out 11 July

I Like Trains
Sirens
(Cargo Records)
* * *

'Sirens' meets a lot of post-rock standards: steady, precise and downtempo drumming, weaving guitar lines that sound hypnotic, it follows the quiet-then-ascend-slowly-then-descend-just-as-slowly technique.
Despite some other tricks that I Like Trains try to bring it out of the genre – clearer vocals, for example – it feels stereotypical in its structure. That doesn't mean it's a terrible song by any means. It is a very gentle and tender piece of music that does what it is meant to do and does it well enough. It's the kind of thing that you know isn't changing the world yet you can't help but fall for its tranquility.
Max Raymond

Kyla La Grange
Been Better
(Chess Club)
* * *

The latest offering from former Cambridge philosophy student Kyla La Grange is both intriguing and captivating. Drums crash all over the place as her vocals range from shaken to confident to defiant. On the downside, the guitar lines are rather formulaic and veer too close to Coldplay territory (I'm thinking 'Violet Hill' in particular).
On the other hand, there's enough potential on show here to mark her out as 'one to watch' as they say, and besides, it has a good old fashioned wigout session at the end - and who doesn't love those?
Max Raymond

Twin Atlantic
Time For You To Stand Up
(Red Bull Records)
* *

Twin Atlantic are likely to win favour with the crowd of rock fans that adore the likes of Biffy Clyro and My Chemical Romance. The problem is, on the basis of this single, they're not quite in the same league. 'Time For You To Stand Up' isn't terrible, but it does sound stuck in 2006. Sure, it's frenetic, full of loud guitars and the vocals have a hint of Scottish pronunciation, but it's desperately trying to fill a hole left by Fall Out Boy that perhaps didn't need to be filled.
Max Raymond