iPsy

URRRR, WHAT THE HELL IS THIS?

I'M SOOOOOOO GOING TO WIN THAT LOST? COMPOTITION! :D

OMG!, I'm doing that and OMG!...KOOKS! :D, I was going to see Kooks next month but it was sold out! :(

:laugh3:, We'll just have to wait and see! :D

HAHAHAHA!, It's not terrible, but It's definetely their worst album!

56 MINUTES!...You mind if I join the listening party? :D

Chris Martin, Guy Berryman, Jonny Buckland, Will Champion, Paul Merton, David Mitchell, Keane :D, LOVE THEM ALL! :D

Digitalspy.co.uk review!: OFF WITH THEIR HEADS! When the Kaiser Chiefs announced they were working with Mark Ronson on their third album, it was met with a collective grimace from the nation's indie purists. Ronson's fondness for brassy '60s soul, combined with the Leeds band's knack for knocking out singalong pop anthems, sounded like a step too far for listeners who prefer their bands not to sound like they're sleeping with drivetime radio playlisters. However, those who ran for the hills should be prepared to skulk back with their tails between their legs. Expectations that Off With Their Heads would be an album of tacky, radio-friendly indie-pop - complete with sax solos at the end of every song - are wide of the mark. The Kaisers' third LP is actually an adventurous record that often finds the band ditching the mega-choruses for irony-laced punk-funk. Even more surprisingly, Ronson is actually fairly restrained here. Other than adding a bit too much cowbell to 'Addicted To Drugs', a cringeworthy Robert Palmer skit, he takes a backseat, allowing Ricky Wilson's crew to pursue their new-found interest in Talking Heads-style dance-rock. The presence of new wave obsessives New Young Pony Club, who provide backing vocals on two tracks, underlines the band's intentions here. By contrast, Lily Allen's tabloid-friendy cameos on 'Never Miss A Beat' and 'Always Happens Like That' pass without fanfare. Fans of the Kaisers' first two albums may be disappointed that there's no 'Ruby' or 'Oh My God' here, but this album rewards repeated listens rather than walloping you in the guts with hook after hook. 'Like It Too Much', one of the many highlights, starts with a typical Kaisers mix of crunching guitars and jaunty piano before erupting into a overblown crescendo orchestrated by Bond composer David Arnold - it's a step up from anything on the band's first two albums. Equally brilliant is the thrilling 'Half The Truth', which finds the band pogoing around with the enthusiasm of teenagers. Elsewhere, 'Tomato In The Rain', with its hypnotic synth loop and gentle guitars, is reminiscent of the Beta Band, while 'Can't Say What I Mean' sounds like Futureheads on Prozac. Only on 'Good Days Bad Days', which is probably supposed to recall the afro-beat stylings of trendy New Yorkers Vampire Weekend, do the band come unstuck. The lack of a killer single will probably harm its commercial fortunes, but from an artistic point of view this is the Kaisers' finest album to date. 4/5 http://www.digitalspy.co.uk/music/a132744/kaiser-chiefs-off-with-their-heads.html

Digital spy.co.uk review!: "We don't want to be one of those bands that forever remains the same, churning out the same old stuff," said Tom Chaplin at the Q Awards earlier this week. Changes in musical direction are a notoriously risky business, but for Keane it was a choice between evolving or forever being labelled as dull Coldplay clones. Two successful records into their career, most music fans had firmly fixed views on the Sussex trio: plenty loved them, but many others, led by chief critic Noel Gallagher, would rather have been fed to the sharks than caught listen to them. Possibly inspired by Chaplin's recovery from drink and drug addiction, Keane's third album wields a sledgehammer at these preconceptions and showcases a creatively adventurous group who've developed a healthy fascination with seventies and eighties pop music. The band's talk of an "avalanche of experimentation" and breaching the "unwritten rules of musical etiquette" were intriguing, snappy soundbites, but few believed the piano-tinkling public schoolboys could actually pull off dance music and go all Pet Shop Boys on us. Yet anyone who's heard comeback single 'Spiralling', with its infectious "Boooh!" cries and synths that Girls Aloud would murder for, will know that Chaplin and co. have pulled it off. The influence of producer Stuart Price, who's worked with Madonna and Gwen Stefani in the past, runs through the album's core and under his stewardship synth-pop and indie ballads sound like perfect bedfellows. When the band are in full swing, as on the Bowie-esque 'Better Than This', it's hard to believe you're listening to the same group who swooned their way through earnest tunes like 'Somewhere Only We Know'. While existing fans may lament the shift towards brasher pop stylings, this album only loses its way when Keane slip back into their old bad habits. Closer 'Love Is The End' is a saccharine attempt at a lighters-aloft show-stopper that falls down under the weight of its own seriousness. It's also unlikely that anyone would care if 'Playing Along' and 'You Don't See Me' had been left as B-Sides. However, these quibbles are soon forgotten whenever Tom Chaplin bursts into another bout of sparky falsetto. Not even Noel Gallagher could hold back a smile at the soaring synth-frenzy of 'Again or Again', while 'You Haven't Told Me Anything' suggests the band have been listening to plenty of Hot Chip in the last 12 months. The jaunty brass of 'Pretend That You're Alone' certainly "ignores the rules of good taste" as the band promised, but as with the bizarre segment of spoken French on 'Black Burning Heart', they get away with because they go in head first. With synth-pop now successfully conquered, it will be interesting to see where the band turn next, but for the time being Keane have triumphed and left their critics floundering. 4/5 http://www.digitalspy.co.uk/music/a132243/keane-perfect-symmetry.html

:laugh3:

i loved it...it was soooo funny!, That bit with R Wayne and R Gran and when Cat Deeley got mad!, the ending, it was brilliant!!!!!! :D

I don't like HIM but I love his song 'Wisemen'...IT IS AMAZING! :D

:rolleyes:

THE WEBSITE FOR THE PARTY!!! (lol!) http://www.celebrity-for-a-night.co.uk

How can you forget about that? :laugh3:

have sexual intercourse legally! :D :P

I LOOOOOOOOOOOOOOOOOVE IT! :D, and I saw the jesus pictyre first and I was like WTF! :D

hahahahahhaha, Look what I found: [ame=http://uk.youtube.com/watch?v=0b7mwTK564o]YouTube - Charlie Brooker on My Sweet 16[/ame] GOD!, That is soo funny! :D

:D, Arr thanks, I dunno if it will be shown where you are...I hope so! :D, it will be called 'Super Sweet 16 UK' :D

that was BRILLIANT! :D, yeah the hallway bit was the best, the voices are really good and funny! :D

WOOOOOOO!, I've just done the invitation handout and I HAVE AN INVITATION! (I'll post a pic of it tomorrow!)....Yeah, it wasn't bad, we all went up 5 at a time and my mate, said step forward and said 'YOU'RE GOING TO MY PARTY!' lol, it's a 'Celebrity' theme! :D, When it is on TV, I am the one who is really small (lol), wearing a blue ben sherman top and grey jeans with white quicksilver shoes! :D LOL

Franz Ferdinand's third album will hit the shops in the UK on January 26, it has been announced. Tonight: Franz Ferdinand will be released in the US the following day, reports NME. Frontman Alex Kapranos explained the LP's title by saying: "I can picture a marquee outside a theatre saying 'Tonight: Franz Ferdinand'. There's a sense of anticipation." He recently revealed that human bones are used as an instrument on the album, which features tracks including 'Bite Hard', 'Turn It On', 'Katherine, Kiss Me', 'Ulysses' and 'What She Came For'. YAY!. January 26th is my birthday! :D

I've actually never seen it!

:rolleyes::D

sorry but I just LOVE IT SOOO MUCH! :D