System of a Down – Hypnotize – SonyBMG
With producer/guitarist Daron Malakian taking somewhat of a step back for the title cut to System of a Down’s second album of 2005, “Hypnotize” comes off so much stronger as a result. While Malakian sings back-ups and the split lines, the focus is where it should be – with Serj Tankian. “Hypnotize” is a straighter song than “B.Y.O.B.” from Mezmerize, and is less likely to involve listeners flipping upside down and inside out trying to get through all the twists and turns as it traverses its length. Still good, though.

Queens of the Stone Age – Burn the Witch – Interscope/UMA
Easily one of the best songs taken from the ultimately disappointing Lullabies to Paralyze release, perhaps part of the reason “Burn the Witch” is so damn good is that it features Mark Lanegan heavily on vocals. When he was fronting the band, and Nick Oliveri was playing bass (naked, natch), Queens of the Stone Age really were just about the greatest rock ‘n roll band of the new millennium. Now, they’re just a-okay – “Burn the Witch” is a good song, but QOTSA just don’t thrill like they used to.

Pharrell – Can I Have It Like That (featuring Gwen Stefani) – Star Trak/Virgin
The first taster from the half hip-hop/half modern r ‘n b release that’s due in the early part of 2006 from the front face of the Neptunes/N.E.R.D., “Can I Have It Like That” comes from the hip-hop side of things. The production is pretty much incredible, but Pharrell’s rapping and Gwen Stefani’s cooing are really neither here nor there. There’s no real discernible hook to this song, and the bling, bling references come across as self-aggrandising more than anything else. The Travis Barker remix is much hookier in its rock format.

John Mayer Trio – Who Did You Think I Was – Epic
John Mayer has always been an interesting proposition – not quite mainstream but most certainly not alternative. He’s got the tacit seal of approval from Dave Chapelle, and has teamed with Steve Jordan and Pino Palladino for Try!, from where “Who Did You Think I Was” is taken. It comes and goes within three minutes, and offers up a catchy tune indeed.

Magneto – Let It Go – Popboomerang Records/Shiny
Magneto are a four-piece from Melbourne that trade in not leather jackets but something with a touch more simplicity to it. This is standard pop-rock fare, not too far removed from the likes of Violetine or Motor Ace – there’s a definite mid-to-late 1990s feel to “Let It Go”.

Alex Lloyd – The Wonder – Epic
The middlest middle of the road Australian singer-songwriter has come up with a typically MOR track with “The Wonder”. It finds Alex Lloyd singing strongly, with a great chorus coming through, and sounds great thanks to the strong production from American helmsman Rick Parashar. It would seem that Lloyd’s self-titled fourth album, his first for a new label, is going to consistently produce some genuinely solid singles, with “The Wonder” being the second of what is sure to be a succession of radio-friendly numbers.

Stevie Wonder – Positivity (featuring Aisha Morris) – Motown
Stevie Wonder is a legend of epic proportions, but “Positivity” – unsurprisingly – comes nowhere close to matching his fabulous heights of the 1970s. It’s still got a great funk basis, and it’s clear that he’s still a naturally talented songwriter. Why some lightly-voiced gal called Aisha Morris has been roped in to sing back-ups is anyone’s guess though, as Stevie outshines her with ease. If you’re going to get someone to duet with such a distinctive voice, at least make it someone with a little bit of ‘oomph’ in her voice.

Floetry – Supa Star (featuring Common) – Geffen
Common may be one of the greatest rappers the world has ever heard – his natural flow shines throughout his guest spot on Floetry’s “Supa Star”. That in itself is a problem to some degree; the very fact that he’s such a superstar compared to Floetry renders their braggadocio kinda redundant. When Common is saying it, you believe it. When Floetry do, not so much.

Aha – Celice – UMA
No-one that saw it when it originally came out is ever going to forget Aha’s clip for “Take on Me” – the song itself was quite okay, but the clip took it to a whole ‘nother level. Now, nearly some two decades later, Aha are getting a second international push. “Celice” itself is a slice of `80s-styled pop, and is quite good in its own funny way. But can Aha re-imagine themselves into the global consciousness after such a long time away? That remains to be seen.

INXS – Pretty Vegas – Epic
It’s interesting to note the producer of “Pretty Vegas”. It’s Guy Chambers, the former Robbie Williams collaborator. It’s highly likely that he co-wrote “Pretty Vegas” as well, with it featuring strong pop hooks. But is this really INXS? The new dude can do his best Hutchence impression…but it just ain’t the same. Talk about pissing on the grave of the dead and dearly departed.

The Like – What I Say and What I Mean – Geffen
Another day, another batch of rich kids from the States having a go at making rock ‘n roll. This time it’s all-gal group the Like, who hail from the West Coast and are the daughters of multiple record company executives. That’s gotta be handy in scoring a record deal, right? “What I Say and What I Mean” is solid rock-pop fare that is neither adventurous nor exciting.

Shakira – Don’t Bother – SonyBMG
Not the greatest title in the world – if Shakira ain’t gonna bother, why should we? The follow-up to her all-Spanish language affair, “Don’t Bother” is quite literally the English-language version of the same song. It’s quite catchy, and actually lumps Shakira in fare more of an alternative manner – it’s got big guitars, a spoken word middle-eight, and a beefy chorus. Standard pop fare this is not. And no references to boobs being small and humble so you don’t confuse them with mountains, either. She ain’t never gonna live that one down!

Figgkidd – Fairytale Master – SonyBMG
Figgkidd was written off as western suburb Sydney’s inferior answer to Eminem for good reason – he apes Marshall Mathers III without any originality coming through in numbers like “Fairytale Master” whatsoever, right down to the Detroit accent. “Fairytale Master” is a pretty revolting song – it’s full of put-downs to women, and while the production is good and Figgkidd’s flow is relatively tight, the simple fact of the matter is that we’ve heard all this before, and better.