Regardless of how one feels about the brothers Gallagher, it would be silly not to acknowledge Oasis’ status as one of the most important rock acts of the 1990s and early 2000s, if not one of the best. Did their career outlive their shelf life by an album or two? Sure. But that can’t take away the legacy of songs like “Live Forever” or “Don’t Look Back in Anger.”

Back in 2009, Liam and Noel finally called it quits for good with Liam taking the rest of the Oasis boys with him to form Beady Eye. (If you’re keeping score, that includes former Ride axe-slinger Andy Bell, Heavy Stereo guitarist Gem Archer, and drummer Chris Sharrock.) Their debut LP, Different Gear, Still Speeding, will be released on their own Beady Eye Records imprint in the U.K. on February 28th, with “Bring the Light” offered as the first taste of Liam & Co.’s post-Oasis work.

Whereas their former band was frequently knocked for their egregious aping of those Liverpudlian mop-tops, “Bring the Light” shares a flavor with more recent compatriots such as Supergrass and Inspiral Carpets. Beady Eye barrel straight ahead on this cut, a boisterous rock ‘n roll tune buffeted by rolling piano chords, yowling guitar, and overdubbed, call and response female harmonies.

It’s not much to write home about in the way of originality, but it’s undeniably a hip-shaking good time. The sense of fun and abandon Beady Eye bring to the table on “Bring the Light” is something that would have served Oasis better on their last few efforts. Whether it will appeal to fans of the defunct act is tough to gauge but it is sure to find the quartet a new batch of delighted listeners.

If you liked this song, you should also check out:

Green Like July “No Light Will Shine on Me”

Blood Red Shoes “Light It Up”

From the unusual plucked, acoustic melody and handclap-accented percussive vocals, through its sweeping chorus and whistled coda, there isn’t much experimental Brit-popsters The Chap omit from this stellar track.

The song ebbs and flows between the empty spaces of the nearly robotic lead vocals of the verse to the effusive, orchestral chorus. Though the subject matter is almost Dickensian (“Daddy left and Mom is sick”), the balance between the gritty verse and the all-hands-on-deck chorus lead to a feeling of a community that bands together when times are tough. Despite the dour subject matter, “We Work in Bars” is feel good to the last note.

Lo Recordings released the Chap’s latest offering, the cheekily named, Well Done Europe, on June 8th. Well Done is the Chap’s fourth full-length since they debuted The Horse in 2003, and although they’ve traded in their bedroom for a real recording studio, the band continues its full-tilt exploration of pop’s crispier edges.

If you liked this song, you should also check out:

The Bewitched Hands on the Top of Our Heads “Sea”

AgesandAges “No Nostalgia”

Twin Shadow “Castles in the Snow”

Since their self-titled debut in 2004, few bands have possessed The Cribs‘ blend of rogue spirit and instant likeability. Main vocalist Ryan Jarman knows how to coat his punky inflections with a layer of confident tunefulness like his brethren in Art Brut and The Rakes, and the group’s spiky guitars are never so sharp as to slice listeners’ ears. On November 10th (September 7th in the U.K.), The Cribs will release their fourth full-length, Ignore the Ignorant, and as “We Were Aborted” illustrates, the band has become increasingly comfortable with the practice of enriching their songs with a fuller production aesthetic.

From its opening strums, “We Were Aborted” offers a more closely curated take on their music. Guitars bounce back and forth with newfound mass, the feedback even seemingly modulated to stay in key. However, it’s easy to find The Cribs’ bleeding heart still panting beneath the patina of refined production. They aren’t a band that has ever needed to hide behind lower levels of fidelity: their hooks are gigantic enough to sideswipe an eighteen wheeler, and even if they weren’t, Jarman’s bravado would likely carry the band most of the way. When they lay into a line like “That’s what they’re here for / To make you feel important / Because you knew we were aborted,” it doesn’t matter that the lyric doesn’t really make sense–you’ll want to sing along regardless.

A valid knock on The Cribs is that (production tweaking aside) they haven’t really developed their sound much over the years, but when you can muster bluster like they do, there’s something to be said for sticking to what one does best. It’s worth noting that the songs on Ignore the Ignorant are the first to feature new full-time member Johnny Marr (yes, that Johnny Marr), who rather inconspicuously adds a new layer to the guitar work. “We Were Aborted” is the latest anthem from a band that knows how to crank them out and will leave their fans eagerly awaiting their fourth LP.

If you liked this song, you should also check out:

August MP3 Rewind

The Rifles “The Great Escape”

SXSW Sampler: Smith Westerns, Blue Aeroplanes

“These girls fall like dominos”–so goes the refrain to this track from the upcoming debut full-length by The Big Pink (also known as the London duo of Robbie Furze and Milo Cordell). A Brief History of Love will be released on September 22nd and should find the band comfortable among current and former 4AD labelmates such as Atlas Sound and The Cocteau Twins.

However, the most apt comparison to be made to this band’s thick, dazzling sound comes in the form of fellow Brits Kasabian. As with Kasabian, The Big Pink perfectly negotiate the tenuous terrain between slick, marketable grooves and inspired songwriting and production. If anything, “Dominos” almost sounds too cool, is nearly too perfect. (How long before this track winds up neutered as the background music to a fistful of car commercials and movie trailers, I wonder?)

But if sharing “Dominos” with the rest of the world via an endless licensing stream, it’s a price I’m happy to pay, as this track is a veritable crash course in how to write a killer song. Whether it is that massive hook, the juicy drum beats, the swaying synthesizers, the snarling, accented vocals, or–yes!–that brain-crippling rhythm shift and echoing analog note 1:52 in, this is just brilliant all around. It’s a must-hear, enjoyable in that greatest, easiest, most visceral way, and should mark the start of something great for the Big Pink.

If you liked this song, you should also check out:

July MP3 Rewind

The Sound of Arrows “Into the Clouds”