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Ok, so first off I must iterate the fact that this particular run down is in no particular order, nor is it a definitive list of the best British record labels of all time (as if such a breakdown could ever be truly quantified). It is simply a list of some personal favourites within the British...MORE>>

Singer songwriter Emma Lee Moss, better know by her stage name Emmy the Great, has been much lauded over the past couple of months by numerous music magazines and websites. Championing her apparently compelling brand of anti-folk, I had expected a myspace visit to turn up something a little more exciting. Born in Hong Kong and relocated to London at a young age, Emmy has since

done the indie rounds by nurturing ties with YoungHusband and Lightspeed Champion, whilst also supporting high profile acts such as Martha Wainwright and Tilly and the Wall. Keeping her underground credentials in check by writing a column for the excellent music paper Stool Pigeon, it seems that biographically and in terms of association she ticks all the right boxes. Emmy’s latest single, We Almost Had a Baby - from the forthcoming album First Love-  is by no means a bad piece of

music, but nor does it sit with all the compliments I’ve noticed she’s been getting.

Beginning with an soothing tinkling of guitars, I’m reminded of the diners in movies like Grease and Back to the Future, in which I can imagine this song, with its fifties, Skeeter Davis-esque vibe, occupying a comfortable slot as background jukebox music. In terms of instrumentation and melodies, it’s pleasant enough but trundles along at the same pace and velocity, fading away into female singer songwriter oblivion. Judging by this girl’s popularity however, I’m sure there are thousands of people out there that would be inclined to disagree.

On a more positive note, Emmy’s lyrics, though typically constructed within the self-confessional, first person narrative that most of her anti-folk peers have adopted, are in places delightfully confessional and quirky. Particularly near the end of the song, as the piano kicks in and there appear more choir-tastic  ‘ooo’s’ than a Danny Elfman score, I am rather taken in by the line “Do you think of me when you are playing the one and five in four…is country music what your life is for? We almost had a baby”. Unlike the more mediocre instrumental parts of the song, the lyrics are rich in the symbolism of growth and re-birth (“now I am what you made me”, for instance), and provide a glimpse as to why so many people could potentially become enchanted with this young artist. In essence then, if you’re sick of Kate Nash and looking for something with a little more depth, then check this kid out. If however, you’re up for listening to some music that makes you fall in love with the female songstress concept again, I’d be more satisfied leaving you in the capable hands of Regina Spektor or Ms Laura Marling.