Jason Derulo

'The Other Side' - which is out now in the US and June 16 in the UK - was produced by Ammo, who has previously worked with the likes of Ke$ha, Katy Perry and Leona Lewis.

Derulo's third LP is scheduled to be released in September and includes a collaboration with girlfriend and former American Idol winner Jordin Sparks.

The singer recently revealed that he and Sparks had come together to record tracks for their upcoming albums but admitted that they often clashed as they work "differently" from one another.

Robbie Williams

Robbie Williams

Amazon The British musicians have teamed up on a wacky video which looks like a blinged-out tribute to mods and rockers.
Robbie starts off leading a mini scooter rally, complete with mod signs and parker jackets. When it's Dizzee's turn to rap, he emerges from a spiky looking car and gets on a motor bike.
However, as the cameras continue to roll, their rides appear more and more like pimped-up mobility scooters. We've definitely never seen these on the high street!
Chuck in a few more attractions like a Slash look-a-like and a man with huge eyes, and you have yourself a thoroughly weird video.The Tube

Lana Del Rey

Lana Del Rey
Amazon has never been the most enthusiastic music video presence -- she barely flinched when perched between two tigers in the "Born To Die" -- but the singer appears especially demure here, as she twirls slowly in a dark room and shows off the pair of glittery tears adorning her upper cheek. A faceless symphony plays on as Del Rey paces toward an alluring pillar of light, and the clip ends without ever reaching any kind of conclusion -- much like the rhetorical question, "Will you still love me when I'm no longer young and beautiful?" at the heart of the song.The Tube

Messiah

Messiah

Amazon back in October of last year, and it looks like the massive original, which recently got christened as Zane Lowe’s “Hottest Record in the World” last night, is set to be released on May 6. This track was one of the reasons we felt they were one to watch in 2013, and it still has a huge, anthemic vibe. As of now, we don’t have word on what will be accompanying this tune, but figure a remix and/or an equally-impressive b-side should back it up.

Avril Lavigne

Avril Lavigne
Amazon “Here’s To Never Growing Up” may reference Radiohead in its first line, but the act it most recalls is Ke$ha. The sing-songy track, built around a big, kick-drum stomp, sounds like a cross between the “Tik-Tok” singer and the arena hands-in-the-air, acoustic-guitar-strumming, simple-minded tunes crafted by Nickelback’s leader, Chad Kroeger, who just happens to be a co-writer on the song and Lavigne’s fiance. Throw in a little dose of "Girlfriend's" attitude and call it a day.

With lines like “we’ll be running down the street yelling  kiss my HEY/We’ll be like, 'yeah, whatever,' we’re still living like that,” the song is an aptly-titled salute to staying forever young (so much so that one cover of the single features Lavigne holding a teddy bear).

Jake Bugg

Jake Bugg
Amazon He’s been writing songs and performing since dropping out of school at 16, and his debut album will certainly provide any “Another Brick in the Wall,” angsty teen student with fodder to level at their teachers and parents. Why stay in school when you could be doing this? Bugg’s made it in the music world, he’s living the dream and he’s doing so in such a way that everyone’s talking. His youth shouldn’t define his music, but it brings out people’s innate desire to appreciate the beauty brought about by youth with a little more intensity. There’s a mature evaluation for the likes of the dying Beethoven’s Ninth Symphony, but Mozart’s youth is talked about with as much wonder as the former’s deafness and decrepitude.
Is Bugg a wunderkind? Within reason. His self-titled debut album is arguably more ear-catching and immediately accessible than Bob Dylan’s eponymous first release. It brings to mind what Noel Gallagher, another Bugg influence who let the teen open for him on tour, once said about Oasis’s debut Definitely Maybe. “McCartney, Townshend, Richards, my first album’s better than all their first albums. Even they’d admit that.” Who knows if they would, but it’s a quote met with sheepish insecurity from any serious music listener. At the end of the day, he may be right.
Luckily, Bugg doesn’t seem to carry himself with the same brash swagger as the Gallagher clan. He’s more the one of disaffected confidence and detachment, still humbled under the specters of his influences. Each song on the debut suggests an autodidact’s obsessive musical education. This is an album marked by a thoroughgoing saturation in oldies radio and throwback record stores. In the midst of shoegaze, dream-pop and punk revivalism, Bugg’s fine with traditional songcraft

David Bowie
 Amazon Ziggy, Aladdin, Halloween Jack, the Man Who Fell to Earth, the Thin White Duke, Major Tom, the Goblin King, The Dame, the Mid-Life Crisis Soul Patch, and all the rest, there was the Mask. In 1969, when David Bowie was just another struggling London songwriter desperate for a break, he shot a promotional film to showcase his particularly dramatic brand of performance. Along with a handful of songs-- including an early version of "Space Oddity" in which a tinfoil-helmeted Bowie is seduced by a couple of space sirens-- the reel included an original mime piece called "The Mask". It shows Bowie, looking like the least intimidating pirate of all-time in tight white tights, a frilly top, and a pageboy wig, stealing an invisible mask and proceeding to charm his family, co-workers, and eventually entire concert halls by simply placing it on his face. "Autographs, films, television-- the lot!" he says, in voiceover, describing the opportunities afforded by his mysterious new facade. "Had a very strange effect on me, though." The mime ends with the white-faced "star" giving his biggest performance yet-- and then he can't get the mask off. It strangles him. "The papers made a big thing out of it," he continues, "funny though, they didn't mention anything about a mask." Even before David Bowie gained a smidge of notoriety, he was well aware of its pitfalls-- and his own susceptibility to the lure of disguise.

To put it mildly, this self-aware attraction to reinvention has served him well. In the 1970s, he rifled through looks, genres, and band members without hesitation, from space-age glam, to cocaine funk, to harrowing ambience, to name a few. In more modern terms, consider Radiohead's whiplash transformation between OK Computer and Kid A... and then consider how Bowie pulled off equally radical shifts at least five times between 1970 and 1980 alone. This malleability astounds because it runs so counter to the way most of us think and behave. It's non-conformist, uncomfortable, and irrational, without any of the detrimental consequences that are supposed to come along with such rule-breaking. Granted, a stupendous coke habit nearly killed him and he wasn't able to be a present father to his young son during that time, but even those disappointments led to the despondency that fueled his oblique Berlin trilogy. While many artists claim to despise the status quo, only a few have discarded previous successes with the abandon of Bowie, especially during that flawless decade-long stretch. "Tomorrow belongs to those who can hear it coming," read the tagline in an ad for 1977's "Heroes". It was anything but hyperbole. Back then, Bowie may have had many masks, but he knew exactly how long to wear each one.