Hey, space travelers! (That works, right? Just bear with me here.) I'm Sam Lansky, and this is my column "Pop Think," where we're getting intergalactic all up in this piece with anticipation of the Veronicas' upcoming record Life on Mars, which is one of my most-anticipated releases this year. Even though they've never been super successful in the United States, the Australian duo's last two albums have been some of my fave pop records ever -- and "Lolita," the first single from their new LP, more than delivers on the exceptional promise they showed on their first two releases.

See, Lisa and Jessica have been away for a minute (they haven't released an album since 2007's Hook Me Up -- that's five long years, folks), but it's looking like their time off was time well spent, as they've hooked up (see what I did there?) with some new collaborators like, oh, Billy freaking Corgan from The Smashing Pumpkins, as well as German songwriter and producer Toby Gad (he cowrote Fergie's "Big Girls Don't Cry," among other hits). That first single is one of the best of the year, and given their superb track record, this album should be just as excellent.

SO PRETTY. The Veronicas prepare to take over with the release of "Life On Mars."

Considering the fact that the Veronicas have been in the pop game for well over a decade, I've never understood why they haven't gotten the Stateside attention they deserved. The girls' debut single, the Max Martin/Dr. Luke-produced pop-rock anthem "4Ever," is one of my Top 10 Songs Ever. (Yup, ever.) Their 2005 album The Secret Life Of... was a brilliantly precocious effort, crammed with sharp melodies and largely penned by the girls' themselves; their sophomore release, Hook Me Up, was even better. Lead single "Untouched" earned the girls their highest U.S. chart position to date at No. 17 on the Hot 100, and later the song went platinum. The Veronicas' sound has always been a little bit darker and edgier than many of their pop-chart contemporaries, but they have enjoyed moderate success in Australia with their lush, Ke$ha-penned midtempo track, "This Love."

Find out more about the Veronicas' new album and video after the jump.

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Doesn't she look proud? Christina Aguilera kills it on her new demo "Your Body."

You guys! Christina Aguilera is reclaiming her position at the top of the charts, and no wig is safe. Is this the latest evidence of Xtina's move back toward global domination? Uh duh, to put it eloquently.

The newly surfaced "Your Body" demo (which may also end up appearing under the title "Touch Your Body" or "F*** Your Body," because YOLO) surfaced yesterday after weeks of anticipation. (And just sayin', it must be a HUGE sigh of relief for fans awaiting the "Not Myself Tonight" chanteuse's big comeback single.) Trust us: "Your Body," set to drop as the first single -- along with a video -- off of her upcoming fall full-length album, doesn't disappoint.

Find out more about "Your Body" after the jump.

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Hey Swifties! I'm Sam Lansky, and this is my column Pop Think, the space where I get to gush endlessly about the music things that I love the most. And my current obsession is, of course, the new Taylor Swift single, "We Are Never Ever Getting Back Together," which premiered the week before last and instantly skyrocketed to No. 1 on the Hot 100, smashing all kinds of records along the way. (No big deal or anything.) My love for Taylor has been well-documented in this space, so it should come as no surprise that I've basically had the track on repeat for the last 10 days, even though it's a departure from many of the things I love most about Taylor's sound.

Unlike a lot of her pop-tart contemporaries, Taylor has always been behind the steering wheel when it comes to her music, her vision, and her career. Her collaborations have been with an intimate team of co-writers and producers who have helped her execute her signature sound -- pop-country laced with dark, vulnerable lyrics that betray the levity of the radio-friendly production and fairytale imagery. But with this new single, she's taking things in a different direction. And this week, I'm exploring why it's the smartest thing Taylor could have done.

World? Meet Taylor Swift, version 2.0.

Taylor Swift's new single "We Are Never Ever Getting Back Together" was co-written and produced by the Swedish super-producer Max Martin (and his frequent production partner Shellback), and you can tell: At first listen, the song sounds more like a Max Martin single than it does like Taylor Swift. The propulsive percussion, as aggressive and throbbing as Martin's work on "Teenage Dream"; a melody that's supernaturally infectious; and lyrics that are likably adolescent. Several reviewers compared the song to Avril Lavigne, which fits: It's more Hot Topic than Grand Ole Opry.

But in embracing her over-this-ish exhaustion (literally, she groans in the spoken-word interlude, "This is exhausting!"), Taylor is triumphantly resigned to not allow herself to waste a minute more on self-pity. Gone are the melancholy days of mourning the one that got away. This Taylor Swift — the Red-era Taylor Swift — gets to close the door on being wounded, and even more irresistible as the lonesome Taylor who did all that hurting. I'm confident that Taylor is over.

Find out more about Taylor Swift's new direction after the jump.

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Hey party people! I'm Sam Lansky, and this is my column "Pop Think," where I've been known to show a little extra love to Scandinavian artists in the past -- and this week is no exception, since we're taking an in-depth look at the Swedish DJ Avicii, who has become one of the most recognizable names in the game for his warm, vibrant, super-catchy house tracks and massive remixes. Now, he's making history as the first-ever DJ to headline historic Radio City Music Hall in New York City (!!!), another feather in his already impressive cap.

See, the road to mainstream success for DJs isn't always an easy one: Many hugely talented ones have built extraordinary careers in their niche industries without ever becoming recognizable names outside of EDM circles. This makes Avicii's stardom all the more impressive: His single "Levels" charted on the Hot 100 (a rarity for a straight-up house track) and was ultimately sampled in Flo Rida's global chart-topper "Good Feeling," helping to build him as a star in his own right. The Swedish house mafia (pun intended) is taking over, and I have no complaints about it.

Avicii -- the man of the House.

The Swedes have been running the show for a minute, and the world of pop music is much better for it. From the legendary Max Martin to the tastemakers Bloodshy & Avant, there's something in the water over there that's had producers churning out all the most danceable pop in the biz for the last few decades. Never before, though, have the dudes who create the rich sonic tapestries and dizzying dance beats that you hear in the club or on the radio emerged as solo stars with real name recognition, but Avicii (born Tim Bergling) is part of a new crop -- including David Guetta, Calvin Harris, and Avicii's Scandinavian contemporaries Swedish House Mafia -- who are changing that game.

Read more about  Avicii and the Swedish House Revolution after the jump.

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Oh hey boat-rockers! (Is that a thing? No? OK, cool, let's move on.) I'm Sam Lansky, and this is my column "Pop Think," and the only thing on my mind this week is the posthumous release from the late R&B chanteuse Aaliyah, revered for the legacy she left as a trailblazer in R&B, hip-hop and electronica despite her tragic and untimely death in 2001. But now, more than a decade after her passing, a new posthumous release is in the works, spearheaded by her longtime fan, Drake, and one of the most cutting-edge producers in the game, Noah "40" Shebib.

And although Aaliyah's had several posthumous releases in the past -- 2002's I Care 4 U went platinum -- this album promises to be the first release of entirely new material since 2001. The first track from the album, the Drake-assisted song "Enough Said," premiered this weekend. It's a gorgeously spaced-out, ambient R&B track that suggests the upcoming album is going to make excellent use of the remaining recordings. The Princess of R&B may be gone, but this new release will just help reinforce her legacy as one of the industry's finest talents.

Aaliyah in July 2001.

When Aaliyah died in a plane crash in 2001, her relatively brief career, marked by a density of rich talent and innovation that was virtually unparalleled, was tragically cut short. Mentored by Timbaland and Missy Elliott, she produced one brilliant single after another, including the iconic "Are You That Somebody?" with its eerie crying baby sample; the lush, sensuous "Rock the Boat"; and the slick, skittering "Try Again," which earned Aaliyah her first and only No. 1 on the Hot 100. Her potential seemed endless.

Aaliyah's sound was futuristic but consistently soulful, characterized by unexpected production elements that made her music more haunting than her counterparts. And notes of that breathy, electro R&B can still be heard in the songs that catapulted Timbaland to superstardom in the last decade, albeit in a more pumped-up, ultra-radio-friendly mode. But Aaliyah's finest moments were always the silkiest, the most melancholy -- which is why it makes perfect sense that Drake and 40 would be at the helm on this posthumous release.

Read more about why Drake and 40 are right for Aaliyah's new album after the jump.

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FINALLY Girl groups are getting a little recognition like Little Mix with their video "Wings."

We've been saying it for a minute, and we're gonna keep on saying it: Girl groups are so back, you guys. One of the best new entrants on the scene? The unstoppable Little Mix, the four-piece who won the British version of "The X Factor" last year based on some serious vocal prowess (this cover of "Cannonball," OMG), and also being, y'know, ridiculously cool. (What we'd give to pull off those hats and look as swaggin' as they do!)

Watch Little Mix's video for "Wings" after the jump.

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Oh hey! I'm Sam Lansky, and this is my column "Pop Think," where I've kind of made a career out of writing about international artists I think are poised to break big in the U.S. (A lot of the time I'm wrong, but you can't fault me for being an optimist!) One surefire Stateside success story, though, is Cher Lloyd, whose brilliant single "Want U Back" has been tearing up the U.S. charts and shows no sign of stopping.

But it's no surprise, since Cher is one of the coolest, brightest talents England's exported our way recently, and her single is a commanding pop gem with just enough attitude to make a major splash in a world where pure pop ("Call Me Maybe," anyone?) is back on top. Given Cher's "X Factor" pedigree and the support of big guns like L.A. Reid, it seems reasonable to expect that she might be the next big import. Don't call her a swagger jagger, y'all -- she's in a league of her own.

Get ready to hear a lot more about Cher Lloyd (and not just from me).

One of the best things about the televised talent competitions like "Idol" and "X-Factor" is getting to watch inexperienced, everyday kids evolve into huge global superstars -- and that's pretty much been the journey with Cher Lloyd, whose U.K. "X Factor" audition (it's an absolute must-watch) back in 2010 went viral as a showcase for her unmistakable charisma and magnetic personality. When she performed her own version of Keri Hilson's cover of Soulja Boy's "Turn My Swag On," the judges unanimously agreed that Cher was brilliant. In successive performances, she seamlessly combined hip-hop and pop (in much the same way Justin Bieber has) for innovative, unexpected mashups that blew the competition out of the water. Although she was eliminated before the finals, she quickly signed a deal to Simon Cowell's Syco Music and began churning out hits in the U.K., first the No. 1 smash "Swagger Jagger" and then her Top 10 hit, the Mike Posner-assisted "With Ur Love."

Read more about Cher Lloyd's U.S. breakthrough after the jump.

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British girl group Parade: good at pop music, good at Polaroids.

In case you hadn't heard, girl groups are officially on their way back (especially the uniformly gorgeous, British variety!). And the new single from British five-piece Parade is leading the charge in a mayjah way.

After releasing their self-titled debut last year (and notching a Top 10 hit in the U.K. with their single "Louder"), the girls spent the front end of this year supporting The Wanted on tour before heading back into the studio -- and their new single "Light Me Up" is, as they say, a corker.

Listen to "Light Me Up" after the jump.

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Brandi Cyrus and Codi Caraco are Frank + Derol, and "Barely Love You Too" is basically a pop masterpiece.

You'll have to excuse us for gushing, but can we just get a big round of applause for the Cyrus family? While we've been distracted by Miley Cyrus showing off her impressively toned abs, fearlessly fighting for marriage equality and occasionally moving us to tears with her sensitive covers of Bob Dylan (all hail Queen Miley, y'all!), her sister Brandi Cyrus has been coming for the crown. In fact, she just recorded one of the most irresistible pop songs we've heard all year with her pal Codi Caraco as part of their band Frank + Derol.

Listen to Frank + Derol's "Barely Love You Too" after the jump.

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Hey, people who love girl groups! (That's all of you, right?) I'm Sam Lansky, and this is my column, "Pop Think," where we're undergoing a U.K. girl group takeover this week. (Sorry, One Direction/The Wanted -- we can return to talking about you guys nonstop when I'm done.) See, three of the best girl groups from the other side of the pond are all set to reunite this year on various projects -- that's the Spice Girls, Girls Aloud and Sugababes, for those of you keeping track at home.

Although the Spice Girls were the only one of these three crossovers to carve out major Stateside success, Girls Aloud and Sugababes are also highly deserving of attention, and this girl group renaissance signals the beginning of a major pop moment. The pop charts better make room -- here come the girls!

I don't think I've ever experienced a British girl group I didn't like -- from the Spice Girls (arguably the gold standard) and All Saints to the more recent entrants like The Saturdays and Stooshe, something about luscious lady harmonies, brisk pop production and uniformly showstopping outfits pushes all the right buttons for me (to reference Pussycat Dolls). Accordingly, it looks like 2012 is gonna be my year, with three of my all-time faves set to work on new projects. The biggest girl group re-up is the the upcoming Spice Girls musical, "Viva Forever!" which sees all five original members working on a show about "the bitter reality of fame." Gulp. An added bonus? The girls are set to perform at the Olympics Closing Ceremony in London on Aug. 12 -- a reunion of sorts, even if we won't be getting any new tunes.

Just as exciting, though, was last week's news that Sugababes are reuniting in their original formation under the new name Mutya Keisha Siobhan, or MKS. (You can follow them on Twitter at @MKSOfficial.) For the uninitiated, Sugababes started as an appealingly lo-fi girl group made up of three teenagers before a series of Destiny's Child-esque lineup changes and shifting interests transformed them into a Pussycat Dolls-style megabrand.


The girl group formerly known as Sugababes is now known as Mutya Keisha Siobhan.

If they deliver anything at the level of that first album (direct your attention to "Overload" or "Run for Cover" for more), let alone their respective genius solo works (Siobhán Donaghy's "So You Say" and Mutya Buena's Groove Armada collabo "Song 4 Mutya" are two of my favorite songs ever), I'll be crying tears of joy and stuffing myself with Flake bars to celebrate. Likewise, Popjustice's recent interview with British "X Factor" chanteuse Amelia Lily revealed that the cult girl group Girls Aloud are indeed working on new songs with their longtime production partners Xenomania. HUZZAH!

Read more about the rise of British girl groups after the jump.

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