his month, I've decided to run down a few songs that have appropriated genres not normally associated with the countries or artists they're associated with, or are fascinating for otherwise sounding different to the casual listener's expectation. Interesting genre choices or combinations will thus be the order of the day, and there are enough of them around at the moment to satisfy any pop dilletante.

PAOLO MENEGUZZI - Baciami (Italy, #11)
In which we find the long-hoped for, but heretofore unknown common ground between Euro-R&B and 80s synth pop. And also, cheap 90s dance—the scratching and what is most probably someone selecting "Orchestra Hit" on their MIDI device being the telling moments. The falsetto/whispering combination after the chorus is either the best bit or the worst bit depending on where your sympathies lie, but perhaps the most important thing is that the song bubbles along beautifully without ever threatening to turn into a ballad. You could probably even Latin dance to it if you were so inclined.

GIMMEL - Pisaroita Ja Kyyneleita (Finland, #18)
The bane of Suomen music snobs, as they proved that a TV-created band doesn't have to go down the manufactured R&B route, but instead can forge a successful career doing guitar pop—cheesing off a completely different audience while still selling large numbers of records because they're so mindlessly addictive. Nobody with an appreciation of The Go-Gos could resist this cutely sung almost-rocker, at least not if they make it as far as the delicious middle-eight, which drops the guitars, emphasizes the chugging percussion and adds a bit of tension to the sweetness. The chorus swoops and soars, and is improved immeasurably by the subtle counter-melody added during its last run.

SKAMP - Na Na Na (Lithuania, #2)
While made available in acoustic and reggae versions (as well as a version in Lithuanian), minor stylistic diversions are pretty much made meaningless in the wake of such a singularly simple chorus. The verses consist of one guy who has listened to rap but can't do it and another guy who also can't rap but has probably listened to some dancehall. Both are quite amusing in their own ways, but do nothing but set up the payoff in the chorus, a honey-coated repetition of "na na na, hey hey" sung by a lass from Dublin called Erica. If it were any simpler it would descend into One-T territory, but it sounds smart, well-constructed and, crucially, is a perfect soundtrack for swaying idly with a bottle of Bacardi in one hand. Apparently, a "gentle, romantic song about how love can drive you mad" according to the band, if you can work out how it's about that you've done a better job of understanding the lyrics than I have.

GROOVE COVERAGE - She (Germany, #18)
Fresh from putting out 2004's Best Comedy Trance Cover Version (of Alice Cooper's Poison—track it down!), this is a rather abrupt and pleasant change of direction. Sensing that pop that cannibalises the simple, catchy guitar bands of the 60s is a bandwagon that still has room left on it—particularly in countries where McFly haven't been released yet, this is a chugging, extremely charming song that, if you close your eyes and ignore the fact that it's a mega-successful German duo, sounds more like it's being performed by a 60s combo wearing white suits with their guitar necks pointed at the sky. Except with a female singing and extolling the virtues of the titular "she", comparing her nonsensically to Marilyn, Monica, Susanne and Maryanne, whoever they might be.

GLAY - Blue Jean (Japan, #2)
Without wishing to tread on the toes of Francis Henville's lovely J-Pop column, which you should all be reading, it's important to note that as well as their own peculiar brand of guitar rock and pop, the Japanese also do jangly theatrical pop rather well. As for this, you could have played an instrumental version of it and convinced me it was a long-lost Cinerama b-side. Alternatively, you could say it sounds like a J-cover of a classic 70s rock song that gets played in Asian supermarkets in Western countries. But far catchier. And much, much prettier. The bells are what win me over to its side in the end.

SUPERBOY - What's That Girl Doing With That Boy? (Sweden, #21)
Avert your eyes if the thought of a song that sounds a bit like Sex On The Beach and Coco Jamboo that sounds like it comes from the SECOND Aqua album will make you want to destroy humanity. Everyone else should recognise the genius, or at least the hookiness of the call and response vocals, the shameless, cheesy rhyming of "She should be with me instead / She should be sleeping in my dead" while simultaneously wondering how a country that doesn't have hot sun on its beaches in the early evening has actually gone out and bought a single which seems to have no other purposes other than to soundtrack parties at these places. Awfully well-done it is, though.

X-RAY vs CORTEZ featuring LEMON JUICE - Murder [Boom Boom] (Austria, #8)
This is, of course, the follow-up single to possibly the finest comedy rap single ever, “What U Get Is What U C”, and magnificently follows the exact same formula. It’s particularly hilarious because the rapping is suitably awful, but also appropriates American gangsta slang in such a way that the juxtaposition is both ludicrous and catchy. It's pop music as influenced by those brief snatches of rap you used to get on Euro singles back in the mid 90s. Snap. 2 Unlimited. E-Rotic. And now, X-Ray vs Cortez featuring Lemon Juice. The line has finally been continued. Things as relentlessy cheesy and good-natured as this, in spite of lyrical aspirations, don't come along every day and should be cherished. I dare you to listen to it and not smile at the uproarious stupidity of it.