How in the name of everything that is holy did Mandy Kane get a record deal?

I went down to Subway at West End for lunch today, and was reading this weeks edition of "Time Off" magazine and found the best review of a single I have ever read.

Kudos to Chris Yates for the this master piece on the new Mandy Kane single - Far From Oblivion;

I remember being very confused as a young child. I would bore my poor mother senseless with unanswerable questions about the big issues of life. Is there a doggy heaven? Why are there so many starving people in the world? How come there are still countries fighting wars? Why did Optimus Prime have to die? And considering he's a robot why can't they just rebuild him?

Listening to Mandy Kane's new single "Far From Oblivion" sees me return to that child-like state of inquisitiveness. How in the name of everything that is holy did Mandy Kane get a record deal? Is there actually an audience for phony electro-rock devoid of hooks, substance or style? Is Mandy Kane surrounded by yes-men who tell him that he's awesome despite the glaringly obvious fact that he is not?

I asked all these same questions when Kane released his debut single some years ago entitled "Stab". Back then he was being styled as some kind of less-frightening Marilyn Manson, or more frightening Brain Moloko. A recent image change sees him with less make-up these days, but, alas, no more talent.

The lyrical approach for "Far From Oblivion" ranges from piling on as many tired rock 'n' roll-style cliches as possible, such as the embarrassing "I'm breaking the limits way out on the razor's edge/I promise myself I'm not stopping till I'm dead" to the down right ridiculous "The loners, and the stoners are wrapped up in diapers/The follow me and claim me as their p-p-p-p-pied piper".

WTF??!!

"Far from Oblivion" is a strong contender for the worst song I have ever been paid to listen to and I would gladly give the money back ten fold if it was possible to un-hear it.

Sorry, but some one had to say it.