Katy Perry - ET

Katy Perry's Teenage Dream album campaign is a prime example in how to convert a nation of pop lovers to your cause - and with the run of four stellar singles she's released from the album, I can safely say I count myself among those converts.

If it's consistency you're looking for, then Katy delivers; something the brilliant video for ET seems keen to establish. You don't see many artists lavishing this much care and attention on the fourth video from their album, yet here we have a stunning science-fiction flick, brimming with CGI. Normally the fourth single is just hastily thrown out there as an afterthought to mop up the last of the album's sales before the artist moves onto the next project, but here it genuinely feels like this is the next project.

The other thing I love is that Katy isn't afraid to go out there with her outfits. You feel these days that some artists are almost intimated by the ever-prevailing nature of Lady Gaga's vastly extravagant creations, so much so that they don't even dare to attempt anything on that scale. But in the ET video, Katy arguably goes one better with her 'alien' attire. Certainly, it's visually striking - and for me, genuinely chilling, as opposed to the often quasi-comical or just outright bonkers Gaga outfits. For a song that is all about 'other-ness' and things coming from beyond our world, it fits perfectly.

The whole visual feel of the video is sumptuous - very Final Fantasy meets the Fifth Element. Kanye gets to ride in one of those cool futuristic sphere things that could have come straight out of Girls Aloud's Untouchable video.

ET works so well because it's a thing of contrasts, the harsh, mechanical beats with Katy's airy, supernatural vocals... her astounding beauty (particularly in the final vampy get-up) with the unsettling nature of the alien touches. You're never quite sure how you should feel, bewitched or frightened, enchanted or scared. One thing's for sure though, it's a great song, made even better by a brilliant video.

Snoop Dogg feat. T-Pain - Boom

Everyone loves to sample 80s classics, especially Yazoo tracks. Yazoo/Erasure/Depeche Mode mastermind Vince Clarke was a pro at coming up with an amazing synth hook after all. And the latest in the long line of 're-invisioned' Yazoo tracks comes courtesy of Snoop Dogg and his new tune Boom. Sampling Yazoo's Situation, it's a suitably club friendly bit of hip-hop and also features T-Pain. I rather like the Fallout-esque, gritty futuristic intro to the video - all gas masks and everything. Very cool.

As for the song though... It's alright, but it's nowhere near as good as what The Saturdays did with If This Is Love.

Video: Take That - Kidz

I love it when music videos just get it SO right. Where the video just fits the track SO well. Take That's Kidz does just that. I mean, just how amazing is a Take That space-ship coming down and landing in a city?! Very amazing.

Now, to be fair, I definitely prefer Girls Aloud's take on the whole 'futuristic popstars invade the Earth' thing when they did their Untouchable video, but Take That definitely come a very well deserved second.

What are the best bits of the video? Well, for starters, the band's costumes are just so fantastical and steam-punk - very befitting a band that is the epitome of old mixed with new. They're almost scary - Gary Barlow in all his military finest, Robbie with a chain-mail vest and Mark Owen looking like he's stepped off the set of the BBC's Merlin with that hooded robe and staff of his.

Oh, and there's lots of soldiers thrown in. And in our age of Spooks and Call of Duty, stuff like that always adds a bit of excitement to things.

'Welcome to the future of the world...' goes the song. If the future is as exciting as this video makes out, I want more.

Clare Maguire - Light After Dark

There's such an abundance of female singer-songwriters around at the moment that you're almost spoilt for choice. But Clare Maguire is the real thing. The genuine article. I've been in love with the scattering of free downloads and EPs she's released previously but now comes the debut album, the real test of her talent.

And you know what, for my penny's worth, this is a better album than those by Jessie J and Adele that are floating around in the shops at the moment. Both of those also represent extremely strong efforts, but with Clare Maguire, she makes things seem effortless. For her, the music becomes one and the same with her. Her sound is magical, deeply soulful, and comes back to the solid core of pure beauty that are her vocals. And boy are they amazing.

There's something of a Leona Lewis to Clare's voice, that husky deepness that speaks of raw passion and lends itself so well to big power ballads. Imagine the likes of Bonnie Tyler and Alison Moyet; those big female 80s voices you just don't get anymore. Clare is all this and more.

The 80s vibe manifests itself across the album which blends icy electronics and thunderous, industrial beats with piano. The Last Dance sees Clare at her most delicate and catchy, a pop gem as strong as anything Ellie Goulding can throw out.

In terms of highlights, they comes towards the end of the album; look out for the stunning You're Electric and the title track. Both see Clare at her most epic - so much so that they become almost filmic. There's this breathtaking futuristic/gothic feeling to the sound, music to sweep up and around the arches and halls of churches and cathedrals... and then on, higher and higher to the stars... onwards to the very limits of the universe.

Light After Dark is an album without bounds. It is vastly inventive, with Clare's talent laid bare for all to see. The sound is cold, but the emotions are infinitely open; tapping into memories we've all experienced. This is music on a universal scale, and Clare most definitely has what it takes to carry it.

BRITs highlight - Take That perform Kidz live

Going on gut feeling, Take That's brilliant performance of Kidz was one of the best moments of the night. What a way to open the show! Loved the whole future distopia theme with all the riot police and the boys dressed up as stern dictator types. It fitted the harsh stomp-stomp of the track perfectly and those swooping camera angles really gave the performance that added sense of gravitas.

When I turn on to watch the BRITs, I want to see moments like this - something epic, something amazing; something that really marks this out as THE biggest night in the British music calendar.