Cha Cha Cha - Tilde

Tilde is from Denmark. I know little more about her than that salient fact. What I do know however is that if you like your pop-tinged electronica, then you will find much to enjoy on her album Cha Cha Cha.

If Calvin Harris was a woman, and was Scandinavian rather than Scottish you might imagine him sounding a little something like this. The likes of Feet Turn To Stone and Multiply tread that fine line between "electronica cool" and "pop melody" superbly, and the album never threatens to drag. Tilde's breathy vocals add another layer of, erm, niceness to the proceedings as well.

All in all, this is a good album, with more than enough in the way of "potential hits" to warrant a listen.

Feist LIVE

Well that's what an I-Pod advert can do for you. Last time around in Manchester Leslie Feist played in front of around 300 people. This time around the Palace Theatre was full to the brim, packing at least two and half thousand people in.

Yet despite the new found adulation, and the aisles of the Palace were well and truly rocking, this particular listener couldn't quite shake the feeling that something was missing. There is no doubt that Feist is a genuine and unique talent but on this occasion she failed to keep my attention for the full 90 minutes.

The "shadow puppetry" was a nice touch but at times was a little too distracting; whether that was a fault of the production itself or symptomatic of problems with the front-woman herself, is down to personal interpretation.

The versions of her more mainstream (and dare I say listenable) songs were a little leaden (her vocal was almost lost in the noise of My Moon, My Man and Mushaboom lacked the charm of the recorded version) and it's perhaps telling that I was most captivated when her band left the stage and Feist was well and truly centre stage.

You may think from all this that I didn't enjoy it, but quite the contrary, I did. It's just that it didn't match up to last year's visit to Manchester. But anyone going to see her this time around shouldn't worry; Feist still serves up a unique and intriguing night of music.

One's Not Enough - Femme Fatality

A couple of tracks into this album you might be sat there thinking "this is alright". Please, ladies and gentlemen, don't be fooled. It's not.

It's repetitive, moronic and not very good. I suppose those of you with an "electronica" leaning might see some merit in it, but there's a hundred and one other similar acts out there would surely would deserve your custom more.

One's not enough? No. One is one too many.

The Blue God - Martina Topley Bird

One might argue that Martina Topley Bird is more famous for the people she's worked with (Gorillaz, Tricky, David Holmes, The John Spencer Blues Explosion and Mark Lanegan to name a few) rather than as an artist in her own right. If that's a true statement, things aren't likely to change with her new album The Blue God.

With uber-hot producer Danger Mouse behind the decks, it's certainly fair to say that there's a lot of variety on show but the vast amount of sounds that Topley Bird tries on mean that the album lacks a cohesive whole.

The likes of Phoenix show just how special this album could have been and on Carnies she perhaps come up with her best pop melody to date. Far too often though the albums seems to play safe; there's nothing offensive, but there's little that makes you sit up and take real notice of the album as it's playing.

Still, I'm sure another high profile collaboration will be along soon.

Killing My Darlings - Amanda Jenssen

Ok, I know. You're rolling your eyes again. Some random pop bint you've never heard of turns up on this blog...what can I say; you're going to be even more cynical when I tell you she was the runner up in the 2007 version of Swedish Idol.

If I were being lazy, I'd introduce you to Amanda Jenssen as the Swedish Duffy or Amy Winehouse. And to be fair, that's not too far off the point. You might want to toss in a bit of Adele as well, but I wouldn't want to put anyone off their tea.

So having pretty much confirmed that the trendy kids are not going to be listening to it the only question is whether or not it's any good. And I'll be honest; it's not great and it's not particularly inventive. BUT, and you probably knew that was coming, any lovers of a bit of throwaway pop will certainly have a good time here.

Amarula Tree is a cheery romp which has horns on it (which automatically makes a song good don't you know) and is so very instantly catchy and For The Sun is something Amy Winehouse might even be proud of. In fact when the album is in "upbeat" territory, you'll enjoy yourself. Sadly there is a preponderance of ballads, most of which aren't exactly very good. So it's not one to go to the ends of the earth to listen to, but if you do happen to come across it you're bound to add a couple of tracks to your MP3 player.

I Know You're Married But I've Got Feelings Too - Martha Wainwright

Well at least the "Album Title of the Year" title can be wrapped up early in 2008.

Martha Wainwright's debut album was one of the best debut's that we've had this century; it may have been a difficult listen at times, but in many ways that made it all the more compelling. If there's one singer-songwriter out there at the moment willing to tell us what she really thinks, without filtering out too much of the interesting stuff, it's Wainwright.

I Know You're Married... is, lyrically, more of the same, but with an added commercial surety. Whether or not this is seen as a good thing depends on your point of view. Me? Well I've never seen anything wrong with wanting to sell more records. Especially when she's kept what was so great about her in the first part largely intact.

Whether it's nailing unrequited love on Bleeding All Over You, putting 911 into perspective on The Tower Songs or chronicling her mother's recent battle with cancer on In The Middle Of The Night, Wainwright is never less than a compelling narrator.

Her strengths of course will be labelled as her weaknesses by some critics, and that is fair enough. I've said before that Wainwright, like all of her family clan, is somewhat of an acquired taste. But whatever way you look at it, this album is breathtaking and is further proof that Martha may well prove to be the best Wainwright of them all.

Flight Of The Conchords

Now they're a proper band, with a proper music promo video...

We Started Nothing - The Ting Tings

Having been there "at the beginning" (that is to say, turning up to a gig and wondering who the hell this man and woman were as a support act) perhaps it would be cool for me to proclaim just how great this album is. After all, that seems to be the considered opinion.

And yes, singles Great DJ and, especially, That's Not My Name certainly suggested that the passing of Jules De Martino and Katie White's former band Dear Eskimo may well have been a good thing. Of course, the cynics would suggest that the backlash against the music industry which has, in the end, proved more than adept at whipping up the Ting Tings hyperbole is already irrelevant.

Sadly, having heard the two singles in question, you have probably heard the best of what's on offer. On occasion, such as the insanely catchy Fruit Machine (which ironically was a much less publicised single) they threaten to really hit the heights, but rarely do they pull it off. As a throwaway summer pop album (and I don't mean that in a bad way) it's got more than enough to keep you entertained, but it does grow tiresome in parts and at the moment, anyway, isn't bearing up to repeat listens by this listener.

We Started Nothing may well be an ironic nod to the many influences on show; it also may prove to be The Ting Tings epitaph. They may have caught the zeitgeist, but whether or not they can capitalise on that in the long term is a question that the album doesn't answer satisfactorily. Will the rest of us care when the cool kids have decamped onto the "next big thing"? Only time will tell.

Synthetique - Prototypes

Prototypes are a Parisian band formed in 2003. Their press release tells me that they make "a joyful and hybrid music, sexily sung in French (mostly), mixing altogether the many influences of the band: from electro-pop, 60s rhythms, folky guitars and sometimes a punk crunch to add to the equation!"

Sounds right up my street!

And for the most part it is. It's an eclectic mix but one that work. I suppose that it's reminiscent of another of my great discoveries, Cansei de ser Sexy. (I say that tongue in cheek boys and girls). The tunes are so instantly catchy that it matters not that I haven't a clue what the singer Bubble Starr is going on about.

Even the track Something manages to stay banging for 7 minutes without getting in the slightest bit boring. I have to admit that I prefer them when they are sticking more to the "electro-pop" vibe and some of the more experimental tracks, whilst interesting, lack the "hit" factor.

My personal favourites Something, Clap Your Hands (which is like a mental cover version of Tainted Love), Synthetique and Un Coup De Langue. If the blurb at the start of this review sounded like your kind of thing, give it a try - you won't be disappointed.

Anywhere I Lay My Head - Scarlett Johansson

Paris Hilton makes a record and is pilloried from pillar to post; Scarlett Johansson on the other hand, despite her Justin Timberlake video cameo's seems to get the benefit of the doubt. Nothing to do with the fact that this is largely an album of Tom Waits songs. And the fact she's roped in a "hip" producer (Dave Sitek from TV On The Radio), has one of the Yeah Yeah Yeahs on guitar and managed to rope in David Bowie in on backing vocals.

The NME love it, which isn't as surprising as it may seem. It's an event record, just one that happens to be padded out with a better supporting cast than the majority of Hollywood Actresses vanity projects. Although I'd be interested in how they would view it if a less "cool" actress had made the exact same record.

Her singing isn't bad (but then is no better than, say, Lindsay Lohan's) but as if to make up for the obvious deficits the production at times seems keen to drown her out, or at least make her a peripheral character in her own album. It's no bad thing as she doesn't have the character of voice to carry proceedings on her own.

All in all it's not bad. It's been lovingly crafted, offers up some interesting version of Waits' songs and the one new track, Song For Jo, does suggest that there might be mileage in a prolonged Sitek/Johansson musical relationship. But in the final analysis, it's an interesting curiosity - nothing more. This is not a record that normal music listeners with no need to seem cool will love.

Flight Of The Conchords - Flight Of The Conchords

The Flight of The Conchords TV series was perhaps the one thing since Peep Show that I simply had to watch every week. Of course I didn't actually watch it every week as my attention span simply doesn't extend that far; I did buy the DVD though and watched the entire series over a weekend.

I don't throw this word about with gay abandon, but on this occasion it's more than justified. Flight of The Conchords was/is GENIUS. Quite apart from it being the funniest thing on TV, it's musical parodies were so spot on that you couldn't help but laugh. This CD brings the best of them to your home CD player in crystal clear stereo.

Be it the Pet Shop Boys stylings of Inner City Pressure, the Barry White-aping Buisness Time, the French Bossanova of Foux du Fafa or the Kraftwerk-esque Robots, virtually every song hits that sweet spot. It's funny AND musically accomplished.

Of course I would have to admit that it's not quite the same as watching it on TV or catching their side-splitting stage show but if it falls short from the genius on display there, its only by the merest of fractions. As funny as it is catchy, this is simply sublime.

The Age Of The Understatement - The Last Shadow Puppets

In the crush to acclaim the side project of Artic Monkeys figuregead Alex Turner as some work of genius a couple of points seem to have been lost. There is no way that The Last Shadow Puppets are going to out-sell the Monkeys, and its a dangerously thin line between homage and pastiche.

And however much you make like this album, it's difficult to escape from the fact that it may ape the likes of Lee Hazlewood and Scott Walker but it never really threatens to break out from that shadow.

The plus points are that it is a very effective pastiche and, clocking in at just over half an hour, it breezes past without dragging.

Still, as accomplished as it is, it lacks that X-Factor and you can't help feeling that if a unheard of Joe Bloggs presented this to the world the clamour to acclaim it wouldn't be as strong. Still, it will tide you over until Turner unleashes the next Monkeys album.

Bittersweet World - Ashlee Simpson

It's no real secret that I think that Ashlee Simpson is, ahem, a bit of alright but the real interesting factor on the release of her third album, Bittersweet World is that is come at roughly the same time as Madonna's Hard Candy. Intriguing as both make copious use of Timbaland and The Neptunes (with Madonna siding with Pharrell as Ashlee makes use of Chad Hugo) at the production helm.

What is most interesting is that whilst Madonna has gone straight for the obvious, radio friendly sound, Ashlee Simpson has been pushed in the direction of the more interesting and, dare I say it, less ordinary sound. So whereas Madonna's album is chock full of exactly what you would expect, Bittersweet World surprises at almost every turn.

Lead single Outta My Head was a fine slice of 80's influenced pop and it's hardly the only thing worth listening to on here. Boys, Rulebreaker and Murder are the kind of things that snobby music critics would find some merit in if Kylie/Gwen Stefani/Rhianna did, but it's probably true that Simpsons' deleterious public image automatically rules out any praise.

Like her previous albums, it's in no way a "must-hear" album but like her previous efforts it contains enough catchy pop tunes to make it somewhat of a worthwhile listen. She may be totally directed by her expensive producers and she may not have much to say that is worth listening to, but that's not done Madonna any harm for the past decade.

A Drink & A Quick Decision - Grand National

As opening track Reason To Hide In slides its way along, expectations rise for Grand National's second album, A Drink & A Quick Decision. So much so that you begin to overlook the Hall & Oates inspired album title itself. It's really a rather good opener.

The problem is that too little of the album that follows matches up to that high standard.

It's not to say that there aren't other fantastic tracks on there, such as By The Time I Get Home... and the pop-tastic New Space To Throw, but there's an awful lot that is difficult to detest, but very hard to fall in love with. It also gets rather depressingly similar as the album progresses.

It's one thing to ape the likes of New Order but when you come up with something as, well, average as this you're really setting yourself up for a fall.

Neptune - The Duke Spirit

My only previous form with The Duke Spirit was rather foolishly going on the Duke Special forum and inadvertently proclaiming my love for them instead of the Irish singer-songwriter. To this day I've never been back.

Despite critical acclaim for the debut album, it pretty much sank without trace so in comes Queens of the Stone Age producer Chris Goss and delivers the garage rock album you would expect, but with some very interesting twists.

Lead single The Step And The Walk offers up an exciting introduction but the good news is that it's far from the standout track. Into The Fold is as good a mainstream "rock" tune as I've heard all year, Lassoo has trumpets, which are a good thing (assuming they are trumpets, but even if they're not, brass is good) and finishes in a storm of pure energy. Even better is Dog Roses, which brings a harmonica out of nowhere to enhance a moody and thrilling song.

Not everything works to such a high standard and there are one or two tracks where your thoughts wander to how much better they've pulled off the same tricks elsewhere on the album but overall this is a pulsating and vital album that, with any luck, will finally bring them the success that many people thought was due to them first time around.

And no, it doesn't exactly hurt that lead singer Liela Moss is a bit of alright either.

Dreams - The Whitest Boy Alive

Yes, I know it's an old album (released back in 2006) but no-one can expect me to be on the ball with everything that is popular music can they? And it was only released in the UK in November 2007, so it's relatively new.

The Whitest Boy Alive is Kings Of Convenience singer Erlend Øye's solo project (yes, I know there's a band behind him, but still...). And the slightly comedy name doesn't mean he's a white boy doing rap. One might call it Indie Pop or, heaven forbid, slightly "soft" rock. But whatever you would label it as, it's still really rather wonderful. So wonderful that you might question whether we need the Kings Of Convenience after hearing it.

Whether it's the lilting funk of Fireworks, the down and dirty Golden Cage or the staccato vibe of Figures, this is one of those albums that sounds innocuous at times but you soon realise that it's lodged firmly in your brain.

Granted, it's a little too slow tempo-ed as a cohesive whole to really reach out and grab your attention but at it's chilled out best its pretty irresistible.

Hard Candy - Madonna

Some might have been thrilled and excited about Madonna working with Timbaland (and by extension Justin Timberlake) and The Neptunes on her new album, Hard Candy. Me? Well despite recognising their talents, I felt it was a backwards step. For the majority of her career Madonna has led the agenda, not followed it and virtually every pop ingenue under the sun has already recorded with them. The transparent attempt to appeal to the American market once again (Confessions On A Dancefloor had the lowest percentage of American sales of her career) has led to to an unusual state of affairs. After leading the way for two decades, and changing the face of pop music more than once, Madonna is content to follow the path already trodden in the all consuming pursuit of a hit.

Lead single, 4 Minutes is a decent enough affair but bodes ill for the album at large. Whilst not expecting any genuine insight from Madonna lyrically these days its a song that has no real discernible personal traits at all. Indeed, its a song that any of Timbaland's pop beauties could polish off in their sleep.

As if to highlight this, next single Give It 2 Me is the kind of track that Britney Spears would have done rather well...about four years ago.

And its a problem that besets great swathes of the album. It's generic where once it would have been unique; its attempt to keep up with, or follow, trends, rather than setting them.

Of course, it's Madonna, so its far from a dull album and being as engineered towards the mainstream as it undoubtedly is it's bound to keep her in Top 10 singles until the next album comes along. But, and it's a big BUT, it's a frustratingly disappointing affair. Madonna can do better and her producers certainly can.

To put it into perspective, it's a notch below Britney Spears' 2007 album, Blackout and certainly a notch below Madonna's last effort Confessions On A Dancefloor. Let's hope she can get back to her best next time around.

Sounds So Good - Ashton Shepherd

It's easy to be cynical about yet another photogenic young female releasing her debut country album; it only takes a cursory glance at the CD booklet to change your mind however as, with a little help from her brother-in-law, Shepherd has written 10 of the 11 tracks here. This is not your typical Nashville affair where a label gets in a pretty face to record ready-written tracks.

And if this immediately sets Shepherd apart from the pack, its not long before other things have the same effect. Her voice is warm and one of the best of any of the recent newcomers and although occasionally her lyrics (some of which were written when she was just 15) are a little simple and childish, the majority of it is startlingly good.

Whether it be the radio friendly Sounds So Good and The Bigger The Heart or the channelling of Loretta Lynn on I Ain't Dead Yet and Whiskey Won The Battle, Shepherd proves equally adept. Smart enough to know to ensure radio-play on the notoriously fickle Country radio, Shepherd never lets that become the over-riding point of the album and manages the trick of mixing the commercially friendly with the genuinely compelling.

An outstanding debut album.

Pocketful Of Sunshine - Natasha Bedingfield

It must have seemed to Natasha Bedingfield as if she had the world at her feet. And maybe she still does; but she's had to sacrifice most of her agreeable quirkiness to make it remain so.

Her "second album" NB may not have been brilliant, but it was an album that screamed out personality; indeed it was unmistakably a Natasha Bedingfield record. Admittedly that might not be everyone's idea of a good thing, but in the homogenised generic world that counts as the modern day pop industry it was certainly refreshing.

The American's didn't like it though, and it's Stateside release was quietly scrapped after the flop of lead single I Wanna Have Your Babies, conspicuous by it's absence here. What's more, after being postponed for some non-reason (which most certainly wasn't due to poor ticket sales), a UK tour was finally cancelled for some other non-reason (which again wasn't due to poor tickets sales at all) which suggested that things were looking decidedly sticky.

Hence Pocketful Of Sunshine, here second album for the USA. Half of it is rehashed from NB, the rest new tracks, all recorded simply through Bedingfield's high work-rate, and not because her American label insisted.

Yes, you might detect more than a smidgen of cynicism here, but anyone with a hint of common sense can work through the spin.

On balance, at least the better tracks from NB have been left intact but the new tracks are the typical, Americanised pap that you'd expect from an American/Pop Idol contestant. The success of this album so far, at least compared to it's European counterpart, may prove that Bedingfield has made the right choice. This listener, however, remains less than convinced that she did.

Backwood's Barbie - Dolly Parton

Apparently this is Dolly's first "mainstream" Country album in 17 years. But throughout all the Bluegrass and covers albums, you should never have really lost sight of the fact that Parton is one of Country's greatest ever songwriters (and 9 of the 12 tracks here are Parton originals). And whilst this album would by no means convince anyone unaware of her greatness, there is just about enough of the old Parton magic to make this a worthwhile listen.

Pick of the bunch are the delicate Only Dreaming and the vibrant Better Get To Livin' which prove that for all the wigs, cheap-looking expensive clothes and ample bosom, Parton is a genuine talent.

Just don't expect anything but pained amusement from her cover of the Fine Young Cannibals (She) Drives Me Crazy.

The Long Blondes LIVE

It's no secret that, second time around, the Long Blondes have left me a little cold. Therefore the prospect of a Long Blondes concert which would undoubtedly be heavily weighted towards their second album, Couples, wasn't the sure fire thing it would have been a couple of months ago in my mind.

What transpired was pretty much what my reordered thoughts expected.

Was it awful? Not by any means. Was it great? Not really.

Certain new tracks, particular examples being Round The Hairpin and I'm Going To Hell, did sound better than their recorded counterparts, but all too often the new songs fell flat in the greater scheme of things. And whether or not it was my imagination, but this all led to the tracks off the debut album falling flat too, lacking the vitality that made them such an appealing proposition first time around.

All in all, I couldn't wait for it to finish - not because I wasn't enjoying myself (to a degree it was still a good night out) but more the fact that it failed on almost every level to live up to what I've seen from them before.

Lessons To Be Learned - Gabriella Cilmi

I can imagine there was great delight in the Radio 2 playlist office when they first heard Sweet About Me; it ticks almost every MOR box you could wish for. Me, well I was more intrigued by the fact that this album was being "overseen" by Xenomania.

And in an essence, their presence is what sets this really rather good album apart from the chasing pack. Their eye for a catchy pop tune is undiminished and shines through like a beacon here and the fact that they're serious about pop, but not too-self serious, means that it immediately bypasses the Amy Winehouse clone argument.

Save The Lies might get a little too close to Anastacia for comfort, but it's a cracking start to the album and sets things up very nicely indeed. It's the more uptempo tracks that most grabbed my attention, the best of the bunch being Don't Wanna Go To Bed Now and Cigarettes and Lies, and even the cover version of Echo Beach works well, albeit in a camp way.

It's by no means perfect, perhaps being a little too reliant on ballads for my liking, but there is a definite sense that this could be the start of something special. Of course, Joss Stone seemed like a great talent on the back of her debut, so you'd be wise not to get too excited just yet; but on balance, Cilmi certainly looks as if she could have a bright future ahead of her.

Shine - Estelle

Imagine my surprise when I heard Estelle's new single American Boy; how in the hell did she drag Kanye West into the proceedings...? And then get him to rap about Ribena and WAGS? Little did I know that John Legend had taken a, ahem, shine to Estelle, signed her to his label and the rest is, as they say, history.

And it's a history few would have predicted given her first album's failure (it only scraped the top 40) and dare I say that Estelle herself might never have imagined the day where Mark Lamarr would be replaced by Kanye West in her video's...

You can't ignore the Kanye effect; last November, the single release of Wait A Minute failed to even trouble the Top 100, and it's difficult to imagine one of her non-collaborations would have fared any better. But credit where credit is due, American Boy is a great little pop song and if I'm being churlish it would be amazing if a record produced by ten of the finest producers John Legend's money can buy didn't come up with some sublime moments but even if nothing quite lives up to the single, there's more than enough to make this a worthwhile listen.

More Than Words is a lilting jazz-inspired track that Joss Stone would give up her year's supply of Flake's for, and the collaboration with Cee-Lo, the Mowtown-esque Pretty Please could conceivably follow American Boy to the upper reaches of the charts.

There are the duff moments for sure, and Estelle doesn't quite manage to carry off an entire album on her charismatic personality alone, but there are more than enough killer tracks and hooks here to please most pop fans.

Brain Thrust Mastery - We Are Scientists

I really liked Love & Squalor so it was with an immense disappointment that I got to grips with the lead single from the new We Are Scientists album, After Hours. Whilst not being offensive in any way, it wasn't really very good. And the video seemed to sum up the potential problem with their second album. Lyrically they clearly feel the need to get more serious but visually they were stuck in their "kooky" past.

And listening to the album there is, to me at least, a definite feeling of it being stuck between two different paymasters. In an attempt to "grow up" or mature their sound they've ended up sounding like perhaps the most terrible thing you could label a record; dull.

The odd moment of clarity aside (Impatience, Lethal Enforcer) you find yourself merely longing for the "old" We Are Scientists.

2008 Concerts

2008

4th February - Laura Veirs - Manchester Night & Day
10th February - Amy Macdonald - Carling Academy, Liverpool
19th February - The Von Bondies - Manchester Night & Day
1st March - Natasha Bedingfield - Manchester Apollo
4th March - Kate Nash - Manchester Apollo
14th March - Inspiral Carpets - Manchester Academy
16th March - Lucy Porter - Manchester Lowry (COMEDY)
25th March - Be Your Own Pet - Manchester Academy 3
29th March - Sugababes - King George's Hall, Blackburn
8th April - The Long Blondes, Manchester University
22nd May - Feist - Palace Theatre, Manchester
31st May - Girls Aloud - MEN Arena, Manchester
4th June - Bat For Lashes - Carling Academy, Liverpool
11th June - Cat Power - Manchester Academy 1

Couples - The Long Blondes

Someone To Drive You Home was my album of 2006, quite comfortably as it turned out. From start to finish it was a modern masterpiece. Notwithstanding the lack of an actual hit, it was an album packed full of singles, yet held together as it's own entity. And I'd think that even if Kate Jackson wasn't sex-on-legs.

Three tracks in, the follow up Couples seems to be heading for a similarly winning run. Century proves that adding synths to the mix (replacing the jangly guitars that were their trademark) was a good idea. Jackson has rarely sounded better and the insistent tune is soon lodged in your brain.

Guilt could have drowned in it's Disco beat, but lyrically it's classic Long Blondes and is one of those songs that gets better with every listen. The Couples is perhaps the song on the album that most could have fitted in on STDYH and as well as having a killer tune once again brings the biting wit of the Blondes to the fore.

So far so good then? Sadly it's pretty much a downhill ride from here, or at least you've got as good as your going to get in the first three tracks.

I Liked The Boys and Here Comes The Serious Bit basically forget to pack a tune in alongside the other ingredients, and Nostalgia may well achieve it's probable aim of reminding you of the early 80's but that doesn't stop it being a terrible song. Things reach a possible nadir with Too Clever By Half. I still can't make my mind up if it's so bad it's good, or whether it's just plain awful. I'm half tempted to think it's someone's bad idea of a joke.

At least Round The Hairpin and Erin O'Connor mean that the last two thirds of the album isn't a complete wash out but, especially after the blinding opening, it's all too much of a disappointment.

There are signs that they still have more to offer, and at the least they should be commended for resisting the temptation to record another STDYH and waiting for the money to roll in. Still that doesn't change the fact that, for this listener at least, Couples is very much a let-down.

Diamond Hoo Hah - Supergrass

After Road To Rouen, which was a decent album without justifying the complete change of tone is signified for the Supergrass boys, it was perhaps inevitable that they should then come up with something more akin to 1995's I Should Coco.

Experimentation can only last so long with a diminishing fan-base.

And that's not to have a knock at the boys. The very fact they are here in 2008 releasing a brand new album shows that there is still a lot of love for them. Sadly, I don't have a lot of love for this album.

Quite frankly, I found it boring and plodding for the most part. To be honest it's only by the time I got to the final track, Butterfly, that I found anything I would want to add to a homemade Supergrass compilation. That's not to say that the rest is completely without merit, but it just doesn't excite me in the slightest.

But to put it into context, it's still a thousand times better than The Hoosiers.

Sugababes LIVE

Amusing at it was to be sat in the middle of teenage girls for the Sugababes night at Blackburn's King George's Hall, it was even more amusing to not be the oldest men there without kids. Seriously, if I'm still doing this when I'm 60 you might want to shoot me.

Still, who am I to mock? They certainly seemed to enjoy the evening along with everyone a quarter of their age. And in fairness there was much to enjoy.

I was a little worried prior to the show that the 'Babes would once again be at pains to prove that they were "serious artists" which would mean ballad after ballad and the obligatory acoustic interlude. Thankfully there was none of that bollocks.

The pace of the set was kept up throughout, with only a handful of the slower songs tossed in throughout. And whilst I still say it's ridiculous to see them sing Overload with only one of the people who actually sang on that record, the current line up can certainly belt out the tunes.

All the big hits were played (as far as I can remember anyway - Dave was disappointed that they didn't do Easy, but I think that was more to do with the fact he wanted to see them act out the risque lyrics) and it's difficult to imagine that anyone went away disappointed.

Still it wasn't all perfect. If musically they got it spot on (including a thrilling cover of En Vogue's Don't Let Go) visually it was a bit of a mess. Obviously the budget wasn't the biggest and this led to some tacky outfits which had me laughing if I'm being honest. Still the ramshackle nature of that side of things couldn't really detract from a great night out.

That said though, roll on Girls Aloud ;-D

Red - Guillemots

If there was a problem with the Guillemots, and in my book there most certainly was, it was that for all their willful quirkiness and "we're not like a normal band" posturing, there was a problem with their tunes. They were ok, but not the most memorable in a strict pop sense. Hence my opinion that I could take them or leave them.

It's nothing to do with me of course, unless one of the three people who read this blog is releated to them, but the one thing you cannot throw against them this time around is any complaint that they aren't catering to the mainstream.

Pop may still be a dirty word, but it's what the Guillemots are aiming for. Which makes the album all the more frustrating as a result.

When it's "on" it's really quite magical; Cockateels and Kriss Kross provide two of the most sublime pop moments of the year so far and lead single Get Over It was good enough to make me reconsider my opinion of the band.

Still, the same problems remain. In an attempt to prove they are nothing like anyone else there is a definate "throw everything against the wall and see what sticks" mentality. Sadly, too little of it does stick. Last Kiss, for instance, is particularly muddled to little apparent effect.

It's not a terrible listen, but for me it falls into thumbs down territory more than it rises into the thumbs up. Proof that individual and quirky isn't always 100% a good thing.

Slow Motion Addict - Carina Round

This has been around for ages I think but A) it's getting a re-release somewhere and B) I've only just got around to getting it anyway. So I think that more than justifies reviewing it here.

Whether or not you're that excited about Glenn "Alanis Morisette" Ballard is at the production helm is a matter of personal taste but he can have a tendency to smother some artists and for a while it seems like he's going to chalk up another victim in the shape of Round; but fear not. Round is far too wilful and self-minded to allow this for too long.

This does make for a somewhat hit and miss experience. Whilst the likes of Stolen Car (with its hugely radio-friendly rock guitar riff) and Take The Money (which gives you everything you'd want from Round based on her previous output) there are the likes of Ready To Confess (where, sadly, it could be anyone delivering the lines given how the production smothers any individuality out of the proceedings).

Thankfully, most of the "duff" songs are done with early and by the time you hit the aforementioned Take The Money, the ride to the end of the album is a thrilling and exhilarating one. Any attempts to homogenise Round have obviously failed. She's as individual as ever. And in this form she's well worth a listen.

Be Your Own Pet LIVE

Get Awkward, the new album from BYOP, is one of my favourite of the year so far so it was with a certain sense of anticipation that I looked forward to this concert, back at my favourite venue of Manchester Academy 3.

Sad to say, it didn't really come close to living up to expectations.

It wasn't awful, but any nuances visible on record had virtually disappeared. If I'm being kind, the best way to describe the night would be unremarkable noise.

Not even the delectable Jemima Pearl could save the evening and I can't exactly say I'll be rushing to get tickets for their next UK tour.

The Baroness - Sarah Slean

Female singer-songwriters are ten a penny in 2008 so it would be tempting to dismiss Sarah Slean merely on this point. Slean, however, has been plying her trade for over 10 years and this is her fifth studio album.

One listen to The Baroness is enough to both tell you why she's lasted so long and why you've probably never heard of her.

Her voice is pretty wonderful and she's more than a decent songwriter and on occasions, like on the really rather good Please Be Good To Me, she soars to beautiful heights. The sad thing is that a lot of the album doesn't come close to matching that emotion.

Lyrically there is a lot to admire on the album (and certainly enough to suggest that there is some cruel force at work which leaves fellow Canadian Sarah McLachlan feted worldwide and Slean herself virtually ignored) but the tunes just don't match up.

What's more, the album ignores the upbeat perky pop that I most enjoy about her (the superlative Day One) in favour of more contemplative melodies.

All in all it's not a terrible album, but neither is it the great one that I believe Slean could deliver. Maybe next time hey?

Just A Little Lovin - Shelby Lynne

2000's I Am Shelby Lynne may well have successfully drawn her away from her previous incarnation as straight down the middle country but it's cast a pale shadow on her subsequent career. That's not to say that recent efforts such as 2003's Identity Crisis have been poor, just that she's never really lived up to the promise of the I Am album on a consistent basis.

Just A Little Lovin' carries on that trend. Some might say that the attempt to channel Dusty Springfield was ill-advised and upon listening to the album I wouldn't neccesarily disagree. If you're going to record an album with four tracks off the seminal Dusty In Memphis album you are going to have to come up with something pretty special to make your make. Lynne doesn't really come close.

The attempt to provide a paired-down, almost simple, version of Dusty doesn't work, the biggest culprit being I Only Want To Be With You. If there's a person alive that would rather hear Lynne's cover version than Dusty's then I trust their padded cell is comfortable.

And therein lies the rub. There's nothing on the album that even comes close to matching the majesty of it's inspiration. For Dusty fans it's an interesting curiosity but not one that ever reaches "must-have" levels. Sometimes it seems, creative freedom doesn't always lead to the best ideas.

Best Of Both Worlds - Hanna Montana/Miley Cirus

The next time you feel the need to criticise Girls Aloud, please remember that there is absolute tosh like this polluting our airwaves.

I bear no grudge against "manufactured" pop in the slightest. What I do bear a grudge against is soulless dirge like this.

This may not be the worst album I've ever heard, but it's not far off. Still as it's genetically engineered to appeal to your pre-teen daughter, she'll love it I'm sure.

Inspiral Carpets LIVE

Never really being a fan of the Carpets, I didn't quite know what to expect with a live date. They certainly still have a fanbase (although really if they can't pack out a Manchester date they would be scraping the bottom of the barrel) and if it does feel slightly ridiculous to see the now middle-aged band bouncing about to a selection of their biggest hits it doesn't in any way detract from the entertainment.

Yes the "visuals" (basically a projection of random pictures onto a white sheet) are hardly state of the art but that slightly ramshackle feel seems right at home.

Eschewing any new songs might have been a necessity rather than a choice, despite rumours of a new studio album, but in the final analysis they gave their adoring fans exactly what they wanted...a high velocity trip down memory lane.

Heaven, Heartache, and the Power of Love - Trisha Yearwood

Trisha Yearwood has long been a favourite of mine and whilst her commercial and critical success and favour may not be at it's mid 90's peak, this album still cracked the Billboard Country Charts Top 10 upon it's release and listening to it it's clear that time has not withered that beautiful voice.

Over 10 albums into her career you pretty much know what you're going to get with a Yearwood album. You have the up-tempo honky-tonk rockers like the excellent Drown Me side by side with the mellow and contemplative ballads like Help Me.

It's difficult to say that this is a challenger for her best album, but it's clear that she remains a voice worth listening to. Fans will be delighted and anyone with an ear for a good Country song will find much to adore here as well.

Kate Nash LIVE

Traffic problems abounded, but we found our way eventually to the Apollo. An absolutely RANK burger and chips was followed by a trip to The Union. Seriously if anyone is reading this who goes to the Apollo for gigs, don't go to that pub that backs onto the venue, go round the corner and go to The Union instead. Although don't too many of you follow that advice as I don't want it getting too crowded.

We got to the venue five minutes before Kate Nash hit the stage and my worst fears were immediately confirmed. This was Fisher Price My First Concert territory. It did go to prove though that the NME mean virtually nothing to Nash's fanbase, consisting as it did of largely girls roughly aged 10-14 all screaming along to most songs. And whatever Nash may suggest she knows where her bread is buttered...hence the non-appearance of Dickhead in the set list. Not that that stopped the kids in the audience heartily singing along to the swearwords in her other hits.

It all added up to a slightly surreal atmosphere and experience. What little subtlety Nash possesses in amongst her insanely catchy pop tunes was largely lost and at times it was difficult to hear her over the band. Some artists who excel on the smaller stage (Nash's previous Manchester gigs at the Night & Day were excellent) manage to make the step up to the 3,000 seater halls with ease; on this evidence Nash hasn't quite cracked it yet. Still, it's difficult to imagine that many in the sold out crowd left unhappy and if pleasing the audience is the main aim of a concert, this one more than managed on that score.

Another Country - Tift Merritt

Another Country doesn't actually refer to some kind of re-inventing of Country Music (or Americana in it's other guise) but to the fact that how, in a time of personal turmoil, Tift Merritt emigrated to France. The problems aren't quantified in any great detail, but its clear that the Tift Merritt of her third album is more disillusioned and introspective than the Tift Merritt of her earlier albums.

And whilst one wouldn't wish to inflict such emotional pain onto anyone, it is clear that these problems have gone some way to raising her music up to another level.

There are a handful of up-tempo numbers, Tell Me Something True, with it's Mowton-esque backing is one such highlight, but most of the album is a more subdued affair. It's none the less compelling for all that though. It's an album that practically aches with sorrow, but never in a wallowing way. Indeed with a scant listen, most listeners would probably miss most of the lyrical content and just be pleased with what is a very listenable album.

This is an album which benefits from a few repeated spins. Slowly Merritt draws you in, deeper into the emotional content of the album. Her voice is warm, inviting and soulful and is difficult to resist.

After 2003's Tambourine album some might fell that the production is a little too light on this one, but that's a minor concern to say the least. Another Country may not grab a Grammy Nomination for Best Country Album like it's predecessor did, but it's no less a winner of an album.

Not Sokute (EP) - Soko

Cute. Funny. French.

Is it any wonder I'm falling in love with Soko.

You might have been lucky enough to hear the rather wonderful "I'll Kill Her", which I'm reliably informed is a myspace "phenomenon", but that only scratches the surface of Soko.

It is of course difficult to predit how a career will go based on one debut EP but there's at least enough on this to suggest that her debut album (apparently produced by Gorky's Zygotic Mynci - which excites me even more) could be quite awesome.

Her lilting French accent adds a playful charm to her English lyrics, and her sugary delivery makes the sheer vitriol in I'll Kill Her all the more amazingly brilliant. If we're being lazy, think Feist with added bite.

On Shitty Today, Soko laments that she's not the perfect girl. I don't know. She just might be.

Rockferry - Duffy

I'm probably going to get some stick for this review in certain circles, especially after giving Adele such a kicking recently. I'm in no doubt that I could even be accused of hypocrisy in some quarters.

Because let's get this out of the way right now; Duffy has assembled a wide-ranging of songwriters and producers on her debut album and given my opinon that Adele's 19 sounded like "album by record company committee" you would think that I would be against that. Except that wasn't my point. My point was that Adele's backers played it safe and gave her some very dull tunes indeed. And that was before that Brits "Critic's Choice" award REALLY got my goat.

But that's enough about the dull side of popular music in 2008 because Duffy is here to save the day...to an extent anyway.

Mercy is a brilliant little pop tune (and it gladdened my heart to see it hit number one) but it's far from the only highlight on this rather wonderful debut. The opening, and title, track Rockferry is staggeringly good and I personally think the best is saved to last with the sublime Distant Dreamer. Yes the "60's" sound is identifiable but there's something timeless about Duffy when she gets it right.

Syrup and Honey is another winner, and it's minimalist backing only goes to prove that Duffy has the talent whatever the backing.

It's not all packed with winners, mind you, with a couple of tracks failing to excite but for the most part this is a very strong debut which not only delivers in the here and now, but promises so much for the future as well.

She's not Dusty Springfield of course, (though I do look forward to the Pet Shop Boys collaboration - actually if I win the lottery, I'll book them together to do What Have I Done To Deserve This?), but don't let lazy journalism put you off. Duffy is a rare talent indeed. And right about now, those that put their money on Adele might want to reconsider. Duffy is 2008's rising star.

Detours - Sheryl Crow

At what point do you stop becoming a "fan" of an artist? For a brief moment around 1997/98 Sheryl Crow was my favourite artist. So you would think that with her first three albums ranging from excellent to merely rather good I would be a fan for life.

But then we have two really rather poor albums (plus a totally perfunctory Live album that was the absolute pits) and as I walk into HMV to buy Detours I find myself tussling with the question of whether I am a fan of Crow anymore, or mererly a curious bystander seeing if this time around is going to be better than the last two occasions. The fact I'm even considering the question doesn't bode well.

Thankfully, Detours is her best album in a decade. Granted that's not saying an awful lot, but it's a good place to start. Unfortunately one can't really say that it's up there with her best work.

At least with Bill Bottrell at the helm, Crow is back to doing what she does best after the misguided Wildflowers. Recent single Love Is Free might have been almost universally ignored but its the kind of lilting up-tempo semi-rocker that Crow excels at.

The problem is that the album starts off on a decidedly low-fi note. Now that may be designed to make you listen more carefully to the lyrics on God Bless This Mess, but therein lies another strike against Crow for me.

It takes precisely one minute 50 to sink us to the first "Anti-War, Anti-George Bush" lyrics and immediately my heart sinks. My own personal opinions are irrelevant; I quite simply don't like being preached to by multi-million earning pop stars. Sadly there are more than a few occasions during the album where I'm willing to start loving the tunes, before the lyrics drag me down into despair.

Granted, given what she's gone through over the past few years, Crow is perfectly at liberty to write about she wants to. It doesn't mean that I have to listen to it with any great pleasure. Which is a shame; occasionally Crow strikes the right balance. Love Is Free for instance is a great pop song, only subtly revealing itself as lyrically concerned with the aftermath of Hurricane Katrina after a number of listens. Compare this with Gasoline, which to my mind is one of the most cringeworthy songs I've heard in a long time.

I'm quite willing to state it may well be my own personal taste that finds the lyrics a distraction. Many might find them insightful (at least in some parts) and might applaud their sentiments. And I might if I were watching Miss Crow on Question Time. On record, depsite the tunes being up there with her best in quite a few parts, it's all too easy to flip the skip button.

The Wombats Proudly Present... A Guide To Love, Loss and Desperation

Ok, so I'm a bit late on this one but I've listened to it so I might as well review it. It's not as if it's going to take too long.

Basically my opinion is this;

"Two great singles that overshadow a decent, but not that great, album."

Still, two great songs is more than a lot of the tosh that's about these days do, so some form of congratulations is in order.

Sometimes brevity is all you need.

Join With Us - The Feeling

Contrary to common belief, I don't hate The Feeling. Granted I see no particular reason why they're so popular. Maybe it's becuase is a musical world where everyone seems at pains to be seen as credible, The Feeling toss that all aside in order to serve up catchy pop tunes.

The influences (ELO, Supertramp, Queen) are as clearly evident this time around as they were on Twelve Steps From Home which means that fans of the debut album are likely to continue their love affair with the band whilst those who, well, hate them are going to find nothing to change their minds.

The title track encapsulates the whole, ahem, feeling in five minutes. Some will find the mix of tick-tocking clocks, Queen-esque guitar solos and show tune hystrionics (the end is disturbingly similar to the Phantom Of The Opera gone heavy metal) hugely appealing and catchy, others might think it's a case of throwing everything but the sink at the kitchen wall but finding out that none of it sticks.

There's probably enough in the way of decent pop hits to ensure that they don't go the way of Orson (who's recent album famously sold less than 10,000 copies in the UK) or the Scissor Sisters (with even Jake Shears lamenting the flop of Ta Dah) but the law of diminishing returns is already being applied.

Get The Gore - Gore Gore Girls

A late review somewhat as this was released last June, but it's only recently hit my stereo. The Gore Gore Girls have been called "the Ronettes with guitars" which certainly makes them one to delve into, even if in the final assessment that proclamation might fit their ambitions but not their product.

It's not that the comparison has no merits, just that they never come close to matching that kind of power. Their garage-punk sound is certainly entertaining in small doses, but even with an album that clocks in at less than 40 minutes in duration, by the end of it you're starting to think that it's all beginning to sound depressingly similar.

Obscure cover version Where Evil Grows is a highlight as is the pumping Voodoo Doll; the sad thing is that for large parts of the album the songs are decent, but not particularly memorable.

One for curiosity value only.

The Von Bondies LIVE

I love these early finishes at my new job. It meant an easy trip into the big city, and the chance to ride on that Manchester Eye/Wheel thing. Very entertaining.

As was the pre-game meal, at Old Orleans. No blue cheese this time though.

We arrived at the Night & Day in time to catch the back end of We Fight Apes. Apparently they were late starting, which was a pity because if they'd started on time we'd have probably have missed them. It's not that they were dreadful, but they were just plain weird. Some of the lyrics were unrepeatable on a blog families can read, and those that weren't were just baffling. Not the worst support act ever I suppose but far from the best.

So then it was time for the Von Bondies. If there's one worry with going to see a loud rock band who you've never seen before it's the chance that they might just go for "loud" at the expense of anything else. Thankfully the Bondies eschewed that route; the tunes were well and truly intact.
The highlights from Pawn Shoppe Heart were all there and in a nice change of circumstances the new songs went down just as well. If their intention was to restablish themselves after a long abscence, they went a long way towards doing that. Not only was it good, but it was even better than I was hoping it would be. And who can ask for more than that?

And I swear I would have had my photo taken with the guys in the band if they'd still been around when I met the girls. Honestly...

Get Awkward - Be Your Own Pet

Oh, Jemima Pearl. How I am in love with you. You're too young of course, but you're just the kind of spunky, fiesty girl I end up with in real life (only to be tossed to the kerb when they realise how boring and dull I am - and let's be honest, most women find out I'm boring long before...well let's leave it there). Matt likes mental women. That's a Lucy Porter fact for you.

If there was one problem with Be Your Own Pet's, pretty awesome, debut album it was that on a couple of occasions it was just a little to focussed on being a loud mess for it's own good. Thankfully Get Awkward rectifies that small problem and then some.

It keeps everything that was exciting about the self-titled debut and adds even more killer tunes and hooks. Pearl has a much better voice than the first album lead you to believe and she's also taken on the lyric writing on this occasion, which leads to even more nonsense about teenage problems that completely go over my head but lead to an exhillarating experience.

Once again it's only about half an hour long (which is a good thing as you all should know) but not a moment is wasted.

The only depressing note is learning that record company executives demanded three tracks were taken off the album for being "too violent." If they are half as good as most of what was allowed to slip through the coroprate net we're missing out on a treat for sure.

September - September

Having been accused on Amazon of not doing enough research about albums, (although really how much research do you need to do to know that Adele is a trifle dull), I decided that I should find out about Petra Markland, aka September, before reviewing this album.

And basically this is her first American album, containing tracks taken from her last two Studio releases in her native Sweden.

And as it's Sweedish pop you can pretty much guess what you're going to get from this. And whilst it's not exactly reinventing the pop wheel it's catchy pop (it's even released on a label called "Catchy tunes" which must be the most awesome thing ever.

It's a little bit Infernal, a little bit Cascada but without being as, well, crap as those. If Kylie wasn't bothered about being cool and just wanted to release some fantastic pop songs which will have the crowd buzzing this is the sort of thing she would come up with. I mean come on, she has a sample of Bette Davis' Eyes on one track (as an aside it shocked me to find out, back in the day that that wasn't a Rod Stewart track.

And come on, there's something to be said for a lady who looks like the result of a Sienna Miller/Sarah Harding cross breeding experiment.

Will I be still listening to this album in a decade's time? Probably not. But it's a fun and catchy album which should appeal to pop fiends of all ages.

Jukebox - Cat Power

Riding the crest of a wave, commercially at least, after the fantastic The Greatest album, it's not particularly suprising that Chan Marshall would be somewhat contrary and follow it up with a covers album (the second of her career). Even the one new song on the album is very much inspired by Bob Dylan. And she's also one of the few musicians who would cover one of their own songs in the midst of such a project!

Her previous effort, The Covers Album, proved that Cat Power can certainly be relied on for some great "interpretations" of famous songs and there are a number of tracks on Jukebox that back that up.

New York, New York is transformed into a slinky blues number, and her take on Hank Williams Rambling Woman is, quite simply, breath-taking. A crack at another legendary Country act with the Highwaymen's Silver Stallion is similarly excellent

Sadly however the album as a whole doesn't quite match up to the sum of it's best moments, with a few too many obvious moments. You can see why Marshall would want to attempt Joni Mitchell or Janis Joplin songs, but she plays them too straight and injects too little of herself into these tracks.

There's also a slight disappointment that there has been little change in pace since The Greatest. As, well, great as that was Marshall is usually a girl for new tricks. Here she's trod the same path again.

This is a good album, no question, but falls a little short of greatness. For those already in love with Cat Power this is an album you'll want to hear and you will enjoy. Those looking for an entry point might want to check out The Greatest first.

Alas I Cannot Swim - Laura Marling

If only because Laura Marling isn't another female singer-songwriter jumping on the Amy Winehouse bandwagon this album is like a breath of fresh air.

It's also refreshing that the teenage Marling doesn't sound, lyrically at least, her age. The likes of Adele and Amy Macdonald can instantly be identified as teenagers by some of their lyrics; Marling, on the other hand has a lyrical poise that defies her tender years.

Of course all of this is both a blessing and a curse in some ways; although one cannot say that Marling has been without her well-placed hype, her folk stylings mean that she's not got half the attention that the likes of Adele or Duffy have recieved as 2008 has kicked into gear. It's understandable, mainly due to the fact that her style is not neccesarily fit for Radio 1's target audience, so it perhaps a minor miracle that she's got the mainstream airplay she has at all.

The appeal of Marling lies somewhat in her simplicity. Background noises are left in the mix and her laughter can still be heard. But don't let the simplicity fool you; this is a darker record than her "contemporaries" have delivered. Indeed the pervading theme is the expression of acute heartbreak, a theme that Marling portrays with a lyrical sense that, again, belies her years.

It's not going to appeal to everyone and it is fair to say that it lacks the "mainstream" qualities that more hyped performers bring to the table. It's also fair to say that not everything quite hits the mark either. But there is more success than there is (relative) failure and there is certainly enough to suggest that Marling is rare talent. And like the best vintage wine, there is the definite feelining that Marling is going to improve with age.

We're In The Music Biz - Robots In Disguise.

It would be easy to dismiss Robots In Disguise as a novelty upon a cursory glance. The Mighty Boosh appearances, the title of the album, the fake names, the fact that the two girls are, upon closer inspection, merely covered in body paint on the front cover...it would indeed be easy to lump this together as a kind of in-joke.

And if one might not be able to quite shake the feeling when listening to We're In The Music Biz that you're only a small part of an elaborate joke, it would be unfair to say that this spoils the music.

The tongue-in-cheek lyrics, the memorable melodies and the thumping basslines all add up to something which is very enjoyable indeed. Granted it might all get a little too cleverly comic for it's own good at times (only The Tears and I Don't Have A God could be termed in anyway as "serious") and some people may well find it irritating in anything more than small doses. Still its a fun album that shows some great pop sensibilities and that's more than enough for me.

The Golden Age - American Music Club

They split up to little fanfare, got back together to perhaps even less fanfare and then title their "comeback album" as The Golden Age. I can only assume that the rumour isn't true; American's "do" irony after all.

There's musicianship on display, to be fair, but why oh why is everthing so relentlessly dull? At least ten of the thirteen tracks seem to be interchangeable, and when they're as, well, boring as they are that's not a good thing.

Maybe I'm missing the point. Maybe this 9th studio album will appeal to long-term fans of the band. All I can say is that it doesn't appeal to me in the slightest.

For a better sounding take on 70's AOR you might as well check out The Feeling. At least they have a sense of fun.