Tales Of Silversleeve - Cathy Davey

It's easy to be flippant isn't it? Yet another female singer-songwriter, following up a critically praised but, outside her native Ireland, slow selling debut album. But please, stay with me. For a start this isn't your typical dross, forced on us by record companies chasing the next easy pound for their accounts.

Wit, invention and rhythm are lacking in a lot of modern music (of course, really they're not, but I'm making a point here), three things that Tales Of Silversleeve has in spades.

In fact if I hear a better opening to an album than the first five tracks on here, (Sing For Your Supper, Reuben, The Collector, Moving, Mr Kill) then I will, quite literally, eat my hat. Sing For Your Supper is, simply, a beautiful love song but has so many levels that I couldn't possibly begin to list them all here. Reuben is a piano driven stomper and is the kind of thing that Scouting For Girls might come up with if they weren't a tool of the devil designed to lure 12 year old girls into buying a "proper" record. Indie comes next, with the delightfully jaunty The Collector and just when you think you've got as close to working her out as you are likely to, Moving steps in, with a dancey vibe (technical term that) to totally shatter your conception of what Davey is capable of. Then she changes tack, with the fantastic baseline of Mr. Kill, a funky groovetapper if ever I've heard one.

What follows the amazing opening quintet isn't half bad either. In fact it's probably only that the first five tracks are SO excellent, that you even notice there is an ever so slight drop in quality. And if we're being honest, anything from track six onwards would still be the best song on Adele's album by a country mile.

It even has a 60's style track, Rubbish Ocean, to please those looking for the next thing to take Amy Winehouse's place if she ever gets around to dying from that drug overdose.

And whilst some might argue, and not entirely without merit, that her musical promiscuity stops the album from having an overriding identity of it's own I would take the opposite view. Tales Of Silversleeve is too good to be allowed to limit its scope. Better records may come along in 2008, but I'd be surprised if any are better than this.

Weezer - Weezer

Or the "Red Album" if you're losing track as this is the third self-titled Weezer album out of six. It's also the first since the debut (the Blue Album for those keeping track) to see Rivers Cuomo slightly loosen his autocratic leading of the band to let his bandmates show us their own songwriting chops.

Things didn't seem all that promising at first; not only were there rumours that this album was to see a highly experimental Weezer but record label Geffen were apparently of the opinion that the album didn't have any hits on it. The result was Pork and Beans, the album's lead single and one written entirely as a sly knock to the label's opinions. "Timbaland knows the way to reach the top of the charts" sneers Cuomo, "maybe if I work with him I can perfect the art". Ironically, of course, it turned out to be Weezer's biggest American hit in years.

Long-term Weezer fans are certainly catered for here; alongside Pork and Beans the likes of Troublemaker

That said, there are definite departures from what you might expect. Heartsongs, which sees Cuomo list the songs and artists that have shaped his musical identity may eventually "rock out" but it's lilting and saccharine sounds take some getting used to. Nothing I write could amply explain The Greatest Man That Ever Lived (Variations On A Shaker Hymn) to you but if you imagine six minutes of sonic eccentricity that takes in such different musical styles as metal, hip-hop, male voice choir, folk and glam rock then you get some idea of the huge scale we're talking about. More amazingly, it's a catchy track too.

Of the band members contributions, I Thought I Knew is passable, but nowhere near becoming a Weezer classic, Cold Dark World is plodding and only drummer Patrick Wilson's Automatic comes close to matching the best of what Cuomo can deliver.

Naturally, the "Red Album" is no Pinkerton (still Weezer's finest collective moment for me) but, to put it into perspective, it's nowhere near the disappointment that was Maladroit. It might not convert to many new listeners to Weezer, but those of us that have been with them for over a decade will find much to enjoy on this fine collection.

21 - The Mystery Jets

The Cure, Tears For Fears, The Cars, Duran Duran...if there's one thing this album is guaranteed to do it's to remind you of the 1980's.

Recent single Two Doors Down was one of those classic divisive pop hits. Some would appreciate it for what it is (a catchy pop hit) whilst others would probably be unable to look past the obvious 80's sound (complete with gratuitous sax solo) that it undoubtedly represents. Those of you who land in the "hate" category for this one might as well steer clear of MJ, which almost transcends into parody.

Lead single, Young Love, was, on the other hand, criminally overlooked by most, but is one of the better songs on the album. Laura Marling pops in to lend a hand and whilst it may be very much one of those "boy meets girl" style songs, it's one of the better examples of that mini-genre. It's got feeling, which is rare in a modern day pop song and, like the other standout tracks on the album such as Half In Love With Elizabeth and Veiled In Grey, it is completely devoid of cliche.

It's not a trick that they can completely keep up for the entire album and towards the end there is a definite lull. It's not to say that the lesser tracks are awful, but they are overshadowed by the brilliance on display elsewhere.

Still, a good album with a handful of excellent tracks is certainly worth the investment in my opinion.

LIttle Dreamers - Beth Rowley

Beth Rowley has been knocking about for a good few years; is it any surprise that her big breakthrough (this album debuted at number 6 in the UK charts) has come hot on the heels of the 2nd tranche of "Amy Winehouse followers" (Duffy, Adele et.al.)? Perhaps not, but it's no reason to hate her, or be dismissive of what is a decent album.

It's at its best on the more, dare I say it, old fashioned entries. Almost Persuaded with its simple piano backing is a winner, as is her version of Willie Nelson's "Angel Flying Too Close to the Ground" (featuring Peter Wilson of Duke Special fame).

When she, or her producers, try to take things in a more contemporary "pop" route, the gloss adds nothing to the proceedings. A case in point is So Sublime. It's pleasant, but doesn't make enough of the undoubted talent Rowley has.

Flavours Of Entanglement - Alanis Morissette

On the plus side, we can at least rejoice in the fact that Alanis Morissette has remembered how to pack in a tune on Flavours of Entanglement. Indeed musically it is perhaps her most immediate collection since Jagged Little Pill, not that her rabid fans would want to see another review making comparisons to that monster of an album from whose shadow she will never truly escape.

The problem is that her lyrics are as dreadful as ever. Her fans would call them simple and profound, but simplicity in itself in nothing if the insights into her personal life (the album largely concerns her breakup with actor Ryan Reynolds) are surrounded in enough psycho-babble to confuse even the most attentive counsellor.

Still, its a fairly pleasant listen as long as you don't pay TOO much attention to it. And at least she's largely stopped trying to fit a hundred words into a line with only enough room for five.

Angles - Dan Le Sac Vs Scroobius Pip

As good as Thou Shalt Always Kill was, there was always the danger that it would prove to be a one off novelty for Dan Le Sac and Scroobius Pip. That the follow up single, The Beat That My Heart Skipped, made it as my top single of 2007 proved that there was life beyond novelty for the duo, but still the doubts remained. Could they sustain the "phat beats" (I believe that's what they are called these days) and the lyrical witticisms over the course of a full album.

The answer is "not quite" but they come perilously close.

Lyrically, Scroobius Pip certainly has a lot to say and a lot of it is worth listening to. You may not always agree with what he says (although, really, who can argue with "thou shalt not read NME"?) but there is little in the way of banality. And Dan Le Sac matches the brilliance of the lyrics step for step with some amazingly catchy tunes.

Of course not everything hits that spot, and there are a handful of tracks where the skip track function becomes necessary, but overall this is a very good debut album indeed.

And lets face it, where else are you going to find a song dedicated to Tommy Cooper in 2008? And though I know of a good friend of mine who would totally disagree (Hello Jazz Hands) "beauty is more than a nice pair of tits".

Cat Power LIVE

Notoriously a reluctant live performer, it was somewhat of a surprise when I saw that Cat Power was playing in Manchester; indeed her last few visits to this country have seen her play one date in London and then bugger off back home. All I can say now is, it was definitely worth the wait to see her.

In an era where "attitude" is almost a prerequisite for an aspiring musician, Chan Marshall's continuing fragility and near-shyness is a breath of fresh air. For once the music was allowed to speak for itself.

The set list drew heavily on recent covers album Jukebox, and also tossed in varying other cover versions (Tracks Of My Tears, All I Have To Do Is Dream). Not that you would immediately recognise them as cover version, such is the transformation. Few artists could make an iconic a song as New York New York sound as if it had been written just for them. Backing band Dirty Delta Blues Band were in top form although occasionally they threatened to drown Marshall out.

The only complaints were an over reliance on said cover versions and the fact that, for once, an artist gave TOO much value for money. After an hour and a half, people started to drift away and I have to admit that even your esteemed reviewer was looking at his watch and wondering if Marshall had ever heard about leaving your audience wanting more.

Still, it was a night that was hard to beat. Beguiling and refreshingly "showbiz" free; this was certainly a concert to remember.

Perfectly Clear - Jewel

It was perhaps only to be expected that Jewel would deliver a "Country" album; perhaps it's a case of her "making the record she's always wanted to do" (as she suggested with the, I think, unfairly maligned 0304) or perhaps its an attempt to carve out a new audience. Long term it's impossible to tell if this is a single flight of fancy or a concerted move into new territory. Perhaps that will depend on record sales.

Things don't look good with opener Stronger Woman. If you were looking to set down a Female sung Country cliche in four easy minutes, you couldn't go far wrong with this. The sense is one of Jewel playing a Country star, rather than actually being one. It's a feeling that album struggles to shrug off.

Occasionally the pastiche is tossed aside to deliver something genuinely lifting, the main case in point being the title track, even if it seems to be little more than a Country retelling of one of her early hits, Foolish Games. I Do is another one that hits the right spot.

All in all this is far from a terrible album and there is no denying that Jewel has the ear for a catchy melody; the problem is as I've mentioned earlier, you're left with the feeling that she's merely "playing" at being a Country star, right down to the, at times, comedic attempts to effect a southern drawl.

Maybe if Country proves to be a long-term proposition for Jewel, she can get it right next time.

Julianne Hough - Julianne Hough

I'm reliably informed that Country music's Julianne Hough is a two-time winner of Dancing With The Stars in America (and I'm assuming by that, she's a professional dancer); which doesn't really bode well for this album, until one realises that she's not some "past-it" fading star looking for one last pay-day before riding into obscurity forever. Indeed, Julianne is 19, and this is her debut album.

So momentum is on her side, but does she deliver enough to capitalise it? The answer is "not quite" it seems.

There's nothing to particularly dislike on this album, but precious few moments that jump up and grab you by the throat. Occasionally, on tracks such as That Thing In My Head and About Life, you think that she may well have a future, but there's too much in the way of banal lyrics, delivered with complete and utter sincerity, to leave the kind of impression that she would wish for.

Still, she seems a likable soul and could one day deliver something really worth listening to.

The Pink And The Lily - Sandi Thom

It's easy to mock Sandi Thom. I should know, I've done it enough.

But really, was it her fault she was hyped to buggery over the "webcast" thing? Probably not, and it's worth noting that the majority of people who objected to her success on that score will all be fans of other artists who have come to prominence on similar levels of promotion.

Of course none of this makes up for Punk Rocker, one of the worst songs in living memory to have got anywhere near the top of the charts and it is fair to say that Thom has little that stands her out from the pack.

But what she does, she does to reasonable effect. Pleasant enough, without ever really threatening to become a vital listen, Thom does at least have an ear for a melody and certainly has a voice that is better than her detractors would give her credit for.

In the form of Devil's Beat she has at least one good song, but sadly there's nothing on her second album that matches up to that one. Too often, the album is lyrically laughable (and that's most certainly not the intention) and really there's little here that you would seek out for a second listen.

But really, in terms of the dross that is out there, Thom is by no means the anti-Christ some would have you believe. After all, banal lyrics set to pleasant tunes haven't done Coldplay any harm have they?

Bat For Lashes LIVE

A new band and a high-profile Radiohead support slot meant that Natasha Khan needed to take Bat For Lashes on the road for a small handful of "warm-up" shows. I can be eternally thankful that Liverpool was chosen as one of the venues.

Because, quite frankly (and despite not being able to see very much of the stage at all "thanks" to the dreadful sight lines in the Carling Academy 2) this was one of the best concerts I've seen in a long, long time.

The old songs had been given a "beefier" edge, which one can only presume was to ensure that the songs don't get lost in the cavernous stadiums that they'll be playing in with Radiohead, and the new songs, of which there were four, sounded very good indeed. In fact they made it seem as if the follow up to Fur & Gold has chances of surpassing the delights of the debut.

After the show, Natasha was as delightful as ever (and thanks to Alan for taking about two minutes to snap the necessary pictures) and even more than ever you were left feeling that Khan is a national treasure and, once again, just how ludicrous it was to pass her over for the Mercury Prize in favour of the Klaxons.

Girls Aloud LIVE

It's not often a night out entails getting mocked by teenage girls, getting chatted up by a gay bloke and being accused of going out with a 14 year old girl...but what can I say? Strange things happen at Girls Aloud concerts.

It's no secret that I love Girls Aloud; in terms of fantastic pop records, they have few equals. It matters not, to me anyway, that the girls themselves have little to do with the process (they famously disagreed with Love Machine as a single). A fantastic pop song is a fantastic pop song.

But "live" that isn't always enough.

And whilst you cannot deny that the majority of the classics were there, and that the spectacle itself was, well, spectacular there has always been something missing when it comes to Girls Aloud in the flesh. And this was no exception.

From a personality point of view, the girls leave a little something to be desired and so any in-between song banter is perfunctory at best, and as ever the ballad's section was the cue for quite a few people to have their piss-break.

But, the girls looked like they were having fun, the majority of the crowd were having the time of their lives and there was enough quality pop tunes to make it a good night. But, perhaps to the delight of many snobby music critics, the Girls Aloud "live" experience is far from essential.

...Earth To The Dandy Warhols...

Ever since the critically mauled, and poor selling, Welcome To The Monkey House, The Dandy Warhols seem to have eschewed any notion of radio-friendly hits in favour of "out there" psychedelia. Which is something of a sad notion to me. Whilst Monkey House may have been a step too far towards mainstream gloss (although I still think it was an album that had more than it's fair share of moments), Come Down and Thirteen Tales From Urban Bohemia managed to meld catchy melodies with a more "credible" (I use that term under duress) ambiance.

And if their sixth studio album isn't as disappointing as Odditoruim or Warlords Of Mars was last time out, it still can't be said to be a return to form.

As even the worst of the Dandy Warhols back catalogue, Earth To The Dandy Warhols has its moments, primarily The Legend Of The Last of The Outlaw Truckers and Mis Amigos, far too often it descends into what I would probably describe as noise for the sake of it.

Next time around, if I'm still listening by then, I'd appreciate a few more tunes.

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.