A return to quieter, more familiar Eels territory.

The most obvious comparison for 'Tomorrow Right Now' is Roots Manuva's 'Run Come Save Me' and the UK's bouncement brigade. And the comparison is a favourable one all round.

50 Cent's skills are better suited to the nagging digi-loops of inevitable smash single 'In Da Club', the steel drum roll-out of 'P.I.M.P.' and '21 Questions' - perhaps the track most like something that you might have found Tupac or Biggie at work on in their prime.

Greater things may well be in the pipeline for The Kooks, but this is sadly lacking in anything to fall - or indeed remain - in love with.

Where she was once a gutsy folk-pop mature-student, tailor-made for the modern-day Radio 2, she now has the power and arrangements to begin approximating the diva she tried to sell us when collecting Brit Awards for her debut album mid-decade, punching the air for women in pop and attempting to align herself with Kate Bush.

It's a wonderful, kaleidoscopic groove-fest that has nothing at all to do with a world in which Oasis still hold sway.

Folie A Deux is entertaining in moderate doses, like its predecessor "Infinity On High", where the band gleefully abandoned any last pretence to edginess.

Crucially, CSS skilfully weave references not only to our OK magazine neurosis but the last few decades of music too, with a sophisticated mash of indie, '80s pop, disco and electro.

The overall impression is of an album that you’d never be ashamed to own but wouldn’t necessarily feel the need to play all that often, either.

He's turned his gaze back on himself and created a record that brilliantly summarises and even critiques his own past.

Lighter, brighter and yes, more colourful than its predecessor.

Not tonally consistent enough to work as an ambient record, not sufficiently solidly written to really grab your attention as a suite of songs, Leila's comeback nonetheless numbers some arresting moments worthy of your attention.

LFO's gift is an ability to strip Detroit's electronic music of its soul, punishing any soft southern edges with a brutal attack of noise, while still managing moments of subtlety and consistently adventurous beat programming.

Here's the '80s revival long plotted by style journalists given an accessible alt-rock face, a deftness missing from most of the arid purveyors of sexy robot music.

Harping on in their own innocuous, oblivious manner, like the shy cousin of Squarepusher the four music makers have succeeded in creating a selfishly inviting album of great beauty and delicacy.

If the hardcore fanbase feel a blanch coming on, this isn't all wilful eclecticism gone mad. King's work is The Fall's unifying factor that keeps it cohesive.

The viscous, darkly choppy, sexily fulsome and ferociously hard-driving blend of post-punk and country noir that distinguished their long-playing debut, "The Repulsion Box" is still evident, but it's matched with a bracing new breadth, dynamic diversity and myriad light/shade variations.

The Stones in 2005 sound fresh and re-invigorated.

This is a much more satisfying album than 'The Velvet Rope', even if most of the songs are overlong and a few juggle satin sheet-cliches with self-help ones to numbing effect.

Couples is simply a successful attempt to sound both different and better.

Don't be fooled into thinking it's the big American names that are carrying this record, because her lyrical wit, seductive soul vocals and Brit charm offensive prove she is strong enough to punch above her weight.

Certainly, it's by far the best album of his career to date--proof that going it alone was a decision that most certainly paid off.

The result is the best end-to-end Wu-Tang Clan album since their debut, 15 years ago.

It's just not ambitious enough, lacking the impact to draw new fans in while just about satisfying those already captivated by the band’s admirable class.

Dog In The Sand' is unquestionably Frank Black's finest solo album.

Such a ratio of misses to hits was not expected but, all things considered, this is still one of the best electronic-based albums you're going to hear this year.

All told, it's pleasant to actually have a buzz album that lives up to expectations; long after people stop talking about them, this album will still be a surprising and compelling listen.

On paper then, Finding Forever has the dubious distinction of being the equal of "Be". In practice, its jaded formula falls someway short of the genuine energy of its predecessor's finer moments.