A taut, economic album with emotional songs at its heart. Yep, we’re as surprised as you.

This is a pretty bog-standard Ash collection, nothing more, nothing less.

People will tell you Ladyhawke is fresh and exciting. They're wrong. It's horrendous.

The aching sensitivity of many of these lonely acoustic compositions is balanced against an inventive backdrop of instrumentation.

For every misfire, the band hit their target twice.

What it all adds up to is an effective commercial album, littered with potential singles, taking few risks and adding little to hip hop culture.

YACHT don't aim to solve the puzzle of life; they just want you to know you're welcome to party round their house anytime you like.

his new record is a fine one, Nights Out picking up where 2006 debut "Pip Paine (Pay the £5000 You Owe)" left off; styles reeled in and stripped for parts which are reassembled, re-wired, into something oddly-cohesive.

The main criticism of bands built on laptops is that they lack soul but while Telepathe's 'processes' may be intrinsically stylized, tracks like these and the thriving, exhilarating 'Devil's Trident' still carry moments of genuine romance, innocence and drama.

Underneath the goop, the recycled riffs wear thin and there is such lack of songwriting that, though they might get heavy, tracks also get dull quickly. But here's the rub: some of it's catchy and ridiculous enough to be enjoyable.

Bloated, culturally inconsequential and decidedly average, the net result is a band getting far too high on an over-inflated sense of self-importance to the deafening chimes of cash registers the world over.

Some of the songs here are forgettable in the extreme.

Few debuts are as intriguingly addictive, physically compelling or effortlessly hip as this.

Underpinned throughout by the kind of melancholic edge discovered on radio friendly ode to smack 'Under The Bridge', and punctuated by a spontaneous, back-to-basics feel, it's an album that sees the Chilis revitalised.

Mainstream, bleeding-heart balladry, tempered by slightly outre arrangements.

Last year's 'Bleeps Tune' proved conclusively that he could do drum & bass better than anyone else around, 'Solaris' proves that he has the nerve and range to go beyond it, continuing to source new sounds and create rewarding albums. The best, you feel however, is yet to come.

The Lemonheads 2006 may not be breaking any new creative ground, but they couldn't sound in ruder health.

All in all, this a whimsical, unhurried and enchanting effort.

Sliced in half, Kelis' fourth album would be twice as good. As an EP it would be perfect. But in it's current incarnation, it's one to cherry pick from your favourite download store.

On the whole Pivot seem hesitant to surrender anything of themselves--they've sacrificed the time taken to craft the whole dextrous thing, of course, but the temptation is to see that as slightly indulgent when there seems little attempt to ensnare the ears of others.

All in all, 'Flowers' is simply too nice to be up there with the Bunnymen's finest work, but a worthy record, if only for the few great tracks you will find within.

It's a cruel world in which a Nelly sells more records than the Blastmaster KRS but what 'Nellyville' makes abundantly clear is that its creator won't be leaving a fraction of his foe's proud mark on hip-hop once the dust settles on the frantic promotion of this record.

OK, so it’s not Norah Jones dinner party territory and there’s enough torturous mayhem to gratify their faithful ‘maggots’ but there’s equally a contrived nature underlying the habitual havoc.

Computers & Blues doesn't match up to The Streets' visionary early promise, and there are a few songs which sound sketchy and half-hearted. But when it works, it's a reminder of what a tender, articulate and original voice Skinner has been in British pop, and how sorely he will be missed.

In their attempt to induce dreams, though, too much of Alpinisms is a laptop-gazing wash out, neglecting the intensity required for this kind of thing, and "Prince Of Peace" inhabits a disturbing world where Enya might front an electronically-enhanced baggy band.

Underpinning all these is a formidable talent for beats and synths most audible on glacial instrumental '10,000 Horses Can't Be Wrong.' It's this that makes Temporary Pleasure so strong and tightly knit and it's the reason it has enough minor-key disco stomps to keep us dancing all through autumn.

A quirky lo-fi wonder or the best album the '70s never had, "The Garden" feels like a lost gem, discovered in a box in the attic; a forgotten masterpiece full of tantalising sounds, odd voices and tingling ideas.

For the most part "No Need To Be Downhearted" is a gorgeous record - big music full of small touches.