The concept of LA as a 'Sunblessed City of Angels' is trite, co-opting another's song for the theme tune lazy, and much of what follows resembles a Beach Boys tribute band.

It's Elvis (or Mr Diana Krall as he's also known) in fine, lovelorn country form.

They might be no longer going through the motions, but those moves seem awfully familiar.

On this relaxed and cohesive set, Van's band fall into simple and graceful grooves and play like a proper group, not hired hands.

With neither the sugar rush of "Hot Fuss" nor the blustery thrills of "Sam's Town," this is the Killers' most beguilingly strange record. As an accurate reflection of its frontman, it succeeds handsomely.

Rick Rubin produces; a mixed blessing.

In a musical climate awash with just-above-average singer-songwriters, Elton is still among the brightest exponents of what can be done when you combine piano, voice, melody and heart.

The result, typified by the rousing 'Oh! Vanity' and emotive 'This is the End', is a melodic and hard-fought triumph.

Brave, but forgettable.

Although still flying the party flag, their hectic mash-up of house, disco and hedonism is no longer quite so thrilling, even with help from Santigold.

Her new dance album – her 11th – is a brilliant collaboration with the likes of Basement Jaxx and the Scum Frog.

It's a way more focused album than usual.

What Smith sees in goth-metal is a mystery but, sure enough, the final third of 4:13 Dream is studded with the sort of big-haired, suffocating fluff ('The Scream', 'It's Over') that has blighted his band's reputation in recent years. A shame because, at best, when they reconcile themselves to the fact that they are essentially a pop act, albeit one whose dark side is more pronounced than most, the Cure are as thrilling now as they were in the Eighties.

'My Dearest Friend' ("I am going to die of loneliness I know / I am going to die of loneliness for sure") is among the most tender tunes that Banhart has produced.

While James Dean Bradfield's melodic gifts shine through on occasion, particularly on first single 'Your Love Alone is Not Enough', this is a pedestrian retread of former glories.

The first disc contains all the major American radio hits, but at no small price. It's all craft and very little heart. Disc two, then, comes as welcome respite.

AC/DC have stuck to their guns with electrifying results.

Often harrowing, although Williams's emotional odyssey finds resolution on the title track.

Though it may occasionally be a little too skittish for its own good, Which Bitch? confirms that the View are a band with a vibrant imagination and an abundance of ideas. For that reason alone, their return is very welcome.

Her new album lays into her ex-husband with devilish choruses and potent hooks.

Now working below the corporate radar, the venerable producer's sound is thinner, but still effective, especially given the presence of old stagers like Redman, whose rhymes ('When I run out of ink I kill another octopus ') are as addictive as the retro backdrop.

It's a much cleaner, subtle, more uplifting sound, but one which, ultimately, is a little devoid of personality.

There's a tasteful shimmer over all the tracks.

John Frusciante has carved out a parallel world as a solo artist over a series of intensely personal and brilliantly realised albums. His 10th, The Empyrean, is his most ambitious to date.

Happily, Slipknot can pull in these directions and still maintain a new standard of bone-crunching intensity . There are louder metal bands in the world, for sure, but the Iowan nine-piece continue to make the most noise.

So let's hear it for Living With a Tiger, which makes a point of scrambling everyone's tastes. Not since Jr Walker & the All Stars in the 60s have a sax-led band reached out and communicated as Wareham does on Gratitude, which is apparently informed by grime.

Tankian has always got one more surprise up his sleeve. But his scatter-shot approach does not detract from the acuity of his polemical insights

It's also about love, loss, the British urban landscape, laughing at yourself, great guitars, exciting chord changes, tight rhythms, the Stones-Who-Kinks-(Small) Faces-Clash-Jam-Smiths-Happy Mondays-Stone Roses-Oasis-Blur history of Britrock, rich, simple production, songs with layers, a really good band and a singer who has relocated his voice.