Ocean Colour Scene - Moseley Shoals

By the time Ocean Colour Scene released their debut album in 1992, they were already considered has-beens. The band had formed during the height of Madchester, but they never released their first album until the scene was already dead, which left them without a following. But between their debut and their second album, 1996's Moseley Shoals, a strange thing happened -- the band was taken under the wings of two of Britain's biggest pop stars, Paul Weller and Noel Gallagher. The band suddenly catapulted back into the spotlight because of its superstar connections, but the music actually deserved the attention. Ocean Colour Scene had spent the time between their two albums improving their sound. On Moseley Shoals, they are looser, funkier, and have a strong, organic R&B vibe that was inherited from the Small Faces and Weller's solo recordings. They sprinkle Beatlesque and Stonesy flourishes throughout the album, as well as the odd prog rock flair, adding an even more eclectic flavor to their traditionalist pop/rock. Ocean Colour Scene are still developing their songwriting skills -- the sound is more impressive than the songs throughout Moseley Shoals -- but their second album is an unexpectedly enjoyable record.(get away)

Television - Marquee Moon

Originally released on Elektra (1098). Includes liner notes by Alan Licht. New York's 1970s punk was markedly different to that of Britain. Rather than reject the past, American groups deconstructed its forms and rebuilt them with recourse to the music's strengths. Television's leader, Tom Verlaine, professed admiration for Moby Grape and the folk rock of early Fairport Convention. Elements of the latter appear on this album's title track, which offers a thrilling instrumental break, built upon a modal scale. Verlaine's shimmering guitar style provides the set's focus, but his angular compositions are always enthralling. A sense of brooding mystery envelops the proceedings, and Marquee Moon retains its standing as one of the era's pivotal releases. (Venus)

The Smiths - The Queen Is Dead

More than any of their other albums, The Queen Is Dead represents the elegance, craftsmanship and humor for which the Smiths are remembered. Opening the album, the explosive title track is filled with vintage punk-era iconoclastic rage, wherein Morrissey tears at the very fabric of the British monarchy atop the howling feedback and swirling chords of Johnny Marr and the pounding fury of Rourke and Joyce (whose punk roots were never so apparent). The Queen Is Dead also contains some of the band's most disarmingly beautiful work. "There Is A Light That Never Goes Out" bears a lush accompaniment and utterly miserable lyric, while the chiming, heavenly atmosphere of "The Boy With A Thorn In His Side," as convincing an ode to the sensitive outcast as has ever been penned. "Bigmouth Strikes Again," the album's most recognizable tune, is a dizzying adrenaline rush. And the upbeat tunesmanship of Marr was never in sharper contrast with Morrissey's lyrical ire than on the bouncy, wistful "Cemetry Gates." (Marr, Mozz, Rourke, Joyce)

Manic Street Preachers - This Is My Truth Tell Me Yours

At the time of its release in 1998, This Is My Truth Tell Me Yours was the Manics' most commercially successful album to date. It included the singles "Tsunami," the brilliantly unwieldy "If You Tolerate This Then Your Children Will Be Next," and the soaring "You Stole the Sun From My Heart." Despite its success, this album remains true to the anarcho-punk socialist ethic, as the song titles "If You Tolerateà" and "I'm Not Working" indicate. Combining trademark social critique and despair with an equally typical high quality of songwriting, there is plenty here to occupy the discerning listener, and though "mature" can often denote a kind of mixed praise, this album could be described as such, in only the most positive way. Songs are more varied and melodic than those of previous albums, making This Is My Truth Tell Me Yours more accessible, but without sacrificing any of the band's searing intelligence and passion. One can only be thankful that the Manics did not keep their promise to do just one album and then disappear.(Tsunami, Tsunami...)

Mogwai - Rock Action

From the opening static surge of "Sine Wave" to the majestic closer "Secret Pint," Rock Action is Mogwai at its best. For this 2001 album, the Scottish post-rock band reigns in much of the bombast of earlier recordings, opting for melody and texture over all else. Guitarist Stuart Braithwaite contributes more vocals than ever before, though they're often hushed or heavily treated, and Super Furry Animals frontman Gruff Rhys lends his voice to the haunting "Dial: Revenge." While the ominous, amped-up "You Don't Know Jesus" is the closest that the record comes to living up to its cheeky title, Rock Action's true highlight is the gorgeously chiming nine-minute mini-epic "2 Rights Make 1 Wrong." Throughout the album, Dave Fridmann's sterling production calls attention to the dynamic arrangements, allowing fascinating sonic elements (including strings and horns) to emerge from Mogwai's three-guitar/bass/drums lineup. For most Mogwai fans, Rock Action stands as one of the band's finest moments, and for newcomers, it's an excellent point of departure.(nice band check it out, living waters)

Scissor Sisters - Ta-Dah

The Scissor Sisters' self-titled 2004 debut proved the band to be postmodern recombinant wizards of the first order, mixing the hookiest elements of pop history with tongues planted firmly in cheeks. The group's sophomore effort, Ta-Dah, builds on many of those same references, including flashy glitter-ball disco, accessible 1970s AM pop, glam rock, and almost any artist who has crafted dramatic, danceable jams with a knowing wink. When not mining familiar vibes from the Bee Gees ("I Don't Feel Like Dancin'") and Elton John ("She's My Man"), the Scissor Sisters reference Blondie ("Kiss You Off"), Paul McCartney (the music hall-esque "I Can't Decide"), and Stevie Wonder (on the funky tune titled, ironically, "Paul McCartney"), among others. But it's the way the Sisters throw these elements together that lifts them above jokiness and into the realm of pure, celebratory fun. And it's this--along with the album's sharp sense of craft-- that makes it superior to its predecessor.(She's my Man)

Dead Can Dance - A Passage In Time

Though tracks from most of the band's albums are represented (only those from its 1984 self-titled debut are omitted), the bulk of the tracks appearing here were originally on The Serpent's Egg(1988) and AION (1990). It also features two tracks that were recorded specially for this collection, "Bird" and "Spirit," both of which subsequently turned up on the vinyl version of the band's next studio album, 1993s Into The Labyrinth. Among this collection's standouts are "Saltarello," which was adapted from a 14th-century piece of Italian dance music and played on bagpipes, drums, and tambourine; "The Host of Seraphim," with hyper-sustained organ notes under a spectacularly echoed vocal by Lisa Gerrard; and "Enigma of the Absolute," featuring one of the best examples of Brendan Perry's genuinely affecting vocals along with a tempered, pulsing percussive line. A Passage In Time is an excellent place to examine Dead Can Dance, though it really only scratches the surface of this band's fascinating cannon. (A Passage In Time)

Nouvelle Vague - Bande A Part

It was something of a small miracle that the first Nouvelle Vague album managed to avoid the seemingly inherent kitsch of covering new wave classics as slinky bossa nova. Unfortunately, the group doesn't quite pull it off the second time around. Bande a Part has several songs that meet the standard set by Nouvelle Vague: "The Killing Moon," "Dance with Me," and "O Pamela" translate well into bossa nova ballads and manage to keep the songs' and the singers' dignity intact, while the Cramps' "Human Fly" sounds nearly as mischievous -- and a lot more elegant -- in Nouvelle Vague's hands. There are also a few downright silly moments. The version of "Pride (In the Name of Love)" feels like it's trying to be as serious as the original yet flip at the same time, and ends up failing on both counts, while "Dancing with Myself" sounds more like a reinvention of Lou Bega's "Mambo No. 5" than of Billy Idol's hit. Mostly, however, Bande a Part just sounds like an uninspired rehash of Nouvelle Vague. The covers of "Ever Fallen in Love," "Heart of Glass," and "Shack Up" aren't embarrassing, but they aren't especially interesting, either. Considering Nouvelle Vague's popularity, it's understandable why the people behind the project would want to try to repeat their success, but it's too bad that it wasn't left as a singular, pleasant surprise. (Let me GOOO!)

Arctic Monkeys - When The Sun Goes Down

Hailing from Sheffield, England, the Arctic Monkeys gained a devoted live following soon after their formation in 2003, well before any major record labels had a clue about their existence. Released in advance of their eagerly awaited debut album, When The Sun Goes Down is an EP featuring a trio of the band's U.K. B-sides. It displays a Ray Davies-style songwriting sensibility, which, combined with the Monkeys' improbable youth, conjures memories of 1970s teen punk prodigies the Undertones, if the Undertones had been into U.K. and U.S. hip-hop, Oasis, System Of A Down, and Queens Of The Stone Age.( arctic donkeys)

I Am Kloot - I Am Kloot

Rainy days were made for melancholic, textured, and gorgeously conceived albums like I Am Kloot's self-titled disc. Leaping ahead of the mellow folk-rock of the band's debut, Natural History, this follow-up not only expands the group's sonic palette, it raises the bar on the overall quality of songwriting and performance. Alt-country shuffle ("Untitled #1"), heavy psychedelic rock ("Life in a Day"), dark jazzy noir ("A Strange Arrangement of Colour"), and ghostly ballads of self-reckoning ("Mermaids") are only a few of the styles wrapped in I Am Kloot's sophisticated guitar/bass/drums arrangements. Any release this aurally striking would merit notice, but it is John Bramwell's songwriting that truly distinguishes the album. Introspective, unrelentingly melodic, and full of profound observation and detail, Bramwell's compositions immediately capture attention, whether via haunting folk ("Here for the World") or Revolver-esque pop ("3 Feet Tall"). Although Bramwell builds the band's sound on familiar ground (Bob Dylan, Nick Drake, Joy Division, and the Verve are all touchstones), the intelligence, subtlety, and beauty here make I Am Kloot an album to own, and its namesake a band to watch. ( From Your Favourite Sky)

Candlebox - Candlebox

Candlebox rode the alternative bandwagon to the top of the charts with their self-titled debut album. Taking the heaviest moments of Soundgarden and Alice in Chains and adding both the confinements of a pop song and the attitude of album rock, Candlebox managed to sell over two million copies of their first album. Nothing on Candlebox is particularly catchy -- the singles "You" and "Far Behind" are the closest they come to memorable melodies -- but there is enough sheer riff power to satisfy fans of their singles.
(Oh My Gawd!)(Oh Yeah!)

Sneaker Pimps - Bloodsport

As they began work on their second album, the Sneaker Pimps released the limited-edition remix album Becoming Remixed. Although it isn't as cohesive as Becoming X, it's a surprisingly successful effort, balancing B-sides and previously released remixes with four previously unreleased cuts. A number of major names -- including Armand Van Helden, Roni Size, Perfecto and Eli Janney -- have worked on the album; only a few cuts, such as Van Helden's "Spin Spin Sugar -- Dark Garage Mix," offer drastic new interpretations of the original versions, but even the slight variations are intriguing and entertaining, making it the rare remix album that's worthwhile for listeners who aren't hardcore fans. (Love is just a Bloodsport)

Woven Hand - Consider The Birds

For the majority of Consider the Birds, Edwards truly embraces the "solo" tag by performing every instrument, but on select tracks, such as the tensional dirge that opens the record, "Sparrow," Eugene employs a tasteful yet powerful band as a counterweight to his more blatant experimentations. It is a testament to Edwards' vision that over the course of its 40 minutes, Consider the Birds never feels schizophrenic, since the album constantly flirts with an unfocused recklessness. Drones and tom-heavy percussion abound on songs such as "Oil on Panel," and Edwards often saddles them up with fractured samples, melodies that tease dissonances, and his strong yet quavering voice. The whole concoction then circles around itself like a rickety, wooden roller coaster filled with coincidental assemblages of complementing sounds. One can't help but wonder how overwrought Edwards must be when he's practicing his music, but Consider the Birds once again affirms, no matter how emotional and extended he might be, Edwards never seems to be toting an empty heart.(Fear Is A Man's Best Friend)

Great Lake Swimmers - Bodies and Minds

Listeners who felt drawn to singer/songwriter Tony Dekker and fellow Swimmers tales of northern woe the first time around will likely find the more band-oriented Bodies and Minds to be an improvement. Like the Cowboy Junkies before them, the tracks were recorded in a church (the previous release found the group crammed into a silo), resulting in an intimacy that feels both peaceful and urgent. Dekker's vocals are less shaky this time around, and his glorious falsetto, which salutes Thom Yorke, Neil Young, and Will Sheff (Shearwater, Okkervil River) without ever coming off as derivative, bounces off of the cathedral walls with such quiet grandiosity that one barely notices the subtle banjo, electric guitar, and brushed snare drum that propel it. Granted, the Swimmers songs and overall style are by no means ground-breaking ("Let's Trade Skins" and "Various Stages" echo the Scud Mountain Boys with their deep Wurlitzer underbelly, while "Song for the Angels" sounds like a Red House Painters song circa 1993), but they're well on their way to cementing them with both feet into the "wet as a highway during mayfly season" sadcore genre.(Bonnie & Clyde)

Ben Folds - Rockin' the Suburbs

Superficially, there's not much separating Ben Folds' first official solo album, Rockin' the Suburbs, from his records with Ben Folds Five. It's hard to note any difference, really, since he still works from the same vantage point, borrowing equally from new wave, '90s irony, and a love of classic pop. Still, there is a difference, even if it's hard to pinpoint -- perhaps it's an increased focus, perhaps it was a hot streak from Folds, or perhaps the Five really were more of a group than they seemed and he's benefited by working according to his own patterns. Regardless, Rockin' the Suburbs is as good a record as any he's made, possibly his best. It's still possible to hear his influences -- Joe Jackson still stands out, as do elements of Billy Joel and Todd Rundgren -- but there's no shame there, and he's accepted it as part of his musical personality so much that it sounds like him, even when it sounds familiar. Better still, he's tempered his tendency to be a collegiate wiseass -- it pokes through on the title track, but that's the rare time that it's brought to the forefront -- which helps his songs shine brighter. And while there are no surprises here to anybody familiar with his work, it's a remarkably consistent record, filled with great mid-tempo pop tunes and nicely sentimental ballads. It's simply a good, solid record that captures Ben Folds at his most engaging, and that's more than enough. (Is that enough?, that enough, that enough!)

Wilco - A Ghost is Born

With A Ghost is Born, Wilco continues in the melancholy and experimental direction of the preceding Yankee Hotel Foxtrot. Those intrigued, if not downright fascinated, by Wilco's transformation from a no-frills alt-country group to an unpredictably inventive avant pop ensemble will find plenty to marvel at on this fifth outing. "At Least That's What You Said" begins the album quietly with Jeff Tweedy's ragged voice singing softly over a gentle piano line, but the song soon gives way to gloriously tattered guitar soloing and full-band backing. "Hell Is Chrome" follows with Tweedy taking on a surprisingly plaintive vocal tone that hearkens back to 1970s soul ballads, while the nearly 11-minute "Spiders (Kidsmoke)" glides along on Krautrock-like keyboards and features more fierce guitar work. This isn't to say that Wilco has abandoned its sense of melody and pop songcraft, it's just that the group has found new ways to express these aspects of its sound. A Ghost is Born continues Wilco's remarkable streak of innovative albums and upholds their reputation as one of America's most adventurous rock bands. (Muzzle of Bees, and many others)

Patti Smith - Twelve

I've to agree with Modern Music, this is not a great cover album. Some is good, some is awful. "Definitely the songs love to be in Patti's hands, but songs don't deliver something very good or very bad. Mostly Patti's admirable sing style rescues herself from being at dull moments expect cover of "Smells Like Teen Spirit". This Nirvana cover has one of most dull moments in "Twelve", adding slow tempo to original energic rock song with a boring banjo. And Twelwe's best cover song is absolutely a classic by Jefferson Airplane, White Rabit. Plus "Pastime Paradise" which is originally by Stevie Wonder has been a great closing song." (you get 1, you get 2)

Porcupine Tree - Metanoia

Originally released in 1998 as a limited-edition double 10", Metananoia collects several instrumental studio jams Porcupine Tree recorded during the 1995-1996 sessions for its Signify album. These outtakes are widely considered to be some of the band's most experimental and spacious work ever. The 2002 CD reissue includes two bonus tracks, remastered sound, and expanded artwork. Included are all three parts of "Mesmer" and two parts of the title track. [ Though he initially came to wider attention (at least in the U.K.) with No-Man, his long-running collaboration with Tim Bowness, throughout the 1990s, singer/guitarist Steven Wilson has gained as much of a reputation for Porcupine Tree.] (Love them)

Modest Mouse - Good News for People Who Love Bad News

The Dirty Dozen Brass Band offers the opening fanfare for Modest Mouse's sixth full-length, Good News for People Who Love Bad News , a fitting intro for the outfit's most majestic record to date. On their prior major-label recordings, the (formerly) indie icons opted for wandering, spacey arrangements to accompany Isaac Brock's magnificently obtuse poetics. Good News revives the immediacy of the band's earlier releases, but furthers the production values (without too much polish), and out pours some of the most commanding pop-rock imaginable. The first single off of Good News was the wonderfully catchy "Float On," with its syncopated, disco-like beat and Zen simplicity exemplified in the opening line "I backed my car into a cop car the other day. Well, he just drove off. Sometimes life's okay." Brock's trademark wistful vocals rest on the music as well as they ever have, equally at home on the serenely beautiful "The World at Large" and the choleric, Pixies-esque "Bury Me with It." The album closes fittingly with a visit from alt-rock royalty, as the Flaming Lips drop by on the sublimely sweet "The Good Times Are Killing Me." (tattoo boy)

Primus - Sailing The Seas Of Cheese

Primus' major label debut (and third release overall), 1991's Sailing The Seas Of Cheese had a long chart life, eventually being Primus' first release to go gold and break the band to a wider audience. Basssist/singer Les Claypool's bizarre sense of humor runs rampant through out--igniting such tracks as the stomping "Here Come the Bastards," the "Full Metal Jacket"-esque "Sgt. Baker," the explosive "Jerry Was A Race Car Driver," and the long and winding "Those Damned Blue Collar Tweekers." Also featured was a new version of "Tommy the Cat," featuring Tom Waits on vocals. Regrettably, Sailing The Seas Of Cheese was Primus' last truly classic release. (Primus)

Kaiser Chiefs - Yours Truly Angry Mob

Whereas the Chiefs were out carousing in the pubs on their debut, Employment, this record finds them largely hung-over and reflective, with the quintet even going so far as to title Yours Truly Angry Mob's moody closing track "Retirement." Although there are energetic moments here--most notably, the catchy, synth-laden lead single "Ruby"--nothing approaches the gleeful furor of "I Predict a Riot" or "Na Na Na Na Naa." Providing an integral thread from Employment is renowned producer Stephen Street, who, having worked with the Smiths and Blur, proves to be adept at balancing lively anthems with melancholy numbers. In fact, AngryMob serves to reinforce the Chiefs' Blur comparisons, with frontman Ricky Wilson often bringing to mind a scrappy young Parklife-era Damon Albarn in spirit, if not in voice. Though some Kaiser fans may be put off by the less-than-giddy proceedings, the more introspective approach suits the group surprisingly well, making for a mature and intriguing second outing. (Idiot Chiefs)

The Wallflowers - The Wallflowers

As part of the mid-'90s revival of roots-rock, the Wallflowers held a special connection to one of the original inspirations: vocalist/songwriter/guitarist Jakob Dylan. Though he is the son of a legend, Jakob's similarities to his father are occasional -- in fact, the Wallflowers are more influenced by Tom Petty & the Heartbreakers than original '60s folk-rock, though lyrically, Jakob remains a close companion to the original Dylan.

The Wallflowers' eponymous debut album is a little too studied and underwritten to make much of an impression, yet there are enough promising moments to suggest that the group was capable of the lean, contemporary folk-rock that made Bringing Down the Horse such a winning record. (little boy, little boy)

Happy Mondays

Queens Of The Stone Age - Lullabies to Paralyze

This lineup effectively blew other heavy-rock acts out of the water, and seriously raised the band's profile. By the time of 2005's Lullabies to Paralyze, however, Oliveri had acrimoniously departed the group, while Grohl and Lanegan had returned to their own projects, leaving Homme as the sole member. Admirably, Homme plows ahead on Lullabies to Paralyze with the assistance of multi-instrumentalists Troy Van Leeuwen and Alain Johannes and drummer Joey Castillo. Lanegan returns as a guest on the haunting opener, "This Lullaby," and his gravelly vocals provide a fitting link between the old and new QOTSA incarnations. Homme wastes no time getting to his intense brand of riff-heavy rock with the amped-up one-two punch of "Medication" and "Everybody Knows That You Are Insane." Elsewhere Homme conjures up moody, mid-tempo songs, most notably "Burn the Witch," a lumbering tune that features Lanegan and ZZ Top's Billy Gibbons. While it would be nearly impossible to top Songs For The Deaf, Homme sticks to his strengths on Lullabies, and the result is another fierce rock record.(Lanegan)

Patrick Wolf - The Magic Position

Standing at 6 feet 4" tall with a shock of bright red hair, 23 year old Patrick Wolf is something of a statement even before he opens his mouth. His two albums to date – 2003's Lycanthropy and 2005's Wind in the Wires – have showed him to be more than a pretty face, however, with songs that strike an attractive balance between the imaginative and the indulgent. His third album, The Magic Position, is undoubtedly Wolf's 'pop' moment. The rollicking romp of "Get Lost", the upbeat "Accident and Emergency," and the celebratory title track all underline new levels of accessibility and – dare we say it - optimism. There are hints of the old Wolf too of course, especially in the eclectic choice of instrumentation and the off-kilter song arrangements; for every pop-perfect track there's a slice of raw darkness ("Bluebell,") casual introspection ("Augustine") or sidereal rock-tronica ("The Stars"). Less a dramatic re-invention than a sideways turn into the world of adult emotions and mainstream accessibility, The Magic Position is nonetheless Patrick Wolf's most accomplished work to date.(Magic Position)

Radiohead - I Might Be Wrong

So you're one of the most innovative, admired bands in the world. Your last three albums have been among the most glorified and scrutinized in post-Beatles rock history. What's your next move? In the case of Radiohead, that crucial next move proved to be the live album I Might Be Wrong, which documents the intense performances of material from the last couple of albums and gives the envelope-pushing creative team a much-needed breather before unveiling their next masterpiece. Not that I Might Be Wrong bears the slightest hint of filler or contractual obligation; these fever-pitch versions of cuts from Kid A and Amnesiac add much to the band's legacy. From the driving, Can-like bass line of the opener "The National Anthem" through "Like Spinning Plates"'s moody, piano-led majesty and the quirky, minimalistic electronica of "Idioteque," Radiohead is at the peak of its powers here. These European concert dates find the band employing its vast array of sonic weaponry in the service of a forward-looking vision that I Might Be Wrong catches in an exciting sonic snapshot. (how can i be wrong, you love rindie)

The Stone Roses - The Stone Roses

Manchester's most likely to, who escaped independent status after a lengthy court battle, signed to Geffen and then promptly disappeared for five years. They came back, and then went pop. Quite simply, their debut album is a superlative record. A Byrds-like listlessness caused listeners to swoon in wonder and slip quietly beneath the surface. 'Waterfall' and 'She Bangs The Drums' were sublime and quietly brilliant, 'I Wanna Be Adored' teased with its epic intro, and, of course, created incredible and impossible pressure for that all-important second album. A classic album, already seen as one of the finest records of the '80s. (little boy boy, lost and blue!)

Sean Lennon - Friendly Fire

On his second album--released eight years after the well received Into The Sun--Sean Lennon displays a talent for memorable tunes and varied arrangements that create a surprising amount of momentum despite the overall mid-tempo mellowness. Moods shift gently from the unhurried, synth-driven "Parachute" (which echoes Radiohead) to the ragged folk-rock of "Headlights," with its killer off-kilter chord progression, to the haunting "Spectacle," which makes surprisingly subtle use of a string section and Hammond organ. In the eight years between albums, Lennon's voice matured into an expressive instrument capable of nuanced crooning as well as more straight-ahead piano-pop balladry. His songcraft also shows a leap in sophistication, as demonstrated on "Friendly Fire," whose compelling, ascendant melody gives way to a powerful full-band chorus. The second disc of the set contains videos for each song on the album, rendered with as much sensitivity and creativity as the music.( this album depresses you)

The Cranberries - No Need To Argue

With their surprise success behind them, the Cranberries went ahead and essentially created a sequel to Everybody Else is Doing It, So Why Can't We with only tiny variations, with mixed results. The fact that the album is essentially a redo of previously established stylistic ground isn't apparent in just the production, handled again by Stephen Street, or the overall sound, or even that one particularly fine song is called "Dreaming My Dreams." Everybody wasn't a laugh riot, to be sure, but No Need To Argue starts to see O'Riordan take a more commanding and unfortunately much more self-conscious role that ended up not standing the band in good stead later. Lead single "Zombie" is the worst offender in this regard -- the heavy rock trudge isn't immediately suited for the band's strengths (notably, O'Riordan wrote this without Noel Hogan) -- while the subject matter -- the continuing Northern Ireland tensions -- ends up sounding trivialized. Opening cut "Ode to My Family" is actually one of the band's best, with a lovely string arrangement created by O'Riordan, but her overdubbed vocals start showing her distinct vocal tics becoming a bit more gimmicky at the expense of the performance. Where No Need succeeds best is when the Cranberries stick at what they know, resulting in a number of charmers like "Twenty One," the uilleann pipes-touched "Daffodil's Lament," which has an epic sweep that doesn't overbear like "Zombie," and the evocative "Disappointment."(no no no no no no!)

James Dean Bradfield - The Great Western

The 2006 debut solo album from the Manic Street Preachers vocalist garnered rave reviews by the UK music press. While he had only contributed lyrics to MSP songs "Ocean Spray" and "Firefight", Bradfield indeed wrote the majority of lyrics on this project and all the melodies, which are rich and pleasingly catchy, as you might expect. Fellow Manics bassist/lyricist Nicky Wire contributed lyrics to "Bad Boys and Painkillers" and Bradfield covers the late Jacques Brel�s "To See A Friend In Tears". Fellow Welsh band member Daf Ieuen of Super Furry Animals frequently appears pounding the skins on several cuts. The title likely refers to the Great Western Railway, which seems to be reflected on the album's cover art. Bradfield refers to his journeys from South Wales to London on the GWR in the song "Emigre". Lest you think this is the end of the Manics, think again. As Bradfield expounds on his blog, this project has only served to bring the trio closer than ever.(i love Manics)

Tracey Thorn - Out of the Woods

A quarter of a century is a long time to take to release a second album, but that's how long it took Everything But the Girl's Tracy Thorn to issue her sophomore solo outing, 2007's Out of the Woods. Though not a radical departure from EBTG, the record distinguishes itself as a more dynamic showcase for the British singer's gently emotive voice, with tracks ranging from the giddy synth-pop of "It's All True" to the beautifully sullen "By Piccadilly Station I Sat Down and Wept." (Everything but the boYZ)

Klaxons - Myths of the Near Future

Klaxons are at the forefront of the "new rave" movement in the UK (along with the group S**tdisco) and have been widely trumpted in the music press for their stew of cosmic imagery, avant-garde awareness, dizzy melodies and raging energy. The word "klaxon" is derived from the Greek word meaning "to shriek". "Light the bridges with the lantern,� says Simon, ever wide-eyed and passionate, quoting from their song "Forgotten Works", �You know something�s going to happen�. Their best known tracks are included, the majority of which are re-records of the originals with "Atlantis To Interzone" boasting additional production and a better mix. The re-recordings all add something special to the original demos presenting a wonderful truly classic debut.(Do you like the band?)

Tangerine Dream - Madcap's Flaming Duty

Kate Bush - Aerial

Since the 1980s Kate Bush has shouldered the unhappy burden of having to live up to her own brilliance: albums like The Dreaming and Hounds Of Love set a high watermark for shimmering, adventurous, off-kilter pop. In the 12 years that transpired between the releases of 1993's The Red Shoes and 2005's Aerial, expectations ran high that Bush had something monumental in store. Aerial does not necessarily meet those expectations, but that is not to imply that it's a lackluster release either. A double-disc set that encompasses a collection of songs about domesticity (the first disc, A Sea Of Honey) and a conceptual suite that details the passing of a day (the second disc, A Sea Of Honey), Aerial is ambitious, lovely, intensely personal, and marked by Bush's unique approach to music-making. The fierce edginess of The Dreaming-era Bush is replaced by deep meditations on family life ("Bertie"), familiar chores ("Mrs. Bartolozzi"), and the cycles of time ("Sunset"). Bush's gentle singer/songwriter mode is combined with jazz, rock, classical, electronica, and other elements for a musical experience that sustains her reputation as one our most adventurous and distinctive artists.( you love rindie1, yes you do2)

Bjork - Drawing Restraint 9

An unconventional and somewhat challenging soundtrack to the work of a singularly strange filmmaker, Bjork's score for her partner Matthew Barney's Drawing Restraint 9 takes the Icelandic performer's already adventurous aesthetic to new extremes. While a few tracks featuring Bjork (or, in the case of "Gratitude," Will Oldham) on vocals vaguely resemble her more pop-friendly outings, much of this album is steeped in avant-garde atmospherics that include lilting harp passages (the aforementioned "Gratitude"), ominous brass interludes ("Hunter Vessel"), and even haunting Japanese Noh singing ("Holographic Entrypoint"). Although Drawing Restraint 9 may perplex some listeners, those patient enough to follow Bjork down almost any path will find plenty to appreciate here. (Hong kong Garden)

Siouxsie & The Banshees - Tinderbox

With their 1984 release, Hyaena, Siouxse & the Banshees dropped more than just a few hints that they were entering very melodic territory (their cover of the Beatles' "Dear Prudence," etc.). And they delivered on their promise with their follow up two years later, 1986's Tinderbox . The Banshees also took a detour from the challenging and unpredictable arrangements that they had been indulging in on their past few releases to a more back to basics approach, where the song structures were more straightforward. But make no mistake about it, this wasn't easily digestible pop 'product,' the lyrical themes of certain songs (namely the modern dance pop of "Cities in Dust" and "92 Degrees") contain all sorts of disturbing imagery. Other highlights include such eerie compositions as "The Sweetest Chill" and "Lands End," as well as "This Unrest" and "Party's Fall." When Tinderbox was issued on CD, the tracklisting was expanded to include four bonus tracks, including an 'extended version' of the aforementioned "Cities in Dust."( Face to Face)

The Shins - Oh, Inverted World

The Shins appeared out of the middle of New Mexico as if by magic, though they had been around for a while under several other names on several different labels. In a landscape of boy bands, pre-teen chanteuses, and nu metal, the literate, '60s-influenced jangle of the Shins' debut seems a bizarre anomaly. This is indie rock that channels Love and Creation rather than the Ramones and Sex Pistols. Standouts include "One by One All Day," with its Space Invader intro, rattling drums, and retro keyboard solo, the gentle "Weird Divide," which highlights James Mercer's Brian Wilson-esque voice, and "Your Algebra," with its echoing vocals and guitar arpeggios. Arguably, the album's best track is "New Slang," which begins with the lines "Gold teeth and a curse for this town are all in my mouth/Only I don't know how they got out." For listeners with a computer, the disc also contains a charming if very low-fi video for "New Slang." (This band sucks, but the album is good)