American Music Club
The Golden Age (Cooking Vinyl)
AMC provide a very enjoyable brand of well written electric, folk, rock. Non-intellectually challenged readers may have guessed the band is not from Nottingham, they have in fact recently moved to Los Angeles from San Francisco. The mood of the album is dark, brooding almost desolate but I was saved from reaching for the razor blades by the honest and thoughtful nature of the lyrics and the heartfelt manner in which it is sung. This is what makes the album rewarding, there are no instantly catchy numbers but each song has an individual depth which makes it worth another listen, the more you become familiar with the lyrics the more the album grows on you. The album begins with All My Love, a beautifully well constructed dark ballad with insightful lyrics. This is followed by the more up tempo bluesy Victory Choir. Like all the best ‘dark’ songwriters AMC’s lyrics contain a healthy dose of satire and wit. This is at its most evident in the Windows Of The World, an accomplished piece of lyrical story telling. But the stand out track has to be I Know That’s Not Really You, which sounds like an Oompa band has sneaked into the studio to cheer things up a bit. You’ve got to pay some dues with this album and give a few listens before you can truly appreciate it but I feel its well worth it. Murray Brown
American Music Club Website

Flying Lotus
Reset EP (Warp)
Flying Lotus is the work of one man, Los Angeles hiphop producer Stephen Ellison. Nephew to American jazz artist, Alice Coltrane, Ellison comes from a pretty impressive background and throughout his work it is possible to hear both his hiphop influences and the jazz styles along with other genres including Brazilian and electronica. Reset EP is Ellison’s second release filling the gap between his 2006 debut 1983 and his upcoming new album. The EP opens with the sultry tones of British singer Andreya whose vocals feature on the first track Tea Leaf Dancers, a soulful track laden with bass, there’s a recognisable Portishead sound to it however the repetitive breaks make for not such easy listening, some may find the scratched CD effect slightly jarring over the velvety voice. The rest of the record is fairly light on vocals however the samples that are used along with the delicate beats and synth speak for themselves, like Vegas Collie, where he creates a squelching remix of what seems to be an old computer game soundtrack. He keeps most of the tracks short and to the point, the whole EP lasts only 17 minutes, avoiding the possibility of a song getting long winded and too repetitive. Those that do extend the 4 minute mark do so with purpose, such as Spicy Sammich, where the simple underlying beat and the haunting vocal samples create a fairly voodoo, tribal feel. Throughout Reset Ellison’s use of jerky and hazy beats makes for a great dance recipe, a chilled record with an edge. Helen Weldon
Flying Lotus Website

Happy Mondays
Pills, Thrills ‘n’ Bellyaches (Rhino)
It is easy to see why people hail this album as the Monday’s masterpiece and as something right at the peak of the Manchester scene. Unlike its predecessors, all the tracks on it make for endless listening. The production by Paul Oakenfold and Steve Osbourne is spot on and Shaun Ryder proves his ability as a surreal and developed lyricist. Kinky Afro kicks the album off, based on LaBelle’s Lady Marmalade the low and catchy rhythm provides a backdrop for the Ryder’s reccurring themes of sexuality and menacing threats. There’s something seductive and really appealing about this style. For some reason it lacks machismo, as the feeling of wanting and appreciating a good time are always present in their music. For some people Step On might be seen as the Monday’s signature tune, being such a well put together fusion of dance beats and funk, and encapsulating everything good about the their style. The 5 bonus tracks on this album also provide some interesting re-mixes of these classic tunes. Unlike the collectors edition of Bummed, they ultimately fail to tease out anything new in the music. Perhaps the problem being that it’s hard to add to what’s already there on the album. However, this part of the re-release may be something precisely for collectors who will no doubt enjoy some of the tracks. These involving 12” versions of Loose Fit and Bob’s Yer Uncle and the 7” Euro mix of Kinky Afro. This is definitely an album worth buying to get another taste for the Monday’s creative high point, with this edition thankfully bringing them back into a new era and hopefully a new generation. Kat Hull
Happy Mondays Website

Idlewild
Scottish Fiction- Best Of 1997-2007 (Parlophone)
Perhaps the downfall of many indie bands is the inability to keep their music fresh and appealing, whilst not alienating the hardcore fanbase. In Scottish Fiction, Idlewild not only chart their beginnings as a group of students, but also their rise to a strong band which incorporate many influences with a very distinctive, self-styled sound. The record kicks in with the punchy classic You Held The World, which combines startling lyrics with rushing guitars and a beat that is on the verge of desperate. No Emotion holds the streaming bass riffs that Idlewild use to such a devastating effect. Desperation is a key element in this album. Roddy Woomble’s lyrics are both passionate and whole-hearted. Buried deep within the depths of Love Steals Us From Loneliness is a strong beat that rises from the clasp of fear to grip you while strong guitar and bass top off a sensational song which grips the listener. In Remote Part is a mind-blowing yet thoughtful REM styled anthem. The old skool Little Discourage is a remedy for those sick of the current indie surge whilst As if I Hadn’t Slept could well have influenced such bands as The Coral. Whilst this is a dark, raw album, that clearly illustrates the musical journey that Idlewild have made. Jack Le Sueur
Idlewild Website

Jonah Matranga
And (Xtra Mile Recordings)
And is one of many albums Matranga has written not only as a solo artist, but in two separate bands: Far and New End Original, and from what I have heard, it is no different to other albums he has had to offer. Despite this, it is a real treat for country music lovers. Both the lyrics and the music compositions follow the traditional low key country songs that touch on well-trodden themes. Songs like So Long and Every Mistake – and no disrespect meant here - would be at home on an easy listening compilation CD. The tracks trickle nicely along whilst you cruise down highway 9 in your Cadillac. No surprises then and little variety, except for Not About A Girl Or A Place, which wakes you up from your country slumber with its good ol’ Southern rock beat and heavier guitars and strong drum beat. As soon as that song finishes you are transported back to the relaxed, sunny-day mood with the unoriginal Fathers And Daughters. What makes some of the songs stand out is Matranga’s Thom Yorke-esque vocal gift, a soft and echoic sound, which in combination with the country twang is quite attractive. You particularly hear this similarity in the song Get it Right which could easily be compared to Nice Dream off The Bends. The album finishes with the heart-felt Lost The Found which reflects on his father’s life and his death in jail. It adds a dose of sadness to what is mainly an upbeat, positive collection of songs. It isn’t necessarily a bad album but Matranga tries to play it safe this time offering little change from his previous albums and sticking to the laid-back cruising music we are used to hearing from him. Nothing special but not a disaster of an album. Lucas Mackie
Jonah Matranga Website

Lou Rhodes
Bloom (Universal/A&G)
Bloom is Lou Rhodes second solo album since she split from her original band, Lamb. For anyone expecting the trip-hop/drum n bass of her former band may be disappointed by Bloom. For this album, Miss Rhodes seems to have been inspired by the surroundings of where she currently resides, on a communal farm in rural Surrey. This is because Bloom is full of laid back vocals, tranquil acoustic guitars, and organic beats all wrapped up in a mist of darkness very much reminiscent of Damien Rice. The album starts of gently and slowly opening with the cascading Rain, before hitting its stride with All We Are, which is propelled by a rumbling bass and sharp strings this is arguably the albums finest track. This momentum is carried on through This Love where Lou Rhodes sounds a lot like Sandy Denny, and with They Say which ends with Lou Rhodes' voice being looped over and over. Lou Rhodes' dance past rears its head in the shuffling drums of Greatness In A Speak Of Dust and in the way Icarus slowly grooves. But generally, Bloom is a quality modern day acoustic-folk record that has enough interesting moments to stop it from being bland and self-indulgent like so many albums like this can unfortunately turn out. Blooming marvellous! Paul Klotschkow
Lou Rhodes Website

Passenger
Wicked man’s Rest (ChalkMark)
The vocals and some style of the music are reminiscent of the likes of James Blunt and Snow Patrol. Some of the songs are really upbeat and others are sad and slow, and the lyrics are truely lovely. The songs follow the general themes of love, having strength and relationships. I really like Walk You Home as it talks about a person he likes, the music is upbeat and the lyrics are really sweet since he is describing how he feels! For You has a very Harry Potter theme tune sound to it. Magical whilst at the same time being very mellow and peaceful with a gradual build up towards the crescendo at the end. Wicked Man’s Rest has an addictive range of sounds. Its combination of music and lyrics really work well. In between parts of the song it uses a radio like voice, associated with World War 2. Overall it’s a great album, good to listen to when in the mod to relax and think about different things by yourself. Maria Fafouti
Passenger Website

The Banshee
Public Talks (Suiteside)
The debut album from The Banshee is a trip through punk, indie and funky electro guitar wrapped beats which range from The Clash to Human League. There's a loose feel about the music which lets this album really move through the gears and even occasionally surprise you with the quality in this band. Public Talks is relentless from the outset, meeting the album head on with the high paced Talking On The Phone. The Banshee are a four piece from Genova, Italy who are cutting their teeth where The Hives and Franz Ferdinand have done of late but are certainly looking outside the box. Notably the second track So Long has the first indication of what’s to come with an addictive hook and a punchy vocal followed by Games People Play which moves the album up a notch. This track really does get Public Talks off the ground with an A-Team style guitar groove intro which you just can't help but enjoy. The song goes into the misunderstandings between men and women. The highest point in the album has to be City, this is a track to play again and again, LOUD! The riff at the beginning of this track is fantastic, funky and the song intelligent. You get a real chance to hear the lead singer voice assured and distinctive with a twang you'd associate with Joy Division's, Ian Curtis. Half way through, the build up is gradual and the climax doesn't leave you disappointed but at this point of the album, you're sure it wouldn't. City is polished, direct and thoroughly enjoyable. It's apparent this is a first album, indeed you could imagine them rehearsing in the garage 3 nights a week, but don't let that fool you. The Banshee are here to entertain, make no mistake. Nik Storey
The Banshee Website

Sum 41
Underclass Hero (Mercury Records)
Sum 41, the Canadian pop-punk superstars return this year with their fifth album, the follow-up to their 2004 release, Chuck. I was slightly wary of the album when I first switched it on, but as soon as I reached the third track Speak Of The Devil, I was hooked and haven’t stopped listening to it since. It has a great feel good vibe, though there are some less up-beat songs. The entire album is great, song after song, I was astounded. Their style mimics that of bands like Good Charlotte, Fall Out Boy, The Shins and Greenday who are charting remarkably well. Sum 41 have managed to make an album that is fun and light. It works well to draw your attention like most good pop bands. Underclass Hero is a great album to listen to wherever you are. It is definitely an album that will take time to age. Enjoy it now! It is a mind-blowing collection of songs that is definitely worth listening to. Sarah Iqbal
Sum 41 Website

The Mystery Clocks
The Mystery Clocks EP (The Mystery Clocks Music) All the tracks on this EP have been written to the same formula, some with more success than others. Interesting, upbeat guitar riffs, with syncopated rhythms and harmonies provide the basis to the songs, with nice interplaying parts from two guitars. The same idea is used with the vocals, with textured backing vocals which work well with the lead. However, despite the melodies of the songs working nicely, I can’t say I’m too crazy about the lead’s voice; it grates and drawls sometimes, which spoils the overall effect. I particularly enjoyed More To Life Than Limbs and The Colour Of Her Money, which may be worth a listen. Anna Mackie 
The Mystery Clocks Website 

Jape
Jape is Grape/ Floating (V2)
Jape is, for want of a better word, a bit strange. Despite this, I really like the main song Floating, of which there are five versions. My favourite, being the original. I particularly like the beat which, though simple, gives the track a real pulse all the way through, which the vocals are very effectively layered. The remixes are also very good, the Bobmo remix definitely the best of them. The track Christopher And Anthony is also very good, with a really catchy keyboard loop. Young Man, on the other hand, is more simple and downbeat, and although not bad, doesn’t work as well as the others. Anna Mackie
 Jape Website

Viva Voce
Loves You (Full Time Hobby Records)
Hard to pronounce but easy to listen to, Viva Voce (pronounced Vee-Vah VOH-chay - ‘word of mouth’ in Italian) is the collective name for husband and wife duo Kevin and Anita Robinson, hailing from Alabama, now resident in Portland, Oregon. This eight track album is a delight from start to finish as the two piece creates a sound that is diverse, original and exciting. Sounding like up-beat indie from the future whilst reverently tipping the hat to sixties pop psycadelia, Viva Voce create the impression of a band playing purely for the love of the music. The complex layering of each song is produced confidently and seemingly effortlessly, when Anita dips into the past to borrow a harmony from Mama Cass on The Devil Himself it’s done because it feels right, there’s never a suspicion of them reaching for ideas. As you might expect the pair harmonise with the closeness of husband and wife and this lends a nice human touch to their futuristic rock. Wrecking ball, the opener, skips along with rock and electro perfectly juxtaposed, it then brings itself to a sudden and unexpected near stop before resuming with vocoder softly harmonising with guitar feedback, prodded along by a throbbing bass then steadily rising to a metallic crescendo, awesome. From the Devil Himself just plain rocks in the good old fashion sense of the word. The Centre Of The Universe takes the love ballad to a whole new level of abstract. Luscious, lavishly produced indie-love-pop to make your ears moist. Murray Brown
Viva Voce Website

The Zico Chain
Food (Hassle)
The Zico Chain appear to have a special machine of their own invention that has the ability to synthesise the key elements of trashy, punk and rock and roll from the last 30 years, and produce an amazing sonic formula based on the component parts. The hard working trio from Brighton, manage to combine the sounds of Nirvana, Mudhoney and The Almighty into a fresh proposition that should go some way to blasting the whiney emo wannabees right out of the water. Chris Glithero's vocals are American in their delivery, like Kurt Cobain at his angriest. The riffs are tight and focused, with no song clocking in over three minutes, with direct influence sound-wise coming from bands like Metallica and The Misfits. Their absolute refusal to conform to trend and fashion is admirable and their exilerating range of influences is heartening to say the least, and while this may be no classic, it certainly is a breath of hot, rockin’ air. With an interesting proposition of a mix between metal, punk, and grunge they provide a credible alternative to the endless parade of self-obsessed Fall Out Boy and My Chemical Romance imitators currently clogging the hard rock world with eyeliner and awkward hair. If you’re willing to go over and see the dark and glamorous side of punk, this is a killer album to spend a bit of cash on! This album neither will not disappoint, the songs are all different so there’s bound to be something for everybody. It’s over all too quickly, but the bottom line is judging by how much energy is spent just listening to the band, they are a group to be looked out for this year. Wasey Khan
The Zico Chain Website

Mewgatz
Underfelt (OIB Records)
This collection of songs by Mewgatz, brainchild of Ed McGregor, released by OIB records, contains a bunch of pretty melodies undercut with jarring electronic bleeps and squeals, apparently created by messing up the circuitry of any noise making device that might be found around the studio (or children’s toy box for that matter). It gives a pleasantly disorientating overall effect, like a loved up version of Kraftwerk. The bleeps, at first seemingly irrelevant, morph beautifully into well crafted songs. The contrast between the floaty tunes and the sometimes harsh tone of the mashed up instrumentation is reflected by the witty and occasionally dark lyrics like track two, Arm Control. These gentle sparkling songs can hypnotise you into a narcotic daze, but track three, Speak And Spell wakes you up and keeps you moving with its up beat, fractured keyboards and jumpy, paranoid beats. The vocals are understated and sometimes lost beneath the sound effects, which can start to grate by about track four or five. The final, instrumental track six, Serca however, brings it all together beautifully in a dreamy crescendo that would not be out of place in a chill out room. When I first listened to it and the bleeping started I began to worry, but my fears were soon put to rest. This mini-album has a lovely, homemade charm that you can’t help but like. It would probably be more commercially successful without some of the weirder noises but that’s clearly not on Mewgatz’s agenda, and more power to them. If you’re willing to put the effort into listening you will be richly rewarded. James Ellis
Mewgatz Website

The Checks
Hunting Whales (PID)
This quintet from New Zealand has already drummed up considerable support in the media. Their debut album, is supported by an eleven date UK tour throughout October. The slow drumbeat that announces opener Mercedes Children is soon accompanied by howling guitars, but it all gives way to a bluesy, rhythm-propelled number that is neither impressive nor off-putting. Vocalist Ed Knowles has what can be described as a classic rock voice, which is put to better use on Take Me There. The first single from the album Take Me There does hold itself as a genuinely energetic and rock and roll song, which could have fitted in perfectly next to the rise of the New York garage trend that heralded the arrival of The White Stripes and The Strokes. Almost every track on this record jumps right out of your stereo and pricks your ears with anticipation. Unfortunately the problem is, without fail, once the anticipation has faded your left searching for something, something which it never quite delivers. What You Heard is impressively funky, while the acoustic taste of Where Has She Gone is The Kooks without the sing-a-long chorus. While The Checks are far from a bad band, they fail to keep your attention through a lack of variation. By the second half of the record, songs such as Honest Man and Memory Walking pass without making an impression. By this point the laidback mood of See Me Peter isn’t really what’s needed, though truth be told it is a decent enough track. It also gets incredibly predictable when nearly every offering has a guitar solo slotted in, as if the band feel obligated to take every opportunity available to try and emulate a piece of Hendrix-esque axe work. Completely unnecessary, the consistency becomes a near-annoyance. Like The Vines and Jet before them, it seems as though The Checks are nothing more than a mediocre band being over-hyped and will turn out to be another flavour of the week for the music press. Gareth Vipers
The Checks Website

Stone 3
Songs for the Seven-Eyed Goat (Nick Davis 2007)
This EP was quite surprising as I had not expected to hear electronica and had certainly not expected the laid-back, harmonious simplicity that is Stone 3. Songs For The Seven-Eyed Goat has in fact no lyrics to speak of. The slow, lamenting guitar and occasional drum beat, laid neatly on top of an experimental back-drop leave many of the tracks with a sort of eerie edge to them. The resounding wails in Hoy A create a sort of chill, making you want to look over your shoulder and skip onto the next track. The pipes in Hafod 2 are quite haunting, especially next to the guitar. The EP gets gradually better each time, with all parts fitting together well. Although many of the songs are based around the same chords, and use a similar percussion accompaniment throughout, there is wide variation in the experimental techniques. This means that as a listener, you are not tempted to forward the tracks, as each one develops quite subtly, often shifting into a new section undetectably. As electronica, this album fares well. It uses many experimental techniques tastefully, yet is melodious and has enough movement to keep a listener interested who would not usually opt for this genre of music. However, there is a definite sense of anticipation, as though the climax has not yet been reached, perhaps I was just waiting for the vocals to come in. Abi McKee 
Stone 3 Website 

Puggy
Dubois Died Today (Talkie)
Puggy are a multi-European three piece acoustic rock band who, having played such high profile gigs as Reading and Leeds and opening for Incubus, are ready to try and make it with their debut album Dubois Died Today. The album opens with some fairly ominous sounds but once the song properly starts, it holds promise. Lead singer Matthew Irons has an interesting voice, both strong and emotional. There’s also a very Spanish sound to his acoustic guitar which is refreshing, though it is slightly over powered by the bass. As the record continues it is clear that Irons is a very talented guitarist and the band have a knack for writing some good songs, Times Like These is a particularly ambient lament. Though sadly, as happens with many of the better tracks on the album, the next track is very similar to the point that it’s very easy to miss the change. From We’ll See to the bouncing In The Morning the listener’s attention is likely to waver with perhaps the exception of Yeah Yeah Yeah Yeah! that picks up the pace a bit in the middle. Overall this is a very good effort but unfortunately the songs do tend to run into each other and it’s quite easy to loose interest. The album is a grower, but it’s debatable whether it’ll make the band big, if they are able to write some more catchy tunes they stand a good chance. However, I know that I’d think twice before buying a record form a band called Puggy! Helen Weldon
Puggy Website

Mooncoin
Untitled (Hollywood North Records)
A fairly varied album featuring a strong female vocalist accompanied by a variety of electronic synthesis. Think, The Corrs, remixed with a dance beat for some tracks like Becoming. The Party Song, perhaps the signature track for the album, is up-beat, fast tempo and a generally feel good song. However, it does not give you the desired party feel and generally leaves one waiting for the party drug to kick in. Most tracks seem to meld into one, none being particularly memorable but still leaving me with unmistakable feeling of déjà vu. Break-free was by far my favourite track. The vocals are soft and passionate, with soft piano and percussion backing which compliment the vocals fantastically. It has a melancholy air at the same time as making you feel a great sense of hope; a very folky track that really get you in the mood! The last two tracks are a little more distinct in their pace, being much slower and more reflective than the rest of the album, with the aptly named Good-Bye as the last track. However this last track made me want to rename it 'Good-Bye and Good Riddance'!. It’s hard to place what it is that’s wrong with this track, but I think it could have something to do with the cheesy lyrics that don’t make you want to join in. Overall though, a technically good album. If you like The Corrs or smooth music mixed in with a bit of a dance rhythm, or folk-type music with some percussion accompaniment then have a listen to this and see what you think. Blondie
Mooncoin Website

Kate Nash
Made of Bricks (Polydor)
She’s been classed as a ‘Lily Allen copycat’ with simple lyrics and not much of a future but Kate Nash just kept persisting and now she has a sold out tour and her debut album Made of Bricks reached the top 20 charts. Her songs are all about real life situations and cups of tea with her family which is why she’s been singled out as simple. However, if you really take it what she’s saying it’s not simple, just different. She is completely individual; the first track Play says that straight away. It’s only lyrics are “I like to play...” which repeats several times before her debut single Foundations comes on. I guess you could say she was a little insane, as she sings about her only friend being a skeleton but there is just something really likeable about her. Maybe it’s the fact that during all her gigs she sits with a cup of tea or maybe it’s just her style of writing. However I think, like many other quirky new artists you either love her or you hate her and personally I love her. I think she’s new and exciting and really got something going for her. My favourite tracks are Pumpkin Song and Nicest Thing. It’s really worth buying the album even if it’s only for those to tracks. All the songs are really good to sing along to and although they’re not the best to dance to, you can still try. I really recommend it as a feel good album for anyone who is feeling let down or low about anything really. Megan Johnson
Kate Nash Website

Happy Mondays
Bummed (Rhino)
Originally released in 1988, Bummed is the refreshing second album by The Happy Mondays. The tracks are influenced by other trends kicking off in music at the time and the result is an exciting mood and mix. Shaun Ryder’s droning and threatening lyrics add an extra layer to this already complex ensemble of sounds. The first track on the album Country Song, is a weird parody of a country music and looping instruments with Ryder digressing into surreal references to rednecks and Indians. But it is Moving In With that is the first really exciting song, with Ryder listing characters from Chicken Licken and making them sound completely appropriate to the music. Hallelujah remains an absolute classic on this album with the hypnotic quality of Ryder whining Ha-le-luh-jah. The free form music, fast drums and occasional interruption of electric guitar are set to a distinctly clubbing style. There are some fantastic and pretty dire remixes of Hallelujah on the complementary CD. With tracks that range from cheesy monastic chanting and obvious club beats to a brooding rock piece that brings the menacing irony of the song’s title. Also the version of Lazyitis featuring Karl Denver is really odd and manages to tease out the story of two boys taking different paths in life. This is a collector’s edition that every Mondays fan will be after, but also a good reminder of how innovative this band once were, for those coming to them for the first time. Kat Hull
Happy Mondays Website

Grizzly Bear
Friend EP (Warp Records)
At 11 tracks longs, calling this record an EP is stretching the term a little bit, but then this is by no means a proper cohesive album as it mainly consists of alternative version of tracks from Grizzly Bear's first two albums Horn of Plenty and Yellow House. EPs have always been interesting releases. They can be places that contain moments of brilliance which don't fit on to an album, or can sound messy containing odds and ends that shouldn't fit anywhere. Friend EP is a bit of both. Featuring re-workings of songs from the bands last two releases as well as other acts covering Grizzly Bear tracks, this is certainly a curiosity piece. The things that work, such as the ethereal version of Aligator and CSS's 80s-esque re-imagining of Knife make the Friend EP worth investigating even for those not familiar with Grizzly Bear. When things don't work, such as with the unfinished sounding Granny Dinner or having a second cover of Knife (by Atlas Sound) that is as appealing as rubbing sandpaper across your eye balls, this EP seems a bit pointless. This release is unlikely to win Grizzly Bear any new converts, but as collection of songs to supplement last years Yellow House album it is worth picking up. Paul Klotschkow 
Grizzly Bear Website 

Jackie Balfour
Chip Pan Fire (Cooking Vinyl Ltd)
Chip Pan Fire by Jackie Balfour, is a collection of spoken word stories from Balfour’s days working for his local newspaper, the Glenrodent Gazette, interspersed with contemplative, if sometimes superfluous piano doodling by Michael Cosgrave. Balfour speaks with a wry smile as he recounts tales of local gossip and eccentric characters, occasionally breaking off at a tangent to delve into his childhood, all delivered in a rich Scottish lilt. The stories aren’t extraordinary, but they’re real and there in lies the beauty. To use Balfour’s own phrase, they provide ‘an interesting snapshot of past times.’ This CD has the feeling of the end of a party, where everyone is too mashed to talk, apart from one guy endlessly spinning yarns, perfectly enjoyable, as long as you remember there’s a time and a place. The whole affair is a heart warming exercise in nostalgia, best listened to in front of an open fire on a cold winter’s day. Things liven up a bit on the final three tracks, which are taken from various live albums by Balfour’s ‘evil twin’ Jackie Leven. These are naughtier and more laugh out loud than the rest of the album and track ten, Stupid Local Boasts even features a guest appearance by Inspector Rebus author Ian Rankin. Spoken word might not be the most popular of genres, but this collection of anecdotes is a great thing to stick on when you need to hear a friendly voice and have a gentle chuckle. James Ellis

Alice Rock
Yesterday’s Make Up
9 times out of 10, if you wake up in yesterdays make up it acts as a reminder of the eventful night before and it isn’t always the easiest to remove. Aptly named Alice Rock brings us an album that does just that. After your first listen it won’t be easy to get the infectious pop tunes out of your head and even without a bass it has that B52’s pop punk feel to it. They break the mould in their riotous whirl pool world and never seem short of a new idea. Through out the album there’s a mix of raw girl-punk power as well as catchier pop anthems. When half the tracks aren’t delivering us a rendition of a typical Siouxsie And The Banshees tempo, perfectly shown in Kisses and Mail Order Bride, other songs show off their care free humour. Through out the album you’ll hear Alice Rock singing about having sex in campervans, how her dad is like Hitler and how she’ll never have babies with a rock star. In Gestapo Lady, Medicinal and Mr and Mrs, emphasis is on the music as the pace slows right down in a Cardigans/Garbage fashion. Alice’s voice shines through in I call the tune while other songs rely on the sound of a car engine and tweeting birdsong to humour us. Above all it’s clear what the bands yin and yang philosophy is. They go against the grain of mainstream artists and do and sing what they want, while having a damn good time. Kristi Genovese 
Alice Rock Website 

David Gray
Greatest Hits
Admist all the honey pots of the music world, David Gray has always acted as the marmite. You either hummed along to Sail Away or threw it to the rest of the sentimental sharks in the sea of soppiness. Either way he’s back with his greatest hits and an upcoming tour so if you thought that David Gray days were long you were wrong. LeftLion got its hands on a sampler to see if it would climb to the top of its white ladder or head straight to the January sales bargain bin. Babylon, which reached number 5 in the charts the first time around, intices us with that clean cut minimalist drum beat, which has a frequent appearance in the album, as Gray’s unique voice confidently sings ‘if you want it come and get it’ over the acoustic melody. You’re The World To Me is a bit more upbeat with its major piano chords but you wouldn’t be a genius to guess that he’s singing about love, again. Be Mine lowers the tone in a 2/4 dawdling beat which acts as a soothing lullaby and at this stage its obvious that the lyrics are the most important part of a song for David. Sail Away is nothing short of his folk acoustic sound and it draws us a romantic image of running away with a loved one as he sings the chorus with zeal and you can almost feel the love pouring from his veins. The One I Love is slightly more instrumentally textured than the rest of his tracks while Please Forgive Me puts folk in the back seat with its computer generated ambience. You can imagine listening to is as traffic passes you by on the bus home. So if you fall weak at the knees for soppy lyrics and acoustic guitars than this is the album for you. Kristi Genovese
David Gray Website