Seventh Tree unveils an Alison Goldfrapp quite different to the one we saw on her career highpoint to date, 2005's Supernature. Whereas that album was grandiose, glammy, and almost aggressive in its brash, thrusting sexuality, Goldfrapp's fourth album is no less sensual, but rather more subtle in its approach. Recorded with longtime collaborator Will Gregory out in rural Somerset, Seventh Tree feels like an attempt to fuse the pagan folk of cult English horror classic The Wicker Man to a lush backdrop of woozy electronics and a restrained orchestral sweep reminiscent of '70s-era Serge Gainsbourg. In practise, this means much of Seventh Tree goes where earlier Gainsbourg disciples such as Air have gone before: chilled-out, soporific electronica with a light organic edge. Luckily, Goldfrapp remains a compelling enough figure to keep matters on the right side of ethereal: the gorgeous "Clowns" imagines the Cocteau Twins' Liz Fraser guesting on some long-forgotten Nick Drake out-take, rustic folk with an all-but-indecipherable vocal and an undercurrent of desolation, while "A&E" shows Goldfrapp's pop urge has not deserted her, uplifting electronica with a warm, bucolic twist. -Louis Pattison.

Led Zeppelin frontman Robert Plant and bluegrass crooner Alison Krauss may not be the likeliest of musical combinations. But on this welcome collaboration album, they work beautifully together, wringing a kind of magic from other people's songs. The key to the album is its versatility. Between them, Krauss and Plant can handle a vast repertoire on their own, and here they take on the lot, from folk laments and country soul to searing blues and upbeat rock & roll. Overseen by Elvis Costello producer T Bone Burnett and backed by high caliber musicians like guitarist Marc Ribot and multi-instrumentalist Mike Seeger, Raising Sand sees the duo create stellar covers of songs by Tom Waits, Townes Van Zandt, Mel Tillis and The Everly Brothers, among others. Highlights include a killer version of Roly Salley's "Killing the Blues", and a cover of the Plant-Page collaboration "Please Read the Letter," though in truth, it's difficult to find a weak spot on the whole album. -Danny McKenna.

Amy MacDonald is that proverbial old head on young shoulders, a Scottish singer-songwriter who, despite her tender 19 years, writes songs with the grace, wisdom and proficiency of one with a score more on the clock. As influenced by The Libertines as any venerable old folk hand, the eleven songs on This Is the Life combine a traditional, acoustic folk-rock sound with a youthful spirit and self-assured lyrics that veer between the observational and the confessional. "Poison Prince" is a jagged guitar strut dedicated to some Doherty-like bad boy, a song every bit as pathos-laden as The Libertines at their doomed, romantic best with a closing treatise to find "An upbeat song/So we can dance the night away", while "Mr Rock & Roll" begins as a wryly withering jibe at some perennial party animals, but by the chorus, has softened into a subtle, touching tale of human coupling. MacDonald's age doesn't seem to have been an impediment; "Youth of Today", reportedly written when she was 15, is one of the better tracks here, while "Footballer's Wife" is a clear-headed attack on vapid Barbie Doll celebrity that suggests this girl is very much on the right track. "Rolling Stone, here I come, watch out everyone/I'm singing my song" she sings on "Let's Start a Band". Let that be a warning to you. -Louis Pattison.

It's hard to imagine someone even younger than 19-year-old Laura Marling making a splash on the music scene, but 16-year-old Australian singer Gabriella Cilmi is doing a pretty good job. Having smashed apart stereotypes of innocence with her killer single "(There's Nothing) Sweet About Me", Cilmi (pronounced "Chill Me") now offers a debut that's not only lyrically and emotionally mature, but boasts the kind of potent musical content guaranteed to propel you towards the dancefloor. Lessons To Be Learned is a diverse bag. Produced by Xenomania (Girls Aloud, Sugababes) it's seemingly influenced by everyone from Stevie Wonder and the Kings of Leon, though it'll inevitably draw the most comparisons to Amy Winehouse, thanks to Cilmi's soaring vocals, the record's modern-Motown feel and Xenomania's bright, punchy production. Opener "Save The Lies", though, is nothing like Winehouse-a big, in-your-face disco-stomper with a massive irrefutable chorus. The record drops from there into sultry soul territory with tracks like "Sanctuary", "Einstein", and "Safer", and more upbeat fare such as the electronic "Don't Wanna Go To Bed Now", rocky tracks like "Messy" and the bluesy "Cigarettes And Lies". These stylistic diversions set Cilmi apart from the rest of the 'new soul' brigade, and help give her a voice of her own. -Danny McKenna.

Remarkably Home Before Dark is the first US chart topping album of Neil Diamond's forty year career. It appears to repeat the formula behind 2006's acclaimed 12 Songs-relatively understated arrangements and a subtle Rick Rubin production. But Diamond, though sixty-seven years old and the oldest recipient of a Number One so far, is no Johnny Cash, turning his unique voice to some well chosen contemporary material. Instead Home Before Dark is a collection of new Diamond songs, and though they might not match the boomers in his back catalogue they are hardly stripped back. These are songs designed to fill large venues alongside the showstoppers in Diamond's still energetic live show. "Pretty Amazing Grace" is in the great tradition of Diamond songs that defy their corniness with sheer catchiness, as is "One More Bite of the Apple" while "Don't Go There" features bracing backing vocals and a delightfully dated wobbly guitar hook. The duet with Natalie Maines, "Another Day (That Time Forgot)", would fit comfortably on American country radio while "The Power of Two" sounds like another hit in waiting. In fact this is more a conventional Diamond collection than a Rick Rubin production, dominated by lightly understated country rock arrangements played by a crack team including Smokey Hormel, Heartbreakers Benmont Tench and Mike Campbell and the usually experimental Matt Sweeney. This is a charming and consistently solid set, though Home Before Dark does lack the unexpected intensity that made 12 Songs stand out so. -—Steve Jelbert.

Apart from the non-release of Smile, the biggest lament of hardcore Beach Boys fans is that Bruce Johnston aside, none of the non-Brian Wilson solo albums are available on CD. But now, for fans of late drummer Dennis Wilson, there's reason to celebrate as his only-released solo album gets the reissue it deserves. Widely acknowledged as the finest Beach Boys solo effort, it's now presented with clarity, allowing the full sonic palette-the punch of opening "River Song" for example-to be heard in its intended glory. Wilson's raspy vocal may have been past its prime, but it's still affecting and ably supported by the sumptuous production values he gave the album. With high quality tracks such as the funky "Dreamer" and the poignant "Farewell My Friend", this will appeal to anyone with even a passing interest in The Beach Boys, as well as a delight for hardcore fans as the unreleased tracks (from the unfinished follow-up Bambu), easily match the original's quality. While the disappointing absence of earlier singles ("Lady" or "Sound of Free") prevents this from being a definitive career anthology, this is as essential a Beach Boys artefact as Pet Sounds or Sunflower/Surf's Up. -Thom Allott.

It's very likely that even if you haven't heard the contents of Radiohead's seventh album, you'll be aware of its existence. Released as a digital download by the band themselves before a CD release was even considered, In Rainbows was lauded for innovation before a note of music was heard. Luckily, the music matches the hype-it takes the best part of Radiohead's previous works and advances the formula even further. While the opener "15 Step"-all skittering drum patterns and dub-style bass-may hark back to the electronica of Kid A, the sound soon gives way to a more guitar-based sound. Whilst not as musically heavy as previous albums, the tunes are far more focused and passionate-"Bodysnatchers" is based around a hypnotic, distorted bass riff, while the beautiful string-drenched "Nude" is a true Radiohead classic. Lyrically, like Thom Yorke's solo album The Eraser, the lyrics are sketches of suburban paranoia, and the eerie sense of things no! t being quite right. This is especially true on the piano-based closer "Videotape", which poignantly details a man watching his life's achievements in his final moments. In short, In Rainbows is another masterpiece from the Oxford quintet. -Thomas Allott.

Anyone looking for the key to ABBA's enduring appeal should look no further than "Voulez Vous" and "Gimme! Gimme! Gimme! (A Man After Midnight)" for their answer. There was an innocence to the Swedish quartet, even when they were singing about one-night stands and the invitations to them. Gold establishes that the band, while appreciated as campy, were actually multifaceted in their execution. "S. O. S. " has a raw urgency in its chorus, and "Does Your Mother Know" draws its energy from classic 1950s rock & roll. Likewise, you don't have to be Priscilla to swoon over "Mamma Mia" or "Dancing Queen". And when it comes to drama, those soaring vocals on "The Winner Takes It All" turn the song into a bitter anthem of every relationship that has ever fallen apart. The much-covered "Lay All Your Love on Me" is practically epic. [+]

What once seemed Queen's greatest liabilities-a preening flamboyance and pompous, overwrought theatricality-have ironically become their most enduring charms in a grey, postmodern pop-music landscape. While it eschews the glammy, pre-punk hard rock of live faves such as "Stone Cold Crazy" and "Tie Your Mother Down" for the band's more quirky club-beat string of latter-day hits , this 51-track triple-CD anthology goes a long way toward documenting the true dimensions of the band's music and fame. It even includes some solo work by Brian May and Freddie Mercury, whose duet on "Barcelona" with diva Montserrat Caballé transcends boundaries of both time and genre. A previously unreleased live performance of "The Show Must Go On" featuring Elton John on vocals is also included. -Jerry McCulley.

Newton Faulkner has toured with Paulo Nutini and James Morrison. You hear this fact far more often than you have to-it might have made sense to expose his palatable acoustic tinkerings to those massive audiences, but that association leaves too simplistic an impression. He specialises in partially progressive, free-willed folk-pop that is on one hand too cosy and warm for mass consumption-there's only so much space around the beach campfire-but on the other it's so accessible, so infectious, so feel-good that how could it not be headed for every other car stereo in the country, windows rolled down (weather permitting). It's not cutting edge by any stretch of the imagination; he constantly reminds of the acoustic balladry of 90s soft-metal bands Extreme and Mr Big (or at least the songs "More than Words" and "To Be with You") via modern day peers like Ben Harper, but Newton Faulkner comes with a fertile imagination and an enjoyably flexible range to dress that foundation up. His gravelly cover of Massive Attack's "Teardrop" is notable and Jack Johnson's a good reference for the percussive plucking of tunes like "Gone in the Morning", "To the Light" and "Feels Like Home". There are very few 17-track albums that couldn't be improved by losing six tracks, but the consistency on Hand Built by Robots is admirable and hints at a long term talent. -James Berry.

If, like most of the pop-listening public, you heard Timbaland's chart-topping remix of OneRepublic's single "Apologize" before you heard the original, you may be mildly confused about what kind of music the band makes. Timabaland's signature electronic swizzles and "eh-eh-eh"s leave the impression that OneRepublic is a style-heavy outfit a la Maroon 5, but frontman Ryan Tedder's plaintive words and woebegone themes don't fall far from forerunners Keane, Coldplay, and the Fray. Dreaming out Loud chisels away at the dichotomy. "Apologize", stripped of its swizzles, is a gorgeous modern rock song made all the more gorgeous by the urgency in Tedder's striking, unscuffed voice, and a lot of the songs on this record stack up similarly. Which is to say that, although tracks like "Tyrant" and opener "Say (All I Need)" wrap themselves around some seriously stylish production, substance is really this band's thing. A piano played by turns ferociously and tenderly drives the point home, and so do some choice lyrics; if you are inclined to choke up at feelings laid bare, check out "Goodbye, Apathy" and "Come Home" at your own risk. -Tammy La Gorce.

To say there has been a lot of anticipation for Coldplay's fourth album, Viva La Vida, is an understatement. Having enlisted legendary leftfield producer Brian Eno, borrowed their album title from a painting by renowned Mexican artist Frida Kahlo and made tantalising remarks about sonic reinvention, the world has been curious (to say the least) to hear what the `new' Coldplay might sound like. Viva La Vida definitely makes some departures from the band's usual formula, which happens to be one of the most commercially successful rock-pop blueprints of recent years. The plangent chords, emotive melodies, stadium-rock rhythms and universal lyrical concerns remain, but Martin and co. have gone out on several limbs here, incorporating instrumental tracks ("Life In Technicolour"), using subtle North African and Latin elements ("Yes", "Strawberry Swing"), and overhauling previously strict verse-chorus-verse structures in favour of slightly more avant arrangements. The old Coldplay still shine through (see tracks like "Violet Hill" and the title song) but even their classic sound feels more muscular and confident. The band's new flourishes, cosmetic and self-conscious as they may be, are enough to make Viva La Vida a welcome break from the old routine-Danny McKenna.

The two-disc retrospective The Essential Leonard Cohen traces the Canadian bard's musical maturity from poet and novelist who sang a little, to multidimensional artist whose oracular vocals and increasingly rich arrangements are every bit as compelling as his verse. Even when Cohen came to prominence through the 1960s songcraft of "Suzanne" and "Bird on a Wire", the "folksinger" tag never really fit. Later highlights ranging from the deadpan drollery of "Tower of Song" and "Everybody Knows" to the apocalyptic anthemry of "First We Take Manhattan" and "Democracy" suggest that other labels might be more appropriate: cabaret surrealist, spiritual gadfly, sensual prophet, agent provocateur. Cohen chose the selections, drawing more than half of the 31 tracks from three landmark albums-his 1967 debut Songs of Leonard Cohen, 1988's I'm Your Man, and 1992's The Future-along with four from 2001's Ten New Songs. The collection justifies its title as deep as it goes, though it's a shame that Cohen's commercial profile couldn't justify the more elaborate box set his artistry warrants (one that would at least include lyrics and musician credits). Those who sample the consistently inspired music here might come to the conclusion that everything Cohen records is essential. -Don McLeese.

Martha is the youngest of the Wainwright clan (with brother Rufus two years her senior), and she's also still the one with the most to prove, even after her eponymous 2005 debut captured hearts aplenty via a delightful bundle of timeless folk ruminations with intriguingly fraught seams-and one infamously foul-mouthed diatribe against her father (folk singer Loudon Wainwright III). It's hard to know whether the family association does her more harm than good, but what is certain is that sophomore album I Know You're Married But I've Got Feelings Too is as complex and emotionally tumultuous as its title and lays to rest any doubts regarding the reach of her artistry. From lavish psychedelic arrangements in "Tower" to "You Cheated Me" and "Hearts Club Band" which gush with the slick country-pop of Fleetwood Mac, to "So Many Friends" and "Bleeding All over You" alternating between Kristen Hersh's husky folk persona on one hand and Kate Bush's gallivanting tonsils on the other, all the way to "Niger River" which quivers and ebbs, fluttering between peaks with eastern trace-like qualities, she sounds both utterly liberated and firmly in control. It's a more challenging experience than the first record, but covers so much more ground and is richer for it. In spite of the title it can surely no longer be a case of always the mistress and never the bride. -James Berry.

Is there anything which screams the 1970s most indelible pop cultural clichés-more than the Swedish pop phenomena Abba and their Definitive Collection? While many a pundit snootily dismissed them during their prime as some sort of prefabricated aberration, their worldwide popularity peaked somewhere just south of Beatlemania. Indeed, Abba's music was as finely tooled and crafted as anything to come from a Volvo or Ikea factory -if occasionally more economically potent. This double-disc, 37-track anthology comes neatly on the heels of Mama Mia, the smash, if unlikely, stage show based on the band's hits, and documents every single released by the band's Polar label in their home country was as well as key tracks released as singles elsewhere internationally. When you hear the term "Europop," this is the canon from whence the term sprang. With a continental sense of vocal neo-classicism, informed by just the right ethnic clichés (and oft wed to the era's insistent 4/4 disco beat) to make songs like "Mama Mia", "Fernando", "Chiquitita" and "Voulez-Vous" work on a global scale, the writing team of Bjorn Ulvaeus/Benny Anderson and their respective partners in music and life, Agnetha Faltskog and Frida Lyngstad, developed the seamless, wall-of-sound productions contained herein. Definitive Collection features a rare single remix of "Ring, Ring" and a 1979 promo-only extended mix of "Voulez-Vous" as bonus tracks, as well as a concise, illustrated history of the band and each track. -Jerry McCulley.

Rush-released in secrecy, the story goes that The Raconteurs wanted their album to appear in shops without any fanfare, as if it had always been there. It didn't work that way, but Consolers of the Lonely can certainly lay claim to being an album that is at once familiar and accessible-indeed, it won't be long before it'll seem like an indispensable part of your collection. The two opening songs lay out the sonic blueprint with a loose, rocking feel exemplified by overloaded lead guitar lines, fuzz bass and huge drums, with plenty of dynamic interplay between the vocals. Like Lennon & McCartney at their best, it's often hard to tell who is singing until one or the other takes the lead, while their dual guitar playing approach is similarly twinned, all ably supported by a rhythm section that's both nimble and powerful. Despite the strong offerings throughout, the best is saved until last with "Carolina Drama", a Jack White-led murder story-song that threatens to collapse under its own weight until the singalong ending breaks the tension. In short then, a huge improvement over the slightly underwhelming debut, and as good as anything else produced by the band's individual components. -Thom Allot.

Anyone looking for the key to ABBA's enduring appeal should look no further than "Voulez Vous" and "Gimme! Gimme! Gimme! (A Man After Midnight)" for their answer. There was an innocence to the Swedish quartet, even when they were singing about one-night stands and the invitations to them. Gold establishes that the band, while appreciated as campy, were actually multifaceted in their execution. "S. O. S. " has a raw urgency in its chorus, and "Does Your Mother Know" draws its energy from classic 1950s rock & roll. Likewise, you don't have to be Priscilla to swoon over "Mamma Mia" or "Dancing Queen". And when it comes to drama, those soaring vocals on "The Winner Takes It All" turn the song into a bitter anthem of every relationship that has ever fallen apart. The much-covered "Lay All Your Love on Me" is practically epic. [+]