Re-working a selection of tracks from both Dummy and the eponymous follow up, PNYC demonstrates how the recorded can translate equally well into the live, given a little inspiration and creativity. Drawing on full string and horn sections and turntablist intervention from Andy Smith, they explore live soundtrack angles, lacing the original versions with measures of Lalo Schifrin, Barry Mancini et al. Although some may be sceptical at the lack of new material, they shouldn't be put off. As the neo-classical sounds of "Glory Box", post rock of "Sour Times", brazen brass jazz of "All Mine" and theremin-led hip hop of "Mysterons" all comfortably cohabit the same place, managing to re-work and re-charm their way into your sub conscious. PNYC is a class delivery from Portishead, from the arrangement and production to the performance and orchestration. -Found Sounds.

The Queen of Pop has done it again and offered her fans and music impresarios alike a musical performance to be remembered. Madonna: Drowned World Tour-filmed in her home town of Detroit on August 26, 2001-is an amazing pop concert and a visually stunning modern-dance and multi-media piece encompassing all the recent incarnations of this chameleon-like performer. Never one to shy away from championing new styles, both in clothes and music, Madonna is still as raunchy as she was on her Erotica tour, but the Drowned World Tour also offers a much more effeminate and intelligent side to her performance. This time we see a Geisha/Japanese performance during "Frozen" and a jokey southern-belle line-dancing romp during "Don't Tell Me". The monarch of performance has also discovered the best way to undergo an elaborate costume change without keeping your audience waiting-simply ply them with stunningly directed music videos on a multitude of screens and hang two solitary male dancers upside down to perform feats of dance perfection. This truly impressive show holds as much for Madonna fans as it does for anyone who is interested in studying modern performance and dance routines-and Madonna is certainly well versed enough to teach in this field with almost 20 successful years in the business. The Drowned World Tour-rumoured to be her last live show-goes to prove that Madonna still reigns supreme. On the DVD: Although the special features are hardly a ray of light-simply an impressive photo gallery and some Web links-the picture and sound on this DVD are excellent. As a champion of all things new Madonna's DVD uses a picture perfect format of 4:3, and superb sound quality: with a choice of Dolby Digital 2. 0, 5. [+]

The delicate, folksy Emiliana Torrini you hear on Fisherman's Woman might not be one you know if you heard her previous record, 1999's Love In The Time Of Science. Recorded with Roland Orzabel of Tears For Fears, it was a pleasant enough listen, but did little to distinguish this Italian-Icelandic chanteuse from the trip-hop competition. Fisherman's Woman, however, is quite different: debuting a rustic edge possibly prompted by the acclaim that met "Gollum's Song", a track that Torrini contributed to the score of Lord Of The Rings: The Two Towers, these tracks harness her gentle, honey-sweet vocals to finger-picked acoustic guitar, gentle wisps of piano, and the chime of xylophone. The work of Nick Drake is a common reference point for music like this, but here it's certainly valid: shades of Pink Moon haunt the perimeter of tracks like "Lifesaver", simultaneously eerie and exquisite in its quiet beauty. The album highlight, meanwhile, comes with "Honeymoon Child" - a track written with Bill Callahan of American lo-fi institution Smog that's as enigmatic - and consequently, as strangely fascinating - as anything he's ever performed himself. -Louis Pattison.

Washington's finest purveyors of hazy downbeat soundscapes have already produced two stoned classics with Sounds from The Thievery H-Fi (4AD) and their DJ Kicks mix on K7! Records. Their latest longplayer walks to the same tempo but with an overall more purposeful musical strut. It's organic for a start, with live vocals and sounds, trading in the slightly sullen slow-mo digi-dub for a more refined and soulful brand of chic. Check the breathless beauty of Marla's voice on "La Monde" and "So Com Voce" as she floats into the spaces left empty on previous Thievery encounters. They manage to wring every half-drop of their main musical influences (dub, soundtracks and bossa) into this beautiful record as it sinks into deep waters, oozing sophistication all the way down. Perfect accompaniment when too spannered to dance, this contains the added bonus of jazzual jungle finale, "Tomorrow" to liven you up from contented slumber just before the CD ends. Sweet like syrup, not chocolate. -Dan Stacey.

Culled from the band's ten year, six album career, Lest we Forget: The Best of Marilyn Manson features some of the greatest rock anthems of the last decade. Opening with "The Love Song" from Holy Wood, it proceeds to the first of a handful of cover songs which have made it as singles. The decadent, beefed up version of Depeche Mode's "Personal Jesus" may not vary much from the original but the band do it the appropriate Goth justice; "Tainted Love" adds a menacing, industrial-glam to the electric northern soul of Soft Cell's version; and the one that broke them into the UK mainstream, "Sweet Dreams" by the Eurythmics sounds as good as ever. So, they do a good cover but it's really the fists in the air crowd-pleasing anthems that back up the band's iconic imagery. The high-energy signature tune, "Beautiful People" and tracks like "Disposable Teens" or "The Fight Song" typify the band's intelligent approach to rock'n'roll posturing. While many may have all the albums already, Lest We Forget is the perfect addition for anyone who likes the odd song but was too fearful to delve any further in the world of Marilyn Manson. -Georgina Collins.