The resurgence of rock in most aspects of popularmusic has certainly not gone un-noticed by LemonJelly's Fred Deakin and Nick Franglen as 64-95is littered with epic guitars and explosive refrainsnestling amongst the downbeat soul for which they arebest known. Opener, "Come Down on Me", is tense, fiery and for themost part dominated by the partnership of crashingpower-chords and a lead synth that, while not abig-beat tune, wouldn't sound out of place on an oldLo-fi's or Chemical Brothers album. However, foranyone missing the sugary sweetness of LostHorizons, most of the album is business asusual—strict drum patterns and rolling, mesmeric loopsof lush strings, acoustic guitars (that sound great ifa little bit cheesy) and lovable bass hooks. "MakeThings Right" sums up a great deal of the music withits summery melody and reserved mid-tempo groove, thistrack being particularly reminiscent of classicNightmares on Wax. Among the deviations in formula are"The Shouty Song" which comes across as some sort ofharsh, contemporary jig and "The Slow Train" thatutilises a barber shop quartet to fantastic effect. From start to finish 64-95 is pretty muchdevoid of filler (the weaker tracks only being weakdue to other songs being better!) and it culminates inthe wondrous epic "Go", with the beat poet talents ofWilliam Shatner building to a crescendo that'll sendanyone home with a smile on their face. Another great collection that isn't too radical adeparture but doesn't rest on past successes, pushingLemon Jelly forward at their own pace. -David Trueman.

Scorpio Rising follows the same approach as Death in Vegas' remarkable predecessor, The Contino Sessions. Richard Fearless and Tim Holmes corral a host of special guests to populate their barbed soundscapes and their knack for finding the perfect environment to bring out the best in their chosen guest is as sure as ever. Liam Gallagher excels himself on the title track, inspired by cult filmmaker Kenneth Anger's celebrated movie, Paul Weller brings just the right measure of disdain to a simmering version of Gene Clark's "So You Say You Lost Your Baby", while Hope Sandoval's sultry tones bring a sensual glow to the storming finale "Help Yourself". Throughout, Indian violinist Doctor Subramanian helps flesh out the eclectic but perfectly tailored backing tracks. Fearless and Holmes display the sort of insight that would be the envy of any record company A&R department. -Gavin Martin.

Garry Cobain and Brian Dougans (FSOL) were the brains behind the evergreen classic "Papua New Guinea", which was first featured on Accelerator, their debut LP. In fact, Dougans had already written the hit "Stakker Humanoid" (under the name of Humanoid) but it was as Future Sound of London that he really gained crossover credibility. Accelerator is an apt title for this continuous mix of rhythmically propelled tracks. A real "journey" album, it takes in not only the lush, escapist tropical vibe of "Papua New Guinea", but also the melancholic "While Others Cry", the sharp strings and slender hooks of "Pulse State", and a heap of feistier tracks such as "It's Not My Problem", "Moscow", "Calcium" and "Expander". A well rounded, well produced and well memorable album, Accelerator deserves its classic status and will appeal to those who like music for cerebration as well as celebration. -Paul Sullivan.

Appropriately named, Morning Dove White is an album of songs to be listend to after: after getting home from the club; while recovering the morning after ; or after going through a heavy session with Primal Scream's Screamadelica. Originally branded as ambient-pop thanks to Dot (formerly Dorothy) Allison's ethereal vocals, One Dove's songs actually have a bit more substance than the label would imply, and the very title of the album's second track, "White Love (Guitar Paradise Mix)"-not to mention it's My Bloody Valentine-wail of guitars-should've put the very idea to rest from the start. Produced by Andrew Weatherall (who did so much of Screamadelica) and engineered by his co-horts from the Sabres of Paradise, MDW is a trippy, heady mix of guitars, keyboards and vocals that sounds ahead of its time even five years after its release. -Randy Silver This Scottish trio offers the most commercial expression yet of the current U. K. obsession with spacey ambient "chill out" music, as practiced by The Orb and Sven Vaith, among others. While much of the dragged-out, slow-paced material here suggests Bananarama on downers, the Stephen Hague remixes of, "Breakdown" and "White Love" say their piece and sign-off quickly. -Jeff Bateman.

Prior to the breakthrough success of their second album, "Vertigo", Groove Armada [Tom Findlay and Andy Cato] were better known as successful club DJs, plying their trade in clubs the length and breadth of the country, from Tangled in Manchester to The End in London. For their first mix CD they eschew up-tempo dancefloor tunes in favour of a far more laid-back repertoire-think "At The River" rather than "If Everybody Looked The Same". Back to Mine is an eclectic mixture of classic and modern-from Barry White to Tears For Fears stopping at all stations along the way. Unlike many of these compilations, there's not a duff track on there, with stand-out tracks like Al Green's "Light My Fire" and Tony D's "Piano Grand" the cherry on the icing on the cake. Vertigo was justifiably lauded as the "Best Chill Out Album" at the Ministry Magazine Awards in 1999-Back To Mine is a worthy heir to the throne. -Helen Marquis.

Justice is the moniker of the Paris-based production duo Gaspard Augé and Xavier de Rosnay. Their approach to crazy-quilt dance-pop hybridism is infectious, if a tad off-putting here and there. The duo rose to fame due to an MP3 single and super smart video for the excellent, kiddy-chorused house-pop number "D. A. N. C. E. " in 2007, and they soon thereafter signed to the suitably named label Banger. They manage to make really silly and fun music in a way that frequently comes off in a pretentious manner. It's ridiculous to name your album after a symbol, especially if it's †. [+]