Try your ears on these...

NEVER seemed right to me that Goldfrapp seemed to peak in popularity with their electro workouts on second and third albums 'Black Cherry' and 'Supernature'.

The debut, 'Felt Mountain', was breathtaking, primarily due to Alison's fantastically versatile voice, and that seemed wasted on the brash machine music of the predecessors.

Inevitably the songs suffered too, so it was welcome news that they were returning to the pure, widescreen approach on album four.

In reality, 'Seventh Tree' certainly lives up to that billing, and consequently is their least challenging work to date - read into that whatever you wish.

The production is ultra-clean, the songs epic, but on the whole it's just a bit too clinical. I mean, it's nice for sure, but walks a thin line and occasionally topples over the wrong side, usually due to lyrics that are - dare I say it - a touch bland at times.

In the right circumstance and mood it's a perfect soundtrack, I'm sure, but it just left your hard-to-please reviewer a bit cold.

VAMPIRE WEEKEND 'VAMPIRE WEEKEND' (XL)

ONE of the year's most-hyped bands - something that should always awaken the cynic within.

For me there's a direct parallel, though one that only applies in part musically - Arcade Fire. You see, AF's debut ('Funeral') was too hard to swallow on first listen, and only after say half a dozen spins did I accept that the least palatable aspects were what gave it charm and made it special.

'Vampire Weekend' threw up the same dilemma; is this simply irritating, or worth investing time and effort to see if something special gradually unfolds?

Thankfully I stuck with it, overcame the unavoidable Paul Simon 'Graceland' parallels and discovered an album that I suspect I'll be listening to over and over - well, apart from the track that sounds like Sting (note to self = skip track eight).

It's clever, unique (in 2008 at least) and great fun. What's wrong with that?

Nothing - once you've learnt to relax and enjoy it for what it is anyway.

Give it a chance.

ONE NIGHT ONLY 'STARTED A FIRE' (VERTIGO)

YOU'LL already know this lot via their radio-friendly indie anthem 'Just For Tonight' - an inescapable and irresistible tune in the tradition of countless others over the years but no less effective for it.

Hot on the heels comes the debut album, sticking rigidly to that winning formula and packing no surprises whatsoever.

Taking a step back, it's hard to blame them for an apparent lack of ambition, and I'm sure their label would have knocked any indulgences or sonic experimentation out of them if they'd dared attempt it.

There might not be another 'Just For Tonight' on here, and it might not be remarkable in any way, but when it's done right there's definitely a place in the world for polished, considered, finely-tuned anthemic indie, and One Night Only can have their five minutes at the top table.

We'll see what else they've got in the bank next time round.

V/A 'HIGH CONTRAST - WATCH THE RIDE' (HARMLESS)

PROBABLY the first drum & bass album I've covered on here, and maybe the first ever in the Gazette? A proud moment indeed...

It's a genre I'm more familiar with than I'd like to be (due to the day job) and I can tell you that Lincoln Barrett - for it is he - is one of the A-list of drum & bass artists, thanks to his output on the respected Hospital label.

Shoehorning over twenty tracks into a rollercoaster mix that's always high on energy, it's a reflection of his output as an artist in that it aims for the classy, musical side of drum & bass, with both feet on the dancefloor.

The mix itself works well and rolls smoothly, but if there's one criticism - and this is more a dig at the scene that at our man HC - it's that it simply serves to illustrate the lack of variety within drum & bass these days.

Of course, to fit into the mix there needs to be a common thread, and Lincoln's mixing and sequencing can't be faulted, but a bit more diversity wouldn't go amiss, that's all.

Bang on the money if you're after an accessible party mix, though.

NEON NEON 'STAINLESS STYLE' (LEX)

BOOM Bip, for the uninitiated, is an LA-based hip-hop producer, in the same field perhaps as DJ Shadow but with far more ideas.

Gruff Rhys you'll be familiar with from his work as chief Super Furry Animal.

Neon Neon is the moniker they've adopted for their collaborative concept album, based (loosely) around the colourful life of car engineer and playboy John DeLorean. On paper it sounds like it's going to be hard work, admittedly.

In practice it's the pop album of the year, and maybe the album of the year, who knows (it's a bit early for those wild claims).

There are two or three excursions that wander towards Bip's usual territory and that you could probably live without, but the Gruff tracks are truly spectacular, not least 'Dream Cars', 'Steel Your Girl' and new single 'I Lust You'.

In all it's a perfect balance between SFA psychedelia and BIG 80s pop, with all the right reference points and nothing overplayed for comedy value nor to the point of it becoming nauseating.

Can't recommend it highly enough.