After producing something as special 'The Bends', Radiohead really had a task on their hands with the follow up. OK Computer, however, is majestic and proved beyond doubt that they were (at this stage in their careers) incapable of producing anything that was slight and easily forgotten. 'Ok Computer' pays homage in no small part to Douglas Adams' classic sci-fi novel 'The Hitchhikers Guide To The Galaxy'. Read the opening pages and you will note several references that appear throughout this album. In fact why not set up 'Paranoid Android' in the background while you're doing it and perhaps it may all make sense. The book flies at every angle with weird and wonderful ideas highlighting a fertile imagination struggling to control the urge to get all the ideas down on paper, Radiohead simply paint the aural backdrop.

'Ok Computer' opens with the guitar driven glory of 'Airbag', full of atmospherics making its point with the efficiency of a sharpened needle. This mark of greatness continues right through to the sombre candy that is 'Lucky' near the end. In the process Radiohead produce a royal flush at every turn but it is far from an easy listen and unknowing ears could be turned away quite easily. The strength of the albums early moments almost eclipse the quieter moments that creep in as the album progresses. This is by no means an indication of an album running out of steam, it is a band with a full grip on how the listener should be treated. The jewel in the albums crown is undeniably 'Paranoid Android'. This is a two-part masterpiece that sucks you in with its delicate beauty and then when you think you're safe a large burst of chords strangle your peace to create a chaotic frenzy that is almost as attractive. The accompanying video was heartfelt and hard-hitting in a clever understated way. It added nothing to the fog of confusion that the song evoked but that doesn't matter because you know that the digs are been made and the guilty have taken note.

'Subterranean Homesick Alien' is expansive, vast and is musically similar to early Verve movements (go see). 'Climbing up the Walls' is a frightening vision. Thankfully then 'No Surprises' and 'Let Down' resemble Radiohead circa 'The Bends’, which is no bad thing because as simple pop songs they provide a bit of relief from the aural challenges that are thrown out in abundance all over the album. 'Ok Computer' is rock opera of epic proportions. It’s genius remains undimmed to this day, gloriously underlining Radiohead’s worth and proving conclusively that contemporary music still had the power to furrow new and exciting ground.

Rating: 8.5/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

Orbital are true originals. The album's they create suggest a bigger talent than is obvious on their single releases. For over a decade they grabbed dance music by the neck and gave it the 3rd degree in how proceedings should be run effectively. To a large extent they cajoled previously disinterested individuals into believing that with a bit of imagination, anything is possible, even within the realms of a genre prone to large-scale anonymity. Snivilisation is wrapped in a grey cover with an oh so clumsy animation that hides the fact that on the inside the music is anything but. It’s hard to beat 'Forever' as an opener, flitting as it does between cool keyboard strokes and fluid spacey noises. It seems ready-made for its creators, the Hartnoll brothers, whose on stage persona of bobbing heads while tweaking instructions through banks of technology would have sat easily on Hal’s musical memory banks.

'Sad But True' best represents an industrial dance scene that has disappeared without trace but was quite prominent in the early to mid-nineties. This movement didn’t offer an awful lot but 'Sad But True' is a little reminder that it had some worth. 'Crash And Carry' is the token jumped up techno track with obligatory jungle sounding motif. Not too clever but a nice change of momentum for the album all the same. 'Science Friction' is a lot more pleasing. A delicate key arrangement tinkles in the background as a bumbling but plush synth movement carries the tune forward with gusto. 'Kein Trink Wasser' opens up with a piano hailstorm but changes tact, adopting a neat electro spin that sounds delicious before returning to its roots near the end. It is one of the few tracks on Snivilisation that is instantly accessible.

The convoluted vocals are the first thing that makes you sit up and take notice on 'Are We Here'. You might be asking the same question after sitting through its full 15 minutes duration. This is a mite excessive but when the song's power overwhelms you, it may not even seem adequate. At first 'Are We Here' conjures up scenes of slowed down cavalries of marauding robots, pillaging the land while we cower in underground bunkers. The beat that drives it has a trashcan type rumble. About half way in things go supernova as the super light gravity-defying chime dangles great slices of inventive rhythms. The scene changes as the steel carcasses we've slain are used to weld spectacular buildings that are surrounded by newly developed green belts.

The funny thing about Orbital is that tend to leave the best track on their albums until the end. At least that was the case on 'Insides' where the technocolour of 'Out There Somewhere' appeared. And who could forget the beauty of 'Belfast' so eloquently appearing at the end of 'Orbital 1'. So, somewhat on cue 'Attached' closes Snivilisation with glorious splendour. It a towering inferno of a tune resembling something sent back from an advanced race of people thriving in outer space. 'Attached' spits out laser guided blocks of sound while an electric derived choir shapes the tunes beautifully formed contours. It demonstrates the Hartnoll's ability to somehow shatter their own universally high standards. ‘Attached' raises the stakes on an album that may have suffered a little without its ability to put a perfect seal on proceedings.

Orbital are one of the purest purveyors of intelligent dance beats. Snivilisation will never have you shaking your body uncontrollably; a mature salsa romp is a more likely outcome. At times you may feel cheated by its complicated stand but there is so much to enjoy once you've become familiar with its subtleties. Snivilisation was made possible by technology but made wonderful by a very human inventiveness.

Rating: 7.5/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

You could never label Modest Mouse as conformists because with The Moon and Antarctica they play the indie spectrum. The album has a loose feel, able at any time to take off down another avenue of invention that requires a little patience to crack what is generally another winning idea. Issac Brook's voice closely matches Porno for Pyros' Perry Farrell and at times Modest Mouse fly off in tangents like the now defunct Cable. Initially the albums 15 tracks can be a little too much to take in. So I started listening to the first 8 tracks repeatedly until their subtle nuances sat more comfortably. After that the albums grand panoramic vision made for a hugely enjoyable if bumpy eclectic listen. It seems remarkable that 'The Moon & Antarctica' is less than an hour long because of the immense ground that is covered. Its scope is massive, its potential unlimited.

Some of the tracks on the album are more accessible than others. While they all possess elegant alterations to tested formulas, some are a little more direct. '3rd Planet' is a good opener because it is chock full of near perfect jangle pop. Its fractured beauty is augmented by louder guitar riffs that indicate that something darker is at work. 'The Cold Part' doesn't need to rely on its scant lyrics because it is woven around an infectious circular bass melody. 'The Stars Are Projectors' signals early Whipping Boy and is a beautiful epic that is just waiting for the right movie to snatch it for its credit roll. Tracks like 'Gravity Rides Of The Universe' which are perfectly acoustic, have huge pretensions of being electric and make Modest Mouse sound like the brightest thing to escape from alt America since Steven Malkmus broke his first string. 'Dark Centre Of The Universe' is incredibly dashing with that violin sounding guitar screech at its heart. 'Tiny Cities Made Of Ashes' with its unsettling choral volley will have you checking that big cupboard in the corner of your bedroom for a bogeyman.

This is in essence what divorces Modest Mouse from the pack. The sinister undercurrent sets the bait, we fall for it and emerge at the other side somewhat shook but ready and willing to go through it all again. At times it is unforgiving music that is as attractive as matches are to a small child. Like 'Wild Packs Of Family', where the disturbing lyrics are somehow neutralised by an understated take on country. Expect Modest Mouse to be as popular as Bovril in the very near future. They will be loved by many but probably scoffed at by the same number. If I was you, I'd take a day off work, read a good book and let Modest Mouse provide the special effects. Few albums come so close to near faultless as this, so if you are going to make one adventurous purchase in the near future make it this album.

Rating: 7/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

Boces released in 1993, was Mercury Rev's second album. Named after a juvenile rehabilitation programme in New York it is perhaps a good indication of the mental state of the band at the time. Promoting the LP, they embarked on a support slot with Spiritualized. Their performances were consistently hindered by infighting and substance abuse became a nightly occurrence. A sloppy indecipherable song like 'Girlfren' from the album, highlights the inner and outer demons that were taking their toll. It is quite disturbing and really should not have been chosen to tie up what is otherwise an impressive, if quite flawed, album. 'Meth Of A Rockette's Kick' is the audacious opener sounding like a schizophrenic conceived it. The song literally trips itself up under the weight of its distracted meandering. The fact that the sweet brass sounds filter through at all is remarkable as the cacophony of voices, French horns, percussion, screeching guitars, trombones and tinkling piano keys threaten to strangle the life out of them. Very nice, but if bustling city centres are not your want then avoid.

After the peachy nerve of the opener, Mercury Rev go on and ruin it all by spluttering through 'Trickle Down'. Sounding like a cut from a soundtrack to a particularly bad independent movie, it features some of the lousiest humming this side of hell. Lucky then that the ecstatic charm of 'Bronx Cheer' brushes your teeth clean of the previous tunes bad taste. 'Bronx Cheer' is one of the few examples of Mercury Rev playing it straight. Creating the perfect pop song is one thing but making it sound fresh after 20 listens is another. It splashes about enthusiastically, falling just short of manic but those rushing chords do cause a few flutters. David Baker's sweet lilting vocals are accommodating, warm and fragile. Baker left the band soon after 'Boces' was released leaving full vocal duties to the principal songwriter Jonathan Donahue (who started out as a member of the Flaming Lips, it’s all making sense!).

The fuzzy singing on 'Boys Peel Out' adds to its lazy charm. The bass playing just about musters a riff and the whole atmosphere adds to the feeling that it was recorded at six in the morning after one too many whiskeys. Towards the end there is a mini jazz jam to round off that laid back vibe. 'Downs Are Feminine Balloons' is even classier. Purpose built guitars shimmer on the horizon and the delicate flute playing is divine. Baker's vocals are subtle and charming and don't distract from the accomplished musicianship that swells around them. Like a quieter Dinosaur Jr foray into abstract pop, listening to it makes you feel warm inside. The album's unchallenged highlight comes when all the effective parts to Mercury Rev's sound fuse seamlessly together. 'Something For Joey' dons its persuasive cap with the most eco friendly of sounds. The trombone is partially hidden by some delightful guitar playing, the momentum is aided and abetted by the clearest of flutes and the harmonies have genius at work written all over them. It all comes to an end too quickly so perhaps some of the bands trademark doodling could have enhanced the musical drama.

'Snorry Mouth' reintroduces the uneven mess theme. The words lack focus but luckily it contains just enough qualities to warrant attention. Pity the same can't be said for 'Continuous Drunks And Blunders’, which is just a waste of plastic. I guess it would be fine if you're about to embark on a course of meditation but otherwise it is redundant. 'Hi-Speed Boats' restores a little direction to proceedings. Donahue and Baker share vocal duties, taking control at intervening moments while a post-rock gale whips up the ante. It's got a start, a chorus of sorts and it doesn't drag its heels so be thankful for this simplistic approach. Trying to make sense of the images on the album's cover is difficult. Two wooden figures, one naked, the other perched underneath wearing a 'I love mum' T-shirt. There is humour in the image but the smile raised is awkward. Pushing the listener or merely provoking discussion it is certainly eye catching. Jonathan Donahue has described 'Boces' in his own unique way; 'your rebellious second kid who doesn't pay attention to one word you say and is always in trouble'. Yeah, but you gotta love the little mite all the same. Mercury Rev are one of the most important bands in the world at the moment, try to saviour their glorious present but don't forget to admire their deliciously shady past.

Rating: 7/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

The cover of Ritual De Lo Habitual contains a paper mache threesome involved in quasi cross gender pollination. Harmless stuff but its ambiguity does warrant some attention. Jane's Addiction have an offbeat take on modern rock. Most of the tunes on this their most rounded album contains an uneven pattern that varies between quiet introspective and scattergun hectic moments. Perry Farrell's voice is unique but strangely enigmatic so it is easy to recognise his bands material. Part female, part adolescent his incessant outpourings are quite dramatic. On the classy far eastern mantra 'Of Course', his voice sounds totally at home amongst the acoustic violin and maracas infested vibes.

At times Jane's Addiction do wander into creative cul-de-sac's or so you think. 'Obvious' initially seems all bluster giving off the impression of a tune with surface value only. By giving it a chance though you'll see that there is a pretty good melody superbly camouflaged in the mix. 'Then She Did...' is a powerful indictment of Jane's Addiction song writing ability. It is genuinely innovative and its eight minutes duration hardly leaves you time to draw your breath. It took years for 'Been Caught Stealing' to win me over. I couldn't see what all the fuss was about. Having it play alongside Cannonball and Waterfall seemed inappropriate. But it finally clicked with me at an out of sorts night last year. As Perry Farrell crones with aplomb, those dog barks signal a bubbling entourage of offbeat guitars. From there its kooky confidence will work it's magic with your state of mind.

The album has a few weak tracks. The opener 'Stop' lacks bite, the guitar dynamics are too frenzied to be alluring and there is a distinct lack of melody. Although 'Ain't No Right' has some neat metal aspirations it blunders on too many occasions to be effective. Right in the middle 'Three Days' lives up to its name by sprawling over 10 minutes. With a bit of careful editing this could have been a much more enticing proposition. As it is 'Three Days', verges on epic bombast and that slash type solo has me blocking my ears every time. It's the good tracks that make 'Ritual De Lo Habitual' so periodically vital. 'Classic Girl' is certainly out of sync with its neighbours. Farrell for once subdues the dramatics, taking a laid-back stance and the guitars shimmer gloriously in the background. At various stages 'Classic Girl' shifts a gear to mould a two-part opus. The drumbeat/bass equation is unique and elevates the whole affair. 'Ritual De Lo Habitual' is probably more suited to the huge rock scene in the US. It certainly has plenty of memorable moments but remains a little short of being a great album. A little more 'Classic Girl' and a little less 'Three Days' and things could have been much better.

Rating: 7/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

As purposeful, clinical and clever as a Portuguese striker, 'Bring it on' propelled Gomez to Mercury Music Prize success in 1998. No mean feat considering they were up against the likes of Pulp, Massive Attack and the Verve. In the end it was well deserved as 'Bring It On' flushed a torrent of fresh air in the smog filled aftermath of Britpop. That the album departed at right angles from this successful template, no doubt, marked them out from the crowd but it was the unrestrained spirit of five 20 year olds that announced a band flying by the seat of their multicoloured pants. Having 3 strong vocalists also helps when your horizons stretch from blues-rock to country tinged pop and back to straight up student anthems. Despite the blues influences Gomez flailed about with little or no success in the U.S. It was as if the critics were unable to believe in these upstarts from Northern England attempting to pull off such bold manoeuvres.

'Get Miles' opens the album and immediately you sense that the tired indiepop formulas are about to be turned on their head. The desire to spill unconventional sounds into the mix is apparent but it's the unnaturally sandpapered vocals of Ben Ottewell that raises eyebrows. The blues racket could be enough to throw you off the scent but its addition is important in signalling the diversity about to pour forth as the album progresses. Ottewell's voice can be a little overbearing and it takes the delicate charms of 'Make No Sound' to uncover the beauty within. Sounding like a disgruntled New Orleans pensioner he can refine his voice at the drop a hat to reveal a warm palette well able to coerce the stripped back yet intricate musicianship of his band mates. 'Here Comes The Breeze' is Gomez' masterstroke, initially slipping under the radar as Ottewell bellows and Gray coos alongside. As so often happens during the album the gentle guitars reinvent themselves midway through uncovering a set of ebullient vocals from nowhere. 'Free to Run' is similarly loose spirited as its chiming riff provides the counterpoint to the frontman's husky emissions. The expected split personality in the songs progression reveals itself towards the end to dazzling effect.

'Bring It On's vast canvas even offers pop junkies a scattering of delights. 'Whippin Piccadilly' may be a tad lightweight but as it's so inebriated with life it's hard to dismiss. Scripting the adventures of an undergraduate night-out the skewed playing has a solid undertow of clear melodies. 'Get Myself Arrested' is equally upfront and is as juvenile as the album gets. If you look beyond the obvious hits, however, there is a wealth of multifaceted gems. 'Tijuana Lady' conjures up deserts nights; its calm dedicated approach providing the perfect background music for siesta time this side of the gulf stream. Stretching over 7 minutes it ranges from pining love song, written on a lost railroad, to sublime psychedelia and there's even room for some vocal harmonies straight out of the abbey road studios. 'Bubble Gum Years' is just as affecting, drenched in the dichotomy of the vocalists it lives and breathes Beatles soaked harmonies. '78 Stone Wobble' is a cheeky effort where a rambling vocal down a phone line frolics on a bellydance type guitar groove until the connection is cut and the clearest voice appears. The fidgeting momentum makes the tune all the more effective even if it is likely to appal those on the lookout for cheap thrills.

Sadly this is the beginning and full stop of inspirational Gomez. Future albums are rammed full of shackles with half ideas executed with all the precision of a non-league footballer. Hard to believe then, that 'Bring It On' was recorded without fanfare on a 4-track in a garage. Just shows it's the ideas that matter and no amount of studio trickery can mask a dud. In hindsight maybe 'Bring It On' sucked all the inspiration the band had to offer. All told this is an astonishing debut with an accomplished feel naturally sculpted from raw talent. You'd expect youthful adventurous spirit from a debut but not songs with canyon like depth that only reveal themselves with repeated exposure. Only those with a tough hide could fail to be enthralled by the albums charm, for the majority of us it's liquid skin time.

Rating: 8/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player

For many the Boo Radleys will be remembered for their candy caked hit 'Wake up Boo'. This song does not even come close to defining what an important band they were. Its success proved to be a double edged sword. Those looking for more of the same were disappointed, while those looking for something a bit more tangible would have been put off. Martin Carr, much admired drinker and now steering the Brave Captain ship was able to conjure melodies at will and provided the ammunition for Sice's magnetic choirboy vocals. Giant Steps released in 1993 represents the Boo's at their imperious zenith and is undoubtedly one of the albums of the nineties. Such a strong statement can only be rationalised by listening to its mammoth scope and innovative directions. Ideas are packed like sardines into each if its 17 tracks. At times it shuttles about with abandon scaring small creatures that are within listening distance. Many find it unkempt but a small amount of patience reveals a luxurious wealth of winning ideas. No wonder it got the album of the year in several magazines in 1993. No other album stood a chance. At first the eclectic wanderings on 'Giant Steps' are overbearing and indeed can be too much to take in. It is only after you've ingested the frentics and absorbed its scattered approach that you realise what an album you have on your hands. The opener 'I Hang Suspended' was a minor hit but is likely to blow you away on a tide of rushing guitars and the sharp vocal performance. Lyrics like 'You Know The Facts, But You Haven't Got A Clue' would burn ears if thrown in the right direction.

'Lazurus' is nothing less than epic. Brass noises as sweet as cane and as intoxicating as Jack Daniel's rise out from a dub intro to create a multi-coloured path to planet melody. Again Sice is a lone vocal amongst the cascading sound that builds around it. As the deluge of sound fills the room everything makes sense as those trumpets blaze a trail right through your heart. It is without doubt the Boo's defining moment. Other pop gems such as 'Wishin I Was Skinny' and 'Take The Time Around' are strewn around 'Giant Steps' like toys in a nursery. When the occasion takes them, the Boo Radley's search their very soul for extravagance. They pull it all off with aplomb and the grandiose approach on songs like 'Butterfly McQueen', while initially off-putting, makes total sense. As the ragged My Bloody Valentine glory of 'Rodney King' mops up the excess, it is left to the dulcet tones of Meriel Barham (of the heavenly Pale Saints) to restore the equilibrium. Elsewhere there are thoroughbred weirdo's in the shape of 'Run My Way Runway' and 'Upon 9th And Fairchild' that may frighten the naive but delight the most mature listener.

There are touching moments aplenty. Sice voice sounds so brittle and touching on 'Thinking Of Ways' you'll most likely hug the person beside you under it's emotional presence. The trumpets and guitar shrieks stream in and out of consciousness but those divine vocal chords will submerse you in the music. 'I've Lost The Reason' produces an adrenaline soaked bass buzz on 2 occasions but in between the silence is only interrupted by a bright flickering vocal. 'One Is For' may be only 90 seconds long but being a puppy like standard it loops in a curious direction that will snag your heart forever. 'Giant Steps' was an experiment where everything that was attempted came up trumps. So when the noises from outer space hijack what would otherwise have been normality they merely round the song off. The straighter laced tunes like 'Barney (...and me)' cower for cover like butterfly's amidst the frenzied soundscape around them.

At the end as the mayhem begins to die down and the dense experimental fog clears, up comes the sun in the shape of 'The White Noise Revisited'. An obvious homage to the Beatles it contains a wafting 'Yeah Yeah Yeah' that will send tingles down your spine. It proves to be the only option available to close an album that drifts off in so many distinct patterns while still maintaining a remarkable cohesiveness. It's like throwing 14 different coloured t-shirt's into a wash set to a temperature of 100 degrees, making a wish for a miracle and finding them appear at the other end in your favourite colour white. Yeah, it shouldn't have worked but it does. 'Giant Steps' is absolutely beyond reproach. I pray for the day, they get around to letting us in on any other half baked ideas the Boo's never got around to releasing. Never has music that makes so much sense taken so long to make itself known. If you have the 'Wake Up Boo' single, listen to the b-sides and you can realise the enormity of Martin Carr and his bands talent. Boo Forever!

Rating: 10/10

25 FREE Downloads. eMusic for your iPod® or any MP3 player