Arctic Monkeys

The Arctic Monkeys were hailed as rock n' roll's saviour upon the release of 'Whatever People Say I Am...' and you can still see why such overhype was thrown at them, even if it isn't justifed. Who could possibly justify such a claim? Still, it is a wonderful record. Full of the infectious joy of youth. Alex Turner is a magnificent writer of tales and the band complement his lyrics with a brash confidence. There are a couple of classic tracks here, with 'When the Sun Goes Down' gaining the top prize.



Thankfully, the hype was proven right as Favourite Worst Nightmare is on a par with its predecessor. As expected it is a backlash against the earlier success. It is certainly an angrier recording. Turner's pen is more acidic here but the band work better to compensate. The band's confidence is startling for such a young group.

MGMT

Oracular Spectacular introduced the music fan to the quirky fun of MGMT. The album shows off their wide musical influences and when this album is good, it really is quite amazing. The lead single 'Time to Pretend' is both droll and charming. In fact, their writing is excellent throughout the record. Unfortunately the eclectic nature of their influences means the album bounces around, especially in the latter stages, sounding like a compilation CD. Consider it a mild disappointment.

Good, the Bad and the Queen, The

Another of Damon Albarn's pet projects since the end of Blur, the Good, the Bad and the Queen is a brooding collective of talents making some bittersweet tunes on a London theme. It's all very nice as it plays but it is quite forgettable. It doesn't come close to the Gorillaz efforts but it probably outweighs the later Blur records.

Justice

The French pair, Justice, have taken what their forebearers Daft Punk did but have created a much more playful record in Cross. The record has the usual splicing and dancing of an innovative electronica LP but there are a couple of really fun tracks thrown in such as D.A.N.C.E. and 'The Party'. It's a wonderfully energetic collection of songs and will be heard in clubs for a while yet.

Klaxons, The

The Klaxons are supposedly the birth of a new genre. Nu-rave or something along these lines. It doesn't sound altogether that fresh to my ears. But it's not bad. Myths of the Near Future, their only release so far, has a rough, dirty sounding quality. It's got some wonderfully rowdy tracks. The lyrics, usually on some mythical theme, leave a lot to be desired. How they will eventually be perceived will depend a lot on their follow up.

Bon Iver

Bon Iver's debut For Emma, Forever Ago seemed to give a lot of people pleasure but it's a bit twee really. His vocal is certainly not for everyone - a strained mumble. The regular mention of winter in the lyrics is likely to leave the listener cold.

His follow up EP Blood Bank is just as difficult to engage with. Its final track is a sound collage that we should all be grateful Mr. Iver got out of the way on this small collection. It's dreadful.

Fleet Foxes

The Fleet Foxes eponymous debut is a sparkling concoction of tunes designed to sooth the listener. It opens sounding like a lost track from 'O Brother Where Art Thou?' and continues wearing its Neil Young influences on its sleeve from then until the finish. It's very different than anything else released in 2008. It's light, mellow tunes hide some wonderfully thoughtful stories amongst the lyrics. It really is a smashing listen.

Killers, The

The Killers mix of supposedly serious lyrics and upbeat music can be delightfully camp. They manage to make pretension sound endearing.

Their first album, Hot Fuss, is probably still the best example of their style. It's big, brash, front loaded and it really works. A number of tracks will be filling the dance floors for many years to come.

The success of Hot Fuss led to the frighteningly over confident Sam's Town. At times it's embarrassing to hear the lead singer, Brandon Flowers, spout the insipidly shallow lyrics with such gusto but if you let the lyrics wash over you there is still plenty fun to be had here.

The B-side collection, Sawdust, that followed was a return to form of sorts. It had the benefit of having a few knock offs from the earlier album. Like most B-side collections, it's a messy thing to listen to in one go but there are great moments, most notably in the duet with Lou Reed. If the knockoff collection can contain as many rousing moments as this, it shows how natural it is for the Killers to make such lively music.

Their latest work, Day & Age, reverts to the more dance oriented rock of their debut. It's even sillier than before but it's hard not to be captivated by their innocent, very theatrical records.

Last Shadow Puppets, The

The Last Shadow Puppet's self-titled album is a rousing departure from the talents of the Arctic Monkeys and The Rascals. It's clear that the two men involved, Alex Turner and Miles Kane, see the group as an opportunity to explore sounds that their respective groups would never dare to. The lush orchestration veers it towards the camp and only the unruly production saves it. It's a light and carefree collection of sounds. 'My Mistakes Were Made for You' is probably the best track to sample this high-wire act.

Vampire Weekend

Vampire Weekend's self title record is a carefree, exuberant record. It's a pleasant but very fleeting first effort. I can't imagine many of these tracks will be on playlists in years to come.