Alexis Taylor, Rubbed Out

Considering the success surrounding Hot Chip over the past few years, with 'The Warning' (2006) and more recently with 2008's 'Made in the Dark', it may come as a surprise that front-man Alexis Taylor's debut solo effort, 'Rubbed Out' has received next to no publicity or promotion. Despite my initial confusion at such a low profile release, the reasons for this approach soon become clear. In fact, 'Rubbed Out' could be described as an opportunity for expression and experimentation, as opposed to a conventional album.

In stark contrast to the expectations of many, given the polished electro-pop in recent Hot Chip singles such as `Ready For the Floor', 'Rubbed Out' offers a lo-fi collection of instrumentals and simplistic pop songs. This may not be to everyone's taste, particularly for those expecting, what would essentially be a fourth Hot Chip album. However, I would argue that 'Rubbed Out' highlights Taylor's remarkable deftness of touch in producing beautiful, yet simplistic pop melodies. Examples of this can be found in `Baby' and `Collectors Item', both of which are based upon highly infectious, `Beatle-esque' choruses and a conventional live band setup, in favour of keys and synths.

Other highlights include a heavily stripped down rendition of Paul McCartney's `Coming Up' and `I Thought This Was Ours', a touchingly fragile ballad, demonstrating Taylor's subtle, yet beautifully controlled vocal delivery. `I'm Not a Robber' is possibly the closest that Taylor comes to entering Hot Chip territory due to its deviation from guitars and bass towards more familiar electronic groundings.

While these tracks make for an endearing and unique collection of songs, it is the somewhat more experimental moments that create such a varied and arguably hit and miss record. For instance, tracks such as `Fireworks', `Musical Food' and `Ruffles' convey a lack of focus or conventional structure. On occasion this can lead to a sense of bewilderment as to why they were even included, leaving the impression that they are only of purpose to Taylor himself. However, bearing in mind the intimate, homemade nature of 'Rubbed Out', this may prove to be an appealing element to some fans as it adds to the feeling of listening to a private recording. Although I would consider this to be an album of somewhat mixed results, there is certainly enough raw quality on show to make 'Rubbed Out' an essential album for both, fans of minimalist pop and dedicated Hot Chip followers alike.

Franz Ferdinand, Tonight: Franz Ferdinand

Since the release of their eponymous debut back in 2004, Franz Ferdinand might be seen as something of an oddity amongst the vast majority of their contemporaries. Take for instance the likes of Kaiser Chiefs, Bloc Party, The Rakes, The Killers and just about any other band belonging to the new wave/disco genre that dominated the music scene five or six years ago. Each of these bands plus a whole host of others, of which there are far too many too mention, burst onto the scene offering such great promise and excitement, only to return with follow ups of such uninspired banality, it seemed hopeless to expect anyone to serve up a second offering of any genuine worth.

Thankfully Franz Ferdinand managed to buck this trend of crashing disappointment by returning with 2005's 'You Could Have it So Much Better', an album charged with such unshakably infectious melodies and perfectly crafted pop songs, that many of the already lacklustre records being released at the time were rendered about as exciting as a mild bout of tinnitus. Anyway, having failed to disappoint us yet, Franz Ferdinand are back with their third album, 'Tonight: Franz Ferdinand'.

With four years having passed since their previous outing, anticipation and expectation was always going to be high. Would they be able to deliver for a third time running? The answer is a resounding YES. Furthermore, this could well be their best record to date. The band combines their obvious disco-pop sensibilities with a newfound electronic element, creating a somewhat fuller texture that has not always evident in their previous albums. The most obvious example of this has to be `Lucid Dreams'. Arguably the defining highlight of 'Tonight: Franz Ferdinand', the song builds from a typically catchy verse into an enormous, synth-laden chorus, concluding with, an admittedly slightly drawn out, four minute long electro freak-out with the omission of guitars altogether.

Other definite highlights include current single `Ulysses', a track that offers the melodic facets that dominated their debut, whilst clearly showing off their recent penchant for dirty synth hooks. `Turn it On' and `No You Girls' are instant crowd-pleasers, each with the potential for future singles. `Can't Stop Feeling' also deserves a mention, serving as perfect indicator as to how far they have come over the past four years, the track being driven by a stomping synth riff as the guitars, once again are put to one side.

While critics of the band might argue that there isn't quite enough experimentation or risk taking on offer here to attract many new fans, they certainly aren't at risk of losing any. Ultimately, this is the sound of a band genuinely enjoying themselves in the studio, which is something that translates with absolute clarity. With a third, refreshingly strident album now under their belt, one can only hope that Franz Ferdinand will be able to maintain the same high standards on their fourth outing, and on this evidence, they should have no trouble in doing so.

Boxer Rebellion, Union

It's been almost four years since the release of The Boxer Rebellion's 'Exits', an outstanding debut that unfathomably evaded the attention of just about everyone, both critically and commercially. Since then, the band's hopes of gaining any kind of significant recognition have diminished even further, following their release from Alan McGee's record label Poptones. However, despite their chances of success taking such a blow, The Boxer Rebellion have returned with 'Union', a follow-up so good that we can only imagine the reception by which it would be met, given the kind of label backing it deserves. One factor that makes 'Union' such a commendable achievement, aside from the quality of the songs, is the fact that the band have only been able to release the album digitally and have received no publicity or press attention whatsoever.

Musically, `Union' shows a somewhat more melodic, subtle approach that wasn't always evident in its predecessor. Each song seems to improve with every listen; it is only after repeated playing that we can fully appreciate the album in its entirety, as many of these songs simply don't work as well individually, yet work particularly well as one. Opening track `Flashing Red Light Means Go' is built around pounding repetitive drums combined with acoustic guitars. `Soviets' sees the band at their most accessible, opting for acoustic guitars, twinned beautifully with Nicholson's subtle vocal delivery. `Spitting Fire' continues in a similar vein, a potential single, centred on an infectious bass line. Just as 'Union' appears to be gaining momentum, `Misplaced' slows down proceedings. A low-tempo ballad with sparse instrumentation, it isn't so much a weak song as it is, ironically, misplaced within the track listing. One can't help but feel it would provide more of an impact had it been positioned as one of the album's closing tracks. `The Ballad of Goro Adachi', sees The Boxer Rebellion treading new territory. Possibly 'Union's highlight, `The Ballad of Goro Adachi' presents us with an altogether new sound, favouring electronics in place of guitars. If The Boxer Rebellion are afforded the opportunity of a third album, one would hope that it is in this direction that they will continue.

Equally, `These Walls are Thin' offers a new dimension to 'Union', highlighting once again the band's newfound melodic approach. A return to their heavier, guitar-driven roots can be heard in `Forces'. In my opinion this would be the perfect way to close the record as the final two tracks, arguably, do not contribute to the record as a whole, leaving the impression that they had been tacked on at the last minute. `Semi-Automatic' sounds like a hybrid of 'Exits' `Never Knowing How or Why' and `Lay Me Down', yet not as impressive as either, while `Silent Movie' passes by almost unnoticed, lacking any real power or melody. However, these are merely petty grievances in light of the overall quality and diversity of the album.

Portishead, Third

Having waited eleven years to return with such a highly anticipated third album, one could be forgiven for thinking that Portishead's 'Third' would be anything other than a shattering disappointment. For many of the band's dedicated following, questions as to how relevant Portishead could be in 2008 were sure to be raised. Furthermore, doubt was also bound to be cast over the possibility that they mightn't be able to recapture the essence of what made them such a unique band in the first place.

With expectations of unprecedented scope, Portishead have somehow managed to create an album of such staggering brilliance as to render any preconceived doubts, ridiculous. 'Third' displays a significant development in Portishead's sound, whilst maintaining the underlying elements at the heart of their two previous albums. A concoction of electronic experimentation, tribal drum beats and Beth Gibbons' hauntingly fragile vocals, make for Portishead's darkest, most tension-fuelled album to date. Opener `Silence' sets the tone with a repetitive drum section and sparse bass allowing Gibbons to take full focus with typically introspective lyrics and delicate delivery. `

We Carry On', arguably one of the band's finest achievements yet, adopts a similar approach, utilising tribal sounding drums to create almost unbearable tension, before reaching an epic, guitar-led chorus. `Machine Gun' shows Portishead at their most experimental. Centred on a menacing electronic drum beat, the track provides one of 'Third's' most distinctive moments, producing an atmosphere quite unlike anything they have previously released. In fact, `Machine Gun' may be seen as a bold statement of intent, given that it was the band's comeback single, albeit with an extremely limited release, the song clearly serves as a reminder that Portishead are not a band content with playing things safe.

'Third' also has its quieter moments; `The Rip' highlights the band's more melodic sensibilities via subtle acoustic guitar and vocals, while the eerie `Deep Water', perfectly placed between `We Carry On' and `Machine Gun', offers a moment's respite from the sonic abrasion of the tracks it lies between. The one minor criticism that could be levelled at Third is the occasionally muddy sound of its production. Whilst the lo-fi production techniques at work here are well suited to most of the tracks, there are moments, such as on `Plastic', `Small' and `Threads', in which the overall clarity of the instrumentation can be slightly lost. However, such imperfections are easy to overlook in light of this most spectacular of comebacks. Let's just hope we don't have to wait quite so long for album number four.

Morrissey, Years of Refusal

With a career spanning almost 30 years it is a fairly safe assumption that both fans and critics alike are highly unlikely to be swayed from their stance regarding this most distinctive and divisive of artists. Given this clear demarcation between the two camps, Morrissey, it seems, will not be winning over too many of his detractors with his new release 'Years of Refusal'. It is, however, sure to delight those well-established followers, as this is undoubtedly the greatest achievement of his solo career, which is some feat, considering its wonderfully grandiose predecessor 'Ringleader of the Tormentor' (2005).

With 'Years of Refusal' though, Morrissey sounds reinvigorated, writing and singing with a newfound sense of urgency. Of course, the usual themes of love and death, dominate, but it is the refreshed manner by which he tackles them this time around, that make 'Years of Refusal' such a success. While 'Ringleader of the Tormentors' opted for grandeur and epic exposition, 'Years of Refusal' favours short, sharp explosions of punk influenced energy. Album opener `Something is Squeezing My Skull' acts as a perfect indicator of what's to come, with `One Day Goodbye Will be Farewell' and single `All You Need is Me' also demonstrating the immediacy of the record.

Morrissey also treads new ground with the sublime `When Last I Spoke to Carole', employing a Mexican, mariachi tone, densely layered with brass and acoustic guitars. Furthermore, Morrissey's vocal capabilities appear to be developing even further, rather that diminishing with age, reaching previously unheard levels in range on the embittered ballad `It's Not Your Birthday Anymore'. `Black Cloud', one of the album's many highlights, is also notable for its beautifully delivered vocal performance.

While it may seem certain that as long as Morrissey is writing and recording new material he won't be deviating too far from those familiar subjects so frequently at the heart of his lyrics, Years of Refusal is surely evidence that not only does he remain one of the most important artists of both the past and the present, but that there is still potential for greater things to come.