The Cribs

As mentioned elsewhere on this website, Voodoo Six purvey the sort of heavy guitar music associated with the likes of Iron Maiden, who they have supported at many live gigs.

Fans of that genre of music will know what they're getting, and opening track Faith sets the tone for the rest of the album, with heavy, layered guitars, anchored by a solid, driving bass and crashing drums, following an atmospheric opening few bars.

There are lighter moments on tracks such as No Friend Of Mine and Walking On Nails but they soon give way to the usual sound.

Whilst most of the songs feel 'head down and we'll see you at the end', such as lead off single Feed My Soul, which feels like an onslaught of guitars, but there are some which have reflective moments, or are slowed a little, which seem to give greater emphasis on the riffs being played. There is, of course, the almost obligatory 'power ballad' (Saints & Sinners), which outstays its welcome a little.

Initially, Mistaken is a break from the heavy layers of guitars and drums, featuring picked guitar and vocals, backed by strings, with lighter drums. However, they just can't resist adding some more layers to it.

Some tracks, such as Crawl, Century and Shine On sound formulaic to me, whilst some start with the promise of something a little different, such as a bass line with FX added, but soon return to normal.

If you're not a big fan of this genre of music, this album will not be for you. However, if you are a fan of metal, then Voodoo Six will be worth your attention.

Many people will know Rivers Cuomo as the front man of Weezer. Here, he releases for public consumption, an album of home recordings, most of which date back to the 1990's. Ooh kicks us off, with a short vocal harmony, which segues straight into The World We Love So Much, with picked guitar and quiet, breathy vocals.

Lemonade is a heavier track, with driven guitars, and feels thrown together and unpolished, like a typical demo track. The Bomb has fuzzy edges, with disparate drums and vocals, in an almost freeform jazz style, whilst Buddy Holly feels leaden and lumpy, and demonstrates how much it was polished up for release. It was a great single.

Chess feels like sixth form poetry; 'chess is such a difficult game, so many pieces' anyone? Despite that, it has the makings of a decent pop song.

Longtime Sunshine features piano and a heavy, unfocused bass, which lends it a haunted feel. Again, it shows much promise. In contrast, Blast Off! is a cross between early Beastie Boys and grunge, with vocodered vocals and chopped guitars. Who You Callin' B***? is a short, unfocused rant.

The tempo shifts again with Wanda (You're My Only Love), which is a slow, plaintive number, with picked guitar, vocal and hramonica. A good track with a bluesy feel. Dude, We're Finally Landing continues the mood, with a cappella vocal harmonies.

Superfriend features a nice picked guitar line, but feels laden down with scuzzy guitars. Lover In The Snow has basic scratchy guitars and is an instant foot tapper. Crazy One is a heavier track and is formulaic guitar pop, in a similar vein to Buddy Holly. We're off in a different direction with This Is The Way, which has a dance style drum pattern with synths. Little Diane has a glam feel, with heavier guitars and drums. I Wish You Had An Axe Guitar is just people talking in the background and seems pointless, whilst closer I Was Made For You is a standard guitar track and pretty formulaic.

This album is exactly as you would think a demo album would sound like. If you're not a fan of Rivers Cuomo, then it's probably best avoided, although there are some good tracks on here. If you are, and you're interested in how songs sound when they're first conceived, and how they grow, you may enjoy this.

Hailing from Hertfordshire, the beautiful Holly Rose studied at the Academy of Contemporary Music, and after a stint singing with South Africa's Semisane, she embarked on a solo career. She must be well connected, because The orchestra performing on the majority of the record is The Royal Philharmonic.

Vulnerable To Touch kicks off with Diamonds, which has an atmospheric start, that blossoms into a beautiful voice floating above harmonies and horns. This is a great record to wake up to and sets the tone for the lightness of touch throughout the whole album. Commitment Free is reggae-lite, with a hint of Lily Allen, and features the line 'you can't be commitment free, when you're making love to me'. Note that, you may be singing it hours after you've listed to the record.

Say You Believe is a slower, more heartfelt number, with the cry of 'say you believe in me', backed with strings. It is the sort of track can imagine being used in a film where the couple fall hopelessly in love. Down To One Kiss is a straightforward pop tune, with electronic embellishments, which is very radio friendly. Another Man has a jazz feel, with breathy vocals and is a song about a kiss with another man, and the feelings that ensue.

Afrika is a standard pop tune expressing those confused feelings when you are really struck by someone, but you are unsure as to what they think about you. Don't Mention This echoes Another Man, with it's jazz feel, whilst the best track on the album, I Don't Care, which skips along nicely in a reggae-lite style, follows.

Apple features lovely harmonies, and reminds a little of other tracks by other artists, but is no less enjoyable for that. Living Room is a slower, tender number, with picked guitar, light percussion and vocals. There follows another eulogy to love, That Side To Me, which is encased in stirring strings and a beautiful vocal. The albums draws to a close with the lovely Ready For Love, which is a slow, piano led number celebrating the beauty of love. Amen to that.

Overall, this is a lovely, uplifting record, but not for those who like layers of guitars.  Holly Rose has a beautiful voice, which works it's way into your consciousness, and demands repeated listens. For me, it is the perfect accompaniment to a summers day and great company.

The Courteeners hail from Manchester and have a frontman named Liam, who has been described as a bit of a show off. Mmm, sound familiar...

The Courteeners though are a different prospect altogether. Liam Fray's lyrics nearly always tell a story, mini dramas if you like, usually about the fractured relationships between men and women. Opening track Aftershow starts slowly but soon bursts with guitars and drums, setting the tone for what's to come.

Cavorting is a lively affair, about kids on drugs, with sharp guitars and drums, which feature again on Bide Your Time, which is in a similair vein to The Libertines and What Took You So Long? Please Don't is a slower affair, and is a song about a love affair that might've been, reminding us that despite protestations to the contrary, you never stay friends.

Things move back up a gear for If It Wasn't Me, with pounding drums and layered guitars, which continue into No You Didn't. No You Don't, which is in a similar vein to The Rifles. The pace slows a little again with How Come, a song about a lad who is popular with the ladies, with Liam Fray asking what makes him so smooth. It has a picked guitar line, in contrast to Kings Of The New Road, which is akin to the Kings Of Leon, with pounding drums and a driving guitar line.

Not Nineteen Forever starts with a church style organ, but soon bursts into familiar guitars and drums. It is instantly catchy and a live favourite. Those urgent guitars and drums continue with Fallowfield Hillbilly, a song about someone who thinks they're so coole and different, but is a bit of a prat and desperate to be noticed. You know the one, always doing 'what's cool' and sneering at everyone else. The album closes with Yesterday, Today & Probably Tomorrow, which is a wistful love song with picked guitar.

The Courteeners have produced a good debut album. Their songs are short and sharp and never outstay their welcome. The band themselves are good live. Indeed, they have produced a live album, which was recorded at the Manchester Apollo, and a new album in the pipeline.