It's hard to approach this album without a view already formed by the hype the album has had. The band from Sheffield achieved a number one single based on Internet word-of-mouth and downloads, and are being hailed by the usual suspects as the 'next great thing.' So, actually listening to it with an open mind, what's it like? Well, it's fine, rock with a decent 80s punk attitude, and a good line in straight, witty lyrics, like a Northern version of the Strokes, or a slightly more sneery Jet mixed with the Kinks. However, it's not as good at what it does as the Subways album, although it's a hundred times better than the Futureheads. Unlike the Subways' disc, this is clearly a debut album, missing out on some musical polish. So, does it deliver on the hype? No. That would be hard. Perhaps that's a tad unfair on this band, who shouldn't be judged in that light. They've made a great first album. Let's hope the second builds on it.

ACE rating 7/10

Cat Power (real name Chan (pronounced Shawn) Marshall) has made albums of rare intensity to date, mixing her smoky voice starkly and intimately up front over backings ranging from folk to rock. Here, she is joined by various Memphis musicians, including Al Green's guitarist, and generates a much fatter, jazzier sound, not unlike that made by the remarkable Toni Childs at the beginning of the 90s. While the confessional style she made her own previously is missing, The Greatest has its moments where she moves the game on significantly. Unfortunately, they are mixed with some pretty mediocre moments, which does take some sheen away from what is another good album. Something of a cult artist, Cat Power is clearly comfortable in a few different genres, and has something to offer each. The Greatest isn't her best, but it is pretty great.

ACE rating 7/10

The UK's favourite new folkie, Beth Orton, has spent some time with mild electronica. Here, she returns to a more familiar and traditional style. Fortunately, this fourth album is many degrees more authentic than some of the music she has made recently. What it's not is particularly enjoyable, trading insight for earnestness, and new melodic approaches for variations on a theme. The songs, mostly short, blow by like a butterfly, rarely landing a hook. Orton has never reached the level of iconic female folk singers like Michelle Shocked, and here only occasionally suggests the talent we once thought she possessed on her debut. Comfort of Strangers occupies a kind of hinterland between more jazz-influenced folk like Kathryn Williams and more successful, if less satisfying, songwriters like KT Tunstall. Like bran flakes, the album feels like it's supposed to be good for you, although there's not much pleasure to be had.

ACE rating 6/10