ALL MANKIND: Simple Desire.

A cracking debut album  from the guitar band that scales more than a couple of peaks here  with the call-to-arms starter Open Your Eyes through to  slow-burning pop rock ballad To Live. They’re a hook-driven  quartet from Sydney who power the songs along  with a strong melodic surge while always  yearning for a sense of the anthemic, even if  they don’t always hit the mark.

THE OVERTONES: Good Ol’  Fashioned Love.

Re-release of their  top five album to coincide with their current  tour and dubbed the Platinum Collection as  it has three more tracks. In short an  all-too-easy release to grab more from the  fans. Let’s face it, they may be good singers and  smart young fellows, but other bands such as Showaddywaddy  have trod this rock ’n roll harmony covers path before.

ERASURE: Tomorrow’s World.

If there’s one thing you can  depend on in this life it’s that each and every Erasure album will  come with more glitterball disco, synth blips and bleeps and  yearning ballads than you really know what to do with. Will they  ever slow down or stop? The slowish start to many of the songs  may suggest the former is starting to happen ... slowly.


 

MAY 68: White Lies.

A collective of musicians, artists,  producers and DJs who hooked up together in Manchester’s  alternative club scene and have immersed themselves in a fusion  of New York disco, house, vintage electronic, classic pop and  sci-fi soundtracks. So why does it just sound like big, bouncy  disco?

METRONOMY: Everything Goes My  Way.

It has the honeyed vocals of Roxane  Clifford from Veronica Falls and the sentiment  behind the song may be optimistic, but if the  somewhat dowdy feel to the music with its  jazzy blues chord changes truly reflects  everything going their way if makes you  wonder what they’d sound like when it doesn’t.

THE MISERABLE RICH: On A Certain  Night.

Taken from their forthcoming album Miss You In The  Days that explores the themes of ghost stories, sex and death.  There’s a couple of those in this troubadouring tale of possession,  complete with plaintive violin and cello.

SARAH BLASKO: Xanadu.

The alternative folk Australian  singer has stripped Olivia Newton-John’s 70s classic to its barest  bones, showing the song’s strength yet leaving you feeling it  needs more clothes on.