Album

Dazzling third solo album on border of post-rock and electronica from ex-Fridge magnate Kieran Hebden

No self-disrespecting finger-snapping swinger should be without the music to Clooney's clever directorial debut. Suave as the fella himself, it kicks off with a song written by the movie's hero, Chuck Barris—or at least he claims he wrote it. Of course, he claims a lot of things. His shining pop moment, "Palisades Park" by Freddie "Boom Boom" Cannon, is as kitsch as the night is long.

Early-'90s flavour-of-year follows up multi-million-selling solo debut

First four albums by "crazy motherfucker" turned film star remastered and reissued

Career overview of Britain's most famous white female blues singer (1944-1990)

Annual indie works outing annexed by electronica massive

Saucy street-funk from the dream-life of Riley

Best album in years from British eccentric

Former Lone Justice leader turned solo artist returns with her first studio album in seven years

Bernard Herrmann. To any soundtrack devotee the name's sacred. From Psycho to Taxi Driver, his music made good movies great and great movies greater. Here he even caused a rubbish film to linger in the collective memory. Flying saucers and robots were '50s cinema staples, spawned by a real public fear of science (in the aftermath of the atomic bomb). Robert Wise's 1951 sci-fi message movie (war is bad) would today look more hilarious than it does were it not for Herrmann's tonal and symmetrical score. Conducted by Joel McNeely, here it's been recorded in digital sound for the first time.