The Id
Macy Gray

Ms. Gray defines "The Id" as being "the real you, unedited" and on the evidence of this album you'd have to say that the real her is completely bonkers – if you were dating a woman who wrote a song called "Gimme All Your Lovin' Or I Will Kill You" you'd change your phone number and probably move house. Yup, she's a bit of a character is Macy and more power to her I say. Following her own peculiar muse she's made a funky, freaky and kinky album that plays with all the colors in the funk-pop-soul box of crayons in a way that Prince would be proud of. Swinging from the glittery disco groove of "Sexual Revolution" to the organ-drenched soul of "Don't Come Around" and the wacky oompah of "Oblivion" (which sounds like Funkadelic playing a German drinking song), this album has a glorious let-it-all-hang-out individuality that will make you eternally grateful that the doctors let her out of the loony bin long enough to record it.

Arde
Migala

Like the soundtrack to some existential road movie, the brooding music played by these Spaniards has the feel of driving all night on an endless, desolate road with no destination. You turn the radio dial and a haunting mix of Ennio Morricone, Leonard Cohen and the Velvet Underground fills the night. These folk-noir songs float by like tumbleweed and then burst into flames, sometimes melting into the static crackle from distant radio stations to create an hypnotic collage of sound with surreal lyrics that conjure up images of empty motel rooms and crashing cars. As the sun peeks over the horizon, you hear the words "If I could, for a minute, succumb to the disaster of everyday" and you push the accelerator down and close your eyes because you never want this perfect feeling to end. [Sub Pop Records]

Through Small Windows
Alsace Lorraine

Some pop music makes you want to start a revolution or have sex with a pretty girl while some just makes you want to stare out of your bedroom window thinking how nice the clouds look. Alsace Lorraine construct immaculate little synthpop gems with a heavy hint of the echo chamber atmospherics of early Factory records (minus the Manchester council estate gloom) that makes them perfect for watching the world go by. Singer Caitlin Brice has the same tranquilized nonchalance that has been compulsory for indie chicks ever since Nico first blew cigarette smoke into Lou Reed's face, and the album would be in danger of floating away on her pretty, featherweight voice if it's feet weren't nailed to the floor by the crisp tunes and tight rhythm tracks that might remind you of 80s Night at your local disco. Sweet dreams are made of this. [Darla Records]

Darker Than Blue: Soul From Jamdown 1973-1980
Various Artists

When I was at school in the 1970s one of the raging debates was over what was the best: soul or reggae? On one side were the soul boys with their George Benson albums, on the other were the West Indian kids with their heavy 12" dub plates. Someone should have given us all a sound beating about the head with a copy of this compilation which shows what magic can occur when two music genres actually come together instead of fighting for control of the youth centre record player. Featuring the cream of Jamaican reggae talent of the 70s covering great American soul tunes and turning them into darker and deeper versions of the originals with that classic 70s reggae skanking beat. Standouts include Ken Boothe’s passionate reading of Sly Johnson's "Is It Because I’m Black?," Lloyd Chalmers heavenly take on Curtis Mayfield’s "Darker Than Blue," and The Tamlins covering Nina Simone covering Randy Newman with the mighty "Baltimore." This set is a stunning testament to the amount of talent there was in 70s black music from Harlem to Trenchtown. Maybe George Benson should have covered "No Woman, No Cry." Then again, maybe not. [Blood and Fire]