Neil Young: Silver & Gold (Reprise)On his 29th album, the old Youngster is in acoustic, introspective mood, so you won't hear much in the way of country feedback or ragged rock 'n' roll. Young's first studio set since 1996's Broken Arrow is closer in feel to 1992's Harvest Moon; gentle, grungy lullabyes like Without Rings sit lazily alongside down-home, guitar-pickin' ballads like Daddy Went Walkin'. Young's high, plaintive voice is pitched at an intimate, emotional level, giving a romantic sheen to the songs, and the band - featuring Donald "Duck" Dunn, Jim Keltner, Spooner Oldham and Ben Keith - treat each tune with loose, loving care, underlining the prevailing sense of nostalgia. Buffalo Springfield Again looks fondly back towards Young's good old days, while Red Sun is brightened by the backing vocals of Linda Rondstat and Emmylou Harris. The serene sound and retro vision are clear, but the song-writing doesn't shine quite so brilliantly anymore.

Kevin Courtney

Looper: The Geometrid (Jeepster)

I don't know what the heck a geometrid is, but I know what I like, and I like this very much indeed. The second album by these lo-fi, indie-electro experimentalists throws some interesting musical shapes, all of which add up to a fine work of geometrical genius. Simple, uncomplicated structures are the order of the day on tracks like Mondo 77, On The Flipside and These Things. Modem Song was originally commissioned by an Internet company, but the band decided to keep it for this album; Uncle Ray is a wry, weird-core anthem, Tomorrow's World celebrates the mundane reality of the 21st Century, and My Robot discusses the novel notion of getting some mechanical help in to do the song-writing. As the closing track, Money Hair, takes us out on a wave of brassy beats, it's plain that Looper are pushing all the right buttons.

Kevin Courtney