Pop

Chemical Brothers
We are the night (Virgin)
***

It's been 12 years since their debut, and though their dancefloor-filling peers have almost all disappeared, not much has changed for Tom Rowlands and Ed Simons. This sixth album features the usual guest spots from the latest hot indie names (Klaxons, Willy Mason and Midlake this time around), a veteran rapper (Fatlip, of the Pharcyde, on bouncy novelty The Salmon Dance, the Brothers' quirkiest song yet) and variously, sounds that recall jet engines going full pelt or even a blissful sunset over Ibiza.

The pair's skill with their synthesisers allows for infinite variety within the constraints of their formula, whether it's the urgent house of standout single Do It Again or the delicate twinkle of the gorgeous closer The Pills Won't Help You Now. Surprises are few, but if it still ain't broke ...

Crowded House
Time on Earth (Parlaphone)
***

Few solo careers have been more pointless than that of Neil Finn, who bulldozed Crowded House in 1996, despite their being essentially a vehicle for his own work. Now, he's done the decent thing and if the results (some of which were initially intended for a Neil Finn album) don't quite recapture the magic of Weather With You or the exuberance of Locked Out, he has rediscovered the flair which eluded him solo. The results are the rueful People Are Like Suns (seemingly about Crowded House drummer Paul Hester, who committed suicide in 2005), the Johnny Marr collaboration Even a Child and the knowing English Trees. It's always nice to see the world turning as it should.

Velvet Revolver
Libertad (Columbia)
**

Velvet Revolver - no relation to the Sex Pistols, although the name suggests otherwise - are the most endearing of dinosaurs. While Axl Rose plunges the world into debt through the endless recording of a new Guns N' Roses album, his old mate Slash just gets on with the business of rock 'n' roll and finding a hat that will stay on top of his hair. On Libertad, despite the occasional modern flourish at the mixing desk, the supergroup blithely ignore the past 20 years and devote their energies to exploring that particular spot where soft rock turns hard. Sadly, there are no tunes that stick in the memory, just a comfortable sour mash of squealing guitar, elephantine rhythms, and Scott Weiland's undistinguished vocals. Don't mock, though - they do this because they must.

Jazz

Sonya Kitchell
Words Come Back to Me (Telarc Jazz)
***

Sweet 16 when these 14 self-penned songs were recorded, and still only 18, this introverted blonde from western Massachusetts has everything it takes to be the next big thing. She writes tuneful little numbers with sad but snappy lyrics, delivered in a sweet but knowing voice that breaks into a folksy falsetto at key moments. Though certainly not jazz singing in the diva sense, her vocals have a lightly lilting delivery that falls somewhere between lite jazz and country and western. This is Carole King/Joni Mitchell/Norah Jones territory, and as we all know, there's gold in them thar hills. Summer trendseekers should mosey along to the Islington Bar Academy on 18 July and catch her UK debut.

World

K' Naan
The Dusty Foot on the Road (Wrasse)
***

Rapper K'Naan is one of the rapidly rising stars of world music. Born in Mogadishu, Somalia, he now lives in Canada, but his experiences as a refugee and growing up in a war zone inform his lyrics with a vivid vivacity. He's a charismatic performer on stage - as witnessed last weekend in Glastonbury - and his words have a haunting poetry: "Muslims, Jews and Christians war, no one's left to praise the Lord". K'Naan's admirers include many who are not usually interested in rap music.

This strong album includes live performances captured in both Djibouti and New York, although he should find himself a better djembe drum player to improve things musically. He plays in Trafalgar Square tonight.