Young Marble Giants and Garbage head this week's selection of the best CDs.

POP
Young Marble Giants
Colossal Youth (Domino)
*****
They're often cited as the prototype for indie but in truth, Young Marble Giants were a one-off. Loved by both Kurt Cobain and Michael Stipe, the Cardiff three-piece released just one album and two EPs, all of which are collected here along with a John Peel session and some other bits and pieces. Colossal Youth is still perfect, made out of scratchy guitar, plump raindrops of bass, a drum machine, Alison Statton's glacial voice distractedly picking its way through melodies of devastating simplicity and absolutely no sign of a producer. For all the praise heaped on this stark music, the most startling thing is that no band I've heard has ever appropriated the template. Unique and beautiful.

Garbage
Absolute Garbage (WEA)
****
Garbage, three studio boffins (including Butch Vig, producer of Nirvana's Nevermind) and flame-haired Scot Shirley Manson, have never quite recaptured the precision-tooled pop genius of 1995's self-titled debut. But even if you set aside the brilliance of tracks such as Vow, Stupid Girl and Only Happy When It Rains, all of which featured on Garbage, there have always been terrific songs, even on their most mediocre offerings. Push It from Version 2.0 is still extraordinarily thrilling, while Cherry Lips (Go, Baby, Go!) from 2001's Beautiful Garbage and Run Baby Run (a highlight from 2005's Bleed Like Me) are pure pop classics with steel running down their spines.

INDIE
Poppy And The Jezebels
Follow Me Down (Reveal)
***
In recent months the "teen pound" has become very important to the music business. Matinee, no-alcohol shows have been become staples of many bands' tours, the upcoming Underage Festival has attracted a good deal of interest and now there are a few teen bands popping up. Of course, the tween American duo Smoosh were there first two years ago but Poppy And The Jezebels (four 14 to 16-year-old girls) have made a creditable first record.

It's a little ramshackle - you can almost see their tongues sticking out as they pick off the tunes - but the lyrics, especially on the buzzing anti-chav standout Nazi Girls, are sharp and some of the tunes have real sparkle. Could do better, obviously, but this effort shows some real promise.

ROCK
Josh Rouse
Country Mouse City House (Bedroom Classics)
****
He has released eight albums in the past decade, yet anyone waiting for a clunker from Rouse is destined to stay disappointed. Rouse may have changed his view, having moved to Spain, but he hasn't much altered his outlook and his modus operandi - Seventies-obsessed singer-songwriter with an occasional nod to contemporary times - remains as it always was: but why fix what ain't broke? Sweetie, a lovely mid-tempo ramble through power pop pastures, and the equally welcoming God, Please Let Me Go Back are representative of what Rouse does best. But Italian Dry Ice, with dark lyrics about an errant lover who "f***s sharp-dressed Italians" and chocolatey Stax richness, suggests he has no intention of standing still.