FRESH from completing a novel, 'The Motel Life', Willy Vlautin and his Portland troupe of gritty American realists decamped to Arizona to create the follow-up to 2005's despairing tales of alcoholism, debt and loneliness, 'The Fitzgerald'. The result is an album so rich and honeyed it soars above anything on the band's previous seven albums.

The subject matter is no different but Vlautin possesses a singular ability to write without judgement, giving his characters universal qualities. Americana at its finest.

Download: 'The Disappearance of Ray Norton' 'A Ghost I Became' 'Westward Ho' Neil Dunphy The Good, The Bad & The Queen The Good, The Bad & The Queen Parlophone (42m 15s) . . . .

HOW does Damon Albarn keep doing it? In 1995 it was so different.

Blur failed when the gauntlet was thrown down by Oasis' 'What's The Story. . .' and 'The Great Escape' came over like a middle-class twat whingeing about English stereotypes. Twelve years later, Albarn is doing the same thing with three differences: he's grown up as a lyricist, his country is at war and he has the musicians and producer in Danger Mouse. The result is an album of dystopian beauty, marked by swish electronica, deft beats and subtle guitar, all washed over by Albarn's pathetic vocals.

Download: 'Green Fields', 'A Soldier's Tale', '80's Song' ND

The Hours Narcissus Road (51m) Universal . . .

THIS is a motivational rally call, rather than a record. These motley, if determined, musicians have seen their hard times with drugs and bands past, but they've given it one more shot. The band writes that they mean everything they say and such serious intent can certainly be heard in every chord and beat, even if this record never breaks out of the formula of contemporary pianodriven rock. There are fantastic stamping moments but the main theme of redemption, failure and resiliance are not as subtle as one would like or, say, The Veils achieve.

Download: 'Ali In The Jungle', 'Dive In' Una Mullally

Tokyo Police Club A Lesson In Crime (18m) Paper Bag Records . . . .

DON'T you just love it when rowdy kids discover post-punk?

Nowhere are the results as enjoyable as on this mini-album.

It's all here: the shouty Arcade Fire-esque harmonies, Explosions In The Sky riffs, post-apocolyptic lryics, Death Cab voice and Bronx punk spurts;

all imitation of course, but TPC mix them well enough to forgive such flattery. It's immediate, frantic, panicky and exuberant and cleverly constructed enough to allow the songs to translate to loner listening, as well as the dancefloor.

Download: all of it UM