Heather Nova: "Oyster" (V2)

The pop world should genuflect every day in the direction of Alanis Morrisette and Jewel. And the fans who bought their albums in numbers so vast it opened up the market for similar talents such as Heather Nova. I certainly do. Were I given to hype I could push this album until the final word in this review. Instead, I'll simply suggest you exercise your own judgment. Go to a listening post in a record shop, play just one track, Island, and I promise you won't walk away without buying Oyster. Particularly if you adore the likes of Jewel, maybe more so if you are a woman and can relate to the decidedly feminine, if not defiantly female, themes of songs such as Blue Black.

By Joe Jackson

The Dandy Warhols: "The Dandy Warhols Come Down" (Capitol)

American rock has been in dire need of a camp kick up the derriere, and it takes a band from Portland, Oregon to put a bit of glam into the dull and dusty landscape of post-grunge. The Dandys take their cue from the late1960s New York era of The Velvet Underground, importing some punk from the UK and sprinkling a bit of T. Rex-type glitter on top. Led by the gauntly handsome Courtney Taylor, The Dandy Warhols make eloquently wasted rock'n'roll, and their lyrics are peppered with knowing cultural references to underground pop life. Anyone who longs for the time when American rock was stylish, snotty and just good, unclean fun will welcome the plastic perkiness of Minnesoter, Cool As Kim Deal and Hard On For Jesus.

By Kevin Courtney

Junkster: "Junkster" (RCA)

Irish rock's first example of anti-hype, i.e. hyping up a band by emphasising the lack of hype, Junkster's big weapon is front-person Deirdre O'Neill, a woman who knows what she wants and has the guts and talent to get it. O'Neill's voice conjures up the technical detail of the Texas singer, but it also evokes the more introspective moments of Sinead O'Connor and the paranoid purr of Garbage singer Shirley Manson. The music is an insistent, beat-driven style of trip-hop which also reminds you of Garbage, especially in songs like Feed On Me and Liar; gentler, acoustic songs like The Only One and Little Bird suggest that O'Neill can emote with the best of them, they also show that Junkster need to program some stronger, more original ideas into their technological blueprint.

By Kevin Courtney