Various Artists: The Filth And The Fury OST

Julien Temple's documentary on The Sex Pistols is an exuberant, expectorating trip back to the punk wars of 1977, and the soundtrack reflects the conflicting ideologies of the era. Juxtaposing the Pistols' sneering God Save The Queen with The Bay City Rollers' simpering Shang-A-Lang is a tracklisting masterstroke, and the whole spit-fest is enhanced by the inclusion of such seminal 1970s anthems as Alice Cooper's School's Out, Roxy Music's Virginia Plain, and David Bowie's The Jean Genie. All the Pistols' sharpest shots are here too, including Anarchy In The UK, Pretty Vacant, Holidays In The Sun and EMI, along with such gob-smacking rock tunes as Did You No Wrong, Liar and Problems, and raucous punk readings of Substitute, Roadrunner and What'cha Gonna Do About It. (See film review in vision)

Kevin Courtney

Hobotalk: Beauty In Madness

It must be all those windswept highlands and raindrenched valleys, but Scotland seems to produce more than its fair share of horizon-gazing folksters. Hobotalk is singer-songwriter Marc Pilley; he hails from the tiny coastal town of Dunbar, as if you couldn't tell from such cottage-crafted tunes as Walks With Me, Letter and I've Seen Some Things. Marc and his pals use rustic acoustic guitar, trickling piano, dirt-tramping drums and wheezy harmonium to evoke a pastoral passion in songs like Dime, Motion Picture Scarecrow and Jackdaw; no danger here of lyrics about fast cars, Hollywood or the Internet. But though it's all very pleasant and trad, dad, it's about as engaging as a wooden fireside stool. Kevin Courtney

Juliet Turner: Burn the Black Suit (Hear This)

SHE is still some way short of the finished article, but Juliet Turner is beginning to put a real shape on her music. It is a little wacky, a lot personal, a touch immature - very much, I suspect, like the Northern chanteuse herself. The early, folky strains are giving way to a pop sensibility as exhibited on the title track, Dr Fell and Take the Money and Run, plus her infectious reworking (with Brian Kennedy) of Tom Waits's I Hope That I Don't Fall in Love With You. She has a tendency to spill her words too freely but on the sensitive Belfast Central she shows she is learning to craft her songs to a finer edge. Producer Gerard Kiely opts for a light tone, although some of the mixes are quite muddy, but he does her great service by allowing Turner's heavily accented vocals to shine.

Joe Breen