Jane's Addiction are both a product and a victim of their time. Formed in the same city (Los Angeles) in the same year (1985) as Guns N' Roses, they ascended to their pinnacle in 1990, even then overshadowed by the heavy metal titans next door, only to then split up for the first of what would be two times in 1991. Their history is fractured and staccato, one of acrimony and reformation, but the warm embrace afforded the band by tonight's crowd at Koko speaks volumes about the impact that their first two albums had on a generation of young rockers.

Vintage Trouble's music harks back to the erotically-charged blues-rock of the 1970s, but with a funky edge that recalls The Black Crowes.

If you thought Pharrell had jumped the shark, Nothing will come as something of a shock.

The studio anchor of Maroon 5's third album is super-producer Robert John "Mutt" Lange, who apparently approached the band, rather than the other way round, before inflicting upon them the same process to which he subjected Def Leppard, Bryan Adams and AC/DC: basically, strip away everything, get them to write better songs, and start from scratch.

Semi Precious Weapons are an outrageously flamboyant glam-rock quartet from the same NYC scene that spawned Lady Gaga: she used to support them, now they're opening her Monster's Ball jaunt and blowing teeny minds.

Claireece "Precious" Jones (played elegantly by newcomer Gabourey Sidibe) is no ordinary 16-year-old black girl growing up in 1980s Harlem.

Compared to the claustrophobic Antidotes, Foals' second album is a breath of fresh air – as if someone had opened the windows of a hermetically-sealed rehearsal room upon the band's somewhat solipsistic math-rock exercises.

Oh dear. Having scored themost played record of2009 with the still-notthat-irritating "SweetAbout Me", the Italian-Aussie songstress hasplugged into her "innerdisco diva" for this, hersecond album. It's a disastrousdecision: moreTeena Marie than DonnaSummer; all backcombedbeats and 1980s powerchords.Ten calls to mindKylie's early 1990s discodabblings, when she maderecords aimed at crossingfrom the dancefloor to theradio, when her naturaltrajectory was alwaysthe other way around.

The troubles of its central character are laid on with a trowel in a film that's part social tract, part dramatised talk-show therapy

Very hard times in Harlem