Ten

The Xenomania team have been responsible for some of the best songs in Pop history. This we know. So it speaks volumes when the sole Xenomania produced track on Gabriella Cilmi's outstanding new album, is NOT the highlight.

That's not to say that Heart's Don't Lie isn't good. In fact its better than good. The rumoured second single is an absolute corker (naturally), and finds Cilmi sounding more passionate and sexier than anyone could have imagined. But she more up her sleeve...

Ten is super slick and coolly stylistic. Its the kind of album that Sugababes should have produced when they decided to explore a more electronic sound (in fact with her striking, yet simple lyrics - "What if kisses were ones and zeros?" from Robots is a personal favourite - and effortless but powerful voice, its not hard to picture an alternate line-up featuring Gabriella). The comparisons don't end there.

Many similarities can be made with the notorious Rachel Stevens album, Come And Get It. Both feature a group of songs that not only gel comfortably in an almost intentionally conceptual way, but can also be coaxed out to shine individually. Both are quintessential of the best of British pop - music that doesn't feel the need to be bombastic and cliche as it strives on its complexity and originality. In short, both are perfect pop records.

The tracks fall into two categories; fierce, disco-inspired stompers, or sweeping and heartfelt songs that evoke the likes of Girls Aloud's Call The Shots. The latter category contains moments like Defender and Glue, that seem to work despite Cilmi's youth (and what some would call inexperience) because of her timeless and ageless voice. Cilmi never fails to sound mature or passionate. She's especially at her most believable during What If You Knew - a short but sweet memento about falling in love with your best friend, something that listeners of any age will likely be able to relate to. It happens to the best of us after all.

And on the complete other end of the spectrum, there are up-beat and powerful moments. The silliness of current single On A Mission succeeds perfectly because it is an incredible slice of independence and attitude. The fun refuses to end there.

Boys, Superhot and Superman combine all the best-loved elements utilised by artists such as Gwen Stefani, Ke$ha, Santigold and even Donna Summer. Invisible Girl sounds like it could be related to Alanis Morissette in her Flavors Of Entanglement era, in a spunkier, younger sister kind of way, Albeit one that ran away with P!nk's Funhouse.

The producers and writers have outdone themselves in making such and unbelievable record by stumbling one of the Golden Rules of pop music; that it doesn't matter much in what direction the style of the material goes in, so long as you start with a brilliant melody.

Sonically, (although enjoyable) its nothing too special. Acts like Alphabeat, La Roux, Mika and Goldfrapp have all been experimenting with this retro pop (with their own unique and modern twists of course!). But the strength here lies in every catchy chorus. The truth is, the album could be replaced with backing music of any genre, and it would still have the hooks that leave it sounding so intriguing and undeniably refreshing.

This point is certainly made with not only Love Me Cos You Want To, which harks back to her previous sound and style, but also with the cheesy (but brilliant) reboot of breakthrough single, Sweet About Me.

Gabriella Cilmi has exceeded all expectations here, proving that there's more to a career than continuously going back to Xenomania for another hit single. Even though we still love them. If she continues to stay so down to Earth and wise beyond her years, it will be a delight to see what she conjures up next.

Head First

Let's be realistic, every one's doing the whole "Oh my music has it roots in 1980's inspiration, but fused with my own, modern twist" thing right now. So to fully dive into something they helped pave the way for could be seen as a bit of misstep for Goldfrapp. To those who aren't familiar with them, it looks like they're busy playing catch-up.

But as a whole project, Head First works perfectly fine. Its understandably short and sweet, lovingly produced, and for once in Goldfrapp's career, pretty much on the ball and fresh.

New single Rocket and I Wanna Life are classic Goldfrapp songs, with hints and tinges of the overall concept. A bit like Happiness from 2008's Seventh Tree. Its also the closest the duo have ever gotten to a real, feel-good, proper POP (!) song.

But its slightly darker and more melancholy moments like Believer and Dreaming that make the record worthwhile. An appearance of more similar tracks would have shown a little more growth for the band.

As usual, the production is warm and pleasing, and you're never too far from a sweeping chorus. Its sugary and surprisingly... well... full of joy. Alison seems to be having some genuine fun, and naturally her vocals are still sounding out of this world.

Speaking of which, album closer Voicething may sound odd to begin with, but bear with it. Around the 3 minute mark it suddenly turns from intriguing experiment to epic, movie soundtrack-style heart breaker.

In short, an album title has never been more appropriate. Easily the most accessible Goldfrapp disc to date. Prepare to fall in love.