Bob Dylan has broken decades of silence to talk candidly about the most important years of his career in a feature-length film directed by Martin Scorsese. If Joy Division and the Bunnymen had themselves so slavishly copied the modes of a quarter-century before, they would not even have been playing rock'n'roll, but bowdlerised light-entertainment pop Are we wrong to expect the "new" to be new?. Editors appear no better nor worse than their contemporaries in copying the musical styles and urban alienation of that era, but that's immaterial. As for "Blood", with its rhyming of "process" and "promise", and its claim that "This wicked city will drag you down", it's hard to recall a song that more brazenly apes the sombre, dystopian rush of Joy Division - unless it's the ensuing "Fall", which even borrows certain chord clusters from "Shadowland" (I think) in its attempt to span the gap between early-Eighties industrial indie-rock and the stadium-sized mewling self-pity of Coldplay, Keane et al. In songs like "I Used to Love Someone" and "Ol' Keeper", Hamilton chides women for their inconstancy, but without sinking to the misogynistic bitterness that's become prevalent in modern R&B; instead, he remains sanguine and suave, smoothly asserting in "Clearly" that "It's clearly understandable/ That I'm not some kind of animal/ I'm just in love with you". Elsewhere, "Georgie Parker" offers reminiscences of a troubled step-child, "Love War" is a duet with Macy Gray, and "Ball And Chain" finds the singer musing wistfully on the prospect of returning to Georgia A languid delight..

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Like so many of the new wave of British and American bands, this debut from the hotly tipped Editors reminds one of an older new wave whose innovations have been "borrowed" lock, stock and barrel, with little apparent extra input from the band. As with The Killers, the piercing, anthemic guitar rock of Editors' "Lights" and "Munich" simply makes me wonder whether this younger band will fare better with its Echo & The Bunnymen tropes than Ian McCulloch has managed for the past decade or two. There's certainly a distinctive, individual appeal to this debut album, though whether the world is ready for it remains in doubt.. For years, Anthony Hamilton was in a similar position to Nate Dogg and (until recently) John Legend, adding a sprinkling of Southern soul vocals to records by such as Eve, 2Pac, Nappy Roots and D'Angelo while his solo career languished. Until Arista managed to shift a million copies of his third album Comin' From Where I'm From, Hamilton had seen his MCA debut XTC disappear without so much as a ripple, and the Soulife label for whom he recorded a subsequent album followed suit. Now made available through Atlantic, Soulife reveals Hamilton to be the Bill Withers of his era, blessed with a warm, brown vocal tone and a musical manner that blends folksy, acoustic guitar-based soul with a relaxed funkiness and a philosophical attitude. On the manic, jerky riffing of "Stuck in a Tight Spot" and "Love + Pain", the results are akin to Primus; elsewhere, the poppier cast of songs like "Good Stuff" and "Outlines" draws Clor closer to the wry, clever-dick pop of Scissor Sisters and, skipping back a generation, the sturdy, satiric automaton grooves of Devo.

The finale has one of Haydn's best false-ending jokes; Sir John Eliot Gardiner gleefully milked it so that it came off four times.These Proms can be heard online at . Their press release describes Clor as "a futuristic pop band of the colour nobody makes anymore". Of course, "futuristic" is hard to sustain in an age when virtually all musical production draws brazenly from previous eras, and Clor are no exception: it's just that the models they've chosen to emulate remain firmly out of fashion. The vocalist Barry Dobbin - who really should think about a new stage name - sings in a plaintive high-register warble somewhat like a cross between Perry Farrell and Jonathan Donahue, coming across like some alt.rock idiot savant on the pleasingly self-reliant "Gifted": "If I've got problems, I'll never share/ I'll work them out slowly/ You won't be there." His band, meanwhile, have developed a no less peculiar musical style, which, on tracks such as "Garden of Love" and "Making You All Mine", resembles an unholy garage/prog crossover.