Resembles nothing more than a U.S. major label executive’s idea of what dance music should sound like.

Now we see. It is all clear. DMX believes what they say in Def Jam board meetings. He actually believes that what Mr Budden and Just Blaze did earlier this year is what one should do in hip-hop right now - meaning, shout popular thug slogans over irritatingly OTT beats for an hour or so.

On first listen 'Harmonies For The Haunted' seems slight enough to be a collection of b-sides and discarded songs from the first album.

The key flaw with this album is that it doesn’t have any of the bangers that GC can do so well.

Too much of it is straightforward four-to-the-floor anodynity, and a number of tracks run out of ideas almost immediately, explore touchstones they've caressed more inspiringly before or, worse, do both.

When they're good, they're alright, but when they're bad, they're unstoppable and Dirty Vegas' biggest mistake so far is that, sometimes, they're not nearly filthy enough.

While 'Bleed Like Me' is easily better than 'Beautiful Garbage', it's still not worth buying. It's recognisably Garbage, but it's unarguably garbage too.

That the band that churned out some of the best records ever made in a phenomenal two-year creative splurge should be reduced to anything as pubby as this is nothing short of tragic.

'Silence Is Easy' is non-challenging "pretty pretty" music for early-ageing types who might recoil at anything without an acoustic guitar and tomtoms.

An unholy brew of overreaching ambition and soul-destroying complacency.

This ain’t no classic.

Too much is sodden with his overbearing ego.

It does at least manage to include several of the things we hold dearest about Michael Jackson the singer, and it also steers clear of anything as laugh-out-loud as 'Earth Song'.

Dubious lyrics notwithstanding, this is exactly the kind of album that a formerly drug-addled, ludicrously randy, city-dazzled English suburban boy ought to be making when he reaches the onset of middle age.

A weak Meth album produced poorly and without imagination in the main, by an assortment of losers, with each track featuring a guest emcee.

As unremarkable and average a comeback as humanly possible.