Zero 7 The Garden (Atlantic) Zero 7's career trajectory reads like a cautionary tale for budding music makers. The beguiling Simple Things was a late-night masterpiece - and despite those naysayers who thought it too much like down-tempo Air - it captured the downbeat sound of summer 2001. That debut's standout tracks soothed burnt-out hippies at the Burning Man festival in Nevada and even wafted through Carrie Bradshaw's window in Sex and the City. Followup When it Falls carried on in much the same vein, yet failed to create the splash its predecessor had; which leaves it up to the British soul duo - aka Henry Binns and Sam Hardaker - to make more than a ripple with The Garden. This time exploring the world of schmaltzy, chilled-out pop, you can't help but wonder if form is taking precedence over function. The result is a collection of vacuous sounds, disproportionately ornamented with succulent vocals, thanks in part to returning Zero 7 regular Sia Furler and Swedish folk crooner Jose Gonzalez, who shines in opening track Futures. But even Furler sounds like she needs a break; and you can't help wondering why there was no place for Sophie Barker, whose vocals catapulted In the Waiting Line to the top of many playlists in 2001. The halcyon days of hits such as Destiny are sadly over. Who is committing the bigger crime here, Zero 7 for making an album with only one track worth listing; or me, for only wanting to list one track? In order to elaborate, these ones should be earmarked to avoid at all costs: The Pageant of the Bizarre, This Fine Social Scene, and Seeing Things. Instead of a garden packed with earthly delights, Zero 7 have produced an album so disappointing that, by the final track Waiting to Die, you're thinking just that.