Despite a longstanding history as a singer-songwriter stretching over a twenty-year period that has seen him front The Strollers and still maintaining a working relationship with The Maharajas, Mathias Lilja is poised to pursue the life of a solo artist with his debut record. Considering this lengthy gestation period of whether to commit to a full-length album of original material plus one cover – Townes Van Zandt’s ‘No Place To Fall’ – it only seems right that Mathias Lilja should name his first solo album under his own moniker, as the songs suggest many hours of devotion such is the quality on display. With alt-country being his preferred choice as the musical accompaniment to the personal nature of the lyrical content, Mathias Lilja sets about his business with a warning shot to those preferring to remain oblivious to the very notion that ‘Evil’ could be lurking around the next corner. ‘Don’t Fade On Me’ ups the ante further by means of brushed instrumentation working in unison with Lilja’s impassioned vocal reflecting on what might have been. Any suggestion of bad luck pursuing this Swedish singer-songwriter once again rears its head during ‘Devil’s Almanac’ that presents a rougher ride perfectly summed up by the harder edge of the guitars. ‘Give It All Away’ instantly calms the waters, however, with its predominately folk roots giving way to some pedal steel that adds a lovely aching quality to the song. ‘I Will Stay’ is the perfect example of how country music should sound if there’s a formula to be found that blends its traditional elements with a commercial appeal, as it’s an infectious tune full of bristling energy and smart lyrics and a clear indicator of how it should be done. It is this blend of styles, however, that makes Mathias Lilja’s solo album a force to be reckoned with, especially when considering the lyrically bleak and flashes of distorted guitars that stands out in complete contrast with the rest of this debut.

Crossing the divide between pop and country, Sara Evans delivers in fine fashion with latest album ‘Slow Me Down’. Having worked in collaboration with three of the eleven songs listed here and in terms of production duties with producer Mark Bright (Rascal Flatts, Lonestar et al), Sara Evans offers her own interpretation of events through her own works but also by means of a cover, for example, of Gavin DeGraw’s ‘Not Over You’. Such is the impact of this rendition of DeGraw’s song – who also lends a helping hand with harmony vocals – as Evans claims it for her own by stamping her authority all over it by means of a stirring vocal and subtler use of instrumentation that is equally affecting as its original. The collaborative work also extends to a duet with The Fray’s Isaac Slade during ‘Can’t Stop Loving You’, that is a perfect combination of Sara Evans powerful and slightly sweeter sounding vocal and Isaac Slade’s gruffer tones. If it’s a more straight country sound you’re after, however, then ‘Slow Me Down’ is not about to abandon this ship, despite containing a commercial appeal, as the likeable ‘Put My Heart Down’; steel guitar of ‘Good Love Is Hard To Find’ and wonderful ballad that is built of sturdier foundations in spite of the immediate ramifications suggested by the narrative of ‘Better Off’. By combining country music with a modern sheen of pop music that leans towards its darker edges and sometimes falling into the latter category with ‘You Never Know’ as one such example, Sara Evans has expertly blended a formula that works as a whole in order to achieve crossover appeal, but in the main create a convincing and thoroughly enjoyable body of work in the shape of ‘Slow Me Down’.

The music of Robert Ellis resides in two camps when hearing latest album on New West Records ‘The Lights From The Chemical Plant’, and that is one that lovingly embraces the past in terms of country music, and the other is one that resides in the present by means of various modern methodologies providing it with an up-to-date edge. Working like a well-oiled machine but without the added gloss due to enough frayed corners, Robert Ellis proceeds with ‘TV Song’ that is full of fancy in its efforts to escape from the tedium of the everyday as it plays out to an atmospheric soundtrack. If ‘TV Song’ offered some hope in terms of its wishful thinking, then proceeding track ‘Chemical Plant’ is more grounded in its narrative as it traces the phases of a relationship and the differences this brings. Once more there is great technique in the instrumentation as guitars and various strings are gently caressed providing more of the same atmospherics that compliments the reflective tone of Ellis’ vocal. There is not much in the way of happiness to be found in the piano-driven ‘Bottle Of Wine’ as it hints at loneliness, only to be confirmed by the alt-country ‘Still Crazy After All These Years’ that sounds as if it’s playing to an empty barroom. Nearing its end, ‘Houston’ sheds the last teardrop with intimate lyrics depicting the end of a relationship with both home and heart as there really is nothing left apart from ‘The Lights From The Chemical Plant’ for company.

There is much heart and soul permeating throughout Sturgill Simpson’s debut release on Loose Music that runs a gauntlet of emotions ranging from failed relationships to hardships of the working kind before paying tribute, with genuine affection, during ‘Hero’. Having recorded ‘High Top Mountain’ – a reference to a particular site with significance in Kentucky close to where Sturgill Simpson grew up – at Falling Rock (Nashville) under the watchful eye of producer Dave Cobb and later Hillbilly Central; the latter of which featured such country legends as Waylon Jennings and Tompall Glaser, the desire to create an authentic sounding country record was evident from the start having also enlisted the skilful talents of Country Hall of Fame pianist Hargus ‘Pig’ Robbins and steel guitarist Robby Turner. Where others may have buckled under such self-induced pressure, Sturgill Simpson has taken in his stride as ‘High Top Mountain’ is a cast-iron collection of archetypal country that evokes memories of a period in music confined to the history books. That is not to say that Sturgill Simpson is without his own identity because the wild and passionate ‘Poor Rambler’ and exquisite delivery and honest admissions of ‘Water In A Well’ are but two songs that suggest otherwise. In fact, it is not difficult to comprehend where such emotions stem from, having spent years drifting in and out of unfulfilling occupations which, in hindsight, has led to the position where Sturgill Simpson now finds himself as ‘High Top Mountain’ is deserving of high praise indeed.

Having received a tipoff regarding this latest release from Spymob – the musicians behind Pharrell Williams’ productions – leaves nothing but a feeling of eternal gratitude due to the quality of the songs on offer here. With an album that is more twang than anything remotely disco, ‘Memphis’ is built on alt-country foundations with elements of indie pop as indicated by ‘I Dream About Her’ that stumbles to gather its thoughts after a night out on the tiles with Beck’s ‘Odelay’ before facing the Monday morning blues. ‘Sometimes It Doesn’t Feel Right’ is equally hazy yet more country in its leanings and aching from the inside out. There is a lovely lilting chorus to the more downbeat ‘Sundays’ that re-treads a similar theme to the aforementioned album opener as another week comes to a close and nothing but thoughts of the dreaded working week ahead. Where this album really pays off, however, is the diversity Spymob bring to ‘Memphis’ due to their ability to turn their hands to a variety of musical genres, which this four piece subtly integrate between the cracks without straying from its main intentions of an alt-country sound. Such evidence is found in the choppy guitar work and slightly eccentric ‘Making A Killing’, bringing to mind Beck once more, and the intricacies and dexterity of ‘Heavy Load’ before resuming to the more conventional and breezy country goodness of ‘Sweet Lovin’ High’. If the year had reached its conclusion already, then ‘Memphis’ would be topping the end of year album poll because it is simply that good. As it stands, Spymob has just set the benchmark for others to follow, as ‘Memphis’ opens 2014 in some style.

The fourth instalment of the Seven Doors Hotel bandwagon titled ‘The Arcade’ is unleashed on Snaxville Recordings. The man behind the moniker is Alexander Lindbäck who turns in a heavy shift having written, produced and played the majority of the instruments, with additional support coming from Henrik Maarud (Amund Maarud) who is also responsible for mixing the songs making up this latest release. ‘The Arcade’ embraces an alt. country sound that is blowing in from the American Southwest rather than the colder climes of Norway where, in fact, this album originates. There is a definite sinking feeling of loss at the heart of ‘The Arcade’, with not much optimism in the pipeline either (‘My Back To The Future’), as songs dwell on what might have been (‘That Day’) to the downright perplexed emotions running through the wonderfully aching country lilt of ‘Sliding Bar’ and more conscious ‘Gone Again’. There is an edginess to album opener ‘Go With You’, reflected to great effect with keys and guitars that eventually give way to the song’s frustrations when the feelings are not reciprocated. Seven Doors Hotel is not all about sweetness and light, however, due to a few honest confessions of their own during ‘Hell’s Hot’ ‘”people acting stupid like they just don’t care, maybe that’s why we’re f****** it up” and when retreading the steps of ‘Sliding Bar’ that brings a more rounded and definitely compelling experience when listening to ‘The Arcade’.