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.

Coming on the back of very high praise indeed from Josh Homme of QOTSA fame along lines of, “Probably the best band that ever existed”, Truckfighters duly repay such faith with an album chockfull of stoner rock straight from Sweden. Consisting of seven tracks, which is probably wise considering some of its contents sprawling mini-epics – the excellent chiming guitar signature of ‘The Chairman’ that is pepped up further with a robust undercurrent – ‘Universe’ marks the fourth long player from this Swedish three piece. With songs often rotating around driving rhythms which appear similar in nature yet reveal themselves to be something completely different after several sittings, Truckfighters open up in style with the blustery ‘Mind Control’ and aforementioned ‘The Chairman’ before leaving it up to the multi-layered ‘Get Lifted’ to truly stretch its wings and reveal the band’s skilful musicianship and further creative talents. The name Truckfighters has just got that much bigger as ‘Universe’ is a deeply rich and, on occasions, complex record that deserves to be heard.

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.

Viewed by many as torchbearers for the alt-country movement, Uncle Tupelo’s ‘No Depression’ is given the re-issue treatment by way of a Legacy Edition that sees a multitude of extras including, for the first time on CD, the 10-song demo tape ‘Not Forever, Just For Now’ that was recorded by the original line-up of Jeff Tweedy, Jay Farrar and Mike Heidorn (1989). Given that this album was first released in 1990, ‘No Depression’ has not lost any of its edge with its intriguing mix of country and indie rock that no doubt had some bearing on Teenage Fanclub’s ‘Bandwagonesque’ during the same decade. With producers Sean Slade and Paul Q. Kolderie behind the helm and responsible for artists such as Radiohead, Pixies and Dinosaur Jr, then the crossover of styles becomes even more apparent with the ‘Graveyard Shift’ and ‘Factory Belt’ leading the way. ‘No Depression’ is a timely re-release considering the current popularity in roots music, but a reminder of a ground-breaking album that should secure a new level of interest from those unfortunate to miss out during its initial release.

With preconceptions high of yet more punk noises judging by the photographic images accompanying the press release, Swan Dive’s ‘Fly Toward The Sun’ EP comes as a massive surprise and one that is more than welcomed. Comprising of members of More Than Life, Dead Swans and Last Witness, Swan Dive deliver four tracks awash in a haze of shoegaze and mild grunge bringing to mind a host of bands that littered the music scene during the 90s. Lead song ‘Toward The Sun’ is instantly appealing with its wavering guitars and fuzzy vocals that reveal a narrative that is in a state of flux. ‘Dirtbag’ is more of the same but with a midsection that sees guitars wonderfully cascading before levelling out once more. The finale is beautiful as it is bleak and riding on a wave of singular guitar and deeply forlorn vocal that is cast adrift.  With a busy scheduled planned for 2014, Swan Dive could be this year’s surprise ticket judging by the sheer quality of ‘Fly Toward The Sun’.

Just when you think you have heard it all before, up pops an absolute belter of an EP with much depth and creativity to suggest there is considerable mileage left in the tank when it comes to a vastly populated scene that is post-hardcore (add your own definition here). The band responsible for this vehement and at times diverse collection of songs is Bastions, who bring the curtain down on their Bedfellows concept with second instalment ‘The Forgotten Daughter’. Whether it’s the restrained qualities of the brooding ‘Empty Vessel’ with its forlorn subject matter that is instantly mopped up by the raw and breakneck intensity of ‘Foreign Bodies’ to the chaotic shrill of ‘The Water Tower’, Bastions appear to be offering (appropriately) their final thoughts on a deeply sensitive area before confining it to history. The final statement, however, is left to the threadbare opening of ‘Murmuring’ with its admission “I’ve got it so good, I’m lying to myself” that runs a little too close for comfort due to having more than a ring of truth about it. On the strengths of this EP, the next recorded output from Bastions is going to be a tantalising prospect indeed.