Spilling forth in glorious fashion, London-based three-piece Stooshe reveal their debut album to be something of considerable depth, setting it high above sea level of the overpopulated run-of-the-mill formula of girl bands. ‘London With The Lights On’ is anything but formulaic as Stooshe open up their world in a sassy ‘Supremes-esque ‘Slip’ and complimented with the quasi-Motown sounding ‘Love Me’, complete with spoken worded exchanges between band members and in the process revealing their sense of humour in the broadest of London accents. The knockout blow arrives, however, with the sublime ‘Black Heart’ showing the girls can play it straight and oh boy, what a song! At your own peril, avoid prejudging Stooshe on face value as you will leave severely empty-handed because ‘London With The Lights On’ is a glorious treasure-trove of stunningly good songs.

Being one of the former vocalists of country-pop outfit the Dixie Chicks, Natalie Maines decision to embark on a solo career would always be a tough challenge to undertake considering the success of her previous band. Fortunately, for all concerned, the end results are to be admired. Ditching the country guitars for a more gritty approach comprising of a mixture of covers and original compositions, Maines has crafted a fine solo album. With co-production duties coming from Ben Harper, ‘Mother’ also leans on the songwriting talents of Eddie Vedder whose ‘Without You’ is trademark latter-day Pearl Jam, despite being a solo effort, and Maines does not do it any disservice. In fact, there is no hiding when it comes to Maines’ decision-making as the choice of Jeff Buckley’s ‘Lover, You Should’ve Come Over’ slightly misses the mark whereas title track, and Pink Floyd song, ‘Mother’ more than makes up for the lacklustre of the previous song. After a seven-year absence from the music industry, it’s hoped that Natalie Maines does not wait another seven years for her next creative foray because ‘Mother’ is as good as any place to start a solo excursion.

By some transcontinental journey, Maia Hirasawa’s ‘What I Saw’ landed in the lap of FLW and what a stroke of good fortune that was due to being completely dumbfounded by the quality of the eleven glorious indie electropop and ballad-esque ditties on display. Hooked from the beginning with the irresistible emotional pull of ‘You’ that lives long in the memory even after the events of the unreciprocated love has fizzled out, Maia Hirasawa has a knack of constructing infectious melodies whether shifting tempo with the more upbeat ‘Lights Out’ or coming back down again with the sparse offerings of ‘Still Think Of It’. There is definitely talent at work here, and ‘What I Saw’ is one of those rare unexpected finds that will still have a place in your heart in some years to come.

As first impressions go, don’t be dissuaded by the artwork because Old Soul muster up a guitar fest that is as epic as it is dense. Despite being only four songs in length, the opening sprawl of ‘Ethereal Faultless’ is a perfect example of this grand vision as it stretches for little over ten minutes. With ‘Tidal Lock’ being Old Soul’s third output, clearly the Michigan band has progressed their sound considerably as there is a painstaking attention to detail as second in line ‘Ghost Incomplete’ is full of claustrophobic rage before fizzing out into obscurity. The complex structure of ‘Paradigm Pendulum’ is awe-inspiring in its audaciousness, and the final declaration of ‘Watermouth Mirage’ burns out in a raging intensity leaving one to ponder the merits of ‘Tidal Lock’ and the realisation that they will take some beating.

Incredible to think that Hugh Laurie has gone from comedic actor to serious actor and now turning his attention to blues music with follow-up album ‘Didn’t It Rain’ to the well-received debut ‘Let Them Talk’. Whilst the latter focused on celebrating and reviving classic songs from the world of NOLA blues, ‘Didn’t It Rain’ is a departure from the New Orleans sound and a steady progression into the exploration of the blues further inland towards America’s central regions. In doing so, Laurie has turned his attention to early pioneers such as W.C. Handy ‘St. Louis Blues’ and the imaginatively titled Jelly Roll Morton ‘I Hate A Man Like You’ bringing this up-to-date with more recent artists Dr. John ‘Wild Honey’ and The Animals Alan Price with ‘Changes’. If there are any doubters remaining, however, as to the musical credentials of Hugh Laurie, then roll back to the contented sentiments of ‘Junkers Blues’; weep at the quite exquisite ‘Careless Love’ or eavesdrop on the stripped-back sounding before adding some weight confessions of ‘Send Me To The ‘Lectric Chair’ to realise that ‘Didn’t It Rain’ is more than a simple side project reliant on its various collaborators to give it kudos. ‘Didn’t It Rain’ is the second instalment of a fascinating journey of America’s blues music. Long may it continue.

With Steve Earle’s creative enthusiasm for coming up with the goods time and time again, ‘The Low Highway’, accompanied by The Dukes and Duchesses, shows no signs of waning as this album will take some topping. Being cited as his ‘road’ record, nicely illustrated by the liner notes, ‘The Low Highway’ reveals a breadth of acoustic strummers, country-rock numbers, elements of bluegrass and in the process revealing all facets of Earle’s enduring talents. The mid-tempo jaunt and slight carefree attitude of ‘Love’s Gonna Blow My Way’ breezes through only to be halted in its tracks by the wonderfully portrayed barroom blues of ‘Pocket Full of Rain’. It is left to the title track and lovely drifting strum of ‘Burnin’ It Down’, however, to claim the overall prizes.