The Wild Hunt is a heady and enthralling work, its impressionistic nature bolstered by levels of charm and confidence found all too rarely in these modern times.

These 12 tracks have an irrepressible energy that is all Collins' own, reflecting his twin loves of punk and northern soul; while his lyrics, always wryly self-regarding, have an urgency and bluntness that would make them seem inconsequential were there not so much at stake.

There are songs here that comprise bite-size fragments of multifarious melodies, drawing on myriad influences. But there are also tracks that sustain one tune and tempo over the duration, where previously only three or four would do.

It's a marvellous, spine-tingling journey around some not-so-obvious American songs, and also a stunning tutorial in different American music styles, strung together by LaVette's sensuous singing... Possibly the best set of songs she's ever recorded.

Tribal contains 16 deeply detailed, fidgety tracks--but it's never hard work. It's a warm, gently funny album.

Mainly, though, if Caitlin Rose is the future of Nashville and American country music, then it would seem that its future is in safe, appealing and mellifluous hands.

That the album is a minor triumph is testament to both the durability of the songs, and the astonishing gifts of the singers.

Credit to this fine record that, when you actually listen to it, the need for explanation feels like the last thing on your mind.

All told this is a decent effort, but one to approach with caution if you're after something a bit different.

Louisville/Seattle trio has delivered an album that every fan of extreme music should own. Bravo.

It's a consistently intriguing album and, in the long run, may even prove more enduring than its predecessor.

There is gospel organ (Be That Easy) and a mid-tempo reggae-ish gait on Babyfather, but mostly Soldier of Love is as mournfully one-paced as previous Sade albums, with the same attention to texture and surface lustre but, alas, not to melody or moving autobiography.

Roll the Dice are processing the work of their predecessors into something recognisably new. And at its best, In Dust sounds neither antique nor cutting edge, but timeless.

If Rubin managed to find the core of Groban, it's a sad fact that what remains after the layers have been removed is an incredible vocalist and a one-note songwriter.

Occasionally augmented by beautifully restrained strings, there’s a kind of heat-haze shimmer evident, of a kind that gave Bobbie Gentry’s sound some of its mystery and magic.

On the whole, I Will Be invites you to be whisked along by the sheer energy burst: the pots’n’pans clatter of the drums, the crackle and fizz from the amps and the bitter take on romance from Dee Dee herself.

On the whole this is a marvellous snapshot of a supreme talent deserving of more respect than he's been afforded in recent years.

This is an imbalanced record, and one that leaves you frustrated rather than elated. But despite the blips, they have dished up at least two cerebral bangers here.

That it's the track here [Ice cream] that most closely resembles Battles with Braxton in the fold is evidence enough that this band is missing a vital organ. Sadly, it would appear to be the heart.

This is a strong record, there's no doubting that--but it still feels like the best is yet to come from Danilova.

Perhaps inevitably, the overall tone is reverent, verging on precious--everyone adheres faithfully to Williams' template of rugged three-chord structures, twanging guitars, weeping violins and keening pedal steel.

In Our Heads is a record for all occasions, an album that balances sentiment and soul with an ever-evolving talent for constructing infectious pop hooks.

Musselwhite's dialogue with Harper's soulful tenor and punchy guitar is pure Astaire and Rogers.

There isn't the clarity that characterised his lovelorn debut. It's a minor criticism, though, and one that doesn't tarnish an album as equally rich in invention as his first offering.

Where that album [2008’s Supreme Balloon] over-extended a limited palette, this set bridles with impish imagination.

Barchords is an enormously likeable set of songs... ranks as one of the most refreshingly direct and enjoyable albums of the year so far.

Both as performers and songwriters, these guys have upped their game, and Head Down puts them well ahead of the pack.

It's an exhilarating taster of things to come.