Blending Cline originals and recent covers with reimagined standards by the likes of Jerome Kern and Rodgers & Hart, all realised in beautifully enigmatic arrangements which wrap woodwind, horns, strings and tuned percussion around Cline’s guitar. Throughout, atmosphere is paramount.

Pure & Simple sticks for the most part to an agreeable neo-traditional approach.

Her own third album suggests she’s every bit [Damien Rice's] equal in tracking the heart’s mysterious emotional undercurrents.

On John Paul White’s Beulah, the dark emotions of tracks like “Fight For You” and “Hope I Die” mingle with the bitterness of “The Once And Future Queen” and the low self-esteem of “I’ll Get Even” to create a strangely subdued portrait of emotional turmoil, couched in Southern folk and country modes.

“Riser” features Jaki Liebezeit-style tom-toms behind cosmic contrails of synth trapped in a cavernous ambience; while string synth and wordless vocal keening drape like fog around “Abandoned/In Silence”, whose clarinet line establishes accidental but apt echoes of the theme to Exodus.

Throughout, the band’s gorgeous harmonies temper the sombre mood.

It’s really interesting seeing how much chemistry Dubz and Giggs still have; it feels like there’s still some space for Ard Bodied 2.

It’s hard not to become overly aware of how the similarity of both the musical settings--basically, strings allied to rhythm programmes of skittish or explosive beats--and especially Bjork’s delivery tends to leach the individual songs into one another.

As with many great albums, successive hearings reveal more clearly the elliptical tunes at the heart of these eight quietly intense pieces, climaxing with the eight-minute “Age Old Tale”, a masterly band performance.

It’s well-wrought and entertaining for the most part, though there are moments, as in “The Palest Of Them All”, when the archness becomes top-heavy and capsizes the song.

There’s unintended comedy and a few overlooked gems amongst the lesser lights unearthed here.

The issues she covers are complex at times--“Called You Queen” recounts a problematic period partnering a gay man, “before your body betrayed you”--but “Blue Diamond Falls” closes the album on a positive note, affirming feminist possibilities that “you can be whatever you like”.

Its dark, unflinching songs certainly ponder humanity’s less attractive traits, with arrangements to match.

Wreathed in mellotron, vibrato guitar and ghostly backing vocals, several songs evoke the windswept psych-pop of The Coral, whose singer James Skelly co-produces Blossoms.

The results are quirkily, unexpectedly appealing.

Other highlights include Los Lobos’ typically confident swagger through “Bootleg”, and the unusual alliance of ZZ Top’s Billy Gibbons with Colombian singer La Marisoul on a wonderfully gritty “Green River”.

The result may be the band’s best album yet, one on which they come closer than ever.

Only occasionally does the survey of this interpersonal battlefield afford an optimistic light.

The Warrington quartet was clearly in the process of defining their own sound.

The album only develops a steely ragga rasp in the last few tracks, when the hometown likes of Bounty Killer, Capleton and Sizzla make their presence felt.

It’s Robinson’s soul-scorched vocals that hold everything together, his relaxed charm shining through whether he’s engaged in perplexing, mystic narratives or offhand, recreational encouragements to “relax your mind”.

His voice, which should be the focus, sounds muffled by effects. Neville’s fluting, melismatic vocal is much better served on the slow waltz hymnal “Heaven”, a persuasive reflection of his faith.

With songs about mountain men and sentient country houses, it’s like a more pompous (and crucially) humourless version of The Incredible String Band built around flutes, celesta and caterwauling: okay in very small doses, but unbearable at album length.

The deceptive geniality of his delivery, meanwhile, recalls Gilbert O’Sullivan, enabling him to bring darker undertones to apparently pleasant pieces like the lilting waltz “I’m Gonna Haunt This Place.”

He’s helped by the sleek production of Ry and Joachim Cooder, the former lacing delicious guitar lines through Outlaw’s songs while his son adds subtly illustrative percussive flourishes.

It’s an attractive, still beguiling attitude that courses through the album like ambrosia, offering a welcome, if unworldly, alternative to pop’s prevailing discourse of acquisitive antagonism and automated emotions.

Vessels’ remix of “E.V.A.” and Copy Paste Soul’s “Tomorrow” both temper brisk, scuttling pulses with tender string textures, while Petar Dundov’s take on “Sputnik” builds from spartan beginnings to an epiphanic, widescreen electro synthscape.

Though not wholly succeeding, he offers music as a sanctuary, and world of its own.