Review of the latest Cd releases

Imelda May – Life. Love. Flesh. Blood: Irish singer-songwriter Imelda May might have dropped the rockabilly stylings of her previous albums, but this is still an agreeably retro affair. Whether channelling the ghost of Patsy Cline on hit single Black Tears, or Bacharach-era Dusty Springfield on Should Have Been You, this is a record steeped in a lost era. Her previous incarnation can still be made out in the Tom Waits-y Sixth Sense, but from the stark album artwork to the lyrics about the economies of parenthood (Bad Habit) or growing up in Dublin (The Girl I Used to Be) there’s a genuine sense that this is May reinventing herself as she really is, completely free of artifice.May’s voice has an authenticity that puts her head and shoulders above her rivals. By James Robinson

Timber Timbre – Sincerely, Future Pollution: Canadian gothic-folksters Timber Timbre’s last album, 2014’s Hot Dreams, sounded like a mix of Tindersticks’ melancholy melodies and the soundtrack to a David Lynch film. Sincerely, Future Pollution sees them move on musically with synths and late 1970s/early 1980s musical stylings. Written amidst the upheavals of 2016, the songs are a reaction to a world full of turmoil, imbued with anxiety and uncertainty. Gifting struts around with a 70s bass-and-synth swagger, Moment sounds like it might be lifted from a 1980s sci-fi movie, while Sewer Blues’ guitar reverb combines with throbbing, ominous synths. The musical palette is broad and unpredictable but it works, cohering around Taylor Kirk’s lyrical preoccupations and brooding vocals. By Darryl Webber

Father John Misty – Pure Comedy: Somehow Father John Misty manages to propagate a cheery nihilistic fatalism on Pure Comedy. The Maryland-born guitarist and former Fleet Foxes drummer, makes swift, damning, yet witty judgements on humanity, splicing jibes at Taylor Swift on the aptly named Things It Would Have Been Helpful To Know Before The Revolution. Real name Josh Tillman, the singer-songwriter expounds on the bleakness of the human condition, but against a hearty background of reverberating piano and big band-style horn work (there’s something of Elton John to his vocals too). On Total Entertainment he declares baldly: “No God to rule us, no drugs to soothe us, no myths to prove stuff, no love to confuse us,” but at least he’s a straight talker. By Ella Walker

The Big Moon – Love in the 4th Dimension: With a busy live schedule and shows that have been blowing audiences away, The Big Moon recorded this, their debut album, in less than two weeks with Catherine Marks (Wolf Alice, Foals) producing. Sometimes, such a bold approach can work in favour, sometimes not. Here, with such a finely-tuned set, the London four-piece just about get away with it. As a result though, too many of the songs sound alike, and maybe tweaks to vocals and guitar sounds might have helped. But that said, there are good standout moments with smart arrangements breaking up the standard three-minute guitar pop song. Silent Movie Susie is my favourite here, but those standouts also include opening track Sucker, as well as Formidable and Bonfire. By Paul Paige

Shostakovich – 24 Preludes and Fugues: If you do not know this work, then you could believe it comes from a latter-day 18th century disciple, and that was Shostakovich’s aim when he embarked on a format that Bach had created.

It was a test of skill in writing a work in every key signature of Western music, and it also became a challenge to the pianist’s skill in retaining our interest through such academia.

With this new two disc release from Peter Donohoe, we have one of today’s finest and knowledgeable exponents Unhurried in slow sections that become mesmeric, the fast fugues offer a demonstration of remarkable technique. This is my preferred performance on disc. By David Denton