Shania Twain describes her sixth studio album as “a song of gratitude and appreciation. I was inspired that I still had air in my lungs” – and it certainly is a hi-energy affair, a long way from The Woman in Me, the sophomore outing that established her as “the queen of country-pop”. Twain’s come a long way from the mining and lumbering towns of her Ontario childhood – literally and metaphorically, for home is now on Lake Geneva.

Kelela, the DC-born artist, has been fusing R&B with experimental electronics since her 2013 mixtape Cut 4 Me. In 2017 she released her debut, Take Me Apart, a futuristic R&B album which consolidated her as a singular artist in a league of her own.  

It’s the sound of the sun. Panda Bear – born Noah Lennox – is singing in a voice with the purity and warmth of Brian Wilson. Beside him, Sonic Boom – Pete Kember – has more of a growl, a timbre which might make announcements in a railway station. The contrast works well. Sweet and slightly sour.

The Waeve is the debut album from life partners Rose Elinor Dougall (long ago in The Pipettes) and Graham Coxon (of Blur), working with James Ford (of Simian Mobile Disco), who co-produces and provides occasional bits of instrumentation. Their album is a woozy thing, underpinned with analogue synths and elegant Krautrockin’ rhythms, emanating a mystic melancholia. The sound is luscious but the whole could maybe do with a little more oomph.

Lisa O’Neill is a part of the new wave of Irish contemporary folk artists, one that encompasses the likes of Lankum, Ye Vagabonds and John Francis Flynn, all of them putting their albums out on Rough Trade, which makes the venerable English Indie label something of a centre for what the present and future of Irish folk music sounds like. (Lankum’s Radie Peat and O’Neill have also sung together, on the excellent “Factory Girl”, part of the showcase This Ain’t No Disco.)

Reflections on how the past relates to now suffuse The Candle and the Flame. The album’s closing track is “When I Was a Young Man.” When he was 21, sings Robert Forster, “I wrote songs, I was unsung, unheralded and undone”. His figurative brothers David and Lou showed him the way. Now in his mid-Sixties, he has a considerable artistic inventory to look back on. Including The Go-Betweens, solo albums, his writing. Messrs Bowie and Reed would be proud of what they helped initiate.

“Ka Huma” by Ivo Nilakreshna sounds as if a jazz band was taking on rock ’n’ roll. There’s a swing and sway, busy rhythm guitar and a lead female voice singing a yearning melody. An instrument which seems to vibes is in there. But there’s more than the familiar elements. Most of the influences are unrecognisable.

A Short Diary, a duo album for piano and drums, contains music of astonishing directness, calm and concentration. The story of how it came into being is fascinating, but it also stands on its own as pure music of luminous quality, and is bound to be in quite a few year-end lists.

Ambient is everywhere now. After a quiet (lol) 2000s, when it rather disappeared into the cracks, perhaps tarred with the sense that the more cosmic sides of the Nineties rave experience were passé, beatless music steadily rose in profile through the 2010s – aided by the rise of “post-classical”, increased accustomisation to home cinema and immersive gaming soundtracks, the wellness movement.

In full force again for 2023, Scotland’s premier folk music festival Celtic Connections is back with its signature strand of blending and sharing musical traditions. On Saturday, emerging Scottish folk cellist Juliette Lemoine gave a superb early evening recital in Glasgow City Hall’s intimate recital room for what was the official launch of her debut album Soaring.