Whether it’s the newly platinum tresses or the bubblegum production shimmer that make up Maisie Peters’ sophomore record, The Good Witch has a definite nod to The Wizard of Oz’s Glinda. Unlike that Good Witch of the North though, Peters’ career didn’t just pop off like a bubble. Still only 23 years old, Peters has actually been crafting songs for over a decade now.

Pete Fij and Terry Bickers are bathed in muted red light. They are sat side-by-side, Fij with an acoustic guitar, Bickers with a vintage 1970s CMI hollow-bodied electric. Behind them, oil wheel lighting gloops and bubbles gently, bespattered with glowing green circles cast by the stationary disco ball hanging high above them. “It’s surprising to see how much life you can fit into the back of a van,” sings Fij, dolefully, then adds, “It only took two trips.”

From the celestial vocal harmonies of “Call The Tune” and insistent looped rhythms of “Omnipuss” (in which you feel the spirit of Miles’s On The Corner), to the Sly Stone-esque “Clear Water” and intensely vital “Vuma” (featuring South African vocalist and songwriter, Thandiswa, plus vibist and label mate, Joel Ross), this Blue Note debut from the singularly great multi-instrumentalist, vocalist and songwriter Meshell Ndegeocello presents a treasure trove of musical memories.

Yusuf/Cat Stevens’ latest combines his apparently effortless immediacy at acoustic guitar songwriting with an orchestrated opulence that sometimes pushes the sound towards the realms of musical theatre. Lyrically, he’s in fine form too, but what will likely define many listeners’ response to the album is how they feel about his repeated and passionate belief in God, which permeates everything.

VINYL OF THE MONTH

Rahill Flowers at Your Feet (Big Dada)

Paul Simon is an ornery bugger. Full of awkwardness and perversity as a person, seemingly hugely detached, but as an artist capable of as much tenderness and directness as just about anyone out there. Capable of making world-changing artistic statements but queering his pitch with bizarrely, unnecessarily reactionary statements or actions. Really, a very weird man.

On Brian Christinzio’s sixth album as BC Camplight, he wants listeners to know about his recent experiences and their effect on him. Herewith, a mostly unembroidered account of how he sees things. When allusiveness arrives, the metaphors are easy to interpret. The last three tracks are titled “Going Out on a Low Note”, “I'm Ugly” and “The Mourning”.

With the release this week of Blómi, her sixth studio album, Norway’s Susanne Sundfør discloses more about herself than she previously has through her music – but nothing is made obvious. As she says during this interview, the driving concept became complex.

If you key in "Josienne Clarke" on Google, you’ll hit on the "About" section of her website, and the following declaration sets up her stall: "No label, no musical partner, no producer. Clarke is in complete control of her songwriting, arranging, producing, release schedule and musical direction."

On Domestic Sphere, Josephine Foster’s guitar and voice are joined by clacking crickets, a flock of sheep and wailing cats recorded in La Janda in southern Spain. There are also Colorado and Tennessee's birds and frogs. Foster’s great-grandmother is here too, her singing recorded around 1970: the voice from the past enters proceedings suddenly but not jarringly on the album’s ninth track “Reminiscence”.