The Silos are one of the prototypical Americana rock-soul bands, an organic hard-edged songwriting band that paved the way for so many - Centro-matic, Drive By Truckers, Two Cow Garage. It was a shock to many when bass player Drew Glackin died suddenly in early January - an unknown thyroid condition leading to severe heart damage. Many bands that play the music they love, rather than playing music that sells, operate at the margins, and donations of any size are being requested towards funeral costs at thesilos.net. Come On Like The Fast Lane is the band's best in their 20 year career - sounding like early REM mixed with some American punk like Television: energetic, hard-edged guitar-based rock. The song ideas never outstay their welcome - Walter Salas-Humara has never written tighter songs, or more accessible rock, like Wilco on a good day, or Elvis Costello when he didn't have to try so hard. There is a razor edge of humour, no over-reaching Stipe-like preaching, just a good gritty worldview and subjects that are within reach. Come On Like The Fast Lane will never change the world, but it is as unpretentious and as natural as they come.

ACE rating 8/10

Finding bands to reference for Bowerbirds is difficult - they are part of a new vibe, a new direction of bands that pick up instruments and melodies like magpies and then sit in a big room and make beautiful, category-less music. They're not like The Mountain Goats, but the feel's similar, not like Delta Spirit, but their loose natural musicality is reminiscent. There is a gentle understatement, a delicious reserve to the lyrics and vocals, and a fantastic oddness - if The Arcade Fire were able to make an acoustic album, it may head this way. And Hymns is an acoustic album in every sense - natural beauty is allowed to shine when nothing is turned up too high; the lovely Beirut-like accordion, occasional violin and gentle harmonies adding to the nylon-strung guitar make a mesmerising sound, with a quietness that makes you lean in, lean in just far enough that you're hooked. Bowerbirds will never make a Radio 1 hit - it's way too sophisticated for that - but Hymns for a Dark Horse is one of the most lovely albums of recent months.

ACE rating 8/10

The 'problem' with being a rather remarkable blues guitarist is the bits between the solos, especially if you're keen on originals rather than covers. At some point, you're going to have to write songs. You also tend to end up singing. Joe Bonamassa is one of the new blues legends, and like Gary Moore, his guitar playing is incredible, his singing voice only 'good'. Bonamassa is like a Stars In Their Eyes' David Coverdale on vocals. But it's not the hindrance it could be - his playing (especially his slide) is fluid and beautiful. Sloe Gin sees Bonamassa add a good dose of acoustic guitar, and rock, to his blues. Opener Ball Peen Hammer is like a Chris Whitley song in its bottleneck attack, and it sets the pattern for a few others on the album - acoustic riffing leading to anthemic choruses and a great solo thrown in for good measure, like some 80s Sammy Hagar Van Halen album. What elevates all of this is that guitar - even more so on the iTunes download of a recent concert at Shepherd's Bush, where the songs don't really get in the way of the solos. Without it, this would only be an album of good rock; with it, there are a few moments of magic.

ACE rating 7/10