In the end there are no real surprises here; this is just another solid recording from AKUS which the band's fans will no doubt enjoy.

Bergquist is in wonderfully relaxed voice and the open production by Joe Henry allows her vocals--a mix of Sheryl Crow, Rickie Lee Jones and even Billie Holiday at times--plenty of room to explore the bucolic shadows and light of the material.

[A] stirring, often spellbinding mix of gospel, R&B, folk and rock.

Layers of distortion and droning feedback pour from the speakers, almost fighting the melodies for dominance (and losing), with everything coming together in an organic, unforced manner. [Mar 2014, p.90]

Like its simple, evocative cover painting of puffy white clouds drifting by a window, Khruangbin’s music hangs and hovers, creating an ethereal ambiance beckoning the listener to explore more of their addictive, atmospheric sound.

Robert Ellis’ self-titled album is the sound of a young songwriter solidifying his blend of East Nashville country with whatever sounds, styles, and sentiments that suit his interests.

Gilkyson uses her nocturnal musings to create a shimmering album that sounds just as impressive in the daylight as in the darkness that inspired it.

These diverse songs find their balance not just with a subtle mix of rootsy country, folk, pop, soul and Americana, but in Nelson’s homespun vocals inviting you to unplug and, well, do what the disc’s title suggests.

The tracks, credited to the band collectively, are dense at times and often prove fairly impossible to untangle lyrically—exemplified by the opening “Ballerina Radio” (Radiator burns along your quilt / General admission of your guilt). It all begs the inevitable question: “Are they having fun yet?” Based on the evidence at hand, the answer appears to be a resounding “Hell yes.”

This tribute may do a better job of conveying Clark's power than his own recordings.

More than anything, it’s refreshing to hear an artist with Bird’s skill set bring to life a set of songs that deserve an audience far beyond the small cult that has already discovered them.

Even if little here sparkles as splendidly as House’s prime era, Dreamers Are Waiting is quality, thoughtful pop from the mind of a guy who knows his way around a terrific tune.

This is no Rod Stewart-styled mushy romp. It’s a serious, wildly and sometimes radically adventurous reimagining of often obscure entries from the great American songbook and like little you’ve heard or would expect.

Jason Isbell and the 400 Unit's Here We Rest is not what you'd call easy listening.

It’s those more daring musical elements, perhaps inspired by label boss/friend Jack White, that bring a fresh, vibrant approach to Mae’s sound. Arguably she didn’t go far enough chasing it, but this remains an impressive second effort that successfully expands her folksy pedigree into more creative, and interesting, territory.

Top notch session musicians including guitarist David Garza and Me'Shell N'Degeocello on bass along with a few namedropping guests such as Robert Plant and Patty Griffin help flesh out these eleven often moody, reflective tunes, making this her most accomplished album to date.

The Ballad of Dood & Juanita, is his most rugged and resilient yet. Simpson’s third release in just the past twelve months, it’s yet another example of his unfettered ambition.

These songs, masterfully written and delivered with obvious passion from one of America’s most veteran and idiosyncratic composers, show that Crosby is perhaps getting better with age and seems confident in his abilities as a singer and songwriter still willing to take chances.

He may be feeling wounded by love, but Escovedo's follow-up to 2008's career-defining Real Animals is an almost equally strong testament to his durability.

It may take a leap of faith, and it’s hard to imagine how convincingly Lake Street Dive can pull off this slick, immaculately produced studio album on stage, but once you let yourself go with the disc’s flow, it’s tough not be engaged by the sheer vivacity and likeability of a set that sounds like it was plucked out of a time capsule.

It all seems more diverse than it actually sounds, and true, the band borrows plenty, including some room to play around with the sound, but Thank You Happy Birthday transcends its genres, and would be better simply labeled as a solid second step.

The Low Anthem are desperately trying to say something, even if that message is not always crystal clear.

Although his sound is more varied than ever, the collection of songs feels cohesive. He’s never been an artist too confined by genre lines, but Higher lets Stapleton roam free creatively.

Like the band’s 2008 album Devotion, Depression Cherry is an impressive showcase of the kind of beauty that two musicians are capable of when stripped down to a bare-bones approach. It’s worked before, and it works again here.

Producer Steve Jordan captures the thumping drums, horns and string arrangements always so essential to this music, creating Scaggs’ finest album since Come on Home, 1997’s previous set of predominantly soul covers.

Richey’s doe-eyed, bittersweet approach perfectly captures the hurt and regret in her material, but you may wish there were more glimmers of light to offset her somewhat bleak outlook.

This is an impressive first effort for the multi-talented Johns who is clearly determined to avoid spending his life in the shadows of others.

Stripped of the beefy, full-band arrangements of The Constantines, Webb loses none of his potency. He’s just found a way to channel it without cranking up the volume.