Kamikaze is another solid entry in a catalog that’s put So So Glos in a league with fellow punk rabble-rousers Titus Andronicus and Joyce Manor.

Dude, The Obscure gets stronger as it goes, its second half filled with laments both specific (the complaint about a big-city wannabe in “NY”) and vague (the overarching malaise of “Lit By Midnight”).

The combination of the sister’s voices on this material is stunning in its natural beauty. Stripped-down arrangements and producer Teddy Thompson’s light hand help accentuate the words, emotions and the interwoven singing.

The album as a whole is not perfect; Ward's decision to follow his experimental ear results in a few excusable setbacks. But at its core, A Wasteland Companion shows yet again why Ward can be placed in the higher echelon of contemporary American songwriters.

Feat stomp and strum their way through a pretty good batch of new tunes that capture the band's distinctive musical gumbo but aren't exactly classics.

Webb's knack for purging the sentimentality out of these seemingly trite topics of conversation is most commendable.

Given the informal setting, those expecting some sort of regal revelation would best focus on the Traveling Wilburys recordings that arrived nearly two decades later. On the other hand, given the near mythical stature that these legendary Dylan-Harrison sessions have attained over the past five decades, compulsive collectors will find any inclusion welcome regardless.

The rugged Delta Kream captures the essence of what made this North Mississippi music so distinctive. While even this stellar lineup can’t truly replicate the dangerous backwoods stomp that injected a shot of adrenaline into the bloodstream of Carney and Auerbach all those years ago, it comes awfully close.

This is an impressive first effort. ... Her authority, poise and sense of self resonates as a new yet seasoned artist, just getting started and with a promising career ahead.

Murder By Death reach a new plateau in the development of their ongoing pursuit of rollicking gothic indie folk, simultaneously sounding born of an era long past yet grounded in a rock 'n' roll spirit that's nothing if not contemporary.

The contrast of light and dark has always driven the Raveonettes’ music, but it’s especially effective on this beautifully realized collection that shows the couple to have plenty of tricks left in their already unique and compelling sonic bag.

For those so inclined, Songs for the General Public is a giddy musical roller coaster ride through the poppier aspects of the 70s with more twists and turns perhaps than are necessary. Hang on tight and enjoy the trip.

It's all lovely, melancholy, lyrically moving and beautifully performed. But older fans will miss the scrappy sparks Forbert used to effortlessly radiate on crackling live performances such as his spirited 1982 King Biscuit Flower Hour set.

While there aren’t any rousing sing-along choruses, let alone pop crossover potential, this is Americana that’s conceptually consistent.

Those looking for a cool album to throw on as invigorating background music will be delighted. Those who want a little more substance with the style should cherry-pick a few chosen tracks which spotlight why Yeah Yeah Yeahs still impress a decade down the road.

What We Walk This Road lacks in over-the-top displays of technique, it makes up for in soul, as Randolph's tasteful playing and subtle vocal phrasings emerge more clearly when not fighting for space inside overloaded arrangements.

If [Keith] Richards' participation helps revitalize these sounds and sends newcomers searching out the first versions well, that's just a bonus to a thrilling project that combines Neville's stunning voice with classic melodies whose sentiments remain timeless.

The vibrant, caffeinated production and pulsating sonics help these performances explode with dollops of the frazzled charm, roaring intensity, and sheer musicality we expect from a Jack White project. White, a faithful baseball fan, has knocked another one out of the park.

The effect shifts from sophisticated to just short of snooze inducing as the disc wears on and what starts out as tasty ends up as more of the same when the vibe stays locked in its classy, stylish, chill out groove.

While the blueprint of starting songs with sparse accompaniment and gradually building to resounding sing-along levels isn’t exactly fresh, the music is so well written that it avoids sounding like a cliché.

If you love stories of the broke, the broken, the alcohol-addled, the freakin’ fatalistic, sung and played by guys who know how vicious life can get, you’ll want this album.

In other words, if you’re looking for a good time disc to get your party started, you could do worse than slapping this on, turning up the volume and letting Snider and his pals kick start the fun.

There’s plenty to both enjoy and mull over as Cash’s thoughtful, often poetic lyrics spill out in a variety of settings. It makes this collection worthy of the man’s iconic status, which is saying plenty.

Simmons makes little attempt to vary her template. Eventually, despite the pleasant pastiche, the music all starts to sound the same. Absent any real shift in tone or tempo, the overall impact tends to be somewhat muted.

How Barn will shape up in terms of Young’s catalog of classics remains to be seen of course. The fact that he’s willing to revisit his older material in both style and substance ensures that the continued reverence for his work will remain unabated. In that regard, he remains forever Young.

It’s all interesting, at least once, and there is plenty to chew on in these nine tracks. How often anyone other than Scott fans will want to hear some of these again is unclear.

Jean’s vocals are on the thin side, especially for music that punches and pounds like the majority of these tracks. But she delivers her often dark-edged lyrics with the louche, ice-queen nonchalance of Debbie Harry and Belinda Carlisle which suits this snaking vibe.

While it’s not necessarily the kind of record that’s going to grab immediate attention, it does retain an amiable accessibility all its own. In that regard, listeners might just find that The Tallest Man On Earth makes music that’s all within an easy reach.