The Boy Named If, has a lot in common with Hey Clockface, whether it be the four noticeably weaker tracks or the similarly bloated 52-minute runtime. ... What does work about The Boy Named If, like any other Costello album, is the songwriting. ... When The Boy Named If hits, and it mostly does, it gives us a Costello Halloween song and yet another track about a waitress who looks like an actress, two things that are not easy to pull off. Costello is still an artist to watch.

Finn’s style has subtly shifted and the increased spoken word with fuller sounds are both welcomed additions, but in the end, Finn will be Finn, and Legacy of Rentals continues his early morning, alone in barroom despair with hopes of redemption sprinkled throughout.

As The Velveteers continue to grow, so does their sound and songwriting. A Million Knives is a positive next step on their journey.

Rose is pushing the envelope a bit on this outing. Sometimes it seems as if she’s trying to break through a sound that was bigger than she bargained for but there are still those precious moments where her voice and phrasing may have you reminiscing of classic singers like Bobbie Gentry and Dusty Springfield. That’s mixed with a swagger, self-confidence, and a willingness to rock out.

Brighten is aptly named, though, because the biggest departure for Cantrell is trading his usual gloom, depression, and cynicism for a more positive, even uplifting tone. ... But it is still a Jerry Cantrell album, so darkness and musical tension find their way through cracks in the pleasant facade.

Managing to get any kind of new music during the pandemic has been rewarding and die-hard Sigur Rós fans that have waited 18 years to finally hear Odin’s Raven Magic, will no doubt find something to chew on. For most casual listeners however, this project, while undeniably beautiful remains messy and unfocused.

The vocal shifts and band restructuring may cause some turbulence, but when everything clicks, as it does on the album’s most decisive moments, the result is just as stirring as anything they’ve done before. Whether this marks a transitional phase or the beginning of a new era remains to be seen, but for now, Constellations shines brightly enough to guide them forward.

Brian King and David Prowse traffic in exhilarating rock and roll that fuels climactic moments throughout the course of a live show and on this night, the two musicians pulled tracks from all three of their upbeat studio releases. That stated, this live capturing does not improve on any of the songs presented on Post-Nothing, Celebration Rock or Near to the Wild Heart of Life, yet for the duo’s fans, it will recall fond memories of shows past.

Blonde On The Tracks doesn’t contain any must-hear renditions, but there is a comfort to be found in the contemplative singing of Swift and the clear production/playing of her Nashville backing band.

At their best, The Avett Brothers are transcendent songwriters with the ability to cut right to the soul while delivering perfect musical harmony. The majority of The Third Gleam serves as a reminder of the best qualities that The Avett Brothers can bring.

Beachwood Sparks hit the cosmic canyon touchpoints and beyond on their short but sweet return to recording Across The River Of Stars.

Tarantula Heart is messier than most Melvins albums, and it doesn’t have as many great hooks as fans are used to. While it doesn’t hold up to the band’s best albums, there’s plenty to enjoy for those who like the band’s quirkier side.

Like most of Stickles’ efforts, some editing would help tighten the flow of the record, but as it stands, The Will to Live is a success with Titus Andronicus channeling their punk core straight into the arena rock rafters.

Little adds light Caribbean flair to the poppy “Whip The Wind”, but the love song runs on too long, as does the retro soul of “Cherry” and the warbling get down jam “Bottomless”; however, Little’s vocals are always soulful. Things improve when Little moves to more expansive offerings.

Candid not only keeps their hands in the game but provides the kind of light-hearted recording schedule bands need from time to time. They may be treading water, but if their music remains as well-made and appealing as it is, they may just be able to make a career out of it.

As a whole Sage Motel is a tone record of restrained, warbling, retro veering, psychedelic soul but there is one standout that should be heard on its own.

There are far fewer up-tempo tunes than some would like, but that’s their mantra. In that sense, the album could benefit from better balance as we deal primarily with ballads through these ten. Yet, who can argue with Krauss’ immaculate, singular vocals and Moore’s powerful voice? It is a great counterpoint, although, to be fair, they sometimes seem at odds with each other.

The mixtape feel of Side Effects makes for a disjointed overall listen, but the highpoints, smooth midsection and overall frantic nature means there are very few down moments. Longtime fans will find a lot to like as will those new to the White Denim party.

The result is an excellent sounding but slightly flat affair as the band settles into life as a trio.

This album does have its missteps, enough of such to stunt its growth to a noticeable degree. Nevertheless, in many senses, Wet Leg undoubtedly shows great promise in their choice of which sounds they choose to greet the music world.

Path of Wellness lacks the punch of the groups’ highest points and the more restrained searching style leaves a few of the tracks lacking, but Sleater-Kinney is open to trying anything at this point in their excellent career and continue to craft intriguing songs.

Like Jon Batiste’s recent effort World Music Radio, by trying to reach out to the masses, the spark that makes Lake Street Dive engagingly hard to classify has evolved into its bold shot at populist appeal.

This Dream of You is a solid entry, though surely not the strongest in her storied catalog.

By shaving off their more experimental edges, the group can fall into a few middle-of-the-road soul-pop numbers, such as the dancefloor-ready “Sitting In The Corner”, the hand-clapping one-note “Ooo-Wee”, and the string-laden “Nothing More Lonely”, which all deliver a professional, if tame, Fitz and the Tantrums vibe. The dynamic “Seagulls” is better, mixing keys, clean guitar strums, and a dynamite trumpet solo around the effortless, head-bopping groove and Janeway’s vocals.

Literally, any song on Mint could become another huge hit for Merton, both because they hit on a formula that has worked well in the past and just because they’re that good.

Sultana has crafted a wide-ranging offering on Terra Firma, appealing to different tastes, eras, and styles.

THE BPM is Parks’s riskiest and most rewarding album to date, and proves that the artist can manipulate her tendencies into whichever form she pleases.

The NYC disco-pop outfit delivers a lot of grooving, dance-ready options.

It may take repeated listenings over a period of time—plus no small honestly and self-awareness in a listener–to plumb the depths of introspection this artist (and his main collaborator) is aiming for here. And ultimately, while All the Bright Coins may represent a Rorschach test for those hearing it, the bravery required in that context is no greater than that of its author(s), both of whom deserve commendation for their own patience and perseverance in creating this often dramatic piece of work.

Ali is filled with amazing moments but ultimately leaves more to be desired. With two instrumental juggernauts working together the expectations of these songs were high and the ambiance that flows through the album is going to shock fans of either artist. Regardless of the lows, the collaborative album allows Touré to experiment more with his vocals and his slick guitar sections became the star of the show. Overall, Ali is an album that adds to an ambiance instead of creating one, leaving the listener expecting more.

Kishi Bashi is an artist of many influences and levels, but good things happen when things stay more direct on Kantos, clicking on a disco-based, new wave, funky vibe.

It’d behoove him to engage with an objective third party to help produce the album (a task he assumed here along with his spouse). Based on the slightly erratic nature of Mountains, such an alliance would ensure the versatile skills Nils Lofgren still commands would receive all the attention they deserve and in the proper proportion too.

Though the rest of the album doesn’t meet the same standard as its closing track, Daylight is a solid pop album with no bad songs and a few brilliant moments.

There is no doubt that Little Rope is much more successful than those recent efforts [2019's The Center Won't Hold and 2021's Path of Wellness], but it never fully pushes the artists in new directions or completely recaptures the group's immense past magic. That said, as an outlet for one of the best duos to deal with smothering grief and loss, it is a blessing that it exists at all.

The first release from these Australian friends finds firm footing as GUM / Ambrose Kenny-Smith Ill Times pumps up the jams and rocks the house.

Inside Problems is a warm collection of quirky, catchy tracks that capture a sense of aloofness assuaging listeners during these troubling times.

He puts his own spin on tracks with minimal brooding instrumentation, but he delivers for his idol in conventional fashion even adjusting his vocals to mimic Presley more than he normally would.

Final Transmission is a touching tribute to the life of Scofield, allowing his immense talent to be enjoyed by the world one last time.

Whatever way you slice it, Deer Tick’s “leftovers” are better than the main courses of many other bands. This compilation is an attempt to show fans a more vulnerable side of the band, the ones that would choose the mayonnaise.

On the career-spanning Mahashmashana, things are not connected musically, but they still manage to thematically tie together lyrically around Tillman’s thoughts on aging and death. The self-centered artist still conjures up thought-provoking and, most importantly, enjoyable songs.

True to form, Ordinary Man provides the rock and roll heft Osbourne’s fans crave.

This casual record isn’t meant to change the world, it is just a deep dive into the tunes the duo love; less a major release than a passion project but by adding Deaton and Brown to these sessions The Black Keys blues workouts on Delta Kream go down smooth.

[Sloan] have certainly built up a solidly loyal following over the years but have inexplicably never been huge outside of their native Canada. Steady likely won’t do much to change that but is certain to make even the most casual fans of the band happy.

Benmont Tench uses his spirituality, heartbreak, aging, love, pathos, and humor throughout The Melancholy Season, a contemplative affair perfect for the album’s title moments.

This lovingly covered collection will not make new fans of either act, but as a loving document to a unique songwriter, it succeeds.

Slow Pulp keeps those odd touches in place, scuffing up a very pretty album just enough to keep things interesting throughout Yard.

Her obsession with the past, recent losses, and more directly with mortality is overwhelming. If you are feeling down, it’s best to avoid listening. Okay, you have been sufficiently warned. There are, of course, positive aspects too. Her poetry is as rich as ever. She does have a couple of optimistic tunes, and her thought patterns often resemble those 3 AM dreams. Well, maybe that part isn’t so positive, but they are certainly relatable. The album is also somewhat deceptive.

The trend was fairly clear in coming, with each passing record Medford has shifted towards more mainstream sounds. Fully embracing the break-up/hook-up dance-ready pattern (with slight distortion around the edges) Medford’s efforts are ready to be sung out over large speaker stacks instead of smaller indie rock clubs.

Lytle has been here before, ending his main act, but if Blu Wav is indeed the final bow from Grandaddy, it is a solid, restrained offering and a fitting coda to their catalog.

Folds is past aiming for radio airplay and mass appeal and focused more on creating experimental songs that appeal to his creativity. And sometimes those moments of inspiration take him back to the beginning and sound a lot like he did when he first started out.

For many, Thompson is an acquired taste. There’s little, if any, middle ground. So, while this may not attract new fans, it will more than satisfy the legions of those who stay attuned to his every move. It’s as solid as any of his recordings.

This is unbridled passion, an unyielding declaration of freedom. As strong as it is, however, a little tempering down in a few places could only add to the overall impact.

A new era for Lukas Nelson begins on solid footing as American Romance employs familiar country and Americana sounds and phrases in a well-worn fashion.

The result, though not as immediately catchy as the band’s earlier, now classic records, is still a solid collection of jangle pop

There are enough catchy hooks and eclectic compositions to keep things interesting, though it never reaches the high levels of Twin Fantasy. The Scholars is a bit of an overreach, with puzzling narratives following too many characters to track without help, but it’s impressive for its ambition and giant swing at transcendent art.

It is impossible not to hear Hewson’s father’s band, U2, everywhere on the record. “Still Young” feels directly out of Bono’s wistful memory as French horns, yearning/echoing vocals, and climatic choruses are dramatically drafted. While those high-profile connections can’t be ignored, neither can Inhaler’s strong sense of catchy pop-rock flowing throughout Open Wide.

The eight tracks produced by Tucker Martine (Sufjan Stevens, The Decemberists, My Morning Jacket) in Portland, OR include some music that, while it is legitimately based on a formidable tradition, nonetheless doesn’t sound quite so personal or powerful as the best Parr performs elsewhere here (or on the pinnacles of his past like his eponymous album of 2019). .... Fortunately, the moody likes of “Bear Head Lake,” call to mind Charlie Parr at his most scintillating on 2017’s Dog.

Suffice it to say, The 1974 Live Recordings constitutes a listening experience almost as frustrating as it is rewarding. As such, it is very much in line with virtually all of Dylan’s work over the last sixty-some years, thought-provoking in the extreme, if nothing else.

Lund goes out of his way to cover each in his own style without simply trying to duplicate the originals. As a result, he manages to pay homage to the songwriters while still putting out a record that his growing fanbase will relate to.

While the overall tone and style fits him and the band well, the majority of songs are fine yet not particularly memorable. A Productive Cough looks like a mid-career outlier now as Titus Andronicus settle back into their pub rock punk hybrid on An Obelisk.

For the first time here, his ideas haven’t quite formed into a cohesive whole. All the other records felt complete works, this feels more like a collection. For all that really works on i,i, there are moments that feel unnecessary or out of place.

Extreme Witchcraft proves Everett is willing to let it all hang out sonically, delivering enjoyable results.

Though not exactly a stunner of an album, it is a solid return for these foundation layers that serve as an awesome reminder of who they are and their place in the wider scene.

Marshall is an artist who will work in any genre and his art digs into his psyche yet the end result can be just as messy as most psyches are. Man Alive! is far from a celebration, it sounds transitional casting a wide net unsurely searching and grasping for what is coming next.

The album is riddled with pretty hooks that are buried under interesting complexities.

In an album of mixed results, there are enough brilliant moments that bode to a more meaningful lyrical side for Rateliff and his powerful band, which has a knack for infectious grooves and hooks.

Fans of Mr. Bungle and Patton’s wilder/heavier tendencies may not find a lot here, as the project skews more towards the Avett Brothers side of the house.

Thematically, it sounds fairly cohesive, but the songs themselves, lyrically, vary from solid to great, to moments of cloying sentimentality. That’s not to say that Heavy Glory is a bad record, just one that’s a bit more challenging than Iceage fans may have come to expect.

On Happiness Bastards the brothers Crowe retreat to their safer classic rock roots with efforts that gun for mid-70’s arena swagger, falling short of the band’s prime, a touch uninspired and derivative of their best work.

Hellfire is a decent album, one where on at least half the tracks come from the Black Midi we remember, always on the cusp of something brilliant and humbling and confounding in the best way possible. On the other half though, they are lost in their own precision, echoing their better work and confusing ability with purpose.

While the highs on the album are high, the lows are apparent and hard to ignore. There is a battle between the band’s influences and their own vision for their sound which leaves them with a batch of great ideas that weren’t executed to their full potential.

Second Line is another strong turn from Richard, a successive trip through the different styles that have made up her evolution over the years. ... Her problem is in her execution of Second Line, an album that feels more scattershot the revolutionary. It doesn’t necessarily feel like regression but for an artist who has consistently topped herself, it falls short.

Twenty-five years into it, Jurado can still write compelling, emotionally powerful songs driven by little more than his commanding voice and a stripped down acoustic guitar. But the unevenness of this record makes it a hard entry point for those unfamiliar with his work. Longtime fans of Jurado can still find enough to rally behind this one.

The result is a mixed collection; some good, some a little more tedious, but in the end, you can’t deny that Ramirez stayed true to his objective and didn’t skimp on real emotion in the process.

Though an uneven collection taken as a whole, Dream Into It still boasts enough songs to convince you that the sneering, charming Idol is not quite ready for the retirement home yet.

This simplicity is what first brought them to national attention and this collection of seven tracks is solid, but feels like a regression for a band who was just stepping out of their comfort zone. The dynamite harmonies and strong acoustic playing is still there, but nothing presented on the EP is must-hear.

Overall Covers is a mixed bag containing strong song choices, but very few must-hear offerings from the artist who will always dig the crates for new covers to unearth.

Most of the madcap antics work, while other moments are exciting failures. While it’s not an easy album to digest, it’s fun for those who enjoy the experimental process.

The collection of songs is ambitious – at times brilliant and other times tedious. But you can’t accuse The Avett Brothers of simply rerecording the same album over and over again.

Though the album is unequivocally emotionally rich, with most songs building to vibrant climaxes after mellow beginnings, as a whole it lacks the power, swagger, and singalong aspects of vintage soul records.

Moving in a lot of directions, That Delicious Vice proves that Kid Congo & The Pink Monkey Birds are willing to experiment with sound and scope to deliver their tunes, even if not all their outings are successful.

Like all of the band’s reunion releases, The Night The Zombies Came is a mixed bag overall. Some heavier offerings, slightly off-kilter rock, acoustic strums, and larger sounds add to the musical range. It ends up as a serviceable rock record that never sniffs the heights of their early career classic output.

Everything from future horror movie soundtracks, to thrash blasts of rage, to smoky 70’s fuzz flows out of Arrows and while the overall result is a bit hit or miss, Red Fang returns back to their sweet spot; recording together for the simple love of playing heavy music.

On the band’s newest release, Open Door Policy, The Hold Steady moves to fully incorporate Finn’s more muted solo offerings, and the result is a disjointed transitional work.

Lyrically Batiste plays it middle of the road, not to offend, and at times that hollowness can seem like a bad parody. ... That title, World Music Radio, pledges a larger scope of sound which Batiste is certainly capable of incorporating, but too often different genres get a quick cameo before Batiste goes back to the dance-ready pop tracks.

A move to a more polished sound was desired and clearly achieved, yet tracks like “Moment of Joy” and “The Way” both seem to suffer from this newer clean style. “Moment of Joy” lyrically yearns to break out of its mellow musical world while “The Way” simply has too many ideas getting crammed into one song.

At its best, the music accentuates the songs’ difficult subject matter. At other times, it becomes monotonous, with the immersive layers distracting and turning into a wash of indistinguishable noise.

It is in the opener and closer where perhaps the most interesting experiments lie. Cobb opens with “Beyond Measure (Piano),” a solo piano number that sounds almost demo-like and starts the album on odd footing, but the closing “Beyond Measure (Fixin’s)” brings the whole band back to the track. Perhaps combining those two efforts in Neil Young-like fashion could find a successful middle ground between Cobb’s rock and Americana urges.

Lyrically, this is mixed but has its strong points. Few write with his kind of insight. Yet, musically it fails to generate enough sparks with most of the songs stuck in similar mid-tempo modes. The true ballads are strong.

Radiate Like This floats along in the vein of 2016’s Heads Up as the former art-rockers wander in semi-aimless, sleepy pop waters. Warpaint’s dreamy vibe is pleasant, starting with the ambient-looking cover art, but it doesn’t leave any real lasting impact.

Burnett is not a fan of technology, modern trends, or much of anything in general in the despondent middle offering of his trilogy. As a result, The Invisible Light: Spells oozes a murky uneasiness that floats throughout the album.

It’s also overly self-serious, an album begging to be considered above its pretentions and to be analyzed as art. For the most part, it works. It works as a piece of baroque chamber art and it works like a flip side to Hercules & Love Affair, a testament to the pair’s virtuosity. Still, it’s frustrating that with so many talented musicians collaborating on this project, it can feel like a missed opportunity.

Overall Fear of the Dawn (like White himself) never sits still and while exhilarating at moments, none of the tracks stand with the best he has written and feel like experimental jam sessions.

On (watch my moves) Kurt Vile lets his wooly freak flag fly, never reigning in his scattered thoughts and never rocking out, content to just drift along in his unique way.

The end result works better in some spots than others, “Lights Out” feels like the artists tossed everything they possibly could into the mix and the overload/instant shift in styles is a bit much while “The Art of Losing” featuring Haley Fohr (Circuit des Yeux )is torn between traditional song structure and free for all, never truly coalescing around either.

The slow tempos are fine in doses but that novelty wears off quickly. More variations in tempo would likely work better. When we get to the closer “It’s All in the Game” it just seems that Rickie Lee is stuck in that molasses-like groove. She’s intent on being a torch singer and she’s damn good at it although it takes plenty of hutzpah to take on the Great American Songbook.

As a whole, WE is a fairly good album and would be better received if it wasn’t an Arcade Fire album.

While there are some great tracks on Why You So Crazy, the album as a whole feels disconnected. The mix of so many different styles makes it seem as though this is almost an album full of B-sides and scrapped material from the past two decades. However, standout tracks like, “Terraform”, “Be Alright” and “Forever” are bound to make great additions to the band’s already stellar live shows and are destined to become fan favorites.