The album keeps a lot of the fun experimental nature of their first couple of releases and blends it with a much more confident lyrical side that doesn’t shy away from personal revelations and vulnerability. As a result, it’s the perfect record to introduce the band to a much wider audience.

There’s an abiding sense of confident inspiration permeating the material as well as the musicianship, including most especially the worldly performances of Van Morrison himself.

Ghosts of Otis Redding and Wilson Pickett float among the slinky groove that could set out on the tide forever as it gorgeously gets the head bobbing and hips swaying around the only non-political track. Those lyrics are the exception though as the upbeat post-punk of “The Perilous Night” bubbles and bounces while sarcastically saying Amen to fascism on the rise, cars cutting down protesters and Red Square shining in the White House; it is a dance party at the end of the world with splashes of the Talking Heads mixed in.

Thundercat surfaces with another wholeheartedly relatable and sonically mesmerizing LP. The artist’s fifth studio LP, Distracted, is an organically stunning and stubbornly present new chapter to Thundercat’s autobiographical discography, one that is both a poetic snapshot of the artist’s perspective and another refreshing take on Thundercat’s singular sound.

Though Love Songs For Losers has many of the familiar markings of the band, the album finds the trio at their most experimental, diverse in subjects and sound – all while still sounding very much like a Lone Bellow album.

The real highlights for Woods this go around are the four instrumental efforts that each have a distinct vibe yet are linked spiritually. Rather than acting as placeholders they take root as distinct works.

“Closer I Get,” which features Oh, was co-written with Ivey and one that owes to the psychedelic trip. The sonics are less dense but the lyric is heavy. .... Act II: Mind Travel is mostly dark and perhaps most representative of the psilocybin effects. Analogies, metaphors and symbolism are rampant, albeit often subtle. .... Every trip, especially a six-day one like they took, has a distinct come down period. That’s the essence of Act III: Burn Whatever’s Left.

No wonder this eccentric ensemble continues to make albums like Valley of Abandoned Songs that reaffirm the notion great music is timeless.

The laid-back neo-soul remains consistent throughout the album, as the foundational inspirations of 1970s soul are evident everywhere. Durand Jones & The Indications let the love and vocals shine on the blissful Flowers.

For fans waiting for the band to release something as good as their 2012 sophomore album, The Strange Case Of…, the wait is over. Everest has some of the best music of Halestorm’s career.

There is a bare-it-all vulnerability that ties all these songs together. With his vocals, a strong, slightly nasally tenor, and acoustic guitar at the forefront of the near dozen songs here (plus a short prologue and interlude), the record is a pivot away from his last solo outing – 2022’s The Misfit.

It’s just like calling up an old friend you hadn’t talked to in years and within the first few moments of conversation, it seems that the time gap just evaporates.

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.

With both ears pointing toward the future and his mind on his upbringing, Bridges adds another stunning LP to his colorful discography. LEON is staggering in its honesty and enthralling in its approach to such personal topics.

His smooth, deep voice is captivating, especially with this batch of melodic songs. This recording will deservedly draw plenty of attention.

Imaginative, highly literate tales. There’s a real mix of moods, tempos, and themes so it’s best to listen to it in its entirety. You’ll be rewarded.

This six song collection from Daptone Records is a vibrant display of what Antibalas does best; fusing the spirit and soul of Fela Kuti with modern funky sounds.

Rolling Blackouts Coastal Fever delivers a slice of summer with the successful Sideways to New Italy as the band keeps rolling on and smiling all the way.

While The Makarrata Project is, overall, more of an exercise in maintaining rather than innovating, it is nevertheless a work replete with the customary philosophical and musical intelligence the Oils have displayed throughout their history.

Wild Loneliness is a whole lot different than What A Time To Be Alive musically, but spiritually it is a very worthy successor and up there with the best Superchunk has ever done.

Ivey has a gift for peppering purposely vague lyrics with direct messages as if today the world is often dark and chaotic but there is a path through it. While the musical aspects of the project began rather experimentally, he ultimately delivers pleasing soundscapes that carry us through the bleakness. Somehow, we emerge feeling better.

Charlie Musselwhite’s smiling visage sums up the very air of modest, joyful generosity that permeates Mississippi Son.

Yes, while the previous three revealed a gentler side of the band, this one flat-out rocks until we hear the spoken dialogue from St. EOM for whom the closer, an epic 12-minute instrumental, is named. It’s rendered simply by the quartet of Trucks, Dixon on B3, Boone, and Greenwell. As expected, it showcases the phenomenal spiraling, stratospheric guitar of Trucks. ... TTB, as expected, is off to a flying start.

We’ve dubbed Lloyd a major spiritual force. There is nothing here to dissuade us from that. This could be arguably even a higher form of spirituality. It’s just a whole different trio offering than the previous two that shows the endless creativity and versatility of the inimitable Lloyd.

Swinging Stars is not only Mapache’s best album to date, it is a pillar of the band’s restless creativity. For 14 tracks, the duo dips their toes in every corner of folk and emerges with something so unique and personal it’s undeniable.

There’s an emotional investment in play on Moondial by which Pat derives a tangible pleasure that correlates directly to his sense of accomplishment.

Ultimately, it’s a fun record and one that begs the question of just how big this band could have been in the succeeding decades if they had not imploded on takeoff.

The perfect backyard, sunset watching summer folk album, Rolling Holy Golden faces west as Bonny Light Horseman enjoy those tender fleeting moments while they float through our collective consciousnesses, smiling the whole time.

Yes, Segall is playing with the same dynamics he’s built his career on, but he’s never sounded this welcoming, or at least not in a long time.

My Finest Work Yet is an elegant musical piece, enriched by stimulating messaging.

If you’re looking for fast, lighthearted punk music in the Buzzcocks vein, look no further. With their smashing drums and Zulu Robson-esque snarl to Sandwith’s voice, The Chats suberbly capture their day-to-day life in Australia as the true inspiration for their work. The ability to translate their influence and perspective makes them a much more accessible band than most.

Agricultural Tragic is also among one of his best yet in an already inspiring 25-year career.

Cable Ties use their intriguing mix of punk, rock, and post-punk dance vibes with an assured delivery throughout the powerful All Her Plans, breaking out to a larger audience with committed songwriting, driven playing, and compelling vocal styles.

Importantly, Crowell seems to be enjoying himself. He’s teamed up with the guitarist and producer Tyler Bryant to deliver a rocking, somewhat casual, not overthought musical accompaniment. .... Crowell never minces words. He has the distinctive gift of forming rhyming couplets that are witty, evocative, and occasionally provocative.

Attempting to unpack She Reaches Out in one listen is a futile task. This sounds like the album Wolfe was always meant to make. Nothing feels forced, a natural chaos erupts around every corner as Wolfe tip-toes around dense drums and distorted tones. Underneath the dark production are some of the best songwriting moments of Wolfe’s career.

These are Fish’s most fully realized songs yet and while the album displays aspects of her sound heard on her previous albums, it’s clearly moving toward a more pop, more densely produced sound. She is still developing. Enjoy the change but expect her to keep evolving.

Green To Gold is one of the best Antlers albums to date and an album unrivaled in its essential need to exist in both in Silberman’s life and in ours.

No Home Record wraps up on a positive note, proving Gordon is still pushing herself as an artist.

Though not as upbeat as Getting into Knives, Dark in Here is still a solid release from The Mountain Goats that loyal fans will appreciate.

The result is a solo album that feels both intimate and essential, a reminder that his understated approach remains as powerful as ever. It stands among the most affecting entries in his already remarkable catalog.

With Never Not Together, Nada Surf adds more songs destined to become fan favorites to their catalogue.

While previous Van Etten albums, and pandemic albums in general, carried a somber scarcity to them, We’ve Been Going balances the deeply personal diary entries with moments of levity and hope.

This album is especially personal.” Not only that, strikingly, while not a quantum leap, it’s a major step forward in lyrical and musical intensity from its predecessor.

With its minimal instrumentation and bare, veiled lyrics, Eight Gates feels less like a complete record than a part of the creative process that would have ultimately resulted in a more realized collection of songs. In this sense, it doesn’t stack up to the same artistic level as any album from Songs: Ohia, Magnolia Electric Co., or even Molina’s 2012 solo album. Instead, it provides a fleeting final snapshot of an artist who was broken and seeking reflection on his sick and troubled state of being. For longtime fans of Molina, Eight Gates offers a sense of closure and insight on where he was artistically and mentally during the last years of his life.

Atlas Vending is a transitional album in the best of ways as METZ has proved they can create piercing noise with anyone around, now they deploy a wider scope without losing their foundation.

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 Lemon Twigs creates a meditative bliss on A Dream Is All We Know. Whether they’re making pop tunes that evoke the serenity of cherry blossom trees or bluesy rock that fills the room with heavy riffs, this project has a specific calmness that found a home in Beatles-inspired pop.

The Besnard Lakes Are the Last of the Great Thunderstorm Warnings will assuredly be a favorite for longtime fans but may be a bit daunting for first timers and is not for the casual listener. However, for those willing to put in the time listening to the whole album, the payoff will be worth it in the end.

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.

The Hard Quartet’s debut is a refreshing gust of slightly peculiar indie rock that sounds spirited and lively while also reminiscent of the individual members’ past successes.

The Beggar is a challenging listen over its two-hour run time, but the sonic soundscapes SWANS create throughout deliver what the band set out to do; juxtapose the beautiful and grotesque while stretching out their droning sound to the breaking point.

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.

Junior blends a cocktail of urgency and euphoria, delivering a woozy, rosy-cheeked buzz that warms from the inside out.

As is the case with almost all tribute albums, not every track is consistently great but this one is leaps and bounds better than most.

This generous outpouring of songcraft from Wilson is one to savor over many listens. It’s the perfect hot toddy for these winter days, or, said another way, a harbinger of early spring.

This first set that comprises three Lloyd originals and the traditional often performed, exquisite “La Llorona.” It’s a masterpiece of saxophone tone and spiritual playing, punctuated with scintillating solo spots from Lage and Clayton. ... The second set is a clinic in deep R&B and blues.

The album has all of the Ray LaMontagne trademarks, consisting mostly of love ballads shared via gently strummed minor chords, soft crooning vocals, and a soft, tender atmosphere. But what the album lacks in surprises it makes up for in authenticity, Monovision consisting of the introspective musings of a folk singer baring his soul.

It’s clearly a different time now in so many ways that it’s unlikely that any of these tunes, which are as good as any he’s penned (can’t help using that term), will become mega hits. Nonetheless, these songs are a salve for these times and do plenty of justice to Penn’s legendary status.

At this point in his career, Promenade Blues is a success, even as a disjointed and confused album. The standouts rank among his best, and the filler, for the most part, are easily ignorable (with the notable exception of the frustratingly silly and out of place “B. Santa Ana, 1986”.) Waterhouse has made a genuine artistic shift and focused his attention to detail on his weakest material.

Private Space is a honeyed slice of the retro-soul with pop leanings from Durand Jones & The Indications as they continue to mine the 60’s and 70’s for inspiration.

Theirs is a very relaxed approach, two longtime friends totally immersed in joyous music. The feel is far more important than precision. ... The gritty, gravel-toned voice of Taj is always a treat and Cooder’s masterful picking and slide skills are always impressive.

2019’s Green Balloon grappled with trying to capture the band’s live exuberance, but the guest augmented Red Balloon just floats along, strutting smooth confidence from the get-go.

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.

There’s little sense of genuine band unity on Defiance Part 1. But ultimately that’s no serious liability because as the focal point of the project, Ian Hunter evinces a stubborn independence that overrides this album’s slight blemishes.

One can’t help but marvel at Clay’s talent in this ambitious effort which may seem a bit uneven at first but reveals its cohesiveness in repeated listens.

Humility prevails in Before And After especially as it radiates through the ease of Young’s vocal delivery. The weathered quality his voice has acquired over the years only adds to the emotional authenticity, as does the simplicity of his harmonica playing and the vigorous strumming of acoustic guitar.

1 2 3 4 is the perfect companion to 2017’s underrated Take Me to the Trees and a record that continues to solidify the band’s relevance four decades into their career.

This combo of fidgety indie rock and uneasy dance tracks works well on Thee Black Boltz, Tunde Adebimpe’s successful solo debut.

Whether Tedeschi Trucks Band has truly entered a broader, more mainstream phase will become clearer with future releases, but Future Soul certainly points in that direction. Regardless, it’s a standout album that only grows richer and more rewarding with each listen.

Allowing themselves to become fully engulfed by their own creation created a creative energy that bursts through the LP, conjuring up a listening experience that requires you to close your eyes and surrender to the uncompromising vision of Gorillaz.

While the current lockdown has certainly affected the band, the mix of melancholy/yearning leading towards wonder/delight has always been at the heart of Dinosaur Jr.’s sound. Now those styles inform Sweep It Into Space with a vivid sense of the isolating present while gazing at hope on the horizon.

At only nine songs in length, Pang! provides a relatively brief encounter, but its brevity is more than made up for in its upbeat attitude and carefully constructed melodies. Its cross-cultural references may require a more concerted listen, but the vibe and variety all but ensure an endearing effect right from the start. There’s no pain in this Pang!, but instead, a wealth of pure pleasure.

Seven albums in, Hiss Golden Messenger just keeps getting better with Taylor expressing personal thoughts that resonate with most of us.

While it is stripped down in terms of personnel, there are plenty of sonic layers at play, resulting in her most sonically adventurous effort to date.

While this may not become your favorite James Blake album instantly, it is one that toes the delicate line of pleasing the world while staying true to yourself. Playing Robots Into Heaven is a snapshot of Blake’s ambitions while still sounding present and urgent.

To say this album is highly anticipated, is an understatement. Yet, like most supergroup projects, (Trio, Pistol Annies, etc.) has its strong moments and it does carry a strong mission. Yet, its ambitious and inclusive scope creates an enormity that somewhat weighs it down.

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.

Throughout the nuanced Untame The Tiger, Mary Timony pushes and pulls with experimental wanderings and pop leanings, successfully delivering an engaging album that deals with grief, forlornness, and starting over with a blank slate.

While many, such as the swirling pop of “Blue Moon,” and the melodic ballad “I Call It Art,” don’t fit the general tone of the average Kills album, none of the songs sound like filler. Each of these Bastards earns its spot on the album as a fine representation of the eclectic influences of the band.

Doves has stayed true to their sound and as the result they have made an album that fans will want to listen to over and over.

The galloping “Mango Terrarium” and freakout closer “The Tales of Gurney Gridman” both stick around a bit too long, however, when SHYGA! The Sunlight Mound wraps up, fans of driving psychedelic rock will be sporting a permagrin from consuming this newest dose of the Psychedelic Porn Crumpets.

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.

Aside from the opening track, How Do You Burn? lacks the raw intensity frequently found on early Afghan Whigs releases. But what it lacks in power, the album makes up for in intricate arrangements, dense compositions drawing upon the band’s unique alchemy of influences, and infectious beats.

Even at its mildest moments, Duffy asserts themself with an energetic catharsis.

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.

Existential Reckoning is a gem of a record that reasserts Puscifer’s place not just in pop culture but in the whole Keenan milieu. As their first album in five years, it’s a stunning return for a band that now feels on pace to shine as brightly as its founder and leader. Whether an old fan or new, Puscifer delivers dose after dose of electro-rock madness that all adds up to the best album of the band’s career.

Royce Hall, 1971 is a solo acoustic gig, recorded in January of that year on the UCLA campus, while Dorothy Chandler Pavilion, 1971 is a similarly executed performance, with Young on vocals, guitar, piano and harmonica, on the last US show of his solo tour. While these first two may seem redundant in the wake of the aforementioned prior releases, they are also a testament to the consistently high level of Young’s performances (not to mention a sunny state of mind, then and now, to which he alludes in the abbreviated liner notes to Chandler).

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.

Despite being their tenth album, Pond continues to push their artistic boundaries, blending innovation with their distinct psychedelic roots. Stung! stands as a testament to their enduring creativity and knack for crafting compelling music, making it an ideal soundtrack for the summer.

The album opens with the tone-shifting, unsettling, pessimistic “Obscenery” which sees modern love as unsentimental and everything doomed around grunge-laden guitars, random classical violin breaks and crashing drums; interesting ideas which never fully lock-in. Better is the driving, straight-ahead rock of “Paper Machete” complete with an excellent distorted solo, the angular “Emotion Sickness” that deploys a catchy FM radio-friendly hook, and “Negative Space” which juxtaposes sexy grooving bass during the verses and big clanging noise breaks for the choruses.

On Yol, Altın Gün merges Turkish folk singing with modern sounds, eighties neon new wave with slinky modern funk, European tradition with a sense of a wide-open future.

While Isbell may be the driver here, he is more than generous, putting the spotlight on his various guests, and giving his band the opportunity to show their potency and versatility.

The result is deeply evocative music because the production is as restrained as the interplay is energetic.

Blitzen Trapper has succeeded in making a very complex album that is probably quite different than most new albums you’ll hear this year.

While their debut, The Power And The Glory, is not necessarily treading new ground, it is still a remarkably satisfying collection of straight-ahead college rock songs. Mantione’s vocals are solid, but it’s the unexpected lyrical turns that almost all of the songs take that make the band so compelling.

A a culmination of those travels as well as a homage to Houston. Laura Lee’s (bassist) homecoming provided her with the clarity that was needed to create the well-executed diversity shown.

The five tracks on Texas Moon play more naturally to both artists’ strengths and come together to form a more fruitful and distinct collaborative statement.

Ambient yet dense, Space Heavy is an album that requires multiple listens to fully grasp, with each listen revealing a new layer of abstract rock that makes the album such a bold and enticing sonic step for Archy Marshall.