First Two Pages of Frankenstein feels like a return to The National we fell in love with 20-plus years ago while still being creatively ambitious and providing new context to a band who never fears away from putting themselves out there.

Cartoon Darkness is brimming with successful experimentation that allows Amyl and The Sniffers to begin carving their legacy in the world of punk, a legacy that promises to grow and evolve as long as the band delivers a shocking change of pace in a rugged yet grandiose fashion.

Boulevards puts a pep in your step. Keep this one handy for that first spring or summer barbecue but be sure that your guests control themselves. Your gathering could easily get out of hand.

The Felice Brothers take great chances with performances like these, but make them sound wholly natural based on unerring instincts they’ve honed over the years.

This genre-bending effort, replete with these iconic names, is the kind of album that will deservedly earn Grammy attention. Kudos to Bailey for looking forward instead of back as so many of his contemporaries unfortunately do.

The beauty is in the simplicity. If nothing else, this proves that Johnny Cash is irreplaceable. It’s both refreshing and sad to hear him again.

She covers emotional and relatable ground with a fun blend of Americana and pop music. She also weaves personal experiences throughout the songs. ... That mix of the deeply personal with the relatable is a powerful combination.

The result is possibly his best solo album to date. A record that is so sprawling it takes several listens to finally soak in but is well worth the effort.

Hayes Carll has made some great records. This is his best one.

The harmony between the two is captivating and eminently listenable; it’s easy to detect the seamless teamwork and understand why they’ve been so successful. Theirs is an airy sound, crystalline clear like splinters of sunlight in a hushed forest.

The real joy in this album is found in the shared musical language that’s exhibited across its seven tracks. Instruments fold into each other and each player seems to relish the chance to explore these sonic spaces with true abandon together. These might not be King Gizzard’s tightest, or most immediately memorable pieces of songcraft, but their creativity and kinship is on full display here, which is ultimately what this band has always been all about (that and reminding us of impending heat death).

Sadness Sets Me Free is a bold direction for Gruff Rhys to take 25 albums in, and for the most part, these risks paid off tremendously. Rhys finds solace in the exploration of himself rather than crafting the perfect LP, giving the album a unique personality that opts for honesty over anything else.

Relative to the two previous releases, Happy Today is much shorter and far more accessible as the band combines their patented immersive ethereal space jazz with tangible, expressive playing. The music has groove and suspense, delivering an uplifting feeling, with some credit due to the passionate audience.

Deleted Scenes as an album oscillates between larger than life theatrical pop numbers and blissful instrumental escapism.

XOXO, while broadening the band’s sound, becomes not a major shift, not even a detour really, but a refocus and sharpening of their hallmark jangly sound – brimming with country, folk, rock, and British Invasion power pop. It’s reinvigoration.

Jump For Joy finds the clouds parting and Taylor and his band finally reveling in the possibility of happier times. The uncertainty is still there, but this time tinged with optimism.

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.

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.

Those dulcet tones of Knopfler’s voice remain immaculately intact. Now 74, every aspect of his artistry remains at its consistently high quality. As with the past few releases, Knopfler waxes mostly nostalgic here again on One Deep River.

This album has plenty of shifting tempos and is well-paced. The harmonies make it sound if Thompson and Walbourne were just meant to sing together. Don’t be steered away from what may be described as “folk rock.” This has a thumping pulse and plenty of stunning moments.

Death Valley Girls have softened musically with each release, adding more pop influences, and digging more into the spiritual hippy cosmos of the we-are-all-in-this-together vibe. They also have continually improved, as Islands in the Sky is their best album to date.

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).

Though Erotic Reruns doesn’t have any of the awe-inspiring moments of some of Yeasayer’s early work, it’s a solid album from start to finish, trimmed of all fat and without a bad note. A few more compositional risks would’ve served the band well, but as a whole the album finds the Brooklyn band in top form, packing its nine songs with dance-hall energy, commanding grooves, and song compositions that stretch the limits of pop music while remaining easy to digest.

Clearly, this is the crowning jewel of Hurray for the Riff Raff’s catalog, and surely their most honest, cathartic songwriting.

Apart from the wayward package design—and, for some listeners, hearing the repartee before “Roll Another Number (For The Road)” as simultaneously unctuous and condescending– Citizen Kane Jr. Blues is a prime example of the kind of unorthodox creativity that’s made this man such a fascinating and (mostly) revered figure for over fifty years now.

Sit Down for Dinner is an album you need to hear multiple times to understand the nuanced beauty of it all, allow Blonde Redhead to wash away the worries of reality and view these stressors through their technicolor, melodic lens.

Through its 10 tracks, we are introduced to an uncompromising artist whose trust in themselves creates moments of sonic bliss. The way they are able to bounce between tempos and moods with ease gives the album its colorful personality and shines a light on the writing talents of Miss Grit.

This soothing, peaceful album reminds us to take stock of who we are, where we’ve been, but mostly to just appreciate the moments at hand. It’s the kind of album that only a superior artist could pull off without sounding cheesy or pat.

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.

He [producer Andrew Wells] manages to magnify an already impressive sound without weighing it down in over-production or slickness. The Vaccines have been a big deal back home, but Pick-Up Full of Pink Carnations could (and should) be the record that brings them that same type of recognition in the U.S.

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.

The quartet’s sound (produced by Haynes and John Paterno) goes for the retro blues gusto and succeeds; the sonic quality of this record is top shelf.

Ozarker finds Nash tapping into an entirely different genre for inspiration and the result makes for one of his best albums so far. From the big guitars to the anthem-like choruses, Nash’s latest manages to update a sound that resonates both comfortably and refreshing at the same time.

The aptly titled, Deserted finds the old rabble-rousing crew in fine form.

Cook does a great job of keeping the focus on Mavis. None of the guest spots are intrusive. In fact, it’s only the slide guitar parts from Bonnie Raitt or Derek Trucks that are attention-getting. The overall effect is that of Mavis, a living saint and the voice of empathy, leading the hushed gathering in prayer, best evidenced in her take on Curtis Mayfield’s “We Got To Have Peace.”

The first half of the record, complete with some of the catchiest work he’s made so far, also stands in stark contrast to the warmer vulnerability on side two.

The album is as good, maybe even a little better than Vagabonds, if not musically, certainly lyrically.

Instead of the fire-burning street-taking bloodlust of your 20’s, the fight in your 30’s feels seated deeper in the belly. Birth of Violence feels like it’s about that fight: finding strength, power and will, and rising up to exert it all in the face of unending victimization and marginalization. Wolfe draws parallels between the treatment of women throughout history and the treatment and disregard of Mother Earth, also in the throes of shaking off her human oppressors.

It’s quite conceivable Noise & Flowers will convince aficionados as well as more casual listeners of the potency of these musicians as they collaborate in the spontaneity of the moment. In so doing, it may simultaneously join Hitchhiker (recorded in 1976 and released in 2017) as one of the highlights in Neil Young’s ever-expanding discography.

She created a very enjoyable album filled with so much personality and emotion that it’s hard to deny the beauty of it. While the length does make you question what could have been, the 10-tracks presented are so masterfully done and built to be put on repeat.

Overall “World on the Ground” is a work of quiet beauty that brims with irresistible melodies and compelling storytelling. These songs showcase Jarosz’s growth as a songwriter as they linger with the listener long after the album ends.

More formal and complete editions of Neil Young’s archives have been as satisfying as Tuscaloosa--this one lacks two cuts from the original recording--but none carry its implicit social relevance: even an artist as supremely instinctual as Neil Young couldn’t foresee the topical pertinence of an album titled in reference to this Southern state in 2019.

The album is spare, economical, and certainly dark in places but there’s a glimmer of light too.

In My Dreams proves that subtlety, judicious use of space, and generous, trusted sharing can deliver a quietly gorgeous soundscape. Frisell harnesses all his trademark attributes into one, evocative declarative statement.

Mixing his 1950’s retro-rock core with different genres is a winning combination for McPherson as Nite Owls drifts by with ease and confident charm.

A Foul Form does a great job of capturing that fiery intensity for a brief burst of chaos.

I Don’t Live Here Anymore, pushes the groups sound as much as it can, while staying conceptually consistent and rewarding.

["Goodnight" is] one of the strongest album closers heard recently and takes the edge off the hard-hitting statements that make up the bulk of this provocative, lay-it-all-out-there effort.

With Second Nature they prove once again that they can filter in new sounds and stylistic ideas in a way that never feels inorganic, letting their songs and gift for memorable melodies shine through whatever outfit they’ve dressed them in.

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.

It’s good news for fans that Crockett was neither slowed down by open heart surgery nor content to sit on an album he released just a year ago. He has a way of telling stories that make his songs something you experience rather than just hear.

With the hip afro-funk of Long in the Tooth, The Budos Band continues to pump out infectious horn drenched jams.

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.

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 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.

There is little memorable about the songwriting of III; the lyrics are minimal and mostly abstract, but doesn’t really hurt the music. This isn’t an album for introspection or for contemplation of the songs’ meanings; it’s an album to crank up loud, bang some heads, and cause speeding tickets.

Count on this unbridled phenom to be with us for a good long time. This is her auspicious beginning.

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.

If you were a fan of their mid-2000’s work, this album would be a very satisfying continuation of their sound while also mixing in enough new ideas for it to be a progressive album for the group.

Food for Worms features shame’s strongest music in the pantheon of their short discography. They hit a new creative stride through the album’s dense textures and complex structure, allowing them to shape otherworldly arrangements for their evolved songwriting.

The North Mississippi Allstars’ Up And Rolling is a decidedly tighter and more focused piece of work than their last two albums.

It captures the joy, complexity, and spirituality of mambo, making it both a tribute to the past and a beacon for the future. Whether you are a seasoned mambo aficionado or a newcomer to the genre, Caracoles is a must-listen, promising to lift spirits and inspire dance floors worldwide.

As per usual, Burns adds his layered touches with synth, vibes, and cello in addition to the guitars and bass. Brown’s poetry stands distinctly apart from the Burns/Convertino writing in its short poetic lines in the former, a tune that regales the history and gods of the desert.

Getting Killed establishes the band as amorphic, an ever-growing blob of raucous rock that thrives in the unpredictability it has put into place. Rather than select one of the many sonic worlds that gave Geese this pedestal they stand on, the band decides to dive deeper into their loftiness on Getting Killed, creating a sprawling LP that never loses focus, yet never feels the need to linger too long.

End feels like the soundtrack to life, placing you as the main character as the band crafts dynamic instrumentals that melt like gold and shine just as bright for their best album in recent memory.

LaFarge somehow manages to make the nostalgia sound authentic rather than gimmicky, which is quite an impressive feat.

Either way you slice it, Sleigh Bells’s latest outing is fun-loving pop music that captures a change in the veteran musician’s craft and attitude towards the genre they call home.

With Anak Ko, Duterte continues to release high quality inventive textured dream pop, and more importantly seems to have found what she was looking for: a change of scenery and a change of personal habits.

While the mood is subdued and even brooding, this is a powerful album where you feel the story in each song.

LP5 is a solid effort by a vital musician, worthy of multiple listens – ideally, with no distractions, and complemented by a glass of wine or tea and some low lighting.

Plastic Bouquet is a uniquely satisfying mix of both William’s country leanings and Kacy and Clayton’s more folk-based sound. Whether this merging of talents was a one-off experiment or a Fleetwood Mac in the making (minus the drama), we’re still left with a powerful record.

Willie Nelson willfully imbues First Rose Of Spring with his own brand of bitter honesty, giving the album the sort of emotional resonance that the majority of his contemporary peers forgo in exchange for switchboard instrumentation and hollow lyricism.

Things Take Time, Take Time is charming, finding the perfect note for the mood it’s trying to evoke, and even at its smallest and most benign, it’s captivating, the kind of album destined to become a favorite of a very specific subset of Courtney fans. It feels well-worn too, a well-deserved breather after three near-concurrent classics.

This record, their most adventurous so far, pairs the band with a new producer, James Ford, who has worked with everyone from Blur and Depeche Mode to Arctic Monkeys and the Pet Shop Boys. The new pairing seemingly pushed the band to expand their sound a bit, making for a strongly compelling evolution.

Ellis proves to be a grand pop master. This, albeit somewhat surprising, is his most cohesive album to date.

Overall Benson has crafted an enjoyable, thoughtful slice of pop-rock on Dear Life, embracing his classic rock love while not limiting the scope of his sound and voice.

Culled from a perfectly-balanced selection of road-tested fan-favorites mixed with newer material, Everything Must Go stands out as the group’s most comprehensive and gratifying studio release to date.

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.

The 12-song sophomore effort allows the listener to view punk music through their lens, and these aren’t rose-tinted glasses, showing a band content with one sound forever. Snooper is looking to leave their mark on punk, and Worldwide slowly begins to dig its claws into that goal, even if it comes with subtle growing pains.

Sonic textures, melodies, and interesting arrangements are used to prop up the storytelling, rather than the stories taking a backseat to musicianship. Beneath the Eyrie is not as instantly catchy as the band’s early work, but it rewards repeated listens with an emphasis on lyrics and musical layers.

Except for a few tracks, London Brew, imaginative as it is, doesn’t evoke the level of energy that Miles’ original did. For all we know, though, that could be purposeful as this cast clearly put their own stamp on this project.

The result is the 10-song In The Blossom Of Their Shade, a curious, but strong record rooted in old time jazz and country music that sounds like found audio from another generation.

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.

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.

At this point in their over thirty-year career, Teenage Fanclub is confident in their mixture of light touches around an indie rock foundation and Nothing Lasts Forever continues them on their journey.

Sound Wheel is an experimental chronicling of the vagabond road trip lifestyle of an artist who is constantly observing the open highways and the American culture driving them. Mosshart keeps her eyes sharp, her voice fluid and her thoughts rolling as she follows her muse.

New Age Norms 1 is a bit formulaic compared to the band’s off-kilter early work, relying too much of the blueprint of piano chords coupled with bouncing bass and danceable beats, but it is a solid blues-inflected indie album as a whole.

While the album boasts numerous contemporary jazz and innovative artists, it’s a mashup of many Black music styles. This writer gives the edge to R&B and African-tinged tunes but there’s so much to digest here that we may hear it a bit differently each time it plays.

To these ears, he’s right about the warmth and intimacy. It would have helped to have an inset with lyrics as in many cases they could be more audible. Nonetheless, it deserves several listens because this is as uncluttered as Ribot as ever sounded.

Emotional Eternal is about as restrained as you can imagine Prochet. Sure, the arrangements are still huge and encompassing, like on the swelling “Where the Water Clears the Illusion”, but these efforts are scattershot and often muted by Prochet’s own reluctance towards inhabiting any kind of persona. ... Prochet to her credit, has been able to wiggle into that narrow restriction, a surprising amount of diversity.

Devoted fans who found pleasure in recent records like Keep Me Singing should discover this one will hit home as well, whereas more objective music lovers may probably miss the natural spontaneity and unusual good cheer that arose from The Belfast Cowboy’s 2018 collaborations with jazz keyboardist/bandleader Joey DeFrancesco, You’re Driving Me Crazy and (to an only slightly lesser extent) The Prophet Speaks.

The original songs, written by either Gilmore or Alvin, including one co-write, are generally quite strong yet there are only six of those among these eleven. The duo made some astute cover selections but would have been better served with more original fare.

There is a comforting steadiness and calmness to Moen’s vocals that draw in the listener regardless of what he’s singing about; the songs have a tendency to be both haunting and melancholy at times yet also reassuring – not an easy feat to pull off.

If one were to go to previous Stones ‘Best of’ sets, like 40 Licks, you’ll find most, if not all of these tracks from 1971 through the early ‘80s. It’s the later stuff combined with the earlier material that makes this set perhaps a bit more interesting, although most would argue those later years don’t represent the best of the Stones.

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.

The distinctly raw sound is a cross between his usual folk-rock sound, and mountain music with generous hints of bluegrass, an area he explored earlier in his career.

Thirstier is too melodic and hooky for a good heavy album and too heavy for a good pop album. But viewed as a hybrid album devoid of any specific genre, it’s a solid alchemy of Scott’s influences.

Devoted fans of as well as casual listeners may ultimately find much of what follows too informal for its own good. ... Strictly on musical terms, though, this celebration of personal and creative bonds is just one more effort by this inveterate iconoclast that, like 2014’s Storytone, is slow to reveal its subtle rewards.