Back In Black is a tribute, extension, and reminder of Cypress Hill at its peak, to do this so successfully thirty years after that era is impressive in its own unique way.

The sisters pour out their emotions fearlessly in this effort, making it their strongest album yet as their trajectory continues to steepen.

Baroness has carved out its own niche within the metal landscape. On Stone, that landscape is thoroughly explored, from the depths of the dirtiest sludge to beautiful rootsy vistas to the expanse of the cosmos.

They offer up Fate & Alcohol, ten songs in thirty-six minutes that mostly succeed by wrestling with maturity and life’s big decisions but never reach the heights of their youth.

Brother Sister feels bigger than just the siblings, but it is essentially a gentle folk record with lovely instrumentation and gorgeous harmonies. With Sean primarily on guitar and Sara on fiddle, and both sharing vocals, the sound comes across at times like a full band but it’s usually just the two of them making stirring music.

My Morning Jacket, for the most part, succeeds as the album fuses My Morning Jacket’s more polished moments with their fuzzy jam band origins into a successful brew.

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

Tracks like “Discovering”, “The Balcony” and “Eagles Below Us” are all back porch-based, sunshine-filled entries. The Pet Parade marches on for Fruit Bats, delivering looping easy rolling tunes around Johnson’s distinct vocal approach.

Another exciting addition to the long-running band’s catalog, Born Horses finds the Mercury Rev stretching out and evolving over 35 years into their career.

The long closer of “The Real Thing” is drawn out as the group goes for a big and cathartic finale, yet never fully breaks on through. That said, there is a lot to like on Emotional Contracts, as Deer Tick returns to the indie rocking fold, proving that they will travel wherever the song takes them.

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.

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.

While not peddling anything particularly new, Matsson’s legion of devoted fans will nonetheless find what they want and more in I Love You. It’s A Fever Dream. The skeptics will likely stay that way, but then you get the sense that’s the least of Matsson’s concerns.

A less-cluttered and more intimate take on “Remember You” might well have increased its potency as the closing cut. Nevertheless, the ‘less is more’ premise remains in effect just often enough on Blue For Lou to certify the record, name associations aside, as a memorable entry in the lengthy discography of Nils Lofgren.

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.

There’s a literary elegance to Cole’s compositions rare in the pop field—the late great Warren Zevon was one of the few contemporary songwriters who shared that quality—and these arrangements mirror that nuanced formality.

Lonesome Drifter is a no-frills effort from Crockett that harkens back to his blues roots while staying stubbornly in the present. Ironically, Crockett’s nostalgia trip created some of his career’s more urgent and present music.

Featuring a formidable and typically eclectic tracklist that showcases Bruce’s innovative and forward-thinking compositional and instrumental strengths, Indigo Park stands as one of Mr. Hornsby’s most inspiring efforts in years.

Migration Stories is a bright sounding album that draws on Ward’s skills in creating a warm and beaming atmosphere, even if the lyrics are the direct opposite. Gentle songs and tender vocals transport the listener to a world where anything is possible. While the production of the album might sound a bit more polished than past releases, it is still unmistakably M. Ward’s sound and bound to be a favorite with fans.

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.

An album that would benefit from more such stripped-down performances. As such, it renders the LP’s title a word of encouragement for Samantha Fish to maintain much this same elemental approach when she records next.

Francis built these tunes to be taken to the stage and jammed out and while In Plain Sight can become a bit repetitive at times, Francis’ efforts provide solace in making the most out of difficult situations.

While the album is generally melancholy, he is able to squeeze in a full spectrum of emotions around the same topic, allowing the album to flow naturally lyrically while Mann’s arrangement work provides new dimensions and textures, creating an undeniably smooth listening experience.

Ritter delivers a thoughtful, impressionistic work that is almost abstract and direct in equal measures. Yet, it’s difficult to absorb in just one listen, or to even single out individual songs. His well-crafted work is in essence a symphony with subtle treasures, both musically and lyrically, within the movements.

His soft voice and natural sense of melody give these songs enough musical prowess to keep up with the best while still seeming innocent and green to the world around them. Maltese’s vulnerability makes him one of the more relatable and pure artists working today and his fourth album further proves that we are far from hearing the last and best music Maltese has to offer.

It ["May I Never"] brings the album’s journey of self-examination and introspection to a powerful close.

Irreversible builds on that foundation of classic New Wave and modern indie pop to create a sound that feels both timeless and distinctly their own.

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.