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

When Chris and Oliver Wood began collaborating as a duo in the early 2000s, there was a tangible element of self-deprecating humor in their work. That element has faded to a great degree over time–especially in comparison to the latter’s solo efforts–but the jolly, acerbic attitude has returned virtually in full here. It’s most reminiscent of 2006’s Ways Not To Lose and Loaded two years later. “Above All Others,” in fact, sounds borderline sarcastic (and lethally so ), its effect heightened by the easygoing waltz rhythm at the heart of the performance.

While the full arrangements are stunningly mesmerizing, like the punchy horns on the title track, or the twinkling, alluring guitars on “On The Rocks,” it is when Hanson is left alone at his piano that the album achieves its singularity. .... Whether he’s pontificating over nimble pieces of soul or telling tales fire-side with piano-driven arrangements, Hanson proves to be a modern songwriting giant on I Love People.

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.

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.

The track ["Stick Around"], like all the others, runs short, getting to the lyrical point without overdoing it. Those lyrics can sometimes feel generic and straightforward; however, Bird’s vocals have taken the next step, as she manages to sound both vitally urgent and more subdued and heartbroken with ease.

With all its unpredictable mood shifts, The Cosmic Selector Vol. 1 has one consistency that nothing can take away from Lord Huron: their songwriting is some of the most beautifully poetic in Americana. Throughout the warping arrangements and surprise features, the band proves to have a cacophony of heartwrenching ballads that add a splash of color to grey emotions like heartbreak and loneliness.

Much is made in the promotional materials about the aggregation of guests: Sarah Jarosz, Charlie Sexton, Bonnie Whitmore, Bukka Allen, and others, but their contributions are mostly subtle. McMurtry and his core band of guitarist Tim Holt, bassist Cornbread, drummer Daren Hess, and harmony vocalist BettySoo do most of the heavy lifting. McMurtry is, for whatever reason, a vastly underrated guitarist and vocalist, yet he shines on both accounts in these ten songs, all but two of which he wrote.

It’s an album that balances intense aggression with sing-along melodies and introspection with detached cynicism. And those delicate balancing acts serve as a worthy step forward from Wet Leg’s excellent 2022 debut.

The dissonance in styles and tones is unnerving in the best way, resulting in a multifaceted experience that challenges metal preconceptions while remaining easy to digest.

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.

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.

Raspberry Moon on Third Man Records finds Hotline TNT unlocking buzzingly beautiful guitar rock that washes shimmering tones in all directions as the band seems to be truly coming into their own.

As captivating and hypnotic as it is, the album may have been even stronger if it had ended with the title track, but Goodman loves the long narrative, a gifted bonus. All told, the album is unforgettable on so many dimensions.

The original players have deservedly mellowed with age, allowing a restrained Afrobeat groove to play a larger role in their sound; yet SOGOLO proves they still have a few tricks up their sleeve, while pleasantly rolling along.

Halvorson, as she has done on previous efforts, blends herself into the ensemble, rarely taking center stage, allowing her compositions to do so instead.

It’s far more compelling than 2019’s Colorado and Barn from two years later and even World Record from 2022, in part because its comparably impromptu atmosphere enhances rather than detracts from the credibility of the material and the performances.

King Gizzard made sure every guest felt welcome without sacrificing their true range. While Phantom Island is a consistent and stadium-sized effort, each song feels like its own little universe of musical solace to get lost in.

The album is not perfect. As Morrison often does, he makes the album too long with ‘filler’ songs – “If It Wasn’t for Ray” (a failed attempt at honoring his main influence, Ray Charles), “Cutting Corners,” and “Colourblind,” the latter annoyingly placed in the spellbinding songs in the album’s latter half. Take most of the songs that are left and arguably you have the best music Van Morrison has presented in over three decades.

Magic, Alive! feels like our first proper introduction to Dixon’s wide-ranging artistry and acrobatic vocals. The tracklist is chaotic yet never feels disconnected.

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.

While Black Hole Superette follows a concept, the LP seems to double as a victory lap for Rock, as he showcases his raw talent and earns legendary status.

Possession finds the psych-rock hero piecing together a comprehensive portrait of his artistic range, which, this time around, manifests in Sixties pop-influenced melodies that swirl around blazing guitar solos, acoustic solace, and bouncy nostalgia.

When one carefully listens, the history of Black American music unfolds over just ten tracks. These two trust their instincts and their artistry is well-rounded and rather boundless.

There’s no denying Robin Trower’s writing and playing with a freshness that bespeaks deliverance on Come And Find Me.

There are no truly great compositions here. But otherwise, the record does contain most of the essential elements of the band’s inimitable style, including the cracked sense of humor for which Feats are famous.

The World Is Still Here and So Are We is a wildly refreshing departure from the manicured world we live in, and welcomes back one of punk’s most innovative and underappreciated bands.

Face Down in the Garden is a fitting goodbye that highlights everything the band does well. The intricate guitar and keyboard melodies, sing-along choruses, jangly guitar licks, introspective lyrics, pop hooks, and wall-of-sound production are all in full force.