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.

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.

You don’t need to have read the book to appreciate the honesty of the album, which makes a compelling argument for Lanegan as a contemporary Lead Belly. ... The tracks aren’t designed to be ornate; they’re designed to support his lyrics. The result is a beautifully haunting journey.

Making A Door Less Open is a worthy addition to the creative evolution of Car Seat Headrest.

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

Not surprisingly, this is as personal, maybe even more so, and autobiographical as any of her output. It’s not far removed from her excellent 2011 Revelation Road either. ... This recording is a huge reminder that Shelby Lynne is not only one of the most fiercely independent artists of our time. She’s clearly one of our best singers too.

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.

Shooting for the sweet spot of artists like Radiohead and The National, Other Lives embraces their tense, dramatic, theatrical, orchestral sound, and scope on For [Their] Love.

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.

Diabate and Fleck, though, are considered the prime masters of their respective instruments so their set is especially impressive.

There are songs where she’s smoothed out the edges somewhat. That, with the raw instrumentation framing it, makes this one of her stronger vocal outings.

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.

The Cadillac Three’s Country Fuzz precisely captures the delightfully ragged album, which soaks a straight-forward country in a tub full of distortion, creating music that will delight metal heads and line dancers, both groups previously only in agreement over the appropriateness of mullets.

Fiona Apple’s Fetch The Bolt Cutters is a triumphant and very well-timed return after an eight-year hiatus. Apple’s fifth album, an introspective, 13 song journey defies genre. ... Fetch The Bolt Cutters takes many exciting turns. The album exudes freedom, it exudes breaking constraints, it exudes Fiona Apple, and it might just be the album that we look back on when we think back to this COVID-19 era.

Although some fans may be disappointed not to hear the same early aughts NYC sound, discerning listeners will find that consistency as well as hopefully appreciate a new direction for a band with much acclaim.

An extremely cerebral approach to experimental music, which tend to feel more disjointed. Every movement has a purpose and every song on the album combines to make a fantastic album.

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.

This third CATS album is wholly in keeping with the growing confidence of the band (in contrast to the somewhat laissez-faire sophomore outing, appropriately titled Let It Wander) as well as the creative progression of its forebears.

The weight of loss, the pain of failed love, the bleakness of it all, combined with Thundercats effervescent playing, unique playfulness and a giddy sense of humor combine on It Is What It Is, resulting in the best album of Brunner’s career and one of the strongest of 2020.

This is a leap forward for Hiatt who delivers her most fully realized album yet.

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.

Basia Bulat’s music can transport you to another place. It’s exactly the kind of comfort we need right now.

Overall, it was an excellent example of electronic production by two masters at the craft. A lot of instrumentally based albums move all as one piece, but “Aporia” was a combination of tracks each made as an individual piece creating a distinct musical picture. Listen with headphones.

Undoubtedly other posthumous recordings from Masakela are forthcoming but this serves as a vital essential part of his storied legacy.

Anybody Out There? may have been four years in the making, but it proves to be well worth the wait.

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.

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.

Its messaging is almost diametrically opposed to the spiritual optimism of Pharaoh Sanders’ great 1969 Impulse! album Karma, yet, ironically, the lasting effect is similar due to the inspired, passionate playing.