While not as accessible as It’s A Shame About Ray or as punk-focused as Hate Your Friends, Love Chant is an impressive blending of both styles.

The duo of Dan Auerbach and Patrick Carney have found that creative musical joy again, with the overarching feeling on the album being, fun.

Expressive solos from trumpet, violin, guitar, and keys keep the tune choogling along, with ever-active percussion as well. “Coney Bear,” from guitarist Bob Lanzetti begins with his funky strumming before blossoming into a mix of soaring synths and horns interspersed by frenetic funk passages from the rhythm section. The closer, “Trinity” from fellow guitarist Mark Lettieri takes its name from Trinity River that connects Dallas, Fort Worth, and Denton, the band’s hometown. It features searing guitar lines in a rather angular take with strong horn lines navigating several rhythmic changes, far less direct than many of the others in the set.

Along with bassist Alan Anton, the band’s lineup has not changed at all since their 1986 debut and, thankfully, though they’ve grown as musicians and songwriters over the decades, the core of the band’s sound is the same as it ever was.

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.

Muzz is a familiar culmination of previous individual sounds that mesh well together, but Muzz not only blends influences, but they also undertake new sonics to further push the progressiveness of the project. Muzz is nuanced in how it shifts from intimacy to defamiliarization, this indie gray area riffs off the familiar and transforms it into something entirely new.

While the music is great and her vocals impressive, her knack for writing unforgettable lyrics is still the most charming thing about her music.

On When You Found Me, singer songwriter Ben Nichols and the band stated they were going for a Classic Rock sound, circa the 1980s; the type of music that would have soundtracked their childhoods. Based on the 10 tracks that make up the record, they clearly succeeded. ... Regardless of these tweaks, this is still unmistakably a Lucero record.

None are genuinely essential, but still, the gusto Bob himself displays so often is a revelation: hear the rousing version of Carl Perkins’ “Matchbox” with George on guitar and vocals. Meanwhile, the brevity of many other selections is often in direct proportion to the surprise they may evoke. ... That said, to become truly enamored of 50th Anniversary Collection 1970, it may be necessary to be a devout Dylan fan, a music lover insatiably curious about the recording process or both.

13 spell-binding, genre-pushing tracks. .... Atlanta is the mesmerizing, psychedelic outing we all hoped it would be, and then some.

Jonny is an album you need to listen to front-to-back in order to understand the full vision, nothing about this album should be skimmed over.

This casual record isn’t meant to change the world, it is just a deep dive into the tunes the duo love; less a major release than a passion project but by adding Deaton and Brown to these sessions The Black Keys blues workouts on Delta Kream go down smooth.

I Want The Door To Open stands in stark contrast to The Lamb, setting opposing goals and aiming for a different audience, but both remain uncompromising visions of West, a songwriter whose proven on top of everything else, her inventiveness.

What makes The Lemon Twigs such an exciting band to follow is that they have maintained a way to be new and still very rooted in what past masters of rock have accomplished sonically. ... For fellow fans of The Lemon Twigs, I’m sure we can agree it was absolutely worth the wait.

Cottrell’s voice is airy and breathy, seemingly forged specifically for Tycho’s music, but it’s in fact when it takes centre stage, the record stutters. Tycho’s beauty was in the remarkable way they had created a unique sound, something that gets lost within many of these tracks that play out as good but fairly standard down-tempo dream-pop.

The consistently heart-wrenching lyrics of Mercer combined with Danger Mouse’s ability to craft luxurious instrumentals give Into The Blue its colorful personality. Within the 40-minute run-time of the album, the duo explores new territory while Mercer’s poetic songwriting keeps Danger Mouse’s spaced-out instrumentals grounded.

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.

Altogether, as with most of YLT’s covers over the years, Sleepless Night is a stellar selection of songs completed by a very talented trio. If it sounds like the group could record most of these covers in their sleep, that only shows how well the band has honed their tribute skills.

Destroyer becomes the perfect album to play in your car while you speed (safely) down the highway. Though not as trippy or psych heavy as its predecessors, Destroyer still manages to fit perfectly into the Black Mountain catalogue.

Like most of Stickles’ efforts, some editing would help tighten the flow of the record, but as it stands, The Will to Live is a success with Titus Andronicus channeling their punk core straight into the arena rock rafters.

Its restraint may frustrate those looking for hooks or crescendos, but that sparseness is part of the message: climate change doesn’t always arrive as spectacle, but as the slow, quiet unraveling beneath our feet. The Antlers continue to churn out meaningful music that connects with listeners who prefer challenging rewards.

Overall Fear of the Dawn (like White himself) never sits still and while exhilarating at moments, none of the tracks stand with the best he has written and feel like experimental jam sessions.

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.

All Souls Hill feels like a gradual step with the heavier foot planted on the electronic DIY side while venturing back to the organic with the lighter foot.

What a short history of decay lacks in consistency, it makes up for with unapologetic, poetic displays of the many sides of Palermo as a writer and producer.

Flea’s mission for Honora was simple: create something that feels both natural and impressive, something the listener can take with them throughout their day, and he achieved that, and more.

Drenched in swirling reverb, the atmosphere evoked by Talkie Talkie is lush and cinematic – whiffs of surf rock, loping Latin drums, and shiny, liquid guitar twangs.

Medicine at Midnight is the most upbeat and poppy Foo Fighters album. While the band has always incorporated elements of melodic pop as far back as “Big Me” in 1995, this is the slickest and most radio-friendly album to date.