At times the album succumbs to bloated overload, the occasional instrumental placeholders like “Sultry Air” and “Movements of Time“ are not necessary on an already long-running album while the AOR pop of “Slow Days” feels a bit like running in place with fine, yet dull, overall results. However, the band’s chilling-on-a-space-age-beach attitude also results in some grand successes.

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.

When the band does dig into R&B it does so in the modern era rather than leaning retro (there is a noticeable lack of horns throughout) as “Ghost In Smoke” and “Tin Man Love” both use skittering trap like drums and digital bass bumps to groove. St. Paul and the Broken Bones are constantly evolving and the fearless band goes with what inspires them, on The Alien Coast that covers a little bit of everything.

The music is textured and production exquisite as layers of sounds and instrumentation ring clear, but if there is a weakness it is that lyrically the album is lacking. White and Benson both come off as blasé at times not offering much in the way of memorable lines, disengaging while moving towards generalities.

Most of the time Morrison plays the songs straight, some with different arrangements and a few with lyrical twists. ... This music is well-designed for live performance and early reviews of the shows are highly favorable. However, as an album listening experience, the weight of so many background vocalists with call and response or echoes in every chorus on these tracks becomes wearisome.

The Besnard Lakes Are the Last of the Great Thunderstorm Warnings will assuredly be a favorite for longtime fans but may be a bit daunting for first timers and is not for the casual listener. However, for those willing to put in the time listening to the whole album, the payoff will be worth it in the end.

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.

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.

While Screen Violence doesn’t quite meet the standards set early by the band, it’s still delightfully moody synth-pop that can be enjoyed equally whether on the dance floor or quietly contemplating the violence it depicts.

A varied effort that showcases a lot of rocking touchpoints, The Window feels like a solid new beginning from Ratboys as they expand their sound.

Cook’s artistic lyrics tend to become buried with the cascading roil around them, but the energy and blending/bleeding is part of The Yawpers appeal. The group’s enticing mix of folk, blues, noise, and good old fashion raw rock and roll is not new, but their twists, emotional singing, and willingness to distort musical conventions makes Human Question an engaging listen thr

The album has a Side A and Side B feel to it with the first half comprised of layered, dense tunes as is mixer Blake’s penchant. Side B (if you will) lightens the sonics a bit, giving the band more room to breathe and, for these ears, an easier listening experience.

Whether Jacob’s Ladder successfully reaches listeners, however, will ultimately depend on an open-minded response to the various instrumental and vocal components.

Live in Maui is an average show, with below-average sound, which has taken on a higher standard coming so close to Hendrix’s untimely death and the hippie nonsense surrounding it. However, Live in Maui is still an interesting listen for long-time fans and completists just not a place new listeners should start. In truth, any Hendrix concert is worth hearing, but this one doesn’t contend with many other fantastic releases already out there.

In terms of tone, production, and energy, Neon Pill feels connected to Social Cues. And like that album, there is plenty to enjoy, even without the powerful guitars and frenzied vocals. This softer Cage still has the grooves and melodies to keep things interesting while the band gets more comfortable.

Campbell chose to embrace his personal sound, owning it, and refining it. It’s not an easy task but Campbell and the Dirty Knobs take it seriously.

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.

The band – still comprised of all three founding members – singer/guitarist Janovitz, bassist Chris Colbourn, and drummer Tom Maginnis – approach this record with the same relaxed, effortless vibe that made the trio such a consistently great act throughout the 1990s. The harmonies on “New Girl Singing” and the effortlessly cool vocals on “Recipes” and “Come Closer” sound like a band that have spent decades working together and anticipating where the song goes next.

Weller takes a moment for introspection, his implicit vulnerability rendering him a more sympathetic figure than his occasionally impersonal craftsmanship allows on Fat Pop (Volume 1).

While tunes like the shifting/warbling “Slow” are trippy, the band seems more comfortable with tracks like the synth-led off-kilter R&B of “Hit the Ground” and the 50’s rocking, “In the Dead Mall”, which gets its kicks by shoplifting. A few of the more straightforward tunes turn out to be album highlights.

Some reimagining and some looking back, ‘Journey Through Life’ is a pleasant reflection on where Femi Kuti has been and where that could possibly lead him in the future.

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 Dharma Wheel was designed to transport the listener away from the pitfalls of the current world via elongated tunes as Howlin’ Rain dramatically plugs in and pushes onward. They don’t always hit their intended mark but no one can accuse Miller and company of dreaming small as the band remains one of rock’s most inventive voyagers.

Working with producer Butch Walker (Taylor Swift, Ed Sheeran) in his Nashville studios, Cosentino reaches for the pop heights with timely tunes and lyrics which are current, but also middle of the road at times.

All in all, Ode to Joy is a solid album, if a bit on the languid side, but feels more like a Jeff Tweedy solo album than a proper Wilco album.

The Hard Quartet’s debut is a refreshing gust of slightly peculiar indie rock that sounds spirited and lively while also reminiscent of the individual members’ past successes.

For those not already familiar with the Femmes, this probably won’t be the point of entry that provides a portal to instant fandom, but it’s a fun and worthwhile listen. ... It’s a solid representation of what they do well and an impish and occasionally truly insightful good time.

SKELETÁ is a fascinating concept album with tight melodies and carefully crafted arrangements, enough to satisfy day one Ghost fans, but might fall short of bringing new fans into the band’s ever-growing sonic realm.