This is a fun and impressive album showing you don’t have to be a young American to make a killer blues rock album.

Yes, this is confessional song writing but it’s done in the spirit of helping others who have felt similar emotions. She’s baring her soul in a selfless manner, hoping to help others move forward. The sound of Lucette is appropriately contemplative and reflective. It stands apart from most.

Despite the quality of the songwriting and the performances, there’s something about Let’s Rock that feels like the two are tying up the band and bringing their music full circle. Whatever the intent and the future of the band, Let’s Rock is a solid release that should make fans happy, whether it’s a coda or just their latest record.

As a whole, WE is a fairly good album and would be better received if it wasn’t an Arcade Fire album.

A wealth of songs that are as engaging as they are enjoyable.

How much you want to hear the duo’s take on the Floyd song may sway your overall feeling on the record, but even for non-Floyd fans, the originals captured on Mettavolution are reason enough to check in on this always unique duo.

LP5 is a solid effort by a vital musician, worthy of multiple listens – ideally, with no distractions, and complemented by a glass of wine or tea and some low lighting.

Fans of Mr. Bungle and Patton’s wilder/heavier tendencies may not find a lot here, as the project skews more towards the Avett Brothers side of the house.

Honey is rave music for a party of one as Snaith balances his nimble pop tendencies with sprawling soundscapes. In an attempt to balance his two worlds, Snaith landed on an infectious middle ground.

A tense, polished, cold affair that never truly explodes into something larger.

11:11 is an album that’s sure to please longtime fans of the band, but it also serves as a prime document of the cultural atmosphere in the United States in 2022.

Marshall is an artist who will work in any genre and his art digs into his psyche yet the end result can be just as messy as most psyches are. Man Alive! is far from a celebration, it sounds transitional casting a wide net unsurely searching and grasping for what is coming next.

The singer-songwriter’s twelfth studio album mostly sounds like 2000s-era Crow with some contemporary flourishes in the production. Crow’s diverse vocals are still solid, ranging from country twang to soulful croon and saccharine pop.

Harmonizer shifts from that tone halfway through the glam rock spiced “Pictures” which starts off like a gangbuster only to switch halfway to a minimal stripped-down effort in odd fashion, resulting in two songs shoehorned into one to the detriment of both. The downer “Ride” drags as well, but the confident strutting riffs around the silly lyrics of “Play” picks up the pace. The dabbling in Black Sabbath-like sludge metal (“Waxman”) and intriguing post-punk sung by his wife (“Feel Good”) prove that you can never pin down a style with Segall.

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.

It’s easy to envision any one of these tracks performed live as almost all have singalong type choruses and hip-shaking grooves, certainly the case for “Baby, I’m Coming Home,” which has enough fiery guitars sounding off that it suggests Gibbons has strapped on his axe too. The closer, “Didn’t I Love You,” brings blues riffs, guitar distortion, and a rawness, emblematic of the garage-rock that first stamped this enduring band.

Non-Secure Connection is more than just a strong & cohesive collection of well-written material. It also represents a continuation of Bruce’s keen ability to adapt to the ever-changing musical & societal landscapes that shape our world today.

Oxy Music is not, however, any kind of masterpiece, but it is another surprisingly consistent concept album, one just as slick and depraved as Forced Witness was, even without the extra schtick.

Though the rest of the album doesn’t meet the same standard as its closing track, Daylight is a solid pop album with no bad songs and a few brilliant moments.

[Sloan] have certainly built up a solidly loyal following over the years but have inexplicably never been huge outside of their native Canada. Steady likely won’t do much to change that but is certain to make even the most casual fans of the band happy.

Dayton not only renews these classics; he infuses them with an energy we didn’t even realize they had.

The songs here are largely fun and accessible, but contain hidden depths that encourage repeated listens; and that in itself is a testament to Toro Y Moi’s staying power and ability to find new ways of expressing himself.

Under the Spell of Joy allows Death Valley Girls the freedom to explore and the structure to tighten up as they communally dance and shake along the void.

Most of the songs maintain a decidedly hollow-eyed sound, one that requires the listener to lean in and patiently wait for the songs to reach a crescendo. Happily, it’s well worth the indulgence.

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

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.

Unfortunately, the biggest misses are at the heart of the album, as the over-long and manic “Pink Lunettes” is crazed from a bad drug trip or just 18 months cooped up, pin-balling around searching for meaning with grating lyrics. ... The finale recalls the opener with a swirling mix of electro, longing, and strings, pedal-affected guitars and keyboards, doing an admirable job recalling the best of Pink Floyd but skewed through a modern filter, bookending the shaky 9 on an exhilarating note.

Though it lacks the raw mosh pit fodder of early Slothrust releases, Parallel Timeline shows a new sensitivity, vocals improved in both tone and melody, and plenty of pop hooks while still peppering small doses of heavy rock.