She closes, rather surprisingly with the flamenco guitar-driven acoustic tune, “Chimayo,” revealing the nuances of her vocals, which can go almost instantly from sultry seductive tones to window-rattling power. It’s a surprisingly great touch, and at least for this writer, is the kind of tune we’d like to have heard more of on this eclectic effort.

These are Fish’s most fully realized songs yet and while the album displays aspects of her sound heard on her previous albums, it’s clearly moving toward a more pop, more densely produced sound. She is still developing. Enjoy the change but expect her to keep evolving.

As a whole, 12 is both a triumph and a work in progress. It showcases James Petralli’s evolution as an artist willing to adapt, experiment, and push boundaries, even if the results occasionally feel uneven.

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.

“The View” is another near-solo track that legitimizes Lukas Nelson’s songwriting skills, as well as the understated savvy of Promise of the Real. Would that such numbers be the rule rather than the exception on the album? Or that the band quintet stretched out longer and more often than they do over the course of the twelve selections.

At this point in his career, Promenade Blues is a success, even as a disjointed and confused album. The standouts rank among his best, and the filler, for the most part, are easily ignorable (with the notable exception of the frustratingly silly and out of place “B. Santa Ana, 1986”.) Waterhouse has made a genuine artistic shift and focused his attention to detail on his weakest material.

While the aural tour of influences here is mostly a good thing, there are a few of songs that seem to pull down the record at times – even at just nine tracks; “The Way Things Are” just sounds maudlin, and “La De Da, La De Dum” and the instrumental “So, Damned, Blue” sound more like filler tracks. That being said, there are more than enough tracks here that are bound to satisfy long-time LaMontagne fans.

The tracks that really try to fuse the bounce/gospel genres are the most interesting offerings.

On the previous album, Granfelt characterized their sound as a synthesis more so than fusion. Again, there are few solos in this largely ensemble-driven, dreamy, trippy music: the layered soundscapes prevail.

Oceanside Countryside may or may not hold broad appeal for anyone other than the most fervent Neil Young aficionados. .... In the end, the inveterate iconoclast’s front cover portrait for Oceanside Countryside accurately reflects the LP’s artful combination of style and effect.

The Boy Named If, has a lot in common with Hey Clockface, whether it be the four noticeably weaker tracks or the similarly bloated 52-minute runtime. ... What does work about The Boy Named If, like any other Costello album, is the songwriting. ... When The Boy Named If hits, and it mostly does, it gives us a Costello Halloween song and yet another track about a waitress who looks like an actress, two things that are not easy to pull off. Costello is still an artist to watch.

Finn’s style has subtly shifted and the increased spoken word with fuller sounds are both welcomed additions, but in the end, Finn will be Finn, and Legacy of Rentals continues his early morning, alone in barroom despair with hopes of redemption sprinkled throughout.

As The Velveteers continue to grow, so does their sound and songwriting. A Million Knives is a positive next step on their journey.

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.

Brighten is aptly named, though, because the biggest departure for Cantrell is trading his usual gloom, depression, and cynicism for a more positive, even uplifting tone. ... But it is still a Jerry Cantrell album, so darkness and musical tension find their way through cracks in the pleasant facade.

Managing to get any kind of new music during the pandemic has been rewarding and die-hard Sigur Rós fans that have waited 18 years to finally hear Odin’s Raven Magic, will no doubt find something to chew on. For most casual listeners however, this project, while undeniably beautiful remains messy and unfocused.

The vocal shifts and band restructuring may cause some turbulence, but when everything clicks, as it does on the album’s most decisive moments, the result is just as stirring as anything they’ve done before. Whether this marks a transitional phase or the beginning of a new era remains to be seen, but for now, Constellations shines brightly enough to guide them forward.

Brian King and David Prowse traffic in exhilarating rock and roll that fuels climactic moments throughout the course of a live show and on this night, the two musicians pulled tracks from all three of their upbeat studio releases. That stated, this live capturing does not improve on any of the songs presented on Post-Nothing, Celebration Rock or Near to the Wild Heart of Life, yet for the duo’s fans, it will recall fond memories of shows past.

Blonde On The Tracks doesn’t contain any must-hear renditions, but there is a comfort to be found in the contemplative singing of Swift and the clear production/playing of her Nashville backing band.

At their best, The Avett Brothers are transcendent songwriters with the ability to cut right to the soul while delivering perfect musical harmony. The majority of The Third Gleam serves as a reminder of the best qualities that The Avett Brothers can bring.

Beachwood Sparks hit the cosmic canyon touchpoints and beyond on their short but sweet return to recording Across The River Of Stars.

Tarantula Heart is messier than most Melvins albums, and it doesn’t have as many great hooks as fans are used to. While it doesn’t hold up to the band’s best albums, there’s plenty to enjoy for those who like the band’s quirkier side.

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.

Little adds light Caribbean flair to the poppy “Whip The Wind”, but the love song runs on too long, as does the retro soul of “Cherry” and the warbling get down jam “Bottomless”; however, Little’s vocals are always soulful. Things improve when Little moves to more expansive offerings.

Candid not only keeps their hands in the game but provides the kind of light-hearted recording schedule bands need from time to time. They may be treading water, but if their music remains as well-made and appealing as it is, they may just be able to make a career out of it.

As a whole Sage Motel is a tone record of restrained, warbling, retro veering, psychedelic soul but there is one standout that should be heard on its own.

There are far fewer up-tempo tunes than some would like, but that’s their mantra. In that sense, the album could benefit from better balance as we deal primarily with ballads through these ten. Yet, who can argue with Krauss’ immaculate, singular vocals and Moore’s powerful voice? It is a great counterpoint, although, to be fair, they sometimes seem at odds with each other.

The mixtape feel of Side Effects makes for a disjointed overall listen, but the highpoints, smooth midsection and overall frantic nature means there are very few down moments. Longtime fans will find a lot to like as will those new to the White Denim party.