For many, Thompson is an acquired taste. There’s little, if any, middle ground. So, while this may not attract new fans, it will more than satisfy the legions of those who stay attuned to his every move. It’s as solid as any of his recordings.

This is unbridled passion, an unyielding declaration of freedom. As strong as it is, however, a little tempering down in a few places could only add to the overall impact.

A new era for Lukas Nelson begins on solid footing as American Romance employs familiar country and Americana sounds and phrases in a well-worn fashion.

The result, though not as immediately catchy as the band’s earlier, now classic records, is still a solid collection of jangle pop

There are enough catchy hooks and eclectic compositions to keep things interesting, though it never reaches the high levels of Twin Fantasy. The Scholars is a bit of an overreach, with puzzling narratives following too many characters to track without help, but it’s impressive for its ambition and giant swing at transcendent art.

It is impossible not to hear Hewson’s father’s band, U2, everywhere on the record. “Still Young” feels directly out of Bono’s wistful memory as French horns, yearning/echoing vocals, and climatic choruses are dramatically drafted. While those high-profile connections can’t be ignored, neither can Inhaler’s strong sense of catchy pop-rock flowing throughout Open Wide.

The eight tracks produced by Tucker Martine (Sufjan Stevens, The Decemberists, My Morning Jacket) in Portland, OR include some music that, while it is legitimately based on a formidable tradition, nonetheless doesn’t sound quite so personal or powerful as the best Parr performs elsewhere here (or on the pinnacles of his past like his eponymous album of 2019). .... Fortunately, the moody likes of “Bear Head Lake,” call to mind Charlie Parr at his most scintillating on 2017’s Dog.

Suffice it to say, The 1974 Live Recordings constitutes a listening experience almost as frustrating as it is rewarding. As such, it is very much in line with virtually all of Dylan’s work over the last sixty-some years, thought-provoking in the extreme, if nothing else.

Lund goes out of his way to cover each in his own style without simply trying to duplicate the originals. As a result, he manages to pay homage to the songwriters while still putting out a record that his growing fanbase will relate to.

While the overall tone and style fits him and the band well, the majority of songs are fine yet not particularly memorable. A Productive Cough looks like a mid-career outlier now as Titus Andronicus settle back into their pub rock punk hybrid on An Obelisk.

For the first time here, his ideas haven’t quite formed into a cohesive whole. All the other records felt complete works, this feels more like a collection. For all that really works on i,i, there are moments that feel unnecessary or out of place.

Extreme Witchcraft proves Everett is willing to let it all hang out sonically, delivering enjoyable results.

Though not exactly a stunner of an album, it is a solid return for these foundation layers that serve as an awesome reminder of who they are and their place in the wider scene.

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 album is riddled with pretty hooks that are buried under interesting complexities.

In an album of mixed results, there are enough brilliant moments that bode to a more meaningful lyrical side for Rateliff and his powerful band, which has a knack for infectious grooves and hooks.

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.

Thematically, it sounds fairly cohesive, but the songs themselves, lyrically, vary from solid to great, to moments of cloying sentimentality. That’s not to say that Heavy Glory is a bad record, just one that’s a bit more challenging than Iceage fans may have come to expect.

On Happiness Bastards the brothers Crowe retreat to their safer classic rock roots with efforts that gun for mid-70’s arena swagger, falling short of the band’s prime, a touch uninspired and derivative of their best work.

Hellfire is a decent album, one where on at least half the tracks come from the Black Midi we remember, always on the cusp of something brilliant and humbling and confounding in the best way possible. On the other half though, they are lost in their own precision, echoing their better work and confusing ability with purpose.

While the highs on the album are high, the lows are apparent and hard to ignore. There is a battle between the band’s influences and their own vision for their sound which leaves them with a batch of great ideas that weren’t executed to their full potential.

Second Line is another strong turn from Richard, a successive trip through the different styles that have made up her evolution over the years. ... Her problem is in her execution of Second Line, an album that feels more scattershot the revolutionary. It doesn’t necessarily feel like regression but for an artist who has consistently topped herself, it falls short.

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.

The result is a mixed collection; some good, some a little more tedious, but in the end, you can’t deny that Ramirez stayed true to his objective and didn’t skimp on real emotion in the process.

Though an uneven collection taken as a whole, Dream Into It still boasts enough songs to convince you that the sneering, charming Idol is not quite ready for the retirement home yet.

This simplicity is what first brought them to national attention and this collection of seven tracks is solid, but feels like a regression for a band who was just stepping out of their comfort zone. The dynamite harmonies and strong acoustic playing is still there, but nothing presented on the EP is must-hear.

Overall Covers is a mixed bag containing strong song choices, but very few must-hear offerings from the artist who will always dig the crates for new covers to unearth.

Most of the madcap antics work, while other moments are exciting failures. While it’s not an easy album to digest, it’s fun for those who enjoy the experimental process.