Jack White’s surprise album retreats from grandiose musical ideas (that could be hit or miss), back into the safety of his bluesy rawk. However, that doesn’t diminish the ripping results, as No Name is a blast of direct six-string aggression that is ultra rare in 2024, which puts it in its own timeless class.

What it might lack in energy, Anaïs Mitchell generally makes up for in the beauty of the songwriting and performances. Mitchell’s voice never fails to deliver, wandering fairy-like through each melody while inhabiting the all-too-human yearning in her lyrics. There’s not a note or an instrument on this record that feels out of place, each little horn line or guitar twinkle is intentional and it all comes together into something with all the warmth and coziness of a winter night sitting by the fire watching the snow fall outside.

Deafheaven have always been a challenging band and this album seems to work as a direct challenge to fans who might be intent to just pigeonhole them into a singular style. Fans willing to do the work, however, will find a lot of reward in Infinite Granite, even if the initial shock is off putting. ... Infinite Granite feels like the exact album Deafheaven wanted to make, and their commitment shines through in every track.

Waldon has a sharp combination of songwriting craft and requisite twang delivery. ... Waldon is genuine and we need more artists like her that not only rail against current culture but do it unpretentiously from a perspective that’s as real as it gets.

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.

Joyce Manor continues playing to their strengths with I Used To Go To This Bar, going big with microdosed strong songs that blast on by.

For those of you who haven’t been acquainted with Sergio Mendes since the glory days of AM Radio, and for others that are in the know, this may prove both surprising, and yes, joyful.

Auerbach captured an energy and fire in Holmes that’s never been heard on record, and remarkably, was able to do so in a studio setting.

The second half of Downhill From Everywhere reaffirms how Jackson Browne has mastered the art of uniting issues personal and political, then turning the dual meaning(s) universal (albeit not without some difficulty, circa 1986’s Lives in the Balance).

In itself songs is a soft companion to Big Thief’s two albums from 2019 and an album that effortlessly captures the aimless desperation of quarantine. It’s not so much that this work pales in comparison to the work with her band, even considering their outsized reputation; it’s more that Lenker achieves something completely different on her solo albums. songs like abysskiss provides insight and context to the broad beauty of Big Thief, and when being herself, Lenker proves successful.

As Barnes embarks on this new phase, Lady On The Cusp stands as a powerful, multifaceted expression of their artistic journey.

Capricorn by Eddie 9V is proof that his aptitude for soul music is just as strong as his aptitude for the blues. He shows that he can sing the slow smooth songs just as well as he can shout with the best of them. Be ready to do some dancing when you hear this one. Also, be ready to feel better at the end than you did at the beginning of this mood-boosting album.

Baroness has carved out its own niche within the metal landscape. On Stone, that landscape is thoroughly explored, from the depths of the dirtiest sludge to beautiful rootsy vistas to the expanse of the cosmos.

Freewave Lucifer F>ck F^ck F<ck addresses the full spectrum of human emotion, it has a loose feeling without straying too far away from Barnes’ initial vision. While it may take a couple of listens to fully grasp what Of Montreal is portraying on this album, the result is a scary yet gorgeous album filled with off-kilter instrumentals and soul-stirring songwriting that will leave you feeling bewildered and enticed.

Whether it’s McKenna’s most personal album yet is up for debate. After all, she has ten of them. What’s not debatable are her well-crafted songs and this being another gem that joins her last two.

For longtime fans, this is the clearest window yet into a period when the trio was remaking underground rock in real time. For newer listeners, the set serves as both a history lesson and a gateway.

Whether or not you grew up with gospel music, you’ll find that this collection of songs is both warm and heartfelt. And if you did grow up with gospel music, this album gives you plenty of opportunities to sing along.

A worthy follow-up to Strangers To Ourselves. Though more controlled than the band has been of late, The Golden Casket still has its share of outlandish moments. From its amalgamation of influences to its raucous rhythms to its bizarre lyrics, there is plenty of Modest Mouse to go around.

McKagan is an interesting artist. He seems to have no trouble moving between musical genres and he’s equally good at writing in different styles. ... Tenderness isn’t just good for a hard rock guy or a member of Guns N’ Roses. It’s a good album, regardless of whomever, McKagan has played with.

There is a bare-it-all vulnerability that ties all these songs together. With his vocals, a strong, slightly nasally tenor, and acoustic guitar at the forefront of the near dozen songs here (plus a short prologue and interlude), the record is a pivot away from his last solo outing – 2022’s The Misfit.

From the few singles they’ve released to the soon to be hits off of Cave World, they are no doubt trying to widen their audience. But you can’t help but think they just don’t care, in the best way. They’ve unsubscribed to a version of punk or rock that places any sort of limitations on itself. They just want to make weird shit and command crowds with it every night.

Somebody’s Knocking could be a lost 1980s New Wave album. A really good one. ... What’s impressive about the album is that while the mode of delivery is electronic, there’s a live heartbeat beneath all of the songs that consistently reveals Lanegan’s humanity.

Auerbach and Finley stick closely to the format of Sharecropper’s Son – a mix of raw blues, gospel, soul, and funk. This one does feel a tad more personal and musically more on the swampy side, weighted that way by “Alligator Bait,” as memorable a story as you’ll hear, where Finley’s anger seeps through convincingly.

The power pop of Quasi is awash in distortion throughout the album, keeping hips shaking, heads bobbing and nerves rattling.

There’s a depth to the sonics that belies the skeletal two guitars/bass/drums arrangement even as the mix highlights the aforementioned Nitzsche’s electric piano on “Winterlong”). The latter composition has only appeared before as an inclusion in the 1977 anthology Decade. But that piece of forlorn glory was nonetheless different from this one, as is also the case with a jovial rendering of “Wonderin’,” a Young original that would eventually appear on 1983’s ever-so-quirky Everybody’s Rockin’.

These songs touch on solitude, fading love, trying to grow up and some bleak topics, but their sweet sound together makes listening to them a joy.

These are richly bombastic horn arrangements, dancing grooves, and high powered performances from a band that loves taking it at full throttle.

Working with producer Mitchell Froom, Wainwright has crafted 12 melodic artistic pop tunes that are some of the finest of his career.