Foxes in the Snow is a broad collection of songs played alone on his acoustic 1940 Martin antique guitar, seemingly without a central theme. Few artists can get away with such a simple approach, but Isbell has earned that status. The question then is whether there will be memorable songs like “Cover Me Up” or “Elephant” that define Southeastern. Only time will tell whether they are here.

The ten-year hiatus hasn’t diminished anything about the Millers” unique partnership. The songs are as good as ever, Buddy still sings passionately and rips his guitar with determined fury. Julie sings as well as she ever has.

The Felice Brothers take great chances with performances like these, but make them sound wholly natural based on unerring instincts they’ve honed over the years.

Apart from the wayward package design—and, for some listeners, hearing the repartee before “Roll Another Number (For The Road)” as simultaneously unctuous and condescending– Citizen Kane Jr. Blues is a prime example of the kind of unorthodox creativity that’s made this man such a fascinating and (mostly) revered figure for over fifty years now.

His most career-defining album to date. ... The cliché “love wins” is the essence of this project, which results in both an audio and visual album. Watching and listening to both creates quite a searing, provocative impact.

Every tune here would be a candidate for a film score, much of the moody and dramatic material conducive to Hitchcock. .... The Umbria Jazz Orchestra, with its blend of brass and woodwinds versus the heavy string emphasis of the Brussels Philharmonic, adds completely different sonic textures. Ringing guitar notes reverberate and echo with more authority as the ensemble extends them. The blending sounds are captivating, and Frisell’s trio mates also seem more at the forefront.

Below a Massive Dark Land captures an amalgamation of complex thoughts and emotions.

What the album lacks in sonic consistency, as the tracklist leaps from pop anthems to nostalgic soul balladry, it makes up for in raw passion and artistic experimentation.

Except for a few tracks, London Brew, imaginative as it is, doesn’t evoke the level of energy that Miles’ original did. For all we know, though, that could be purposeful as this cast clearly put their own stamp on this project.

Will Oldham has set a new standard for himself on Keeping Secrets Will Destroy You, a standard that could only possibly be outdone by the artist who set it.

The Ballad Of Darren has the band sounding as tight and crafted as the first time we heard from the Brit-pop trailblazers except this time around a sense of maturity rings through these 10 songs.

While How Is It can easily stand on its own, its greatest qualities shine better when compared to its predecessor.

He opts for a solidly optimistic take on his circumstances. And right there is the obvious charm of Strawberry Mansion. Over 45 minutes, he doesn’t skirt any of the hard topics. ... Beautifully frank collection of songs.

Opeth’s most cohesive and impactful album since Ghost Reveries. That one will be hard to surpass, and Last Will isn’t quite there, though it’s easily in the upper tier of Opeth releases.

Beach House succeeds on Once Twice Melody as they always do, by pushing their sound as far as it can seemingly go, while still sounding like themselves. The difference is, now, they are taking the biggest risks of their career.

The album has an unsettling undercurrent of synths buzzing and swirling with chaotic sounds that never truly recede as Linderman tries to capture the detachment we feel in everyday life. Even the short instrumentals (“Descent”, “Passage”, “Fleuve” and “Aurora”) act as off-putting placeholders, and while some tracks take that disjointedness to extremes, it is a crucial part of Linderman’s message on Humanhood, cutting through the static for true meaning. The artsy-folk stylings would not pack as much of a punch if it weren’t for the fantastic drumming/percussion of Adams and Melanson, who ground/drive the songs forward.

Yes, we’re barely into 2019 and already likely have a candidate for one of this year’s strongest albums.

Sadness Sets Me Free is a bold direction for Gruff Rhys to take 25 albums in, and for the most part, these risks paid off tremendously. Rhys finds solace in the exploration of himself rather than crafting the perfect LP, giving the album a unique personality that opts for honesty over anything else.

This scathingly provocative, intense work is overwhelming to digest in one listen. It well could become a landmark recording.

The combination of strong, ear-catching musicianship, confessional in-the-moment lyrics, and engaging vocals makes Blondshell’s debut an invigorating success.

Control gives Dehd room to deepen their sets and expand their sound but most importantly lays the groundwork for an even better and more lush album that could follow.

In spite of its stylistic breadth, Dolphine is a relatively effortless listen. It isn’t jarring or grating. It is unpredictable, challenging, interesting and honest, and ultimately a very satisfying addition to Mega Bog’s discography.

Blue World reveals Coltrane’s personal progress, as well as the interactive consistency and sonic details the Classic Quartet had firmly established as their collective signature by 1964.

This man long ago taught himself to recognize the lasting value in a good song and here, over the course of some fifty minutes, he deftly applies those lessons to an unusual range of his very own.

The weight of loss, the pain of failed love, the bleakness of it all, combined with Thundercats effervescent playing, unique playfulness and a giddy sense of humor combine on It Is What It Is, resulting in the best album of Brunner’s career and one of the strongest of 2020.

While the resulting album isn’t as loud as the original, that isn’t to say it is soft.

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.

It is an album that refuses to confine to a single vibe or genre and can thus be seen as inconsistent. ... But further listens and history will show “Empath” to be an incredible neuro-spazzing journey into the mind of a musical master.