While Me/And/Dad has its share of some genuine knee-slappers, such as “Way Downtown” and “Dig A Little Deeper (In The Well)”, the album ultimately draws its strength from the emotionally charged performances heard on some of the more somber material. ... Me/And/Dad shines thanks to its stripped-down arrangements of traditional material that serve as a welcome counterpoint to the progressive-fueled musical fireworks that often accompany Strings’ live shows.

Cuts like “Shakin’ All Over” illustrate how Petty and the Heartbreakers are individually and collectively rediscovering themselves as players and singers as they move out of their shared comfort zone. Even when the ensemble is sharing the stage, they transcend mere showmanship to depict their recommitment to the roots of their music.

Wand is most at home onstage, and Spiders in the Rain does a proper job of delivering the group’s unique mix of noise/psych/jam/shoegaze/alternative rock to those who have yet to experience them in concert as well as those who want to relive the majesty.

As on the previous record, these tracks are pieced together and arranged by bandleader Stu Mackenzie from group jams before being augmented with overdubs and vocals, and on Denim the band sound even less encumbered with the idea of traditional songcraft – though they manage to craft a great pair of songs here.

We’ve dubbed Lloyd a major spiritual force. There is nothing here to dissuade us from that. This could be arguably even a higher form of spirituality. It’s just a whole different trio offering than the previous two that shows the endless creativity and versatility of the inimitable Lloyd.

Weyes Blood’s And In the Darkness, Hearts Aglow is a revelatory baroque pop album forged in these recent chaotic days.

This forty-fifth studio album of Neil Young’s may not rank as one of his greatest, but it may well be the most true-to-life effort he’s ever released.

Though Love Songs For Losers has many of the familiar markings of the band, the album finds the trio at their most experimental, diverse in subjects and sound – all while still sounding very much like a Lone Bellow album.

Fertita pulls from all his edgy influences fortuitously throughout this solo self-titled debut, as Tropical Gothclub shakes with an infectious buzzing energy in line with Eagles of Death Metal and Them Crooked Vultures.

While the album is generally melancholy, he is able to squeeze in a full spectrum of emotions around the same topic, allowing the album to flow naturally lyrically while Mann’s arrangement work provides new dimensions and textures, creating an undeniably smooth listening experience.

Its seamless collection of earworm melodies and heady grooves make for a pretty compelling argument that it was well worth the wait.

The Murlocs continue their steeped-in acid look back at the 60’s Nuggets-inspired offerings on the convincing Rapscallion.

The Car definitely keeps with the trajectory that Arctic Monkeys have been following since the release of Whatever People… and Favorite Worst Nightmare. Depending on what your outlook on the band’s releases has been will determine whether you think The Car is in keeping with an upward or downward trajectory.

[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.

Stumpwork is bright and more exploratory than what came before, the result of a band pushing the boundaries of its sound farther than just about any of their peers without losing track of their trademark lockstep groove.

Robyn Hitchcock’s easy-going sense of whatever-will-be-will-be floats through the varied compositions on SHUFFLEMANIA! as the artist (with a little help from his friends) slips and slides around his Beatles inspired pop offerings.

Component System With The Auto Reverse has OME at his best, whether he is diving into his personal life or simply crafting clever rap verses, the seasoned artist hits it out of the park every chance he gets.

As an album from a constantly evolving musician, one who is often as confounding as he is exploratory, Foreverandevermore is approachable in its bleak outlook. Eno captures the sound most definitive to himself, evokes his best work in the process, and manages to weave something of a concept album into the mix, which makes it one of his most fulfilling albums of the new millennium.

The real joy in this album is found in the shared musical language that’s exhibited across its seven tracks. Instruments fold into each other and each player seems to relish the chance to explore these sonic spaces with true abandon together. These might not be King Gizzard’s tightest, or most immediately memorable pieces of songcraft, but their creativity and kinship is on full display here, which is ultimately what this band has always been all about (that and reminding us of impending heat death).

The perfect backyard, sunset watching summer folk album, Rolling Holy Golden faces west as Bonny Light Horseman enjoy those tender fleeting moments while they float through our collective consciousnesses, smiling the whole time.

The consistently heart-wrenching lyrics of Mercer combined with Danger Mouse’s ability to craft luxurious instrumentals give Into The Blue its colorful personality. Within the 40-minute run-time of the album, the duo explores new territory while Mercer’s poetic songwriting keeps Danger Mouse’s spaced-out instrumentals grounded.

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.

Yes, it takes some getting used to, but Andrews has another winner, just a different-sounding one.

Every Jarrett solo performance holds its own magical appeal and Bordeaux certainly holds its own with any of the others in his storied catalog.

The new The Bad Plus will take some getting used to but the harmonic ranges and explorative soloing from Speed and Monder are often intriguing. Suggest you take to the headphones for this one.

Expressive solos from trumpet, violin, guitar, and keys keep the tune choogling along, with ever-active percussion as well. “Coney Bear,” from guitarist Bob Lanzetti begins with his funky strumming before blossoming into a mix of soaring synths and horns interspersed by frenetic funk passages from the rhythm section. The closer, “Trinity” from fellow guitarist Mark Lettieri takes its name from Trinity River that connects Dallas, Fort Worth, and Denton, the band’s hometown. It features searing guitar lines in a rather angular take with strong horn lines navigating several rhythmic changes, far less direct than many of the others in the set.

Wagner is not constrained by locale, genre, or topic, and at 64 he continues to forge forward with Lambchop, delivering his music with restrained tempo and majestic tonality on The Bible.

Cool It Down is a masterwork of lush production and catchy melodies that work off of one another to create a colorful and textured album that makes the 13-year wait worthwhile.