
The Brook and the Bluff’s Strong Songwriting Boosts Their Music
The Brook and the Bluff’s Werewolf is a solid, straightforward album that will satisfy anyone looking for a classic rock fix.

The Brook and the Bluff’s Werewolf is a solid, straightforward album that will satisfy anyone looking for a classic rock fix.

Decoration Day was the album that proved Drive-By Truckers weren’t going to be a flash in the pan. It’s a triumph from start to finish.

San Francisco’s Magic Fig combine the gentler side of 1970s prog-rock with dashes of 1960s psychedelic folk and 1980s video game-style synths.

Slow Crush’s Thirst has scattered interesting musical moments, but much of it is buried under constant guitar noise and not enough melody.

SPIRIT! isn’t just fun and catchy, it’s also sneakily well-written. Indie pop band Hunny deserve extra listens to allow their hooks to sink in fully.

Catchy melodies and big guitars are the order of the day on Sloan’s 14th album, with a side of Chris Murph’s jauntier piano-driven songs to change things up.

With SISTER, Frost Children haven’t quite figured out the balance between engaging songwriting and just reaching for the big hooks.

Neko Case’s new album brings her signature blend of achingly beautiful melodies, idiosyncratic songwriting, and, of course, a song about an animal.

Nova Twins’ willingness to draw from essentially any music style of the last 40 years and incorporate it into their sound makes their music a fascinating polyglot.

The Beths’ Straight Line Was a Lie is full of catchy hooks, big guitar riffs, and often introspective lyrics. The New Zealand quartet are at the top of their game.

Molly Tuttle’s So Long Little Miss Sunshine finds her stretching out her sound, though her songwriting and guitar skills continue to be on full display.

Despite its eight tracks covering a variety of emotional territory, the overriding feeling of the Swell Season’s Forward is one of a joyful reunion.