White Trash Revelry offers no elegy for hillbillies. Through deeply empathetic songwriting, Adeem the Artist has made one of the best country albums of 2022.
On Midnights, Taylor Swift reflects on the ghosts of the past and maps the rarely straightforward journey of fully becoming one’s self with pristine popcraft.
Death Cab for Cutie show their place in the indie rock pantheon on Asphalt Meadows while also producing music deserving of consideration with some of their best early work.
The Mountain Goats’ Bleed Out is a fascinating homage and a meta-commentary on the action film genre and how it soothes our unease in a world on fire.
Emotionally Amanda Shires’ Take It Like a Man interlaces heartache and disappointment with the profoundly temporal joys of new beginnings and aches of desire.
With Entering Heaven Alive Jack White offers the yang to the yin of Fear of the Dawn while broadening his musical palette.
Orange Blood expands the range of Mt. Joy’s psychedelic-tinged folk, moving from reflective acoustic to stadium anthems, cross-pollinating laid-back LA sounds with Philly soul.
Drive-By Truckers’ Welcome 2 Club XIII is more introspective and subdued than the previous raw, unfiltered laments and analyses of American culture.
Is there such a thing as middle-aged rock? If so, it would sound like Wilco’s Sky Blue Sky with its measured simplicity and reflective intensity.
The 12th of June is a welcome return to form for Lyle Lovett after a ten-year absence from recording and compelling testimony that he’s still a master.
With Breaking the Thermometer, Leyla McCalla explores identity, freedom, and joy through Haitian music and culture. It’s a reminder of the album as a statement.
With Skinty Fia Fontaines D.C. deliver a brooding post-punk sensual feast with a distinctly Irish flavor. Longing, alienation, and malice simmer under the surface.