Albums
First Aid Kit- Palomino (Columbia)
The Swedish sisterly duo of Johanna and Klara Soderberg returns with their fifth record, and first since 2018’s Ruins, with their trademark exquisite harmonies and lilting folk sound feeling just as aurally captivating and thematically stirring as it was the first time we heard their singular vocal blend. Their crystalline voices and the hair-raising force they create when merged together just seem to effortlessly float within the universe around us. It’s as if they’re one of those miraculous natural forces, like the wind, air or water. They’re wondrous and mysterious, yet we take their existence for granted and only really appreciate them when we slow down and really give them the focus they warrant. Like each of the four preceding albums in their catalog, Palomino is certainly worthy of such attention and reflective focus. New producer Daniel Bernston quickly proves that he’s smart enough to not get in the way of the Soderbergs’ immense talents, but also has the good taste to subtly dabble with their well-crafted folk bedrock, whether it be via the swirling power-pop of the excellent opener, “Out of My Head”, the clapping pace of “A Feeling That Never Came”, or the chugging rock bass and guitar lines of the title track and “Fallen Snow”. These slight touches all provide decadent evolution and variety to the duo’s overall palate, without ever sacrificing the roots that they’ve proudly celebrated since their 2010 debut, varied cosmic rock and country influences like Gram Parsons who once again receive a nice nod in the lilting storytelling of “Wild Horses II”. And while it’s once again far too easy and tempting to get absolutely lost in the aural sound of the proceedings, it’s important to not overlook their sharp and profound storytelling observations of the overall life experience, particularly under an updated 2020s lens. Singles like the earlier mentioned “Out of My Head” and “Angel” starkly document the inner battles that one faces with their own self-sabotaging doubts and anxieties, pushing toward triumphant perseverance without ever downplaying the crippling struggles that always remain in the background. Their ultimate power may continue to lay however in the way they so elegantly frame the complex elements of romance and relationships on lush, string-soaked diamonds like “The Last One” or “Nobody Knows”. Don’t you dare finish up your year-end best of retrospectives without making room for this stunning jewel of a record.
Miko Marks and The Resurrectors- Feel Like Going Home (Redtone)
The story of Miko Marks’ winding musical journey is one of those great journeyman success stories that rarely get the chance to be told in today’s music world. She emerged in the mid-2000s with two indie-released projects that went criminally overlooked for three crucial factors that automatically strike out with closed-minded Music City gatekeepers: she sang traditional country, she was black, and she was a woman. It took nearly fifteen years for Marks to reemerge with last year’s Our Country, which effectively gave her a rebirth and set the stage for Feel Like Going Home, which feels like a full, victorious realization of her destiny to become a leading beacon in the world of roots music, in the same vein of women like Brandi Carlile, Yola, Patty Griffin, and the like. Marks’ massively revelatory chops are an experience all on their own, while she finds her stylistic heartbeat by melding roots genres like country, blues, soul and gospel in one sizzling cauldron of sonic goodness. Meanwhile, she’s assembled a crack supporting band, The Resurrectors, that match her astoundingly raw talent and ability to navigate between a plethora of sweet Southern sounds. This record really sounds like a grand tour throughout all of the varied origins of great Southern music; from the honky tonks and the muddy swamp to the church and the mountains. Meanwhile, Marks soulfully opines on guttural topics ranging from self-discovery, both spiritual and personal, to romantic discourse and social unrest. It’s an expansive record, both topically and stylistically, but one that is unified and centered throughout. Feel Like Going Home feels like both a gift from a bygone era, but an essential artistic statement for today’s world as well. Above else, it’s the long-awaited culmination of a talented artist finally finding the musical identity she as always destined to inhabit, becoming a critically key voice to watch in the future along the way.
Bruce Springsteen- Only the Strong Survive (Columbia)
As Bruce Springsteen’s legendary catalog has continued to grow throughout the 21st century, The Boss has proven himself to be one of rare rock icons from his era (Bonnie Raitt and John Mellencamp among them), or any rock era for that matter, who has managed to age masterfully, continuing to deliver the kind of creative and entertaining records that stand up well to the classics of his peak periods in the 70s and 80s. Albums like 2012’s Wrecking Ball and 2020’s Letter to You have proven that he can still rule and deliver rock & roll with the same vigor and energy of his youth, while passion projects like We Shall Overcome: The Seeger Sessions from 2006 and Western Stars from 2019 have served to quench his desire to veer off and pay tribute to other stylistic areas of interest and passion. Only the Strong Survive falls squarely in that latter category, a covers project of fantastic and timeless soul and R&B classics from the Mo-Town and surrounding eras that sourced so much of Springsteen and his young bands’ formative performances in the New Jersey music scene of the late 60s and early 70s. The song selections here are unsurprisingly tasteful and varied, featuring standout moments from the careers of heroes like The Commodores, The Four Tops, The Supremes, Jimmy Ruffin, Jerry Butler, Dobie Gray, The Tempations, Ben E. King, and William Bell, to name most. This is not a covers album where the artist is looking to reincarnate these classics as something wholly new, but rather finds Springsteen, producer Ron Aniello, and the red-hot musicians assembled (including guest vocals on two tracks from R&B legend Sam Moore) staying tried and true to the original arrangements and melodies. This is a positive choice, especially in this realm of music and you can instantly feel the limitless love and passion that Springsteen carries for these tunes. That’s also not to suggest that Bruce doesn’t insert his own vocal character and style into these readings. In fact, as I mentioned in a recent single review, I love how projects like this and Stars have bestowed long-overdue prominence on Springsteen’s talent for pure, straight-forward singing, which shines throughout the entire record, but especially on rousing renditions of the Commodores’ “Nightshift”, Ruffin’s “What Becomes of the Broken Hearted”, and the sweet Supremes standard, “Someday We’ll Be Together”.
Neil Young & Crazy Horse- World Record (Reprise)
On his forty-second studio album, and his now 15th with venerable rock outfit Crazy Horse, the folk-rock icon centers on themes very much in line with the social awareness and protest mentality that has never been far removed from Neil Young’s music, or that of so many artists from his generation. Of course, there’s still plenty, if not more, to bitch and be concerned about now as there was then, and in this instance Young refocuses his attention on matters of an environmental nature. But World Record is as much a love letter to the planet and all it provides, as it is a rally against the ignorance so many humans carry as it relates to concerns like pollution, climate change, and mass urbanization. The musical trappings of the record, produced this go-around by Rick Rubin, are incredibly loose, cozy even in parts, thanks to a mostly acoustic, lounge-like palate that focuses on instruments like pump-organ, accordion, piano, pedal steel, and of course Young’s iconic harmonica. These more muted settings bring out a particular intimate element of beauty and reflection on tracks like the opening tribute, “Love Earth” or the bittersweet “This Old Planet (Changing Days)”, which almost feels like an elegy to our natural climate. That’s not say Young doesn’t still find the room to raise the volume in this sonic setting when he needs to really bring out the frustrating anger he feels about where we stand environmentally, as seen on call-to-arms moments like “The World (Is In Trouble Now)” and “Break the Chain”, where the amps come in at least momentarily. However, he also remembers that, depending on your audience, you can get further with peaceful, folksy pleas depend like the hypnotic “Walkin’ On the Road (To the Future)”, which harken back to some of the haunting but soul-lifting vibes of classic albums like Harvest Moon. Now, why he felt the need to tack on a greasy 15-minute car-rock song at the end “Chevrolet”, I’m not really sure. Perhaps, there’s a hidden message speaking out against the effects of carbon-emissions from modern-day vehicles lingering underneath. Or perhaps he just felt the knee-jerk indulgence to add a little more hard rock to the proceedings. He’s Neil Young; he can do whatever the fuck he wants.
Singles
Adeem the Artist- “Run This Town” (Thirty Tigers)
“Run This Town” is a clean and crackling country-boogie that makes every single second its economic two-and-a-half minute run-time. Crisp and confident vocals. Fantastic musicianship for which the production allows ample space to breathe and soar. Loads of personality and character. “Run This Town” very much deserves to do just that.
AWOLNATION- “We Are All Insane” (Better Noise)
Yes indeed you are, AWOLNATION. And it’s precisely why we love you. As with all of their very best singles, the latest from the alternative visionaries reminds us that nothing is quite as it seems with the music of AWOLNATION. This track begins with a rich blues riff before slamming us over the head with an onslaught of trippy synth and Aaron Bruno’s transformative rock rage. Anchoring all of this self-professed madness is a meditative reflection on the mental strength it takes to just make it through the work week, which can all too often indeed feel like root of all insanity.
Kelsea Ballerini, Kelly Clarkson and Carly Pearce- “You’re Drunk, Go Home” (Black River)
A twangy trifecta of saucy kiss-off country that’s tailor made to soundtrack a ladies weekend in the same way the biggest anthems of artists like Shania Twain, Faith Hill and The Chicks did back in the heyday of late 90s country. The arrangements are joyously soaked in down-home sass, and Ballerini, Clarkson and Pearce all demonstrate fantastic chemistry together. Ballerini is truly becoming an entertaining and fully-formed artist to keep an eye on.
Weyes Blood- “God Turn Me Into a Flower” (Sub Pop)
This performance is an undeniably gorgeously soul-stirring piece of musical art. One that demands, and easily earns, your unmitigated attention and reflection. We’re just simply not graced with these kinds of records like we used to be. Natalie Mering possesses the pure clarity of 70s songbirds like Karen Carpenter or Anne Murray with a modern filter that recalls some of Dido’s most memorable hits from the early 2000s, as well as some of Florence Welch’s most stripped performances. Mering is a unique creative force all her own, however, the way with which she layers her stunning vocals and frames them against such a cinematic, nature-inspired backdrop is nothing short of mesmerizing. It moves you to the point where you find yourself yearning to disconnect from our fast-paced, superficial world and lose yourself in the natural beauty we ignore day in and day out.
Brothers Osborne and The War and Treaty- “It’s Only Rock N’ Roll (But I Like It) (Broken Bow)
Two fantastic country and roots duos unite on this electrifying cover from a future countryfied Rolling Stones tributes album. Those of us familiar enough with the deep, diverse wells of the Stones’ stylistic influences know very well what a natural concept such a record truly is. This sweaty, reliable crowd-pleaser proves to be the perfect fit for both the deep baritone heat of TJ Osborne and the passionate Southern soul of Mr. and Mrs. Trotter, with John Osborne’s blistering guitar solos sending the whole track into the stratosphere. A thrilling rendition that immediately raises the bar to a challenging level for the remaining tracks on Stone Cold Country.
Caamp- “The Otter” (Mom+Pop)
I’m an unabashed junkie for the music for the folk-rock revival of the early 2010s. And while I’ve thoroughly enjoyed the artistic evolutions and sound expansions of bands like The Lumineers, Mumford & Sons, and The Avett Brothers over the years, Caamp is really quenching my thirst for the more simple, rootsy templates of those groups’ early records. “The Otter” is a delightful example of this, with its bouncy banjo bliss and its simplistic and charming lyrical quirks.
Dead Horses- “Days Grow Longer” (Vos & Wolff)
Dead Horses is a superbly talented folk-rock duo that I was fortunate enough to discover thanks in part to my proximity to their home-base of Milwaukee. They’ve amassed four studio releases over the past decade and this excellent cut from this year’s Brady Street is wholly representative of the satisfying sounds you’ll enjoy if you seek them out. Lead vocalist Sarah Vos has a translucent and warmly inviting voice that feels sort of like an unsanded Natalie Merchant and which is provided with rousing elevation from bandmate Danlel Wolff and the urgent Heartland Rock production that permeates the track.
First Aid Kit- “Out of My Head” (Columbia)
The self-destructive tendencies of an anxious mind has never sounded quite as beautiful as they do wrapped in the heavenly harmonies of First Aid Kid and the soft thunder of their brand of folky power-pop. As an individual who struggles with an anxiety disorder myself, it’s particular cutting and painfully relatable to take in the words of the first verse: “Back in time, oh, I go wondering/Through the rooms of my mind/Every door that I’ve been closing/All the people that I have let down.” But there’s a strange dichotomy at play when hearing such negative self-talk delivered in such brutally honest yet soothing fashion. It shakes you back to reality and the reminder of the evil tricks that one’s mind can play on itself, and through the elegant build of the track, you can feel yourself getting the resolve, confidence and strength to fight back and reclaim your own self-worth.
Selena Gomez- “My Mind and Me” (Interscope)
Meanwhile, none other than Selena Gomez provides her own excellent anxiety anthem of her own with the impressively confessional “My Mind and Me”. Throughout this track, she overcomes the shame, stigma, and potential to cause alarm that comes with sharing her story by reveling in the beautiful silver lining that such openness provides. That lining is of course the fact that such openness could potentially comfort, and in some cases save a fellow human who’s dealing with the same pain. This is an enormous artistic step forward for Gomez, and one that should be met with considerable applause.
Steve Lacy- “Bad Habit” (RCA)
I love the fact that this funky hybrid of R&B, pop and hip-hop has become such a runaway success for the sheer fact that it just sounds so different in the midst of today’s pop pack. It actually sounds a lot longer than its four minute run-time, and I mean that as the highest compliment. It’s unconventional structure almost makes it feel like the sequence from a classic art-rock album. It’s impressive how many different zigs and zags Lacy manages to cover over the course of the song, all the while capably expressing the stain of regret, disappointment and pride that he feels over a missed romantic opportunity. This one creeps into your brain in short order and it ain’t going anywhere once it arrives.
Lucero- “Buy A Little Time” (Liberty & Lament)
What an ass-kicking tour de force of blood-pumping rock euphoria this track is. Lucero’s music has always been difficult to pin down, with it pulling prominent from rock, soul, country and punk. “Buy A Little Time” is as good a showcase of that sizzling sound as anything they’ve ever recorded. It doesn’t merely settle to be a distillation or blend of these sounds. It manages to equally emphasize the most aggressive elements of them each, from the screaming pace and viscous guitar licks to Ben Nichols’ unforgiving twang and Rick Steff’s luminous piano magic. Turn off your smoke alarms for this one: it’s a stick of God-damned dynamite that will absolutely set your speakers ablaze.
Macklemore featuring NLE Choppa- “Faithful” (ADA)
A gripping reckoning with a man’s addiction that’s especially powerful in light of the relapse that rocked Macklemore during the COVID-19 pandemic. Our demons, regardless of their nature, are something that we don’t really ever stop running from. We just try to find the most effective and sustainable ways to keep outrunning them. The acceptance of that reality is not one that’s easy to swallow, but it is an enormous step toward progress. Macklemore has proven himself to be such a wizard of melding hip-hop with addictive pop, but “Faithful” is a remarkable showcase of what he’s capable of when he chooses to stay squarely in that lane without any shiny distractions.
Miko Marks and The Resurrectors- “One More Night” (Redtone)
Regardless of your spiritual inclinations, you’ll find yourself lifting your hands in unequivocal joy and triumph by the end of this track. Marks’ vocals recall the great lost performances of Lacy J. Dalton, while her Resurrectors don’t leave one ounce of passionate musicianship on the table. She digs deep down into both the Music Row and Muscle Shoals influences that each get shout-outs in the song itself and in the process concocts an undeniable down-home tent revival. This is music that feeds your soul in heavy helpings.
Pink- “Never Gonna Not Dance Again” (RCA)
The durable pop superstar goes as far down the bubblegum rabbit hole as she ever has and the results are an irresistible disco-tinged nugget of roller pop paradise. An uplifting and endearing detour from an artist who proves she still has plenty of new ground to explore after two decades of endless hits.
Caitlin Rose- “Modern Dancing” (Missing Piece)
An arresting return from an Americana favorite who clearly has made good use of the near decade since her vibrant sophomore album. “Modern Dancing” rides along a rocking, Sheryl Crow-recalling groove that provides a bouncy, bopping backdrop for Rose’s sweet, quirky vocals. She bemoans her tendency to fall into romantic death traps with such sardonic wit and sharp pop precision: “I’ve got a romance with ruin, and we’re only modern dancing.” Intelligent and engaging pop music for adults. What a great concept.
Bruce Springsteen- “Don’t Play That Song” (Columbia)
A rousing rendition of the Ben E. King classic that takes a bit more liberty with the arrangement compared to the surrounding songs on the Boss’ earlier reviewed soul covers album. It’s not the aching, drippy plea that King’s original was, nor the more sweeping and dramatic read that Aretha Franklin later provided it. Instead, Springsteen surrounds himself with a blaring, jolting horn section and a group of ecstatic fellow singers that sound more like a jubilant audience rather than a back-up choir.
Chris Stapleton- “I’m A Ram” (Mercury)
A red-hot stand-alone single that does a superb job showcasing all of the very best elements of Chris Stapleton’s now-signature repertoire: a bluesy country wail, rippling guitar work and subtle hooks that are as addictive as they are sly.
Hailee Steinfeld featuring Anderson .Paak- “Coast” (Republic)
The breezy, sun-soaked sound of this record more than lives up to its title, but yet it’s not the straight-forward summer nights anthem you might expect on the surface. Steinfeld fully and unapologetically embraces the overt Taylor Swift influences in her vocal delivery, but with the addition of Anderson .Paak’s contributions take this track in a lane that more than separates it from the crowded urban pop pack. It could have been a very clunky pairing, but both artists allow the other to shine at what they do best at the very right moments. The results are a deeply intoxicating sonic nugget that’s tailor made for heavy spins.
Taylor Swift- “Bejeweled” (Republic)
A modern disco spectacle that both sparkles and spits in all the very best ways. Against an all-out army of scrumptious synth beats, the superstar once again proves that nobody can make the indictment of a nasty ex so damn slithering and redemptive. Like all of her best songs, “Bejeweled” makes it impossible to pick out your favorite lyrical highlight. Today it’s “Didn’t notice you walking all over my peace of mind, in shoes I gave you as a present” but tomorrow it could easily be “Baby boy, I think I’ve been too good of a girl, did all the extra credit then got graded on a curve” or perhaps “And when I meet the band, they ask ‘Do I have a man?’, I can still say I don’t remember.” This dude totally overlooked how well she polishes up, and the sting he surely feels when she shoves that back in his face so emphatically can be felt radiating through this invigorating banger.
Cole Swindell featuring Jo Dee Messina- “She Had Me At Heads Carolina (Remix)” (Warner)
It took getting the ever-delightful Jo Dee Messina back on the CMA stage, and the irresistible nostalgia rush that such an occasion provided my younger 90s-2000s country obsessed self, to finally land Cole Swindell in my personal music library. I’ll admit that I had avoided this song based on the inaccurate assumption that it would be just another hollow, shameless bit of country music name-checking, a crime that’s been as egregious during the bro-country era as ever before. I definitely misjudged Swindell here as he successfully captures all of the fresh, sunny charm that was at the heart of the original and Messina’s entire 90s run as a whole. That said, it undoubtedly is going to get me listening to more Messina’s catalog again, rather than his own.
Trampled By Turtles- “It’s So Hard To Hold On” (BanjoDad)
A lovely, warmhearted mid-tempo outing from this long-reliable bluegrass troop who recently celebrated the release of their ninth studio album. It boasts all of the top-notch musicianship, surging harmonies and emotional vocals that have made them one of the most highly regarded roots outfits of the past decade. The simple but vibrant fiddle and mandolin-laced coda ends things on a particularly high note.
Keith Urban- “Street Called Main” (Capitol)
“Street Called Main” continues to the find Australian superstar firmly settled into the polished country-pop arena that he has been for more than the last decade. While it may leave many of us longing for him to return to the more rugged country-rock sound of his early records, or for him to just break some new ground, there’s a reason he continues to go to this well time and time again: he remains as proficient in this realm as anyone in the game today. After nearly a quarter-century, his expressive voice is just simply synonymous with romance and nostalgia.
The War and Treaty- “Lover’s Game” (Mercury)
The anticipation for the Trotters’ first major-label album just continues to build with the release of each successive promo single, and this one is the ultimate appetizer on the menu thus far. “Lover’s Game” is roaring bonfire of country-rock sizzle with Dave Cobb providing the couple with the kind of thick, rollicking production to match the passionate thunder of their soaring voices.
The Weeknd- “Die For You” (Republic)
A 2017 release from The Weeknd’s Starboy, “Die For You” is the latest recurrent hit to find newfound popularity via viral means, and while it wouldn’t have been my first choice in his back catalog to achieve such good fortune, this is still an excellent single worthy of a deeper look. It’s as fine a showcase as any of the superstar’s signature voice and the earnest, evocative heights that its capable of reaching. It builds at a perfect pace, and the emotional climax it reaches in the final chorus is nothing but pure pop perfection.
Neil Young- “Love Earth” (Reprise)
This is easily my favorite Neil Young moment in a very long time. It’s such a simple but profound message and presentation. The rootsy, natural beauty of the music on this record is a deeply impactful metaphor for the natural resources he’s championing throughout the track. A soulful and feel-good reminder that the whole notion that one receives what they give applies to our relationship with the planet as much as does to those we have with other people.
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