The songwriting doesn’t quite match the ambitions here, and that gives the LP a transitory feel--that, too, may be fitting, given Huebert’s long season.

Family functions more like a sampler than as an in-depth insight into their collective prowess.

While there is nothing particular off about this quiet, solid collection--consisting of little more than Hitchcock’s voice over quite acoustic guitars and the occasional piano and cello--it’s still a pretty muted, low-energy affair that is not immediately memorable.

At 29, Winslow-King clearly has a bright future ahead of him, but Everlasting Arms shows he’s come a long way already.

Too much space and too little aggro makes for a dull Faust, alas, and by the end of the album attention spans may well drift toward grocery lists or navel lint.

Listeners are best advised to head directly to disc two and regard the set with strings as a curiosity and an example of eccentric experimentation best left on the shelf.

As a tribute, Dead Man’s Town: A Tribute to Born in the USA is fine enough; just falling short of the material it champions.

If anything, Atlas sounds like a fully formed album from another era, complete with woozy harmonies, an assured shimmer and a constant jangle.

On the album’s second half, Foster and her producer/bassist Meshell Ndegeocello steer more towards a softer sound (“Learning To Fly,” “New”) that glosses over some of Foster’s grit. Still highlights are easy to find.

It’s been an odd and unpredictable mix at times, but Mould’s always made a point of indulging his interest with passion and integrity.

The well crafted moments within Our Love outshines the weaker numbers and makes the album a fun and danceable listen.

Holy Ghost finds him coming across as remarkably unassuming, a casual, somewhat weary traveller bound for a yet undetermined destination.

Worship the Sun has the lemonade-y ambiguity of all good pop.

An impressively ambitious feat no doubt, but this album would probably be better served with a little more restraint.

ild Animals may be an exaggerated description, but their willingness to explore other environs still ensures ongoing interest.

Many of the songs on here just aren’t very memorable.

The London trio has hit its stride, churning meatier, heavier grooves without sinking into sonic muck.

Even stripping off the gloss doesn’t help, because there’s not much under it.

With songs as downcast and despondent as “False From True,” “Worthy” and the title track, the steady ache doesn’t abide all that quickly. That said, Trouble & Love does find some cause to break the stranglehold of sadness and despair.

The themes that combine to create this opus are also suitably sprawling, with subjects that touch upon key events and cultural touchstones essential to British history.

The record is a slow built; one that will likely take a few listens to finally grab the listener. But when it does take hold, these songs are hard to shake loose.

For most, this will make superb background music for meditation or musing, a tangled tapestry that’s ideal as a soundtrack for seduction.

Breaking away from their by now trademark South Jersey, cruising with the radio on brand of punk rock that first got them noticed, the band is likely to alienate some early fans with Get Hurt. In doing so, however, The Gaslight Anthem is doing much more to preserve the band in the long run, evolving at a steady, but satisfying clip.

SB makes hermetic/occult music by design, made to appeal to cults and that’s what makes them so proudly unique. Nevertheless, here’s hoping that next time, their ambitions include stretching out their songs and their ideas stuffed inside each tune.

Given that parts of the album seem intentionally radio-ready, there’s reason to suspect the Rosebuds may have shed their thornier side to win greater acceptance. Happily though, they’re able to dispute that notion with entries that remain unerringly intriguing.

All in all, United States demonstrates McLagan’s allegiance to a pure pop mantra.

Although it’s easy to lament the fact that Petty and the Heartbreakers don’t vary all that much from their usual template. Hypnotic Eye also affirms the fact they remain an austere and unapologetic outfit.

Not everything needs to be emoted so hard, not every line requires an instrumental ta-dah! Try a little simplicity next time. It makes the big swells all the more impressive.