Man, is this ever drenched in heart and soul. The first time I heard it, several months ago, I muttered to myself, “Think this gonna be in my top 10 of 2019.” ‘deed it is, folks.

While Neko Case’s moonlighting from her solo day job allows her to enliven the proceedings, it’s obvious that the ensemble, as a whole, contributes to the richness and resonance that the new album exudes in its entirety.

Where The Action Is may not be the absolute rave-up the album title implies, but it is a remarkably incisive effort that ought to remind one and all what a singularly important ensemble the Waterboys were… and still remain.

The music is superb, but it’s Mead’s subtle, witty lyrics that really take center stage on this record (like all his previous solo offerings).

Far from sounding like lesser cast-offs, the songs here are just as worthy as anything off those earlier albums.

Sometimes older and wiser just makes you harder and meaner. I Used to Be Pretty is the grungy, gangly, glorious result of hard-won maturity.

It’s a combination of old and new, letting Liddiard play to his strengths as a writer while letting a new band paint his compositions in different colors. That blend of comfort and risk makes A Laughing Death in Meatspace one of the best rock records of 2018.

The band’s Miami mix of Folk, Rockabilly, Jazz and Blues-based Holiday music is simply divine.

This latest album is still a fair amount bubblier than early works, with the electronic part more prominent than on Mother’s Daughter or Good Arrows, yet it has the same recognizable magic as Tunng’s best work, in hectically complicated arrangements that melt into simplicity and sleek modern surfaces atop centuries-old modalities.

Returns to Valley of Rain, then, is a start-to-finish delight. It’s technically a re-do of the original UK cassette version of Valley of Rain, which had 11 tunes compared to the 10-song US LP.

With Animals reminds me of Lanegan’s work with Isobel Campbell, more acoustic, less bombastic, less ready to take you by the throat than his solo albums, but nonetheless quietly revelatory. It’s hard to tell, really, where he leaves off and Garwood steps in, but that’s because they’re so well matched and equally focused on a singular, spooky vibe.

Perhaps because there’s no bass (Primo! has added Amy Hill on bass since Amici), Primo!’s sound lacks a certain grind and tumult--it’s more Grass Widow than Good Throb--but it’s sharp and fresh and a lot of fun.

To The Sunset becomes a new plateau in a career that’s grown steadily and assuredly since the start. Indeed, its importance ought to grow over time given its unabashed enthusiasm and its unabashedly seductive set-up.

It’s obvious that a trip up to Memphis was just what the doctor ordered, as it most certainly has injected a new, creative energy into the band. Of course, the chemistry imbued by the helping hands and producer were significant to the end product.

Blistering, incisive and occasionally even surprising, Endless Scroll is anything but dull.

However carefully crafted the words or melodies may be, there’s an air of anything-can-happen to Frog Eyes songs. They are certainly always haring off in unexpected directions.

An album flush with both vicissitudes and vitality, What a Time to be Alive resonates with its resolve.

Shook’s unerring insurgence and commitment to the cause are admirable traits, proof that edge and attitude never go out of style.

Segall has been slowly but surely expanding out in various directions, exploring the possibilities of sounds and approaches to his songs and songwriting craft. Freedom’s Goblin makes the dividends of his exploration that have paid off all too evident.

Donovan seems content to continue cranking out his own brand of lo-fi foggy fuzz. Boogie and chillin’, indeed!

Wide Awake will have to respectfully play 3rd place behind Sunbathing Animal and Light Up Gold, as those are the ones to beat.

There’s a sense of importance and profundity that emanates from practically every groove. Stirring, striking and flush with tunefulness and tenacity, I’ll Be Your Girl is more than a promising proposition.

They’ve been in the long-form, drone-and-drift mode for a while now. It’s nice to hear them rock out a little, too.

There’s no need then to furrow well below the surface; with Waffles Triangles & Jesus, White’s reconciled mischief with melody with exceptional results.

The Prodigal Son lives up to its title, a return to his earliest archival sounds.

The Lookout doesn’t make any waves or upset any expectations. If you want to be surprised, look elsewhere, but if you like beautifully turned melodies, set in soft, enveloping arrangements that keep every instrument clear, this is another good one.

Bellowing Sun is one of Fennelly’s best and most brightly colored albums yet.

They exit the proverbial time warp tunnel with a sophisticated release that beckons recollections of classic rock groups while forging their own sound. Influences from Buddy Holly to Beach Boys to even The Beatles are felt on Uncle, Duke & the Chief and Born Ruffians rightfully stand in good company.