Chicago rapper, producer, an all-around cool cat Ric Wilson finds and speaks many truths on his newest EP, America Runs on Disco. The title alone is accurate, whether you want to believe it or not. Wilson wrote the record during his bafflement over the 2024 election results and wanting to shake off the doldrums he was feeling.
He comes up with the funky, fresh, and frisky “They Can’t Get Next to You,” which blends rap with house music and Italo-disco touches. “Blah Blah Blah” (with Kiela Adira helping out on vocals) sizzles and snaps and will slide right into your next house party mix. Party Pupils join Wilson on “Missin’ My Window,” a fun track about not opening the door when opportunity knocks and offers you love or at least a fun night. It sounds like he missed a lot of opportunities while on tour, and “Chicago to London” is a bit of a sequel to it (“Come and get deez these disco balls.”).
The title track drops enough groovy bass to power a couple hip hop albums and comes with plenty of wisdom (“The only way to live is to accept you’ll die.”). “Everybody Red in the Face” has Wilson looking for calm in the storm of rage that’s grabbed the country by the throat, and wondering if he’s the only person searching for it (“Is anybody else out there, or am I alone?”). “When Pigs Fly” closes the EP with bright synth notes while Wilson drops bars that call out people who are embracing that anger or pretending to be hard because they’re afraid to be vulnerable or admit admit they’re wrong.
Wilson continues to drop sweet records like this. He knows the country needs to have a good time. He’s getting up early to make the disco. Don’t disappoint him by not getting any.
Earlier this year, “Americana darling” (Bandcamp) Valerie June released her new album, Owls, Omens, and Oracles, via Concord to high acclaim. NPR Music deemed the album “inspiring…music that’s bringing people together,” while Paste described June as “one of roots music’s premiere cosmic travelers.” Today, June unveils a new single, “Runnin’ and Searchin’,” accompanied by a visualizer filmed by Dr. Ietef Vita in Big Sur, California.
Owls, Omens, and Oracles was a means for June to explore the discovery of a glimmer of hope in challenging times. “Part of the reflection is realizing that we are all oracles who write the future with every choice we make throughout the day,” June explains. “To write about our future, we must know something of the past. From heartbreak to poverty, oppression, injustice, failures, and pain, we all experience loss. ‘Runnin’ and Searchin” is a song that encourages us to use our setbacks as a doorway as we steadily step into the uncertain and unknown path that lies awaiting us with every tomorrow we’re gifted.”
June’s singular sound and energy is an undeniable north star. Her Tennessee twang grips listeners, with her expansive sound growing from her psychedelic folk, indie rock, Appalachian, bluegrass, country soul, orchestral pop, and blues root system. Halfway through a decade of immense and rapid global change, Valerie asserts a multidimensional Blackness steeped in laughter, truth, magic, delight, and interdependence.
“The resolutely upbeat Valerie June” (New York Times) is an author, poet, Grammy®-nominated singer-songwriter and three-time Americana Music Honors and Awards nominee. She’s been praised by Bob Dylan and written music for Mavis Staples. She is the subject of an exhibit at the National Museum of African American Music (NMAAM) in Nashville featuring artifacts from her storied career. She has shared the stage with Willie Nelson, Dinosaur Jr., John Prine, Tyler Childers, Brandi Carlile, Elvis Costello, Robert Plant, Meshell Ndegeocello, and well beyond.
Following a run of shows in Tokyo and the southwestern United States, this fall and winter, June continues on her Big Ole Worldwide Tour.
Valerie June Big Ole Worldwide Tour Dates Sat. Nov. 15 – Barcelona, ES @ Feroe’ 25 Festival Sun. Nov. 16 – Valencia, ES @ 16 Toneladas Tue. Nov. 18 – Madrid, ES @ Teatro Magno Wed. Nov. 19 – Bilbao, ES @ Bilborock Thu. Nov. 20 – Santiago de Compostela, ES @ Outono Códax Festival 2025 (Sala Capitol) Sun. Nov. 30 – Paris, France @ New Morning Mon. Dec. 1 – London, UK @ EartH Theatre – SOLD OUT Tue. Dec. 2 – Brussels, BE @ Orangerie Botanique Wed. Dec. 3 – Amsterdam, NL @ Zonnehuis Thu. Dec. 4 – Rotterdam, NL @ Bird Fri. Dec. 12 – New York, NY @ Town Hall Thu. Jan. 15 – Mon. Jan. 19 – Puerto Aventuras, Q.R. @ Wilco’s Sky Blue Sky – SOLD OUT Wed. Feb. 11 – Pittsburgh, PA @ Carnegie Lecture Hall
For their newest album, Flowers, Durand Jones and The Indications went back to the days of recording to simple equipment while they were all college students at Indiana University, only this time it was just the three of them (Aaron Frazer – drums and vocals, Durand Jones – vocals, and Blake Rhein – guitar) recording in their guitarist’s Chicago studio crafted after multiple successful albums and world tours. The result is an album that lets them get their flowers, as the kids say, and enjoy and build upon their successes both as a band and with their own solo projects.
The lush, brief, titular intro track lets you know this is going to be a lovely time, and sure enough, the beats and bass (courtesy of Michael Montgomery) prove this on “Paradise” — in which Frazer sings about how he must be mad to keep pursuing an unresponsive lover, but he can’t help it. Jones has convinced his lover, at least, because “Lover’s Paradise” has them doing everything from traveling to Paris to catching a matinee.
Frazer and Jones both claim “I Need the Answer” to strife, war, and divisions on the next track. “Why’s it so hard to find the humanity when every man is more than just what you see?” Frazer asks, and Jones as “What will we leave for futures to see who we are?” We all want these answers. We need them. “Flower Moon” is so groovy that it practically warms up the bed for you.
We’re back to some heartbreak on “Really Wanna Be with You,” in which Jones sings about wishing he could be with someone who might’ve been the one, but the ship has sailed. “Been So Long” is about going back to your old stomping grounds and getting the scoop on everyone still there. “Everything” is about how a lover’s attention is all one needs. It’ll be on all of your bedroom mixes this year.
On “Rust and Steel,” Jones compares a crumbling relationship to a car that’s slowly breaking down, and then Frazer claims “A fancy car won’t get you far when you’re on your own” at the beginning of “If Not For Love,” which features a sharp saxophone solo from Mae Sun. The final track, “Without You,” is a plea for a lover to return after Jones realizes, too late, that he’s lost her thanks to his bad behavior.
Flowers is another solid album from DJI. They’ve yet to miss. Give them and this album all the flowers.
Mavis Staples‘ second solo album, Only for the Lonely, is a heartfelt, heartbreaking, and heart-lifting record, with the songs expressing a lot of emotions and moments Staples was living through at the time.
“I Have Learned to Do Without You,” with its slow-dance guitar and drums and soulful string arrangements, automatically lets you know this album is going to be full of songs to which anyone who’s been through heartbreak can relate. Staples sings, “I got over you!”, but you’re not sure if that’s 100% accurate. “How much water can you pour in a boat before that boat begins to sink?” Staples asks on “How Many Times” – in which her exasperation with a lover comes through in every note.
She finds better times on “Endlessly,” as she sings, “You were made for my arms to surround.” to a lover to whom she’ll be “as faithful as the sunrise.” The horn section on “You’re the Fool” is a great backup to Staples’ powerful and soulful voice. On “Since I Fell for You,” her gospel vocal training shines and makes you pay attention.
“What Happened to the Real Me” is a powerful anthem for jilted lovers everywhere, with Staples’ backing band putting down a solid groove while horns and strings charge behind her voice. “Since You Became a Part of My Life” and “It Makes Me Wanna Cry” are back-to-back, going from praise of a lover and how they changed Staples’ outlook on life to Staples being crushed after his departure. It shows how well she can sing either type and make you feel all those emotions. The closer, “Don’t Change Me Now” has Staples thanking her lover for taking the time to build the love they have, and pleading that he doesn’t screw it up. You’ll think, “Yep. That guy’s an idiot if he thinks he’ll find better.”
Only for the Lonely is a perfect title for the record, as Staples sings to those of us (all of us?) who have felt that emptiness and hope cycle of love again and again.
Keep your mind open.
[I haven’t learned to do without your subscription.]
Durand Jones & The Indications — the trio of DurandJones, AaronFrazer, and BlakeRhein — release “Lovers’ Holiday,” the third single/video from their forthcoming album, Flowers out June27th on DeadOceans. On the heels of last month’s “FlowerMoon,” hailed by Billboard as “one of their most irresistible dancefloor tracks yet,” “Lovers’ Holiday” is a fantasy getaway track fit for cruising and sees the band delighting in the softer side of soul and disco. Of the track, the band says: “We didn’t want to give ourselves any rules with ‘Lover’s Holiday.’ We wanted to make something authentic to our sound, while also giving our fans— the lovers— something to swoon about.”
Accordingly, the song’s video featuring videography by AndyWoodward and KimoKennedy and editing by RenaJohnson depicts The Indications performing on sea-side cliffs and by grass-covered mountains.
For as far as Durand Jones & The Indications have come, Flowers grew from the desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. As on that 2016 release, The Indications prioritized collaboration while creating Flowers. Much of the self-produced album was written together at Rhein’s Chicago studio, and many tracks are based on one-take demos — proof that vibes were particularly high, each member pulling from their refined tool kits with ease.
With Flowers, a strong sense of the band’s maturation and conviction is reflected across its 11 songs. “All of these songs touch on such mature topics, things that we never got to sing about before,” says Jones. “We are all in our 30s, have all been through ups and downs in our personal lives and professional lives, and flowers are a sign of maturity, growth, spring, productivity.” Frazer adds: “We took the spirit of play that started the project, and added in the wisdom and lessons we’ve acquired through the years.”
Following their recent triumphant European headline run which included shows supporting LennyKravitz, the band will kick off an expansive NorthAmericantour in September with some of their largest shows yet. Today, they announce their return overseas with a run of shows in the EU and UK in February2026, with stops in London, Paris, Amsterdam, and more. A full list of dates is available below, and tickets are available here.
Durand Jones & The Indications Tour Dates (New Dates in Bold) Fri. July 4 – East Sussex, UK @ Love Supreme Jazz Festival Sun. July 6 – Ewijk, NL @ Down The Rabbit Hole Sun. July 6 – Werchter, BE @ Werchter Festival Park Wed. Sept. 10 – Tucson, AZ @ Rialto Theatre * Thu. Sept. 11 – Phoenix, AZ @ The Van Buren * — SOLDOUT Fri. Sept. 12 – Flagstaff, AZ @ Orpheum Theater * Sat. Sept. 13 – Abiquiú, NM @ Blossoms & Bones Mon. Sept. 15 – San Antonio, TX @ Aztec Theatre * Tue. Sept. 16 – Austin, TX @ Stubb’s Waller Creek Amphitheater * Thu. Sept. 18 – Atlanta, GA @ Variety Playhouse * Fri. Sept. 19 – Nashville, TN @ Brooklyn Bowl * Sun. Sept. 21 – Washington, DC @ 9:30 Club * Tue. Sept. 23 – Philadelphia, PA @ Union Transfer * Fri. Sept. 26 – Boston, MA @ Citizens House of Blues * Sat. Sept. 27 – New York, NY @ Webster Hall * Tue. Sept. 30 – Indianapolis, IN @ HI-FI Annex * Wed. Oct. 1 – Chicago, IL @ The Salt Shed * Fri. Oct. 3 – Englewood, CO @ Gothic Theatre * Sat. Oct 4 – Fort Collins, CO @ Washington’s * Sun. Oct. 5 – Salt Lake City, UT @ The Depot * Tue. Oct. 7 – Oakland, CA @ Fox Theater * Fri. Oct 10 – Los Angeles, CA @ The Greek Theatre * — SOLDOUT Sat. Oct. 11 – Las Vegas, NV @ Brooklyn Bowl * Thu. Oct. 23 – Del Mar, CA @ The Sound * Fri. Oct. 24 – Sacramento, CA @ Channel 24 * Mon. Oct. 27 – Portland, OR @ Crystal Ballroom * Tue. Oct. 28 – Vancouver, BC @ Commodore Ballroom * — SOLDOUT Wed. Oct. 29 – Seattle, WA @ Showbox SoDo * Fri. Oct. 31 – Boise, ID @ Knitting Factory * Sat. Nov. 1 – Bozeman, MT @ The ELM * Mon. Nov 3 – Minneapolis, MN @ First Avenue * Tue. Nov 4 – Milwaukee, WI @ Turner Hall Ballroom * Wed. Nov 5 – Detroit, MI @ Saint Andrew’s Hall * Fri. Nov. 7 – Toronto, ON @ The Concert Hall * Sat. Nov 8 – Montreal, QC @ Beanfield Theatre * Sun. Nov. 9 – South Burlington, VT @ Higher Ground Ballroom * Tue. Nov 11 – Columbus, OH @ Newport Music Hall * Wed. Nov. 12 – Asheville, NC @ The Orange Peel * Fri. Nov. 14 – New Orleans, LA @ Tipitina’s * Sat. Nov. 15 – Houston, TX @ The Heights Theater * Sun. Nov. 16 – Dallas, TX @ House of Blues * Tue. Feb. 10 – Glasgow, UK @ SWG3 Galvanizers Wed. Feb. 11 – Manchester, UK @ New Century Hall Thu. Feb. 12 – London, UK @ Roundhouse Sat. – Feb. 14, Paris FR @ Le Trianon Sun. Feb. 15 – Brussels, BE @ Ancienne Belgique Tue. Feb. 17 – Amsterdam, NL @ Paradiso Main Room
* = w/ The Psycodelics
Keep your mind open.
[I’ll feel like I’m on a lover’s holiday if you subscribe.]
Durand Jones & The Indications — the trio of DurandJones, AaronFrazer, and BlakeRhein— announce a fall North American tour and release “FlowerMoon,” the second single/video from their forthcoming album, Flowers out June27th on DeadOceans. On the heels of a successful European headline run which included shows supporting LennyKravitz, the band’s expansive tour includes some of their largest shows yet, with stops in NewYork, Chicago, LosAngeles, Toronto, and more. Tickets go on sale Friday, April 25th at 10am local time. A full list of dates is below, with tickets and further information available here.
Following lead single “BeenSoLong,” praised by Rated R&B as a “petal-soft tune [that] rides with the smoothness of an early ’70s soul jam,” “Flower Moon” guides listeners to an end-of-night dancefloor with Frazer’s trademark falsetto on full display. Reflecting on the track, Jones says: “It felt right to release ‘Flower Moon’ with this record. Spring is here and the flowers are blooming everywhere. We really wanted to catch that essence of the song and bring it to life for the listener. Also the Flower Moon is happening in a few weeks, so everything just seemed aligned to bring this song to our fans. It’s a feel-good tune to enjoy with friends or a loved one.” The song’s accompanying video was directed by AlecBasse.
On Flowers, The Indications’ fourth album and first since 2021’s “disco and funk infused” (Billboard) PrivateSpace, the group leaned into a particular desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Just as they did on that 2016 release, The Indications prioritized close-knit collaboration while creating Flowers. Much of the self-produced album was written together at Rhein’s Chicago home studio, and many tracks are based on one-take demos — proof that vibes were particularly high, each member pulling from their refined tool kits with ease.
Reflecting a strong sense of the band’s maturation and conviction, the 11 songs that make up Flowers are grown and sexy, fit for cruising, and delight in the softer side of soul and disco. “All of these songs touch on such mature topics, things that we never got to sing about before,” says Jones. “We are all in our 30s, have all been through ups and downs in our personal lives and professional lives, and flowers are a sign of maturity, growth, spring, productivity.” Frazer adds: “We took the spirit of play that started the project, and added in the wisdom and lessons we’ve acquired through the years.”
Durand Jones & The Indications Tour Dates (New Dates in Bold) Fri. July 4 – East Sussex, UK @ Love Supreme Jazz Festival Sun. July 6 – Ewijk, NL @ Down The Rabbit Hole Sun. July 6 – Werchter, BE @ Werchter Festival Park Thu. Sept. 11 – Phoenix, AZ @ The Van Buren * Fri. Sept. 12 – Flagstaff, AZ @ Orpheum Theater * Sat. Sept. 13 – Abiquiú, NM @ Blossoms & Bones Mon. Sept. 15 – San Antonio, TX @ Aztec Theatre * Tue. Sept. 16 – Austin, TX @ Stubb’s Waller Creek Amphitheater * Thu. Sept. 18 – Atlanta, GA @ Variety Playhouse * Fri. Sept. 19 – Nashville, TN @ Brooklyn Bowl * Sun. Sept. 21 – Washington, DC @ 9:30 Club * Tue. Sept. 23 – Philadelphia, PA @ Union Transfer * Fri. Sept. 26 – Boston, MA @ Citizens House of Blues * Sat. Sept. 27 – New York, NY @ Webster Hall * Tue. Sept. 30 – Indianapolis, IN @ HI-FI Annex * Wed. Oct. 1 – Chicago, IL @ The Salt Shed * Fri. Oct. 3 – Englewood, CO @ Gothic Theatre * Sat. Oct 4 – Fort Collins, CO @ Washington’s * Sun. Oct. 5 – Salt Lake City, UT @ The Depot * Tue. Oct. 7 – Oakland, CA @ Fox Theater * Fri. Oct 10 – Los Angeles, CA @ The Greek Theatre * Sat. Oct. 11 – Las Vegas, NV @ Brooklyn Bowl * Thu. Oct. 23 – Del Mar, CA @ The Sound * Fri. Oct. 24 – Sacramento, CA @ Channel 24 * Mon. Oct. 27 – Portland, OR @ Crystal Ballroom * Tue. Oct. 28 – Vancouver, BC @ Commodore Ballroom * Wed. Oct. 29 – Seattle, WA @ Showbox SoDo * Fri. Oct. 31 – Boise, ID @ Knitting Factory * Sat. Nov. 1 – Bozeman, MT @ The ELM * Mon. Nov 3 – Minneapolis, MN @ First Avenue * Tue. Nov 4 – Milwaukee, WI @ Turner Hall Ballroom * Wed. Nov 5 – Detroit, MI @ Saint Andrew’s Hall * Fri. Nov. 7 – Toronto, ON @ The Concert Hall * Sat. Nov 8 – Montreal, QC @ Beanfield Theatre * Sun. Nov. 9 – South Burlington, VT @ Higher Ground Ballroom * Tue. Nov 11 – Columbus, OH @ Newport Music Hall * Wed. Nov. 12 – Asheville, NC @ The Orange Peel * Fri. Nov. 14 – New Orleans, LA @ Tipitina’s * Sat. Nov. 15 – Houston, TX @ The Heights Theater * Sun. Nov. 16 – Dallas, TX @ House of Blues *
Durand Jones & The Indications — the trio of DurandJones, AaronFrazer, and BlakeRhein — return today with the announcement of their new album, Flowers (out June 27th on Dead Oceans), and the release of its lead single/video, “BeenSoLong.” For their fourth album and first since 2021’s “disco and funk infused” (Billboard) Private Space, The Indications leaned into a particular desire to return to their roots in a Bloomington basement, a space where they first found camaraderie in gritty funk and Southern soul that would inspire their self-titled debut. Just as they did on that 2016 release, The Indications prioritized close-knit collaboration while creatin Flowers. Much of the self-produced album was written together at Rhein’s Chicago home studio, and many tracks are based on one-take demos — proof that vibes were particularly high, each member pulling from their refined tool kits with ease.
Reflecting a strong sense of the band’s maturation and conviction, the 11 songs that make up Flowers are grown and sexy, fit for cruising, and delight in the softer side of soul and disco. “All of these songs touch on such mature topics, things that we never got to sing about before,” says Jones. “We are all in our 30s, have all been through ups and downs in our personal lives and professional lives, and flowers are a sign of maturity, growth, spring, productivity.” Frazer adds: “We took the spirit of play that started the project, and added in the wisdom and lessons we’ve acquired through the years.”
For Jones personally, Flowers is the result of significant personal transformation. “I had spent the last year and a half laying everything out that I felt insecure abou — I felt insecure about my sexuality, growing up poor; about a myriad of things. I laid all of that out on the table and it made me such a stronger person, to the point that I got back to the Indications and I was way more sure of myself.”
On lead single “Been So Long”, this renewed sense of camaraderie is front and center, as the Indications sing in unison: “It’s been so long/since we’ve been gone/it’s good to be back together.” It’s a song that contemplates the universal experience of returning to your hometown, alongside their experience of creating Flowers– a personal homecoming. Of the track, The Indications say: “‘Been So Long’ felt like a natural choice for the first single from the new album. Although it hasn’t been that long since we’ve been apart, it is the longest stretch the band hasn’t toured or released music in nearly a decade. The feeling of returning to your hometown is not unlike getting back together with your band mates after a spell. Some things have changed nearly beyond recognition, while others are exactly as you always remembered. In the video we are joined by Chicago musicians Wyatt Waddell and Michael Damani, two very gifted singers who lent their voices on the recording of ‘Been So Long’.”
Since forming in 2012, the road has taken The Indications from those origins at Indiana University, Bloomington to the global stage, selling out shows across Europe, Japan, Australia, and New Zealand to the West Coast— where DJI has a strong following among the lowrider and vintage soul enthusiasts. Next week, they will support LennyKravitz in arenas around Europe on his Blue Electric Light tour.
It has also seen the release of their three thoughtful, harmonic albums: Durand Jones & The Indications (2016), American Love Call (2019) and Private Space (2021). Pulling sonically and spiritually from each of the group’s previous releases and solo work, Flowers is the next stage of The Indications’ inspired soulful discography. They’re not only accepting their flowers, but indulging in their sweet and sexy fragrance.
“When I think of Flowers, I think of this sense of naturalness. There’s a lot of courage in showing the human side of making music,” adds Rhein. “We spent the most energy playing to each other’s strengths and learning how to support each other. Being able to make art from an intuitive level takes a lot of confidence, not second guessing yourself, not asking if it’s going to be well received.”
“We’re so blessed to have such a wide range of influence and musical minds that have such a good grip on the things that they love, and the ability to synthesize those influences and bring them to a group setting,” states Frazer. “So we’ll continue to do what we’re doing for many years to come.”
Lonnie Holley is singer, songwriter, artist, educator, and poet…and, surprisingly to me, a trip hop artist. I knew that his new album, Tonky (named after his nickname from growing up in and around honkytonks), would be full of gripping tales from his life and views on the current American landscape. I didn’t expect it to be layered with found sounds, electric beats, and trip hop touches.
The opening track, “Seeds,” is the longest at over nine minutes and has Holly telling about how fields he worked as a child until he was exhausted or often beaten so bad he couldn’t sleep. The string instruments strum out growing tension while simple synth chords are like the hums of spectres watching from the other side of the veil. “Life” is a short poem of hope with Holley encouraging us to use small actions to grow big change.
“Protest with Love” is the most punk rock song I’ve heard in a long while, and it’s wrapped in a lush trip hop track. “If you’re gonna protest, protest with love…Let love do its thing,” Holly advises. Loving thy neighbor, heck, just being nice, is one of the most rebellious acts you can do in 2025. In the jazz and post-funk (Is that a thing?)-inspired “The Burden,” Holley tells us all that it’s on us to remember those who came before and how we need to honor them (“The burden is like a spell that’s been cast upon you. Burdens of our ancestors to unravel and clarify in history.”).
“Let those who have ears, let them hear…We might not have it all together, but together we have it all,” Holley preaches in the beginning of “The Stars” — a powerful track about how people brought over on slave ships saw the same stars we now see, but how much have we progressed since then? The included rap by Open Mike Eagle is so slick it might drop you to the floor.
Holley makes sure you’re paying attention on the growling (and slightly funky) “We Were Kings in the Jungle, Slaves in the Field.” “Strength of a Song” has some of Holley’s strongest vocals on the record as he sings about finding hope and power in music. Near-industrial drums make “What’s Going On” sound like a roaring muscle car engine. “I Looked Over My Shoulder” is psychedelic jazz mixed with dark-wave synths.
“Wait a minute…” Holley says at the beginning of “Did I Do Enough?” Good heavens, haven’t we all thought that at some point — especially if you’ve been through a tragedy, or someone close to you has? The song is just Holley’s heartfelt vocals above ambient synths that build to gospel-like grandeur and it’s a stunner. “That’s Not Art, That’s Not Music” has Holley firing back the criticisms aimed at black music and culture upon their detractors.
The album ends with the hopeful “A Change Is Gonna Come,” but Holley asks, “Are we ready for something to happen?” One has to recognize the signs, when to stand up, and when to take flight. We have to be willing to accept change from divisiveness to inclusion. “How can I love God without loving you?” a woman asks not only herself, but also all of us. It’s the main message Holley wants to convey, and one we all must hear.
This is already one of the best albums of the year.
