SOUND BITES

The 16th(!) proper studio album by Ryan Adams is a heartbroken affair, being his first platter of original material post-divorce (this coming a year and change after a song-for-song cover of Taylor Swift's 1989 album); that said, it isn't a totally sullen and dark record. The tunes are vibrant and interesting rather than bitter, bleak and depressing (although, to be fair, there is some of that lurking too), and the album is consistently engaging as a result. Adams' discography has been somewhat spotty and cluttered over the years, but Prisoner feels especially focused; lead single Do You Still Love Me? and a couple of other fleeting moments aside, it's a largely acoustic, natural sounding record that never overdoes it on added instrumentation and yet doesn't come across as dull. It's a distillation of Adams' natural talent, and his first record in about a decade that showcases his effortless gift for songwriting without ever feeling tossed off or underc

If there's a Gaslight Anthem-shaped hole in your heart after that band announced an indefinite hiatus a couple years back, perhaps The Menzingers' fifth album can ease your suffering a bit. That's not to say that they're a clone of the Jersey rockers, but they do follow a similar motif; their punky, ragged racket is lyrically boosted with hard luck tales of twenty-somethings becoming thirty-somethings in the urban wastelands of America. These nostalgic, heart-on-sleeve litanies are well tread ground, to be sure, but there's something wholly endearing about the way The Menzingers weave the experience together on After the Party . There are glimpses of greatness throughout their discography, and previous LP Rented World was of a high enough quality that an album as consistently energetic and engaging as After the Party doesn't come off as a complete surprise. Still, it is heartening to hear a band with so much potential live up to it in such convincing fashi

Big Wreck has spent the five-plus years since their return seemingly on a mission to subvert expectations at every turn; their previous record, 2014's Ghosts , was a stylistically far-reaching and fearless, drawing influences from five decades worth of rock. It's a little hard to imagine them following such disparate styles even further, but that's exactly what happens on Grace Street . There's a slick sheen to much of this album, with synth and vocal effects popping up here and there, adding more colour to what was already an impressively diverse portfolio. On the other end of the spectrum, there are muscular turns at classic rock staples like Zeppelin and The Stones, and even some complex, rhythmic moments that recall Rush's first decade. When the pieces fit, it's borderline magical; see the groovy, exploratory tones of Tomorrow Down , the busy and frenetic A Speedy Recovery and (especially) the penultimate, seven minute instrumental workout Skybunk March

Upholding the hallowed tradition of old-school thrash and hardcore masters like Slayer, Anthrax and Suicidal Tendencies (and featuring members of several revered underground metal acts), Iron Reagan's third album feels like the record the world needs right now. The rule book isn't being rewritten here, but the no-muss no-fuss thrash attack heard on Crossover Ministry! offers a welcome release, an opportunity to blow off steam for a half hour and get lost in the racket. Over the course of its eighteen tracks, Crossover Ministry! deals in the topical and the humourous ( Fuck the Neighbors , in particular, is riotous fun), while never relenting for longer than a fleeting moment or two. With its crushing riffs and fleet beats, this is an album that pays homage to the thrash titans without coming off as a mere carbon copy, adapting the pillars of the genre to our modern times; if nothing else, it's a hell of a good time for thrash fans. February 3, 2017 • Relapse Highlig

The long-gestating third album by Japandroids (nearly five years have passed since the release of their highly acclaimed Celebration Rock ) carries are a few subtle shifts in overall tone, most notably the addition of acoustic guitars and synths. The duo's chops cut through any frills, though, and they're still very much adhering to their standard M.O. of brightly coloured and brash rock. It's every bit as exultant as you'd expect if you're familiar with them, and that it packs a few more tricks into the bag isn't a detraction or a distraction. On the whole, it may not be quite as energetic or build as much momentum as Celebration Rock did, but when tempos dip and the songs stretch out, as on album centerpiece Arc of Bar , there's more room for the music to breathe; think of it as less of a white-knuckle thrill ride and more of a vibrant scenic drive. To simply repeat what came before likely wouldn't have served these songs justice, and neither wo