Jeff Tweedy: Twilight Override
dBpm Records, 003-25 (auditioned as 16/44.1 WAV files). 2025. Jeff Tweedy, Tom Schick, prods.; Schick, Mark Greenberg, engs.
Performance ****½
Sonics **** Triple albums are the embodiment of self-indulgence. Rarely do they justify their length. Yet with Twilight Override, Jeff Tweedy, the creative force behind Wilco since 1994, has scored an unlikely triumph: A triple album that doesn't just hang together but is truly a craggy masterpiece of sorts. Fans of Tweedy's gift for alternately imagistic or direct wordplay and his seemingly endless ability to compose simple but effective melodic hooks will immediately hear the inspiration here. The reason these were not deemed Wilco songs by their creator lies in their intimacy. This is folky singer-songwriter Tweedy feeling fragile and mortal, or as he says in "Caught Up in the Past," "I'm the last in line/And the line's moving fast/No one stands a chance/ Getting caught up in the past."
Recorded with a group of younger players/admirers led by his two sons, drummer/singer Spencer and keyboardist Sammy, these 30 stripped-down tracks are captured in stark, clear, uncompressed sound. Tastefully and unobtrusively enhanced by both electronics and acoustic instruments, these sessions were obviously tracked live but have been overdubbed in spots. The obvious highlight—the track this collection will be most remembered for—is the gentle "Feel Free," in which the title line is repeated over and over at the start of each short verse; those verses dispense snatches of wisdom: "To fall in love with the people you know/And fall harder for the people you don't"; "Let It Be or Let It Bleed/John or Paul, Mick or Keith." In the closer, "Enough," the songwriter who in introducing this album said "Creativity eats darkness" continues to impart what he views as the crucial questions of a life well-lived. "Is your heart still tryin'?/Is your heart still alive?/Is your heart still fightin'/To get out of your mind?"—Robert Baird
Big Thief: Double Infinity
4AD Records (auditioned as LP). 2025. Dom Monks, prod.; Monks, several others, engs.
Performance ***
Sonics **** During the early sessions for Double Infinity, founding bassist Max Oleartchik left the group. The three remaining members invited nearly a dozen musicians, including new-age pioneer Laraaji, to join them for three weeks of nine-hour days at Manhattan's Power Station. The expanded lineup gave the band's music a new dimension, reshaping songs written for the quartet into something broader, looser, and more colorful.
The result is a lush collection of psych-folk explorations, rich in texture and layered with nuance. Each track bleeds naturally into the next, creating the feeling of a continuous sonic journey. It's a perfect kind of Sunday morning spin: exploratory yet grounded in something familiar, where the studio experimentation serves the songs rather than overwhelming them. Adrianne Lenker's voice and acoustic guitar sit at the center and make it sparkle.
"Los Angeles" strolls forward with a casual Laurel Canyon vibe. Lenker's storytelling—revisiting an old relationship rekindled after years apart—is carried by the fragile, quivering nature of her voice, which sits somewhere between Stevie Nicks and Lucinda Williams. That vulnerability amplifies the emotional weight of her lyrics, making the song linger long after it ends. One of the shorter songs on this outing, "Los Angeles," is a fine example of how each track was built to be part of a greater whole.
If there's a weak spot, it comes right at the start. "Incomprehensible," the opener, doesn't quite sit comfortably with the balance of the record. Once the album moves on from it, the flow becomes seamless, and this Brooklyn-based band takes a bold step away from their urban-folk roots toward a shimmering, psychedelic vibe. Six albums into a decade-long run, this shift feels less like a detour and more like a pivot—one that could finally carry them from critics' darlings to much wider appeal.—Ray Chelstowski
Blood Orange: Essex Honey
RCA Records (auditioned as LP). 2025. Devonte Hynes, prod.; Hynes, Mikaelin Bluespruce, Heba Kadry, engs.
Performance ***
Sonics **** Dev Hynes, best known as Blood Orange, is celebrated for his behind-the-scenes work with artists including Solange, Mariah Carey, and Kylie Minogue. It's in his own music where he merges his finely tuned R&B instincts, with elements of jazz, electronica, and pop that grab your attention. His latest project, Essex Honey, is shaped by grief, reflecting on the loss of his mother. It blends moments of somber introspection with tracks that feel like celebrations. This makes Essex Honey uneven. Its strongest moments come when Hynes grounds the songs with solid basslines and percussion, providing structure instead of letting them drift in a haze of pop and soul. The standout track, "The Field"—featuring The Durutti Column, Tariq Al-Sabir, Caroline Polachek, and Daniel Caesar—balances reflection with catchiness, echoing the percussive nuances found on most of David Gray's White Ladder. Also strong is "Thinking Clean," which evolves from a quiet reflection into a danceable groove with sparkling piano runs and sultry saxophone. These songs showcase Hynes at his sharpest as writer and arranger. More of this would have given the record the balance it often lacks.
Not all the experiments land. "Westerberg," a tribute to The Replacements and a nod to the music of Hynes's youth, feels rudderless, wandering about just when the album should be finding its stride. The closer, "I Can Go," circles back to the dream-like trances that open the record, drifting without resolution.
While Essex Honey could be called ambitious, its uneven pacing and incoherence keep it from fully realizing its potential. In its best moments, it is deeply moving, hinting at what Hynes is capable of. But while probably cathartic for Hynes, Essex Honey leaves the listener more confused than content, which is not something this musician is known for.—Ray Chelstowski
Tedeschi Trucks Band and Leon Russell: Mad Dogs & Englishmen Revisited, Live at Lockn'
Swamp Family Music (auditioned as LP). 2025. Leon Russell, Bobby Tis, Derek Trucks, Brian Speiser, prods.; Tis, Speiser, Chris Bellman, eng.
Performance *****
Sonics **** The original Mad Dogs & Englishmen tour, led by Joe Cocker and Leon Russell, Cocker's music director, was a traveling circus with a sense of community. It went on to inspire countless artists—none more so than the Tedeschi Trucks Band. Just before a planned shared bill, Cocker died, leading organizers at the Lockn' Festival to reimagine the idea. Tedeschi Trucks gathered friends for a once-in-a-lifetime evening that lives on as a film and, with this new release, a companion album.
The recording captures the concert with warmth and fullness, brimming with energy. It kicks off with "The Letter," on which Susan Tedeschi's roaring vocals spar joyfully with bright, brassy horns. Derek Trucks peppers the set with guitar lines that scorch and sear. His signature slide work adds bite and fire.
Perhaps most remarkable is the participation of so many from the original Mad Dogs: Rita Coolidge, Claudia Lennear, and Pamela Polland bring grace and soul to "The Weight." The showstopper is the closer, "The Ballad of Mad Dogs and Englishmen," delivered with irrepressible charm by Leon Russell.
Those guests shine. Dave Mason fronts his classic "Feelin' Alright," Warren Haynes takes command on "She Came in Through the Bathroom Window," and Doyle Bramhall II anchors a rousing "Dixie Lullaby." "Space Captain," on which vocals are shared between Tedeschi and Chris Robinson of the Black Crowes, embodies best the night's communal spirit. It's a goosebump-inducing version of a classic and a reminder that Susan and Derek have assembled one of the finest touring rock outfits today. This concert shows them at their peak and introduces a new generation of fans to music as timeless as it is magical.—Ray Chelstowsi
dBpm Records, 003-25 (auditioned as 16/44.1 WAV files). 2025. Jeff Tweedy, Tom Schick, prods.; Schick, Mark Greenberg, engs.
Performance ****½
Sonics **** Triple albums are the embodiment of self-indulgence. Rarely do they justify their length. Yet with Twilight Override, Jeff Tweedy, the creative force behind Wilco since 1994, has scored an unlikely triumph: A triple album that doesn't just hang together but is truly a craggy masterpiece of sorts. Fans of Tweedy's gift for alternately imagistic or direct wordplay and his seemingly endless ability to compose simple but effective melodic hooks will immediately hear the inspiration here. The reason these were not deemed Wilco songs by their creator lies in their intimacy. This is folky singer-songwriter Tweedy feeling fragile and mortal, or as he says in "Caught Up in the Past," "I'm the last in line/And the line's moving fast/No one stands a chance/ Getting caught up in the past."
Big Thief: Double Infinity4AD Records (auditioned as LP). 2025. Dom Monks, prod.; Monks, several others, engs.
Performance ***
Sonics **** During the early sessions for Double Infinity, founding bassist Max Oleartchik left the group. The three remaining members invited nearly a dozen musicians, including new-age pioneer Laraaji, to join them for three weeks of nine-hour days at Manhattan's Power Station. The expanded lineup gave the band's music a new dimension, reshaping songs written for the quartet into something broader, looser, and more colorful.
Blood Orange: Essex HoneyRCA Records (auditioned as LP). 2025. Devonte Hynes, prod.; Hynes, Mikaelin Bluespruce, Heba Kadry, engs.
Performance ***
Sonics **** Dev Hynes, best known as Blood Orange, is celebrated for his behind-the-scenes work with artists including Solange, Mariah Carey, and Kylie Minogue. It's in his own music where he merges his finely tuned R&B instincts, with elements of jazz, electronica, and pop that grab your attention. His latest project, Essex Honey, is shaped by grief, reflecting on the loss of his mother. It blends moments of somber introspection with tracks that feel like celebrations. This makes Essex Honey uneven. Its strongest moments come when Hynes grounds the songs with solid basslines and percussion, providing structure instead of letting them drift in a haze of pop and soul. The standout track, "The Field"—featuring The Durutti Column, Tariq Al-Sabir, Caroline Polachek, and Daniel Caesar—balances reflection with catchiness, echoing the percussive nuances found on most of David Gray's White Ladder. Also strong is "Thinking Clean," which evolves from a quiet reflection into a danceable groove with sparkling piano runs and sultry saxophone. These songs showcase Hynes at his sharpest as writer and arranger. More of this would have given the record the balance it often lacks.
Tedeschi Trucks Band and Leon Russell: Mad Dogs & Englishmen Revisited, Live at Lockn'Swamp Family Music (auditioned as LP). 2025. Leon Russell, Bobby Tis, Derek Trucks, Brian Speiser, prods.; Tis, Speiser, Chris Bellman, eng.
Performance *****
Sonics **** The original Mad Dogs & Englishmen tour, led by Joe Cocker and Leon Russell, Cocker's music director, was a traveling circus with a sense of community. It went on to inspire countless artists—none more so than the Tedeschi Trucks Band. Just before a planned shared bill, Cocker died, leading organizers at the Lockn' Festival to reimagine the idea. Tedeschi Trucks gathered friends for a once-in-a-lifetime evening that lives on as a film and, with this new release, a companion album.
