Bob Dylan – Tempest
“Tempest” is more concerned with the scraps of the ’20s, ’30s and ’40s, as Dylan continues to explore the various strands of early American roots music that he internalized as he matured, sticking to basic instrumentation: guitar, drums, bass, violin, banjo and the occasional accordion. You can hear a touch of Charlie Christian guitar in the opening bars of “Duquesne Whistle,” suggesting an old 78-rpm record; Hank Williams’ sorrow sneaks in, as does Dylan’s long fascination with string bands of the 1920s, such as the Mississippi Sheiks. Read the full review on Pop & Hiss

Avett Brothers – The Carpenter
The Avett Brothers are obsessed with death. As easy as it is to forget the looming scythe of the Grim Reaper amid the band’s frequent talk of romance, conflicting morals, and endless barrage of “Pretty Girl” songs (here, we get the infectious doo-wop of “Pretty Girl From Michigan”), it’s always there, hanging in plain sight. And on The Carpenter, their seventh studio album, they speak about the topic more plainly than ever, as if inviting that curved blade to come slicing down through the air at any moment. Read the full review on Consequence of Sound

Amanda Palmer + Grand Theft Orchestra – Theatre is Evil
Thematically, Theatre is Evil treads the fairly well known ground of personal isolation and failings in relationships of all kinds. Where this album triumphs is the power of the hooks and choruses, thanks to the new pop aesthetic. Tracks like “The Killing Type” build on a fairly simple melody until the chorus comes in with highly distorted bass and a hollering call and response. It’s the kind of urgent pleading that used to be carried solely by Palmer’s voice but is now given full form with additional instrumentation and backup vocals. Punk News