More than 20 years in the making, i/o is Gabriel’s first album of new material since 2002’s Up. Twelve tracks of grace, gravity and great beauty that provide welcome confirmation of not only Peter’s ongoing ability to write stop-you-in-your-tracks songs but also of that thrilling voice, still perfectly, delightfully intact.

"The idea of retirement is nowhere in my comprehension," says Ann Wilson. Good thing, too, because the Heart frontwoman sounds way too fired up to quit on her excellent new solo album, Another Door— a powerful dispatch from a storied artist who's come back from the brink and still has a lot more living to do.

Coleman Williams (of the Hank family tree) eschews the metal trappings of his father (Hank III), instead conjuring the haunted hillbilly sound through a rough-edged band that retains traditional elements such as fiddle and pedal steel, along with his warbling vocals— honoring the roots of the family name while also finding his own lane.

Much like their label, Gibson Records, Ghost Hounds are every bit as timeless as they are fresh and modern. They seamlessly manage to blur the lines between the new and the old of classic rock, and it's all done with such masterful artistry and storytelling that it's hard to believe that First Last Time is only their fourth release.

The surprise companion to the April release First Two Pages of Frankenstein, Laugh Track is the band’s most freewheeling, all-hands-on-deck album in years. It’s a body of work bristling with spontaneity and vintage rock energy that makes a perfect complement to the songs found on its more introspective predecessor.

Embracing a new era of musical exploration and lyrical depth, Within Temptation deliver a fist-in-the-air proclamation of both their moral convictions and their fearless approach to music. Imbued with a vast dynamic range that plumbs the full depth of symphonic heaviosity, Bleed Out is as exuberantly heavy as it is politically profound.

The multi-talented rapper, singer-songwriter, and producer is back with a continuation of his Love or Loved series. Part 2 is the rare musical project where the split is earned, in concept and in execution. B.I’s raw heartbreak and self-awareness shines through his willingness to take us through the love cycle once again.

It’s been eight years since the country songsmith broke into the country music mainstream with his stellar debut album Traveller. He’s never been an artist too confined by genre lines, but Higher lets Stapleton roam free creatively. Five records in, the Kentucky native seems more comfortable with himself and his own creative vision than ever.

Bad Wolves refuse to follow. Instead, the platinum-certified Los Angeles band circumvent convention by stretching the boundaries of hard rock with earthquaking heaviness, enigmatic experimentation, and enthralling melodies. Bulldozing boundaries is nothing new for the boys though and Die About It continues to carry on that narrative.

Three decades since the release of his debut album, 1995's Ledbetter Heights, this Grammy-nominated, multi-platinum bandleader still sounds like the future of the blues. If you’re expecting autopilot twelve bars then prepare to be thrown a volley of curveballs in the best way possible. As on any KWS album, songs are the currency, and these no-polish-needed tunes demand to be heard, lifting listeners above their circumstances at a time when life often feels bleak and bone-raw.

The Long Goodbye (the band’s final release) is meant to be a love letter to the millions of Candlebox fans out there, which is certainly a noble gesture, but the music on it hits hard and makes an impact like a band that still has a youthful chip on its shoulder. The songs deal head-on with themes like maturity, fleeting time, and lasting love in deep and meaningful ways using a powerful, rock and roll manner that will breach your defenses and reach your spirit long after they’ve exited the stage.

Dickinson delivers an album of songs from his community that run four generations deep. The North Mississippi Allstars co-founder creates a record worthy of its own traditions. “This collection of my childhood favorites was recorded for fun, at home, with family and friends, in the spirit of sharing,” Dickinson says. “As a new father, I needed music that my family and friends could enjoy that’s also suited to my funky taste and organic, acoustic aesthetic. Everyone is welcome.”