Well, well, well. At looooong last (22 years in case you’re counting), Kevin Shields finally releases a new record — and what a splendid one it is. The first third successfully picks up where 1991’s “Loveless” left off. The next three songs mix up styles. Pay special note to the somewhat poppy yet brilliant “New You.” The last third is more aggressive and daring, climaxing with the thrilling “Wonder 2.” Bravo. The hype was for this was deafening and MBV has risen to the task.

Another year, another BR record. Well, the band doesn’t make an album every year. It just seems that way. Regardless, their 16th LP is predictably hard, fast and melodic. But, more importantly, their music remains vital and exciting. Is there a better lyricist around today than Greg Graffin? Here is “Robin Hood in Reverse,” in which Graffin addresses the Supreme Court’s 2010 Citizens United v. Federal Election Commission ruling. “Citizens united. I was excited. When the kids are united they can never be divided. But that was yesterday. There’s a brand new sham to today.” (Note the hat tip to Sham 69.)

An excellent album that I think falls slightly below its predecessor, “The Big Roar.” First, kudos to the band for not recycling previous songs, unlike “The Big Roar,” which rerecorded four songs from what I consider their first album, the eight song “A Balloon Called Moaning” (many consider this a long EP). Also, the band takes some real chances here. The styles are mixed up and new paths are explored. The opening “This Ladder is Ours,” is among the group’s best. I also adore “The Leopard and the Lung,” which is cut from the same sonic cloth as the also brilliant “The Greatest Light is the Greatest Shade” from “The Big Roar.” And Ritzy Bryan’s vocal showcase, the closing “The Turnaround,” borders on melodrama but never goes that far. Such a great tune. On the flip side, lyrics leave a bit to be desired. Though some bits are well done, it becomes clear than the more cryptic and impressionistic lyrics, while adequate, don’t materially improve the songs. Also, some songs, though decent, fail to wow: “The Hurdle,” “Forest Serenade,” and the maddening “Maw Maw Song,” which is brilliant aside from the plodding and pedestrian chorus, which strangely sounds like Joey Ramone.

Excellent MBV-inspired shoegaze from Austin TX. Like TJF, Ringo Deathstarr’s latest is a tad weaker than its predecessor “Colour Trip.” Though this record starts with a bunch of high energy tunes, they don’t thrill as much as the much slower “Brightest Star,” the centerpiece of the record and one of my favorite songs from the past couple years.

The unearthed tracks (1968-1977) are a mish mash and cover an awful lot of ground (I have the 5 LP version and 3 CD set). Lots of brilliance mixed with some duds. However, whatever Can touched in this period remained interesting (in the best sense of the word). Highlights include “Abra Cada Braxas,” Graublau,” “Messer, Scissors, Fork and Light,” and “Dead Pigeon Suite.”

Can’s bassist made some wildly eclectic albums after leaving to pursue a solo career. This album includes the remarkable “Persian Love.” http://www.youtube.com/watch?v=if5eTwaieMw

This sprawling and highly ambitious concept album gets better with repeated listens. Can you listen to “Lazy Sunday” and not sing along?

So much to say about this great soundtrack for the movie “Head” but to keep it short: buy it. From “Porpoise Song” to “Circle Sky” to “Can You Dig It?” to “As We Go Along” this silly/serious record works.

Recorded in 1973, this recently released record is a must for Love fans. For non-fans start with the band’s Elektra records and “Four Sail.” Though this album is not objectively great, it does nothing to hurt Arthur Lee’s legacy and is on balance very good. In fact, winners like “Can’t Find It,” “Skid,” “Walk Right In” and “Lonely Pigs” only add to the legend of Arthur Lee.

Where to start? Well, it ain’t Beyonce. In fact, you can rest assured that something this dark and abstract will never ever be played at the Super Bowl. This is best described as “uneasy listening.” Walker’s baritone voice belts out words that will have you shaking your head and reaching for a dictionary. However, it is accomplished as Walker’s cryptic lyrics both confound and challenge. If you want a record to really sink your teeth into then give this a whirl. But be forewarned this is short on obvious melody and requires patience. The record runs 1 hour and 13 minutes and the song “SDSS14+13B (Zercon, a Flagpole Sitter,” runs almost 22 minutes!