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Port of Morrow may be the first new album from The Shins in nearly half a decade, but those five years were far from your typical hiatus. The new album may better serve as a reintroduction and/or reincarnation of frontman James Mercer, rather than a continuation of what we’ve come to know from the band itself. The primary reason is that since 2007’s Wincing the Night Away, the entire band with the exception of Mercer has been replaced. Port of Morrow is also the first album from The Shins to not be released on the Sub Pop label. Mercer is releasing the collection on his own label Aural Apothecary (distributed by Columbia). And perhaps most notably Mercer seems to have confidently taken the reigns with a distinct vision and sonic direction for the band.

For Bruce Springsteen, an artist of true iconic stature and fame, you sometimes wonder where the motivation comes from. He’ll sell records as long as he keeps making them and fill seats as long as he keeps playing in front of them. For ‘The Boss’ life doesn’t seem too shabby. However listening to his new album Wrecking Ball, Bruce seems anything but content. For Springsteen making records at this point is hardly about moving up Billboard charts or filling stadiums, it’s about marking a moment in time. Wrecking Ball speaks to our hardships, our challenges and the eventual hope that lies ahead.

It’s been two years since the release of Bruce Hornsby’s Big Swing Face and on his debut for a new label, Columbia Records, Hornsby comes out swinging with 11 great songs. On Halcyon Days, Hornsby is in classic form; it’s a 21st century album that recalls some of his best work starting with his debut The Way It Is in 1986 and on 1993’s Harbor Lights.

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