BRENT COBB, Providence Canyon (Low Country): ****

The Georgia-raised songwriter’s Grammy-nominated “Shine On Rainy Day” was one of 2016’s most impressive releases, and this follow-up — likewise recorded with cousin and Grammy-winning Chris Stapleton/Jason Isbell producer Dave Cobb — ingratiates with a similarly melodic ’70s vibe while exploring the Southern country-funk-rock nexus. Cobb’s a smart tunesmith; his voice, flannel-warm. In songs like “King of Alabama,” “If I Don’t See Ya,” “Come Home Soon” and “When the Dust Settles,” partying’s just sweet yin to the world’s demanding yang, necessary respite to tally on life’s balance sheet — reminders that what sets Cobb apart from peers are his soulful grooves and unpretentious decency. RIYL Stapleton, Don Williams. At the Troubadour in West Hollywood May 11.


BEACH HOUSE, 7 (Sub Pop): ***½

Drummer James Barone’s rhythmic oomph deepens rather than distorts the Baltimore duo’s dreamy, synth-driven pop, although the machine beats of “Dive” turn surprisingly frenetic. Vocalist/keyboardist Victoria Legrand and multi-instrumentalist Alex Scally mostly hew closer to 2015’s “Depression Cherry” than “Thank Your Lucky Stars,” simultaneously lulling and chilling with “Pay No Mind” (“Not dumber just a little bit older/ Kiss of love couldn’t be much colder”) and “Drunk in LA,” setting mysterious scenes with layered, narcotic sounds and minimum verbiage. Highlights: “Lose Your Smile,” the rallying “Woo.”


PARKER MILLSAP, Other Arrangements

(OkraHoma/Thirty Tigers): ***

Not for nothing is the Oklahoma singer-songwriter shown strapped to an electric guitar on his fourth album’s cover. Thumping tracks like “Fine Line,” the less musically interesting “Some People,” the gospel-infused “Your Water” and vocal-stretching soul-blues standout “Tell Me” (“I’ve got a scar from bleeding for you”) step away from his acclaimed Americana releases, although Daniel Foulks’ earthy violin holds tight to roots. Millsap’s lyrical wit animates the Beatles-kissed title track and acoustic closer “Come Back When You Can’t Stay” (co-written with Jillette Johnson), a sharp-cut gem.


THE CLAUDETTES, Dance Scandal at the Gymnasium! (Yellow Dog): ***

They may be hell for agents to market, but the unpredictability of eclectic bands like this is refreshing. Working with Grammy-winning Black Keys/J.D. McPherson producer Mark Neill, veteran blues pianist Johnny Iguana, frontwoman Berit Ulseth (imagine a slinkier, less ethereal Sarah McLachlan) and a game rhythm section imaginatively stir blues, New Orleans jazz, grungy rock and pop, shifting time signatures with abandon. Highlights: the stomping title track, “Give It All Up for Good” (“Nobody knows how to talk to each other these days”).