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In songs that go big and hit home, referencing the biggest sounds from the '80s and beyond, Twin Shadow sets his musical register to "epic" and only looks upward from there.

The electro-pop group's latest cut is a euphoric anthem to youthful dreams and the inertia that keeps us from reaching them.

Oberst's distinctive warble is set against a spare patchwork of acoustic guitar, piano and the occasional harmonica, drawing most of the attention to his dark, personal words.

The dream-pop duo's career-spanning odds-and-ends collection hangs together as a cohesive set of songs, even as it explores the margins and dark corners of Beach House's catalog.

In many ways, Adams' 16th album feels like a retreat: to self-reflection, to primal emotions, and to a tense, rootsy sound that recalls Bruce Springsteen.

On his eighth album, Ritter delves into what he calls "messianic oracular honky-tonk." Fortunately, it's an approach that brings out some of the singer's slipperiest, nimblest wordplay.

Now in his 90s, Wilson has played with and composed for many of the biggest names in jazz. For his latest album, he enlisted the help of his son and grandson, both composers and musicians themselves.

ChesnuTT recorded Landing on a Hundred, his first album in a decade, at the legendary Royal Studios in Memphis. But he says visiting a different historical site is what really set the record's tone.

James Blackshaw is best known for his lush, symphonic compositions. His impressive technical virtuosity enables him to make his 12-string guitar sound like an entire orchestra. Blackshaw talks with Guy Raz about his musical style and his latest album, The Glass Bead Game.

On this week's show: Songs about the indomitable human spirit. Plus, music plucked from a honey jar (seriously).