The debut single from this record, Running For Cover, is a decent introduction to the band. But what separates Ivan & Alyosha from so many other bands, apart from their gospel-influenced roots, is the power of their lyrics. The Fold is one of the most encouraging songs I’ve heard all year, and songs like Don’t Wanna Die Anymore capture a hope for meaning in life most musicians won’t dare put into words. A truly beautiful album that I’ve had on repeat for months.

It’s refreshing to hear a little gospel influence in indie rock these days, and given the quality of this record, I suspect it won’t be the last time.

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On first blush, you might confuse Two Door Cinema Club with indie pop bands like Phoenix. I’m not sure I like the comparison. While these bands all certainly share some influence, Two Door Cinema Club is uniquely groovy, with a certain “je ne sais quoi” that the other bands don’t have. At times, Two Door Cinema Club doesn’t have the same pure pop thrills of Phoenix — or even some of their contemporaries. But what they do have is a certain charm that the others can’t lay claim to.

Sun is one of those catchy tunes that grabs you and doesn’t let go the moment it starts. And despite their shiny pop exterior, songs like Next Year and Sleep Alone are actually pretty sad reflections on being away from home for too long.

I liked Two Door Cinema Club’s last record, Tourist History, but Beacon reveals stunning musical growth and maturity. (Also, they combine influences like Dexter and The Big Lebowski in the video for Handshake, the newest single from the album. The song isn’t my favourite, but the video is just bizarre enough to earn its own special mention.)

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Songs like Would That Not Be Nice and Like Ice Cream have some fantastic riffs. Would That Not Be Nice is the best rock riff I’ve heard since U2’s Vertigo. The album’s got a lot more than pure rock and roll going for it though, and gems like Baby Get Worse and Civilian Stripes make the record well worth looking into. And it’s rare to get a more subdued opening track than My Love is Real.

I think what makes Divine Fits work so well together on their debut album is a love for the Rolling Stones. I’ll be the first to admit that Divine Fits isn’t inventing something new on their debut. If anything, the record feels like it belongs in a vintage past that we’ve long since left behind.

But that vintage sound is played through the stylings of Spoon and Wolf Parade, two groups who have a decidedly modern take on what old-school should sound like. So A Thing Called Divine Fits doesn’t sound old and it doesn’t sound new. It just sounds good.

In rock music, there aren’t enough records that just sound good any more. A Thing Called Divine Fits is one of them.

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Both are fantastic, but the first album is one of my favourite rock albums to throw on when I’m driving to cottage country. It’s got just enough raw grit to feel authentic. But more importantly, the songwriting is a mixture of fun rock and sad reflection — and it all sounds entirely sincere.

Songs like Cut You In and Keep the Light On are riff-tastic joys, while Hurt a Long Time and Between have some clear country influence. (Cantrell is a known fan of country music, and it’s arguable that Alice in Chains was more influenced by country music than just about any other genre.)

Boggy Depot is a side of Cantrell nobody ever saw when he was in Alice in Chains. While that band is either angry or depressed, Cantrell is in a more openly vulnerable headspace on Boggy Depot. I spend a lot of time trying to think of a great, riffy rock album to recommend every week for this site, and this one is tops.

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