On their sixth album, the Wood Brothers move well beyond their folk–country roots and break into Americana/indie-rock territory.

Thanks to Tony Garnier on electric bass and Tony Scherr on upright, Sam Beam’s lo-fi indie-folk writing style has evolved to include a broader reach of genres.

Beck’s laid-back and melodic 12th studio album features warm bass tones and mellow grooves provided by longtime collaborator Justin Meldal-Johnsen, the great Stanley Clarke (upright and electric), Bram Inscore, and Beck himself.

You might think that after 11 albums, Tom Araya and the men of Slayer might finally take a breather and settle for some slower tempos or easier riff work, but on Repentless, they’re still just as relentless as ever.

On the 21st studio recording from metal bass master Lemmy Kilmister and Motörhead, the celebrated rockers go back to their roots on an album that pays homage to their blues-rock influence while still remaining heavy.

With their seventh album, Portland’s Decemberists shift away from folk to focus on indie rock.

After taking a brief moment away from the band, original bassist Josh Paul returns to supply the bass on Daughtry’s most Southern/ folk-influenced album yet.

On Kaleidoscope Dream, Jayme Silverstein provides deep textures to counter the smooth production and slick vocals of R&B singer Miguel.