This month, my favorite albums all happen to be by American bands, and they all seem to celebrate tradition and nostalgia. Americana at its finest. The bands I’ve picked as the cream of February’s crop seem to be rooted in the past, but they made the old familiar sounds their own in exciting new ways.

Most people have that one band that for some reason makes them cross the line from appreciative fan to mental like Mel from Flight Of The Conchords. I am a total Mel for The Black Keys and with that comes the absolute and unhealthy adoration of its members. Their frontman Dan Auerbach came out with his solo debut, Keep It Hid, last month. I cannot guarantee that I wouldn’t have chosen it as my favorite album of the month if it stank of moldy socks, but it is genuinely amazing. And that’s not just the Mel talking. There’s some of the dark, soul-stirring, sleaze we’re used from The Black Keys, but it’s more diverse and introspective. He goes from folk to psychedelic to vintage motown soul, but stays true to his blues roots.

Why am I not obsessively collecting every single Heartless Bastards album that ever was? I really loved their last release and their recent release The Mountain is equally wonderful. Their uncomplicated, stripped down sound is almost as wickedly addictive as their aforementioned label mates The Black Keys. Their frontwoman’s voice may not have a great range, but she puts as much emotion into one song as Mariah Carey puts notes into one syllable.

M. Ward has a knack of creating songs that were made to be played by Richie Tenenbaum as he pines over his forbidden love for his adoptive sister. I know that’s awefully detailed, but that’s exactly the feeling I get from this album, Hold Time. It’s beautifully contemplative, but also secretly joyful. We’re pulled into a very personal warm world by his oddly catchy, yet delicate folky country songs.

Then there’s one-man band Phosphorescent, who quite literally honors his musical predecessors. To Willie is a whole album filled with covers of Willie Nelson songs. If I were him, I’d be beaming with pride at the outcome. Every song is steeped with reverance and respect. It makes you appreciate Willie’s music in new ways, all the while admiring Matthew Houck’s interpretation of the songs. He makes them sound deeply personal, like he’s seen every hill and valley Willie’s traveled.