Listening to a new Neil Young album is kind of like having your old, eccentric uncle over for dinner. Some things about him, you love. Other things may wear a little thin, but you’ve learned to tolerate them. After all, he’s been in your life forever. Besides, it’s not like he’s going to change at this late date.

Young’s latest offering, The Visitor, plays out pretty much like that: Some familiar pleasures, some familiar tics, no real surprises.

Honestly, it almost feels redundant to elaborate upon the album’s elements. If you’ve heard anything that Young has put out over the past five decades, you probably know what to expect. High, creaky lead vocals and caterwauling harmonies? Check. Lumbering tempos and Americana-tinged tunes? Check. Fuzzy, elegantly raw guitar? Check. Liberal-leaning, mildly obscure lyrics? Check.

All of the above show up on the album’s opening track, “Already Great.” The song’s a rebuke of Donald Trump and his “Make America Great Again” slogan, another move which shouldn’t surprise anyone: [LISTEN]

Songs like the sludgy, bluesy “Stand Tall” rail against the prejudice and ignorance of conservatives as well:

Throughout, Lukas Nelson and Promise of the Real do a creditable simulacrum of Crazy Horse. They handle the tempo shifts of the Latin-infused, eight-minute oddity “Carnival” better than Ralph Molina and Billy Talbot probably could have: [LISTEN]

That song’s probably the biggest surprise on the album. Head-scratching moments aren’t exactly unprecedented in Young’s oeuvre, though (cf. almost every album he put out in the 1980s).

The Visitor closes with “Forever,” a 10-minute rumination on mutability and mortality. Like the rest of the album, it isn’t among Young’s classic songs, but it rambles along pleasantly enough. It also features this quatrain, which might help explain the album’s title: [LISTEN]