Between the time the Secret Sisters (siblings Laura Rogers and Lydia Slagle) recorded their fourth album, Saturn Return, and released it in February of 2020, both became first-time mothers and a worldwide pandemic was taking hold. The ensuing months and years of parenthood and self-preservation had the effect -- perhaps counterintuitive at first -- of making them calmer and more self-assured, as they found themselves letting go of people, concepts, and pressures that weren't worth it, instead focusing on love and care. This gained wisdom, warmth, and composure permeate Mind, Man, Medicine, an album that also finds the sisters continuing to shift away from mid-century-anchored close harmony and toward something more open and present. That's not to say that they leave behind major, career-long influences like traditional country and early rock & roll -- or vocal harmony -- but that there's not a note of pastiche here. This nonlinear slide along the era spectrum began in earnest on their two previous albums (You Don't Own Me Anymore and Saturn Return), both of which were co-produced by Brandi Carlile and resulted in Grammy nominations. This time around, the sisters are credited as co-producers for the first time, alongside the Civil Wars' John Paul White and Alabama Shakes' Ben Tanner, who also both play on the album. It opens with "Space," a trippy track whose echoing guitar, synthesizer, and piano accompaniment are at least as near in sound to indie dream pop as to '60s surf or noir country. Its chorus assures, "I am holding space for you." They quickly get the Americana juices flowing on lively rustic-rock number "Paperweight," another song oozing with affection despite acknowledging times of struggle. Ray LaMontagne joins them on the bluesier "All the Ways," a seductive entry that preaches togetherness, and they're accompanied by Muscle Shoal's FAME Studios orchestra (where they recorded most of the album) on "I Needed You," a song that evokes yearning '60s teen balladry and cinematic Baroque pop. The Secret Sisters carry off all of these stylistic diversions with the same effortless grace as on more-expected, folkier outings like the tender "I Can Never Be Without You Again" and "Planted," a lovely, music box-like waltz -- and another love appreciation. By the time they arrive at spare country-folk closer "I've Got Your Back," they've delivered another ultimately timeless set, one that's fearlessly demonstrative. ~ Marcy Donelson