The Slaughterhouse Sessions is part of what Hendrix calls her “Project 5,” a still-in-progress suite of four new albums and a book that she had originally intended to release all in 2016 but which she has now earmarked for completion next spring. All of the components are said to be thematically linked, and like its immediate predecessor, Love You Strong, Slaughterhouse does touch more than once on the topics of faith and resilience. But where Love You Strong seemed to focus more on the idea of weathering the storm, Slaughterhouse is all about not just standing firm, but pushing back. It’s fitting then, that it’s far and away the most musically and lyrically assertive album Hendrix has ever made, with a full seven of its 11 tracks registering as up-tempo foot-stompers ranging in mood from restless and feisty to downright fearsome. And true to her promise at the start of Project 5 that the second album would lean toward harp-infused acoustic blues, Hendrix’s snarly, Sonny Terry-inspired harmonica playing is as dominant in the arrangements as Maines’ arsenal of all things stringed. Two tracks in particular showcase that harp front and center: Elder Roma Wilson’s “Ain’t It a Shame,” which has been a staple of Hendrix’s live sets for half a decade now, and “One of These Mornings” (by J.C. Burris, nephew of Sonny Terry), on which Hendrix’s harmonica, voice, and stomping foot are the only instruments in the mix at all.