FLOOD

Though written at the same time as the songs chosen for his debut and captured, like those, at home on his four-track, these hushed compositions were intended solely for his family’s ears.

Nearly six years after the release of his sophomore album “Elvis Perkins in Dearland,” Elvis Perkins has returned with a vastly more minimal third full-length.

By far Title Fight’s most melodic album yet, “Hyperview” offers up a whole new side of the group—still aggressive, but in a very different way.

There is some heart on this album, but nowhere near enough soul.

This fifth full-length is no different, with frontman and songwriter Justin Ringle leading the five-piece through ten tracks of sad majesty.

Opener “Grand Edge, MI” starts off as a gentle, mournful lament before bursting into a bristling, tense existential anthem that’s all feedback guitars, crashing drums, and open wounds.

Anyway, the point is that this second solo album by Radiohead drummer Philip Selway does contain a good deal of heart.

Recorded and mixed in a week by legendary producer Joe Boyd (Pink Floyd, Nick Drake), Robyn Hitchcock’s latest LP—his twentieth solo record in a thirty-plus-year career—is a collection of covers and originals.

This third record from musical duo (and siblings) Angus & Julia Stone wasn’t meant to be.

Yet while the brothers’ compositions are monolithic—and almost monotone—in their post-grunge drudginess, they’re also full of verve.