It’s courageous to eschew an artistic style that brought professional notoriety and the stamp of being a trendsetter. This was the deliberate choice of Anthony Gonzalez on Junk, M83‘s first studio album since the widely acclaimed, electro-pop monument Hurry Up, We’re Dreaming.

In the run-up to Junk, Anthony Gonzalez said that “on the last album, there was too much of me,” referring to his centerpiece vocals on Hurry Up, We’re Dreaming. The 2011 record broke through to the mainstream with Gonzalez fronting the majority of his M83 compositions for the first time, a role he apparently found limiting.

Nothing Left Unsaid explores the events of Gloria Vanderbilt’s storied and very public life.

Perhaps the nadir of The Simpsons’ decline is the 19th-season episode “That ‘90s Show,” an anachronistic flashback episode that needlessly rewrites the history of the beloved show and its titular family.

Andrew Savage works through tough emotions on the title track to the new Parquet Courts record. He questions his own emotional sincerity after a breakup and parses whether his reactions were the result of societal programming. Was he acting, giving a “human performance?” Did he, in his words, simply behave as a malfunctioning apparatus?

It’s been eight years since Arctic Monkeys’ Alex Turner and Miles Kane (known also for his solo work and with the trio The Rascals) released The Age of Understatement and revealed their collaboration to be more than a working holiday. And if Everything You’ve Come to Expect doesn’t cut significantly into Turner’s time with the Monkeys, it makes a strong case for a shorter wait between records than the eight years since Understatement.

Flying the twee flag is perhaps a young person’s game, and Frankie Cosmos continues to play it like, say, an extremely spry Robert Pollard-prolifically and without much of a filter, her catalog now stacking band-and-studio recordings atop dozens of bedroom-to-Bandcamp affairs. In interviews,

Havana Motor Club will work as a glimpse into the lives of several Cuban car-nuts and their love of racing.

“Get out your dictionaries,” Andrew Bird sings on the title song to his latest solo full-length, an apt line for someone whose lyrics often read like the New York Times crossword puzzle. Through his dozen-plus albums, Bird has used his verbosity as a shield, a way of keeping some distance from the listener.