It’s tempting to categorise The Coral as landfill indie resurgence, musicians of Noel Gallagher and Richard Ashcroft’s ilk, who provoke a response of “Oh, they’re still going? Really?” And going on all available evidence, it would be fair to do so. You might even be surprised to hear that they put out seven whole studio albums between 2002 and 2010; they were never necessarily bad, just a bit inessential.

This evening Mr. Hitchcock played not a single one of my (many) favorite songs of his. It did not matter in the slightest. The gig was excellent. Possibly even because of this, in that the way the set developed and unfolded kept one in a constant state of wonder and appreciation.

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,