BOYGENIUS The Rest (Interscope) — Let’s hear it for the boys. Let’s give the boys a hand. Carrying four new tracks like a baton they all grip, Julien Baker, Phoebe Bridgers, and Lucy Dacus cross the finish line together to close out their yearlong victory lap. If The Rest feels more like an addendum than a collection of vital new creations that were burning to break free, well, that seems only appropriate. There’s a relaxed, mildly sedate, more casual feel to the EP that recalls their founding days, when their warm friendship and mutual appreciation were the distinguishing factors to their art. After inspiring stadium singalongs across the globe, there’s a sense of boygenius reasserting their comfort in operating with smallness and modesty. Everything that made their full-length a triumph is still present: the resonantly emotional lyrics, the elegantly intertwining vocals, the melodies that insinuate themselves more deeply with each playing, and, above all else, the general sensibility that’s like hearts turned inside out. All the tracks are choice, but the woundingly tender “Voyager” is the standout.

GLEN HANSARD All That Was East Is West of Me Now (Anti-) — The title of Glen Hansard’s new album, his fifth solo outing, is an acknowledgement that he’s crossed a line where there are likely more years behind him than ahead of him. Rather than nudging him into a somber mode, Hansard is energized on the album. He’s got art to share, and time’s a wastin’. At times, the album comes across as Hansard’s demonstration of how ably he can work in the general zone of any number of venerated singer-songwriters who have come before him. “Down on Our Knees” edges up to Nick Cave’s charismatic danger, “There’s No Mountain” recalls the comforting warble of vintage Cat Stevens, and “Between Us There Is Music” manages the unlikely feat of being even more Bonnie “Prince” Billier than Bonnie “Prince” Billy. All of this never comes across as pastiche. Instead, it’s roaming that Hansard earns with expert songwriting and impassioned performing that makes every permutation solidly his own. On “Bearing Witness,” Hansard even approaches Bob Dylan’s modern rambles without seemingly like a mere follower. David Odlum, one of Hansard’s old bandmates in the Frames, produces the album and gives it a robustness that swells the soul. In addition to cuts already cited, set your compass to “Down on Our Knees,” “Ghost,” and the seething, massive “The Feast of St. John.”