OMNI Souvenir (Sub Pop) — It’s been five years since the previous album by the Atlanta band Omni, consisting mainly of Frankie Broyles and Philip Frobos, and there’s a sense of long-stored potential energy made kinetic across their new effort, Souvenir. Omni make post-punk music that accepts influences from divergent sonic wonders that came both before and after their chosen genre’s heyday. “Compliment” is like Gang of Four if they decided to incorporate Beatles-style guitar breakdowns, and “Exacto” takes a stab at adding Bowie-esque suaveness to the form. The experimentation is more playful than jarring, an assertion that any old digression is fair game as long as the resulting track is punchy, catchy, and duly insinuating. Izzy Glaudini, of the psych rock act Automatic, provides vocals on the vibrant, spiky “Plastic Pyramid,” as well as “Verdict” and “F1,” a welcome spike of contrast. That addition heightens the sense that Omni is opting to explore all they can do, like they’re swabbing the mop into every corner to get the whole platform to a dazzling gleam. Leave extra room in your luggage for the following tracks: “INTL Waters,” “Granite Kiss,” and “To Be Rude.”

WILLIAM DOYLE Springs Eternal (Tough Love) — For his latest album, Springs Eternal, venerable English singer-songwriter William Doyle clearly had gloomy global outlooks on his mind. Both literally and metaphorically, Doyle keeps orbiting back to climate change and its effects. If the lyrics dwell in those foreboding zone — particularly with repeated use of water imagery — the music generally pushes back with the lightness and liveliness that suggests the hope implied but left unstated in the album’s title. “Now in Motion” is a piece of lithe, samba-fied funk that Beck might have made circa Midnite Vultures, and “Castawayed” recalls the theatrical expansiveness of the Decemberists. Doyle is a fine practitioner of the pop grandeur invented by the Liverpool lads all those years ago; “Soft to the Touch” is like Badly Drawn Boy as produced by George Martin, and “Cannot Unsee” is intense, inventive, and ornate, like XTC after cosplaying as the Dukes of the Stratosphear freed them to be as orchestrally lush as they obviously always wanted. Doyle’s work across the album is lavish and detailed, making splendor out of restless fretting. In addition to the cuts already mentioned, check out “Relentless Melt,” “Surrender Yourself,” and “A Long Life.”