MOMMA Welcome to My Blue Sky (Polyvinyl) — Not every band makes the journey from precocious to seasoned on sturdy footing. Momma were mere whippersnappers when they made the national scene almost a decade ago, and their earliest album drops needed to be timed around school breaks. With their fourth album, Welcome to My Blue Sky, Momma aren’t necessarily mature — youthful messiness still crops up in the lyrics — but they are assured, flinging out indie-rock cracklers like aces from a cardsharp’s lucky deck. “I Want You (Fever)” shimmers and surges like vintage Belly, and “Last Kiss” crashes out with a shoegaze-y wall of sound. Etta Friedman and Allegra Weingarten are the stalwarts of the band, playing guitar, handling the vocals, and serving as the all-around creative core. Drummer Preston Fulks proves invaluable in giving the music heft and force, and bassist Aron Kobayashi Ritch merits extra credit for taking the lead in producing the album. He makes the material slick without smothering it; use headphone to luxuriate in the the fuzzy “Rodeo” or the layered “How to Breathe” for prime examples. There’s a sense that each track is always on the verge of exploding. Even the melodious guitar ballad “Take Me with You” closes with a rumbly groan that’s like a eruption revving up. Everyone’s safe with Momma. Soar with the following cuts: “Sincerely,” “Stay All Summer,” “Ohio All the Time,” and “My Old Street.”

TUNDE ADEBIMPE Thee Black Boltz (Sub Pop) — Although Tunde Adebimpe has had plenty of downtime from his main gig with TV on the Radio over the years, he had plenty of other things to pursue besides a solo music career. Most visibly, he’s amassed a cornucopia of acting roles in everything from Jonathan Demme’s artful Rachel Getting Married to blockbuster fare Spider-Man: Homecoming and Twisters. When assessing what was taken and left after a robbery from his garage led to him rediscovering old tapes of creative tinkering, Adebimpe decided the time was finally right to put a individual musical statement out to the world. Thee Black Boltz is scintillating, colossal, and inventive in ways that naturally call to mind Adebimpe’s main band. The pulsing, propulsive “Magnetic,” for instance, wouldn’t sound out of place in a TV on the Radio set. What’s thrilling about the album is the way Adebimpe basically stays in that lane while continually swerving towards the very edges of it, exploring all the possibilities available to him. “Ate the Moon” carries echoes of Peter Gabriel’s progged-up pop, and “Drop” is a dizzying slab of sideways soul. Adebimpe remains distinctive across the album while also playing chameleon games, whether taking on the guise of a charming crooner on “ILY” or taking up space in the netherworld created when Joy Division morphed into New Order on “Somebody New.” This is further proof that it doesn’t matter how long a solo debut takes. The only important measure is how good it is. And Thee Black Boltz is damn good. In addition to those already mentioned, check these cuts: “Pinstack,” “The Most,” “Blue,” and “Streetlight Nuevo.”