WESTSIDE COWBOY It Goes On (Island) — Sometimes when a band comes together, it takes a while for things to really gel. Then there are those instances when the pieces fit so firmly and quickly that it’s a kind of kismet. Consider Westside Cowboy to be the latter. A mere three years after forming at the Royal Northern College of Music, in Manchester, the quartet has collected accolades and gotten a well-earned increase in attention with every new music release and live gig. The band’s debut full-length, It Goes On, isn’t likely to disrupt that trajectory. Working with producer Loren Humphrey, of the band Guards, Westside Cowboy offers a set of tracks that are strikingly assured. Album opener “Kick Stones (The Boys)” suggests a less jittery version of the Feelies, and “Pin Up Boys” expertly builds to a scale that is restrained and anthemic at the same time. As confident as they sound when delivering a more straightforward rock song, such as the urgent “Paperchains,” Westside Cowboy distinguishes themselves most with the cuts that happily wallow in the more downbeat. Consider the slump-shouldered “Well Done Kid, You Did It” (“If you ever find out what happened to me/ Hold onto that thought, hold onto that thought/ And save me the pain, don’t bring it to me/ That person has gone, that person has gone”), the lovely warble of “Coyote,” and the appealingly stark “Take My Leaving As I Love You.” Then, keep it going with these cuts: “Dobro,” “Worried Age,” “Patchwork,” and “You Could Have Died There On the Dancefloor.”

SAM AND LOUISE SULLIVAN Sweet Enough (Historic New Jersey) — Sam and Louise Sullivan are a brother and sister who’ve been playing music together since they were but just wee ones. Raised by restlessly creative parents, the Sullivan siblings craft songs that evoke familiar styles without ever feeling particularly bound by them. “Down on Love” is indie funk stripped to its bones, and “Since I Left” is a folk song turned inside out. The tracks on Sweet Enough, officially their third album (though there are enough stray releases to complicate the count), are odd without becoming off-putting. It’s freak folk with the freak turned way down. The approachability is demonstrated by how often Sam and Louise invite comparisons to some of the most appealing performers in the canon. The title cut bridges the gap between Carly Simon and Rickie Lee Jones, and “After All These Years” is like if Haim decided they wanted to make an album that was their version Tom Petty’s understatement on Wildflowers. The country-tinged “Irish Goodbye” is probably the closest the duo come to a straightforward tack, and even that is askew enough to leave the listener wondering. It’s good to listen in on this family matter. Feel sweet on the following: “There You Go Again,” “Doing Time,” and “Treehugger.”

THE LINDA LINDAS Gotta Get Out (Reprise) — The Linda Lindas declare they’re up to something different from the very first moments of Gotta Get Out, their third album. The Angelenos who went viral with a precocious punk howl against a bigoted brat mostly adhered to that mode across two full-length releases on Dischord. Now on a major label, the Linda Lindas launch their new album with the burbling synths and electro-pop of the title cut. From there, the fearsome foursome are off to pinball across genres. The punk remains, and is indeed rawer and angrier than ever: They rage convincingly on tracks such as “Blood on Our Hands” and “Break.” But then, they also tinker freely with new wave on “High Horse, sassy pop on “Everybody Told Me,” and enlist no less than Hayley Williams to emphasize the Paramore-ness of “Closer.” In general, their pop sense is strong — “Nothing Left” is like the Go-Go’s had they kept just a little more of the raw edge heard in their earliest live shows — and the overall vibe is that the band is stretching themselves out so they can bridge over the very real pitfall of novelty status. It’s too bad the Linda Lindas already used the title Growing Up for their debut album. It would suit this set. Gotta get these cuts: “Burning Out,” “I Could Be Wrong,” and “Okay.”