Radiohead drummer Philip Selway has offered a record of his own: Familial, a quiet and nearly percussion-free effort that is nuanced and introspective. Some of us may find it a wee bit boring, but there's a backstory to it that makes all the difference. 

Damien Jurado's solo album St. Bartlett was produced by Richard Swift, himself a successful independent singer-songwriter. The duo spent a few days together at the end of August and banged out another record of cover songs, written by acts as diverse as John Denver and Kraftwerk, and they make them completely their own. Confused? We unravel it all.

Crazy For You, the latest from Best Coast, is awash in good vibes and reverb. Is it too much, or too little, of a good thing? You podcast pals engage in a triumphant discussion.

You Are Not Alone, the latest from gospel legend Mavis Staples, adds just the right amount of Now to a whole good lotta Then.

Becoming A Jackal, the full-length debut from Villagers, is lyrically rich, thematically brilliant and musically delightful. Don't miss it -- or this equally rich, brilliant and delightful podcast about the record.

Infinite Arms, the follow-up to 2007's Cease To Begin, features Ben Bridwell's latest lineup as Band Of Horses. We like it, on the whole, but that doesn't stop us from picking some nits. We also welcome our colleague Jenna Carlesso to the podcast fold.

High Violet, the latest from The National, is getting crazy buzz, but how does it stack up to 2007's Boxer? And, regardless of that, is it worth listening to? We tell you!

Brooklyn duo Das Racist has released a mixtape called Shut Up, Dude. Dudes, it's awesome. It takes rap to a very smart place with wicked rhymes and devastating -- but wry and entertaining -- social commentary. What's not to love? Well, it's Regine's last podcast. That's not to love.

Congratulations, the latest from hipster-darlings MGMT, is a record that deserves nothing of the sort, according to at least two of us.

The latest from Ted Leo and The Pharmacists, The Brutalist Bricks, definitely qualifies as ass-kicking rock-and-roll. But how does it stack up to the band's previous efforts?