The Killers have been away nearly as long as LCD Soundsystem, but there's strangely little urgency surrounding Wonderful Wonderful, their first album in five years. Brandon Flowers and Co. led the wave of synth-dependent bands who've dominated alt-rock for the last decade, but it's their sheer goofiness ("Life to Come" implores us to "dropkick the shame") and knack for dynamite singles, not their albums, that's ensured their place in the pantheon. Wonderful Wonderful is their most anonymous effort since 2008's Day & Age, which is unfortunate, considering its two standouts: "The Man," an excessively silly Miami Vice-style theme song (the cash-register noise!), and "Run for Cover," which targets the Trumpocalypse more explicitly than anything on the LCD record, rhyming "progenitors" with "senators" and "apology" with "toxicology." Both are singles. — Dan Weiss
(Jagjaguwar *** 1/2)
Los Angeles songwriter Moses Sumney's talent has been teased on a series of EPs, singles, and festival appearances over the last few years, and it comes to full fruition on Aromanticism, an 11-song collection that takes its title seriously. If 99 percent of pop songs revolve around romantic love, Sumney is happy to be among the 1 percent. On the spoken-word interlude "Stoicism," he recalls being dropped off by his mother as a child and having his "I love you" returned only with "Thank you." And on "Doomed," the centerpiece of the asymmetrical, quietly beautiful album, the singer — who grew up in Southern California and Ghana and who has toured with Sufjan Stevens and Karen O and contributed to Solange's A Seat at the Table — employs his delicate, seductive falsetto to ask: "Am I vital if my heart is idle? Am I doomed?" Based on Aromanticism's artistic accomplishments, the answers would seem to be yes and no. — Dan DeLuca
Moses Sumney with Xenia Rubinos at the First Unitarian Church, 2125 Chestnut St. at 8 p.m. Oct. 12. $20. r5productions.com.
Carnival III: The Fall and Rise of a Refugee
(Heads Music/Legacy Recordings ***)