Jeremy Enigk knows what it feels like to live in the shadow of early success. His beloved Seattle band Sunny Day Real Estate made four full-lengths, each worthy of a place in the pantheon of classic ’90s punk-adjacent guitar music. But the group’s ’94 Sub Pop debut, Diary, is the sort of record that routinely attracts “Greatest Emo Album Ever” accolades, despite the band’s public ambivalence about that particular genre tag. Enigk’s solo career has followed a similar path, in that his more recent output remains eclipsed by the orchestral maximalism of ’96’s Return of the Frog Queen, recorded during Sunny Day’s first (of three) breakups. But two classic albums are plenty to keep fans’ appetites whetted for the new material he announced through a crowd-funding campaign last year. NATHAN TUCKER