FKA Twigs, Danny Brown, and Angel Olsen turn over brand-new leaves this October in music

Ambitious new albums by Angel Olsen, Danny Brown, or FKA Twigs would each be big adequate events to anchor a month of releases all their own. However this October? We get all 3, plus new music from an extremely stacked list of names we could not enter the heading: Nick Cavern, Big Burglar, Blood Orange, Jimmy Eat World, Floating Points, Neil Young, Caroline Polachek, and much more. Some artists, like Olsen, are trying out brand-new noises, while others, like Twigs, are restoring from the ground up. In other places artists return, comfortingly and reliably the exact same: Lil Yachty boards Lil Boat for a third journey out, Gucci Mane is back for Woptober part 2, and That Canine’s first album in 22 years still reveals the band’s earliest hallmarks. You’ll likewise find K-pop, queer pop, and anthemic power pop below. Here are 30 albums we can’t wait to hear in October.


October 4

Boris, LOVE & EVOL

While Sonic Youth is definitely one of the bands that’s baked into Boris’ DNA, the Japanese heavy rockers’ most current, LOVE & EVOL, is more concerned with proportion than “Star Power.” The album marks Boris’ transfer to normally garage-oriented label Third Male Records, however Atsuo, Takeshi, and Wata are as dedicated to drone dynamics and shivery daydream soundscapes as ever on the album’s lead single, “Love.” Also usually Boris is LOVE & EVOL‘s sweeping two-album scope and drawn-out song lengths, topped off by the 11- minute, 59- second impressive “Shadow Of Skull.” [Katie Rife]

Danny Brown, uknowhatimsayin ¿

The next stop on the wild trip that is Danny Brown’s discography finds the Detroit native backed by Q-Tip productions and joined by partners like Run The Jewels, JPEGMAFIA, and Blood Orange. Following the recent launching of his Viceland comedy-talk series, Danny’s House, Brown explains his 5th LP as “my variation of a stand-up funny album.” He explains, “Many of my close friends now aren’t rap artists– they’re comedians and actors. So I wished to produce something that blended humor with music. Something that was funny but not parody.” Lead singles “Best Life” and “Dirty Laundry” accomplish that, and record the rapper in the middle of yet another compelling evolution. [Kelsey J. Waite]

Nick Cave, Ghosteen

Nick Cavern is about to launch his 17 th full-length studio recording with the Bad Seeds, and in generally enthusiastic fashion, it’s a double album. Ghosteen‘s online launching on October 4 will follow a series of around the world “listening occasions” the day previously. Besides that, there’s not a load of details on the record, other than for the following poetically unclear quote from Cave: “The tunes on the very first album are the children/ The tunes on the 2nd album are their parents/ Ghosteen is a migrating spirit.” The tune titles, consisting of “Bright Horses” and “Sun Forest,” “Fireflies” and “Hollywood,” don’t use a lot more insight, but Ghosteen will be the first album composed in full after Cavern’s son’s death in 2015, and it will conclude the trilogy that includes Push The Sky Away and Skeleton Tree [Gwen Ihnat]

DIIV, Deceiver

The 3rd full-length from Brooklyn indie act DIIV assures to be transformative in more methods than one: Together with trimming the enthusiastic sprawl of 2016’s Is The Is Are down to a sleeker 10 tracks, Deceiver will be the very first release following frontman Zachary Cole Smith’s prolonged 2017 treatment for substance abuse. A study of addiction and discomfort, the album continues to expand the shoegaze-meets-post-punk vibe of the band’s previous work while embodying personal rebirth both musically and lyrically– as currently shown on preliminary single, “Skin Video game.” [Alex McLevy]

Angel Olsen, All Mirrors

From her early lo-fi bedroom recordings to 2017’s expansive My Female, Angel Olsen has made her tunes richer and fuller with each album, and her most current is her grandest yet. Although Olsen initially tape-recorded a solo, bare-bones variation of All Mirrors, the singer-songwriter eventually reunited with John Congleton– who produced her 2014 breakout, Burn Your Fire For No Witness— for a more elaborate take. With walls of synths and awakening strings from a 14- piece orchestra, All Mirrors is a strong work of high drama from an artist turning her sound as much as an11 [Laura Adamczyk]

SuperM, The 1st Mini Album

While SuperM may not be Korean music corporation SM Home entertainment’s very first supergroup, it is definitely its most enthusiastic effort. Already proclaimed “the Avengers of K-pop,” the guys of the newest seven-piece ensemble hail from some of the label’s most significant current acts– SHINee, EXO, WayV, and NCT– each group sonically various than the rest. With the intrinsic pledge that every member will be provided adequate opportunity to display their specific essence, SuperM needs to culminate in a cosmic blend of bass-beating hip-hop, R&B, speculative EDM, and unabashed pop. [Shannon Miller]

That Dog, Old LP

That Pet, the ’90 s-era alt-rockers who split after dropping three indelible albums, have actually been playing with brand-new songs because they reunited in 2011, however Old LP marks their first new album in 22 years. The band’s orchestral stress is alive and well on the brand-new material, which, as you can hear on the delicious title track, is often much heavier on strings than guitars. Rest assured, nevertheless, because tunes like “If You Just Didn’t Do It” and “Just The Method” are riddled with cathartic bursts of distortion that, as was typically their appeal, compellingly clash with the dynamic harmonies of singers Anna Waronker and Rachel Haden. A remarkable lineup of collaborators include Maya Rudolph, Blur’s Graham Coxon, The Go-Go’s Charlotte Caffey, and the great Randy Newman. [Randall Colburn]

Wilco, Ode To Pleasure

There hasn’t been a brand-new Wilco album because Schmilco, which was launched method back in the in the past times of September2016 Not that those three years were a period of lack of exercise: Bandleader Jeff Tweedy, in particular, has kept busy, releasing a narrative, making another record with Mavis Staples, and releasing a trio of solo albums– the 3rd of which, Warmer, just came out in April. The new album promises to take its title regards, an invite to cut the dread that’s installed in the time that’s passed between Schmilco and Ode To Pleasure Though, this is Wilco we’re discussing, so there’s still an undercurrent of dread, at least. In a statement introducing the tranquil strummer “Love Is All Over (Beware),” Tweedy says” I guess the tune is sort of a warning to myself that YES, Love IS ALL OVER, however also BEWARE! I can’t let that feeling discharge me of my duty to produce more.” [Erik Adams]

Also due October 4: Carla Dal Forno, Search For Sharp; The Menzingers, Hello Exile; The Penguin Cafe, Handfuls Of Night


October 11

Huge Thief, 2 Hands

You might anticipate 2 Hands to be some sort of toss-off, what with Brooklyn’s Big Burglar having already dropped one of the year’s most engaging records, U.F.O.F, this past Might. However, no, 2 Hands is every bit as interesting as its predecessor, functioning as a muscular, grounded counterpoint to the heavenly folk of U.F.O.F. “I seem like they’re siblings,” singer Adrianne Lenker told Stereogum “They come from the same place, and all the tunes were written in the very same time period, and they were forming in the womb of all of our spirits. So there’s some connective DNA, but they’re very different beings.” Lead single “Not,” for example, represents an angrier, louder approach, with a freewheeling electrical guitar solo piercing its back half like daggers of white lightning. [Randall Colburn]

Blood Orange, Fields

Blood Orange’s 2018 album, Negro Swan, has a slippery energy that avoids easy category, and Blood Orange mastermind Devonté Hynes continues to challenge himself musically with his next project, a classical album called Fields Here, Hynes puts his dynamic structures completely into the hands of Chicago quartet Third Coast Percussion, permitting them to organize and orchestrate his sheet music and digital files however they choose. The result, according to Third Coast, does have Hynes’ signature “warm radiance.” However it’s also “mostly pitch-, texture- and harmony-driven music”– to put it simply, absolutely not dance floor-ready. [Katie Rife]

Kim Gordon, No Home Record

Kim Gordon’s very first solo single, 2016’s “Murdered Out” was a bit discordant, however had some appealingly rage-fueled riffs to cover the tune around. The same can’t actually be stated for the first tunes from the founding Sonic Youth member’s approaching solo effort, No House Record. “Air BnB”‘s “this is not a video” setup is clever, as the tune tirades versus the false security of a phony home. “Sketch Artist” gets even more speculative: Gordon’s somnambulant talk-singing browses screeching cacophony only periodically tamed by relaxing strings that run away prematurely, a world where somehow the striking of wind chimes is the most violent thing you can possibly imagine. Maybe not for everybody, but it’s outstanding that Gordon is still discovering new ways to express (and stretch) herself. [Gwen Ihnat]

Also due October 11: Allah-Las, LAHS; Cursive, Get Fixed; Lindstrøm, On A Clear Day I Can See You Permanently

Due October 17: Gucci Hair, Woptober II


October 18

Battles, Juice B Crypts

Battles are now a supergroup of two, a membership that nevertheless sounds as huge and twisty as the four-man configuration that turned listeners inside-out on 2007’s Mirrored The brand-new Juice B Crypts is a feature-laden affair, with a guest list that consists of Tune-Yards and Shabazz Palaces; Fights’ place within prog- and art-rock customs is cemented by appearances from Yes’ Jon Anderson and Liquid Liquid’s Sal Principato, the latter yelping over the martial rhythms of “Titanium 2 Action” as if in reaction to the more youthful variation of himself permanently echoing away within “Cavern.” Drummer John Stanier and multi-instrumentalist Ian Williams lock together to form the inhumanly tight core of Juice B Crypts, slipping in and out of beats and loops with remarkable accuracy. [Erik Adams]

Drifting Points, Crush

Sam Shepherd’s 2015 launching under the Floating Points name, Elaenia, was crafted over a five-year period, and you might hear it in the album’s reflective, precise plans. By contrast, forthcoming follow-up Crush was recorded in an explosive five-day stretch, leading to an urgent, however no less thoughtful, piece of work from among electronic music’s most appealing manufacturers. On Crush, Shepherd is processing society’s current “pressure-cooker environment” with highly speculative, sometimes oblique tracks that assess nature and its destruction– an album of equal parts wonder and alarm from an endlessly probing innovative mind. [Kelsey J. Waite]

Jimmy Eat World, Surviving

Practically 20 years gotten rid of from the heavy-rotation heyday of “The Middle” (well, the first one), Jimmy Consume World is still kicking out brilliant, regular blasts of heart-on-the-sleeve power pop. The band’s 10 th studio album works in some fresh sonic flourishes, like the cheesetastic ’80 s saxophone that arrives near completion of lead single “All The Way (Stay).” But Surviving does not wander off too far from the genuine, anthemic noise that has actually made these men a life time slot on the soundtrack of eternal adolescence Their appeal remains in the delivery of “Shipment”– the way frontman Jim Adkins can still offer a primo line of prom-night confession like, “It’s only special when due to the fact that there’s an ending.” [A.A. Dowd]

Karen & The Sorrows, Guaranteed Broken Heart

Songs about separations appear in every genre of music, however there’s something about a broken heart and a nation twang that go together like biscuits and gravy. And singer-songwriter Karen Pittelman’s loss is the listener’s gain on Surefire Broken Heart, the brand-new album from Pittelman’s group Karen & The Sorrows. In 2018, the queer-country pioneers lost 2 of their starting members, Tami Johnson and Elana Redfield, the latter of whom is likewise Pittelman’s ex. And the agony of processing both an expert and an individual split at the same time comes through on the album’s title track, where the deceptively positive, Dolly Parton-esque music puts a stretched smile on painfully raw lyrics. [Katie Rife]

Mark Lanegan Band, Someone’s Knocking

Ever because Bubblegum, the 2004 album that saw the previous Screaming Trees vocalist release his work under the name “Mark Lanegan Band” for the first time, the creatively restless musician has actually used the sobriquet as an outlet for his fascination with dirty, bluesy rock ‘n’ roll, albeit with a progressively increasing component of electronic instrumentation. Somebody’s Knocking continues to straddle the line between Iggy Pop-style dirge-punk and emotional, nearly Leonard Cohen-esque, meditations on life and death. [Alex McLevy]

Caroline Polachek, Pang

Putting a tune called “Parachute” on her first solo album might be a subconscious expression of anxiety for previous Chairlift frontwoman Caroline Polachek. Just she can say for sure. However it’s likewise an apt description of her music: Polachek’s stint working as a songwriter for Beyoncé is shown in the somewhat unorthodox, glitchy beats on “Ocean Of Tears” and “Door,” the first two singles off of her upcoming album Pang. However floating above the rhythm are layers of gossamer dream-pop that evoke a jellyfish bobbing in open water– or a fragile silk parachute puffing up with air, as the case might be. [Katie Rife]

Vagabon, Vagabon

For her self-titled sophomore album, Vagabon is shifting from guitar-driven hooks to a digital, more experimental synth-heavy soundscape. Not one to shy from deeply emotional sentiments, she delivers lyrics like “I came back around/ Knowing you ‘d trash my shit all over again/ It’s funny how I’ll never ever regret/ Going low for you” with detaining genuineness. As an author and manufacturer, Vagabon is still evaluating the bounds and tones of her own sound, refusing to remain connected to a single genre. [Shannon Miller]

White Reaper, You Deserve Love

White Reaper tends to treat its album titles like sly jokes; this is a band, after all, that called its very first LP White Reaper Does It Once Again and its second one The World’s Finest American Band Perhaps they were only half-kidding last time around, however– if that victorious sophomore record didn’t reveal the Kentucky garage rockers as, well, the world’s finest American band, it wasn’t for an absence of attempting. And judging from the supremely appealing singles from You Deserve Love, White Reaper’s by-all-appearances sincerely titled 3rd album, that superlative isn’t so far out of reach. “Genuine Long Period Of Time,” especially, is happiness. [A.A. Dowd]

Anna Wise, As If It Were Permanently

A departure from her previous EPs The Feminine Acts I and II, Kendrick Lamar’s veteran, Grammy-winning collaborator Anna Wise is reserving her more politically charged voice to dive into something more individual. Like its previously released single, “Nerve,” Wise explores intimate life lessons by means of gauzy melodies and speculative alt-R & B. Boasting a lineup of excellent partners like Little Simz and Denzel Curry, As If It Were Forever has the features of a debuting effort as distinct as her otherworldly vocals. [Shannon Miller]

Likewise due October 18: Clipping, There Existed A Dependency To Blood; Foals, Everything Not Conserved Will Be Lost Pt. 2; Nils Frahm, All Encores; Hovvdy, Heavy Lifter; Matana Roberts, Coin Chapter 4: Memphis


October 25

Black Marble, Bigger Than Life

For the 3rd release from Black Marble, a.k.a. minimalist synth-pop artist Chris Stewart, the artist moved from New York to Los Angeles, with the sun-dappled environs supplying brand-new inspiration for his brand of pulsing, lo-fi retro-’80 s grooves. His first release because 2016’s It’s Immaterial— and his very first for the Spiritual Bones label– the artist as soon as again kept whatever analog, as apparent from the hazy sheen of single “One Eye Open.” [Alex McLevy]

Cigarettes After Sex, Cry

On sophomore album Cry, Cigarettes After Sex returns to the sleepy, attractive, often unfortunate dream pop the group waded around in on its 2017 self-titled debut Frontman Greg Gonzalez once again unfurls a deep yearning, acknowledging that knit within every welcome, kiss, or fuck is the pains of fleeting satisfaction. The chorus for airy lead single “Incredible” sets the vulnerable tone: “I’m offering you all my, offering you all my, giving you all my love.” [Laura Adamczyk]

FKA Branches, MAGDALENE

In April, FKA Twigs made a spectacular return after five years away with the haunting “ Cellophane,” the video for which includes Twigs artfully pole-dancing into a fantasy land constructed by Björk collaborator Andrew Thomas Huang. Bring the strong expectations set by that very first single, and the more recent “holy terrain,” LP2 lastly arrives this month with considerable contributions from Nicolas Jaar and work from “a host of other partners.” MAGDALENE was composed in a challenging duration for Twigs, following laparoscopic surgery and her breakup from star Robert Pattinson, and discovers the U.K. art-pop artist “reconfiguring, mentally and physically.” [Kelsey J. Waite]

Guided By Voices, Sweating The Plague

With the release of its 29 th album, Sweating The Plague, Guided By Voices is now just one album brief of a 30 rack. Dayton, Ohio’s own rock ‘n’ roll torchbearers have constantly played an invigorating mix of eccentric indie, bombastic arena, and beer-swilling garage rock, and a press release builds on this combination by announcing that Sweating The Plague was “constructed as a traditional 12- song album experience, made to be played loud.” Furthering the sense of everything old being new once again are the returns of Doug Gillard on guitar and Kevin March on drums, a so-called “modern-day classic” lineup that revitalizes the band’s sound on phase and record. [Katie Rife]

Steve Hauschildt, Nonlin

Steve Hauschildt, the Chicago-based artist and Emeralds alum, returns simply a year after his well-known Dissolvi with an LP he explains as “freer, leaner, and looser” than its predecessor. In a press release, Hauschildt goes on to state Nonlin imbues “his signature grid-oriented and hand-played techniques” with the “improvisatory and generative nature of modular systems.” To put it just, this is immersive, hypnotic electronica that layers cosmic significance into its wash of plain, star-dusted noises. [Randall Colburn]

King Princess, Cheap Queen

When Fiona Apple rides for someone, you take note, and there’s no contemporary artist Apple’s repped more difficult than King Princess, the name of 20- year-old singer Mikaela Straus. A diverse collection of R&B- inflected queer pop, King Princess’ launching LP is packed with tunes about, in Straus’ words, “getting my heart smashed.” And, yes, there’s plenty of heartbreak on pre-release songs like “Ain’t Together,” but it’s the positive groove of the title track that marks Straus as a vocalist to watch. “I can be bad often,” she sings, a smirk in her voice, “I’m a real queen, I can make grown guys weep.” We do not doubt it. [Randall Colburn]

Michael Kiwanuka, Kiwanuka

Everything about “You Ain’t The Issue,” the lead single off of British singer-songwriter Michel Kiwanuka’s self-titled 3rd album, radiates optimism. It’s a sunny, toe-tapping tune with a happy retro sensibility and lyrics about flexible and forgetting– a far cry from his 2017 single “Cold Little Heart,” a song so significant, it acted as the style music for HBO’s Huge Little Lies Of his new outlook, Kiwanuka states, “It has to do with self-acceptance, [but] in a more victorious rather than melancholy method.” That, and tambourine. Great deals of tambourine. [Katie Rife]

Anna Meredith, FIBS

Anna Meredith followed up 2016’s well-known Varmints by scoring Bo Burnham’s Eighth Grade, however now the composer is back with a brand-new album she explains as “45 minutes of technicolour maximalism” and “nearly continuous balanced reinvention.” You can hear it on lead single “Concubine,” a kaleidoscopic track that seems like a hundred distressed, lovestruck hearts beating simultaneously. More enthusiastic than Varmints, FIBS is favorably strewn with instruments, of both the acoustic and electronic range. But it’s not all so intense–” moonmoons” is decidedly more relaxed, a rippling bath of synths that elevates in temperature level without ever scalding. [Randall Colburn]

Swans, Leaving Significance

Swans’ very first record since 2016’s The Glowing Male is also its first considering that frontman Michael Gira disbanded the group of artists who had comprised the act because2010 Swans is now made up of “a revolving cast of artists, selected for both their musical and individual character, selected according to what I intuit best matches the atmosphere in which I ‘d like to see the songs I have actually composed presented,” Gira stated in a news release. Members of Gira’s Angels Of Light are amongst these collaborators, and their impact is felt in lead single “It’s Coming It’s Real,” which stimulates the ghostly folk leanings of his side job more than it does the penalizing sense of desert of Swans’ cathartic noise symphonies. [Randall Colburn]

Likewise due October 25: Anna Of The North, Dream Woman; Hemlock Ernst, Back At Your House; Josh Homme, Desert Sessions Vol. 11 and 12; Ariel Pink, Odditties Sodomies Vol. 2; Meemo Comma, Sleepmoss; Allison Moorer, BLOOD; Sunn O))), Pyroclasts; Neil Young And Crazy Horse, Colorado; Young Guv, GUV II


TBA

Actress, Karma And Desire

There’s not much details out there yet about the forthcoming Karma And Desire, Darren Cunningham’s seventh LP under the Actress name. The artist’s tweet revealing the release keeps in mind merely, “Out October 2019,” and, “Mixed by Chaos III.” Who Chaos III may be, exactly, is anybody’s guess, though offered that the U.K. techno producer has been dealing with AI in current years (see: the 2018 mini-album Young Paint) there is a strong possibility that it’s another “discovering program.” But whatever direction Karma And Desire takes, we hope the music remains as physical and lively as it is heady. [Kelsey J. Waite]

Also due in October: Lil Yachty, Lil Boat 3

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Angie Ronson

Angie Ronson is Editor-in-Chief at THRS. She covers the transformative impact of new technology on all sectors.