ABBA is back?! (And 20 more albums we can’t wait to hear in November)

Summer Walker’s debut album Over It was raw, vulnerable, and absolutely stacked with impressive features. Jhené Aiko, Drake, Usher, PARTYNEXTDOOR, 6LACK, and A Boogie wit da Hoodie all appeared on the record that landed Walker at No. 1 on the Billboard charts and made her the reigning queen of sad Black girl slow jams. Walker’s upcoming album is titled Still Over It and its first single, “Ex For A Reason,” promises more of the same—in a good way. The song features JT from City Girls and has Walker’s silky vocals and the same feisty, unflinchingly honest lyricism for which she’s become known. If the rest of the album follows suit, Walker could evade that dreaded sophomore slump. [Shanicka Anderson]

Written largely throughout 2020 in isolation, Courtney Barnett’s third album, Things Take Time, Take Time, provides ample space for the Australian singer-songwriter to do what she does best: create soothingly contemplative and cautiously hopeful music about the minutiae of everyday life. Early singles have foregone the lo-fi rock of her recent work for something softer and more melodious, indicating a stripped-down record that will welcome listeners into Barnett’s intimate world and invite them to stay awhile. [Cameron Scheetz]

When Holly Humberstone released last year, we described her as like “Lorde filtered through the style of early Julien Baker (with flourishes of Billie Eilish’s softer side and Taylor Swift’s lyrical wit).” But with this new EP, she’s evolved her sound further, incorporating ’80s pop grooves and skittering electronica with aplomb. And with lyrics like “I know I’m only young but I’m not a fucking idiot” (off single “Please Don’t Leave Just Yet”), she again demonstrates a knack for the superb fuck-you turns of phrase that make her music so memorable. [Alex McLevy]

has ; it’s evident fans have been eagerly awaiting new music from the English punks. The band’s upcoming record has been touted as being its most mature yet, and lead single “The Beachland Ballroom” has frontman Joe Talbot giving his harsh, raspy voice a rest, showing that he can tackle a gentle track just as well as the brash songs that listeners associate with the group. For a band that’s often meme-ified on Twitter for its daft lyrics, it’ll be interesting to find out what a more refined side to IDLES will be like. [Tatiana Tenreyro]

Any new release from Jon Hopkins, one of the best instrumental electronic music composers currently operating (and whose last album, Singularity, was one of ), is already a must-hear. But this one sounds especially intriguing: He describes it thusly: “An album with no beats, not one drum sound, something that is closer to a classical symphony than a dance / electronica record. Something that is more like having an experience than listening to a piece of music.” Combine that with his instructions that it’s best heard in one sitting, lying down in the dark, and you’ve got the most compelling hook of any album released this month. [Alex McLevy]

If , Land Of Talk’s superb 2020 album, was a gauzy and restrained look at weighty and troubling themes, then new EP Calming Night Partner looks to bring reassurance, not condemnation. As befitting its title, the record (recorded in the midst of the pandemic last year) takes up issues of both inner and outer pain in order to discover paths towards healing—and as single “Moment Feed” suggests, frontperson Lizzie Powell is bringing a more urgent sense of rhythm and musicality to that project. [Alex McLevy]

It’s hard to imagine the next few years without numerous artists, across all mediums, grappling with the various forms of emotional fallout generated by the past 18 months (and counting). But thankfully, that includes the best—and this month, it brings us former Sonic Youth-er Lee Renaldo’s In Virus Times, a four-part, 20-plus minute instrumental acoustic project, in which the guitarist attempted to capture the sense of unmoving ennui 2020 created, and how (in Renaldo’s own words) the “minimal quality reflects the sense of ‘motionless time’ that many of us felt.” Sometimes, we need to process the past to move forward; add the longtime musician’s newest work to that burgeoning canon. [Alex McLevy]

In the early 2010s, dreamy indie outfit Oberhofer rode the “chillwave” to rapid acclaim, garnering a record deal, festival slots, and a handful of. Though his work’s been largely behind-the-scenes since 2015 album Chronovision, Brad Oberhofer reemerges this fall with Smothered, a defiantly fun and carefree collection of pop songs with an experimental edge, like cathartic mission statement “Let It Go,” and “SUNSHiiNE,” featuring Shamir (and a guitar solo from The Strokes’ Nick Valensi). [Cameron Scheetz]

Speedy Ortiz began life with Sadie Dupuis writing and performing every song by herself. Now, a decade into her career, the musician (who has continued her solo work under the sad13 moniker) has returned to her first recorded materials from 10 years ago, combining the Cop Kicker EP, The Death Of Speedy Ortiz LP, bonus material, and previously unreleased songs, all remixed and remastered. It’s a chance to hear the sprawling, noisy, and rawer-edged music that first garnered her acclaim; as new single “Cutco” reveals, it’s a sort of “Sadie essentials” sound—the tenor and style of a rough and exuberant artist just beginning to realize the extent of her talent. [Alex McLevy]

Sad girl fall will be off to the races when Taylor Swift drops Red (Taylor’s Version). After Fearless (Taylor’s Version) and the recent surprise drop of “Wildest Dreams (Taylor’s Version),” Swift will relaunch her crucial heartbreak album next. Prepare yourself for all 30 tracks (!) that were originally meant to be on Red, including new collaborations with Phoebe Bridgers and Chris Stapleton. The world will also hear the 10-minute long “All Too Well,” but who are we kidding—no one can really be emotionally ready for that. [Saloni Gajjar]

With Adele’s just around the corner, it’s time to get the tissues and a comfy chair ready, because she’s laying everything from the last six years on the table. While she doesn’t really tread into new instrumental or vocal territory with her single “,” she’s always rolling in the deep with powerhouse vocals and heart-wrenching emotional potency. There’s something about Adele’s music that always hurts so good—and while she’s dealt with heartbreak eloquently many times before, with a full-fledged divorce album on the way, we might see some new, messier sides to the singer. [Gabrielle Sanchez]

Birthed by a 2016 festival performance—in which Chelsea Wolfe, her bandmate Ben Chisholm, and Cave In singer-guitarist Stephen Brodsky joined Converge for a set of the band’s reworked material—this new release sees the seven-piece collaborative effort tackling 11 brand-new tracks. As demonstrated by the lead single and title track, the results are pulling each artist a little ways out of their usual lanes, with the goth-metal bombast certainly familiar territory, but bearing an edge of each other’s strengths that bring something new to the mix. Most compelling is the fusion of Wolfe’s haunting, ethereal voice with Bannon’s ferocious howls. [Alex McLevy]

For as consistently excellent as Ovlov’s music has been, a churning roil of fuzzed-out indie rock that would’ve nestled comfortably amongst the tracks on any mid-90s alt-rock playlist, it’s sometimes seemed to arrive in inverse proportion to the band’s breakups and hiatuses. Luckily, songwriter Steve Hartlett has gotten the band back together for the first record since 2018’s Tru, and the results seem to veer even further into exploratory pop territory (so expertly mined by Hartlett’s other project, Stove), while retaining the chugging guitar riffs that define the band’s effortlessly engaging sound. We know—it’s only rock ’n’ roll, but we like it. [Alex McLevy]

It’s almost impressive how resolutely uncool progressive music has remained, and when fused with metal—its equally unfairly maligned sibling—the critical opinion sours even further. Which is a shame, because that’s why a band like Cynic, which began as a landmark prog-metal act and has only evolved and solidified its impressive sound since reforming in 2006, somehow gets left out of the cultural conversation. New album Ascension Codes, with song titles like “Sha48*8. 6th Dimensional Archetype” and “In a Multiverse Where Atoms Sing,” probably won’t change naysayers minds—but for those who embrace the complexity and bombast, it may be the finest post-reunion work yet. [Alex McLevy]