Nick Cave, Miley Cyrus, and 21 more albums we can’t wait to hear in November

Pink Siifu continues to stake his claim on being one of the boldest and most imaginative musicians in any genre, let alone the art-damaged hip-hop in which he made his name. Unlike the howling roar of his April release NEGRO, this is more of a piece with 2018’s ensley, experimental jazzy loops and fluttering waves of percussive sheens ebbing and flowing below his verses. The addition of Fly Anakin’s dextrous vocal flow seems to have brought out something great in Pink Siifu, and a variety of producers and skit interludes on this conceptually cohesive project keep it surprising. [Alex McLevy]

As a title, Point The Flashlight And Walk is every bit as evocative as the songs on Told Slant’s new album, evoking both the ominousness of a moonless night and a giddy sense of discovery. As always, songwriter Felix Walworth’s shivering vocals and spare guitar work carry the LP, but there’s a lushness here that feels fresh—new instruments, offbeat song structures, and explorations of devotion and togetherness that cut deep during a time of forced isolation. [Randall Colburn]

William Basinski’s immersive ambient soundscapes are lightning-lit clouds of despair, each as beautiful as they are frightening. His latest is no different. Born from more than 40 years’ worth of “tape loops and studies from Basinski’s archives,” Lamentations is described as chronicling the “inevitable passage of time and the indisputable collapsing of space.” Hear it sing in “O, My Daughter, O, My Sorrow,” an operatic swirl of hiss and vocals that sounds—much like the artist’s famed Disintegration Loops—in the midst of decay. It’s the sound of an ending. [Randall Colburn]

The brash young musician who goes by the moniker Yungblud returns with his second full-length album, weird!, and the title track suggests this might be his biggest and most effervescent release yet. Full of churning guitars and anthemic pop hearkening back to the glory days of fuzzed-out Brit rock (fused to a very modern synth-pop sensibility), it’s joyously unapologetic music to sing along to, the kind of thing kids can crank up to 11—and intentionally divisive, with his either-you-love-it-or-you-hate-it vocal fry. [Alex McLevy]

Portland five-piece Soft Kill isn’t exactly reinventing the post-punk wheel, but by following in the footsteps of The Cure and adding its own shoegaze-inflected vibe to the goth-rock proceedings, the group has managed to lock in on a potent blend of eerie melodicism and churning rhythms that make for an immediately appealing listen. This is music that announces itself as recognizably pop-oriented in the songcraft, even as it remains dark and downbeat in the execution. [Alex McLevy]

The gentle Laurel Canyon grooves of Jack Name’s Magic Touch are just the thing for these overheated times. Ranging from spare, gently guitar-based folk and blues numbers to lush ’70s full-band tracks with sunny harmonies, the entire affair has the feel of a throwback affair, like some long-lost album locked in a vault 45 years ago, save for the lyrical intimacy and sometimes warped worldviews that mark it as a more modern piece of art. [Alex McLevy]

Like the soundtrack to some alternate reality where the Summer Of Love never ended, Kacey Johansing’s music creates a gauzy, ethereal vibe, then rides it on through all the singer’s heartfelt lyrics and deftly constructed melodies. Backed by deceptively minimalist arrangements—the better to showcase Johansing’s pure, uncomplicated vocals—it’s a record that should appeal to anyone struggling with the loneliness of our present moment. [Alex McLevy]

Nick Cave’s most recent album with the Bad Seeds, 2019’s , is a work of somber but awe-inspiring beauty, the kind of music that can expand to fill even the emptiest of hearts. This year, with the COVID-19 pandemic bringing a new wave of devastation to the world, Cave set out to fill a physical space: London’s cavernous Alexandra Palace, where he played an extremely socially distanced solo concert back in July. Now, that performance is being released as a live album, featuring stripped-down versions of songs from throughout Cave’s long career—including a brand-new one, “Euthanasia.” [Katie Rife]

New Orleans gem Tank & The Bangas consistently deliver buttery grooves underneath some of the sharpest lyricism in the industry. The Grammy-nominated group is back and embracing quarantine better than most after releasing “Self Care,” a flute-laced jam for true (and honorary by way of a pandemic) introverts. The track also stood out for its many guests, including a feature from longtime backup vocalist (and fan favorite) Anjelika “Jelly” Joseph. Perhaps Friend Goals will be a brief, but apt display of why Tank collaborations are so essential. [Shannon Miller]

Considering the singer-songwriter’s impressive roster of previous clientele—Ariana Grande, BTS, and Panic! At The Disco, just to start—Tayla Parx should be among the lauded pop staples. Her second album, Coping Mechanisms, just might catapult her to the forefront of mainstream consciousness thanks to a bevy of tightly mixed dance jaunts (and at least one haunting ode to perpetual lovesickness). After helping others establish their widely revered sound, a spotlight eagerly awaits Parx and her pop prowess. [Shannon Miller]

Yes, there are plenty of glossy box sets intended to cash in on holiday gift giving, but this Amy Winehouse collection actually compiles what would otherwise be a pain in the ass (and expensive) to assemble by yourself. A series of the late crooner’s timeless singles—from “Pumps” to “Rehab” to her “Body And Soul” duet with Tony Bennett—have been compiled into 12×7: The Singles Collection, a dozen 7-inch records packaged in unique picture sleeves along with an exclusive lyric booklet and art. Sounds like an ideal gift for both the Winehouse completists and the uninitiated in your life. [Cameron Scheetz]

Juicy J’s new album sounds like it has the potential to be an absolute ruckus. The guest list is a dream team of collaborators, from Megan Thee Stallion and Logic to old friends like Ty Dolla $ign and 2 Chainz, and early single “Gah Damn High” (featuring Wiz Khalifa) is precisely the kind of rough and funny production at which the longtime rapper excels. If he can just temper his penchant for lazy, outdated misogyny, there’s no reason the artist’s third decade won’t keep him as culturally omnipresent as ever. [Alex McLevy]

We’ve known many different Mileys over the years, but this era of Cyrus—the one she of her home lost to California wildfires—feels like the artist achieving her full potential. Both her sleek single “Midnight Sky” and her recent bout of crackle with an electric energy, putting an emphasis on the raw power of her vocals. It appears Miley Cyrus finally understands the kind of pop/rock star she wants to be, and Plastic Hearts is all the more exciting for it. [Cameron Scheetz]