September 2015 music update.

Great month for alternative music album releases, with several more to come before the year is out.

Superhumanoids – Touch Me. Their second album, Do You Feel OK?, came out earlier this month, and I’m floored that it’s not getting any attention. The album has a solid half-dozen songs that are worthy of these lists, and Sarah Chernoff’s voice alone sets them apart from many other indie/electro outfits, some of whom are pretty good in their own right.

Potty Mouth – Cherry Picking. This Massachusetts all-girl punk-pop act would have fit in perfectly in the pre-riot grrl era in the early 1990s – you can hear Lush and L7 and even some Velocity Girl in the sugary chorus and simple power-chord hooks.

CHVRCHES – Clearest Blue. Their second album, Every Open Eye, came out last Friday and is just as good as their debut.

The Libertines – Glasgow Coma Scale Blues. The likely lads’ comeback album, Anthems for Doomed Youth, is a solid listen but couldn’t possibly live up to the level of their first two records. Shockingly, many of the songs are about getting wasted even though the band members are apparently sober.

Wavves – My Head Hurts. I’m hoping to have a review of their new album V up on Friday, its release date; I’ve loved the singles I’ve heard so far, which take their usual slightly obnoxious surf-punk sound and pair it with better production and cleaner guitar lines, so Nathan Williams’ pop hooks come through more clearly.

PLGRMS – Pieces. PLGRMS – not to be confused with the Vermont-based alternative act – is an Australian duo whose lush electronic sound reminds me a little of alt-J.

Wild Beasts – The Limit. These guys are just weird; this song is the final track on their three-song EP Life is a Burn, which features these critical darlings going full retro, referring heavily to ’50s garage rock.

Coasts – Tonight. More Bastille/Coldplay-style pop from this Bristol quintet, whose full-length debut appears due for a 2016 release.

The Paper Kites – Revelator Eyes. Soft-rock with a folky influence from this Australian five-piece who channel some early Cranberries as well as a little bit of the War on Drugs’ version of Bob Dylan.

Shy Technology – High Strung. I’ve seen them called “alt-folk” but Shy Technology sounds a lot to me like the piano-and-guitar pop/rock hits of the 1970s, a little bombastic, a little melodramatic, but driven by a very catchy chorus.

Spires – Nothing More. Spires are from Brooklyn, which is just so unusual. I’m a bit of a sucker for any band with a psychedelic sound, and with Tame Impala in vogue right now it’s a good time for Spires’ similar sound.

Library Voices – Oh Donna. It’s been a rough couple of years for this Saskatchewan band, whose latest single kind of sounds like two different songs mashed together, both of which come from the 1960s or early ’70s.

Big Grams – Lights On. Big Grams is a collaboration between Phantogram and Big Boi, who worked together on a few tracks on Big Boi’s last solo album, but the current project is a colossal disappointment largely because Big Boi’s lyrics appear to have been written by a 12-year-old boy.

The Dead Weather – Cop and Go. Jack White’s guitar work here is just so much better than on either of his solo albums; he’s at his best when he just lets himself jam.

New Order – Plastic. Longtime New Order fan here … and I wouldn’t say I love this song. It’s good, but a little more techno than their classic sound, which was obviously electronic but not so much like something The Cheat would put together. Also, seven minutes long? Really?

All Them Witches – Open Passageways. Heavy, bluesy folk rock that manages to simultaneously sound like something you’d hear on the Mississippi Delta and near closing time at an Irish bar.

Diiv – Dopamine. The Brooklyn outfit, led by former Beach Fossils member Zachary Cole Smith, will put out their second album by the end of the year. This lead single sounds a lot like every other song Diiv has released.

Telekinesis – Sylvia. Michael Benjamin Lerner’s newest album as Telekinesis, Ad Infinitum, came out last month on Merge Records and features a totally different sound, heavily influenced by early ’80s new wave, with several radio-worthy singles.

Disclosure featuring Lorde – Magnets. The whole here isn’t quite as high as the sum of the parts, but I still foresee a huge hit because of the names involved and the incredibly catchy chorus.

Dagny – Backbeat. Dagny hails from Norway and might be the next big thing in smarter pop, having revised her sound from her earlier folk-tinged rock to more overtly pop music. My daughter’s two new favorite songs are this and Ellie Goulding’s “On My Mind,” the latter of which I find really annoying.

Rationale – The Mire. The producer known as Rationale sounds a hell of a lot like The The circa “Uncertain Smile” on this track, which comes from his first EP, Fuel to the Fire.

WATERS – Up Up Up. WATERS’ second album, What’s Real, came out in April, but somehow this little pop gem, which first appeared at the end of 2014 as a single, escaped my notice until a few weeks ago.

SEXWITCH – Ha Howa Ha Howa. Natasha Khan was compelling as Bat for Lashes but she’s hypnotic singing traditional folk songs in various Asian languages with SEXWITCH, her collaboration with the band Toy.

Broken Bells – It’s That Talk Again. Broken Bells is pretty much an automatic add to these lists. It’s also a legitimately good song, built around a great walking bass line in the chorus.

Saltwater Sun – Making Eyes. This West London act keeps the guitars out front and Jenn Stearnes’ Lorde-like delivery works particularly well here over the loose-strummed rhythm lines.

Arcade Fire – Get Right. One of six bonus songs on the new deluxe edition of their 2013 album Reflektor, a sort of sinister groove track that, unlike many of the songs on the album proper, ends before it wears out its welcome.

Iron Maiden – Speed Of Light. Maiden’s comeback album, The Book of Souls, was far better than I expected and perhaps their best since the 1980s. If this is it, they ended on a high note.