Music update, October 2017.

Happy Halloween! Lots of great new tracks and albums this month, including a few totally unexpected returns from artists who’ve appeared on my playlists before, plus one metal act I haven’t really bothered with since I was in high school. If the widget below doesn’t appear you can access the Spotify playlist directly.

Django Django – Tic Tac Toe. Huge comeback single for the Mercury Prize-nominated act after the mild disappointment of their 2015 album Born Under Saturn, which had a few good tracks (notably “Shake and Tremble”) but no breakout hits like “Default” or “Hail Bop.” This song is a promising tease of their third album, especially the swirling, textured chorus where the song’s structure is turned inside out.

Wolf Parade – You’re Dreaming. Cry Cry Cry, their first record since the band reunited, came out on October 6th, but I found it overall a bit weak – but I was never a huge WP fan the first time around. This was the best track to my ears.

DMA’S – Dawning. Compared to Oasis after their first record, this Australian band goes more Britpop on this lead single from their upcoming second album. I admit to a bit of nostalgic affection for the song, given how much it reminds me of that late-90s movement that by and large never caught on in the U.S.

Quicksand – Cosmonauts. Their first album since 1995, Interiors, is due out on November 10th. They’re still touring, but without guitarist Tom Capone, who was arrested and charged with trying to steal over 40 items from a Phoenix-area CVS and then resisting arrest. Song’s good, though.

Bully – Kills to Be Resistant. Bully is fronted by Alicia Bognanno, who seems way too young to be producing music that is so reminiscent of the less-polished side of 1990s grunge. Their first record earned quite a bit of positive press, but I found it lacking in actual musical interest – not enough hooks, not much connection between vocals and music, etc. This track, from the band’s just-released second album Losing, is my favorite from Bully so far.

Beck – Colors. The title track from Beck’s latest album is one of a half-dozen bangers on the record (which includes my #1 song of 2015, “Dreams,” in two versions), which is a complete departure from the sound on his Grammy-winning last album Morning Phase. This is the Beck material I love – inventive, layered, genre-crossing.

Blushes – To the Bone. I’ve seen reviews comparing Blushes to Foals … okay, yeah, this sounds a lot like Foals, or at least like Foals’ best stuff, so we’re good here.

Porches – Find Me. Porches is led by singer/multi-instrumentalist Aaron Maine, and they’re weird – that’s mostly a compliment, although it sometimes doesn’t work very well (like on “Country,” another single off their upcoming third album). “Find Me” is more in line with their haunting 2016 single “Hour,” a nicely creepy track for Halloween.

Gulp – Morning Velvet Sky. Gulp is Scottish vocalist Lindsey Levin and bassist Guto Pryce, who’s better known as the bass player for Welsh rock icons Super Furry Animals. This track is less rock, more synth and bass, with a hypnotic, driving bassline throughout the ethereal song.

Sampha – Blood on Me. Sampha Sisay just won this year’s Mercury Prize for his debut album, Process, which gives us an unsteady marriage of classic R&B sounds, especially in the vocals, and current electronic/drum-and-bass sounds. This song, my favorite from the album, actually first appeared as a single in August of 2016 in the UK; it’s more uptempo and I think more intense than the rest of the album.

MisterWives – Never Give Up On Me. This was a surprise, given that MisterWives just released their second album in May, without this track on it. This might be their poppiest song yet, but it’s also a great showcase of what Mandy Lee can do with her voice when she lets it rip.

Prides – A Wilder Heart. Prides’ “The Seeds You Sow” was my #8 song of 2014, but it didn’t even appear on their disappointing debut album the following year. Their seven-song EP A Mind Like the Tide, Part 1, just dropped on Friday, including the single “Let’s Stay in Bed All Day,” which I included on my September playlist, and this slow builder with a strong finish.

Tune-Yards – Look at Your Hands. Tune-Yards are probably best known for the alternative hit “Water Fountain,” which has a fantastic chorus and some great drumwork, but which loses me in the verse. I still don’t love Merrill Garbus’s singing voice, but this track is more evenly mixed between vocals and music, and her musical inventiveness gets higher billing as a result. It doesn’t quite have the huge hook of “Water Fountain,” though.

Alice Merton – No Roots. I’ve been remiss with this track, which I had earmarked for my September playlist and forgot to include, so I’m putting it here for completeness’ sake even though you’ve probably heard it. It’s already hit the top ten in several countries in Europe and is #14 on the next Billboard Alternative Songs chart, still trending up.

Sleigh Bells – Rainmaker. Yep, that’s the drum loop from “Paid in Full.” That’s all I’ve got here.

Liam Gallagher – I Get By. I’ve seen more praise for the Oasis singer’s solo album As You Were than I could possibly muster; it is long, and it certainly tries to recapture the peak Oasis sound, but it only barely scrapes the bottom of what his former band was able to do over its first three albums. Lead single “Wall of Glass,” which made my June playlist, is solid, as is this song, but the rest feels like filler, like an artist who wants to mimic a specific sound rather than write compelling singles.

Versing – Body Chamber. If you listened to just this song, and I asked you their home city, you’d probably guess it on one try. Their debut album, Nirvana (we’re not even pretending, are we), just came out at the very end of September.

The Dear Hunter – The Right Wrong. This song is the lead single from the prog-rock act’s new six-song EP, All Is As All Should Be (which, by the way, is definitely NOT true), with some clear nods to progressive icons like King Crimson and Marillion but within a manageable running time.

Catholic Action – Propaganda. The Glaswegian quartet just released In Memory Of, its first album of punk-tinged jangle-pop, on Friday; it’s hit-and-miss, with short, quick bursts of guitar-driven melodies that don’t always click, with this song the best track on the record.

Sleater-Kinney – Here We Come. They’re back, and they’re still angry, and why wouldn’t they be?

Helloween – Pumpkins United. I admit to a certain fondness for Helloween’s two late-80s underground classics, parts one and two of the Keeper of the Seven Keys series, which contained a number of surprisingly catchy power-metal tracks that seemed to bridge the gap between Iron Maiden and other NWOBHM acts that still brought big hooks and the less melodic thrash bands that were coming out of California at the time. This new track is the first song to feature original guitarist Kai Hansen since he left the band after the second Keeper album.

Moonspell – Evento. Moonspell is a Portuguese gothic/melodic death metal act who are consistently big sellers in their home country, with four different #1 albums in Portugal, but little recognition outside it. Their 11th album, 1755, drops on Friday; it’s a concept album about the Great Lisbon Earthquake of that year (which also inspired a new boardgame, Lisboa, that just came out this summer), sung entirely in Portuguese, with symphonic elements along with the expected death growls. Stuff just sounds more menacing when it’s not in English.