Fall Arts Preview: Album picks

HUNDRED WATERS, “Communicating” The eerie electronic three-piece Hundred Waters — perhaps best known for the hushed, romantic “Show Me Love,” which Skrillex famously remixed with the help of Chance the Rapper and Moses Sumney — returns with a third record that’s both muted and mesmerizing in the way it marries the band’s perfectionist sound design with chilly, lovelorn ballads that edge into unfamiliar, pop-influenced territory. (Sept. 15)

FOO FIGHTERS, “Concrete and Gold” Expect big things from the alt-rock all-timers’ much-anticipated ninth studio album, heralded as one of their most sonically titanic releases. Foo Fighters’ first output since 2014’s “Sonic Highways” and the accompanying HBO docuseries, “Concrete and Gold” finds them enlisting new collaborators (Sia producer Greg Kurstin, Paul McCartney, and an under-wraps guest Dave Grohl has called “the biggest pop star in the world”) while reflecting on struggles both political (the election of Donald Trump, whom Grohl has openly condemned) and personal (Grohl’s protracted recovery from a broken leg, which contributed to the band’s lengthy hiatus). (Sept. 15)

GALANTIS, “The Aviary” The Swedish dance duo Galantis — veteran EDM producers Christian Karlsson and Linus Elkow — take an alchemic approach to music-making, drawing on decades of combined experience to target the sonic sweet spot between shimmering house production and euphoric hooks. On sophomore disc “The Aviary” they expand their sonic palette with softer, slinkier beats (on the Caribbean-flavored “Hunter”) while continuing to deliver the colossal, cascading choruses (hit single “No Money,” anthemic opener “True Feeling”) that have turned them into one of EDM’s hottest tickets. (Sept. 15)

THE KILLERS, “Wonderful Wonderful” It’s been half a decade since The Killers’ last album, and the legendary Las Vegas rockers waste no time in reminding listeners of what they’ve missed. Their fifth album is gloriously cinematic in scope and overflowing with the kind of arena-ready arrangements that have remained a constant throughout a career spanning more than 15 years and at least five disparate genres. From the monumental title track to the hard-driving indie anthem “Run for Cover,” the album triumphantly lives up to its title. (Sept. 22)

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MOSES SUMNEY, “Aromanticism” On his stunner of a debut album, 26-year-old LA crooner Moses Sumney floats his hauntingly beautiful falsetto atop a river of opaque ambient synths, delicately meditating on both deep feeling and the lack thereof. Speaking last month to NPR about the soulful single “Quarrel” and its accompanying video of a rose turning black while trapped in amber, Sumney explained the flower is “preserved against its will, but still manages to decay,” a contradiction he furthers across a disc as achingly romantic as it is scornful of how social pressures muddle matters of the heart. (Sept. 22)

CAMILA CABELLO, “The Hurting. The Healing. The Loving.” All eyes will be on Cabello this fall as the Cuban-born American readies the release of her first solo record since departing the girl group Fifth Harmony late last year. Early singles “Crying in the Club,” “Havana,” and “OMG” (the latter two of which include verses from rappers Young Thug and Quavo, respectively) promise a danceable, Latin-influenced record informed by both Cabello’s penchant for emotionally candid songwriting and her ear for sugary pop hooks. (Sept. 22)

SHANIA TWAIN, “Now” After all she’s been through over the past 15 years, few would begrudge country-pop legend Shania Twain the glory of a triumphant return to the music industry. If lead single “Life’s About to Get Good” is any indication, her fifth record, “Now,” will be exactly that, a lively paean to enduring hard times and coming out stronger on the other side. (Sept. 29)

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MILEY CYRUS, “Younger Now” Emerging from the psychedelic haze of the surprise 2015 stream “Miley Cyrus & Her Dead Petz,” Cyrus returns to country-pop roots on her sixth record, a more soft-spoken, sentimental affair than anything she’s released since the “Hannah Montana” days. Your mileage will vary according to how much you liked the wild, wacky showmanship of Mileys past. (Sept. 29)

WOLF ALICE, “Visions of a Life” British four-piece Wolf Alice is one of the most restlessly ambitious indie-rock groups out there. Its sophomore record is a wild, genre-mashing ride that follows through on the promise of early singles “Don’t Delete the Kisses” and “Yuk Foo,” two dramatically dissimilar tracks connected by the deliciously devil-may-care conviction with which they’re delivered. (Sept. 29)

KELELA, “Take Me Apart” Kelela’s star has been on the rise for years, but the R&B siren should finally break through to the big time this fall, catapulted by the sensuous strength of her debut album, a sonically expansive and crushingly intimate treatise on love and lust that repeatedly unleashes her breathy vocals across a shadowy sea of synths, with electrifying results. (Oct. 6)

BECK, “Colors” Finally. By the time Beck’s 13th album — the long-awaited follow-up to the Grammy-winning LP “Morning Phase” — arrives next month, it will have been two years since the release of its grooving first single, “Dreams.” Expect the chameleonic musician to change his colors (ahem) yet again on the disc, seguing from his last LP’s folkish melancholy to the exultant, experimental pop he fashioned alongside Sia producer Greg Kurstin. (Oct. 13)

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ST. VINCENT, “Masseduction” St. Vincent’s Annie Clark is many things — a gold-standard guitar-shredder, first-class lyricist, and polymathic provocateur among them — but above all, she remains the queen of her own inscrutable domain. On this fall’s “Masseduction,” the singles for which already include the tender breakup ballad “New York” and crunching, synth-driven cyclone “Los Ageless,” that domain expands effortlessly, with Clark weaving together new-wave synths, hard-rock chords, and power-pop tempos into a record as ambitiously alien as her adoring fans have come to expect. (Oct. 13)

JOHN CARPENTER, “Anthology: Movie Themes 1974-1998” Horror master John Carpenter, one of our greatest living filmmakers, is also the genre’s finest sonic trailblazer, acclaimed for his use of synthesizers to create uniquely taut, unnerving soundscapes for films like “The Thing” and “Halloween.” On “Anthology,” he offers new recordings of 13 classic movie themes, newly recorded with collaborators from his “Lost Themes” studio albums, just in time for Halloween. (Oct. 20)

TRAVIS SCOTT, “Astroworld” / TRAVIS SCOTT & QUAVO, title TBA There are precious few big-name hip-hop/rap releases on the calendar for this fall, but chances are that “Goosebumps” rapper Travis Scott will at some point drop one of two projects he’s been focused on since early August. The question is: Which one? The Houston MC has recently teased the imminent arrival of both a third solo album, titled “Astroworld,” and an untitled collaboration with Migos member Quavo, and either (or both) could be uploaded in the coming months. (TBA)

SIA, title TBA For singer-songwriters of a certain stature, there are few endeavors more evergreen than the Christmas album. Eight-time Grammy nominee Sia is far from the only major artist primed to release one this year, but, true to form, hers promises particular imagination. The collection includes all-original tracks written in part with frequent collaborator Greg Kurstin (this fall’s hidden MVP, as Beck and Foo Fighters will attest). (TBA)

Isaac Feldberg

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