Many great artists have launched their careers out of Baltimore’s underground, from Dan Deacon to Lower Dens. And there’s always an array of exciting and esoteric new records coming out of the city that attest to the scene’s enduring diversity and originality. To help you keep track and update your playlists, The Baltimore Banner presents a monthly roundup of the best and most noteworthy new indie rock, punk, folk, and experimental music from the area. Here are our picks for November.

Horse Lords, “Plain Hunt on Four”

Horse Lords are one of the Baltimore music scene’s most unlikely breakout success stories, an internationally beloved quartet that plays minimalist instrumental music inspired by German “krautrock” bands of the 1970s like Neu! and Faust and avant garde composers like La Monte Young. Most of the tracks on the band’s fifth album, “Comradely Objects,” run together as one continuous, constantly evolving groove. Only the closing song “Plain Hunt on Four,” which features electric piano by guest musician Andrew Christopher Smith, stands on its own, disconnected from the rest of the album. But when guitarist Owen Gardner and saxophonist Andrew Bernstein finish circling around each other in hypnotic overlapping three-note patterns and the song concludes, the last sound you hear on the album is drummer Sam Haberman clicking his sticks together to count off the band for another song, as if the jam session never ends.

Glassine & Sam Haberman, “Laura’s Place”

Although most Horse Lords fans have likely already dug into “Comradely Objects,” they may have missed Sam Haberman’s other November release, a collaboration with Danny Greenwald, a Baltimore-based composer who records under the name Glassine. The duo’s album “Radial,” released by the Colorado label Cached.Media, is a musique concrete experiment that turns field recordings of everyday life into unconventional music. Haberman kept a tape running during ostensibly mundane moments at home or on a walk, and then turned the recordings over to Greenwald, who looped and arranged the sounds into patterns, sometimes accompanied by synthesizers. “Selector” is harsh and metallic, but more often the album sounds surprisingly gentle and soothing, such as the clinking dishes and children’s voices that form a tumbling rhythm on “Laura’s Place.”

Ami Dang, “Become”

Singing both in Punjabi and in English, and playing sitar as well as synthesizers and samplers, Ami Dang’s music is a fusion of both North Indian classical and modern electronic music. Dang’s fourth solo album, “The Living World’s Demands,” co-released by the British label Phantom Limb and Los Angeles’s Leaving Records, stirs together Dang’s wide-ranging influences, including danceable beat-heavy tracks like “Oh Dha Ta Na (Tarana).” But the closing track “Become” feels like a calming exhale, leaving the beauty of Dang’s voice and sitar relatively unadorned.

Small Sur, “Love”

Singer-songwriter Bob Keal’s fifth album as Small Sur is his first full-length since 2013. And though Keal sings softly over acoustic guitar, his songs are densely textured on “Attic Room,” buoyed by a talented ensemble of supporting players. “I stood still with you, and I found peace of mind,” Keal sings on “Love,” with harmonies by Cara Beth Stalino of Outer Spaces and gorgeous pedal steel guitar by Dave Hadley.

The Holy Circle, “No Twilight, No Dusk”

The Baltimore dreampop band The Holy Circle makes haunting, ominous music that evokes classic 4AD Records of the 1980s. And last week, they released a fittingly glitchy, unsettling music video for “No Twilight, No Dusk,” the opening track from their second full-length album, “Don’t Disturb My Waking Dream.” Erica Burgner-Hannum sings “You pierced my soul, took the best of me/ If love remains as they say, why’d you go away?” before Nathan Jurgenson’s drums kick in, and the song explodes with an extended outro of churning shoegaze guitars.

Al Shipley is a Maryland-based music and culture writer.