Tag: out this week

Larry June, Curren$y, and the Alchemist have run in the same circles (and united in pairs) for years, but Spiral Staircases marks the first time they’ve made things official. June brings the jazz and psych-rock textures of Bay Area hip-hop; Curren$y lays down sharp bars in distinctly Southern cadences; and the Alchemist ties it all together with a characteristically smooth, rich finish. The trio exemplify the kind of swagger that only comes with time, confidence, a healthy sex life, and a hint of therapy—clout chasers need not apply.

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Skaiwater: Wonderful [GoodTalk]

In the MCU of modern rage rap, UK-born Skaiwater is a dead ringer for Doctor Strange—a master of the mystic art of imploding 808s and howling in a whisper. Their latest record, Wonderful, is their first as an independent artist, and splits the difference between frenzied, blown-fuse cuts and quieter, romantic R&B fare. Exploring new territory like misty post-punk, emo rock, and heartfelt chipmunk soul, the polymath expands their pallet and flexes their Letterboxd list with track titles “One Battle After Another” and “The Substance.” ØWay flagbearer Tezzus, Los Angeles musician Ti Steele, and Crime Mob affiliate Diamond all feature; Bankroll Got It and North West (yes, that one) have production credits.

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Peaches: No Lube So Rude [Kill Rock Stars]

With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Charli XCX, Feng, Jill Scott, August Ponthier, and more. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)

Charli XCX: Wuthering Heights [Atlantic]

When director Emerald Fennell needed to hire a musician to score her Wuthering Heights adaptation, only one person came to mind: Charli XCX. Not only did the British pop star accept the offer, but she used her soundtrack to capture love in all of its grandiose, moody, elusive ways. As she described the soundtrack on her Substack, it’s a “dive into persona, into a world that felt undeniably raw, wild, sexual, gothic, British, tortured and full of actual real sentences, punctuation and grammar.”

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Feng: Weekend Rockstar [Regularisperfect]

When Beverly Glenn-Copeland announced his dementia diagnosis in 2024, he said in a joint statement with his wife Elizabeth, “We want to challenge the mainstream image of this illness, which focuses on loss. We are actively asking the universe to show us where the life is here.” More than a year later, the pair’s new collaboration Laughter in Summer charts that course, acting as a mutual love letter and a firm embrace of the future. (A new arrangement of Glenn-Copeland’s 2007 track “Children’s Anthem” is dedicated to the couple’s granddaughter.) Recorded with engineer Howard Bilerman and a Canadian choir, it’s improvisatory and theatrical while remaining grounded in Glenn-Copeland’s rich, singular tenor. The title draws inspiration from a phrase Beverly sang to Elizabeth while at work on a still-unreleased project, Songs Without Words: “Laughter in summer, how I remember.”

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Daphni: Butterfly [Jiaolong]

Can an artist collaborate with themselves? On Butterfly, Dan Snaith’s first Daphni album since 2022, he makes a worthy case for it. The Canadian producer’s new endeavor under his dance alias includes one song, “Waiting So Long,” which “features” vocals attributed to Snaith’s other project, Caribou. In press materials, Snaith says the improbable match-up embodies the synchronicity of his artistry these days, and Butterfly finds him in step with his inner selector. Opening in an elegant blitz of house and post-EDM metered by interludes of dub and jazz, Butterfly flutters into funkier, stranger territory as the tracklist fades out. But it never loses the free-associative, peak-time spirit that the Daphni moniker embodies.

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Asher White: Jessica Pratt [Joyful Noise]

Three years ago, hard-rock trio Blackwater Holylight moved south from Portland to Los Angeles, a transition that left them with a blank slate and a sunnier outlook on production. Their new album digs into that transition, adding light synth work to heavier shoegaze riffs and exploring all the emotions associated with a big move—but mostly, the time it takes to settle in. “If there were to be a theme to the album, it would be patience,” vocalist, guitarist, and bassist Sunny Faris said in a statement. Frequent TV on the Radio and Run the Jewels producer Dave Sitek also features, contributing the beat for instrumental track “Giraffe.”

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Zukenee: ZUMINATI [SlayLife]

Zukenee has long approached the Atlanta rap underground like his own medieval round table—in an average year, you can find him brandishing swords, lighting spliffs with candles, and referencing blood pacts. His last album, 2025’s Slaytanic, built his breakout Birth of St. Slay into a whole odyssey of pounding hooves, flute melodies, and woodland trysts with fair maidens. On his latest, ZUMINATI, he’s tackling a new secret society with a lot more Hollywood clout, but keeping his inner circle hyperlocal—the album’s only guest appearance is fellow Georgia upstart Sk8star, who hops on “Glock Backshots.”

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As the all-ages fans flooding the aisles of David Byrne‘s 2025 Radio City Music Hall show made clear, Talking Heads have one of the most enduring catalogs in modern American rock music. Naive Melodies, a new compilation on BBE curated by Drew McFadden, aims to make the group’s often-undersung Afro-diasporic influences as indelible as the “Psycho Killer” chorus. In step with McFadden’s 2021 David Bowie tribute Modern Love, Naive Melodies gathers a collection of innovative Black artists to reframe Talking Heads’ catalog in the lineage of the soul, gospel, Latin, and spiritual jazz they drew from. The 18-track album reimagines favorites like “Once in a Lifetime,” “Road To Nowhere,” and “Burning Down the House” through the eyes of Liv.e, Aja Monet, Georgia Anne Muldrow, Theo Croker, and more.

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Gesaffelstein: Enter The Gamma [Columbia]

French producer Gesaffelstein is a connoisseur of big-room electro, and as the genre has crept back into fashion, his fingerprints have appeared on major pop records from Charli XCX (BRAT) and Lady Gaga (MAYHEM). His first live album, Enter The Gamma, aims to bottle that crowd-roaring energy for this broader audience. The new album compiles 14 recordings from his 2024 world tour of the same name, swerving away from the rock and synth-pop of 2024’s GAMMA back to driving four-on-the-floor.

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Megadeth: Megadeth [Tradecraft]

Between the launch of his surprisingly viable acting career and the birth of three children, A$AP Rocky has found plenty of time since 2018’s Testing to pretend his follow-up, Don’t Be Dumb, was just around the corner. The campaign kicked up a gear last month when he unveiled the record’s visual universe, with Tim Burton behind the album art and the director’s close collaborator Winona Ryder in the “Punk Rocky” video—plus another fellow Burtonite Danny Elfman on string arrangements. “Highjack,” the rapper’s 2024 track with Jessica Pratt, does not make the cut, but a new one called “The End” does. And Rocky helicoptered in a squadron of other guests too, including Doechii, Gorillaz, Thundercat, Westside Gunn, Will.i.am, and Tyler, the Creator.

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Peaer: Doppelgänger [Danger Collective]

What began as a slowcore outlet for Peter Katz a decade ago has since become a slightly poppier and mathier trio over the years, eventually evolving into the present-day iteration of Peaer. Doppelgänger, their first new album in nearly seven years, wastes no time explaining just how happy they are to be back with the jubilant opener “End of the World.” From there, though, Peaer find themselves caught in bristly knots like “Button” and “Bad News,” suggesting they returned to a thornier world that needs some untangling after all.

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evilgiane: Giane 2 [Surf Gang]

It’s been a long time since French Montana and Max B launched their Coke Wave mixtape series—17 years, to be exact. Now that Max B has been released from prison following a 16-year-long sentence, the close friends and collaborators have picked up where they left off in the form of Coke Wave 3.5: Narcos. For those keeping track, no, you’re not losing your mind about the chronology; their latest collaboration is the fourth mixtape in the series, following 2009’s Coke Wave and Coke Wave 2, as well as 2019’s Coke Wave 4.

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Winged Wheel: Desert So Green [12XU]

Everyone in Winged Wheel knows their grouping doesn’t make sense, least of all geographically; hence why members of Sonic Youth, Tyvek, Matchess, and more turned to remote file-trading from their different abodes to pull it off. All six members of the band—Whitney Johnson, Cory Plump, Matthew J. Rolin, Steve Shelley, Lonnie Slack, and Fred Thomas—poke and prod one another to keep their sound evolving through experimental indie rock, post-punk, krautrock, and beyond, often refining arrangements after tracking the music itself. Their third album, Desert So Green, is more aggressive than last year’s Big Hotel, yet it’s arguably the best jumping-off point for their discography, welcoming new listeners into the fold to see where and how they get where they’re going.

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Zach Bryan: With Heaven on Top [Warner]

With dozens of homespun projects, some dating back over a decade, Nate Amos’ Bandcamp back catalog presents a daunting prospect. For his second proper LP as This Is Lorelei, Amos—also half of Water From Your Eyes—combed through the archives and re-recorded 10 songs that span yacht rock (“I Can’t Fall,” “This is a Joke”), power pop (“Dreams Away,” “Name the Band”), and more experimental directions (“Mouth Man”). As Sue Park writes in Pitchfork’s review, “what’s most impressive about Holo Boy is how breezy and self-assured it sounds. Few of these songs were intended to live together originally, but it still feels like Amos is coasting in a sweet spot; his sense of humor and ear for hooks shine through.”

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Fred Again..: USB002 [Atlantic]

Fred Again.. calls USB his “infinite” album. Dating back to 2022, the project once comprised only eight tracks but now numbers more than 30. USB002, the second official iteration, adds some names both predictable (Caribou, Floating Points) and totally out of left field (Danny Brown, Amyl and the Sniffers).

A Jessie J song once guaranteed vocal pyrotechnics on the scale of the Disneyland fireworks extravaganza. That’s mostly still true on Don’t Tease Me With a Good Time, but the British singer’s first album in eight years—which balances R&B jams with misty 1980s pop—does more with less. On lead single “No Secrets,” Jessie J turns in one of her most restrained performances as she wrestles with life in the public eye. “I’m standing here naked/But I chose the spotlight,” she croons. “Sometimes I hate it, sometimes it feels nice.”

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Plosivs: Yell at Cloud [Swami]

In 2022, the San Diego punk-rock supergroup of Pinback’s Rob Crow, Rocket From the Crypt’s John Reis and Atom Willard, and Mrs. Magician’s Jordan Clark released a debut album as Plosivs. By that time, the band had already started work on its follow-up, albeit in less than ideal circumstances. Already hemmed in at a Winnipeg studio due to COVID-19 lockdowns, the band was stranded by a massive Arctic storm and forced to work by candlelight in below freezing conditions. (To quote the label copy, “Imagine a band trying making a record in John Carpenter’s The Thing.”) But record the group did, eventually overcoming the dark period of the album’s creation to complete the claustrophobic recordings and release them, as Yell at Cloud, on Reis’ stalwart label Swami.

Shine is Tobias Jesso Jr.’s second solo album, but, in the decade since his debut, Goon, the Canadian singer-songwriter has become an industry veteran. In notching up co-writing credits for Adele, Dua Lipa, Bon Iver, and Haim, as well as a Grammy-winning turn on Harry Styles’ Harry’s House, Jesso has nonetheless shied from the spotlight. Shine returns him to center stage, albeit with minimal fanfare: recorded live at the piano, with occasional guest input from old collaborators like Danielle Haim and Justin Vernon. The combustible ballad “I Love You” led the album, with a video starring Dakota Johnson and Riley Keough.

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De La Soul: Cabin in the Sky [Mass Appeal]

Nine years after And the Anonymous Nobody…, De La Soul return with Cabin in the Sky, a new album of social commentary and comic observation set to beats poised between feel-good nostalgia and quirky experimentation. “The music on this record is not old, just seasoned,” Maseo said in press materials. “It’s what we call adult hip-hop: something rooted in the culture but speaking to where we are now.” DJ Premier, Super Dave, and Pete Rock come through on production, with guests including Killer Mike, Little Dragon’s Yukimi, Common, Nas, and the Roots’ Black Thought.

Fans of grizzled country vignettes would be hard-pressed to find a safer pair of hands than Colter Wall, the Saskatchewan-raised singer-songwriter whose traditional approach to the song form has alienated him from the modern country establishment, but, ironically, won a loyal underground following. As the title suggests, his Little Songs follow-up, Memories and Empties, treads lightly into the big questions with a series of drinking songs and musings of plainspoken existentialism. Longtime collaborator Pat Lyons co-produces with Wall, and the Scary Prairie Boys assist.

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Summer Walker: Finally Over It [LVRN/Interscope]

Summer Walker is hosting a cordial party and everyone’s invited—at the very least to balk. Finally Over It, the R&B singer’s third studio album, is split into two parts, paying homage to the crucial words of a wedding ceremony: For Better and For Worse. As she wades through the trials and tribulations of love, Walker turns to the evening’s guests of honor—Mariah the Scientist, Chris Brown, Anderson .Paak, Latto, Bryson Tiller, 21 Savage, Brent Faiyaz, Glorilla, Sexyy Red, Teddy Swims, and Monaleo—for toasts, words of advice, and helping hands to make it through.

While touring behind her last album, Dance Fever, Florence Welch was hospitalized for an ectopic miscarriage; the singer channeled the effects of that life-altering, traumatic event into work for a follow-up. For the resulting Everybody Scream, Welch dove into medieval and renaissance studies and the history of witchcraft and mysticism, shrouding her characteristically vivid chamber pop with even deeper pathos and psychodrama. Welch worked on the new Florence and the Machine LP with Idles’ Mark Bowen, Danny L Harle, the National’s Aaron Dessner, and Mitski, who helped pen the title track.

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KeiyaA: Hooke’s Law [XL]

KeiyaA’s second studio album is named after the law of elasticity, which states that the extension of a spring is directly proportional to the load applied to it. The Chicago-born, New York–based singer and producer puts that law to the test with an expansive, head-spinning collage of R&B, electronic, jazz, and experimental music that threatens to uncoil at any minute. KeiyaA wrote, recorded, and produced the new material over the past five years, playing every instrument on the album, with one feature from rapper Rahrah Gabor. Hooke’s Law is “an album about the journey of self love, from an angle that isn’t all affirmations and capitalistic self-care,“ KeiyaA explained in press materials. “It’s not a linear story with a moral at the end. It’s more of a cycle, a spiral—it’s Hooke’s law.”

Daniel Caesar has already had a busy 2025, whether contributing production to Justin Bieber’s Swag or guesting on the latest Blood Orange album. The Canadian singer-songwriter’s new LP ups the ante with a who’s-who of indie, pop, and R&B on the guest list: Bon Iver, Devonté Hynes, Clairo, Mustafa, Sampha, Yebba, and Rex Orange County. Son of Spergy was preceded by “Have a Baby (With Me),” “Moon” (with Bon Iver), and “Call on Me.”

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Lily Allen: West End Girl [BMG]

For the past four years, Lily Allen has carved out a lane as a podcast host and a stage actor, appearing in productions in West End London and netting an Olivier Award nomination. Now, the British pop star has plotted her return to music with the aptly titled West End Girl, her first studio album in seven years. The follow-up to 2018’s No Shame was recorded in December 2024, and is “vulnerable in a way that my music perhaps hasn’t been before,” Allen said in press materials. She continued, “I’ve tried to document my life in a new city and the events that led me to where I am in my life now.” Allen co-wrote the album alongside her musical director, Blue May, and they executive-produced with Seb Chew and Kito.

With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new projects from Tame Impala, Sudan Archives, They Are Gutting a Body of Water, Silvana Estrada, Monaleo, Bar Italia, Ty Dolla $ign, Militarie Gun, Destiny Bond, Elias Rønnenfelt, Cusp, Jane Inc., and Suzie True. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)

Tame Impala: Deadbeat [Columbia]

On their steady path from friends making lo-fi freak-folk to bandmates going proggy art-pop, Bruiser and Bicycle always find a calming center at the heart of their otherwise dizzying albums. Deep Country, their third album and follow-up to 2023’s Holy Red Wagon, takes that grounding reassurance to new depths, with shades of jangle pop and vintage progressive folk. Recorded live—a first for the Albany, New York, band—with a 15-song tracklist, the album’s sprawling 75-minute runtime shouldn’t intimidate as much as welcome you to take an edible and get lost. Let pairings like the fingerpicked jitters of the six-minute “Waterfight”—where, yes, the vocal harmonies sound just like Animal Collective—into the airy jazz drumming of “Sinister Sleep Shuffle” remind you what it feels like to stop worrying and just be present.

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Feeo: Goodness [AD 93]

Now established as a maestro of London’s experimental underground, Feeo lands at AD 93 with a suite of droning, ambient, and softly psychedelic electronic music on her debut album. The compositions of Goodness warp, buzz, and whirr beneath Feeo’s distracted vocals, which, in contrast to the intricate electronics, seem exhumed from ancient folk song. The record follows her EP Run Over and collaborations with Loraine James and Caius Williams.

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With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Taylor Swift, Malibu, Kelly Moran, Snooper, Nala Sinephro, Thirteendegrees º, Peel Dream Magazine, Blue Lake, Klein, Prewn, and Agriculture. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)

Taylor Swift: The Life of a Showgirl [Republic]

With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Geese, Young Thug, Neko Case, Mariah Carey, Jeff Tweedy, Cate Le Bon, Doja Cat, M. Sage, Amanda Shires, Chris Williams, Rochelle Jordan, Mason Lindahl, Piotr Kurek, Cardo Got Wings, and Xexa. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)

Geese: Getting Killed [Partisan]

In rather short order, Geese have transformed from a bunch of precocious post-punk devotees into one of the most fascinating and unpredictable acts in indie-rock. Leading the charge is frontman Cameron Winter, whose solo debut, Heavy Metal, found him indulging in his most experimental and outré tendencies. Winter—joined by bandmates Max Bassin, Dominic DiGesu, and Emily Green—continues the evolution on Getting Killed, an album whose singles tell you nothing and everything you need to know about Geese. There’s the loose and nearly devotional “Taxes,” which sounds like a descendent of The Velvet Underground & Nico; the paranoid, album-opening “Trinidad”; and the chunky, confident “100 Horses.” It’s best not to guess where Geese are going; join ’em on the flight.

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Young Thug: UY Scuti [Young Stoner Life/300 Entertainment]

For Icelandophiles who semi-learned the words to Sigur Rós and Sin Fang records back in the day, the wait for Múm’s return has been long enough. History of Silence, Múm’s first album in 12 years, nestles into the fibers of their longtime sound: whispered lyrics, gauzy strings, melodica, and percussive ambiance. Although their seventh studio album and follow-up to 2013’s Smilewound’s gets its name from dead air, Múm are lively and present throughout, be it the shimmering sounds of “Kill the Light” or the vividness of “Mild at Heart.” Recorded, deconstructed, reassembled, and refined over two years, History of Silence is a humble comeback that savors every second.

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Kitba: Hold the Edges [Ruination]

Kitba makes bedroom-pop music that harks back to a time before “bedroom-pop” was really a thing. On Hold the Edges, the Brooklyn-based harpist and singer-songwriter, otherwise known as Rebecca El-Saleh, composes hall-of-mirrors synth ballads with the sumptuous textures and sing-songy quality of Frou Frou, their vocals, often Auto-Tuned, a nervy mix of the shellshocked and declarative. The mazy single “Soften,” one of many breakup songs on the LP, is about “being angry long after you feel you should be, wondering when your hardened heart will soften,” they said in press materials. “It’s twisting inside and chaos, vibratingly bright and tense.”

In 2016, after the release of their seventh album, Home on Native Land, the tape stopped rolling on the Hidden Cameras. A reissue of their debut album as a full band came in 2023, and, now, the Toronto indie-pop darlings are back with more of songwriter Joel Gibb’s self-described “gay folk church music.” Bronto enlists the likes of Pet Shop Boys and Erasure’s Vince Clarke for a pivot into celebratory synth-pop pivot, with arrangements by original violinist Owen Pallett.

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Liquid Mike: Hell Is an Airport [self-released]

Vocalist and guitarist Mike Maple began Liquid Mike in 2020, and he’s already onto his sixth album. He’s also got a lot more bandmates, as the Marquette, Michigan, quintet comprises synthesizer player and vocalist Monica Nelson, drummer Cody Maracek, bassist Zack Alworden, and guitarist David Daignault. The group’s new album, Hell Is an Airport, is classic pop-punk, and Maple’s voice is not a far cry from Mark Hoppus’. The 14-song release includes “Groucho Marx,” “Selling Swords,” “AT&T,” and “Claws.”

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Verses GT: Verses GT [LuckyMe]

Verses GT is the duo of Jacques Greene and Nosaj Thing, two producers synonymous with the elegiac 2010s dance music that now informs various strands of pop, as well as descendants like Overmono. Back with their debut collaborative LP, Greene and Jason Chung strip their trademark sounds down to the fundamentals, with strobing synths and ambient atmospheres occasionally jolted by UK garage and 2-step beats. George Riley features on the single “Your Light,” with Kučka and Tyson making appearances elsewhere.

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While Oasis, Blur, and, to some degree, Pulp rake it in with reunions bankrolled by nostalgia, Suede are still plugging away as a working band of Britpop survivors. Antidepressants, their 10th studio album, channels their usual mix of light social commentary and first-person misadventure in songs as full-throatedly anthemic as anything in their catalog.

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La Dispute: No One Was Driving the Car [Epitaph]

There’s regular dissociation, and then there’s the three-tiered saga presented in No One Was Driving the Car, La Dispute’s first new album in six years. The Michigan screamo and post-hardcore musicians immerse themselves in the narrative of a man disconnecting from himself as he shaves his head, follows a sex worker outdoors, and ends an aimless walk at night at the hospital before things spiral further. Taking inspiration from the 2017 Paul Schrader film First Reformed, La Dispute’s follow-up to Panorama is intense and brooding as it grapples with self-control, technological consumption, and the feeling of dread that populates the future.

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Flur: Plunge [Latency]

While studying different courses from one another at the London university Goldsmiths, all three members of Flur—Austrian Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison—submerged themselves in the school’s explorative music scene where they started gravitating towards one another as musicians. After various stints collaborating with artists like Floating Points and Shabaka Hutchings, the three musicians finally formed a proper trio. On Plunge, their debut album as Flur, they merge written compositions and offhand improvisation to showcase their take on classical, ambient, and free jazz.

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