All products featured on Pitchfork are independently selected by Pitchfork editors. However, when you buy something through our retail links, Cond\u00e9 Nast may earn an affiliate commission.<\/p>\n
Big Thief\u2019s James Krivchenia, Adrianne Lenker, and Buck Meek, photo by Michael Buishas<\/a><\/p>\n 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\u2019s batch includes new albums from Big Thief, Titanic, David Byrne, Lucrecia Dalt, James K, Shame, Saint Etienne, Brian Dunne, Suede, La Dispute, and Flur. Subscribe to Pitchfork\u2019s New Music Friday newsletter<\/a> 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.)<\/p>\n Early this year, Big Thief<\/a> and a rotating cast of guests gathered in a Manhattan studio to record this long-brewing collection of songs largely familiar from the band\u2019s recent setlists. Double Infinity<\/a> is an album of love, sex, and pontification on whatever truths might lie beneath the material world, rendered with the usual economy and stirring atmospheres that tilt Big Thief\u2019s music into the sublime. Collaborators include Laraaji, Hannah Cohen, June McDoom, and Alena Spanger.<\/p>\n Listen on Apple Music<\/a> Hagen<\/a> is Mabe Fratti<\/a> and H\u00e9ctor \u201cI la Cat\u00f3lica<\/a>\u201d Tosta\u2019s second album as Titanic<\/a>\u2014an arresting and wildly ambitious fusion of pop and the avant-garde that, more closely than any of Fratti\u2019s other albums, captures the obliterating force of the Guatamalan cellist\u2019s live show. Strands of sophistipop, doom-metal, jazz, stadium-rock, baroque classical, and noise collide as Fratti\u2019s divine folk melodies battle through the mel\u00e9e. \u201cLibra\u201d\u00a0showcases the album\u2019s pop instincts\u2014albeit the freeform pop of Bj\u00f6rk, Robert Wyatt, and Tom Z\u00e9\u2014while \u201cP\u00e1jaro de fuego\u201d is a darkly alluring ballad, complete with synths from Daniel Lopatin.<\/p>\n Listen on Apple Music<\/a> \u201cAt my age, at least for me, there\u2019s a \u2018don\u2019t give a shit about what people think\u2019 attitude that kicks in,\u201d David Byrne<\/a> said of his new album, Who Is the Sky?<\/a> Accordingly, his follow-up to 2018\u2019s American Utopia<\/a> employs the chamber ensemble Ghost Train Orchestra in service of a sort of globe-trotting baroque-pop opera. To that eclectic backdrop, the Talking Heads<\/a> frontman applies his usual puckish wit to matters of love, connection, and other quandaries of existence, assisted by Paramore\u2019s Hayley Williams, St. Vincent, and the Smile\u2019s Tom Skinner.<\/p>\n Listen on Apple Music<\/a> Lucrecia Dalt<\/a> broke out in 2022 with the sci-fi bolero opus \u00a1Ay!<\/a> Three years and one horror movie score<\/a> later, the Colombian singer, composer, and songwriter is back with a beguiling follow-up\u2014but only after \u201cspending enough time in the abyssal realm of erotic delirium\u201d to write it, as\u00a0she informs us in press materials. A Danger to Ourselves<\/a> presents 13 transcendent, explosive takes on the experimental pop song, conceived in part with co-producer David Sylvian. \u201cI wanted to create music that flows cinematically and sets a landscape to tell a love story that flirts with improbability, the miraculous and the mysterious,\u201d Dalt summarized.<\/p>\n Listen on Apple Music<\/a> Friend, the latest from experimental New York composer and singer James K, is a pillowy and mollifying album even by dream-pop standards. Volcanic murmurs stir and accumulate, only occasionally\u2014spectacularly\u2014erupting, as on the single \u201cDoom Bikini.\u201d For the most part, she drifts through ashen synths and aquatic guitar strums carefree and half-awake, slowly dissolving your worries in a pinkish melodic mush.<\/p>\n Listen on Apple Music<\/a> Shame<\/a> wrote their new album \u201cabout the cowards, the cunts, the hypocrites,\u201d vocalist Charlie Steen explained in press materials. But how does he really feel? On Cutthroat<\/a>, the British post-punks let us know through a spangly bombardment of vitriolic rock anthems, untamed by the silvery tones of producer John Congleton. Forays into Americana and rockabilly break up the walls of noise, but not the feel of a band, four albums in, hurtling through life at top speed.<\/p>\n Listen on Apple Music<\/a> Saint Etienne<\/a> insist they\u2019re not breaking up, but they do not plan to release another studio album after International<\/a>. Fans will just have to take solace in knowing that the British indie-poppers don\u2019t wish to sully their reputation with subpar work. The group made International, a quick follow-up to 2024\u2019s The Night<\/a>, with contributions from Errol Alkan, Paul Hartnoll, Vince Clarke, Tom Rowlands, and others.<\/p>\n Listen on Apple Music<\/a> At long last, Clams Casino<\/a> is bac\u2014no, hang on, that\u2019s not right. It says here that Clams Casino is actually a new album of exuberant pop-rock from Brian Dunne<\/a>, one-fourth of the New York folk rockers Fantastic Cat. (If it\u2019s a 2010s-style rap record you\u2019re after, try the Justin Bieber album<\/a>, apparently.) Dunne\u2019s fifth solo LP is a suite of wry character studies in which the characters, as well as the songs, are swept up in high-stakes drama that will always resolve in a satisfactory manner, because this is a crowd-pleasing, everyman rock album\u2014and definitely not a rap album.<\/p>\n Listen on Apple Music<\/a> While Oasis, Blur, and, to some degree, Pulp rake it in with reunions bankrolled by nostalgia, Suede<\/a> 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.<\/p>\n Listen on Apple Music<\/a> There\u2019s regular dissociation, and then there\u2019s the three-tiered saga presented in No One Was Driving the Car<\/a>, La Dispute<\/a>\u2019s 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\u2019s follow-up to Panorama<\/a> is intense and brooding as it grapples with self-control, technological consumption, and the feeling of dread that populates the future.<\/p>\n Listen on Apple Music<\/a> While studying different courses from one another at the London university Goldsmiths, all three members of Flur\u2014Austrian Ethiopian harpist Miriam Adefris, British saxophonist Isaac Robertson, and percussionist Dillon Harrison\u2014submerged themselves in the school\u2019s 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.<\/p>\n Listen on Apple Music<\/a>
\nBig Thief: Double Infinity [4AD]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nTitanic: Hagen [Unheard of Hope]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nDavid Byrne: Who Is the Sky? [Matador]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nLucrecia Dalt: A Danger to Ourselves [Rvng Intl.]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nJames K: Friend [AD 93]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nShame: Cutthroat [Dead Oceans]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nSaint Etienne: International [Heavenly]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nBrian Dunne: Clams Casino [Missing Piece]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a><\/p>\n
\nSuede: Antidepressants [BMG]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nLa Dispute: No One Was Driving the Car [Epitaph]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\nFlur: Plunge [Latency]<\/h2>\n
<\/span><\/div>\n
Listen on Spotify<\/a>
Listen on Tidal<\/a>
Listen on Amazon Music<\/a>
Listen\/Buy at Bandcamp<\/a>
Buy at Rough Trade<\/a><\/p>\n
\n