{"id":2291501,"date":"2026-02-20T19:32:31","date_gmt":"2026-02-20T19:32:31","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2291501"},"modified":"2026-02-20T19:32:31","modified_gmt":"2026-02-20T19:32:31","slug":"10-new-albums-to-stream-this-week","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/10-new-albums-to-stream-this-week\/","title":{"rendered":"10 new albums to stream this week"},"content":{"rendered":"

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Paste is the place to kick off each and every New Music Friday. We follow our regular roundups of the best new songs<\/a> by highlighting the most compelling new records you need to hear. Find the best new albums of the week below.<\/em><\/p>\n

Baby Keem: Ca$ino<\/em><\/h2>\n

At 25, Baby Keem is already a major player amongst his peers, in large part due to his fantastic 2021 LP The Melodic Blue<\/span><\/i>. But five years is a long time to be away in any genre, let alone rap. Thankfully, <\/span>Ca$ino<\/span><\/i> suggests that Keem can take as long as he needs between releases. Talent like his doesn\u2019t expire or get stale. There\u2019s a nice palette at work on <\/span>Ca$ino<\/span><\/i>. Ecstatic, exciting West Coast funk powers \u201cSex Appeal,\u201d while the \u201cI Am Not a Lyricist\u201d title is a huge misnomer, because Keem raps about poverty, drug abuse, and systemic racism under the compelling vertical of a fading family. I feel confident in saying it\u2019s the best song he\u2019s ever released, showing up light-years ahead of \u201cThe Hillbillies,\u201d which he made with his cousin Kendrick Lamar. Speaking of, Kendrick shows up on <\/span>Ca$ino <\/span><\/i>(as expected), filling in with verses on \u201cGood Flirts\u201d and giving us a sneaky Young Thug diss while he\u2019s on the mic. The year is still very young, but <\/span>Ca$ino <\/span><\/i>might be the strongest rap album released in Q1. Baby Keem\u2019s best was well worth the wait. \u2014<\/span>Matt Mitchell<\/span><\/i> [pgLang\/Columbia]<\/b><\/p>\n

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Hen Ogledd: Discombobulated<\/em><\/h2>\n

\"\"\"\"I appreciate it when bands title their albums correctly, because \u201cDiscombobulated\u201d is a good way to describe the latest Hen Ogledd tape. Richard Dawson, his bandmates Dawn Bothwell, Rhodri Davies, and Sally Pilkington, and guest contributors (especially the great Matana Roberts) deliver us a synth-pop adventure buttoned up with spoken-word, post-punk wigouts, folktales, ambient sprawls, and jazz crescendos. It really is everything but the kitchen sink this time around. The electric guitar streaking across \u201cScales will fall\u201d has been on my mind since I first heard it; the 19-minute \u201cClear pools\u201d is seven or eight songs folded into one (everything between 5:40 and 9:05 is god-tier work), giving us the greatest-ever companion track to Sufjan Stevens\u2019 \u201cImpossible Soul.\u201d Discombobulated <\/span><\/i>is a fantastic project full of experiments. Improv may give the record its shape, but Hen Ogledd\u2019s strange, furious, and itinerant impulses are the driving force. \u2014<\/span>Matt Mitchell <\/span><\/i>[Weird World\/Domino]<\/b><\/p>\n

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Hilary Duff: luck\u2026 or something<\/em><\/h2>\n

\"\"\"\"Hilary Duff hasn\u2019t released a new album since 2015\u2019s Breathe In. Breathe Out.<\/span><\/i>, though the 38-year-old pop star has kept busy over the years: she married songwriter and producer Matthew Koma, starred on <\/span>How I Met Your Father<\/span><\/i>, and became a mother to four. (In a wonderfully unserious bit of white woman drama, Duff was indirectly implicated in fellow Disney star Ashley Tisdale\u2019s viral \u201ctoxic mom group\u201d essay earlier this year.) Needless to say, Duff has grown up quite a bit in the past decade and change. <\/span>luck\u2026 or something<\/span><\/i>, then, is the inevitable comeback album arriving to broadcast its pop star\u2019s newfound maturity\u2026 or something. The album, primarily co-produced by Duff and Koma (who previously worked on Carly Rae Jepsen\u2019s <\/span>Kiss<\/span><\/i>), operates in the type of bright, buoyant pop instantly reminiscent of Duff\u2019s 2003 debut<\/span> Metamorphosis<\/span><\/i><\/a>. The album\u2019s most shamelessly sugary moments are also its highlights: \u201cWeather for Tennis\u201d finds Duff singing about complicated relationships and arguments, yet its cheery pop would fit perfectly in a Wes Anderson-esque 2012 millennial hipster MV full of color-blocked outfits and goofy choreography set on a tennis court. \u201cFuture Tripping\u201d is pretty much a crash-out anthem, yet it\u2019s light enough that you could skip down the street to its bounce, as unimpeded as a rom-com heroine. (Plus, the \u201cBon Ivar\u201d line is so nonsensical but charming as to feel instantly delightful. Who even mistakenly pronounces Bon Iver like that?) \u2014<\/span>Lydia Wei<\/span><\/i> [Atlantic]<\/b><\/p>\n

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Liz Cooper: New Day<\/em><\/h2>\n

\"\"\"\"A switch-up in sound has plagued quite a few bands I\u2019ve liked, to be honest. Liz Cooper\u2019s OG style\u2014Nashville-driven, good-hearted, cosmic-flavored rock and roll\u2014grabbed me as soon as I heard it in 2016 and again in 2018, when she and her old band the Stampede released Window Flowers<\/span><\/i>. That\u2019s a damn good record (\u201cMountain Man\u201d and \u201cOuter Space\u201d went platinum in my dorm room), and <\/span>Hot Sass <\/span><\/i>turned even more psychedelic three years later. Now, Cooper is going through total reinvention on <\/span>New Day<\/span><\/i>, ditching the Music Row singer-songwriter gig for something more experimental. Maybe this is how she was supposed to sound the whole time. Cooper has always been a great guitarist\u2014and her instrument sounds <\/span>really good<\/span><\/i> on \u201cIDFK\u201d and \u201cBoy Toy\u201d (<\/span>especially <\/span><\/i>\u201cBoy Tune\u201d; what a tune)\u2014but the keys on <\/span>New Day <\/span><\/i>bring a level of excitement to Cooper\u2019s ideas that weren\u2019t there before. She taught herself how to play piano, chased after big hooks, and came back with a smart, empowering record inspired by Beck, Lou Reed, and her pop-singer friend Caroline Kingsbury and full of queer catharsis. Working with producer Dan Molad was a good choice; \u201cBaby Steps\u201d and \u201cSorry (That I Love You)\u201d are two of her best songs to date. Liz Cooper has never sounded so alive, and her new record\u2019s title lives up to itself. \u2014Matt Mitchell<\/em> <\/span>[Sleepyhead Records]<\/b><\/p>\n

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Megan Moroney: Cloud 9<\/em><\/h2>\n

\"\"\"\"In 2022, Megan Moroney introduced herself to the world with \u201cTennessee Orange,\u201d a tender love song that detailed her romance with a blue-eyed Knoxville boy while nodding to her Georgia upbringing. Her three albums alternate between those picture-perfect romances and the relationships that are anything but. Moroney\u2019s emo cowgirl persona\u2014paired with her charred, charming voice\u2014has always scanned as candid and sincere. But while she\u2019s solidified herself as one of the leading women in country music, her songwriting has grown less specific. \u201cI tell the stories,\u201d she once told <\/span>NME<\/span><\/i><\/a>, \u201cbut then people make them their own.\u201d <\/span>Cloud 9<\/span><\/i>, her latest, comes a little under two years after <\/span>Am I Okay?,<\/span><\/i> but it seems little has changed in Moroney\u2019s world in the interim. The assorted losers and nameless heartbreakers she writes about here rarely have defining characteristics, while the sound is steadfast country pop basics. With the assistance of her regular producer, Kristian Bush of Sugarland, Moroney provides a tasteful blend of swaying acoustic guitars, sanded-down pedal steel, and the occasional electric melody. This isn\u2019t crossover country with glossy stadium ambitions or the recent spate of neo-traditionalists. Instead, the subtle melodies and stately tempos are designed to redirect you back to considering Moroney\u2019s whirlwind feelings. \u2014<\/span>Ethan Beck<\/span><\/i> [Sony\/Columbia]<\/b><\/p>\n

Mirah: Dedication<\/em><\/h2>\n

\"\"\"\"It\u2019s been a minute since we\u2019ve seen Mirah in action. Seven years, a death, a birth, a pandemic, a near-silent stretch of motherhood\u2014and on Dedication<\/em>, the singer-songwriter doesn\u2019t so much \u201creturn\u201d as pick up the thread mid-sentence. Older and earthier and more weathered now, yes, but with that same razor-sharp focus and keening vulnerability. Backed by a small murderer\u2019s row (Jenn Wasner, Meg Duffy, Andrew Maguire), she leans into warm folk-rock, letting pedal steel sigh and harmonies stack around stories that are almost disarmingly direct: crying on the New Jersey Turnpike en route to bury her father, trying to keep a marriage from buckling, singing a gushy love song to her kid. The younger Mirah hid barbs and kinks inside tape-hiss pop; here, the surprises come from how blunt she\u2019s willing to be about middle-aged stakes\u2014\u201cLife is already hard enough \/ And I don\u2019t want to throw away all of the good stuff we have\u201d\u2014and how gently the arrangements hold that earnestness without sanding it down. Dedication<\/em> isn\u2019t about reinvention so much as staying, choosing, recommitting: to family, to art, to the messy, unglamorous work of loving people while the world tilts, and to the stubborn belief that all of it, even the worst of it, is worth singing about. \u2014Casey Epstein-Gross<\/em> [Double Double Whammy]<\/strong><\/p>\n

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MX LONLEY: ALL MONSTERS<\/em><\/h2>\n

\"\"\"\"This MX LONELY record snuck up on me. It was in my email for weeks and, after finally getting around to it a few days ago, I can safely say: this band has the juice<\/span><\/i>. Maybe I\u2019m just a sucker for big, muscular rock tracks that utilize an entire pedalboard. Or maybe <\/span>ALL MONSTERS <\/span><\/i>is just that good. Vocalist\/synthesist Rae Haas and their band don\u2019t just chase hooks; they obliterate them. You can hear touches of Show Me the Body, Pixies, and even, yes, <\/span>Pinkerton<\/span><\/i>-era Weezer in these eight songs. Big Hips\u201d reaches a freakout climax but doesn\u2019t bottom out, while \u201cShape of an Angel\u201d doesn\u2019t sacrifice any distortion in the name of cathartic sustain. \u201cBlue Ridge Mtns\u201d (which guitarist Jake Harms adapted from a folk song he wrote in high school) hits like a sedative with lucid, loping guitar sprawls. The noise swarming the \u201cReturn to Sender\u201d melody suffocates, but \u201cAll Monsters Go to Heaven\u201d plummets into this post-hardcore tsunami of riffs. From the first second of \u201cKill the Candle,\u201d <\/span>ALL MONSTERS <\/span><\/i>is building into its finale, the seven-minute, blistering rupture of \u201cWhispers in the Fog.\u201d What a righteous, visceral, howling conclusion to reach on your debut record. MX LONELY makes sludge sound like a prayer. \u2014<\/span>Matt Mitchell <\/span><\/i>[Julia\u2019s War]<\/b><\/p>\n

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Peaches: No Lube So Rude<\/em><\/h2>\n

\"\"\"\"Most people mellow out with age. Peaches\u2014god love her\u2014has spent the last decade sharpening her dildo into a spear. On No Lube So Rude,<\/em> her first album in over a decade, she\u2019s still rhyming like a sex\u2011obsessed shock jock, but the target has shifted: post\u2011Roe politics, transphobes, ageism, all the miserable little forces trying to shame bodies back into compliance. \u201cHanging Titties\u201d kicks things off like a demented victory lap, turning post\u2011menopausal boobs into blunt\u2011force weapons over sugar\u2011rush electro (\u201cOlder than you \/ Looking so cunt \/ \u2026 \/ My hanging titties hit like the punch\u201d has got to be line of the week) while \u201cFuck How You Wanna Fuck\u201d and \u201cNot In Your Mouth None of Your Business\u201d weld bratty slogans to pile\u2011driver beats like riot chants you can grind to. Recorded in Berlin with aptly-named producer The Squirt Deluxe, the record keeps mutating its filth: the title track and \u201cFuck Your Face\u201d stomp around the EDM festival sandbox, \u201cPanna Cotta Delight\u201d slow\u2011grinds through a sticky, video\u2011game funk while she drags anyone who thinks \u201cold\u201d equals invisible, and closer \u201cBe Love\u201d sneaks in a genuinely earnest synth-pop ballad under all the lube gags. It\u2019s not subtle and it\u2019s not meant to be; if anything, the one\u2011note excess becomes the point, an overclocked defense of pleasure and bodily autonomy in a moment when both are being legislated away. There are sleeker, more nuanced records about sex and gender this year, but none that sound quite so thrilled to still be disgusting and sexy as hell in public\u2014and in 2026, that feels like its own kind of protest. \u2014Casey Epstein-Gross<\/em> [Kill Rock Stars]<\/strong><\/p>\n

Phew & Danielle de Picciotto: Paper Masks<\/em><\/h2>\n

\"\"\"\"It\u2019s great when labelmates collaborate with each other. Mute teammates Phew and Danielle de Picciotto team up on Paper Masks, <\/span><\/i>a \u201cmesmerizing exchange between two singular voices in experimental music,\u201d as the liner notes succinctly summarize. The album isn\u2019t a set of ideas so much as it is dialogues in German and English and intuitive interplay shared between the Berlin-based Picciotto and the Osaka hero Phew. The songs are electronic works that, even in their minimalism, find ways to be unpredictable. \u201cPaper Memories\u201d employs a spoken-word performance from de Picciotto that collapses into a glitch; \u201cPixelwissen\u201d utilizes Auto-Tune aboard a buzzing organ drone; the bleeps and bloops in \u201cThe Cat\u201d siren louder than de Picciotto\u2019s voice but never overwhelm her harmonies; \u201cSugar Sprinkles\u201d puts a sinister lacquer atop a collage of found sounds and vocal clips. <\/span>Paper Masks <\/span><\/i>is a dystopian yet tranquilizing noise. Language evolves as the record carries forward, as Phew and de Picciotto are woven into each other. I don\u2019t know what to make of this music yet, but I think that\u2019s the point. \u2014<\/span>Matt Mitchell <\/span><\/i>[Mute Artists]<\/b><\/p>\n

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The Messthetics & James Brandon Lewis: Deface the Currency<\/em><\/h2>\n

\"\"\"\"Deface the Currency<\/em> sounds like punk\u2019s anxious itch got poured straight into a jazz record and left to ferment. Across seven tracks, the Messthetics\u2014Fugazi\u2019s rhythm section plus guitarist Anthony Pirog\u2014and tenor saxophonist James Brandon Lewis take the punk\u2011jazz handshake of their 2024 debut and rough it up: the tempos lurch harder, the noise gets gnarlier, the quiet bits feel newly haunted. You can hear all those 150\u2011odd shows in the way they move as a single animal\u2014\u201cDeface the Currency\u201d and \u201cUniversal Security\u201d keep collapsing from locked\u2011in groove into total mayhem and back again, like they\u2019re stress\u2011testing how much chaos the rhythm section can hold before everything splits open. Elsewhere, \u201cGestations\u201d slinks along on noir funk before blooming into full Sonny Sharrock freakout, \u201c30 Years of Knowing\u201d briefly remembers how to be pretty, and \u201cSerpent Tongue (Slight Return)\u201d takes an old Messthetics bruiser and blows it out into a free\u2011jazz pileup, skronk ping\u2011ponging between guitar and sax until there\u2019s nothing left to burn. It\u2019s the rare \u201ccrossover\u201d record that never feels like homework: the reference points are there if you want them\u2014Impulse! lineage, DC punk, hard\u2011bop fire\u2014but mostly it just plays like a band joyriding through all their shared obsessions, daring you to keep up. \u2014Casey Epstein-Gross<\/em> [Impulse!]<\/strong><\/p>\n

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\u2018 The preceding article may include information circulated by third parties \u2019 <\/em><\/p>\n

\u2018 Some details of this article were extracted from the following source www.pastemagazine.com \u2019 <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Paste is the place to kick off each and every New Music Friday. We follow our regular roundups of the best new songs by highlighting the most compelling new records you need to hear. Find the best new albums of the week below. Baby Keem: Ca$ino At 25, Baby Keem is already a major player […]<\/p>\n","protected":false},"author":2,"featured_media":2291502,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_memberships_contains_paid_content":false,"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"footnotes":""},"categories":[25179],"tags":[],"class_list":["post-2291501","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music"],"jetpack_featured_media_url":"https:\/\/celebrity.land\/en\/wp-content\/uploads\/2026\/02\/10-new-albums-to-stream-this-week.jpeg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2291501","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/comments?post=2291501"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2291501\/revisions"}],"predecessor-version":[{"id":2291503,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2291501\/revisions\/2291503"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2291502"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2291501"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2291501"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2291501"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}