{"id":2327706,"date":"2026-03-14T07:50:10","date_gmt":"2026-03-14T07:50:10","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2327706"},"modified":"2026-03-14T07:50:10","modified_gmt":"2026-03-14T07:50:10","slug":"11-new-albums-to-stream-this-week","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/11-new-albums-to-stream-this-week\/","title":{"rendered":"11 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

Spencer Hughes put it best in his write-up on Anjimile three years ago: \u201cHe\u2019s just become one of the most exciting new talents in indie rock. So what\u2019s next for him?\u201d Anjimile said it would be \u201cvery strange music,\u201d though I wouldn\u2019t characterize You\u2019re Free to Go<\/em> as \u201cstrange.\u201d Instead, it\u2019s an intimate, cathartic folk experience\u2014an airy counterpart to 2023\u2019s The King<\/em>. Brad Cook\u2019s guiding hand adds noticeable warmth to Anjmile\u2019s already terrific singing. You\u2019re Free to Go lives up to its title, as Anjimile converses with gender (\u201cWaits for Me\u201d) and estrangement (\u201cExquisite Skeleton\u201d). He faces transphobia in \u201cReady or Not,\u201d and welcomes Iron & Wine\u2019s Sam Beam into his gentle, reflective world on \u201cEnough.\u201d Anjimile\u2019s light plays to the highs and lows of joy. \u201cWaits for Me\u201d pulls me back in every time when he says, \u201cWhen I was a little girl, I wanted to be free. When I was a little boy, I wanted to be real.\u201d \u201cLike You Really Mean It\u201d is my favorite song of his thus far, and the back half of You\u2019re Free to Go<\/em> offers a daring resolution. \u2014Matt Mitchell<\/em> [4AD]<\/strong><\/p>\n

\"\"\"\"God, I love noise<\/em>. Harry Pussy\u2019s Bill Orcutt comes up with a good batch of it in Music in Continuous Motion<\/em>. For just under three minutes in \u201cGiving unknown origin,\u201d Orcutt\u2019s guitars go sideways and inside out. The single foreshadows the raw-hemmed, tangled-up tapestry of the entire album: a looping melody dances with an abrasive, unpredictable wash of riffs. \u201cUnexpectedly heavy\u201d is exactly that, thanks to a sort-of proggy scaling of guitar tones. Orcutt\u2019s own interplay\u2014two lines always cutting into each other\u2014sounds like a new page in guitar history. The music is always moving, always crashing and then receding. Music in Continuous Motion<\/em> offers 30 blasting minutes of possibility and technique. \u2014Matt Mitchell<\/em> [Palilalia]<\/strong><\/p>\n

\"\"\"\"Irreversible<\/em> is a good, dramatic album that lovingly tugs at the threads of new-wave, post-punk, and revivalist giants: New Order, the Killers, Interpol. Having the Rothman brothers produce was a major win for Brigitte Calls Me Baby. I wouldn\u2019t call this record a throwback, but a step towards new life, because the Chicago band has never sounded this compelling, European, or alive<\/em>. \u201cSlumber Party\u201d is huge. \u201cI Danced with Another Love in My Dream\u201d chugs through blinking bursts. \u201cSend Those Memories\u201d helps Brigitte Calls Me Baby transcend what alternative delights embraced them on The Future Is Our Way Out<\/em> two years ago. Thanks to Wes Leavins\u2019 captivating frontpersonsona and his band\u2019s emotional, arena-sized efforts, Brigitte Calls Me Baby sound primed for a breakout. It\u2019s not \u201cmeet me in the bathroom,\u201d it\u2019s \u201cmeet me at the barricade.\u201d \u2014Matt Mitchell<\/em> [ATO Records]<\/strong><\/p>\n

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Cut Worms: Transmitter<\/em><\/h2>\n

\"\"\"\"Most Cut Worms songs sound like a county fair to me. It\u2019s all twinkling rides, shit-hot air, and skies wearing bubblegum costumes in Max Clarke\u2019s treasure chest of sun-soaked doo-wah-ditties. I go to him when I need a precious reimagination of some American Songbook ideal. An album like Nobody Lives Here Anymore<\/em> is perfect for that. Plus, his voice sounds good spilling from a car with its top down and he\u2019s from Strongsville, Ohio. Clarke may not be a Rockefeller but his new album, the Jeff Tweedy-produced Transmitter<\/em>, is the richest he\u2019s ever sounded. It\u2019s him singing on \u201cWindows on the World\u201d while Tweedy dotes on a six-string and Glenn Kotche pounds the snare and pats the \u2018rine. The track is a musical misnomer: it\u2019s a catchy and cute tune you could find at the bottom of a cereal box, but the lyrics are as serious as a heart attack. Clarke can see a light-up American Dream about to burn the fuck out. The county fair\u2019s closed for the season. \u201cCaught in space, printed in pain inside the walls of how we were,\u201d he sings while Tweedy\u2019s chords noodle in the margins. \u201cOn a clear day, you can see almost forever.\u201d Past lives, ephemera, and plate-glass reflections abound, Clarke knows exactly how this play ends. Charmingly, his two-man band falls in line right behind him and his melty, homespun, cosmic conclusion. \u201cI keep an open mind that we still might meet again,\u201d he says. Shit, I\u2019ll have a piece of that. Where do I sign? \u2014Matt Mitchell<\/em> [Jagjaguwar]<\/strong><\/p>\n

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E L U C I D & Sebb Bash: I Guess U Had to Be There<\/em><\/h2>\n

\"\"\"\"E L U C I D has always been the harder half of Armand Hammer to pin down. Where billy woods tends to rap in narratives you can follow even when they fracture, E L U C I D free-associates in dense lattices of imagery that reward obsessive re-listening without ever fully resolving. On I Guess U Had to Be There<\/em>, his first full-length with Swiss producer Sebb Bash, that opacity finally finds its ideal setting. Bash\u2014who earned The Alchemist\u2019s highest praise during the Haram<\/em> sessions, namechecked alongside Premier and Pete Rock\u2014builds beats with a warm, woozy restraint: string samples shimmering at the edges, snares nudged just off-center, grooves that nod without ever locking down. The extra room pushes E L U C I D in a more rap-forward direction than the psychedelic head-trip of REVELATOR<\/em>, grounding him in the physical textures of daily life\u2014Home Depot runs, day laborers in parking lots, sticky fingers from breaking up weed\u2014even as the bars spiral skyward. \u201cCoonspeak\u201d loops lo-fi organ with an almost Steve Reich-like insistence before flipping into something soulful; \u201cEquiano\u201d swings on a Shabaka flute line; woods, Estee Nack, and Breeze Brewin all show up and deliver. But it\u2019s closer \u201cParental Advisory\u201d that stops you cold, for once trading out abstraction for a brutally specific reckoning with the psychic wreckage of childhood corporal punishment and landing like nothing else in his catalog. E L U C I D once said he wonders whether his music belongs to a time that hasn\u2019t revealed itself yet. I Guess U Had to Be There<\/em> makes a strong case that the rest of us are finally catching up. \u2014Casey Epstein-Gross<\/em> [Fat Possum]<\/strong><\/p>\n

James Blake: Trying Times<\/em><\/h2>\n

\"\"\"\"As we\u2019ve come to expect from James Blake, his production choices are lush and refined as ever on Trying Times<\/em>. The panning synth noise and formant modulations on \u201cThrough the High Wire\u201d and the melancholic house pulse on \u201cRest of Your Life\u201d are both highlights on the album\u2019s more electronically minded latter half. The title track saunters along at a leisurely pace; its lilting guitar arpeggio and muted, acoustic drums provide new textures for Blake\u2019s cooing melisma. \u201cDays Go By\u201d shapeshifts with washes of droning synths, a chopped-up vocal sample, and a snaking flute ostinato, and its propulsive breakbeats give it some momentum as the track takes a trajectory that follows no logic save its own. \u201cDoesn\u2019t Just Happen,\u201d which features British rapper Dave, floats on a plaintive cello melody that\u2019s repurposed with polyphonic synths near the track\u2019s end. Both songs happen to be lyrical highlights, too, each about the intentionality that goes into making your own joy, how finding love requires a willingness to do so. Sequencing them together augments their impact and reveals a dialogue between the two. There are bona fide gems littered throughout the album, serving as concrete reminders of Blake\u2019s singular talent. \u2014Grant Sharples<\/em> [Good Boy]<\/strong><\/p>\n

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Kim Gordon: PLAY ME<\/em><\/h2>\n

\"\"\"\"Thanks to Kim Gordon\u2019s sly sense of humor, PLAY ME<\/em> never comes across as Resistance-core pedantry. She manages to trace the committed evils of technocratic fascists while poking fun at what absolute, total losers they are. She begins the album with a list of Spotify-generated playlists (\u201cPlay me \u2018Rich Popular Girl,\u2019 \u2018Villain Mode,\u2019 \u2018Jazz in the Background\u2019), highlighting the absurdity of technology attempting to predict our specific emotional states, prescribing feelings through surface-level typing rather than allowing us to dictate them ourselves. \u201cYou wanna go to Mars, and then what,\u201d she half-asks, half-taunts on \u201cSubcon\u201d; on \u201cSquare Jaw,\u201d she marvels at how butt-ugly Cybertrucks are by comparing them to the song\u2019s namesake. \u201cNo hands on the wheel, it\u2019s a steal,\u201d she brags in \u201cNo Hands,\u201d referencing the cavalier recklessness of those who hold political office. The album is also her most rhythmic yet. \u201cI get inspired by rhythm more than melody because of my vocal ability\u2014or lack of vocal abilities,\u201d Gordon told me around the release of her sophomore album, The Collective<\/em>, two years ago. On its follow-up, she leans even harder into those impulses. There\u2019s the aforementioned \u201cDirty Tech,\u201d a veritable contender for the gnarliest beat on a tracklist brimming with them. The jazzy boom-bap of the opening title track, the crackling low-end of \u201cSubcon,\u201d and the melismatic Auto-Tune of \u201cBlack Out\u201d are just a few examples of how the Sonic Youth co-founder manages to toy with textures and cadences in still-fresh ways. The Playboi Carti-meets-\u201cSilver Rocket\u201d-noise is even more prominent on PLAY ME<\/em> than it was on its predecessor, and it\u2019s a style that suits Gordon incredibly well. On \u201cPost Empire,\u201d she intersperses her figurative musings on how the U.S. government disappears migrants with squealing harmonic feedback, and Raisen imbues the track with sub-bass and 808s designed to rattle even the sturdiest car windows. \u2014Grant Sharples<\/em> [Matador]<\/strong><\/p>\n

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Morgan Nagler: I\u2019ve Got Nothing to Lose, and I\u2019m Losing It<\/em><\/h2>\n

\"\"\"\"Morgan Nagler has been one of indie rock\u2019s great hidden hands for years\u2014co-writing with Phoebe Bridgers (earning a Grammy nod for \u201cKyoto\u201d), HAIM, Kim Deal, Margo Price\u2014the kind of behind-the-scenes career that makes other songwriters\u2019 records sound better without most listeners ever learning her name. Before that, she was a child actor whose IMDb page reads like a fever dream of \u201990s television; after that, she fronted LA bands Whispertown and Supermoon. So I\u2019ve Got Nothing to Lose, and I\u2019m Losing It<\/em> isn\u2019t really a debut so much as the moment a career-long detour finally circles back to the main road. The catalyst was a broken engagement in 2024, but the record she and producer Kyle Thomas (King Tuff) built from the wreckage is too restless and too funny to settle for breakup-album catharsis. \u201cCradle the Pain\u201d opens with a wall of fuzz and a Meg Duffy slide solo that could strip paint, then turns around and tells you to look for flowers in the weeds; \u201cGrassoline\u201d is a country-stomping ode to (literal) weed as coping mechanism that sounds beamed in from \u201970s AM radio; \u201cOrange Wine\u201d hides a scalpel-sharp inventory of LA absurdity inside a mid-tempo number you could hum in the shower. The friends-list is absurd\u2014Courtney Barnett, Bethany Cosentino, Allison Crutchfield, Madi Diaz\u2014but nobody big-foots the songs; they all seem content to let Nagler\u2019s voice, conversational and disarmingly intimate, do the steering. The whole thing builds toward a kind of hard-won lightness: not optimism exactly, but the freedom that comes from accepting that smooth sailing was never on the table and deciding to enjoy the weather anyway. \u2014Casey Epstein-Gross<\/em> [Little Operation Records]<\/strong><\/p>\n

Ora Cogan: Hard Hearted Woman<\/em><\/h2>\n

\"\"\"\"Ora Cogan making music for Sacred Bones makes sense. The BC-based songwriter\u2019s music is as gothic as it is inviting, and Hard Hearted Woman<\/em> might be my favorite thing she\u2019s done yet. \u201cHoney\u201d is certainly my new favorite song of hers. Cogan\u2019s palette this time is filled with smoky guitar, pedal steel, fiddle, organs, celestial synths, and big, canyon-y acoustics. But Hard Hearted Woman<\/em> isn\u2019t a country album. It\u2019s a collection of folk songs that wince, ache, and haunt. Cogan is sometimes sparse but always ornate and always bewitching. The atmosphere in \u201cBelieve in the Devil\u201d showers Cogan\u2019s falsetto in dust, while \u201cLove You Better\u201d sounds like Joni Mitchell just saw a ghost. I like Cogan in this mode. \u2014Matt Mitchell<\/em> [Sacred Bones]<\/strong><\/p>\n

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The Black Crowes: A Pound of Feathers<\/em><\/h2>\n

\"\"\"\"The heart and soul of the Black Crowes, brothers Chris (vocals) and Rich Robinson (guitars), wasted no time getting back in the studio following not just the success of Happiness Bastards<\/em>, but their first Rock and Roll Hall of Fame nomination last year. The songs that would come to tip the scales on A Pound of Feathers<\/em> were all written on the spot in Nashville and recorded in a short burst with returning producer Jay Joyce. That urgency and spontaneity are felt right out of the gate as lead single \u201cProfane Prophecy\u201d opens with arena-ready bluster from Rich and soon descends into all manners of merrymaking a flamboyant Chris can concoct. It\u2019s a devilish declaration, complete with cheeky call-and-response, that playfully lets it be known that rebellion, debauchery, and being oneself are still the order of the day. Just as the tension between brothers\u2014the riotous, outspoken Chris and the calm, stoic Rich\u2014sparks so much of the Crowes\u2019 magic, A Pound of Feathers<\/em> finds a natural balance between raucousness and reflection. A rusty strum in the wee hours of the morning tilts us toward the latter on \u201cPharmacy Chronicles,\u201d while Chris surmises that it\u2019s the \u201cperfume, champagne, and sin\u201d that so often jog our most joyous memories. \u201cLeave it all behind you,\u201d he urges over plinking country piano. \u201cLet the demons find you.\u201d It might be the most revealing line of the record, one that grants us permission to embrace our imperfect selves rather than suppressing our instincts. Are these moments of letting loose the \u201cmasterpieces or the rough cuts?\u201d As a beautiful, hazy solo by Rich lifts up Chris\u2019 emphatic promise that \u201cthe good times never end,\u201d we might be inclined to go track down a demon or two of our own. \u2014Matt Melis<\/em> [Silver Arrow]<\/strong><\/p>\n

The Sophs: GOLDSTAR<\/em><\/h2>\n

\"\"\"\"The story goes that Ethan Ramon cold-emailed demos to Rough Trade before the band had ever played a show, and Geoff Travis and Jeannette Lee signed them on the spot. I keep turning that over because it explains a lot about what the LA six-piece actually sounds like, which is a band that has absolutely no interest in waiting around for permission. GOLDSTAR<\/em>, their debut, is one of those records where you spend the whole first listen trying to figure out what genre you\u2019re even in. Folk song, then funk, then something that\u2019s basically flamenco-pop-punk, then a near blues drawl. Ramon\u2019s got this quality where he can sing about genuinely messed-up stuff\u2014death wishes, craving validation, intrusive thoughts he probably shouldn\u2019t be airing in public\u2014and make it feel like the most fun you\u2019ve had all week. Hell, a song called \u201cDeath in the Family\u201d should not be as catchy as it is. \u2014Casey Epstein-Gross<\/em> [Rough Trade]<\/strong><\/p>\n

<\/p><\/div>\n

\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.avclub.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. Spencer Hughes put it best in his write-up on Anjimile three years […]<\/p>\n","protected":false},"author":2,"featured_media":2327707,"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-2327706","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\/03\/11-new-albums-to-stream-this-week.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2327706","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=2327706"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2327706\/revisions"}],"predecessor-version":[{"id":2327708,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2327706\/revisions\/2327708"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2327707"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2327706"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2327706"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2327706"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}