{"id":2369257,"date":"2026-04-12T06:01:31","date_gmt":"2026-04-12T06:01:31","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2369257"},"modified":"2026-04-12T06:01:31","modified_gmt":"2026-04-12T06:01:31","slug":"10-new-albums-to-stream-today","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/10-new-albums-to-stream-today\/","title":{"rendered":"10 new albums to stream today"},"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

Brown Horse: Total Dive<\/em><\/h2>\n

There are clouds in the sky and dust on the ground. Vultures circle a grayed-out factory, diving through smog pumped into the air. The silence is total, and the road is forever. This is the atmospheric, haunted alt-country path Brown Horse\u2019s third LP Total Dive <\/em> takes for 45 minutes. It may surprise you to learn that the band is from Norwich, a quaint city in northeast England, not middle America; each of the album\u2019s ten songs do a convincing job of placing the group in cowboy towns, ones inhabited primarily by past lives and ones missed altogether. Rough, jagged guitars\u2014the band doesn\u2019t skimp on reverb\u2014buoy Patrick Turner\u2019s vocals, which do a mean job at imitating the sort of world-weary cowboy role he inhabits, forward. The result is visceral and raw, twangy and lucid. The album crackles with anticipation, all no-frills guitar runs, and dramatic lyrical flashes (with songs written by each of the band\u2019s four members). On \u201cTwisters,\u201d an early highlight, Turner moans, \u201cI hope a whip of lightning cuts me right in two,\u201d as backing singer Neve Cariad\u2019s delicate soprano hovers above; on the title track, which also acts as the record\u2019s inflection point, Turner sighs the slogan of an endless postindustrial life stretching out ahead: \u201cDon\u2019t wanna work so hard anymore.\u201d Total Dive<\/em> is an album that weighs you down, as tumbling words, sticky guitars, roiling basslines, and militaristic drums march forward while you sink to your knees. It\u2019s part-Jason Molina, part-Bonnie \u201cPrince\u201d Billy, and entirely self-possessed. \u2014Miranda Wollen<\/em> [Loose Music]<\/strong><\/p>\n

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Cactus Lee: Lee\u2019s Dream<\/em><\/h2>\n

\"\"\"\"I quote John Updike\u2019s paean to the beer can: \u201cIt was beautiful\u2014as beautiful as the clothespin, as inevitable as the wine bottle, as dignified and reassuring as the fire hydrant.\u201d Kevin Dehan, who runs around as Cactus Lee, makes music like that. He\u2019s taller than he sings, and his leads don\u2019t twang like a Texan\u2019s should. No, his voice is purer, with a tone closer to Gordon Lightfoot\u2019s. You see, Dehan can swing between baritone and tenor, but there\u2019s no unsettling jolt to his versatility. It\u2019s the type of singing you can poke a hole through. I\u2019ve been returning to his new album, Lee\u2019s Dream<\/em>, since a copy of it landed on my doorstep two months ago. According to my Apple Music stats, I\u2019ve only listened to three songs more than \u201cBy Sunday\u201d this year. That checks out, it\u2019s a real sun-dappled stunner. But I\u2019m most obsessed with \u201cLone Star,\u201d a tribute to a beer whose logo has never changed, even when cans switched from the church key to the zip-top. \u201cLone Star\u201d chases a nighttime buzz. Brushed snares, sock-hop guitar curls, and ooh-oohs plug in and plug along. It\u2019s a sticky Country & Western chugger that can mend any old hippie heart with a grainy, hoppy exit strategy. \u201cWhat we need is progress with an escape hatch,\u201d Updike wrote, and Dehan sees the author\u2019s plan through: \u201cOnce the night begins, I\u2019ll have Lone Star. I might have one, I might have ten.\u201d \u2014Matt Mitchell<\/em> [Western Vinyl]<\/strong><\/p>\n

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Ella Langley: Dandelion<\/em><\/h2>\n

\"\"\"\"It was the week of Valentine\u2019s Day when Ella Langley\u2019s undeniable \u201cChoosin\u2019 Texas\u201d crested the Billboard<\/em> Hot 100, a result of the song\u2019s sturdy, confident earworm, country music\u2019s post-pandemic imperial phase, and, of course, a TikTok push. Millions of people around the globe have surrendered to Langley\u2019s disappointed warning that a \u201ccowboy always finds a way to leave\u201d over the glowing guitars worthy of Steve Winwood\u2019s \u201880s output. She settles in that slick, ethereal pop country for her sophomore album, Dandelion<\/em>, a shift in sound that\u2019s genuine enough to be performed at both a county fair and at any of her upcoming arena dates. Across the album, Langley\u2019s chief lyrical concern is staying in touch with her roots. An opening rendition of \u201cFroggy Went a Courtin\u2019,\u201d a folk song which Langley used to sing with her grandpa, puts the concept in bold: You can take the woman out of Alabama, but you can\u2019t take the Alabama out of the woman. Sort of. Can you really be the same girl playing acoustic guitar at church if you\u2019re one of the biggest up-and-coming stars in country music? Dandelion<\/em> soars when Langley insists she\u2019s the same person she\u2019s always been\u2014and then quickly undermines that idea. Her growth is almost immediately apparent when she takes a page out of Kacey Musgraves\u2019 book, luxuriating in shimmering, spacy arrangements that support unquestionable hooks. The progress manifests in dreamy guitar parts, occasional doo-wop chord progressions, and blocky, thumping percussion. That push-and-pull is just as easily located in storytelling here. \u2014Ethan Beck<\/em> [Columbia\/SAWGOD]<\/strong><\/p>\n

gentle boxer: my heart is a gentle boxer<\/em><\/h2>\n

\"\"\"\"On Monday, NYC singer-songwriter and Paste favorite Allegra Krieger dropped a solo instrumental album under an oxymoronic pseudonym: gentle boxer. Krieger made my heart is a gentle boxer<\/em> all by herself this winter, with canteenkilla on occasional vox and synths. \u201cIt\u2019s some of my noisy\/instrumental music,\u201d she wrote in the Bandcamp alert. She\u2019s right about that. The tape is loud and glitchy, fusing electronic instruments with the acoustic guitar that textures the work she makes under her own name, especially her 2023 album, I Keep My Feet on the Fragile Plane<\/em>. She sings here and there, but it\u2019s mostly wordless and often very exciting. There\u2019s a vocal sample from Anne Carson\u2019s \u201cEssay on Threat\u201d in \u201cfrom a different place,\u201d which I was floored by. If you couldn\u2019t tell that Krieger is a great instrumentalist from her folk music, then let my heart is a gentle boxer<\/em> guide you there. \u2014Matt Mitchell<\/em> [Self-Released]<\/strong><\/p>\n

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Holly Humbertsone: Cruel World<\/em><\/h2>\n

\"\"\"\"It\u2019s been great following Holly Humberstone\u2019s career, as she\u2019s graduated from Olivia Rodrigo\u2019s opening act to a pop songwriter on the verge of world stardom. There\u2019s something really visceral about how her songs interact with growing up, mental illness, and lonesomeness as a creative person who\u2019s always on the move. That driving force and eye for vulnerability has turned Humberstone into, quite frankly, one of the most interesting artists in the world\u2014and she\u2019s still getting her feet off the ground. Her new album, Cruel World<\/em>, pulls no punches. Confidently, she says \u201ckiss me like you fucking mean it\u201d on \u201cRed Chevy.\u201d A well-done crescendo brightens \u201cMake It All Better\u201d while the acoustic \u201cLucy\u201d is a stirring commentary on femininity. The wonderful \u201cBlue Dream\u201d proves that not only has Humberstone taken cues from the likes of Rodrigo and Taylor Swift, but that her originality is just as exciting as theirs. Cruel World<\/em> builds on Paint My Bedroom Black<\/em>\u2019s promise, and we\u2019re left with a soothing, oft-beautiful sophomore project that demands many revisits. \u2014Matt Mitchell<\/em> Polydor<\/strong><\/p>\n

Mei Semones: Kurage<\/em> EP<\/h2>\n

\"\"\"\"We really enjoyed the jazzy indie pop of Best of What\u2019s Next alumna Mei Semones\u2019 debut Animaru<\/em> last year, and there\u2019s more where that came from on her collaborative EP Kurage (meaning jellyfish) released this week. Semones\u2019 guitar work remains impressive as ever, and her voice flits across each tumbling melody, light and airy. With only three songs to its name\u2014the sugar-spun melodies of \u201dKoneko\u201d ft. British-Brazilian musician Liana Flores, the rippling bossa nova of \u201cTooth Fairy\u201d ft. singer and guitarist John Roseboro, and the playful rhythms of the title track ft. her own father, Don Semones, on euphonium\u2014Kurage<\/em> is the definition of short but sweet. \u2014Casey Epstein-Gross<\/em> [Bayonet]<\/strong><\/p>\n

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My New Band Believe: My New Band Believe<\/em><\/h2>\n

\"\"\"\"Much of My New Band Believe<\/em> feels like a leveling-up of what Cameron Picton was inching toward on his black midi songs. \u201cIn The Blink Of An Eye\u201d barrels in with all the rickety pomp of a fantasy call-to-action, eventually morphing into a full-on jig. The following eight-and-a-half-minute \u201cHeart of Darkness\u201d boasts early Kate Bush levels of precise theatricality and showcases the subtle malleability of Picton\u2019s vocal deliveries, hacking up some of his consonant sounds and letting others snake around themselves on a show-stopping verse: \u201cIt\u2019s such a long, long, long, long way to go \/ Through fields of hope \/ Forget the whisper trees \/ You\u2019ll miss the hissing rope.\u201d By the time \u201cHeart of Darkness\u201d arrives at its yawning, tinkering, wordless outro, all the story beats the song\u2019s cycled through have rendered it almost unrecognizable, leaving the listener lost in the woods far from where they started the journey. Just as easily as Picton and co. can rise to colossal heights of fantasy and Song Cycle<\/em> levels of conceptuality, they can contrast them with the cutting immediacy of a track like \u201cOpposite Teacher,\u201d a quivering folk song about a child saddled with a secondhand shame that predates them, at once afraid of falling short of their parent\u2019s expectations and repeating their parent\u2019s mistakes without realizing. \u201cI dream I\u2019m running from a picture \/ of me in the twilight \/ I ask time, time knows not the answer \/ It follows and crushes,\u201d Picton sings atop a steep slide of bowed strings, caught in the push and pull between the unknowns of a parent\u2019s past and one\u2019s own future. The following \u201cActress\u201d is a harrowing dissection of celebrity and, more broadly, how destructive it can be to finally get what you want. \u201cI envy you \/ You never tell the truth,\u201d Picton sings, full of fascination and bitterness, admiration and indictment. \u2014Grace Robins-Somerville<\/em> [Rough Trade]<\/strong><\/p>\n

Parlor Greens: Emeralds<\/em><\/h2>\n

\"\"\"\"Parlor Greens is a band that was concocted for me<\/em>, specifically. Ohio-bred and a modernized take on Booker T. and the MG\u2019s? Hell, they had me at the name. Tim Carman, Jimmy James, and Adam Scone are a couple of soul veterans locked into each other. Emeralds<\/em> is a damn fine tape, full of instrumental jams that float between R&B, funk, country, and blues. \u201cRed Dog\u201d is a scorcher, thanks to James\u2019 licks. He wrote \u201cQueen of My Heart\u201d for his recently-deceased mother, and Scone\u2019s organ gives her a memorable eulogy. \u201cEat Your Greens\u201d and \u201cMustard Sauce\u201d could have been the backing piece to any soul hit 60 years ago. But, in a feat that would be impossible for most musicians, Parlor Greens make them sound just as catchy without a vocal. It\u2019s not every day that we get a record this terrific, in which every hand involved in making it belongs to a maestro. Emeralds<\/em> is expert music. Every second is seasoned just right. \u2014Matt Mitchell<\/em> [Colemine Records]<\/strong><\/p>\n

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Paul Bergmann: Connecticut Cowboy<\/em><\/h2>\n

\"\"\"\"I have a playlist titled \u201cfavorite songs of all time,\u201d and it\u2019s over 500 songs long. Give me a year or two and it will be a thousand songs long. But, gun to my head, my true favorite song of all time is \u201cOld Dream\u201d by Paul Bergmann. That is a perfect tune that, according to Apple Music, I\u2019ve listened to more than anything else since 2015. You can see that I am very endeared to Bergmann\u2019s sound, which he\u2019s been tinkering with for more than a decade. 2019\u2019s Make Yourself at Home<\/em> is a personal highlight. His new record, Connecticut Cowboy<\/em>, came alive at InnerSpaceSoundLabs in Durham, Connecticut, last summer and features Scott Lawrence, Cameron Brown, Stephen Heath, and Scott Amore. The band compliments Bergmann\u2019s songwriting expertly. Images of bloodroot, sacred ginseng, Ansonia skies, a horse farm in Bethany, bending, aching weeds, apparition smoke, pariahs, ghosts, and perfumed strangers fill out his portrait of America, which is brand new when he sings about it. Throttled, western guitars pool beneath Bergmann\u2019s low, drawling baritone. How lucky we are that he\u2019s remained this fascinating. \u2014Matt Mitchell<\/em> Self-Released<\/em><\/p>\n

WU LYF: A Wave That Will Never Break<\/em><\/h2>\n

\"\"\"\"Want to listen to WU LYF\u2019s first album in 15 years? Well, get the fuck off Spotify, since you won\u2019t find it there. Become a L Y F member instead. The Manchester four-piece are playing their \u201cown (infinite) game outside the narrow parameters of the machine that renders life absurd,\u201d because of course they are. WU LYF have never been ones to follow the typical industry playbook, after all. The \u201cheavy pop\u201d outfit that burst onto the scene in 2008 only to disappear shortly after their acclaimed 2011 debut Go Tell Fire to the Mountain<\/em> has finally reunited and, dare I say, it\u2019s been worth the wait. A Wave That Will Never Break<\/em> is simply big<\/em>: in sound, in feeling, in ambition. The centerpiece of the record, \u201cTib St. Tabernacle,\u201d is over ten minutes long, and every moment feels like its own eruption. \u201cWave,\u201d though, slows things down into a sparse acoustic-and-piano ballad, while \u201cRobe of Glory\u201d counts off into feverish riffs and hoarse-throated drawls: \u201cCan you feel it? Can you feel something?\u201d There\u2019s an irresistible sense of conviction in every single line spat out by singer Ellery James Roberts, and he\u2019s only buoyed by the cathartic build-and-release output from guitarist Evans Kati, bassist Tom McClung, and drummer Joe Manning. WU LYF are back, baby, and hopefully they\u2019re here for the long run. \u2014Casey Epstein-Gross<\/em> [L Y F]<\/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. Brown Horse: Total Dive There are clouds in the sky and dust […]<\/p>\n","protected":false},"author":2,"featured_media":2369258,"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-2369257","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\/04\/10-new-albums-to-stream-today.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2369257","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=2369257"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2369257\/revisions"}],"predecessor-version":[{"id":2369259,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2369257\/revisions\/2369259"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2369258"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2369257"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2369257"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2369257"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}