{"id":2378252,"date":"2026-04-17T21:38:40","date_gmt":"2026-04-17T21:38:40","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2378252"},"modified":"2026-04-17T21:38:40","modified_gmt":"2026-04-17T21:38:40","slug":"11-new-albums-to-stream-today","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/11-new-albums-to-stream-today\/","title":{"rendered":"11 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

beaming: horseshoe<\/em><\/h2>\n

Derek Ted and Braden Lawrence haven\u2019t been in a band together long, but the music they\u2019re making as beaming sounds like it\u2019s always existed. Their debut album, horseshoe<\/em>, is so good and catchy. I\u2019ve had the tape in my possession since last year when the duo sold bootlegs of it at their merch table. I got to hear \u201csay goodbye\u201d and \u201cStuck (here)\u201d early, when they had a life onstage but nowhere else. Seeing beaming early, when they didn\u2019t have enough released music to fill a setlist, is a core memory of my first months in Los Angeles. The beaming EP went mega hard in 2025, but horseshoe<\/em> is a firecracker. We\u2019re going to be talking about \u201cBUGBITE\u201d for a long time. These songs could have come out in 2016 and dominated curated Spotify playlists even then. Written, recorded, and celebrated right here in SoCal, horseshoe<\/em> is a community-driven banger. \u201cThere\u2019s something special that happens when a room full of people all make something together,\u201d Ted said in a press release. \u201cThe right people.\u201d I\u2019m glad Ted and Lawrence keep going into rooms together. We need beaming right now. \u2014Matt Mitchell<\/em> [Self-Released]<\/strong><\/p>\n

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Frog: Frog for Sale<\/em><\/h2>\n

\"\"\"\"Daniel Bateman has put out three albums in 14 months, which is either the behavior of a genius or a maniac, and Frog for Sale<\/em> makes a pretty convincing case for both. Frog is Bateman and his brother Steve, and their thing is hard to pin down\u2014lo-fi pop songs delivered in a wobbly falsetto over piano and acoustic guitar, with detours into country and bossa nova and whatever they feel like hopping to next. It shouldn\u2019t work as well as it does, but god, is this record just absurdly fun. The synth-led \u201cBest Buy\u201d is catchy enough to hook you immediately; \u201cMax Von Side-Eye\u201d is an eccentric ode to a prostitute with the worst prostitute name of all time (Max Von Side-Eye, obviously); the unexpected pared-down alt-country twang of \u201cYonder This Way Comes\u201d oddly evokes a bit of Elliott Smith. The bizarre, mundane mantras of \u201cAll The Things You Get\u201d ensure it\u2019s going to be a summer staple for me, because honestly I do need this energy in my life right now: \u201cGet drinks outside with co-workers, get Appletinis up \/ Get hard at the bar, get nailed outside his car \/ It\u2019s ok it\u2019s not that far and yes I wanna pay with card.\u201d The whole record jaunts around with the ease of a band that writes songs the way other people breathe\u2014compulsively, without much apparent agonizing\u2014and yet the melodies stick like they\u2019ve been workshopped for months. It\u2019s 12 tracks of pure, strange, deeply lovable music that refuses to take itself too seriously, refreshing as a curb-sold push-up popsicle in the dead heat of July. \u2014Casey Epstein-Gross<\/em> [Audio Antihero]<\/strong><\/p>\n

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Jessie Ware: Superbloom<\/em><\/h2>\n

\"\"\"\"What\u2019s Your Pleasure?<\/em> was the first instance in which Jessie Ware elevated her retro-tinged sensuality to genuinely inspired heights, migrating her honeyed coo from simmering, steely minimalism to clubby, hedonistic maximalism. That record\u2019s follow-up, 2023\u2019s That! Feels! Good!<\/em>, went even harder, hitting all the pleasure centers by adding a flair of diva campiness and Studio 54 glamor to Ware\u2019s irresistible grooves and cool effervescence. On Superbloom<\/em>, Ware\u2019s latest iteration of sleek, sexy disco-pop, the good vibes and vibrant production are still very much present, even though there\u2019s a been-there-done-that aftertaste to the album that makes it slightly less fresh than its predecessors. Superbloom<\/em> contains the extravagance that its title alludes to, draping itself with breathy backing harmonies, funky basslines, and jewel-encrusted showers of strings and synths. \u201cRide\u201d cleverly interpolates Ennio Morricone\u2019s iconic theme from The Good, The Bad, and The Ugly<\/em>, flipping the sonic grit of its instantly recognizable whistle into a luxurious, spacey hook. On \u201cDon\u2019t You Know Who I Am,\u201d Ware animates her visceral yearning and howl with a romantic, transportative instrumental that evokes the best of Donna Summer and Gloria Gaynor. \u201c16 Summers\u201d is one of Superbloom<\/em>\u2019s most standout offerings, a bittersweet ballad dedicated to her children that plays like a stirring 11:00 Broadway number. Ware\u2019s deeply felt, fully embodied earnestness sells the emotional urgency of the song, especially considering the personal context surrounding the making of the album, wherein several of her friends and collaborators have become ill and passed away over the past year. Seeking out joy and comfort can be a great antidote to grief and tragedy, but finding gratitude within your own life can also be just as powerful a remedy. \u2014Sam Rosenberg<\/em> [EMI]<\/strong><\/p>\n

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Kathryn Mohr: Sing Me Alive<\/em><\/h2>\n

\"\"\"\"Carve, Waiting Room<\/em>\u2019s follow-up, does little to dissuade that initial impression she left for us. Five years in the making, the record first took shape with a visit to the American Southwest\u2014Kathryn Mohr\u2019s first time back in the region since an early childhood road trip. If there\u2019s been any shift in sonic approach, it\u2019s a tangible aridity the desert brings. Recorded in a western-themed Airbnb and mixed by Agriculture\u2019s Richard Chowenhill, Carve<\/em>\u2019s setting still leans nocturnal, but the road Mohr and her soundscapes swerve on feel bound to a monotonous summer heat. In keeping with previous releases, her lyrics remain opaque\u2014near-surrealist stabs of violent imagery to best describe her isolation. \u201cI\u2019m running around with my head cut off,\u201d she sings on \u201cCommit,\u201d letting the words sit in the back of her throat like she\u2019s positioned to snatch her hand away the second you reach out for it. It places us back in this distinct headspace Mohr has operated in for the last half-decade, establishing the table stakes for this go-around: grief as a condition of intimacy, where the point isn\u2019t so much a specific instance of loss, but the knowledge that such loss is both constant and imminent, like a collar she\u2019s pulled around by as she tries to love and be loved despite it. Again, it\u2019s relentless: in its fear of feeling too alive, that a life which seems too perfect will force her to run. Not much has changed. \u2014Elise Soutar<\/em> [The Flenser]<\/strong><\/p>\n

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Lucy Liyou: MR COBRA<\/em><\/h2>\n

\"\"\"\"A little over two weeks ago, my friend brought me to Performance Space New York for Lucy Liyou\u2019s \u201csemi-autobiographical solo theater-music performance,\u201d MR COBRA<\/em>. I went in completely blind, my only information prior to the show\u2019s start being the warning ushers gave to the first two rows: you\u2019re in the fake blood splash zone, watch out. An hour and change later, I was up on my feet for a standing ovation. Since that night, I\u2019ve tried to put the experience into words, only to come up blank every time. It simply defies description\u2014and so too does MR COBRA<\/em>, the Bandcamp album Liyou created for the performance. The album and show alike function as \u201ca revisionist retelling of a time back in high school when [Liyou] fell in love with a predator,\u201d but not in a conventional sense: the story is told through viscera and sensation, landing somewhere in the bones instead of the mind. Melodies, actual \u201csongs,\u201d are few and far between (see ballad \u201cRomeopathy,\u201d dreamy synth-pop number \u201cConstrictor (Haha),\u201d and the haunting repetition of \u201cCrisis (Identity)\u201d), as is audible dialogue, but the meaning is transmuted anyways\u2014perhaps more purely than language, limiting as it inherently is, would\u2019ve allowed. The record is a musique concrete haunted house, found samples and hushed, pitched whispers lurking around every corner; it\u2019s a work of theatre in its own right, immersive and all-encompassing. Liyou plays the intentionally childlike character \u201cBabygirl\u201d with Jake Muir as the titular predator \u201cMister Cobra,\u201d his low voice echoing somewhere deep and sick in the gut whenever he cuts in. Throughout the record\u2019s 12 tracks, Liyou dances and crawls and bleeds through pain and sex and trauma and transition and desire and shame and acceptance; fear and pleasure are crushed into a singularity of feeling that lodges in the throat. Selfhood is found in everything and nothing at all. I wish I could find the words to describe the record, but I can\u2019t. You\u2019ll simply have to listen to it\u2014and, if Liyou\u2019s show runs again, see it\u2014for yourself. \u2014Casey Epstein-Gross<\/em> [Orange Milk]<\/strong><\/p>\n

Nine Inch Nails \/ Boys Noize: Nine Inch Noize<\/em><\/h2>\n

\"\"\"\"Nine Inch Noize<\/em>, the new collab album from Nine Inch Nails and Boys Noize, is awesome. It\u2019s industrial rock-meets-EDM-meets-techno-meets-post-punk-meets-electroclash. Or: a big, long hell yeah<\/em>. The songs here aren\u2019t \u201cnew.\u201d Most of the tracklist consists of Nine Inch Nails songs reworked or re-recorded by the two artists, a cover of Soft Cell\u2019s \u201cMemorabilia,\u201d and a cover of How to Destroy Angels\u2019 \u201cParasite.\u201d NIN and Boys Noize recorded most of the tape live in studios, planes, wherever they could fit. Their Coachella performance last week brought the collaboration officially to life, and Nine Inch Noize<\/em> weds Trent Reznor and Atticus Ross\u2019 recent raver scores with Boys Noize\u2019s dense, trashy electronica. It\u2019s a potent project, one that comes without throwaway. The new \u201cHeresy\u201d mix is especially dangerous. \u2014Matt Mitchell<\/em> [The Null Corporation]<\/strong><\/p>\n

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Sean Solomon: The World Is Not Good Enough<\/em><\/h2>\n

\"\"\"\"Animator, musician, and onetime Moaning frontman Sean Solomon\u2019s new solo record is a pared-back, contemplative look into the psyche of a gentle, wounded soul. \u201cLife is chaos, love is pain,\u201d he sings in the album\u2019s opening line, a knowing weariness that infects the rest of the tracklist. Soft and slow, the melancholic 28-minute record is caught somewhere between a lullaby and an existential crisis. Despite its title, The World Is Not Good Enough<\/em> carries with it a sweetness that supersedes the sad. Solomon reaches toward connection for a sense of humanity, even as he licks his perennial wounds. His voice, and his intentional, childlike minimalism, bear some resemblance to Daniel Johnston\u2019s innocent croon; lines like \u201cI still remember both good and bad \/ I will hold on to the love we had\u201d and \u201cIt\u2019s as hard to fail as it is to succeed\u201d demonstrate his piercing honesty and measured murmur. The album is one to savor and fall into, pairing an existential philosophical bent with a quiet, desperate affection for humanity. Plus, the Busy, Busy Town<\/em> tribute on the front cover is pretty neat. \u2014Miranda Wollen<\/em> [ANTI-]<\/strong><\/p>\n

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Teen Suicide: Nude descending staircase headless<\/em><\/h2>\n

\"\"\"\"As someone who spent no small portion of high school blinking back tears in bathrooms to a soundtrack of \u201cdoing all the things i used to do with people, part 2 (acoustic),\u201d I am always going to have a soft spot for Teen Suicide (which sounds awful out of context, I\u2019m well aware). Nude descending staircase headless<\/em>\u2014titled after a David Berman poem, naturally\u2014is the married duo\u2019s first go at a full studio recording, and while my own nostalgia ensures that I will likely be partial to their earlier scrappy DIY records, it turns out that giving Sam and Kitty Ray an actual budget and a decent microphone doesn\u2019t dilute their intensity one bit. Instead, it just matches the scale of the sound to the scale of the feeling. The album rips through thirteen tracks of post-rock, noise-pop, and \u201990s-indebted fuzz without ever settling into one mode for long: \u201cAnhedonia\u201d opens on ambient quiet before bursting into a searing shoegaze-adjacent wall of sound, \u201cIdiot\u201d has a riff nasty enough to pit to; \u201cEverything in my life is perfect\u201d is all self-deprecation and lines like \u201c\u201cI was getting head outside a Denny\u2019s\u201d; \u201cSpiders\u201d lets Kitty shred on vocals; \u201cCome and see the clown\u201d lands the plane with a stripped-down acoustic. Sam nearly died from a lung condition a few years back; Kitty\u2019s been fighting her own body too. Nude descending staircase headless doesn\u2019t really talk about any of that, and it doesn\u2019t have to. Music that feels this alive is its own answer. \u2014Casey Epstein-Gross [Run For Cover]<\/strong><\/em><\/em><\/em><\/em><\/p>\n

Winston Hightower: 100 Acre Wood<\/em><\/h2>\n

\"\"\"\"I\u2019m missing Columbus, Ohio, today. It\u2019s been three-ish years since I lived there, and Winston Hightower\u2019s 100 Acre Wood<\/em> tape has me wishing I was at Used Kids picking up a copy (he\u2019s playing a free show there next Friday, if you\u2019re in the central Ohio area). Thank goodness one of my favorite labels, K Records (Sharp Pins, Touch Girl Apple Blossom, Slippers), scooped this guy up. 100 Acre Wood<\/em> is a tremendous lo-fi release\u201414 songs that \u201cgive carefree camouflage to a wistful heart.\u201d 33 RPMs rarely sound this charming, discordant, and goofy. It\u2019s like Beat Happening covering early Modest Mouse for the Flubber<\/em> soundtrack; I\u2019m especially addicted to \u201cSelfish Shooter,\u201d \u201cPoppi,\u201d and \u201cHelp Is On The Way.\u201d \u201cHigh School\u201d is so offkilter it gave me vertigo. And, there\u2019s a melodica in \u201cLay Low,\u201d which I really dig. These songs emphasize one thing: we need to make time for ourselves. But I hope Hightower won\u2019t mind me giving a little bit of my time to 100 Acre Wood<\/em> this weekend. \u2014Matt Mitchell<\/em> [K]<\/strong><\/p>\n

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Yaya Bey: Fidelity<\/em><\/h2>\n

\"\"\"\"Billed as a counterpart to last year\u2019s do it afraid, Fidelity confronts a different strain of grief than its predecessors. It\u2019s metatextual in the sense that, rather than mourning any one specific person, Fidelity mourns the act of grief itself: the privilege of allowing yourself a private respite when you\u2019re a musician in the public eye. This is a suite of R&B, jazz, and reggae tunes for Yaya Bey to wax poetic on our relatively short lives and the transient nature of this mortal coil. She frames that idea through love songs that you come to realize aren\u2019t always directed at a particular paramour but at the fleeting moments shared with that person. Her vision comes together at its best on \u201cBlue.\u201d The bass and drums hold on to each other like slow dancers in a tight embrace, and Justine Lee Hopper\u2019s flute, tranquil and trilling, needles its way through the pulse. But Bey\u2019s mesmerizing voice is the element that rises above all else. \u201cSay what you mean, mean what you say \/ It\u2019s a new day,\u201d she sings in her silky timbre. This is where Fidelity truly shines: when the band sits in the pocket, when the sundry sonic details unite themselves into a billowy blend, and when Bey\u2019s voice emerges like a light in thick fog. Life is far too short, she tells us, to not lay it all out there. \u2014Grant Sharples<\/em> [drink sum wtr]<\/strong><\/p>\n

Yot Club: Simpleton<\/em><\/h2>\n

\"\"\"\"The third LP from Mississippi singer-songwriter Ryan Kaiser\u2019s project Yot Club offers up a woozy, lo-fi record reminiscent of early decade bedroom-pop. On Simpleton<\/em>, a DIY sensibility and sense of deep American malaise carry Kaiser\u2019s dissociative alto forward on a wave of twinkly electric guitars. Thoughtful and focused, Kaiser dismantles the ideals of American society as he floats through an endless stream of modern mental clutter. Disarmingly sparse and deliciously angsty, the album sees Kaiser slump forward with the defeated sepia tone that late-capitalist suburbia imbues. \u201cThey told me I might have a few loose cords,\u201d Kaiser sings \u201cSerotonin,\u201d a deceptively peppy lament, \u201cBut I just wanted to live in a different world.\u201d Simpleton<\/em>\u2019s primary mood is one of being stuck, sinking resignedly into a reality that doesn\u2019t suit you as what seemed to be other options fade into the background. \u201cEverything is fake, but I don\u2019t care,\u201d Kaiser sighs on the album\u2019s last track, \u201cUphill Road,\u201d before a minute and a half of surf-rock guitars glides the LP onward to its finish; you\u2019d rather not believe him, but he\u2019s making some good points. \u2014Miranda Wollen<\/em> [amuse]<\/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. beaming: horseshoe Derek Ted and Braden Lawrence haven\u2019t been in a band […]<\/p>\n","protected":false},"author":2,"featured_media":2378253,"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-2378252","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\/11-new-albums-to-stream-today.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2378252","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=2378252"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2378252\/revisions"}],"predecessor-version":[{"id":2378254,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2378252\/revisions\/2378254"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2378253"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2378252"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2378252"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2378252"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}