{"id":2389154,"date":"2026-04-25T19:20:42","date_gmt":"2026-04-25T19:20:42","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2389154"},"modified":"2026-04-25T19:20:42","modified_gmt":"2026-04-25T19:20:42","slug":"12-new-albums-to-stream-today","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/12-new-albums-to-stream-today\/","title":{"rendered":"12 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

April + Vista: Traditional Noise<\/em><\/h2>\n

You would never guess that Traditional Noise<\/em> is, technically, April + VISTA\u2019s debut record. It\u2019s phenomenally self-assured, shifting gears and hopping between genres with such ease that the very lines between the one and the next become blurred. Of course, it did take them ten-odd years to get here\u2014and that, you can hear. The dynamic between singer\/composer April George (April, obviously) and producer\/composer Matthew Thompson (VISTA, somewhat less obviously) is evidently one that can only be honed through years of collaboration. George\u2019s voice is angelic, overflowing with feeling and always buoyed by Thompson\u2019s clever arrangements. Even her wordless vocalizations bleed emotion, so when she puts all that soul into lines like \u201cI left myself behind \/ Soaking in a brine \/ Weeping through the night,\u201d it sinks somewhere deep into the skin. Genre itself is more or less transcended throughout; it\u2019s R&B, it\u2019s trip-hop, it\u2019s baroque pop; it\u2019s alt-rock. Opener \u201cVery Bad News\u201c veers more industrial; \u201cLove Unspent\u201d dips into blues; \u201cRot\u201d is a quick minute of drone-y electronics; \u201cBless My Heart\u201d ventures uptempo for a TonyKILL feature; \u201cStanding in Place\u201d goes full croon, at one point employing a choir atop its easy-going drum loop. This is my first introduction to April + VISTA somehow, but trust that I will be coming back for more. \u2014Casey Epstein-Gross<\/em> [Third & Hayden Recordings]<\/strong><\/p>\n

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Blood Sucking Maniacs: Blood Sucking Maniacs<\/em><\/h2>\n

\"\"\"\"The Blood Sucking Maniacs is a family affair spanning 121 years and five generations, as Terry and Jo Harvey Allen perform with their sons Bukka and Bale and grandsons Kru, Sled, and Calder. \u201cDown to the River\u201d is the band\u2019s sweet and spiritual paean centerpiece. The world stops when Terry and Jo duet. Here, they\u2019re lovers dreaming of all the destinations they haven\u2019t reached yet. Terry sings the \u201ccome on, baby, let\u2019s go\u201d refrain while Jo recites the verses, filling us with stories about the Bay of Bengal, \u201cbad microphones\u201d blasting love songs, slow dark oxen, the Nile at Aswan, pickup trucks, dark secrets, and that \u201cmighty Mississippi\u201d and that \u201cbeautiful, beautiful Seine.\u201d If not today, then tomorrow, Jo beckons, as she and Terry find shelter within each other and a piano harmonizes around them. \u201cDown to the River\u201d is quiet as a lamb, just two good, curious people talking about going someplace prettier than a postcard. \u2014Matt Mitchell<\/em> [Paradise of Bachelors]<\/strong><\/p>\n

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Carla dal Forno: Confession<\/em><\/h2>\n

\"\"\"\"Confession<\/em>, the fourth album from Australian singer Carla Dal Forno, has a bounciness that belies the narrator\u2019s obsessive desperation. But the circumstances of the LP\u2019s birth add a dash of dark mystique: Dal Forno wrote and recorded it in an abandoned hospital in an Australian hamlet with a population just under 8,000. Living in the tiny town, she became infatuated with a friend whom she could not possess wholly enough\u2014and thus was born Confession<\/em>. Dal Forno\u2019s character (if we can reliably separate the lyrics from their progenitor) is somewhere between Romeo\u2019s Juliet and the stalker from Baby Reindeer<\/em>. At the outset, she sets a scene of domestic bliss: in \u201cUnder the Covers,\u201d the singer details a scene of perfect cozy coupledom, replete with dreamily-distorted vocals and hypnotic, thrumming melodies. \u201cAnd when I\u2019m bored, you take my hand, and you say \u2018Sweetheart, you know I understand,\u2019\u201d she murmurs like a lullaby. But on \u201cBlue Skies,\u201d things take a turn: in the same floaty, disaffected voice, Dal Forno complains, \u201cYou\u2019re changing like the weather \/ We go out sometimes, it\u2019s impossible not to see \/ You\u2019ve got one eye out in the hope you\u2019ll see something better.\u201d As Dal Forno spirals into paranoia, she gets possessive, spinning out as her beloved slips away. Hers are the unhinged emotions of every teenage girl, and to hear them sung with such sharp, witty abandon is a treat. \u2014Miranda Wollen<\/em> [Kallista]<\/strong><\/p>\n

Fatboi Sharif and Child Actor: Crayola Circles<\/em><\/h2>\n

\"\"\"\"A full-length from Fatboi Sharif and Child Actor? Don\u2019t mind if I fucking do. Backwoodz has been destroying it lately, and Crayola Circles<\/em> is no exception. Sharif\u2019s low, unbothered drawl is a perfect fit for Child Actor\u2019s sample-heavy soundscapes, his ever-confident flow and resonant voice both more than capable of filling up at that intentional empty space. From the aptly nightmarish \u201cNight Terrors\u201d to the aptly angry \u201cANGER,\u201d the taffy-slow drowsiness of \u201cAssassination Tapes\u201d to the messy piano scattered across \u201cDiagnosis\u201d to the hollow echoes blowing through \u201cCold Day In Hill,\u201d every decision feels utterly intentional even as both collaborators casually play them off as if they were nothing at all. As is typically the case with the NJ rapper, Sharif\u2019s lyricism is imagistic and discombobulating, concise in verbiage but expansive in meaning. References and name-drops populate the record, often in MadLibs-esque combinations (see: \u201cBetty Shabazz and James Baldwin won a fortune at the DJ School Memorial as purple rain was falling\u201d) that create something of a pop culture palimpsest, impressions of impressions stacked atop each other until the picture painted is equal parts realism and surrealism. Sharif\u2019s racked up a ridiculous discography over the last 8 or so years, and Child Actor\u2019s list of impressive collaborations just keeps on growing. If you\u2019re not keeping an eye\u2014and an ear\u2014on both of them, I\u2019m not sure what<\/em> you\u2019re doing. \u2014Casey Epstein-Gross<\/em> [Backwoodz]<\/strong><\/p>\n

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Florry: Smells Like\u2026 Florry Live As Hell<\/em><\/h2>\n

\"\"\"\"What a lovely thing it is to live in the era of the Florry live album. And Sounds Like\u2026<\/a><\/em>, the sparkly, down-home third LP released by the group last spring, is music that was made to live onstage. An agglomeration of concert performances from Portsmouth, Cleveland, Leeds and Philadelphia, Smells Like\u2026 Florry Live As Hell<\/em> is as much a celebration of the country-rock genre itself as it is the band\u2019s catalogue in particular. \u201cDip Myself In Like an Ice Cream Cone\u201d is a sugary-sweet tune bolstered by lead singer Francie Medosch\u2019s lilting drawl and John Murray\u2019s searing guitar. Two renditions of \u201cTake My Heart\u201d\u2014one a roiling, bluesy electric; the other a pared-back acoustic, all harmonica and head-voice\u2014demonstrate not just the band\u2019s eclectic range, but its ability to flip seamlessly between the raucous and the intimate. In the tape\u2019s best moments, the two vibes squish together into something new and unique. Florry is a heart bursting at the seams, a late summer afternoon, and a weird Tuesday at a shitty dive bar. The band comes alive when far away from any post-production bells and whistles. And if you\u2019re still<\/em> not convinced, the band included two live covers from NRBQ for good measure. \u2014Miranda Wollen<\/em> [Dear Life]<\/strong><\/p>\n

Friko: Something Worth Waiting For<\/em><\/h2>\n

\"\"\"\"The stakes immediately feel more intense on Something Worth Waiting For<\/em> opener \u201cGuess,\u201d which breaks the tension of its strangled major-chord strumming and raw-nerve observations (\u201cDon\u2019t make me guess if that\u2019s a cry or a laugh\u201d) into a full-on noise-rock wall of sound. Their sense of dynamics is crucial here, illustrating just how quiet and just how loud they\u2019re willing to get\u2014by the time the band fully kicks in, the distortion has swallowed everything around it. But then we return to the softly sung lullaby that opens the tune\u2014a reminder that loudness doesn\u2019t always equal intensity. Even structurally, some Friko songs, like the near-operatic title cut, seemingly start with the climax\u2014just quietly. There\u2019s a palpable surge of twenty-something adrenaline, like they Kapetan and Minzenberger can\u2019t possibly hold it all back. You can almost hear the shaking limbs and quivering lips on the euphoric \u201cStill Around,\u201d a slice of barbed power-pop with some tasty time-signature business in the back half, and even throughout the chamber-pop melodrama of \u201cCertainty.\u201d Every Friko song strives to make you feel their same big feelings, and they almost always succeed. \u2014Ryan Reed<\/em> [ATO]<\/strong><\/p>\n

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Gia Margaret: Singing<\/em><\/h2>\n

\"\"\"\"Singing<\/em> is Gia Margaret\u2019s first vocal album in almost eight years, and it\u2019s phenomenal\u2014a word I\u2019ve begun using only when I really mean it. This music is not simply a requiem, but a meditation on communication. The songs, written between 2020 and 2025, are rich with detail and powered by reconnection: between Margaret and her voice, Margaret and her teenage self, and Margaret and her collaborators. Frou Frou\u2019s Guy Sigsworth, Stars\u2019 Amy Millan, the Weepies\u2019 Deb Talan, Pedro the Lion\u2019s Dave Bazan, and Philly\u2019s czar of cool Kurt Vile all make appearances in the 12-part tracklist. But Margaret never fades into the background. She makes callbacks to her previous albums with synth harmonies and ambient interludes but finds respite in the newness of muscular guitar solos, vocal processing, Gregorian chants, turntable scratches, IDM fills, and summery pop origami. Margaret\u2019s singing is as soft and pronounced here as it was on There\u2019s Always Glimmer<\/em> in 2018, and the record ends with her embracing it: \u201cWill you sing me anything? Anything you want!\u201d \u201cOnce I healed, there was a lot of internal pressure to come back strong. I didn\u2019t know who I was anymore,\u201d she said. \u201cSo [Singing<\/em>] felt like beginning again, and reconnecting with these very old, old parts of myself.\u201d \u2014Matt Mitchell<\/em> [Jagjaguwar]<\/strong><\/p>\n

Julia Cumming: Julia<\/em><\/h2>\n

\"\"\"\"Julia Cumming has turned over cool so many times, examined it from every angle, and now, at 30, after more than half her life spent onstage, she\u2019s freed herself from it on her solo debut. It makes sense that Cumming would seek reprieve in softer sounds. She\u2019s got a truly remarkable voice\u2014smooth and pliable and brimming with poise\u2014and over the course of her career she\u2019s demonstrated just how versatile it is. While I love hearing it accompanied by the slam of a hard-and-fast punk song or some upbeat bubblegum pop, it\u2019s intriguing to hear her try on some more stripped-back arrangements that let her range and expressibility be the focal point. The best tracks on Julia<\/em> are the ones where Cumming breaks form, injecting a discordant rhythm (\u201cI Dream of a Fire that Stays Burning\u2026\u201d) or a rowdy shred (\u201cDo It All Again\u201d). The chorus of \u201cForget the Rest\u201d ups the energy for what should be a big finish\u2014it\u2019s one of Julia<\/em>\u2019s best hooks, but the downside is that instead of returning one last time, the track (and by extension, the album) ends rather abruptly, feeling unfinished. These more energetic, unpredictable moments come as a welcome surprise, a reminder that there\u2019s always something more lurking beneath the cool exterior, that it\u2019s not just chill vibes all the way down. \u2014Grace Robins-Somerville<\/em> [Partisan]<\/strong><\/p>\n

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Kehlani: Kehlani<\/em><\/h2>\n

\"\"\"\"Kehlahni\u2019s CRASH<\/em> follow-up is a party, literally. Lil Wayne, Clipse, Brandy, Missy Elliott, Usher, T-Pain & Lil Jon, Cardi B, Big Sean, and Leon Thomas on ten of the 16 non-intro tracks, creating a time capsule of this century\u2019s brightest R&B and rap achievements. \u201cWhat I wanted to happen on this album was I really needed all the features to feel like this joyous return to what they truly loved to do,\u201d Kehlani told Apple Music. She and Elliott go bar for bar on \u201cBack and Forth,\u201d a drum loop from the Pharcyde\u2019s \u201cRunnin\u2019\u201d shows up during \u201cNo Such Thing,\u201d and chipmunk soul gets a nod on \u201cAnotha Luva.\u201d Kehlani\u2019s hero, Brandy, inspired the biggest song of her career: \u201cFolded,\u201d which won two Grammy awards this year. On the Jam & Lewis-produced \u201cI Need You,\u201d Brandy joins her prot\u00e9g\u00e9 to sing about an ex. Kehlani even rewinds us back to the crunk&b days on \u201cCall Me Back.\u201d She sounds, in a word, incredible<\/em> on Kehlani<\/em>. \u2014Matt Mitchell<\/em> [Atlantic]<\/strong><\/p>\n

Loukeman: Sd-3<\/em><\/h2>\n

\"\"\"\"Loukeman has been doling out his Sd<\/em> trilogy since 2021, and part three is out today. The Torontonian has spent these five years becoming an in-demand producer, showing up on projects by PinkPantheress, A$AP Rocky, Earl Sweatshirt and MIKE, and Jump Source in the last 365 days alone. Sd-3<\/em> closes the loop on his overstuffed pop beat tapes. \u201cI try not to put any pressure on myself; even listening back to Sd-1<\/em>, I wouldn\u2019t change anything, and that\u2019s how I\u2019m thinking about this one, let the evolution do its own thing, like second nature, just see what happens,\u201d Loukeman said in a press release. This installment\u2019s strength, as was the case with Sd-1<\/em> and Sd-2<\/em>, is texture. Pop, R&B, and folk earworms are reconfigured into electro-bangers. It\u2019s like a 47-minute body high. I\u2019m drawn most to the house and trance ideas more than Loukeman\u2019s folktronica leanings, but \u201cTo the Sky\u201d is my favorite track of his to date. \u201cElktorn\u201d isn\u2019t far behind. \u2014Matt Mitchell<\/em> [September Recordings]<\/strong><\/p>\n

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Metric: Romanticize the Dive<\/em><\/h2>\n

\"\"\"\"Romanticize the Dive<\/em> feels like the album where Metric acknowledge just how important their self-sufficiency has been. Or, as Haines sings on the opening track, \u201cBaby, I\u2019m free.\u201d On that song, \u201cVictim of Luck,\u201d Haines wonders whether the title applies to her. Is the band\u2019s success over the years the result of luck? Metric\u2019s 10th album considers that idea on 11 songs about perseverance and the freedom to experiment, and fail, as part of finding oneself. It\u2019s a retrospective album, in the sense that Romanticize the Dive<\/em> is built out of all the twists and turns that have led Metric to the present. It is not, however, merely a retread of the band\u2019s previous work, but another milemarker on Metric\u2019s road forward. \u201cVictim of Love\u201d starts things off with a huge hook from Haines\u2014the kind you\u2019ll find running through your head when you wake up in the middle of the night\u2014over rolling synthesizers and a dance-ready beat. Later, the stuttering bump of the bass drum steers \u201cTremolo\u201d through iridescent shafts of reverberating guitar from Shaw while Haines alternates between a reflective murmur and letting her voice grow in power on the chorus. Motorik synths flicker through \u201cCrush Forever,\u201d where Haines\u2019 vocals have a rhythmic, autonomic quality on the verse and float like a ghostly afterimage on the chorus as she imparts life advice to younger versions of herself: \u201ctrouble in a tight black dress.\u201d Metric wrap up Romanticize the Dive<\/em> with \u201cLeave You on a High,\u201d an anthem of optimism that lives up to the title with a vocal melody that soars over the clang of Shaw\u2019s guitars and a booming rhythm from Winstead on bass and Scott Key on drums. \u2014Eric R. Danton<\/em> [Metric Music International]<\/strong><\/p>\n

White Fence: Orange<\/em><\/h2>\n

\"\"\"\"White Fence, the project of Tim Presley, has been silent since 2019 but never still. He proves as much on Orange<\/em>, a tight, lively collection of 11 songs that range from psychedelic to ornate. Assisted by iconoclastic rocker Ty Segall, the album is at once sleek and fuzzy, dissociative and deeply personal. Lead single \u201cYour Eyes\u201d is spacey and vibrant; \u201cI\u2019m a terror for your brains \/ Now I\u2019m sad to laugh at you,\u201d Presley laments over a rollicking guitar beat. On \u201cI Wanted a Rolex,\u201d he leans into wistful and weary tones, sighing: \u201cI want to be seen \/ [\u2026] \/ It takes a loving hand to settle me down.\u201d With an expert hand, Orange<\/em> shows the confusing, and sometimes conflicting, emotions of modern midlife. At times it\u2019s spooky, soft, and vulnerable. Despite these shifts, a tonal consistency\u2014held down by Segall\u2019s drums and Presley\u2019s smart-aleck lyrics\u2014keeps the album from ever feeling scatterbrained. There\u2019s a bit of a \u201cone must imagine Sisyphus happy\u201d energy to Orange<\/em> that gives it a distinct self-possessedness. \u2014Miranda Wollen<\/em> [Drag City]<\/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. April + Vista: Traditional Noise You would never guess that Traditional Noise […]<\/p>\n","protected":false},"author":2,"featured_media":2389155,"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-2389154","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\/12-new-albums-to-stream-today.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2389154","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=2389154"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2389154\/revisions"}],"predecessor-version":[{"id":2389156,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2389154\/revisions\/2389156"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2389155"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2389154"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2389154"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2389154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}