{"id":2437608,"date":"2026-05-29T22:02:08","date_gmt":"2026-05-29T22:02:08","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2437608"},"modified":"2026-05-29T22:02:08","modified_gmt":"2026-05-29T22:02:08","slug":"14-new-albums-to-stream-today","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/14-new-albums-to-stream-today\/","title":{"rendered":"14 new albums to stream today"},"content":{"rendered":"

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Paste is the place to kick off 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

Boards of Canada: Inferno<\/em><\/h2>\n

Something like a heartbeat repeats in the background of \u201cI Saw through Platonia,\u201d and ambient synth pads rise and fall like stray objects in deep space. The titular \u201cplatonia\u201d could refer to several things. There\u2019s a genus of timber trees in South America. There\u2019s an underground area that rests beneath the Altar of St. Sebastian in Vatican City. But in the context of Boards of Canada\u2019s new record, Barbour\u2019s theory of platonia, in which time is processed through a configuration space, seems to hold the most water. This all sounds remarkably heady, and that\u2019s because it kind of is. You could listen to Boards of Canada conjure rich electronic tapestries of analog synths, downtempo drums, and digitized vocal samples and appreciate these instrumental tracks for their compositional finesse, how Mike Sandison and Marcus Eoin create a compelling soundtrack for the best sci-fi movie that doesn\u2019t exist. But when you notice how they relate their music to loftier concepts such as time, religion, and the origins of the universe as we know it, Inferno<\/em> connects on a much deeper level. Like how Radiohead\u2019s A Moon Shaped Pool<\/em> exuded an aura of closure, Inferno<\/em> elicits similar emotions, especially when you remember that this is the fifth entry in a five-album deal Boards of Canada signed with Warp Records back in 1998, just ahead of their monumental debut, Music Has the Right to Children<\/em>. But British theoretical physicist Julian Barbour\u2019s notion of platonia suggests that time is open-ended. Despite those looming feelings of closure, Inferno<\/em> ends, paradoxically, on a note of beginning. \u2014Grant Sharples<\/em> [Warp]<\/strong><\/p>\n

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ear: Rumspringa<\/em><\/h2>\n

\"\"\"\"ear brings a certain \u201ccollage assault\u201d je ne sais quoi to A24\u2019s music label, as the IDM-ish duo\u2019s hyperactive, exceptionally textured electronica slots in well beside mark william lewis and Sophia Stel. Their new album Rumspringa<\/em> is driven by its lead single \u201cNe Plus Ultra,\u201d a tense, impulsive addition to this current phase of \u201claptop twee,\u201d as ear uses Sparklehorse and digital hardcore to locate the dissonance of its lowercase sound. \u201cNe Plus Ultra\u201d translates to \u201cnothing further beyond\u201d and, at one point in the middle of the track, the duo fades a crying kitten into a synth. I\u2019m obsessed with how disorienting it all is, especially when the bleeps, celestial-sigh vocal parts, and buzzsaw bass tears streak through ear\u2019s cut-and-paste glitchscape. \u201cNe Plus Ultra\u201d is two Bard students\u2019 miniature cosmic opera. \u2014Matt Mitchell<\/em> [A24 Music]<\/strong><\/p>\n

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feeble little horse: bitknot<\/em><\/h2>\n

\"\"\"\"As the keen yet internet-lobotomized observer through which we experience the digital-physical world of bitknot<\/em>, feeble little horse\u2019s Lydia Slocum is a nuanced narrator of online young adulthood in the age of acceleration. Sometimes, she and her bandmates go full doomer. They meet the excess and overstimulation of bots, deepfakes, and bets placed on everything with harsh, digitally manipulated guitar sounds that fill your skull and lyrics about the million dead ends of technocapitalism. bitknot<\/em> tracks present the internet as a divine force for human connection and collective memory. With access to more information than any previous generation has had, both in history and of history, it\u2019s never been easier to anachronize. It\u2019s why most of the interactions that play out across bitknot<\/em>\u2019s twenty-five minutes are tinged with nostalgia, regardless of how long ago they occurred or whether they happened IRL at all. References to feeble little horse\u2019s peers (\u201cNot going to Wednesday\u2019s show\u201d) mingle with ones to their fallen predecessors (\u201cYou are not David Berman \/ You are not Kurt Cobain\u201d). Fresh or not, the wounds still sting. Slocum\u2019s voice flits through a starry and wobbly guitar arrangement and chipmunk backup vox, all swirling together in a constellation of digital dreampop, showcasing the real desires embedded in bitknot<\/em>\u2019s pixelated tangle of intangible projections: to know and be known, to shout through the portal and get an answer back, to be illuminated in the blue-light glow and\u2014even if only for a moment\u2014be seen. \u2014Grace Robins-Somerville<\/em> [Saddle Creek]<\/strong><\/p>\n

Frances of Delirium: Run, Run Pure Beauty<\/em><\/h2>\n

\"\"\"\"Two years after sharing their debut album, Francis of Delirium return with impressive confidence. Run, Run Pure Beauty<\/em> reveals Jana Bahrich and Chris Hewett in total lockstep, oscillating through different modes of rock and roll, and this LP will almost certainly stay under the radar as the year chugs along. The palette of songcraft here tugs at many threads: Rufus Wainwright, Laurel Canyon folk, a Lomelda-Florist-Frankie Cosmos mind-meld. \u201cLittle Black Dress\u201d is the best thing this band has made since its Wading<\/em> EP. Run, Run Pure Beauty<\/em> corrals many moods into its runtime; heady distortion, sharp punchlines, and high-resolution harmonies confirm that Francis of Delirium have leveled up from the \u201cbest of what\u2019s next\u201d designation we gave them in 2021. Too many bands find their groove and settle into it; Bahrich, Hewett, and co. sound deeply committed to a restless curiosity. It won\u2019t be long until Francis of Delirium is too good to ignore. \u2014Matt Mitchell<\/em> [Dalliance Recordings]<\/strong><\/p>\n

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Greg Mendez: Beauty Land<\/em><\/h2>\n

\"\"\"\"Beauty Land<\/em> is full of sideways humor and strange, matter-of-fact observations. Like Shugo Tokumaru\u2019s junk drawer orchestras, Greg Mendez threads xylophones, music boxes, omichord, tape loops, dusty pianos, and chintzy organs through all twenty-six minutes. Beauty Land<\/em> lingers on disturbingly candid moments of weakness. Mendez regrets not visiting his Aunt Mary \u201cbefore she went away,\u201d straining through the line \u201cOh my God, I\u2019m so happy that I looked away\u201d while fingerstyle notes ripple beneath him. \u201cServing Drinks\u201d details the arrival of an unexpected child, a baby brother whose \u201cstupid little baby head is stealing all her love.\u201d Uncomfortable as the sentiment is, it also reveals Mendez\u2019s dry wit: \u201cI\u2019m serving drinks again to men who talk over their friends.\u201d And when a lyric as good as \u201cDad\u2019s been hiding out, he walks and talks like Jesus now\u201d arrives, it\u2019s hard not to imagine Ryan Davis somewhere punching at the air because he didn\u2019t write it first. The suffering in Beauty Land<\/em> comes in pockets yet feels constant: nights spent on sidewalks, empty hospital rooms, morphine drips ticking like a metronome. On \u201cGeranium,\u201d Mendez takes a call from an old friend who needs twenty bucks for another score. Dopesick chills run through the record\u2019s desolation, recalling Acetone\u2019s hazy doom or Casiotone for the Painfully Alone\u2019s twee despondency. \u2014Nathan Stevens<\/em> [Dead Oceans]<\/strong><\/p>\n

Guided by Voices: Crawlspace of the Pantheon<\/em><\/h2>\n

\"\"\"\"The day Robert Pollard stops making music is the day Hell freezes over. The Guided By Voices singer-songwriter has been at it for over four decades now, and his pace hasn\u2019t slowed\u2014if anything, it\u2019s picked up. More impressive than even that, though, is just how consistent the beloved rock band has been throughout the years. They have a formula and, goddamn, have they perfected it. But that doesn\u2019t mean they\u2019re not willing to explore. Take Crawlspace of the Pantheon<\/em>, the Dayton group\u2019s 44th album (give or take; the exact count seems to depend on who you ask): compared to other recent entries into Pollard\u2019s vast discography, Crawlspace<\/em> is considerably more lyrical, more intent on content\u2014there\u2019s a strange thread of semi-autobiography running through it, pulled both from the band\u2019s own history and from that of the fictional band \u201cIvory Gate,\u201d a GBV doppelganger of Pollard\u2019s creation. This record comes, of course, only about half a year after GBV\u2019s last album, Thick Rich and Delicious<\/em>, which was released in October 2025. Both albums were recorded live in-studio with the current lineup of Pollard, Doug Gillard, Kevin March, Mark Shue, and Bobby Bare Jr. \u2014Casey Epstein-Gross<\/em> [GBV Inc.]<\/strong><\/p>\n

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Iceage: For Love of Grace & the Hereafter<\/em><\/h2>\n

\"\"\"\"For Love of Grace & the Hereafter<\/em> harkens back to Iceage\u2019s early days as teenage punks, but the band demonstrates how much it\u2019s matured in the time since by suffusing that gritty aggression with sunny melodies and syncopated rhythms. It recalls the kinetic energy of their first two records but possesses the sophistication of their more recent output. Equal parts jangly and muscular, the five-piece forge a new path while staying true to their roots. A \u201cback-to-basics\u201d record would feel like a trite maneuver in less capable hands, like a method of reeling in old fans after a string of disappointments, but Iceage pulls it off with style\u2014both because the band has yet to release a disappointing album, and because they revisit those basics in a fresh, compelling way. Never does it scan as facile nostalgia. \u201cThe Weak\u201d channels the upbeat grime of CBGB and Max\u2019s Kansas City mainstays like the Ramones and New York Dolls. It strikes a balance between poppy earworms and bristly distortion with handclaps, thunderous toms, I-IV-V power chords, and a pennywhistle solo that\u2019s just<\/em> off-key enough to sound like the most fucked up thing you\u2019ve heard in a while. Then there\u2019s \u201cStar,\u201d another dark love song rendered in pure Iceage fashion. R\u00f8nnenfelt implores the object of his affection to \u201cflood me like a tempest in drought.\u201d \u201cEvery inch of my earth and sky \/ You can occupy \/ Cover me entirely,\u201d he sings, the submissive yearning laid on extra thick. When the tightly wound grooves burst at the seams in the outro, he confesses once more that \u201cyou\u2019ve got me dying like a staaaaaarrrr,\u201d and everything combusts like a sparkling supernova. It\u2019s this particular moment that best encapsulates what makes For Love of Grace & the Hereafter<\/em> such a riveting, dizzying experience: Iceage makes annihilation sound like a bacchanal. \u2014Grant Sharples<\/em> [Mexican Summer]<\/strong><\/p>\n

Joshua Ray Walker: Ain\u2019t Dead Yet<\/em><\/h2>\n

\"\"\"\"I don\u2019t know much about singing, at least not in the technical sense, but I\u2019m pretty sure I can tell a good one from a bad one. Joshua Ray Walker\u2019s got a good voice, maybe one of the best I\u2019ve heard in a long time. I found an old record of his, What Is It Even?<\/em>, around Christmastime last year and have held onto it tight ever since. Walker can spin a story, and his characters are compelling and familiarly flawed. They\u2019re human portrayals of human people, though the particulars on his new tape, Ain\u2019t Dead Yet<\/em>, land closer to home for Walker than one might expect. \u201cHuman beings are super multi-faceted, and part of the reason I wrote about characters in the first place was because I could explore things about myself that I didn\u2019t feel comfortable exploring if I were to admit that it was really about me,\u201d he said. One cancer diagnosis later and Walker has emerged healthy and full of memories he\u2019s asked us to step into alongside him. Ain\u2019t Dead Yet<\/em> isn\u2019t just a declaration, but an earned occupation. Check out \u201cThank You For Listening.\u201d It\u2019s powerful. \u2014Matt Mitchell<\/em> [East Dallas Records]<\/strong><\/p>\n

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Kim Petras: Detour<\/em><\/h2>\n

\"\"\"\"Arise, sluts: Kim Petras is back. The hypersexual hyperpop hyperprincess has returned with her third album Detour<\/em>, which boasts a more mature, multi-layered sound than the selections from her early-career Slut Pop<\/em> era (we\u2019ll never forget you, \u201cThroat Goat.\u201d) Reminiscent of Charli XCX\u2019s CRASH<\/em> and SOPHIE\u2019s Oil of Every Pearl\u2019s Un-Insides<\/em>, the dense, sugary Detour<\/em> explores Petras\u2019s identity as German immigrant-party and girl-fembot-woman with help from underground mainstays like Porches and Frost Children. The title track is a toothy wall of noise\u2014all choppy, roiling beats and runaway synths. \u201cThrow my fist through the roof just to feel somethin\u2019,\u201d Petras snarls as the song melts around her. On \u201cJeep,\u201d she strips down into a plaintive, drumbeat-heavy, Auto-Tuned love song that shows Petras\u2019 soft side for the first time in\u2026 maybe ever? This is not to say the Kim Petras of Slut Pop<\/em> is dead. Sluts who are true of heart never die, and on album closer \u201cFreak It,\u201d Petras returns to her 3 a.m. roots with a pure dance tune that will, I predict, be played at every gay club for the entirety of June. Replete with EDM lines and gratuitous Auto-Tune, it\u2019s the Petras of the past resurrected in all her sparkly glory. Kim knew what she was doing, dropping this one right before Pride Month. And thank God for that. \u2014Miranda Wollen<\/em> [BunHead\/Amigo]<\/strong><\/p>\n

Kurt Vile: Philadelphia\u2019s been good to me<\/em><\/h2>\n

\"\"\"\"Philadelphia\u2019s been good to Kurt Vile, and in turn, it\u2019s been good to us, too\u2014the Philly singer-songwriter\u2019s tenth record is as warm, affable, and intimate as always. As the album title might imply, Philadelphia\u2019s been good to me<\/em> is nothing so much as an autobiographical ode to Vile\u2019s hometown, rich in sentiment and nostalgia and the intricacies of a daily life built from small moments. It\u2019s not without a bit of sonic experimentation\u2014some jangle-pop here, some spacey instrumentals there; even a ten-minute loop-heavy number in \u201c99th song\u201d\u2014but Vile knows what works for him, and sticks to it well: easygoing vocals singing mundane poetics over artfully complex guitar lines. His effortless charisma bleeds through every word, every riff, welcoming listeners into his home town and inviting us to make ourselves comfortable. To fans\u2019 alarm, Vile\u2019s said he\u2019s been treating the record like it\u2019s his last, but even if it is, it\u2019s one you can sit inside for the long haul. \u2014Casey Epstein-Gross<\/em> [Verve]<\/strong><\/p>\n

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Paul McCartney: The Boys of Dungeon Lane<\/em><\/h2>\n

\"\"\"\"Two Paul McCartneys are battling for space on The Boys of Dungeon Lane<\/em>, his sweet-natured and often delightful new album. The first is an unabashed nostalgist, a genteel romantic\u2014the kind of presence you might expect from an eighty-three-year-old entertainer with an impossibly rich backstory and a knack for breezy pop hooks. The other is, thankfully, a wild man\u2014the same spirit that animated everything from the absurdist studio tinkering of \u201cYou Know My Name (Look Up the Number)\u201d to the clanging folk curiosity \u201cWild Honey Pie.\u201d Historically, some of the Beatle\u2019s most exciting solo work has fused<\/em> these two personalities: Take the 1971 Ram<\/em> classic \u201cUncle Albert\/Admiral Halsey,\u201d a homespun art-pop classic reflecting on a beloved relative\u2014that is, when it isn\u2019t winding through orchestrations and playfully accented vocals and giddy melodies that topple over like dominoes. McCartney strikes that same sweet spot many times on Dungeon Lane<\/em>, his twentieth-ish solo album. Opener \u201cAs You Lie There\u201d is both wistful and adventurous, simmering on a childhood crush as the lo-fi backdrop shape-shifts through overdriven guitar lines, bluesy bass grooves, and lush vocal harmonies. \u201cMountain Top\u201d might be his trippiest moment since the Sgt. Pepper era, with psychedelic references (\u201cAny time I walk with you \/ Magic mushrooms peeping through\u201d), cosmic harpsichord, and wordless-vocal sunshine erupting into a revved-up, reversed guitar solo. On the other end of the spectrum, the woozy minor-key waltz of \u201cSalesman Saint\u201d salutes his parents\u2019 resilience amid the strife of WWII, over a stunning arrangement highlighted by melancholy guitars, clever time changes, and bold big-band brass. Paul McCartney could have started coasting decades ago. Yet here he is, in his eighties, still experimenting and pushing himself. \u2014Ryan Reed<\/em> [Capitol]<\/strong><\/p>\n

Rare DM: Attention<\/em><\/h2>\n

\"\"\"\"Attention<\/em>\u2014the second album of Baltimore-born and New York-based Erin Hoagg\u2019s Rare DM project\u2014throbs, thuds, and writhes through your eardrums in true electroclash fashion. Armed with enough synth sounds and drum machines to power a small army, Hoagg has created a soundscape that is simultaneously cohesive and wide-ranging. Often, Attention<\/em> feels electrified with the twitchy, adrenaline-laden pulse that comes with bad decision-making: opening track \u201cCompliment\u201d pushes Hoagg\u2019s vocals to the forefront, both commanding and desperate (\u201cI can take a compliment,\u201d she half-sings, half-chants; it feels like a boast and a plea). Other times, though, the album verges on mellow. \u201cButterfly Historian\u201d is a lo-fi, thudding act of intimacy; stand-out track \u201cSkater Hits Me Harder\u201d is a cosmic trip of a song with production that sounds somehow both spare and sumptuous. In it, the synth lines follow simple, hypnotic arpeggio patterns; when combined with a humming, buzzing bassline and Hoagg\u2019s almost monotonous vocal refrain (\u201cJust trying to have some \/ Casual fun\u201d), the song is elevated into a piece of dark and beautiful magnetism. Best of all is Hoagg\u2019s ear for texture; it isn\u2019t hard to see how she has used her foundation in visual work to supplement each track, working more as a painter than a producer as she builds up layer after layer of sound. Otherworldly and weird, Attention<\/em> explodes into your ears with all the force and imagination of a Jackson Pollock painting. \u2014Mariam Abdel-Razek<\/em> [Self-Released]<\/strong><\/p>\n

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villagerrr: Carousel<\/em><\/h2>\n

\"\"\"\"There\u2019s a sadness to villagerrr that ages Mark Allen Scott\u2019s songwriting far beyond his years. His music feels like a mirror shattered and pieced back together, refracting off itself in the light. Lucid and searing, villagerrr\u2019s downcountry, low-fi indie-rock has a special way of tugging at the heartstrings. Perhaps it\u2019s Scott\u2019s trembling vocals, his childlike lyrics, or the quiet, orchestral instrumentation. Maybe it\u2019s the album\u2019s insistent sincerity and refusal to dissimulate. Whatever it is, it\u2019s working. On Carousel<\/em>, villagerrr\u2019s third project, Scott explores what it means to be a real person in an unreal world with a determined nakedness that disarms the listener almost instantly. On \u201cVirginia,\u201d a pensive, downbeat song full of violin, cello, and guitar, Scott wrestles with the impossibility of moving forward from the entropy around him. On \u201cIndiana,\u201d the artist and his crew of collaborators nestle into a heart-wrenching, almost otherworldly minimalism buoyed by h. pruz\u2019s wispy soprano. Carousel<\/em> is an album of what-ifs, pleases, why\u2019s, and why-not\u2019s. It\u2019s a lovely, cotton-edged rage against a dying light\u2014a candle in a cavern. villagerrr has never sounded so strange or melodic. Most of all, Scott\u2019s prayer for life feels livable. \u2014Miranda Wollen<\/em> [Winspear]<\/strong><\/p>\n

Widemouth: No Gasoline<\/em><\/h2>\n

\"\"\"\"So far, the 2020s have been a great decade for up-and-coming alt-country acts, and thankfully, that trend shows no sign of slowing down anytime soon. Just lend your ear to Widemouth\u2019s debut record, No Gasoline<\/em>. The title-track is a slow-burning ballad with traces of Waxahatchee and Gillian Welch woven into its DNA, Mak Carnahan\u2019s truly-made-for-Americana voice oozing emotion from every syllable, as harmonies from Jamie Eder and Levi Saltzman make the world of the song feel expansive and lived-in. The record weaves from mild Ratboys-esque twang to confessional Phoebe Bridgers-isms, building from soft tales of grief to bursts of electric guitar with ease. But no matter what, friendship remains the throughline\u2014fitting, for a band conceived in a college dorm basement. Love is both brick and mortar here, the skeleton of the album and the flesh of it. It\u2019s infectious. \u2014Casey Epstein-Gross<\/em> [Urban Scandal]<\/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 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. Boards of Canada: Inferno Something like a heartbeat repeats in the background of \u201cI […]<\/p>\n","protected":false},"author":2,"featured_media":2437609,"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-2437608","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\/05\/14-new-albums-to-stream-today.webp","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2437608","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=2437608"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2437608\/revisions"}],"predecessor-version":[{"id":2437610,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2437608\/revisions\/2437610"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2437609"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2437608"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2437608"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2437608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}