{"id":2456875,"date":"2026-06-12T20:09:05","date_gmt":"2026-06-12T20:09:05","guid":{"rendered":"https:\/\/celebrity.land\/en\/?p=2456875"},"modified":"2026-06-12T20:09:05","modified_gmt":"2026-06-12T20:09:05","slug":"9-new-albums-to-stream-today","status":"publish","type":"post","link":"https:\/\/celebrity.land\/en\/9-new-albums-to-stream-today\/","title":{"rendered":"9 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

Diles que no me maten: Escrito en Agua<\/em><\/h2>\n

One of the best acts right now is an experimental, post-post-rock, pre-psych-jazz band in Mexico City. Diles que no me maten just shared their best album yet, the rapturous, affirmative Escrito en Agua<\/em>. It\u2019s a striking achievement, powered by \u201cViene el viento\u201d and \u201cLa rata modesta,\u201d songs souped up in sax\/clarinet duets and bleary reverb. The music never drags, and \u201cTunuwame\u201d\u2019s droning then eruptive conclusion is a perfect end-cap to Escrito en Agua<\/em>\u2019s loose song-cycle arrangements. The songs have more pedal steel passages and less prog sequiturs, revealing an inventiveness even in repetition and improvisation. Not to be clich\u00e9, but this is music that really makes me think. I exit a Diles que no me maten album better than I entered it, thanks to the band\u2019s, as a press release calls it, \u201cscrappy mutability.\u201d These song structures are tack-sharp, wonderfully unnerving, but never overworked. \u2014Matt Mitchell<\/em> [Moonlight Archives]<\/strong><\/p>\n

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Fruit Bats: The Landfill<\/em><\/h2>\n

\"\"\"\"The idea behind morning pages is to write without inhibition to unburden the subconscious and unlock creativity. Some practitioners say you shouldn\u2019t even re-read what you\u2019ve written, nevermind edit it, though it seems likely that Eric D. Johnson doesn\u2019t subscribe to that particular idea. Lyrics in the ten songs on The Landfill<\/em> are polished enough to suggest that the singer has spent at least a little time shaping them\u2014or maybe his thirty years of experience writing as Fruit Bats and, since 2019, as one-third of the folk trio Bonny Light Horseman (as well as stints in the Shins and Califone) means his stream of consciousness is supremely well-honed. Either way, The Landfill<\/em> is a multi-layered, often melancholy affair as Johnson sorts through the comings and goings of life on the threshold of a milestone: the singer turned fifty this past week, which is a moment that lends itself to reflection. \u201cTime heals all wounds is a thing they say,\u201d he sings at the start of \u201cAll Wounds.\u201d \u201cBut I haven\u2019t always found it to be that way.\u201d That truism tends to refer to emotional wounds, but Johnson has a broader definition in mind. In fact, the couplet summarizes the worldview of this album, which weighs psychic hurt alongside the tangible physical changes that humans have made on the landscape. \u2014Eric R. Danton<\/em> [Merge]<\/strong><\/p>\n

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Horse Lords: Demand to Be Taken to Heaven Alive!<\/em><\/h2>\n

\"\"\"\"In the kingdom of Horse Lords, \u201cinstrumental egalitarianism\u201d is the rule of law. Their songs are constructed meticulously, each loop and fragment precisely situated and arranged, the whole band playing like a single unified organism. That\u2019s always been the case, though. What\u2019s new on Demand to Be Taken to Heaven Alive!<\/em> is the first-time inclusion of the human voice: Nina Guo and Evelyn Saylor, vocals chopped and smeared until singing becomes just another tuned instrument in the collective, joined by guest bass clarinet and trombone. The album announces this new vocabulary immediately, opening with \u201cEureka 378-B,\u201d a 56-second rendering of an actual Sacred Harp hymn\u2014music by John P. Rees, 1859, words by Thomas Kelly, 1802\u2014and the choice is a kind of thesis in its own right: shape-note singing is one of the oldest leaderless, communal musical traditions, congregations facing inward and tuning to each other rather than to a standard. From there, the band builds twelve pieces that read like a syllabus for a better world: \u201cBefore the Law\u201d (a Kafka nod), \u201cAfter the Last Sky\u201d (an Edward Said nod), \u201cA City Yet to Come,\u201d two separate \u201cGalactic Utopias,\u201d all stitched together by a series of \u201cRotation\u201d interludes in the lineage of Interventions<\/em>\u2018 palate-cleansers. The eight-minute closing title track grows out of their 2025 collaboration with minimalist composer Arnold Dreyblatt, that project\u2019s raw material refracted through FM synthesis into something hymn-like in its own right, saxophone and voice and a Kuwaiti mirwas drum circling a single shimmering idea. This isn\u2019t patient, wait-your-turn utopianism but heaven as a demand<\/em>, immediate and non-negotiable. Horse Lords have always made music about how things could be organized otherwise; here, for the first time, you can hear voices in the structure\u2014and the structure sounds like it\u2019s singing back. \u2014Casey Epstein-Gross<\/em> [Rvng Intl.]<\/strong><\/p>\n

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Kelsey Lu: So Help Me God<\/em><\/h2>\n

\"\"\"\"Still, for all the self-serious stylings of So Help Me God\u2019s experimental chamber folk, there\u2019s an undeniable element of play beneath these songs, which reflects in Lu\u2019s long list of collaborators: producers Jack Antonoff and Yves Rothman, former Sonic Youth bassist Kim Gordon, jazz saxophonist Kamasi Washington, and British singer-songwriter Sampha. Album highlight \u201cReaper\u201d is a spellbinding, trippy, nearly nine-minute odyssey through life\u2019s mysteries. Lu delivers prophecies like a wandering beatnik musician (\u201cYou\u2019re only sinnin\u2019 if Heaven has lost its way \/ You\u2019re only winnin\u2019 if Heaven is on its way\u201d) yet refuses any easy answers; before long, she drifts off (\u201cLifted I feel nothin\u2019 now \/ Take two pills to feel it out\u201d) as a woozy bed of Washington\u2019s sax and Gordon\u2019s guitar lulls us into an uneasy, slippery dreamworld. So Help Me God is eclectic to its core: there\u2019s the way the album jumps around from genre to genre, from the drum\u2018n\u2019bass breakbeats of \u201cOnly the Lonely\u201d to the blazing, triumphant synth-pop ballad of \u201cCutting Off the Head of a Ghost\u201d. Then there\u2019s the chameleonic force of Lu\u2019s voice, which can sound anywhere from soulful to spidery, husky to wheedling. On \u201cWhat Can I Do,\u201d gentle acoustic guitars patter in the background as Lu\u2019s voice soars and warbles, tinged with a slight witchiness; you imagine them as a wizened recluse, rocking on their porch and guarding these secrets of the heart. And on \u201cBetter Than That,\u201d only Lu can make the Gen Z-addled line \u201cTaking the L on this one\u201d sound so doleful and expansive. \u2014Lydia Wei<\/em> [Dirty Hit]<\/strong><\/p>\n

Olivia Rodrigo: you seem pretty sad for a girl so in love<\/em><\/h2>\n

\"\"\"\"As has become Olivia Rodrigo\u2019s signature, her third album offers a series of remarkably intimate revelations, cloaked in orchestral arrangements and confronting, conversational lyrics. She leans into the cinematic on you seem pretty sad for a girl so in love<\/em>, highlighting a weepy violin on \u201choneybee\u201d and a spectral organ on \u201cpurple.\u201d The album leans into \u201880s-inspired sounds, obvious in the synth-heavy \u201cmaggots for brains\u201d and her melodramatic duet with Robert Smith on \u201cwhat\u2019s wrong with me.\u201d The inherent cheesiness of Rodrigo\u2019s pouty subject matter hits with a refreshing sense of self-awareness. While her predilection for diaristic lyrics remains much the same\u2014\u201cI love you more than any stupid song could ever say,\u201d she sighs on the appropriately titled \u201cstupid song\u201d\u2014the instrumentals are more exploratory here, employing spangly guitars and distorted, breathy keyboards on \u201cmy way\u201d and pointillistic robotic backings on \u201cexpectations.\u201d Her vocals are far more interesting this time around, too; \u201cpurple\u201d is layered with dissonance, \u201cdrop dead\u201d with blunt song-speak. you seem pretty sad for a girl so in love<\/em> is Rodrigo\u2019s sound all grown up. \u2014Miranda Wollen<\/em> [Geffen]<\/strong><\/p>\n

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Ruth Garbus: Profound<\/em><\/h2>\n

\"\"\"\"I heard the first verse of Ruth Garbus\u2019 \u201cI Think I\u2019m Ready Now\u201d two months ago but won\u2019t let go of me: \u201cWhen I penetrated that man, I felt just like a dog \/ Getting fucked is the season of the world, my life springs forth \/ Into the jewel of creation, the arched back of the imagination.\u201d That\u2019s one hell of a greeting. The song is musically bare but threaded with perverted silver linings and interstellar chain reactions, as is all of her new LP Profound<\/em>. \u201cAs relaxed as a woman can be when she\u2019s filled with blood, my inner bitch was enterprising,\u201d Garbus hums, in her Nico-meets-Newsom register. \u201cAnd vain, and vain, and vain.\u201d The guitars and pianos are braided until, in the song\u2019s final corridor, their fanned-out, impish-jazz textures brighten toward a baroque changeover from Nick Bisceglia and Elie McAfee-Hahn, and Garbus\u2019 voice thins out into a soothing falsetto. \u201cI Think I\u2019m Ready Now\u201d is part-feral rebirth, part-midlife unmooring. Profound<\/em> from beginning to end is haunting, nearly violent in its truth. \u2014Matt Mitchell<\/em> [Orindal]<\/strong><\/p>\n

Telescreens: Why the Lights Flicker<\/em><\/h2>\n

\"\"\"\"Easy though it would be to boil Telescreens down to their influences\u2014the brawny, sinewy guitar sounds of The Strokes, the synth-infused punk of LCD Soundsystem\u2014Why the Lights Flicker<\/em> is the band\u2019s most convincing argument yet in favor of being viewed as artists in their own right. Telescreens is at heart a live band, and the three albums they\u2019ve released since their formation display an obsession with finding a way to extract the energy of their live performances into the recording studio. On Why the Lights Flicker<\/em>, they succeed; a hum of kinetic, ephemeral energy pulses through this album, never dropping in intensity (impressive, considering the hefty run time). <\/p>\n

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Lead single \u201cNothing\u201d is a swaggering, scrappy piece of alt-rock, demonstrating to great effect what Telescreens do best with a thrumming, addictive guitar riff that careers into a cathartic yell of a chorus. \u201cPreacher,\u201d similarly, shows their great skill for keeping things simple: the melody pulses and bops through your head without being basic, a synth line offering texture as it slips in and out. These are known quantities, though, and what makes Why the Lights Flicker<\/em> good is when Telescreens start to get a little weird with it. Stand-out track \u201cThe Hill\u201d is a 6.5-minute upward climb; opening with a piano part that wouldn\u2019t sound out of place on a George Michael record, it chugs forward relentlessly, tugging in layers of instrumentation as it goes; a brief intermission halfway through precedes the next euphoric explosion of sound, a cacophony of harmony. It might have been recorded in a studio, but Why the Lights Flicker<\/em> gives us the things that all the best live music does: a release, a journey, a chance to escape ourselves and become someone else, if only for a few minutes at a time. \u2014Mariam Abdel-Razek<\/em> [+1 Records]<\/strong><\/p>\n

Wiki: Ancient History<\/em><\/h2>\n

\"\"\"\"Everything in New York City feels heightened. After a brutal winter, the city\u2019s finally climbing to its muggy, thunderous summer peak. It\u2019s the first summer under Mayor Mamdani\u2019s regime and we\u2019re anxiously waiting to see if he\u2019ll deliver on the promises that put him into office. The Knicks are in the finals for the first time since 1999 and the whole city\u2019s rallying around them. Ancient History<\/em>, the latest release from super-collaborator and Upper West Side wunderkind rapper Wiki, is the perfect soundtrack to New York City right now. The album\u2019s first half drifts through metropolitan misadventures with the swagger and chaotic zen that comes with taking the city at its best and its worst. \u201cBut the hate gon\u2019 make me take this city, make it mine,\u201d he raps on \u201cIHNY,\u201d a microcosm of Ancient History<\/em>\u2019s encapsulation of how it feels to mourn this city as it disappears before your eyes\u2014your favorite spots replaced by \u201cbougie coffee shops\u201d\u2014and cling to the vestiges of it that still feel like yours. Rolling with each punch from producers like Lord Unknown and dj blackpower (aka MIKE), Wiki narrates vignettes about gentrification, loneliness, heartbreak, new love, and the idiosyncrasies of his own career trajectory (\u201cYou ain\u2019t gotta know my name, still influential\u201d) proving himself as complex and compelling as the city that raised him. \u2014Grace Robins-Somerville<\/em> [Wikset Enterprise]<\/strong><\/p>\n

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YHWH Nailgun: Magazine<\/em><\/h2>\n

\"\"\"\"If you\u2019ve heard anything about YHWH Nailgun\u2019s sophomore record, you\u2019ve probably heard that it\u2019s eleven minutes long, bringing their entire discography to a whopping 48 minutes. But that\u2019s not a provocation or schtick or troll (although it is at least a little<\/em> funny); it\u2019s a deliberate attempt to both strip back and hone in on what made their 2025 debut, 45 Pounds<\/em>, so compelling. Gone are the rototoms, the heavily augmented vocals; in their place, Saguiv Rosenstock\u2019s guitar winds aching and sharp through each song, and vocalist Zack Borzone\u2019s minimalist fire-and-brimstone screeds against war take on a pulse of their own. It\u2019s less an impulse towards concision than compression, not about making the songs shorter but making them denser, forcing the attention ever inwards. <\/p>\n

How much weight can a forty-second track hold before it buckles? Enough to require you to sit with it numerous times to try to parse each movement, each glowing synth strike and guttural bark and cymbal clatter. Everything on Magazine<\/em> feels intentional\u2014there is, quite literally, not a second wasted. To obsess over the length itself is to miss the point: there\u2019s more going on in a single track than some hour-long albums can say for their whole runtime. \u201cHips on a Wheel\u201d uses groaning synths and hollow percussion to create a sonic equivalent of an abandoned hanger for Borzone\u2019s howled \u201cI\u2019m a hangman, mama, but I love to breathe\u201d to echo around in; \u201cStillness Blues\u201d is anything but still, creaking to life beneath a danceable, tinny beat and stomach-churning guitar riffs; \u201cSewer Tree\u201d starts stark and sparse, a tautness held in the breaths between downbeats, before erupting into something vast and unnameable. The album opens on a fade-in and ends on a fade-out, as if the music itself exists beyond the recording of it\u2014we\u2019re simply tuning in to and tuning out of a frequency that\u2019s been there all along. It\u2019s only eleven minutes, sure, but it feels eternal. \u2014Casey Epstein-Gross<\/em> [4AD]<\/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. Diles que no me maten: Escrito en Agua One of the best acts right […]<\/p>\n","protected":false},"author":2,"featured_media":2456876,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":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-2456875","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\/06\/9-new-albums-to-stream-today.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2456875","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=2456875"}],"version-history":[{"count":1,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2456875\/revisions"}],"predecessor-version":[{"id":2456877,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/posts\/2456875\/revisions\/2456877"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media\/2456876"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/media?parent=2456875"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/categories?post=2456875"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/en\/wp-json\/wp\/v2\/tags?post=2456875"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}