{"id":1283444,"date":"2025-06-08T15:15:15","date_gmt":"2025-06-08T15:15:15","guid":{"rendered":"https:\/\/celebrity.land\/pt\/?p=1283444"},"modified":"2025-06-08T15:15:15","modified_gmt":"2025-06-08T15:15:15","slug":"this-weeks-records-to-stream","status":"publish","type":"post","link":"https:\/\/celebrity.land\/pt\/this-weeks-records-to-stream\/","title":{"rendered":"This Week\u2019s Records to Stream"},"content":{"rendered":"\n
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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, from priority picks to honorable mentions.<\/i><\/p>\n

Addison Rae: Addison<\/em><\/h2>\n

There\u2019s nothing wrong with paying tribute to a good cigarette. In fact, I encourage it wholeheartedly. Two new pop songs this week do exactly that\u2014Addison Rae\u2019s \u201cHeadphones On\u201d and Lorde\u2019s \u201cWhat Was That\u201d\u2014but it\u2019s Rae\u2019s latest that\u2019s captured my heart. Co-written with Luka Closer and Elvira Anderfj\u00e4rd, \u201cHeadphones On\u201d is the fourth single from Rae\u2019s upcoming debut album, Addison<\/em>, and it keeps her streak of great pop hardware. \u201cDiet Pepsi\u201d was a life-affirming, say-you-love-me pop classic, while \u201cAquamarine\u201d and \u201cHigh Fashion\u201d paid dividends to the Addison faithful who\u2019ve been watching her cook since her AR<\/em> days. A sugary, Y2K gloss burns at the heart of \u201cHeadphones On\u201d but song is a shockingly full of hurt, as Rae reckons with her parents\u2019 divorce (\u201cWish my mom and dad could\u2019ve been in love, guess some things aren\u2019t meant to last forever\u201d) and imposter syndrome (\u201cI compare my life to the new it girl, jealousy\u2019s a riptide, it pulls me under\u201d) without plodding in heavy-handed nostalgia. \u201cHeadphones On\u201d should be in the conversation for Song of the Summer; the \u201cYou can\u2019t fix what has already been broken, you just have to surrender to the moment\u201d pre-chorus allows Rae\u2019s R&B and electropop fascinations to perfectly collide. She capped off her legendary debut album rollout with \u201cFame is a Gun,\u201d the fifth and final teaser where she leans into a future-coded sound, with a hypnotic synth loop that builds into a bombastic dance-pop track, flaunting a percussive 808 and stacked vocals that transport listeners to a technicolor dream world. Her vocals start fuzzy, opening up in the chorus, but Rae keeps her wispy delivery at the center. The song comes with an oddly nostalgic music video that feels part-\u201cThriller,\u201d part-Suspiria<\/em>, with Rae existing as both a doe-eyed up-and-comer and a longstanding A-lister. Her videos remain a point of emphasis in her rollout\u2014intentional, curated, building the exact world she wants listeners to step into. Her TikTok fame has proved fully illusory. This is well-done Madonna worship for the doom-scrolling generation. \u2014Matt Mitchell & Cassidy Sollazzo<\/em> [Columbia]<\/strong><\/p>\n

Hayden Pedigo: I\u2019ll Be Waving As You Drive Away<\/em><\/h2>\n

\"\"\"\"Releasing a new album every two years might not seem as prolific as the output of an artist like Guided by Voices or The Reds, Pinks & Purples, but Hayden Pedigo\u2019s productivity numbers are impressive. The Mexican Summer signee has been putting out solo records every other year, and his newest LP, I\u2019ll Be Waving As You Drive Away<\/em>, marks his fifth in eight years. But what\u2019s even more gratifying is that his quality\/quantity ratio is perfectly saturated, as every record arrives brimming with impossibly good and intricate guitar compositions. I\u2019ll Be Waving As You Drive Away<\/em> is the third and final installment of his self-coined \u201cMotor Trilogy,\u201d following behind Letting Go<\/em> (2021) and The Happiest Times I Ever Ignored<\/em> (2023). Now, I know what you\u2019re obviously thinking\u2026 Yes, the title of this record is clearly a Little House on the Prairie<\/em> reference. Even though our mothers probably grew up loving that show, it\u2019s even more niche now that streaming has outmuscled syndication. Nevertheless, Pedigo is as referential and cultural as they come. I mean, his last record was<\/em> titled after a Doug Kenney quote. Pedigo is part-man, part-myth, part-Texan, part-picker, and part-everything-but-the-kitchen-sink. His music is as warm as it is challenging\u2014a paradox of storytelling that is personal yet world-consuming. For about seven years now, I\u2019ve been trying to put people on to his music, and I think his newest project might finally (and rightfully) put him over. I\u2019ll Be Waving As You Drive Away<\/em> is inspired by everything from Bladee to Led Zeppelin, providing a total and affectionate rewrite of what instrumental could and ought to be. Pedigo may have left Amarillo for Oklahoma, but the Southern tapestry of a song like \u201cLong Pond Lily\u201d could have only been woven by somebody with his feet always in two places. Did someone give Ry Cooder a tab of acid? Hayden Pedigo makes guitar music without stereotype. \u2014Matt Mitchell<\/em> [Mexican Summer]<\/strong><\/p>\n

Junk Drawer: Days of Heaven<\/em><\/h2>\n

\"\"\"\"Forgive me for the truncated geopolitical lesson, but it\u2019s a relevant one, since Days of Heaven<\/em> plumbs the depths of Ulster\u2019s psyche, both in terms of the lasting pain leftover from decades of bloodshed and the province\u2019s potentially bright futures that never came to pass. At times these explorations are cryptic\u2014Junk Drawer aren\u2019t ones for spoon feeding their listeners\u2014but the lyrics\u2019 obscurity only makes the listener want to come back for more. Their first album, 2020\u2019s unexpectedly prophetic Ready for the House<\/em>, focused more on the personal lives of the band members themselves\u2014siblings Stevie (vocals\/guitar) and Jake Lennox (vocals\/guitar\/drums), Brian Coney (bass\/keys) and Rory Dee (drums\/guitar\/vocals). Junk Drawer\u2019s debut channeled a loose \u201890s sound akin to Pavement and occasionally devolved into a punk dance party; Day of Heaven<\/em>, however, maintains that playful freshness while broadening their thematic scope and injecting their music with a healthy dose of \u201860s psychedelia. What binds these Days of Heaven<\/em> together aren\u2019t just dreams of a better future for Ulster, but Junk Drawer\u2019s stunning vocals and hypnotic jams. Stevie and Jake both get their time to shine on the mic\u2014the latter in particular on \u201cWhere Goes The Time,\u201d when he does a scarily good Neil Young impression\u2014and their vocal ranges, from deeply rich, sonorous moments to exquisite falsetto, beggars belief. And then there\u2019s the jam of it all; this is a band who know their instruments and each other so very well, and it\u2019s obvious during every hypnotic groove they lock into. It\u2019s easy to get lost in Junk Drawer\u2019s mesmerizing aural push and pull\u2014so much so that you hope the Day of Heaven<\/em> will never end. \u2014Clare Martin<\/em> [Pizza Pizza Records]<\/strong><\/p>\n

Lifeguard: Ripped & Torn<\/em><\/h2>\n

\"\"\"\"Lifeguard\u2019s story sounds straight out of a coming-of-age film. Before graduating high school, the trio got signed to storied indie label Matador, following word-of-mouth success in their local Chicago scene. Thriving from a young age isn\u2019t that surprising anymore. Artists like Billie Eilish<\/a>, Yung Lean<\/a>, Justin Bieber, and beabadoobee<\/a> reached fame by sharing music online before turning 18. But Lifeguard stands out as something special, with an approach to their artistry so advanced and throughout that you\u2019d think they\u2019ve been around for over a decade. Their debut album, Ripped and Torn<\/em>, not only features a sound quality that feels like an old record, but it features heavy inspiration found in post-punk, krautrock, and dub. \u201cUnder Your Reach\u201d opens with discord\u2014feedback from guitar accented by a motorik drum beat, before launching into a jangly melody. When other bands try to replicate the innate sound of that era, the move often falters; they fail to capture the experimental, boundary-pushing essence and scrappiness of luminaries like Television Personalities or Mission of Burma. But Lifeguard, a trio where every member is still in their teens, seamlessly fits in with the bands that inspired them. I can\u2019t remember the last time I was this excited over an emerging act. \u2014Tatian Tenreyro<\/em> [Matador]<\/strong><\/p>\n

Read:<\/strong> \u201cLifeguard: The Best of What\u2019s Next\u201d<\/a><\/p>\n

Little Simz: Lotus<\/em><\/h2>\n

\"\"\"\"It\u2019s a special level of rap when you can take the lyrics, omit the music, and be left with just a beautiful piece of writing. Furthermore, it takes a special caliber of rapper to construct these phrases and rhyme schemes into reflections of human emotion that are both digestible and entertaining for audiences. I think of generational talents like Black Thought, Rakim, Ms. Lauryn Hill and, in recent years, Little Simz. The London rapper has more than earned her place in any \u201cbest lyricists\u201d conversation, repeatedly proving why she is one of the most compelling voices contributing to modern hip-hop. Since her 2021 record Sometimes I Might Be Introvert<\/em> won both the Mercury Prize and a BRIT Award, Simz hasn\u2019t had to prove<\/em> anything, but she has continued to air her voice, calling out the whole of the music industry on 2022\u2019s NO THANK YOU<\/em> for its hypocrisy, greed, and inequality. Opening along an infectious bass groove and soul-infused vocal refrain, \u201cFree\u201d is a bouncing, stirring anthem of self-liberation and resilience. In the first verse, Simz expounds on her definition of love before testing it against her feelings of fear, delivering each line completely composed yet with unclouded emotional intent. Never have I wanted to quote an entire song as much as here. Each bar on Lotus<\/em> is a masterful display of storytelling and personal affirmation\u2014every line standing resolute for its sharp portrayal of life, trust, obsession, mortality, and knowledge. I think of a 2011 interview with Jay-Z in which he said, \u201cRap is poetry. It\u2019s thought provoking; there\u2019s thought behind it\u2026 If you take those lyrics and you pull them away from the music and put \u2018em on the wall somewhere and someone had to look at them, they would say, \u2018This is genius. This is genius work,\u201d and if Lotus<\/em> doesn\u2019t deserve that spot on the wall, no album does. \u2014Gavyn Green<\/em> [AWAL\/Age 101]<\/strong><\/p>\n

MARINA: PRINCESS OF POWER<\/em><\/h2>\n

\"\"\"\"The anchor to the present on PRINCESS OF POWER<\/em> is \u201cCUNTISSIMO,\u201d an instant career highlight for MARINA. Pulsing with confidence via indifference, the single delights in amorous trips to Lake Como, puffing on luxury cigarettes, and blowing off exes. Perhaps there\u2019s no better (or more bluntly-spoken) reminder that decadent thrills can continue throughout adulthood and do not, in fact, shrivel up and disintegrate past your mid-30s. It\u2019s far easier, though, to notice where MARINA retreats into girlish frames of mind. Directly preceding the champagne-swilling \u201cCUNTISSIMO\u201d is the first single \u201cBUTTERFLY,\u201d which drew some criticism for its cloying, childlike chorus. \u201cYeah, I\u2019m a butterfly \/ You just never see my energy,\u201d she sings on a pitched-to-heaven chorus, effectively merging the interests of 8-year-olds and people who post their crystal collections on Instagram. A similar sickly-sweet tone saturates the bridge of \u201cFINAL BOSS\u201d and punctuates the title track, which peppers its post-chorus with squeals of \u201cBig love! Big aura!\u201d These twee twists are like snaps of bubblegum in your face; a brash, acquired taste, but ultimately a sugar high worth chasing. Elsewhere, playful flourishes of lace and lust rekindle the naivete and untamed sensuality of MARINA\u2019s Electra Heart<\/em> era. \u201cJE NE SAIS QUOI\u201d traipses around cabaret-esque pop, worshiping a crush at the level of a lovestruck teen (who else would say \u201cYou\u2019re hotter than God\u201d unironically?). Infatuation surfaces again on the ballad \u201cHELLO KITTY,\u201d which claws at camp, but whose wordplay never quite scratches the itch for kitsch. \u2014Victoria Wasylak<\/em> [Queenie Records]<\/strong><\/p>\n

Read:<\/strong> \u201cOn PRINCESS OF POWER<\/em>, MARINA Blurs Her Age Amidst a Kaleidoscope of Vibrant Synth-Pop\u201d<\/a><\/p>\n

McKinley Dixon: Magic, Alive!<\/em><\/h2>\n

\"\"\"\"Magic, Alive!<\/em> is McKinley Dixon\u2019s fifth album, and it\u2019s also the biggest risk he\u2019s taken yet\u2014a collection of tracks always flirting with overproduction and clutter. The music is brimming with orchestration; it\u2019s not \u201ceverything but the kitchen sink,\u201d but \u201ceverything and<\/em> the kitchen table.\u201d Dixon isn\u2019t afraid to add more voices and hands into his musical soup, and each song is an elixir of jazz-rap, with pockets layered in chain-link grandeur. Every chapter of Magic, Alive!<\/em> is bigger than him, yet his verses focus on the micro with historical hip-hop citations, literary allusions, and horror films metabolized into heady sonic palettes. Like the illustrations he animates in his spare time, the rarely-pedantic Dixon meticulously sketches expressions of people he both knows and imagines. His lyrical fascinations with mythology are decorated in rare and endangered fits of orchestral patterns; the noisy percussion, mechanical poetry, and blood-boiling strings haunt the magic Dixon is chasing in the epilogue of Beloved! Paradise! Jazz!?<\/em>\u2019s block-bending cynicism but never smear it. As he raps on \u201cListen Gentle\u201d: \u201cIt\u2019s tragic, trying to keep my kindness in my steps with lightning in my eyes.\u201d Dixon sinks his teeth into the Magic, Alive!<\/em> story on \u201cWe\u2019re Outside, Rejoice!,\u201d as he summons a concrete pastoral again but doesn\u2019t wear out its meaning. There are far too many front doors still unopened on his turf to stop painting the neighborhood just yet. A tint of blue washes over the brotherhood at the song\u2019s core: \u201cI love laying with you here in the grass, feels like it was just us in the worlds that passed.\u201d Dixon speaks in Toni Morrison titles while seeking redemption and clinging to memories the bodies around him have sung into life. \u201cMy face inhales the sun, grab your hand with no plan then we run!\u201d Magic, Alive!<\/em> is a conceptual, allegorical achievement\u2014a story of three young kids whose friend passes away, the monuments they build in his memory, and the lives they\u2019d kill themselves to restore. \u2014Matt Mitchell<\/em> [City Slang]<\/strong><\/p>\n

Read:<\/strong> \u201cMcKinley Dixon Finds His Wings in the Bombast of Magic, Alive!<\/em>\u201d<\/a><\/p>\n

Pulp: More<\/em><\/h2>\n

\"\"\"\"The most insistent, stirring moments on More<\/em> came fittingly with its two advance singles, as the existential, propulsive \u201cSpike Island\u201d did the heavy lifting of reassuring any fans worried about the quality of a new record after so long away right off the bat. It\u2019s an undeniable pop song-cum-pep-talk, seeing Cocker promise himself that \u201cthis time, I\u2019ll get it right,\u201d though he makes sure to remind us of the same fact in turn, in case we still hold any reservations. \u201cI was born to perform, it\u2019s a calling,\u201d he intones, before adding a self-deprecating shrug, like he\u2019s caught himself with his feet not touching the ground, \u201cI exist to do this: shouting and pointing.\u201d By the time he\u2019s backed by the galloping thump of \u201cGot to Have Love,\u201d he\u2019s fully locked into barn-burner mode, and you can envision the way he will shout and point to its groove, as only he can. \u201cMy Sex,\u201d an album track which the band also debuted on tour last year, feels apiece with the singles as it slinks over searing guitar lines and near-spectral backing vocals. It winks as much as peak-popularity-Pulp in their most playful moments: \u201cMy sex Is an urban myth \/ A lovers\u2019 tiff or a lover stiff \/ I haven\u2019t got an agenda \/ I haven\u2019t even got a gender.\u201d Yet, the most satisfying stretch of the record begins with the trotting shuffle of \u201cTina,\u201d an ode to seemingly every woman Cocker has been intrigued by but never approached, which builds a galaxy around quotidian observations on a commute, as the best Pulp songs do. Strings swell as a group of backing vocals sigh that given name after Cocker calls it out, as if they\u2019re playing the role of the last remnant of her scent when she gets off the train at her stop. From there, \u201cGrown Ups\u201d sprawls in a Kinksian shuffle which the band\u2019s musicians expertly rise to and retreat from over rambling spoken word verses, panicking to make sense of adult life\u2019s chaos\u2014no more linear than childhood, only supplanted with new concerns and obsessions. \u2014Elise Soutar<\/em> [Rough Trade]<\/strong><\/p>\n

Read:<\/strong> \u201cPulp Play the Hits and Sweeten the Misses on Comeback Record More<\/em>\u201c<\/a><\/p>\n

Turnstile: NEVER ENOUGH<\/em><\/h2>\n

\"\"Generally speaking, NEVER ENOUGH<\/em> presents Turnstile at their most tempered. The Hayley Williams- and Dev Hynes-featuring \u201cSEEIN\u2019 STARS\u201d demonstrates their self-restraint: the knowledge of when to hold back paired with a canny understanding of how to inject some edge into a nu-disco tune, of which there are many contemporary analogs. Throwing in an arena-rock solo from lead guitarist Pat McCrory and groovy bassline from Franz Lyons will certainly do the trick. It also helps that \u201cBIRDS,\u201d potentially the closest they get to good \u2018ol hardcore on here, comes directly after it. Even the certified rippers come with some downtime, like the sweaty cool that follows an intense mosh pit, a needed respite after the high-octane adrenaline rush. \u201cBIRDS\u201d is an outlier in the sense that its energy is self-contained. \u201cDULL\u201d and \u201cSUNSHOWER,\u201d on the other hand, take detours from their heavy starting points into various aural terrains. The former charts a course from headbanging hardcore into their version of musique concr\u00e8te. The latter begins with drummer Daniel Fang\u2019s blistering double-time that\u2019d be right at home on Nonstop Feeling<\/em>, only to find itself at a New Age endpoint with washes of synth ambience and spiritual jazz flute. Both tracks are apt theses for NEVER ENOUGH<\/em> as a whole. They\u2019re also microcosms for the State of Turnstile, hardcore\u2019s most famous exports who don\u2019t view punk\u2019s ethos as a rigid rulebook but as a canvas to experiment freely. If NEVER ENOUGH<\/em> makes anything clear, it\u2019s that Turnstile refuse to be limited by their roots. \u2014Grant Sharples<\/em> [Roadrunner]<\/strong><\/p>\n

Read:<\/strong> \u201cBigger Than They\u2019ve Ever Been, Turnstile Aim For the Stratosphere on NEVER ENOUGH<\/em>\u201d<\/a><\/p>\n

Other Notable New Album Releases This Week:<\/strong> Brian Eno & Beatie Wolfe: Lateral \/ Luminal<\/em>; Caamp: Copper Changes Color<\/em>; Carmen Perry: Eyes Like a Mirror<\/em>; Cynthia Erivo: I Forgive You<\/em>; Finn Wolfhard: Happy Birthday<\/em>; Gunnar: Sun Faded<\/em>; Landlady: Make Up \/ Lost Time<\/em>; Lil Wayne: Tha Carter VI<\/em>; Options: Beast Mode<\/em>; Phoebe Rings: Aseurai<\/em>; Purelink: Faith<\/em>; Seth McFarlane: Lush Life: The Lost Sinatra Arrangements<\/em>; The Doobie Brothers: Walk This Road<\/em>; The Ting Tings: Home<\/em>; WAVVES: SPUN<\/em><\/p>\n<\/div>\n

\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

\u2018 O artigo anterior foi obtido e traduzido do site internacional da celebrity.land \u2019 Source Link <\/em><\/p>\n\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, from priority picks to honorable mentions. Addison Rae: Addison There\u2019s nothing wrong […]<\/p>\n","protected":false},"author":2,"featured_media":1283445,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_override_counter":[],"footnotes":""},"categories":[42],"tags":[],"class_list":["post-1283444","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-musica"],"_links":{"self":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1283444","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/comments?post=1283444"}],"version-history":[{"count":0,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/posts\/1283444\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media\/1283445"}],"wp:attachment":[{"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/media?parent=1283444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/categories?post=1283444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/celebrity.land\/pt\/wp-json\/wp\/v2\/tags?post=1283444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}