With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new releases available on streaming services. This week’s batch includes new albums from Mitski, Bill Callahan, Gorillaz, Gena, Bruno Mars, and Blackpink. Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.)
Mitski: Nothing’s About to Happen to Me [Dead Oceans]
As much as she shies away from the public eye in real life, Mitski loves openly diving into a character in her otherworldly music. On Nothing’s About to Happen to Me, she goes deep into the mind of a reclusive woman pent up in a disheveled house. Between those walls and the mess that surrounds her, she’s free to be her chaotic self. Mitski’s eighth album is anxiety pop told with an indie-rock heart and live instrumentation by her The Land Is Inhospitable and So Are We touring band, from lead single “Where’s My Phone” to “I’ll Change for You” and beyond.
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Bill Callahan: My Days of 58 [Drag City]
On his first solo album in four years, Bill Callahan tapped the touring musicians behind his 2022 album YTI⅃AƎЯ—guitarist Matt Kinsey, saxophonist Dustin Laurenzi, and drummer Jim White—to improvise in the studio. The resulting 12 songs on My Days of 58 are roving journeys, from the driving kosmische folk of “The Man I’m Supposed to Be” to the wayfaring curiosity of “Lonely City.” You can hear Callahan prepared the songs in separate, one-on-one sessions with each musician—part draft, part spontaneity. As Callahan puts it, “a lot of the best parts of a recording are the mistakes—making them into strengths, using them as springboards into something human.”
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Gorillaz: The Mountain [Kong]
Gorillaz conduct a musical séance on The Mountain, inviting a typically madcap array of guests—Sparks, Black Thought, Bizarrap, Idles, Yasiin Bey—to join them in invoking the spirits of Gorillaz collaborators past. Those include Dennis Hopper, D12’s Proof, Tony Allen, Bobby Womack, and the Fall’s Mark E. Smith, all revived, via unreleased session recordings, in Damon Albarn’s bombastic fusion of psych-pop and electrofunk. He also enlisted assorted Indian musicians and vocalists, including Anoushka Shankar and Asha Bhosle, to riff on the album’s themes of life cycles and reincarnation.
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Gena (Liv.e & Karriem Riggins): The Pleasure is Yours [Lex]
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Last year, Liv.e and Karriem Riggins started popping up together for live performances under the name Gena. Fast forward a few months and they had a handful of singles to show for their new sound: the sultry soul-pop chorus of “Circlesz,” the slow burn of melting guitars on “Lead It Up,” the stuttering drumbeat that’s holding down “Howweflow.” On their debut album together, The Pleasure Is Yours, Liv.e and Riggins swirl together so well it’s hard to remember they haven’t been making music as Gena for decades.
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Bruno Mars: The Romantic [Atlantic]
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Although Bruno Mars has been dominating radio airwaves without much of a break, the truth is he hasn’t released a solo album in 10 years—until now, with The Romantic. His follow-up to 24K Magic comes after inescapable hits with Lady Gaga and Rosé, as well as an entire other side-project with Anderson .Paak as Silk Sonic. Mars has taken the right notes from those smash hits without losing sight of what makes him stand out. From the vintage sheen of his funk-lite lead single “I Just Might” to the album’s swaying closer “Dance With Me,” Mars returns to the stage on The Romantic with a comfort and charm that remind you of his natural showmanship.
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Heavenly: Highway to Heavenly [Skep Wax]
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After a smattering of reunion tours over the years, indie-pop heroes Heavenly are back to save the day. On Highway to Heavenly, their first album in 30 years, the band that formed out of C86 mainstays Talulah Gosh slashes through a litany of hell-raising, punk-inflected anthems taking aim at the manosphere and technocrats, without forgetting the good old romantic quandaries that have always made twee-pop sing.
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Blackpink: Deadline [YG]
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Blackpink haven’t released an album since 2022’s Born Pink, but that hasn’t stopped the biggest K-pop girl group in the world from getting even bigger. Lisa was on The White Lotus, Rosé snagged multiple Big Four Grammy nominations, and the quartet just became the first act to surpass 100 million subscribers on YouTube. Now, the girls are back with a new project, era, and the fanfare to match: The rollout for Deadline includes a partnership with the National Museum of Korea and pop-ups all around the city of Seoul, not to mention its viral lead single, the hardstyle thumper “Jump.”
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Caterina Barbieri / Bendik Giske: At Source [light-years]
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Experimental composers Caterina Barbieri and Bendik Giske connected in the studio for the first time on At Source, following a string of live collaborations that aligned their contrasting modes of synthesizer play. The results are by turns mesmeric and bewildering, joining stardust synths, subterranean percussion, and pinwheeling saxophone in music that, as Barbieri puts it, “explores the liminality between the machine and the human, and the vulnerability in this process.”
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Sideshow: Tigray Funk [10k]
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What better way to cap your stint on Earl Sweatshirt’s European tour than with an album release? Sideshow’s first record since 2024, Tigray Funk looks to the rapper’s roots in Ethiopia for instrumentation and inspiration while keeping a cohort of East Coast heavyweights in the production credits. Laron, Tony Seltzer, Anysia Kym, Surf Gang’s Harrison, and Popstar Benny all have beats on the album, which is sequenced around the theme of predator versus prey.
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Maria BC: Marathon [Sacred Bones]
Don’t let the soft timbre of her voice fool you: Maria BC’s new album is a wake-up call to harsh realities. Written and recorded across the West Coast, which has weathered deadly avalanches and raging wildfires over the past two years alone, Marathon interrogates the destructive, extractive practices that have led us to the brink of environmental ruin. The native Californian’s incisive observations on surviving under capitalism unfurl over acoustic distortion, propulsive toms, and featherweight harmonies. According to the artist, her songwriting comes to her as a spirit—“someone from up above or down below calling out to us in warning: ‘You can’t go on like this.’”
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Iron & Wine: Hen’s Teeth [Sub Pop]
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Sam Beam’s eighth album as Iron & Wine shares DNA with his 2024 LP Light Verse: both were recorded in Laurel Canyon, during the same session, with the same backing band. But there’s also an out-of-time quality to these homespun folk constructions, some of which feature Beam’s own daughter, Arden, on harmonies. If Hen’s Teeth can feel, at times, like entering a secret garden past its closing time, that’s on par with Beam’s vision. As he puts it: “Hen’s teeth do not exist. And that’s what this record felt like: a gift that shouldn’t be there but it is. An impossible thing but it’s real.”
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