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 projects from Tame Impala, Sudan Archives, They Are Gutting a Body of Water, Silvana Estrada, Monaleo, Bar Italia, Ty Dolla $ign, Militarie Gun, Destiny Bond, Elias Rønnenfelt, Cusp, Jane Inc., and Suzie True. 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.)
Tame Impala: Deadbeat [Columbia]
In the process of writing Deadbeat, Kevin Parker worried he would never make another song he liked again. When he finally landed on gold—the space funk of lead single “Loser,” the proggy synthpop of follow-up “Dracula”—he would experience “a high, a euphoria, filled to the top with self-confidence,” he told Grayson Haver Currin for GQ. The follow-up to The Slow Rush takes inspiration from the Western Australian rave scene to reconnect Tame Impala—now a worldwide enterprise—with the spirit-freeing psychedelia of the act’s roots. Accompanying the new album’s release is the music video for opener “My Old Ways.”
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Sudan Archives: The BPM [Stones Throw]
Sudan Archives eases listeners into her multifaceted third album, The BPM, with the distant violins of “Dead.” Then she goes all in. Whether juggling electro-pop and haywire strings over club beats (“My Type,” “Yea Yea Yea”) or manipulating industrial music through hyperpop glitching on “Ms. Pac Man,” Sudan Archives revels in her new persona as a sleek and savvy technophile called Gadget Girl. That explains why the follow-up to 2022’s Natural Brown Prom Queen is more expansive, creative, and cooly impassioned than anything she’s recorded.
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They Are Gutting a Body of Water: Lotto [Julia’s War/Smoking Room/ATO]
Philadelphia shoegazers They Are Gutting a Body of Water have been putting out music for nearly a decade now, but Lotto is technically their fourth album as a band, with singer-guitarist Doug Dulgarian roping in bassist Emily Lofing, guitarist PJ Carroll, and drummer Ben Opatut. Wiry and strung out, Lotto is a slosh of swirling guitars and lucid-dreaming lyrics. Set up by opener “The Chase” and further realized in the blown-out waves of “RL Stine” and “Trainers,” the album is the latest standout in the 2020s shoegaze revival, landing it somewhere between Hotline TNT and Parannoul.
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Silvana Estrada: Vendrán Suaves Lluvias [Glassnote]
Silvana Estrada can’t help but sing like love is pooling underneath her heart. Following her debut solo album, Marchita, and her Abrazo EP, both released in 2022, the Mexican singer-songwriter returns with a gorgeous, self-produced LP that loses none of the rich arrangements or bold singing that made her reinterpretations of the Mexican folk style son jarocho so moving. Vendrán Suaves Lluvias takes its name from Sara Teasdale’s 1918 poem “There Will Come Soft Rains,” which portrays a vision of peace and renewal after destruction. Estrada follows in its footsteps, proposing hope for a better future in songs like “Dime,” and proving she is still a force.
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Monaleo: Who Did the Body [Columbia]
Monaleo has caught a second wind in 2025. The Houston rapper’s momentum had slowed somewhat after breakout 2021 singles “Beating Down Yo Block” and “We Not Humping,” but she sounds reenergized on songs like “Putting Ya Dine” and “Sexy Soulaan.” Her resultant mixtape, Who Did the Body, includes a track with Lizzo (“Freak Show”) and another featuring Houston royalty Bun B, Paul Wall, and Lil’ Keke, “We on Dat (OG Mix).”
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Bar Italia: Some Like It Hot [Matador]
Some Like It Hot is Bar Italia’s third album since emerging fully formed from a sprawling London underground populated by avant-garde explorers, indie-rock slackers, and much in-between. Led by the scuzzy, dual-vocal post-punk anthem “Fundraiser,” the new album reaffirms Bar Italia as an emblem of all that is good, wonderful, and occasionally half-assed about that would-be scene. The band threads elements of lounge jazz, Balkan folk, and shoegaze into its alt-rock foundation, the members trading dry, jaded vocals over hell-raising tunes that couldn’t care more.
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Ty Dolla $ign: Tycoon [Atlantic]
Premiered at Tribeca Film Festival in the spring, Ty Dolla $ign’s documentary Still Free TC casts the musician as an entrepreneur who’s still looking to discover his full range. His new album, Tycoon, plastered with gravitas and collaborations, is a place for the singer to flex his vocal range, not just in the hip-hop realm but with an R&B flourish that helps him scale the pop-rap charts, too.
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Militarie Gun: God Save the Gun [Loma Vista]
Ian Shelton can’t stop touring—and that antsy desire to stay on the road might explain why he can’t stop penning new songs either. On Militarie Gun’s sophomore album, God Save the Gun, Shelton and his bandmates keep digging for the perfect pop chorus within punk. “B A D I D E A” has a good idea of where to look, as does “Throw Me Away.” But it’s slower singles like “Thought You Were Waving” and “God Owes Me Money” that showcase the Los Angeles band’s secret skill: getting kids from the hardcore scene to contemplate life’s bigger questions to the tune of good old-fashioned alt-rock. They may have started as a post-hardcore band, but, these days, Militarie Gun are ready to hijack rock radio and give it a major upgrade.
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Destiny Bond: The Love [Convulse]
With their new album, The Love, Destiny Bond pick up where they left off on Be My Vengeance, supplying the world with more chugging hardcore riffs and songs of uplift. The album is short on runtime but big on feelings. As frontwoman Cloe Madonna told Denver outlet Westword of The Love, “It’s kind of a record about just the enduring spirit of the lives of the members of this band.”
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Elias Rønnenfelt: Speak Daggers [Escho]
Since punching the ejector seat out of Iceage, Elias Rønnenfelt has meandered into a solo career every bit as shapeshifting and odd as the Danish band’s own journey from punk upstarts to quasi-Americana goth journeymen. His second solo album, Speak Daggers, incorporates elements of Dean Blunt and Yves Tumor into songs that wander between macabre folk, pastoral rap, and hypnotic, dubbed-out trip-hop. Erika de Casier, Fine, and indeed the Congos feature on the freewheeling album.
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Cusp: What I Want Doesn’t Want Me Back [Exploding in Sound]
Cusp recorded their new album, What I Want Doesn’t Want Me Back, almost entirely live at Chicago’s Electrical Audio. “This was the first Cusp project where we recorded the songs live,” singer and guitarist Jen Bender explained in a press statement. “It was a totally new experience for the band, and I think it really captured a new energy that may not be as present on previous works.” The 10-track album follows the indie-rock group’s 2023 debut, You Can Do It All.
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Jane Inc.: A Rupture a Canyon a Birth [Telephone Explosion]
Jane Inc. is the Toronto-based project of sometime U.S. Girls member Carlyn Bezic, but, on the evidence of A Rupture a Canyon a Birth, her music is spiritually twinned with the Scandinavian school of dance-pop catharsis. Synthesizers strobe and house pianos chime while digital basslines and organs pack their suitcases for a weekend in Ibiza. Bezic’s glassy vocals, accordingly, seem braced for uncertain adventure, poised between melancholy and euphoria.
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Suzie True: How I Learned to Love What’s Gone [Get Better]
Suzie True find the sweet spot between pop-punk and 1990s alt-rock on How I Learned to Love What’s Gone, their third album. Produced by Chris Farren and recorded and mixed by Eve 6’s Jon Siebels, the Sentimental Scum follow-up sends the Los Angeles trio careening into a whirlwind of social and personal interrogations, empowered by pinballing hooks and scrappy, shout-along energy.
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