11 New Albums You Should Listen to Now: Carly Rae Jepsen, Miley Cyrus, and More

Carly Rae Jepsen is having more fun than everyone. That’s what I took away from Day and Night, her new 24-track double LP. Split into two halves like one of those convertible slip dresses, the album spans an array of themes including—though not limited to—marrying her hot husband; traveling Europe with her hot husband; having a baby with her hot husband.

Carly Rae Jepsen: Day and Night [School Boy/Interscope].

Given its extensive scope, listening to Day and Night occasionally feels like junk-diving in her demos drawer, but this is Carly Rae Jepsen, so there’s no shortage of shiny baubles for the keen-eyed collector: the scrapbooked travelogue of “Versailles,” an unexpected Gainsbourg homage on “Blue Skies,” and “Amalfi Coast,” as bubbly as a glass of Grand Cru.

The only lingering question: Will we get a double album of b-sides, too.

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Empress Of: Dream House [Major Arcana / Giant Music].

The title of Empress Of’s new album bears a bittersweet significance. In January 2025, the Los Angeles native was one of many Altadena locals whose family homes burned to the ground during the devastating Eaton Fire.

Empress Of passou os dois anos entre o incêndio e o lançamento de seu novo álbum, Dream Home, reconstruindo tanto física quanto espiritualmente: vertendo concreto para uma nova fundação enquanto enfrentava o trabalho emocional de cura após uma perda profunda.

It’s a connecting theme on the album, which she co-wrote and co-produced with Cecile Believe, an ideal tether to Empress Of’s fantastical, club-minded alt-pop. With vocal assists from Blood Orange and her mother, Reina, the musician gives us another glimpse into her prismatic world, swinging the door open on the hard stuff.

Miley Cyrus: Bass Persuades [Atlantic].

Few modern pop stars know their way around a reinvention quite like Miley Cyrus (understandable, since she’s had an alter ego from minute one). From “Can’t Be Tamed” to the Bangerz era to her 2025 indie rock “concept album” Something Beautiful, Cyrus has indicated she loves nothing more than to try on another facet of her persona.

Seu novo álbum, Bass Persuades, é o primeiro apenas como Miley, e a renomeia como club kid‑cum‑romântico sem esperança, passando suas noites ansiando e festejando em igual medida.

Traditional love songs like “Let’s Get Married” share room on the tracklist with grimier cuts like “Different Religion”—the latter thanks largely to the influence of Model/Actriz.

Team Dresch: Furthermore [Jealous Butcher].

The tone of Furthermore is classic Team Dresch—furious, righteous, and deliciously driving. But singer and bassist Jody Bleyle’s verses have a new urgency to them, certainly informed by the suffocating climate of fear and subjugation facing LGBTQ+ people around the world.

Whether biological, spiritual, or both, Team Dresch’s return is a triumph of the many over the few for the ages.

AZ Chike: Nenhum Descanso para os Malvados [Warner].

AZ Chike has had motion in the LA rap scene for a minute, but 2024 marked a turning point for the distinctive MC, appearing on Schoolboy Q’s Blue Lips and Kendrick Lamar’s Grammy-winning GNX.

His new album, No Rest for the Wicked, drops him in over massive, horn-and-808-heavy beats that would fit right in on a Lamar joint. But AZ’s signature flow and sharp observations on West Coast street politics make sure this record shines on its own.

On the banging lead single “Look Like My Mama,” he stands ten toes down across the booth from Tyler, the Creator, channeling the big-band energy of Chromakopia without ever fading into the background.

Actress: Radical Frame [Ninja Tune].

Actress’s music is basically a genre within itself, the way the British electronic musician distorts drone, R&B, grime, dubstep, and techno into smoked-out synth trips.

Seus acordes com olhos sem brilho e batidas pneumáticas são caminhos para ruas manchadas de chuva em Londres, shows de Berlim cobertos por camadas espessas de fumaça de cigarro, e pós-shows onde os olhos estão caídos, mas ninguém quer ir para casa.

The producer has always been Black avant-garde, but on Radical Frame he owns this title wholeheartedly. He sets the scene like an independent film auteur, opening with surreal vocals before slinking into a tunnel of static and dark ambient pads.

Os beats são tensos, mas a música, como a maioria do catálogo de Actress, é espaçosa, mesmo quando as vozes dos MCs de grime Casisdead e Rainy Miller surgem, preenchendo cantos escuros com spoken word assombrado.

Feeling low has long been fertile territory for Beck, one of the great modern bards of loserdom. For Ride Lonesome, he reconvened the same band he made Mutations, Sea Change, and Morning Phase with: Smokey Hormel, Joey Waronker, Justin Meldal-Johnsen, Roger Joseph Manning Jr., and Jason Falkner.

tapping back into that ever-flowing vein to create a windswept collection of folk, country, and alt-rock. Don’t let his hushed, hands-in-the-pockets vocals fool you: songs like the title track and “Disappearing Act” are proper power ballads.

Beabadoobee: Pylon [Dirty Hit/Interscope].

Whether or not Beabadoobee believes the dance floor to be dead, one thing’s for certain on her new album Pylon: she’s making rock music. After dabbling with a more acoustic register on 2024’s This Is How Tomorrow Moves, Bea Kristi chopped off her hair and leaned back into the grunge, emo, and ‘90s FM rock that gave her poppy 2020 debut its college-radio, bottle-dye charm.

The result is a blown-out tour diary that finds inspiration in guitar licks and reverb screech. Across the tracklist, she invites idols and friends who shaped her taste to jump onboard, from Hayley Williams to Turnstile singer Brendan Yates to Title Fight’s Shane Moran.

She even got Matty Healy and George Daniel to hop on production duties for “Write Me a Letter.”.

Como fica um duo já chamado Boy Harsher se inclinando para um lado mais sombrio? Bem‑vindo ao mundo de Get Mean, o mais recente álbum do duo formado por Jae Matthews e Augustus Muller.

The pair takes their sui generis blend of EBM, darkwave, and industrial music to new, painful places to do justice to the scenario Get Mean was written in: the end of their romantic relationship.

But it’s not all endings on Get Mean, which uses the sundown of one romance to introduce the band’s budding interest in new sounds like pedal steel, New Romantic guitar, and a dash of pure pop cheek.

Matthews keeps her description of the record simple: it’s “what I had to give during the most extreme period of my life.”.

Kristin Hersh: Sugar on Blackstone [Fire].

Você quase pode ouvir as ondas salgadas do Atlântico batendo contra as rochas em *Sugar on Blackstone*, da Kristin Hersh, uma coleção crua e espectral de vinhetas de indie‑rock enraizadas em suas memórias de infância em Providence, Rhode Island.

The album’s title references a street in the city, one she walked many times before moving across America. Working with 50FootWave’s Rob Ahlers and the drummer-cum-cellist Pete Harvey, Hersh keeps her band simple in the name of focusing on complex lyrical reflections on the stains of time, and the liberation of loss.

Neil Young and the Chrome Hearts: Second Song [Reprise].

O velho encontra o novo no último álbum de Neil Young: o 50º LP de sua carreira, mas apenas o segundo com sua banda Chrome Hearts. Gravado em Shangri La, em Malibu, e produzido pelo único Lou Adler, algumas faixas de Second Song — especificamente “Casting Me Away From You” e “I’ll Love You Forever” — foram escritas na década de 1960, enquanto outras ganharam vida em novas sessões de estúdio.

The 11-plus minute title track is one of those new editions, a towering meditation on aging and the changing of the world. “I need to talk to someone, someone who smiles and answers back,” Young mourns over light guitar and banjo strums and an ultra-soft hi-hat.

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