11 New Albums You Should Listen to Now: Tinashe, Gilla Band, and More

Para qualquer outro artista, chamar seu oitavo álbum de estúdio de Popstar seria exagerar um pouco. Mas Tinashe tem licença: além de praticamente estabelecer o modelo para o K-pop contemporâneo, seu novo disco exala qualidade de estrela.

Tinashe: Popstar [Nice Life/Atlantic].

Popstar is half-recreation, half-reimagining of the last decade’s biggest pop blockbusters, and it nails all the details: the acoustic closing number (“Heavy Weight”); the rock&b ballad (“I’d Rather Be Alone,” just in case you forgot Tinashe almost had a song on Anti); even the dalliance with stadium country (“Nobody Want to Dance Anymore”).

Armed with an arsenal of beats that channel Metro Boomin, Missy-Timbaland, and Mike Will Made-It, ‘Nashe can’t help but make it all sound, well, “Too Easy.”.

Ouça no Apple Music Ouça no Spotify Ouça no Tidal Ouça no Amazon Music Compre na Rough Trade.

With Holding Hands With Jamie, their 2015 debut album, Gilla Band reimagined noise-rock as a queasy, overblown, manic breakdown. Over a decade later, the Irish band’s fourth full-length deepens their place as a north star for the genre and the entire crop of UK bands they’ve inspired.

Pugnello is twisted and unpredictable, a ship battering waves on the high sea with no say in which direction it heads, despite its obstinate persistence. That should make you nauseous, but in Gilla Band’s hands, it’s a rave mandating you to dance.

Listen on Apple MusicListen on SpotifyListen on TidalListen on Amazon MusicListen/Buy at BandcampBuy at Rough Trade.

The best records feel like places you can go to; Julia Jacklin’s The Gem actually is one. The Australian songwriter’s 4AD debut takes its name from a real pub in Melbourne that served as a space of solace when Jacklin moved to the city in 2017, knowing no one.

Everything changes, but nearly a decade later, she sought out the same haunt to craft her first proper hometown album. Jacklin recorded in a room above the bar, tested out the songs downstairs, and entrusted co-production to old friend Robert Muinos’ Rat Pack Studios.

Para um álbum produzido em um período de transição entre gravadoras, gestores e abordagens estilísticas, The Gem avança de forma notável como uma tartaruga, carregando a casa confortavelmente em suas costas.

M83: I Wrote You a Letter [M83 Recording Inc.].

These days, Anthony Gonzalez is feeling wistful for his own back catalog. His 2023 LP Fantasy was pitched as a sequel to 2005’s Before the Dawn Heals Us, so based on that calculus—and all but confirmed by the piano refrain that closes “Blister Sunrise”—I Wrote You a Letter is the spiritual successor to 2008’s Saturdays=Youth.

It’s also relatively subdued for an M83 record. After the verbose Fantasy, Gonzalez is again content to let his big sounds handle the big feelings: dueling choirs and saxophones on “Siren Behold.

Jules Reidy: Clerestory [Thrill Jockey].

Like any great tale, there are two sides to guitar whisperer Jules Reidy’s new album Clerestory. The A-side, called "Shadow Symmetric," pairs the Australian-born, Berlin-based with JACK Quartet, a dextrous NYC-based string ensemble they worked with for over two years on the composition.

The B-side, “Clerestory Windows,” compiles four slivered songs that reinvent their predecessor through an array of new instruments: vocals, 12-string guitar, electric guitar, RMI, and MIDI strings.

In the hands of a less inventive stylist, this back section might sound fractured, or even worse, overworked. But taken together, the two halves of Clerestory couldn't feel more full.

Esta é uma história que vale a pena ser contada repetidas vezes.

o terceiro LP de Sabrina Teitelbaum como Blondshell entende que a beleza é dor, e vice-versa (daí o título do álbum, o único instrumento de cordas que também é homófono de “violência”).

Working once more with producer Yves Rothman, Teitelbaum taps into the existential anxiety that‘s defined the turn of her 30s, translating into grungier lead lines and bigger hooks than ever before.

She has hard-earned mid-20s wisdom in spades, but Violins never takes a condescending tone—in fact, closing track "Fur Elise” leaves the LP on a note of uncertainty, encapsulated in the idea of walking down the aisle to the anachronistic titular song.

When Protomartyr asked fellow Detroit punk lifer Iggy Pop to announce their album, they got a quote worth taping on the family’s refrigerator: “What is a Protomartyr.

Kind of like Jesus.” Descobriu-se que Hotel Usona tem orgulho próprio. O grupo post-punk não faz mais thrash como antes em The Agent Intellect ou Under Color of Official Right.

These days, Joe Casey snarls into the microphone about corrupted patriotism, deformed social media, and AI embodying selfishness. Instead of threatening you with the music, Protomartyr dare you to come closer to find out how sharp it is.

Zukenee: Blunts and Blades [Slaylife].

You may be familiar with the running internet joke, “While you were partying, I studied the way of the blade.” But Zukenee can’t quite relate: honing his craft and living it up go hand in hand for the Atlanta upstart.

His fifth proper project in just two years is another sinewy, snarling take on post-rage that pairs Z’s laid-back flow with spare strip-club trap beats courtesy of Cade, desmos, and BNYX (who also provides the only feature).

When the rapper promised to “flood” this year with music at the stop of 2026, he wasn’t kidding—but this is the kind of deluge that’s still worth parsing piece by piece.

If blunts and blades can exist safely in harmony, why can’t quality and quantity.

Listen on Apple MusicListen on SpotifyListen on Amazon Music.

Megiapa: Intentions [International Anthem].

Megiapa’s sound may draw influence from contemporaries in the underground LA jazz and hip-hop communities, but she cut her teeth over a decade in Chicago’s beat scene.

As one of the only women working the open-mic grind, Megiapa developed a knack for top-to-bottom creative independence, settling into a sui generis groove that all comes together on her International Anthem debut Intentions.

Recorded on a cultural grant from Chicago’s Department of Cultural Affairs and Special Events, and layered with live instrumentation on the West Coast, it links the loci of her artistic evolution like a hand-stitched quilt.

Godflesh have been making music for nearly 40 years now, but in the words of frontman Justin Broadrick: “It has to reach a point where enough is enough.” That moment arrived earlier this year, when Broadrick announced the band had met its end due to doctors orders to stop screaming after undergoing open abdominal surgery for an inguinal hernia.

Decay, o primeiro de dois álbuns finais que Godflesh planeja, apresenta um desfecho fisicamente intenso e adequado ao percurso turbulento, porém lendário, dos pioneiros do industrial-metal.

Born from the same sessions as 2023’s Purge, it pulses with the renewed energy of their post-hiatus period: going out not with a bang or a whimper, but a bloodcurdling howl.