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 Turnstile, Pulp, Lil Wayne, Addison Rae, Purelink, Little Simz, Untiljapan, Hayden Pedigo, Lifeguard, and Phoebe Rings. 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.)
Turnstile: Never Enough [Roadrunner]
On their new album, the biggest band in hardcore often don’t sound like a hardcore band at all. Instead, Never Enough finds Baltimore’s Turnstile foraying, at various points, into breakbeats, new-age ambiance, and Police-style 1980s new wave. (Frontman Brendan Yates even sounds a bit like Sting in his upper register.) As Nina Corcoran wrote in Pitchfork’s review, he “delivers the anxious words with the gusto of someone granted several extra decades to live.” Hayley Williams, A .G. Cook, Faye Webster, Shabaka, and BadBadNotGood saxophonist Leland Whitty all guest.
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Pulp: More [Rough Trade]
The 24-year wait for a new Pulp album is over. After bowing out of the post-Britpop scrum with the Scott Walker–produced 2001 LP We Love Life, the Sheffield indie-pop maestros have played numerous reunion tours, but only last year returned to the studio to make good on the promise of a follow-up. “Spike Island” led the new LP, More, a typically heady, synth-pulsing anthem narrated by sassy showman Jarvis Cocker. “This is the shortest amount of time a Pulp album has ever taken to record,” he has said of the James Ford–produced LP. “It was obviously ready to happen.”
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Lil Wayne: Tha Carter VI [Young Money/Republic]
In and out of the studio, Lil Wayne has had some volatile ups and downs since launching Tha Carter back in 2004, but a new entry in the series will always be a marquee event—especially with features from the likes of Bono, BigXthaPlug, and Andrea Bocelli. New album Tha Carter VI, the sequel to his long-delayed Tha Carter V, has itself taken seven years to arrive, after interim releases including low-stakes solo outing Funeral and collaborative full-lengths with Rich the Kid and 2 Chainz (who also guests on the new one). Expect Wayne’s trademark fusion of the ridiculous and grandiose as he pulls out the stops for his first true legacy album in years. Learn (a lot) more about Lil Wayne in Pitchfork’s new feature “The 50 Best Lil Wayne Songs of All Time.”
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Addison Rae: Addison [Columbia]
Love her or hate her, Addison Rae has earned her stripes as a leading pop underdog by releasing a string of uncanny, hyper-glossed earworms filled with the sort of stupidly addictive lyrics that make Sabrina Carpenter sound like D. H. Lawrence. All this culminates in a debut album, Addison, that planes down contemporary pop influences into an ooze of familiarity, faintly evoking innovations in underground and alternative music without stepping out of its playlist-friendly lane.
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Purelink: Faith [Peak Oil]
Suspend time by checking back in with Purelink, the Brooklyn trio who make downtempo ambient music that’s just as fit for midnight hangouts at the dorm as introspective walks through the park on your own. On Faith, their second album, Purelink unspool beats like bed sheets billowing on the clothes line: translucent, lightweight, mesmerizing. With an occasional vocal line courtesy of guests like Loraine James or Angelina Nonaj, the six-song record goes down easy. Check out Philip Sherburne’s new interview with the band, “Purelink Make Ambient Music You Can Believe In.”
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Little Simz: Lotus [AWAL]
Following the back-to-back releases of Sometimes I Might Be Introvert and No Thank You, in 2021 and 2022—all while starring in the British TV series Top Boy—Little Simz pumped the breaks. “How dare you?/I was shutting down the world and it scared you,” she raps on Lotus’ lead single, “Flood.” With assists from Obongjayar, Sampha, and Moses Sumney, the 13-track LP is a soft reboot for the artist while preserving her core sound palette of live drums, Bond-theme jazz, and buttery soul.
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Untiljapan: Trompe l’Oeil [Silence in the Ballroom]
Untiljapan follows his 2023 debut, Safe Travels, with a new album of bass-blasted melodic rap laments. The Nigerian American artist led the album with “Pyramidz,” showcasing his flair for intricate verses that mix autobiographical storytelling, heartsick pleas, and dismissive one-liners over darkly immersive soundscapes.
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Hayden Pedigo: I’ll Be Waving as You Drive Away [Mexican Summer]
Hayden Pedigo was portrayed in a 2021 documentary as an unlikely young cadidate for the city council in Amarillo, Texas, but he remains primarily known as a whiz of instrumental Americana. His latest album, I’ll Be Waving as You Drive Away, spins a worldess yarn of exclamatory strums and fingerpicked curlicues that is, he said in press materials, “a micro-dose psychedelic album. I wanted it to be this tangible feeling, as if somebody had cut up a tab of LSD and put on a Fahey record.”
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Lifeguard: Ripped and Torn [Matador]
Lifeguard whistle through a power-pop clinic on Ripped and Torn, the sort of cracking, crackling debut album that can only be made by a teenage band piling in everything they know at once. Assisted by No Age’s Randy Randall on production, the trio throws garage-rock, alt-rock, dub, and abrasive avant-garde music into a bonfire of explosive energy, exemplified on firecracker single “It Will Get Worse.” Recommended for those who wonder: What if Iceage came from Chicago?
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Phoebe Rings: Aseurai [Carpark]
On their first album as a proper band, New Zealand’s Phoebe Rings are choosy about their ingredients: Japanese city pop is a predominant flavor, with just a smattering of bandleader Crystal Choi’s jazz school training and only the most featherlight Bee Gees disco numbers added to the mix. Aseurai is a Korean word that roughly translates to atmospheric, ephemeral, or just out of reach—fitting for record that seems to have its head perpetually in the clouds.
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