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 PinkPantheress, OsamaSon, Hannah Frances, Black Eyes, Mobb Deep, Jay Som, Blawan, TiaCorine, Emily A. Sprague, Amber Mark, Madi Diaz, Bruiser and Bicycle, and Feeo. 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.)
PinkPantheress: Fancy Some More? [Warner]
Having staked her claim to British dance-pop royalty on Fancy That, PinkPantheress is back with an all-night rave at the dance-pop Buckingham Palace. Fancy Some More? revisits the May mixtape in the company of Kylie Minogue, Sugababes, Jade, Basement Jaxx, Groove Armada, Sega Bodega, and Hot Chip’s Joe Goddard, not to mention an illustrious international cast—Oklou, Bladee, Annita, Kaytranada, Ravyn Lenae, and Nia Archives among them. Come in your sparkliest dress, but be prepared to take it to the dry cleaners tomorrow.
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OsamaSon: Psykotic [Motion Music/Atlantic]
OsamaSon’s second album of 2025, following Jump Out, presents the Soundcloud rap graduate in full flow: rage rap earworms belted over hallucinatory beats that split the difference between cloud rap, malfunctioning chiptune, and some maniacally overdriven spin on hyperpop. Psykotic is produced by Warren, Gyro, OK, Legion, Roxie, and Rok.
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Hannah Frances: Nested in Tangles [Fire Talk]
Hannah Frances is here to meet and exceed your wintry folk needs on her arresting sixth album, Nestled in Tangles. Knotty wreaths of acoustic guitar twine with needles of contrapuntal strings and brass filigree as her voice rises from hushed murmurs to apocalyptic wails. The Keeper of the Shepherd follow-up features Grizzly Bear’s Daniel Rossen on two songs, including the single “The Space Between.”
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Black Eyes: Hostile Design [Dischord]
To hear Black Eyes is to feel like you’ve snuck into one of punk’s secret outlets: an unlit concrete warehouse where kids dance obliquely, sing off-key to converging vocal parts, and willingly let two drummers drown out their thoughts. Over 20 years since their last album, Cough, the Washington D.C., art-punk band returns without missing a double-drummer beat on six-track album Hostile Design. One of the band’s unruly vocalists, Daniel Martin-McCormick, threatens to kill your parents, reveal how much your last meal cost, and mourn the toll of living for wide open spaces with his trademark snotty shrieks. With a political fire burning underneath them and wailing saxophones ringing in their ears, Black Eyes sound like they never left.
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Mobb Deep: Infinite [Mass Appeal]
Eight years on from the death of Prodigy, Havoc has overseen the construction of a new Mobb Deep album that doubles as a tribute to his late bandmate. The Infamous Mobb Deep follow-up that seemed like it would never come is patched together from archival Prodigy material and new Havoc verses, with the help of longtime collaborator the Alchemist. “Infinite is as seamless as projects like this get,” Dylan Green writes in Pitchfork’s review. And “most importantly,” he adds, “Havoc and Prodigy’s chemistry remains intact.”
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Jay Som: Belong [Polyvinyl]
When Melina Duterte started Jay Som, she wrote shoegaze-inflicted indie pop songs that eventually morphed into the type of charming indie rock, on Everybody Works and Anak Ko, that lifts your spirits on difficult days. But Belong, her first album in six years, takes a subtle turn towards pop-punk that’s not just a snug fit for Jay Som, but verifiably endorsed by some of the scene’s enduring figureheads by way of guest features from Hayley Williams (“Past Lives”) and Jimmy Eat World’s Jim Adkins (“Float”). Come for the gauzy songwriting, stay for the hooks stuck in your head.
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Blawan: SickElixir [XL]
Once a metal drummer, Blawan has been a UK electronic don since the release of his darkly addictive 2012 anthem “Why They Hide Their Bodies Under My Garage.” The mercurial techno producer’s XL debut, SickElixir, channels his riotous energy into puckish compositions riven with squiggly melodies, surprise earworms, punishing beats, and monstrous, liberally deployed vocoder that will probably spill over into your nightmares. He considers the album his formal debut and most honest record yet, which makes you sincerely hope he is OK. “I have a problem with processing life—I process it through music,” he says in press materials. “The energy of this album is life and death, it’s marred with anger and sadness…. I needed this emotion out of my head.”
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TiaCorine: Corinian [Interscope]
Ever chameleonic, TiaCorine swaggers out of anything resembling a comfort zone and into a freewheeling rap odyssey on Corinian. Joined by Flo Milli, Saweetie, Wiz Khalifa, Smino, and more, the North Carolina singer and rapper pulls out one curveball after another, from old-school hip-hop joint “Lotion” to poolside jam “Pretty” and the postpunk rap anthem “Buttercup.” Read Alphonse Pierre’s 2023 feature “Don’t Even Try to Put TiaCorine Into a Box.”
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Emily A. Sprague: Cloud Time [Rvng Intl.]
Emily A. Sprague had long dreamed of touring Japan, so when she got there, last fall, she decided to immortalise the trip by making an album. The result is Cloud Time, an ambient audio diary that captures the wonder and melancholy of travel and discovery, its keening, decomposing synths as ephemeral as a perfect moment in a new place. The album, she says in press materials, “includes a lot of different emotions but ultimately accepts these as they move through us within a day or experience or lifetime.”
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Amber Mark: Pretty Idea [PMR/Interscope]
Amber Mark steps into a pop-R&B dreamworld on Pretty Idea, her third album and Three Dimensions Deep follow-up. Working with pop-pensman heavyweights Julian Bunetta, John Ryan, and Two Fresh, Mark sends her celestial vocals into the romantic battlefield, navigating relationship quandaries with featherlight flair. Anderson .Paak features on the “Never Too Much”–echoing “Don’t Remind Me.”
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Madi Diaz: Fatal Optimist [Anti-]
Fatal Optimist is Madi Diaz’s fortress of solitude: an album of quiet devastation that strips the Nashville artist’s songwriting to its core. Diaz initially recorded the Weird Faith follow-up with a band before realizing its songs of romantic loss and reinvention required a more intimate setup. “This was the first time in my career that I stayed in this heavy place with the songs after leaving the studio, rather than trying to escape it,” she says in press materials.
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Bruiser and Bicycle: Deep Country [self-released]
On their steady path from friends making lo-fi freak-folk to bandmates going proggy art-pop, Bruiser and Bicycle always find a calming center at the heart of their otherwise dizzying albums. Deep Country, their third album and follow-up to 2023’s Holy Red Wagon, takes that grounding reassurance to new depths, with shades of jangle pop and vintage progressive folk. Recorded live—a first for the Albany, New York, band—with a 15-song tracklist, the album’s sprawling 75-minute runtime shouldn’t intimidate as much as welcome you to take an edible and get lost. Let pairings like the fingerpicked jitters of the six-minute “Waterfight”—where, yes, the vocal harmonies sound just like Animal Collective—into the airy jazz drumming of “Sinister Sleep Shuffle” remind you what it feels like to stop worrying and just be present.
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Feeo: Goodness [AD 93]
Now established as a maestro of London’s experimental underground, Feeo lands at AD 93 with a suite of droning, ambient, and softly psychedelic electronic music on her debut album. The compositions of Goodness warp, buzz, and whirr beneath Feeo’s distracted vocals, which, in contrast to the intricate electronics, seem exhumed from ancient folk song. The record follows her EP Run Over and collaborations with Loraine James and Caius Williams.
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