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 Geese, Young Thug, Neko Case, Mariah Carey, Jeff Tweedy, Cate Le Bon, Doja Cat, M. Sage, Amanda Shires, Chris Williams, Rochelle Jordan, Mason Lindahl, Piotr Kurek, Cardo Got Wings, and Xexa. 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.)
Geese: Getting Killed [Partisan]
In rather short order, Geese have transformed from a bunch of precocious post-punk devotees into one of the mast fascinating and unpredictable acts in indie-rock. Leading the charge is frontman Cameron Winter, whose solo debut, Heavy Metal, found him indulging in his most experimental and outré tendencies. Winter—joined by bandmates Max Bassin, Dominic DiGesu, and Emily Green—continues the evolution on Getting Killed, an album whose singles tell you nothing and everything you need to know about Geese. There’s the loose and nearly devotional “Taxes,” which sounds like a descendent of The Velvet Underground & Nico; the paranoid, album-opening “Trinidad”; and the chunky, confident “100 Horses.” It’s best not to guess where Geese are going; join ’em on the flight.
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Young Thug: UY Scuti [Young Stoner Life/300 Entertainment]
UY Scuti, the oft-delayed album that Young Thug has teased in the months since he was released from jail, is named after a red supergiant star, one of the largest known stars in the universe. “I just feel big. I feel like I’m one of the biggest stars,” Young Thug told GQ. “I did a lot: founding this culture and the new rap game that’s happening right now. I just feel like I’m out of this world.” The rapper previewed his follow-up to Business Is Business with “Money on Money” and “Miss My Dogs,” the latter of which arrived amid a flurry of leaked tracks and jail calls that have threatened to upend the Atlantan’s legacy. Learn more in Alphonse Pierre’s column “The Complicated New Era of Young Thug.”
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Neko Case: Neon Grey Midnight Green [Anti-]
The slightest tremble of violin strings and jaunty piano keys open Neon Grey Midnight Green, Neko Case’s first new in seven years—the longest gap between any of her solo records. Rife with lush arrangements, the album is breath of fresh air and unguarded hope, catching Case at a point in life in which she feels like she’s accessing a better side of herself. The follow-up to 2018’s Hell-On certainly sounds like she’s found a way to appreciate the beauty and light in a time of darkness, be it the spider spinning intricate webs in “Little Gears” or the explosive radiance of falling in love in “Wreck.” “Why do people need to feel so important all the time?” she sings at one point. Neon Grey Midnight Green is Case’s retort in practice, exemplifying how understanding your place in life only deepens your appreciation for all it has given you.
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Mariah Carey: Here for It All [Gamma.]
It’s been a long wait, but Mariah Carey’s first album since 2018’s Caution is here. The pop star with perfect pitch declares she’s Here for It All, taking notes on all she’s been through over the past decade, most notably raising twins and the prioritizing loving relationships. After keeping most of the album’s details under lock and key, Carey dropped two singles—the groove-focused rap-soul song “Type Dangerous” and the dancehall-influenced track “Sugar Sweet,” with Kehlani—and revealed a handful of featured artists, including Anderson .Paak and the Clark Sisters. Summer is officially over, but, on her 12-track comeback, Carey insists the sunny season is a year-round mentality, if you want it to be.
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Jeff Tweedy: Twilight Override [dBpm]
When Jeff Tweedy realized he wrote three albums’ worth of new material, he made the decision to let it stand on its own. No paring down. No splitting up into different LPs released over several years. Instead, he organized those songs into Twilight Override, a self-produced effort by Tweedy with engineering and mixing from Tom Schick, that features a handful of Chicago’s brightest musicians joining the Wilco singer-guitarist: James Elkington, Sima Cunningham, Macie Stewart, Liam Kazar, and Tweedy’s own children, Spencer and Sammy. The album’s three chapters loosely tell the story of Tweedy’s past, present, and future, beginning with the easygoing “One Tiny Flower” on to the Beatles-esque closer “Enough.”
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Cate Le Bon: Michelangelo Dying [Mexican Summer]
Billed as an emotional exorcism purging a wound to help it heal, Michelangelo Dying is essentially Cate Le Bon handling the all-consuming nature of heartache even though she didn’t want to write an album about love. By giving in, Le Bon crafts a collection of songs that saunter and wade through the deceptively deep sensation, from the initial thrill of giddiness, to the erosion of a fantasy, and beyond. Across its 10 tracks, Michelangelo Dying finds new sounds in the saxophone, piano, percussion, and additional instruments that she traversed in singular style on Pompeii and Reward.
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Doja Cat: Vie [Kemosabe/RCA]
Doja Cat is going back to her roots. No, not “Mooo!”—just the style of the albums that turned her into a global superstar. The pop and hip-hop artist has said that her new album, Vie, is “a continuation of Planet Her and Hot Pink,” records with hit singles, like “Kiss Me More” and “Say So.” Her last album, Scarlet, was not lacking for hits—“Paint the Town Red” and “Agora Hills” both performed well commercially—but, upon reflection, she’s said it didn’t quite sit right with her. “Not to diminish it, but it was a bit of like, I just need to get this out—it was a massive fart for me,” she told The New York Times. “I thought fixing that would entail making music that was more visceral or more emotional or maybe more angry or more sad. And I enjoyed performing it onstage, but it didn’t get me all the way there. So I want to return back to what I know.” Vie is led by “Jealous Type.”
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M. Sage: Tender / Wading [Rvng Intl.]
Somewhere between Lia Kohl’s use of field recordings as springboards and Patrick Shiroishi’s translation of clarinet as a tool of ambient music is M. Sage, the Colorado-via-Chicago multi-instrumentalist and composer who also performs in the ambient jazz quartet Fuubutsushi. On Tender / Wading, Sage turns the fleeting quacks of geese in “Tender of Land” and the rhythmic electronic whirring in “Wading the Plain” into electro-acoustic compositions that invite you to stroll around your neighborhood to notice previously unseen details. The follow-up to 2023’s Paradise Crick continues piling atop piano runs and barely brushed drums until it’s hard to know where Sage’s music ends and the nature outside your doorstep begins.
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Amanda Shires: Nobody’s Girl [ATO]
If you weren’t paying attention to country music tabloids over the past two years, then you probably missed that Amanda Shires and Jason Isbell divorced. Although both are rousing Americana artists who bare their soul in their music, it’s Shires who brings an extra level of vulnerability to her unshielded music this time around on Nobody’s Girl, her new album on which she untangles that very public split. Although she’s singing lines like, “I stopped feeling anything,” Shires delivers these songs with the emotional wallop that blunt reality always delivers. That’s because, musically speaking, the singer-songwriter and fiddle player continues the musical trajectory of 2022’s Take It Like a Man, incorporating pop balladry somewhere between Lana Del Rey and Lianne La Havas.
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Chris Williams: Odu: Vibration II [AKP]
On his debut release for AKP Recordings, Brooklyn-based composer and musician Chris Williams finds a new way to turn horns into brassy glaciers that are pleasingly cold to the touch. Armed with his faithful trumpet in one hand and cool-toned synthesizers in the other, Williams uses Odu: Vibration II to explore the vibrations within imagined cave spaces. He emphasizes playing these instruments as much as he does listening to them bounce back, with each cascading horn pattern and elongated synth note resonating differently based on when and where it splices with other musical echoes. For Williams, the goal was to reach for “ecstatic transcendence, spatialization, Black improvisational practices, and ambient music.”
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Rochelle Jordan: Through the Wall [Empire]
Between the alt-R&B vocals and the pop hooks of Rochelle Jordan’s songs is always a story, and the British Canadian singer-songwriter loves to whisk that tale into one that keeps you on your toes. Through the Wall, her follow-up to 2021’s Play With the Changes, is led by the singles “Doing It Too,” “Crave,” and “Sweet Sensation,” all three of which adequately sample her allure on a dancefloor. Perhaps the biggest story told across Through the Wall isn’t one of other characters for the listener to slip into, but an autobiography of sorts about her resilience as she plots her comeback in real time.
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Mason Lindahl: Joshua / Same Day Walking [Mt. Brings Death]
Mason Lindahl has been putting out music for over 15 years, but it’s not been a straight line. After making his debut in the late 2000s, the North Carolina native went off the radar, only to resurface in 2021 with the instrumental Kissing Rosy in the Rain. Stripping away almost everything except his nylon string guitar, it seems, opened up a new wellspring of inspiration in Lindahl. Billed as two separate albums—one recorded in Northern California and the other in Iceland—Joshua / Same Day Walking is sparser, darker, and even more transfixing than its predecessor. Lindhal’s playing draws in equal parts from classical flamenco and the stylings of contemporary American fingerpickers such as Hayden Pedigo and William Tyler.
Cardo Got Wings celebrated his 41st birthday on Wednesday, September 24, and he decided to treat the world to a gift, in the form of the new album Sigan Viendo. It’s the hip-hop musician’s second straight year with a birthday project, following 2024’s Mademan. (He also shared the Larry June collaboration Into the Late Night when he turned 37 in 2021.) Featured on the 15-track Sigan Viendo are Rio da Yung OG, 21 Lil Harold, Lil Yachty, Zukenee, YoDogg, Nutso Thugn, and others. Learn more about the producer’s life and career in the new feature “Cardo Got Wings on the Music That Made Him.”
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Xexa: Kissom [Príncipe]
Xexa makes dream-pop with a DJ’s sensibility, or perhaps vice versa. On her new album for the venerated Portuguese dance label Príncipe, the singer and producer, who divides her time between Lisbon and London, sets her voice adrift amongst skeletal grooves and pools of vaporous synthesizers. She hollows out a traditional Angolan kizomba rhythm on the single “Kizomba 003,” which then gets flipped into Kissom’s title track. The results are exhilaratingly unstable, a club record with all the scaffolding removed.
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