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 FKA twigs, Benjamin Booker, Mogwai, Central Cee, Ale Hop & Titi Bakorta, Sam Amidon, Khadija Al Hanafi, Boldy James, and Kathryn Mohr. 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.)
FKA twigs: Eusexua [Atlantic/Young]
More than five years after Magdalene, FKA twigs is back with the studio follow-up, Eusexua. The successor to that 2019 opus and the interim mixtape Caprisongs sweeps across the breadth of twigs’ pop multiverse, spanning celestial R&B, industrial sound design, and antic club beats on the epic title track alone. Koreless-produced singles “Drums of Death” and “Perfect Stranger” also feature.
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Benjamin Booker: Lower [Fire Next Time]
Lower, Benjamin Booker’s first album in seven years, lounges through a dream world of garage-rock, glam, and soul, shepherded by hip-hop producer Kenny Segal, whom the singer-songwriter credits as the “missing link” in the album’s evolution. “I wanted to get to this sound, but I didn’t know how,” he said in press materials. “At some point I decided I’m going to find it or die trying.”
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Mogwai: The Bad Fire [Temporary Residence Ltd.]
On The Bad Fire, the follow-up to their unlikely UK No. 1 album, 2021’s As the Love Continues, Mogwai enlisted rock super-producer John Congleton, who commended the band in press materials for being “incapable of the bullshit.” The result is a continuation of their reliably apocalyptic euphoria—an album on which, wrote Stuart Berman in Pitchfork’s review, “a band that once offered apocalyptic mayhem has become a source of comforting consistency as the real world turns evermore turbulent.”
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Central Cee: Can’t Rush Greatness [Columbia]
After years of mainstream ubiquity in his native England, Central Cee has followed his mixtapes Wild West and 23 with his formal debut album. Featuring star guests including Lil Baby, Dave, and producer Cash Cobain, Can’t Rush Greatness synthesizes transatlantic rap into a swing for global stardom.
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Ale Hop & Titi Bakorta: Mapambazuko [Nyege Nyege Tapes]
Mapambazuko pairs Peruvian experimentalist Alejandra Cárdenas (aka Ale Hop) with Congolese guitarist Titi Bakorta, combining Congolese soukous with Afro-Latin rhythms, and the synth wizardry associated with forward Ugandan label Nyege Nyege Tapes. The duo recorded the LP in the Ugandan capital (and home of Nyege Nyege), Kampala, before enlisting KMRU and Flora Yin-Wong for remixes that complete the tracklist.
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Sam Amidon: Salt River [River Lea]
For his latest album, the endlessly charming singer-songwriter Sam Amidon brought aboard jazz maestro Sam Gendel to produce and play alongside percussionist Philippe Melanson. Together, the trio winds strands of folk and jazz into a psychedelic American odyssey. Or, as Amidon put it in press materials, “a campfire, but the campfire is around Sam Gendel’s synthesizer. Or maybe it’s a journey through the corridors of my memory, if my memory was transplanted into Sam and Phil’s dreams.”
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Khadija Al Hanafi: !OK! [Fada]
In a pause from her masterful Slime Patrol series, Tunisian producer Khadija Al Hanafi collects a trove of woozy melodies and volleying footwork beats on !OK! Released on Franco-Californian label Fada, the album helter-skelters through 20 mesmerizing tracks in just over half an hour.
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Boldy James: Permanent Ink [Royal House Recording]
Boldy James doesn’t make his fans wait. The Detroit rapper—who released four projects in 2024—is unleashing his second album of 2025, Permanent Ink, a full-length collaboration with producer Roger Goodman of Royal House Recording. James previewed his new album with the smooth, lovey-dovey “Single File Line.”
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Kathryn Mohr: Waiting Room [The Flenser]
To make Waiting Room—an album of darkly surreal guitar and vocal compositions that dance around swells of gothic splendor—Kathryn Mohr holed up in a derelict factory in the Icelandic fishing village of Stöðvarfjörður. “Music takes me out of my body, immerses me in another world the way a film does,” Mohr said of Waiting Room in press materials. “I begin and end in very different emotional states, doors open where there were no doors before—that is what I experienced making this record.”
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Source : Pitchfork
