12 New Albums You Should Listen to Now: Kelela, Jack White, and More

Also stream new releases from Twisted Teens, Gloorp, and Slayr

July 10, 2026

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 Kelela, Jack White, Twisted Teens, Slayr, and more. 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.)

Kelela: New Avatar [Warp]

A Kelela album caked in gritty shoegaze guitars isn’t the radical proposition it might first appear to be. Before she became the avatar, so to speak, for a then-nascent strain of beat-driven R&B, Kelela Mizanekristos sang in an indie rock band called Dizzy Spells and even dated guitarist Tosin Abasi, of the prog-metal outfit Animals as Leaders. New Avatar, her third full LP for Warp, is, by that token, a stunning expansion of her established sound and a return to form. Kelela squeezes and stretches her new toys for all their expressive and evocative capabilities, from the ML Buch-adjacent futurism of “Linknb” to straight-up D’Angelo worship on “Outta Time,” where she finds a worthy sparring partner in guitar’n’B torchbearer A.K. Paul.

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Jack White: Frozen Charlotte [Third Man]

Jack White has been up to a lot more over the past year than cutting the president down to size and playing with Eminem at a Detroit Lions halftime show. He’s also been at work on a seventh studio album, Frozen Charlotte, entirely self-produced and structured around a character he calls “Frozen Charlatan.” Working with his longtime band of Patrick Keeler on drums, Dominic Davis on bass, and Bobby Emmett on keys, White gets back to blues-rock basics, letting nasty bass riffs, snarling guitar, and chugging drumlines burn down the houses that light the way. This trim but still-wily approach makes his verses, whether sung or rapped, feel all the more steeped in rebellion.

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Twisted Teens: Florida Water Blues [Going Underground]

New Orleans garage rockers Twisted Teens know how to strike while the iron is hot. Off the success of their February record Blame the Clown, the band could have taken the slow-drip release approach, leaving fans old and new alike wanting more; instead, they’re back with their second album of 2026, a 13-track showcase for their airtight guitar hooks and no-slant storytelling, the punk ethos made manifest in the humble strum-and-rasp tradition of Southern rock. Timing may be everything, but this band’s well doesn’t seem to be running dry any time soon.

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Gloorp: Gloorp Life [Jolt]

Gloorp Life, the new LP from Philadelphia experimental drummer and producer Garrett Burke, feels like being transporting via Tesseract-like portal to the best sound system in São Paulo, blasting polyrythms to a dance floor full of hips in motion. The project, which came to life while Burke was touring 2025’s Gloorp 'Em Up, continues to push his energetic and elastic mix of footwork, East Coast club, and bass music into weird and vivid spaces. Don’t let titles like “Jeggings” and “Bali Mode” fool you—there’s no bullshit here.

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Future: The Real Me [Epic]

Nine solo albums and more mixtapes than you can count on two hands into his career, Future is finally ready to introduce The Real Me. The trap legend’s 10th LP—a 22-track behemoth with production from Wheezy, Dez Wright, and more—is his first full-length since 2024’s Mixtape Pluto, and his first proper studio album since 2022’s I Never Liked U. Future is no stranger to infusing vulnerability into his heavier work, but after a year marked by a big-ticket FIFA World Cup collab track with Tyla and a reunion with Drake on Iceman, it’ll be a trip to see one of Atlanta’s key architects step up to the plate solo, and offer a new window into his prismatic personality.

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Panda Bear and Sonic Boom: A ? of When [Domino]

You know when your adult dad makes a new friend and, because of male socialization, they’re forced to invent increasingly elaborate excuses just to hang out with each other? That’s my read on Panda Bear and Sonic Boom. Noah Lennox and Pete Kember made not one, not two, but five versions of their first album as a duo, 2022’s Reset, among them a full dub rework helmed by Adrian Sherwood and an EP featuring Mexico City’s Mariachi 2000 de Cutberto Pérez. Its proper follow-up, A ? of When—which is not available to stream—mashes up all of those (even the Mariachis are back), then throws in harp, pedal steel, yodeling, and whatever unholy racket Sunn O)))’s Daniel O’Sullivan manages to kick up. Pub trivia night could never.

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Slayr: Avant Nova [self-released]

Philly rapper Slayr may be just 19 but he’s already outpacing his many compatriots in the rage-rap landscape, snagging big slots at Rolling Loud and Summer Smash and gearing up for an international headlining tour. His maximalist, arena-engineered sound nods to Carti and Uzi as directly as Greek mythology (which he, like any well-respecting Gen Zer, got into via Percy Jackson and Gods of War), packing in enough swerves and switch ups to outnumber big hooks. On his new EP, Avant Nova, he continues playing with the formula. The six-track release includes production from Underscores (on lead single “Promise”) and a feature from regular collaborator Prettifun.

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Xiu Xiu: Eraserhead Xiu Xiu [Polyvinyl]

Here at Pitchfork, we’ve all but excommunicated the adjective “Lynchian” for its overuse. But Xiu Xiu might be one of the few bands who really earn the descriptor. Back in 2016, they released the cover album Plays the Music of Twin Peaks with the blessings of Lynch and composer Angelo Badalamenti. After Lynch’s death early last year, the band considered re-upping the project after multiple requests. Instead, new territory beckoned. Enter Eraserhead Xiu Xiu, set in the universe of Lynch’s pioneering 1977 film. The LP comes complete with a live concert film, which they crafted using field recordings, modular synths, organ, homemade instruments, and “electrical interference.” The result is a dreamlike marriage of musique concrète and otherworldly orchestral work, culminating in a final cover of “In Heaven,” a song from the original Eraserhead written by Peter Ivers and Lynch himself.

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Sad13: 1331 [Exploding in Sound]

It's hot out there—no wonder Sadie Dupuis decided to strip things down for the new Sad13 mixtape 1331, which she made during a “mini-nervous breakdown.” (It’s a frenetic mindset you can hear in the record’s pacing and sequencing; the 13-song tape is just 13 minutes long.) 1331 was almost complete when, in June of 2024, Dupuis shattered her elbow in a biking accident, an injury that required a year of rehab and left some doctors warning she might never play again. But instead of despairing, the Speedy Ortiz frontwoman got creative, as is evident in the underlying fury and determination of these tracks. “My body didn’t have the juice,” she said in a press release. “But tracking in little bursts over more time gave me broader influences.”

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The Rolling Stones: Foreign Tongues [Capitol]

Mick Jagger, Keith Richards, and Ronnie Wood have made it clear that age will never cut them off from music as a life source. The rock icons paused the Rolling Stones’ regular touring schedule to pen Foreign Tongues, their first album in three years. Arguably more special than any of the starry guests—Paul McCartney, Robert Smith, Steve Winwood—is the inclusion of a song recorded before the death of longtime drummer Charlie Watts. “It was a month of concentrated punch,” Richards said of the recording process. “To me, it’s all about the enjoyment of it.”

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Show Me the Body: Alone Together [Loma Vista]

Show Me The Body’s latest album began as a conversation with their community. Alone Together was preceded by a series of talks hosted by the New York hardcore crew’s frontman Julian Cashwan Pratt, who spoke with organizers, musicians, and friends about their lives. It’s an appropriate mode for the trio, whose cathartic live shows and radical politics have endeared many outside their heavy music circles. Recorded after the birth of Pratt’s first daughter, the collection is charged with conviction.

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Parts & Labor: Set of All Sets [Ernest Jenning Record Co]

It's been 15 years since Brooklyn noise-punk extraordinaire’s Parts & Labor rolled out another album, and patience once again rewards. Set of All Sets is a 79-minute doctrine of what the group dubs “apocalypse pop:” a blend of krautrock, punk, singeli rhythms infused with improvisational mettle, and big questions about utopian futures both personal and collective. At it’s most direct, Set of All Sets is a vision of what Parts & Labor look like in perfect harmony, even though its members have long since decamped from their original home base as Brooklyn rent skyrocketed. “These songs are mirrors in all manner of ways,” the band said in a statement. “Reflective and fragmented, this is our attempt at epitomizing the band we always strove to be.”

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