12 New Albums You Should Listen to Now: Miley Cyrus, Ty Segall, and More
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Miley Cyrus, February 2025 (Kevin Mazur/Peacock via Getty Images)
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 Miley Cyrus; Ty Segall; Caroline; Heinali & Andriana-Yaroslava Saienko; Matt Berninger; Shura; Yeule; Aesop Rock; Obongjayar; Qasim Naqvi; Rome Streetz & Conductor Williams; and Photographic Memory. 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.)
After winning the Record of the Year Grammy for 'Flowers' last year, Miley Cyrus took a logical next step that so often eludes pop stars at the highest level: She leaned into her weirdest, most experimental impulses for an album that panders to nobody but herself. Enter Something Beautiful, a wily pop opus with contributions from a diverse array of indie artists. Executive-produced by Cyrus and Shawn Everett, the sprawling album balances its outré intentions by keeping a handle on the most durable pop influences—'the Beatles and Elvis and David Bowie and Prince like Madonna, these are all pop artists,' Cyrus told Apple Music.
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Possession isn't the usual Ty Segall record as of late. The longtime psych-rock staple co-wrote the album with filmmaker Matt Yoka to be a collection of American stories about hopeless kleptomaniacs, urban explorers, and other people who slip through the cracks. Segall sounds looser and sunnier on these songs, harkening back to his older sound while allowing the vibrancy of Yoka's imagination—which previously took shape solely in the visual world of Segall's albums Goodbye Bread, Manipulator, and Emotional Mugger—to lead toward low-heat grooves ('Fantastic Tomb') and Bowie-style classic rock ('Possession') when it may.
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Caroline's debut album built an outpost at the intersection between post-rock, emo, and campfire folk. Three years later, the follow-up, Caroline 2, expands outward in every direction, pairing scraggy, strummed chorales with heart-on-sleeve mantras and distorted furore. The London octet enlisted Caroline Polachek for lead single 'Tell Me I Never Knew That,' one of many moments that feels like the work of not just a band but a community. 'The first record was a compilation, but this one is a declaration,' as singer-guitarist Jasper Llewellyn put it in press materials.
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Ukrainian composer and avant-garde electronic musician Heinali has spent the past few years contributing to the growing trend of fusing electronic music with medieval folk. On Гільдеґарда, the album recorded from his new show with Andriana-Yaroslava Saienko, he draws from the work of Hildegard von Bingen to explore further the intersection of those genres. The 12th-century abbess, composer, philosopher, and visionary becomes a thrilling subject when backed by modular synths, Ukrainian folk singing, and high medieval music.
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The National's Matt Berninger made his second solo album, Get Sunk, around his move from Los Angeles to Connecticut. After a period of writers' block—and a sense he was 'drowning' in his own voice—he cracked open a new songwriting idiom, before assembling musicians including Booker T. Jones, Hand Habits' Meg Duffy, National touring member Kyle Resnick, and members of the Walkmen, mostly recording with Berninger in a basement. 'Our heart's are like old wells filled with pennies and worms,' he said of the album's themes. 'I can't resist going down to the bottom of mine to see what else is there. But sometimes you can get yourself stuck.'
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Shura glides between rallying and confessional synth-pop on I Got Too Sad for My Friends, the six-years-coming follow-up to Forevher. The British singer-songwriter applies her lithe pop sensibility to topics such as social anxiety, pandemic isolation, and, as ever, the tumult of love on the Luke Smith–produced album, which features guest turns from Cassandra Jenkins, Helado Negro, and Becca Mancari.
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In a shapeshifter career, Evangelic Girl Is a Gun is Yeule's most disarming transformation yet. Having mastered hyperpop heaters and meteoric alt-rock, the singer-producer-songwriter summons trip-hop ooze and industrial sleaze on an album that is both a total reinvention and, on the synth-pop-grunge hybrid of songs like 'Eko,' a consolidation of the adventuring spirit that has made Yeule one of the defining artists of the decade.
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On Black Hole Superette, Aesop Rock presents the late-night convenience store as a symbol of the modern condition. The Long Island veteran—assisted by likeminded rappers Lupe Fiasco, Homeboy Sandman, Open Mike Eagle, billy woods, and Elucid—invites us into surreal lyrical mazes as he stumbles, half-asleep, through a vortex of consumerism and encroaching tech. Watch the hallucinatory 'Checkers' video for a window into the dreamworld.
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Paradise Now is a renewed mission statement from Obongjayar, the Nigerian musician whose hyperactive fusion of Afrobeat, soul, and hip-hop has made him a sensation in his adopted hometown of London. The album adds volleys of synth-punk and summery electropop to his eclectic palate, explored with collaborators including producer Kwes Darko, Fontaines D.C.'s Carlos O'Connell, and, on 'Talk Olympics,' Little Simz.
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Dawn of Midi drummer Qasim Naqvi flexes his skills as a composer on his latest album for Erased Tapes, Endling. Haunted by a phrase from a dream his wife had one night—'God docks at death harbor'—the Pakistani American artist conceived of a 'tone poem' about, he's said, 'the last human on the planet—an endling, traversing a world centuries into the future. A world decayed and mutated into a strange amalgam of the natural and artificial.' Moor Mother features on the undulating ambient refractions of 'Power Down the Heart.'
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New York rapper Rome Streetz and superstar producer Conductor Williams unite for their debut collaborative album in Trainspotting. Williams' freewheeling production snips hooks from jazz and gospel while his collaborator knots together dense verses on industry greed on the Tribe-referencing 'Rule 4080,' expanding the vintage style the pair explored on Rome Streetz's 2022 album, Kiss the Ring.
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Photographic Memory is the solo project of Los Angeles producer, singer, and songwriter Max Epstein. I Look at Her and Light Goes All Through Me, his third album, shares some of the maximalist sensibilities of collaborators like Militarie Gun and Jane Remover, neutralizing lashings of overdriven excess with oases of introspective, melodic emo and shoegaze. Guests include Winter and Wisp.
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Miley Cyrus' ‘Something Beautiful' Album: All 13 Tracks Ranked
Ranking the songs of a visual album can feel a bit like ranking scenes of a film — and yet, favorites always emerge. The scene that makes you weep, the one that motivates and inspires, or the one that reclaims power. With Something Beautiful, the ambitious and glamorous ninth album from superstar Miley Cyrus, she gives us all of that — and then some. More from Billboard Robin Thicke and April Love Geary Marry After Six-Year Engagement Rihanna's Father, Ronald Fenty, Dies at 70: Report Selena Gomez Congratulates Taylor Swift on Buying Back Her Masters: 'So Proud' Across the album's 13 tracks, including a prelude and two interludes, Cyrus manages to deliver her most raw album yet. Throughout, she openly details the mental gymnastics that accompany the end of a relationship, the push-and-pull desire to be loved, and her own capacity to give love. Everything is on the table, and the result is a clear snapshot of an artist who has put in the work — and emerged in her prime. She'll be the first to say that she only got to this moment thanks to a public life of highs and lows – but as this project proves, there's beauty in it all. She also only arrived at this moment thanks to knowing herself well enough to put her own wants and needs first. As she joked at a listening event for fans earlier in the week: 'I love making music with everybody on this carpet – I don't do stages now,' a nod to news that she has no desire to tour again. It was on the same carpet, in an intimate room at Los Angeles' Chateau Marmont, that Cyrus workshopped the songs that became Something Beautiful. As she said, 'Watching [the album] become this butterfly and have this metamorphosis and evolution, it's so reflective of my life and everything I'm experiencing.' The album will be followed with a short film of the same name. After debuting at Tribeca Film Festival, Something Beautiful will be shown as a one-night-only screening across North American theaters on June 12 and internationally on June 27. And while these 13 tracks as a whole are what create Something Beautiful, you can find Billboard's ranking of the songs that soundtracked Miley's own metamorphosis below. Without a single word, the album's second interlude seems to say, 'enough of that.' Serving as the project's halfway point, it signals a shift toward what's to come: bigger beats, bigger balls and ultimately a breath of relief that marks the end of an era of significant personal growth. And really, what's more beautiful than that? What begins as a creeping interlude quickly spirals into what sounds like a late-night, on-foot chase scene. The fact that this 14-second instrumental bit is positioned in between 'More to Lose' and 'Easy Lover' is no coincidence – after singing about the end of a relationship and sharing after-the-fact reflections, that time stuck in between could be likened to a racing mind, trying to outrun one's own thoughts – and in the case of a superstar like Cyrus, the thoughts of everyone else too. This mostly spoken-word opening transitions from a twinkling, dazzling introduction to an aching, almost ominous entry point. Miley draws the listener in with just the right amount of intrigue, suspense and above all else, trust. 'Like walking alone through a lucid dream,' she says slowly, as the production swells. 'The beauty one finds alone is a prayer that wants to be shared,' she later says, underscoring the entire mission of this project. Not only is it a journey each listener should take alone – forming their own perspectives, finding their own beauty reflected within a particular scene or song – but it's a journey that Miley had to take alone to get to this point. And now, she's sharing that prayer. Recalling Miley's days spent working with The Flaming Lips or even the inspiration she said she took from Pink Floyd's The Wall (though mostly its film adaptation), 'Pretend You're God' is a slow-burning psychedelic interrogation: 'Do you still love me?' Miley begs to know. 'I gotta know. Never mind, just keep it quiet if you don't…I gotta know,' she sings, waffling between wanting the truth and thinking that maybe it's better left unsaid. As the song plays on, the torment of the unknown takes its toll, and the voices in her head grow louder and cloudier. By the song's end, there's no clear answer, and maybe that's the point; 'Pretend You're God' could just as well be a commentary on religion and faith, and searching for answers that can't be answered by anyone else. A continuation of 'Every Girl,' there's a hypnotic, trancelike quality to 'Reborn' – perhaps a necessity for the process of killing one's ego. Though at the same time that Miley suggests a rebirth, she requests, 'give me all your love!' – placing the eternal ego battle under a spotlight. But if that's what it takes – all the love – to be reborn, here it sounds like a fair and worthy exchange. By the song's end, in one of the few instances where Miley uses the word 'beautiful' outside of the title track, she cries out, 'you're so beautiful' repeatedly, as if she's looking directly at her newly emerged self. As she said at a listening event for fans earlier in the week: 'What's considered beautiful should be personal. It's about taking these experiences and wrapping them in beautiful ribbons and bows.' There's a lighter, freeing nature to 'Give Me Love' – as if everything exists in perfect harmony on the other side of the rebirth Miley sings of on 'Reborn.' Or, as she says here, 'once you get past the gray.' At the halfway point of the song, Miley's own vocals harmonize to form what can best be described as a choir of angels, encompassing the listener in the very thing she's asking for: love. And while Miley said at her listening event earlier in the week that what is considered beautiful is personal, this closing track underscores the one thing that can be universally agreed on as such: a continuous exchange and flow of love. A magnetic, synth-bumping disco-pop track, 'Walk of Fame' is a glorious kiss-off that soundtracks Miley metaphorically walking away from what doesn't serve her. Where's she going? Doesn't really matter; as she says, 'every time I walk, it's a walk of fame.' This song – which features Brittany Howard, a guest who makes perfect sense once the funky and electric bridge hits – serves as a manifesto for moving forward. Because if it wasn't clear yet, Something Beautiful is about the journey. This near-five-minute-long song is arguably the album's most bittersweet, as Miley repeatedly wonders: 'Can I have you, if I never let you down?' Though as the song plays on – and especially following the album's second interlude, which does arrive as a bit of a slap to the face – it begs a different question: Who is she trying to do right by? 'Surrender,' she later sings, 'and I'll never let you down.' And there, it seems, she's speaking more to herself; surrender to trying to please anybody else, she's saying. And in doing so, she can never let herself down. 'You're the only one, under the golden burning sun,' she sings. At first, following the dizzying prelude, it may seem that Miley is going to ease listeners into her world with this jazzy, soulful song. But just before the two-minute mark, that world gets rocked by a distorted, fuzzed-out crash as her vocals sound as if she's falling down a well and glitching at the same time. And it's quite possible that's how she felt while making this album, chronicling the ride that led her here. As is echoed throughout the project, there's beauty in everything – even, or perhaps especially, in moments of spiraling chaos. 'Every Girl You've Ever Loved' could be a distant cousin of 'Midnight Sky' as it delivers the same full-forced vocals from Miley. But here, the rougher rock edges have been refined into a glimmering disco track. Featuring spoken-word from none other than Naomi Campbell, her role is both observer and wingwoman, as she gasses Miley up ('She has the perfect scent. She speaks the perfect french,' she states). Throughout the track's latter half, Campbell repeats a singular instruction — 'pose' — as the production swirls and builds into the perfect soundtrack for a spellbinding vogue-off. Falling into the category of sultry pop song, 'Easy Lover' would sound right at home in a dim, hazy jazz club. Despite being separated by a brief interlude, it does feel related to 'More to Lose,' only more influenced by the anger and acceptance of a relationship ending rather than the sudden sadness. As she admits on 'More to Lose,' Cyrus knew her partner would do what she couldn't; and on 'Easy Lover,' she doubles down, saying, 'Tie me to horses and I still wouldn't leave ya.' After enough listens, the song's title takes on a double meaning: As Miley sings of someone being difficult to love, she's detailing her own capacity to love in spite of that. The question then becomes: Does she love too easily? Yet again, the album's overarching sentiment snaps into focus: Can't that be beautiful too? For those who have been following along, Cyrus wrote 'End of the World' for her mom, Tish. It's also one of the songs that shapeshifted as she workshopped the album through private shows for friends and family at Chateau Marmont. But in its current form, 'End of the World' is a soaring anthem that invites everyone to sing along on the chorus of 'oh ooh, oh ooh.' For a song that asks its listener to pretend like it's not the end of the world, Cyrus succeeds in offering a distraction – and even if it only lasts about four minutes, the message is eternal. While Something Beautiful offers high-energy glam rock alongside sultry pop songs, 'More to Lose' stands out as the sole ballad – and as anyone knows, Cyrus' ballads never miss. Much like 'The Climb' or 'Angels Like You,' her vocal prowess and poignant songwriting fuse for this devastating song about a relationship coming to its end. 'I knew someday you'd do what I couldn't do,' she sings. Yet, it's the pre-chorus that's become the most sticky, when she declares with a touch of knowing frustration: 'You're looking like a movie star in a worn-out coat, so I throw away my pride. It happens all the time.' There's a laughable relatability to the line, in which a superstar in her own right can be just as easily swayed as anyone else – proving the power, and cost, of love. But even still, to her entire point, how beautiful to have loved and lost at all. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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Next year things might look a bit different for Miley Cyrus, who says in a conversation with The New York Times that she's looking forward to a 'rebirth of how I look at my career.' When asked about her relationship with mainstream success, Cyrus, who just released her ninth studio album, Something Beautiful, spoke of what she sees next for herself as an artist. More from Billboard Miley Cyrus' 'Something Beautiful' Album: All 13 Tracks Ranked Robin Thicke and April Love Geary Marry After Six-Year Engagement Rihanna's Father, Ronald Fenty, Dies at 70: Report 'I think it's winding down, my attachment to mainstream success,' Cyrus said in the video interview, published on Saturday, May 31. (A shortened version of the full interview was published on the outlet's website.) 'I kind of feel like this album, it's definitely not a 'last lap' — I'm definitely not going 180 in my career necessarily right now — but I think it's potentially the last time I'll do it exactly this way,' she noted. The singer announced Something Beautiful in March, when she gave fans a first listen to album track 'Prelude' and the set's title track. She's since released two more singles, 'End of the World' and 'More to Lose,' and just before the album's release held a private concert hosted by TikTok at the Chateau Marmont in Los Angeles. Still to come is a visual component to the project, a film set to show in theaters for one night only on June 12 in the United States and Canada, and internationally on June 27. Cyrus — whose previous full-length release, 2023's Endless Summer Vacation, reached No. 3 on the Billboard 200 — said, 'I'm taking a big bet on this one [Something Beautiful]. I'm all in. But I don't think I'll put myself in a position that I add this much pressure to myself again.' 'A lot of things are going to change about that for me, towards the end [of this year] and the beginning of next year. That's really kind of my focus, of using this year to kind of wind that idea I've had of myself down. There's a song on the album called 'Reborn' and it's kind of about this. I feel like next year for me is gonna be kind of this rebirth of how I do things and how I look at my career,' said Cyrus. The conversation clocked in at nearly an hour, between Cyrus' in-person sit-down with the publication and a follow-up call. Among the many topics discussed with candor: her present-day relationship with each parent (Tish and Billy Ray Cyrus), whether she's interested in being a parent one day, what happened when she did E.M.D.R. therapy, growing up as a child star and why finally winning her first Grammy (for 'Flowers,' in 2024) was so significant, and — when interviewer Lulu Garcia-Navarro brought up Cyrus' peers in the industry — her rapport with other female pop stars. 'I find the relationship between female pop stars to be really interesting and often very fraught,' Garcia-Navarro suggested, to which Cyrus joked: 'Divas.' 'Is that what you think is happening?' she asked Cyrus. 'I mean, probably on my end,' the singer said, and then clarified, 'I don't mind the word diva. Maybe I'm a little diva.' Cyrus added, 'It's kind of cool. It's a fantasy. You don't have to be famous to be a diva — just be a diva. Diva does not mean difficult for no reason.' When asked whether she thinks she's difficult, she quipped: 'I'm difficult, but not for no reason.' The interviewer followed up by prompting, 'You have said you don't feel part of the cohort of singers of your generation and age group … You've held yourself apart in a certain way.' She asked Cyrus why. 'I don't think it's so much of a conscious choice,' Cyrus said. 'I think for me, my persona — the public's idea of me — is 'on,' in some way, but in my own time, I'm very off. I like no makeup, my hair up messy. I don't even look in the mirror in my own time.' 'It's not that I haven't found it,' she said. 'I haven't looked very hard. I'm sure girls in my community are going like, 'Well, that's me too and you haven't reached out.' No, I haven't … I like doing my two worlds.' Cyrus related her real life to that of her teenaged Hannah Montana persona. 'Maybe it's something subconsciously from the show, like from Hannah Montana where I think my famous person has one life and then as a regular person I have another life,' she explained. 'I think maybe subconsciously it programmed me — not even joking — to think who I am at home and who I am as a performer are kind of like two separate identities, and actually they are.' Elsewhere in the conversation the former Disney star talked about the younger generation of pop singers, including Sabrina Carpenter, whom she's met and sometimes worries about due to the hectic schedule the 'Espresso' hitmaker keeps. 'Every time I see her I have the urge to ask her if she's OK. I'll see she's performing in Ireland, and then the next day she's doing a show in Kansas. And I'm like, 'I don't know how that could be physically OK,' because I was in that situation. I know what it feels like to fry yourself, and I don't want anyone else to get fried. But I like all the new girls. I think they're all unique and are very found,' Cyrus said. Something Beautiful dropped on May 30. The project is accompanied by a film set to show in theaters for one night only on June 12 in the United States and Canada, and internationally on June 27. See her full interview with the New York Times in the video below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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Kelly Clarkson Reportedly Facing 'Very Painful' Personal Struggles That Might Force Her To Quit Her Popular Show
Kelly Clarkson has reportedly had a "moment of clarity" following her brief break from her widely popular talk show due to personal matters. Back in March, the singer abruptly stepped away from her show for two weeks, leaving celebrity guests to fill in for her until her return. Now, sources claim that Kelly Clarkson faced "very painful" personal issues, and that she might leave her show, as she "knows her limits." According to a new report, Clarkson is seeing things more clearly now after going through a tough period in her life that forced her to take a break from her show in March. While she has yet to speak on the reason behind her absence, fans at the time were told that the singer had a "private matter" to attend to, which has left many concerned to this day. "This has all been very painful for her," an industry source who has worked with Clarkson told Page Six. They continued, "The difficulty is that Kelly, like all of us, wants to be liked, and she had to deal with this new moment in her life. She knew she had to step down for a minute." The industry insider further shared: "She has her priorities, and her family comes first, but I think she's been humbled by the whole situation… what has happened has given her a moment of clarity, I think." Clarkson's recent issues came at a time when she was getting her life back on track after a bitter divorce battle with her ex-husband, Brandon Blackstock. The former couple, who called it quits on their marriage in 2020, share two children together: daughter River Rose and son Remington "Remy" Alexander. Clarkson herself was open about the toll the divorce took on her. In a chat with Apple Music in 2023, she admitted, "Just to be brutally honest, I did not handle [the divorce] well." Blackstock and Clarkson's split was further complicated by the role he played as her manager, the brain behind her multimillion-dollar deal with NBC, and her talk show. "The irony is that he's had a very positive influence on her life; he made these phenomenal deals for her, and she wouldn't be here without him. But it's hard to be a manager and a husband," the industry insider noted. "At the time, she greatly appreciated what he had done for her career." Now, beyond her hectic daytime show, Clarkson has several other endeavors weighing on her, including her recently launched record label, High Road Records, and her upcoming Las Vegas residency, "Kelly Clarkson: Studio Sessions," which is set to begin on July 4. These various ventures, along with her personal issues, have raised questions about the future of her daytime show. "She knows her limits, even on 'The Voice', when she was working so hard, she knew when she needed a refresh – that's what you're seeing now," the industry insider stated, per Page Six. "She is a very feeling, sensitive person, as you see on the talk show, and that's both in her personal and professional life." Back in April, insiders revealed to Page Six that the "Wrapped In Red" singer was considering quitting her talk show to spend more time with her children. However, NBC executives are reportedly doing everything they can to keep her happy, in the hope that she will reconsider her decision to step down from the role she has been helming since 2019. "Kelly's number one priority is her children, and they always will be," a source told the news outlet about Clarkson. "The show is grueling. It's a whole lot of work, and I hear that Kelly would like to spend more time down South." Another source explained that NBC would like to ensure Clarkson remains on the network to host holiday specials, such as "Christmas in Rockefeller Center." After her return from her two-week break, Clarkson noted how she and her family experienced "kind of a dark week." During an episode of "The Kelly Clarkson Show," where she hosted the stars of "A Minecraft Movie," Danielle Brooks, Jack Black, and Jason Momoa, Clarkson opened up about how their efforts on the film positively affected her family. "It was kind of a dark week for me and my family, and I got to preview the movie with them," she shared, per Decider. "It was such an exciting thing. So I just wanted to say thank you. It brought my kids out of, like, a sad time to, like, just a normal kind of time." The "Because of You" singer did not elaborate on the nature of the "sad time" as she went on to sing "A Minecraft Movie" praises, noting that "it's such a great film." "And that's the reason why I love it, 'cause it's like a family film. Everybody can watch, it makes you feel good," Clarkson added. "It's inspiring, it's creative. Well done on the movie. It's so good."
