Welcome to Happy Mag’s Best New Music, where we bring you the best new album releases.
‘empathogen’ is the sixth studio album produced by WILLOW.
This jazz-funk fusion is an addictive soundscape showcasing the singer-songwriters diversity as an artist. ‘empathogen’ isn’t just an album, it’s an experience. You can’t predict what’s going to happen next, but you can’t stop listening.
The opening track ‘home’ features the talented multi-instrumentalist on Jon Batiste, blending WILLOW’s smooth vocals with hauntingly beautiful jazz piano riffs.
Pivoting away from the punk-rock sound of her last two projects, ‘empathogen’ sees the 23-year-old harnessing her creativity on a short but sweet 12 tracks that explore the confusion of coming of age.
Still Woozy is back with the release of his sophomore album ‘Loveseat’, a dreamy blend of smooth vocals, dazzling harmonies, and psychedelic guitar riffs. ‘Loveseat’ is a soundscape that lives up to the name ‘Woozy’. The Californian indie singer, Sven Gamsky, has a way of transforming sound into the physical sensation of serenity.
Opening track ‘Again’ sets the tone for this psychedelic pop album that explores the intricacies of romance and identity alongside melodies you can’t help but groove to.
Still Woozy never fails to set the tone for the summer. The dreamy psychedelic pop tracks of ‘Loveseat’ culminate into an un-skippable album perfect for those warm sunset drives.
Charli XCX has released the album of the summer with her sixth studio album ‘Brat’, solidifying herself as the latest ‘It Girl’ of music. ‘Brat’ is a blend of vulnerability with infectious autotuned vocals that is undoubtedly just cool.
Lead single ‘Von Dutch’ set the tone for the iconic album, switching things up from the artist’s previous work. The “young girl from Essex” even brought Aotearoa’s own Lorde on the album with ‘Girl, so confusing’, making the internet “go crazy” for the unexpected yet iconic duo.
‘Brat’ is an eclectic album reminiscent of hyper-pop pioneer SOPHIE, a friend and inspiration for Charli, and is paving the way for contemporary hyper-pop music.
This summer is definitely a ‘Brat Summer’.
South Korean DJ and singer Peggy Gou drops her debut album, “I Hear You,” and it’s a love letter to 90s house music. Gou isn’t afraid to wear her influences on her sleeve, channeling the infectious grooves and euphoric melodies of that era.
But “I Hear You” isn’t just a retread; Gou injects her own energy and contemporary production flourishes, creating a sound that feels both familiar and utterly fresh. The album boasts a star-studded list of collaborators, including legendary rocker Lenny Kravitz on “I Believe in Love Again.”
There’s also space for genre-bending experimentation, with the Spanish rapper Villano Antillano adding a fiery dose of attitude to the mix. Lead single “1+1=11,” with its playful video featuring artist Olafur Eliasson, perfectly encapsulates the album’s core theme of togetherness.
The D’Addario brothers are back with another slice of sunshine-drenched pop magic. “A Dream Is All We Know” is the fifth studio album by The Lemon Twigs, a masterfully crafted love letter to the sounds of the 60s. Recorded entirely on analog equipment, the album shimmers with a nostalgic warmth, channeling the spirits of Brian Wilson and The Small Faces.
Expect intricate melodies, layered harmonies, and Brian D’Addario’s signature soaring vocals. This isn’t mere imitation though; The Lemon Twigs weave their own brand of youthful exuberance into the mix, creating a sound that’s both familiar and fresh. Critics are divided on whether the album prioritizes reverence over innovation, but one thing’s for sure: “A Dream Is All We Know” is a guaranteed good time, a lysergic pop masterpiece.
Kim Gordon, the undisputed queen of noise rock, throws open the doors on “The Collective.” This isn’t a solo record in the traditional sense; it’s a collaborative effort featuring a who’s who of the underground scene.
Expect Gordon’s signature distorted guitar to weave its magic amongst a tapestry of diverse sounds, from experimental noise to bursts of pure rock fury. “The Collective” promises a fresh exploration of Gordon’s sonic palette, a testament to her enduring creative spirit.
The much-anticipated debut from Thom Yorke’s side project, The Smile, has landed. “Wall Of Eyes” throws Radiohead’s experimental tendencies into a blender with the propulsive energy of drummer Tom Skinner (Sons of Kemet).
Gone are the sprawling epics; instead, we get sharp bursts of sonic exploration. Jonny Greenwood’s masterful arrangements twist and turn, Yorke’s vocals remain unmistakably haunting, and Skinner’s drumming keeps the whole thing teetering on the edge. This is Radiohead unbound, a wild and exhilarating ride.
Future Islands are back, but don’t expect the synth-banger anthems of yesteryear. “People Who Aren’t There Anymore” dives deep, exploring the fallout of a long-distance relationship fractured by COVID lockdowns.
Samuel T. Herring’s signature soaring vocals take on a new vulnerability, harmonizing with introspective lyrics that crackle with raw emotion. Co-produced by the band and Steve Wright, this album promises an emotional journey, a stark contrast to the dance floor fervor of their past.
Tom Odell’s latest album, “Black Friday,” isn’t your typical feel-good record. Instead, it delves into personal struggles with vulnerability and a push for unfiltered authenticity. But within this melancholic exploration lies its brilliance.
Odell exhibits emotional depth by confronting anxiety, self-doubt, and societal pressures with unwavering honesty. Tracks like “Answer Phone,” “Black Friday” and “The End” resonate deeply, creating a powerful emotional narrative.
The unproduced and unpretentious production choices amplify the intimacy of the songwriting, transforming the rawness into a felt experience rather than just auditory.
Despite its dark themes, the album transcends being a personal narrative; it becomes a mirror reflecting universal struggles with mental health and self-discovery.
Sydney’s indie rockers, STUMPS, deliver “Arcadia,” an album that’s equal parts danceable, introspective, & downright addictive.
Seamlessly blending Talking Heads-esque grooves, and The Beths’ thoughtful lyricism, the trio creates a unique sonic experience across 12 tracks. Tracks like “Serotonin” and “Dose” are infectious earworms, while introspective moments in “Life’s Moving Past You” and playful nods in “David Byrne” add depth.
Lead single “Cyanide” marks a thematic departure, injecting weightiness into its introspective atmosphere. Produced by Fletcher Matthews, “Arcadia” explores a diverse sonic landscape, from indie sleaze to pulsating dance beats.
Frontman Kyle Fisher describes the album as a walk home after the best night of your life, capturing moments of beauty and gratitude – and he nails it.
Branded as the ‘lost love child of Leonard Cohen and Nancy Sinatra,’ Sola Vera aka Danielle Aykroyd, transcends folk-noir, evoking the spirits of Nick Cave and Patsy Cline. A departure from her isolated debut, “Shades,” the new album is a grand, orchestral journey through the American landscape, recorded in Nashville with a collaborative approach.
Her voice, likened to PJ Harvey at her most intense, takes center stage, embracing newfound strength. Influenced by Antonín Dvořák’s ‘New World Symphony,’ the arrangements are bold and cinematic, blending orchestral elements with punk-inspired vigor.
Despite a four-year journey marred by personal turmoil and the pandemic, Vera Sola transforms darkness and difficulty into a profound musical experience, embodying the album’s title as a true peacemaker.
The ultimate irony lies in the name itself, referencing the Colt Single Action Army, the original “Instrument of War” that tamed the American West—a poignant reflection of the album’s thematic complexity and personal significance.