10 New Albums to Stream Now: Rolling Stone Editors’ Picks

Grizzly Bear, Painted Ruins
The alt-pop outfit “greets a new world, pop and otherwise,” writes Will Hermes, on its first album since 2012. “On ‘Glass Hillside,’ nylon-string embroidery melts into gilded choirs, with oddball melodies recalling Brit proggers Soft Machine. Elsewhere, simple cybernetic beats and synths dominate.”
Read Our Review: Grizzly Bear End Hibernation and Engage the Pop Moment
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Shelby Lynne & Allison Moorer, Not Dark Yet
The sisters’ first duet album “shows a shared sensibility and two perfectly matched voices,” writes Will Hermes, who praises the “shared-kin harmony” between these Americana stars.
Read Our Review: Shelby Lynne and Allison Moorer Reimagine Dylan and Nirvana on Profound Covers LP
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Rainer Maria, S/T
Rainer Maria made an indelible imprint on Midwestern emo in the late Nineties. The trio would evolve far beyond that milieu, moving to Brooklyn and brightening the corners of their sound before disbanding in 2006. Their heartening comeback album S/T finds the band more grounded and audacious than ever, with bassist-vocalist Caithlin De Marrais’ confidently detangling desire and all its residual tensions in her wildly blooming lyrics. Kaia Fischer’s riffs are denser and fuzzier, encircled by William Kuehn’s nimble yet thunderous drumming. Taking cues from poet Mary Oliver, De Marrais ponders her oneness with the wild in “Forest Mattress.” On the stormy “Communicator,” she channels Sylvia Plath when she crows “You just want to eat my heart out … I might let you.” Suzy Exposito
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Dave East, Paranoia: A True Story
The Harlem MC whose earlier mixtapes included cameos from Cam’ron and Beanie Sigel releases his first EP. “It’s about a lot of different feelings as far as who I can trust, and what’s best for me, and my surroundings,” he told Rolling Stone.
Read Our Profile: 10 New Artists You Need to Know: Dave East
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Blind Boys of Alabama, Almost Home
The latest entry in this six-decades-strong vocal group’s discography – recorded all over America, including at their home state’s famed Muscle Shoals Fame Studios – features songs written for them by Valerie June and Marc Cohn, as well as covers of Billy Joe Shaver’s “Live Forever” and Bob Dylan’s “I Shall Be Released.” 
Hear: Amazon Music Unlimited 

King Gizzard and the Lizard Wizard With Mild High Club, Sketches of Brunswick East
On their last record, June’s Murder of the Universe, this prolific Melbourne outfit entered a hellish, riff-heavy fantasia dominated by humanity’s desire to self-immolate. This collaboration with the Cali-pop outfit Mild High Club, Lizard’s third album this year, lightens things up considerably. The Aussies’ thorough knowledge of rock’s smoother side sparkles and sighs on spaced-out jams that recall Steely Dan and Tropicália while adding flecks of tension via microtonal riffing and anxiety-tinged lyrics. Maura Johnston
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Wolf Eyes, No Hate
Detroit noise veterans Wolf Eyes dropped a free six-track album as a way of drawing attention to the GoFundMe campaign raising money for the memorial service for Heather Heyer, the counter-demonstrator killed in Charlottesville, North Carolina last weekend. Now that the band’s sound is in a dead-eyed, slow-burbling zone, No Hate doesn’t exactly return the rage and confusion that much of America felt with furious, disorienting noise. Instead, it plays like a slow-and-moody complement to the band’s Undertow, released in March. Almost ambient in parts, No Hate is full of ugly drones, mournful sax and stark guitar that recalls Neil Young’s Dead Man soundtrack. Christopher R. Weingarten
Hear: Bandcamp

Ray Wylie Hubbard, Tell the Devil I’m Gettin’ There As Fast As I Can
One of country’s sharpest lyrical fringe-dwellers, Hubbard’s been kicking against industry pricks since the Seventies (see his recent memoir A Life…Well, Lived). The Texas hero’s latest is a jumped-up folk-blues meditation on God, Satan, open-G tuning and the Minneapolis folk scene that shaped him (and Dylan, too), all delivered in a weathered flow that recalls his pal Lucinda Williams. Will Hermes
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Van Hunt, Popular
In 2007, soul explorer Van Hunt’s third album was lost in a label-ownership shuffle. Liberated 10 years later, its funk-rock mélange still sounds fresh, a testament to the forward-thinking talent at its core. “I’ve cried three times in the last 10 years. And none of those were when i was told that Popular wouldn’t be released,” Hunt wrote on his website. “I cried whenever I felt justified for making that record. In the face of a churning reality, it took one online comment from a listener, and two emails from Blue Note – one with a release date, and one with the album’s press release – to let me know I wasn’t crazy for hanging on all this time.”
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Jay-U Experience, Enough Is Enough
This formerly lost 1977 album from Nigerian funker Jay-U shimmies and shakes, pairing deep grooves with psyched-out (and psyched-up) cacophony. “Baby Rock,” the five-song release’s closer, pairs the band’s muscle with guitar fuzz in a way that recalls a headier take on the Sonics’ proto-grunge antics. Maura Johnston
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