Best Albums to Stream Now: The Breeders, Moby and more - Rolling Stone
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10 New Albums to Stream Now: The Breeders, Moby, Joan Baez and More Rolling Stone Editors’ Picks

The Breeders’ widescreen noir, Moby’s post-apocalyptic melancholia, Joan Baez’s commanding return and more albums to stream now

Andrew W.K., Soccer MommyAndrew W.K., Soccer Mommy

Andrew W.K. and Soccer Mommy.

The Breeders, All Nerve
“On the fifth Breeders album, the songs are all cinematic movement – hiding, escaping, screaming in the meadow, running for the exit,” writes Charles Aaron of the fifth album by the band, and the first since 1993’s Last Splash to feature bassist Josephine Wiggs and drummer Jim MacPherson behind twins Kim and Kelley Deal. “On the album’s radiantly sprawling centerpiece ‘Spacewoman,’ Kim [Deal] (on guitar and piano) muses, ‘How long?’ while bystanders bat around a beach ball at a baseball game. By the album’s closer, ‘Blues at the Acropolis,’ she’s matter-of-factly cooing about junkies draped across monuments and drunks taking a piss where heroes once bled out. Staring down mortality, hissing men, and whatever else you got, she just keeps moving.”
Read Our Review: The Breeders Return to Dynamic Drama of Nineties Heyday on All Nerve
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Moby, Everything Was Beautiful, and Nothing Hurt
“Producer-DJ-vocalist-raconteur-et cetera Moby’s most satisfying works in recent years have been those where he plunges into gloom headfirst, and his 15th album is another dip into the pool of melancholia,” writes Maura Johnston. “Lush and haunting, Everything applies the Moby ideal of soulful vocals and big beats to the not-all-that-farfetched idea of a post-apocalyptic landscape, its slow-burn compositions meticulously echoing the dread and despair that result from being human.”
Read Our Review:
Moby’s Everything Was Beautiful a Lovely Image of World Falling Apart
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Joan Baez, Whistle Down the Wind
The first album in 10 years from the legendary folk singer is a reminder of “how essential her work remains,” writes Will Hermes. “Baez didn’t write songs for this set, instead curating songs that spoke to her – here, by Tom Waits and Kathleen Brennan, Josh Ritter and others. The mood’s reflective and autumnal.”  
Read Our Feature: Joan Baez Talks ‘New Way of Expressing Myself’ on First LP in a Decade
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Superorganism, Superorganism
Conjuring the golden era of sample-pop –- think Deee-Lite, De La Soul, Beck, Beats International, Avalanches, Coldcut’s “Seven Minutes of Madness” remix of Eric B. & Rakim’s “Paid In Full” – but escalating the data overload for modern microprocessor speeds, vocalist Orono and her international collective uncork a firehose flow of found-sound flotsam and sound-effect punchlines over exceptionally well-tooled popcraft. A clear frontrunner for Stoner Album of the Year. Will Hermes
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Lucy Dacus, Historian
The second album from this Virginia-based singer-songwriter is reflective and cutting, with Dacus singing of curdled relationships, mortality, and the current political mood while guitars refract around her. “The album itself, I hope, asks people to prioritize the things that make them content,” Dacus tells Rolling Stone. “And to be aware of, but not caught up in, the eventuality of death.”
Read Our Feature: Lucy Dacus: Rock’s Reluctant Hero 
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Soccer Mommy, Clean
A star of indie rock’s poetically plainspoken new wave (see Lucy Dacus, Jay Som, Mitski, Big Thief, etc.), Sophie Allison weaves images of bedsheets, flora, fauna and lip-locks through 10 songs, sparkling guitar melodies carrying rubbed raw emotions. “Skin” conjures Liz Phair’s Exile in Guyville in the best possible way; “Your Dog” flips Iggy Pop’s proto-punk cornerstone canine fantasy (“I don’t wanna be your fucking dog”); and if there’s a more unnervingly sexy moment in 2018 rock than Allison instructing someone to “rip my flowers out” in “Flaw,” we haven’t heard it yet. Will Hermes 
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Tracey Thorn, Record
“Bedsit disco queen” Tracey Thorn returns to pop with a taut set of synthpop that spins “tales of mid-life angst with the same wry wit she’s had in her voice since she was a sullen Brit-punk kid,” writes Rob Sheffield. Thorn, whose career has included stints with the proto-pop outfit Marine Girls and the eternally cool dance act Everything But the Girl in addition to her solo albums, “never really trusted youth … so it makes sense she adapts so well to adult wariness.”
Read Our Review: Tracey Thorn’s Synth-Pop Record Delivers Sisterly Passion, Wry Wisdom
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Andrew W.K., You’re Not Alone
A lot has happened to Andrew Wilkes-Krier since he last released an album in the U.S. – he added “advice columnist” and “motivational speaker” to his résumé, started a political party and dreamed up a taco-shaped guitar. If the determined edge possessed by the grandiose You’re Not Alone is any indication, his devotion to seeking out the party has also led him to look within. Alone eases up a bit on the shotgunned-case-of-Surge rush possessed by his 2001 debut I Get Wet. “Music Is Worth Living For” is a lighter-worthy ode to the power of the perfect song, its overdriven guitars and icy synths underlining his thesis in silver Sharpie; “Break the Curse” is a rock opera in miniature that rails against an unnamed scammer of many; and the title track closes things out with Jim Steinman-level flair, a juicy-steak guitar solo and a weathered, yet Broadway-level vocal that adds gravity to W.K.’s message of comfort. But it also has moments that combine his maximalist ideal with an older, wiser approach, like the careening “I Don’t Know Anything,” a mosh-pit-ready blast that’s a “Party Hard” for the existentially unsure, and the triumphant “The Party Never Dies,” which uses zip-line guitars and rapid-fire drums to hammer home its circle-of-life lyrics. Spoken-word interludes remind listeners (and perhaps even W.K. himself) of the importance of persistence and letting oneself fully feel even those “very, very wrong” emotions, offering a sweat-soaked embrace that recalls a pumped-up take on the ever-benevolent Fred Rogers’ Neighborhood monologues while proving that empathy is always a great party gift. Maura Johnston
Read Our Feature: Andrew W.K. on the Evolution of Partying, How Fear of Failure Inspired His New LP
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Suuns, Felt
Montreal psych weirdos Suuns are a burbling art-pop crew, guitar-slinging space cadets who sound like they’ve opened their M.I.N.D.s to all flavors of hypnotic sound. Their fourth album peaks with the Black-Moth-Super-Rainbow-gone-krautrock vocoder jammer “Watch You, Watch Me,” but before it takes off down that autobahn, you can hear sounds redolent of house music, Stones Throw’s bent hip-hop, afrobeat, Unknown Mortal Orchestra’s nostagia-funk and the acid-fried ballads of Soft Boys. Christopher R. Weingarten
Hear: Amazon Music Unlimited | Apple Music | BandcampSpotify | Tidal

Ed Schrader’s Music Beat, Riddles
Baltimore freak-fuzz duo Ed Schrader’s Music Beat recall the moodswinging of post-punk minimalists like Suicide, Metal Urbain and Young Marble Giants but with the exploded confetti hooks of Baltimore’s loose, neon-coated Wham City collective. That group’s most famous sound-tweaker, Dan Deacon, provides production and co-writing on their third LP, and the result is a noise-punk album that bursts with of psychedelic twists, 4AD-esque reverb, Steve Reich-ian piano licks and even an Ultravox-y ballad in “Wave to the Water.” Still, ESMB are best in full “Ghost Rider” mode, and the two-minute-28-second dance-punk tuff gnarl “Rust” is the album’s driving highlight. Christopher R. Weingarten
Hear: Amazon Music Unlimited | Apple Music | Bandcamp Spotify | Tidal


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