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13 New Albums To Stream Now: Tash Sultana, Troye Sivan, The Band and More Editors’ Picks

Tash Sultana’s dazzling debut, Troye Sivan’s push into vulnerability, The Band’s golden-anniversary ‘Big Pink’ reissue and more new albums to stream now

tash sultana troye sivan albums to stream

Troye Sivan and Tash Sultana

Charles Sykes/Invision/AP/REX Shutterstock, RMV/REX Shutterstock

EDITORS’ PICK: Tash Sultana, Flow State
This Melbourne-based busker-gone-legit raises the “do it yourself” stakes with her debut, which is a top-to-bottom showcase of her varied virtuosity; she’s the lone musician credited on the album, as well as its producer and songwriter. Given Sultana’s playing-for-tips roots, it’s probably appropriate that Flow State whirls through styles — “Cigarettes” starts as loose-limbed R&B then speeds things up to a near-frantic pace, “Salvation” recalls the marriage of big beats and gossamer voices that dominated indie discos in the late ’90s, and the simmering “Seven” showcases Sultana’s violin skills over plush synth-pop and agitated chase-scene scores. Sultana can play 20 instruments, but her guitar wizardry is the clear star here; the yearning solo on “Pink Moon” yawps and shudders, while the gathering-storm riffage of “Blackbird” stretches out over nearly ten minutes, all thrilling. After years of being a festival and YouTube sensation, Sultana’s thrown down the gauntlet forcefully. Maura Johnston

Troye Sivan, Bloom
“The tender naivety in Sivan’s voice pairs perfectly with an album that tackles a variety of First Times: sexual, emotional and otherwise,” writes Brittany Spanos. “Bloom negotiates what it means to give and receive passion, and Sivan finds himself channeling both innocence and weary maturity as he navigates blossoming feelings, broken hearts and the personal growth that stems from both experiences.”
Read Our Review: Troye Sivan Explores Innocence and Experience on Bloom

The Band, Music From Big Pink (50th Anniversary Deluxe Edition)
“The Band’s 1968 debut is a loose record, casual by design,” writes Simon Vozick-Levinson. “That’s exactly why stoners, scholars, scruff lords and tambourine freaks keep returning to Music From Big Pink after all these years. … This beautifully packaged 50th-anniversary box set offers a brighter, sharper mix than past reissues, so you can really hear the lust in ‘Chest Fever,’ the sorrow in ‘Long Black Veil’ and the half-past-dead blues in ‘The Weight.'”
Read Our Review: The Band’s Music From Big Pink 50th Anniversary Box Set Puts A New Shine on an Old Classic

Alkaline Trio, Is This Thing Cursed?
The pop-punk legends’ ninth studio album celebrates their two-plus decades of gloom and rage. Produced by Cameron Webb (Motörhead, Sum 41), this follow-up to 2013’s My Shame Is True draws from the same brackish well that birthed their earliest high points. But the ghouls and vampires haunting previous Alkaline Trio records have taken on new forms in 2018 — some more sinister than anyone could have previously imagined. Suzy Exposito
Read Our Interview: Alkaline Trio on How Depression, Trump-Era Mayhem Fueled Their New LP

Big Red Machine, Big Red Machine
The first album from Aaron Dessner and Justin Vernon’s long-simmering collaborative project — which includes members of their collective-slash-platform PEOPLE — “sounds like Bon Iver and The National freestyling with friends, drinks and vape pens,” writes Will Hermes. “At one point in ‘Gratitude,’ Vernon repeats ‘I better not fuck this up!’ over and over, like a fretful kid. The charm of this chill LP, however, is its collective sense that no one has that worry.”

EminemKamikaze
If you thought Eminem’s Revival was too overwrought and overthought, here comes Kamikaze, a surprise album from the most pyrotechnic rapper on Earth that ­often has the raw energy of his mixtape tracks and ciphers. His lyrical guns are out, and he’s aiming disses at other rappers, critics, mumble rap, Trump, tired flows, Machine Gun Kelly, Joe Budden, Tyler, the Creator, Lord Jamar and the Grammys. Christopher R. Weingarten

Bun B, Return of the Trill
Port Arthur’s most famous living musician returns for his first album in five years, and it’s an opportunity for a host of rappers to pay homage. Big K.R.I.T. produces the strongest track, “Outta Season,” which is the soulful, bluesy equivalent of riding on dubs with the top down, the breeze floating through your hair. Yo Gotti and 2 Chainz guest on “Traphandz,” which sounds more like circa-2005 trap than its current Metro Boomin-led variant. Gary Clark Jr. and Leon Bridges help Bun B pay homage to his late UGK partner Pimp C on the electric-blues elegy “Gone Away,” and the voice of Pimp C turns up on “U Bitch.” With so many guests — Run the Jewels, Lil Wayne, and UK rapper Giggs also appear — Return of the Trill is less an opportunity for Bun to flaunt his skills than a chance to throw a chain-swanging Texas party, with himself at the center of it. Then again, as a Promethean figure in Southern hip-hop, he doesn’t have anything left to prove. Mosi Reeves

Aaron Lee Tasjan, Karma For Cheap
Nashville’s most eclectic singer-songwriter returns with a trippy stunner full of swirling, immersive rock songs that evoke both the effervescence of the Sixties and the grit of today. But while Tasjan nods heavily to the Beatles on Karma for Cheap, he isn’t aping them. Instead, on tracks like “If Not Now When” and “The Truth Is So Hard to Believe,” he marries Fab Four harmonies to his own sick licks, making for a beguilingly complex listen. “Strange Shadows” evokes the dreaminess of Santo and Johnny’s 1959 instrumental “Sleepwalk”; Tasjan’s sky-high vocals on the gorgeous “Dream Dreamer” aim for Tiny Tim territory. Such out-there exploration is precisely where Tasjan excels — making Karma for Cheap a valuable new addition to the fringes of Americana. Joseph Hudak

Various Artists, King of the Road: A Tribute to Roger Miller
This tribute album features covers of the songwriter’s hit-studded catalog by the likes of Kacey Musgraves and Lyle Lovett. “The high points of King of the Road: A Tribute to Roger Miller come from ‘country’ artists with a similarly cavalier attitude towards convention,” writes Will Hermes. “King of the Road gets extra points for reviving the catalog of a guy who wrote as if America was one single place — a country crossover in the best sense of the term.”

Mogwai, Kin 
The post-rock mainstays’ first full soundtrack for a piece of fiction (the sci-fi flick Kin) is anchored by simple but majestic piano melodies, a human element fighting its way through swirl and atmosphere. It never gets as monolithic as their soundtrack to the 2015 documentary Atomic: Living in Dread and Promise, but the Vangelis-rock of “Donuts” and the acid-corroded synthwave of “Flee” are huge in their own ways. Christopher R. Weingarten

Lloyd, Tru
Most artists save their thank-yous for last, but this Atlanta crooner has always walked his own path; he opens his first full-length since 2011’s King of Hearts with the celebratory “Appreciation Day,” a look back on his “many lessons learned the hard way” that heads to church alongside Goodie Mob’s Khujo Goodie. While Tru is peppered with guests including his longtime foil Lil Wayne (who drops in to add a counterpoint to the sumptuous “Holding”), cooler-than-cool singer-songwriter Sevyn Streeter (on the delightful “My Bestie”) and the Spelman Women’s Choir (who add gravity to the sparkling, deeply felt elegy “Lil Sis”), Lloyd’s soulful, acrobatic voice commands center stage on confessionals and come-ons alike. He’s abashed yet gleeful on the S.O.S. Band-sampling slice of bubblefunk “Excited,” which explodes into a juicy guitar solo at just the right time; the album-closing title track is a few months old, but its forthrightness turns it into an excellent companion piece to Tru‘s grateful opener and an apt punctuation mark on his welcome return. Maura Johnston

Ken Mode, Loved
The Winnipeg band’s seventh album is another disgusting glob of Amphetamine Reptile-styled noise rock played with the savage precision of hardcore and metal. It’s pretty bludgeony: Highlights include a burst of feedback and some squiggly sax solos, as well as a closer (“No Gentle Art”) that sounds like blackened Pissed Jeans. Christopher R. Weingarten

Henry Chadwick, Marlin Fisher
Pairing winsome yet plainspoken vocals with bright power chords, this Californian pledges his fealty to power-pop over 11 lovelorn, hooky tracks. Raucous rave-ups like the shimmying “I Can Stick Around” and the strutting “Change” pair gooey harmonies with scruffy riffing, while the spaced-out lament “Something Wrong” uses starry-night guitar effects to super-size its existential crisis. Smart and brisk, even when Chadwick is in reflective mode. Maura Johnston

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