Another week, another Today's Release Highlights, where the TND writers shout out a helping of new releases we'd like to draw your ears to.

Ba bam!

Buckingham Nicks – Buckingham Nicks (2025 Reissue) [Rhino]

It’s perhaps the greatest tale of reissue refusal in history, until now. Fifty-two years after initial release, Buckingham Nicks is back. The shimmering folk-pop release sees Lindsey and Stevie teaming up just before they joined a British band named Fleetwood Mac. You’d swear that some of the songs on here are long-lost singles from the self-titled album or Rumours. A new remaster keeps things sounding fresh. For years, unless you had an original vinyl copy, or a bootleg, you were out of luck if you wanted to hear this gem. Today, this one-and-done LP has been given new life. – Tyler Roland

Deaf Club – We Demand A Permanent State Of Happiness [Southern Lord/Three One G.]

San Diego’s punk and hardcore scene in the early 2000s, and continuing to this day, was shaped in large part by frontman Justin Pearson and his label Three One G. Today, his latest project, Deaf Club, have released their sophomore album We Demand A Permanent State Of Happiness. The record is abrasive, groovy, and confrontational in all the best ways. It recalls the chaos of Pearson’s early band The Locust but trades some of the pure noise for sharper hooks and heavier doses of social commentary. Tracks like “Pain in the Assery”, despite the tongue-in-cheek title – and there are plenty of those here – take on serious subject matter. The song responds to the aftermath of 9/11, accompanied by a video featuring audio of veteran Mike Prysner condemning then-President George Bush, cutting to a model of the Twin Towers as a masked figure scorches it with a smoldering tool to reenact the destruction. It’s unsettling, confrontational, and emblematic of Deaf Club’s unflinching persona, and the record is an unapologetic statement from one of hardcore punk’s most enduring provocateurs. – Ricky Adams

Missing Link – Miracle Smile [Triple B Records]

New York heavy hardcore bruisers Missing Link have delivered a slab of groovy, pissed off mosh music in the form of their new EP Misery Smile. Across five tracks, they weave between death metal-infused tremolo riffs, pit-ready two step parts, and catchy one liners that are guaranteed to produce pileups live. While this style of hardcore is plagued by lazy songwriting and unearned breakdowns, Missing Link show everyone how to do it right. – Shaye Frenkel

Nation of Language - Dance Called Memory [Sub Pop]

With their Sub Pop debut, Nation of Language continue one of the most consistent runs in modern synth-pop, delivering their fourth album in just five years. The Brooklyn-based trio — frontman Ian Devaney, keyboardist Aidan Noell, and bassist Alex MacKay — once again team with LCD Soundsystem and Holy Ghost!’s Nick Millhiser, expanding their sound into a blend of late-’80s and early-’90s styles, from synth rock and shoegaze to dream pop and gothic post-punk. The result is an album that explores themes of fading memory and remembrance, unfolding in moments that are at times irresistibly catchy, at others deeply atmospheric, and always deeply emotional. – Drew P. Simmons

Nine Inch Nails – Tron: Ares (Original Motion Picture Soundtrack) [Interscope]

The Tron movies, even if they may fall short of perfection, always have ass-kicking soundtracks. The first featured the work of synth pioneer Wendy Carlos, and Daft Punk’s Tron: Legacy album is routinely heralded as some of their best work, period. We now have a new addition to the canon, Ares, and Nine Inch Nails has done the score. No, not Trent Reznor & Atticus Ross: Nine Inch fucking Nails. The NIN duo have made waves in Hollywood for their scoring efforts, but this is the first time Reznor’s industrial rock business has been billed on a soundtrack. Boys Noize, NIN’s recent opener, has contributed additional production. Plenty of jagged edges among the instrumentals and four vocal tracks. – Tyler Roland

Leith Ross – I Can See The Future [Republic]

Leith Ross is one of the mighty few TikTok-born singer-songwriters to prove their artistic legitimacy, and their Rostam-produced sophomore record is proof of not only Ross' talent, but their ability to evolve. I Can See The Future is equally heartfelt and invigorating, with Rostam's fingerprints blending with Ross's to create something that showcases both of their strengths. Lead single "Stay" sees a pleasantly surprising appearance from Dijon on backing vocals, and the closing title track is a vivifying epilogue to the record's tales of love and grief. – Leah Weinstein

Summerbruise – Infinity Guise [SideOneDummy Records]

The Indianapolis self-proclaimed “fake emo” outfit Summerbruise have dropped Infinity Guise. Now, you might be asking yourself: what the heck is fake emo? I was wondering the same thing, so I did some deep music journalism research… I asked the band. Their explanation was pretty straightforward: it’s emo that exists outside the “true” first wave r/emo sound. As the genre evolves, it makes sense to create some new lines of distinction, even if those lines are “fake.” Infinity Guise leans into the fun, punny side of emo with lyrics like, “I’m at self-checkout at Kroger / Fucking the thing up over and over / Praying for forgiveness,” on “Making it Worse”. Musically, the album is tight: clean, head-bopping guitar riffs paired with bass and drums that channel early-2000s pop-punk. The result is a hell of a good time, balancing catchy hooks with self-deprecating humor. Imagine Sum 41’s energy with Max Bemis of Say Anything on vocals and lyrics, with a hint of Ben Folds' "Rockin' the Suburbs"; it’s a strange combo, but it works. The record also features a couple of standout guest spots from the newer emo scene, including Trade Sansville of Hot Mulligan and Stoph Colasanto of Carpool. It’s lighthearted and fun, but still grounded in self-deprecation, keeping the party alive even when you’re quietly depressed as fuck. – Ricky Adams

Wednesday – Bleeds [Dead Oceans]

The way that Karly Hartzman portrays the South is a carefully curated collage of the good, the bad, and the ugly. In her lyrics as the frontwoman of Wednesday, she is truthful and wholly unpretentious, evoking urinating puppies, live-streamed funerals, and Afrin-fueled knife fights. She humanizes the people often discarded and overlooked by coastal elites that can’t get themselves to think with any amount of nuance. Bleeds exemplifies that southern life is an experience that cannot be done justice through simple autobiography, as taught by both Country’s forefathers and Hartzman herself today. – Leah Weinstein

Wicca Phase Springs Eternal – Mossy Oak Shadow [Run For Cover]

In frontman Adam Andrzejewski's words, "The temptation is to call it a country record. I don’t really think it’s that — but there’s acoustic guitar and slide guitar, and I think my interests and themes do have elements of country in sort of an archetypical way." Mossy Oak Shadow by Wicca Phase Springs Eternal is a portrait of a misty, desolate plain. Alongside the gliding of the steel guitar, the gentle rocking of the drums, and the singular acoustic guitar, Andrzejewski complements this dark folk sound with his contemplative reflections on loneliness in several tracks, including the single "Enchantment", which finds a strange beauty in haunting memories. Elsewhere, there's "Meet Me Anywhere", a slow, ethereal duet with past collaborator Ethel Cain, who joins to sing of mystical connections, longing, and traveling long distances to find one's companion. Even tracks like the finale "I Was A Runner Once" become dazzling, transforming a crystal-clear recollection of childhood memories into a spectral hymn about the countryside. –Victoria Borlando