Today is another big release day, and we at TND want to draw your attention to but a wee handful of new albums. Scroll through and listen in – you won't want to miss these.

Ba bam!

bar italia - Some Like it Hot [Matador]

Some Like It Hot, the new album from London three-piece bar italia, takes its name from the 1959 film starring Marilyn Monroe, Tony Curtis, and Jack Lemmon. Echoing the movie’s unpredictable spirit, the music moves fluidly between rock, folk-pop, piano balladry, and grand, anthemic choruses. The three members (Nina Cristante, Jezmi Tarik Fehmi, and Sam Fenton) each contribute to songwriting and vocals, allowing their distinct personalities to emerge even within the shifting sonic palette. The record reflects the trio’s evolution from underground beginnings toward a broader, more theatrical sound. It’s high-energy, it’s tense, it’s dramatic—and it demands your attention. – Drew P. Simmons

Casey Dienel – My Heart is an Outlaw [Jealous Butcher]

Formerly releasing music under the alias White Hinterland, singer/songwriter and producer Casey Dienel is back with a brand new solo record, under their own name. My Heart is an Outlaw follows their fully-independent solo album Imitation of a Woman to Love, which came out all the way back in 2017. Now, eight years on, it's good to have Dienel back, and this time they mostly leave behind the insular electronic percolations of Imitation in favor of a bolder, more varied, and at time more heavily-orchestrated sound. It's there on the jazzy opener "People Can Change"; it's there in the strutting and clanging "Junkyard Dog"; and, perhaps best of all, it's there in the widescreen epic pop grandeur of single "Seventeen". Dienel meshes lots of sonic and emotional worlds here, and it's worth diving in. – Jeremy J. Fisette

Militarie Gun - God Save the Gun [Loma Vista Records]

Militarie Gun’s God Save the Gun is a bold, self-reflective leap that turns frontman Ian Shelton’s inner chaos into something loud, cathartic, and oddly uplifting. The record dives deep into cycles of destruction and rebuilding, capturing the devastating pull of addiction, self-doubt, and the messy process of growth. Sonically, it’s a punchy evolution of their pop-hardcore roots, blending punk grit with synths, hooks, and big, arena-ready energy that never feels forced. Producer Riley MacIntyre (Adele, LCD Soundsystem, Arlo Parks) helps shape a sound that’s as layered as it is explosive. Modest Mouse’s Isaac Brock even makes a rare guest appearance on "Isaac's Song". There’s also a clear nod to 90s alt-rock as a whole and the angular power-pop-punk of Antenna woven throughout. Despite its heaviness, God Save the Gun feels like an album that channels pain into pure momentum. It’s meant to be felt, shouted along to, and played obnoxiously loud. – Ricky Adams

Rachel Bobbitt – Swimming Towards the Sand [Fantasy]

This debut solo album from Toronto-based singer/songwriter Rachel Bobbitt expands the palette and deepens the themes of her previous four EPs. Inspired by her rural upbringing in Nova Scotia, dream vs. memory showdowns, and the shifting perspectives of the novels of Annie Ernaux, Swimming Towards the Sand hits an indie-rock sweet spot. It’s clever, thoughtful, and gorgeously produced by Chris Coady, who was so taken by the demos that he had to get involved. Honed by years of jazz schooling, Bobbitt’s vocals have a clarity and expressiveness that lend these dozen songs a sweet and sophisticated edge, buoyed by excellent guitar work from her long-time partner in life and music, Justice Der. – Alan Pedder

Silvana Estrada – Vendrán Suaves Lluvias [Glassnote Records]

The title of Silvana Estrada’s second album translates to “soft rains will come,” and the music lives up to that optimistic promise of a calm that comes after the storm. And make no mistake, in the 3 years since her debut Marchita, the Mexican singer/songwriter has weathered some terrible things. First some health problems brought on by overwork, then the devastating murder of her best friend and his brother, resulting in a depth of grief that stole away her joy of music. When it eventually came back, Estrada poured every bit of herself into finishing the record, taking charge as producer for the first time and trying to have fun. Sticking to her original vision, most of the songs use the vocal tracks from her demos, in all their bittersweet sorrow and surprising joy. – Alan Pedder

Tame Impala – Deadbeat [Columbia]

Five years after 2020’s The Slow Rush — and a busy stretch co-producing Dua Lipa’s Radical Optimism, collaborating with the likes of Thundercat and Justice, and contributing to the Barbie soundtrack — Kevin Parker finally returns with his fifth album as Tame Impala. It’s his most dance-oriented record yet, one he calls “deeply inspired by bush doof culture and the Western Australia rave scene.” The shift is apparent from the very first track, which opens with thirty seconds of lo-fi piano and Parker’s muffled vocals, reminiscent of Lonerism’s “Sun’s Coming Up,” before his compressed, reverbed voice cuts through and a heavy four-on-the-floor kick drum drops in. From there, the album shifts through groovy bass lines, plucky synths, and techno-house drums. Listeners hoping for a return to his neo-psychedelic indie rock roots may feel left behind, but fans of Parker’s poppier, disco-inflected style will find plenty to enjoy. – Drew P. Simmons

They Are Gutting a Body of Water - LOTTO [ATO Records]

They Are Gutting a Body of Water (often stylized as TAGABOW), the Philly-based experimental shoegaze and rock group, today release LOTTO, their highly anticipated fourth LP following 2022’s excellent Lucky Styles. The goal with LOTTO was to capture something real, to step away from the tech and AI noise that’s become so pervasive in music and society, and return to four musicians locked in a room creating something genuine. In that sense, LOTTO feels very much like a live studio album. TAGABOW have become one of the key forces driving the resurgence of heavy shoegaze, a sound that’s been bubbling for years. What began as frontman Doug Dulgarian’s solo project in 2016 has evolved into a veteran band that others in the scene look to as a guide for where the genre can go next. Thematically, LOTTO explores the endless cycle of consumerism and dopamine-chasing that defines modern life, feeling “grounded” while we’re really just spinning, doom-scrolling on that same old hamster wheel. With trudging guitar riffs, walls of haze and distortion, fleeting yet crushing breakdowns, raspy vocals, and moments of cathartic beauty and dread, LOTTO stands as one of the most notable shoegaze releases of 2025. – Ricky Adams