Another big release day! Hurrah!

Below, find some highlights from today's set, as shouted out by the lovely TND writers. A mix of big pop returns and some maybe more under-the-radar finds. Ba bam!

Lily Allen – West End Girl [BMG]

Lily Allen graces us with an album she has something to say. And with West End Girl, an almost theatrical tale about the unraveling of a marriage that comes seven years after No Shame, the UK pop artist has come back with reflections on the effect of cheating in a partnership, the gender dynamics of a couple working in the same industry, moving her whole life for a relationship, and trying to locate her own feelings and sense of self in a situation that also relies on multiple people. Her songwriting adopts her classic confessional style, balancing her moments of crude exposition — "West End Girl" reads almost autobiographical with her move to New York City and subsequent traveling back to the UK in 2021 due to Olivier-winning theatrical performance in 2:22 A Ghost Story — with fresh pop production and humor. Allen soundtracks her life to drum 'n' bass ("Ruminating", "Relapse"), acoustic guitar-led ballads ("Just Enough"), and one pop song that sounds like a 2025 revamp of a Born To Die-era Lana Del Rey song ("Pussy Palace"). As a person who does not play about Lily Allen, I can confidently say: she's so back! –Victoria Borlando

Flycatcher – Wrench [Memory Music]

Flycatcher, the New Brunswick alt-rock outfit, have released their debut album Wrench, produced by Grammy-nominated Will Yip (Turnstile, Movements, The Wonder Years). Lead singles “Flood” and “Down” offered a taste of what’s to come — Wrench is equal parts golden-era alt-rock and irresistible hooks, packed with choruses and melodies too good to skip. There’s more here than nostalgia, though. For those who grew up in the ’90s, the album captures that familiar warmth, but it’s layered with modern emo lyricism and structure that give it a refreshing edge. The record even features guest vocals from Brianna Collins of Tigers Jaw on "Man on the Run". If you’re a fan of Turnstile, Manchester Orchestra, The Goo Goo Dolls, or honestly just the alt-radio station you grew up with (San Diego's 91X for me), Wrench will feel like coming home to a simpler time. – Ricky Adams

Mammoth – The End [BMG]

By now, Wolfgang Van Halen has firmly established himself as an alt-rock, power-pop army of one to be reckoned with. Please, don't lump this in with the flashy, beer-deleting hard rock you may know his father by. On Mammoth’s third outing, The End, Wolfgang continues to sing and play all instruments. The compressed, dense mix fits right in with what contemporary Foo Fighters and blink-182 have to offer. As a cherry on top, he ditched the “WVH” tag that followed the band name on the project’s first two albums. It underscores a truth: whether you're a fan or not, this music suggests the mammoth power of a band at full tilt. – Tyler Roland

Nothing Personal – Antiphon of Dirty Water [Braveheart]

For their third album, Norwegian trio Nothing Personal (Solveig Wang, Thea Emilie Wang, and Dorothea Økland) have toned down some of their more frenetic tendencies to reveal the twisted beating heart of their futuristic art-pop. The sheer giddiness of last year’s The Diary of Nothing Personal is largely retired, making way for a more emotionally rich, borderline dystopian record that reshapes the Nothing Personal mission in a deeply satisfying way. It is in fact personal, the songs seem to say, and this time around the trio’s forward-looking production gives those feelings more room to breathe. In their own words, Antiphon of Dirty Water is “a call and response between the sacred and the everyday,” inspired by in-studio tarot readings and spiritual side quests that add up to a treasure chest of tension and release. – Alan Pedder

Ouri – Daisy Cutter [Born Twice]

This second album from Montréal-based Ouri may borrow its name from the devastating bombs first used by the US during the Vietnam War, but the sound within is far from explosive. Ouri’s intimate songs are finely constructed and often masterfully delicate, drawing us into a seductively avant-garde R&B space where pristine meets imperfect, acoustic meets electric, and everyone’s welcome. It's even more impressive considering how hands-on she is with every aspect of the engineering and production, even mixing and mastering everything herself. Daisy Cutter is not a one-woman show, however – neither conceptually nor in execution. For Ouri, the writing process was helped along by imagining a secret society of sorts. Fittingly, then, she’s joined on the album by a cast of real-life friends, including Charlotte Day Wilson, Mobilegirl, Cecil Believe, and Oli XL. “I deepened my adoration for music while making this album, getting closer to this feeling of absolute certainty,” she writes on Instagram. “I was able to go deep because of the pure love surrounding me, bringing me back to reality every time.” – Alan Pedder

Pale Sailor – you’re not yourself [Best Life Records]

Pale Sailor, the emo trio hailing from Sheffield, UK, have hit the scene with their first proper EP, you’re not yourself (all lowercase... which, without even pressing play, tells you exactly what kind of emo we’re dealing with here). The title sets the tone for the four-track release, with frontwoman Anya Bellamy exploring themes of self-reflection, catharsis, and the quiet pressures of a world that makes you want to stay small — or maybe just lowercase. Sonically, this is textbook emo: Midwest-inspired guitar twinkles, math-rocky riffs, and the obligatory audio samples from some long-forgotten TV show or movie. Add in the catchy, shout-along group vocals, especially on opener “shrimply the best”, and you’ve got the makings of a live show sing-along waiting to happen. I know I just dropped a lot of emo SEO keywords, but if you’re still on the fence, you’re not yourself sits comfortably between Paramore, Origami Angel, and Carly Cosgrove. Right where heartfelt meets hooky. – Ricky Adams

Spiritual Cramp – RUDE [Blue Grape Music]

San Francisco’s Spiritual Cramp return with Rude, a bold, infectious blend of punk rock, dub, and reggae that channels the energy of the late ’70s UK scene while carving out a sound of their own. Emerging from California’s hardcore underground, the band have evolved their sound to mirror the classic punk-rock ethos of their influences; melding punk urgency with dub rhythms in the spirit of The Clash. RUDE balances sharp rhythms, deep basslines, and hook-filled melodies with lyrics that are both self-aware and irresistibly fun. It’s a record that bridges eras and genres, offering something for fans of punk’s raw roots as well as indie-sleaze revivalists. Imagine The Clash meets The Strokes with a touch of The Specials, and you’re in the right territory. – Ricky Adams