Here we go again with a slew of great releases for this week. Below you'll find eight the TND writers wanted to highlight (although there are many more for you to suss out as well). We didn't want these to slip past ya.

Scroll on!

Arm's Length – There's a Whole World Out There [Pure Noise]

Arm’s Length, the Canadian emo four-piece, return with their second album, There’s a Whole World Out There, via Pure Noise. On their 2022 record Never Before Seen, Never Again Found, frontman Allen Steinberg described the songs as a culmination of everything he'd written from his teenage years up to that point. But with There’s a Whole World Out There, Steinberg sounds less reflective and more present — focused on how he’s actively coping with past events. From the singles release prior, it was clear the band was experimenting with new sounds while still rooting in the classic emo style they’ve helped carry forward. And lyrically? They're still cutting deep — especially on the single “You Ominously End”, which is fucking brutal. –

The Callous Daoboys – I Don't Want to See You in Heaven [MNRK Heavy]

The Callous Daoboys, the nü-mathcore band hailing from Atlanta, GA, are back with their third full-length album, I Don’t Want to See You in Heaven, out now via MNRK Heavy. Based on the previously-released singles, this record sees the Daoboys venturing into uncharted territory compared to 2022’s Celebrity Therapist. One thing is clear, though: the band remains uniquely their own, bouncing between classic mathcore chaos and moments of vulnerable nü-metalish alt-rock. A handful of special guests also make appearances, including members of Orthodox, 1ST VOWS, and low before the breeze. - Ricky Adams

Joy Guidry – Five Prayers [Jaid]

“Sonic meditations and poetry” is how Joy Guidry describes the pieces on her third album, Five Prayers. Centering her bassoon playing like never before, she removes the instrument almost entirely from its classical context, embedding its rich, warm tones within an ambient-leaning soundbath, awash with electronic textures, harp, and nurturing synths. “I wanted to paint a world with many harmonies, infinite peace, serenity, and honesty,” says Guidry, reacting to what she describes as “one of the most challenging mental health episodes in my adult years.” Inspired by artists like Alice Coltrane, Jazmine Sullivan, and Cleo Sol, Guidry says that each of the five pieces represents “a different perspective” on her experience of living with bipolar disorder type II, and is offered with gratitude to the people in her life who keep her going. – Alan Pedder

Lido Pimienta – La Belleza [ANTI-]

For the follow-up to her 2020 breakout Miss Colombia, Lido Pimienta defies expectations by delivering a fully orchestral album. Recruiting Owen Pallett as producer and co-arranger, Pimienta’s vision of a conversation between European classical music and her lived experience as an indigenous woman from the Caribbean (who has been based in Canada since she was a teenager) came to life as “a natural evolution” of her “curiosity and stubbornness.” Inspired by “Lux Aeterna”, an ancient Gregorian chant for the dead, the score for films like Valerie and Week of Wonders, and by the high-pitched singing of the Castrati, La Belleza is – in Pimienta’s own words – an album “about the joy of sticking my teeth into a ripe mango, about love unrequited, about ceremony and ancestry, about life and death, about transition of soul and letting go of all that makes us feel a stone has replaced our heart.” – Alan Pedder

Matt Maltese – Hers [The Orchard]

The independent, British singer-songwriter is back with his fifth studio album. Hers is Matt Maltese's most intimate record yet, taking a step back from the humor and melodrama of past infatuations to explore a stronger, more intense relationship. Singles like "Anytime, Anyplace, Anyhow" and "Pined For You My Whole Life" feature arrangements provided by a jazz band to capture the sensuality of the lyrics, as well as overt sexuality — something quite new in Maltese's thematic and lyrical catalog. Following the singles, one could expect lush, smooth jazz arrangements, Maltese's warm vocals, and romance! -Victoria Borlando

Rico Nasty – LETHAL [Fueled by Ramen]

Genre-defying rapper Rico Nasty continues to expand her ever-evolving palette of self-proclaimed "sugar trap" with her rock-infused new album LETHAL, out today via Fueled by Ramen. Singles like "ON THE LOW", "TEETHSUCKER (YEA3x)", and "BUTTERFLY KISSES" melt down an enigmatic mix of pop, alternative and metal into sugary-sweet bars of fire. “This album is about being confident and saying fuck everybody else,” she says. “It’s about getting doors slammed in your face and people telling you to try it their way again and again, and you stay true to yourself and it works. That’s what this project is. It’s an ode to yourself.” – Nic Huber

Spill Tab – ANGIE [Because Music]

Produced by Remi Wolf collaborator Solomonophonic, French-Korean musician spill tab (real name Claire Chicha) has finally released her debut album ANGIE after six years of releasing music. Chicha spent three of those six years curating the sound for ANGIE, saying of the record, "“I love this collection of songs so deeply. They feel more honest than anything I've created in a long time, and I'm so proud of the hundreds (thousands??) of hours that were spent writing, producing, chipping away at vocals, tightening up harmonies, re-writing bass lines, deleting entire sections, coming up with completely new ones, with all the the insane collaborators that worked on this project. It's really special to hear all these experiences on love and loss, rejection and passion, walking away and holding on too tight, all coexisting together in one place: a cumulation of these last few years of my life.” – Leah Weinstein

Tune-Yards – Better Dreaming [4AD]

Merrill Garbus and Nate Brenner are back with a brand new Tune-Yards record today, Better Dreaming. For this album, the duo went back to basics (sort of), leaving behind the larger ensembles, complex electronics, extra instrumentation of the past couple releases, instead going back to a mix of bass and layered vocals and percussion, reprioritizing the loop pedal that Garbus used since the inception of the project. With themes of liberation, anti-fascism, and the struggle for hopefulness, Garbus says "Making art in this day and age for me is a battle for focus; we’re in an age of interruption." – Jeremy J. Fisette