While many of this week's releases may be eclipsed by last week's blockbusters, the TND staff have chosen an eclectic bunch of releases to have on your radar. Check out our list below!

Alex G – Headlights [RCA Records]

For his major label debut, longtime indie heavy-hitter Alex G isn't playing around. The forefather of the current wave of indie folk and alt-country is back to remind everyone who's boss, and his ninth LP Headlights sticks the landing in every facet. Headlights is the culmination of Giannascoli's 15 year career, much of which he spent coming up in Philadelphia's DIY scene. His recent TikTok-granted surge in popularity has subsequently granted him a major-label budget that is never misused. Instead, the result is some of Alex G's most charming and inspired work yet. – Leah Weinstein

Billie Marten – Dog Eared [Fiction Records]

British singer-songwriter Billie Marten has returned with her gorgeous fifth record, Dog Eared, a gorgeous and touching record that's aught to get her stateside recognition. Marten builds upon her penchant for lush instrumentation, sprinkling in influences of R&B and jazz across the record. Produced by Philip Weinrobe (Adrienne Lenker, Florist, Tomberlin) in Brooklyn, the record was recorded with intuition in mind. Marten sings of love and comfort atop instrumentals that evoke exactly that. While Marten doesn't necessarily reinvent the wheel, Dog Eared is solid and structurally sound, bound for plenty of milage. – Leah Weinstein

Blind Equation – A Funeral In Purgatory [Prosthetic Records]

There’s a moment in Sofia Coppola’s Lost in Translation where Scarlett Johansson wanders through a dense Tokyo arcade and stumbles upon a punk kid, cigarette dangling from his mouth, playing a video game guitar. That scene’s sensory overload; flashing lights, video game pings, lo-fi textures, feels like the perfect visual for this record. A Funeral in Purgatory is a chaotic swirl of synthetic bursts, digital melancholy, and glitchy aggression, soaked in both euphoria and dread. Following up 2023’s DEATH AWAITS, Blind Equation continues to push the boundaries of what synth-infused hardcore can be. There are still the guttural screams and glitchcore beats, but now paired with dreamy, almost beautiful layers of sound, what could maybe be called Dreamcast-core. It’s like Aphex Twin and Basement Jaxx wandered into a screamo basement show, and yet there’s a self-deprecating catharsis here that feels both distinctly online and deeply human. – Ricky Adams

Disiniblud – Disiniblud [Smugglers Way]

A doorway to a precious, freewheeling world of queer fantasy, this self-titled debut from Disiniblud (pronounced “Disney blood”) fruited from an “inner-child sisterhood place” shared by its creators, Brooklyn-based experimentalist Rachika Nayar and LA-based trans composer Nina Keith. The two first met four years ago and became fast friends, connecting over shared philosophies, interests, and the miracle of transformation, all of which finds a home within the almost wordless, textural landscapes of these 11 tracks. Here, post-rock rubs shoulders with quixotic pop, playful electronica, and a palette of ambient washes that keep the magic going. It’s not about healing and moving past the darkness,” says Nayar, and Keith agrees: “It’s taking both with you in the satchel and carrying it with you everywhere you go… that’s the only way you can really metabolize it.” Guest vocalists including Julianna Barwick, Tujiko Noriko, Cassandra Croft, Katie Dey, June McDoom, and Willy Siegel of Ponytail. – Alan Pedder

Panic Shack – Panic Shack [Brace Yourself Records]

The term “girl band” has all but been scrubbed out of the music journo lexicon (for some very good reasons), but it’s one that Cardiff-based Panic Shack seemingly embrace with their whole chests. This full-throttle debut places them neatly on the timeline of outspoken and abrasive British punk and punk-adjacent groups that runs from X-Ray Spex and The Slits in the late ‘70s through to late ‘90s bright lights Kenickie and more recent acts like Dream Wife. Three years on from their first EP Baby Shack, the band’s sound is more well-rounded, leaning into more danceable rhythms (partly inspired by Australian duo Confidence Man) and amping up the humour. “We've always wanted people to come in and be part of our world, and this album is every part of who Panic Shack are. The party side, the angry side… It’s a story about us, really,” explains vocalist Sarah Harvey. “That’s why we named it after the band. We can't help but be ourselves.” – Alan Pedder

$ilkMoney – WHO WATERS THE WILTING GIVING TREE ONCE THE LEAVES DRY UP AND FRUITS NO LONGER BEAR? [Lex Records]

$ilkMoney’s anticipated follow-up to 2022’s I Don’t Give a Fuck About This Rap Shit, Imma Just Drop Until I Don’t Feel Like It Anymore is here—and he’s continuing the tradition of paragraph-long album titles with WHO WATERS THE WILTING GIVING TREE ONCE THE LEAVES DRY UP AND FRUITS NO LONGER BEAR? This time, it’s in all caps, and the song titles are just as lengthy.

He’s still doing what he does best: wild, hilarious references paired with dirty shiv-sharp social critiques. At one point, he even claims he can pronounce the letter “T” just like Kendrick Lamar and delivers the bars to back it. Also, check out that album art! - Ricky Adams