Another pretty stacked release day! We at TND don't want all the releases to slip by, so we are highlighting eight new ones for you to check out below.

Ba bam!

Big Thief – Double Infinity [4AD]

Following their career defining 2022 record Dragon New Warm Mountain I Believe In You, Big Thief have found a new way to communicate their ambitions with Double Infinity. Notably, this release closely follows the departure of bassist Max Oleartchik, and several guest musicians joined the remaining members for the jam sessions that eventually formed this record. For lack of a better term, this is Big Thief's stoner-hippie jam band record, a welcome change in pace from their previous work. – Leah Weinstein

Fime – Just Can't Win [Mallard Records]

Fime, the LA rock outfit, return with their sophomore release Just Can’t Win, a heavier, leveled-up record. The album finds the band staring down the realities of being working musicians: they haven’t reached financial stability through their art, but despite the struggle, they’ve still managed to craft something beautiful. The result is an album layered with complexity in both sound and lyricism, landing firmly in the “top shelf” of melodic rock. There’s a twist of fuzz in the mix that makes it all the more intoxicating, the kind of record you want to savor straight up. It’s a burn so good. – Ricky Adams

Gwenifer Raymond – Last Night I Heard the Dog Star Bark [We Are Busy Bodies]

With her third album Last Night I Heard the Dog Star Bark, Wales-born and Brighton-based Gwenifer Raymond threads her instrumental guitar music with remnants of her past life as an astrophysicist and a deep, enduring interest in strange science, mystic prophets, and esoteric chaos merchants. Building on a "Welsh Primitive" guitar style entirely her own, the album zigzags through a complex and impressive array of styles, bookended by the particularly spacey “Banjo Players of Aleph One” and the gliding, stargazing closer “One Day You’ll Lie Here But Everything Will Have Changed”. “The album enters from the cosmic void and exits through the galactic plane,” says Raymond of the record’s stellar arc. “Maybe you’re exiting out of hyperdrive into some strange planet where the album lives, then you zip out to find whatever is next.” – Alan Pedder

Joni Mitchell – Joni's Jazz [Rhino]

The legendary Joni Mitchell is mostly thought of as a folk singer-songwriter, responsible for some of the genre's most searing gems, such as 1971's Blue. But throughout her long and varied career, Mitchell has exhibited a deep respect and fondness for jazz, and now her explorations of the genre have been collected in the Joni's Jazz compilation. Out today via Rhino, the 8xLP, 61-track release covers ground from across her entire oeuvre – from her debut LP Song to a Seagull up to 2022's surprise Newport Folk Festival performance. The release showcases her collaborations with many of the genre's titans, such as Wayne Shorter, Jaco Pastorius, Herbie Hancock, and Charles Mingus, and comes with studio recordings, live performances, rare alternate takes, including two previously-unreleased demos from 1980.

Justin Bieber – SWAG II [Def Jam Recordings]

Can you belieb it? Just two months after dropping SWAG, Justin Bieber is back with its sequel, simply titled SWAG II — unfortunately passing on my Instagram DM’d suggestions like “SWAG II: The Swaggening” or “SWAG: Fury Road.” Like its predecessor, it’s another lengthy record, clocking in at 23 tracks. Returning collaborators include Dijon, Mk.gee, Lil B, Eddie Benjamin, and Carter Lang, while new names like Tems, Bakar, and Hurricane Chris step into the mix. The album finds the Biebs in a familiar bag, leaning into warm, melodic R&B production with lyrics centered heavily around his relationship with his family. Whether SWAG II marks the conclusion of the saga or just another chapter remains to be seen. If there is a third installment, Biebs, please check your DMs – you don’t wanna pass on “The Good, the SWAG, and the Ugly". – Drew P. Simmons

La Dispute – No One Was Driving The Car [Epitaph]

In a unique album rollout where nearly every track was released as a single ahead of time, save for the final two, Grand Rapids’ beloved "new wave post-hardcore" outfit La Dispute have officially dropped their new album No One Was Driving the Car, their first full-length in over six years. "New wave post-hardcore" doesn’t mean synthy ’80s beats with screaming layered on top. Instead, it signals a continuation of the rich lineage of post-hardcore that began evolving in the mid-2000s with bands like Touché Amoré, Defeater, and Pianos Become the Teeth. Some might even call it "screamo revival," a genre rooted in heavier instrumentation and deeply intricate lyricism. No One Was Driving the Car is packed with complex, poetic storytelling that lands somewhere between heartbreaking and satirical. And I can’t stress this enough, if at any point in your life you were into mewithoutYou, La Dispute will be your new favorite band. This album is the perfect place to jump in. – Ricky Adams

shame – Cutthroat [Dead Oceans]

shame's fourth studio album Cutthroat goes in every direction, and only a band truly confident in their abilities as musicians can execute this challenge well. We heard from the first three singles — "Cutthroat", "Quiet Life", and "Spartak" — just how diverse the genre palette is, as the band fully leans into post-punk, rockabilly, and alt rock for each one respectively. But that's not even the full extent of it; what if the same album had a Latin rock interlude? An autotune-heavy electronic track? A punk song that never dips below a full-throated shout? Yet, the motion blur left behind by all these style switch-ups don't make for a nonsensical album; on the contrary, the songs remain lyrically cohesive, all hyper-focused on the goal to construct complex character portraits that mirror a hypocritical, difficult, and chaotic world. There's an anthem for everyone in Cutthroat. – Victoria Borlando

Suede – Antidepressants [BMG and DSPs]

The 10th studio album by Suede is "broken music for broken people", as one of the track titles suggests. Like most Suede records, Antidepressants is loaded with philosophical musings disguised as lyrics packed under electric guitars, synths, and drums. Inspired by paranoia and the destabilization of modern life, Brett Anderson & Co. take on post-punk with the first track "Disintegrate" — an adrenaline-pumping track that calls for unity as the world decays — and never lose momentum. Lyrically, the record oscillates between joy and despair, never feeling truly satisfied as either wholly content or wholly dissatisfied. The title track, for instance, says that "there's so much love in this place," taking inventory on the life the narrator built before spiraling into self-flagellation. And with the sheer brevity of life — the tininess of planet Earth in relation to the cosmos — all this fretting seems exhausting and pointless, suggested by "Somewhere Between An Atom And A Star" and "Life Is Endless, Life Is A Moment". It's a complicated record for a complicated year. – Victoria Borlando