3 new songs and 3 new albums to check out this weekend

HAIM raises us up while Propagandhi brings us back to reality.

3 new songs and 3 new albums to check out this weekend

Welcome to our weekly music post, where we spotlight our favorite new songs and albums. Hop in the comments and tell us: What new music are you listening to?


HAIM, “Relationships”

They are back, baby, they are fucking back. Apparently, it took HAIM seven years to perfect their new single, “Relationships,” but we can’t honestly complain when the song is this good and the rollout has been this much fun. The band announced the new track earlier this month with a photo referencing that euphoric Nicole Kidman meme, shared a bunch of celebratory videos on Instagram, and basically treated the past week as one big party. If “Relationships” is any indication, single girl summer is going to be a blast.

Lil Nas X, “Dreamboy”

Like HAIM, Lil Nas X has also been out here living it up for the past week (a.k.a. Marchtero week). Starting on Monday, Lil Nas X has dropped a new track each day. The first one was “Dreamboy,” followed by “Big Dummy!,” “Swish,” “Right There!,” and “Hotbox.” The music videos and promos all share the same playful pink-and-white Y2K aesthetic, and they’re clearly leading up to something, whether it’s the release of the full Dreamboy album or the rumored Days Before Dreamboy prequel EP. Either way, it’s nice to see Lil Nas X so clearly enjoying this moment.

Propagandhi, “At Peace”

Decidedly not out here having a good time is political punk band Propagandhi, who announced their upcoming album, At Peace (out May 2), with a press release that includes a statement from guitarist and vocalist Chris Hannah. It reads, in part, “Speaking for myself, this record might be a snapshot of me deciding whether I’m going to live out the rest of my life as Eckhart Tolle or live out the rest of my life as Ted Kaczynski…Everything I’m singing about is still coming from being the same person that wrote and sang our first record How to Clean Everything in 1993. But what we’re putting into the songs now, probably reflects more despair than 30 years ago when we had similar perspectives, but with strands of hope and naivete. Now it’s the existential dread of eking out a life worth living in this completely failed society.” Harsh, but true. Someone had to bring us back to reality eventually (“Oh yes, I’m really fun at parties,” Hannah sings on the album’s title track). Still, there’s a tiny glimmer of hope in the lyrics of “At Peace,” too: “Motherfucker, I’m resourceful, resilient / I power through the waves of disappointment / Maybe not quite thriving but I’m buoyant / I am at peace these days (give or take a fit of blinding rage).”

Playboi Carti, MUSIC

In classic Playboi Carti fashion, the rapper has remained tight-lipped about MUSIC, his first album since 2020’s Whole Lotta Red. Carti only confirmed the album’s release date earlier this week after a series of cryptic billboards popped up across the U.S. Whole Lotta Red landed on several year-end best-of lists when it was released, so anticipation for MUSIC is high. The album release, predictably, was chaos: After missing the initial midnight drop time, the 30-track album slowly trickled on streaming services several hours later.

Coheed and Cambria, Vaxis III: The Father Of Make Believe

Vaxis III: The Father Of Make Believe continues Coheed And Cambria’s Amory Wars storyline, an epic sci-fi tale they’ve been telling for roughly 23 years across 10 albums and multiple tie-in comics. Even if you’re not here for the whole mythos, though, Coheed is still making some of the best modern prog rock around. The Father Of Make Believe has the kind of self-assured sound that only comes when you’ve been doing exactly what you want to for the past 20-plus years.

clipping., Dead Channel Sky

After exploring horrorcore on their last two albums, the Daveed Diggs-led experimental hip-hop group clipping. tackles cyberpunk on Dead Channel Sky. The album is shot through with high-concept storytelling and industrial beats infused with glitchy electronic noises. Diggs’ propulsive rapping lends each song urgency, leading to an overall sound that can only be described as post-apocalyptic.

 
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