11 New Albums You Should Listen to Now: Fontaines D.C., the Avalanches, and More

With so much good music being released all the time, it can be hard to determine what to listen to first. Every week, Pitchfork offers a run-down of significant new drops available on streaming services. This week’s batch includes new albums from Fontaines D.C., the Avalanches, @, and more.

Subscribe to Pitchfork’s New Music Friday newsletter to get our recommendations in your inbox every week. (All releases featured here are independently selected by our editors. When you buy something through our affiliate links, however, Pitchfork earns an affiliate commission.) Fontaines D.C.: Dopamine Chamber [XL] Fontaines D.C. continue their evolution from underground rock insurgents to arena-baiting anthem merchants on their Romance follow-up. Lead single “Marianne” infuses sleazy synth-pop with the air of a haunted lullaby, while—in a pairing that makes more sense than it should—the Irish band unites with fellow crossover sensation Rosalía on “Where Is Gone?” The psychedelic blurring of genre boundaries plays off the titular concept, which, says Grian Chatten in press materials, describes the environment of the album itself.

Those friends—Filipczak and Victoria Rose—got their start as folk-pop pranksters, but on their 4AD debut, they’ve leveled up into a brain-rotted Rawlings and Welch. Before Autosmile, you’d never hear Rose sing a lyric as nakedly sincere as “I don’t know how I belong to you, but I do somehow.” For the first time, the band with the most un-Googleable name in showbiz sounds marginally legible. Listen on Apple Music Listen on Spotify Listen on Tidal Listen on Amazon Music Listen/Buy at Bandcamp Buy at Rough Trade The Avalanches: No Bad Memories [Modular] Those of us over a certain age all have that one jingle—a corporate ditty imprinted in our memory like a painting at Lascaux. (Mine?

The original Big Mac theme.) Leave it to the Avalanches, masters of making up for lost time, to run with this phenomenon. The duo’s first proper LP since the pandemic draws inspiration from lost jingles and now-defunct technology like those two buddies pictured above. The features across the 31-song project bring a similar “old becomes new again” spirit to the group’s anhedonia-flecked electronica, uniting legends such as Yellow Magic Orchestra cofounder Haruomi Hosono with fresher-faced experimentalists Portraits of Tracy.

Who knew hauntology could be so fun? She previewed the LP with the synth-pop sugar rush “One Song Away From Crying” and its darker counterpart “Make Believe,” which is about “allowing someone who clearly hates me to have access to me at any moment,” she wrote in a statement. Recent tour support slots with Gracie Abrams and Florence + The Machine hint at where the Londoner has her compass set.

To hold on to some semblance of consistency, the Canadian singer-songwriter-producer kept her set-up similar to the DIY home studio where she made her 2025 EP, How to Win at Solitaire. Still, these moody and reflective dance-pop cuts constitute a big level up: a reminder that great pop gets down to a science, and properly wielded Autotune is an art form in itself. With the first bass drop of JG, listeners will immediately sense this album is different.