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 releases available on streaming services. This week’s batch includes new albums from Blake Mills, Palehound, Snõõper, Haviah Mighty, Lindstrøm, Colter Wall, Lil Tjay, and Far Caspian. 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.)

Blake Mills: Jelly Road [New Deal/Verve]

Following recent collaborations with Fiona Apple, Bob Dylan, Phoebe Bridgers, and Pino Palladino, Blake Mills is back with a new solo album. Jelly Road was written with Chris Weisman, the prolific and reclusive jazz musician from Brattleboro, Vermont, who worked with Mills on material for Daisy Jones & the Six and its album Aurora. The single “Skeleton Is Walking” came with the announcement.

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Palehound: Eye on the Bat [Polyvinyl]

El Kempner’s first new Palehound album in four years is Eye on the Bat, which follows 2019’s Black Friday and their 2021 collaboration with Jay Som, Doomin’ Sun. The album was co-produced by Kempner and Sam Owens and features contributions from multi-instrumentalist Larz Brogan. Lead single “The Clutch” was the first song written for the album, following an early pandemic “apocalypse road trip back to New York across the country from Oregon.”

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Snõõper: Super Snõõper [Third Man]

Snõõper is a band of Nashville punks whose wild shows are stuffed with big goofy props and puppets. The egg punks’ new album is out now via Third Man. Led by the core duo of Blair Tramel and Connor Cummins, their lineup has bulked out to include guitarist Ian Teeple, drummer Cam Sarrett, and bassist Happy Haugen. It includes the singles “Pod” and “Running.”

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Haviah Mighty: Crying Crystals [Mighty Gang Inc.]

In 2019, Haviah Mighty won the Polaris Music Prize—awarded to the best Canadian album of the year—for her album 13th Floor. The rapper followed that with the 2021 mixtape Stock Exchange, and, now, she’s back with Crying Crystals. She recently said the album track “Room Service” is her best song: “I learned through creating this song that I set unnecessary boundaries on genre expression—and with the success of this one, I should throw things at the wall a lot more often.”

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Lindstrøm: Everyone Else Is a Stranger [Smalltown Supersound]

Norwegian producer Hans-Peter Lindstrøm is back with his latest full-length, which takes its name from the manuscript for John Cassavetes’ 1984 film Love Streams. The new one is four songs across 40 minutes. It includes recordings of him playing Chinese cello and violin for the first time, plus the Solina String Ensemble synthesizer that’s appeared on much of his discography. Its lead single was “Syreen.”

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Colter Wall: Little Songs [La Honda/RCA]

Colter Wall, the Saskatchewan country singer-songwriter, has released his first album released as part of a collaboration between La Honda and RCA Records. In addition to several originals, it includes covers of Hoyt Axton’s “Evangelina” and Ian Tyson’s “The Coyote & the Cowboy.” Little Songs is Wall’s first album since 2020’s Western Swing & Waltzes and Other Punchy Songs.

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Lil Tjay: 222 [Columbia]

Lil Tjay survived a shooting on June 22, 2022. His new album, 222, features a song called “June 22nd,” plus a sequel to his post-shooting release “Beat the Odds.” It features contributions from Summer Walker, Polo G, Fivio Foreign, YoungBoy Never Broke Again, Coco Jones, Jadakiss, and the Kid Laroi.

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Far Caspian: The Last Remaining Light [Tiny Library]

Irish musician Joel Johnston records under the name Far Caspian; The Last Remaining Light is the follow-up to 2021’s Ways to Get Out. The new album threads haunting harmony and knotty, post-hardcore cadences into a rousing folk frame. “My initial songs were part of a healing process that I went through at an early age, so I don’t really identify with them as much anymore,” Johnston said in a statement. “I’ve drifted very far from that—not just emotionally, but also stylistically.”

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