This week in music has been nothing short of electrifying, with the Grammys stealing the spotlight and Record Store Day unveiling its highly anticipated 2026 exclusives. But amidst all the buzz, there’s a treasure trove of new albums begging for your attention—and trust me, you won’t want to miss these. Here’s the kicker: some of these releases are so good, they’re already sparking debates about whether they’re the best work these artists have ever done. Let’s dive in.
First up, Ratboys with Singin’ to an Empty Chair (New West). This indie-country powerhouse has been steadily climbing the ranks for over 15 years, and their latest album feels like the culmination of everything they’ve built. But here’s where it gets controversial: while every Ratboys album seems to be hailed as their best, Singin’ to an Empty Chair might actually live up to the hype. With a sound that feels both natural and groundbreaking, they’ve perfected their blend of DIY indie rock and alt-country. The album’s 11 tracks, including the epic eight-and-a-half-minute ‘Just Want You to Know the Truth,’ showcase a band at the peak of their craft. Is this the ultimate Ratboys album? You decide.
Next, J. Cole drops The Fall-Off (Dreamville/Interscope), a double album that’s both a comeback and a potential farewell. Featuring collaborations with Erykah Badu, Burna Boy, and Future, this project is divided into two halves: ‘Disc 29’ and ‘Disc 39,’ reflecting Cole’s journey at ages 29 and 39. And this is the part most people miss: the second disc is Cole’s bid for a spot in the ‘grown-ass man rap canon,’ alongside legends like Nas and Jay-Z. But will this truly be his last album? Only time will tell.
Switching gears, Him Horrison (aka Deedee of MSPAINT) delivers Starting Not To Hurt, a dreamy, tender solo debut that’s a far cry from their synth-punk roots. This album is a lush collage of psychedelic pop, folk, and shoegaze, revealing a side of Deedee that’s both personal and sentimental. Controversial take: this might just be Deedee’s most impressive work yet, showcasing a songwriting range that even MSPAINT fans haven’t fully seen.
For electronic music fans, Joshua Chuquimia Crampton’s Anata is a must-listen. Following last year’s acclaimed Los Thuthanaka album, Joshua blends traditional Andean music with modern psychedelia, creating a hypnotic and deeply spiritual experience. But here’s the question: is this album a masterpiece of cultural fusion, or does it risk oversimplifying Andean traditions? Let’s discuss.
Tha God Fahim keeps the momentum going with Tha Dark Shogunn Saga, Vol. 3 (Nature Sounds). Clocking in at just over 20 minutes, this boom bap revivalist’s latest project is a rapid-fire showcase of his lyrical prowess. Controversial interpretation: Fahim’s productivity is unmatched, but does this album feel rushed, or is it a testament to his consistency?
Dirt Buyer’s Dirt Buyer III (Bayonet) marks a new chapter for Joe Sutkowski. This album is his most polished and lyrically dark to date, tackling themes of personal struggle and resilience. Thought-provoking question: Is this album a cathartic release, or does its darkness overshadow its musical growth?
Finally, Mayhem’s Liturgy of Death (Century Media) proves that after 30+ years, they’re still at the top of their black metal game. This album bridges their classic sound with experimental elements, delivering a sharp and dynamic listen. But here’s the debate: Is Mayhem’s longevity a testament to their innovation, or are they simply perfecting a formula that’s already been mastered?
From Ratboys’ indie-country triumph to Mayhem’s black metal mastery, this week’s releases are a testament to the diversity and depth of modern music. What’s your favorite release of the week? And which of these controversial takes do you agree—or disagree—with? Sound off in the comments!
For more reviews, check out Indie Basement, and don’t forget to tune into the latest episode of BV Weekly for all the music news you need. Plus, explore the BrooklynVegan shop for exclusive vinyl and merch—you won’t regret it.
