There’s so much music coming out all the time that it’s hard to keep track. On those days when the influx of new tracks is particularly overwhelming, we sift through the noise to bring you a curated list of the most interesting new releases (the best of which will be added to our Best New Songs playlist). Below, check out our track roundup for Tuesday, July 21, 2026.
Greg Freeman – ‘Indu’
A little over a year since his last album, Burnover, Greg Freeman has announced a double LP. All Set the Bone, produced by John Congleton, is slated to arrive on October 2 via Transgressive/Canvasback. It features longtime collaborators Garrett Linck and Sam Atallah, as well as new ones including Florry’s Joey Sullivan, The Rockin Worms’ Carney Hemler, Anna McClellan, and Trinity Ace. Freeman describes the LP as a “reflection of a lot of change, and a lot of tension,” and you can hear a bit of that on the striking, straightforward lead single ‘Indu’.
Sylvan Esso – ‘Concrete Glen’
Sylvan Esson have announced a new album, Ow ∞, with the new single ‘Concrete Glen’. The groovy track, which follows the hard-hitting ‘Hot Slob’, weaves in an instantly mesmerizing sample of Sigur Rós’ ‘Svefn-g-englar’.
Boy Harsher – ‘Hard Beat’
Boy Harsher have signed to Atlantic and announced their first album for the label, GET MEAN, out September 18. It’s led by the aptly titled ‘Hard Beat’, which arrives with a self-directed video. The duo’s Jae Matthews describes the record as “what I had to give during the most extreme period of my life.”
Chelsea Wolfe – ‘Cold’
Chelsea Wolfe’s just-announced album is called The Dark, and her new single is titled ‘Cold’. The singer-songwriter isn’t exactly upending expectations, but she doesn’t have to. After all, no one captures this mood quite like her.
Lambchop – ‘The New World Wave’
The latest single from Lambchop’s new album, Punching the Clown, is the kind you have to lean into, especially for its storytelling. In the span of five minutes, Kurt Wagner relays an entire family saga set during the Great Depression. It follows ‘Weakened’ and ‘Stella’.
John Glacier – ‘Bond Girl’
John Glacier has dropped a sleek new single, ‘Bond Girl’, which was co-produced with Take a Daytrip. It comes paired with a music video directed by Léa Ceheivi.
Duffy x Uhlmann – ‘Public Life’
Los Angeles guitarists and improvisors Meg Duffy (Hand Habits) and Gregory Uhlmann (SML, Extra Stars) will follow up their 2023 collaborative debut, Doubles, with a new LP called Hot Creek. It’s out August 14 via Orindal Records, and the subtly gorgeous ‘Public Life’ is out now.
Gloria de Oliveira – ‘Fading Faces’
German-Brazilian musician and visual artist Gloria de Oliveira has announced a new LP, The Lying Swans, arriving October 30 via La Double Vie. It’s led by the ethereal single ‘Fading Faces’, which finds her singing, “I numb my hurt one last time.” In a statement, de Oliveira said: “This is not only the first single, but also the very first piece of music I wrote when I started working on the album. It was also the first song that Randall Dunn and I later recorded together in Iceland. In many ways, it’s the reason the album even exists – ‘Fading Faces’ required me to allow myself this degree of vulnerability that permeates The Lying Swans. Musically, it still follows the tradition of my previous albums to some extent, while simultaneously drawing on new modes of expression.”
Grace Cummings – ‘Fake’
Australian singer-songwriter Grace Cummings has shared ‘Fake’, a haunting piano ballad that serves as the final preview of her upcoming album Bloodhorse!. “Sometimes, being called a ‘good girl’ is a form of abuse,” she said. “And you internalise it. You spend your whole life acting out this role, even though it makes you feel sick. Even though you know it is a form of control. I hate those words, ‘good girl’. So in this song, I just choke on the first letter. The second half of the song is about the other person’s remorse.”
“This song was really difficult for me to write, to perform, to confess,” Cummings added. “But, the themes in ‘FAKE’ are painfully ordinary for so many women. Musically, I wanted this to begin up in the clouds, then drag you right underneath the water, viscerally. Then, you crawl out into a little tunnel. Dark. Maybe you’re falling through the rabbit hole, the vortex…you fly, you drown, and then you run.”
Self Defense Family – ‘Reclusion’
Self Defense Family, the ever-evolving project helmed by Drug Church vocalist Patrick Kindlon, is back. Their first new music in six years is the gruelling ‘Reclusion’, about which Kindlon said: “I’ve been trying to write lyrics about family and animals instead of songs about being atomized and thinking everyone is crazy. But it turns out even my love songs are about being atomized and thinking everyone is crazy. Call it a creative throughline, I guess.”
Alice Barlow – ‘Behind’
On the heels of an Australian tour supporting Hana Stretton and Cate Le Bon, Alice Barlow has unveiled a poignant, hypnotic track called ‘Behind’. It’s “about trying to escape yourself, the impulse to go anywhere to leave behind the difficult stuff, but the reality that those feelings will persist wherever you go, until you face them,” according to the South London songwriter/producer. Dilip Harris (Mica Levi, Sons of Kemet, King Krule) contributed additional production.
Living Weapon – ‘Interspecies Quality Assessment’
Living Weapon have previewed their upcoming LP Death in the Family with a galvanizing new single, ‘Interspecies Quality Assessment’. It’s accompanied by a video filmed and produced by the band, Eric Richter, and Anthony Didio.
Katherine Perkins – ‘Phoenix’
Maine-based singer-songwriter Katherine Perkins has announced a new record, Helpless Love, out September 25. Today, you can catch a taste of its lush Americana via the new single ‘Phoenix’. Explaining the origins of the track, Perkins said: “I imagined, not entirely unseriously, that on election day we’d have all of history’s good witches behind us, a steady presence from the spirit realm to help us topple the evil forces of this one. Of course it’s clear to me in retrospect that I wasn’t exactly ‘well’ in that stretch –– who among us was? But in the aftermath, having been abandoned by the witches that I’d only recently willed into existence in my mind, I found myself at my piano in a new cold clear reality; ‘Phoenix’ poured itself out into the desolation I was feeling. It was the closest brush I ever had with finding – and losing – religion.”
