J. Cole has surprise-released a new project called Might Delete Later. The 12-track collection boats guest spots from Gucci Mane, Cam’ron, Bas, Central Cee, Ari Lennox, and Young Dro. Stream it below.
The record’s closing track, ‘7 Minute Drill’, appears to clap back at Kendrick Lamar’s recent guest verse on Future and Metro Boomin’s ‘Like That’, which saw him taking shots at Drake and J. Cole. “I got a phone call, they say that somebody dissing/ You want some attention, it come with extensions,” Cole raps. “He still doing shows but fell off like The Simpsons/ Your first shit was classic, your last shit was tragic/ Your second shit put n-s to sleep but they gassed it/ Your third shit was massive and that was your prime/ I was trailing right behind and I just now hit mine.”
Might Delete Later marks Cole’s first full-length release since 2021’s The Off Season. Earlier this year, the Fayetteville rapper confirmed he’s finishing up work on his next album The Fall Off.
Vampire Weekend are back with Only God Was Above Us, their first album in five years. The Father of the Bride follow-up was co-produced with Ariel Rechtshaid and recorded in New York, Los Angeles, London, and Tokyo. It includes the previously released singles ‘Capricorn’, ‘Gen X Cops’, ‘Classical’, and ‘Mary Boone’. “With every album we have to push in two directions at once,” Ezra Koenig told The New York Times. “Sometimes that means we have to be poppier and weirder. Maybe with this record, it’s about both pushing into true maturity, in terms of worldview and attitude, but also pushing back further into playfulness. There’s a youthful amateurishness along with some of our most ambitious swings ever.” Read our review of Only God Was Above Us.
Matthew Houck has returned with his first Phosphorescent album in five years, Revelator. His debut for Verve/Decca Records, the follow-up to 2018’s C’est la Vie was previewed by the singles ‘Impossible House’ and the title track. Jack Lawrence of the Raconteurs, Jim White of Dirty Three, and Houck’s partner, singer-songwriter and pianist Jo Schornikow, contributed to the LP, which Houck recorded at his Nashville studio. Schornikow wrote an original song for the record, ‘The World Is Ending’, which is the first Phosphorescent track to be written by someone other than Houck.
The Black Keys have released a new album called Ohio Players. It marks the band’s first LP since 2022’s Dropout Boogie and boasts guest appearances from Noel Gallagher and Beck. “We’d never worked harder to make a record,” Dan Auerbach said in press materials. “It’s never taken us this long to make an album. We took our time and did it right.” Patrick Carney added: “What we wanted to accomplish with this record was make something that was fun. And something that most bands 20 years into their career don’t make, which is an approachable, fun record that is also cool.”
Mount Kimbie have issued their first album in nearly seven years, The Sunset Violent, following up 2017’s Love What Survives. Out now via Warp, the 9-song project includes the advance tracks ‘Fishbrain’, ‘Dumb Guitar’, and ‘Shipwreck’, as well as two King Krule collabs, ‘Empty and Silent’ and ‘Boxing’. It was written in California’s Yucca Valley and completed in London. Mount Kimbie is now a four-piece, with Andrea Balency-Béarn and Marc Pell joining the duo of Kai Campos and Dom Maker.
Tessa Murray and Greg Hughes have put out the sixth Still Corners album, Dream Talk. The follow-up to 2021’s The Last Exit was recorded across three studios in the south of France, East Sussex, and Woodstock, New York. “I had tapped into something new and the way it came out was quite hypnotic, like a transitional state between wakefulness and sleep,” Murray explained in a statement. The duo shared ‘The Dream’ and ‘Secret World’ ahead of the record’s release.
Leeds-based art-rock outfit Drahla have followed up their 2019 debut Useless Coordinates with angeltape, out now via Captured Tracks. Vocalist and guitarist Luciel Brown, guitarist Ewan Barr, bassist Rob Riggs, and drummer Mike Ainsley recorded the new album with Matthew Benn and Jamie Lockhart in 2023. “There was an uncertainty and anxiety in not knowing how to rekindle what we had, and what we did have just didn’t exist in the same format,” Brown reflected. “I feel this is apparent in the music; the constant changes, opposing ideas and structures, the overall energy and drive of the songs. I think there’s also the sense of reconnection, encouragement and freedom, too. There’s excitement borne from us finding something together again.” The singles ‘Grief in Phantasia’, ‘Default Parody’, and ‘Second Rhythm’ preceded the LP.
Fabiana Palladino’s self-titled debut album is out now via Paul Institute and XL Recordings. The 10-track collection features contributions from Jai Paul, Rob Moose, drummer Steve Ferrone, and Palladino’s father and brother, bassists Pino and Rocco Palladino. “A central theme of the album is aloneness,” Palladino explained. “Whether it’s a song where ’m searching for connection with someone else, or trying to embrace the aloneness, it tends to come back to me, who I am when I’m alone, what I feel when I really look inwards. I’d say it’s a pretty introspective record overall. The songs are often about trying to go deeper into yourself, exploring your true feelings and how they then relate to and affect your relationships with others.”
Bnny has unveiled One Million Love Songs, the follow-up to 2021’s Everything, via Fire Talk. Bandleader Jessica Viscius produced the LP, which was recorded at Drop of Sun Studios in Asheville with Alex Farrar. “I wanted to make songs that are exciting to play – songs that make me feel happy,” Viscius said in a press release. “This album is about love after loss, getting older, and just trying to have fun with a broken heart.” A series of singles, including ‘Something Blue’, ‘Changes’, ‘Crazy, Baby’, and ‘Good Stuff’, arrived ahead of the release.
Khruangbin have dropped a new album, A la Sala, which is Spanish for “To the Room,” via Dead Oceans. Marking their first proper LP since 2020’s Mordechai, the record was promoted with the singles ‘May Ninth’, ‘A Love International’, and ‘Pon Pón’. According to a press release, the album represents an “exercise in returning” for the trio of bassist Laura Lee, drummer Donald Johnson, Jr., and guitarist Mark Speer, who recorded the LP with no outside collaborators besides engineer Steve Christensen.
The Libertines, All Quiet on the Eastern Esplanade
The Libertines are back with their first new album in over eight years. All Quiet on the Eastern Esplanade, the follow-up to Anthems for Doomed Youth, was recorded with producer Dimitri Tikovoï, and all four band members share songwriting credit on every song. “Our first record was born out of panic, and disbelief that we were actually allowed to be in a studio; the second was born of total strife and misery; the third was born of complexity; this one feels like we were all actually in the same place, at the same speed, and we really connected,” Carl Barat explained.
Dana Gavanski has released her new LP, Late Slap, via Full Time Hobby.“The album holds together the seemingly disparate aspects of my character that I have sometimes tried to repress,” Gavanski said of the follow-up to When It Comes, which was produced by Tunng’s Mike Lindsay. “With this album I’m letting them into the room, celebrating them for all their strangeness – a strangeness which I think we all, on some level, share.” She added, “I knew Mike could help me find the range of sound I was looking for; he has an amazing attention to sonic detail and we’ve worked well together on previous records.”
Lillie West, if i were a real man i would be able to break the neck of a suffering bird
if i were a real man i would be able to break the neck of a suffering bird is the first project Lala Lala’s Lillie West has released under her own name. The instrumental LP was written and recorded during a residency at the LungA Land program in Seyðisfjörður, Iceland, where she engaged in activities such as “making knives, backpacking in a blizzard, learning about Icelandic herbs, geology, history, having a lymegrass themed dinner party, sleeping outside.” West explained, “I had never considered making an instrumental album, nor was it my intention while taking these field recordings. Thus the process felt very natural, organic, almost private. I hope that the music is able to invoke the rhythm, sway, and connection I felt with the landscape in Seyðisfjörður, as well as my ongoing attempt to communicate with the divine.”
Other albums out today:
Conan Gray, FOUND HEAVEN; Lizzy McAlpine, Older; Jane Weaver, Love in Constant Spectacle; Vegyn, The Road to Hell Is Paved With Good Intentions; The KVB, Tremors; Grace Cummings, Ramona; Gustaf, Package Pt. 2; Bob Vylan, Humble As the Sun; Sinkane, We Belong; RiTchie, Triple Digits; Adam Wiltzie, Eleven Fugues for Sodium Pentothal; The Bygones, The Bygones; Joseph Shabason, Nicholas Krgovich, and M. Sage, Shabason, Krgovich, Sage; Caleb Landry Jones, Hey Gary, Hey Dawn; Maxband, Maxband on Ice; Katie Pruitt, Mantras; Vessel, Wrapped in Cellophane; Feeder, Black/Red; Marcus King, Mood Swings; Beatenberg, The Great Fire of Beatenberg; Lo Moon, I Wish You Way More Than Luck; Flung, All Heartbeat; Cuffed Up, All You Got; Motel Breakfast, I Promise I’m Having Fun; Olin Janusz, Please Leave Quietly; Annie-Claude Deschênes, LES MANIÈRES DE TABLE; FYEAR, FYEAR; Guests, I wish I was special; Coral Morphologic and Nick León, Projections of a Coral City.
Sis has announced a new album called Vibhuti. Due out June 21 via Native Cat, it includes the previously released single ‘Center of the Heart’, and Jenny Mason has today shared a new track, ‘Mother’s Grace’. Check it out below.
“This song started out very quiet in terms of sonic elements, which mirrored my intention — I wanted to write about the concept of asking for the grace of the Divine Mother in my life,” Mason explained in a statement. “More specifically, I was finding new inroads with my speech, to take a pause and ask for help before I said something in a difficult situation. Or as Sri Aurobindo writes, ‘When I speak, the reason says, This will I say; but God takes the word out of my mouth and the lips say something else at which reason trembles.’ Then as the percussive layers were built, I felt it was going more towards a joyful, revival kind of sound that was mirroring the building of joy and strength in my own life at that time.”
Vibhuti draws inspiration from the works of 20th century Indian mystic Sri Aurobindo and his partner, the Mother. It features longtime collaborators Brijean and Doug Stuart on percussion, bass and production, and Will Miller of Resavoir on trumpet and Devendra Banhart on electric guitar.
1. Cave of Plenty
2. Mother’s Grace
3. Bow To Your Wilderness
4. Splendor
5. Jugaspa
6. Pregnant in Bhutan
7. Center of the Heart
8. Rose Gold Shoes
9. Mystic Spider
10. Stargate Road
Orville Peck has teamed up with Willie Nelson for a cover of Ned Sublette’s 1981 song ‘Cowboys Are Frequently Secretly Fond of Each Other’. It marks Peck’s first release since signing with Warner Records and will appear on an upcoming duets collection called Stampede. Check it out via the Ben Prince-directed video below.
Peck’s last LP was 2022’s Bronco. Nelson’s 75th album, The Border, is set for release on May 31.
Doja Cat has released the deluxe edition of her fourth album, Scarlet, which came out last September. It features seven new tracks: ‘Piss’, ‘Urrrge!!!!!!!!!!’ with A$AP Rocky, ‘Okloser’, ‘Disrespectful’, ‘Masc’ featuring Teezo Touchdown, ‘Headhigh’, and ‘Acknowledge Me’. ‘MASC’ also comes with a music video directed and shot in Los Angeles by Doja Cat and Jamal Peters. Take a listen below.
Chappell Roan has released a new song called ‘Good Luck, Babe!’. It’s her first new music since her 2023 debut The Rise and Fall of a Midwest Princess and marks the beginning of a “new chapter,” according to Roan, who said the song is about “about wishing good luck to someone who is denying fate.” Check out a lyric video for it below.
The dance between cannabis and music spans decades, creating unique experiences that resonate deeply with those who partake. This exploration looks at the nuanced relationship between THC, the principal psychoactive component of cannabis, and the auditory delight of music.
The Science and Personal Echoes
THC’s Interplay with the Endocannabinoid System and Brain Responses
At the core of this intriguing interplay is our body’s endocannabinoid system (ECS), a complex network ensuring internal balance. THC’s interaction with this system, especially the CB1 receptors in the brain, might trigger a series of notable effects. The potential for altered perception stands out, with THC possibly transforming sensory experiences to make sounds more vivid and immersive. Moreover, the mood-elevating properties of THC sometimes deepen our emotional connection to music, while its influence on time perception may allow for a prolonged, more engrossing musical engagement.
Diving deeper, research points to THC’s impact on brain regions critical for sound processing and music appreciation. This influence could lead to an increased sensitivity to musical details and a heightened sense of pleasure derived from music, sometimes manifesting as “music-induced chills.” Yet, the complexity of these interactions underscores the need for further research to unravel the full scope of THC’s effect on our musical experiences.
Beyond scientific studies, personal anecdotes from musicians and listeners alike paint a vivid picture of the enhanced sensory journey facilitated by music and THC. Reports often highlight an amplified auditory experience where music’s subtleties become more pronounced, leading to a deeper emotional engagement with the soundscape.
The Creative Symbiosis: Artists, Strains, and Soundscapes
The history of cannabis and creativity is rich, with legends like Bob Marley and Jimi Hendrix weaving cannabis into their musical narratives. This tradition continues today, suggesting an enduring bond between artistic expression and THC.
The interplay between specific cannabis strains and musical genres adds another layer of complexity to this relationship. Sativa strains, known for their uplifting effects, may complement creative genres like jazz or psychedelic rock, while the calming nature of indica strains seems to align with more mellow sounds, such as blues or soul music. Hybrid strains, blending sativas and indicas, offer a versatile auditory experience adaptable to various musical styles.
Legal Considerations and Enhancing the Musical Experience
Music Venues and Cannabis Regulations
The legal context of cannabis use, particularly at public music events, presents a maze of challenges. Variations in local laws necessitate a keen awareness of the rules governing public consumption, age restrictions, and the sale of cannabis at music venues.
Recommendations for a Resonant Experience
Crafting a THC-friendly playlist can set the tone for a profound musical journey. High-quality audio equipment can further enhance this experience, making every note resonate more deeply. Engaging with the music mindfully and exploring new artists or genres can also enrich the listening experience. The choice of cannabis strain, whether sativa for its creative spark or indica for relaxation, can tailor the auditory adventure to one’s current mood or desired ambiance, complementing the experience of sipping a THC-infused drink, whether in a can or a crafted cocktail at home.
Experiencing live music under the influence of THC can elevate the concert-going experience, with the communal energy and live sound intensifying the effects of THC. Sharing these moments with friends can turn the experience into a collective journey, deepening the bond over shared musical and sensory explorations, enhanced by the communal enjoyment of THC-infused beverages, whether commercially produced or concocted at home.
In essence, the confluence of THC and music opens up a realm of heightened auditory experiences, offering a unique lens through which to engage with and appreciate music. While personal experiences with this synergy may vary, the overarching narrative points towards a transformative and enriching journey through the world of sound, guided by the subtle influence of THC, whether enjoyed in a can or in a homemade infused cocktail.
Young Jesus has shared a new track, ‘Moonlight’, from his forthcoming album The Fool. Like lead single ‘Brenda & Diane’, it’s accompanied by a non-album song, this one called ‘Bully (live in Esmont, VA)’. Take a listen below.
Discussing ‘Moonlight’, John Rossiter said:
When I was 20 I started writing about these characters, David and Eloise. There’s a whole Young Jesus album from about 15 years ago about them. Then they left my life and I forgot about them. Or maybe I tried to forget, to move on from them.
They came back on this record– a lot of things wanted to come through that I didn’t expect on this record. Lappin recorded this one, with guitar and voice. We built some sounds around it, but it’s guided by that connection. All these songs started with me sitting down with a friend, showing them the tune on guitar or piano and singing them these stories. I played bass on this one, rare for me, but I’m glad Lappin pushed me to try it.
Of ‘Bully (live in Esmont, VA)’, he added:
Dawood, Chris, and I were driving through Virginia to play a show on our friends farm. It was cold and Jay had dug out a few fire pits. The folks living in the house made a stew from roadkill and salad and sides for everyone. They fixed my broken glasses with a hot glue gun.
On that tour, I’d sing bully over a cassette of the piano loop playing out of my mom’s old tape player. I got up to sing and it was too cold up on the deck, so I went by the fire and sang with everyone sitting in a circle chatting. Dawood recorded it with his phone and that’s the tune.
Kamasi Washington has released a new song, ‘Dream State’, featuring André 3000 on flute. It’s lifted from his new album, Fearless Movement, which also includes contributions from Thundercat, Terrace Martin, Patrice Quinn, vocalists George Clinton, BJ the Chicago Kid, and D Smoke, and others. Listen to ‘Dream State’ below.
“When you receive a text from a wind friend something beautiful usually transpires,” André 3000 shared in a statement. “The day Kamasi invited me to a session for Fearless Movement I was so geeked and honored. Now, every time we get together something interesting happens. We first played during a recording session for New Blue Sun and it’s been fruitful ever since.”
“‘Dream State’ is a celebration of life and the opportunity it gives us to explore new possibilities,” Washington added. “We created this song together instantaneously as we improvised off the music we made in the moment. It was such an honor to work on this song with one of my heroes, the great André 3000. And what an amazing experience André 3000, Brandon Coleman, Tony Austin, Mono/Poly and I had gliding freely through this world of sound not knowing where we would end up, but joyful in the journey itself.”
Fearless Movement is slated for released on May 3 via Young. It was led by the closing track ‘Prologue’.
Vampire Weekend are back with 
Matthew Houck has returned with his first Phosphorescent album in five years, 
The Black Keys have released a new album called 
Mount Kimbie have issued their first album in nearly seven years, 
Tessa Murray and Greg Hughes have put out the sixth Still Corners album, Dream Talk. The follow-up to 2021’s The Last Exit was recorded across three studios in the south of France, East Sussex, and Woodstock, New York. “I had tapped into something new and the way it came out was quite hypnotic, like a transitional state between wakefulness and sleep,” Murray explained in a statement. The duo shared ‘The Dream’ and ‘Secret World’ ahead of the record’s release.
Leeds-based art-rock outfit 
Fabiana Palladino’s 
Bnny
Khruangbin have dropped a new album, 
The Libertines are back with their first new album in over eight years. 
Dana Gavanski
if i were a real man i would be able to break the neck of a suffering bird is the first project Lala Lala’s Lillie West has released under her own name. The instrumental LP was written and recorded during a residency at the LungA Land program in Seyðisfjörður, Iceland, where she engaged in activities such as “making knives, backpacking in a blizzard, learning about Icelandic herbs, geology, history, having a lymegrass themed dinner party, sleeping outside.” West explained, “I had never considered making an instrumental album, nor was it my intention while taking these field recordings. Thus the process felt very natural, organic, almost private. I hope that the music is able to invoke the rhythm, sway, and connection I felt with the landscape in Seyðisfjörður, as well as my ongoing attempt to communicate with the divine.”
