10 new albums streaming right now for Phoenix music fans (Feb. 14, 2025)

Another week, another set of new albums to stream. Our hope with this regular feature is that everyone reading this finds a new record to love or even one intended to waste a few measly hours.

At the same time, though, there's something here for us: the more we assemble these lists, the more certain threads begin to emerge. In the case of this week's offerings, which range from operatic metal and '60s throwback garage to a Chicago-based band that's undefinable, it's that things are strange out there. With more artists tapping into these socio-political happenings, as well as general existential zaniness, some truly great art is coming to the surface.

We will see y'all next week for even more weirdness and wonder.

Bartees Strange, ‘Horror’

When Bartees Strange made his name with 2022's excellent "Farm to Table," the D.C.-based singer generated a certain image for himself. But with the 12-track "Horror," Strange is switching things up to fully emphasize a singular fixation: fear. Press for the LP describes how fear was part of Strange's upbringing, and how as a "young, queer [and] black person in rural America, that terror can be visceral." Be it the massively cathartic "Sober," or the infectious "Backseat Banton," Strange uses fear to become more thoughtful, forceful and downright compelling as a genre-spanning chronicler of human emotions both big and small. Don't be afraid, though, as it may be his finest offering to date.

Art d'Ecco, ‘Serene Demon’

Sometimes on this side of the fence, you have an album pitched to you for weeks or months on end. And in the case of British Columbia's Art d'Ecco, the 10-track "Serene Demon" is actually worthy of such blatant over-emailing. Tracks like the Warren Zevon-esque "True Believer" and the title track (like a lost, extra peculiar Elton John ballad) cast d'Ecco as a throwback talent of immense heart, wit and dark wizardry. The record is weird but wholesome, complicated but easily digestible, and it's mostly indicative of a truly rising talent. Per your last email, this whole LP kicks major butt.

Lacuna Coil, ‘Sleepless Empire’

If you're Italy's own Lacuna Coil, you don't have to reinvent the wheel if you're already nine albums into a beloved career. However, that's exactly what the goth metal legends have done, and the 11-track "Sleepless Empire" is a "modern twist to Lacuna Coil’s signature sound with heavy metalcore riffs and catchy, epic choruses." What's that mean for the album proper? Well, "Oxygen" smashes even harder than some other, more recent Lacuna Coil stuff. And "Gravity" balances snarling intensity with airy and anthemic undertones. The songs are familiar enough, but with just a little something different on the back end. Either way, we're totally into this Lacuna Coil "renaissance."

MALLS, ‘Tunes For The Old Heads’

There's not a ton of available info on Phoenix's own MALLS. If you peep their Bandcamp page, you'll see a banner starring a young, seemingly untested band that may or may not have a thing for animal masks. However, just spin the four tracks of "Tunes For The Old Heads," and you'll know everything you need to posthaste. "Ode To Envy/The 60's Wall of Sound" is just that: a trippy, doubly appealing homage to '60s garage pop glory. Meanwhile, "Trying All The Time" adds some trip-hop oomph to their throwback stylings. The end result sees these young rockers perfectly channeling vintage sounds, and doing so in a way that shows an earnest commitment to repurposing these vibes and ideas into something refreshingly new. How's that for a band's life story?

Manic Street Preachers, ‘Critical Thinking’

After a near-40-year career, Manic Street Preachers don't exactly have lofty goals for their 15th studio album, "Critical Thinking." They'd mentioned during a recent U.K. gig about trying to "make chapter 22 or chapter 24 in our book interesting." So, have they at least hit that rather modest bar or metric? "Decline & Fall" plays like standard MSP, but there's just more joy and force that abounds this track. "Hiding in Plain Sight" feels a little hokey in its grandiosity, but the band make it work regardless. And "People Ruin Paintings" is sweet, breezy and totally poignant. Let's call it more than interesting and also say it's damn solid work for a band this far into things.

Mereba, ‘The Breeze Grew a Fire’

With "The Breeze Grew a Fire," singer-rapper-producer Mereba tackles the hard work of introspection. Across the 13-track LP, she "rediscovers space for her truest self and vows to remain authentic." With "Counterfeit," Mereba leans into nostalgia to understand her wants and needs. Then, on "Phone Me," she declares (in gorgeous tones, no less) a desire for sincerity and honesty. To know Mereba is to hear this album in its fullest, and she paints a vivid portrait of this warm, thoughtful and sagely person with every new track. Mereba is clearly a compelling talent worthy of ample facetime.

Mallrat, ‘Light Hit My Face Like a Straight Right’

As she tells it, Mallrat chose "Light Hit My Face Like a Straight Right" for her album title because of just how much light is a central theme to this 12-track LP. It's in the sturdy-meets-shimmery production of the record-defining track "Pavement." It's the way "Hocus Pocus" explores ideas of positivity and what it means to be properly uplifted. And you can hear it in the gorgeous tones of "Horses." Heck, there's even a song simply called "Ray of Light." The album's theme isn't just a gimmick; it's about showing every aspect of Mallrat's art and letting the world bask in that wonder for a bit. If you can't see the light-based magic here, maybe open up your eyeballs just a couple more inches.

Alessia Cara, ‘Love & Hyperbole’

You may recognize Canada's Alessia Cara from her 2015 sleeper hit "Here." After riding along steadily enough over the last decade, though, her fourth album, "Love & Hyperbole," is something of a wake up call. On "Go Outside," Cara tells herself, "Lonely in L.A./I'm such a cliche" after spending too much time in bed post-breakup. She spends more time trying to revive an old relationship in "Dead Man," but by album closer "Clearly," she's decided to "start over for the first time." It's an album as a reminder that, however many starts and stops we face in life, there's always a chance to get it right down the road. And this record feels like Cara's gotten it right in the very best way possible.

The Wombats, ‘Oh! The Ocean’

At this point, The Wombats have been plying their "sad boy" shtick for 22 years. Not too much changes between albums (sonically or emotionally), but what keeps people listening is that the band find new ways to be exciting or charming in their uber emotive ways. "Oh! The Ocean" is very much the same: "Can't Say No" at least has those totally shimmery harmonies, and "My Head Is Not My Friend" finds the same overly revealing lyrics turned into a more charming ballad. Maybe The Wombats can't ever truly grow up, but they can find new ways to show us the magic of this vital personal struggle. No one does it better at this point, and The Wombats are the Bach or Michelangelo of arrested development.

Horsegirl, ‘Phonetics On and On’

Chicago's Horsegirl would have you believe that a little cold weather can make for genuinely great art. Why else would the band spend two extra chilly weeks in 2024 recording their latest album, "Phonetics On and On," from the Windy City's own The Loft studio? The jury remains out on harsh weather's true creative capabilities, but the album does have songs like the peppy and twangy "2468," the droning-but-mesmerizing "Julie" and the extra endearing "Frontrunner." It's seemingly a record reflective of the non-weather-centric aspects of Chicago: the musical openness, the commitment to the singularly quirky and the downhome vibes to spare. Bring a sweater for this one, 'cause it's pretty cool.