10 new albums streaming right now for Phoenix music fans (March 7, 2025)

How long does it take to fall in love? Because we've been doing these "weekly album drops" for a month or so, and we certainly hope they're already part of your end-of-the-week routine.

And if they're not, that's totally cool. Sometimes love is a one-way street, and only one person is out there trying to woo the other. Experts might tell you that's a bad approach for any lasting relationship, but we're romantics, and we're happy to keep crafting you these little musical love letters.

Because even if not everyone is listening, it's still a way to show you how dedicated we are to music both in Phoenix and beyond. That we're happy to scream into a massive crowd or some gaping void just to make noise for the music that really matters.

We'll see you next week — and the week after that and the week after that...

Jason Isbell, ‘Foxes In The Snow’

Folks are already calling "Foxes in the Snow" Jason Isbell's "divorce album." Sure, he readily addresses his split with singer Amanda Shires across the 11-track affair, but it goes deeper still. This is not only Isbell's first solo acoustic album, but his first without the 400 Unit band since 2007. As such, we're getting Isbell in an especially intimate manner, and we get to hear what he can do with little more than his voice and a guitar. Based on standout tracks like the disarming "Bury Me," or the playful, mischievous title track, Isbell has found a new kind of magic to play with and new emotional heights (or depths?) to explore. We're not promoting divorce per se, but maybe it can have its upsides?

Bob Mould, ‘Here We Go Crazy’

At this point in his storied indie rock career, Bob Mould doesn't have much left to prove. But for his first album in five years, he comes off more angry, honest and generally undeniable than he has in quite some time. The title track is quintessential Mould, as he cuts to the core of modern existence with a trademark blend of infectious hooks and slightly jagged wit. "Neanderthal," meanwhile, proves that Mould still has that punk vigor in him, and that energy only drives him
to make bigger, more important music. So, then, what's this record's big statement? Perhaps that life is hard, and you better sing your damn head off if you want to mean anything at all.

Neil Young, ‘Oceanside Countryside’

With a career spanning some 50-plus years, it's inevitable that Neil Young would have an unreleased album or two in his vaults. Fortunately for us, he’s spent several years unearthing these "artifacts," bringing to light the music we haven't heard across Young's many "eras" and musical interests. In the case of "Oceanside Countryside," Young recorded the 10-song LP between May and December 1977, which is right around when he finished and/or released "American Stars 'n Bars" (with Crazy Horse) and "Comes a Time." So, don't expect anything too revolutionary — unless you already think mid-‘70s Young is on a different level (you absolutely should think that already). Mostly, it's just more of what we love from Young as his discography grows ever more compelling and robust.

Lady Gaga, ‘Mayhem’

Telling you all about a new Lady Gaga album is like telling you about this neat little thing called gravity. But even if Gaga remains one of the most inventive and engaging pop stars of the last 20 years, "Mayhem" is still an important milestone. For one, there's some real range here, with everything from electro-punk ("Disease") to a Top 40 duet (the Bruno Mars-featuring "Die with a Smile"). But mostly it's that this record captures the ugly side of pop stardom and success, and Gaga deals with loss and self doubt through her art with a passion and intensity that’s matched by few others. This record is another side of the ever complicated Gaga, and the more we hear, the more we fall in love with our Mother Monster.

Vundabar, ‘Surgery and Pleasure’

With their sixth album, Boston's Vundabar decided to grow up. Not that they're signing up for health insurance or anything — rather, the 11-track LP is a "more mature synthesis of all the stuff we’ve explored before," according to frontman Brandon Hagen. "Spades," for instance, remains as weird and jangly as ever, and yet there's a throughline that heightens all that racket. Meanwhile, "I Got Cracked" sees them playing around with Devo-esque '80s new wave in a way that feels both lively and also more sturdy and robust than other Vundabar singles. Sure, no one really wants to grow up, but if it sounded like this, maybe we'd all tackle maturity with way more love and gusto.

Tobacco City, ‘Horses’

On the one hand, Tobacco City aren't exactly doing anything new thematically speaking. Their second LP is described as a "nostalgic journey through the haze of youth, where time feels suspended and plans are nonexistent." But delve into the songs themselves, and you start to see how their brand of nostalgia differs. "Autumn," for instance, adds a weird sheen to these solemn daydreams of the past, and that's a nice bit of texture to work around in your head. Meanwhile, "Bougainvillea" blurs the line between '70s dad rock and '90s indie rock in a way that's a proper head rush. Sure, nostalgia is all the craze these days, but Tobacco City remind us the experience can be just as wild and intense as it is downright romantic.

Divorce, ‘Drive To Goldenhammer’

Despite forming in 2021 (amid COVID, or generally a bad time for bands), Divorce have already flourished. The band has played with the likes of The Vaccines and Bombay Bicycle Club and even headlined shows at London’s Islington Academy Hall. But their best accomplishment thus far is the 12-track "Drive to Goldenhammer," where they show off their trademark "genre-shifting” in a dazzling display. So, whether you like glitch-folk ("Antarctica"), a more anthemic Kate Bush ("All My Freaks"), bizarre dance-pop ("Hangman") or sensual Talking Heads ("Pill"), the band pretty much have something for everyone. Now listen up good before they shift in front of our very eyes and ears yet again.

PETALPUSHER, ‘For Who We Used To Be’

If you take just one look at Phoenix's PETALPUSHER, you might see a mostly average hardcore band (burly dudes with sleeves of tattoos and healthy beards). And, to an extent, that energy defines their six-track "For Who We Used To Be" project, including the snarling "I Believe." But across the other tracks, there's something else brewing. It's the low-key technical heft of "Commitment." Or, the depth and personality displayed in "Wasted Time." Even the extreme crispness and awareness informing "Death of Punk." They're not reinventing the hardcore wheel, but PETALPUSHER are finding ways to feel fresh and still connect with a grand local tradition. Just give them their flowers, will ya?

Spiritbox, ‘Tsunami Sea’

With 2021's "Eternal Blue," Canada's Spiritbox sought to fully display their metal prowess. Only COVID threw some wrenches into the works, and various delays and other issues really stymied what should have been a much bigger release. But they're not taking any of that lying down, and this week they've roared back with "Tsunami Sea." So, what can we expect from a more direct dose of Spiritbox? Why the textured and beguiling "Perfect Soul"; the unrelenting might of "Soft Spine"; the experimental delight of "No Loss, No Love"; and the wildly intriguing "Crystal Roses." It's good to hear the band do their thing outside of any context, and to know they're ready to strike hard and fast at adventurous listeners.

Indigo Waves, ‘Mirror’

Indigo Waves describe themselves as an "indie dream pop / new wave post punk band." If a lot of that seems like genre bingo to you, be assured that the Salt Lake City have bigger goals in mind than a really interesting SEO strategy. In press for the LP, singer Austin Oestreich said it's about "questioning whether we’re moving forward or just reliving the past in different ways." To accomplish that goal, the band let loose some proper jams, like the uber jangly "Smith & Weston,” the shimmery “Vision" and the sentimental and moving "Hillside.” For Indigo Waves, genre is just another tool to bring folks in, dazzle the ear and maybe show us all some fresh truths. Drink this hearty blend up ASAP.