Staff Picks: Best Albums of March 2026

ARIRANG works in no small part because of the artistry of RM, whose fingerprints are found in every track. Before the group’s military hiatus began in 2022, he acted as the leader of the group — their primary ear and tastemaker. Now, with BTS’ comeback album — their fifth* overall (*don’t ask, and definitely don’t try to count) — the 31-year-old has earned a word in any conversation about the great pop minds of his generation.

The vocal line — Jin, Jimin, V,  and Jung Kook — carries the choruses while RM, SUGA, and j-hope work the verses, and the interplay between the two groups is sharp. That sharpness owes something to the time apart. During the long hiatus, several members built solo careers that would have been hard to predict. Once plucked as a unit, they came back as individuals. The question for the next album is whether they can be both. — Wren Graves

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CA7RIEL & Paco have outdone themselves on FREE SPIRITS. Much of that is due to the bonkers narrative that the Argentinian duo have employed on the project; seeking to reset their psyches and free themselves from the trappings of fame and bad boy habits, they enter a wellness retreat run by Sting, release their inner child (with Jack Black), and return with an album about self love. Really, though, the story is an excuse for CA7RIEL and Paco to distill their sound to its purest pop form. FREE SPIRITS is jazzy and expressive, absurd and delightful; whether in English or Spanish, it's hard not to fall in love with their playful personas and energetic vocal performances. Two years out from their infectious Tiny Desk concert — which introduced the world to their hybrid latin pop style — CA7RIEL and Paco Amoroso have shown once again on FREE SPIRITS that they are the real deal. — P. Ragusa

Creatures of habits are, by definition, predictable. But predictability has opposite poles: steady and dependable, or stuck and monotonous. Even as she sings about the latter, Courtney Barnett manages to be more of the former on her new album. She isn't taking massive risks with the jangly indie rock she's mastered over the last decade ("I like it this way/ I like it this way," goes the "Great Advice" refrain), but production trio John Congleton, Stella Mozgawa, and Marta Salogni keep the sturdy angles feeling warm instead of redundant. Thematically, Creature of Habit is remarkably consistent, all 10 tracks addressing the positives and negatives of routine. Rather than feeling tedious, however, the honest self-criticism and self-acceptance proves comforting. Sometimes just acknowledging the wheels are spinning in place helps them gain traction. — Ben Kaye

As frontman Zach Choy tells it, Peace and Purpose, the latest from Canadian art punk collective Crack Cloud, was recorded in a basement with one SM57 microphone and "a variety of junk instruments and speakers." The resulting sound is more homegrown, scattershot, and intimate than perhaps any previous effort from the outfit, while still retaining their bubbling, mutated punk spunk. Thematically, Choy uses such a tone to exercise feelings of grief, political frustration, personal unrest, and, at times, even stupid, sardonic fun (especially on standout cut "Shut the Fuck Up"). All told, Peace and Purpose almost feels like Ram by way of The Clash, and it's just as compelling as that description makes it sound. — Jonah Krueger

Dagmar Zuniga’s debut album, in filth your mystery is kingdom / far smile peasant in yellow music, is as lushly cryptic as its title suggests. Through 14 tracks, the Nicaraguan-American musician crafts a spellbinding body of work that feels both somber and refreshing. Mainly driven by Zuniga’s unconventional vocal delivery, much of the project’s beauty lies in its simplicity. Recorded on her trusty Tascam 424 machine, the album features fragments of intimate field recordings that give it a tangible, almost physical presence. Zuniga’s raw, layered, and spellbinding sonic explorations offer a uniquely immersive listening experience. – Sun Noor

Texas-based rapper and producer Dretti Franks has been continually tinkering with his sound for over a decade. With Mackology, the independent artist arrives at his most polished stage yet. Over down-tempo, G Funk-inspired productions that sound perfect for late-night rides, Franks raps about the lifestyle that he's built for himself as an autonomous, self-sufficient, unrestrained creative. On tracks like "Microphone Mack" and "A Touch of Game," Franks spits convincingly about his ability to dazzle women with his sexual prowess. "Space Age Mackin," featuring Houston rapper Slim Guerilla and Santa Barbara MC Rok$ Cnghm, sees Franks tipping his hat to 8Ball & MJG's culturally-beloved 1995 single "Space Age Pimpin.’" — Kiana Fitzgerald

After sharing mixtapes and EPs for the last half decade, Elmiene has officially released his debut album, sounds for someone. The entire project thrives on feeling, and it's represented through evolving sounds. "Cry Against the Wind" is split in half sonically, warring between a brewing storm and an outright burst of sound. "Watch you fade out," Elmiene sings, his vocals raw around the edges. "Steal the ink and come start again/ Watched the time go/ And it ain't pretend." The only feature on the album comes on the Raphael Saadiq-assisted "Light by the Window," which somehow sounds sun-dappled and warm. sounds for someone is anchored around the Tony! Toni! Toné!-inspired "Special," a delicate track that finds Elmiene singing about sharing intimate moments without a reason. Through practice and instruction, Elmiene is being guided by the torchbearers of R&B and soul. — K. Fitzgerald

I, like thousands of others, considered leaving New York City during the pandemic, but I opted to stay for what the city could offer when life returned. I saw a future vision of the New York I had hardly begun to experience — one of music and dancing, of parties, discovery, and a melting pot of ideas. It took a few extra years, but that vision has seemingly arrived with Fcukers. They’re making the kind of music I was pining for when everything stopped. Their long-awaited debut, Ö, is not simply house music in its vanilla form, nor is it a blatant pastiche of LCD Soundsystem-style indie sleaze (sorry, The Dare). It is endlessly enjoyable, percussion-heavy dance music that often leaps out of the speakers; it sedates, energizes, and delights. It is quintessentially New York. It mimics the rhythms of the city, packed with cultural references and nods to dozens of unique eras of electronic, hip-hop, and pop. It’s both unserious and slyly moving. I’m glad I stayed. — P. Ragusa

There was an era of indie rock about 15 years ago that bursted with feeling and buzzed with optimism. Brink, the terrific debut album from 2026 artist to watch Girl Scout, takes cues from this period; though the trio doesn't exactly have that kind of Obama-era optimism, they sure as hell are bursting with feeling and ideas. Vocalist Emma Jansson has her cards on the table in pretty much every song, her seismic soprano taking center stage and shapeshifting across a variety of emotions. Their sound definitely resembles a band like Alvvays, but even their dreamiest offerings get revved up and blown out with fuzzy guitars and whirlwind drumming. Sometimes it feels like this style of indie rock is a dying phenomenon, and then you hear an album like Brink and it reminds you that genres don't die — they're just waiting for a new generation to find the right frequency. — P. Ragusa

Finally following up their wonderful 2022 effort Don't Know What You're in Until You're Out, Philly outfit Gladie are back with a brand new batch of hooky, heart-on-their-sleeve indie rock bops. Produced by DIY hero Jeff Rosenstock, the 12 tunes of No Need to Be Lonely range from overdriven rippers ("I Want That for You," "Lucky for Another") to emotive sing-alongs ("Car Alarm," "Talk Past Each Other") to melancholic cooldowns ("Fix Her," "Unfolding"). Regardless of what mode Gladie are in, though, they're always good for an earworm chorus or sticky refrain. — J. Krueger

The two best words to describe the fourth studio album from Harry Styles might be "dreamy disco," as the rhythm and bass-infused tracks draw out introspection in the listener; the fact that this works in concert with some addictive melodies is an impressive accomplishment. While there's an uneven feeling to the mix of songs, as Paolo Ragusa wrote in his review, its high points come in its emotional peaks, with standout numbers like album-opening "Aperture" and "Pop" proving sticky in the memory. "Am I in over my head?/ This could go anywhere/ I do it and do it again/ It's meant to be pop" might be lyrics from a love song, or they might be lyrics about Styles battling against the confines of genre. Either way, toes are tapping. — Liz Shannon Miller

Read the full review.

Have you ever been to the circus? Allow Haute & Freddy to welcome you into theirs, complete with acrobatic vocals, hedonistic reverie, bawdy dance breaks, and a whole lot of drama. The Los Angeles duo have employed a very specific sound for their debut album, one characterized by the over-the-top theatricality of '80s diva pop and the character-driven pomp of artists like Chappell Roan, hemlocke springs, and Lady Gaga (who, by the way, is a noted fan of Haute & Freddy). In taking cues from the art of drag and positioning themselves as outsiders — as weirdos and circus freaks — Haute & Freddy create a sense of communal catharsis, allowing the listener to feel seen and understood within a world that casts them out. And a lot like today's class of brash pop provocateurs, Haute & Freddy disregard the impulse to be tasteful and embrace being "too much" to remarkable effect. Pay attention to these two — they are pop stars of past, present, and future. — P. Ragusa

On PLAY ME, Kim Gordon picks up where she left off on her debut solo album, further expanding her sonic palette. She examines chaos of the modern world, tackling everything from the rise of artificial intelligence and technocracy to political disarray, crafting tunes that take on the absurdity of this new reality. This results in a gritty collection of songs that aim to combat the senseless noise with raw emotion and a sense of defiance. – S. Noor

Lamb of God return not just with another intense salvo of thrashing heavy metal but their most varied album to date. Randy Blythe's trademark vocal intensity shines bright as ever on Into Oblivion, and the machine gun riffs are brutal and tight. But now, there's everything from hits of strings and keyboards to sludge metal riffs to radio-ready choruses, showing a band not unwilling to challenge themselves despite being in the game for over 30 years. These 39 minutes absolutely fly by, leaving you ravenous for another spin — a true sign of a great record. — Langdon Hickman

One amongst a crowd of dominant Houston rappers, Lebra Jolie has carved out a lane of her very own by connecting her personality to her purpose. Her latest album, Better Than Yesterday, features a hungry and commanding MC who's sick of being underestimated. The standout single "F'in wit Me" is built on a healthy sample of Trillville's 2003 crunk anthem "Neva Eva"; Jolie replicates their teed-up energy with exacting clarity. Elsewhere, the rapper pays homage to her hometown heroes UGK ("From the Front") and New Orleans artist Juvenile ("Cowgirl"), through liberal samples and similar racy subject matter. Party-starters like "i8" and "Girl Math" play into internet memes, but "Don't Panic" with raunchy-rap veteran Trina has the most potential for virality. At its core, Better Than Yesterday is about elevating beyond money-making and shit-talking — though there's plenty of room for that, too. — K. Fitzgerald

"Tried to take me out my purpose, so I had to block 'em," Lisha G spits on "Block Em," the star track of the South Carolina MC's latest mixtape, Now or Never. Lisha G is squarely focused on becoming one of the best women rappers, and flat-out artists, of our time. As she works toward that goal, it's also becoming clear that Lisha G is one of few up-and-coming rappers who doesn't have to manufacture cool; it comes naturally to her. Sonically, she operates in the space between the sensory overload of hyper-pop ("Tryna Get Sum Mo," "Never Was") and the trunk-rattling gymnastics of Southern trap ("Taught You Dat," "Hello Kitty"). Lisha G knows her worth, and she's at her best when she's reinforcing her boundaries ("I Could See"), and motivating us in the process ("4 Leaf Clover"). — K. Fitzgerald

Mutiny After Midnight, the new album from Sturgill Simpson under his pseudonym Johnny Blue Skies, is neatly divided into songs about fucking and songs about how America is fucked.

Alongside backing band The Dark Clouds, the album finds Johnny Blue Skies venturing further and further from Simpson’s alt-country roots. 2024’s Passage du Desir indulged his psych-rock side, while Mutiny After Midnight is here to dance: dancing in the club, dancing between the sheets (sometimes in explicit detail), dancing on America’s grave.

The album title hints at the thread connecting these modes: as activities best done in the dark. The second Johnny Blue Skies project is about the things that keep him up at night, with an overstimulation so frantic he has to do something right fucking now. Perhaps that’s why Mutiny After Midnight feels shorter than its 45 minute runtime, even if it’s a little light on true earworms you can’t get out of your head; Simpson’s urgency is infectious. — W. Graves

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I've Got Nothing to Lose, and I'm Losing It is the long-coming debut solo album from recent CoSign honoree Morgan Nagler. With a career trajectory that saw her lend her talents to everything from film sets to DIY bands to writing sessions with artists like Gillian Welch and Phoebe Bridgers, Nagler has finally stepped back into her own spotlight via a collection of well-written indie rock and folk tunes. Walking a thin line between embracing life's melancholy and always keeping one's chin up — be it by rejecting perfectionism or engaging in a little "Grassoline" — I've Got Nothing to Lose is a deeply personal statement with universal appeal and remarkable relatability. — J. Krueger

Read Morgan Nagler's full CoSign feature here.

Almost a decade after the release of their last album, 2016's Fires Within Fires, Neurosis are back — and, baby, they're back with a fucking vengeance. With Aaron Turner (of Isis and Sumac) taking over lead vocal duties, An Undying Love for a Burning World is a smoldering, furious, masterful work of post-metal, complete with extended compositions, apocalyptic riffage, low screams of catharsis, and intense performances. There's even foreboding, industrial-style synth work on cuts like "Blind" or "Last Light." "We need this, perhaps more than ever, and we suspect we are not alone," the band said after the record's surprise release. Your suspicions are correct, Neurosis — I can't imagine getting through 2026 without this doom guitar and guttural shrieking. — J. Krueger

In fact, the music does contain hope! RAYE has returned with a remarkably ambitious statement, a massive, 73-minute odyssey that blows up her retro soul and R&B to grandiose heights. The attention to detail is pretty confounding, from the string and brass arrangements to her imagery-laden lyrics; as RAYE balances vintage styles with modern-leaning melodies and production, she strikes a sound that is unmistakably hers and totally infectious. There is no doubt — she is a storyteller, cramming the album with breathtaking orchestral sequences, emotionally vivid passages, and moments of pure power and glory that give the project a cinematic scope (sidenote: RAYE West End/Broadway musical when???). If you're a fan of the still-excellent "WHERE IS MY HUSBAND!," there's plenty more for you on This Music May Contain Hope. — P. Ragusa

Put some respect on Robyn's name for staying weird. Sexistential is the Swedish pop star's eighth album, but that doesn't mean she plays it safe; throughout, Robyn employs a synth pop sound but frequently fractures it, allowing new ideas about sex and intimacy, parenthood, and middle age to fuck with the formula. She's got some sturdy, reliable bangers on the project — the Max Martin-produced "Talk to Me" and lead single "Dopamine" are rhythmic, pulsing gems — but when she brings a touch of restlessness and chaos, like on "Sucker for Love," "It Don't Mean a Thing," and the bizarre opening track "Really Real," it's a treasure to follow wherever she goes. — P. Ragusa

Read the full review.

When Snail Mail first emerged in the spotlight around her 2018 debut Lush, her songwriting prowess was thoroughly on display. She also showed that she really knows her way around the electric guitar, keeping her tone clean while designing chord voicings and riffs that touch a nerve. Even as her sound has expanded — first with 2021's Valentine and now with her third album, Ricochet — the emphasis on guitar has never left. Her new project has some of the most lovely and evocative guitar work yet, taking on grungier hues, windswept refrains, and sweetly-rendered accents throughout the album's 11 tracks. Like the video for "My Maker" appropriately depicts, Ricochet finds Snail Mail lifting off and soaring, the fraught restlessness of her early work channeled with poise and confidence into a daring new indie rock sound. As far as great albums go, she's three for three in my book. — P. Ragusa

Denzel Curry is the underground's loudest proponent. To keep the scene alive, the South Florida MC gathered the most vocal figures in the space and created a supergroup. The Scythe unites explosive women rappers Bktherula and TiaCorine with FERG (formerly of A$AP Mob) and Key Nyata, who first emerged alongside Denzel Curry in Raider Klan. As noted in our review: "With Strictly 4 The Scythe, Denzel Curry et al. have accomplished their mission of marrying the past with the present, and setting the stage for the future. Curry, in particular, has reaped every available benefit from his exact position as a successor and as a pioneer in his own right. By assembling some of hip-hop’s most exciting voices — visible or still in the shadows of obscurity — Curry is putting us on, and impatiently telling us to keep up." — K. Fitzgerald

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U follows underscores' excellent 2023 LP Wallsocket and, in a way, exists as a compelling foil to that record. Especially in comparison to the extended Wallsocket (Director's Cut), which expanded upon the album's narrative concept and brought the runtime to well over an hour, U is a streamlined version of underscores' maximalist, forward-thinking pop. Comprised of just 9 club-ready tracks spread over 34 minutes, the artist crafts intensely danceable grooves out of unlikely timbres and genre fusions. While more pop-focused than previous efforts, U retains underscores' unpredictability and infectious sense of fun. Especially on standout tunes like "Tell Me (U Want It)" or "Do It," it's clear producer/songwriter April Harper Grey has spent the past few years continuing to sharpen her skills, and, on U, she's as confident and original as ever. — J. Krueger