Staff Picks: Best Albums of February 2026

During the fall of 2024, shortly after the announcement of his dementia diagnosis, Beverly Glenn-Copeland was joined by his wife Elizabeth to record a stripped-back performance at Montreal's iconic Hotel2Tango studio. Laughter in Summer is the fruit of that session, featuring nine illuminating piano-backed movements, each recorded in one take with a local choir. The album offers listeners a glimpse into the Glenn-Copeland's decades long love story through a series of vignettes. "Life is the heart of love," sings Glenn-Copeland on "Prince Caspian's Dream," a jubilant cut that transforms sorrow into a vibrant and regenerative celebration of life. The record serves as a tribute to the cycle of life, beginning with a raw version of "Let Us Dance" and closing with a jubilant rendition of the track, embodying a blissful cycle of love. — Sun Noor

Brent Faiyaz's latest album, Icon, opens with "white noise.," a sweeping orchestration that thrives on affective strings, plucked and played to perfection. With this introduction, Faiyaz is telling us he's not just a fuck boy who happens to sing; he's a deeply-appreciative music-loving fuck boy who wants to share his experiences over dynamic beds of sound. Icon is Faiyaz's chance to dabble in the familiar, minimal sonics that he's come to be known for, while exploring experimental sounds, like the '80s R&B heard on "have to." and "world is yours." The album highlight "four seasons." sees Brent Faiyaz sidling next to strings and making his feelings known over hip-hop-adjacent percussive elements. "Some days you're hot as July," he sings, "Sometimes you're cold as the wintertime/ But no matter the weather/ Thought this was forever, I'm here 365." — K. Fitzgerald

After spending a couple of years tooling away and cranking out increasingly compelling singles, Irish indie rock risers Cardinals have finally arrived with their debut full-length album, Masquerade. While it certainly takes cues from the genre's previous trailblazers — there's hints of '90s Radiohead in the guitar work, of The Strokes in their rock and roll swagger, and even Bright Eyes in the dramatic, sing-along theatricality of the song structures and vocal performances — the record has more than enough character and new ideas to feel like it could only be the product of these specific lads. The songwriting is as solid as ever, the energy is contagious, and the accordion legitimately kicks ass. It's an impressive outing made all the more impressive by the fact that it's their first. — Jonah Krueger

Following Brat, her career opus, Charli XCX had no choice but to swing in a totally different direction. She landed on Wuthering Heights, a companion album to Emerald Fennell's new film adaptation. It provided Charli the chance to demonstrate an alternate view of her pop star vision, one that draws upon her own early catalog while also remaining in conversation with the book's themes, Fennell's provocative filmmaking, and her experiences growing up in Britain. The resulting album has its fair share of moving, orchestra-heavy tunes, but it's pop gems like "Dying for You" that reinforce why Charli XCX is still at the peak of her powers. — Paolo Ragusa

It's been close to a decade since the last time Converge came through with a non-collaborative, full-length LP. Luckily, they've broken that streak with Love Is Not Enough, a record of wild, vicious, mutated metalcore that proves not only that Converge hasn't lost any of their oomph, but that they remain one of the subgenre's premier acts. Immediately upon hitting play, the eponymous opener sucker-punches listeners with furious drum fills and filthy guitar tones before launching into a bullet train of a verse and chorus. The top half of the record subsequently flies by in a flurry of concise, riff-heavy, bloodcurdling rippers, like the noisy and chaotic "To Feel Something" or chuggy, brutal "Force Meets Presence." By the record's end, Love Is Not Enough concludes with a trifecta of longer (relatively speaking), more dynamic compositions, reminiscent of the more patient cuts from All We Love We Leave Behind and The Dusk in Us. It's a powerful ending to a powerful project that somehow manages to clear the already insanely high bar Converge has set for itself. — J. Krueger

Some collaborations feel like they were destined to happen. Drummer and producer Karriem Riggins and rapper, singer-songwriter, and producer Liv.e's collaborative project, GENA, is just that, showcasing the union of brilliant minds. The duo set the tone for their debut album with the release of their soulful debut single, "Circlesz," last fall, which perfectly encapsulated the meaning of their acronym: God Energy, Naturally Amazing. Liv.e's hazy, soulful vocals pair perfectly with Riggins' rhythmic percussion and beats on this vibrant record that features a luscious blend of R&B, hip-hop, jazz, and soul. The Pleasure is Yours feels both timeless and current as the pair aim to honor Black musical traditions while carving out their unique sound. — S. Noor

Damon Albarn and Jamie Hewlett — the core duo of Gorillaz — both lost their fathers in the summer of 2024. By then, the artists had taken up creative space in India, a location that inspired them to look inward, while eventually searching for answers about life and death around them. The result is The Mountain, a wide-reaching album that relies on classical Indian orchestral arrangements as often as it does the far-out electropop that Gorillaz have built their brand on. Mortality is central to the project's mission, and Albarn reaches for collaborators on both sides of the veil on songs like "The Moon Cave," which features the late Bobby Womack and David Jolicoeur of De La Soul alongside Black Thought, fusion pioneer Asha Puthli, and soul musician Jalen Ngonda. On "The Manifesto," which leans in the opposite direction, Argentine rapper Trueno spits pointed bars in Spanish before disappearing in a haze of smoke as the late MC Proof of D12 steps forth for an ephemeral verse. The Mountain is Albarn and Hewlett's chance to honor those who have passed, while encouraging us to embrace life's fleeting nature, despite the uncertainty of it all. — K. Fitzgerald

Props to hemlocke springs for giving herself and her artistry time to gestate. It was nearly 4 years ago that her pair of debut singles took the internet by storm, and her much-anticipated debut album the apple tree under the sea was definitely worth the wait. Though zany production abounds, front and center is hemlocke springs' remarkable, cutting voice; her tone is unmistakeable, and she's able to communicate drama in a way that few vocalists can manage. When she emerges in a song covered in thick harmonies, like "moses," the effect is powerful and satisfying. It's a rewarding turn from the pop star, who sounds right at home charting her own path. — P. Ragusa

To Whom This May Concern is Jill Scott's long-awaited follow-up to her 2015 album Woman. On it, Scott taps into the usual topics of Black joy and big love, setbacks and the ever-sweet taste of redemption. "Beautiful People" is the soul singer's ode to the Black community, while "Offdaback" sees her presenting her life as a rich blessing from her ancestors. The album mostly functions as Scott's playground, where she alternates between frolicking ("Pay U on Tuesday") and digging deep into the earth ("To B Honest" with JID). Even when Jilly From Philly is rapping, as she does effortlessly on "Norf Side," alongside fellow Philadelphian Tierra Whack, you can hear the light and vibrant energy emanating from the song. Jill Scott doesn't know how to not shine bright, and To Whom This May Concern is the artist's latest opportunity to radiate beyond her peers, and even some of her successors.  — K. Fitzgerald

European noisemakers Mandy, Indiana were already unwieldy on their 2023 debut, I've Seen a Way, but on URGH, they've somehow found a way to make their sound even more batshit insane. A cacophonous mix of blistering post-punk, electro madness, and a wee bit of hyperpop (because, fuck it, why not?), the abrasive creativity of the LP is matched only by its remarkable danceability. Throw on "Magazine," "ist halt so," or "Cursive," and your head might start spinning, but your ass will also certainly start shaking. Then, after a half-hour of francophone madness, URGH finishes on its most unsettling, affecting note, as vocalist Valentine Caulfield switches to English on "I'll Ask Her" to blast rape culture and the disgusting cowardice that surrounds it. It's a striking statement and an impactful ending to one of the most wonderfully insane albums we'll likely see in 2026. — J. Krueger

Rock is alive and well with Master Peace, one of our 2026 Artists to Watch. His latest EP Stupid Kids is more raw and electric than anything he's released, evidenced by barnburners like "There's No More Underground" and "My Guitar." It's incredibly easy to picture yourself going absolutely apeshit to these songs at a festival; when he hits his stride, like the infectious chorus to "Spin the Block" or the naked honesty found in "Fuck It Up," he's unstoppable. Plus, he made this new project with A-list producers Dan Carey and Julian Bunetta, so if you have any doubt that Master Peace isn't in the big leagues yet, let Stupid Kids prove you wrong. — P. Ragusa

She's done it again, folks. Mitski's latest album Nothing’s About to Happen to Me is another inspired and peculiar work from the singer-songwriter, with Mitski doubling down on her theatrical storytelling impulses while also remaining surprisingly calm and collected throughout. The narrative she employs is one thing, but the songs themselves are marvels on their own. "I'll Change for You," with its jazzy air and cards-on-the-table vocal performance, is one of the most devastating entries in her discography; "If I Leave" reprises the jagged tenor of Bury Me at Makeout Creek and Puberty II but with even more tact and precision. There are dozens of intriguing moments riddled throughout the album, making it another daring and affecting effort from one of the sharpest songwriters around. — P. Ragusa

Singin’ to an Empty Chair, the sixth full-length project from Chicago sweethearts Ratboys, solidifies the gang as some of the best indie rockers out there. Produced by ex-Death Cab for Cutie guitarist Chris Walla, the 11-track collection rings with effortless energy (“Anywhere,” “Late Night Mountain All That”) and alt-country charm (“Penny in the Lake,” “The World, So Madly”). And, yes, there's some beautiful pedal steel work on tunes like “Just Want You to Know the Truth.” Between the sweet-as-honey melodies, classic-indie spirit, and heartfelt lyricism, Singin’ to an Empty Chair is one of those albums that's hard not to fall head-over-heels in love with. — Ben Kaye

Much like another 2010s indie rock outfit with an name that starts with R on this list, Remember Sports have spent the last decade-plus doing nothing but churning out hooky, heartfelt, guitar-based bangers and ballads. Their latest, The Refrigerator, is no exception to that trend and, in fact, instantly makes a case for itself to be ranked amongst the act's best efforts yet. Be it the fuzzy, anthemic "Bug," the dynamic crescendo of "Roadkill," or the melodic, perfectly dejected closer "Nevermind," The Refrigerator consistently comes through with relatable lyricism and emotive performances wrapped in the packaging of instantly lovable, earworm jams. — J. Krueger

With RICH BADNE$$, Robb Bank$'s first release since 2025's Tha Leak 3, the South Florida rapper is venturing further into dancehall territory. After initially experimenting with "Eyez Red," one of our Best Songs of 2025, Bank$ is using this project to take a major step toward fully embracing his Jamaican roots. The front half of the project simmers with undulating slow-burners like "Real Bad Man" and the Kaation-assisted "Snow," while "Shotta Yüte" bursts forth with propulsive, brooding energy. The latter half of the project (aside from the romantic dancehall number "From Time") is dedicated to the sound that Bank$'s fans have come to expect from the MC. The bright and irreverent "Ni***s & Bi****s" slots directly into Bank$'s catalog, and "Lean Pot" calls to mind the crunk energy of Lil Jon & The East Side Boyz. The standout "Isabel Morant" floats on a whirlwind of flutes, as Bank$ raps charismatically about the intricacies of his taste, an approach that has become his forte. — K. Fitzgerald