#album-rankings

#album-rankings

On any given day our writers, editors, and contributors go through an imposing number of new releases, giving recommendations to each other and discovering new favorites along the way. Each Monday, with our Pitchfork Selects playlist, we're sharing what our writers are playing obsessively and highlighting some of the Pitchfork staff's favorite new music.

The only song here that really matters. Written just hours after the murder of Alex Pretti in Minneapolis and released a few days later, Springsteen names names (looking at you, Stephen Miller and Kristi Noem) and speaks bold, specific truth. With a title that recalls his own impactful Streets of Philadelphia, a melody reminiscent of Bob Dylan, and an urgency not felt since Neil Young's Ohio, it may not be groundbreaking musically, but Streets of Minneapolis is exactly what we need right now.

The new index will be released semi-annually, and will be derived from polling of nearly 60 independent artists, managers, and music lawyers. "The Index's goal is to increase transparency in a historically opaque market and share insights and perspectives, which we hope will empower music creators to make the best financial and catalog management decisions for themselves," Duetti CEO Lior Tibon says.

The song reflects on two contrasting visions. In the first verse, he looks back on his childhood growing up female and compares it to living in a dream. Then, after a stirring bridge, he revisits the same reflective structure and ponders his childhood growing up as a boy: "When I was a little boy I wanted to be real/ I wanted to feel all of the things my body wanted me to feel," he sings.

Not only does the track show off Anjimile's lush, patient vocals, it's got a pretty fascinating rhythmic structure; his drummer offsets the groove when they arrive at the chorus, almost like the song gets caught between moving too fast and too slow. That momentum really ramps up in the final refrain, complete with some guitar shredding and open hi-hat smashing. It's a great demonstration of Anjimile's tasteful ear and his ability to match a song's subject with its instrumentation.

There is a new Pitchfork subscription -only costs $5 a month-that gives readers the ability to score albums, comment on our reviews, and chop it up with our writers, editors, and one another. With the power to score albums now firmly in your hands, it's only fitting that we try to give you a better understanding of how we rate albums.

A MARTINEZ, HOST: As we finish this year, let's listen to some of the musicians we lost in 2025. Sam Moore was half the R&B powerhouse Sam & Dave. He sang on smashes such as "Hold On, I'm Comin'," "I Thank You" and this one. (SOUNDBITE OF SONG, "SOUL MAN") SAM AND DAVE: (Singing) I'm a soul man. I'm a soul man. MICHEL MARTIN, HOST: We also lost the guitarist on that song, Steve Cropper. He defined the sound of Memphis soul with the Stax Records House Band. He appeared on hits by Otis Redding, Booker T. & The M.G.'s and Wilson Pickett.

"There's a bit more clarity of purpose to it as opposed to writing for myself. I was thinking of all the hardships the characters have endured, and how if you are an empathetic, good person you can hope that people will be there for you when it's your time to pass on. I suppose it's really about karma. I love how this show champions our healthcare workers and first responders who do what they do for all the right reasons:"

The 2026 Grammy Awards are underway in Los Angeles. Darren Criss is currently hosting the annual Premiere Ceremony at the Peacock Theater, where the majority of the 96 Grammy categories are being announced prior to the main telecast. The primetime portion starts at 8 p.m. Eastern Standard Time and is being hosted by Trevor Noah. It's the comedian's sixth and final time at the helm.

The staff of Pitchfork listens to a lot of new music. A lot of it. On any given day our writers, editors, and contributors go through an imposing number of new releases, giving recommendations to each other and discovering new favorites along the way. Each Monday, with our Pitchfork Selects playlist, we're sharing what our writers are playing obsessively and highlighting some of the Pitchfork staff's favorite new music.