Sleep, Dan Deacon, and others flood today’s new songs

12 new – From doom metal’s first release in eight years to films, album previews, and reimagined horror scores, today’s crop of singles shows music still changes shape—fast.

For a day that starts like any other, the releases arrive like weather: sudden, loud, and impossible to ignore. On Wednesday. June 18. 2026. a packed round-up of new tracks lands across genres—doom and emo. ambient-folk and punky weirdness. tribute records and soundtrack work—each one carrying its own story of how artists are responding to the world outside the studio.

Sleep lead the charge with “Have Spacesuit Will Travel,” their first new song in eight years. It’s also the band’s first music without guitarist Matt Pike. In a press release. bassist and songwriter Al Cisneros—described in the announcement as the band’s only returning member—wished Pike “the best on his earthbound maneuvers.” The new lineup includes Bubba Dupree. of the seminal D.C. hardcore band Void, and Melvins drummer Dale Crover. Cisneros said. “The vibe of the first jam was obvious. ” adding that “it was blue sunglasses-era Iommi in the quality. ” and that “equally awesome is Bubba is also one of the coolest people I’ve been able to make music with.”.

Dan Deacon shifts the scene from the metal edge to cinematic rhythm. His track “Brothers” features Eric André. and Deacon’s work is tied to Little Brother. the upcoming Netflix film starring John Cena and Michelle Monaghan. with Eric André playing upright bass on the vibrant new track. Deacon described the sound as “Blending a live orchestra of strings. woodwinds. and brass with percussion and electronics created a sonic palette that becomes a through-line for the film.” He also said the standout moment in the recording sessions was having André play upright bass on the score. saying. “Watching him channel his signature energy into a classical instrument was pure joy.” Deacon added that he sampled André’s voice for loops in the main theme. “opening up the piece. ” and letting him “explore it more. like one of my album tracks.”.

Hana Stretton brings two releases at once, “Stove” and “Salt,” ahead of her just-announced album tiarn. “Stove” was written for an opera singer and string quartet. turning the album into “a miniature electronic opera etched inside the album.” “Salt. ” meanwhile. is rooted in where Stretton once lived: the icy salt water where she would swim while living in isolation near the ocean.

If you’re looking for loss and reverence, Phosphorescent and Uncle Lucius are delivering it through Blaze Foley. There’s a new Blaze Foley tribute album on the way. Sittin’ with Blaze. featuring contributions from Lucy Dacus and Lucinda Williams. among others. Today. Lost Art Records shared Phosphorescent’s cover of “If I Could Only Fly” and Uncle Lucius’ blazing cover of “Election Day.” Matthew Houck of Phosphorescent said. “I came to Blaze a while back. Like anybody

who’s interested in songwriting you’re going to eventually find Lucinda. Townes Van Zandt. Blaze. Guy Clark. ” before calling Blaze “kind of a mystery.” Houck explained that capturing the lonesomeness of “If I Could Only Fly” was the key: “So really. it was just kind of. like. stay true to the song.” Kevin Galloway of Uncle Lucius added that his own Blaze stories began while driving a cab in Austin and trying to make it

in music. He described Foley as “this big man with the biggest heart and nobody was below him. ” and said Blaze was “a little eccentric as South Austin is or used to be. ” adding. “And that’s perfectly okay. That’s what makes him what he is.”.

Alex Cameron’s single “Jesus Never Had No Porno” comes with a joke in the title—and then. almost against expectation. a heavy underside. The lyric playbook reads: “Jesus never had no porno/ Jesus never had no cocaine/ Jesus never had Ibiza/ He never even went to Spain.” Cameron said it’s “the first in a series of many. ” and recalled. “‘Jesus Never Had No Porno’ is a song that happened to three men in a room.” He then described what followed as abrupt: “Afterwards there was a loud bang. The next day LA caught on fire.”.

In Orange County, the emo outfit boycomma drops “Comme Si, Comme Ça,” described as grungy and eruptive. The crescendo lands with repetition that feels like a vow. Vocalist Brad Warriner repeats, “I thought you knew I’d rot for you.”

Pond’s “Skyworks” arrives just a day before the release of their new album Terrestrials. and it chooses Australia Day’s contradictions as its subject. Nick Allbrook said. “The skyworks happen every year on the day Australia was invaded and claimed by the crown.” He described the annual spectacle as explosions “over the river in a gaudy display of drunkenness and patriotism. sponsored by the Lotto. ” and said. “We love a flutter.” Allbrook’s imagery keeps turning: “The river is bejewelled with magical glittering lights. and loud bangs that remind some of canons and muskets.” He called it “confusing time for a confused people. ” then compared the river’s mess to art—“like a Hieronymus Bosch picture. strewn with bottles and shit in the morning.” He added that “Joe Ryan wrote the main chord progression for this one and then it grew in weird ways.”.

Félicia Atkinson goes in the opposite direction—into restraint. Her “Sans Visage IV” is the latest preview of her forthcoming reimagining of the score for Georges Franju’s cult 1960 horror classic Les yeux sans visage (Eyes Without a Face). Atkinson said. “This is Christiane’s theme. ” and explained that the music accompanies “her final gesture of liberation: opening the cages. releasing the captive creatures. and vanishing into the darkness.”.

Lawrence English offers a different kind of city pressure in “One Line Sky. ” the second offering from his forthcoming LP The Rest Is My Ghost. He said he spent “a good deal of time researching in mega-cities whilst making this record.” English described the phrase “One Line Sky” as something a friend in Hong Kong passed to him. with “numerous readings. ” tied to “the experiences of being at the bottom on these long canyon of buildings.” He described the sky as “a slither of something else we can see beyond the immediate towers of architecture. ” and said. “I like the sense of escapism that is promised in that view. ” suggesting that beyond what we build lies “a whole other possible life exists.”.

abracadabra keep things playful on the surface with “face card,” announcing the peel away EP out August 7 on Melodic. The track asks whether independence is really earned. with vocalist Hannah Skelton explaining. “What if those of us who received such fateful benevolence schemed about a way to bring it to a larger scale?” Skelton added. “Let’s grow a lush world together.”.

Put side by side. the day’s releases tell a clear story about how music is being used right now: as reinvention (Sleep’s new lineup). as collaboration with mainstream cinema (Dan Deacon and Eric André for Little Brother). as intimate world-building (Hana Stretton’s tiarn previews and abracadabra’s EP promise). and as cultural argument (Pond’s Australia Day critique. Lawrence English’s skyline reflections). Even the tributes and reinterpretations—covers of Blaze Foley and a reimagined Eyes Without a Face score—feel like the same impulse: to carry something forward without smoothing out what it costs.

new music Sleep Have Spacesuit Will Travel Dan Deacon Brothers Eric Andre Hana Stretton Stove Salt Phosphorescent If I Could Only Fly Uncle Lucius Election Day Blaze Foley Alex Cameron Jesus Never Had No Porno boycomma Comme Si Comme Ça Pond Skyworks Terrestrials Felicia Atkinson Sans Visage IV Lawrence English One Line Sky abracadabra face card