Notable vinyl releases out this Friday - 18 July (2025)

Headlights is Alex G’s tenth full-length album and first with RCA Records. Written by Giannascoli and recorded across various locations in Philadelphia and New York, the album was co-produced alongside his longtime collaborator Jacob Portrait. A gorgeous collection of surreal storytelling over twelve new songs, Headlights sees Giannascoli delve further into the reality-bending terrain that has made him one of the twenty-first century’s most celebrated and influential musical architects.

Recorded with producer Phil Weinrobe (Adrianne Lenker, Buck Meek, Laura Veirs) at his Sugar Mountain studio, alongside an all-star cast of musicians, Billie Marten's fifth studio album, Dog Eared, is a warm, rich and textured record that bristles with confidence and self-belief, with Billie already approaching the prolificacy of a "lifer" with so much life left to live. It's a left turn from her previous recordings, albeit a subtle one, taken with a deftness of touch. 

I Beat Loneliness marks a bold milestone in BUSH’s legacy – their 10th studio album. Produced by Gavin Rossdale and Erik Ron (Godsmack, Bad Omens), the album is a powerful fusion of the band’s grunge-driven roots and modern sonic textures. Raw, intense, and deeply personal, I Beat Loneliness is one of their most emotionally resonant to albums to date and explores themes of mental health, isolation, and inner strength – a testament to a band that continues to evolve while staying fiercely true to their core. BUSH aren’t just surviving — they’re thriving, pushing boundaries and redefining what it means to be a rock band in 2025. BUSH, the iconic London-formed band that helped define rock music in the 90’s with their landmark 1994 debut Sixteen Stone, continues to be a commanding presence in music. With over 24 million records sold,

"Their music is wondrously dreamy, floating in the ether with gentle textures and focused rhythms." - Post-TrashCoral Grief, the Seattle rock trio, and Air Between Us, it's debut album, are accurately named. The first notes from Sam Fason's guitar on opener "Starboard" hit like a blast of sea air to the face. In just seconds, you're soaring, equal parts under the sky and above the sea. It's a similar in-between where Coral Grief thrives, as they construct elaborate webs of double meanings across this tribute and eulogy to their city and community. Singer and bassist Lena Farr-Morrissey and Fason are linked by the psychic chemistry one can only unlock by playing together in bands for years. Fason's guitar is the sail to Farr-Morrissey's anchor, and here, he crafts textures thick as sheets of wind. Tying it all together-the engine in this nautical metaphor-is drummer Cam Hancock, who came highly recommended by mutual friends. His propulsive playing serves as a bridge of ideas, their final puzzle piece, a master of dynamics and transitions that shoves their songs into new territory without showing off. Together, they draw inspiration from Stereolab, Broadcast, Th' Faith Healers, and Seefeel, to name just a few, reframing that very specific strain of British cool in a uniquely Pacific Northwest way. To bring the songs to life, the trio decamped to The Unknown-a decommissioned church turned sail manufactory turned recording studio in Anacortes, WA. Working with engineer Nich Wilbur on a diet of five matchas a day, the workspace became their workshop. "We were committed to the three-piece way of doing things but wanted to make it sound as lush and as full as possible," Fason explained.

Addicted to the Violence is the explosive third album from Daron Malakian and Scars On Broadway. Best known as songwriter, vocalist, and guitarist for GRAMMY Award-winning System Of A Down - Malakian delivers a fearless blend of rock, metal, punk, and psychedelia with this new record, following 2018's Dictator. Written and produced by Malakian.

Disiniblud, the thrilling new collaborative album project from the composers/producers/multi-instrumentalists Rachika Nayar and Nina Keith. Rachika and Nina meet on complementary but seemingly disparate musical grounds. On her 2022 breakout LP Heaven Come Crashing, Rachika pushed her ambient guitar roots into passionate new terrain—where maximalist synths, sub-bass, and Amen breaks surged with cataclysmic longing and aching vulnerability. Her distinct fusion of post-rock and electronica earned her accolades as Pitchfork's Best New Music, on several best of the year lists (The New York Times, Stereogum, Fader, GQ, Bandcamp, etc), and as the opening act on tour with M83. Nina, meanwhile, is best known for her self-trained approach to composition, as evident on her 2019 debut MARANASATI 19111 and its delicate medley of cello, piano, clarinet, and flute, used to explore a personal history marked by community tragedy and paranormal incidents. On Disiniblud, the two’s self-described “wordless conversation” orbits such themes as mortality, reinvention through destruction, and sublimating fractured histories into music—all resulting in a work that suggests sweeping transformation can come from embracing old wounds with childlike wonder. Nina envisions this as she and Rachika's younger selves packing a satchel, holding hands, and daring one another to run away into a place of "wounds and wonder," only to discover an unforeseeable magic in an amalgam of post-rock, glitchy indie electronica, neo-classical, and pop genres in this co-created realm. Disiniblud features guest appearances from Julianna Barwick, Tujiko Noriko, Cassandra Croft, ASPIDISTRAFLY, Katie Dey, June McDoom and Ponytail's Willy Siegel.

FLETCHER has built a one-of-a-kind legacy on speaking her truth in exhilarating detail. She returns with her highly anticipated third studio album Would You Still Love Me If You Really Knew Me? via Capitol Records. It marks a pivotal moment in her journey as one of pop music's most essential queer voices - ultimately adding a whole new layer of depth and resonance to her truly singular artistry.

Loser Edition on milky clear vinyl. There's one thing Forth Wanderers want to make clear as they prepare to release their third album The Longer This Goes On: "We're not back," guitarist Ben Guterl says emphatically. It's perhaps an unexpected sentiment to pair with the band's first album since they parted ways seven years ago, but the band insists it's an honest answer-they came together to record the ten intricately constructed gems that make up this new record, and they're still figuring out what being in Forth Wanderers means to them. Listening to these songs, each a glittering celebration of vocalist Ava Trilling's urgent and intuitive lyrics and the band's natural musical chemistry, though, it's hard to feel like there's much of anything left unsaid. Filled with spit-shined melodies, chiming vocal harmonies, and slinky, slanted rhythms, the album is more expansive than just a return to form. The band isn't afraid to take the scenic route to a hook, layering instrumental flourishes to fill in the empty spaces, creating room for Trilling's haunting range, or repeating a riff or a lyric until it becomes a Zen koan. On The Longer This Goes On, Forth Wanderers sound more self-aware and self-assured than ever before. Just don't call it a comeback. The road to The Longer This Goes On began in a Brooklyn coffee shop in the summer of 2021. There, Guterl and Trilling met for the first time since Forth Wanderers' dissolution in 2018. The three years they'd been apart had deflated some of the pressures the band felt when they were touring their previous music: "We all felt free to mess around and have fun," Guterl says. Reconnecting with bassist Noah Schifrin, guitarist Duke Greene, and drummer Zach Lorelli made playing feel "the best it had between us since we had started the band. It felt like we were in high school again." The band reimagined the way they were used to working. "This is the first time where a lot of the music was formed organically," Schifrin explained. "All five of us really contributed to the writing process in ways that we hadn't before in the past," Guterl added. The resulting album, produced under the watchful eye of Dan Howard, captures the band at their most present and unburdened, creating their sound in real time for the very first time. The lyrics are packed with confessionals broad enough to make anyone lost in the mess of an uncertain romantic limbo feel understood, yet so precisely written that it must have clearly come from lived experience. This is exactly what made Forth Wanderers both so universally relatable and specifically felt. On The Longer This Goes On, they've deepened that ability to pull at potent threads of romantic ennui with minimalist lyrics and lush instrumentation. Forth Wanderers aren't sure what's next-they're not sure if they'll continue to record new music or if they'll ever perform these songs live. These recordings, then, are ten fleeting yet invaluable impressions of the time spent as a band; rekindling of friendships between high school buddies whose dreams catapulted them into the spotlight before they were old enough to drive; songs that capture the uncertainty of the future as much as their music cements their own self-confidence in the present. On The Longer This Goes On, Forth Wanderers are making music on their own terms.

Jade Bird's triumphant third album Who Wants to Talk About Love invites us to join her quest to understand the powerful, addictive, beautiful, destructive force that drives us all. “I want it to be a conversation,” she says. “I want it to be a real back and forth.” Bringing us into some of the most personal, psyche-forming bonds in her life, Jade uses both upbeat pop melodies ("Dreams", "Save Your Tears") as well as gentle ballads ("Who Wants", "Avalanche") to take us on a journey through heartbreak, doubt, acceptance, and hope.

Four-time Grammy-nominee Joe Bonamassa releases his 17th studio album, Breakthrough, produced by longtime partner Kevin Shirley. The album has 10 brand-new, original tracks written by Joe and co-writers like James House, Tom Hambridge, etc. Looking to "Breakthrough" the genre boxes and limitations put on him, Joe is ready to take his craft to the next level. Available on 180g crystal water colored vinyl with printed inner sleeve and download card included.

Before the phrase Adventure Club became the title of Laura Jane Grace’s electrifying and affirming new album, it was the name for her gaggle of adventurous friends in Greece. In the summer of 2024, Grace joined an artist residency program in Athens, embedding with Greek punk rockers there while she wrote songs about the sordid trials of her life and world—sobriety, autocracy, identity. By night, this new pickup band, including Grace’s wife and collaborator, Paris Campbell Grace, would often play and record. But by day, they’d explore the ancient and beautiful landscape and the city’s vibrant culture. They dove from beaches nestled in seaside caves into the Aegean and swam with sea turtles. They submitted to tourism, seeing the Parthenon and Epidaurus and breaking into the Panathenaic Stadium to run its track. They became addicted to Freddo espresso, a locals-only iced coffee topped with whipped milk. The lifestyle of this Adventure Club inspired her so much that, by the time she left Greece, she’d unexpectedly finished Adventure Club, a new career apogee built from equal parts fun and fury, self-definition and self-deprecation. It is all Grace, continuing to recalibrate what punk rock means for her now.  Two years ago, the Onassis Foundation—launched a half -century earlier, after the shipping titan directed that his fortune be used to promote “aid, progress and development” following his death—invited Grace to Greece. They wanted her to transform “Walls,” a century-old poem of isolation and doubt by Greece’s Constantine P. Cavafy, into a song for a short documentary about inmates learning to express themselves through film while in prison. When she traveled there in early 2024, the filmmaker assembled a pick-up band of local punk rockers (plus Paris) for a string of shows. When the brief tour was done, bad weather delayed her flight home. Waiting for her early-morning exit, she stayed up all night with the ad hoc group and Paris. They recorded a new version of “Walls,” then flew home in a delighted daze.  Had that really just happened? Had she formed a transcontinental quartet, playfully dubbed the Trauma Tropes, with a Greek rhythm section she’d just met? When she returned six months later after earning a full residency with the Onassis Foundation, the answer instantly became clear: Yes. She’d expected to maybe write an EP. Instead, she cowrote and cut an entire LP with Paris, bassist Jacopo Fokas, and drummer Orestis Lagadinos, that pickup group called The Trauma Tropes. Grace is happily a solo artist these days, a free agent who has moved among different configurations of musicians since her epochal punk band Against Me! began a break in 2020. The Trauma Tropes are less a new band, per se, than a group of new friends finding one another and inspiration in a surprising but right place and time. Adventure Club is frequently a record about learning to take up space, about feeling free to be yourself as the bullshit of our ahistoric moment mounts. There is, for instance, the riotous “Wearing Black,” a thundering and hook-bound ode to being the punk or goth amid the rainbows, sparkles, and glitter of a massive Pride Parade. “My pride’s a riot,” she sings during this anthem of self-acceptance. “Not a parade.” There is “I Love to Get High,” a tragicomic blast about enjoying weed so much it no longer works but still trying, anyway. Grace is unapologetic about her choices, howling about dabs, diesel, and her beloved sticky joints as she waits for the next fix to hit. And then there’s “Fuck You Harry Potter,” less a J.K. Rowling diss track than an inspired retelling of the moment when a soused Englishman at a bar near Grace’s St. Louis studio insisted that she reminded him of Eddie Redmayne. She went home and wrote this ripper.  Protest songs and personal tunes have never been a binary for Grace, and she delivers some of her most profound—and, yes, playful—work ever at that particular intersection here. Written in the Onassis Foundation’s window-walled offices as tourists peered inside the fishtank, “Your God (God’s Dick)” is a hilarious, heretic, and brilliant excoriation of religious devotion, or of using God’s supposed words and one’s belief in them to fuck your fellow citizens. A balancing act among Queen, L7, and Elton Motello, it is an instantly addictive tune, a should-be-hit that feels like a brazen test of the new right’s alleged devotion to free speech. (Grace notably plays the Baglamas here, historically associated with Greek protest music, Rebetiko.) Like classic power-pop propelled by Oi!’s revolutionary oomph, “Mine Me Mine” similarly lambastes endless capitalist avarice, or how it is used to manufacture suffering for others. And opener “WWIII,” a song Grace has been trying to perfect for years, is a call to solidarity against all these harmful forces, be they financiers or fascists. “I don’t want to die in World War III,” Grace sings, like Bartleby staring into an impending apocalypse with a scowl. “I don’t want to kill for blood money.”    But the most prominent thread through Adventure Club’s dozen tracks is one of evolution, of letting yourself become something new. In Grace’s case, that is sometimes reckoning with so-called California sobriety. “The hardest part of getting sober/is pouring yourself out of the bottle,” she sings alongside Paris on “New Years Day” during one of the album’s most poignant moments. It is a theme song for the ever-renewing possibility of always trying again. It’s not unlike “Active Trauma,” really, a stomping number about recognizing that you can never outrun the past (even if, as Grace half-jokes, you actually run to attempt just that). You may, however, be able to overpower it, to “burn this house to the fucking ground.” The other side of this evolution is Grace simply giving herself space to have fun, as with the caffeinated hijinks of “Espresso Freddie,” penned alongside bassist Fokas. Isn’t growing up, again and again, the real Adventure Club, anyway? Grace talks often about her age, about nearing the second half of her 40s after a lifetime as a punk. What does it mean, really, to remain a punk for 44 years? For Grace, it is the same as it’s always been—a resolve to question everything about oneself and the world around you and to allow yourself to evolve within that framework. Adventure Club epitomizes that spirit the way that the best of Laura Jane Grace’s music always has. The young punk from Florida may never have imagined making a record in Greece, but it does not change the spirit of the songs that inspired them: to create a place where we’re all burdened by less bullshit, whether it’s our own baggage or the stuff that autocrats, capitalists, and assholes simply want to put on us because they don’t know the thrill of being happy and free themselves. Maybe they need to try writing a rock song, or simply jump into the sea.

Lord Huron - the project of Los Angeles-based songwriter, musician and visual artist Ben Schneider - releases their new album, The Cosmic Selector Vol. 1, via Mercury Records, along with the new single, "Looking Back." Known for creating "atmospheric music of exquisite craft" (Wall Street Journal), the band began teasing the album in early 2025 with the singles, "Who Laughs Last" and "Nothing I Need." Lord Huron's fifth album was written and co-produced by Schneider. Alongside Schneider are band members Tom Renaud, Mark Barry and Miguel Brise?o, and a host of collaborators, including actress Kristen Stewart and Blonde Redhead's Kazu Makino. The album title references the mysterious machine featured on the cover art. Schneider asks: "What if you could choose your fate like choosing a song on a jukebox? What if your finger slipped and you got the B-side instead? What if you misunderstood the meaning of the dang song to begin with?" 2 LP set on red swirl color vinyl.

Kiss from the Balcony is what happens when three musicians become enamored with one another’s musical abilities and shared curiosities. After meeting at a bar gig in Oakland, CA in 2016, and sporadically collaborating on various songs and albums, Madeline Kenney, Ben Sloan, and Stephen Patota toured together after the release of Kenney’s 2023 record A New Reality Mind. The tour was so musically invigorating, the trio wanted to try their hand at a full album together (despite living in three different cities). Songs that began as scraps on their respective hard drives blossomed into wild explorations of sound, vocal performance, production styles, and world-building. The lyrical themes of solitude, idealized romance, resentment, and womanhood are supporting actors to the main theme: collaboration allows an idea to grow to its fullest potential and take flight.

The new album, Circling From Above (their 18th studio album and third since 2017), is a masterclass in songwriting and showcases their timeless ability to fuse prog rock technicality with sing-along anthems. The 13 songs were written by Tommy Shaw, Lawrence Gowan and Will Evankovich (who also produced the album). Leading with the single, "Build and Destroy," Styx take a close look at the near future and what is circling above us, from satellites to birds. Available on 180g vinyl.

In an industry where bands routinely burst onto the scene with meteoric intensity only to fade just as quickly, We Are Scientists have quietly crafted one of alternative rock's most remarkable sustained careers. For over two decades, the New York-based outfit — comprising founding members Keith Murray and Chris Cain — has consistently delivered sharp, infectious indie rock, maintaining the rare ability to evolve without losing their essential DNA. Now, with their ninth studio album, Qualifying Miles, arriving July 18th, the band continues to defy expectations, this time by looking back even as they push forward.

Operator is the new solo album from Paramore drummer and founding member Zac Farro. Produced and mixed by Zac at his studio in East Nashville, the album tackles subjects such as grief, love, presence and mining the depths of human relationship. Available on crystal clear vinyl with printed inner sleeve.