Notable vinyl releases out this Friday - 30 May (2025)

Black Hole Superette, the latest album from Aesop Rock, delves into the invisible forces that shape our lives and psyches. It’s about the small, often overlooked moments—the everyday experiences that blur the lines between the real and the unreal, waking and sleeping. Aesop Rock’s signature gift for transforming the mundane into something dreamlike gives the album a surreal quality, leaving listeners questioning what’s truly real as they navigate its vivid, half-remembered imagery. Entirely self-produced, Black Hole Superette is one of Aesop Rock’s most technically accomplished works to date. The album’s intricate beats and complex structures provide the perfect backdrop for his expansive lyricism, balancing cerebral exploration with emotional depth. From the reflective 'Movie Night' and the eccentric 'Send Help' to the wistful 'Black Plums,' Aes channels the spirit of a mad scientist, experimenting with sound and concept in ways that defy the ordinary. With a stellar lineup of collaborators that includes Lupe Fiasco, Armand Hammer, Hanni El Khatib, Open Mike Eagle and Homeboy Sandman, Black Hole Superette is dense and kinetic, an album that deftly navigates between complexity and instinct. It’s clear this project stands as one of Aesop Rock’s most multifaceted and ambitious works yet.

No one can help you build something beautiful quite like those who know you best. Alan Sparhawk knows this well. In his years in Low, he built decades of stirring music with his wife and lifelong creative partner Mimi Parker. In recent years, he has performed around Minnesota with his son Cyrus in DERECHO Rhythm Section, a funk band that also frequently features his daughter Hollis on vocals. There’s an irreplaceable naturalism that comes with this kind of dynamic. Those who know you understand you. They love you. They want to help you bring your greatest passions to fruition. And so, it only made sense that Sparhawk would turn to fellow Duluth musicians Trampled by Turtles to realize his latest record. As friends and mentees of Low’s, taken under Sparhawk and Parker’s wing from their earliest days as a bar band—Trampled by Turtles have performed with Sparhawk countless times over the years. The Duluth ties run deep: “There’s a certain vibe that has to do with underdog syndrome, coming from a small town,” Sparhawk muses. “Some of it is the weird grind and slackness that being at the mercy of Mother Nature puts in you. It humbles you.”

The first solo album from Amy Millan in over 15 years, I Went To Find You emerged from the kind of once-in-a-lifetime serendipity that alters our experience of the world. After crossing paths with award-winning musician/composer Jay McCarrol in fall 2023, the Montreal-based singer/songwriter felt a sense of musical communion reminiscent of the elation she’d first accessed in singing with her father as a little girl—a connection severed when her dad was killed in a car accident just before her fifth birthday. As she began creating songs with McCarrol, Millan slowly realized that an unconscious desire to sustain that feeling had informed her lifelong devotion to music and her many cherished collaborations over the years, including her work as co-founder of beloved indie-pop band Stars and a satellite member of iconic collective Broken Social Scene. “I so clearly remember being a kid and putting on my pajamas and being so excited for nighttime, because that’s when my dad and I would sing together,” Millan says. “Ever since then I’ve tried to make my life an arrow back to that feeling, but I didn’t fully understand that until now.” In selecting a title for her third solo effort, she chose to honor that sense of revelation and self-discovery. “A lot of this record had me looking into my past for clues on who I have become and why,” says Millan, who names longtime musician-friends like Feist, Broken Social Scene’s Kevin Drew and Charles Spearin, Metric’s James Shaw, Stars’ Chris Seligman, and her husband and Stars bandmate Evan Cranley among the musical kin who’ve profoundly enriched her life. “The ‘you’ of the title is the people I found, the people I went looking for after they’d gone—and the ‘you' is the person you become when all these components align.”

Returning with 'caroline 2', the eight-piece collective embrace a bolder, more expansive sound. Going beyond their debut's explorations of repetition, slowness and space, the new album pushes further into dynamic contrasts — organic and electronic, raw and refined. Launched with the striking single ‘Tell me I never knew that’, featuring Caroline Polachek’s unmistakable vocals, caroline 2 showcases a fearless interplay of layered instrumentation, warped vocal processing, and moments of both euphoria and melancholy. Intentional and immersive, this next chapter solidifies caroline as one of the most innovative voices in contemporary music.

Foxwarren, the Canadian indie collective fronted by Andy Shauf, returns with their sophomore album '2.'Joined by his fellow Canadian childhood friends and close collaborators Dallas Bryson (guitar), Darryl Kissick (bass), Avery Kissick (drums), and Colin Nealis (multi-instrumentalist), the eclectic sound of '2' - weaving genres ranging from folk to psych rock to downtempo - coincides with Shauf's curiosity and desire to incorporate a Native Instruments Maschine MSK3 sampler into his process. There is something uncanny about the feeling of these songs, the way bits recorded in different rooms amplify your attention, listening for how these layers lock. But their true connective tissue is the generous and gentle ways Shauf and the rest of Foxwarren move with melody.

Let All That We Imagine Be The Light is the eighth studio record from Garbage and was recorded at Red Razor Sounds in Los Angeles, Butch Vig's studio Grunge Is Dead, and Shirley Manson's bedroom. The record was produced by the band and longtime engineer Billy Bush. The album is unmistakably Garbage. All the hallmarks and signatures for which they are known are present here. Big angular guitars, precise, propulsive beats and cinematic soundscapes all lurk beneath Shirley Manson's expressive voice, her lyrics bristling with attitude. It is the sound of a group at the peak of their creative powers - characteristically harnessing sonic juxtapositions and moods to create an album that thrums equally with both light and shade. Available on orange color vinyl.

In 2008, Potter entered the studio with the legendary T Bone Burnett and recorded an album unlike anything else in her vast and adventurous catalog. Created alongside a powerhouse team of renowned musicians, the Burnett-produced record captured Potter in the midst of a profound artistic transformation — but it was ultimately shelved and left unreleased. Now, partnering with Hollywood Records, Potter is bringing those long-hidden recordings to light with Medicine: a striking album that stands as both a rediscovered treasure and an electrifying new chapter in her remarkable body of work.

Narrowing down the Grateful Dead's touring career and live performances to 60 CDs, 20 venues, and more than 450 songs is hard enough. Narrowing THAT down for 3CD and 6LP sets is a monumental undertaking, but with so much great music to select from, it's one of the most enjoyable compilations we've ever assembled. This nearly four hour collection contains one song (or two, or three...) from every show in the Dead's new road tripping boxed set, ENJOYING THE RIDE, which brings together music from 20 (21...) of the most essential venues in Grateful Dead and Dead Head history. This compilation is crafted with songs spanning the 25 years in the boxed set, 1969-1994. Drawn from such iconic venues as Red Rocks, Frost Amphitheatre, Greek Theatre, Fillmores East and West, Madison Square Garden, Alpine Valley, and many more, THE MUSIC NEVER STOPPED features such classics as "Truckin'," "Eyes Of The World," "Scarlet Begonias," the title track, and plenty of under the radar tracks like "Big Boy Pete," "My Brother Esau," and "Doin' That Rag." This is a career-defining live collection filled with some of the greatest tracks performed at their greatest venues. - David Lemieux

Acclaimed Scottish singer-songwriter Kathryn Joseph returns with her fourth album “WE WERE MADE PREY.”, out on Mogwai’s Rock Action Records. Co-produced with her long time creative collaborator, multi-instrumentalist Lomond Campbell (One Little Independent Records), “WE WERE MADE PREY.” is both a reaction to and reprieve for the animal within. With raw, honest lyrics that speak of strength and truth, and rage and loss, the album asks - what does it take to give up the comfort of being wanted in order to want something, and what are the ramifications? Recorded at the remote Black Bay Studio in Scotland’s Outer Hebrides, “WE WERE MADE PREY.” is the follow up to 2022's lauded “for you who are the wronged”.

Released on April 12, 2005 through Island/Def Jam Records, The Emancipation of Mimi is Mariah Carey's tenth studio album and is widely regarded as her "comeback" project. The multiplatinum album features hit singles "We Belong Together," "Shake It Off," "Don't Forget About Us," and "It's Like That." Celebrating the 20th anniversary, The Emancipation of Mimi has been reissued and includes a new bonus track making its debut on vinyl, "We Belong Together (Mimi's Late Night Valentine's Mix)."

Matt Berninger is the vocalist and lyricist for Grammy Award-winning band The National. His songwriting has long garnered praise for its poignant clarity, jagged-edged wit and intimately emotive melodies. His second solo album, Get Sunk, is not overtly autobiographical, but the narrator is processing how he became himself. Who is he compared to the kid on that sepia-toned farm? What is his idea of happiness? What the hell are we all searching for? Get Sunk is an ode to the infinite. The others that make us who we are; the possibilities our paths can take and the abyss of both misery and bliss.

Miley Cyrus unveils her highly anticipated ninth studio album, Something Beautiful, on Columbia Records. The album features 13 original tracks and is executive produced by Miley Cyrus and Shawn Everett.  Captured by renowned fashion photographer Glen Luchford, the album artwork features Miley Cyrus draped in archival 1997 Thierry Mugler couture, a striking nod to the album’s bold aesthetic and visual storytelling.

Mt. Joy delivers their most raw and reflective album yet with their fourth LP, Hope We Have Fun. Capturing the highs, lows, and unforgettable moments of life on the road with soaring melodies and soul-stirring lyrics. From the anthemic "Highway Queen" to the introspective "In The Middle," this record cements the band's place at the top of indie rock - just as they take their biggest leap yet onto arena stages across the world. Available on "Coyote Brown" 180g color vinyl with printed inner sleeve and 12" insert. Outer jacket printed on silver rainbow foil stock.

Obongjayar announces his forthcoming album PARADISE NOW due May 30th via September Recordings. The announcement comes alongside his new single “Sweet Danger” and a dynamic accompanying music video. His latest offering serves as a flirtier counterpart to previous single, “Just My Luck,” incorporating sultry guitars and a fanfare of horns as OB sings, “heard you like the bad boys, yeah I’m a bad boy, can’t stop, won’t stop.” Set in a seedy South London hotel, the music video is a montage of larger-than-life characters, each leaning into their own version of beauty and danger. “Sweet Danger” follows his previously released singles, “Not In Surrender” and “Just My Luck” all of which come together to provide a peek into his forthcoming 15-track album. Produced between London and LA with Kwes Darko (Pa Salieu, John Glacier), Yeti Beats (Doja Cat) and Beach Noise (Kendrick Lamar, Baby Keem, Bakar), PARADISE NOW promises adventure while showcasing OB’s most intimate storytelling yet. He grapples with everything from self-acceptance and transcendence to grief and loneliness, FOMO, procrastinations and never-ending nights, all of which is set to candy-coated electro-pop synths and soaring strings, proving why he is one of the most thrilling voices to come out of the UK to date . Standing testament to Obongjayar’s skilled vocals, the album features no other artists other than his good friend and frequent collaborator Little Simz, with whom OB recently collaborated with on her recent single “Flood.” 

An endling is the final member of a species. When an endling dies, the species is extinct. Pakistani-American composer Qasim Naqvi returns with Endling, set for release 30 May 2025. Written as a modular synth prequel to his 2023 BBC Concert Orchestral work, God Docks at Death Harbor, Endling takes the listener on a 43-minute odyssey through an intense and beautiful landscape, set hundreds of years into the future. In Naqvi’s own words, the album tells the story of the last human being on the planet – the endling – across its eight compositions.

British singer-songwriter and producer Shura announces her long-awaited return with new album I Got Too Sad For My Friends, released on May 30 via Play It Again Sam, and shares the first single "Recognise". It marks her first taste of music since 2019’s critically acclaimed album forevher. "Recognise" is the linchpin between this album and Shura’s previous work, which contains the lesson learned over the last six years of uncertainty. It opens with a celestial whirl of synths and soft, almost will-o-the-wisp vocals, before bursting into an unexpected bloom of frenetic drums. Lyrically it plays with artistic identity and the selfishness of dreams (“All this time I've been dreaming / Is it selfish? I'm not sure”), before settling on the fact that life is unpredictable, and simply being alive is enough. Shura says of "Recognise": “Arthur Russell sang 'being sad is not a crime' and yet somehow when I went through a period of despair in January I felt that the best course of action was to hide myself away from the world. I think Recognise is a song about coming out the other side of that feeling. Slowly coming to the understanding that everything is ok. And that ok - is good. That I can sit quietly, read a book, sip a coffee and deeply appreciate being here and everything that has happened and has yet to happen…”

A decade after it's release, Carrie & Lowell continues to resonate as one of Sufjan Stevens' most personal and beloved albums-"a fall-down gorgeous and emotionally devastating masterpiece" (The Guardian). To mark the anniversary, Asthmatic Kitty Records presents Carrie & Lowell - 10th Anniversary Edition, featuring seven never-before-released demos that offer a rare window into the album's creation. With updated cover art, a beautifully designed 40-page booklet and new essay reflecting on the album by Sufjan, this special edition celebrates and expands the legacy of one of his most cherished works. Arriving on May 30, 2025, this anniversary edition is a must-listen for fans and newcomers alike, inviting listeners to experience the music's evolution and reflect on the raw emotional landscapes that influenced it's creation.

Ty hits the big sky trail of our good ol’ frontier empire, discovering non-stop bangers and inspired new sonics around every bend. With lyrics co-written by longtime collaborator, filmmaker Matt Yoka, Ty's glittering rhythm arrangements move with fresh scansion, inviting in sweeps of strings and horns to further the charge righteously. You’re invited too! Don’t miss the trip – the country inspires awe from up on Ty’s high-octane ride.

yeule announces a new album Evangelic Girl is a Gun, out 30th May on Ninja Tune. yeule, the cyborg alchemist coalescing the soundscapes of glitch-pop electronica, alt rock, and trip-hop. After their breakthrough sophomore album in 2022, Glitch Princess, Nat Ćmiel crystallised their place as alt electronica luminary with their boundary-breaking 2023 album softscars. Both albums were named Best New Music by Pitchfork with the latter lauded as a “riotous, high-energy journey” by the Guardian. With their forthcoming work, yeule paints us a picture with divine poise: fragmented shards of their persona non grata, or "darker side," pieced together as the painterly fatale who burns through the canvas of post-modernity. With visual artworks captured by artist Vasso Vu, Ćmiel is seen here tethered to their role as a "painter" before performer. yeule, reincarnated again as a haunting facsimile of their past in Evangelic Girl is a Gun. Ćmiel paints an homage to the artist’s role—an artist that illuminates the neon glow of an ego death, and the transformative forms of love, immortalising in our physical reality, their dream within all dreams.