Notable vinyl releases out this Friday - April 3, 2026

Twice Grammy-nominated, Mercury Prize and BRIT Award-winning artist Arlo Parks announces her new album, Ambiguous Desire, due April 3rd via Transgressive Records. Ambiguous Desire is Parks at her most confident and experimental, supplanting live band sessions for modular synths, Ableton plugins and samplers that channel the frenetic, vibrant spaces she was immersed in, all while spotlighting the acclaimed poetry and lyricism she's beloved for. Reflecting on the making of the record, Parks shares, "I danced more than ever as I made this record, I made more friends than ever too, found myself in the weird underbelly of New York juke nights, unleashed, laughed and laughed and laughed. This record has desire at it's centre. Desire is a life force, it's a wanting, a yearning, a momentum - we are all alive because there is something or someone we want - desire is an engine. But it is also mysterious, tangled, random, enlightening and HUMAN." Parks crafted the album with producer Baird (Brockhampton, Kevin Abstract). Their process unfolded between NYC's vibrant, community-rooted nightlife and long, introspective days spent in Baird's downtown loft. The result is Parks' most vulnerable, self-affirming, and euphoric work to date. 140g black 12" vinyl, Gatefold sleeve, reverse board with spot gloss to the front, 12" mirri-board inner sleeve, reverse board, Fold out poster and insert

ADULT. is not cooperating. For over 25 years, the dystopian Detroit synth-punk institution founded by Nicola Kuperus and Adam Lee Miller has embodied steadfast frustration, distrust, and apprehension. One might expect the edges to soften with time, but ADULT. is not interested in the comforts of legacy. The duo's music has never sounded as visceral, urgent, and downright angry as it does on the culminating, uncompromising 'Kissing Luck Goodbye', their scorched-earth 10th LP and fourth with Dais Records. Built with upgraded gear and a whole new library of sounds, the material is crushingly dynamic, louder yet clearer, with Kuperus' commanding delivery given greater prominence in the mix, outlining an arsenal of vivid, caustic calls, chants, and musings. Laughter, whether in the lyrics or as a possessed presence, serves as a leitmotif that speaks to the menacing absurdity of modern times. "THE CHAOS IS WHAT THEY WANT," she sings on "R U 4 $ALE," doubling as a declaration of intent: to meet a burning world of greed and disarray with defiant, masterfully assembled chaos. "You have two choices in this hellscape we're living in right now, which is either fight or be depressed," says Miller. "Either one is okay. But, you know, the choice was simple." ADULT. is known for high-stakes catharsis on stage , and recently deployed their back catalog of bass guitar songs from the 2000s, retracing the prescient Anxiety Always-era partially out of necessity given the temperature of today's political and technological dread. The response was instant and palpable: "We were in Paris, and the kids were stage diving. And I was like, this is rad. This is kind of the energy I want to get back into," Kuperus says. The epiphany coincided with a series of setbacks—Kuperus' bouts with chronic vertigo, the loss of their close friend and collaborator Douglas McCarthy of Nitzer Ebb, whom the album is dedicated to—all made profoundly worse under the looming regime. "We were stuck in the mud for quite a while after the election," Miller says. "We had all the concepts, but we would just be like, 'What's the point?'" With failing studio air conditioners and dead car batteries (their sacred space for listening back to recordings), they often joked that the album might be cursed. Kuperus adds, "We're just like everything's breaking. We're breaking. We're broken." The sentiment didn’t stick, however, as they found themselves ultimately too super-charged by fury to sit still. From watching Musk's disgusting n*zi salute to seeing their community struggle under the new regime to waiting months for a tariff-inflated replacement subwoofer, the vibe heading into 'Kissing Luck Goodbye' was four middle fingers pointed straight up. Rather than retreat, they focused on the process, revisiting their setup, complete with their first new mics in 20 years. They obsessed over textures, amassing a massive sample library taken from old thrift-store albums, previously used and unused ADULT. ingredients and new field recordings, running myriad items, including the buzz of shop vacs, through various pedals. Pause 'Kissing Luck Goodbye' at any moment, and you're likely to count a dozen things happening at once in strange, dizzying, and dissonant harmony. Together with producer Nolan Gray, whose involvement resulted from a chance encounter (he happened to be the host of the short-term rental property where the two stayed—maybe there is still some luck, after all), the band pushed themselves harder than ever before to build a world with this record. Songs took shape from unusual places: "No One Is Coming" got its tempo from a skipping record they captured through a cell phone during a bnb stay for Kuperus' 50th birthday. A bassline-driven industrial anthem that turns feedback into melody, the track attacks inaction in the face of fascism— "NO ONE IS COMING TO YOUR RESCUE" is as simple as that: the resistance will not be provided by someone else. "None of It's Fun" blitzes with breathless urgency, high-speed glissades, and pointed lines like "OH I AM TEARING MY GUTS OUT / LOOK AT ME...DO YOU THINK THAT THIS IS AMUSING?" The closer, "Destroyers", was the last song they recorded and encompasses the techniques ADULT. has learned not just throughout the making of 'Kissing Luck Goodbye', but across their quarter-century as a pioneering collaborative project. A straightforward bassline and kick collide with pulsing mantras, then becomes completely saturated and cacophonous. Their younger selves might have let the song destroy itself, but here, they were able to steady the volume throughout the extremes, making way for a poignant, parting a cappella: WE PAY THE PRICE FOR THOSE IN POWER EXPLOITING YOU EXPLOITING ME CONSUMING YOU CONSUMING ME SICK SICK SICK SICKENING IT IS US THAT ARE DEVOURED BY EVERYTHING I WILL EAT YOUR HATE

'Fragments' is the debut album from Beak co-founder Billy Fuller. Although this is a solo album, it's not a solo album in the traditional sense of representing an artist's thoughts and feelings during a particular time frame. This is a record that spans time as it collects fragments of Billycreating alone in his home studio over the last few years. Through listening, one gets the impression of art that sometimes has a vision in mind, and is sometimes just the product of someone enjoying the process of creating in the moment. During the break in Beak activity in early 2025, Billy revisited his collected compositions and found that there was a common thread, a cohesive atmosphere. Every single track on this album was created by Billy alone, and his personality threads itself through the 16 tracks. He likens the process of compiling the tracks to making a cassette compilation for a friend when he was a kid. Fragments is moody, immersive, and utterly unbound. Across the album, kosmiche-inflected, hauntological electronica plays freely with melody, finding emotional resonance for our unpredictable times. Neu-esque repetitions and motorik grooves pulse beneath skewed electro textures, and occasional spoken-word passages drift in and out like transmissions from an unknown broadcast. Occasional flashes of psychedelic prog guitar cut through hazy atmospheres, edging the sound further toward Fuller's own kind of hypnagogic pop, that is strange yet deeply human. Fragments isn't an album about singles, or trends. It's music for the love of making music, by a musician who hasn't stopped making and releasing new music for over 25 years. It is a self-effacing triumph of musical freedom. Billy Fuller is best known as the founding member, song writer and bass player in the band Beak. For the last 16 years he and his bandmates have released 4 albums, many standalone singles, EP's and soundtracks with Fuller's bass always the initiating force in their compositions, lending Beak it's signature sound as always being built from the bass guitar. Fuller has also been a participant on many other different projects along the way. He began his 17-year tenure as Robert Plant's bassist in 2003, was the bass player on Massive Attack's Heligoland album, played on 4 of Baxter Dury's albums and has also worked with Alicia Keys, Billy Nomates, Rachid Taha, Anika, Lucrecia Dalt, Tottenham Hotspur FC (!) and many oth

VOLUMES: ONE, the first non-studio release from Bon Iver, captures 10 distinctive live performances, recorded between 2019 and 2023, showcasing Justin Vernon and his band at their most whole. There’s a warmth and exuberance across the album, as well as the sort of muscular sound you can really only get at a live show. For the uninitiated and die-hards alike, these recordings could well be the defining versions of the tracks, no doubt made possible through the essential live engineering of Xandy Whitesel and performances from bandmates Jenn Wasner, Sean Carey, Michael Lewis, Matthew McCaughan, and Andrew Fitzpatrick. Vernon began working on VOLUMES: ONE in 2020, and he spent a considerable amount of time combing through concerts to pull out the right songs to define Bon Iver. “This is what we became,” Vernon comments. “This is really us at our best. This is it.” VOLUMES: ONE, as a result, is something greater than a compilation or live album. It’s entirely new but still familiar, offering a prismatic look at an old friend, seeing them for who they were and who they are, all the goodness of which they’re capable but maybe too shy to show at times. With VOLUMES: ONE, Vernon begins a new Bon Iver archival series that he’s modeled after Bob Dylan’s iconic Bootleg Series and the ever-delivering Neil Young Archives. The series will present the many eras and facets of Bon Iver, spanning live shows, demos, unreleased recordings, and more. “This particular 10 songs is like, here, if you’ve never heard Bon Iver, or you have and you didn’t like it, this might be for you,” he says.

Bruce Hornsby’s newest album, Indigo Park, is a concept album of sorts, an extended multi-dimensional inquiry into the nature of aging and memory, often with a lightness of tone – the ways certain scenes linger placidly while others balloon into imagined catastrophe, the ways we remember and the ways we forget. Throughout, Hornsby contemplates moments from his deep past, sometimes trying to “resolve” them, other times looking for clues about his present-day outlook. “It's just an old bastard looking back, while hopefully pushing forward to adventurous and new musical & lyrical areas,” Hornsby says of his new songs, with a smile of characteristic self-deprecation. “To be honest, I've found a way, a path to….grow old gracefully, with help from some newborn friends of mine.” The album is produced by Tony Berg, Will Maclellan and Bruce Hornsby with contributions from friends including Bob Weir, Ezra Koenig of Vampire Weekend, Bonnie Raitt, Blake Mills & more. Two of the albums ten songs were co-written with the late Grateful Dead lyricist Robert Hunter. 1. Indigo Park 2. Memory Palace (featuring Ezra Koenig) 3. Entropy Here (Rust in Peace) 4. Silhouette Shadows 5. Ecstatic (featuring Bonnie Raitt) 6. Alabama 7. North Dakota Slate Roof 8. Sliver of Time 9. Might As Well Be Me, Florinda (featuring Blake Mills) 10. Take A Light Strain

Charley Crockett", the two-time GRAMMY-nominated artist is back with Age of the Ram", the third and final installment of the Sagebrush Trilogy", co-produced by Shooter Jennings. Featuring 20 new recordings", Age of the Ram is the culmination of Charley's incredible sonic exploration", spanning three albums", resulting in Charley's most realized and compelling work to date. Standard vinyl edition pressed on classic black vinyl with printed insert.

Holy Fuck's 'Event Beat' is a explosion of human-made electronic music. Experience the dance floor euphoria on this limited Red Vinyl edition. It has been six years since Holy Fuck's last album, 2020's 'Deleter'. In that time, the Canadian quartet--Brian Borcherdt, Graham Walsh, Matt 'Punchy' McQuaid, and Matt Schulz--spent two years apart, only to finally reconvene in a remote village hall in rural Nova Scotia in March 2022. What began as a simple reunion and rehearsal session soon flowed into new song ideas, becoming the starting point for their upcoming album, 'Event Beat At a time when music is increasingly AI-generated, Holy Fuck are more relevant than ever. They've built their reputation on forging electronic music with a profound human touch, keeping every element as live as possible, and favoring ragged energy and improvisation over staid, cold perfection. This is music where intuition and "muscle memory" create an almost telepathic link between the four musicians. The unexpected circumstances of the recording sessions profoundly shaped the album. Faced with a storm that knocked out power (forcing the use of a generator) and a neighbour who objected to the volume, the band was challenged to make their signature sound while being as quiet as possible. This limitation unexpectedly resulted in "low-key ambient things" and "pastoral, vibey soundscapes". However, hitting play on 'Event Beat' reveals they brilliantly circumvented the idea of a purely ambient record. The album also comes in the wake of two major placements that led to an unexpected rediscovery: their track 'Tom Tom' was featured in the Amazon Prime Video hit animated series 'Invincible'. Furthermore, 'Lost Cool' resurfaced in the Academy Award-winning body horror 'The Substance' With the sheer vibrancy of 'Event Beat' and their conviction to keep going regardless of trends, Holy Fuck remain as relevant as ever. This album is a testament to the "togetherness and the humanity in the music". Track Listing Evie Broken Roots Elevate Czar Seven Ice Box Gold Flakes Aerosol Bricks Diamonds Event Beat

Swedish post-punk outfit Makthaverskan return with their highly anticipated fifth album, featuring the focus track Won’t Wait. Propelled by driving guitars, it channels the urgency of breaking free and taking back control. Makthaverskan have earned praise for their fiery live shows and are known for their blend of jangly dream pop, emotional intensity, and Maja Milner’s unmistakable voice. “thin but strong, hitting a violent edge as easily as the flick of a butterfly knife” (Pitchfork). A1. Pity Party A2. Shatter A3. Glass and Bones A4. Poppy A5. Black Waters B1. Won't Wait B2. Gambo B3. Anytime B4. Louie B5. Öken

MEMORIALS jump off the waterslides and head above the clouds with their stunning second album, ‘All Clouds Bring Not Rain’. The duo of Verity Susman and Matthew Simms (formerly of Electrelane and WIRE) locked themselves away in a studio in a barn secluded deep in the woods in southwestern France and re-emerged with a beautiful, unusual record that is both melodic and unconventional. For such an ambitious album it’s striking that it was written, performed, recorded and mixed solely by the two of them. Sounding like an unearthed classic, MEMORIALS twist their influences into their own unmistakable sound. Imagine Nico singing with Can produced by David Axelrod and you’re somewhere in the right ballpark. The record draws inspiration from a wide range of music including folk, dub, post punk, experimental tape music, 60s soul, garage rock, 70s spiritual jazz and Canterbury prog. This attention to detail in their sound meant finding several other studios to get what they needed to record with, including a harpsichord at 4AD’s studio in London and a vibraphone and vintage Leslie speaker in Stereolab drummer Andy Ramsay’s studio Press Play. Verity’s distinctive, unadorned singing is a focal point of the record, moving from tender to wild. Her vocal melodies quickly become earworms, providing the tuneful heart around which the songs’ more unorthodox elements are arranged, which is where Matthew’s unconventional approach to recording and production comes to the fore. With their adventurous arrangements, classic songwriting skills and innovative production techniques, MEMORIALS have created another mesmerising listen that’s accomplished and compelling in its unique approach yet remains dizzyingly immersive - just like their acclaimed live shows. A1. Life Could Be a Cloud A2. Cut Glass Hammer A3. I Can't See A Rainbow A4. Dropped Down The Well A5. In The Weeds A6. Reimagined River B1. Mediocre Demon B2. Bell Miner B3. Lemon Trees B4. Watching The Moon B5. Wildly Remote B6. Holy Invisible

Two Wheels Move the Soul — the sophomore LP from the mercurial quartet Robber Robber — collects a series of pressurized vignettes to assemble a thrillingly explosive statement. Written and recorded following the demolition of founding members Nina Cates and Zack James’ longtime home, Two Wheels Move the Soul captures the chaos of living at the mercy of powers-that-be. Propelled by Cates’ nonchalant bars — inspired by the effortlessly cool cadence of Gucci Mane and Lou Reed — Two Wheels Move the Soul spans post-punk scorchers, burnt-out slacker anthems, and melodies that sweeten every bitter pill stomached along the way. Following the acclaim of their debut — Pitchfork “Best Rock Albums of 2024”, Paste “Best Debut Albums of of 2024”, Stereogum “2024 Best New Artists” — Two Wheels Move the Soul works through the discomfort of class, upheaval, and inevitable catastrophe, as only Robber Robber could. 1. The Sound It Made 2. Avalanche Sound Effect 3. New Year's Eve 4. Imprint 5. Watch For Infection 6. It's Perfect Out Here in the Sun 7. Pieces 8. Talkback 9. Enough 10. Again 11. Bullseye

For nearly 30 years, SUNN O))) – Stephen O’Malley and Greg Anderson – have pushed the boundaries of heavy music, straddling the worlds of the avant-garde and rock to forge a style instantly recognisable as their own. Now, SUNN O))) return with their first album of new material since 2019’s acclaimed Pyroclasts. Their tenth album – their debut for new label Sub Pop – demonstrates the duo’s mastery of time and space, light and dark, and their willingness to evolve their unmistakable sound into bold new forms. The eponymously titled SUNN O))) was tracked at Bear Creek Studios, Woodinville, Washington with Brad Wood (HuM, Tar, Sunny Day Real Estate, Liz Phair). This location would prove crucial to the recording process. “The vast tracking room had big windows looking out on trees,” says O’Malley. “We could go hiking and be out in the woods, spend time outdoors. That became a big part of it.” “It was very inviting and very comfortable there,” adds Anderson. “There was no stress, no worry about the timeline or anything like that. We just let ourselves go, and let the music come out.” SUNN O))) have long welcomed collaborators into their self -contained world, including such esteemed fellow travellers as Hungarian vocal explorer Attila Csihar, Icelandic composer Hildur Guðnadóttir, Seattle-based multi-instrumentalist Steve Moore, Texan polymath Mark Deutrom, Silkworm co-founder Tim Midyett and legendary singer-songwriter Scott Walker. For the new album, however, O’Malley and Anderson explore the still-fertile, primal territory of the duo format. “On this album for the first time all of the instrumentation was performed by Greg and I,” says O’Malley. “All of the records have our leadership and direction, of course, but this time around, it was almost like this crucible of ideas that was really at the core of what we’ve been doing.” Recording exclusively as a duo should not be interpreted as SUNN O))) limiting or restricting themselves. To the contrary, it has opened up new possibilities for their music. “What’s been happening with our performances over the last couple years with the two of us and no other collaborators or players has been really fresh and exciting,” says Anderson. “There’s been a lot of development. A lot of that was unexpected. And a lot of things that happened in the studio were really exciting and different from what we had been playing live, as well.” The six compositions on SUNN O))) are expansive and panoramic yet finely detailed, reflecting the arboreal setting in which they were recorded. Opener “XXANN” enters with howling feedback before crunching into what might at first seem familiar territory – until one registers the sound of water trickling beneath. “Mindrolling” likewise incorporates field recordings, as does “Glory Black”, which in addition introduces piano, by turns sonorous and delicate, into the mix, lending the already formidable piece a hushed, solemn feel. The Newcastle-forged originators of black metal get a shout out in the title of “Does Anyone Hear Like Venom?” which seems to position Cronos, Mantas and Abaddon as deep listeners, attuned to their Tyneside surroundings in much the same way as SUNN O))) are to the forest enfolding Bear Creek Studios. Throughout the album, the interplay between O’Malley and Anderson attains fresh heights of telepathic intensity as they shape a music that itself breathes the bracing, earthy air of the Pacific Northwest. “It’s always developing,” says Anderson. “That’s a constant, and that’s what sustains my interest and passion. There’s a movement that’s happening, whether it’s forward, backwards, to the side, whatever. That’s what makes playing in this group, at least for me, different and unique and special.” In October 2025 SUNN O))) released the first fruit of a new deal with celebrated US label Sub Pop in the form of a maxi 12” featuring “Eternity’s Pillars”, “Raise The Chalice” and “Reverential” – three monumental tracks from the same sessions that produced the new album. The alliance with Sub Pop makes perfect sense, as Anderson explains. “We decided that we should approach Sub Pop, after I’d had some great conversations with Jonathan Poneman,” he says. “So I called him up and before I could get the words out of my mouth, he said, ‘We’d love to do it. Tell me what you guys need.’ He was really excited and supportive.” SUNN O))) are no strangers to striking cover art – as illustrated by their collaborations with Joanne Ratcliffe for Black One, Richard Serra for Monoliths & Dimensions, Angela LaFont Bolliger for Kannon and Samantha Keely Smith for Life Metal and Pyroclasts. For SUNN O))) they have been granted permission by the estate of the late American artist Mark Rothko to reproduce two of his paintings on the album’s sleeve. “Over a few years, I developed a correspondence with Christopher Rothko via the Rothko Foundation’s Henry Mandell,” explains O’Malley. “It’s such an honour to be in the proximity of art on that scale, which has moved me personally so much for decades. Standing in front of a Rothko painting you can experience landscapes, worlds and environments subjectively in the abstraction.” Liner notes for the album are provided by award-winning British writer Robert Macfarlane, famed for his works concerning landscape and the multifaceted relationship between humanity and nature. Macfarlane negotiates the peaks and valleys of the SUNN O))) sound in a poetic, philosophical manner that will be familiar to readers of Mountains Of The Mind: A History Of A Fascination (2003), The Wild Places (2007), Underland: A Deep Time Journey (2019) or Is A River Alive? (2025). “I’ve been very interested in Robert’s writing for a long time,” says O’Malley. “He was very up for engaging with this project. And what he ended up turning in was mind-blowing. It’s part of the creative process, framing our music in a certain way, visually and with language, before presenting it to the world.” SUNN O))) also collaborated with French artist Elodie Lesourd, whose illustration work is featured on the inner LP sleeves and accompanying album merch. All of which adds up to a fully immersive experience, uniting sound, word and visual into something that is undeniably, completely SUNN O))). Joseph Stannard, January 2026

Thundercat fans rejoice! The longest album drought of his career is officially OVER. Distracted will be released on April 3, 2026 - 6 years to the day after release of his previous LP, the 2020 GRAMMY Award winning record It Is What It Is. Distracted was primarily created in close collaboration with a new creative partner for Thundercat - the super producer Greg Kurstin, known for his work with some of the biggest names in pop like Adele, Paul McCartney, Sia, Beyoncé, Beck and more. The record features 15 tracks and a host of exciting collaborators including Mac Miller, A$AP Rocky, Willow Smith, Tame Impala, Channel Tres, and production from Thundercat & Greg Kurstin, Flying Lotus, Kenny Beats & more. Over the past six years, Thundercat’s been a very busy man. Beyond releasing two new tracks this past September ("I Wish I Didn't Waste Your Time" & "Children of the Baked Potato (feat. Remi Wolf)", Thunder has collaborated with Tame Impala, Silk Sonic, Gorillaz, Justice & Yo Gabba Gabba, played bass with the Spinal Tap guys on Kimmel, won a GRAMMY Award for Best Progressive R&B Album at the 2020 GRAMMYs, has gone viral no less than 5 times on TikTok, his hit records "Funny Thing" & "Them Changes" went Platinum, toured arenas with The Red Hot Chili Peppers, and oh yeah, he made his acting debut in the Star Wars universe in The Book of Boba Fett. A1. Candlelight A2. No More Lies (feat. Tame Impala) A3. She Knows Too Much (feat. Mac Miller) A4. I Did This To Myself (feat. Lil Yachty) A5. Funny Friends (feat. A$AP Rocky) A6. What Is Left To Say A7. I Wish I Didn’t Waste Your Time B1. Anakin Learns His Fate B2. Walking on the Moon B3. This Thing We Call Love (feat. Channel Tres) B4. ThunderWave (feat. WILLOW) B5. Pozole B6. A.D.D. Through the Roof B7. Great Americans B8. You Left Without Saying Goodbye