Notable vinyl releases out this Friday - February 27, 2026

Bill Callahan continues to open uncanny depths of expression, blazing one of the most original singer-songwriter trails out there. Applying the living, breathing energies of his concerts to this album production, he sharpens his slice-of-life portraiture to cut deeper, releasing a stream of singalong consciousness: poetic, cinematic, novelistic, comedic – and above all – musical. A1. Why Do Men Sing A2. The Man I’m Supposed to Be A3. Pathol O.G. B1. Stepping Out For Air B2. Lonely City B3. Empathy C1. West Texas C2. Computer C3. Lake Winnebago D1. Highway Born D2. And Dream Land D3. The World is Still

The Romantic, the new album from Bruno Mars. The fourth studio album from the global superstar and 16 time Grammy Award-winning artist marks Mars' first solo album release since 2016's 24k Magic and follows chart topping collaborations with Anderson .Paak as Silk Sonic, as well as smash hits with Lady Gaga and ROSÉ.

A gleaner of the forgotten, Buck Meek tips over the familiar and turns the unknown into a companion. On The Mirror, the artist’s fourth solo record and second released by 4AD, there’s a tender power, countered by immutable vulnerability. With an uncanny curiosity, Meek conjures twin worlds to reveal the uniqueness in the mundane. Inviting in reflection as collaborator and demon as friend, The Mirror doesn’t seek to know but to ask, looking to the shape of a question rather than the illusion of its answer. Meek grew up in Wimberley, Texas, teenage protege to an old guard of mystic Texas songwriters and musicians. He later moved to New York where he met Adrianne Lenker. The two lived in a van while singing their songs across the country before forming Big Thief. The partnership of Meek and producer, James Krivchenia, emerged from a decade of work together in Big Thief. Conceptually, The Mirror emerged from the idea to combine Meek’s band’s live, kinetic energy with an oblique electronic world. The pair invited a collective atmosphere in which simultaneous experiment could occur––musicians responding to each other in real time, while their instruments triggered modular synthesizers and electronic magic boxes. The Mirror welcomed in friends, family, collaborators from ranging musical eras of life as vital co-creators. New creative partners and longtime friends like composer and ambient musician Alex Somers joined in on synthesizer, toy microphone, and piano, and Mary Lattimore brought in the sounds of her prismatic harp. Lexical mirrors are handheld, tactile, and kept close throughout the record––each one holding up a new truth. The Mirror embraces the unknown with an abiding curiosity and Meek continues to reveal his skill as translator of human feeling and its endless portals. The Mirror looks for duality, finding it in the weeds and overgrowth. 

There’s an alternate reality where everyone makes a living wage and the cleanest buses you’ve ever seen arrive every other minute. Where the most intense songs are about confessing your love to a crush at the apple orchard, and where gentle feelings and chaotic energy are inseparable best friends. This is the timeline where Cootie Catcher is right at home. This Toronto based four-piece exudes both vulnerability and unbridled excitement, creating a sound that hypercharges the open-hearted tenderness of twee pop with spiraling synths and giddy electronics. New album Something We All Got is the clearest and most vibrant reading of Cootie Catcher’s vision yet, with songs of sweetness, nervousness, and expectancy that beam out unguarded. 1. Loiter for the love of it 2. Lyfestyle 3. Straight drop 4. From here to Halifax 5. No biggie 6. Rhymes with rest 7. Quarter note rock 8. Take me for granted 9. Wrong choice 10. Gingham dress 11. Puzzle pop 12. Stick figure 13. Going places 14. Pirouette

One afternoon, Eric Bachmann's son returned from school with a sheath of pictures he'd drawn, all of them macabre. "There were crows and sinister figures with scythes and tombstones," he recalls. On one, he had written 'DETH, SWET DETH,' and everything clicked in my head." Swet Deth, Bachmann's first album under his Crooked Fingers moniker after a 15-year hiatus, organized itself around the image: it's songs are about death, yes, but there's a sweetness to them, a wry sensibility to his lyrics that comes from having experienced many kinds of death and the life that follows in it's wake. "Crooked Fingers" is a historically slippery concept - no two albums sound alike or feature the same lineup in studio or on tour. Hearing parts in these songs that called for instruments he didn't play or vocals that weren't in his register, he found himself expanding the roster of guest musicians further than he had on any album in his catalog, including Sharon Van Etten ("Haunted"), The National's Matt Berninger ("From All Ways"), and Superchunk's Mac McCaughan ("Cold Waves"). But first he started with family, friends, and frequent collaborators. Jon Rauhouse plays pedal steel. Bachmann's wife, Liz Durrett, contributes vocals, as do members of his touring band, Skylar Gudasz and Avery Leigh Draut (of Night Palace).There is a freedom to this collection of songs, a groove to them that would belie their agonies and anxieties were mere death the album's point and not what comes before. For Eric Bachmann, that has been growth, as a musician and as a man. Like the tree sprouting from the graveyard on it's cover, Swet Deth is surprising and lush, a shock of color against it's morbid landscape, proof of life in the shadow of it's opposite. "RIP Eric Bachmann," one tombstone reads. As Crooked Fingers, he's never felt more alive.

deathcrash’s third album, Somersaults, glimmers with an everyday euphoria. The London-based slowcore/ post-rock quartet has always had an affinity for building worlds only to crush them. From their breakout EP, People thought my windows were stars (2021), through two critically acclaimed studio albums, Return (2022) and Less (2023), they have been both the architects and the destroyers, the creationists and the ones manning the flood barrier. But, recorded between Black Box Studio in the Loire Valley and Haggerston’s Holy Mountain, Somersaults is almost joyful. Its ten tracks are more vocal heavy than any of the band’s catalogue – think Mark Linkous via The Kinks – but lyrically, Somersaults resists revelation. For all its abrasion, phrases appear half-swallowed, broken off at the edge of meaning, consumed by the smaller textures of living. “Thirty, no career, it fucking worries me / And doing the band doesn’t help,” Banks sings in ‘NYC’. But, “This life is the best life,” he finishes in ‘CMC’ on top of the ambient white noise of an office printer, thankful that the band is still there, “still making noise in the doorway.” Their role as caretakers of Duster, Low and Codeine’s slowcore lineage is all across Somersaults – songs scud to a narcotic crawl, sound monolithic and inwards before spotlighting a crystalline nothing. Cathartic builds are muddied with tenderness, the bass a heavy grounding, the drums an exhausted heartbeat grasping for air. But more so than ever, even the silence feels collaborative – a gesture of communal trust – friends celebrating the room they’ve made for each other’s ghosts, and some of the biggest, brightest songs they’ve made to date. 1. Somersaults 2. NYC 3. CMC 4. Triumph 5. Bella 6. The Thing You Did 7. Wrong To Suffer 8. Stay Forever 9. Love For M 10. Marie's Last Dance

Just weeks before unveiling their highly anticipated third studio album Getting Killed, New York City's Geese took the stage at The Blue Room at Third Man Records in Nashville, TN, to debut the record in full. The special performance - recorded live, direct-to-acetate - captured the band's raw intensity and the electricity of a sold-out crowd hanging on every note. This one-of-a-kind live recording bottles the energy, urgency, and excitement surrounding one of the most talked-about bands of the moment.

The Mountain is Gorillaz 9th studio album. The album is a collection of 15 new tracks featuring artists and collaborators including: Ajay Prasanna, Anoushka Shankar, Asha Bhosle, Asha Puthli, Bizarrap, Black Thought, Gruff Rhys, Idles, Jalen Ngonda, Johnny Marr, Kara Jackson, Omar Souleyman, Paul Simonon, Sparks, Trueno and Yasiin Bey; as well as the voices of Bobby Womack, Dave Jolicoeur, Dennis Hopper, Mark E. Smith, Proof and Tony Allen. 

Heavenly return! As fiercely independent as any punk band, but as sweetly melodic as any chart-topping act, Heavenly combine sharp-edged lyrics with shamelessly joyful pop music. ‘Highway To Heavenly’ shares this musical recipe with the band’s first four albums, all of which were released in the 1990s at a time when sensitive indie types in the UK were sheltering from the prevailing macho-rock storm under the Sarah Records umbrella, and when women in the US were starting to find their Riot Grrrl voices in the small town of Olympia, where labels like K and Kill Rock Stars were designing a new creative space. Heavenly were on Sarah Records in the UK and on K in the US - and maybe this is a useful shorthand for understanding the band’s ability to meld the attitude of American Riot Grrrl bands with the pop charms of the English indie scene. In terms of style, Heavenly presented an androgynous look – short hair and pinafores for Amelia and Cathy - while Peter Rob and Mathew determinedly avoided the theatrics of male rock. Heavenly did not want to fit in with the hyper-gendered corporate music scene of the 1990s, and the band have stayed determinedly independent ever since (this new album is released on Rob and Amelia’s Skep Wax label). The new songs are full of anger, of grief, of empathy, of love, and set themselves in opposition to the resurgence of the cold ‘masculine energy’ that is making the world a miserable, aggressive place today. A1. Scene Stealing A2. Portland Town A3. Press Return A4. Skep Wax A5. Deflicted A6. Excuse Me B1. A Different Beat B2. Good Times B3. The Neverseen B4. She Is The One B5. That Last Day

Howling Bells return with their first new album in over a decade. The Australian trio's version of hypnotic indie-rock always stood separate from the pack and very much a reflection of their unbreakable union. Equal parts sepia-toned romance and gritty rock'n'roll thrills. Together with long term collaborator Ben Hillier, in the producer's chair 'Strange Life' is an album that harnesses the unique musical perspective that pricked up the music world's ears back in their beginnings, but transposes it onto a lifetime's more experience, 'Strange Life' is both familiar and new; a record that will unfurl like an old friend to long term fans whilst speaking in a language that only hard-won experience and a few more trips around the sun can understand. It may be a 'Strange Life' and a weird old world, but it sounds better with Howling Bells back in it.

Amazon exclusive on clear white w/ metallic silver vinyl, ltd. To 500 - "I've always wanted to use that title," Sam Beam says of Hen's Teeth, his eighth full-length album and his sixth for Sub Pop Records. "I just love it. To me it suggests the impossible. Hen's teeth do not exist. And that's what this record felt like: a gift that shouldn't be there but it is." Hen's Teeth and his previous album, Light Verse, are siblings of a sort. They were recorded during the same sessions after a year-long dry spell, with the same band, at Waystation studio in Laurel Canyon. "I'm at a point in my life where spontaneity is a lot more important to me. I'm a lot freer and I love making music more than ever. There are no right or wrong answers. You just pray for your luck and try your best." In this case prayers were answered and luck struck hard. The musicians cohered so quickly that they were often getting songs recorded in just a few takes, sometimes at the rate of two or three per day. The two albums might therefore be thought of as fraternal twins: they share DNA and complement each other, but are defined as much by their differences as their similarities. Light Verse (2024) took it's name from a form of poetry that makes heavy use of wordplay, humor, and nonsense. It's a sweet and airy album, impressionistic, at times even flirting with abstraction, a hearty shaking off of the doom and gloom of the Covid era. The world of Hen's Teeth is earthier, darker, more robust and more tactile than that of Light Verse. The songs have titles like "Roses," "Robin's Egg," "Dates and Dead People," "Singing Saw." The cover is a portrait of Beam surrounded on all sides by flourishing ferns and other tropical plant life - a surreal scene that contrasts starkly with the cool blue-white palette of Light Verse. As for the music, Beam says: "The experiments in this one were more with genre than with form. For the last couple years one of my go-to's has been Van Morrisson's Astral Weeks, that style where jazz musicians play folk music and it blossoms in different ways than folk musicians are normally interested in doing." The results nod to everything from Dock Boggs to Simon & Garfunkel to Tropicalia. And Beam continues to incorporate collaborations: "It's exciting, making it more of a family affair. Interacting with a bunch of friends and being blown away by what they can bring, musically and emotionally. I get to play all day with these people I love and they respond by giving me their most vulnerable, expressive self. It's the weirdest, best job ever." Hen's Teeth features David Garza on guitar, Sebastian Steinberg on bass, and Tyler Chester on keyboards. Griffin Goldsmith, Beth Goodfellow, and Kyle Crane all play drums. Paul Cartwright handled string arrangements, and plays violin and mandolin among others. The indie-country trio I'm With Her appears on the ebullient lead single, "Robin's Egg," and again on the tender, mournful "Wait Up." Beam's daughter Arden contributes harmonies and backing vocals on three tracks. Born two months before the release of his debut album, The Creek Drank the Cradle (2002), she is now 23 years old and a musician herself-the first of his children to appear on one of his records.

Just when you thought Kevin Richard Martin's music couldn’t go any slower, lower or deeper, Sub Zero emerges. A slow-motion excavation of drug-tech, dub, dreamy noise and frozen ambience, the album gradually mutates into hypnotic pulsations and melodic melancholia. It is arguably Martin’s most striking release to date under his given name. Originally released digitally on Bandcamp only in the depths of winter 2022, amid the final year of the COVID-19 pandemic and Russia’s initial invasion of Ukraine, this desolate epic went on to become KRM's best-selling digital album on the platform. With persistent demand for a vinyl pressing and a full DSP release from fans, Martin thought the time was right for Sub Zero to finally surface in its full glory: remastered and paired with fresh new artwork. The LP will be fully released on Feb 27th 2026. (Pre sold from 16/01/2026, via Boomkat, Bleep, Norman Records etc) Unnervingly, the album is as beautiful as it is solemn, as glacial as it is relentless, and as subtle as it is terrifying. A trip into a sonic abyss, with a tour of a philosophical void, it’s to my ears, KRM’s most seductive work yet, and also his most emotionally resonant. Martin expertly balances tear-jerking motifs with heavier than hell rhythmic weight. With its melodic fog, eternal drones and eerie atmospherics, the peripheral throb of distant kick drums, the heartbeat punctuation of cavernous subs and the snowstorm blizzard of fuzz absolutely envelopes the mind, whilst crushing the soul. In terms of lineage, Sub Zero might recall a more paranoid Porter Ricks, a dystopian GAS, or a brutally dubbed-out Pan Sonic. Most fitting, however, is its kinship with the deepest dub terrain Martin previously explored on In Blue, The Bug’s acclaimed 2020 collaboration with Dis Fig for Hyperdub, where he obsessively probed subaqueous pulses and low-end modulations. Sub Zero is possibly the most minimal, desolate, and deviant dub record yet released on Martin’s PRESSURE label. It marks the point at which dub disappears into its own effects trails. Dub music capturing frozen moments in time. Dub as an addictive painkiller, that sounds both sacred and ocean deep. The album will be followed by a remix 12”, featuring reworks from Ghost Dubs and The Bug, arriving in Spring 2026.

South London–raised kwes. is a producer, composer and artist who has collaborated with Damon Albarn, Solange Knowles, Loyle Carner, Nubya Garcia, Black Coffee, Sampha, Tirzah, Selah Sue and many others. After 8 years, he returns to Warp with Kinds – an expansive, intuitive work written following the birth of his daughter, exploring the restorative power of sound and colour. Kinds marks another departure for Kwes that sees him search again for the outer reaches of music’s solar system. Made after a reset following a period of burnout, the record blends ambient and classical composition while rubbing up against the rougher textures of shoegaze. Short and tightly constructed, Kinds embraces minimalism. As the world outside becomes noisier, this is a project that creates calm and solace – while planting a flag in yet another new frontier of popular music. A1. Blue White Violet A2. Blue White Cyan A3. Blue Violet A4. Brown Green Yellow A5. Violet B1. Black (Grey) B2. Yellow Green B3. Green White B4. Orange Blue

Loser Edition on ocean blue vinyl. Lillie West has always made her music in response to an itch to always be moving. But, as she recently experienced a burgeoning desire to settle down, she realized that steadiness can beget creativity. That evolution is what fuels much of her new album as Lala Lala, Heaven 2. For many years, West lived in Chicago, where she established Lala Lala as part of that city's indie scene, releasing several records on the Sub Pop imprint Hardly Art. Those albums, The Lamb and I Want the Door to Open, were powerful statements from a curious artist: catchy guitar-pop songs about being stuck in the ups and downs of life, the struggle to stay sober, to leave town, to blow up your life. West left Chicago to search for more and, in the process, wrote her new album, Heaven 2. On her journey, she landed in New Mexico, where she lived off the grid in Taos. "It was very challenging, freezing, infested with poisonous animals. But it's still the most beautiful and magical place I've ever been and I dream about it all the time," West says. She then made her way to Iceland, where she lived for two years on and off, with the off being in London, where she grew up. Eventually, she made her way to Reykjavik and settled in with the music community and released an instrumental album (If I Were A Real Man I Would Be Able To Break The Neck Of A Suffering Bird) before heading to Los Angeles, where she has fallen in love and found herself settled. L.A. has been a good place to live, if for no other reason than, in West's words, "wherever you go, there you are. I wish there was a cooler way to say that." Fortunately, there are: This theme of finding beauty and fulfillment wherever one can permeates Heaven 2. On "Even Mountains Erode," West sings, "There are symbols and signs, you're missing your life." West encourages herself, and us, to slow down. To stop and smell the flowers. West produced the album with Jay Som's Melina Duterte, who provides a strong punchiness as a bed for West's warm, rounded vocals. The relationship between the two of them was telepathic, and the result is a bold and confident album. Duterte and West performed almost all of the album's instruments, with a few crucial guests, like Sen Morimoto on saxophone on the opening track, "Car Anymore," and a bridge written by Porches' Aaron Maine on the title track, "Heaven 2." Catharsis is not only about the pain, but the escape that happens when you free yourself of it. And so there are moments of bold joy on the album, too. "Arrow," which samples the French electro pop band La Femme, moves fast, and it's swiftness and pleasure feel like running towards something, not away. "None of this was supposed to happen," West sings. But it did. "It's such a basic spiritual thing," West says, "Resistance is the root of all suffering, and I thought I could dictate the course of my life." Of course, like everyone else, she could not. Wherever you go, there you are.

Maria BC returns with their third studio album, and sophomore Sacred Bones release, Marathon. Born from a sense of urgency, masochistic determination and endurance, Marathon reflects what it means to keep going whether you're resisting or just surviving, you're in it for the long haul. On this record, Maria BC delves into themes of resistance, environmental ruin, personal disruptions and destruction, all entwined in musical grit and drive. Where 2023's Spike Field felt like one long breath, Marathon is a dynamic exploration of endurance, of pushing forward, resisting, observing and surviving. "For this record I decided to spend less time on production and recording and more time on songwriting," Maria BC explains. "The result, I think, is more thematically consistent, lyrically speaking, and more concise... I set out to make something more dynamic and varied." On a micro level, Marathon dissects our existence-how it's driven by personal ambitions, determination, and our desires to make the most of our life. On a macro level, Maria BC analyzes the destructive, extractive energy systems that drive our world: "machines that, at all costs, will keep running until they run themselves into the ground," as they describe. Written and recorded throughout the West Coast, the album is both expansive and immediate, ranging sonically from aerial acoustic songs, to glitchy distorted tracks channeling chaos and disillusionment, all while maintaining a lyrical through line. Across it's thirteen songs Marathon doesn't shy away from difficult topics, cruelty and complicity, loss and destruction. But it holds out hopefully for connection, intimacy and interference. "Sometimes when I write songs, I imagine the voice that's singing is a kind of spirit," they say. "Someone from up above or down below calling out to us in warning-'You can't go on like this.'" Ultimately Marathon tells a story of persistence, of not just one life, but many unfolding across space and time on a fragile Earth.

Nothing’s About to Happen to Me is the eighth studio album by Mitski. All songs and vocals are by Mitski. The album was produced and engineered by Patrick Hyland and mastered by Bob Weston, with assistance on drums and logistics from Kris Bulakowski. Continuing the musical through line established with The Land Is Inhospitable and So Are We, the album features live instrumentation by The Land touring band and ensemble arrangements. The orchestra was recorded at Sunset Sound and TTG Studios, arranged and conducted by Drew Erickson, engineered by Michael Harris, with additional engineering by Isaac Diskin and assistance from Alex Miller. Mitski is currently writing the music and lyrics for the musical adaptation of The Queen’s Gambit. Her concert film, Mitski: The Land, recently had its cinematic release in 27 countries, and was accompanied by The Land: The Live Album.

Nothing have always been rule-breakers. Shoegaze renegades who've rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing's music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. a short history of decay,Nothing's fifth solo album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date. The band have never sounded this colossal, never felt this intimate, never been this honest. With the strongest arsenal in Nothing's ever-shifting lineup locked in - guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) - singer-songwriter Domenic "Nicky" Palermo knew he had the manpower to make the band's most ambitious record yet. Co-written and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), a short history of decay, is the most evolved musical statement in Nothing's catalog. Songs like "Cannibal World" and "Toothless Coal" are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine - except more extreme. On the other end of the spectrum, the ornately morose "Purple Strings" boasts a beautiful string arrangement that includes harpist - and two-time Nothing contributor - Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly "The Rain Don't Care," a lilting ballad that channels the worn-down elegance of Mojave 3, and also "Nerve Scales," a pattering bop that resembles Radiohead in it's marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record "a final chapter." Not the end of Nothing, but the conclusion of a story that began with Nothing's 2014 debut, Guilty of Everything- another album about time, regret, and confronting uncomfortable truths - and now resolves with a short history of decay,. As much a snapshot of Palermo's past as it is a leap into Nothing's future.

Man On The Run (Music from the Motion Picture Soundtrack) is taken from the Amazon MGM Studios feature documentary Paul McCartney Man on the Run directed by Academy Award winner Morgan Neville. This set contains deep cuts and fan favourites from McCartney’s post-Beatles career, soundtracking the journey of Paul’s emergence from the dissolution of the world’s biggest band to proving to critics and fans that not all great acts are impossible to follow. This album compiles many of the key recordings from the motion picture together on CD – including previously unreleased tracks ‘Live and Let Die (Rockshow),’ ‘Gotta Sing Gotta Dance’ and ‘Arrow Through Me (Rough Mix).’

After four years, Rob Zombie is back with new music as he announces his latest record, THE GREAT SATAN, out on Nuclear Blast in 2026. The new music brings Zombie back to his Hellbilly roots with frenetic cuts such as “Punks & Demons,” “Heathen Days,” “(I’m a) Rock ‘N’ Roller” and “Tarantula.”

Nearly two decades after their 2007 debut and a 2010–2022 hiatus, Austin, TX’s Voxtrot return with Dreamers in Exile, a new LP that turns an underdog story into a true second act. The band who quietly became cult heroes in the streaming era deliver a record that carries the electric rush longtime fans remember while speaking directly to the new era of youth who discovered them through playlists and word of mouth. Musically, Dreamers in Exile folds Voxtrot’s classic DNA—C86 sparkle, Sarah Records romanticism, the pulse of The Velvet Underground, the elegance of Felt—into a sharper, more confident sound. Guitars chime and sprint, rhythms push forward, and Ramesh Srivastava’s literate, heart-forward lyrics trace the distance between youth and maturity, exile and home, regret and renewal. Mixed by Dean Reid (Lana Del Rey, James Blake), it reads as both reintroduction and redemption. For a band born of the 2000s blog wave alongside Vampire Weekend, The National, and Grizzly Bear, Dreamers in Exile is less nostalgia than proof of life. It’s the sound of a beloved group returning on their own terms and finding their songs resonating more widely than ever. A1. Another Fire A2. Fighting Back A3. New World Romance A4. Dreamers in Exile A5. The Times B1. Esprit de Cœur B2. Quiet Noise B3. My Peace B4. Rock & Roll Jesus B5. Babylone