Notable vinyl releases out this Friday - July 10, 2026

Adam Lambert’s new era carves a bold hybrid world, blending analogue grit with sleek electronic production. Distorted synths, live bass, electric guitar, and raw drums create a tactile yet futuristic soundscape where his voice soars and twists through dynamic melodies. Lyrically, the album explores longing, identity, and the tension between hope and cynicism; layered, symbolic, and emotionally charged. Dark, stylish, and intoxicating, it’s a strikingly elevated sonic evolution

In the Hour of Chaos is less a third "solo record" and more a mixtape to a musical yet to be written. The album comes at a time when connection is needed more than ever. A generative connector and community leader Allison Russell, alongside production team dim star, cast a creative circle of collaborators to bring the songs to life, emerging from honest, raw dialogues between friends, lovers, chosen family, humans. The new record features Norah Jones, Joy Oladokun, Kara Jackson, Denitia, Ruby Amanfu, Devon Gilfillian, Kashus Culpepper, Brittney Spencer, Sara Watkins, Kyshona, Julie Williams, Chibueze Ihuoma and Ahya Simone. 

There's an old trope about the last day of summer vacation; that it represents access to endless, effortless joy. But it's not really like that at all. Just ask Payson Power, the guitarist and creative force behind Toronto's Daydream Plus. "Growing up, whenever I'd see a film that takes place on the last day of summer, I'd be like, 'You're already at the depressing part!' The good part is the second-to-last day of summer, because it's the last day you can live consequence-free." That moment, where you can still watch movies and play video games until the sun comes up, is what inspired Power to write Daydream Plus' first full-length album, Second Last Day of Summer. What makes that day so beautiful is, subconsciously, you know it's all about to come to an end.After a lifetime spent playing heavy music, Power formed Daydream Plus in 2020 as a way to explore melodic, catchy compositions, indulging influences he'd only been able to access in brief flashes. After two EPs where the Toronto trio existed in the narrow overlap between intricate math rock and urbane city pop, Power slowly expanded his scope. Taking bits from video game soundtracks, energetic anime scores, and even chords yanked straight from the Steely Dan songbook, Second Last Day of Summer sees Daydream Plus building a more richly detailed world. Aided by Power's fellow Tomb Mold bandmates, drummer Max Klebanoff and bassist Kevin Sia, the trio work to take the spirit of Don Caballero and apply a sheen of smooth jazz atop it.

Director Georges Franju's horror classic 'Eyes Without A Face' from 1960 is a hauntingly beautiful film that since it's initial release - mired in controversy - has earned a rightful place in cinematic history. A black and white fairytale that deftly balances between fantasy and realism, clinical detachment and intense emotion, beauty and pain it is- once seen -impossible to forget. For the 2024 edition of the annual Videodroom film festival in Ghent, composer and visual artist Félicia Atkinson wrote and performed a brand new score for the film.Sans Visage brings her sparse piano and glacial electronics to the front, a lovingly constructed hommage to the film that underlines the still devastatingly current themes it so brazenly explored.LP includes a 12-page booklet with liner notes by writer and musician Claire Cronin on Eyes Without A Face and additional artwork by illustrator and experimental comic artist Momo Gordon.

Diamond-certified, three-time GRAMMY® Award-winning hip-hop luminary Future continues his unprecedented run with the release of his highly anticipated album The Real Me.

Girl Troublehas been staying true to their uniquebrand of Northwest garage rock in theirnative Tacoma, Washington all thistime, since their founding in 1984.Over these 42 years of eluding fame,Girl Trouble has recorded in many topnotch studios, and for many differentlabels. During the last 15 years, theband has recorded dozens of newtracks, nailing down the sound theywere after: something more raw andmore real. Something new.While continuing the experiment theband decided to put all the recentbatches of their recordings togetherinto a "rock tapestry." These sessionsrepresent the polished, overdubbedGirl Trouble in a studio and the live-in-the-room, no frills Girl Trouble, whichthey've always wanted to capture on arecording. The result is the best ofboth of these GT styles, andeverything in between.Recorded in a variety of sonicenvironments, with only thesongwriting and performancesremaining consistent from track totrack, Girl Trouble is proud to finallypresent this new batch of rock and rollsongs "As-Is".

Working alongside experimental duo Lorelle Meets the Obsolete at their studio El Derrumbe inEnsenada, Mexico, the sessions folded community into the album, though it's emotional core hadalready formed over months of pre-production. Joo Joo Ashworth, mixing engineer and longtimefriend, also provided a pivotal presence helping crystallize the album's rhythmic language andsubtly expanding the band's sound. The songs began reflecting conversations about fatherhood andpartnership, breakups and estrangement, the queasy acceleration of AI, and what it means toremain present and principled while the world lurches unpredictably forward. This tension is not announced but absorbed into the music. Holy Wave stretches their familiar senseof woozy atmosphere into something leaner and more direct. There are more loops and sampleswoven throughout than before, grooves that feel constructed, cyclical, hypnotic. Some tracks drifttoward dub's elastic spaciousness; others pulse with cinematic downtempo gravity. There is a freshsense of momentum throughout the record, rhythms that pull forward, dream-saturated textures,sheets of fuzz, and softly suspended vocals. "dewey's dirge" unfolds patiently: hazy guitars bloom, a softened motorik pulse moving steadilybeneath. The vocals remain submerged, widening rather than exploding. It feels expansive andreflective, a comedown hymn that trades drama for immersion. "i'm DADA," by contrast, locks into alean, circular groove. A tight drum figure, rubbery bassline, and clipped guitar phrase repeat untilthey begin to feel animate. Lyrically, the song circles the complicated devotion of fatherhood, writtenin a brief pocket of rare solitude for a parent: Always loving (Try to do what's right) / Alwayslearning (There's never enough time). "s33. u. in/HAL" plays like a transmission caught midair, faintlymechanical, immersive without ever fully resolving, capturing the album's central sensation: the act oftrying to communicate clearly through static. If earlier Holy Wave records often felt defined by their sense of drift, i'm DADA feels newlygrounded. The album doesn't abandon immersion; it disciplines it. Grooves settle, repetitions accrueweight, and the music is composed and unshaken amongst it's heavier themes. What emerges is notreinvention but a sharpening, with Holy Wave sounding less like

Frozen Charlotte - the 7th studio album from Jack White shows the Rock and Roll Hall of Famer at his best; backed by an incredible band (Patrick Keeler on drums, Dominic Davis on bass, Bobby Emmett on keys) whose collective hand is scorching hot after coming off a tour of universally-acclaimed performances. Instead of resting on a "job well done", they went straight to work in the studio and laid down what became Frozen Charlotte. Recorded in White's Third Man Studio in Nashville, this album shows Jack carrying on the same raucous, raw, and frenetic energy from his lauded 2024 album, No Name. 13 tracks of distinct feel and tone, Frozen Charlotte is an intense rock and roll punch with never far behind blues underpinnings... all of which fits right at home with long time fans while leaving an inviting open door to newcomers alike.

"My origin story as a songwriter and artist set the context for the catharsis I experienced while making new avatar. I wrote my very first songs in a punk house. The indie scene I was part of provided me with an outlet for genre-defying experiments that illuminated intersections I was hearing in my head. We didn't spend tons of time on songs cuz the kids in that scene didn't care about nailing it. It was (lowkey) about messing up, giving 0 fucks and dismantling the need to be perfect in the first place. It took the pressure off and allowed my first vision of myself to blossom. I used a similar approach with this body of work - moving through with a lot of intention while capturing the freedom and spontaneity that inspired my inception as an artist.What you're getting with this album is another facet of my world expressed with a new level of conviction, sometimes in the form of love+devotion and other times in the form of rage."- Kelela

Panda Bear and Sonic Boom's second album together, A ? of WHEN, maintains the sense of musical play brought forth in their triumphant 2022 debut together, Reset. It is built on loops of harp and sequences of steel drum, webs of pedal steel and even bits of a mariachi band. These are, of course, deliberate choices, sounds and textures they've never used and that offered a clear sonic break from the success of Reset. It works, too. The pastoral psychedelia of "Something Like Dreaming," the Wall of Sound soul sway of "Like a Moth to a Flame," the wildly warped skiffle simplicity of "Revive Him": Listening to A ? of WHEN feels like being a kid inside this pair's musical playground, beaming as you bound from station to station. But maybe more than ever, Sonic Boom and Panda Bear emerge through these 10 songs as two people with frank opinions about these times, with a real stake in the sway of the world. These tunes grapple with online exhaustion and pervasive depression, with political chicanery and ecological sustainability, all while advocating for respecting the power of luck and giving one another grace in a moment when very few of us actually know what the hell is happening. Has it ever been easier to complain publicly about something without trying to change it? Sonic Boom and Panda Bear are not content to gripe about circumstances or speculate about the fall on A ? of WHEN. They're not going to stream these songs. They're just going to sell them and give away bumper stickers that, hilariously, boast "I'm unfollowing Panda Bear & Sonic Boom." The goal is for the music to create physical connections between people, to encourage them to enjoy a real experience in the world with it and each other.

After a 14-year hiatus, prismatic noise-punk fireworkers Parts & Labor, a beloved institution of Brooklyn's '00s underground, re-emerge with a double-drummer lineup and colossal double album. The 79-minute Set of All Sets (July 10, Ernest Jenning Record Co.) is an expansive, blown-out gush of apocalypse-pop that imagines utopias and confronts the overwhelming weight of the infinite. Their first album since 2011, Set of All Sets finds the band re-energized, rebooted and expanding their punk-kosmische, matching their skyscraping melodies and squelching electronics with hypnotic rhythms and frenzied tumbles of percussion. Parts & Labor co-founders Dan Friel and BJ Warshaw are joined by the simultaneous battery of drummers Christopher Weingarten and Joe Wong — asynchronous members during their critically acclaimed four-album run on indie rock titans Jagjaguwar. The power trios that made 2007's breakthrough Mapmaker and 2011's swan song Constant Future have merged into a single four-piece, at once a brand new vision, a clamorous continuation and a recapturing of the deafening sound of their "final" two shows in 2012. With eight weaponized limbs from two veteran drummers, Parts & Labor surges forth with rhythms inspired by Tanzanian singeli, ecstatic free improv and the motorik of vintage krautrock. Friel and Warshaw beam with the most majestic and triumphant melodies of their career, windswept cascades of bubblegum Boredoms and Big-Music-gone-hardcore. Weingarten and Wong alternate between propulsion and chaos: Snares and roto-toms ping-pong across the stereo spectrum, junk percussion clatters and tumbles, robotic rhythms collide with frantic machine-gun blurs. As latticework rhythms cycle and distort, the group's three-part harmonies puzzle through lyrics about feedback loops, indecisiveness, the Anthropocene and quantum theory, all shouted through the language of rock anthems. More than a decade since announcing their "indefinite hiatus," the band returns against all odds: Brooklyn's soaring rents have driven most of its members miles from their homebase and each other, Warshaw lives under the shriek of crippling tinnitus, the concept of "forming a band" becomes less of an economic viability every year, and both the music industry and world at large have essentially imploded. In turn, a band already steeped in paradoxes — noise and pop, ambient and punk, storm and calm — have created an album about building the impossible. "What if we built a house no one can live in," Friel sings in thrash-pop blast "Haunted Limbs." What if we wrote a song no one could play?" Songs like the Verhoeven-esque "Better Run" and percussion-phase ballad "Anti-Lions and Lemonade" invent utopias, a fitting vision for an album that conjures a punk orchestra from four musicians. "It was 2021 and everything was fucked and the most interesting thing I could think of writing about was what if things went right," says Friel, "like actually having something perfect to strive for." Other songs revel in the ungraspable concept of infinity, teeming with references to Schrödinger’s Cat, pseudoprimes, superposition, programming logic and Bertrand Russell — all serving as metaphors for the cyclical nature of life ("Repetition Nil"), the precipice of climate catastrophe ("Indecision Tree"), violence begetting violence ("Off By One") and decision paralysis ("Many Worlds"). The album's first single, "Endless Cycle" is the album’s maximalist scaffolding: a four-part, 20-minute epic split across the album's halves. The three-part "Descending" suite exploits the Shepard tone illusion to dizzying ends. The chord progression is constantly falling, never resolves and is designed to loop infinitely. The feeling of moving while staying in the same place conveys the feeling of our current social and political reality: sinking deeper into the mire of techno-fascism but made to believe that we’re progressing to some grand, utopian future. The album's epic climax is a shout-along that's equal parts catchy and contradictory: “Forever … For never.” “If some certain quantum theories are true, everything that might exist, does exist through parallel universes. Grappling with that feels simultaneously full of promise and struck with grief, that anything is possible, but also that this is the universe we’re stuck with," says Warshaw "We wanted to turn towards promise, to build this thing against so, so many odds. To fight against our own inertia and fraying hope.” From 2002 to 2012, Parts & Labor were an oppositional, exultant, D.I.Y. blare in the subterranean Brooklyn of loft parties, parking lot shows, musty warehouse spaces, $10 cover charges, sweaty handstamps and Todd P emails. While "NYC revival" bands gobbled glossy magazine spreads, Parts & Labor were leading lights of a noisier, scruffier, more art-damaged shadow economy alongside musicians like Black Dice, Oneida, Sightings, the USA Is a Monster, Zs, Tyondai Braxton, Aa, Japanther and more. Fusing neon pop hooks and the blistering squall that Friel coaxed from his upcycled Yamaha Portasound toy keyboard, the iconoclastic Parts & Labor were outsiders that could have existed alongside '80s SST bands, '90s Japanese noise units or ramshackle 22nd Century post-apocalypse wasteland troubadours. The anti-imperialist rhetoric in songs like "Stay Afraid," "Fractured Skies," and "Satellites" stood in sharp contrast to a music world bending towards dance-punk escapism and indie-rock introspection. "It’s curious how little of the indie music from the aughts concerned itself with politics," author Ronen Givony writes in the recently released Us V. Them: The Age of Indie Music and a Decade in New York(Abrams Books). "For all the ruptures, chaos, and tragedy of the Bush era… the cultural response amounted to a collective numbness, trauma, and grief. No music stood in contrast to this tendency more than Parts & Labor." In their decade of existence they released five albums and carried the Minutemen's "jam econo" torch through relentless, van-destroying tours across the U.S., Europe and Japan, playing shows with Mission of Burma, The Fall, TV on the Radio, Deerhoof, Battles, Melt-Banana, Lightning Bolt, Titus Andronicus, Oneida and many more. Their final bow, held at Brooklyn's 285 Kent in February of 2012, was a cacophonic send-off that united Weingarten and Wong on one stage and ended with the audience tearing the stage to pieces. During the following 14 years, Dan Friel has released eight albums for avant-rock lodestar Thrill Jockey: four toy-keyboard scuzz-pop solo excursions and four LPs with his interstellar power trio Upper Wilds. Joe Wong has become an in-demand film and TV composer, penning the music for Emmy-winning shows like Russian Doll and Master of None alongside releasing a pair of psychedelic pop solo outings. BJ Warshaw has been co-running a multidisciplinary artist retreat, LEVEL, in a former Boy Scout cabin in Chapel Hill, NC since 2016. Christopher Weingarten has maintained a formidable career as a music writer and recently launched the all-star "artisanal white noise" app Fuzzzel. However, the forces that Parts & Labor roared against in the '00s — war theatrics, the politics of fear, gentrification, American imperialism — remain an ongoing, metastasizing threat. Their return was inevitable, if only to drive more feedback into the feedback loop. “It felt like all the things we were worried about back in the day – techno-fascism, authoritarianism, rapacious capitalism, societal division – were coming true if not getting worse," says Warshaw. "Reuniting has been a lifeline. The doing is the antidote.”

Alone Together is an album about praxis. Putting belief into action. The opening line, "radical love compels me to fight," reflects lived experience, standing up for one another and for what you believe in, regardless of outcome. Alongside producers Klas Ahlund and Kenneth Blume, Show Me the Body have recontextualized their core language into something with more clarity than ever before. This is not about atmosphere but direct communication, a call to galvanize ourselves and the people around us.

Suki Waterhouse, the storyteller behind the critically acclaimed Memoir of a Sparklemuffin, is back with her third album, Loveland. Featuring 14 new songs and co-written with some of music's brightest luminaries, including Amy Allen, Aaron Dessner, Joel Little, Dan Wilson, Jules Apollinaire, and Natalie Findlay. Loveland charts the tender distance between who we were and who we are becoming a meditation on identity, motherhood, and the quiet pull toward something truer. It is Suki's most intimate and fully realized work yet.

Swamp Dogg Contemplates The Afterlife showcases this American musical treasure in his most introspective work to date. A Zelig-like figure in modern music history, Swamp Dogg is equally adept at blues, soul, and country and his oft-stated roots, but his new album also encompasses  gospel, bluegrass and, of course, rock 'n' roll. At age 83, Swamp Dogg takes stock of his life on this album, dealing with issues of regret, nostalgia, mortality, and the mystery of what’s to come. 

Foreign Tongues, the vibrant 14-track album from the Rolling Stones, arrives less than three years after the Grammy-winning Hackney Diamonds. Led by the infectious single "In The Stars," it was recorded in under a month at Metropolis Studios with producer Andrew Watt. Blending their signature sound with fresh sonic territory, the album features Charlie Watts on one of his final sessions, plus contributions from Darryl Jones, Steve Jordan, Paul McCartney, Robert Smith and more.

Indie-rock group The Temper Trap make a triumphant return with Sungazer, a decade on from their last album. An explosive, anthemic new record that looks to the future as much as embodying their wildly successful past. Including singles 'Giving Up Air', 'Lucky Dimes' and 'Into The Wild', Sungazer sees a new era of The Temper Trap unfurl. The past few years have seen the band return to live stages around the world, huge dance remixes of their hit 'Sweet Disposition' by John Summit, Lost Frequencies and BUNT., and a long-awaited official release of Mac Miller bootleg 'Love Lost'.

Retail exclusive Deep Purple Vinyl. Over the course of his career, Will Sheff has released ten albums that have given the front man of esteemed indie rock band Okkervil River a reputation as one of the greatest working songwriters in the country. As Sheff and his shifting lineup of players have traveled the world many times over, they've made fans ranging from Lou Reed to Barack Obama. Praised as "One of indie rock's most ambitious thinkers" (Pitchfork), Sheff released his debut solo album 'Nothing Special' in 2022 to critical acclaim from The New Yorker, NPR, Uncut, Pitchfork and more... with The New York Times saying it "Harnesses both the glow of poetry and the gravity of hymns." Extra Mile follows in the path of Nothing Special - patient and alive and breathing and musical. With collaborations and contributions from friends and musicians like Griff Goldsmith of Dawes, Zac Rae of Death Cab, Peter Silberman of The Antlers, A.C. Newman, Jenn Wasner, and Christian Lee Hutson, it's an album about what it feels like to be a soul in a body.

In 2016, with the blessing of David Lynch and Angelo Badalamenti, Xiu Xiu released and toured the surprisingly successful album and concert, Plays the Music of Twin Peaks. Out of respect and deference to the beloved series, the band decided to put the concert to rest in 2018. After the recent and untimely passing of David Lynch, Xiu Xiu began to receive several high-profile requests to revive their interpretation of this iconic music. However, in wanting to always try to follow, honor, and continue to be inspired by the incredibly high bar of artistic challenge set by David Lynch, Xiu Xiu is instead going deeper. Eraserhead Xiu Xiu is a new live concert with accompanying film & full-length album that uses field recordings, concert specific homemade instruments, organ, modular synths, vocals, flashlights, electrical interference, and elements of musique concrete to express the bizarre emotionality, conflicted sexuality, relentless darkness, and singularly unsettled moonscape of this most incredible of midnight masterpieces. The album itself is a masterpiece in sound collage and experimentation, with tracks like "Tetra" and "Sleep Synth" shifting from minimal auditory sensations to a clobbering, grotesque cacophony. The album's closing track, "In Heaven," is a beautiful rendition of Peter Ivers' original composition, with Stewart's delicate and soft vocals showcasing the elegance and wonder found on Lynch's directorial-debut. Eraserhead's original sound design and score by Alan Splet and Lynch guide Xiu Xiu's expanded interpretation, reflecting their influence as fans and musicians. The original film gives birth to Xiu Xiu's visual lens through which to be baffled and pummeled by the band's imaginary unused auxiliary footage.Is it a short term art installation, an exploded tribute to a cinematic triumph, epitaph to an idol, via an entirely new work? YES. Is it intense, odd, curious, and shrouded in the gloomiest of nights? OF COURSE. After all, it is Eraserhead.