Notable vinyl releases out this Friday - June 05, 2026

On her new album, Neon Summer Skin, Bedouine, the project of Azniv Korkejian, explores this feeling of safety long before one can fully understand the concept. Written with vivid, honest and intimate imagery after visiting her family in Saudi Arabia, it tells the story of family and upbringing, and mourns the end of her childhood. There is a singular resonance and newfound heft in this music previously unheard in Bedouine’s discography. Bedouine is known for making gentle, lilting folk songs that build fingerpicked guitar melodies into tsunamis of emotion. Her masterful songwriting and timeless melodies have earned her praise from publications like Pitchfork, who said her music “boasts a surreal calm and lived in glow,” and Rolling Stone, who lauded her “humble folk-pop brilliance,” plus an NPR Tiny Desk Concert, and tours with the likes of Fleet Foxes and Father John Misty. While working on the record, Bedouine realized the pain of displacement, of searching for home, has been a throughline in her family history. Other relatives have also experienced this sense of loss as they’ve migrated between Armenia, Syria, and Saudi Arabia. “I felt so frustrated about the places that I'm from becoming war torn or difficult to return to,” she says. “My family has been split apart time and time again.” This realization prompted her to document and honor her parents’ lives and stories. 

Death Cab for Cutie is one of the definitive indie-rock bands of the century. After twenty-odd years in the major label system, the band returned to their indie roots and signed with ANTI- Records and they're back with a brand-new eleventh album titled, I Built You A Tower out June 5th. I Built You A Tower is the sound of loss, compartmentalization, and then grief bursting out from the seams. It's also the sound of the growth that comes after falling apart, of acknowledging pain without letting it destroy you. "I see the tower existing on your emotional horizon," Ben Gibbard states. "You don't always have to look at what's inside it, but it's a reminder that it happened. You know it's there. You have to face it." The band will tour in support of the new album, including a play at Outside Lands. This comes on the heels of a historic, sold-out global tour marking the 20th anniversary of the album Transatlanticism, and the release of their universally acclaimed, 2022's Asphalt Meadow.

Providence-bred Deer Tick returns with their 9th album, "Coin-O-Matic". Rooted in their hometown, it draws from the city's colorful & once-seedy past, telling stories inspired by the characters that shaped it's reputation & the hardworking people who call it home. Named after the former Atwells Avenue headquarters of the Patriarca Crime Family, Coin-O-Matic blends nostalgia with universal themes, delivering the kind of hook-filled, lived-in songwriting longtime fans have come to expect. 

These days - on the new, ninth Fink album - Greenall is operating within a lineage of authentic, quietly revolutionary artists from England's verdant southwestern toe. Artists like Michael Chapman. In 1970, the elusive acoustic guitar wizard released an album called Fully Qualified Survivor. The cult-classic served as a lodestar for Greenall - along with bandmates Tim Thornton and Guy Whittaker - as he began jig sawing together The City Is Coming to Erase it All, the follow-up to 2024's Beauty In Your Wake. He even considered covering a song from it, but in the process, inadvertently stumbled into what became the album's opener. 'Wishing For Blue Sky' circles a universal teenage ache: waiting for life to start. "No point dying of patience" goes the first lyric as crunching footsteps cue a resonant, open-tuned acoustic swaying into view. By 18, Greenall was fed up with waiting, so he left suburban Bristol and saw the world, sending postcards from the edge, waiting tables, squirreling away tips for the next flight. Thornton had similar experiences when the guitarist/drummer busked across Europe. This is nowstalgia more than nostalgia, though; there's a parallel between these 18-year-olds and Fink's autumn-aged family men. "You're expected to be boring and settling down at this age," Thornton says. "But we've still got this tremendous wanderlust. We want to go and discover and also achieve things. It's a nice life - home and family - but fuck, I can't wait to get back out there." City is a product of this hunger for discovery, and idolatry of the album as a form - like we had in 1974. City's cover mirrors it's interior, the first song is the greeting, the instrumental closer the conclusion. It's a story. It's a record for people who, like it's creators, are curious. People who happily face a little cold for music, who light a crackling fire back home, who sit with these songs until they're ready to chase after their own blue sky.

Red Vinyl, Foldout lyric poster [w/ download card] Indie Exclusive. On Hammok's new album When Does This Place Become Our Scene, the Oslo trio's sophomore outing and first release for Sargent House, their noise-rock, hardcore, and metal foundations expand into broader, more dynamic territory. Industrial textures, hip-hop-informed rhythms, synth-led passages, and progressive structures surface alongside classic punk urgency, revealing a band equally invested in abrasion and atmosphere. Produced by vocalist and guitarist Tobias Osland, the songs arrived in inspired bursts, even as the recording process proved painstaking. Tasked with refining and expanding their sound, Hammok tweaked and explored each track until it held all their competing impulses at once: music that feels volatile and immediate yet dense with hooks and layered detail. True to it's title, When Does This Place Become Our Scene examines hardcore's lineage and social politics while widening it's focus to questions of belonging in an era shaped by the internet and hyperconnection. Balancing underground intensity with pop instinct, they arrived at an album equal parts scream-along cathartic and nod-along infectious.

FEAR - the joint album from Jared Mattson of The Mattson 2 and Ruban Nielson of Unknown Mortal Orchestra - was recorded in June of 2024. All recording and mixing took place in Palm Springs. Mastered by Matt Colton at Metropolis Studios in London. --- I woke up around noon, disoriented, half-dreaming. Music was playing — unfamiliar, fully formed, the kind of sound you assume belongs to someone else’s life. For a moment I thought I was still asleep, hearing music I wished I’d made. Then it hit me: Ruban Nielson was already awake, in the studio, listening to what we’d made. We both knew it. There was something inevitable about the music — like it hadn’t been created so much as uncovered. We listened on repeat, laughing, shaking our heads. One track brought up a shared image: an evergreen forest by a lake at sunset. Ruban suddenly looked up, eyes wide, like he’d just been handed a message. “I’ve got the title,” he said. American Eagle. The name landed the same way the music had — clean, obvious, impossible to argue with. The American Dream: hot dogs, Cokes, sunset drives. We both lost it, tears in our eyes from laughing hard for minutes straight. We swam in his pool. The conversation never stopped. The flow stayed constant, nourishing, effortless. Then Ruban said it again — the line that had already become a principle: “Let’s make more that sound exactly like this.” So we did. Two days later, 'FEAR' was finished. - Jared Mattson

After the passing of Lee "Scratch" Perry, a deluge of recordings appeared claiming to be the "final" project of the Jamaican icon. These came from musicians and producers from an incredible range of genres-trip hop, dub, ambient, rock, reggae. However, his last official album project took him to Berlin, Germany where he landed on the doorstop of electronic pioneers Mouse on Mars (aka Jan St. Werner and Andi Toma). If he was coming, which one of his personae would arrive? The Upsetter, Pipecock Jackxon, The Super Ape? Maybe Inspector Gadget?Behind these masks was Rainford Hugh Perry, often described as one of the single most important figures in the history of Jamaican music. Producer, engineer, label owner, performer, his impact traced ska to rocksteady to roots reggae, to sound systems, to dub, to Bob Marley and Junior Murvin and Max Romeo and The Congos and so many other legends. Generations passed through him and his ears. And beyond them his influence included punk, funk, electronic music, hip and trip hop as well as his own uncategorizable career as explorer of words, sounds and esoteric concepts.Mouse on Mars are recognized as one of Germany's most defining and versatile electronic music projects. Across more than 3 decades, they've released over 10 albums including Niun Niggung (1999) and Idiology (2001) - the former was declared the Album of the Year by The Wire - several EPs, and an imagined film score for Werner Herzog's Fata Morgana. They're also known for their work with Stereolab, Bon Iver, Tyondai Braxton, The National, Matthew Herbert, Modeselektor, Tortoise.Spatial, No Problem. Is the story of what Lee "Scratch" Perry left behind in Berlin in his encounter with Mouse on Mars. It's a story of spaces mixing, and cultures morphing towards a different kind of future.

Lizzo - B**** - Translucent Red Vinyl B****, the third studio album from 4x Grammy Award-winning artist Lizzo.

A physics theory says past, present, and future coexist-and that's the best lens for An Eraser and a Maze, which feels like every era of Modest Mouse happening at once. Guided by Isaac Brock's instinct-first process, the album is both familiar and alien, warm and cold. It stretches across the band's sonic history, from propulsive classics to stripped, raw moments, while carrying an undercurrent of mortality and loss that refuses easy optimism.

Niall Horan returns with his fourth solo album, `Dinner Party.' Calling it "a thank you to the past and a hello to the present," Niall delivers 12 new tracks shaped by "love, intimacy, fear, loss, hope and dreams." Cinematic yet organic, `Dinner Party' invites listeners to take a seat at the table and share in the warmth, wit and sincerity that define the album. Pressed on porcelain vinyl.

Aethermead, the newest offering and 20th full-length album from Of Montreal, finds the band revisiting sounds from their early years, while still pushing artistic boundaries with their iconic style of pop & indie rock. Celebrated for their unique and prolific output, frontperson and primary songwriter / multi-instrumentalist Kevin Barnes recorded the album at Brooklyn's Honey Jar studios with audio engineer, Drew Vandenberg (Faye Webster, Toro y Moi), with basic tracking done live to a 16-track tape machine with Barnes' longtime live band. "I wanted to capture a quick moment together and to make on-the-fly, spontaneous creative decisions," says Barnes. "It felt very liberating and exhilarating to have to start and finish an album in a month's time." The result shimmers with indie pop elements of their 2004 release, Satanic Panic in the Attic, as well as the raw, live energy of 2013's Lousy With Sylvianbriar. Inspired partly from a recent move to Brooklyn, NY and a yearning for community, the album marks a shift in Barnes' daily routines, with the album's title referencing a section of Prospect Park called the Nethermead, where Barnes walks their dog every day. "I started a meditation practice soon after moving to help me self-regulate," says Barnes. "I began to imagine I was sending all my destructive and useless thoughts/energies into the ether." Barnes' beautiful and melodic chord progressions are on full display with tracks like "Already Dreaming," as well as the straight-up rock & roll banger "Take The Form." Other highlights include the loungey "My Zhe Zhe," as well as the bluntly sexual lead single, "When." From the breakthrough brilliance of 2007's Hissing Fauna, Are You the Destroyer? to a steady run of boundary-pushing releases, Of Montreal have remained fearless sonic shapeshifters-equally at home crafting hook-laden anthems as they are exploring surreal, experimental textures. The band's prolific output has led to numerous late-night TV appearances-including The Late Show with David Letterman and Late Night with Jimmy Fallon-and brilliant collaborations with artists such as Solange, Janelle Monáe, and Jon Brion.On stage, they transform concerts into immersive spectacles of color, costume, and cathartic energy. The band has performed across the globe, gracing festival stages at Coachella, Primavera, Lollapalooza, Vive Latino and beyond, while also amassing hundreds of millions of streams worldwide. With a new tour on the horizon, Of Montreal continue to celebrate their legacy while pushing boldly forward.

Acclaimed composer and pianist Poppy Ackroyd returns with Liminal, her intimate new album. Written and recorded during a period of profound upheaval and transition, it marks a return to the core of Ackroyd’s practice, bringing piano and violin back together. “On par with neo-classical giants Nils Frahm, Max Richter and Hauschka” MOJO

Roger Sanchez announces his new studio album 'SPECTRUM', marking his first full-length release in two decades. The record is following on from his 2006 LP 'Come With Me'. Six years in the making, 'SPECTRUM' features a wide range of collaborators, including Fedde Le Grand, Karen Harding, Donae'o, Kelli-Leigh, Kele Le Roc, Chico Castillo, Aaron Sevilla & Kristen Knight, Escala, Carnao Beats, Stealth, Leo Wood, and Melanie C. The announcement comes alongside the release of a new single, 'Temptation', a collaboration with Low Steppa and Ragdoll. Speaking about the track, Sanchez said: "Teaming up with my brother Low Steppa was a perfect merger of our New York to London roots. And working with Ragdoll for the first time was a joy... She absolutely kills it on the vocals! This is currently one of my favorite tracks in my box to set off the dancefloor and one of my favorite collaborations." Earlier this year, Sanchez shared 'Come My Way', the only solo production on the album. He noted that recent summers spent working in London played a role in shaping the record's direction. 'SPECTRUM' is available as a special 3LP limited-edition pressed on red transparent vinyl.

The debut solo album from Rosa Walton, best known as one half of Let's Eat Grandma.Co-produced by David Wrench (Frank Ocean, Jamie XX, FKA twigs)Tell Me It's A Dream opens a new creative chapter for Walton, a record that expands her sonic world while remaining rooted in heartfelt vulnerability and bold ambition. Despite originating during a complicated period in Walton's life, the record ultimately celebrates love, friendship and creative freedom.For fans of Snail Mail, Soccer Mommy, Hayley WilliamsLP pressed on sky blue vinylRosa produced and performed the synth-pop song 'I Really Want to Stay at Your House' for the Cyberpunk 2077 video game soundtrack. The track became a viral sensation after being featured in the Netflix anime series Cyberpunk: Edgerunners, and has over 400m streams.Let's Eat Grandma's 2018 album I'm All Ears won Album of the Year at the Q Awards (UK) and the duo received an Ivor Novello nomination for their work. The debut album, I, Gemini (2016), received praise from publications like Pitchfork, NME, and The Guardian.

With two extraordinary mini-albums making a splash on London's World of Echo label in wake of their self-titled 2020 debut, Somewhere Good is, in many ways, the Tara Clerkin Trio's most realised work. In running their usual gauntlet of idiosyncratic approaches, Clerkin & co. Color in and outside of compositional lines over the course of 40+ celebratory minutes - never wallowing, despite inherently somber subject matters of self-defeat, disease, displacement, restlessness, gentrification - allowing their arrangements and improvisations ample space and time to situate, stretch out, breathe, cross-pollinate, and ultimately take deeper hold on the listener's imagination - all while somehow sounding more like themselves than ever before.Of course, there are traceable influences herein.. Being the big dumb American from the small boring town that I am, cornfed on '90s alternative radio with the enchantingly exotic sounds of Maxinquaye and Mezzanine emanating from my chunky tube television, I can't help but to make a blatantly obvious reference to a "Bristol sound", ie the whole trip-hop trip, the pastoral crooning over the suggestive urban grime of cracked electro/piano treatments, the digitally-yet-primitively reconstructed James Bond soundtrack string-beats, etc.. But the Tara Clerkin Trio is so infinitely much more than that. There are elements of avant-pop, modern classical, kraut-folk, audio verité, dare I say indie rock (and not of the beer guzzling, masturbatory fuzz-flex variety but perhaps more like a Trish Keenan-fronted Faust, Adrian Sherwood at the mixing desk of If You're Feeling Sinister, or - in expanding on our alternate reality - a world in which High Llamas cut a full-length for Warp Records with Andrew Weatherall on coffee duty).- Ryan Davis (Chicago, February 2026)

A vast and atmospheric piece of electronic minimalism, Mirage encompasses the changing states of the eponymous ballet – a ritual for 16 dancers conceived by choreographer Damien Jalet and contemporary artist Kōhei Nawa. Delivering a statement that feels both radical and accessible, attuned to the elements, Thomas Bangalter takes a sculptural approach to sound and music in the lineage of Iannis Xenakis. The cofounder of Daft Punk continues to carve a personal path grounded by experimentation as a mode of performance and the pleasure of collaboration.

Vince Staples is one of the most revered voices of his generation. Though he's a celebrated multi-hyphenate, making an impact in TV, film & contemporary culture, music is where he most naturally pushes boundaries as an artist, storyteller & creative force. Following a string of acclaimed introspective projects, Ramona Park (a melancholic tribute to his hometown) & Dark Times (deeper, more personal themes), Cry Baby is a more outwardly facing artistic statement and piece of social commentary. Pressed on baby pink vinyl with bonus track included.

An album called "Roses" would be concerned with romantic gestures. Across the ten tracks that make up the seventh and newest Widowspeak record, intimate spaces and stages of love are captured with a nostalgic, vaseline-coated lens. Candles burn inside red glass as lovers get close in a leather booth. Celebrity headshots gaze down like angels in a restaurant. Elsewhere, carnations are pressed in a black book and dancers pull each other close. Widowspeak is a band that riffs on big emotions without being too self-serious. The sweetness, even silliness, of an extended limerent phase that becomes as all-consuming as a pulpy trade paperback. Cars and their drivers serve as a way to talk about odependency. If music can simultaneously be naturalistic and noir, saturated and lush, that is Widowspeak. They're a band that knows how to set a scene. These songs use intimate moments to talk about deeper heartaches: the restlessness inherent in modern existence, waiting around for something to happen. Or, feeling at odds with playing a role in your own life. "Roses" might be the most romantic Widowspeak suggest it can be the whole point. The light that illuminates the dark corners of a day, a life. A reason to keep going despite the pain it can cause. Widowspeak are one of the most prolific and hardworking bands going, bubbling just under the surface. Molly Hamilton and Robert Earl Thomas are the core of the group and it's songwriters, and they have honed their sound across sixteen years and an i'm-pressively consistent catalog. One of many bands to crop up in a fertile New York City music scene, they started out shuffling gear between venues now-since shuttered and their practice space in Monster Island Basement. Widowspeak is now a married couple, working day jobs in their own off-season. Robert is a carpenter, Molly a waitress. "Roses" is Widowspeak at it's best, drawing on forever influences. The magic of the band is, still and always, the interplay between Molly and Robert in their two leading roles: her languid, textured voice and his visceral guitar playing. At the heart of it, their music is special because it is real: most of all for the people making it. Fragile and temporary, and worthwhile... like love itself.