Notable vinyl releases out this Friday - March 27, 2026

Charlie Puth steps into his own with his fourth and best studio album; Whatever’s Clever! Puth shines in an entirely new light with esteemed co-producers Blood Pop and Jimmy Jam at the helm, as the internationally acclaimed artist and multi-instrumentalist creates his bravest, boldest and most honest work to date. Filled with complex, life affirming and uplifting melodies and lyrics written and performed entirely by Puth, special guests, spanning multiple decades also join the Diamond-certified, multi-award winning artist for one of the most exciting pop-rock albums of the year.

Hurts Like Hell is Charlotte Cornfield's sixth album, the first she's recorded since the birth of her daughter, an inflection point for her as a person and an artist. The album's recurrent themes of personal growth and renewal, of love's perseverance through difficulty and shame and awkwardness, are rooted there. "That experience has pulled me out of myself and given me a different outlook on things," she says. "The vulnerability and fragility and wildness of it all has made me less focused on self, more zoomed out." Hurts Like Hell is the most open-hearted, full-voiced album of her career, and also her most collaborative. Decamping to Philip Weinrobe's Sugar Mountain studio in Brooklyn, Cornfield was joined by a full backing band, including Palehound's El Kempner, Lake Street Dive's Bridget Kearney, Adam Brisbin, and Sean Mullins, with key contributions by Núria Graham, and Daniel Pencer. Cornfield then recruited Feist, Buck Meek, Christian Lee Hutson and Maia Friedman to sing on the album. The fruits of this process are immediately apparent on lead single "Hurts Like Hell," a country-saturated yearner Cornfield calls "a shy people love story," the band swelling to embrace Cornfield's idiosyncratic flow as if to cradle her protagonist's heart. That the song is so vulnerable, so lived-in, is a matter of trust between Cornfield and her bandmates, in each other and of their gut. Their sound lands somewhere between Nashville Skyline and Harvest; a warm, richly-textured response to her bruised-but-seeking call. Much of Hurts Like Hell's magic happens in the space Cornfield makes for harmony. Taken up by Meek or Hutson, characters are sung into life as if with a brushstroke. When joined by Kempner or Kearney, it's a dazzling facet of the natural, lightning-in-a-bottle chemistry of her band. On "Kitchen," Friedman mirrors Cornfield's sense of astonishment at finding herself in love, rendering the emotion at it's ethereal peak. On "Living With It," she's joined by Feist, who Cornfield connected through a group chat for mothers who are touring musicians. Cornfield has arrived at this album bearing both scars from her past and hope for the future. Standing outside of herself and taking stock of what she wanted her music to be in the wake of childbirth, she was brave enough to ask for space, for time, and for help from places and people familiar and unexpected - a group chat, songwriters she was fans of but wasn't acquainted with, friends whose long-forgotten song leant her the chorus for a new one. Every "yes," every voice memo, every shared file, every open door leading to this moment in Charlotte Cornfield's career. Call that moment what you will - an expansion, a rebirth, a breakthrough - Hurts Like Hell is big enough to meet it and has lost none of Cornfield's charm, wit, or urgency in the offing, at once a reaffirmation of her standing among the great singer-songwriters of her generation and the first articulation of her future, whatever uncertainty and love it may bring.

In the hands of Courtney Barnett, fragments of everyday life become rich and riveting. A deft lyricist and virtuosic guitarist with inimitable musicianship, Barnett first found critical acclaim with 2013’s The Double EP: A Sea of Split Peas and broke into the mainstream in 2015 with her debut album, Sometimes I Sit and Think, and Sometimes I Just Sit. Garnering a coveted Best New Artist Grammy nomination and numerous other accolades, the album stands as a generational classic. Barnett followed her debut with 2017’s Lotta Sea Lice, an acclaimed collaborative record with Kurt Vile, and eschewed the vignettes of her early records on 2018’s Tell Me How You Really Feel, her humid, political sophomore record. In 2021, she released Things Take Time, Take Time, a remarkable artistic step forward. On March 27th, 2026 Courtney will release her 4th studio album, Creature of Habit. 

After a nearly five-decade (and counting) career as one of his generation’s defining rock bassists, Flea releases his first full-length solo album, Honora, on Nonesuch Records.  Time and space have finally allowed him to return to his first musical loves: jazz and playing the trumpet.  The album features the track ‘Traffic Lights’, co-written with Thom Yorke and Josh Johnson, as well as the previously released ‘A Plea’.  

For Honora, which takes its name from a beloved family member, Flea composed and arranged the music, and also plays trumpet and bass throughout, joined by an elite crew of modern jazz visionaries: album producer and saxophonist Josh Johnson, guitarist Jeff Parker, bassist Anna Butterss, and drummer Deantoni Parks.  The record features vocals from Flea, as well as friends Thom Yorke and Nick Cave.  Mauro Refosco (David Byrne, Atoms for Peace) and Nate Walcott (Bright Eyes), among others, also join the band.  The album comprises six original songs – including one co-written by Flea, Johnson, and Yorke – as well as interpretations of tunes by George Clinton and Eddie Hazel, Jimmy Webb, Frank Ocean and Shea Taylor, and Ann Ronell.

Free jazz collective Irreversible Entanglements return with their second Impulse! recording, Future Present Past. Largely recorded at the historic Van Gelder Studio, the album sees the quintet meld atmospheric jazz, global music traditions and spoken word into our shared story of existence - futures full of possibility, the present with all its uncertainties, and pasts as wellsprings of ancestral wisdom.

José González - Against The Dying Of The Light Mute is excited to announce the release of José González’s new album, Against the Dying of the Light, arriving March 27th. The album will be available on black vinyl and CD, both packaged in a gatefold jacket. Where Gonzalez’s previous record Local Valley turned inward toward place, language, and personal reflection, Against the Dying of the Light widens its gaze, becoming an urgent call to preserve the light of humanity with all its flaws, at a moment when technology increasingly shapes how we think, feel, and relate to one another. Across the album, González works within a deliberately minimal framework, pushing his familiar palette to new heights through subtle variation, restraint, and detail. Each song unfolds with its own distinct character, proving how much emotional and musical range can be achieved within self-imposed limitations. Written in English, Swedish, and Spanish, the record reflects his Swedish-Argentine roots and frames its humanist message as a global one rather than a purely personal or political statement. José González is one of the most quietly influential artists of our generation. The Swedish-Argentine artist has built a singular musical world from hypnotic, minimal guitar work and his unmistakably gentle voice—a sound that has become deeply personal to millions of listeners worldwide. With billions of streams across platforms and hundreds of thousands of physical records sold, González’s songs often act as emotional landmarks. Ask almost anyone, and they can name at least one of his tracks tied to a defining moment in their lives.

Moo is the first wide release on my new label MUP! When I decided to make a new record, it only seemed right to go back to what brings me the most joy, which is, Rock & Roll music. I got my Tascam 388 fixed, the same tape machine I had used to record my first album, King Tuff Was Dead. It had been sitting in my parent’s house in Vermont for the past 14 years, but I had finally dragged it out to LA. I stopped caring if there were mistakes. There’s not enough mistakes. I played my old, blue, Gibson SG, Jazijoo, and she spewed mangled electrified gold. For once, I sang and I didn’t hate my voice. I played the drums badly and bounced them in mono to one track and it sounded like glorious shit. I wish it sounded even worse. Rock & Roll is the music of rodents and bugs. It should sound like it crept from a decrepit trashcan or a crypt or a toilet. It is not chill or vibey, autotuned or on the grid. It is not perfect, which is why it’s perfect. And I don’t care if it’s dead or alive, cool or uncool: when I hear it, and when I play it, as a chubby and balding 43 year old punk weirdo, I FEEL ENERGIZED. All in all, MOO is a full circle moment. A return to form. A return to rock. A return to Vermont. A return to myself. Reconnecting the dots. Restarting the engine. Plugging in the stack. Finally letting King Tuff be King. Fucking. Tuff. 1. Twisted On A Train2. Stairway To Nowhere3. Invisible Ink4. Landline5. Crosseyed Critters6. Oil Change7. East Of Ordinary8. Unglued9. Delusions10. Backroads

On Blinking as the Starlight Burns Out Paula Kelley explores her reverence for the dark edges of pop music, crafting a deeply personal song cycle informed by her career as a musician, song-writer and arranger. Channelling some of her most treasured pop-noir classics by Judee Sill, Colin Blunstone and Big Star, the songs on her first album in almost 20 years are filled with heart-wrenching melodies and layer-upon-layer of lush, kinetic instrumentation.

Four-time GRAMMY Award-nominated global superstar RAYE, is releasing her highly anticipated sophomore album THIS MUSIC MAY CONTAIN HOPE. The album, set in 4 “seasons” with each side of the vinyl being a different season, takes listeners on a sonic journey that begins with darkness and ends with light. “Music is medicine. I’ve always said that, and I guess I’m in the process of making medicine for myself that I can share with the world. I want us all to say to ourselves that it’s going to be all right, and I’m going to have faith in the seeds that I’ve planted beneath the snow. I wanted to create something that is a hug or bed or soft place for that person who needs it.” RAYE recently kicked off her massive 51-date sold-out arena tour THIS TOUR MAY CONTAIN NEW MUSIC includes arena dates across Europe and the UK — including six sold-out nights at The O2 — before heading to her sold out North American tour with stops at iconic venues such as Radio City Music Hall (April 15 and 16th) and the Greek Theatre (May 12 and 13th). Additionally, RAYE will be a special guest on Bruno Mars’ The Romantic Tour for 27 stadium shows across the US this summer. For tickets and more information, visit RAYEofficial.com.

Sexistential is the most ecstatic record that Robyn has ever made, the sound of one of contemporary music’s most influential artists coming home. After the club music meditations of 2018’s Honey, the album features nine playful pop songs that tie back to her era-defining Body Talk trilogy, designed to feel “like a spaceship coming through the atmosphere at a really high speed and crash landing”, she says. “That’s how I felt, like I’d had all these experiences searching too far out into space, and now I’m crashing back into myself.” Co-produced with longtime collaborator Klas Åhlund, and featuring Max Martin among the writing credits, Sexistential heralds one of the decade’s most celebrated comebacks. Featuring singles “Dopamine”, “Talk To Me” and “Sexistential”, it’s emphatic and punchy, defiant about emotional and biological pleasure, need and softness. The album’s title started as an in-joke before she realised it said everything she wanted to say. “Exploring my sensual life is the same feeling as when I make a good song,” she explains. “It’s such a beautiful kind of sensitive vibration that takes so much work to keep afloat. I feel like the purpose of my life is to stay horny - it doesn’t even have to be about sex, but it’s feeling sensual and attracted to things that I enjoy, and not letting anything take over that.” The album news follows a run of public appearances - including performing on CNN’s NYE Live with Anderson Cooper and Andy Cohen and two sold-out Brooklyn Paramount shows - that have created huge anticipation for new music. Whether performing with David Byrne to celebrate SNL's fiftieth, making show-stopping live appearances with Charli xcx and Gracie Abrams, collaborating with Yung Lean and Charli or soundtracking Acne Studio's 2025 Paris show, Robyn continues her immeasurable impact on popular culture. A1. Really Real A2. Dopamine A3. Blow My Mind A4. Sucker For Love B1. It Don’t Mean A Thing B2. Talk To Me B3. Sexistential B4. Light Up B5. Into The Sun

Worst Girl in America is the third studio album by American singer Slayyyter. The album is inspired by Slayyyter's upbringing in St. Louis and characters from her adolescence. In comparison to Starfucker and Troubled Paradise, Slayyyter described the album as "more authentically her" and one where she tried revisiting the formative sounds from her teenage years. The album is also inspired by the music she grew up listening to on her iPod, which consisted of a mix of pop, punk, and rap music.

On ‘Ricochet,’ the third album from Snail Mail coming March 27th 2026, Lindsey Jordan returns to assert herself as a generational songwriter, clear-eyed and honest as ever. Time has passed, but she remains a sensitive soul, and here her incisive introspection is tethered to newly expansive and hypnotic melodies and ornate string arrangements. While writing ‘Ricochet,’ Jordan found herself fixating on concerns she’d previously pushed out of her mind, namely death and what happens after. Jordan’s early music largely dealt with matters of the heart, a territory that she tried to step beyond on ‘Ricochet.’ “Misery feels safe to write about because I am good at it,” she says, “but I’m not bathing in my own agony anymore.” To feel the pain of everything and then nothing is a lonesome contradiction. ‘Ricochet’ is a record about being caught in this whirlpool, but Jordan’s music has never been so transcendent. The luminous opener, “Tractor Beam,” is driven by jangly guitars, but is ultimately about dissociation and “feeling othered while acknowledging that you’re spending a lot of your time and energy figuring out how to float away.” When it came time to record the songs bouncing around in her head, Jordan turned to a friend, Aron Kobayashi Ritch, the bassist and producer of the fuzzy indie rock band Momma. Jordan describes the process as refreshing, trusting, and comfortable. “I felt like an equal voice,” she says. “He was as interested in my decisions as I was in his.” These 11 songs are colored by the anxiety of watching life slip through your fingers, as well as the vulnerability of loving deeply rather than frenetically. Ultimately, ‘Ricochet’ is an album about realizing—and accepting—that the world still turns no matter what is going on in your tiny life. A1. Tractor Beam A2. My Maker A3. Light On Our Feet A4. Cruise A5. Agony Freak B1. Dead End B2. Butterfly B3. Nowhere B4. Hell B5. Ricochet B6. Reverie

“If I never make it home, thank you for everything.” — “Ten Years” It’s hard to believe twenty years have passed since The Academy Is… released their breakthrough debut Almost Here, a record that quietly shaped an underground era. In the years since, the band grew up, lived full lives, and ultimately found their way back. Almost There serves as a conceptual companion to their debut, reexamining the past from the present with clarity, reflection, and experience. “Almost Here was about leaving home,” William Beckett reflects. “This album is about finding your way back.” The songs capture the bittersweet truth that time moves fast, carrying a quiet urgency to chase what matters before it slips away. 

A woman is trapped on a cruise ship. A preacher decides to go down with his town. A man at the florist finds himself lost in the meaning of the arrangement. These and other people at personal and societal extremes are the subjects of ten timely, timeless short stories collected as meticulously crafted pop songs by The New Pornographers on their forthcoming album, The Former Site Of. The album, like Continue as a Guest, finds The New Pornographers-bandleader A.C. Newman, Neko Case, Kathryn Calder, John Collins, and Todd Fancey-expanding their already rich catalog in surprising fashion. Joined by legendary session drummer Charley Drayton (Divinyls, Keith Richards, Fiona Apple), the space contained in a New Pornographers song has never been this clearly articulated or generously textured, giving a distinct pulse to the characters whose lives spill out in Newman's tender, evocative lyrics. The Former Site Of adds new depth to the sound Newman shook loose through building and recording in a home studio, fine-tuning the band's creative process far beyond the lockdown-era necessities of remote collaboration. "Having time in my studio really opened things up," he explains. "I can get the skeleton of a song together first-just a couple of elements, the key feeling, really as little as possible-before bringing it to the band and running from there." Two albums into this shift, The New Pornographers are creating universes of intricately textured sound and narrative detail, every layer keyed to reveal an unexpected new facet. As on Continue as a Guest, one of the more readily apparent layers is the way a song forms itself around a featured instrument. On The Former Site Of, it's a mandolin which, in Carl Newman's hands, lends lead single "Votive" it's sense of acceleration as it builds from the atmospheric sweep of it's synth and keyboard opening to a classic, wide-open jam. "Hands are cupped around a match / I'm just trying to keep the lights on," Newman sings on the track, the metaphor-hanging on despite the precarity of life-a thread that weaves through The Former Site Of. "Bonus Mai Tais" is, in a sense, about the flame going out, Newman writing directly of meeting a friend with advanced cancer for drinks, disarmed by their candor in the face of death. It is a brutally sad song, the anguish of the moment hanging in Newman's voice, and one of the band's most beautiful, with Neko Case's and Kathryn Calder's harmonies acting as the scene's ethereal mirror. The Former Site Of places many of it's subjects on the edge of oblivion-their time growing short, their situation doomed-but hanging on. This is also true when The New Pornographers turn their focus inward as they do on "Pure Sticker Shock," Newman's lyrics grappling with self-worth. That they can identify themselves among such a disparate cast-even the Cassini-Huygens satellite of "Spooky Action"-ties the album together before the final repeated lyric of it's title track, the way into the heart of each of these songs warmly lit and inviting. Far from being the expected next chapter from The New Pornographers, The Former Site Of is an argument against expectation by a band that continues to evolve rather than rest on their laurels. Even in it's darkest or most self-deprecating moments, there is an effervescence to the music here that is irresistible, an affirmation that the struggle of it's characters and the listener, like a photograph of a distant planet, is worth it.

Beloved Scottish band The Twilight Sad make their long-awaited return with "IT’S THE LONG GOODBYE", their sixth studio album and second to be released via Mogwai’s Rock Action Records. "IT’S THE LONG GOODBYE" is an album full of heart, intensity and emotion that deals with themes such as grief, loss and mental illness, and draws the listener in close with James Graham’s distinct, raw and impassioned vocals and Andy MacFarlane’s soaring guitars. Including the blistering single "WAITING FOR THE PHONE CALL", and featuring the legendary (and self-proclaimed The Twilight Sad fan) Robert Smith, "IT’S THE LONG GOODBYE" marks the next evolution of The Twilight Sad following 2019's critically acclaimed "IT WON/T BE LIKE THIS ALL THE TIME". Recorded in London’s Battery Studios with Andy Savours (My Bloody Valentine, Black Country New Road) and mixed by Chris Coady (Yeah Yeah Yeahs, Slowdive, TV On The Radio, Future Islands). 

Tom Misch’s long-awaited sophomore album Full Circle finds the London-based artist, songwriter, and producer at his most personal and honest. Exploring the moments that have shaped him over the last four years: family, friendships, nature, and celebrates the work of finding his way back to himself. Made during his time spent between London, Cornwall, Portugal, and Nashville with a focus on classic songwriting, honing a collection of eleven timeless songs including the previously released singles ‘Old Man’ and ‘Red Moon’. While contends with some quieter moments of the last four years, it remains optimistic and effortlessly listenable, anchored by unadorned vocals and a warm, analogue sound. And the beauty of Full Circle lies in the universality of its lyrics, inviting listeners to inhabit Tom’s world or trace their own path within it. Full Circle stands as both a reflection of his journey and a statement of ongoing evolution.

A new album from Ye, the artist formerly known as Kanye West. The rapper has inked a partnership deal with the independent music company gamma. for the release of BULLY, his 12th studio album.