Notable vinyl releases out this Friday - September 26, 2025

GRAMMY-winning singer/songwriter/multi-instrumentalist Amanda Shires returns with Nobody's Girl. Produced by Lawrence Rothman and recorded at Sound Emporium Studios in Nashville, the new album is Amanda's most powerful body of work yet. Nobody's Girl is a journey through heartbreak, loss, resilience, self-discovery and empowerment. The album features Amanda's moving vocals and signature fiddle set to meticulously crafted songs ranging from achingly raw ballads to rock-infused anthems.

It's creation led by pure emotion, Cate Le Bon's seventh record Michelangelo Dying usurped the album she thought she was making. The product of all-consuming heartache, her feelings overrode her reluctance to write an album about love, and in the process became a kind of exorcism. What emerges is a wonderfully iridescent attempt to photograph a wound before it closes up but which in doing so, picks at it too. Musically, there is a continuation and expansion of a sound a machine with a heart that has taken shape over her last two records (2019s Reward and 2022s Pompeii) as Le Bon has increasingly taken control of the playing and producing herself. As guitars and saxophones are pushed through pedals and percussion and voices are fed through filters, an iridescent, green and silky sound emerges, with flashes of the artistic singularities of David Bowie, Nico, John McGeoch and Laurie Anderson surfacing and disappearing below the waterline throughout. What were left with is an ever-changing, continuous entity, a kind of song cycle. Each iteration reflects and progresses the last, each one a shard of the same broken mirror shifting, glinting, concealing and revealing, depending on how it is turned in the light. There are ultimately, Cate asserts, No revelations. No conclusions. There is no reason. There is repetition and chaos. I eventually allowed myself a vacant mind to experience it without resistance and without searching for a revelation or order to any of it. An exercise in the viscerality of life, of love, of humanity for both listener and artist, Michelangelo Dying knows what it is to hold, to be held, and to be exquisitely, profoundly alone. The characters are interchangeable concludes Cate, but at the end of it all, it's me meeting myself.

Doja Cat’s highly anticipated fifth studio album, Vie. The 15-track album is rich with retro textures and a sonic background charged by various influences from the 70s and 80s. Vie highlights Doja’s own personal evolution and brings audiences into the world of love, life and the mess in between.  

Fred Armisen, long known as one of the most curious actor/comedian/musician/producer/author/all-round good guys in the business, likes unusual ways of entertaining people. Like this one: 100 Sound Effects is an album that that can be used as a library, an industrial tool for your own entertainment projects, or simply for brain-stimulating deep listening. From basic sounds to more abstract scenarios, 100 Sound Effects is an album like no other!

Geese return with their 3rd album, 'Getting Killed'. They tracked the album with Kenneth Blume in 10 fast-paced days. With scant time for overdubbing, what emerged is a chaotic comedy, shambolic in structure but passionately performed, informed by an exacting vision. Big riffs are layered on choir samples; hissing drum machines pulse softly behind screeching guitars. They balance a disarming tenderness with an intensified anger, trading their love of classic rock for a disdain for music itself.

Jeff Tweedy’s fifth solo album, Twilight Override, is a 30-track collection across three discs, showcasing his signature blend of wit, insight, and whimsy. Self-produced at The Loft in Chicago and engineered by longtime collaborators Tom Schick and Mark Greenberg, the album includes standout tracks from recent live sets like “Feel Free,” “Enough,” and “Lou Reed Was My Babysitter.”

“Featuring the singles "Type Dangerous," and "Sugar Sweet," the album marks Mariah's first studio album in 7 years. The project is a rich, genre-blending body of work that pays tribute to every era of Mariah that fans know and love, while introducing new collaborators and modern influences that allow the music to seamlessly span generations.”

As if cosmically enacted, Neko Case breaks to the surface once again with the new album Neon Grey Midnight Green and reminds listeners that she is one of our greatest living songwriters - perpetually becoming more fearless and adventurous. Arriving September 26, the GRAMMY-nominated iconoclast's ninth LP is self-produced and her biggest-sounding and most intimate-feeling release yet.

Multi-BRIT Award and Mercury Prize nominee Olivia Dean presents her highly anticipated second album, The Art of Loving, via Capitol Records. The Art of Loving is a tender, intentional deep dive into the many dimensions of love - romantic, platonic, self, and everything in between. The album features Olivia's new single, "Nice To Each Other." 

Robert Plant’s Saving Grace is the first album featuring a new band of distinguished players, which he calls “a song book of the lost and found”.  The genesis of Saving Grace began during the lockdown in “The Shire”, when Plant’s customary wandering was all but forbidden.  While his recent adventures have centred around Nashville, having reunited with Alison Krauss for 2021’s chart-topping, multi Grammy-nominated Raise The Roof, it was in the English countryside that Robert Plant connected closely to this diverse group of musicians, who through their own experiences had a shared lean towards his much-loved corners of evocative song.  Together, Plant and Saving Grace – vocalist Suzi Dian, drummer Oli Jefferson, guitarist Tony Kelsey, banjo and string player Matt Worley, cellist Barney Morse-Brown – have spent the past six years growing into a wide-ranging workshop of styles and personalities, weaving through time and circumstance with joy and abandon. 

There's a lyric burnt into "Abandon" - the slow, searing scorch of an opening track that begins Sprints' gargantuan second album All That is Over - that cuts to the core of the incendiary Dublin quartet right now: "I don't grow old / I grow unrecognisable".Not only does it kick the door down to a record that wrestles with the horrors outside and the strengths within, fighting for the necessity of art and hope and love amidst an incomprehensible world on fire, it also winks at Sprints' own thrilling trajectory. Having underlined their status as one of the UK and Ireland's most exciting breakthrough bands with their universally-acclaimed 2024 debut Letter to Self, vocalist and guitarist Karla Chubb, bassist Sam McCann, drummer Jack Callan and new guitarist Zac Stephenson return for their second act as an evolved entity: stronger, sharper and fully assured."I think we came out of 2024 as quite literally different people and a completely different band to how we entered it," says Karla. "There was a lot of growing and a lot of work on myself, and in the background we did a lot of work as friends and on being there for each other as a band. Letter to Self was so riddled with self-consciousness and a need to prove myself in a very male-dominated industry that really held me back in a lot of ways. And now, on this album, I could not give less of a fuck."The groundwork that Sprints laid down with their debut marked them out as a musical triple-threat in the alternative landscape: a visceral live band capable of selling out increasingly sizeable tours, earning five star reviews (NME, DIY and more) and an Irish Choice Music Prize nod, while landing themselves on BBC Radio One. Throughout 2024 alone, they toured the UK, Europe and America twice, ending the year with a celebratory, sold-out show at London's O2 Forum Kentish Town. All That is Over lays out it's cards in a landscape of duality and disparity, anger, ambition and a thousand feelings in between. It's title is taken from a lyric at the centre of "Beg," an uncompromising slice of propulsive punk that seeks the cleansing of new beginnings. Written on tour buses, in soundchecks and very much in real time, it's an album set against the backdrop of a litany of atrocities - the war in Gaza, the wildfires in LA, Trump's executive order denying the rights of trans people - that sees Sprints trying to make sense of a society gone mad.The band again worked with producer Daniel Fox of Gilla Band, this time at the residential La Frette studio just outside of Paris. The playfulness and spark that rings through the record shows both the band's wealth of ideas and willingness to break fresh ground, but also a new, hard-won confidence. Sticking two fingers up whilst doubling down on the visceral spirit of fierce artistic honesty that's always been at the heart of the band, All That is Over finds Sprints entering their second chapter with nothing left to hold them back.

Kaleidoscopic Visions showcases Tom Skinner drawing together the many threads of his career as one of the UK’s most versatile and free-thinking contemporary musicians. Performing and recording with Sons of Kemet, The Smile, Kano, Floating Points and Peter Zummo as well as a wide range of collaborations across London’s vibrant improvised and electronic scene, Skinner’s diverse touchpoints are brought together in an album of quiet power and profound truths, reflecting his journey so far and opening the road towards what is to come. The album unfolds across two distinct sonic landscapes. Side A presents entirely instrumental compositions performed by Skinner's live Bishara band—bassist Tom Herbert, cellist Kareem Dayes, and Robert Stillman and Chelsea Carmichael on various woodwinds and reeds—with electric guitar on two tracks courtesy of Portishead's Adrian Utley. A drummer-composer bringing his wealth of experience to bear on the role of bandleader, Skinner composed primarily on guitar, embracing the freedom that came with writing on his secondary instrument. Skinner’s musical world opens further on Side B, where a collection of poised vocal collaborations stretch out from jazz and improvisation towards a more dream-like, soulful sound. The centerpiece is "The Maxim," a ten-minute collaboration with Grammy Award-winning Meshell Ndegeocello, a dubby, spacious meditation on life and death, delivered with a free-spirited grace. On Kaleidoscopic Visions, one of London’s most vital musical figures gives us a sparkling glimpse of the multi-coloured lens through which his unique sound is now refracting.