Notable vinyl releases out this Friday - April 17, 2026

The Nightlife finds Honey Dijon exploring the space between house music’s past, present, and future — blurring boundaries, bending conventions, and inviting an all-star cast of collaborators to help redefine what club culture sounds like for today. At once reverent and forward-looking, The Nightlife honors the foundations of the dancefloor while pushing its possibilities outward. It captures the communal pulse, the intimacy, and the transformative power that only music at night can hold. A love letter to the dancefloor. A1 - The Nightlife - Honey Dijon feat. Chloe A2 - I Like It Hot - Honey Dijon feat. Greentean Peng A3 - New Wave - Honey Dijon feat. Rochelle Jordan B1 - Smoke and Mirrors - Honey Dijon feat. Madison McFerrin B2 - International - Honey Dijon feat. METTE B3 - Slight Werk - Honey Dijon feat. Bree Runway C1 - Just Friends - Honey Dijon feat. Adi Oasis, Danielle Ponder, SUNI MF C2 - Private Eye - Honey Dijon feat. Rochelle Jordan D1 - Rush Me - Honey Dijon feat. Mahalia D2 - Satisfied - Honey Dijon feat. Jacob Lusk D3 - Welcome To The Moon - Honey Dijon feat. Dave Gilles, Coerce

Jessie Ware returns with her new album `Superbloom' - the crescendo of her latest era. `Superbloom' erupts into a glittering rush of Studio 54-inflected groove-pop, expanding Ware's increasingly euphoric body of work as she explores our shared craving for touch, pleasure, intimacy and connection. The album features recent single "I Could Get Used To This," hailed as her "ultimate entry into divahood" and the first track to fully capture the record's assured, expansive spirit, carried by cascading strings and a sense of full-bodied release. 

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after it's origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival.The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies.Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love was not experienced as escape, but as something inseparable from impermanence and the awareness of loss. This tension between connection and inevitability sits at the center of Carve.Some of the album's songs were written earlier, during a prolonged period marked by emotional distance and apathy. Over those four years, Mohr was working through unprocessed childhood memories and their long-term effects on her ability to connect with others. The work was slow and difficult, involving a fundamental reshaping of how she related to herself and to the world.Carve was mixed by Richard Chowenhill of Flenser labelmates Agriculture. Rather than offering resolution, the album documents the act of remaining present within tension. Carve is not about escaping grief, but about accepting it as inseparable from love itself.

Souled American return after thirty years with a work of immediate relevance. Arriving just in time, with decency roundly mocked, as dissent spells career disaster and algorithms isolate us into units of convenience, Sanctions dares explore roots and traditions in both sound and consequence, revealing a band that has lost members but gained gravity. Acclaimed by Jeff Tweedy, The Jayhawks, John Darnielle, and Counting Crows, Souled American here elevate their unique style of ambient Americana into a life-altering experience full of feeling and drama, like some ink-stamped elegy fresh off the printing presses of Walt Whitman. 

Teen Suicide's seventh LP is due this spring via Run For Cover Records. The album marks the band's first full-length release in three years, following honeybee table at the butterfly feast, which found renewed attention through tracks like "you were my star," a breakout success on TikTok. Originally formed in 2010 as a side project of Sam Ray, Teen Suicide gradually evolved while remain- ing a passion-driven endeavor. Since 2017, the lineup has included Kitty Ray, and in 2022 the band officially became a full-time project with the addition of drummer Niko Wood. Together, the trio began writing and recording their upcoming LP, Nude descending staircase headless. The album represents a series of firsts for the band: their first record recorded in a professional studio, their first release written and recorded as a full-time band, and their first since 2012 to feature a dedicated drummer throughout. It also marks the beginning of a fully shared writing process between Sam and Kitty Ray, who married in 2016 and collaborated from the ground up on the entire record, splitting both songwriting and vocal duties. Described by Sam Ray as the band's "career highlight so far," Nude descending staircase headless explores the endless pursuit of fulfillment through creation, threading motifs of death and rebirth with themes of embracing joy in the wake of immense loss. The record reframes the self not as an isolated object, but as a single strand within a larger, interconnected web. Standout tracks include "Idiot," which leans into direct, literal storytelling, and "Spiders," featuring Kitty Ray on lead vocals and introducing a darkly feminist undercurrent to the album's broader narrative. Musically, the band draws inspiration from artists such as Nirvana, Radiohead, Shellac, and Helmet, channeling the intensity and experimentation of late-'80s and '90s heavy rock. Their recent tours with DELTA SLEEP further highlight Teen Suicide's growing incorporation of math rock and metal influences into their evolving sound.

They Might Be Giants treat the entire history of popular music as a trampoline rather than a rulebook. Like two pinballs pinging off of each other through musical murals stretching into a giddy ether, TMBG moves by ricochet. On their upcoming album The World Is to Dig (due April 14th, 2026 from Idlewild Recordings), the multi- Grammy- winning duo continue bouncing through the pop multiverse, digging into whatever they find with playful zeal. John Linnell and John Flansburgh continue to fire ideas off one another like particles in a perpetual motion experiment, each collision producing a new angle, a new melodic left turn, resulting in tracks packed with esoteric references, mischievous details, and left- field detours. Untethered from trends, immune to nostalgia, and equally ready to draw from Tin Pan Alley theatrics and contemporary pop culture references, The World Is to Dig is the sound of a band very much in motion; not chasing relevance, but generating it on their own terms.

Tiga, born in Montreal, is a globally renowned DJ, producer, and the creative force behind Turbo Recordings. His journey began in the vibrant chaos of the 1980s Indian club scene, where he developed a deep appreciation for electronic music’s transformative power. Returning to Montreal in the early 1990s, his relentless pursuit of musical excellence saw him co-founding the legendary nightclub Sona, creating a sanctuary for bold, cutting-edge dance music, while his label Turbo Recordings became a launchpad for numerous iconic releases in electronic music from legends such as Chromeo, Azari & III, Gesaffelstein, Duke Dumont, ANNA, and Charlotte de Witte. As a producer, Tiga achieved global recognition with his chart-topping albums Sexor, Ciao!, and No Fantasy Required. His remix credits include high-profile artists such as The xx, LCD Soundsystem, Moby, Depeche Mode, and Justice, solidifying his reputation as a master of reinvention. Tiga’s contribution to the prestigious DJ Kicks series showcased his eclectic style, while his original works, including the hit single “Pleasure from the Bass,” cemented his place in the pantheon of electronic music. All the while, Tiga has toured the world extensively, playing legendary festivals and nightclubs such as Coachella, Sónar Festival, Berghain, Stereo Montreal, and Tomorrowland. 

KONNAKOL, ZAYN's fifth studio album, is his most culturally inspired project to date. The pop-forward album expands on the sound fans first heard on his record-breaking debut studio album, Mind of Mine. KONNAKOL in its definition is the act of creating percussive sounds with one's voice but what it means to ZAYN lies somewhere much deeper. It is a sound that holds the reverberation of a time before words existed. Drawing on his own heritage for inspiration, this album is a development of that understanding, knowing more now than ever, who he is, where he comes from and where he intends to go.