Notable vinyl releases out this Friday - August 8, 2025

“The hand knows best,” the painter Margaux Williamson says. “A shape produces itself, where I go toward what is intuitive, rather than logical.” The shapely, intuitive songs that comprise Ada Lea's third album, when i paint my masterpiece, are surprising, imagistic, tactile. Alexandra Levy holds her guitar against the backdrop of a sea of her paintings on the album cover and it’s tempting to ask: is painting a metaphor here, for music or life? No! She resists tidy metaphors. She’s a master of this kind of thorny lowercase title that germinates and grows with time. In a real, profound way, music and painting go hand-in-hand as she unveils a new style of subversion and surrealism inspired by her transdisciplinarity. After years of touring, Alexandra Levy (Ada Lea) felt a need for community and renewal. when i paint my masterpiece was largely recorded in rural Ontario in the waning weeks of 2023, and its harmonies and arrangements link back to a golden era of Canadian folk music. The band recorded the album largely live and acoustic in one room, off the grid in both senses, loose but in control and without a click in sight. The album lives and breathes, produced with Here We Go Magic’s Luke Temple, who has lent his gently psychedelic sensibility to albums by artists like Adrianne Lenker and Hand Habits. By the end of these sixteen songs, it’s clear: when i paint my masterpiece isn’t chasing perfection, it’s comfortable in the magic of being. These songs are alive with poetic specificity and a wide-open heart—deeply felt, often strange, and always reaching. There’s an optimistic and plainspoken wisdom in the lyrics—which builds on Ada Lea’s singular songwriting style of surprising harmonic and melodic turns—now with a newly rich, organic sound that rewards slow listening.

Last summer, after living across the country from each other for several years, the four members of Anamanaguchi decided to try something new. Their label Polyvinyl had rescued the famed American Football house from potential destruction, so the band took the opportunity to move in and write together. Over the course of a month, Anamanaguchi - pioneers of hyper-melodic 8-bit rock, whose extraordinary ascent has led them to topping charts with virtual pop star Hatsune Miku and scoring Scott Pilgrim vs. The World: The Game and Netflix's Scott Pilgrim Takes Off - flipped their typically meticulous digital process on it's head. Anyway, the result, is the most personal record of their career. And it's a rock record for the ages.Recorded straight to tape by Grammy-winning rock producer Dave Fridmann (The Flaming Lips, MGMT, Sleater-Kinney), Anyway united the members around live instruments and lyrics sung by everybody in the band. As Anamanaguchi has always been an instrumental band, the decision to sing suddenly confronted them with the question of what the band's voice would ultimately be. They explore this newfound power in every song, making it their most emotionally resonant work yet. Anyway captures a band creatively and personally energized by the experience of four best friends reviving their connection in a disconnected world. On "Rage (Kitchen Sink)," the band confront loneliness and boredom, two epidemics of the digital age that seem to be humanity's only common bond. The power-pop ballad "Darcie" finds inspiration in small gestures from a local unsung hero, who brightens their lives and allows unforeseen amounts of fun to happen. Taut and dynamic, "Buckwild" is a rock sing-along that serves as the album's genesis story: a band making an effort to do something new, while accepting the risks that may bring.[USA], Anamanaguchi's critically-acclaimed second album and debut for Polyvinyl, anticipated a crucial cultural shift in moving from escapist, nostalgic fantasy to a more introspective exploration of digital identity. Described by Pitchfork as the band's "most emotionally grounded record," [USA] laid the foundation for the openness and honesty that defines Anyway. Where [USA] made sense of life online, their third album Anyway ventures into the world outside the front door.

For a decade now, Bad Suns have thrived in the sweet spot between indie rock Polish and modern alt-pop energy, crafting a sound that feels both urgent and timeless. Accelerator, their fifth studio album, doesn't just refine that identity-it pushes it into new territory. Stratocasters shimmer through overdriven Vox amps, synths surge like late-night city lights, and the rhythm section pulses with a restless, undeniable energy. It's a record that doesn't just move; it commands attention.The band's evolution has been constant. Since their early days cutting their teeth on tours with Halsey and The 1975, Bad Suns have spent the past two years stretching their reach across genre lines, proving their versatility at major festivals and iconic venues. Whether electrifying Red Rocks alongside All Time Low, opening for Angels & Airwaves, or winning over Finneas' pop-leaning crowd on their 2025 U.S. run, they've made a case for themselves as a band without borders.Helmed once again by longtime collaborator Eric Palmquist (MUTEMATH, Thrice) at Palmquist Studios, Accelerator feels like the band's most conceptually realized work to date. It's 12 tracks unfold with cinematic ambition, balancing airtight hooks with an emotional resonance that shifts depending on how you approach them. It's an album that doesn't just sit in the background-it begs to be experienced.

St Louis indiepop defining trio Bunnygrunt are back with a 30th Anniversary expanded reissue of their 1995 debut album 'Action Pants.' St Louis e'er-do-wells Bunnygrunt sprung fully formed into the Great Indie Pop Underground of the early 1990's, when gas was cheap, 7" singles grew on trees, and every zine had a reader. After a hugely successful turn at 1994's YoYo-A-GoGo festival and a steady stream of 45's, the band hit the studio in early 1995 to record their full length debut Action Pants for LA scene makers No Life Records. Unfortunately, the band lineup shifted and the track list contracted between recording and release, leaving a few songs on the cutting room floor. Now is the time to re-introduce the world to the Action Pants it needs now more than ever. Alongside the breezy perfection of Just Like Suppertime, the clattering feedback frenzy of GI2K, the jangle motorik of Open Up And Say Oblina, and the other hits you know and love, faithful Bungalos can now feast their ears on the shambling glory of Eggy Greggy, the transmission from another planet of Maude (in two parts!), and originally planned pre-release single Inanimate Objects. Meet Action Pants: The Thirtieth Anniversary Director's Cut! A split release between Georgia's Happy Happy Birthday To Me & St Louis's Silly Moo, it's just like the old one, only, like, better... Track Listing Superstar 666 Transportation Pants Eggy Greggy I Am Curious Partridge Just Like Supper Time Maude Maude (Returns) G.I.2.K. Criminal Boy Tadpole Inanimate Objects Open Up and Say Oblina

Dollar A Day is the new album from GRAMMYr Award-nominated artist Charley Crockett. The second installment in The Sagebrush Trilogy, the album sees Charley reunite with co-producer Shooter Jennings for 15 electrifying new recordings. Like its predecessor Lonesome Drifter, Dollar A Day was recorded at the fabled Sunset Sound Studio 3 in Hollywood. In Charley's words, ""With Lonesome Drifter, it felt like we opened the portal. With Dollar A Day, we stepped through and came out the other side." Standard black vinyl with printed insert.

Florida-born multimedia artist Ethel Cain returns with her sophomore album Willoughby Tucker, I'll Always Love You. A prequel to the critically acclaimed Preacher's Daughter, the new album recounts the story of Ethel's first love, Willoughby Tucker, and their humid, laden romance. Hayden Anhedonia, the creative force behind the entire Ethel Cain project, has spent the past several years assembling the album in her home studios from Coraopolis, PA to Tallahassee, FL, all the while selling out tours and playing festivals worldwide, cementing herself as a singular artistic voice on the rise.

New album from Field Medic, "surrender instead". surrender instead is everything a Field Medic fan could want and everything a Field Medic agnostic could need as a convincing sampler. The album returns to each checkpoint in Sullivan's career thus far, documenting a twentysomething musician becoming a thirtysomething musician-an artist settling into what life exists just beyond the pale and oft-daunting demands of songcraft. This music does not adhere to one shape, and Sullivan is acutely aware of his own lore. He does not avoid well-trodden ground, but this is not the patchwork of old material that Floral Prince was near the dawn of this decade. These songs spawn from a never-finished nexus that hems the Field Medic universe together.

Good Charlotte is back and they’re bringing their rawest, most authentic energy yet with their album Motel Du Cap. The rock legends have spent nearly three decades crafting anthems for the underdogs, the dreamers, and the broken. Now, they’re channeling a serendipitous moment into their most genuine and honest work since their early days. The spark for Motel Du Cap ignited when the band played a private gig at the iconic Hotel du Cap in France for a friend's wedding in 2022. The surreal beauty of the venue, the raw emotion of the occasion, and the freedom of performing without expectations lit a fire under the Madden brothers. “It was this wild, once-in-a-lifetime vibe,” Joel recalls. “We were just there to celebrate, no pressure, and it reminded us why we started this—pure, unfiltered connection."

After several decades together as a band, Halestorm find themselves still climbing. Their sixth full-length album, Everest, represents both a return to the Nashville-based band’s roots and an evolution into the next chapter of their career. Recorded with producer Dave Cobb, the aptly-titled Everest is a dark, deeply personal effort that pushed each musician to their artistic limits, ultimately resulting in an evocative, genuine collection of rock songs.

Hayes Carll will release his 9th studio album, We're Only Human, on August 8 on his own Hwy 87 Records label via Thirty Tigers. In a world fueled with instant gratification and distractions pulling our attention in every direction at once, it is easier than ever to silence the voices in our head that beg us to just sit and listen for a second - to face ourselves for who we are and begin the slow, often painful process of accepting our past and moving forward. At its heart, this record delves into what it means to be human—the emotions, struggles, and growth that come with it—while reminding us to extend grace to ourselves and others along the way.

Greetings From Your Hometown is the brand new album from the Jonas Brothers releasing on Republic Records. The album features previously released singles “Love Me to Heaven,” “Slow Motion” with Marshmello and brand new single “No Time to Talk”.

mgk releases his seventh studio album, `lost americana' on August 8th, 2025. It is his own rediscovery of the American dream, a journey to find what has been lost. With help from his longtime collaborators, mgk reaffirms his signature alt-pop rock sound uniquely layered with guitars that are coated with emotion and cinematic sonics. Following the success of his previous albums and recent summer hit "cliche," mgk has written an emotionally honest new chapter that reflects on his past.

Clearly sympatico at the time of collaborating, Fire-Toolz and No Joy (Jasamine White-Gluz) had both resituated to secluded woodsy milieus prior to the “Bugland seshies”, as I now name the historic pairing. Together, they created an aural equivalent of a late 1980 I-d magazine front and back cover, with a non-problematic National Geographic hiding within. Fire-Toolz sums it up: “The collaboration really felt limitless. I didn't have to adhere to a certain vision in a way that made me feel like I couldn't be Fire-Toolz. I could easily relate to this album because Jasamine and I liked a lot of the same music, and I was able to be creative in ways that were freeing as if I was making my own album. “ Both spent days driving through on empty rural highways listening to the mixes, and it reflects in the final product. With an open ear, many “influence eggs” can be detected by the listener. Garbage Dream House is Zooropian without any of U2’s ego baggage. Seven-minute closing track Jelly Meadow Bright even manages to meld Stooges’ Fun House out of control saxophone with the chill buoyancy of a high-end spa. Touching on respected, familiar genres and sounds while attempting to advance one’s own isn’t easy but Bugland manages to. What genre is it anyway? Is it even shoegaze when it could live happily on a shelf next to Boards of Canada and Autechre? The right answer is ‘yes’. What a lovely shelf ‘twould be as well. A marble shelf, with cyberpunk elements. Bugland‘s a testament to White-Gluz’s evolution and her ability to channel a wide variety of tastes into something cohesive that can descend into fine-tuned chaos, then out of that chaos with ease.

"It feels like it's all lighting off. A lot of fodder in today's world for an artist. Too easily humans forget their humanity. Forgiveness is a dead science. Empathy is viewed as a weakness by cretins. Easier to hate rather than love. Fear and greed have dug their bloody hands into everything. At least now we know who you are. We see you. We defy you. People are under duress. Recognize this abomination. Oppose the oppressor. FUCK the fascists and their enablers. Fuck the war mongers. Good luck out there. ACAB. " -OseesThe twelve tracks on ABOMINATION REVEALED AT LAST are a hypnotic, maniacal, and propulsive attack on the senses-a fitting reaction to a world suffering from genocide, environmental collapse, state-sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez and John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. Osees are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums).

Grammy-winning rock duo The Black Keys release their 13th studio album, No Rain, No Flowers via Easy Eye Sound / Parlophone Records. No Rain, No Flowers delivers an eclectic sound shaped by the energy and spirit of the band’s wildly popular Record Hangs— dance parties where Auerbach and Carney take turns spinning rare, but truly potent cuts from their impressive collection of vinyl 45s for baying crowds of longtime fans and new converts alike. More than two decades into their career, The Black Keys consistently continue to create music on their own terms, fueled by instinct, passion, and a refusal to settle. No Rain, No Flowers is a testament to the band’s deep commitment to their craft and their enduring creativity.  The band’s Dan Auerbach said: ““This whole album was really labored over with a lot of love. We hope you feel that.”

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory. Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain. 1. Danger In Fives 2. S.T. Tilted 3. Cloud 36 4. Ugly Room 5. A Dog Says 6. Neon Bog 7. Reveal Dusty 8. Really Melancholy and There Are No Words 9. Spyhopping 10. Common Things 11. Garden Spies