Notable vinyl releases out this Friday - February 06, 2026

Beverly Glenn-Copeland returns with Laughter In Summer, a deeply moving new album created alongside his wife and collaborator, Elizabeth. Written during Glenn's journey with dementia, the record stands as both a love letter between them and a testament to resilience, memory, and devotion. Recorded at Montreal's Hotel2Tango with producer Howard Bilerman (Godspeed You! Black Emperor, Vic Chesnutt), the album captures performances in a single take, featuring contributions from a choir of Canadian and American voices including Helena Deland. Songs like "Let Us Dance: Movement Two" and "Children's Anthem" embody the spirit of collaboration, while pieces such as "Harbor" and "Middle Island Lament" draw from personal and ancestral histories. Laughter In Summer carries the same transformative power that made Keyboard Fantasies and Transmissions modern classics, offering music that uplifts, heals, and connects across generations. It is a vital release from a visionary artist whose creative voice only deepens with time.

At the start of this summer, following a three-year hiatus for Daphni (punctuated only by his first ever collaborative Daphni track ‘Unidos’ alongside Sofia Kourtesis), he dropped ‘Sad Piano House’. The track represented something of a continuation in the Daphni catalogue, its roots growing from Cherry’s ‘Cloudy’ and its subsequent Kelbin remix, something in that song’s makeup having a profound effect when played on dancefloors by Snaith and countless others. ‘Sad Piano House’ deployed more intangibly irresistible bendy piano to equally satisfying effect and continues to achieve similarly rhapsodic dancefloor saturation.

Butterfly is a showcase of the wonderful variety and surprising twists and turns that made that album such an exciting new prospect and that still to this day make Snaith such an intriguing DJ. There are more heavy hitters here, tracks that fill those dancefloors better than anyone, like ‘Clap Your Hands’ which picks up the energy of ‘Sad Piano House’ and flips it, exposing the gritty and intoxicating underbelly of Snaith’s hitmaking side, while retaining the playful urgency that runs through all of his work of late.

From Rival Sons’ Grammy-nominated frontman Jay Buchanan comes Weapons of Beauty — a sweeping, cinematic solo debut written in the Mojave Desert and produced by Dave Cobb. Available on CD (Digipak + poster) and Black Vinyl (gold-foil gatefold). Weapons of Beauty — a revelation from one of this generation's most arresting voices. 1. Caroline 2. High and Lonesome 3. True Black 4. Tumbleweeds 5. Shower of Roses 6. Deep Swimming 7. Sway 8. Great Divide 9. Dance Me to the End of Love 10. Weapons of Beauty

Joji returns with long-awaited 4th studio album ‘Piss In The Wind’ via Palace Creek. The new LP cements his place as one of the most distinctive and genre-defying artists of his generation, balancing haunting melodies with gritty yet atmospheric production. The album captures the quiet contradictions that always defined his music, wrestling inner turmoil into something strangely beautiful. Features “PIXELATED KISSES,” “Past Won’t Leave My Bed,” and more. 

42 years of conceptual continuity & distinction thru diversity, KMFDM is back, declaring itself the ENEMY of hypocrisy, discrimination, and injustice! Society is in shambles, fascism is in fashion, and the Ultra Heavy Beat remains resolute and resolved to rise up and rip the system! 42 years of conceptual continuity and distinction thru diversity, KMFDM is back, declaring itself the ENEMY with this 24th album! Kommanded by the songwriting and vocal power of Sascha "Käpt'n K" Konietzko and Lucia Cifarelli, and backed by the percussive onslaught of Andy Selway, the band is now joined by London six-string slinger Tidor Nieddu bringing his own bold and vivid guitar flavors. On top of that, having hypnotized audiences on the band's 40th anniversary tour with her live rendition of "Professional Killer," Annabella Konietzko also appears with her own hit-list on the explosive "YOÜ," marking her songwriting debut with KMFDM. Never a band to take the easy path, ENEMY delivers some of KMFDM's most stylistically challenging, most politically scathing material yet - from the dance/rock melodicism of "Oubliette" to the darkened grooves of "Catch & Kill," the satirical brute force thrash of "Outernational Intervention" to the vicious and hyperbolic industrial/metal of "L'Etat, the funky throb of "Vampyre" to the cheeky dub of "Stray Bullet 2.0." KMFDM keeps moving, dancing on the blood-dimmed tide, roaring as a rough beast to make noise against a world that demands the silence of ignorance. Join the Ultra Heavy Beat and make yourself the ENEMY of hypocrisy, discrimination, and injustice!

For Mandy, Indiana, the truth is the only way through. On their Sacred Bones debut URGH, the four-piece - vocalist Valentine Caulfield, guitarist and producer Scott Fair, synth player Simon Catling, and drummer Alex Macdougall - are a force of uncanny nature, grafting together a record that is as much a call to action as a parlay into oblivion and transcendence. Across the ten tracks, the band interpolate their own unconventional language into a mantra for self-determination and resilience, forging a template for a brighter future before it fades to black.Much of the album was written during a residency at an eerie studio house in the outskirts of Leeds, then recorded across Berlin and Greater Manchester. It was an intense environment partially due to the health issues faced by Caulfield and Macdougall during the writing and recording process.Yet Mandy, Indiana remain uncompromising. Caulfield uses her voice as a distorted instrument and a weapon, oscillating between playful and eviscerating. The throbbing siren-sound of "Magazine" stands alongside the cut-up vocal fry of "try saying" and the shapeshifting ferocity of "ist halt so," which channels the urgency of protest movements, referencing resistance to the genocide in Gaza while speaking to struggles more broadly, while final track "I'll Ask Her" is a deliberate directness calling out toxic boy's club culture and a tenacious reckoning that hangs over the album at large.Although there are still undeniable "bangers" (like the frazzled rap of "Sicko!" featuring billy woods), URGH often feels hewn with precise cinema. From the bristling techno of "Cursive" to the deconstructed feedback loops of "Life Hex," the album moves between industrial catharsis and cinematic unease, threading a tension that Fair describes as "a remix of itself." This contrasting palette is both a necessary aspect of the record as well as the underlying connective tissue.Though deeply personal, URGH reflects the violent, fractured state of the wider world. Caulfield's lyrics grapple with assault, systemic indifference, and the omnipresence of pain, while also insisting on moments of beauty and solidarity. URGH belongs in the physical world, and the artwork by Carnovsky, featuring an anatomical illustration of Andreas Vesalius, underscores the record's visceral confrontation with the body and it's limits.URGH is both otherworldly, and physical and cathartic, both a first step toward healing and a refusal to let the conversation die.

Nick Jonas returns with Sunday Best, the singer-songwriter's fifth solo studio album. The project delivers an unguarded, fresh sound from Nick, built largely around acoustic guitar and piano, choirs and a string quartet; coupled with raw, self-examining lyrics. He gave fans an early peak at the album by previewing a few songs during his Sunday Best Brunch in Las Vegas. Available on bone colored vinyl.

The enigmatic Puscifer return with the stunning new album, Normal Isn't. The uncompromising rock band fronted by Maynard James Keenan (Tool, A Perfect Circle), have delivered a stunning record certain to please their dedicated fanbase. Features the single "Self Evident." 2 LP set on standard black vinyl.

Despite its title, Ratboys’ new album Singin’ to an Empty Chair is not defined by what’s missing. Rather, it’s the beginning of an important dialogue with a close loved one, vocalist Julia Steiner finds herself estranged from. The music on the band’s sixth studio album – its first for New West Records – fills the space that person left behind with 11 songs showcasing Ratboys at the peak of their powers — twangy, effervescent, as confident as they’ve ever been, and perhaps more emotionally interrogative than ever before. The four-piece Chicago band followed up 2023’s highly acclaimed The Window by reconvening with co-producer Chris Walla to begin tracking at a rural Wisconsin cabin before taking the songs to Steve Albini’s famed Electrical Audio studios in Chicago and later to Rosebud Studio in Evanston, Illinois. The results veer from bubbly power-pop on “Anywhere” to irresistible post-country on “Penny in the Lake,” along with heart-piercing ballads like “Just Want You to Know the Truth” and an exhilarating detour into the extraterrestrial on “Light Night Mountains All That,” which Steiner dubs the band’s mammoth “wormhole jam.” Singin’ to an Empty Chair also marks the first Ratboys album written since Steiner began therapy, which the singer/lyricist credits for the clarity found across the album’s unflinching examinations of relationship and self. Fittingly, as the album begins by extending a hand into the void, it concludes with a scene of serenity – all while weaving candid honesty, humor, chaos, and whimsy along the way. “It's not all doom and gloom,” Steiner says. “The experience of making this record definitely gives me hope for whatever happens next.”

Silversun Pickups meet the moment with their seventh full-length LP, Tenterhooks. It’s an anxious, emotionally charged, and unapologetic collection of ten tracks appropriate for the times, yet as timeless as anything they’ve done. “We wanted to make a tight record that could fit on one vinyl with five songs on each side,” says Aubert. “To me, it’s an impatient, apprehensive, and more aggressive album. We started recording when the world was changing again. You invariably wonder, ‘What are we headed towards?’ Even if you’re not necessarily writing about it."