Top Rough Trade US Deals for August 2025

Eli and Fur's 'Dreamscapes' is a mesmerizing journey through melodic house and deep electronica, now available as a limited-edition vinyl exclusive to Rough Trade US. The London duo's ethereal vocals and pulsating beats shine on tracks like 'Paris Nights' and 'Cab Ride Home,' making this a must-have for fans of RÜFÜS DU SOL and Bicep. Pressed on premium vinyl for audiophile-quality sound, this collector's piece captures the duo's evolution into electronic music's forefront. Whether you're spinning it at home or adding it to your collection, don't miss your chance to own this contemporary masterpiece before it's gone.

Midnight Manor, the much anticipated sophomore album of the six-piece rock outfit The Nude Party is released via New West Records. This is the good time album of 2020 that has energy, passion and instant pop nuggets. It takes bits of early 70's Rolling Stones, The Modern Lovers, The Velvet Underground and classic Southern rock, and makes something you can't help but put on repeat. Midnight Manor, the much anticipated sophomore album of the six-piece rock outfit The Nude Party is released via New West Records. Following two years of non-stop touring in support of their eponymous debut release, the band returned to their farmhouse in New York’s Catskill Mountains to record the follow up to their acclaimed 2018 self-titled debut. Like The Band’s sacred home-recording habitat The Big Pink, The Nude Party’s communal dwelling provided the landscape and proximity to focus on deepening their bonds through music. It was at the Manor that the band of childhood friends could shift their energies from the archetypical emotional journeys of mid-twenty-somethings towards rebuilding their road-worn relationships with one another, leading them to write Midnight Manor - an album that lead singer Patton Magee describes as “a stone skipping over troubled waters”. With Midnight Manor, The Nude Party shine a light on their past while at the same time moving towards a brighter future.

Kadavar have undergone a significant transformation since their formation in 2010. From credible representatives of retroesque, psychedelic stoner rock, which always thrived on the contemporary coolness of Berlin, the city where the two founding members Lupus Lindemann and Tiger Bartelt met in the noughties, they soon went out into the big wide world, where they not only presented their musical idea, but also found new inspiration. While Kadavar initially sounded like the past, their sound became more contemporary over the years in the experience machine of extensive touring, crossing genre boundaries. A success story in many respects. Music as a changing, universal language - that is what Kadavar know how to speak. In the process, they have built up a steadily growing fan base that worships their heroes and follows their every artistic step on five continents and has been instrumental in making Kadavar such an institution.

Following Shadow People (2018) and De Pelicula (2021) done with Laurent Garnier, The Limiñanas make their big comeback with their new album entitled Faded, including the first single "Prisoner of Beauty" featuring Bobby Gillespie (Primal Scream), a supporter of the band for years. The French psychedelic-garage duo has also gathered on Faded for duets artists such as Jon Spencer, Bertrand Belin, Rover, Penny, Anna Jean, and Pascal Comelade. Tracklist: * Spirale - The Limiñanas * Prisoner of Beauty - The Limiñanas & Bobby Gillespie * J'adore le monde - The Limiñanas & Bertrand Belin * Shout - The Limiñanas & Rover * Faded - The Limiñanas & Penny * Catherine - The Limiñanas & Anna Jean * The Dancer - The Limiñanas * Space Baby - The Limiñanas, Jon Spencer & Pascal Comelade * Tu viens Marie - The Limiñanas * Louie Louie - The Limiñanas * Autour de chez moi - The Limiñanas * Degenerate Star - The Limiñanas, Jon Spencer & Pascal Comelade * Où va la chance (Françoise Hardy Cover) - The Limiñanas

Seven years ago, Tamino became an unsuspecting star in his native Belgium, catapulted to major stages after winning a national radio contest. He had always expected to write intimate songs for small audiences, but here he was in front of ecstatic crowds that soon included Radiohead’s Colin Greenwood, such a fan he began touring and recording with Tamino. Two albums deep, with nearly half a billion streams to his name, hand-picked support slots from the likes of Lana Del Rey and Mitski, and a collaboration with Angéle, he is now playing to fevered sold-out theatre and arena audiences in Europe, the US, Mexico and across the Middle East. This new record sees Tamino take a more conceptual approach to song-writing, in his owns words he felt “a tremendous urge to build a metaphysical altar for what had been lost. The end result, though at times eclectic, feels like the most harmonious record I’ve made to date, with all 10 songs strung together by a same sense of honoring and letting go.” Recorded in studios across his native Belgium and new home in the USA, he worked with long-term collaborator PJ Maertens among others, continuing to bridge his musical heritage and ancestors with contemporary, classic influences putting his songwriting and transcendental vocals at the forefront. Mitski features on the album on “Sanctuary”.

The Rills have certainly shed a skin or two to reach this point, on the eve of their effervescent debut album Don't Be A Stranger. Produced by Dave McCracken (the indie mastermind behind many Ian Brown solo records and key works by dEUS and The Rifles as well as lending a hand to albums by the likes of Depeche Mode, Sports Team, The Snuts, and Beyoncé), Don't Be A Stranger sees these three young friends take that untapped energy that made them viral sensations and darlings of the grassroots scene and direct it towards something more considered, complete, and heartfelt. Warner-Webb and frontman Mitch Spencer met in their native Lincoln as young teens, losing their spare time in a skate park. A few years later, that same urge to kill smalltown boredom saw them pick up guitars and start jamming together. A brief stint living in Sheffield chasing some of that Arctic Monkeys magic saw them soon return home to university where Essex lad Mason Cassar joined as drummer and their line-up was complete. Often referenced in their music, there's a Lincoln Imp spirit baked into The Rills' DNA - notably in their ability to always see over the horizon and carve something out for themselves when no one else will.

Skunk Anansie is a British rock band whose members include Skin (vocals), Cass (bass guitar), Ace (guitar), and Mark Richardson (drums). Over their career, the band has sold over five million records worldwide, a testament to their lasting impact and widespread appeal. Today, their influence remains strong, as they continue to sell out arenas and headline festivals across Europe and beyond. Celebrated for their fearless approach to addressing political and social issues, Skunk Anansie has broken significant racial and gender barriers in rock, using their platform to advocate for identity, equality, and activism. Their influence extends beyond music, making them icons of both sound and social change. Now, the legendary British rock band returns with their seventh studio album, The Painful Truth. Recorded in LA with renowned producer Dave Sitek (known for his work with Foals, Weezer, and Yeah Yeah Yeahs), this latest release sees the four-piece once again pushing creative boundaries and solidifying their place as modern pioneers in the music world.

South-London born, Atlanta-based Puma Blue - the alias of Jacob Allen releases a surprise album, antichamber via Blue Flowers. antichamber marks a sonic shift for Puma Blue with Allen writing away from the full band setup focusing on obscure electronic textures and acoustic instrumentation. Whereas Puma Blue’s previous material has honed in on the centre point between trip-hop, Jazz and electronica, antichamber demonstrates a raw and direct approach to songwriting. It’s vulnerable and crushingly beautiful with vocals and guitar being the sole components, at times delivering dense narratives (“tapestry”, “hotel room”) and at others the simplest sentiment (“in the absence of you”).

The Tea Party (1991) is the first album by the Canadian rock group The Tea Party. It was originally recorded as a demo which the band submitted to several record companies. However, the trio was not signed to any recording contract and decided to release the album independently. The album production is relatively lo-fi and the band re-recorded several of the songs for their major label follow-up Splendor Solis. Only 3,500 copies of the album were made, some of which were cassettes, making the recording collectible to fans. Needless to say this album has remained a collectible and a highly sought after release. Album includes newly remixed/remastered audio from Stuart Chatwood from the band and new art / liners. CD will include newly remastered audio / original audio + 2 bonus Demo tracks from same time period and LP will contain the newly remastered audio.

Make It Up is the long player follow up to Feet’s debut album What’s Inside Is More Than Just Ham which catapulted them into the indie-rock spotlight in 2019. Crowd pleasing thrillers such as ‘Petty Thieving’, ‘the anthemic ‘English Weather’ and more recent crowd favourite ‘Changing My Mind Again’ have solidified the band as one of the most exciting guitar acts on the scene.  Make It Up distils the Feet of old with a fine-tuned, cohesive, and compelling new output that builds on the sonic DNA of their debut, while effortlessly taking it to the next level. First taster is ‘The Real Thing’, which bounds along with spiky guitar lines, an endearing groove, and the razor-sharp pen of Haverson. It’s “a song about confronting the transition in a relationship between a new thing to something more established. Asking a sincere question and hoping for an equally sincere response”. The album 'Make It Up' is produced by Andy Savours (Black Country New Road, The Magic Gang, The Horrors…), mixed by Caesar Edmunds (Beach House, Wet Leg, Foals…), and mastered by Christian Wright at Abbey Road Studios.

Two Sasamis exist in harmony. First is Sasami Ashworth, the conservatory-trained classical French horn player, producer, and composer—an artist with a studious approach to craft. And then there is all-caps Ssasami, the fearless performer and protagonist of her three increasingly audacious albums. For Blood On the Silver Screen, these two sides fused for her most epic and realized music to date: the all-out Sasami pop record. After establishing herself with the poised melancholia of her eponymous 2019 debut, Sasami embraced volume and control on 2022’s Squeeze—touring with a metal band—but her goal on Blood On the Silver Screen was to speak her truth with conviction by singing. Working with producers Jenn Decilveo and Rostam, with Sasami as sole writer, each Blood On the Silver Screen track viscerally captures a different thread of love, sex, power, and embodiment. “Pop music is like fuel,” Sasami says. “It’s just invigorating.”  Across Blood On the Silver Screen, Sasami’s lyrics narrate the ecstasies and agonies of being “a modern lover,” she says—writing about “big city dating endeavors” even as she found herself relocating, on a whim, from Los Angeles to rural Northern California. The anthemic “For the Weekend” explores “modern intimacy, where you can get deep without the relationship being defined,” while the irrepressible “Just Be Friends” bottles the dizzying longing that can overtake those in-betweens. “I wanted to go all out with this album,” Sasami continues. “I wanted to, in my tenderness and emotionality, have the bravery to undertake something as epic as making a pop record about love. I hope it makes people feel empowered and embodied, too. It’s important to not box yourself in.”

The ninth installment in Numero’s Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade’s introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

Eddie Vedder release new album Earthling. Earthling, which was produced by Grammy Award® winning producer Andrew Watt, is the first album since Vedder’s 2011 Ukulele Songs.

Following the success of Robert Plant’s podcast series that digs Deep into his catalogue, Robert Plant releases a special limited edition 7” singles boxset on his own label, Es Paranza. The boxset features two singles from each of his solo albums; from the hit single ( # 3 Billboard US) Burning Down The House to Tin Pan Alley. Robert Plant’s music is the result of a lifetime striding around the globe, from The Midlands to Morocco, from Nashville to North Wales, and the influences and friends collected along the way can be heard in his songs. In this podcast series he delves into his back catalogue to revisit a track from this remarkable history to tell stories of inspiration, collaboration and intervention. It’s Robert’s personal road map to an incredible and personal journey that’s ongoing to this very day. Vinyl 1: Side A: Burning Down One Side Side B: Like I've Never Been Gone (S1, E4 of podcast) Vinyl 2: Side A: Big Log (S2, E6 of podcast) Side B: In The Mood Vinyl 3: Side A: Too Loud Side B: Little By Little Vinyl 4: Side A: Ship of Fools Side B: Tall Cool One Vinyl 5: Side A: Hurting Kind Side B: Tie Dye on the Highway Vinyl 6: Side A: Calling To You (S1, E1 of podcast) Side B: 29 Palms Vinyl 7: Side A: Song To The Siren Side B: Morning Dew Vinyl 8: Side A: Shine It All Around Side B: Tin Pan Alley (S2, E1 of podcast)

what happens when a band of resolute perfectionists make their most accessible and upbeat rock album - a departure so startling, you almost want to call it 'their pop album'? when early day miners loosen up, it's almost a different band. the complex layers and atmospherics are still there, but front-and-center on the treatment are insistent basslines and straightforward melodies on multiple organs and guitars. one of the poppiest here, 'so slowly', manages to combine a buoyant cure bassline, a wah-wah solo worthy of robert fripp, and yet still conveys the lazy drift of summer. you can even hear an echo of 'sympathy for the devil' on the album's centerpiece 'how to fall'. behind the scenes, this album features significant changes in personnel. vocalist / guitarist / lyricist daniel burton and bassist jonathan richardson have drafted john dawson on guitar and marty sprowles on drums. whereas previous albums leaned towards sprawling explorations, 'the treatment' resolutely ditches the slide guitar in favour of overlapping layers of loops, tight motorik rhythms, and guitar and bass processed to resemble cello or brass. why the treatment? to a certain extent, because this is early day miners' most-produced record to date - and partly because there's a greater engagement with individual, human concerns. arriving as a fully formed talent, burton has developed his lyrical themes slowly over the past decade - exploring the neglected regions of america, and the forgotten chapters of its history on previous albums. in some respects their most personal, subjective, and emotional album, 'the treatment' starts like every pop album should, with an invitation to join the band in enjoying the treatment : "we're going out tonight / won't you join us?" but subtle clues reveal its questioning voices are not so straightforward. so listen close - this is an album whose every layer demands attention, and re-pays it. on secretly canaian records.

Black vinyl version. Woman's Hour, a four-piece band originating from the Lakes cut a gray-scale rainbow of rich and delicate undulations, playing off layers of synth and percussion against chiming guitars and heart-in-mouth basslines. The band's unique aesthetic is built around Fiona Jane, who weaves a textural northwestern vocal delivery and physicality into softly slanted lyrical dances of emotional extremes around her talented bandmates William Burgess (guitar), Nicolas Graves (bass) and Josh Hunnisett (keyboards). The result is also one that finds cohesion in conflict and unity, supported (and transformed) by a stunning approach to performance. Think of any Wordsworth poem, and then ponder the paradox of being upliftingly depressed - but also the dichotomy that exists within their music, which pairs Kraftwerk's analogue-style electronics with Fleetwood Mac's fluid song structures.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment devoted to appreciating the past weren’t turned into an opportunity to connect with the future. That’s where the nine companion EPs come in. Or as Oberst puts it, “the supplemental reading” for the primary reissues: One six-track EP per reissued album, each featuring five reworked songs from that album. “My thing was they had to sound different from the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the era” in which that particular albums was made – a song that meant something to the band at the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends, like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of Waxahatchee.

Join The Ritual, the third piece of Jagjaguwar’s 25th Anniversary celebration, looks to pay homage to the labels and artists that, whether they know it or not, invited Jagjaguwar to the table, to this wild, dark magic ritual of music. It features covers of R.E.M., Slint, Stereolab, Smog, Dinosaur Jr and Tracy Chapman by Angel Olsen, Bruce Hornsby, Jamila Woods, and other Jagjaguwar artists and friends.

Crafting tracks which make a virtue of disparate influences, Kyle Molleson manages to pull off something difficult: songs which have been tirelessly worked on, although sound loose-limbed and to-the-point. Loud Patterns is noticeably indebted to house and techno; there are 4/4 rhythms, and a no-nonsense directness that harks back to the Detroit pioneers. Channeling avant-garde experimentalism and an outsider’s interest in pop, Kyle embraces the distance between those two poles. Cosmic Slop, an underground institution in Leeds, was another touchstone. As Kyle recalls, “That place was definitely an awakening in terms of dance music.” It boasts a hand-built, peerless soundsystem, a near-pitch black dancefloor and a music policy that ranges from Dilla instrumentals to Detroit house. Loud Patterns arrives after a series of releases that have established his particular, in-between approach to dance-minded music. He put out two EPs on Manchester-based imprint Handsome Dad, a one-off single with Adult Jazz and self-released Temple Works EP; Whities also released a limited-edition white label of a Minor Science dub of one of his tracks.