Browse: Vinyl

Eye

Black Ships

Carbon

***Eye are/were a Dunedin (New Zealand) band from 2003-2019. The core duo was Peter Porteous and Peter Stapleton, and for the last 10 years Jon Chapman (ex-Double Leopards) made up the trio. Peter Stapleton sadly died in 2020. Eye had been doing a lot of recording over the previous 3 years (over 50 hours!), and Carbon has since been slowly sifting through it all, and mixing and mastering tracks. These two LPs are the first output of that activity.

Eye

Prophecy

Carbon

***Eye are/were a Dunedin (New Zealand) band from 2003-2019. The core duo was Peter Porteous and Peter Stapleton, and for the last 10 years Jon Chapman (ex-Double Leopards) made up the trio. Peter Stapleton sadly died in 2020. Eye had been doing a lot of recording over the previous 3 years (over 50 hours!), and Carbon has since been slowly sifting through it all, and mixing and mastering tracks. These two LPs are the first output of that activity.

Warp Chamber / Benothing

Benothing / Warp Chamber - Split

Carbonized

***The brand new split single from Warp Chamber and Benothing presents two tracks of putridly devastating Death Metal! “Warp III” is the first new Warp Chamber music since their debut full-length, Implements of Excruciation. Recorded and Mixed by Ethan Camp (Caustic Wound, Mephitic Corpse, Mortiferum) and Warp Chamber, the release features a nearly six-minute track that reflects the maturation of Warp Chamber’s sound and a preview of new music to come. “Deathways” is the most annihilating Benothing song to date, but not without spiraling into psychedelic atmospheres. Recorded in 2023 at the band’s rehearsal studio, the song retains its live feeling even with multiple layers of instruments, ambience and noise. “Deathways” is a heavy, dark, punishing trip into nothingness, and an example of what may be coming when the next step is taken. Mastering for the Split was handled by none other than Dan Lowndes (Blazar, Mortiferum, Noroth) at Resonance Sound Studio.

Chron Gen

Chronic Generation

PNV

New reissue of Chron Gen’s first seminal LP from 1982. Classic UK punk indicative of the time period. Including live tracks and single tracks done around the time the LP came out. This reissue also includes a booklet with stories, articles, flyers, and other ephemera. A must for fans of early 80’s UK punk.

Discharge

Warning: The Singles 1983 - 1985

PNV

***This LP documents the point where Discharge took their innovative heavy HC punk style which lit the fuse for hundreds of bands throughout the world and years to make their own racket, and went more towards a metal direction with it. This showcases the singles and EPs from 1983 to 1985 consisting of “Warning, Her Majesty’s Government Can Seriously Damage Your Health”, “The Price Of Silence”, “The More I See”, and “Ignorance”, including the extended versions. This is the bridge from State Control to A Grave New World.

Denny, Martin

Exotica Vol. III

Jackpot

Martin Denny returns with his loyal crew of multi-instrumentalists that had previously performed on Forbidden Island, Primitiva, Hypnotique & Quiet Village: stand up bass player Harvey Ragsdale, vibe player Julius Wechter (also a member of the legendary recording unit The Wrecking Crew) and percussionist Augie Colon who was called the “Grandfather of Hawaii Percussion”. And of course, the famous cover girl on Martin Denny’s albums, Sandy Warner, otherwise known as “The Exotica Girl”, returns as well.Although Denny was recording his output at an astonishingly brisk rate, there’s something about Exotica Vol. III, which makes it one of his best and most sought-after with collectors and listeners. Of course, the brilliance of the lead-off track of Les Baxter’s “Jungle River Boat”, with its tight vibe-and-percussion workout intertwined with Colon’s iconic bird calls and other worldly sounds, only makes the sweet, lazy water sounds of the following track “Harbor Lights” all the more delightfully mysterious.So pour your drink of choice, dim the lights, open the windows, and let Exotica Vol. III roll across you.

Denny, Martin

Latin Village

Jackpot

In 1964, Martin Denny looked beyond the Hawaiian and Asian influences of his previous records to find another place to plant his umbrella in the sand, as well as in your drink: the sounds of Latin America. With this new sound to hang his exciting arrangements on, Latin Village has long been considered one of Denny's high-water marks, and Jackpot is thrilled to have this long-cherished LP back in print.This is an album that rips through what was considered "The Now Sound From Overseas," a sophisticated mash-up of sambas, bossa novas, and Latin jazz. From the first track, "Angelito" (the hit song written by Réne y Réne, later to also be covered by Trini Lopez & Herb Albert), all the way through to its closer, "Flying Down To Rio" (a song which Roxy Music later referenced in their 1972 song "Virginia Plain”), the album is a hypnotic listen.Latin Village also drops in some serious jazz numbers, with respected compositions such as "On Green Dolphin Street" by Kaper & Washington (which has been covered by Miles Davis, Bill Evans & Sarah Vaughn), "Malagueña" the sixth movement in Ernesto Lecona's Suite Andalucía & "Corcovado" by Antônio Carlos Jobim (who merged samba with jazz to create bossa nova).Latin Village is comforting in its familiarity within Denny's sonic world, but steps refreshingly out of the smoke-filled Tiki bars of his previous records and straight into the sunlight where this music still strolls around in a listener's heart, soul, and mind.

Plosivs

Yell At Cloud

Swami

Over four years in the making, Yell At Cloud is the follow up to the PLOSIVS critically hailed debut (RollingStone.biz said “best new release of the week” in 2021). Why so long between releases, you ask?  Nov. 2020 the band was invited to be the first guinea pigs at No Fun Club recording studio in Winnipeg, Canada and baptize the brand new facility. The band would live and record in the studio and be densely immersed in the forming of this new record. It was still during the days of COVID lockdowns and the earliest stages of permitted, international travel. Producer, engineer and studio designer Mike Bridavsky (Deerhoof, Magnolia Electric Co., The Cowboys, Durand Jones & The Indications, Half Japanese, The Residents) welcomed us with open arms and helmed the controls. Unfortunately, a massive Arctic storm (even by Winnipeg standards) descended. The compound was without power for the first five days. Using generators running on diesel and heat powered by sheep tallow, the band had to resort to using as little electricity as possible. Most of what you hear on Yell At Cloud was recorded in the dark or by candlelight in below freezing conditions. It wasn’t as romantic as it sounds. Due to Canada’s regulations for foreign travelers during the pandemic, we had to forge out on foot once a day in blizzard-like conditions to a clinic a mile away where we had to be swabbed nasally, between the toes and in the groin area in order to be...

Python

Shock Treatment / Pink Ladies

Supreme Echo

***Tough Vancouver hard rock, 1972! Lucifer played strip clubs & dive bars Canada-wide until they settled on the West Coast and renamed themselves Python, issuing one super-rare 45 before falling apart that same year. A dark mix of Let It Bleed-era Stones, shock-treatment blues and snotty proto-punk. Featuring future Ultravox drummer Warren Cann. Remastered audio, detailed booklet with story & photos.

Osees

Live At The Broad

DEATHGOD CORP

HUUUUMANOIDS OF THE DEEP AND DARK WASTELAND, Here is a 2xLP of the Broad Museum show A bunch of Krauty jams we’ve never played live before and a couple old favs. Right in time for record store day delivery late Nov. Mixed by JPD Mastered by the guru JJ Golden . Here is a slab to burn one to while you jettison any garbage (good riddance) out the hatch…onward and upward.

Vatican Shadow

20th Hijacker

20 Buck Spin

Vatican Shadow’s 20th Hijacker—the redacted “what if” doom electronics loop which dissects the gulf between death as sacrifice vs. reward, anxiety digitalization and universal human commonality—fear of loud noises and falling for the unspoken lost 9/11 generation. Repeated patterns of low-frequency pulses, coded intervals of silence and insistent machine-like percussive bursts resemble the preliminary stages of coordination. Experts familiar with prior activity of the organization note that these sonic movements align with earlier warnings of revolutionary activity, with networks mobilizing resources for a techno-industrial event of uncertain but potentially catastrophic magnitude and destabilizing influence, felt especially on “Speed Of Sound” featuring Iggor Cavalera. With an atmosphere of secrecy pervasive, these nebulous communiques have a persistent momentum, consistent with preparations. The density of sound layers indicate reconnaissance—global photography, encrypted kill webs—woven into forms that stand to conceal as much as disclose. 20th Hijacker synchronizes post-Desert Storm-era paradoxes between the world’s fastest surveillance plane at the time which was unarmed and the guerrilla weaponization of commercial aircraft—foreshadowing the essence of the ongoing war on terror—the merger of special operations and espionage within both opposing adversaries. In a climate of inevitability—never forget war is a force that gives us meaning.

Nice Breeze

Everything Disappears

Siltbreeze

Washington DC's Nice Breeze have been kicking around since before the start of the decade, releasing vast tunage via their Bandcamp page. Their union w/Siltbreeze was slated to hatch in 2020, but a devastating rumpus overtook the world & those plans went down in flames. Gone, yes, forgotten, no. It's taken until 2025, but the debut LP from Nice Breeze, Everything Disappears, is now a vinyl reality. The trio of John Howard, Martha Hamilton & Andy Fox churn out solid, hook-laden, bullseye-pop gems by the bushel. Must be something in that Potomac water supply, because Everything Disappears delivers in a way that evokes the lost wryness of Tru Fax And The Insaniacs matched with the going-for-it gusto of Iridescence era Half Japanese. DC area bands have always seemed to possess that extra digit when it comes to honing a particular strain of post punk expression & NIce Breeze are no exception. Siltbreeze is proud to have'em on board. Finally!

Endless Joy

s/t

Iron Lung

***This is a record of dissonance: Think too much and you incapacitate yourself. Think too little and you become a pawn. Solitude is deadening, yet people are infuriating. The past haunts, the future horrifies, the present stultifies. Age brings confidence, along with irrelevance as the world moves on, replacing each generation with the next.What does it sound like? The above, by way of guitar, bass, drums, vocals, volume, speed, anguished sonic twists. A short, sharp shock, with little hope but ample catharsis. Just another exercise in hardcore-punk ritualism, or is there more to it? Up to you. Put on your dancing shoes and flail blindly until something hits you.500 copies on black 150gr vinyl housed in a 24pt reverse board jacket with oversized lyric sheet included. Recorded by Jeffery McNulty. Mixed and mastered by Arthur Rizk. Art by Paulo Jeca Schulz with text by Shaun Dean.FFO: Cold Sweat, Negative FX, Ripcord, Agnostic Front, Urban Waste, Die Kreuzen.

Equipment Pointed Ankh

Eggs A Little Late

Petty Bunco

In a time when cleverness is prized over belly-busting fun, in a musical landscape that worships genre over invention, and in a world increasingly begging computers to think on our behalf — Equipment Pointed Ankh’s fifth studio album Eggs A Little Late (out 11/28 via Philly’s indomitable Petty Bunco label) arrives an abundantly refreshing gift, truly funny and smart. Recorded in bandleader Jim Marlowe’s studio End of an Ear (Louisville, KY) off and on over the last three years, the core Ankh crew (Marlowe, Chris Bush, Dan Davis, Ryan Davis, Shutaro Noguchi) gathered when they were able to get serious about play, along with some new and returning guests (Eric Lanham, Jeannine Lonardo, Trevor Nikrant, Jenny Rose, Ryan Swigart, Ben Traughber and Seth Manchester.) How do so many people (having this much fun) make a record so singular and cohesive? I don’t know, exactly, but I’ve heard a few rumors. Dan Davis once told me that Ankh operates with a radically democratic process: no single part stays unless there is unanimous enthusiasm for it. If any one person doesn’t dig any one cowbell hit, it’s cut — and so the bonsai is trimmed. Listening to these miracles of tracks, I can hear that balance of freedom and restraint. Music made in this spirit (jamming, free improv, whatever you want to call it; Roscoe Mitchell called it “composing in real time”) often feels like it can percolate forever, occasionally over boiling. Ankh’s recordings never come close — they glint...

Suburban Slag

Suburban Slag

Supreme Echo

***RAUCOUS CALGARY PUNK 1980!! Formed in 1979, prairie punks Suburban Slag had a killer rhythm section and powerful melodic singer, echoing the Ramones, Saints, and Buzzcocks. Featuring drummer extraordinaire Jon Card (Personality Crisis, SNFU, DOA, Subhumans). Mega-long EP, remastered audio, detailed booklet with story & photos. Piss on you!!

Fraction

Moon Blood

Riding Easy

There are very few albums in the psych / punk / hard rock /private presses strata that garner the sort of universal awe and accolades that Fraction’s almighty Moon Blood album does, and even fewer records in the world that could be dubbed “Christian Rock” incur such fierce devotion. Indeed some records just meteorically lift themselves out any genre tag with brilliance and sheer defiance—and Moon Blood is surely one of them. Based in LA, Fraction was a ragged collection of working-class musicians—the line-up was ringleader Jim Beach (vocals), Don Swanson (lead guitar), Curt Swanson (drums), Victor Hemme (bass), and Robert Meinel (rhythm guitar). Beach himself describes those early days: “The guys met through various acquaintances that we had in LA. All of us had been in bands before, but were seeking something with more teeth. We had a small studio in an industrial complex in North Hollywood and started practicing sometimes as early as 4:30 AM. We all had day jobs, so we did what we could.” Amazingly the recording sessions for the album were recorded similarly on the fly, as Beach further states: “The Moon Blood recording took place at Whitney’s Studio in Glendale, CA, early in 1971. On a strict budget, these songs were recorded in less than three hours—all of them “one takes.” We played, all five of us, simultaneously—there were no studio effects, no overdubbing or any additional sound effects added. Basically what you hear is considered ‘old school’ recording.” This workmanlike description in no...

Trylika

Demo 1988 + Interview

Nuclear War Now

*** "I was recently introduced to this obscure Lithuanian “evil metal” band by Dan from The Corroseum, who knows my taste in music from our past collaborations on Tudor and similar projects. Musically, Trylika channels the raw spirit of early demo-era Root (complete with bizarre corpse paint), the rough energy of early Tudor and Drakar, yet leans toward a more upbeat heavy metal sound rather than pure evil thrash.Active only briefly in the late 1980s, Trylika managed to record just three songs before disbanding. Now, NWN is proud to reissue these rare tracks on a 12" EP—complete with a recorded interview with the band’s main member on Side B.Formed on February 13, 1988, in Kaunas, Trylika began rehearsing at the Freda Culture House. The founding lineup featured vocalist Artūras Gumbrevičius (Ačkosauras), guitarist Arijus Skorupskis (who later switched to bass), drummer Viktoras Andrejevas (Bambino)—later replaced by Vladimir Lavrentjevas—lead guitarist Vytautas Inokaitis (replaced by Anatolijus Rozumas), and bassist Marius Klusas.The band was part of the Kaunas Rock Club and quickly gained recognition, winning several 1988 competitions such as Electric Guitar, Žemaitijos Cup, Aukštaitijos Taurė, Papagala, and Hard Express. In 1989, Trylika even appeared on West German television (VFR TV), introducing their unique sound to a wider audience.Trylika cited Metallica, Coroner, Motörhead, Pink Floyd, Anthrax, Venom, and Judas Priest among their influences—an eclectic mix reflected in their distinct approach to the heavy metal underground. Though the band dissolved by the end of 1989, their energetic live performances and unusual fusion of styles left...

Light Beams

Step Back

Peterwalkee Records

New EP from electro-dance punk quintet Light Beams from Washington D.C. Their latest single “Step Back” (their first on Peterwalkee following a split 7" and LP release with Dischord & Lovitt Records earlier this year) continues their exploration of music created solely with percussion, samples, and vocals (and, okay, some bass guitar). Featuring members of D.C. stalwarts BRNDA, Sensor Ghost, Bed Maker, Dim Wizard, and Antelope. FFO: Tom Tom Club, Tune Yards, The Rapture, Black Eyes, The B52'S, Gang of Four

Slim Guerilla

Blue Light Cemetary 1995

Electric Outlet

***Incredibly authentic sounding '90s Memphis Rap by way of Houston. Such a faithful recreation of the OG Memphis sound to the point this doesn’t feel like Memphis revival, moreso a lost cassette from the era. Limited to 666 copies.

Vorhex Angel

Heavenly

Electric Outlet

***Featuring both members of Jeff The Brotherhood and Kunal Prakash (Silver Synthetic, Esther Rose) Vorhex Angel is an experiment in sonic exploration… taking cues from a large trove of Japanese noise rock—Les Rallizes Dénudés, High Rise, White Heaven... a master class in sonic damage. Housed in reverse board jackets w/ silver metallic ink and shrink wrapped with oversized hype sticker. One time pressing, limited to 500 copies.

80Hd

Orc Party

Iron Lung

***A note from your friends at 80HD: “We recorded this album after having spent extensive time touring, writing, and dialing songs via performance. The culmination of that is, what we feel, a collection of songs that really got to the core of what we’ve been trying to do with 80HD. We all wanted to push the style more and more extreme, not worrying about sticking to a genre marker or style, and just pushing ourselves to make a record we were all really proud of, and did a great job representing the band at a particular moment in time. And how much we like Lord of the Rings. People should listen to ‘Orc Party’ because it’s good.”

No Idols

s/t

Iron Lung

***This EP is an absolutely captivating salvo in what looks to be a grand peregrination of American Hardcore’s pits and perils. What started as a two person meat and potatoes 80s USHC project has blossomed into something more expansive in structure, melody and form. They’re not so much reinventing the wheel as following a tradition of other bands that successfully expanded their own sound while still being in the hardcore framework like Poison Idea did with Feel The Darkness and how SSD did with Get It Away creating a unique personality and a firm vision of their future.No Idols’ engaging lyrics are inspired by a general anxiety and anger about the hellish social-scape we’re living in today. With people’s spirit and pride being broken by a system that never cared about them to begin with, No Idols has found themselves becoming stronger in the process of protecting their people, their family, their crew etc. While the world is destroying itself, and people stray further away from their moral compass, their path and morality stays the same, and their urge to fight has only grown stronger.

Soga

Corrosión

Iron Lung

SOGA are an integral part of Mexico City’s music scene, providing the connective tissue between the sounds of first generation punk, friendship, feminism, and the urgency of hardcore. The band began life in 2018, releasing a stunning demo that sent us into a frenzy of excitement. Such scrap and power. We could not wait to hear what came next… With some time to steep and a slight personnel shift, the resulting ‘Corrosión’ is a ferocious hardcore inferno of a proper debut album. Twelve songs bursting with rage pointed at what they’ve witnessed first-hand that is wrong in their home country: disappearances, mass graves, femicides, male oppression, societal expectations towards women, gentrification, right-wing bigotry, and international corporation violence towards the land and resources.“This album is a reminder of our resistance and solidarity.”500 copies on black 150gr vinyl housed in a 24pt reverse board jacket with lyric sheet included. Recorded and mixed by Rodrigo Treviño Frenk. Mastered by Sharon Aiza Engel. Art by Lorena Sequeyro Moreno, Cassidy Formlesshorror, Sara y Violeta. Photos by Daniel Pichardo.FFO: The Nurse, SS-20, SIN 34, Último Resorte, Los Crudos

Novoa, Eva

The Freedom Suite - Novoa / Carter / Mela Trio, Vol. 2

577 Records

***Brooklyn-based pianist Eva Novoa returns with The Freedom Suite: Novoa / Carter / Mela Trio, Vol. 2 — the second radiant release from her compelling trio with saxophone icon Daniel Carter and celebrated drummer Francisco Mela. This marks Novoa’s sixth album with 577 Records. The trio first came together live in 2021, followed by a series of performances, including appearances in Cambridge (Boston) and later at the Brooklyn edition of the NY Forward Festival. The Freedom Suite is an homage to jazz titan Duke Ellington—particularly his masterful big band suites and legendary orchestra featuring Johnny Hodges and other luminaries who helped define an era of jazz greatness. In contrast, Novoa presents her Suite in a more intimate format: the piano trio. The album comprises twelve pieces—mostly brief—with a few extended tracks such as “#6 Free to Be Free” and “#11 Cyborgs.” For this recording, Novoa also steps in as a vocalist on several tracks, including “#2 Mainstream Media,” “#4 Big Grande,” “#5 Global,” “#6 Free to Be Free,” “#7 Dream,” and “#11 Cyborgs.” These pieces often feature a vocal dialogue between Novoa and Mela, whose expressive, word-infused style draws from rich Cuban traditions.

Glyders

Forever

Drag City

***Forever’s spirit is high and tight, its sinews rumbling with communal joy as Glyders’ power-trio formation, in it “for life,” grooves deep into their own thing. Shuffling the deck with road-tested jams and a couple immaculate old-school tunes, Forever hits with the energy of a first album—which it kinda is, now that founders Joshua Condon and Eliza Weber have met their true other, the relentless traps-man Joe Seger. Forever starts now!

The Thief Of Time

Where Do I Belong?

Sprechen

***(2023 Release) The first album release on Sprechen is a trip across the astral planes of electronica and through the neon soaked streets of South Manchester, where genres cross & styles meet on the creative peripherals away from the dance floor. A life lived through clubs, comics books, cult movies, cosmic adventures & electronic musical endeavours have all played a role in the creation of 'Where Do I Belong?', the debut long player by The Thief Of Time, a new studio project from Sprechen founder Chris Massey. What started as just very loose ideas and half started projects during lockdown resulted in a semi autobiographical collection of songs that draw on a lifetime love of electronic artists & synth heavy movie scores. Nods are given, toes are dipped & caps are doffed in various sonic directions whilst still treading a truly unique path of its own making. Limited edition pressing housed in silkscreened cardstock jackets. *Note some copies have some jacket damage from transit. They have been bagged.

V/a

Ein Null 10 Years of Sprechen

Sprechen

***Ein Null is a collection of original tracks from some of Manchester, UK label Sprechen’s nearest & dearest who, for the last 10 years, have helped shaped the label via releases, remixes or performing at events. It’s wonky & weird, banging & beautiful, cosmic & conscious-expanding and it continues to connect the invisible dots of club music and more abstract listening experiences. From basements & beyond to sunsets & psychedelic socials…we are pleased to present this electronically charged selection of soundscapes courtesy of like-minded musical humans including; The Utopia Strong, A Certain Ratio, Léna C., Gina Breeze, Low Pulse, Psychederek, Lindstrøm, Supernature Disco, PBR Streetgang and of course Chris Massey. Limited edition pressing housed in silkscreened cardstock jackets. *Note some copies have some jacket damage from transit. They have been bagged.

V/a

Brown Acid - The Twenty-First Trip

Riding Easy

Here we are again in 2025, Brown Acid The Twenty-First Trip arriving right on time as the world at large degrades further into disorienting self-absorbed isolation and chaos. Ten powerful early hard rock brain benders, primal energy exploding sideways out of the ash heap of '60s idealism, rocking the darker side of human nature in style! Raw and unfiltered, no compromise, blasting gnarly sound perfectly sequenced to take you on one helluva ride! Territory populated with dicey characters, perilous women, predators, bad relationships… anti-social alienation delivered with smoking guitars, real people ripping it with no self-defeating namby-pamby finesse sabotaging their brutal energy. Every track sounds fresh today because Brown Acid is the real deal when it comes to what matters in music… communication! Life itself sonically sneering across time! Opus Est - “Maggie Johnsons” kicks it right out of the gate, taking only a minute and a half to do you in with brash proto punk attitude. Tight and savage riffing shifts gears with an ascending backup vocal hook right out of the twilight zone. The singer sounds disoriented, he can’t get away from Maggie quick enough! Power trio from Belgium in 1974 nail it to the wall and then the whole building collapses. Freedom North - “Losing You” seamlessly alternates gutsy female vocal ranting with trippy floating guitar passages. Singer Franki Hart sounded psychedelic dreamy on their debut 45 “Doctor Tom”, here she sounds like her throat is gonna fly right into your face. Gnarly lead, harsh dry metallic...

Moore, Anthony With Aka & Friends

On Beacon Hill

Drag City

***On Beacon Hill: at twilight we find Anthony Moore, roots winding backwards to the halcyon days of Slapp Happy and the ‘70s progressive art rock scene, at guitar and piano. With the atmospheres and accompaniments of AKA & Friends, he breathes infernal new life into songs from his six decades of multivarious music making. This new delivery system is unto a séance, a communal incantation, twining Anthony’s avant and pop traditions together in a darkly radiant coil of folky chamber music; a rope to lower the listener through cobwebs and murk, unveiling new life beneath Anthony’s mad old lines.It is new life that we will need if we hope to reoccupy this cursed earth.AKA are Anthony Moore, Keith Rodway and Amanda Thompson. A pagan family of sound worshipers hailing from that unholiest of all places: Hastings UK, home of Crowley and Turing. Like their sinister forbears in that infamous tradition, this latest trinity shares a passion for subverting pattern and number, factoring unlikely permutations arising from sea and horizon, greensward, the southerly aspect, and the planisphere as half-world. Their equatorial shore speaks of a planet of water and earth, fire and air. AKA’s humble tools of choice for this endeavor are guitar, piano, organ, synthesizer and vocals.

Fussell, Jake Xerxes & James Elkington

Rebuilding

Fat Possum

***Acclaimed songwriters Jake Xerxes Fussell and James Elkington have collaborated on their first original film score for Rebuilding, the poignant new feature film written and directed by Max Walker-Silverman. The film, which stars, among others, Josh O’Connor, Lily LaTorre, and Kali Reis, made its world premiere at the Sundance Film Festival earlier this year.Following up new work from both artists in 2025—Fussell released his fifth album in July, while Elkington shared a sprawling new double LP back in March—the soundtrack is a natural meeting point for the pair’s individual work, formed of textural pieces that fold beautifully into the hushed drama of the film.Producer Dan Janvey initially recommended Fussell’s music to Walker-Silverman—who immediately saw potential. “ I could hear the cinema in it right away. His music is rooted firmly in all the folkloric traditions I love but not at all nostalgic. And that was much like the film we were making; a story in which the past is all around but firmly of the here and now. And since so much of his music has no lyrics, Jake already understood the challenge of telling a story through instrumentation alone.”

Melody Chamber, The

s/t

HHBTM

***The self-titled debut album by The Melody Chamber is steeped in new romantic post-punk and southern gothic jangle-pop, feeling like watching an old VHS tape of 120 Minutes where it’s just a forgotten cult classic next to another until the tape gives out.Upon repeat listens the album starts to feel like it has two themes of both space and time running through the album. Space is in almost every song on the album from the moon, the sun, the planets, and the stars showing how large the universe is and how small our own reflection of time and how little time we really have in the grand scheme of things. Space is so expansive and there is an underlying despair in the album because the sad truth is that time and life is linear. Wallace Dietz, who writes the lyrics, swears he doesn’t journal or pre-write the lyrics, but he just plays the melody and lets words flow as he goes along. Subjects are usually nameless and shrouded in mystery allowing the listener to build a bit of their own world within the album, and the stories come from parts of Wallace’s own life, but only loosely. A phrase or a single word can set him in the direction of what flows forth which is a very stream of conscious style writing.

Grouper

Way Their Crept

Kranky

For the first time in more than fifteen years, the debut album Way Their Crept by Grouper is being made available on LP and CD, reissued in conjunction with the 20th anniversary of the original release. The first in a series of ineffable solo albums and collaborations that have come since, these are the initial sounds widely shared by the artist on a long journey of explorations that continue to this day. “This is ambient music that refuses to simply wash over the listener; it’s a riptide dragging you under.” —The New Yorker “Within the carefully pared back framework, [Liz] Harris creates a subtle tension and release that forms the emotional core of the album.” —Crack Magazine “These songs are easy to feel but hard to remember, like they’re trying to wipe your mind clean and succeeding. And while there has to be something distinct about Harris’s sound, you can spend hours rolling it around inside your head, searching for secret ingredients that might not exist.” —The Washington Post “The chain reaction these songs generate together produces enough fog and smoke to keep the spell going strong—and to keep whatever secret she’s trying to tell us just on the other side of the speakers.” —Pitchfork “Each track sounds, in the best possible way, like it was never meant to be heard outside of the room in which it was recorded.” —New York Times

Deseos Primitivos

Lineas de Muerte

Shadowplay

***Oakland, California’s Deseos Primitivos return with the Lineas de Muerte 12", their first new material since their self-titled full-length in 2020. While Lineas de Muerte offers a crisper, leaner sound than Deseos Primitivos’ earlier releases, the band hasn’t changed much, continuing to meld hardcore punk’s energy and power with the memorable hooks of classic 70s punk. The first two tracks, “Cadenas” and “No Soy Yo,” are 90-second rippers that wallop you right out of the gate with furious, driving drums, jagged riffs, and mile-a-minute vocals. Beginning with the third track, though, Lineas de Muerte spreads out a little, making room for more delicate touches like the bubbly bass line in “Animal Nocturno,” the brooding guitar intro to “No Nacimos,” and the title track’s big vocal hook. You can compare Deseos Primitivos to any number of bands across punk’s history who combined melody with intensity—the Avengers, the Adolescents, Vulpess, and Tožibabe, to name a few—but thankfully they don’t get bogged down in context, instead tapping into the timeless ecstasy of a room full of sweaty punks singing along with fists in the air.

Hogg, Liz

Goodbye World, Hello Something

Aagoo

***For her sophomore album—Goodbye World Hello Something—alt-rocker and guitar player extraordinaire Liz Hogg devised a rigorous songwriting routine, though you’d never know it listening to the 10 songs that compose the cycle. Utilizing a slew of idiosyncratic rules, Hogg, a Brooklyn-born songwriter and classical guitarist, wrote these 10 lush tracks over 20 days between September and October 2024. The results speak for themselves: the music is breezy and lived-in while the lyrics balance playful and existential in equal measure. Starting from 283 song snippets, which Hogg refers to as “kernels,” the artist methodically categorized these ideas before settling on 10 from a group titled “Acoustic Digital.” From there, Hogg set more rules in order to really focus on craft, one of which was that each song had to be written in two sessions. This way, as Hogg put it, “a purer message was transmitted.”

Heynderickx, Haley & Max Garcia Conover

What of Our Nature

Fat Possum

***Haley Heynderickx and Max García Conover made their second collaborative record, What of Our Nature, in the spirit of Woody Guthrie. From opposite corners of the country, the two songwriters spent a year sharing songs while reading Woody’s words and biographies, slowly exploring a patchwork of Americanism to see where their stories fit. García Conover, half-Puerto Rican, and Heynderickx, half-Filipina, found themselves with this collection of music about the legacy of colonialism, generational identity, commercialism, and the slippery target of addressing social equity in song. Heynderickx’s precise, delicate eloquence met García Conover’s vivid, angular poetics in a barn in Vermont, where this record was recorded directly to tape in five days. With guitars, voices, and some found percussion, they played the record straight through, channeling Woody’s union of spontaneity, sweetness, and defiance.

Glitterer

erer

Purple Circle

***Glitterer, the Washington, D.C., post-hardcore band, has a new record called erer. But after attempting to pronounce that quasi-eponymous title, and upon noticing that the 12” is out on a label called Purple Circle, you’ll probably just start referring to it—in your head, out loud to your friends—as the purple one.The new record, this purple “erer” one, is the most ear-pleasing yet, also the most ambitious. Performed by a revamped lineup —drummer Robin Zeijlon and guitarist Colin Gorman came on board last year, joining Ned Russin (Title Fight) and keyboardist Nicole Dao—and recorded by the prolific producer/engineer Arthur Rizk, who has worked on every Glitterer record since 2019, Glitterererer boasts a thunderous Albini boom, a stereo spectrum that feels 10 miles wide, with floating and darting keyboard lines, impossibly sturdy-yet-subtle drumming, and soaring multi-tracked guitar leads. Pressed on red vinyl.

Dilloway, Aaron

Bhoot Ghar: Sounds of the Kathmandu Horror House

Psychic Sounds

***Psychic Sounds now offers a proper vinyl release of the raw, unfiltered document 'Bhoot Ghar: Sounds of the Kathmandu Horror House', compiled field recordings by Aaron Dilloway. Previous explorations into Nepal have fruited wild & wonderful collections such as 'Sounds of Nepal' featuring field recordings & a regional folk pop songs comp from found cassettes, 'Radio Nepal' transmission snippets dubbed directly from Nepalese radio, and the epic two hour hypnotic alleyway trance 'Sounds of the Indian Snake Charmer' by the Nath Family. This research further fueled subsequent solo works of essential carved noise relics 'Rotting Nepal' & 'Beggar Master'.Bhoot Ghar, or Ghost House in Hindi, apparated into Dilloway’s ongoing narrative revealing crude, rusted animatronics & ghoulish mannequins triggered by sensors releasing bursts of mechanical clanking & electric humming creating chaotic collisions of questionable in-house rigs likened to Survival Research Laboratories. Listeners become the ghost-on-wall witnessing confused, sometimes disturbed, patrons trying to find an exit which all contributes to a disorienting, psychedelic atmosphere. The layered distorted, crackling audio soundtrack sewn from various ancient theme parks, cut-up "ghost host" narration, Indian horror tv show music, heavily effected vocals & eerie samples all get funneled through the "busted sound system" further adding to the surreal, unnerving experience.

C.L.A.W.S.

Splat City II

Dark Entries

C.L.A.W.S. comes to Dark Entries with a new ripping LP, Splat City II. C.L.A.W.S. is the solo project of musical luminary Brian Hock, who has been a key figure in the Bay Area underground for over two decades via his involvement in projects like Bronze and The Vanishing, as well as helming the record labels Squirrels on Film and Immortal Sin. With C.L.A.W.S., Hock takes on the dancefloor, picking up cues from the Hague’s Giallo-dipped electro, the skewed minimalism of Chicago acid, and the mind-rending forays of San Francisco post-punk icons like Chrome and Tuxedomoon. Following 2019’s inaugural Splat City EP, Splat City II continues to map the psychogeography of a metropolis both alien and immediately recognizable, one where life is cheap, but so are the thrills. Previously released on Squirrels on Film in digital-only format, this expanded vinyl edition of Splat City II features two new cuts. Things kick off with “Route 505” and “One Tear,” a duo of rompers that vibe like Tom Ellard and Chip E locked in a room with a vial of liquid. Next up, Bay Area deckmaster Tyrel lends his editing chops to “Vigilant Slimy Monsters,” sculpting a moody space disco beast. Squirrels on Film co-founder Solar teams up with Hock for “Black Magic Carpet Ride III,” a cavernous downtempo banger. The slow-mo pace continues with “Wild Slugs United,” which features the no wave-esque clarinet work of Paul Costuros. Closer “Don’t Flip the Crystal Ship” pays homage to Bayview venue Bay Area 51 with...

Hansen-Knarhoi, Sophia

Undertow

Ba Da Bing!

With her first album Undertow, London-based composer/singer-songwriter Sophia Hansen-Knarhoi reveals stark venerability in a world of sound that is intimate and expansive. Voice and cello entwine to provide a cinematic intensity to songs that tell stories of memory, growth, and the raw, often dark, textures of emotion. with cinematic intensity.. ‘Undertow’ tethers intimacy to the corporeal, spanning violation and deep trust.. It deals with the fallout of the victims of violence against women, voyaging through fear and pain to absolution.Born in Perth, Western Australia, Hansen-Knarhoi grew up surrounded by the natural world. ‘Undertow’ draws on the stark landscapes of Western Australia. At moments, field recordings are woven into the work, while at others, arrangements reflect its beautiful barren environment through memory. “Engulfing myself in nature has always been a way for me to process the world, to bring me back into my body and my senses”. ‘Undertow’ revels in this remote sonic landscapeHer 2023 debut EP, Wildflowers, explores the transition from childhood to adulthood, blending ethereal, delicate vocals with graceful and tender instrumentation to embody memory, trauma, and the moments that shape us. This time, with the skilled Brooklyn producer Randall Dunn as a collaborator, Undertow pushes further into the abstract, a dark and dissociative space. Dunn carves intricate space around the lyrics, etching into the soundscape with tension. Cello and voice interact as dual narrators, layering hypnotic drones, gritty textures and raw emotive vocals.Undertow frames Hansen-Knarhoi in a caught moment, continuing her evolution, and all the sharp objects in...

Midnight Mines

Feel Like I'm Slipping Away

Minimum Table Stacks

***Long-running UK DIY band surface from their regular output of obscure self-released cassettes and backroom performances in their local neighbourhood bars, with this, their third ‘proper’ longplaying record, the culmination of a ‘rock’n’roll trilogy’ that perhaps only exists in their own typewritten manifestos. Augmenting the usual duo of Private Sorrow and Baron Saturday are new additions: State Education on bass, clarinet and pedal steel; and Autodrome on drums. Together they navigate Studio One rhythms, obvious rockabilly riffs repeated metronomically to the point of oblivion, 60s psych covers, chopped up tapes of previous bands, improvised chaos, and even tender ballads. A raw quartet screaming and begging to be let out of the walls of their self-imposed r’n’r prison.“For the third and final LP of the ‘Rock & Roll Trilogy’, Midnight Mines have heralded a Spitfire parade across the skies above their street level hacienda, the shimmering roar reverberating a gleeful din, sending tremors of bewildering euphoria into the enthusiastic gaggle of lugholes below. The winsome cover of Red Krayola’s ‘Victory Garden’ alone sounds like Spacemen 3 trapped inside a Fun House mirror. Midnight Mines deliver their most fantastic blurt yet.”—Tom Lax, Siltbreeze