New Releases

Ex Voto

Don't Look Back 1982 - 1990

Phantom Chord

***Loving reissue of unsung death rock heroes Ex Voto's 1990 12" EP Don't Look Back paired with a cavalcade of unreleased 80's material. The 80s SoCal death rock scene was anything but organized, hence a group like Ex Voto, who had been around in some form or another since 1982, making their vinyl debut in 1990. The group's Anglo influences are all fairly apparent—Sisters of Mercy, Alien Sex Fiend, Joy Division and the like—but the group puts the same distinctly Southern Californian spin on the sound as their peers Kommunity FK, Christian Death or VooDoo Church. There are even shades of EBM, anticipating the industrial boom of the dawning 90's. Highly recommended for any 80s gothic gourmands.

Sleeves, The

The Sleeves

12xu

***The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release last November, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut.'The Sleeves' is a somewhat counter intuitive take on the guitar/vocal duo formula (provided you think there is such a thing) though it's not nearly as simplistic as "the space between the notes"—it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented. But it doesn't happen nearly often enough, either.

Alvarius B.

Malarial Dream

Abduction

***Alan Bishop's solo persona appears again from his now 15-year-old home of Cairo where it was recorded in and around many other projects over the past few years. And unlike his more recent singer/songwriter material, Malarial Dream drifts closer to latter day Sun City Girls (Mister Lonely / Funeral Mariachi ) amidst a melodic Middle Eastern and beyond psych-warped folk setting. Mostly instrumental and, except for two obscure covers, original compositions that feature a cast of extraordinary players: Adham Zidan, Aya Hemeda, Cherif El Masri, and Morgan Mikkelsen (The Invisible Hands), Maurice Louca and Sam Shalabi (The Dwarfs of East Agouza), Amelie Legrand, Asher Gamedze, Eyvind Kang, Hana Al Bayaty, Huda Asfour, and Sammy Sayed. LP Limited to 500 copies. Produced by Alvarius B. and Adham Zidan.

Go Hirano

The Habit

Black Editions

***For more than three decades, Go Hirano has developed a quietly enthralling sound world on the peripheries of the Japanese underground. Emerging in the 1990s, Hirano released three albums with the revered PSF Records label and established himself as an artist with a unique sense of melody and atmosphere that was both entrancing and intimate. His work, largely recorded at home and in the field, de-emphasized technical perfection in favor of an unvarnished immediacy that imbued the quiet moments of daily life with a dreamlike splendor. On The Habit, Hirano brings together recordings that span decades of his playing the piano and other instruments on a daily basis. The core of the album was recorded in 2020 at Pianola Records in Tokyo, while other pieces draw from recordings dating as far back as the late 1980s. Through this span of years, a coherent vision emerges, marked by patient, subtle engagement with repetition, space, and resonance. Hirano works with a restrained palette—piano, pianica, wind chime, percussion, and synthesizer—to develop simple melodic figures that gradually shift in harmony and texture. Spacious piano chords expand through soft synthesizer tones. Near-imperceptible rhythmic frameworks intertwine with tranquil phrases that drift and merge with the sounds of the world around them. This synthesis of music and the environment in which it is created is critical to Hirano's approach. Rather than isolating the music from its surroundings, he embraces the atmosphere of the moment, the room in which each piece is played, capturing the subtle sounds and...

V/a

Himba Hymn: Ghosts Of Namibia's Skeleton Coast

Sublime Frequencies

***Recorded live on location, this is a style of music unlike anything you have ever heard before and the first album of the Himba people's music ever released from northwest Namibia. From the album's producer and recordist, Ian Brennan: "The Namib desert is the oldest in the world. Therefore, the driest. Italian-Rwandan photographer, Marilena Umuhoza Delli and I had come to record with possibly the most photographed people on earth, the Himba—to listen rather than gaze at them as if on display. To share their voices as a counter to their visual objectification, particularly the inappropriate eroticization of the women who customarily go topless throughout daily life. We had to stress multiple times that we did not want the musicians to don touristic tribal costumes—quite possibly the first music project in history that urged performers to cover-up rather than pleading with artists to expose more flesh. But it was to no avail. When the assigned hour arrived, the men all ditched the baseball caps and soccer jerseys that they routinely wear. And for the women, the reality is that they almost without exception keep their torsos bare, even in winter. We had to acquiesce. Forcing the issue would have only been the flipside of inauthenticity. The featured, traditional instrument is the Cattle Gun. It's rarely found these days and therefore, costly. Made from the lengthy horn of an Oryx and coated in mud, it is blown, resulting in a breathy, rattled tone. Via the use of live looping on three...

Belexum

s/t

Transylvanian Recordings

***A wild and wicked, frenetic and frantic, deadly death metal album. Featuring members of Cloak, Mystic Priestess, Eteraz & All Your Sisters. Recommended for fans of classick Gorguts, Immolation & Sacrilege! Presented on 180 gram vinyl!!

Guilty Strangers

Revenant

Transylvanian Recordings

***Spellbound Gothic Rock from the city of Angels. An infectious and mesmerizing exploration of gloomy melancholic music. Featuring a lineup composed of members 45 Grave & Egrets on Ergot. Recommended for fans of Siouxsie and the Banshees, Cocteau Twins & Lydia Lunch. Presented on 180 Gram vinyl.

Chisel, The

Deconstructive Surgery

La Vida Es Un Mus

***JAPANESE PRESS SLEEVE EDITION! "Explosive new music from The Chisel bringing the edifying and restorative powers of the great British folk tradition back to the table for a staggering next pint. Just when you thought you were fucking full, your mouths been winched open and gallons of shards of broken glass guitar, thick bass, and burning howling bilious guts gets poured down your maw. The speed of UK82, the terror of punk, the solid mass of Oi!. Like a bar stool breaking through a bus stop, there'll always be THE CHISEL." (Jonah Falco)

Squirrel Bait

Skag Heaven

Drag City

***REISSUED ON VINYL!!! What’s new for the first time in over a decade? Squirrel Bait's self-titled 12” EP and Skag Heaven in the black. In ’85-’87, their screamin’ teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. “Kid Dynamite” would ring in your head like a #1 single that had just unseated “Sun God” from the vaunted top spot. Every week. Anthems for the freaks!It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds.Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomor- row as well as your own damn selves, get copies now.

Squirrel Bait

Squirrel Bait EP

Drag City

***REISSUED ON VINYL!!! What’s new for the first time in over a decade? Squirrel Bait's self-titled 12” EP and Skag Heaven in the black. In ’85-’87, their screamin’ teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. “Kid Dynamite” would ring in your head like a #1 single that had just unseated “Sun God” from the vaunted top spot. Every week. Anthems for the freaks!It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds.Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomor- row as well as your own damn selves, get copies now.

Men With No I.Q.'s (aka M.N.I.)

Dreamin' / Can't Resist It

Nuthin' Records

***Ltd. to 200 reissue of what was, for 40 years, the only ‘M.N.i.’ *record* [indie micro-release out of Jackson, Miss., 1985] — now the 1st 7” in the Cult 45s series. And it’s already pretty much sold out from the label (nuthin’)Accidental No-Wave or [as seen in MRR back in the day] Speed-Funk on the A-side. Unbridled and UNPAVED Street-Rock on the flip. Both former M.V.P.’s of WFMU’s deceased ‘Beware of the Blog’

Lost Cherrees

Blasphemy

PNV

***Collection of early material from this iconic first wave anarcho punk outfit. The post-Crass school of politically infused British punk can sometimes veer so far into experimental territory that the brash and direct sound foundational to the movement becomes obscured by more indulgent musical tendencies. Thankfully this sickness never infected Lost Cherrees catalogue, which maintained a firm footing in the parallel street punk sound of the era. In other words, the group was as comfortable with the somber political diatribes as they were fist pounding pogo anthems, all unified by the infectious and unique dual femme vocal attack. This collection of early EPs originally released on Conflict's Mortarhate/Fight Back labels showcases a tuneful, politically incendiary punk group at the height of their powers.

Vanilla Muffins

Where Were You in 1995?

PNV

***Previously unreleased 11 track session from 1995 from the Swiss masters of Sugar Oi! Recorded between their first and second albums at the legendary RMS studio in London (known for producing records from Damned, Special Duties, Chaotic Dischord and countless others), several of these tracks were released on compilations at the time, but never before have they been presented as a single album as featured here. For those unfamiliar with the Vanilla Muffins sound, as their "sugar oi!" banner suggests, the group plays infectious punk with a Cocksparrer inspired knack for melody, and an aptitude for pre-punk glitter rock and power pop. This early session delivers a particularly high energy dose of boot stompin anthems.

Violet Thrones

Dance Of Infinity

Violet Thrones

***From the perpetual fog of San Francisco Violet Thrones emerge. Drawing from the deepest wells of gothic tradition and the experimental underground their sound occupies a space between Gothic rock and dark jazz. The five points of this dark star sharpened into, Steve Jaeger (bass), Sammy Valentine (strings), Kaden Owens (drums), Doug Graves (keys), and Violet Basso’s voice fuel the bands eternal flame. Features the tracks "Dance Of Infinity" backed with "Forever In Bloom."

Owen, Maisy

Dark On A Sunny Day

Tompkins Square

***"Maisy Owen, a Nashville native, has been surrounded by music and the art of songcraft just about all her life. First came the viola at age nine, then guitar where she embraced fingerpicking, soaking in influences from Nick Drake, Bert Jansch, Mazzy Star and David Olney. Raised in a musical family, her father Gwil Owen is an Academy Award-nominated songwriter.Maisy’s unique sound, musical truth and stirring vocals inhabit Dark On A Sunny Day, her debut album, produced by Robin Eaton (known for his work with Jill Sobule and co-writer of 'I Kissed a Girl')Drawn to melancholic melodies and dark poetic imagery, her first single 'My Youth Is All For You' was released as a 7” and gave Maisy a chance to explore her visual side / love for abandoned houses with an accompanying video. Her second single, 'On My Way Down' was recently featured as KCRW's 'Today's Top Tune.'Often spotted around Nashville playing bars or cruising around in her beloved pickup, Maisy is that special talent in a city awash with singer-songwriters. While folks thus far seems to have different takes on who she might sound like (for us, it's some of our favorites; Vashti Bunyan, Anne Briggs, Tia Blake...), pinning that down is a fool's errand. She is Maisy... a singular talent, and one worth watching.""Drawing on the moody intimacy of Nick Drake, the folk finesse of Bert Jansch, and the hazy dream-pop glow of Mazzy Star, she’s carving out a sound all her own."—KCRW"A finger style that is...

Roxanne, Ana

Poem 1

Kranky

“I wanted to travel / Home into somewhere,” Ana Roxanne breathes across an eerie suspended drone on “The Age of Innocence”. “I wanted to try / And go very far.” These are the first words we hear on Poem 1 and reintroduce an artist who’s in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago. Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on “Berceuse in A-flat Minor, Op. 45”, making each word count.On “Keepsake” meanwhile, she sounds as if she’s alone in an abandoned bar, stroking the dust off the piano’s keys as she inventories her emotional scars. There’s a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. “Untitled II”, the album’s pronounced, uninhibited centerpiece, delivers on the Lynchian promise that’s been present since her first EP, 2019’s ~~~. “[I] always picked...

Kramer, Bonner / Thurston Moore

They Came Like Swallows

Silver Current

Two giants of alternative / experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham and Urge Overkill’s hit single “Girl, You’ll be a Woman Soon” for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms and John Zorn’s Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music’s long tail, the keystone of the explored tension between rock and noise.

Anenon

Dream Temperature

Tonal Union

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album ‘Dream Temperature’, he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered ‘Petrol’ (2016), ‘Tongue’ (2018) and the viscerally beautiful ‘Moons Melt Milk Light’ (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, ‘Dream Temperature’ sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album’s electronics are triggered by Brian’s lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one’s day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift...

P.E.E.

I Win Me Over

Deathbomb Arc

***Hailing from the Bay Area in the 90s, P.E.E.'s brand of sloppy and complex pop punk was manic and completely loving. These recordings were originally made for an album that would later get completely re-recorded before release. Yet these raw, lo-fi versions remain some of the most vibrant material the band ever set to tape. Deathbomb Arc is very excited to release them for the first time! Recorded on 4-track reel-to-reel by Gar Box.

Sleeveens, The

National Anthem

Goner

A Dublin-born, stylistically-restless but fundamentally punk troubadour, Stefan Murphy emerged in the early 00s under the moniker The Mighty Stef, which became a full-band concern around 2007, wrapped up in 2016, and was followed by a short stint as Count Vaseline. Then, in 2019, Murphy met a gentleman by the name of James Mechan, who happened to be Stiff Little Fingers’ guitar tech. That last part is relevant, as any current convert to the band we’re discussing here can testify. And so is the first part, as Mechan wanted to record Murphy at his Nashville studio. Those plans were derailed by the pandemic but not forgotten when Murphy moved to Nashville in 2022. Work commenced, the pair were joined by Ryan Sweeney (of Cheap Time) on drums and Eli Steele (Sweet Knives) on lead guitar. The result was The Sleeveens, named after an Irish slang for “trixter”…not the earthly type responsible for a plastic Aztec death whistle on your exhaust pipe but rather the otherworldly one that temporarily vanishes the keys to the vehicle.  The Sleeveens’ debuted on 7-inch with 2023’s “Give My Regards To The Dancing Girls” on Sweeney’s Sweet Time label and “UFO’s” b/w The Four Tops’ “Bernadette” on Interstate 94 Recordings in 2024, followed by their fantastic self-titled LP on Dirtnap Records the same year, which gained traction on independent radio thanks to bangers like “Metallica Font” and “Aretha Franklin”. An official Gonerfest 22 inclusion, the band has also shared stages with G.G. King, Schizophonics, Total Hell,...

Geraldi, Phil

Rural Deceased Undiscovered

Not Not Fun

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11 melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and emotional cues into unfamiliar topographies of “alien country.”Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and technology, shimmering like northern lights over the badlands.Mastered by Jared Carrigan.Sleeve design by Jo Minor and Matt GoldbergInsert design by Anthony Boruch-Comstock.

Frank Hurricane

Southern Shrymp in the Big City

Nudie Records

***Frank Hurricane is a spiritual blues and folk musician/storyteller/bard from the South and the North of the US. He has been traveling and performing in the underground and DIY scene for well over a decade, gathering tales and touring across the world. He has released a large catalog of records. PBS recently made an Emmy-Nominated documentary about his musical journey. He has performed alongside many legends across the spiritual board and has hiked thousands of miles of trails in the mountains.Southern Shrymp (In the Big City) is Frank Hurricane’s chronicle of kaleidoscopic folk-forward Americana spiritual blues, interpreting both the modern urban and backwoods experience and inviting you into the lives of the people on the outskirts - the wild ones, the rough angels sitting on the mystic margins. Shedding the prism-light on the characters he meets in his songs, Frank also sings about the spiritual glory of the mountains and rivers of the Appalachian landscape he loves, psychedelically wound together over Frank’s intricate fingerpicking, soulful vocals, tender melodies, and transcendent vision.

V/a

Brown Acid - The Twenty-Second Trip

Riding Easy

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly!Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption.The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time...

Drakulas

Midnight City

Dirtnap

Austin’s creepiest bad boys are back!After a few years of wandering in the wilderness, Drakulas return to their spiritual home at Dirtnap Records (and Wild Honey Records in Europe/UK!) to unleash Midnight City upon the world!Drakulas move in the shadows of a neoned, late‑’70s city—proto‑punk bite, garage grit, ’80s synth ghosts and new‑wave chill wrapped in world-building, nocturnal lyrics.Conceived as an art experiment by Savage Lord Mic, Sam Francisco  (Riverboat Gamblers) and Pink Rick (Rise Against), and filled out with a rotating cast of sketchy characters, Drakulas quickly shed their daylight skins—black turtlenecks, medallions, VHS flicker—and became emissaries of a cinematic underworld where drugs, arcade lights, pornography and occult whispers score the streets.Their 3rd LP, Midnight City turns up the musical quirk factor a bit, with fully-realized, inter-connected songs that are at the same time unsettling and yet weirdly danceable. Marvel as they emerge from the fog with a new full‑length on Dirtnap/Wild Honey—listen if you dare.

Matthews, Jae

Man On The Beat

Heartworm Press

***Jae Matthews reinterprets Buzz Kull’s cult classic “Man On The Beat” with a dark, hypnotic edge, driven by her unmistakable voice and a cold, cinematic synth pulse. Known as the vocalist of Boy Harsher, Matthews channels the nocturnal spirit of the original while making the song distinctly her own.Released as a limited-edition 12" on Heartworm Press, the single transforms the underground favorite into a late-night anthem, with the B-side featuring an extended remix by Los Angeles duo Spike Hellis, stretching the track into a driving, synth-charged club version.

Bergsonist

Depths

Dark Entries

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality. Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a...

Noveller

I Am The Weather

Experimentia

Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in “The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside.” Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise—a vocal track!It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to...

D.S.B.

Substitute

General Speech

***Never available on vinyl until now, Substitute is the second full length by this long running Tokyo hardcore band. D.S.B. put Japanese hardcore on the map for many overseas especially many Americans as their 2003 tour basically blew the minds of everyone in the collective D.I.Y. hardcore scene at the time. Their energy, stage presence, and ultra punk look was as inspirational as their music, functioning like a call to action for many. Hot on the heels of this tour, being locked in, tour tight, and at their peak, they decided to go into the studio and make an album of all the best early songs they felt were never properly recorded or done justice, along with some new ones. The result is a masterpiece and some of the most explosive hardcore punk from any time and anywhere.

Ignorantes

No Hemos Inventado Nada Ni Nos Interesa Hacerlo

General Speech

***“We have invented nothing, and are not interested in doing so.” No Hemos Inventado Nada Ni Nos Interesa Hacerlo is Ignorantes with the noise dialed down (just a little) but in exchange their most catchy, but also at their most hateful and nihilistic, and it exemplifies some of, if not their strongest efforts in terms of riffs and song writing. Lyrically there is nothing positive about this album, but musically it is a masterpiece, which would have been more of a standout in their catalog had it actually been released properly. Originally recorded in Chile in 2021, but never distributed, it is the final release in their classic tupa tupa style. Essential for any fan of this band.

Indikator B

s/t II

General Speech

***The second EP by Indikator B from Zagreb, Croatia. The band managing to grow even more confident in their unique style of hardcore punk that successfully blends the catchiness and great riffs of UK punk with the dark and cold feel of 80s bands from Yugoslavia and eastern Europe. In a world where regional styles and influence are disappearing, Indikator B has created a record that remains connected to the history of underground music from the Balkan region, but doesn't succumb to nostalgia.

No Peeling

EP2

Feel It

Formed in 2025 as a studio project by five friends in the fertile Nottingham DIY underground, No Peeling have rapidly expanded way beyond their initial brief. September 2025’s self-titled EP was the perfect introduction to the No Peeling universe. Bandcamp Daily picked it as an Essential Release, calling it “a clanging collection of get-in-get-out egg punk that doesn’t ask for more than 10 minutes of your time and overdelivers on every front”. It managed to cram a lifetime of idea-nuggets into seven songs that rarely exceeded the minute mark. A blast of enthusiasm and hyperactivity, the EP was the audio equivalent of a barrage firework: exhilarating and energising (although slightly confusing unless experienced from a distance).Whilst the first EP was completed before the band had played live; EP2 hits a little differently. Written in preparation for their first UK tour and recorded just after, No Peeling’s new-found live energy pushes the results to somewhere new again. EP2 has the garage punk clatter and sparkly efficiency of their debut but is somehow faster and weirder. The guitar and synth seem to be engaged in a constant (playful) fight, tumbling further and further away from the song structure being held together (and propelled) by one of the tightest rhythm sections around. The scrawl and skronk might occasionally recall No Wave but those grooves are locked down.This all provides the perfect foundation for the wry, dry observations of Sophie Diver. From pasta post and fluff-clad delinquents to clingfilm catastrophes and poor working conditions,...

Genre Is Death

Attractive People

In The Red

Genre Is Death is an uncompromising noise duo made up of Ty V (guitar, vox) and Tayler Lee (bass, vox). Their sound is abrasive yet melodic, using heavy distortion, dissonant riffs, and reverberating vocals to create a wave of boldly hypnotic noise. The duo have been compared to the likes of Sonic Youth and Teenage Jesus and the Jerks, yet have managed to create a sound that is distinctly their own, avoiding mimicking the zeitgeist of decades before. Beyond the integrity of their music, Tayler’s intimidating glare, or Ty’s staggering gait, the duo share something truly inimitable— the overwhelming feeling that their music is a byproduct of the high esteem they hold of each other.The duo moved to NYC in August of 2023 looking for something more than their mundane suburban lifestyle of day drinking and playing doom metal in friends' basements…their move to NYC coupled with their desire to express something, anything, led to the inception of Genre is Death. The pair hit the ground running, playing anywhere and everywhere they could… however, it was only after a chance encounter with 80s noise forerunners Live Skull that the pair was introduced to the strange underbelly of NYC noise and began playing regular gigs with The Art Gray Noizz Quintet and Lydia Lunch. In 2025 the pair played New Colossus Festival, toured with Gogol Bordello, embarked on their first East Coast tour, and played gigs with Cherubs, Bush Tetras, and Jon Spencer. Their upcoming record was recorded with legendary sound...

Memo PST

Eternal Actors

In The Red

"LA Punks Memo PST return with another modern punk classic Eternal Actors, their new album out this May on In The Red. These 12 tracks capture the fury of late '70s rough and raw punk rock, with Orville Neeley crafting hit after hit of god-tier punk bangers. Vocalist Chris Shaw is also at his most versatile to date, with his lyrical capabilities and patented punk sneers dripping across every song."Simply put, Eternal Actors finds two lords of the punk genre at their very best. There are classic punk bashers like “Dog Groomer Stylist,” and “Doomed to Repeat” but also primitive, bare-bones rock rippers like “Chrome Bubble” and Worship Me.” The band also delivers some of their most hardcore songs to date with “Concrete Club” and “Blown Away.”"With the San Clemente wrecking crew of Jackson Todd (drums) and Emmanuel Koulouris (bass) back again to round out the four piece band, this is truly a powerhouse presentation of punk music in 2026. If the band proved they were a punk force with their long sold out, self titled album, Eternal Actors may solidify their place at the top of the punk pile."Recorded in late 2025 by longtime collaborator Mike Kriebel at Tropico Beauty Supply in Los Angeles, Eternal Actors is Memo PST's second album for In The Red." – Johnny Dogface

Barreca, Marc

A Penchant for the Useless

Palace Of Lights

“While performing at an early Twentieth Century steam driven power plant and imagining what its industrial ambiance might have been, an outline of ‘A Penchant for the Useless’ emerged. Like many of my projects, the album started with a search for the kinds of unique, amusical sounds I wanted to work with. And credit is also due to a rereading of Nicolas Collins’ ‘Handmade Electronic Music.’” Using a collection of electric guitar pickups, contact microphones, and transducers that would vibrate random metallic and wooden objects, Barreca built a library of loop recordings. Also recorded were the electronic buzzes and bleeps of a computer and various home appliances.  Granular effect processing and layering with a sampler and a physical modeling synth transformed this largely atonal source material into deep, harmonious assemblages.These long chains of sonic transformations fused with the dark beauty of their industrial steam-era inspiration, and resonate throughout the music. Only rarely will these pieces hint at their now obsolete and decaying source materials. ‘A Penchant for the Useless’ is Marc Barreca’s 15th solo album, adding to a catalog of constantly evolving and refining experimentation and compositional innovation that now spans more than four decades.Barreca has also collaborated with Three Point Circle, Young Scientist, Savant, and K. Leimer. Mastered by Taylor Deupree at 12K Mastering.

Sonic Blossoms

s/t

Slouch

***Sonic Blossoms are a heavy psych and space rock supergroup drawn from some of LA's most respected underground acts. Channeling Spacemen 3, Red Crayola, The Stooges, and raw '60s psychedelic garage, the band deploys extreme fuzz and distortion, wah-soaked guitar, organ drones, trancelike rhythms, and echoing theremin into a sound that is both vast and claustrophobically intimate. Their self-titled debut on Slouch Records is a singular, cohesive statement—a feedback-drenched journey that rewards repeated listens.

Smarm

s/t

Smarm

"Having only been sloughing around the Queen City for about a year, SMARM have already ran into a studio to knock out a three-song EP that reclaims some of the sting oft-absent from the current underground trash rock scene.The maniacally majestic opening guitar lick on, uh, 'Lick the Fist' makes it point and gets out of the way of the monster riff. Then the lead in “Cut Out,” uh, cuts out like a 17-year old jumping the gun on the last tick of homeroom before summer vacation starts. Of course SMARM are no teens (at least not numerically), but that only means their seasoned playing can avoid any insecure putzing around.This feisty foursome are past the point of investigating a hoot about what anyone who’s watching or listening might think; but close enough to their initial R’n’R inspiration to remember the root cause: fun!Eric Stein—he of the aforementioned wild leads—slices’n’dices around with guitarist Sam Richardson, while bassist Liam Dolan drives the bass right up the gut.Throughout, nifty tricks like the unique doubled-up vocals (members switch up singing duties) dodge between the flailing riffs, and drummer Drew Decker’s micro-rolls feel like they’re shoved by the caveman pound of the snare, giving the songs a rattled feel that grooves into something like burly in the midtempo closer, 'Make Something Happen.'Cincinnati has a proud tradition of coughing up a solid barn-burning garage rock band every 7 years or so, and SMARM might be the latest match-striker. Hearing these tunes, the visual is of...

Badterms

Nest Of Vipers

Tko

***When last we heard from Boston bootboys Badterms, they were fresh off the release of their TKO Records debut LP Panic Age and poised to deliver the Rock n’ Oi! ruckus to fans near and far. In the ensuing eight months, Badterms has waged a sonic assault on audiences in a multiple front campaign: including Canadian festival appearances, a European tour, and plenty of gigs on East Coast of the USA. And now, on the eve of their next European tour, they have returned with a brand new album of previously unreleased material: Nest Of Vipers.Nest of Vipers picks up where Panic Age left off. For the new album, founding members Curt Florczak and Hans Molnar are joined on record for the first time by the rest of Badterms' live line up: Jason Hunt (guitar), Mike Reinhalter (drums) and Dominic DiNardo (bass). Much like their TKO labelmates No Time, Badterms is a band that treats every new release as an opportunity to push things to the next level, and Nest Of Vipers unquestionably delivers in this regard. These songs, pull no punches, give no quarter, and rest on no laurels.So get ready for your next dose of razor-sharp Skinhead Rock n’ Roll from Badterms. Nest Of Vipers ratchets up the band’s lethal combination of blazing riffs, inescapable hooks and poignant lyrics that’s sure to make this record a contender for 2026’s album of the year.Edition of 400 copies on colored vinyl.

Theya

Theya Vol. 1

theyaonfire

***San Francisco’s heavy sound mystics Theya are proud to present their debut full length opus Theya Vol. 1. A sweeping, genre bending collection of mythic, hard hitting tracks, the record blends the new wave of British heavy metal, thrash, doom, MC5-style rock and roll, and classic psych into a soulful sound entirely their own. Recorded, mixed, and mastered by Tim Green (The Melvins, Earthless, The Fucking Champs) at Louder Studios over the course of Venus re-emerging as the evening star, Theya Vol. 1 is a fully realized introduction to the band’s expansive world.Theya was first envisioned in 2018 by longtime friends Tuula Paivio-Ala and Michael Scanland. Together, they began developing a shared sound, with Scanland’s bass providing a steady foundation and Paivio-Ala’s baritone leads adding a heavy melodic edge. Drummer Mic Rawls soon joined, strengthening the rhythmic core. Followed by Samantha Grove on lead vocals, whose four octave range brought a powerful and dynamic presence. Tobias Wettstein completed the lineup on second guitar, complementing the band’s evolving sound. Together, the band has crafted a musical language entirely their own.Theya Vol. 1 moves with cinematic scope, weaving together mythology, cosmic consciousness, Philip K. Dick inspired characters, and fever dream symbolism. As the band assumes mythic forms, the Witch, the Warrior, the Horseman, and the Wizard, they guide the listener through a shifting terrain of shadow and revelation. Shaped by deep musical devotion and a belief in the redemptive power of rock and roll, Theya Vol. 1 is an immersive blend of...

Hatakeyama, Chihei

Unconsciousness Silence

Constellation Tatsu

***Unconsciousness Silence is the latest ambient exploration from Japanese sound artist Chihei Hatakeyama. Known for his ethereal guitar drones and textured soundscapes, Hatakeyama creates immersive sonic environments that unfold slowly, inviting deep listening and introspection. This release continues his signature approach, blending delicate melodies, subtle electronics, and spacious ambient textures into a meditative journey.

Tatlow, Anita

Everything in Watercolour

Constellation Tatsu

***Everything in Watercolour is a luminous and intimate ambient work from vocal artist and songwriter Anita Tatlow. Known for her instantly recognizable ethereal voice and immersive collaborations across the ambient and electronic spectrum, Tatlow crafts music that feels both weightless and deeply emotive.Blending soft vocal layers with gentle synthesis and spacious production, the album unfolds like a series of delicate washes, where tone and texture drift in slow motion. Rooted in her background in ambient music and her work across projects such as Salt of the Sound and Narrow Skies, Tatlow’s compositions evoke stillness, reflection, and a quiet sense of wonder. Subtle and immersive, Everything in Watercolour invites the listener into a meditative space shaped by light, memory, and atmosphere.