New Releases

Typhonian Highlife

Sumerian Star Creatures

Psychic Sounds

***Created for the Centre for Fine Arts Brussels, Sumerian Star Creatures premiered in 2017 as a part of Spencer Clark and Xavier Garcia Bardon's "Imagineers in the Underworld" Film Series. Typhonian Highlife and Corum made a slithery soundtrack to intersperse between the stories of South Africas former National Laureate, Credo Mutwa; who's early work magically catalogs folk histories of the Zulu people, and later, begins to merge into a description of the same peoples histories of Alien Folklore Myth World. The Film shown during the Imagineers in the Underworld" series sees Credo Mutwa surrounded by his sculptures and murals, detailing stories of experiences with the Chitahoori, the alien creatures that inhabit South Africa. After a story, the screen would go blank and Typhonian Highlife's silohuettes would light up as they would perform a musical response to Credo's stories of the "Alien Nasty Boys".The music on the record you peep stands as the evidence of the inspirational world of Credo Mutwa, who without restraint, recounts the history of his people intermixed with the parallel history of the non-human entities that inhabit his land. Sumerian Star Creatures comes with the original marquee poster of the event in question as well as a copy of the original ticket, which, has on it, a barcode that when scanned, takes you to cyber space where you can listen and watch Credo's full six hour story.

Beast Of Beast

Sex, Drugs... and Noise

Mono Records

***"After years of attempting to make this a reality, we're proud to offer the reissue of Beast of Beast—"Sex, Drugs… and Noise" from 1983, originally on My Ass/Mutha Records. This LP from the Hollywood Death Rock outfit includes 10 bonus tracks recorded between 1981-1984. Roy and I picked these from 10+ hours of rehearsals and demo tapes—songs that no one’s heard, unless you were at the live gigs back in the day. Inserts include tons of photos by Edward Colver and others, with band bio and a 11x17” album outtake poster of Virginia by Colver."

Zorn

Return to Castle Death

Sorry State

***Philadelphia’s Zorn returns with a new album for Sorry State, Return to Castle Death. While the two years since Endless Funeral have seen Zorn’s stage show grow increasingly surreal and elaborate (giant Kaiju-style monsters and oversized medieval weaponry are now regular features of their gigs), Return to Castle Death finds the band whittling things down musically, giving us a meaner, leaner, and more riff-focused Zorn than we’ve heard previously. But while these seven tracks feel more straightforward, the hallmarks of Zorn’s sound are still here in force: the blackened punk riffs, virtuosic drumming, touches of neoclassical melody, and vocals that can can move from a Sakevi-influenced gurgle to a banshee death howl in the space of a line. There are also a few new twists, like the warped organ solo at the climax of album-closer “Guest of the Mad Prince.” And make sure to pick up the physical version, because the vinyl features an exclusive bonus track: a cover of Annihilation Time’s modern classic “Bald Headed Woman” put through Zorn’s metal-punk meat grinder.

Alienator

Brutal Occupation

Black Water

***There is absolutely no stopping this hardcore juggernaut, and this 4 song EP is the proof. Continuing right along with the LP, without skipping a beat, these dudes are just as angry and intense. Fast catchy riffs, sick breakdowns, rad solos, gang vocals, and sounds that invoke violence in the pit of one's soul. If prior releases did not make you want to destroy everything in the room, this might just be the one that breaks you. Absolutely no poser shit anywhere in this frantic listen. Recommended to anyone who loves their hardcore pure and genuine.

Pungence

s/t

Black Water

***If you have an unquenching thirst for down tuned DOOM-laden crust punk littered with dive bombs and blazing solos, stop whatever you’re wasting your time doing and grab this 8 track cassette only release. This shit is so dirty, even the dental floss holding your trousers together will not survive the onslaught. The tape remains urgent as hell; fast d-beats throughout wasting no time with mid tempos or artsy fartsy bullshit. For fans of Discharge, Hiatus, Disgust, Disrupt, War Collapse of Doom.. Crust without the chugging. Just plain, evil hardcore the way it is meant to be.

Olsen, Ethan W.

My God is a Consuming Fire

Carbon

***Ethan W. Olsen (aka Ethan WL) is a American Primitive guitar player, filmmaker, and film photographer from Gloucester, Massachusetts. His works often explore the idea of place and its connection to one's personal history. In both film and music he favors long, contemplative pieces. My God Is a Consuming Fire is Ethan’s 2nd LP for Carbon Records. The first one, Blood Farm, which received many accolades and airplay. But with My God…, Ethan (now going by his full given name) has really increased his proficiency, creativity, and patience.

JPI Vio-Lens Kommand

Pon Tu Lengua Sobre Mis Huesos: Exploraciones Cartománticas

Nuclear War Now

***The 2026 full-length album from Uruguay's occult black metal entity JPI Vio-Lens Kommand and the band's second release on NWN! Productions. JPI Vio-Lens Kommand continues its uncompromising path with a feral blend of black metal, d-beat, and punk, driven by surrealist poetry shouted in Spanish. The production is deliberately raw and organic, evoking the sound of a forgotten 1990s four-track demo, while the sparse but effective use of keyboards adds an eerie sense of depth without softening the band's primitive attack. Where the previous album leaned toward death-thrashing chaos, this recording shifts closer to the hypnotic minimalism of Ildjarn and Invunche. Recommended for fans of Asocial (Sweden), Gudon (Japan), Metal Attack (Bolivia), and Plasmid (UK). Presented on heavy black vinyl with a 3mm jacket and insert.

Witches Hammer

Final Storm

Nuclear War Now

***Forty years in the making, Final Storm serves as the triumphant final chapter in Canadian Speed Metal cult, Witches Hammer's history. Rather than reinventing themselves, the band has remained faithful to the speed and thrash metal sound that has defined their legacy, delivering nine tracks that seamlessly stand alongside their previous two acclaimed albums. The record bridges past and present, combining material from the band's earliest days with newly forged compositions to create a fitting Final Storm.Two songs on the album trace their origins directly to Witches Hammer's legendary demo era: "Mantle of Death" from the band's 1985 debut demo and "Death of No Reprieve" from their 1986 follow-up. Alongside these resurrected classics are two completely new tracks, "Nocturnal Oblivion" and the instrumental "Malicious Assault." The remaining songs are built from a treasure trove of unreleased riffs, rehearsal tapes, and basement recordings created during the band's formative years in the 1980s. Much of the material was painstakingly assembled from decades-old cassettes, with the band collaborating to complete and refine unfinished ideas into fully realized songs.

Carp, The

Tangled Up With the Two Tailed Rat

Total Punk

***Our favorite fishy boot boys, THE CARP, are back with their sophomore LP. Born out of a PERVERTS AGAIN practice that ALEX WARD didn't show up for and a mutual love of street punk and Oi!, THE CARP mashes the two through the skewed lens of the 'Kids Who Brought You CRUELSTER. 11 pissed off rants about the drones flying over our heads, the data centers in our backyards, the unaffordability of living, and the billionaires who make it all possible. The Carp are here to give you your marching orders, so lace up your docs, head to your nearest lake, and join the local chapter of the fish militia! 'Tangled Up With The Two Tailed Rat' is sardonic, anthemic, and 100% TOTAL PUNK!!!!

King Automatic

Playing 6 Garage & Sixties Hits

Slovenly

***King Automatic makes cover like dirt across the grooves of this big-hole 10inch, taking classic tracks from bands as generationally distant as The Seeds and The Gories, transforming “Pushing Too Hard” and “Thunderbird ESQ” into perfectly effortless Jamaican rock steady, fortified with his signature drum machine, and multi-layered loop treatment. And what would a covers record from a French artiste be without paying respect to Mssr. Jacques Dutronc? His 1968 classic "L'augmentation" gets a 21st century rub-down to loosen up the kinks, and emerges revitalized for a daring new scene. The real madness, however, lies at the end of the programme, with an inverted version of “One Step Beyond” knocking the record’s concept on its head, as this 2 TONE classic is stripped of its syncopated nuttiness, summoned back to its roots, and emerges born again as pure rhythm‘n’beat. And this, fellow punk rudes, is how we’re demanding our rock’n’roll be delivered today… COPASETIC AND INTENSIFIED!

Prisonnier Du Temps

Prendre Le Pouvoir Par La Force

La Vida Es Un Mus

***This is the second album from Prisonnier Du Temps, and from the cover alone you can tell that its sole member, Jacky Cadiou, wanted to surprise and not just deliver a pointless follow-up. You can already feel a desire to break the usual codes just from that image.Breaking the rules is exactly what he does across these eight new tracks. There’s a lot of boldness here, and a clear urge to move away from a French Oi! scene that’s becoming more and more uninteresting. This record pushes beyond that boredom and goes much further. It’s no less angry or brutal, both in the music and the lyrics. But alongside that violence, there are plenty of catchy, infectious, and overall anthemic moments. This is far from dull, simple minded Oi!. That sense of daring opens the door to huge, epic melodies that might bring to mind Criminal Damage, and if we’re talking Portland bands, you can also hear the wild melodic intensity of Tragedy and Poison Idea all driven by a raw, bulldozing post-punk hardcore sound.You can really feel that this album was created out of Jacky Cadiou’s need to release his anger against those who oppress us. It’s the frustration and pain of the forgotten turned here into music: “The world moves forward with its eyes closed and Gaza burns, forgotten… In pain and tears, children fall unarmed…” With this second album, Prisonnier Du Temps delivers the record you didn’t expect but absolutely need.

Stingray

Enemy

La Vida Es Un Mus

***Stingray returns three years after Fortress Britain. Back with a new line up and an ever more savage sound, massive sounding on a 5 track 12” EP.Enemy is London on a plate. Stench-tinged hardcore punk born of the ever reaching infinity of Britain’s complex and confusing capital. Nihilistic acid burns in the style of NEUROOT, DEATH SIDE and DOOM, under a few minutes per piece, peppered with prosciutto-dipped VAN HALEN style solos Ala later Wretched or Shotgun Solution. Vocal visitations by Ciara Savage bring frightening melodic elements into the occasional foray into truly irresistible mosh, not far from the barbed wire trailblazing of Gastunk, SOD, and Sacrilege before flying back into fast paced passages of “Scandinavian Jawbreaker” worthy velocity.Recorded at Fuzzbrain by Jonah Falco. Mixed and mastered by Chris Corry at the Paincave. Draped in a Tin Savage sleeve, and released on the ever eternal home of musical suffering, La Vida Es Un Mus Discos.

Suicidas

Canciones Malditas

La Vida Es Un Mus

***Based between Barcelona and Vienna Suicidas have been slowly dropping punk gems on different seven inches for fourteen years. Working at their own pace and staying away from trends, the band has always kept their sound rooted in the most melodic side of early punk. Their output is sparse in quantity but simply flawless in quality up to this point. Their early singles have been collected on two singles compilations already.Fast forward to 2024 and the band entered the studio to record their first full length. This time with the addition of a second guitarist, elevating their sound to new heights. Canciones Malditas has songs with riffs for days, and singalongs that stay with you forever. It has eleven idealistic anthems mixed with dejected love songs for the fuckups. Their influences are classic: Lost Kids, Commando 9mm, Screaming Sneakers, The Adverts and more than anything their beloved Ramones, from who they take the sharp driven punk rock, full of melody but sounding crude at the same time. With a super bright recording and a total atemporal approach to the genre, Suicidas signed a record that I find extremely hard to remove from the turntable.

Effigy

Burnt Offerings

Sealed

***The early 80’s in Aylesbury, Buckinghamshire, was hardly the place where music dreams came true. It had an amazing venue called Friars which was on the touring circuit, but very few local bands. There was the VICE CREEMS fronted by Kris Needs and there was the notorious yet terrible SORE WILLIES. EFFIGY came from the ashes of the SORE WILLIES and formed in 1983. EFFIGY came fully formed and instantly became popular in the local area, where they put on a weekly night at the Uptown Coffee Bar. The band hardly left Aylesbury though, and when they did it was to play in nearby High Wycombe and Bicester. They played bigger gigs with everyone from ALIEN SEX FIEND, BILLY BRAGG, UK DECAY, THE SCARS and SPIZZ. The band recorded one 5 track demo in October 1983 and it is simply unbelievable that it has never been re-released, but then again the bands legacy seems to have banished without a trace, with literally no mentions anywhere. Making their demo one of the hardest ones from 1983 to track down, or even hear, since it is not even uploaded on YouTube.EFFIGY’s sound is so instant. It’s driving, tight female fronted post punk with hooks, style, and had it been released at the time would have made them a household name. Think a straight ahead version of SIOUXSIE AND THE BANSHEES, early X-MAL DEUTSCHLAND, THE A-HEADS or the SKELETAL FAMILY but with a more pop edge. The songs lyrically were around the obsession...

Rudimentary Peni

EPs of RP

Sealed

Unavailable since its original release on the Crass side label Corpus Christi in 1987, the much bootlegged compilation The EPs Of RP finally gets an official reissue on Sealed Records.The LP collects both Rudimentary Peni 7” releases pre-Death Church LP, completing the trilogy of Rudimentary Peni's first era recordings before their first hiatus.The A side contains the band’s stunning debut. A breakneck 12-song 7” EP recorded in 1981 at Street Level Studios and originally released on the band’s Outer Himalayan label. From the first track Rudimentary Peni pull you in and aurally assault your ears creating the template for many to follow. It’s abrasive, sharp, intricate with supreme musicianship and a unique dark sense of humour. They created a perfect, demented universe of twisted, poetic and needle in the red punk often imitated and truly never matched.Flip over for the follow up, the 11 track 7” Farce that was originally released in 1982 on Crass Records. Like most records on such label it benefits massively from John Loder’s engineering and Penny Rimbaud production. Farce never lets up the intensity with twisted melodies, a locked in rhythm section and Blinko’s much copied anguished vocals that he sings like his life depends on it. It energetic, manic and 40+ years later nothing comes close to both EP’s.While both EPs were originally packed in Nick Blinko’s artwork, he created a masterpiece of dark and intricate art with microscopical detail to house their collection. You can literally get lost for hours in it. This...

Gun Outfit

Early Tapes Vol. 1

L.G. Records

A remaster and first time pressing of the earliest Gun Outfit cassettes, which were produced by the band to sell on their first two national tours in 2009 and 2010, along with some unreleased tracks. The aesthetic at the time was basically an embrace of primitivism. Technical know how was actively disdained in favor of abject expressionism. The context was the hardcore scene, but it was Olympia, so there was some kind of hermetic awareness that could be read as art. This record shows the side of the band that was least afraid of what people thought. The tapes were for friends, there was no outside audience yet.The Emanation cassette was recorded by four track cassette wizard Adam Croce (from Broken Strings) at Carrie's dad (Chunk's) house during the summer. “We thought he was insane because he made us do multiple takes.” Reuben Storey of the death metal band Funerot was the drummer and played a role in arranging the songs. The tape had space on it that an LP didn't. The self-titled cassette was recorded in various spots throughout Olympia—mostly the slummy abandoned office building where every band practiced downtown and was mixed at the double wide where Carrie did work trade shoveling out horse stables for rent, Weeping Willow Ranch. Daniel Swire joined on drums after Reuben slid back into metal world; his style was more subtle. “The band got weirder and the tape got worked so much it started to bleed through. There was confusion throughout but...

Lockstep

I Know What I Saw

Profound Lore

Lockstep is a Nashville-based band pulling elements from shoegaze, doom and heavy rock. They’ve built a sound rooted in atmosphere and weight, moving between quiet, uneasy moments and crushing walls of noise. With each release, the band has tightened their approach—cutting excess and focusing on impact. Their debut full-length, I Know What I Saw, out through Profound Lore Records stands as the band’s most focused and complete statement to date. Following the release of several singles (their last being the “Drag Along” single from 2025), their Arrival EP from 2023, and already having a decent number of shows and tours under their belt (notable past tours include runs with Prize Horse and Gumm), I Know What I Saw leans into massive, slow-burning riffs and dense, layered guitars that stay engaging without letting up, locking into sections that feel both hypnotic and suffocating. Songs stretch and build with purpose, pulling listeners deeper into the band’s world while keeping a constant sense of tension and release. It’s the clearest and most realized version of Lockstep yet.

Woodwose

Woodwose

Language Of Stone

Rooted in the Philadelphia experimental music and acid-folk revival scene of the early 2000’s, Woodwose neither fits comfortably into said scene nor any musical movement current or past. While their sound can be described as primitive, in the sense of the primordial, not in terms of playmanship, their folk-horror aesthetic abuts a pop sensibility that undermines pure thrift in either genre. What results is a wholly unique sound that permeates one’s physiognomy like poison from a deliciously enchanted apple. Keyboardist/flautist/vocalist Jessica Weeks (Magus, The Valerie Project) and guitarist/vocalist Gillian Chadwick (Ex Reverie, Rusalnaia) together draw from a storied musical past to infuse a new creation whose iteration defies ease of labeling. Dueting vocals clamber and soar, guitars stab and arpeggiate, keys rumble and swoon as the rough beast that is Woodwose’s debut long-player stands upright, ready to be born into the world.

Odor Eater

But For Who?

Feel It

On Odor Eater’s third album, their first for Feel It Records, But For Who?, Harley Moore and Logan Devlin have appropriated various sonic idioms of the New Wave employing a similarly playful mode of critique lyrically and musically while updating the social context to reckon with the maelstrom of contemporary pop culture. The Olympia/Portland duo have created a record that speaks the language of their influences fluently but with a definitively contemporary accent—a bricolage of the sounds of Devo, Bill Nelson, Vince Clarke-era Depeche Mode, and Kraftwerk. Devlin and Moore bring fresh ears to this style of composition, mixing freely the aforementioned with a more fully developed sound of their own that is brighter this time around—less heavy and more danceable. Over the course of 11 songs, propulsive drum machines bip bap in deceptively simple patterns, with Devlin’s zig-zagging bass lines shuffling under arpeggiated chords and rhythmic synth leads while Moore’s vocals act as a sort of post-everything Virgil guiding us through the contemporary inferno. Lasers zip-zap in the background, machine-like sounds whoosh and whirr, percussive blips and beeps pop here and there, along with occasional clarinet parts provided by Moore. Meanwhile the lyrics, written and sung by Moore, deal with a wide range of personal and political issues, their vocal delivery often calling to mind the expressive dynamics of Stateless era Lene Lovich—at times veering towards the shouts and howls of Lydia Lunch. There’s songs that deal with genocide, the MAGA cult, and social one-upmanship—and there’s a couple of...

Coeur A L'index

Fatiguee / Mes Heros

La Vida Es Un Mus

***Coeur A L'Index return with their final offering which is the perfect indie pop and power pop format—a two track 7”. The A-Side ‘Fatigueé’ is a bittersweet, dreamy and mournful song that has the charm of the slower Shop Assistants songs. The flip ‘Mes Héros’ is a complete fizzbomb of indie pop and power pop that sounds like an obscure band from the Girls from the Garage compilation series mixed with Dolly Mixture. It’s sparkles and shines instantly. Coeur A L'Index leave this world with a perfect trio of releases—the original demo, the album Adieu Minette and now this 7”. Limited to 300 copies.

Mesh

No Fun At All

Feel It

Philadelphia four-piece Mesh end a 5-year wait with debut LP No Fun At All, out Summer 2026 on Cincinnati’s Feel It Records. Members Sims Hardin (guitar/vocals), Allison Durham (12-string guitar/vocals), Tom Riese (bass) and Steve Darling (drums) formed in 2019, taking inspiration from a blend of influences: early British post-punk, 80’s indie and Philly living. Out of their local DIY scene, Mesh home-recorded their self-titled debut cassette, released in 2021 with Chicago’s Born Yesterday Records. Following their debut tape, the band zeroed in on writing and performing new material locally while also completing several Midwest and East Coast tours.On No Fun At All, Mesh break away from lo-fi recording habits, leaning into clarity and depth with eleven new tracks. Songs like “Hold Onto” and “Boots On The Pavement” move with urgency, accented by Durham and Hardin’s intertwined vocals and guitar work. “Atrophy” is a bright and jangly number highlighting Durham's voice and 12-string chime, while “Violent Peasant” captures a sardonic medieval critique of modern landlord/tenant inequities. No Fun At All is a playful yet mature, dynamic first LP from Mesh. Spin it til your turntable breaks.

Saints Of Lorain

Those Dark Roads

Eleventh Hour Recording Company

***Cleveland’s underground punk scene has given birth to the Saints of Lorain, who are set to release their highly anticipated debut album in LP format, Those Dark Roads on Eleventh Hour Recording Company. Building on decades of raw experience, loss, and survival, the record marks a powerful new chapter for one of Northeast Ohio’s most authentic punk acts in recent memory.Forged from the legacy of late-’90s outfit Al & the Coholics, Saints of Lorain carry forward more than 25 years of underground DNA—delivering a sound that blends street punk, garage rock, and metal into something unfiltered and unapologetic. Cleveland has long been known for its grit, and Saints of Lorain embody that spirit with music rooted in real-life struggle and resilience.Their recent releases—including Before We Were Saints—have reflected on their past, capturing the chaos, consequences, and survival that defined their early years. Critics have described their sound as that of a band “that’s been to the bottom and clawed their way back,” channeling lived experience into every lyric and riff.Now, with Those Dark Roads, Saints of Lorain turn their focus forward. The album expands on their signature intensity while diving deeper into themes of redemption, endurance, and the long shadows cast by the past.

Bodish, Holt

Gorgeous

Celluloid Lunch

***"Holt Bodish, best known as the driving force behind Montana’s power trio Mordecai, steps into a more intimate and unfiltered space on Gorgeous, a collection of refreshingly shambolic home recordings that offers a deeper glimpse into his singular artistic sensibility. Crisp, wiry guitars cut through layers of cacophonous percussion, keyboards, drum machines, and anything else Holt has at his disposal. Like the detailed twang of certain UK DIY bands, the songs are propelled by experimentation. Layers of home-recorded first takes blend together in an analog haze, and beneath the noise, Holt’s unmistakably sharp riffs and churning chord progressions come into focus. Songs such as I Am Nothing recall the pop songcraft of Tall Dwarfs or The Clean, but here they are imbued with a looser, more chaotic energy, while Half Sunset leans into an effortless VU cool. Holt’s story-like, half-spoken vocals are less breezy than Lou Reed’s, instead sounding stark and intimate, like The Shadow Ring fronting a rock band. Hand percussion lends an earthy pulse to tracks like Bogus Refutations and No to Nothing, edging toward the folky mysticism of The Fugs or The Incredible String Band at their most hypnotic and exploratory. Rather than feeling deconstructed, these songs feel unconstructed, as if the ideas were captured the moment they formed, still warm with immediacy. Gorgeous draws its power from this approach, where the result is a disorienting and compelling sense of realness."—Kryssi B.

Drainolith

Drainolith's Montreal

Celluloid Lunch

***On The Electric Hearse (2020) Drainolith time-travelled through various phases of gentrification in the Saint-Henri neighbourhood of Montreal to pay homage to a bygone era, distilling it’s essence out of time. With Drainolith’s Montreal both spatial & historic scope have broadened for a stranger & sparser psychic cartography. Opening with a rendition of les objets mutantes a 2010 poem by the mysterious Cassie Cornette, Moskos sets the scene of this record as exploration of the titular city’s terrain vague. I write from a public standing desk beneath a hardwood awning where the bike path ends & metaverse offices stand. When Electric Hearse was recorded this location was still an ambiguous dirt and gravel pit where free impromptu dance classes took place on a makeshift wood floor. A well manicured and overpopulated nursery now grows where weeds once wrought their chaotic & resilient networks. The piano that bridges these two incarnations of “guerilla park” now sits with a lock and chain over its keyboard cover. This is the best I can describe the state of Montreal’s terrain vague at the time of this release.Following the plaintive notebook synth wailing which closes side 1 we’re introduced to the no music crew “they can’t hear music, they only hear words” in Alex’s own. Chilling stuff. The sounds of spray paint cans & interstellar radio tones crinkle in the background.Separating the sci-fi sprawl of the album’s first part and the b-boy bouillabaisse of it’s second are Bourbs the street and Bourbs the guy “two...

Mars

Live At The Village Gate 1977

Hozac

***A common misconception about MARS is that their music was meant to be dark and nihilistic. That’s not totally wrong: When their guitars sawed noise, rhythms lurched heavy and words came in howls, listening could be a harrowing experience, as suffocating as any of their apocalyptic No Wave counterparts. But the quartet’s work was also energetic, joyful and buoyantly melodic. After all, they started by jamming on tunes by the Velvet Underground, pretty much the ur-band when it comes to sounding both dark and bright. As much as MARS stretched and remade that model into new wiry shapes, the spark of brightness sustained.It’s easy to hear when listening to this set recorded in the summer of 1977 at a series of shows put on by the late Terry Ork at the Village Gate, a renowned jazz club in Greenwich Village. All eight songs have an urgent bounce, which is clearest in the caffeinated energy of the vocals, usually delivered in the pungent wail of either Sumner Crane or Connie Burg. Mark Cunningham’s rubbery bass and the chopping guitars of Crane and Burg shoot flares as if they were running a fireworks display. Add Nancy Arlen’s nonstop drumming – roughly echoing Mo Tucker if she had extra limbs and Live at the Village Gate becomes a dizzying rush of tunes that zooms by in a taut 24 minutes.Though Mars hadn’t even recorded at this point, they were already what Burg called “like a machine in a way – a really out...

Tommy Jay

Tommy Jay's Short Sagas of Sorrow 1974 Archival LP

Hozac

***A true Ohio outsider legend in every sense, Tommy Jay along with his producer/co-hort Mike Rep were recording like crazy in the mid 1970s and we’re so glad they did. What we have here before you is an unreleased 1974 studio album with another book of classics intertwined within, and if you’ve been following Tommy’s hypnotic trajectory with Mike Rep, True Believers, and the Harrisburg Players over the years, it’s another long-awaited reward for your faith in this underground system you’re invested in.Pure Ohio Gold as they say, and as a recently unearthed recording, we’re proud to present it for the first time anywhere, solidifying Tommy Jay’s pillar-like influence in the sick and twisted Harrisburg underground. Forever underrated, Tommy shines hard here for the singer-songwriter era, keeping that creeping “punk edge” just under the surface for extra tension, even in 1974. In another world Tommy Jay would be as well-known as Skip Spence or Ron House, but his star still rises, albeit slowly & surely. Much like a companion LP to The Grim-O-Comix Sequence and his essential Tall Tales of Trauma LP, Short Sagas of Sorrow fills yet another void with it’s deep lo-fi goodness that has no problem hitting all of your unprotected sweet spots.

M.O.T.O.

Kill M.O.T.O.

Chain Smoking Records

***BACK IN PRINT!!! M.O.T.O.'s acclaimed second full-length album originally released in 2003. A gem of fast-paced Ramones-style punk loaded with satirical humor.

Edith's Head

My Back Wages

Detourn

***Venture inside EDITH’S HEAD, a new project from ANDY JORDAN (FAMOUS MAMMALS, NON PLUS TEMPS, NAKED ROOMMATE, THE WORLD). Marrying the sardonic fury of Tall Dwarfs with the heart-sleeve lyrical wooze of the Mekons and the bleary, morning-after-the-end-of-the-world shamble of Third/Sister Lovers, Edith's Head presents “My Back Wages,” an 8-song collection recorded at home in Oakland in the winter and spring of 2026. Despondent at the state of the world and evermore dubious about your own place and odds in it? Lovelorn and somewhat shy of militant, Edith's Head offers no consolation, but will dutifully soundtrack the decline.

Insane, The

The Whole World Is Going Insane

PNV

***Crucial collection of all studio works from this celebrated early 80's, politically incendiary UK punk outfit. Perhaps best known for featuring d-beat pioneer Dave Ellesmere of Discharge on drums, the Insane released classic singles on the Riot City and No Future labels. All tangential connections aside, though, The Insane sonically carved out a place in the early 80's UK scene somewhere between the po-faced anarcho outfits and their brash, street punk counterparts. Subhumans or Conflict may be apt comparisons, though The Insane had a certain charm all their own. Unfortunately, having never recorded a full length, this long overdue collection—complete with all singles, demos and comp appearances—serves as the greatest testament to the group's short lived, but fruitful existence.

Samples

Fire Another Round

PNV

***Collection of all studio output, recorded 1980-1983 from this short lived UK punk outfit. With only two singles released in their time—the insanely scarce Vendetta, and the No Future essential Dead Hero—this compilation rounds out the LP with demo sessions and comp tracks. The Samples were something of a bridge between the first wave of UK punk and the hardcore "UK82" era. Think a more snarling, street level version of Stiff Little Fingers. Tuneful, politically uncompromising and bursting at the seams with energy, this collection is mandatory for fans of 80's UK punk.

Bad Posture

C/S

Mono Records

***REISSUED!!! BAD POSTURE's 1983 Irresponsible records C/S 12". These guys hung around and shared members with Flipper. They started in SF and ended the band in NYC shortly after this release. Eight tracks including the classic "G.D.M.F.S.O.B." featured on the 1982 MRR Not So Quiet On The Western Front compilation. Features bonus demo tracks and a large fold-out poster with unseen photos, fliers and band bio/interviews. Limited edition of 500 copies. Limited edition of 500 copies. "The eight tracks on this release showcase BAD POSTURE’s hysterical brand of aggressive funnypunk to its best advantage. The title song and “Time for Smack” are good examples of this band’s abrasive, mid- to fast-tempo hardcore assault, and while I admire their on-target lyric sense, the song structures could use more catchiness and originality as a rule. Nonetheless, there are some nice, gravelly vocals on this entertaining disc, so give it a listen."—Steve Spinali, MRR # 12, March 1984

Black Swan Network

The Early Music Vol. 1

HHBTM

***The Early Music Vol. 1’ by Black Swan Network is a collection of songs and sketches by Elephant 6 co-founder Will Cullen Hart written between the hiatus of The Olivia Tremor Control in 1999 and before the formation of Circulatory System in 2000. Side A features tracks from the HHBTM Records 7" singles club single and side B features 8 tracks from those same sessions that have been unreleased until now. The Early Music Vol. 1 tells a story of an artist working through a million ideas via a 4 track blending textures and tiny melodies pulling from ambient soundscapes and field recordings while working out tiny vocal melodies falling between the baroque psychedelic pop of his previous Olivia Tremor Control work and the long ambient minimalist passages of The Black Swan Network. These songs would be the blueprint for the start of Will's next project Circulatory System. These songs will feel different in each place and way you play them. The label heavily suggests listening loudly through speakers, through headphones, and once using the download card play them through your computer and in your car. Each listening experience will bring different elements to the forefront. This release is being pressed on black vinyl with no banding between tracks and being meant to be listened to as one continuous side.

K/S/R & Nihilist Spasm Band

Split

Gilgongo

Overjoyed to announce the release of this monumental record featuring two very different sides of the free-improv coin. This intergenerational, wide-minded split LP blurs the hedges of national borders and the traditions of composition, marking a niche interzone inhabited solely by the uncles of punk and their experimental stepchildren. Canadian noise pioneers, Nihilist Spasm Band, deliver a ripping side-long opus rife with their singular blend of hi-octane kazoo, invented instruments and propulsive, arrhythmic drumming. This deep cut is likely to be the final NSB recording released featuring the late great vocalist Bill Exley, who passed away in 2025 after performing as a Nihilist for exactly 60 years. On the flipside, K/S/R screw the tempo down to their patented desert crawl pulse and lock the door behind them. Departing from the interstellar density of the trio’s 2025 Already in Heaven LP, the side-long treatise of An American Sonnet brandishes the group’s minimalist approach heard during recent performances across the United States. A plein air structure of ascetic interplay locates K/S/R carving sonic terrane from the space between notes, where each gesture is ascertained both as an individual voice and a building block of the collective. 180-gram mixed color vinyl, edition of 245. Co-released with Physical.

Hydromatics, The

Powerglide

Bang

***In the early 2000s, The Hydromatics brought together three scenes, three cities, and one shared devotion to rock'n'roll: the fiery tradition of Detroit, the raw punch of Amsterdam, and the high-energy attitude of Scandinavia. Fronted by none other than Scott Morgan (Sonic´s Rendezvous Band), one of the great voices of Detroit rock, and backed by Tony Slug (Loveslug) and a band built out of genuine love for the legacy of Sonic's Rendezvous Band, the result was Powerglide—a record that is tough, streetwise, soulful, elegant, and raw all at once. Originally released in 2001, Powerglide captures The Hydromatics in full flight. Original songs sit alongside explosive takes on material connected to the Sonic's Rendezvous universe, all delivered with nerve, conviction, and the kind of authority that simply cannot be faked. The guitars bite, the rhythm section drives relentlessly, and above all there is Scott Morgan's voice—capable of sounding fierce, wounded, and defiant within the very same line. Far from being a mere exercise in homage, Powerglide stands tall as a living, breathing record with a personality all its own: high-octane rock'n'roll fueled by rhythm and blues soul and steeped in the unmistakable spirit of Detroit. This is an album for those who understand that proto-punk, garage soul, and real rock'n'roll were never separated by any meaningful border in the first place.

Foster, Josephine

Adormidera - Josephine Foster Sings The Songs of Victor Herrero

Eiderdown Records

***Josephine Foster is a Colorado-born singer, composer, and lyric poet. A former opera student turned visionary folk experimentalist, she breathes new life into archaic forms. Her music channels the spectral glow of the cultural archaeology of Harry Smith's old weird America while simultaneously conjuring a scrambled past that exists only in her vision. Across 25 years of singular work, Foster plays at the boundaries of psych-folk hymnody, country blues, lieder and avant-song, lending her characteristic mezzo-soprano and interpretive wit to collaborations with fellow underground musicians around the globe.As homage to her longtime collaborator, Josephine invited Spanish composer Víctor Herrero to curate a selection of his own songs for her voice. Herrero's classical guitar accompanies Josephine's gossamer singing, in compositions that reanimate the lineage of Amancio Prada and Victor Jara.“If stained glass windows could sing they would sound like Josephine Foster, and her interpretations of the songs of Víctor Herrero are as artful and finely detailed as motes of dust falling through shafts of light in the libraries of your childhood, engrossing in their restraint. Josephine's naked voice an echoing truth in repose against the existential question mark of Víctor’s guitar. In a world that can feel bewildering and relentless, this music is shelter. Adormidera is the sound of a hypnotised mind; the shadow-dance of old souls.”—Alex Neilson

Foster, Josephine

Adormidera - Josephine Foster Sings The Songs of Victor Herrero

Nyahh

***Josephine Foster is a Colorado-born singer, composer, and lyric poet. A former opera student turned visionary folk experimentalist, she breathes new life into archaic forms. Her music channels the spectral glow of the cultural archaeology of Harry Smith's old weird America while simultaneously conjuring a scrambled past that exists only in her vision. Across 25 years of singular work, Foster plays at the boundaries of psych-folk hymnody, country blues, lieder and avant-song, lending her characteristic mezzo-soprano and interpretive wit to collaborations with fellow underground musicians around the globe.As homage to her longtime collaborator, Josephine invited Spanish composer Víctor Herrero to curate a selection of his own songs for her voice. Herrero's classical guitar accompanies Josephine's gossamer singing, in compositions that reanimate the lineage of Amancio Prada and Victor Jara.“If stained glass windows could sing they would sound like Josephine Foster, and her interpretations of the songs of Víctor Herrero are as artful and finely detailed as motes of dust falling through shafts of light in the libraries of your childhood, engrossing in their restraint. Josephine's naked voice an echoing truth in repose against the existential question mark of Víctor’s guitar. In a world that can feel bewildering and relentless, this music is shelter. Adormidera is the sound of a hypnotised mind; the shadow-dance of old souls.”—Alex Neilson

Mayhem

Blood Money - Singles And Demos '79-'85

PNV

***Complete discography from Mayhem, a brilliant, underrated UK punk act. Mayhem are best known for a searing duo of singles on the legendary Riot City label, but this compilation collects those as well as the seldom heard 1979 demo and a final, self released EP from 1985. In many ways Mayhem were the archetypal 2nd wave UK punk outfit, combining the '77 brand of infectious songwriting with a political urgency and aggression fitting of early 80's England. Though there was little to document their short time as a band, this collection pairs all their recorded works with a ton of unseen photos, flyers and 'zine clippings for the ultimate tribute to a group who epitomized such a crucial time for UK punk.

V/a

Buried Alive - The Best From Smoke 7 Records 1981-1983

PNV

***Originally released in 1987, the Buried Alive compilation was a time capsule of sorts, highlighting the prolific 1980-1983 era when the Smoke 7 label was most active. Almost 40 years later, the compilation still serves as testament to the diverse, exciting sounds documented by this SoCal hardcore label. With acts such as Bad Religion, JFA, Red Cross and Circle One shoulder to shoulder with more obscure cuts from Ten Minute Warning and Sacred Order, Buried Alive showcases the anti-commercial and community approach of the Smoke 7 label. Not to mention it's front to back packed with killer tunes. Essential listening for first wave SoCal hc enthusiasts!

Vicious Rumours

The Sickest Men In Town

PNV

***Second LP from this cult British Oi! / street punk outfit, originally released on the legendary Link label in 1987. Refining the high octane sound of their 1984 debut full length into something a bit more tuneful, this 12 track platter delivers a front to back dose of street savvy melodic Oi! comparable to Stiff Little Fingers or Peter and the Test Tube Babies. The late 80's was host to a bevy of obscure, relatively out of time punk records containing a level of quality that belies their unsung stature. Hopefully giving this Vicious Rumours album a US pressing for the first time will right that miscarriage of justice.

Akusmi

Terra Incognita

Tonal Union

Cartographers and US multinational technology corporations might think they’ve mapped out most of our big, beautiful blue planet, and yet there’s always more to discover if you know where to look. French-born, London-based composer and musician Pascal Bideau takes this as his central premise on a new album of intrepid sonic exploration that delights in the sensation of being somewhere you’ve never been before. ‘Terra Incognita’ invites us to seven faraway sonic imaginariums fusing global and spiritual jazz with life affirming minimalism into a hypnotic, polyrhythmic odyssey. This time, the albums’ sound palette is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations. Antithetical to the precise ostinatos and gamelan patterns of the acclaimed debut ‘Fleeting Future’ (2022) and ‘Lines’ (2023). Terra Incognita, then, is a hybrid blend of traditional music and modern electronics, a trip into the unknown that ambulates freely, taking pleasure in its repetitions and never staying still. Bideau suggests this unmarked territory could be as much a fantasyland as it is a transportive journey into the inner self. “It’s probably the feeling I love the most in life,” enthuses Pascal. “It pushes you into a state of wonder and naivety that brings you back to how everything felt when you were a child.” He’s talking about dépaysement, a French word that literally translates as “uncountryfication” but has no English equivalent. “It’s the sensation you...