New Releases

Night Of The Vampire

The Enchanting Winds of the Dreamweaving Masquerade

Profound Lore

Night Of The Vampire is the shadow of the witching hour, never seeing the light of day. It will expand your mind into the depths of psychedelic solitude and the haunting chambers of darkness within.If you so dare, mastermind Astral Shadow will be your guide through the untamed worlds of Black Metal and Darkwave. But beware, for if you choose to travel this path you may lose yourself and forever go mad.

Julian Never

Everyday Is Purgation

Mt. St. Mtn.

***Julian Elorduy has been making music since he was fifteen, moving from the noise-soaked chaos of Mayyors to the jangling indie-pop of Fine Steps and, later, the more solitary reflections of Pious Fiction as Julian Never. His new album, Everyday is Purgation awakens on the other side of a Dark Night of the Soul drawing on the writings of mystic, St. John of the Cross—stripping away comforting narratives in order to see what remains with a clearer, more ascetic eye. It’s Julian at his most exposed, shaped equally by the underground that raised him and the melodic pop that continues to haunt him."Julian Never’s jangle, all-chiming balladry power pop poetry is one of our favourite revelations in the past few months. [...]Full of heart and heat, Julian Never’s vocal is equipped with a turn of phrase reminding us a little of Jack Tatum of Wild Nothing but not afraid to bear his heart, allowing the vocal range to arch upwards into a delightful upper register."—Monorail Music

Fazed On A Pony

swan

Meritorio

***Fazed on a Pony is the alt country / indie rock recording project of New Zealand songwriter Peter McCall. swan is his second full-length album. On swan McCall sings with emotional immediacy, warmth, and wit about living honestly in the face of inevitable uncertainty and disappointment. McCall’s mix of wry humour, sincerity, and melodic instinct has drawn comparisons to MJ Lenderman, David Berman, and Sparklehorse. However, Fazed on a Pony lives within its own antipodean aesthetic and sound.Sonically, swan sees Fazed on a Pony expand from the Pavement-esque tuneful indie rock of previous releases to include pedal steel, fiddle, drum machines, and synthesisers. While there is a diversity of style, the album is rooted in the hallmarks of McCall’s music: uplifting and catchy guitar lines that serve the song, paired with arrangements that feel both comfortable and surprising. Where the lyrics tell a sad story, the music betrays that it might just be okay in the end.

The Mice

For Almost Ever

Scat

Originally released in 1985, the debut EP by The Mice still stands as one of the finer song-oriented rock records of that era. Drawing inspiration from both mid 1960s British Invasion groups and the energy of punk, For Almost Ever is about as scorching as an essentially pop record can be. Although vocalist / guitarist Bill Fox would go on to release several much-loved mostly acoustic solo records, here he is joined by his younger brother Tommy, a veritable monster on the drum kit, bashing away with both finesse and the manic energy of a high school kid.And let’s talk about the song “Not Proud of the USA.” Conceived as an answer to The Clash’s “I’m So Bored with the USA,” this track is packed with such overwhelming hooks, righteousness, and adrenaline that it’s irresistible. During the war in Iraq, it took on a new life on college radio and online when it was reissued on CD. And with this vinyl reissue, it would seem the timing is sadly spot-on once again.Mastered by John Golden, this new pressing crackles with The Mice’s spirit, reproduced in big 45 rpm sound for deeper low end and greater definition than the original, which has been commanding a steep price for quite a while now. We’ve also been able to restore the colors of the hand-colored cover photograph to their original vibrancy.

Freak Accident, The

The Midnight Show

Nerve Center Recordings

***The fifth album by The Freak Accident, The Midnight Show, expands the known universe of what the SF band is capable of. The heavy parts are heavier, the punk parts are punkier, the noise is noisier and the improv parts are improvier; while somehow simultaneously creating the catchiest Freak Accident album to date. Ralph Spight (Victims Family, Guantanamo School of Medicine - vocals/ guitar), Henry Austin Lannan (bass/ vocals), and Stark Raving Brad (drums/ vocals) have coalesced into a band that can & does go in whatever direction they please. The album kicks off with the tongue-in-cheek indie rock of "Don't Blame Me"—"sort of the point at which the lineup of The Freak Accident became a band, slogging through all the humiliations that only people who are music lifers can relate to", as Spight explains. This sets the stage for a wild ride: the synth-tinged melodic punk of "Fairytales", some dark garage-surf on "Busted Time Machine", some extended undersea sonic adventuring on "Gill Transplant", the pop-song-turned-noise-jam of "I'll Be Your Toilet" & the dissonant swing of "Down in The Dumps." "Fairytales" itself, as Spight notes, "is an exploration of the Hallmark-card images of Christianity... Musically, I just wanted it to be a straight ahead rocker with extra synth noises. And to take it over the top, why not add a drum solo? A drum solo, who does that?" The Freak Accident had an inside joke about having to play last at every show, which formed the basis of the lyrics...

V/a

Brown Acid "The Essential Mix" by Mr. Dibbs

Riding Easy

"When I was approached by Riding Easy Records about this project, I'm not sure they understood exactly what they'd done. They turned over Twenty-One volumes and over three hundred files of post hippie, aggressive, apocalyptic and psychedelic rock, funk metal and said, "do your thing.” What was supposed to be a quick flip turned into a 7-month project. I laughed, I cried, I broke shit and put it all back together again. And I mean that, literally and figuratively. Because, y'all, halfway through this labor of funk, my studio flooded. I was then relocated, that’s including 15k records, demo'ed, remodeled, rebuilt and moved back. Not once did I stop working. This ain't no micro dose, this is two tabs, double dipped. So this time, take the brown acid." - Mr. DibbsBrown Acid is the longest running compilation series collecting obscure, heavy underground rock tracks from the late 1960s through the mid 1970s, released by RidingEasy Records in collaboration with Owner of Permanent Records Lance Barresi and RidingEasy Owner Daniel Hall. It focuses on hard rock, proto-metal, heavy psych, stoner-ish acid rock, and early proto-punk from bands that usually only managed to release a lone demo 45 or self-released single before disappearing into obscurity. Framed as a kind of “post-hippie, pre-punk” document, the series digs up and properly licenses these forgotten cuts, presenting them as numbered “Trips” that function both as a historical excavation of a lost heavy rock underground and as a cult-favorite listening experience for modern fans of fuzzed-out,...

Adverts

We Who Wait b/w New Boys

2.13.61

In March of 1977, the Adverts recorded We Who Wait and New Boys at Pathway Studios in London, with Larry Wallis producing. Later recordings of both tracks appeared on proper Adverts releases, but these versions have remained unissued until now. From Gaye Advert’s shelf to Infrasonic Sound in Nashville, Tennessee for mastering and cutting, to the pressing plant, to you. Play these tracks loud and often. The Adverts were one of the best bands ever.Comes in six alternate picture sleeve and color variants.

Kopp, Bill

What's The Big Idea

Hozac

As long as there has been music, the form has been used as a vehicle for storytelling. Artists who have something to say often find that putting it into music is the ideal means of communicating thoughts and feelings to others. And the concept-album form is a logical extension of that storytelling impulse, often writ large. It allows the writer to tackle bigger themes, more involved story lines, more finely textured characters and ideas.In the pages of WHAT'S THE BIG IDEA, author Bill Kopp explores 30 remarkable concept albums, drawing on new, firsthand interviews with the artists behind their creation.Author of the critically acclaimed Disturbing The Peace, Kopp turns us down the darkest road of musical blind-spots yet, the concept album, a previously shunned genre, now worthy of your curiosity. And then you hear something like Ogden's Nut Gone Flake, and The Turtles Present Battle of the Bands, or S.F. Sorrow, and you're REALLY second-guessing yourself now, right? As it turns out, there's something genuinely interesting about this "concept" in itself, and it lends us a look into a world when musical creativity really had been unleashed in its full glory. Yes, those extravagances produced much audio garbage, but very few people even get that chance anymore, despite the ease of home recording. Even Capatain Sensible and The Church commited this 'big ideas' into noteworthy efforts, along with Hawkwind, William Shatner, Ghostface Killa, and of course, Pete Townshend, who graciously offers an exclusive interview here.

Wristwatch

III

No Coast

***Wristwatch returns with their first album in 3 years! Aptly titled III, it is the first Wristwatch release to feature all 4 members of the live band on record! This is also the first time the band has had an outside engineer come into the fold. The band chose Beau Sorenson (Bob Mould, Superchunk, Taylor Swift) to engineer and mix the sessions. Additional recording was done at frontman Bobby Hussy's home studio. The result is the most powerful and commanding album the band has made thus far. This is Wristwatch at peak power. Tight, in your face and full of all the chaos the band's live shows are known for. Tyler Spatz's frenetic bass lines come through front and center while guitarist Ben Dederich's lead lines take the band into spacey post-punk territory. Snappy and precise rhythms from drummer Eric Hartz perfectly encapsulate the original drum machine tracks and bring new life to these songs. Bobby Hussy's exuberant and over the top vocals are the cherry on top. "Hints" distills the band's raw Midwest energy into two and a half minutes of tense, buzzing post-punk. Driven by gritty guitar tones and sharp unrelenting rhythms, the track teeters between urgency and restraint—a cathartic release wrapped in tight sonic control. It's a standout cut from III that showcases the band's knack for channeling restless emotion into minimalist electrified momentum. This is punk rock for the new school.Revolver exclusive translucent red vinyl limited to 50 copies.

Ace Of Spit

II

Sinkhole / Wombat Cock

***"I first heard about St. Louis garage rockers Ace of Spit in 2022 thanks to their Sophomore Lounge-released self-titled debut album, a wild punk rock LP that sucked up and spat out surf rock, proto-punk, and even a bit of power pop on us all (it snuck onto my year-end list and everything). Four years later, Ace of Spit kicked off 2026 by releasing their sophomore album Ace of Spit II, this time co-released by legendary St. Louis music venue The Sinkhole’s record label and something called “Wombat Cock”. If anything, Ace of Spit II is an even greater commitment to the twin tornados of freewheeling garage punk and “spaghetti western” vibes; with one major exception, the quartet (Brett, Scott, Steve, and Gabe) spend all of this LP’s twenty-seven minutes prowling the fabled “Cramps to MC5” spectrum. The album’s first three songs are all “rippers”, to be sure, but the ever-so-subtle desert-rockabilly sound is already there, and it only gets more obvious in “Diaspora Rock”, “Road to Reno”, and the genuinely-Western-evoking “Past Continuous”. That one “major exception” I mentioned earlier is “Parts List”, a bizarre excursion into fuzzed-out, fried electronica (with Link Wray riffs over top of it, of course) for three minutes; no idea why that’s smack dab in the middle of the record, but I don’t mind it–and besides, everything else rocks, so who cares?"—Rosy Overdrive

V/a

The World Can't Stand Long

Cairo

***Incredible LP of shambolic garage rock recorded from 1966-1968. Lo fi, sincere, deep, catchy, badass music. Hard to find gems. A must for fans of real deal 60's garage rock. Not for the faint of heart.

Margaret, Gia

There's Always Glimmer

Orindal

***Chicago singer/songwriter/producer Gia Margaret describes her music as “sleep rock.” It’s a genre all her own, combining elements of folk, shoegaze, slowcore, ambient electronica and trip hop. For her self-produced debut album, There’s Always Glimmer (out July 27, 2018 on Orindal Records), Gia Margaret crafted twelve gorgeously melancholic lullabies to combat her own insomnia, and to salvage some beauty from the brighter and darker moments of her life.There’s Always Glimmer explores relationships between friends, family members and significant others, often in past tense. Sparse verses isolate mundane moments of domestic and urban life, and choruses ache with earnest expressions of yearning and loss. The disarmingly simple language of Gia Margaret’s lyrics, when carried by the melodic sparkle of her singing voice, have the power to elevate an ordinary moment into something supremely nostalgic and sentimental. A ride on a train, a hand on a shoulder, a dog in a yard, the light of the moon through an apartment window are each made significant and sacred, worthy of examination and preservation.As much as it addresses the unease in our lives, each song on There’s Always Glimmer is steeped in loving comfort, awash with gentle sounds to usher the still minutes before dreams come, when we’re left alone amidst the shadows and the echoes of our memory. There’s Always Glimmer exists to fill the darkness and the quiet.

Geologist

Can I Get a Pack of Camel Lights?

Drag City

***Refracting beatifically through realities and mirages flickering along his aural parade route, Animal Collective’s Geologist rides the high country on a hurdy gurdy of many colors. Via the mystery science of musical engagement, we take his sonic kaleidoscope of encounters into our own experience as we listen. That’s the beauty of Can I Get a Pack of Camel Lights?, the debut solo transmission of the heart and soul and life and times of Geologist.

Dorji, Tashi

low clouds hang, this land is on fire

Drag City

***For his third new album release for Drag City, Tashi Dorji turns to the electric guitar. After the furious acoustic improvisations that drove the previous two—Stateless and we will be wherever the fires are lit—it’s easy to imagine an album of his electric guitar improvisations as an encompassingly incendiary essay. Especially when titled low clouds hang, this land is on fire. After all, this is a man capable of tearing up the place with the tactile musical violence of Bill Orcutt and Derek Bailey! And yet, this knowledge serves to set up a greater shock: the album’s disarmingly gentle musical drift.When asked why he turned the knob down from 11 for this album, Tashi says simply, “To find the silence.” As ever with Tashi, this is a political statement. Even the search for silence takes intention and happens for a reason. In this time of such institutional inhumanity, what is there to feel but exhaustion? When seeing the faces of the deprived, what is there to feel other than hopelessness? In the face of such grief, what words are there to say?So, Tashi got a couple amps, moved from the shed where he’d done his first two DC titles, set up in a room in the family home with high ceilings and dialed in the reverb. Once the sound was in the space, reflecting in a manner that he felt congenial with his mood, he taped it. It’s a striking signal, meditative and melancholy, with a delicacy comparable to the...

Accelerators

Public Enemy No. 1

PNV

***Collection of this cult New Jersey outfit's 1984 EP, originally released on the legendary Mutha records, and a massive, previously unreleased 22 song 1983 demo session. Accelerators were a band out of time. Squarely influenced by the buzzsaw, bubblegum punk of the Ramones, Accelerators were cranking out one high energy, greasy cheeseburger American punk track after another smack dab in the middle of the US hardcore explosion. They may not have have had much of an impact in their day, but this collection proves they were nevertheless masters of catchy, infectious punk. In addition to the great tunes, this LP delivers a smattering of previously unreleased photos and liner notes.

Jurken, ER

To Be Continued

Country Thyme

***The rubber of ER Jurken’s pure pop fantasias meets the road on his second album, aided and inspired by a power trio of players from Chicago’s Junegrass to crank it up and out of the park. Paul Von Mertens’ string and horn arrangements highlight the gritted teeth and dripping sweat that belie Ed & Co’s easy riding rock, while Jurken’s heavenly vocal choir provides balm to transcend and defy the stings of everyday misfortune.

Segall, Ty & The Muggers

"LIVE" "AT" "THE" "BBC"

Sea Note

***Forked tongue stuffed deep in their cheek and rubber baby masks stretched over their heads, Ty Segall & The Muggers (Mikal Cronin, King Tuff, Cory Hanson, and others) bottle the free spirits of the Emotional Mugger tour, then heave them into the audience on this stomping BBC performance from 2016. Gloriously guttural and blown-out sonics support Ty’s all-to-the-wall vocal performances on every song. "LIVE" "AT" "THE" "BBC" puts the ‘sick’ back into ‘satiric’ and the ‘the fuh!?!” back into ‘FUN!’ One-sided 12" with a super-cool etching on Side B.

Big Blood

Electric Voyeur / Moonlight, Again

Psychic Sounds

***Big Blood, the intrepid voyagers into the outer reaches of hallucinatory noise-rock and eclectic freakadelia opt for a new path along the circuit board of creativity. Electric Voyeur was made by applying strict limitations using home-made electronic instruments and voice alone. The result is an album that is as trippy as it is devotional in its exquisite craftsmanship.The glorious scent of solder and silicon wafts all over this music. Crafted over the course of ten years at the workbench and in the studio by Caleb Mulkerin and Colleen Kinsella, they were guided along the way by a slew of books on how to make homemade instruments. Key among those was Nicolas Collins Handmade Electronic Music: The Art of Hardware Hacking. Lucky for us listeners, all of that effort is here condensed into four-sides of exquisite vinyl.Kinsella’s mesmeric voice is showcased in all its crystalline beauty over beds of lo-fi reverb laden electro gurgles and percolating rhythms as she chases shooting stars across glittering percussive patterns. The lyrics are as poetic and mysterious as the efforts they put into creating these machines of ring modulation, rhythm and distortion. Beats made of crushed bits and the swirl of sweeping oscillators all make for a momentous and lyrical slapdown.This work appeared first in two digital versions. For the vinyl release on Psychic Sounds an EP of additional unreleased material titled Moonlight Again, has been added. It is exciting to hear these extra songs, now brought out under the night sky and exposed to...

Cindytalk

Sunset and Forever

Helen Scarsdale Agency

***Cindytalk has remained a majestic proposition over the decades, one marked by a continued process of disintegration and regeneration. Change has been a constant for Cindytalk, as has been the presence of the Scottish musician Cinder, who has fronted the project since the early '80s. The first Cindytalk albums embraced a dark theatricality of post-punk dissonance and abject rock deconstruction that coupled industrial dirges with Cinder's beatific vocals, these same vocals that were once plied to the earliest This Mortal Coil and Cocteau Twins recordings,forever binding Cinder to the 4AD lore. But even on those albums, Camouflage Heart and In This World, Cinder was pushing the band to embrace the studio as a tool for further abstraction of sodden drones, cobwebbed dark elegance, and decayed textures. By the early aughts, Cinder had reimagined Cindytalk through the granular processes of digitalia with a handful of equally celebrated works of glitch-born expressionism for Editions Mego. Cinder explains that "those elements were growing roots under our sound and had started to organically change the shape of what we were doing. The fucked-up rock music was in retreat and the electro-acoustic abstractions were becoming apparent. Fast forward to the early part of the 21st Century and my first laptop. It seemed natural where I needed to begin that part of my new sonic journey. To further explore those and new territories. Sunset and Forever is intrinsically connected to what came before." Sunset and Forever is a labyrinthine opus, one that returns to the themes...

Scam

Everything Ends In Rot

PNV

***Compilation of 1986's Everything Ends In Rot EP coupled with demo and comp tracks from this cult mutant HC outfit from Salem, NH. The Scam were true outsiders, playing unhinged, raw hardcore a la United Mutation, Void, YDI and the like during the era when youth crew and crossover reigned. The Everything Ends in Rot EP has been a "secret weapon" of sorts in the obscurist ultracore arsenal for generations, but this is the first time the full session from that EP is presented along with the demo and compilation material on one vinyl collection. A truly horrific collection of mega hardcore hell.

Nomad War Machine And Susan Alcorn

Contra Madre

VG+ Records

The late pedal-steel guitarist Susan Alcorn leaves a final surprise hinting at new directions left underexplored on her collaboration with Nomad War Machine, the improvising metal duo of drummer Julius Masri and guitarist James Reichard. Their death-metal-influenced pummel adds new fire to her molten flow across a suite of improvised tracks that show off the vast range and simpatico of the trio. Julius Masri and James Reichard of Nomad War Machine: “An unexpected opportunity arose out of a catching-up conversation where Susan had revealed a recent fascination with death metal, confessing, ‘I’m 70 years old—I think about death!’ She had learned a couple of Arch Enemy songs on her pedal steel, particularly compelled by their frontwoman’s intensity and vigor as a performer. Voicing an appreciation for the hook-oriented sound of Swedish death metal made sense for a melodic thinker whose roots as veteran pedal steel player reached into the Texan Western swing circuit in the ’60s and ’70s. For her, ever the explorer, metal was a new, appealing point of departure into fresh musical territory. When she expressed an interest in playing with Nomad War Machine, it felt like there was a whole world of shared or complementary interests to explore.” Though known for her fluency in jazz, country, and free improvisation, Alcorn had also studied Arabic, the oud, and maqam, with all holding a deep curiosity for her. Pre-’70s country & western music had also been a lifelong presence for both members Nomad War Machine. Masri, a Lebanese free-jazz...

Merzbow / Bastard Noise

Brick Wall Evolution

Alimentary Music

***The latest collaboration between the two titans of violent tympanic destruction, Merzbow and Bastard Noise. An epic journey of sound confined to black vinyl, housed in a Tip On gatefold cover, printed by Dorado Packaging. Lacquer mastering by David Cheppa with graphic layout by Fetusk. Recorded by the engineering master, Michael Rozon. This is sure to satisfy the needs of any fan of Merzbow and Bastard Noise or the noise genre. Features two lengthy tracks for a long ride into the dark sonic abyss.

Mod Lang

TV Star

Just Add Water

***"Shh Shh...a minute! Mod Lang, the group we’ve been waiting for has finally arrived with their debut 45! After a year of demos and in-person performances that impressed everyone from The Lemon Twigs to your mom (what!), Mod Lang can finally poly-phonically dent your ear drums with wax.Yes, Mod Lang named themselves after a Big Star song. Big deal. No, they’re not accepting suggestions for a more “original name” but thanks for your concern.Born out of Detroit’s underground rock ‘n’ roll circuit, Mod Lang came together in the summer ’24 when scenesters Antonio Keka (guitar/vox) and Alex Belfie (guitar/vox) joined forces with Ava East (bass/vox) and Ben Taber (drums) to put their sharp pop rock instincts front and center.As you’ll hear on both sides of this single, Keka’s and Belfie’s bright harmonies sound Everly-tight with a youthful and slightly ragged exuberance that’s very convincing. Clever hooks, heartfelt grit, and a sense of fun. That’s what we need most in these dreadful times. 'TV Star' consumes side-A and hits with the immediacy of a lost-era ‘70s power-pop classic. What exactly is a TV star? Write your answer here____________________. On the flip side, '3+1' is a fiery but tuneful collision with blistering guitars and a militant groove that one day will have 45 collectors shouting about.For a group that’s spent its first year and a half building a reputation onstage with no album out, this single puts their strengths on full display. What started as a new outlet between their other groups...

Weeks, Greg

If The Sun Dies

Language Of Stone

Dormancy comes in many forms. For some it is a break from the world of stress and the constant demands one finds oneself under. For others it is a much needed respite from the grind, a time to disengage from the wheel and collect oneself for the next challenge. If The Sun Dies, Greg Weeks’ seventh release, is a signal that his respite is over. Pursuing creativity once again, Weeks finds himself in a period of explosive productivity. He has written an enormous number of songs over the past few years, enough to fuel five separate projects, including If The Sun Dies. In addition, he has rebuilt his Hexham Head Studio (still all analog, still twenty-four tracks) and resuscitated his label Language Of Stone (sans imprint status).If The Sun Dies, which takes its title from an Oriana Fallaci novel, is every bit a Weeks album: cryptic-poetic lyrics over melancholic melodies strummed on acoustic guitar and ornamented with the analog instruments he has forever treasured (Hammond Organ, Mellotron, Mini-Moog, and effects-laden guitars). However, the album feels like a departure, a maturation in both content and approach despite its many echoes from the past.The album’s running thread is melancholia, but lyrically the tunes couldn’t be more disparate. “If The Sun Dies” is an anthem that posits the end of things being the only means by which two people can find time to truly connect. “The Heathen Heart” speaks to one’s desire for salvation yet underscores a different, more frightening reality. The more...

Dwyer, John

Pilot Soundtrack

Rock Is Hell

"I made this 19-minute stop motion animation over the past 4 or so years. It was made on a 4 plane animation stand using paper and paper puppets. Kept me sane during Covid. Also made the OST. Hope You Enjoy. Cheers Big Ears."—JPDPressed on clear red vinyl with offset printed jackets in an edition of 500 copies.

Fog Lamp

Still Entangled

Siltbreeze

SF's Fog Lamp have been at it for a few yrs now, repping heavily around the local environs, garnering a solid word-of-mouth reputation. Originally a trio sans tubs, the synth-driven iron gulp of their early days was like Animal of Anti-Nowhere League crashing a Cabaret Voltaire rehearsal. 'Power to the paradox' I like to say, or in the immortal words of Tug McGraw, "Ya Gotta Believe!" So after a couple tapes & whatnot, Siltbreeze got clued in & have solidly backed their debut vinyl lp, Still Entangled. Along the way, the band enlisted the solid drumming prowess of Rachelle Hughes & by doing so, Fog Lamp have zoned in an intensive, beguiling churn of Dossier era Chrome slipping into The Sleepers panic-creep of 'Painless Nights'. Their hauntingly dense & layered murk is as authentically Bay Area as a bowl of Cioppino. Look for them on tour (West Coast only) in Jan. of 2026. Flannel is the new Goth.

Robb, Emily

Soundtrack to the Space Between Attack and Decay

Petty Bunco

Emily Robb has cemented her place as one of the underground’s most distinctive guitarists. Her pair of visionary solo albums on Petty Bunco showcase her evocative, feedback-rich guitar style and her gift for finding melody inside the noise. The invitation to compose the score for The Space Between Attack and Decay has led Robb into new and fascinating territory. Her imaginative soundtrack reveals some of her most far-reaching and expressive work to date. "Wake Up" serves as the recurring theme that follows the film’s lead character. Its dark melody trudges beneath breathy layers of trumpet, creating an atmosphere that’s both intimate and uneasy. When it returns as "Frustrated Wake Up," the theme takes on sharper edges, punctuated by Robb’s crunching guitar rhythms and waves of tremolo. Her natural instinct to rock shines through here, giving the cue a playfulness that blends perfectly with the film’s mood. Like a great Morricone motif, it instantly defines the protagonist’s identity. "Shiny Sister" drifts in on lilting Spanish-guitar melodies that gradually give way to ethereal, siren-like vocals. The subtle Mexican influence in instrumentation and phrasing evoke the more romantic side of 1960s and ’70s spaghetti western scores, infused with the sun-bleached mysticism of Jadorowosky's El Topo. This piece expands the film’s emotional space while standing beautifully on its own. "Dance Music" echoes the story’s theme of searching. Drums and bass circle one another in a loose, hesitant rhythm, like two people shyly beginning to dance, gradually gaining confidence with each pass....

O'Sullivan, Daniel & Richard Youngs

Persian Carpets

Vhf

Second LP of duets by these longtime VHF family staples, here delivering 2 side-long epics of “minimalist” bliss. Both sides feature Daniel on piano and Richard on zither, with rippling waves of sound recalling classics like Charlemagne Palestine’s “Strumming Music” (Dan is a frequent collaborator with C.P.) and Richard’s “Advent.” “Persian Carpets I” is a real-humans performance full of tiny variants in rhythm and attack, rising and falling in intensity – sometimes a rush of sound, sometimes a cloud of soft overtones and phantom notes. “Persian Carpets II” is more spare, with quiet and careful piano alongside Richard’s subdued accompaniment – a gorgeous bath of pointillist sound that rewards close listening.

Essex Green, The

Everything Is Green

Dust and Memory

Originally released in 1999, Everything Is Green is the debut album from Brooklyn-based The Essex Green, a seminal band within the Elephant 6 collective. Combining chiming guitars, warm harmonies, and subtle psych-pop textures, the album stands as a timeless document of late-90s indie-pop creativity.This official vinyl reissue brings back the band’s beloved debut in a beautiful transparent lime pressing, giving fans and collectors a chance to experience its delicate, sun-drenched melodies on wax for the first time since their original release in 1999. A must-have for those discovering the Elephant 6 universe or revisiting a modern classic of indie-pop.

Magic Castles

The Lore of Mysticore

Dust and Memory

Originally released in 2014, The Lore Of Mysticore stands as one of the most compelling documents of the contemporary psychedelic underground. Minneapolis-based Magic Castles craft a hypnotic and immersive sound that blends shimmering psych-pop, hazy drones, and kaleidoscopic guitar textures into expansive, sun-drenched songs.This first-ever vinyl edition brings the band’s beloved debut album to wax for the very first time, offering fans a chance to experience its swirling, cinematic beauty in a format that truly does it justice.Essential listening for fans of The Brian Jonestown Massacre, The Asteroid #4, and Spacemen 3.

Nomeansno

Sex Mad

Alternative Tentacles

In the annals of punk, few albums hit with the seismic force of NOMEANSNO’s Sex Mad. Released in 1986, this was more than a record, it was a detonation. Amid the Cold War and the Reagan era’s cultural tension, Sex Mad erupted as a raw, furious, and utterly fearless statement that redefined what punk could be.From the opening blast of “Dad,” NOMEANSNO made it clear they weren’t following anyone’s blueprint. The Wright brothers Rob and John, alongside guitarist Andy Kerr, forged a sound that fused hardcore intensity with the precision of jazz, the elasticity of funk, and the cerebral bite of art rock. The result was unlike anything else emerging from the scene at the time.Lyrically, Sex Mad dove headlong into alienation, addiction, and societal rot. These are subjects punk had tackled before, but rarely with such intelligence and emotional gravity. Rob Wright’s snarling vocals and razor-edged bass lines delivered every word with conviction. Even the controversial cover art, an original painting by Andy Kerr was censored by some retailers,. This just underscored the band’s willingness to confront discomfort and provoke dialogue.Recorded at Profile Studios in Vancouver with producer Cecil English (D.O.A., Subhumans), Sex Mad captured the raw electricity of NOMEANSNO’s live shows while revealing the intricate musicianship that set them apart from their peers. Though critics at the time didn’t always know what to make of it, Sex Mad has since become a cornerstone of experimental punk. A record that influenced everyone from the Melvins and Primus to Faith...

Total Shutdown

Fin

Rock Is Hell

Three "new songs" recorded in 2006 from SF underground faves Total Shutdown. Limited to 200 copies pressed on clear/red/yellow mixed vinyl and housed silkscreened fold-out covers."The crazed experimental rock of San Francisco's Total Shutdown first saw the light of day at a gig on February 14, 2000. Vocalist Bob Linder, bassist Nate Denver, guitarist Paul Costuros, drummer Phillipe Nguyen, and saxophonist Matt Hartman all play a variety of instruments besides their main ones and, individually, have been involved in everything from performance art to death metal. There first release came as a split 7" with Boxleitner on Thin the Herd Records and it earned a spot on Byron Coley's Top Ten singles of 2001 in the Village Voice. Compilation appearances and limited-edition CD-Rs followed before the one-sided 12" 'Long in the Making' came out on blood-red vinyl and with silk-screened covers in 2002. It was enough to draw the attention of the usually electronic-leaning label Tigerbeat6, who issued the band's self-titled debut in 2003."—David Jeffries (All Music)

Frank, Jackson C.

1975 Mekeel Sessions

Antarctica Starts Here

For years, Jackson C. Frank was as ghostly a legend as they come. Even the relatively few record collectors who revered his work were only aware of the lone LP released during his lifetime. For all most listeners knew, Frank made an incredible album in 1965 and then vanished, despite that record having been produced by Paul Simon.1975 Mekeel Sessions features six tracks recorded in the mid-’70s at a studio in Lake Hill, New York about five miles from Woodstock where Frank was living at the time. Only uncovered decades later, these recordings hum with the same mysterious warmth that defined Jackson at his peak. His guitar work, alternating between strummed and fingerpicking, is perfectly understated. His stark and somber voice, more weathered than the lighter tone on his debut.While the Mekeel tapes were intended for Frank’s sophomore album, it never came to be. What one hears is not a singer-songwriter fading out of view, but rather a singular artist who never stopped trying to build his own world—even when no one was watching. For fans of everyone influenced by Jackson: from Nick Drake, Sandy Denny and Bert Jansch to more contemporary acts like Elliott Smith, Vincent Gallo and Iron And Wine who surely used Frank’s sparse approach as a template.

Leimer, K.

Weighted Room

Palace Of Lights

Each track of Weighted Room is shaped by multiple generations, arrangements, and voicing of the same starting material — drawing audio out of midi and flipping audio back into midi to be repeatedly rewritten, recast, retimed, and re-voiced.  “Oddly enough by putting these tracks through dozens of iterations the music more or less determined its own form. As a result there’s way more variety here than is typical of any one collection of my work, but it still holds together as a singular statement” Leimer said.  To complete the album Leimer edited, layered, and processed the seven pieces using different parts and passages from all their generations. Some versions contribute as little as a single sound, others form the overall structure, while still other generations play in the foreground, middle ground, or background. The track styles span ambient, dark ambient, new jazz, noise, and new classical with equal focus. As one example, the title track flips the relationship between a lead instrument and the ambient textures that were the original focal point of the music by obscuring its evolving, granular atmosphere with a more melodic sensibility, asking the listener to give attention to buried aura — emphasizing the inversion of traditional instrumental roles which is the defining characteristic of Weighted Room. Mastered by Taylor Deupree with cover art by Simon Adjiashvili, Weighted Room adds a distinctly new setting to K. Leimer’s catalog. 

Harvey Milk

WhaRvEy milK

Chunklet

One of the countless Harvey Milk recordings I’ve accumulated over the years is a spotless recording of the band performing on Atlanta radio stalwart WREK 91.1 over at Georgia Tech. The year is 1994 and the band has barely been a band for less than two years. Two freakin’ years. Harvey Milk drove into Atlanta on a weeknight to perform their puzzling Southern Gothic dirge for the weirdos that religiously tune in to hear the vanguard of Georgia music on the Tech station. All these years later, I listen back to this recording and sit in sheer awe of what a fully formed, self-actualized and succinct powerhouse Harvey Milk had become so quickly after their beginning not two years prior. While the band’s full lengths are unassailably well conceived and air tight, their live performances of the era leaned more on the material that lurked on their many seven inch releases that sat dormant on local record shelves until the world outside of Georgia caught on, leading the locals to take stock in this puzzling and extremely righteous band. Taut megajams like “Probolcoc/Jim’s Polish,” “Yer Mouse Gets My Dander Up” and “Women Dig It” were merely tucked away in singles bins while their full length masterpieces had yet to find their fans across the globe. Nary a hair out of place. Sitting on my patio during an extended layover a couple years back, Tanner said “anything you ever want to put out by me, Creston and Paulie is fair game.”...

Riedl, Paul

Demystification / Forestscapes

Special Low Frequency

Experience the new double album from Paul Riedl (hanging moss) that crystallizes the stargazing Kosmische drones, meditative Deep Space Ambience & wistful New Age/Folk melodicism of his myriad musical personalities into a compelling synthesis of gentle, cinematic starscapes & pastoral acoustic environments. 1.5 hours of Cosmic Music well suited for meditation or other astral travel. Limited edition gatefold 2LP set on 140g crystal clear vinyl, hand numbered out of 500.

Bludgeoned Pigs

Live At The Smilin' Buddha, 1980

Supreme Echo

***Bludgeoned Pigs, 1980. Legends of the wild Vancouver punk scene, fronted by the confrontational, one-of-a-kind Al Jamieson. Unhinged, melodic, and hardcore—the group even had guest-star drummers from DOA, Toxic Reasons, Black Flag, A sonic joyride with the seatbelt unbuckled. Mega-long EP, remastered audio, detailed booklet with story & photos. 500 multicolor.

Celibate Rifles, The

Blind Ear

Bang

***Bang! Records presents the remastered vinyl reissue of Blind Ear (1989), the album where The Celibate Rifles take their punk instincts to the next level—garage muscle, surgical precision, and a rock'n'roll pulse that sounds more urgent than ever today. Formed in Sydney in 1979, the band appears here in full flight: two guitars in constant dialogue, a rhythm section with newfound dynamic range, and a razor-edged vocal that bites without losing melody. The remaster opens up the stereo image, sharpens the six-string detail, and restores to the turntable the physical punch this record demanded from day one; it's the definitive way to (re)discover a key title from the Australian school. The tracklist is pure traction: "Some Kind of Feeling" hits the ground running with speed and focus; "Wonderful Life '88" nails an instant hook and a clear-eyed critique of yuppie culture; and the closer, "O Salvation," lands as an expansive, cathartic statement of intent. Two tracks unusual in Australian rock for their subject matter—"Sean O'Farrell" and "Belfast"—tackle the Northern Ireland conflict head-on and underscore the band's social gaze, while the rest of the album maintains a no-filler intensity. This edition preserves the original LP sequence (the two bonus tracks existed only on the period CD) and stands as an essential piece for collectors and front racks alike: ideal for in-stores, listening bars, and classic alternative rock playlists. If your audience connects with BORED!, Radio Birdman, The New Christs, or The Saints, Blind Ear is an unequivocal yes.

Tee Vee Repairmann

Only A Memory

Goner

Latest from Ishka Edmeades... aka TEE VEE REPAIRMANN! Addictive twisted pop from Sydney! Two more killer songs for all of us anxiously awaiting their next album. Features Jennifer May on bass on the title track.

Sternpost

unworld.afterpop

Concentric Circles

Malmo, Sweden's Sternpost returns to Concentric Circles with unworld.afterpop. Following on the heels of the much loved Ulrika, the new album from Sternpost, AKA multi-instrumentalist Petter Herbertsson, shimmers with immersive, cinematic arrangements that sound like they could have only come from a dream.Taking inspiration from Paddy McAloon of Prefab Sprout's "I Trawl the Megahertz" and "A Breath of Life" by Brazilian author Clarice Lispector, with some bits of Van Dyke Parks and Art Bears thrown in for good measure, it is apparent from the start that unworld.afterpop is no scrappy DIY affair. The songs are alive with an unbelievably lush and warm production quality, belying their homerecorded origins. Not content to simply rest on his laurels and repeat himself from release to release, unworld.afterpop sits at the meeting point between Herbertsson's more overtly pop structured group Testbild! (four of whose members appear here), and Sternpost's explorations into harmonic texture and countermelody.Albums this richly ambitious, detailed and dare we say "mature" feel almost out of step with modern music, having more in common with grand late 60s or early 70s productions, when producers working in a "pop" context were more likely to stack layers in the studio, creating mini orchestras of sound. Most importantly, nothing here feels superfluous or unnecessary, with every detail and instrument simply being exactly where it should be.Concentric Circles is incredibly honored to present new recordings from Sternpost, with a release that reminds you that sometimes a really good, fully formed album is the best way to...