New Releases

Lard

Last Temptation Of Reid

Alternative Tentacles

Back in Print. Louder. Meaner. Finally. Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid. A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since. This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now. Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling...

Ranaldo, Lee

The System

Silver Current

A quick scan of the world's favorite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet The System, ingeniously culled and sequenced from Ranaldo's soundtrack work for Dutch filmmaker Joris Postema’s "eco-doc" of the same name nonetheless feels like a reawakening. Quietly released in a vastly different (and much more "filmic") form by Doxy Music/ Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material (written and recorded for the film) to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst. Given the state of the world, it's not surprising that the film Ranaldo scores -- a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur -- is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs. As it turns out, the gorgeous scope of Lee Ranaldo's guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon -- the high plains raga of Bruce Langhorne's Hired Hand, Neil Young's sparse and ghostly solo transmissions on Dead Man, or the monolithic mantras of Popol Vuh's Nosferatu -- its devotion to spectral...

Cport Cistema

Body Needs

100% Silk

Club introspective Cport Cistema aka Simonas Činga returns with a second SILK suite of backstreet breaks, sound system heat, and sleek sensate house: Body Needs. Conceived and refined during a tumultuous period of strain and isolation, the songs absorbed the stress of their circumstances, alternately vaporous, kinetic, and opaque. Voices ripple through smoke, rhythms skitter and swing, bass booms like a beacon. Contrasting states of distance and decay, clarity and fog, attuned to hidden signals and the cost of pushing beyond them. Dance music as vessel and crucible: reckoning, recalibrating, reconnecting to the body and the needs that lie beneath. Mastered by Hunter Thompson. Design by Britt Brown.

Soft Blizzards

Nasses Raster

Not Not Fun

Veteran German experimentalist Ulf Schütte (Cloud Management, Phantom Horse, Datashock, etc.) mines a woozy, organic-mechanical mode of minimalism via his modular synth and field recordings solo vessel Soft Blizzards. Nasses Raster collects six recent works of liquid system designs, channeling his fascination with “boundary areas” music: between electronic and environmental, tone and float, hypnotic yet harmonically ambiguous. The translated titles allude to (while winking at) this muse of elemental flux: “Wet Grid,” “Frog Log,” “The Patience of the Pipes,” “Internal Pond.” Hints of Harmonia, Hassell, and digi-dub obscurities murmur in the mix, but ultimately Schütte’s touch skews more remote and elusive, miniature architectures of elevated synthetics, ambient futurism, and hushed teutonic funk. Mastered by Jared Carrigan. Artwork by Charles Mahoco.

Yayoba

Matkat

Not Not Fun

The latest by international psycho-acoustic guild Yayoba takes its title from the Finnish word for ‘journeys’ or ‘trips,’ evoking both the music’s questing spirit and its cosmic, lysergic ethos: Matkat. The album’s 14 tracks span the gamut of the group’s surrealist world-building: lunar mycological seances, metallic woodwind silhouettes, pointillist plasmatic soups, ethnographic sci-fi soundtracking, spore-harvesting reveries, deep space starbirths. Despite the omnivorous palette, the songs share a certain a smelted, bioluminescent quality, stewed in and sifted from a collective vat of molten alien ore. Long-distance chemistry is a gift not a given but Yayoba’s triumvirate – Paul Wilson, Jani Hirvonen, and Johannes Schebler – have each logged a lifetime in shape-shifting outskirts of the experimental underground, and their affinity is audible. Matkat unfolds like a dizzying swap-meet of gene-spliced electronics, stalagmite drip, asteroid dust, and black market fungus, molded at a forge of circuits and glass, then cast into the cloud to gleam and confound.

Helen

Linda's Head

Kranky

Linda’s Head is the first new album in over a decade by the Pacific Northwest trio of Liz Harris (guitar, vocals), Scott Simmons (bass), and Jed Bindeman (drums). Like its predecessor, 2015’s The Original Faces, the album maps a uniquely intimate and potent vision of bedroom dream pop. Theirs is a shoegaze of half-light and silhouettes, attuned to the shadowplay of melody, melancholy, and undertow.The record’s title is a refraction of meanings: a head in the clouds, a severance, a fictitious landform jutting into the sea. The music is similarly layered, both yearning and weathered, its edges blurred by years in the wild. Lyrics of waves, storms, and escape further shade the songs in subcurrents of desperation and beauty, tinged in the palette of the New Zealand pop underground. But at its core Helen’s chemistry is one of warmth and release, powered by the kinship of old friends in dark times.

Spirit Possession

Cathedral Speech

Profound Lore

After three years Spirit Possession unleash their third full length album Cathedral Speech—seven attacking labyrinths of far venturing black heavy metal, with all spires pointed down. Where 2023’s Of the Sign… held a knifelike gaze into more erratic, adventurous hymns, Cathedral Speech sees Spirit Possession awaken their most piercing, deranged, and narratively epic form yet. Spiraling guitar storms and explosive drum batterings channel first wave black/death assaults in the same breath as expansive ’70s composition. With four steps into madness followed by a side long suite—these are vicious electric chants as towering as they are blasphemous. Featuring S. Peacock (Black Curse / Ulthar / Mastery) on strings and vocals, and A. Spungin (Ormus) on drums and handmade synthesizers.

Pressure Set

s/t

Dr. Strange

***Pressure Set’s highly anticipated debut release is about to scorch the earth! Featuring members of The Bollweevils, Sludgeworth, The Methadones, SPELLS and Bear Away. Pressure Set takes the best of all the aforementioned bands and puts an early/mid 80’s Dischord “feel” to it. Loud guitars, thumping bass and pounding drums with Daryl from The Bollweevils on vocals? Fuck yeah! It is THAT good. Only 400 were pressed, check ‘em out on the West Coast at The Doc’s “Winter Bash” WITH The Bollweevils. Yowza!!

The U.S. Rip Van Winkle

S/t

Splendid Research

Dayton, Ohio’s mysterious Rip Van Winkle has inexplicably changed their band-name to The U.S. Rip Van Winkle on their 3rd release. Spontaneous lo-fi psychedelia. A new batch of 15 songs. The U.S. Rip Van Winkle = Robert Pollard, Joe Patterson, Ben Penry and Jason Short.

Dissimulator

Artifice Dissolves

20 Buck Spin

With Artifice Dissolves, Montreal’s Dissimulator accelerate beyond the formidable sonic coordinates established by Lower Form Resistance and plunge headlong into a future world where technological hegemony and catastrophic entropy exist in perfect equilibrium. Their jagged sci-fi death-thrash has evolved into an ever more labyrinthine construct, fusing serrated riff matrices and volatile rhythmic architecture into an algorithm-obliterating neural hack. Artifice Dissolves propels itself like an untethered artificial consciousness recursively rewriting its own code, with each movement revealing another phantasmagorical dimension within Dissimulator’s bionic mythology. Razor-wire guitar lines, alien yet familiar, whiplash and intersect at impossible angles whilst the rhythm section drives songs like “Alloyed” and “Neon Metropolis” through perpetual states of intensifying velocity, collapse, and reassembly, creating a surging sense of momentum undeterred by its relentless intricacy. An awe-inspiring convergence of futuristic world-building and unrestrained, unapologetic technical aggression, Artifice Dissolves is a cyborg hallucination of a civilization wasting away in the sunless gutters of its autonomous megacities, the warped fever dreams of an omniscient God-machine, and the malignant side-effects of its cybernetic enhancements. And beneath the album’s dazzling precision and violent thrust Dissimulator maintain a timeless human striving for order and transcendence beyond the technological.

Lewis, Susanne

s/t

Concentric Circles

In a less ridiculous world, Susanne Lewis would need no introduction. For more than 40 years, she has been releasing brilliant, fearless, kaleidoscopic albums with various collaborators and under various names, including Corpses As Bedmates, Thinking Plague, Kissyfur and Hail. No two of them sound alike, none of them sound like anyone else, and all of them have moments that remain startling even after decades of listening. She's an offhandedly inventive musician who makes complex, disjunctive song structures sound perfectly natural, as if they couldn’t and shouldn’t have turned out any other way. A volatile singer who can shift from serenity to delirium in the space between two heartbeats, she's capable of making the most abstruse dream-language feel immediate or, conversely, of making the most mundane experiences seem otherworldly. Her songs do not belong to a genre; they create their own genres as they go, and they typically bristle with more ideas than most of her alleged peers stumble across in an entire career. All this being the case, the persistent neglect of her work by people who ought to know better has something pathological about it. Interesting yourself to any extent in 20th-century underground music while remaining unfamiliar with Susanne Lewis is like being a geologist who has never heard of volcanoes. Had she gotten the full attention and acclaim her accomplishments deserve, generations of lesser talents might never have managed to emerge from her shadow. If she gets it now—finally!—it will be a welcome and very timely triumph...

Eraser

Operator!

Siltbreeze

Eraser followup the devastating lunge that was their debut LP (Hideout) w/a furious new riposte entitled, Operator! The Panic Wave jams they kick out as their own have roots in the spirited days of Soho/TriBeCa, pre trust fund infestation. C'mon you remember; those days of ZE & 99 Records, Tier 3, Mudd Club, the "good" cocaine? And yet that's just foundation in the overall sonic spectrum; the driving backline of Juliette & Kat's rhythm tremors, Pier's rapier sharp guitar lines that will cut you, while over this is Sonam's vox harbingering while pivoting effortlessly to on point synth twitchery. It's past, present AND future. Hey man, the Marvel Universe can eat a bag of AI dicks, Eraser are the REAL superheroes ruling the blood & guts scene. 'Operator' is all about your blood, and their guts. West Coast tour starts 9/18. Go open up & bleed.

Cash Rivers And The Sinners

High Flyin' UFOs

Splendid Research

More Guided By Voices inebriated comedy / country hi-jinx. Never on streaming, always limited edition and usually too few pressed, Cash Rivers vinyl tend to fly outta here. High Flyin' UFOs will be no exception.

O'Grady, Camille

Terminal Fascination

Dark Entries

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides...

Boay, Andy

Doomed

Does Are

A lifetime of inordinate fear and sadness leaves one feeling doomed. The first one-to-one remedy I found for this ailment was writing music. Take something unbearable, painful, ugly, and make it beautiful.Smooth, melancholy, abstract art-pop. Not exactly “lo-fi” but, nonetheless, lovingly and painstakingly recorded to cassette tape. Stacked vocals. Homemade, carefully tuned internal feedback rigs. Galloping tremolo-delay guitar that shimmers and pulses along its journey. Beach Boys counterpoint voices, slammed piano chords, drifting lonesome shuffles. Melancholic disharmony finds its equilibrium in the sweet ecstatic arc of pop music.

Atomic

Satan Metal

Nuclear War Now

***Sátán Metál compiles previously unreleased demo recordings from 1985–1986 by Hungary's long-forgotten evil metal cult, Atomic. Much like their contemporaries Dentonator, Angel Reaper, and Tormentor, Atomic delivered a primitive form of first-wave black metal inspired by Bathory and Sodom; music driven more by youthful aggression and rebellious spirit than technical proficiency.What emerges is an exceptionally raw recording that perfectly captures the untamed energy of mid-1980s Eastern European underground metal. Despite its rough edges, these demos remain surprisingly listenable for devotees of Eastern Bloc Obscurities. The vocals are raspy and youthful, sounding as though the singer had only recently gone through puberty. The guitars buzz and crackle with the fidelity of the cheapest practice amplifier imaginable, while the drums struggle to keep everything from completely derailing. For fans of this era and style, these qualities are not flaws, they are precisely what make recordings like this so compelling. Sátán Metál offers an authentic glimpse into a time and place that can never be recreated. This is the sound of teenagers in 1980s Hungary channeling darkness through whatever equipment they could get their hands on. The result is raw, chaotic, and genuine.A fascinating document of Eastern Europe's early extreme metal underground, Sátán Metál stands as a testament to the harsh conditions and uncompromising spirit that gave birth to some of the most primitive and evil metal ever committed to tape.

Doombringer

Ad Compita!

Nuclear War Now

***Doombringer returns with Ad Compita!, the band's third full-length album and another step deeper into its singular vision of occult death metal. Emerging from Poland's underground, the updated lineup injects fresh ideas into the band's already distinctive formula without abandoning the darkness that has defined Doombringer since its inception. Rather than relying on excessive speed, downtuned heaviness, or modern tendencies, Ad Compita! focuses on atmosphere, and composition. Dissonant death metal riffs collide with sinister black metal melodies, creating a unique fusion of Eastern European barbarity and Hellenic occultism. Slow passages give way to tremolo riffs and haunting vocal arrangements, while the band's layered guitar work and prominent bass presence generate a constant sense of unease throughout the album. The varied vocal performance ranges from desperate rasps and commanding shouts to ritualistic chants, reinforcing the album's occult atmosphere. Supported by dynamic drumming and carefully constructed songcraft, Doombringer successfully bridges the divide between death and black metal without becoming trapped by the conventions of either genre.

Useless Eaters

Music for Clout

Total Punk

***Music for Clout kicks off with a warning. Get your shit together because after a nearly ten year hiatus USELESS EATERS Are back and they are coming for you. 10 tracks of tape hiss pushed to their limits. It bumps, it thumps, it pulses, it grinds. It bludgeons you with its directness. This thing hits so hard it jumps off the turntable to smack the self satisfied smile off your face. What you view as a healthy subculture is actually a thinly veiled microcosm of the world at large. Sometimes you need to be called on your bullshit and Useless Eaters are up for the job. This album needs no qualifiers. Music For Clout is absolutely positively 100% TOTAL PUNK!!!

Agriculture

The Spiritual Sound, Live in Europe 2026

Flenser

In September 2025, The Flenser released Agriculture’s breakthrough album The Spiritual Sound. The record saw the band reach new heights, greatly expanding their audience, and by the following spring, they were performing on the main stage at Roadburn. The majority of The Spiritual Sound, Live in Europe 2026 was recorded during that performance, alongside additional recordings captured at venues across Europe. Agriculture have always been an exceptional live band, with performances that have a way of winning over a room, including people encountering them for the first time. As the audience around The Spiritual Sound grew, more people were brought into that experience. The intensity is part of it, but so is the openness of the band’s music. What can seem overwhelming from a distance becomes strangely inviting when experienced together. The Spiritual Sound is a record concerned with presence, devotion, suffering, beauty, and the pursuit of something transcendent through sound. In these recordings, those ideas become physical: four people in a room, playing at an overwhelming volume for an audience gathered to experience the shared moment. There is something appropriate about documenting The Spiritual Sound this way. Agriculture’s music has always reached toward experiences that are difficult to explain but immediately understood when they are shared. The studio album gave those ideas a form. These recordings capture what happened when the band brought them into a room full of people.

Fates, The

Furia

Extended Voices

Following her foundational role in the early years of The Fall, and then the searing post punk of The Blue Orchids, as well as several tours serving as a backing group for Velvet Underground chanteuse Nico, Una Baines found herself starting 1985 without a band. Drafting together members of the all-female Beyond The Glass, and compatriots associated with her past projects, she entered the studio with a clutch of songs and a willingness to experiment. Separating the sides into “waxing”, for the more traditional songs, and “waning”, where the structures become looser and varied, the resulting album was the sole release on her Taboo Records and seemed quickly lost to time, but feels shockingly current in both feminist content, and freak folk execution.It is a collection of influences that would emerge decades later in the wyrd folk movement, and Furia is not out of place at an intersection of Devendra Banhart and Meg Baird, but there was absolutely nothing like it in 1986. Upon release, Mark E. Smith famously likened it to Third Ear Band, having to dip back to 1970 for a touchstone. Songs like “Bridget of Ireland” could be traditional ballads from decades past, while “No Romance” is a lo-fi new wave hit waiting to happen. “Sheila/Beats My Heart” fashions The Velvet Underground as a feminist protest band, and “Ritual” plays out like all of the Motown girl groups banding together to tell the world that they don’t need a boyfriend to solve all of their problems. It...

Cheifs

Blues

PNV

***Loving reissue of the iconic 1978 single from this short lived LA punk outfit. The Cheifs need no introduction, as their 3 track EP immediately etched itself into the collective punk consciousness upon its release. Revered by 70's KBD cultists and first wave USHC fighters alike, the Cheifs may have not been around long, but their influence and raw, energetic bursts hold up nearly half a century after release. To match the legacy this EP garnered in the ensuing decades, this release is accompanied by a 128 page booklet and a never before heard bonus track--an alternate take of the title track.

Go Public

You Are Traffic

HHBTM

***The past isn't real, the future ain't happening, all we've got is right now and Go Public and You Are Traffic: Hey now, don't dream it's over. An Atlanta band naming a record after traffic might be like dropping a two-ton anvil right on the biggest Bozo-red clown nose imaginable, but there are levels to every parking deck. Maybe it's a gridlock of the soul? The close-together shame of becoming a stranger, a slow motion accident of skeleton details? This band's business—skronky contortions and nope wave deconstructions, prickly wisdom and post-punk pith—is ageless yet absolutely right this very moment, distilling the cosmically unique pointlessness of this number that never should've become a year, and magnifying the microscopic glimmer of hope at its furthest corner. Call it dice-roll politics: a saving throw at a craps tempo—bleakly vibrant jams for endtime dance parties.These men have been in bands. You have maybe heard those bands, if you live in Georgia, or are their friends. Their bands were good; this band is great. Go Public can drop names, a whole catholic education of influences and inspirations, from every acre of the radio dial; but what matters is what comes out, not what goes in. You Are Traffic has few peers; brittle but hard-boiled, it's a swinging splatterhouse of booksmart, tough guy art with the jittery anxiety of Talking Heads and the restless musicality of This Heat in equal measure. The guitar sounds like a dayglo glass sword, for Christ's sake. Sean Rawls and Adrian...

Third World Chaos

New Move For Error

PNV

***First ever official reissue of the 1984 full length from legendary Filipino punk outfit Third World Chaos. Though not particularly well known outside of the Philippines, save for diehard collectors, Third World Chaos were massively important to the Pinoy punk movement via member Tommy Tanchanco's involvement with the Twisted Red Cross label. Musically, Third World Chaos deliver a fuzzed out, mid-paced, lo-fi assault that owes as much to '77, Pistols style punk as it does to hard hitting Oi! and early hardcore. As charming as it is infectious, TWC's sole album stands as a testament to the worldwide underground network of 80's punk.

Ambarchi, Oren

Cooked

Drag City

***Cooked comes a la - yet so far from - 2022’s Shebang with transcendent and trenchant flow from Oren Ambarchi. Flying in international collaborators Joe Talia, Johan Berthling, Will Guthrie, Eiko Ishibashi, Jim O’Rourke, Michiko Ogawa, Marcus Pal, Fredrik Rasten, James Rushford, Isak Hedtjärn, Andreas Werliin & Konrad Sprenger into the mix, Cooked sets foot tapping, mind boggling, heart quailing, earth turning.

Rusty

s/t

Just Add Water

***This Rusty album is proof that the well is truly bottomless. There's still unheard gold out there waiting to be discovered. It's 54 years late but worth the wait! Ex-Sheephouse, Blitzkrieg and future National Flag members. Recorded in 1972 in Switzerland during a year-long stay. After returning to London, the band pressed up just 25 copies to send to labels in the hope of getting signed only to have some of the tracks released by a library music label in 1974 in bastardized remixed and sped-up forms. Rusty supported the likes of Dr. Feelgood, Brinsley Schwarz, Hawkwind, Barclay James Harvest, Colin Blunstone, and Climax Blues Band but, until now, their music has never been widely available. These incredible UK glam-tinged original recipe power pop gems are finally getting a well-deserved wide release as they were originally intended to be heard. Painstakingly restored and remastered by GRAMMY-nominated engineer Jessica Thompson. Expansive liner notes by Plastic Crimewave from fresh interviews with band members Danny Edwardson and Seamus Sell. Edition of 500 copies on black vinyl.

Squanderers

Bright Madness

Blue Chopsticks

***Bright Madness is the third album from the improvising trio of Wendy Eisenberg, David Grubbs, and Bonner Kramer, a glorious afternoon’s worth of instant compositions laid down in Asheville, NC in the early spring of 2025. The sound of Eisenberg, Grubbs, and Kramer doing their damnedest to dazzle one another is encompassing, flowing from shell-game sleights of hand to effortless beauty in the flicker of an ear, a lyrical group sound, with an insistent, vivid and immediate feel.

Van Pelt, The

Remain Obscure

Ernest Jenning Record Co.

***The Van Pelt are one of the great cult bands of American independent music.Formed in New York City in 1993 around singer, guitarist and songwriter Chris Leo, the band emerged from the same fertile underground scene that gave rise to many of the most influential post-hardcore, indie rock and emo acts of the decade. Yet while many of their contemporaries went on to achieve wider recognition, The Van Pelt chose a different path: one built on artistic independence, restless experimentation and a stubborn refusal to fit comfortably into any scene or trend.Across two landmark albums—Stealing From Our Favorite Thieves (1996) and Sultans Of Sentiment (1997)—The Van Pelt developed a singular language that combined intricate guitar interplay, spoken-word intensity, literary lyrics and emotional depth. Their music occupied a unique space between post-hardcore urgency, indie rock invention and the introspective sensibility that would later become associated with emo, influencing generations of musicians while remaining largely outside the spotlight.After disbanding in 1997, the band's reputation continued to grow. What began as a well-kept secret among underground music fans gradually became a touchstone for listeners searching beyond the obvious narratives of 1990s alternative rock. Reunions in 2009 and 2014, the release of the long-lost Imaginary Third, and a series of acclaimed live performances introduced their music to a new audience while reaffirming their enduring relevance.In 2023, The Van Pelt returned with Artisans & Merchants, their first collection of new material in more than twenty-five years. Rather than revisiting old formulas, the album expanded the...

Deathchant

Kova

Riding Easy

We are all at the unforgiving whim of life’s extremes. For every moment of overwhelming sorrow, there’s another of indescribable bliss. For every death, there’s a birth. For all of the darkness, there’s just as much light.Deathchant have never shied away from extremes. Their sound seamlessly oscillates from high-octane rubber-burning riffs and gravelly chants to purring feedback and melodies as expansive as the desert at night. After gathering millions of streams, earning enthusiastic acclaim, and an endless string of packed shows, the Los Angeles, CA quartet—Thomas J Lemieux a.k.a. TJ [guitar, vocals, keys, bass], Doug Stuckey [guitar, vocals], Quinn-George Camacho [bass], and Nick “Joose” Mcdonnell [drums]—explore life’s highs, lows, and everything in between on their fourth full-length LP, KOVA [RidingEasy Records].Named after their late friend Davey Kova, it’s simultaneously a raucous send-off worthy of a Viking, an introspective look at manhood, and a dyed-in-the-wool badass barnstorming hard rock record.“To me, Deathchant means very intense brotherhood and friendship,” observes TJ. “I have a truly safe place to express every facet of myself. Even though we’re really heavy, this is also a vehicle for me to explore softer sides of music and wear my heart on my sleeve. For the last nine years, it’s allowed me to be a raw nerve. It was often brutal, because we lived our lives in the world of motorcycle culture, drugs, and partying. At the same time, I always had space for reflection. We implicitly trust one another. It’s rare for a friendship—let alone a four-way...

F/i

Blanga

Sorcerer

***Sorcerer Records have a long-running relationship with the Milwaukee space-rock band known as F/I, having already reissued two of their old '80s albums on LP. The group itself has existed for over 40 years, sprung from that city's punk scene by a group of musicians who were equally inspired by the early industrial sounds of Throbbing Gristle, but also the earlier electronic explorations of Klaus Schulze, Cluster, Conrad Schnitzler, etc. and the fuzzed space-rock of Amon Duul II and Hawkwind. Over the years, they earned fans in Jim O'Rourke and Steve Albini and toured Europe, where they have a particularly dedicated fan base. Blanga was originally released on compact disc in 2005 on the Lexicon Devil label and went out of print over a decade ago, and it saw the core lineup of Richard Franecki, Brian Wensing, and Grant Richter reconvene to release an incredible "comeback" of sorts. Blanga is a mind-frying mix of Hawkwind-style heavy-duty space/psych-rock and raga-like electronic meditations. Featuring newly reconfigured artwork, the sleeve is printed on matte stock, the vinyl on orange/yellow/red mixed colors. 300 copies.

Mojohand

Mojohand's Bar & Grill

Nudie Records

***Mojohand’s Bar & Grill, the second long play album from New Jersey’s peerless pub-rockers Mojohand, mixes timeless bites of Mojohand’s signature Rock & Roll and Ginger-Soul (™) sound and peppers it with field recordings of conversations from people along the winding roads of America. Mojohand’s Bar & Grill is a concept album that explores memory, nostalgia, the legend of rock & roll, and the changing world around us. Taking inspiration from the rock and soul sounds of 1970s Asbury Park, Stax, Motown, and early rock & roll classics that laid the groundwork for a world class touring bar band from New Jersey. The album was recorded to tape with Hunter Davidsohn at Business District Recording in Johnson City, NY, and the songs were written and refined on the road all across the United States, but Mojohand’s Bar & Grill is a distinctly New Jersey sound.

Jack & The Rippers

I Think It's Over

Puke N Vomit

***Domestic US reissue of the of this 2005 German only compilation LP. Jack & The Rippers were an early Swiss catchy Punk / Power Pop band known for their catchy songs and impressive performances. The LP features their rare cassette only release from 1978 and the two tracks from their 1979 7-inch.

Street Tombs

Existence Is Corruption

Carbonized

***New Mexico’s radiation-filled Death Metal Thrashers, Street Tombs, return with thick riffs on their second full-ength album, Existence Is Corruption.As greedy poisonous minds mutilate today’s world, Street Tombs continue to upset the grave with crusty blackened D-Beats and deadly, driving riffs straight from the gutter. Existence Is Corruption digs more into Street Tomb’s roots and expands on its punk ethos and first wave black metal origins from influences like Hellhammer, Celtic Frost, Bathory, and Amebix, while keeping an uncompromising pissed-off attitude. With Existence Is Corruption, the band is looking forward to getting back out into the world and RIP shit up!Existence Is Corruption was Recorded, Mixed, and Mastered by Greg Wilkinson (Autopsy, Necrot, High on Fire) at Engine 70 Studios in Santa Fe, New Mexico and Earhammer Studio in Oakland California with Additional Recording by Galen Baudhuin (Aridus, Trap Them, Wolves in the Throne Room). Album Artwork by Shane Donaldson. Street Tombs Logo by Ben Brodsky.

K.O.S.

The True Disaster

General Speech

***Originally released as 2 separate 7" EPs in 2023, Philly's premier Raw Punk band K.O.S. set the bar high for raw punk on the East Coast, pushing the formula of Discharge and 80s Swedish hardcore in a more intense direction. The True Disaster is a vinyl collection 12" intended to improve upon the original quality of the now out of print 7"s, and keep the music in print. A stronger and more powerful lacquer master cut at 45RPM by Dietrich Schoenemann at Complete Mastering provides a noticeable improvement in quality over the original releases, as well as the addition of a poster insert with photos and lyrics.

Ulcer / Disturd

Disturd / Ulcer - Split

General Speech

***Two stalwarts of heavy and traditional crust punk from Japan. Ulcer, born out of the ashes of Effigy and Axewield from Takamatsu, Kagawa, and Disturd from Kobe, have members with crust resumes spanning 25-35 years. This split LP is the perfect pairing of bands bound by a shared spirit and vision of metallic crust. For fans of UK bands like Antisect, Axegrinder and Deviated Instinct, or Japanese bands like S.D.S. and Effigy.

Zamp And The Suspects

Suicide Romance And Unsolved Mysteries 1980/82

Projectile Platters

***Zamp and the Suspects were a lesser known, but nonetheless fantastic LA punk outfit with heavy powerpop leanings (or is that a powerpop outfit with heavy punk leanings?). Zamp and Co. are best known for their 4 track EP, released 1980, that made some unofficial appearances on the cult "Hyped To Death" comps. Finally free from the shackles of bootlegs and collectors' circles, Zamp's 1980 EP is presented on this album in full, along with a handful of demos from the era that were never released, but nonetheless contain that uniquely infectious, high energy song writing of the EP. Fans of Dangerhouse releases, 20/20, Plimsouls and the like will absolutely devour this loving reissue.

Thermals, The

Under Crushing Rain

Static Catsup Aspic

***Under Crushing Rain is the 8th Thermals LP and the first album from the group in over ten years. Produced by Thermals singer and songwriter Hutch Harris at Brainwash, his studio in Portland, Oregon, Under Crushing Rain is reminiscent of The Thermals’ best work; the scrappy, energetic lo-fi of their 2003 Sub Pop debut More Parts Per Million and the epic, religious imagery summoned in their 2006 opus The Body, The Blood, The Machine.

Latterman

Turn Up The Punk, We’ll Be Singing

No Idea

***REISSUED!!! A remastered, redesigned reissue of the debut release from Long Island up-and-hoping pop-punkers LATTERMAN. Emotional and super-positive rocking, delivered with a DIY dedication to friendship, brotherhood, and community. Remastered for vinyl by DAVE ECK. Members went on to play in BRIDGE AND TUNNEL and RVIVR. First pressing in 12 years.

Brain Tourniquet

Sinking Deeper Into Madness

Iron Lung

***Iron Lung Records has long been fans of the concept album, especially in the punk context. When you have something to say and you take your time to say it, the message sinks in a lot deeper. BRAIN TOURNIQUET has made a crushing and harshly heavy example of this ethos with serious mental health commentary. While powerviolence/hardcore/punk influence of Crossed Out, Man Is The Bastard, and Mind Eraser are at its core, ‘Sinking Deeper Into Madness’, the band’s second album, also incorporates heavy doses of Swans’ bleakness, personal actualizations from outdated self-help tapes, and boundary pushing sonics from 70’s prog. ‘Sinking Deeper Into Madness’ tells the story of an unnamed protagonist whose family urges him to get a lobotomy after experiencing a manic episode. The protagonist ultimately decides to go through with the procedure and experiences extreme bouts of joy, fear, regret, and remorse until his mind ultimately disintegrates into total emptiness. FFO: Crossed Out, Mind Eraser, Swans, Man Is The Bastard

Death. Void. Terror

To The Great Monolith III: Rifts

Sentient Ruin Laboratories

***Death. Void. Terror. continues their transfiguration. "To The Great Monolith III: Rifts" is the first full-length utterance of the Monolith in five years, and its most shattering revelation yet. A seismic convergence of primordial trance and awakened consciousness, tearing open the boundaries of improvisation to expose the essence of catharsis. The rift is both metaphor and confession: a fracture in doctrine, a deliberate wound inflicted upon orthodoxy by the practitioners themselves, as conscious composition enters the sacred architecture for the first time, insurgent and unapologetic. Pulsing bass lines consciously sculpted, and around them, the instinctual maelstrom, constructing vortices of the inner chaos. A perceived heresy that in truth signals only deeper initiation. What pours through the rift is devastating. Abyssal, chaos-wielding atmospheric black/death metal mutated into ecstatic occult rock and tribal hallucinatory sprawl. The specter of the ancient ones running through gorges and dissolving into monolithic darkness, transfigured beyond recognition yet more itself than ever. Vocals conjured in no known tongue, surrendered without will to the Monolith in liturgical precision. A sonic entity shedding skin, growing new flesh, irrigated by ritual and animated by an internal battle between instinct and will, trance and reflection, doctrine and heresy. On its surface, a rift captured and made literal. In its depths, an existential fracture splitting open five years of metamorphosis and unleashing its monstrous sonic deluge. The Great Monolith does not crumble, it ruptures, expands, and devours anew. DVT's most monumental and revelatory work to date.(STREET DATE - 9/25/2026)

Freedom North

s/t

Lion Productions

***Based in Montreal, and known as Freedom, Freedom of Choice (for the US release of their debut single on Wand) — and finally, Freedom North, the band had success with their first two singles, both released in 1970: ‘Doctor Tom’, which garnered radio airplay across Canada and attained the #2 spot on RPM’s Top 50 Canadian Chart; and 'Losing You’ which made it to #47 in the MAPL Top 50 Canadian Chart. Freedom North toured extensively, often with other Montreal bands such as Mashmakhan and April Wine.There are plenty of options when trying to classify their sound — if that’s your thing. The reviews certainly make that point. Many tracks are clearly in range of being called psychedelic rock, using the current slack mode of declaring what is “psychedelic” (abundant fuzz guitar, in this case) — while other songs edge towards hard rock/acid rock, and still others are late 1960’s-esque pop/rock. Yet the band was tight and full of energy whatever sub-genre they were exploring, and thus the album is excellent throughout it’s many phases and faces. The songs are superbly crafted and feature terrific soaring vocals by Franki Hart. As a side note, ‘Losing You’ somehow recently made an appearance on "Brown Acid: The Twenty-First Trip”… so no doubt quite a few of you have heard one more song by Freedom North than you thought, which hopefully inspires you all to investigate this reissue of their entire LP.After the band split up, Freedom North members Eddie Kaye, Rick St....