New Releases

Akusmi

Fleeting Future

Tonal Union

Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album ‘Fleeting Future.’ With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. ‘Fleeting Future’ stands apart as an inventive and inspirational debut. The creation of the album’s richly colourful and multi-layered sound world was originally inspired by Bideau’s journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on ‘Fleeting Future’ seed from the ‘Slendro’ scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; “the compelling way things dramatically change when you shift from any given scale to another.” The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track ‘Fleeting Future’, on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece ‘Neo Tokyo’ is a vibrating, ebullient...

Vectors

Death To Disco

PNV

***Complete early discography from this short lived, stellar Fullerton, CA punk rock outfit. This top rate collection features the group's debut 1979 single, the certified KBD classic "Death to Disco," their 1981 12" EP and some odds and ends from that era. Far from a paint by numbers snotty punk rock outfit, The Vectors had a musicality and tension colored with shades of post punk, while retaining the proto-HC energy expected of a SoCal outfit from their era. In a sense they bridged the gap from the Anglo Skids/Ruts sound to the Americanized iteration in groups like Big Boys, Effigies, Minutemen, etc. This collection features a ton of photos and artwork exclusive to this release; a fitting presentation for this collection of top rate punk tunes.

Lew, Hannah

Hannah Lew

Night School

“One foot out the door, another in the otherworld...” So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, Hannah Lew is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently...

Motorists

Never Sing Alone

We Are Time

***Driving is a huge part of rock and roll’s enduring mythology. Images of cruising down the highway with friends and lovers while basking in the freedom of the open road pervade pop music’s lyrical canon. Yet, so often, these idealized images clash with the everyday drudgery of being a motorist: traffic jams, detours, and bad news on the radio.This tension is central to Motorists’ sound—as much about the colourful possibilities of life as it is about the way those possibilities are boxed in by technologies. It’s clear that, for the band, creative collaboration is the only way to break the tension. In a world where everyone’s been in their own bubble, Motorists have pushed theirs together and worked through feelings of isolation as a group, to the tune of jangly guitars, infectious power pop hooks, and a steady motorik beat. The result is an album (the band's third) full of revelations about what it means to be together, and how bad you want it when you’re being torn apart.

Plummer, Bill And The Cosmic Brotherhood

s/t

Jackpot

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records.This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, tohis covers that go straight to the heart of any 60’s genre-crossing jazz fans.Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time:• Carol Kaye (legendary bass player of The Wrecking Crew)• Maurice Miller (drummer in The Jazz Corps)• Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa)• Mike Lang (Piano with Flamin’ Groovies & Hal Blaine)• Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk)• Ray Neopolitan (Bass for The Doors & Leonard Cohen)• Milt Holland (Percussionist with The Wrecking Crew & Captain Beefheart)• Bill Goodwin (Drums for Mose Allison & Tom Waits)Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz.Produced by Bob Thiele who produced everyone from John Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records

Novoa, Eva

Solo (I)

577 Records

***Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format. After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings. On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience—raw, cinematic, and emotionally charged.

MORS.VOID.DISCIPLINE

Txketh)ëké

Sentient Ruin Laboratories

***Chilean bestial goregrind terror-cult Mors.Void.Discipline emerge from the bottomless dungeons of the South American extreme metal underground with their debut full-length monstrosity "Txketh)ëké", a twenty-minute inhuman assault of terror-spawning bestial war metal destruction swathed in the grinding rot and maggot-infested putridity of 90's goregrind.

Rotting Sky

Sedation

Sentient Ruin Laboratories

***REISSUED ON VINYL - FIRST TIME ON CD!!! Masterminded by Portland, Oregon-based musician T. Messing (Rohit, Nux Vomica) and taking its name from a Khanate song, Rotting Sky's 2014 masterpiece and sole full-length album "Sedation" still towers grandiose and inscrutable as defiant testament of a vision that remains unrivaled and unprecedented to this day, over a decade after it was first conceived. A swarming and sweeping creative tour de force conquering expressive totality from deep within the most tense and concealed folds of inner turmoil and personal struggle, "Sedation" plumbs the darkest depths of torment as a massive cathartic deflagration, immortalized into the present as one of the most enduring, moving and soul-shattering underground experimental black metal creations of the past decade. Adhering religiously to its foundational principles of withdrawal, isolation, confinement, and frugal self-empowerment, "Sedation" accretes from a myriad of field recordings, samples, guitar pedal layering, and home-made DIY recording tactics, to embody a massive colorless monolith of industrialized sonic ruin. A majestic convergence of dungeon-creeping raw black metal, disembodied power electronics, industrial noise and dirging funeral doom, ascending and spiraling into an obsidian maelstrom of despair. The foundational seclusion driving other recluse experimental and industrial leaning black metal projects such as Nortt, Gnaw Their Tongues, Murmuüre, Emanation and Paysage d'Hiver has convergently evolved similar stylistic traits in Rotting Sky, materializing a majestic and impenetrable aural specter in which the artist's unique personal.

Mohr, Kathryn

Carve

Flenser

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival.The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies.Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love...

Flipper

Generic Flipper

Superior Viaduct

Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called “noise rock” bands, it has yet to be surpassed in its nihilistic glee.Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi’s icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction.In early ’80s punk, when the hardening default was “faster-shorter-louder,” Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. “Ever” sets the tone with trademark restraint—“Ever wish the human race didn’t exist? And then realize you’re one too?”—while closer “Sex Bomb” is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs.Tons of indie bands have attempted to recreate Flipper’s mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.

Magus

Music for Mandrax

Language Of Stone

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus. Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trance-like spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and...

Reeking Aura

On the Promise of the Moon

Profound Lore

Reeking Aura, a five piece death metal group made of seasoned veterans from the NY/NJ underground scene, returns in 2026 with their second album On the Promise of the Moon. Tracked at OK Studios in Kinderhook, NY then mixed and mastered by the legendary Dan Swano, On the Promise of the Moon builds on the "Fires in Deep Frost" EP released in 2025 with a dark, melodic atmosphere that does not compromise their brutal, guttural NY roots.Returning from the first album are guitarists Terrell Grannum (Thaetas), and Rick Habeeb (Grey Skies Fallen) as well as vocalist William Smith (Afterbirth). Drummer Hudson Barth and bassist TJ Coon (both also in Trog) round out the lineup and bring fresh blood to the band, with all members having contributed to the writing process.The album also features contributions from guest vocalists Eston Browne (Vulnificus) and Jon Berg (The Path) as well as string arrangements by Ben Karas (Slaughtersun).Reeking Aura began in 2019 and promptly recorded their debut EP "Beneath the Canopy of Compost" and first album "Blood and Bonemeal" with Colin Marston in Queens, NYC. In addition to NY and NJ gigs supporting Malevolent Creation, Horrendous, Crypt Sermon and Mortician, they have toured the North and Southeast U.S. with such acts as Replicant, Atoll, Pyrexia, Hath, Animals Killing People, False Gods and Carrion Vael.

Choncy

Trademark

Feel It

Trademark is the third LP from Cincinnati punk quartet Choncy. Within genres that have been recycled, revitalized, and pushed to their limits for over fifty years, the group is constantly dancing around their signature sound. References of alternative music motifs stretched from bustling British megalopolises to rust-covered Midwest neighborhoods displays Choncy’s desire to play punk music but refuses to pick an era to pull from. Is there anything left to say? Are we all playing the same three chords? If we are, who owns the rights to them?Known for their “kitchen sink” style, Choncy has cleaned off the plates this time around; loosening up on their hardcore roots and taking a step further towards the estranged and angular corners of punk. Unpredictable dances between demented dissonance and craggy punches parallel a constant shift in power, resulting in a record that demands attention more than ever before.Since the release of their sophomore LP, Choncy has been ping-ponging phone demos as a full-time Ohio to New York remote effort. In similar fashion, the group elected to record these ten tracks on their own between their respective practice spaces and bedrooms in Cincinnati and Brooklyn. Even with hundreds of miles between them, Choncy continues to refine and deliver their trademark style and sound.

Abdul-Rauf, Leila

Andros Insidium

20 Buck Spin

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than fifteen years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album Andros Insidium.On Andros Insidium Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful.Sonically Andros Insidium is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, Andros Insidium suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice.

C.I.A. Debutante

Trespass

Siltbreeze

Can you believe there are now four CIA Debutante lp's in the world? That's right, this newest one, 'Trespass' is batting in the cleanup spot & it is very to task; the strongest, most focused effort put forth yet. Narrator/guitarist Nathan Roche is at the peak of his oratory & string mangling prowess. His recitation over flared fret work, conjoined with Paul Bonnet's alchemical electronic stitchery (don't forget that clarinet!-Woodwinds ed.) summons forth a promethean tableau that's inexplicably both gothic & futuristic. Imagine if Mary Shelley had created Roxy Music instead of Frankenstein? 'Trespass' burns with a demanding urgency, its majesty sweeping across time from the charnel houses of Ingolstadt, Barvaria, to the Offworld shoulders of Orion....frontiers! Whatever you thought of their previous three albums, those are now but tears in the rain. With 'Trespass', could CIA Debutante be approaching the pinnacle of Godhead? The Fates whisper only, "perhaps."

Kumo 99

Body N. Will

Going Underground

***Kumo 99 is an electronic duo whose unique music and art direction speaks for itself, appealing to a wide variety of audiences. Post-national, apocalypse-adjacent, lo-tech love songs for the digital native.Vinyl edition includes lyric insert and 33" x 23" fold-out poster housed in a laminated tip-on jacket.

Kumo 99

Headplate

Going Underground

***Kumo 99 is an electronic duo whose unique music and art direction speaks for itself, appealing to a wide variety of audiences. Headplate reaches out from the window of a passing car and it all makes sense. You know exactly what you have to do.Vinyl edition includes lyric insert and 33" x 23" fold-out poster housed in a laminated tip-on jacket.

Pine, The

Lead Blocks for Feet

Going Underground

***Lead Blocks For Feet captures The Pine in a formative moment, pushing outward while beginning to settle into a sound that feels distinctly their own. While previous releases drew heavily from the California emo landscape, the band takes a darker turn here, experimenting with folk-inspired songwriting and introducing the character-driven storytelling that would help define their sound: fast, loud, distorted, and heartfelt.Back in print for the first time in over twenty years, this edition is packaged in a gatefold sleeve and remastered with care.

Corum

Web Of Midnight

Psychic Sounds

***Corum’s Web of Midnight traces an astral cartography and psychic linkage between the psychosexual laboratories of Wilhelm Reich’s Orgonon in Rangely, Maine all the way to the Mount Teide Volcano on the Canary Islands. Different facets of the album were recorded in these charged locations causing the music to erupt with an orgasmic and volcanic force, a subconscious blast and discharge of etheric earth energy channeled through shimmering electronica.Babbling voices that speak in the babel tongues of diverse holy spirits bring the listener into a sacred communion with the spiders of the void, spiders who weave their webs beyond the mauve zone in a realm of outerplanetary darkness. As the record spins so does the silk. Translucent sonic threads connect across vast distances in the dreamtime where they each receive stellar vibrations, now penetrating the earth from the deepest recesses of space.This space music could be considered dark ambient or kosmiche, and like the distant cosmic reaches of the universe it is suitably “out there” to please the discerning tastes of brave psychonautic listeners. Seekers who have previously used Corum’s music as fuel for their own remote viewing reconnaissance missions will find this outing as entrancing as his other explorations. Web of Midnight is a soundtrack for inward travel, destinations unknown.Even as the music voyages across the celestial empyrean of space, he opens up new territory, diving downwards into the underworld where the mysteries of Orpheus (poet, musician, prophet) are encountered in their cavernous depths. Here the Orphic lyre is...

White, Jack

G.O.D. and the Broken Ribs / Derecho Demonico

Third Man

***Jack White has released two fiery new songs "G.O.D. and the Broken Ribs" and "Derecho Demonico" ahead of his live appearance on Saturday Night Live. Both songs have been produced by the recent Rock n Roll Hall of Fame inductee and feature his live backing band; Patrick Keeler (drums), Dominic Davis (bass), Bobby Emmet (keys). These are the first two new songs since his critically lauded and fan acclaimed 2024 album No Name.

Los Guapos Sensibles

Cumbia de Colombia / Fade Into You

Discos Mas

***Spring has sprung and just like that Los Guapos Sensibles are back with a cover of a 50s classic, “Cumbia de Colombia”. Featuring La Alicia on vocals, this version employs pedal steel guitar, marimba and cosmic synthesizer lines to add a modern touch while retaining a retro aesthetic. The B-side is a dreamy cumbia version of the Mazzy Star hit “Fade into You” again featuring La Alicia on vocals and Tom Heyman on etherial pedal steel.

Bibiotheca Hermetica

One

Black Editions / La Musica Records

***Anonymous transmissions from a spectral, dead-of-night mystery zone. Recorded in 1996 and originally release by Japan's enigmatic La Musica Records label on limited cassette. A group that deconstructs and liberates the chance nature of contemporary classical and noise music enough so that their boundaries blur. Available for the first time on vinyl and digital. Recorded in 1996 and released without any identifying credits in an essentially private cassette edition, Bibiotheca Hermetica's sole release, One, was only the second by the Japanese La Musica label and remains one of its more obscure and enigmatic entries. The group works in spaces adjacent to contemporaneous outfits like Nijiumu and Toho Sara though its non-idiomatic improvisations and decentered, free sound explorations call back to seminal collectives such as the Taj Mahal Travellers and the East Bionic Symphonia. The music constantly shuffles and sifts filled with hypnotic clatter and clamor, rattling percussion, toughly scraped strings, gurgling bass tonalities and pirouetting winds. An anonymous transmission from a spectral, dead-of-night mystery zone. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.

Bass Drum Of Death

GB City

Fat Possum

***15th Anniversary reissue! "BASS DRUM OF DEATH’s debut full-length, GB City, might be described by most listeners as garage-rock. But perhaps the more apt term is basement-rock. It turns out that the duo's frontman, JOHN BARRETT, wrote and recorded the album in a series of basement apartments. Armed with a guitar, drum kit, and USB microphone, Barrett threw together scuzzy pop songs steeped in punk and doo-wop that dive into topics such as taking drugs, having sex, and other regular teenage activities.”—Andrew Martin

Amba, Zoh / Chris Corsano / Bill Orcutt

The Flower School

Palilalia

Since exploding on the improvised music scene a couple of years ago Tennessee native Zoh Amba has found herself engaging with an ever-widening group of collaborators as she tours across the US and Europe. She’s forged some enduring partnerships, working regularly with drummer Chris Corsano, bassist Thomas Morgan, and pianist Micah Thomas, among others, but one of the deep pleasures of improvised music is when a first- time meeting produces sparks. Indeed, that’s certainly the case with The Flower School, which bottles some serious lightning. In March of 2023 Amba and Corsano had finished up a duo tour of the west coast with an explosive performance in San Francisco. The next day the duo entered the studio with guitarist Bill Orcutt—a trusted collaborator of the drummer stretching back a decade. It was the first time Orcutt and Amba had ever played together, but it sure doesn’t seem that way.Although Amba has often recorded a bunch of tune-oriented albums for Tzadik she’s a free improviser at heart, and this trio arguably provides the most effective, elastic context for her playing yet. Yet what’s most astonishing about The Flower School is how it elevates and transforms the playing of all three participants. It appears that there was more than enough trust in the room to allow each player to push-and-pull. Anyone who pays attention already knows that Orcutt and Corsano are mercurial figures, perpetually adapting, adjusting, and challenging one another so that every performance by their duo seems to spring from a...

Corsano, Chris & Bill Orcutt

Brace Up!

Palilalia

***Brace Up! is the first ever studio release from the duo of CHRIS CORSANO (drums) and BILL ORCUTT (guitar). Recorded in Brussels at Les Ateliers Claus by CHRISTOPHE ALBERTIJN on March 19th and 20th, 2018. "Over the past six years or so, drummer Chris Corsano has proven to be one of Bill Orcutt's most reliably flexible collusionists. Regardless of whether Bill is cluster-busting electric guitar strings, weaseling around with cracked electronics, or playing relatively spacious free-rock, Corsano is able to provide the proper base for his aural sculpting. A lot of Orcutt's instrumental work has traditionally felt hermetic even though he's exploring caverns of explosive ecstasy. One often got the impression Bill was operating in the way John Travolta did in the classic 1976 ABC television drama, The Boy in the Plastic Bubble. Orcutt's actual interaction with collaborators emerged not from communication so much as pure observation. While he was fully cognizant of his musical surroundings, his reactions to it were walled off. This approach did not encourage sonic dialogue so much as parallel streams of discourse. These streams could interact with each other, but not in particularly standard ways. On Brace Up! , their first ever studio release, this precept has changed considerably. Whether it's a function of emotional familiarity or an intellectual choice I dunno, but there's a whole new kind of duo exchange going down on this record. Bill and Chris are clearly playing off each other's moves throughout the album. And it really raises the level...

Orcutt, Bill & Jacob Felix Heule

Colonial Donuts

Palilalia

***Guitarist BILL ORCUTT and drummer JACOB FELIX HEULE (ETTRICK, FRED FRITH, SULT) have been performing regularly around the San Francisco Bay Area since 2012, but this is their first release together. Recorded in Orcutt's living room in the early months of 2015 and named after a chain of Oakland coffee shops, Colonial Donuts collects 13 compact, stylistically diverse duets for electric guitar and drums, ranging from hushed, socially anxious folk to sprung electric blues to dense, pummeling free improvisation. Mixed by Frank Falestra at Dan Hosker Studios in Miami Beach; mastered by James Plotkin; designed by Bill Orcutt.

Watt

Recorded in Miami 1989-1991

Palilalia

***"I was hanging out with Bill Orcutt at the 930 Club nearly 30 years ago, watching a famous post-rock band (who shall remain nameless, but whose moniker contained two-and-a-half times more articles and conjunctions than nouns) when he said: 'This band is like my band in college—all major 7th and 9th chords.' I relate this to emphasize that in the case of Bill Orcutt and Harry Pussy, the seemingly untutored ooze of 'Please Don't Come Back From the Moon' and 'Girl With Frog' had its genesis in something far more Apollonian than is usually understood. It's debatable whether or not Watt, the duo of Orcutt and drummer Tim Koffley featured on Recorded in Miami, is the above referenced grad-school band. Watt is not resplendent with jazz chords, but it's certainly more tutored, offering a mannered link between the contemporaneous Thunders-esque punk of Orcutt's Trash Monkeys and Harry Pussy's mayhem. The continuity with Harry Pussy is more than temporal. Recorded in Miami is Orcutt's first use of the four-string guitar, and Harry Pussy claimed the same amp and drum kit. The resemblance more or less ends there. To further put Recorded in Miami—made on Orcutt's Walkman, Rat Bastard's North Miami studio, and South Miami's Natural Sound (total bill $289)—into context, consider the fecundity of the underground music world as the '80s rolled into the '90s. It's hard to relate to those who missed it, but it was a time when post-hardcore hadn't quite given way to the bloat of grunge, when...

Dickies

Killer Klowns From Outer Space

Puke N Vomit

***The first ever vinyl reissue of the 1988 Dickies classic mini-LP originally released on famed Southern California Independent label Enigma Records. The PNV reissue features the bonus track roadkill from the 1993 7". The reissue includes an all-new original insert with liner notes by the band. It also includes a bonus popcorn bag and limited-edition stickers. The album features their theme song from the popular 1988 American cult science fiction horror comedy film, that has gotten over 3 million Spotify plays. New circus peanut orange vinyl!

Wedding Present

Maxi

HHBTM

***In 1996, The Wedding Present released Mini—an EP featuring six tracks that all had connections to motoring. Almost thirty years on, David Gedge has revisited the concept with Maxi, a brand-new, six-track EP which is again loosely based around the theme of driving. But this time… the result is significantly more expansive.Maxi arrives swiftly after the release of 40 a commemorative reflection of The Wedding Present’s complex and fascinating catalogue across four-vinyl and four-CD formats, with the compilation’s final track being ‘Hot Wheels’—a track from Maxi.Although Maxi follows the same concept as Mini, the 2025 model of The Wedding Present’s vehicle is discernibly grander, with Gedge hinting that guitarist Rachael Wood—who was new to the band at the time of writing —might be one of the reasons why. ‘Scream, If You Want To Go Faster’—the opening track—mesmerises with a slow-building, post-rock feel before it revs up to set the EP’s tone and flows into the infectious riff of ‘Grand Prix’—itself driven forward by the complexities of Wood’s playing.‘Hot Wheels’ and ‘Two For The Road’ – tracks three & four – are unmistakably Wedding Present. Gedge’s urgent guitar playing and lyrics shine their headlights on the challenges of the heart, and allow the listener to return to terra firma with a more familiar sound that effortlessly stands alongside classic Wedding Present releases. ‘Interceptor’ – track five – is steered by the bass until a roaring guitar and pounding drums shift gears to bring the listener back full circle to the post-rock...

Julian Heresy

s/t

No Coast

***Debut LP from Madison, Wisconsin's Julian Heresy. Features members of Bongzilla, Wristwatch, The Hussy, Whippets, Poney, ETC. Riff-driven slow-burn cosmic grinders touching on drone, doom and stoner metal. More than just Sabbath worship, compositional influences include Sunn O))), Earth, Steve Reich, King Crimson, John Carpenter, Glenn Branca and Swans. Turn the volume up and get carried through the crushing dark expanse. All tracks were written by M. Shull and Bobby Hussy (The Hussy, Wristwatch, Whippets), with vocals and lyrics by Bongzilla's frontman Mikey Makela. All guitar parts were played by Shull and Hussy. Bass duties were handled by Tyler Spatz (Wristwatch, Whippets, Poney) with drums by Tony Sellers. The album was recorded/mixed by Bobby Hussy at his home studio, Hex Empire. Mastered by Justin Perkins at Mystery Room Mastering. For fans of: Bongzilla, Electric Wizard, Worm, Earth, High On Fire, ETC. White vinyl Revolver exclusive LP limited to 50 copies.

Scissor Fits

It Wasn't Nothing

Minimum Table Stacks

***"Hounslow: a seemingly unassuming town with a storied history. Birthplace of MF DOOM. Final destination of the northbound 281 bus. And once upon a time, the stomping ground of beloved post- punks, Scissor Fits. Formed in 1978, with a stripped- down, spiky DIY sound as their sonic template, the band recorded their legendary debut EP ‘Taught? Tense? Angular? And Other British Rail Sandwiches’ before they'd even played a live gig. An instant classic featuring arch but relatable ditties such as 'I Don't Wanna Work For British Airways', 'I Wish I Hadn't Shaved My Pubic Hair Off' and 'Waiting For Your Love In The Shower' the EP garnered glowing press and the inevitable support of John Peel. A second EP 'Soon After Dark' was released in 1979, which found the band adding a poppy, quasi- psychedelic twist to their now beefed-up sound, and a superb final recording from the same era could easily have made up a third EP. In the tradition of so many punky posses of their time however, the Fits called it quits after just two fabulous singles, burning brightly and briefly, and their legacy is now captured here on this career-spanning compilation. Featuring both the band's EPs, plus four sumptuous previously unreleased tracks, this is the definitive Scissor Fits article. Dive in."—(Ed Zed, Strange Flesh)

Spirit Adrift

Infinite Illumination

20 Buck Spin

The journey of Spirit Adrift has come full circle. With their sixth album in a decade, mastermind Nathan Garrett is ready to unleash the band’s final chapter. Infinite Illumination, the Spirit Adrift swansong, is a return to the wellspring that first inspired it all and testament to a band that in the last ten years has crafted an impeccable signature thoroughly their own, molded from the elemental matter of more than a half century of heavy metal exaltation. Infinite Illumination has a directness to it, a sense of urgency and raw intensity. The songs feel inevitable, like they had to be driven out from deep within during a time of great upheaval. The fatalistic “Born in a Bad Way” summons a vengeful “broken relic from another age” that must “live again and make them pay” via Garrett’s swaggering snarl, while “White Death” impugns “God shined on a chosen few, we must kill the rest of you”. These songs have a palpable sense of malaise both spiritual and terrestrial, personal and universal, inflicted via crushing traditional doom riffs, thunderous mid-tempo marches and Garrett’s impassioned vocal delivery. Long after the band is gone fans will continue to discover the Spirit Adrift catalog and witness the breadth of greatness they delivered in just a decade’s time. Every melodic, epic and emotionally charged thread that defines the band’s legacy honors the animating force behind pure creative ambition. And at its core Infinite Illumination carries both the weight of conclusion and the troubling realization that...

Orcutt Shelley Miller Yow

Hot Head / A Man Needs A Maid

Silver Current

Orcutt Shelley Miller and legendary front man David Yow of The Jesus Lizard join forces for a feral rendition of Captain Beefheart’s Hot Head, b/w Neil Young’s A Man Needs A Maid.Orcutt Shelley Miller follow their critically acclaimed self-titled 2025 debut album with a 7-inch EP that presents an unexpected pair of covers and a perfectly tailored guest vocalist appearance by David Yow for Beefheart’s Hot Head.Ethan Miller, known for his singing in bands like Howlin Rain and Comets On Fire handles the intimate and glass-fragile vocal duties on OSM’s cinematic rendition of Neil Young’s A Man Needs A Maid.On how Hot Head came about OSM bassist Ethan Miller says, “David is one of the great through-lines helping to carry the spirit of Beefheart’s musical legacy into and beyond alternative music of the ‘90s and 2000s. In my estimation that explosive blending of sonic complexity and visceral, primitive expression is really at the heart of David and The Jesus Lizard’s power, as it is also at the heart of Orcutt Shelley Miller. Beefheart hand-carved the model for that musical dynamic in marble.”On the subject of Beefheart David Yow says, “I am extremely grateful for Don Van Vliet and the stuff he made, both the things you look at and the things you listen to, but no more so than OSM. That may or may not be the truth.”

Crippling Alcoholism

Camgirl

Flenser

Pleasure, shame, and survival often arrive tangled together, indistinguishable in the moment. Camgirl, from Crippling Alcoholism, takes that entanglement as its starting point. Rather than separating desire from damage, the record allows them to coexist, tracing a path through obsession, performance, and persistence without offering clean resolution.Camgirl is the 2025 breakthrough album from Boston’s Crippling Alcoholism, a record that frames pop immediacy against obsession, endurance, and collapse. Built from ear-wormy hooks and abrasive noise rock textures, the album smuggles grotesque and confrontational subject matter into songs that remain deliberately melodic. Pleasure and revulsion blend throughout, with choruses that linger even as the lyrics refuse comfort.Released on September 12, 2025, Camgirl follows a loose narrative centered on a sex worker moving through cycles of exploitation and survival, treating intimacy as spectacle and visibility as threat. Songs flicker between desire and despair, confession and performance, flooded with artificial light. Despite its subject matter, the record resists nihilism. Its closing moments arrive quietly triumphant, not through escape or redemption, but through persistence itself.Originally released on vinyl by Portrayal of Guilt Records, the first pressing of Camgirl sold out quickly. The Flenser reissue makes the album widely available for the first time, reaffirming it as a defining statement from a band operating at the intersection of pop form, noise, and lived experience.

Glass Cage, The

Where Did The Sunshine Go?

Supreme Echo

In the summer of 1968, five BC teenagers recorded an exciting six-song demo of West Coast garage psych. Cut to an acetate then lost to time for 50+ years. Until now. Restoration & remastering by Peter Conheim, deluxe 8-page booklet with story, photos and posters. Cover art by Bob Masse Studios. 400 groovy random colors, 100 black. “A remarkable discovery. The Glass Cage show impressive creativity and versatility as they transition between hard-hitting, organ-driven Northwest R&B slammers and dreamy, harmony-based psychedelic numbers.” – Mike Stax, Ugly Things “I LOVE the Glass Cage!”—Grant Lawrence, CBC Radio “Newly unearthed garage rock classic ... terrific California-style psychedelia”—Craig “Rockin’ Prof” Morrison, Ethnomusicologist “A garage rock gem”—John Dwyer, Osees “Definitely worth checking out … a worthwhile listen”—Henry Rollins, KCRW

Dog Faced Hermans

Everyday Timebomb

Megaphone

***Explosive. Urgent. Wildly inventive. Everyday Timebomb captures Dog Faced Hermans at their most fearless—fusing punk intensity, free jazz chaos and political fire into a sound that defies genre and time. Long out of print and increasingly difficult to find, this lost classic is finally back on vinyl for a new generation to discover. Formed in the vibrant European post-punk scene of the late '80s, Dog Faced Hermans stood apart for their raw energy, charismatic vocals and an instrumentation that inspired artists from The Ex to Godspeed You! Black Emperor . Their fearless spirit and DIY ethos turned noise into art and protest into rhythm. This limited reissue stays true to the original analog sound while the fresh remastering gives the original tracks new depth and punch. Each copy includes carefully reproduced artwork and archival notes celebrating the band's unforgettable legacy. For fans of Chumbawamba, Rip Rig + Panic, Fugazi, and anyone who believes that music should sound like liberation itself. Everyday Timebomb is more than a record. It's a reminder of how revolutionary sound can be. LP limited to 500 copies; Cut at Schnittstelle Mastering and pressed at Optimal in Germany.

Lubricated Goat

Paddock Of Love

Sorcerer Records

***Originally released on the Black Eye label in 1988, Paddock Of Love was the Sydney band's second LP and the first to really feature a more stable line-up, which included Guy Maddison (future Mudhoney bassist), Nick Barker (future pop star!), Peter Hartley and, of course, the man who drove the engine, Stu Spasm (Art Gray Noizz Quintet). Around the time of its release, the band were invited to play on Andrew Denton's nationally-televised TV show on the ABC, Blah Blah Blah, and played the opening barnstormer, "In The Raw," fully nude, causing an uproar in the tabloids. It was a fun time to be alive, and shot the band into the national consciousness of confected outrage for a few weeks. What's more important is this recording, which is a glorious collection of scungey 'n' grungey rock 'n' roll degeneracy in the finest sense of such words. It is filled with killer tracks like "Funeral On A Spit", "Gargoyles" and "Cannibal's Lament", sounding focused, purposeful and like a real BAND. Paddock Of Love has been out of circulation for 30+ years, and in this edition, Sorcerer also include a huge fold-out poster with a reproduction of the cover on one side, and lyrics and new liner notes from Stu on the other side, as well as outraged articles from the time, press clippings, etc. The cover shown here is the Censored Version (spot the difference!), so that it can stay on the internet and not get taken down, though the real...

Chris D / Poison Fang Society

Courtroom Wedding

In The Red

Courtroom Wedding, the feral new album by singer-songwriter-punk rock legend Chris D.’s new unit Poison Fang Society, succeeds In the Red Records’ release of two expansive albums by the bandleader’s Divine Horsemen, Hot Rise of an Ice Cream Phoenix (2021) and Bitter End to a Sweet Night (2022).The taut, economical eight-song set grew out of several songs penned in the immediate wake of the COVID pandemic lockdown and originally envisioned as material for a third Divine Horsemen record. But logistical problems involving the band’s co-lead singer Julie Christensen’s ability to record in Los Angeles led to the formulation of a new solo configuration rooted in the past.Poison Fang Society guitarist Larry Schemel, most recently of Death Valley Girls, and Tucson-bred drummer Johnny Ray are both veterans of the eight-piece lineup heard on the Flesh Eaters’ 1999 album Ashes of Time. They are joined by bassist-keyboardist-guitarist Sharif Dumani, who also engineered the collection and co-produced with Chris D.The songs Chris brought to the studio reflect a shift in style: “I was really trying to write some more traditional kinds of songs, but not make them sound really anonymous. On the last couple of albums, the Divine Horsemen albums, there was a lot more cut-up stuff. I still did some cut-up in the lyrics with this record, but not as much. The lyrics to ‘Cellars to Weep’ were very influenced by songs like Bob Dylan’s ‘Subterranean Homesick Blues’ or ‘Highway 61 Revisited,’ even though song doesn’t sound like that. I wanted to...

Acid Twilight

Trippo Nova

Not Not Fun

The 4th full-length by Argentine séance centrist Acid Twilight arrives after a 3-year lull spent musing on visions of mystic orders, silk roads, and altered states. Trippo Nova fuses these fascinations into an hour-long journey to the end of the night, crafted with keys, bells, guitar, metronomes, shakers, synths, and smoke. It’s music of vaulted halls and the long-shadowed outskirts of camp, unspooling like ceremonial fragments of older, longer, nameless melodies – their origins unknown, but their ritual unbroken.

Coral Club

Follow The Mirage

Not Not Fun

The latest by Alexander Sirenko’s omnidirectional Coral Club alias traces his bedroom 4th world architectures onto more iridescent terrain. Follow The Mirage weaves between states of bliss and illusion, tranquility and transience, reveling in its own unraveling. Synths and synthetic percussion congeal and dissolve and ebb and flow in sideways tidal surges of waves, wind, clouds, and crystals. Silver currents crest into dizzying mallet latticework. Tribalist marches fray into woozy cosmic undertow. If motion is color, a mirage is a rainbow – to be savored, favored, and followed.