New Releases

Buzz Kull

Deep Hate

Heartworm Press

***Since 2012, Buzz Kull has emerged as a defining force in the international underground, merging the emotional gravity of darkwave with the precision of industrial dance. His new work here bridges pop structure and shadowed intensity, evoking the spirit of Black Celebration era Depeche Mode and the body rhythms of Front 242, reimagined through a modern lens and tours in direct support of Cold Cave, Boy Harsher and Molchat Doma. Deep Hate is a four-song statement of intent: relentless, cinematic, and charged with nocturnal electricity. These tracks mark Buzz Kull’s most focused and ferocious work to date,a document of emotional clarity and mechanical pulse that embodies Heartworm Press’s devotion to beauty, severity, and the ecstatic void.The CD version of Deep Hate contains the four songs from the 12" plus four remixes by PIG, Kontravoid, Cold Cave and Spike Hellis. 12-inch pressed on half black half white vinyl.

V/a

Riotous Assembly

PNV

***For the first time since 1982 this legendary UK punk compilation is back on vinyl! All legends have a beginning, and this is the glorious start of the Riot City label, the first release which kicked off one of the greatest runs of punk releases of all time. Packed out with legends who would go on to define both the Riot City sound as well as the broader "UK82" genre, here you get early tracks from Vice Squad, Chaos UK, Expelled, Abrasive Wheels, and several others, some owing their only vinyl appearance to this compilation. A stunning snapshot of the creativity and political outrage boiling in Bristol's UK youth cult at the time, as well as a testament to the networking and vision of one of punk's greatest labels.

Group Rhoda

Phase 5

Dark Entries

Group Rhoda returns to Dark Entries with Phase 5, a new LP of synthesizer-driven art-pop. An integral member of the West Coast electronic music scene, Mara Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. Barenbaum’s songcraft is at once stylistically diffuse and laser-focused, a synesthetic approach that allows her to effortlessly glide between genres and soundworlds while centering her singular poetics. On Phase 5, her fifth LP as Group Rhoda, we find Barenbaum waxing nondualistic. Lines between fairytale and fact, between nature and art, between subject and object all dissolve under contemplation. The songs on Phase 5 are perpetually in-between states, deftly shifting form at the blink of an eye. With sleight of hand, “Field Tone” transmutes from brooding John Carpenter-esque electro into vocoder-driven space disco. “Dragon Pine” darts from cosmic dub to cybernetic dancehall and back again. The uptempo darkwave-leaning number “Aeolian Crossing” dissolves into the void, like sand falling through one’s fingers, like a retreating wave. The cover artwork for Phase 5 is by Shawn Reed, and features purple lilies and light refracted through water. All songs on this album were mastered by Ruud Lekx. The digital version of Phase 5 will be released via Katabatik, a label and sound system that Barenbaum has had close ties to for the past decade.

Earth Tongue

Dungeon Vision

In The Red

Ushering in a new era, Berlin based, New Zealand heavy psych duo Earth Tongue lower the castle gates on their third album Dungeon Vision, a trove of fuzz-drenched anthems produced by garage rock luminary Ty Segall in Los Angeles. Guitarist Gussie Larkin and drummer Ezra Simons spent the Berlin winter of 2025 refining the album’s twelve tracks in their self-described “windowless cave” rehearsal space, crafting a record that channels both isolation and the duo’s live intensity. With the songs finally taking shape and a studio deadline looming, they flew to Los Angeles to turn their hard-won ideas into the real thing. Once there, the band and Ty captured lightning in a bottle, recording and mixing Dungeon Vision in just ten days at Altamira Sound. Tracked live to tape, Dungeon Vision pulses with human energy, fuzz guitars, bone-battering drums, and hauntingly tuneful vocals. Ty Segall’s influence is all over the record with Ty choosing the best takes based on feel rather than technical perfection. The “king of fuzzy guitar tones” pushed the duo to find new sonic textures while championing their raw chemistry. “Ty’s been a big driving force,” says Ezra. “We supported him in New Zealand back in 2023, and he’s backed us ever since even bringing us on tour through Europe and the UK in 2024.” Since their emergence in 2016, Earth Tongue’s world-building, visuals, and relentless touring have earned them global attention and a cult-like following. Their 2024 album Great Haunting, also released on In The Red Records,...

Range Rats

s/t

Mississippi

***Fred and Toody Cole's (of Dead Moon, Pierced Arrows, The Rats, etc etc) country band record from 1986! Amazing lo fi country tunes - most with a full band and a couple accompanied by their drum machine Rollie. Awesome songs!

Famous Actors From Out Of Town

FA3574

Electric Cowbell / Richmond Relics

***Electric Cowbell Records announces the launch of Richmond Relics, a new archival imprint dedicated to preserving the city’s musical history. Its inaugural release is a newly remastered reissue of FA3574, the sole album from Richmond, Virginia’s legendary supergroup Famous Actors From Out of Town. Originally self-released in 1986 as a limited-edition, cassette-only title, FA3574 was recorded at Floodzone, a repurposed tobacco warehouse studio in Richmond.The album features ten original instrumental tracks that capture the group’s kinetic chemistry and their off-kilter blend of late-’70s/early-’80s art rock, jazz, noise, and improvisation. Nearly forty years later, the recordings remain strikingly vibrant. Now fully remastered for vinyl.Formed in Richmond, Virginia in the mid-1980s, Famous Actors From Out of Town created ambitiously composed instrumental music rooted in the city’s fertile underground scene. Built around the uncommon power of two drummers working intricately in tandem, the quartet blended jazz, rock, improvisation, and experimental music into a sound that was both cerebral and physical.Though the band played infrequently, their live appearances became legendary local events, drawing multigenerational audiences of punks, metalheads, jazz fans, students, and artists alike. The group featured composer and keyboardist Marty McCavitt, percussionists Johnny Hott and Pippin Barnett, and multi-instrumentalist Paul Watson on trumpet, guitar, and bass. All four were veterans of Richmond’s jazz, rock, and new-music communities, with deep connections to bands such as the Ululating Mummies, Orthotonics, Gongs Violence, House of Freaks, Idio Savant, the Tom and Marty Band, and the Snakehandlers. Their creative pedigree extended well beyond the city, with members...

Disfigure / Ritual Clearing

Ritual Clearing / Disfigure - Split

Redscroll

***Disfigure is a black metal band out of New Haven, CT infusing aspects of war metal with elements of d-beat hardcore/crust punk.Ritual Clearing is a band spread around CT/MA with previous (sold out) releases on the black metal label Eternal Death.FOR FANS OF: Beherit, Bolt Thrower, Blasphemy, Tragedy, Spectral Wound, Horna, Sargeist

Orchestra Gold

Baye Ass N’Diaye

Orchestra Gold

This song is an hommage to Mariam's respected guru in the Baye Fall tradition, Baye Ass N’DIAYE. Mariam encourages us to value our direct, mystical experience of the divine over legalism and dogma.

Orchestra Gold

Djama Ko

Orchestra Gold

A song reminding us to just be ourselves. One poignant lyric states “Some clothes just look better on some people than others”. It’s about not getting caught up in comparison, and leaning into what makes us uniquely special.

Franklin’s Mint

Depression Era Ultra High Frequency

Sunburned Records

***The latest excellent album from this group effort led by PHIL FRANKLIN (SUNBURNED HAND OF THE MAN, SECRET CHIEFS 3, CAROLINER). "Often a reconfigured vision of Sunburned, this newest finds Phillip with the Mass crew, including Adam Langellotti, Gary War, John Moloney, Sarah Gibbons, Rob Thomas, Shannon Ketch, Kyrssi Battalene and Angus Leslie, on one side of the LP, turning his gnarled missives into dented classics. The other side of the LP finds Franklin back in Australia, where he’s made a new home for a number of years. A whole new host of locals back him up, giving the record a distinct divide that’s still tied by Franklin’s tough-knuckled missives."—Raven Sings The Blues

Animal Piss, It's Everywhere

Self Titled / Grace - The First Two Albums

Sunburned Records

***Both APIE out of print vinyl LPs collected on one CD. Gem piled upon gem of woozy, VU-tinged cosmic American music delivered by Western Massachusetts' finest players. The band explores such collectively road-tested themes as mortality, partying, doomed celebrity, and wasted-days-turned-regrettable-nights with equal parts stardusted mania and genuine pathos. Features members of Sunburned Hand of the Man, Weeping Bong Band, SQRM, Hoax, Pigeons, Rhyton, Wet Tuna, et al.

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.