New Releases

Hobknobs

Helmets Off

12xu

***Helmets Off can be described as an honest attempt at honesty. Although all options are open at the moment of conception, the end result often remains bare. Instruments come in when they are needed, but the songs apparently don’t need that much at all. Every word and every strum sounds like it’s placed in exactly the right moment. Perhaps it is this bareness of the songs, that makes it feel as if The Hobknobs are speaking to the listener directly. It is clear that they don’t want anything to cloud this human interaction.Yaël Dekker, whom you may also know as the singer of The Klittens, and Arie van Vliet, who used to spread his word through the band Lewsberg, were once described as loving misanthropes. Listening to Helmets Off, this description seems rather accurate. A consoling song like “The Mind” sounds haunting. Even words seem to have lost their meaning in “Dictionary”. Songs that seem cheerful and naive at first appear to be pleadings on second listen. And is “Enarmoured” a pro-war protest song? What war do they want to fight?Dekker and Van Vliet’s voices seem to know each other well, in a way that magnifies the songs on 'Helmets Off' beyond their deceptive simplicity. Together with the minimal production by Jaap van der Velde, it makes that the album hits the sweet spot somewhere in the middle of ‘instantly familiar’ and ‘no one else sounds quite like this’.

Flavor Crystals

Three

Dust and Memory

Originally released in 2012, Three by Flavor Crystals has steadily become a cult favorite within the modern psychedelic underground. Blending hypnotic guitars, immersive atmospheres, motorik rhythms, and deeply melodic songwriting, the album moves seamlessly between neo- psychedelia, dream pop, and space rock. With its warm production, shimmering textures, and expansive mood, Three creates a rich and transportive listening experience that continues to resonate far beyond its original release. Over the years, the album has developed a devoted following among collectors and fans of atmospheric, guitar-driven music, earning recognition as an essential modern psych title. This vinyl reissue reintroduces a sought-after underground classic with strong crossover appeal across psychedelic, indie, and dream pop audiences. Recommended For Fans Of The Brian Jonestown Massacre, Spiritualized, Spacemen 3, Mazzy Star, The Black Angels.

Ladybug Transistor, The

Beverley Atonale

Dust and Memory

A beloved cult classic of late-’90s indie pop, Beverley Atonale captures The Ladybug Transistor at their most elegant and timeless. Blending baroque pop arrangements, warm analog textures, jangly guitars, and lush vocal harmonies, the album has become a cornerstone release for fans of sophisticated, melody-driven indie. Long sought after by collectors, this vinyl reissue brings back an essential title from the American indie underground — a record whose cinematic songwriting and vintage pop sensibility continue to resonate decades after its original release. With enduring collector demand, strong catalogue value, and broad appeal among fans of Elephant 6-inspired indie pop, Beverley Atonale stands as an essential addition to any indie-focused catalogue and a timeless rediscovery for a new generation of listeners.Recommended For Fans Of The Essex Green, Belle and Sebastian, Broadcast, Stereolab, The Olivia Tremor Control.

Ultra Lights

Pleasure's All Yours

Chunklet

Fortune favors the brave. And lordy, nobody has been more rewarded than I have by stumbling into the brilliantly crafted world of Ultra Lights. It started innocently enough when I witnessed their second show, appearing on a stacked bill that included locals Bizner and Arbor Labor Union and the Dutch phenom band Lewsberg. After their opening set, I went up to guitarist/vocalist John Robinson and asked if their closing song was a cover, because it sounded so dang familiar. An earworm for the ages, if you will. Yeah, it was that annoyingly catchy. Maybe was it a Fang song? That Sunday night signaled the beginning of my torrid love affair with Ultra Lights.Ultra Lights’ first release was “Nostalgia.” At the time it was unquestionably their best song. “Nostalgia will eat the young”? Are you serious? That still stops me in my tracks. The two subsequent singles were equally all killer, no filler. The six-song 12” that collects all three singles is equally spotless. I’ve got zero notes. The band has played New York (including a WFMU session!), Chicago, Nashville, and anywhere else that’ll take them. Left in their wake are fans like me who are convinced that Ultra Lights is their new favorite band.Enter Pleasure’s All Yours. A record that, by any reasonable metric, is a stone-cold masterpiece. Not just compared to records by other bands in Georgia or, more broadly, the South. No, I mean that in the great history of recorded music, this is up there with the...

Achers

Bottom of the Hill

No Idea

The first all-new release on No Idea in nine years comes courtesy of London's Achers. “Formed in 2022, Achers is a London-based outfit. The group delivers glacial, wiry and hallucinatory atmospheres set in intensely expressive and grinding earnest DIY 90s Post-Hardcore territories, influenced by a wide gamut of noisy guitar-driven bands from Slint, Unwound, Drive Like Jehu, and At The Drive In, to Pixies and Pavement, peppered with the ’80s post-punk serrated jaggedness of Gang Of Four and Wire.”—White Light White Heat.

Edgar

Pavor

Dark Entries

Edgar debuts on Dark Entries with Pavor, an 11 track LP of sleazy disco, warped synthpop, and gothic cumbia. Veteran musician Luis Gutierrez has spent the past two decades touring in bands, running Lalalandia Studio, and building his practice in Oakland and Guadalajara. But now, for his first solo outing, he has become Edgar, a pop star who knows no limits! “Edgar feels mightier than anyone but is always reduced to his vices” says Gutierrez, and Pavor delivers vices in spades. From the opening salvos of “Otra Agua,” it’s clear we’re in for a wild ride: seasick synths slide along slamming disco beats, menacingly chanted vocals sit amid a flurry of careening horror movie samples. The mischief does not abate as we’re guided through a demented funhouse of genre detournements. Edgar puts his indelible fingerprints over every inch of this vinyl, from uptempo numbers like the spooky chip-tune frenzy of “Nunca Mas” to the twisted cumbia of “Panteon.” We’re even treated to a fairly faithful (and majestic) Spanish-language cover of Amanda Lear’s “Follow Me,” here titled “Sigueme.” EBM, space disco, and horror movie soundtracks all find their way into the mix on Pavor, but the diverse palette comes together perfectly, like a Yello album for the 21st century. Pavor comes housed in a sleeve designed by Eloise Shir-Juen Leigh and features a photograph by Izaak Schlossman. Also included is an insert with lyrics and notes. On Pavor, Edgar brings us a healthy dose of pure excess, reminding us that dread...

Bellerue, Bob

Chaos Is A Law

Helen Scarsdale Agency

A catalyst for all sorts of noise-making endeavors, Bob Bellerue embraces chaos as a positive force. As a musician, he harnesses the violent timbres and textures from feedback clashing against piano wires, amplifiers, metal, zithers, electronics etc. He's also been central in harnessing community through his long standing Ende Tymes festival in New York, providing an intersectional platform for all voices to utter their noise. To a polite society, things such as chaos, noise, and anarchy threaten the normative structures that can assert control and maintain power over others. Bellerue qualifies his practice as a form of sonic animism, in which engages with that which is unheard in materials, equipment, and their relationships, developing a process of amplified discovery. The unhinged, the unquantifiable, and the unknowable are all possible outcomes in Bellerue's expansive works. Chaos Is A Law is a macrotonal album, whose expressive de-centralization originates from rasping noise, intense textural accretions, brutalist drone, and inharmonic ambience. For all of the sustained harmonics and dissonant frequencies, the album is in constant motion, with Bellerue pushing dynamics that build, rupture, collapse and reform with an almost organic morphology. At times, it boils with a feral intensity. At others, its muscularity collapses into peculiar almost half-melodic figures, mutated within all the distortion. One could look to the free noise practitioners from New Zealand (e.g. A Handful Of Dust, Birchville Cat Motel, Surface of the Earth) or to the alchemical dronescaping of Stephen O'Malley and Organum. Yet, Bellerue's work maintains a bespoke tactility...

Non Plus Temps

Conditional Bunker

Siltbreeze

Non Plus Temps are a bay area ensemble whose core members you'll also find in fine bands such as Famous Mammals, Naked Roommate & Preening. Tail waggers all, but bunched together here, they spray a hybrid snork like few others. The first lp, 'Desire Choir' from 2022, was an infectious hopper of left field dub & etcetera that make it difficult to stay still. And 'Conditional Bunker' their followup 2nd effort, is an even more demanding dinger than the debut. And as is their want, NPT's song catalog reflects a wide range of structures: the yarp familia via the Canterbury cabal, reverberating chasons ala Family Fodder, hints of Frank Chickens Enka scramble, Laughing Clowns horn-swoggle + all that is worth noting from an appreciation of the On-U Sound & Y Records imprints. I mean, what else is there to say? It's a platter of unctuous sonority, deserving of a galaxy''s worth of Michelin stars. Or in the parlance of your mom, "Fuck art, let's dance". It's win/win either way.

Beylis, Natalia & Eimear Reidy

She Came Through The Window To Stand By The Door

Eiderdown Records

***Second Pressing. Recorded at St Georges Church, Carrick On Shannon, Leitrim on a cold early January with a William Telford Organ. Built in 1846, it is reputed to be the second oldest organ in Ireland.'Pour Upon The Sky' is a story told by the two voices of cello and organ. Influenced by the rhetorical style of 18th century vocal music, the inspiration for this piece came naturally to Eimear who has a background in early music and has performed alongside the organ in a variety of settings from chamber works to Bach's larger orchestral works such as St Matthew Passion. In 18th century music, the cello & organ perform a role as continuo players. Traditionally the cello and organ are both intertwined and interdependent, playing the bass line and harmonies together and providing a foundation for the rest of the ensemble while soloists come in and out.In 'Pour Upon The Sky', Eimear and Natalia play within and without of this traditional form. Freed from the need to hold the solid ground for an ensemble, the cello and organ playfully explore the space as they pass the role of solo and continuo back and forth.'The Whistling Dust' is a slow steady study of the microscopic flutters of the organs and the organ. The heart of the Telford rattles and breathes as the cello dances in and out. When Natalia & Eimear began working on these pieces in the cold January, the Telford, which seemed like it had been sitting quietly for...

Myth Math

Tongues

Illegal Art

***For 15 years, Matthew S ran Illegal Art in near-total anonymity, using aliases like Philo T. Farnsworth while building a label that challenged what was “allowed” in music. From 1998–2012, it became a lightning rod for sample-based art, pushing legal and creative boundaries before going on hiatus as the industry shifted to digital.Now, Illegal Art returns—with Matthew stepping out from behind the curtain and launching Myth Math, a more personal, song-driven project. Tongues, his debut EP, marks both a new chapter for the label and a shift in his own work: blending samples with live instrumentation, songwriting, and vocals.Originally rooted in experimental collage (including the infamous Deconstructing Beck), Illegal Art later found wider impact through artists like Girl Talk, helping legitimize sampling as a respected art form. That influence still echoes across genres today.With Myth Math, Matthew moves toward a more human, expressive sound. Inspired in part by artists like Sufjan Stevens and Jeff Tweedy, Tongues balances abstraction with accessibility. The EP was shaped in collaboration with former student Mitchell Baker Martin, and features drums from Kellii Scott (Failure) on “Deep Down”.For Matthew, the mission remains the same: take familiar sounds and push them somewhere new into something that feels like art.

AC/BG

Open Doors / Queen Of Hearts

1-2-3-4 Go!

A short run 7" for a short run project from Aaron Cometbus (Pinhead Gunpowder, Crimpshrine, etc) and Barker Gee (Ringers, Witches With Dicks, Neon Piss etc)! Two songs recorded on a 4 track in a brooklyn basement that capture two of the most unique spirits I've ever come across in my life coalescing for an all too brief period of time. Limited to 429 copies.

Delee, William

Raynol Overlook

Carbon

***Similar to Eric Arn and other folks in the guitar realm, William DeLee leans at times to the more neo-classical and cleaner side of acoustic guitar playing. But like Arn, he is never stale or overly traditional, and also like Arn, William has some mad skills, some might say, he’s a virtuoso. Raynol Overlook showcases both Will’s expertise, but also his incredible creative approach to both 6-string and 12-string guitar, as well as his emersion into the Andean stringed-instrument the charango. Like on past releases, this LP is a perfect blend of pieces composed on these various instruments.

Gunn, Lucas

You Shouldn't try to barrow other People's skin

Carbon

***You Should’nt try to barrow other People’s skin. [sic] was recorded professionally with quality vintage microphones, while a few tracks were self-recorded. Each song was recorded live in the studio—no overdubs, no edits—giving the album a raw, authentic edge. All songs were recorded analog, and overall, the guitar sound is heavy, hypnotic, and catchy. And at times droney and chorusy.

Desiccation

Legatum Mortuorum

Carbonized

Legatum Mortuorum, the second full-length from Desiccation, confronts death, grief, and oppression through relentless riffs and haunting atmosphere. Hailing from Nevada City and Sacramento, California, Desiccation was formed in 2022 by husband and wife team of James (Guitars, Vocals, Synths) and Soell Bratt (Vocals), along with Patrick Hills (Drums, Bass, Synths, Background Vocals). The band combines a unique mix of Doom, Death, Black, and Post-Metal to portray a bleak world in which shards of hope glimmer amid the wasted aftermath of collapsing nations and burning ecosystems. Inspired by the absorbing sounds of bands like Emperor, Evoken, and Blut Aus Nord, Desiccation builds on their 2022 debut, Cold Dead Earth, adding deeper layers of synth over more aggressive Black / Death riffing. Familiar elements of emotive melody and Sludgy Death-Doom are strengthened by a solid Extreme Metal backbone. The band blends non-dual elements: blasting drums and tremolo-picked guitars give way to spacious, slow riffs and sprawling synths. Lyrically, themes of loss and grief are intertwined with moments of transcendence and connection. Aggression and beauty, hope and hopelessness, are woven together to translate inner experience into the outer world. With Legatum Mortuorum, Desiccation focuses on Doom-driven weight and patience emphasizing space, and repetition; atmospheric extremity that is rooted in Black and Death Metal. Ritual, grief, and transcendence expressed through layered sonic atmospheres.

Goetia

Mortuary Cult

Carbonized

***Mortuary Cult, the first full-length album from Goetia, features ten blasting tracks of Death Metal desecration! Goetia was formed in Washington, DC in the Autumn of 2022 by bassist / vocalist, Matt Scott, guitarist, Demir Soyer, and drummer, Nadia Tydings-Lynch. Goetia self-released their first EP in May of 2023. This was followed by a re-release on Persistent Vision Records and regular touring throughout that year. Their self-titled EP was followed up by their second, Tomb Essence, in 2024, released by Heavy & Fast Records, and finally a third 7” EP, Otherwordly Agency, in 2025 on Voice of the Cielago. Their first Full-Length album, Mortuary Cult, was written and recorded during these years amidst tours alongside Vastum, Altars, Healing Magic, and others. While their first three releases loosely center around occult themes, their debut full-length is more conceptually driven, featuring ten tracks inspired by experiences in an old cemetery in the suburbs of Washington, DC. With Mortuary Cult, Goetia strives to retain the same energy and sound they’re known for, ensuring fast-paced Death Metal with an abundance of chaotically frantic guitar solos and a plethora of blast beats. Mortuary Cult was recorded by Matt Michel (Antichrist Siege Machine, Blood Monolith) at Viva Studio and mixed by Will Killingsworth (Full of Hell, Miasmatic Necrosis, Tomb Mold) at Dead Air Studios. Cover Artwork by Chris Taylor (Pig Destroyer, pageninetynine, Darkest Hour).

Goatvomit

Demo / EP

Nuclear War Now

***This collection assembles Goatvomit's two foundational recordings: the unholy self-titled demo from 2000 and the NWN released "Chapel of the Winds of Belial" 7" from 2001. Both releases have been out of print for over two decades, becoming increasingly sought after by devotees of bestial black metal. It is a privilege to resurrect these recordings on a single compilation while we continue to await Goatvomit's long-anticipated full-length album.At the turn of the millennium, the landscape of black metal looked very different than it does today. The dominant trends favored the colder, more atmospheric European sound, while only a handful of bands remained committed to the chaotic and primitive spirit forged by Blasphemy, Beherit, Sarcófago, and Profanatica. Labels dedicated to this style were few and far between.When NWN! emerged in 2001, its focus was firmly fixed on promoting bestial black metal through releases by Blasphemy, Morbosidad, Abigail (Intercourse and Lust is bestial AF), and, of course, Goatvomit's debut 7". Yet even before that, Goatvomit's self-titled demo stood apart from the sea of cold black metal recordings that flooded the underground. Alongside early recordings by GoatSemen, Unholy Archangel, Goatworship, Black Witchery, and a select few others, Goatvomit helped keep the flame of the "warm climate" black metal tradition burning.

Ride For Revenge

Angels Fly Low

Nuclear War Now

***2026 studio album Angels Fly Low from Finland’s Ride for Revenge, arguably their best and heaviest album to date. This is a direct extension of their established sound, no updates, no compromises. The influence of early Godflesh and Beherit’s Drawing Down the Moon is clear, but Ride for Revenge reshapes it into something more stripped down and ugly. Blending black metal and doom into a singular, crawling entity, the band pushes a bass-and-drums-driven approach, often sidelining guitars in favor of low-end weight and primitive rhythm. Angels Fly Low is a dense, suffocating listen: filthy, slow-moving, and immersive in its repetitiveness. The emphasis is on atmosphere and weight, with a low-end presence that pulls everything into the abyss below.

Twisted Teens

Florida Water Blues

Going Underground

***Twisted Teens is a rockin' roll band from New Orleans. The Kinks of living in a school bus with no wheels on it. The Rolling Stones of Jungian anarchism. The Buzzcocks of the poisoned bogs of south Louisiana. Punk inflected country music, or country inflected punk music idk. Memetic warfare via earworms (it's extremely catchy). Outperforms all other bands in every metric, drinks every night but still makes it to the gym. Draws no contrast between the familiar and unfamiliar.

Riedl, Paul

Ambient Mixtape Vol. 5: The Water Tape

Eroding Winds

***Eroding Winds is proud to present the vinyl edition for Paul Riedl's 2022 Ambient Mixtape Vol. 5: The Water Tape. While Paul is well known as a member of Blood Incantation, Spectral Voice, Leech, and many other bands from the American metal underground, he has concurrently spent much of the last 20 years quietly crafting a variety of solo atmospheric recordings under various project names. Most recently his solo work has focused on a series of ambient mixtapes and compositions under his birth name, and AMV5 is a shining representation of the evolution of his work. 80 minutes of calming Environmental Music, meditative New Age, generative Ambient and stargazing Kosmische drone. Presented as a 2xLP with re-sequenced track list, and an insert with expanded liner notes. Re-mastered for vinyl in 2025 by Arthur Rizk. Lacquers cut by Greg Reierson at Rare Form Mastering and pressed at Copycats Media in St. Paul, MN during the Winter Solstice.

Shakali

Toinen Luonto

Not Not Fun

Finnish multi-instrumentalist Simo Hakalisto makes mosaic music of strings, bowls, bells, reeds, wind, water, and obscure electronics, threaded in subtle currents of color and texture. The title of his latest, Toinen Luonto (Finnish for “second nature”), alludes equally to Shakali’s earthen, tactile soundworld and Hakalisto’s deepening comfort with his craft. The album’s eight songs feel coaxed as much as composed, a web of resonances set in motion and allowed to simmer, build, or billow. Vibrations and silences unspool and intertwine, alternately pointillist and diffuse, attuned to some hidden harmony of the spheres. In addition to his own repertoire of rare instruments (including a 36-string kantele, built by Hakalisto’s grand-uncle), several notable collaborators contributed to Toinen Luonto: saxophonist Julian Overall; Hakalisto’s partner in the duo Lunar Horns, Timo Juntunen, playing udu and percussion; American experimentalist Roy Werner; and Belgian ambient flute samplist Les Halles.

Trad Gras Och Stenar

Rock For Kropp Och Sjal

Silence

***Rock För Kropp Och Själ stands as the final, definitive statement from Träd, Gräs och Stenar during their original tenure with the legendary Silence label. By 1972, the band had reached a breaking point. After five years of relentless touring—defined by marathon three-to-four-hour performances delivered four or five nights a week—the collective was physically and creatively spent. The weight of expectation had become a burden; the band felt pressured to deliver "maximum ecstasy" and total psychic immersion at every single gig. This period of high-intensity "flipped out" performances culminated in their final appearance at the Falun prison in July 1972, after which the members dispersed to refocus and recreate their individual artistic paths. Expanded content: Includes a bonus LP of rare live material from Denmark and Gothenburg.

Alvarez, Lorena & Alejandro Palacios

Jardín Giratorio

Not Not Fun

Chilean duo Lorena Álvarez and Alejandro Palacios return with a second suite of poetic improv murmurings: Jardín Giratorio. Dusty horns trace smoke rings over daydream keys, seesawing strings, and whispery wah guitar. Instruments interweave and unravel in warm currents of light and shadow. Theirs is a hushed, tactile chemistry, roving the peripheries of low-lit ambient and narcoleptic jazz, unrushed and unspooling from rotating gardens of the mind’s eye. Lorena Álvarez: Rhodes piano, Yamaha CS1x, Nord Stage EX 76, FX Alejandro Palacios: trombone, electric guitar, double bass, FX Recorded by Antonia Valladares in December 2024 at Palmera Roja studio. Mixed by Antonia Valladares, Lorena Álvarez & Alejandro Palacios. Mastered by Francisco Holzmann. Artwork by José Calman. Interior photo by Antonia Valladares.

Solenoid

Middlemarch

Common Language

***Common Language is a project of the Community Library label. We started it as a way to reconnect with the ideas that drove ComLib’s inaugural releases back in 2005, uncompromising and eclectic DJ 12’s. We’ll be focused on this imprint for a while, and near-term, putting the emphasis on releases by label cofounders and our closest friends. On CLANG02, the Middlemarch 12” EP, Solenoid transmutes his signature buoyant syncopated acid, electro, and mutant techno into moodier, reverberant territory. If you previously knew Solenoid for his restless, sophisticated Braindance-adjacent stuff, this EP is totally consistent with his long discography. Here though, he gets into a dreamier, and also bassier zone that is equally rewarding either in the innerspace immersion of headphones or in the warmth of your favorite local underground club’s sound system—lots of detail and atmosphere to sink into.“Middlemarch” is moody deep techno—a clatter of distant percussion encircles eerie pads and an extra-bassy, double-filtered TB303 bassline. “Ways and Means” rotates perplexing polyrhythmic patterns driven by bright, elastic chords that keep it moving (reminding me of The Martian’s stuff on Red Planet a bit). “A Winter Walk” offers a skeletal, skittering rhythm that wouldn’t be out of place next to a Livity Sound track; and the closer, “Dvv Waltz” reserves a 3/4-time experiment for the bravest / most inquisitive DJs.Edition of 300 copies with special full-color insert.

Bastard Collective

Manchild

Transylvanian Recordings

***Old Skull Hardcore Powerviolence Supergroup! Featuring OG members of NO COMMENT, GASP, & MAN IS THE BASTARD. Joining forces to re-blaze the trail they carved in the 90's. Recorded & Mixed by PHIL VERA from Despise You & Mastered by GREG WILKINSON from Autopsy. Presented on 180 gram colored vinyl.

Oromet

Oromet

Transylvanian Recordings

***Let the tides of doom wash over you with the eponymous debut from the soul crushing juggernauts OROMET. Presented on a thick, gorgeously marbled slab of colored wax.

Owl

On The Rocks

Transylvanian Recordings

***Bay Area Based Hard Rock/Heavy Metal Heroes OWL deliver big on their fourth full length album, "On The Rocks", this a superbly crafted anthemic hard rock album, inspired by legendary heavy metal, sleaze, psychedelia, and progressive rock! This is the rock album of 2026!! Recommended for fans of The Scorpions, Dio & Grim Reaper. Presented on a beautiful marble colored 180 gram vinyl.

Field Of Fear

Scorpion

Transylvanian Recordings

***Enter a dark and smoky McCarthian hellscape of untethered existential dread. Scorpion packs a lethal dose of fear for an all consuming hazy nightmare. Recommended for fans of Swans, Neurosis & Khanate. Presented on 188 gram blood red vinyl.

Whiles

Colors of the Year

Anyway

The Whiles are a Columbus, Ohio indie-folk-rock band whose work spans four different decades. Formed in the late 90s, The Whiles have shared the stage with The National, Grizzly Bear and My Morning Jacket, had a song in an Academy Award Nominated documentary (Murderball) and all of its members have been at the center of the world renowned (and sir Paul McCartney endorsed) Sgt Peppercorn's Marathon, the only show of its kind in which all 220 songs of the Beatles are performed in a single 14 hour performance.In 2024, The Whiles booked time with legendary producer Steve Albini (Nirvana, Pixies, Breeders) to record a new album. Unfortunately, Alibini tragically passed away three months before the scheduled recording dates. The Whiles pivoted and finished two records on their own in their home studios: Hummingbird, a 10 song polyrhythmic meditation on being a middle aged parent in a post-Covid world, and Colors of the Year, a rerecording and 3D reimagining of the band's 2004 masterpiece.Both albums showcase the bands ability to incorporate Beach Boys harmonies, George Harrison-esque guitar composition, the 2000s indie aesthetics of bands like The Shins and The National and Dylan/Cohen inspired lyrical precision, and an emotional vulnerability that echoes The Smiths and Elliott Smith. The Whiles bring a uniquely earnest musical kaleidoscope of both records, records that hopefully will resonate in a fragmented world that craves beauty and truth,The Whiles are excited to be an active band again, looking back and celebrate the rerecording of a lost gem (Colors...

Orcutt, Bill & Mabe Fratti

Almost Waking

Unheard Of Hope

Mabe Fratti is a Guatemalan cellist, vocalist, and composer based in Mexico City, celebrated for her experimental yet deeply melodic work. Blending cello, voice, synthesizers, and electroacoustic textures, she builds songs that move between improvisation, ambient soundscapes, and off-kilter pop forms. Emerging from Mexico City’s improvisational and experimental scene, she has become a key voice in contemporary avant-pop.Bill Orcutt is an American guitarist and composer known for his raw, highly individual approach to improvisation. A co-founder of the 1990s noise-rock duo Harry Pussy, he helped shape a fiercely abrasive aesthetic that drew from no wave, hardcore punk, and free jazz. Often playing a four-string guitar in unconventional tunings, he combines shards of melody, sudden silences, and surging rhythmic bursts, creating music that feels both primitive and structurally intricate. In parallel with his work as a guitarist, he runs the Palilalia and Fake Estates imprints and develops his own audio software, continuing to blur lines between avant-garde experimentation, song form, and DIY practice.Almost Waking:"I had known about Bill’s music for a while: since his 2017 release under his own name. I connected a lot with his music and I had no idea that years later we would be collaborating! It was a total surprise that we started chatting on the internet of collaborating!—we bounced ideas back and forth, all starting with a series of guitar solo stuff that Bill sent me. I had a great time with the pieces and in some of them had the honor to collaborate with I....

Osees

Cara Maluco

DEATHGOD CORP

Osees return with a four-track EP recorded last year in Tornio, TX. A couple fried trippers and couple tight dance punk numbers. Crazy face indeed.Includes an etched B-side.

Siyahkal

Corrupt

Static Shock

***After making us wait a decade for their first LP, SIYAHKAL hesitate none to deliver another blow to the head. A year later, another twelve inches. On “Corrupt,” their trademark gallop comes through clearer while no less mired in ear-piercing qualls of noise. Unrelenting in intensity for its 12-minute run time, “Corrupt” has a certain urgency to it—a frustration, a tension and release. If it slows, it’s only to recollect and come back blazing. At moments, the record harkens to the dissonance of LP-era Die Kreuzen. At others, it harnesses the hypnotism of the first Una Bestia Incontrolable LP. Here, Siyahkal uses rhythmic propulsion like a jackhammer to the skull. If there are prisoners being taken, it will not be them. Through all of it are KG’s gruff vocals, and lyrics that aim to capture the very moment that the greater “we” all find ourselves in—under the boot of States that neglect our very right to be free. Iran or America, the people in power are all the same. They see us all as fodder for war, to maintain their power. And with ‘Corrupt,’ this injustice is not just written into word, but screamed into song.

Truck Violence

The weathervane is my body

Flenser

“We learn to speak from people, and to be silent from gods.” – Plutarch Truck Violence’s second full length record, The weathervane is my body, is an attempt to answer, an attempt at conciliation through refusal. Karsyn Henderson and Paul Lecours grew up in a French Canadian town of six hundred people, graduating in a class of nine. By fifteen they were running a local studio and radio station. There was no industry support, no infrastructure, no template for what they were trying to do, only the work itself and the conviction that it was worth doing. At seventeen they relocated to Montreal, joined by Chris Clegg and Thomas Hart, assembled from different corners of the country, and began building Truck Violence from the ground up. The weathervane is my body, the band’s second full-length record and first with San Francisco’s The Flenser, is the product of that process. Every element reflects this. The group composition, the recording, the mixing and the visual media were all produced in house without outside intervention. DIY here is not an aesthetic choice or a marketing angle, it is the only honest option available. The album cover was shot on film by the band on Avenue du Parc in Montreal. A figure perches atop a small Quebecois-style house, handbuilt from reclaimed materials, spine curved, legs pulled in, bare-backed against a skyline that dwarfs everything beneath it. A rural thing dropped into the grit of the city, small and out of place and refusing to...

BCMC

Stash

Drag City

***A two-headed, four-handed groove-and-space based understanding/alignment of purpose is written in the BCMC DNA. Cooper Crain and Bill MacKay’s guitar and keyboard duo make unbridled electro-ecstatic, intuitive assembly of deep and wide trans-hemispheric sounds. From the frontiers, judicious minimalist song flows.

Sick Gazelle

Veld

Vampire Blues

With their second LP Veld, Sick Gazelle take their cosmic and instantaneous group communications to new levels of clarity and structure, without losing the spark of the jam. The band expands from longtime Chicago underground players Eric Block on guitar (Veloce) and vocalist/saxophonist Bruce Lamont (Yakuza) with drummer Steve Shelley (Sonic Youth) to include Douglas McCombs (Tortoise) on bass. Though these five tracks are sculpted from improvisations, they’ve been refined into song forms that illuminate the strengths of both the individual players and the chemistry of the quartet version of the combo. This comes through in Veld’s moments of reflective subtlety on tracks like “I’ll Come Running,” in the foreboding tension of the cinematic “Ocean Always Wins,” as well as in the charged grooves and dubby undercurrents of the sideways rocker “Hippies.”

F/i

Invisible Men

Birdman

Birdman Records is proud to be reissuing Invisible Men, the early space explorations of electronic music pioneer F/i. In the mid-80s F/i was on the cutting edge of electronic bombast, producing cassette tapes of late-night interstellar sessions to be traded world over with the handful of heads that were plugged into similar perambulations. As a link between Throbbing Gristle and the Spacemen 3, this period of F/i has been woefully forgotten, until now. Later in the 80s, F/i would morph into Vocokesh continuing their space rock explorations. The 2LP set features founding member Richard Franecki, Brian Wensing and Steve Zimmerman, and includes the ultra-rare recording Air (produced around the same time as Invisible Men). For the first time on vinyl, a limited run of 500 copies will be released on June 26th.

Kennan, Cate

Shadows

Kranky

Los Angeles musician Cate Kennan’s self produced second full length unfolds with the poetry and immateriality of its title: Shadows. Ten vignettes of keys, strings, reverb, and voice, the songs sway and lope between dream and lullaby, rose-colored but remote. The album was inspired by the dislocation Kennan felt upon returning, after several years away, to the rustic neighborhood northwest of L.A. where she’d grown up: “Wandering through a place where my life once existed but where everything had quietly shifted with time.”The music conjures a mood of distance, dust, and dazed emotion, alternately lulling and unraveling. From shuffling tumbleweed vignettes (“The Lone West,” “Romantic Strings”) to sepia-tone torch songs (“Shadows,” “Reverie”) to oblique keyboard meditations (“Moonlight,” “Rain”), Kennan’s soundworld moves with a muted, murky beauty, like alluring shapes seen through smudged glass. In her hands, haze is a transformative property, liberating melody and memory into landscapes still untraveled: “What began as a period of nostalgia for me turned into a longing, not for the past, for a place that might exist somewhere beyond the horizon.”

Olson, Aaron Mf

Songs Album II

Country Thyme

***LA musician Aaron MF Olson is a man of many bands and hats; he wears his “Songs Album” sombrero when writing / playing / producing songs for singing and music for listening. On his second collection, Aaron’s polymath mastery of the music traces through multitudes of pop feels, ambling from introspective to satiric to love-lorn to sceptic to true devotion. In every song! A matrix of experienced life and aspirational being. Aaron's been a sideman to all sorts of people, such as Papa M, Tommy Peltier, and Tortoise.

Thætas

The Irredeemable Age

Profound Lore

After five years of gestation Thætas return with an auditory statement for their moment in time, the new album The Irredeemable Age on Profound Lore Records.The Irredeemable Age shows the band both refining and intensifying the brutal death metal approach from their debut album, Shrines to Absurdity, while deepening their explorations into the bizarre, the uncharted and even the avant-garde. The result is a dynamic mosaic of obsessively dark, organic, off-kilter and kinetic death metal.The four-piece band hail from the New York region, consisting of drummer Nick Crifo, guitarists Terrell Grannum (Reeking Aura, Buckshot Facelift, Squelching Flesh) & Pat Hawkins (Asystole, Needlepusher, Kyrios, Aberrated) and vocalist / bassist Cory Peterson (37564 Recordings). The album was tracked independently then mixed and mastered by the inimitable Colin Marston.

Bollweevils

Stick Your Neck Out

Dr. Strange

***Back in print for the first time since its original 1994 release. The Bollweevils are STILL one of the most energetic punk bands to have emerged from the Chicago punk scene. This is a major no brainer! Ferocity, power, energy and the lyrics to back it up. Packaged with new artwork and four bonus tracks. Remastered by Zac Damon.

Carroll, Jim Band

Dry Dreams

Fat Possum

***Remastered and back on vinyl! The follow-up to Catholic Boy, Dry Dreams is leaner and colder than it's predecessor. Jim Carroll trades the debut’s raw shock for a darker, more cinematic intensity: jagged guitars, haunted melodies, and street-poet lyrics that feel like midnight transmissions from New York’s underbelly. Featuring “Work Not Play,” “Lorraine,” and “Barricades.” Long overshadowed, now reclaimed—Dry Dreams stands as a crucial second chapter of the bands career.