New Releases

Dirty Fences

Too High To Kross - 13th Anniversary LP Reissue

Dig! Records

Has it really been 13 years since Dirty Fences released their first album TOO HIGH TO KROSS? Probably. We started counting and ran outta fingers.Still NYC’s favorite ‘Rock’n’roll, Hard workin’ band,’ the Fences—as their friends call ‘em—haven’t veered far from the path they first forged here. Maxed out, always tuneful heaters, intended for cranking at top volume, and perfect for howling along to in whatever damn key you please!Nowadays it’s hard to imagine a DF show without “All I Want,” “Heaven Is Tonight,” “Under Your Leather,” or “White Lies” in the boy’s hit-factory repertoire. Each and every one of these 13 tracks is bound to get stuck in-between your ears for days, then years to come.Meanwhile the band’s second and third full lengths, along with heaps of singles, furthered their sonic blitz, slyly as Ramones’ heir apparent, Bee Gees meets CBGBs rebel rousers, The Freshies’ worthy rival from the Big Apple — or, all of the above?!Recorded over two weeks at High/Low Recording in Memphis, Tennessee by Toby Vest, Too High To Kross quickly sold out, as the band toured up a storm. At the time nobody knew the album would spell THE E-N-D for Volcom Entertainment, who went bankrupt shortly after its one and only vinyl pressing. It’s remained out of print ever since. Until now.For years, aftermarket copies have been scarce and prohibitively pricey, and a proper reissue has been long overdue. After working with members’ other projects (Hershguy and Brower), Dig! Records is thrilled to give this...

Crozer, Mark

Homecoming

Dusty Mars

***Mark Crozer has released countless solo and collaborative albums and has been a member of legendary alt-rock band The Jesus and Mary Chain for nearly 20 years. Yet last summer, he was adamant that he wasn't going to release any more music. That mandate lasted until he started reminiscing about his childhood in Oxford, England and wrote the dark wave confessional, "Everything Must Change." That personal track inspired a full collection of songs. Homecoming, out on boutique indie label Dusty Mars, is a 10-song album that explores loss, grief, and endings with heartfelt candor and sharp British wit. A rainy-day record, it's lushly layered with loops, samples, effects-laden guitars, tribal beats, and Crozer's spectral yet soothing vocals.

Guitar Wolf

More Jet

Goner

Guitar Wolf returns to Goner Records!Goner's first release was Guitar Wolf's world-shattering noise rockabilly epic WOLF ROCK way back in 1993, the beginning of the Goner label and the legendary Guitar Wolf!Many tours, many records, and many eardrums later, Guitar Wolf has returned for the latest, and greatest Guitar Wolf record yet - MORE JET! More raw, crunching guitar noise, frantic rhythms, and unpredictable screaming! More head-scratchingly-great song topics! The perfect blend of Link Wray / Ramones / Joan Jett / Cramps sound and attitude mixed with industrial-strength noise.Guitar Wolf never went away, yet they are back and better than ever on their original—and forever—home—GONER RECORDS!

Deadbeat Beat

From Here To Ohio

We Are Time

***Even as the primary torchbearers for Detroit’s underrepresented pop factions, Deadbeat Beat remain on a path apart. The band has evolved gradually, growing deeper musically and intellectually around a core of immediate songwriting and always landing outside of standard indie rock parameters. This difference and the growth within it are both in full view on From Here to Ohio, the group’s third album and first substantial work since 2020’s How Far. It’s a powerful wave of songs that hit instantaneously, even as the band takes new risks with composition, instrumentation, and the vulnerability of saying more.The things that have always been great about Deadbeat Beat are still great. Sprouting from a teenage friendship that grew into a musical practice between drummer/vocalist Maria Nuccilli and guitarist/vocalist/songwriter Alex Glendening, the band has long lived in the precarious and holy intersection of garage rock drive and indie pop catchiness. Rounded out by the understated melodic bass playing of Zak Frieling, the songs became their own brand of dualistic excitement; ragged and nervy enough to dance to mindlessly in the basement house show, but never far from the melancholia and neurotic jangle of the most introverted Flying Nun band. Those basic building blocks are still in place here. The guitars are still clean (but not too clean), the rhythms are still snappy and uncluttered, and tight vocal harmonies still beam out like unbroken lines on a freshly repaved highway to somewhere better. Even if heard from a muffled distance, From Here to Ohio would...

This Heat

S/t

Superior Viaduct

“There’s an irony inherent in the term ‘postpunk.’ Many of the groups that define the genre (think Pere Ubu or Cabaret Voltaire) existed for several years before punk. But these outfits had little hope of finding an audience until punk stirred up an appetite for the extreme, while also spawning a new breed of independent labels that could support challenging music.“This Heat are a prime example. Formed in early 1976 by drummer Charles Hayward, guitarist Charles Bullen and ‘non-musician’ Gareth Williams, the group were initially unaware of what was brewing elsewhere in London, yet they were driven by similar impulses: to make noise expressive of the era’s turbulence. Instead of punk’s crude reduction of rock ’n’ roll, This Heat took their bearings from expansive inspirations: free jazz, Captain Beefheart, musique concrète, and reggae’s disorienting dub techniques.“Vital to their evolution was Cold Storage, a disused meat fridge in Brixton where the band rehearsed. Produced by This Heat with David Cunningham and Anthony Moore, their 1979 debut was collaged out of cassette tapes and recordings made during ultra-cheap graveyard shifts at The Workhouse. The jump-cuts in sound quality were deliberately designed to make the album more unsettled and jarring.“The first two principles of This Heat’s mission statement—‘All possible processes. All channels open.’—could have been co-signed by many pre-punk experimentalists. It’s the third part—‘24 hour alert.’—that makes This Heat archetypally post-punk, crystallizing the ‘totally-wired’ mood of paranoid vigilance they shared with peers like Scritti Politti and The Pop Group. Soft power—the mind-control of...

Marbled Eye

Forever

Digital Regress

"Oakland, California’s Marbled Eye re-enters the plot with their latest offering Forever. Formed in the Bay Area in 2016 by Guitarists Chris Natividad, Michael Lucero, drummer Alex Shen, and bassist Andrew Oswald, Marbled Eye swiftly recorded their first 2 EP’s and began touring the US garnering notoriety for their propulsive post-punk music. Stylized by deadpan vocals, linear and tight rhythms, and tangled, angular guitar ingenuity, Marbled Eye are a fierce addition to the turntable for lovers of bands like The Fall, ECSR, and This Heat. In 2018, the group self-recorded and released their debut LP Leisure- a highly coveted album by burgeoning punks and record-heads alike. From there, Marbled Eye extensively toured the US and Europe earning recognition as a palpable live force. Building up to their next release, Andrew Oswald left Marbled Eye and was replaced by Digital Regress operator, Ronald Portugal. In 2024, with the addition of Portugal’s methodical bass-work, Marbled Eye conjured their latest LP Read The Air, a modern cornerstone for fans of contemporaries Institute, Uranium Club, and RMFC. Now, The group has aligned to release their new 6-song 12” EP, Forever- A hopeful nod for the future of punk rippers Marbled Eye."With Forever, Marbled Eye carves a deeper path along their singular journey into the future of punk. The music on Forever takes a step deeper into the void, the group accessing powerful studio magic to craft bigger and bolder hooks. The first song “Fade Away” is propelled by glitchy drums as it takes a...

Yea-Ming And The Rumours

Residue

Dandy Boy

***Following 2024’s I Can’t Have It All, Bay Area indie pop band Yea-Ming and The Rumours return with their fourth studio album, Residue. With Yea-Ming’s signature heart-tugging lyrics and Nico-esq voice, she continues to explore the rawness of human experience and emotions. When I Can’t Have It All signified a time of change and transition for Yea-Ming, Residue embraces the reset; the examination of reality after a storm.With the help of long-time collaborator Eóin Galvin (Hoxton Mob, Readyville) on lead guitar and lap steel, Ryli colleagues Rob Good (The Goods, Ryli) on bass and Luke Robbins (Ryli, R.E. Seraphin) on drums, Yea-Ming takes us on a journey of regrowth, reflection and exploration.In Treasury of Loved Ones, Yea-Ming explores the permanence of memory, or what appears to be permanent even as time moves on and erases moments out of our lives. It’s a sweet and sad ode to remembering our loved ones, especially those we have lost to in time and in death. In Sweet Opiate (with hints of The Cardigans), Yea-Ming dares to dive into intimacy and its vulnerabilities. In the experimental Paper Doll, she admits inauthenticity in a world where one has been taught to please everyone around them to survive. And in Fine Afternoon, we are confronted with the reality of a tainted rebirth as Yea-Ming sings “in this life renewed, you’re my residue” (here we find our album title) and we remember that resets are never clean.The Rumours explore a little bit musically this time as well;...

Prophetic Justice Ministry

Key To World Peace

Night School

Key To World Peace is the third release by Prophetic Justice Ministry - aka Australian musician Sam Perry. An atmospheric, cinematic album that belies a striking pop songwriting nous at its core, its conductor Prophetic Justice Ministry is at the centre of a new wave of creative, rule-bending Melbourne artists. Romantic, smudged and hazy, Perry emerges from behind a wall of half-light with a clutch of earworms and affecting emotions.Recorded in home studios in Belgrade (Serbia), Christchurch (New Zealand) and Melbourne (Australia) over the course of three years, Key To World Peace offers a dichotomy in approach. Shifting on a dime between ambient, filmic washes of sound and more traditional song structures, the approach feels natural, casually acid-tipped and emotionally revealing. While Perry’s distinctive keys and production melding with melody is evidenced in Melbourne group Who Cares?, as Prophetic Justice Ministry there’s a heightened sense of mystery and space being used.Swirling in a psychedelic fog with dry iced chords falling down like melting stars, the album pulses with an ominous, distorted intro that sculpts air into blocks of sound before Psyop offers a glimpse through the gloom at the artist navigating through crushed, shoe-gazing chords, singing a consolation into an abandoned building. Side A’s more abstract tone veers from industrial tracks (T-A) to pastoral, impressionistic pieces (Trance) before album highlight Life’s A Party showcases the effortless, classic songwriting lurking in Prophetic Justice Ministry. Built on the tension between the upbeat lyrics and suppressed, rich delivery, the song lopes on an...

Oddfellows

s/t

Dirtnap

Before The Marked Men, Mind Spiders, O-D-EX, High Tension Wires—hell, even before The Reds—there was Oddfellows. In December 1994 Chris Pulliam, Mark Ryan, and Mike Throneberry played their first show in Denton, Texas. That original lineup was short-lived and mostly played locally, but its members went on to spawn a hundred bands you have heard of. Fast-forward thirty years to December 2024: Oddfellows reform. In three months they wrote and recorded a new album, added guitarist Peter Salisbury (also of Mind Spiders), and hit the road again. The 2026 Oddfellows are tight, punchy, and immediate—short pop songs (most under two minutes) that feel like the raw blueprint of a sound later honed across many bands / decades. Thirteen new tracks plus a reworked Reds classic, this album will prove to be an eye-opening experience for die hard fans and new listeners alike. Their self-titled debut lands in 2026 on Dirtnap. Get ready.

Rupp, Olaf

Fuzzy Logic

Palilalia

German guitarist Olaf Rupp combines elements of traditional flamenco (rasgueados, arpeggios, picados) with the fractured cadences of Derek Bailey, fusing them together with a blast-furnace tone recalling John Lee Hooker's most blown-out extremes. And yet, despite decades of concerts and releases on FMP and Emanem, often with marquee-grabbing collaborators like John Zorn, Peter Brötzmann, Butch Morris, Paul Lovens and Lol Coxhill, Rupp's music is largely unknown outside of European free improvisational circles, and (until now) has never been presented on vinyl. Over its four double LP sides, Fuzzy Logic sounds like a Guitar Solos-era Fred Frith musing on Jandek or Carlos Montoya essaying the music of Cecil Taylor, veering from unadorned yet forceful exclamations into torrents of austere, alien gestures packed with modal angst (a rarity in the capital-I Improvisation world), rewarding careful listening with previously unexplored microlandscapes of impossibly interlocked waveforms. Regarding the album's unique sound, Rupp writes, "Echtzeitmusik-people" -- referring to the most strident non-idiomists of the Berlin improv scene -- "will once again nag at all those minor chords and the indie rock fans will shake their heads in vain looking for the beat. But unrootedness is also a power, a gift, a way." Indeed, Fuzzy Logic is powerfully unrooted. But most strikingly, it tracks Rupp's autodidactic turn into the fraught world of effects pedals. These days, soldering-iron jockeys produce an absurd array of signal processing tools, from bit crushers to tone benders, lo-fi loopers to 24-bit digital arpeggiators, all designed ostensibly as creative tools but more...

Cogle, Stephen / Peter Stapleton 1981

An Afternoon with Victor Dimisich

Siltbreeze

Siltbreeze is proud to once again release a critical, unearthed treasure pertaining to the legendary Christchurch, NZ scene, PRE Flying Nun. Much like the The Spies The Battle Of Bosworth Terrace LP (2013), this archival collection of tracks titled An Afternoon With Victor Dimisich has never before been released & it's historical significance cannot be overestimated. We don't want to give too much away—Bruce Russell's brilliant summation/insert lays it all out-but we will share what Roy Montgomery (who was there) fired off wryly by way of a press release;Which of the following is true?:These songs were captured in demo form primarily to flesh out the threadbare Pin Group repertoire in early 1981.These songs were captured in pared back form because certain people felt that some very tender Cogle/Stapleton works were being lost in VDB steamroller mode.These songs were captured in rough form because four men in their twenties had a spare afternoon, a crate of beer that needed drinking, and a soft spot for dark ballads.All of the above.One time pressing, amazing timestamp insert included.

Neptune

Play Some Music

Sleeping Giant Glossolalia

***After twelve years of relative quiet, experimental rock band Neptune returns with Play Some Music, their ninth full length album and a return to form from a project spanning over three decades. Play Some Music reunites the band’s most recognizable and widest traveling lineup of Jason Sidney Sanford, Mark William Pearson, and Daniel Paul Boucher, whose 2008 LP Gong Lake (Table of the Elements) and 2006 LP Patterns (Les Potagers Natures) serve as defining releases among the band’s catalog of over thirty recordings. Wielding their distinctive self-built instruments—a melding of hardware store and the landfill—Play Some Music features microtonal and macrotonal wire-framed steel guitars as well as amplified drums, amplified circular saw blade percussion, electronics, and feedback organ to produce a suite of songs, improvised and composed, that explore classical mythology and the nebulous realm of memory. Always expanding their sound world, Neptune’s signature frenetic guitars and drums are joined by new gamelan-like amplified percussion and phantasmagoric electronic textures hovering over its ether.Released by esteemed outré music label Sleeping Giant Glossolalia, home to artists such as Ramleh, Ava Mendoza, and Multicult, Play Some Music was recorded by Jason LaFarge at Seizure’s Palace Recording (Swans, Sightings, Akron/Family) and mastered by James Plotkin (Sunn O))), Tim Hecker, Pauline Oliveros). Its gatefold artwork features paintings by Sean Micka from his series Book Out Of Stock But Six Pictures, a meditation on the little-known Nazi resistance fighter Mildred Fish Harnack.Though largely active in Boston since its founding in 1994, the band members currently reside...

Cowboys, The

Captain Easy's Downfall

Feel It

***"Over the past decade, The Cowboys have quietly carved out one of the most distinct, joyfully unclassifiable catalogs in American rock 'n' roll. Formed in 2012 in Bloomington, Indiana by Keith Harman (vox, keys), Mark McWhirter (guitar), Zack 'Chode' Worcel (bass), and Jordan Tarantino (drums), the quintessential Midwest group rose from basement shows to cult-favorites all while never losing the playful spark that first brought them together. Following their 2023 album Sultan of Squat, which marked a return of the original lineup, The Cowboys are back again with something even bolder: Captain Easy's Downfall. This wide-eyed, wildly adventurous 19-track album pushes their scrappy pop rock 'n' roll ethos into new and far out territory. With members scattered across cities and countries, the album was born from long-distance collaboration, obsessive layering, and a commitment to reinvention without abandoning their roots from straight riff-o-rama Nuggets-style garage rock to offbeat, theatrical psychedelic pop anchored by Harman's charismatic charm."—Joe Massaro, Hot Sounds Magazine

Lunadon, Dion

Dion Lunadon

Agitated

2026 vinyl repress of Dion Lunadon's (of A Place To Bury Strangers / The D4) debut solo album, on Agitated Records. The album was recorded over a three-month period in Brooklyn, NY and features Robi Gonzalez (APTBS) on drums and Blaze Bateh from Bambara on select tracks including 'Fire'. "With 'Fire' I wanted wild and heavy guitars with heavy sentiment in the first vocal line to match. Something that grabs you and demands attention. Not background music," Lunadon explains of the track. The album also features mixing by Chris Woodhouse (Mayyors, Ty Segall, The Intelligence, Thee Oh Sees) on select tracks including 'Com/Broke'. From cutting his teeth back home in New Zealand as a member of The D4 to his current role as bassist of Brooklyn-based A Place to Bury Strangers, Dion Lunadon has played in some form of a rock & roll band his entire life. During a short break in touring with APTBS, Lunadon had a rush of inspiration in the form of a Dion Lunadon creative spasm — a neurotic impulse to make a batch of songs and do it right then and right there. What resulted is quite a jump away from his work in APTBS and draws more influence from bands like Toy Love and The Gun Club, as well as New Zealand unknowns such as Gestalt and Supercar.

Scientists

The Definite Article

In The Red

The Definite Article captures the Scientists "Weird Love" lineup (Kim Salmon, Boris Sujdovic, Tony Thewlis, Leanne Cowie) performing live at the peak of their powers at The Triffid in Brisbane on November 4, 2017. The Australian rock legends run through twenty of their best loved songs and captures them at their raucous, swampy, noisy best. The band were so happy with the performance and the recording that they decided to release it on cassette on Emmett Kelly’s Ha Ha label and sell it on tour. With the tape long sold out, In The Red is happy to bring this incredible performance to vinyl for the first time.“I love their records. They wrote fantastic singles and looked like they just crawled out of the ooze. What more could you ask for?” – Warren Ellis“The Scientists turned my head around and made a man out of me! They grew hair on my palms and made my socks stink.” – Jon Spencer“The Scientists proved to me that rock 'n' roll could be played by gentlemen in fine silk shirts half-unbuttoned and still dirty, cool and real.” – Thurston Moore

Pollard, Robert

EAT 22

GBV Inc

Volume 22 of Robert Pollard's collage work, 237 pages in full color.

De Vlaamse Primitieven

Brandstichters & Oplichters

Carbon

***"Well, what can be said about this record? It was never intended to come into being, yet here it is. Last spring we went on a European tour with our soul-brother Liam Grant. After a ragged experience in France, our roads separated for a bit. Liam went further down the road and we came back to our home-base in Antwerp—as we where invited by the good folks of Dropa Disc for a two day residency with Tashi Dorji. Koen gave us the simple, crystal clear instruction to ‘improvise’—and fuck did we improvise. Fifteen minutes before this set, we made a mood board to guide us ‘Thru The Rhythm’. Landing somewhere between free-improv drone-scapes, experimental minimalism, Eastern influenced ragas, and American-Primitive raags, this new release will fit nicely alongside your LPs from Pelt, John Fahey, or even Arnold Dreyblatt’s Orchestra of Excited Strings. The resulting sounds contained in this record are as pure as you’ll ever hear De Vlaamse Primitieven. It’s an instance where two madmen threw everything they got into the music and somehow it stuck. We’re very happy how this session turned out and consider it a worthwhile addition to the canon of improvised music. A lot of our favorite people were in the audience when this was recorded. Groovy bunch of weirdo's that supported us from our very first show. Well, we made this record together. It couldn't have happened without them being in the room. THANK YOU—YOU KNOW WHO YOU ARE! WE LOVE YOU!”

Kohoutek

Akvoturo

Carbon

***With Akvoturo, Kohoutek is delving into a more experimental form of their brand of US psych/space jams, a loose concept album sonically examining the consequential role that water has played in nascent civilizations, starting from our ancestral habitats. The title is in Esperanto, in theory a language as universal to humanity as water is to its diet, as well as an homage to the label ESP which is a substantial inspiration on the Kohoutek ethos, informed by revolutionary free jazz and outsider psychedelia. This release consists of 4 tracks (2 on each side). Side A starts out with Pluvobaro, a combination of Eastern inspired components, including repetitive gamelan-esque marimba and other rhythmic work, with an insect-like drone. The side continues with Inundo, a more traditional sounding American psych jammer, which could sit nicely beside any of Clint Takeda’s (of Bardo Pond fame) projects, which member Scott Verrastro also plays in. Starting as a slow thudding jam, before taking up double-time, teetering on PSF inspired fuzz. Disfalo starts side B, sparse and loose, like rain drops falling on various ephemera in a scrap yard, while the hum of machinery drones and squeals in the background. And like on side A, the 2nd track here, Irigacio , returns to classic Kohoutek form, starting from a spacey/slide guitar based, mid-tempo head-nodding jam. It eventually builds into an ecstatic and faster single-note (almost surf) melodic guitar journey, before finally returning to the slow-head-nod tempo from the start of the song. The slow fade of...

Body Of Research

Vehicle Wasting Away

Minimum Table Stacks

***"Body of Research make ritual music for a blasted world. Their songs are set in western Pennsylvania’s slag heaps and train tunnels, bat calls and bogs. This isn’t metaphor—the band’s angular thunder begins its life through plein air recordings, the outcome of relentless hike and exploration. Vehicle Wasting Away is backboned by these battery-powered sessions taped in cemeteries, shooting ranges and backwoods. And although decay haunts the songs, the record has a steady momentum which speaks more to the ramble that led to these locations than to the locations themselves. Emerson’s 'the journey, not the destination' for post-industrial rust belt decline.The reverence that Body of Research pays to this exploration is voiced through hypnotic, ominous hooks. A patient vastness, an unblinking persistence that echoes open sky and insect storm. A melodic pressure that pulls and abrades. These hooks are ornamented in wonder and curiosity: wistful guitar work, feathery drum fills, burbling streams of sound. The band's deep faith in variation—in the restless exploration of pattern—is an elegant counterbalance to the desolation. Birdsong woven through the tolling of a bell? Bob Weston jamming with Jewels of Thought-era Pharoah Sanders? Vehicle Wasting Away speaks a devotion that is eternal yet locked into 21st century waste. Commanding yet liberatory. Eerie yet comforting. "—Ethan SwanEdition of 110 Hand-Stamped copies with paste-on artwork and insert in MTS generic label sleeves.

Glands Of External Secretion

Unexplained Bite Marks

Minimum Table Stacks

***"Glands of External Secretion’s third-ever live appearance (at Trapdoor Fucking Exit, a performance series connected to Helga Fassonaki’s Touching Them Touching You - A Love Song for the Dead C), Unexplained Bite Marks took place on May 20, 1994, at legendary subterranean niteclub The Purple Onion, in the Chinatown / North Beach district of San Francisco, where a loveable maniac by the name of Tom Guido holds court whenever and with whomever he wants. Michael Morley (of The Dead C and Gate) happened to be in town, and Margaret Murray of U.S. Saucer (and Manning’s Truth Walks In Sleepy Shadows album) never refuses a challenge, so this utterly impromptu occasion also marked the first and only time Glands of External Secretion was a quartet. The raw and monolithic result is loud, distorted, saturated and more obscured by murk than The Loch Ness monster on a menopausal rampage." Limited edition of 200 copies housed in handmade and hand-stamped covers.

Puzzlehead

Chessman Hazard Codechange Household

Inu Wan Wan Records

***Led by Katayoon, this Vancouver-based group fills out the skeletal collection of 12” EPs from the Pacific Northwest (Fastbacks, Bikini Kill), bearing the spirit (not the ghost) of rock. You’d have to cut out the tongue of an otter to digest the ocean of freedom in these four songs. Like Marianne Faithfull’s "Broken English" sped up and slowed down through more dimensions than the 3Ds, Puzzlehead moves through dissonant, psychedelic guitars and ethereal vocals. With touchstones ranging from Big Star to Swell Maps to Gashrat, Puzzlehead carves out a unique space you didn't know was necessary.

Garbus, Ruth

Profound

Orindal

***A brandnew album by Brattleboro, Vermont "freak folk" singer-songwriter Ruth Garbus. Lyrically vibrant & musically sophisticated in its sonic simplicity & sheer virtuosity, Profound was recorded live to tape by Kyle Thomas aka King Tuff in Brattleboro with Ruth's live trio (featuring Nick Bisceglia on guitars and elie mcafee-hahn on keyboards). Profound could perhaps be best described by a quote from the album's lyrics: "gentle and magical yet avant-garde."RIYL: Dear Nora, Wendy Eisenberg, The Roches

Halkyn

s/t

Concentric Circles

Concentric Circles is pleased to present a collection of recordings from Halkyn, the solo project of Chris Coyle, most known for being a member of much beloved Leeds, UK group Empress.    Halkyn released two 7”s around the turn of the century on the 555 label, which have, like a lot of the best music from that time, fallen somewhat by the wayside. This LP release collects both of those 7”s, along with a few tracks that originally appeared on compilations, and two unreleased recordings from the time.Halkyn was part of a small non-scene of sorts in Leeds that included Hood and Empress, which collectively was a small group of friends who appeared on each others records, with Hood acting as somewhat of an anchor.  In addition, they all shared a similar knack for writing beautifully melancholic music, with an occasional foray into electronic abstraction that still remained approachable. Halkyn’s music was imbued with a glass-like sense of fragility, sometimes feeling like it’s on the verge of collapse, but Coyle, being a master of melody, always rooted his tracks back down into the earth. This is music for slow, grey skied walks in the countryside.Halkyn has remained a lesser known name from that special time in music, but we hope that this LP, released in an edition of 300 copies with beautiful jacket photography from Coyle himself, will help put his name on the map where he belongs.

Sheer Terror / Poison Idea

Feeding America Split

Tko

***It's the team-up that was bound to happen, the only question is "what took so long?" Two titans of American Hardcore Punk have joined forces for this new split release, in advance of SHEER TERROR's upcoming TKO mini-LP. The NYHC giants kick the door in with "Squat Diddler," a ragging new song that draws a line in the sand in a way that only they can.Still the "Kings Of Punk," POISON IDEA finishes things off with a live recording of their classic anti-racist anthem "Discontent."This split release is a brutal 1-2 combo delivered by two bands who have always worn their hearts and when necessary, their politics, on their sleeves.And in case there's any doubt about walking the walk, proceeds from the sale of this record will be donated to FEEDING AMERICA, the charity from which this single takes its name. Edition of 300 copies on black vinyl.

Les Rallizes Denudes

Disque 4 - '76 Studio et Live

Temporal Drift

***Les Rallizes Dénudés returns with Disque 4 -’76 Studio et Live-, the latest in the ongoing series of official archival releases from the celebrated Japanese underground band.In 1991, Les Rallizes Dénudés released what would become the only official albums issued during the band’s lifetime: ’67-’69 STUDIO et LIVE, MIZUTANI / Les Rallizes Dénudés, and ’77 LIVE. What no one knew at the time was that Takashi Mizutani was already deep into preparing another record.Disque 4 reconstructs the track list Mizutani had put together for that fourth album. This includes the single “White Awakening," recorded in 1976 at the studio in Takadanobaba BIG BOX as part of the sessions that would become known among collectors as the “Virgin Demos.” Production and mastering of this archival release were handled once again by Makoto Kubota, assembling the album from the masters left behind by Mizutani, utilizing newly discovered tapes as additional sources.Prepared by Mizutani using a variety of formats, including U-Matic, open reel, and DAT, the tracks were originally labeled with working titles such as “Disque 4” and “Record No. 4,” indicating that Mizutani intended them for inclusion on a possible fourth album. The recordings were taken primarily from studio sessions that all seemed to have taken place around 1976, which aligns with the claim that Mizutani himself once made that “there exists an album of studio recordings made with the same members as ‘77 LIVE.” His notes also suggest an attempt to sequence the tracks as a vinyl LP, splitting them into...

Berliner, Cole

The Black Door

Drag City

***Guitarist/composer Cole Berliner’s (writing, arranging and playing highlights an album of rich-grained, acoustic, west coast parlor music and modern electro-acoustic instrumentals in the challenger tradition of Bert Jansch’s Avocet, Marc Ribot’s Saints and Jim O’Rourke’s Bad Timing. Cole’s ambient chamber folk gets into the spirit as it evolves, a growth continuing into speakers, ears and minds wherever it is played. Cole's been the driving force in the Drag City bands Kamikaze Palm Tree and Sharpie Smile, and has done work as a sideman with artists ranging from White Fence to Kimbra to Zendaya.

Essential Key

Sons of Freedom

Not Not Fun

Sons of Freedom is the culmination of a decade-long fascination with idyllic new wave library music. After retiring his ethnographic tropical ambient project Coconut Dealers in 2012, Konstantin Shkolnikov found himself drawn to a different muse: Essential Key. Across a series of self-released digital collections, the vision streamlined and solidified into a palette of soft rock licks, fretless bass, and 80’s drum machinery, in a sheen of velvet tape hiss. Inspired equally by Japanese prog, Patrick Cowley, AOR obscurities, and “the joy of life,” the album’s 10 instrumentals flow with cohesive leisure, warm and wood-paneled, spiked with sleek funk. It’s music for cruising, surfing, and soaring, on wind or water, in fantasies past or memories not yet made. Mastered by Jared Carrigan. Design by Britt Brown.

Secret Places Of The Lion

Saturn Fern

Not Not Fun

Recent works by West Mass ritualist Secret Places of the Lion have explored a fusion of orphic synthetics and MIDI machinery, but Saturn Fern documents the project’s primordial origins in dosed tarot electric guitar. Recorded across 2012 and 2013 between a garage deep in the desolate woods of Belchertown and a New Haven apartment above a North African garden café, the process was acidic, smoky, nocturnal, and improvised. Long-form guitar traced in FX and braided into loose loops, dusted with keys, the collection’s nine tracks were captured in single takes straight to a field recorder. In the artist’s words: “Field recordings from the deep field.” Mastered by Jared Carrigan. Design by Britt Brown.

Auscultation

IV

100% Silk

After six years of purgatorial sway, Joel Shanahan’s Auscultation project returns with a fourth full-length of dazzling, convex electronics: IV. His signature production touches have only heightened in the interim: iridescent synths; dexterous bass; slinky networks of pads and percussion; regal, rolling fog. Icy bangers of isolation and beauty crafted over long Pacific Northwest winters of endless rain. The album evolved fitfully, polished and shelved between bursts of inspiration and malaise. This push and pull gives the music a manic, mirror ball, mood-swing movement, tilting between reverie and regret and sweaty abandon. Seven songs of memory and mirrors, haunted by shadows of the past but dreaming of futures still liquid, and unions yet to come. Mastered by Alex Nagle. Design by Britt Brown.

Sniffy Linings

Issue # 2

Sniffy Linings

***The second issue of SNIFFY LININGS now with 20 more pages of reviews, art, interviews, gripes, praise, and advice. Featuring interviews with LAVENDER FLU, CELEBRITY HANDSHAKE, FINK, THE MARKED MEN, ITCHY & THE NITS, MIDNIGHT MINES, and OUTDOORSMEN. As well as over 70 reviews, comics, and more. 80 pages total. Featuring writers from: Terminal Boredom, Record Time, Conflict, Wipeout, Celluloid Lunch, The Bible and more

Oneida

I Can't Stand You

Ernest Jenning Record Co.

***"Absolute[ly] two new and fresh tunes from Oneida—the original, pioneering [please find less fraught term], Brooklyn DIY band now via Boston, Brooklyn and Queens (NYC real estate keeps 'em guessing). Recorded during a recent session at their new-ish rehearsal studio named (not by them) MALVINA PARTY JAIL (with additional recording at Deep Dive in Flatbush), these two stout, emotive and pungent [insert fragrant?] jams behold a band acting very much their age (almost 30) but also not really acting their age, because they are still at it and somehow have not become cynical and/or unpleasant to be around. So perhaps they are tunes that sound as if they are performed by fresh-faced 30 year olds with a few more things to prove.'I Can't Stand You (single version)' originated as a seed planted by the one and only Baby Jane and brought to redolent and chaotic fruition during an early take. It's rough, ready but also well mannered enough to appear on your neighborhood pirate radio station.We forget the name of the B-side b/c it's taken from an almost hour long jam from the same session (actually it's called 'Steel' b/c Barry plays steel guitar on it!)—and there are no lyrics (any ideas? please write the band care of Ernest Jenning)—but it is as robust and hard charging as the best of this band's storied catalog.Just because they're old doesn't mean they're good!"Beautiful artwork by the band's long suffering and talented designer of choice—Dan Schechter."

Om

Conference of the Birds (Reissue)

Drag City

***REISSUED!!! The second OM-ing, Conference of the Birds, also features Al Cisneros and Chris Hakius, with production by OM, originally released in 2006 on Holy Mountain.

Om

Variations on a Theme (Reissue)

Drag City

***REISSUED!!! The first OM album, Variations on a Theme, features Al Cisneros and Chris Hakius. It was produced by OM, and was originally released in 2005 on Holy Mountain.

Diabolic Oath

Unholy Barbaric Hymns

Sentient Ruin Laboratories

***American hallucinatory bestial occult metal sorcerers Diabolic Oath return with their brand new “Unholy Barbaric Hymns” EP, four new tracks of their staple and unprecedented fretless sonic destruction. Swathed in dissonance and liquefying into free-form chaos, the band's esoteric and ritual-like psychedelic extreme metal keeps evolving beyond new thresholds of aural mind-devourement, further transitioning their cryptic dogma of musical transformation through absolute technical tyranny into formal aberrations rarely observed before in the underground. Those familiar with the band’s personal sphere are well aware of the musical mastery harbored within this mystical human nuclear trident. Conventional stringed instruments hand-stripped of frets and transformed into psychedelic mind-weapons for sensorial depredation, percussions transformed into tribal war drums through the use of massively deep and bellowing shells that deflagrate like wrathful thunder shattering through the celestial vaults, and a triple, simultaneous vocal attack slithering through the cacophony like an infernal trifecta of interwoven snakes spitting venom and hissing obscenities from beyond the shreds of sanity. An absolute mind-war of psychedelic terror and primitive warmongering violence creating a tyrannical unison in which the mind is perpetually disarmed and deceived to submit the corporeal realm into an infinite sequence of chaos and destruction.

Record Time

Issue # 4 - 2026

Record Time

Record Time covers obscure, unusual, forgotten and neglected records: used records get passed over a hundred times, but should have bought for a bargain bin price because they are great, if not interesting. It’s also about the arcane knowledge and stories one learns when they fall off the edge of fandom to freak.The turmoil of the Gibbs family and the wonderful run of Bee Gees records when the brothers were at their personal worst; a hip hop through the Roxanne Wars, the longest running answer song spree ever; the splendid freakiness of Kentucky’s Sapat; The Frost and their horny masterworks; Finnish trash Smack’s hard rock perfection; guitar instro whizz Travis Wammack; a primer on the romantic darkness of the Mexican Bolero; Golden Earring and their struggle to crack the USA; the great 90’s garage punk label Bag of Hammers; the Allman Brothers Band on the skids; anti-punk songs by bitter old rockers; Japanese 70s teen idols Chaco & Hells Angels; steel band funk; country studs do rock & roll; Rocketship goes ambient; wretched music biographies; power pop zines; our 12x4 with Scott Derr, Erin Yanke, Joan Toledo, and Jello Biafra; and more!Contributors include: Pete, Fred de Vries, Stella Beratlis, Owen Maercks, Johnny Sunshine, Eric Davison, Laurent Bigot, William Tutton, Mike Trouchon, Eric Friedl, Jay Hinman, Bob Beatty Ryan Wells, and others.

Tiikeri

Punk on Tärkeää

General Speech

***The 5th 7” and third full EP from Finland’s Tiikeri is maybe their best yet. If this band is still unknown to you, They have spent the last 5 years keeping the torch of traditional Finn-punk burning. Playing in the tradition and simplicity of the late 70s punk roster dominating cult labels like Johanna and Poko Records, Poko Record’s “Pure Finnish Rock” slogan begs for a 2026 update with Tiikeri playing “Pure Finnish Punk”. This new EP sees Tiikeri at their most poppy and catchy yet without losing their punk edge, and objectively perhaps their strongest song writing. Bands like Vaavi with their song “Pogo Party” come to mind on this record, the bass runs would make JJ Burnell from the Stranglers envious, a fantastic artistic layout in Tiikeri’s now cemented punk style, and the production is the icing on the cake being the perfect fit for this style. Hard not to call this a perfect record in 2026.

Vansuut

Mari

General Speech

***Based in Sanjo City, Niigata Prefecture, VÄNSUUT’s second 7“ is just like their first. It’s undeniable that VÄNSUUT is heavily influenced by Finnish punk, but their punk rock, played with pure passion without getting too bogged down in “Finnish punk” conventions, is truly one-of-a-kind. You could call them “Japan’s representatives of Finnish punk in the 2020s”, but “punk rock embodying the melancholic youth of clumsy adults who can’t grow up” fits them even better. 4 Track EP. (Jacky Crust War).

Csihar, Attila / Balazs Pandi / John Wiese

Annihilation of Samsara

Helicopter

***For decades, Attila Csihar, Balázs Pándi, and John Wiese have each occupied positions within the global landscape of experimental music, operating across extreme metal, free improvisation, noise, electronic abstraction, and forms that resist stable categorization altogether. Annihilation of Samsara marks the first trio recording by these three artists, a convergence that feels less like the formation of a conventional group than the surfacing of a latent structure that has existed beneath overlapping histories for years. The roots of this collaboration can be traced back to 2005, when Csihar and Wiese first shared space as members of Sunn O)))’s European tour. Csihar had already become one of the defining voices in experimental metal through his work with Mayhem and his increasingly abstract vocal practice within Sunn O))), where voice became atmospheric matter, ritual vibration, and psychic architecture. Wiese, meanwhile, contributed electronics to Sunn O))) during a period in which the group’s sound expanded beyond amplified drone into destabilized zones of psychoacoustic and environmental density. Balázs Pándi emerges from yet another vector within this constellation. His work across free jazz, noise, and avant metal has established him as a fluid and physically responsive drummer. Equally capable of overwhelming density and microscopic restraint, Pándi approaches percussion not simply as rhythm but as environmental force. What emerges across this recording is not fusion in any conventional sense. The trio does not synthesize its respective histories into a unified style. Instead, the album operates through coexistence and gradual transformation. The album’s title, Annihilation of Samsara,...

Concealed Class

No Obituary

Helicopter / Troniks

***Concealed Class emerges without introduction or transition. No Obituary, released by Helicopter/Troniks, marks the debut recording by Charlie Mumma and Matt Purse, two artists whose respective histories in extreme music and noise have consistently pushed toward states of structural and perceptual overload. Mumma, known through his work in Sissy Spacek, Sewer System, and Unexamine, projects that each approach collapse through different formal languages ranging from imploded grindcore to dense electronics. Purse, through Unsustainable Social Condition, has developed an equally uncompromising practice grounded in raw electronic saturation and pressure. Concealed Class strips these tendencies down to their most hostile and concentrated form. Electronics rupture and fold inward at extreme volume thresholds while scorched frequencies and unstable feedback systems continuously destabilize any fixed orientation. The recording rejects progression in favor of sustained pressure. What distinguishes the project is the precision embedded within its density. Beneath the violence of the surface, layers of distortion repeatedly collapse and reform into new configurations of presence and absence. There is no closure offered here, no ceremonial framing of destruction, no distance between event and aftermath. Concealed Class does not document from the outside, it exists entirely inside the burn. The result is absolute electronics, stripped of ornament and left fully exposed.

Bastard Noise

Dismantling The Sardonic Cataclysm That Drowns Us All

Skull Records

***American noise heavyweight BASTARD NOISE returns with anew album consisting of a single long form track of deep space with geographic attacks and dual vocals. Limited edition digipak of 500 copies. Includes a 4-panel pull-out lyric poster.