New Releases

Hand Habits

Blue Reminder

Fat Possum

***On Blue Reminder, multi-instrumentalist Meg Duffy walks a kind of emotional tightrope between hope and a kind of quiet anxiety, the record itself batting around the question of what one does when happiness actually comes knocking. At the core of these songs the genuine joy of love and self-actualization are always balanced against the potential fear of losing those things once you’ve found them.This collection of songs largely eschew the more insular nature of earlier Hand Habits records, instead veering into the guitar-forward vibe of 90’s indie rock, with deftly assured songs that could exist in the same sonic universe with Aimee Mann or Neko Case, with the sort of left of center shifts in tone and lyrical observations that would not be out of place on a Cate Le Bon tune. Throughout the songs, guitars fuzz, drums move to the forefront, and the occasional horn or wurlitzer pass through. Everything feels elevated.

Third Ear Band

S/t

Antarctica Starts Here

"For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music – without plugging in."Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines."On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements."The long songs here stream forth from their...

Mystic 100s

Double Live

L.G. Records

MYSTIC 100’s , formally known as MILK MUSIC are an underground psychedelic rock group from Washington State. They’ve maintained a healthy cult following and underground existence since 2008. Double Live is their first live record, and features the band once again as a quartet (Alex Coxen, Abby Dahlquist, Joe Rutter, Charles Waring). It was captured in 2024 by two mysterious audience members at two separate shows (Oakland & Philadelphia), unaware to the band at the time. Inspired and heartfelt songs, playfully careless and expressive jamming. For fans of Neil Young, Velvet Underground, Grateful Dead, Trad Gras och Stenar, etc.). Limited pressing of 500. Pressed on 140g vinyl and housed in gatefold tip-on sleeves.

Debris'

S/t

Superior Viaduct

Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris’. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver “Rectomo” Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock ’n’ roll this side of MX-80 Sound.When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris’ came in well-rehearsed—nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones’ debut album, Debris’ would release their lone record onto the world.Opener “One Way Spit” could easily be mistaken for a lost KBD single—from Chuck’s bizarre count-in to the band’s trashy start-stop rhythms, unfurling a Dadaist flag around Johnny’s visceral vocals. On “Tricia,” a reference to the then-current Patty Hearst trial, Oliver’s gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-’70s Cleveland scene.Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges’ Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris’ were one of the first to do so.Debris’ had a standing invitation to play New York at Max’s Kansas City...

Innumerable Forms

Pain Effulgence

Profound Lore

Pain Effulgence, the third album from Innumerable Forms sees founder Justin DeTore (Dream Unending, Sumerlands) and crew (who comprise of members from bands such as Iron Lung, Power Trip, Mammoth Grinder, and Genocide Pact) deliver their most powerful tectonic-shifting release yet. Pain Effulgence sees IInnumerable Forms elevate the trajectory, initially brought forth with their Punishment In Flesh debut and 2022’s Philosophical Collapse, to a new plateau of megalithic death/doom artistry. Old-school early ’90s Finnish death metal coalescing with early ’90s UK death / doom (i.e. old Paradise Lost and old Anathema) continues to be the blueprint upon which Innumerable Forms contrive their sound from and with Pain Effulgence, it continues to become that much more towering and imposing. Akin to feeling the weight of an immense ancient stone of granite being lowered upon you, overwhelming suffocating darkness and monumental mournful triumph, Pain Effulgence was produced by Arthur Rizk and features art by Katie Muller.

Andy, Horace

Get Wise

Antarctica Starts Here

With his honeyed falsetto, Horace Andy has long been considered one of roots reggae’s most inimitable voices. His signature tune, “Skylarking,” is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy’s expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis. 1975’s Get Wise collects a series of singles produced by Pratt including versions of hits “Money, Money” (“Root Of All Evil”) and “Zion Gate” (“I Don’t Want To Be Outside”). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy’s Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm. Originally released on Pratt’s Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston “Family Man” Barrett and Earl “Chinna” Smith, among others. Get Wise delivers ten tracks of Andy’s finest material and should be in the collection of any aficionado of the classic ’70s Kingston sound. Liner notes by JR Gonne.

Brown, Errol & The Revolutionaries

Dub Expression

Antarctica Starts Here

Recorded and mixed at Duke Reid’s storied Treasure Isle studio by Duke’s nephew, young engineer Errol Brown, Dub Expression collects dubbed up treatments of seminal rockers rhythms crafted for Marcia Griffiths, John Holt, Dennis Brown and more.Propelled by the drums of Lowell “Sly” Dunbar, the appropriately named Revolutionaries (with their tough and radical sound) were the ideal group to reflect a turbulent period in Jamaican politics. While the band’s personnel remained fluid—depending on which players were available and frequently overlapping with other seminal sessions bands such as Joe Gibbs’ The Professionals and Bunny “Striker” Lee’s The Aggrovators—The Revolutionaries were most known as Channel One’s house band in the mid to late ’70s.The decision to top-bill The Revolutionaries, rather than feature an individual artist as was customary at the time, was made by Kingston’s most celebrated female producer, Sonia Pottinger who shrewdly determined that The Revolutionaries’ name alone would be a can’t miss selling point. One only needs to spend a minute with Dub Expression to hear why.Originally released in 1978 on Pottinger’s High Note label, Dub Expression represents the essence of dub in its purest form. An absolute classic. Liner notes by JR Gonne.

Tullycraft

Shoot The Point

HHBTM

***"Indie pop icons Tullycraft are back! After six years of whatever bands do when they’re not making albums, legendary troublemakers Tullycraft are back with a new studio album, Shoot the Point. Over the years, Tullycraft has penned a handful of songs that practically define the twee movement in America. The chorus 'fuck me, I'm twee' was the refrain that launched a thousand t-shirts. 'The Punks Are Writing Love Songs' introduced bratty punk to hummingbird twee. 'Pop Songs Your New Boyfriend’s Too Stupid to Know About' encapsulated an entire music scene in a single song. And yet despite this, for most, the band exists somewhere near the edges of obscurity. Occasionally, they receive a nod (like when their album Old Traditions, New Standards was featured on Pitchfork's list of the 25 Best Indie Pop Albums of the ’90s) but these spotlights don’t tend to happen as frequently as one might think.While the mainstream has largely ignored Tullycraft, their status in the indie pop underground is undeniable. Formed in Seattle in 1995, they are considered to be one of the bona fide pioneers of the American twee pop movement. Touring relentlessly during the last gasp of the truly independent indie-underground, they influenced countless young bands. They were once called 'the Johnny Appleseed of Indie Pop—making their way across the country, leaving new bands, zines, and record labels to sprout up in their wake.' Tullycraft has always marched to the slap of their own tambourine, and Shoot the Point is no exception. This...

Lo Yo Yo, The

s/t

Concentric Circles

London’s The Lo Yo Yo was conceptualized by John “Alig” Pearce in 1984 after his primary group, the deservedly legendary Family Fodder, went dormant. Soon enough a few others were enlisted to round out the quartet, including Mick Hobbs of The Work and Officer! fame, alongside friends Joey Stack and Carrie Brooks. The Lo Yo Yo took elements from their other groups and, in the tradition of somewhat like-minded acts like The Raincoats, Naffi and Amos & Sara, added a strong dub/reggae element.Shortly before their lone studio LP, which was recorded by Charles Bullen of This Heat fame, the band self-recorded a demo tape at home on an eight track reel to reel, reissued here on vinyl for the first time by Concentric Circles. It is a wonder of DIY production with a rich and layered sound that belies their humble means. Although about half of the songs on the demo would wind up being re-recorded for the studio LP, the demo versions are radically different from what is heard on their proper album. There is a feeling of intensity to the demo that was missing from the LP, which had a noticeably cleaner fidelity and more subdued playing. Here the band plays with true force and determination, with Stack’s socialist leaning lyrics taking on an extra sharp bite. Unafraid to show off their skills at writing irresistibly catchy pop songs, things are carried on by Alig’s big bass sound and a barrage of polyrhythmic dueling drums and percussion. The...

Wreck And Reference

Stay Calm

Flenser

Wreck and Reference's fifth full-length is a meditation on the horror of modern life.How can one stay calm when it is inherently terrifying to be alive in the first place? For Felix Skinner and Ignat Frege, staying calm means facing the void head-on. Hey, at least it’s something.Fifteen years ago, two men emerged from an overheated garage in the harrowing wastelands of California with a singular vision for the future of dark, intense music: tortured samples, blasted acoustic drums, and a distinct lack of guitars. They walked straight past the orthodoxies of metal music and into the weird new dawn of electronic experimentalism. Since then, heavy music has evolved – yet Wreck and Reference's vision remains fresh, transgressive, and undeniably existential in its pressure against the current breed.A lot has happened in the world since Wreck and Reference's last full-length, Absolute Still Life. Between a global pandemic, swirling political environment, and the rise of artificial intelligence, Stay Calm is over five years in the making. It is in constant flux, a record that refuses to be inoculated, assimilated, or inured to the atrocities of daily life. It asks: is it fruitless to stake a claim in the all-too-fleeting ordeal of existence? Whatever the answer, embrace the implications.Stay Calm is anything but. A wild ride that never loses its focus. Seatbelts off, please.

Sleeveens, The

Downtown / Drowning

Goner

***A limited tour / Gonerfest single from Nashville's might Sleeveens. You get the stomping original "Downtown" backed by a fierce cover of Reigning Sound's "Drowning." Don't sleep on this one!

Brown Angel

Promisemaker

Sleeping Giant Glossolalia

***Over an improbable 20-year career, Pittsburgh noise-metal lifers Brown Angel have sought not to entertain, but to obliterate. Personal demons have always been the intended targets of Brown Angel’s excruciating dissonance, repetition, and weapon-grade volume. Audiences who beat a retreat rather than absorb the collateral damage can hardly be blamed—or even noticed by the trio, who often enough are left to close a set before an empty room, basking solipsistically in their own harshness. A plodding creative process (sum it up as “doing it the hard way”) likewise promotes neither sustainability nor commercial appeal. Yet somehow—despite three botched “breakup attempts” and a prolonged separation by half the world’s time zones—Brown Angel has managed to deliver their most personal and definitive work with new album Promisemaker.Promisemaker is Brown Angel’s second full-length release for New York City's Sleeping Giant Glossolalia label. The band continues to work against a crude scaffold of post-punk, late ‘80s death metal, early industrial and no-wave at its most nihilistic. As exploratory deviations from form, “Proxy Anxiety” and “Guilt Tending” don’t so much detour as slouch into rock sensibility—albeit one informed by the shimmering chordal textures of the late Geordie Walker and set to a pulse that splits the difference between motorik and thrash metal. Confessional and cathartic, lead single and video “Who Wants a Dreamer?” posits generational shame handed down like an heirloom, discouragement offered as daily benediction. Guitarist/vocalist Adam MacGregor(ex-microwaves, ex-Creation is Crucifixion, ex-Conelrad, and ex-pat) bellows these grievances over gnarled, brittle-toned riffs that erupt into...

Ramleh

Hyper Vigilance

Sleeping Giant Glossolalia

***SGG is thrilled and honored to announce the impending release of the new studio album by Ramleh, a band whose longstanding, uncompromising artistic trajectory is rivaled by none. Birthed from the early 80s UK post-punk and industrial ecosphere and finding footing in the embryonic power electronics scene before incorporating rock instrumentation to further explore the landscape of what would come to be described as “bleak psychedelia”, Ramleh continue to challenge and reward even the most adventurous listener. Hyper Vigilance, a sprawling double album that is the band’s most ambitious offering in a career spanning more than 4 decades, retains the urgency and sense of danger established in Ramleh’s earliest DIY live actions while showcasing a willingness to annihilate sonic limitations, utilizing sounds and compositional approaches previously unheard in an already bold and complex discography. Striking moments present themselves all across the four sides of this staggering album. Provocative lyrically and musically, Hyper Vigilance erupts simultaneously with the vigor of an eager young band and the focused ingenuity that can only come from years of orchestrated creative evolution. Fans of any era of the project, whether the most punishing early exercises in electronic onslaught or the consciousness altering noise rock that followed, will find a new favorite chapter in the Ramleh story within Hyper Vigilance, an overwhelmingly beautiful and imposing record by a band at the height of its power.

Ramones

As Seen On TV

Dear Boss

***The Ramones live on broadcast TV on three separate occasions betweem 1977 and 1981. Ten tracks originally aired on Chorus TV (France), another twelve from Don Kirschner Rock Concert (9/08/1977), and "The KKK Took My Baby" from The Tomorrow Show (9/01/1981).

Dark Canyon

Long Days, Pleasant Nights

Nudie Records

***Long Days, Pleasant Nights is a spacious exploration of grainy western landscapes. Following on the heels of Dark Canyon’s self-titled release, LDPN embraces a minimalist flair and emphasizes the time between notes. Inspired heavily by Stephen King’s Dark Tower series, this record has been conceived as a metaphysical western. From the first mellotron notes to the final guitar swell, Long Days, Pleasant Nights unfolds over the course of ten tracks, all thoughtfully arranged and wonderfully sparse. Analog production combined with sporadic improvisation guides the tonal voyage. Featuring contributions from some of Chicago’s finest players, LDPN offers a cinematic escape and an introspective journey that is a welcome new chapter in the evolving Dark Canyon sound.

Snowden, Rick

The Electric Acid Surfboard Test

Nudie Records

***Blissful psychedelic grooves soaked in liquid sunshine, The Electric Acid Surfboard Test is a playful and loose swirl through a funky technicolor haze. Recorded in/at his home studio near Byron Bay, Australia over a handful of months primarily for Stab magazine’s sweeping surf visuals, Rick Snowden used his full cadre of synthesizers, guitars and various digital and analog knick knacks to convey the vast range of experience and emotion created when a body meets the ocean. The Electric Acid Surfboard Test is the second collaboration between the Bay Area’s Tunnel Records and Nudie Records.

V/a

Weird Scenes From Inside The Droll Mind

Celluloid Lunch

***A collection of cuts from the current Montreal underground. Songs from GARDEN OF LOVE, PRIVATE LIVES, G.I. JINX and THE WRONG SKY. Pressed on orange vinyl. Includes a zine and screen printed cover.

Quite Ridiculous Nonsense

A Failure...

Celluloid Lunch / Sweet Rot

***Perhaps you’ve noticed that things are quite ridiculous these days? Almost nonsensical? In 1984 Dan Foley did too. Same bullshit, different times. In Montreal, Dan wrote, recorded and self-released the Quite Ridiculous Nonsense A Failure 7”. He had no distribution. He played no shows. Through word of mouth he sold about half of the 500 copies and threw the rest in the garbage after years of staring at the unsold copies. Some people must have been paying attention as the record did show up on Kugelberg’s Top 100 DIY singles list (albeit listed as being from the US) where Kug said “Most ace industrial wank of that rare late 70's variety. Wildly entertaining experiments in four track flatulence and transistor radio static” which I guess is about right. I’ve heard others say it sounds like Suicide recorded in a bedroom. I hear a bit of Jimmy Smack, a bit of The Four Plugs and think it would sound right at home on The Thing From The Crypt comp. Dan himself said he was influenced by early PIL and Cabaret Voltaire at the time. Basically think “It was easy, it was cheap, go and do it” circa Montreal 1984 made with only a beat box, a bass guitar, and some whirring and beeping household appliances for good measure. Now, in 2025, Sweet Rot and Celluloid Lunch are pleased to re-issue A Failure with a one time pressing of 300 copies. Although the text on the front says “pay no more than...

Bursting

Bursting

No Sabes

***"The first thing you need to know about Chicago’s Bursting is that they are a supergroup. With members of Stress Positions, Thou, C.H.E.W., and Coliseum (among others), it’s safe to say Bursting, on paper, rip. The second thing you need to know about Bursting is you need to see them live, in real life, so quit reading this review.Bursting make menacing post-hardcore and it’s abundantly clear they’re having so much fun doing so. Not many bands feature Naruto runs in their music videos, and I’d bet even less make merch stickers in the Barbie font.If you’ve ever enjoyed The Only Rock Radio Station In Your Area, Bursting is for you. Their music may remind you of bands like Quicksand, Hot Snakes, Jawbox, or Shiner, but it also may remind you of bands like Foo Fighters, Queens of the Stone Age, or Incubus. Bursting’s first EP is capital 'A' Alternative rock; highly melodic yet crushing in a way that sheds light on its members’ projects and influence."—Post-Trash

Echo Selector

Echo Space Dub Session Vol. 2

No Sabes

***Echo Selector, a pioneer musical project of dub reggae from Medellín Colombia presents Echo Space EP. On this album, producer Juan Esteban Herrera (aka Ruido Selecto) explores Dub, Jamaican music and the rhythms of the Colombian Caribbean through the creative use of audio tools and performative improvisation. This is a production with powerful music, where rhythms such as ska and steppa are found together with percussive sounds with patterns of Cumbia and Jamaican nyabinghi. The project had the opportunity to record in the studio with session musicians such as trumpeter Yoni Perez, drummer Camilo Mazo and percussionist Álvaro Botero. The artwork for the album cover was made by the talented artist Titania, who was in charge of giving life to Echo Space with a design influenced by the Jamaican Dub art of the eighties but brought to the Colombian context.

Maanta Raay

s/t

No Sabes

***MAANTA RAAY is a riff-casting, power trio from Nashville, Tennessee. Their self-titled debut comes from the heavier side of psychedelia. While the influences are apparent—Leigh Stephens (Blue Cheer), Jaki Liebezeit (CAN), Daphne Oram, Randy Rhoads, James Jamerson, Ron Asheton—the record’s interstellar overdrive vs droned-out tempos, musi-quinox arrangements, sometimes garage rawness (members include ex-Quadrajets, Immortal Lee County Killers, and Modern Convenience) and unleashed layers of sonica, all testify that the band’s mission is to make it new.“ Heavy space rock at its finest. This album does not disappoint. “—Isaiah Mitchell, Earthless“Heavy atmospheric riffery and space sonics entwining melancholy and a lust for life!”—Johanna Sadonis, Lucifer"Riffs straight from Mt. Vesuvius! MAANTA RAAY is hot pink and out of control!"—Steve Turner, Mudhoney“MAANTA RAAY makes me want to drive a ‘69 Camaro to the ends of the earth and go night swimming in shark infested water.”—Dean Fertita, Queens of the Stone Age, Tropical Goth Club

Discreet Charms

Delivery Model Stateholder Meeting

Dot Dash Sounds

***"Brooklyn art-punk conglomerate Discreet Charms is proof that you can go home again, especially if home is the cool dive bar on the wrong side of town. The place where the grizzled intellectuals teach the new bohemians how to drink, fight and fuck. Punked-out, hard-rocking and adroit, Discreet Charms is the soundtrack to such sordid yet elevated undertakings.Kicking off in 2023, the original trio of Jose Moreno (guitar/vocals/synth), Nate Knaebel (bass/vocals) and Tom Hyland (drums/vocals) came off like a fresh coat of paint on your favorite whip. Moreno plays with Portland, Maine-based Beefheart-ian outsiders Celebrity Handshake, while Knaebel once cavorted with indie rock royalty in Victoria Lucas. Hyland’s last band was underrated late ‘00s post-punkers Imaginary Icons, who even backed up the Homosexuals’ Bruno Wizard for a spell. You may also recognize these gentlemen under different monikers—Knaebel is Nate the K and Hyland is Tom Dash on freeform radio stalwart WFMU. With a line-up like that, you’d think Discreet Charms were sitting pretty, but when they added guitarist Theresa Smith everything locked into place. Smith’s CV highlights her time in scuzz-rockers Ballroom and avant-pop ensemble Home Blitz, two of NYC’s finest of the past decade. After dropping a cassette EP, Discreet Charms is now on the offensive with Delivery Model Stateholder Meeting..."—Erick Bradshaw (Spin Age Blasters with Creamo Coyl on WFMU)

Carlton Melton

Live Hebden Bridge & Enschede 2023

Was Ist Das?

As Carlton Melton celebrate 17 years together and Was Ist Das? 20 years of existence,we finally come together for an LP, only 13 years since we first worked together on the Hebden Bridge show on their 2012 European tour. Just 250 copies on gorgeous red vinyl. Please don't miss out. This LP cherry picks the sonic highlights of the bands 2023 European tour, drawing from deep sets in Enschede, Holland and Hebden Bridge, West Yorkshire. Opening with a freewheeling, lysergic "Smoke Drip" before hammering down for a raging take on "March of the Cicadas" which seems to throb with more bass than ever. You can tell the room must have heated up during that one. Flip over to side 2 and we have "Vanquished" from their latest album and the gloves are off and the shredding is on the Richter scale. The sort of song that makes you want to drive a car over a big gap in slow motion. FFS don't play this while driving. It all ends with the Jimi Hendrix joins Neu! headmangler that is "Prescribed Skies" just to leave you floored and wanting more. I know I was. We really must do this again sometime soon!

Gentleman Jesse

I Wonder If You Would Even Notice - Singles and Rarities

Beach Impediment

One of the brighter stars from the mid-oughties, an era when power pop was on the rise among punks and the Pitchfork crowd alike, Gentleman Jesse burst onto the scene in 2006 with their first single, “I Don’t Wanna Know (Where You Been Tonight).” Sporting the Carbonas’ rhythm section as well as their rough-and-ready DIY approach–via drummer Dave Rahn–,Gentleman Jesse conjures comparisons to the Nerves in how they filter drama and desperation through pop sensibilities. Also like the Nerves, Gentleman Jesse writes upbeat, breezy numbers that are best blasted on the car stereo at 80 miles per hour. This album tracks the first five years of the group’s progress across 16 songs, from early demos to a string of punchy, danceable singles. The guitars may not be distorted, but, far from being saccharine or kitschy, Gentleman Jesse is truly more POWER than POP. Each record features a layout chock full of photos from the first half a decade of existence with liner notes by the Gentleman himself.

Walnut Brain

Weird Wire

Petty Bunco

***Walnut Brain, the duo of Alina Josan and Steve Heise, mess around with a custom-made diddley bow and an electric guitar to make decidedly earthbound sounds that reach for the clouds or the stars or whatever’s out there. A diddley bow is an instrument whose single string, when struck and bowed by a sensitive player, emits sounds that both scrape and sing. As we all know, an electric guitar is a juiced up instrument capable of producing some of the most exciting sounds imaginable. In the intuitive hands of Walnut Brain, these instruments weave together to oscillating rhythms and fleeting melodies.Recorded entirely on location in only the most inspiring cabins, kitchens, and basements that this tri-state area has to offer, Weird Wire is an experience of pulses and textures swiped from the ether and committed to magnetic tape.

Destruct

Echoes of Life

Grave Mistake

***BACK IN PRINT!!! DESTRUCT deliver an absolute crusher of a debut LP following a couple recent, well-regarded demos. The sound is one that you know and are familiar with; Stoke-on-Trent, Scandanavia, and Japan, but it has been executed to its absolute maximum and captured with a clear and powerful recording. Huge, catchy riffs. Exacting rhythm. Howls of defeat, agony and pain. Taking a time-honored formula, they have lent their hand to making an album that has again breathed new life into the genre. Echoes of Life is a testament to the power of paying respects to a classic sound while simultaneously pushing it forward to today. It’s the sound of an enormous door closing in the depths of hell. Ten-million tons of TNT dropped on your head. Edition of 300 copies on light purple vinyl. Includes brand new 23"x23" poster.

CLAMM

Serious Acts

Meat Machine

Hailing from Naarm/Melbourne, punk trio CLAMM—comprising Jack Summers, Miles Harding, and Stella Rennex—delve into the tumultuous experience of youth striving to lead an authentic and principled life in an increasingly chaotic world. Their music confronts the challenges of navigating entrenched systems of power and oppression while striving to preserve mental well-being and a strong sense of self. Through their raw and visceral sound, CLAMM aspires to foster community, ignite creativity, and provide a channel for catharsis.Serious Acts continues the band’s signature raw intensity, with frontman Summer’s commanding vocals and incisive lyricism delving deep into the highs and lows of human existence.

Frigora

Fullständig Frigörelse

General Speech

***4 track unreleased studio EP recording from their Mushi era. The fact these tracks exist, and are as good and as high quality as they are truly the stuff dreams are made of if you are a fan of the Stalin. These aren’t demos, but full-fledged, intentionally recorded studio tracks that just never saw the light of day. This originally came out in 2023 in Japan to coincide with the 40th Anniversary of the Mushi LP, and sold out in mere hours, and remains prohibitively expensive on the second hand market. This is a one-time overseas pressing on General Speech, and includes identical artwork to the Japanese release, by Keizo Miyanishi who drew the cover of the Stalin’s “Trash” LP, and English liner notes from Inundow covering the discovery of these tracks. Truly essential to any fan of Japanese punk.

Wants, The

Bastard

STTT

***Second album by electro/post-punk trio from New York. Too raw to be pure electronic music, too mechanized to be straight rock—a sound inspired by Public Image Limited and The Smiths as well as Bauhaus, Throbbing Gristle, Smashing Pumpkins, and Massive Attack. An adversarial network of ideas, electronic post-punk trio The Wants welcome the possibility that embracing friction can give rise to something cathartic and unexpected. Formed by Madison Velding-VanDam and Jason Gates in 2017, and with the addition of Yasmeen Night in 2021, The Wants' sound is defined by the push and pull of its members' processes: floating rhythms upheaving grounded songwriting, pulsing synths overwhelming live instrumentation. Their new record, Bastard, is an evolution of many of the seeds planted in their debut record, Container (2020), with a refined sense of acerbic emotional urgency and sonic experimentation. Drawing from a deep well of influences across decades and genres, The Wants forge an unlikely alliance of sounds that feels both radical and inevitable. Velding-VanDam channels both the raw power and snark of Public Image Ltd. and The Smiths' romance, while Gates draws intensity from bands like Bauhaus and Throbbing Gristle, and inspiration from experimental techno. Night's sound bridges inspiration from '90s alternative rock like Smashing Pumpkins and Garbage between the nocturnal trip-hop atmosphere of Massive Attack. The result sits in its own category, drawing favorable comparisons to early PIL and contemporaries like Model/Actriz while remaining distinctly their own beast.

Marinetti, Fortunato Durutti

Bitter Sweet, Sweet Bitter

We Are Time

***Known on both sides of the Atlantic for his baroque, poetic approach to songwriting, Fortunato Durutti Marinetti returns with Bitter Sweet, Sweet Bitter—his most sweeping, absurd, and emotionally acute statement to date. Calling it Poetic Jazz Rock—at once a private joke and an honest descriptor—the Toronto-via-Turin cantautore (Italian for singer-songwriter) delivers an album of maximalist grace, gilded sorrow, and lyrical intensity.The title, Bitter Sweet, Sweet Bitter, nods to Anne Carson’s Eros: The Bittersweet, a book that launches a thousand ideas into the air: the impossibility of translation, the contradictions at the heart of desire, and the fluid spectrum between seeming opposites. That duality animates this album—from its two-headed dog cover art to its songs that twirl between beauty and grotesquerie, euphoria and dread.While his previous album, Eight Waves In Search Of An Ocean, sought sonic hybridity, Bitter Sweet, Sweet Bitter marks Marinetti’s dive into excess. Written with the intent to push his songwriting to absurdist extremes, the album features long, chorus-less compositions swirling in 6/8 time, packed with words, brass, and string flourishes. Recorded live with a nimble six-piece band in a cramped Toronto attic studio, the record captures raw performances—often tracked in first or second takes—and overlays them with meticulous arrangements.

Galaxie 500

CBGB 12.13.88

Silver Current

NEW CLEAR VINYL PRESSING!!! After a storied first year as a band releasing and touring behind their critically acclaimed debut album Today, Galaxie 500 closed out 1988 with a quintessential performance at New York City’s famed CBGB with every bit of their signature intimacy and autumnal bombast on display. The unusual bill which also included Sonic Youth, B.A.L.L. and Unsane was a benefit show for the zine shop See Hear. Captured here in a raw but inspired board mix by Kramer and restored and mastered from the analog source by Alan Douches at West West Side Music, CBGB 12.13.88 is a live snapshot of a Galaxie fully formed, punctuating the end of their first chapter while poised to step into their next with On Fire the following year. 

Thinking Fellers Union Local 282

Tangle

Bulbous Monocle

Originally released in 1989 on the band’s own Thwart Productions label, Tangle was the first vinyl release from Thinking Fellers Union Local 282. Coming after their debut cassette, Wormed, By Leonard, it shows the band leapfrogging stylistically into a more mature phase of their patented surreal compositional modus operandi. Tracks like the opener, "Sister Hell," foreshadow the band's later evolutionary mutations and was a minor hit in the underground circuit at the time. The rest of the album is a sleek maelstrom of crackpot dissonance, noise-rock power balladry, schizo-telepathic improv and some of the finest underground music of the era. In short, Tangle is a template and Proclamation of Intent that presages TFUL's classic 90s releases. Originally produced by their longtime engineer and thaumaturge, Greg Freeman, this reissue is impeccably remastered from the original master tapes by Mark Gergis. New and contemporary artwork ties a saucy bow around this astonishing reissue.  LIMITED EDITION OF 500 COPIES!

World Of Pooh

Tight And Loose

Bulbous Monocle

World of Pooh immensely brightened the dark corners of San Francisco, California during the years 1983-1990, with their most recognized guise being the MMF trio that existed & thrived during the years 1986-1990. This is the lineup you’ll hear documented on this exceptional collection of 45s, compilation tracks and assorted ephemera. The band has ranged from being a footnote for some (“is that the band Barbara Manning was once in?”) to a fondly-regarded memory for others (“the Land of Thirst album is a forgotten classic”) to a turnstile, door-opening band for still others — like me. They arrived in my life as they were slowly exiting theirs, and I eagerly attended a half-dozen shows of theirs circa 1989-90 around San Francisco moments after I moved there. They were instantly my favorite local band, one I was instantly duty-bound to see whenever & wherever they played. Their jagged and discombobulated take on underground pop music was exceptionally fertile, feral and fetching, and it served as a personal gateway drug that flowered my own appreciation for many different kinds of subtle musical tension.I also spent at least five glorious years watching Jay Paget, who drummed for World of Pooh and later the Thinking Fellers Union Local 282, ply his rhythmic trade with much aplomb. He was always a steady hand behind the musical wheel of innovative bands who often threatened to careen off course. And I’ll admit to an untoward admiration of (and fascination with) World of Pooh founder, guitarist and singer...

PG Six

The Well of Memory (2025 Expanded Edition)

Amish

***Amish Records is happy to release an expanded, gatefold 2xLP version of P.G. Six's second album, The Well of Memory, originally released in 2004. This 2025 expanded edition has beautiful new artwork, re-imagined by Meredyth Sparks and comes with a bonus LP entitled Lost and Live. The LP includes six previously unreleased songs from The Well of Memory sessions and a handful of live versions of songs from the album.Continuing many of the themes introduced on Parlor Tricks and Porch Favorites, PG Six's well-received first record, The Well Of Memory made further nods towards 60's folk artists like Bert Jansch, Pentangle, Incredible String Band, and John Fahey, while also fitting in with contemporary musicians like New York psych folk poster- boy Devendra Banhardt, Anglo-folk traditionalist Alasdair Roberts, and West Coast psych guitarist Ben Chasny of Six Organs of Admittance. Pat's lyrics draw on narrative force, spinning mythology in abstract patterns that stretch moments of clarity between dreamlike sequences. His music, composed away from the bustle of the city in upstate New York, breathes as solemn spirituals.

Osees

ABOMINATION REVEALED AT LAST

DEATHGOD CORP

"It feels like its all lighting off. A lot of fodder in today’s world for an artist.Too easily humans forget their humanity. Forgiveness is a dead science. Empathy is viewed as a weakness by cretins. Easier to hate rather than love. Fear and greed have dug their bloody hands into everything.At least now we know who you are. We see you. We defy you.People are under duress. Recognize this abomination. Oppose the oppressor. FUCK the fascists and their enablers. Fuck the war mongersGood luck out there. ACAB. "—OSEESThe 12 tracks on ABOMINATION... are a hypnotic, maniacal, and propulsive attack on the senses–a fitting reaction to a world suffering from genocide, environmental collapse, state sanctioned violence, progressing technocracy, and more. The album was recorded by Enrique Tena Padilla, Mario Ramirez & John Dwyer, mixed by Padilla and Dwyer, and mastered by JJ Golden. OSEES are John Dwyer (vocals/guitar/synths), Tom Dolas (guitar/samples/keys), Tim Hellman (bass), and Dan Rincon (drums).

Crypt Sermon

Saturnian Appendices

Dark Descent

On the heels of an album widely considered to be one of 2024’s best releases, Philadelphia’s Crypt Sermon presents Saturnian Appendices. A collection of b-sides taken from The Stygian Rose album sessions, the EP offers a deeper look into the psyche behind the story, extending the arc of its predecessor with a darker, more introspective lens. “Conceptually, the new tracks ‘Only Ash And Dust’ and ‘A Fool To Believe’ illuminate the shadowed thoughts of the narrator from The Stygian Rose, expanding on the tensions that arise as one confronts the conflicts between orthodoxy and occult,” offers vocalist Brooks Wilson. Sonically, Saturnian Appendices is firmly rooted in the band’s signature doom-laden dark heavy metal sound. Grandiose melodies wrap around a crushing volley of monolithic riffs for a commanding and epic performance. Featuring three, brand-new, original tracks and a transcendental revisioning of Mayhem’s “De Mysteriis Doom Sathanas” (first heard as part of Decibel Magazine’s flexi-disc series), Saturnian Appendices offers fans a compelling experience steeped in grandeur and philosophical unrest.

Theurgion

All Under Heaven

Profound Lore

Theurgion are a new doom metal entity featuring members involved in bands such as Chaos Moon, Krieg, Häxanu, Azelisassath, Kveldstimer, and Collier d’Ombre (just to name a few of the many projects the three members of this band are involved in). Theurgion play towering and melancholic death-via-traditional doom metal. All Under Heaven is comprised of seven sculptured sonic monuments that hail those that came before (Solitude Aeturnus, mid-era Bathory, old Katatonia, old Anathema, first October Tide LP etc.) while carving its solitary monolith to merge itself in the new age.

Relay For Death

Mutual Consuming

Helen Scarsdale Agency

Relay For Death is the noise project of the twin sisters Roxann and Rachal Spikula. Their hermetic works consistently reflect a bleak nihilism, all the while carving an autonomous space for survival as the rest of the existence crumbles. Previous works have been published by Hanson, No Rent, Total Black, and RRRecords.The twins offered the consideration that "Mutual Consuming comes from a concept in the philosophies that underpin traditional Chinese medicine theory, where the two opposing states (yin and yang) are 2 states on a continuum and their interactions produce an infinite possible number of states of aggregation. Within this interplay, there is a dynamic balance that is maintained by a constant adjustment of their relative levels. So an excess of yin consumes yang and vice versa." We asked if this has anything to do with the concept of the Ouroboros, to which they responded, "we hadn't thought about Ouroboros, but the eternal cycle of things makes sense too. The gorge fest of existence." Does this relate to previous works? The twins concisely respond to that question in a rare interview in Untitled, "No."Mutual Consuming is a dire piece of isolationist thrum, spectral caterwaul, and heavy gloom through an oblique and abstracted coupling of electronics, noise, and ominous field recordings. As immersive as Thomas Köner’s haunting ambience but fully entrenched in the industrial meditations of MB. Originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in...

Cheater Slicks

Don't Like You (Reissue)

In The Red

"In 1995 In The Red released the Cheater Slicks fourth full length album, Don’t Like You. The band, based in Boston at the time, travelled to New York to record at Jerry Teel’s Funhouse studio with Jon Spencer acting as producer. The result was a completely over the top noisefest that remains one of my favorite ITR releases to this day. Admittedly, Jon’s production was heavy-handed and extreme but, I thought it suited the band and this material well."Prior to the recording the band demoed their material at a couple of different eight track studios in Boston. The demos showed that the band had enough material for an album that would be (in my opinion) their strongest to date. When the album was released it was very well received but there was a small number of people close to the band and myself who were critical of Jon’s production and preferred the straight forward recording of the demos."With vinyl for Don’t Like You being out of print for decades I figured the album’s 30th anniversary was a good time for a re-release and to finally release the demos as well. I think both stand the test of time." – Larry Hardy

Dick El Demasiado

No Nos Dejamos Afeitar

Calar Music

No Nos Dejamos Afeitar (“We Will Not Be Shaved”) by Dick El Demasiado aka Dick Verdult is considered the first album of “Experimental Cumbia”, also known as “Lunatic Cumbias”. It has never been issued on vinyl before. Blending lo-fi 2-beat rhythms with raw electro-rock, No Nos Dejamos Afeitar emerged as a cult release, sparking a rebellious wave of experimental cumbia that echoed across generations.Verdult was born in the Netherlands but grew up a citizen of the world, moving around through more than twenty countries, including Guatemala, Argentina, Japan, France, Spain...the list goes on. He studied film at the University of France during the agitated late ’60s and also in San Francisco with Georges Kuchar in the early ’80s. He is a sculptor, writer, multimedia artist and musician. Around 2000-2001, he began experimenting with cumbia. It started with chopping up tracks on his MPC sampler, and soon after, Verdult moved on to producing his own music and writing lyrics in Spanish. Recorded in the Netherlands, the No Nos Dejamos Afeitar CD was first released in Argentina,where he subsequently started to disorient audiences there and around the world performing with his band Los Exagerados. His song “Mecha Flan” was performed on Argentina Sports TV Channel for an audience of over 30 millions viewers in South America back when the CD was released, helping to cement his popularity in Mexico, Colombia and Peru. A documentary directed by Luuk Bouwman, Dick Verdult – It Is True But Not Here, came out in 2017 and...