Upcoming Releases

Havana Syndrome

s/t

Swimming Faith

***This debut album from Buffalo's Havana Syndrome is the first since its escalation from Lucas Kaleta’s madcap solo mission into a dangerous full band collective. Hardcore Punk with screaming synths to fry the dystopian digital future. Every song howling warnings of a dehumanized world like a mutated time traveler being chased by robotic agents. Just knowing about this album means you are on the watch list.

Adult DVD

Adult DVD

Fat Possum

***The debut album from 6 piece Leeds band, Adult DVD. Simmering with boredom, wasted time, scams and a preoccupation with death and sex, the Adult DVD universe is a place to escape to and also get lost. These are songs that untangle the complicated ways in which people find themselves living, mining both laughter and energy from thinking.

Empanadas Ilegales

LABORATORIO TROPICAL

We Are Time

***Somewhere between Vancouver and Montreal, between cumbia and the cosmos, between the apocalypse and the dancefloor, there is a laboratory.Inside it, Empanadas Ilegales have spent nearly a decade breaking tropical music down to its bones, recombining it under pressure, and testing what comes out the other side. LABORATORIO TROPICAL, their fourth album, is the report from the lab.The record came together in the way the band works best: in motion. The first sessions happened at the tail end of their Fall 2025 tour, tracked at Sud Ouest Studios in Montreal with engineer William Poulin, with ideas channelled straight from the road. The stems then traveled west to Vancouver's Afterlife Studios, where the record took shape over a handful of sessions that were mixed by John Raham. These sounds were fine-tuned by Grammy Award-winning mastering engineer Adam Ayan; the resulting album is a dramatic journey through Empanadas Ilegales’ expanding psychedelic universe.

Lard

Last Temptation Of Reid

Alternative Tentacles

Back in Print. Louder. Meaner. Finally. Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, The Last Temptation of Reid. A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of “Forkboy” (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of “Pineapple Face,” “Drug Raid at 4 AM,” and their unhinged reinvention of “They’re Coming to Take Me Away,” (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since. This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of The Last Temptation of Reid ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of “I Am Your Clock.” Originally a UK exclusive 12”, it’s never been repressed until now. Originally released on Alternative Tentacles in 1990, The Last Temptation of Reid captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling...

Homework

Bang Here If Stuck

Meritorio

***Homework are a quintessential Glasgow band—overstimulated and a little rough round the edges, but with a pretty streak and a big, sentimental heart. They make fuzzy 90s-indebted indie rock that's bursting with ideas and sounds like home.Twin songwriters Michael Newton and Santiago Taberna trade off driving lopsided anthems and fuzzy baroque pop experiments, their voices and guitars tangled together in a way that feels less like a band and more like a shared language. Rhythm section Lizzie Quirke and Andrew Gordon provide a loping centre of gravity—steady enough to hold everything together, loose enough to let it breatheBang Here if Stuck, their debut album, delivers a kind of enthusiastic chaos where everything fits exactly where it should. Recorded at Chime Studios in Glasgow with Melissa Brisbane, the band tracked the core of the album live to best capture the playful spontaneity of their gigs. Drawing from the likes of Pavement, Teenage Fanclub, The Vaselines and Urusei Yatsura, it offers a familiar sound that's easy to love, punctuated by oddball diversions that lead somewhere unpredictable and unique.

Ranaldo, Lee

The System

Silver Current

A quick scan of the world's favorite crowdsourced discography reveals that Sonic Youth co-founder Lee Ranaldo was not a total stranger to crackling electric experimentation in the years following his songwriting turns of the 20-teens. Yet The System, ingeniously culled and sequenced from Ranaldo's soundtrack work for Dutch filmmaker Joris Postema’s "eco-doc" of the same name nonetheless feels like a reawakening. Quietly released in a vastly different (and much more "filmic") form by Doxy Music/ Riva Media Records in 2025, this LP reimagines and reconfigures the initial release, including unreleased material (written and recorded for the film) to lend it new stature as both a return to drone-improv form and a reunion with introspective Downtown angst. Given the state of the world, it's not surprising that the film Ranaldo scores -- a documentary on three climate activists bruising their fists on the black iron prison of techno-fascist deathkultur -- is a study in despair and futility. But rather than wallowing in navel-gazing doom and gloom, the film documents the unstoppable spirit that has animated human resistance since the time of the Pharaohs. As it turns out, the gorgeous scope of Lee Ranaldo's guitar palette is a perfect manifestation of the hope and despair that animates the film. But like other high-water marks in the guitar-centric soundtrack canon -- the high plains raga of Bruce Langhorne's Hired Hand, Neil Young's sparse and ghostly solo transmissions on Dead Man, or the monolithic mantras of Popol Vuh's Nosferatu -- its devotion to spectral...

Cport Cistema

Body Needs

100% Silk

Club introspective Cport Cistema aka Simonas Činga returns with a second SILK suite of backstreet breaks, sound system heat, and sleek sensate house: Body Needs. Conceived and refined during a tumultuous period of strain and isolation, the songs absorbed the stress of their circumstances, alternately vaporous, kinetic, and opaque. Voices ripple through smoke, rhythms skitter and swing, bass booms like a beacon. Contrasting states of distance and decay, clarity and fog, attuned to hidden signals and the cost of pushing beyond them. Dance music as vessel and crucible: reckoning, recalibrating, reconnecting to the body and the needs that lie beneath. Mastered by Hunter Thompson. Design by Britt Brown.

Soft Blizzards

Nasses Raster

Not Not Fun

Veteran German experimentalist Ulf Schütte (Cloud Management, Phantom Horse, Datashock, etc.) mines a woozy, organic-mechanical mode of minimalism via his modular synth and field recordings solo vessel Soft Blizzards. Nasses Raster collects six recent works of liquid system designs, channeling his fascination with “boundary areas” music: between electronic and environmental, tone and float, hypnotic yet harmonically ambiguous. The translated titles allude to (while winking at) this muse of elemental flux: “Wet Grid,” “Frog Log,” “The Patience of the Pipes,” “Internal Pond.” Hints of Harmonia, Hassell, and digi-dub obscurities murmur in the mix, but ultimately Schütte’s touch skews more remote and elusive, miniature architectures of elevated synthetics, ambient futurism, and hushed teutonic funk. Mastered by Jared Carrigan. Artwork by Charles Mahoco.

Yayoba

Matkat

Not Not Fun

The latest by international psycho-acoustic guild Yayoba takes its title from the Finnish word for ‘journeys’ or ‘trips,’ evoking both the music’s questing spirit and its cosmic, lysergic ethos: Matkat. The album’s 14 tracks span the gamut of the group’s surrealist world-building: lunar mycological seances, metallic woodwind silhouettes, pointillist plasmatic soups, ethnographic sci-fi soundtracking, spore-harvesting reveries, deep space starbirths. Despite the omnivorous palette, the songs share a certain a smelted, bioluminescent quality, stewed in and sifted from a collective vat of molten alien ore. Long-distance chemistry is a gift not a given but Yayoba’s triumvirate – Paul Wilson, Jani Hirvonen, and Johannes Schebler – have each logged a lifetime in shape-shifting outskirts of the experimental underground, and their affinity is audible. Matkat unfolds like a dizzying swap-meet of gene-spliced electronics, stalagmite drip, asteroid dust, and black market fungus, molded at a forge of circuits and glass, then cast into the cloud to gleam and confound.

Helen

Linda's Head

Kranky

Linda’s Head is the first new album in over a decade by the Pacific Northwest trio of Liz Harris (guitar, vocals), Scott Simmons (bass), and Jed Bindeman (drums). Like its predecessor, 2015’s The Original Faces, the album maps a uniquely intimate and potent vision of bedroom dream pop. Theirs is a shoegaze of half-light and silhouettes, attuned to the shadowplay of melody, melancholy, and undertow.The record’s title is a refraction of meanings: a head in the clouds, a severance, a fictitious landform jutting into the sea. The music is similarly layered, both yearning and weathered, its edges blurred by years in the wild. Lyrics of waves, storms, and escape further shade the songs in subcurrents of desperation and beauty, tinged in the palette of the New Zealand pop underground. But at its core Helen’s chemistry is one of warmth and release, powered by the kinship of old friends in dark times.

Mills, Amy Rose

i think we've met before

Brutal Panda

***Amy Mills is a musician and artist from NYC who plays guitar in cult noise rock act Couch Slut and emotional noise rock band Adult Human Females. Her self-recorded debut album is full of "delicate acoustic ballads haunted by darkness (and) punctuated by eruptions of noise."—Stereogumi think we've met before was mastered by Ben Greenberg (Depeche Mode, Drab Majesty) and features guest appearances from Theo Nobel (Couch Slut), Anya Good (Grumpy) and More Eaze.

Visiting Hour

Visiting Hour

Dig! Records

***"Where does the day end, and why must we lie still in images of past and present; amongst the multitudes of invocations brought forth on a Sunday afternoon; forever in contemplation of the wind and where it may lead. Now present, you find yourself wrapped in the warmth of indecision and possibility; as this record plays... as Visiting Hour takes you someplace familiar yet all the while unknown. For the sounds contained within this music are not all too distant, but this is not a mere regurgitation. This is a testament of truth; of passion built from years spent in the presence of one another. And with this release, the Richmond quintet has begun to plant a new seed in the sonic landscape of today, echoing the harmonious cacophony that is heard in Creation Record’s catalogue, while simultaneously blending the calming restraint of Alan Sparhawk and Mimi Parker with the visceral, untethered instincts of Lungfish. And surely it would be a great omission to neglect Red House Painter's imprint on guitarist Kevin McCormick’s foundations; listen to the conclusion on 'New Eyes' and note a similar amalgamated and reserved beauty found on Songs for a Blue Guitar or Old Ramon... And one returns to these themes throughout the record, for its consistency is pure in every form. This is an introductory offering from Visiting Hour… from Kevin McCormick, Ren Schwarz, Willy Anderson, Brendan Reichhardt, and Zack Rogers. This is to ease the load; for this world is an increasingly unforgiving place,...

Spirit Possession

Cathedral Speech

Profound Lore

After three years Spirit Possession unleash their third full length album Cathedral Speech—seven attacking labyrinths of far venturing black heavy metal, with all spires pointed down. Where 2023’s Of the Sign… held a knifelike gaze into more erratic, adventurous hymns, Cathedral Speech sees Spirit Possession awaken their most piercing, deranged, and narratively epic form yet. Spiraling guitar storms and explosive drum batterings channel first wave black/death assaults in the same breath as expansive ’70s composition. With four steps into madness followed by a side long suite—these are vicious electric chants as towering as they are blasphemous. Featuring S. Peacock (Black Curse / Ulthar / Mastery) on strings and vocals, and A. Spungin (Ormus) on drums and handmade synthesizers.

Loose Lips

Love You

Dig! Records

**Newly recorded 4-song EP from Melbourne's most benevolent punk thruple, the Loose Lips —Nadine Miller from The Prize on drums, Josh Hardy from the Chats & the Unknowns on guitar, and Ethan Stahl from The Prize and Chubby & The Gang on bass—everyone sings!

Pressure Set

s/t

Dr. Strange

***Pressure Set’s highly anticipated debut release is about to scorch the earth! Featuring members of The Bollweevils, Sludgeworth, The Methadones, SPELLS and Bear Away. Pressure Set takes the best of all the aforementioned bands and puts an early/mid 80’s Dischord “feel” to it. Loud guitars, thumping bass and pounding drums with Daryl from The Bollweevils on vocals? Fuck yeah! It is THAT good. Only 400 were pressed, check ‘em out on the West Coast at The Doc’s “Winter Bash” WITH The Bollweevils. Yowza!!

The U.S. Rip Van Winkle

S/t

Splendid Research

Dayton, Ohio’s mysterious Rip Van Winkle has inexplicably changed their band-name to The U.S. Rip Van Winkle on their 3rd release. Spontaneous lo-fi psychedelia. A new batch of 15 songs. The U.S. Rip Van Winkle = Robert Pollard, Joe Patterson, Ben Penry and Jason Short.

Dissimulator

Artifice Dissolves

20 Buck Spin

With Artifice Dissolves, Montreal’s Dissimulator accelerate beyond the formidable sonic coordinates established by Lower Form Resistance and plunge headlong into a future world where technological hegemony and catastrophic entropy exist in perfect equilibrium. Their jagged sci-fi death-thrash has evolved into an ever more labyrinthine construct, fusing serrated riff matrices and volatile rhythmic architecture into an algorithm-obliterating neural hack. Artifice Dissolves propels itself like an untethered artificial consciousness recursively rewriting its own code, with each movement revealing another phantasmagorical dimension within Dissimulator’s bionic mythology. Razor-wire guitar lines, alien yet familiar, whiplash and intersect at impossible angles whilst the rhythm section drives songs like “Alloyed” and “Neon Metropolis” through perpetual states of intensifying velocity, collapse, and reassembly, creating a surging sense of momentum undeterred by its relentless intricacy. An awe-inspiring convergence of futuristic world-building and unrestrained, unapologetic technical aggression, Artifice Dissolves is a cyborg hallucination of a civilization wasting away in the sunless gutters of its autonomous megacities, the warped fever dreams of an omniscient God-machine, and the malignant side-effects of its cybernetic enhancements. And beneath the album’s dazzling precision and violent thrust Dissimulator maintain a timeless human striving for order and transcendence beyond the technological.

Lewis, Susanne

s/t

Concentric Circles

In a less ridiculous world, Susanne Lewis would need no introduction. For more than 40 years, she has been releasing brilliant, fearless, kaleidoscopic albums with various collaborators and under various names, including Corpses As Bedmates, Thinking Plague, Kissyfur and Hail. No two of them sound alike, none of them sound like anyone else, and all of them have moments that remain startling even after decades of listening. She's an offhandedly inventive musician who makes complex, disjunctive song structures sound perfectly natural, as if they couldn’t and shouldn’t have turned out any other way. A volatile singer who can shift from serenity to delirium in the space between two heartbeats, she's capable of making the most abstruse dream-language feel immediate or, conversely, of making the most mundane experiences seem otherworldly. Her songs do not belong to a genre; they create their own genres as they go, and they typically bristle with more ideas than most of her alleged peers stumble across in an entire career. All this being the case, the persistent neglect of her work by people who ought to know better has something pathological about it. Interesting yourself to any extent in 20th-century underground music while remaining unfamiliar with Susanne Lewis is like being a geologist who has never heard of volcanoes. Had she gotten the full attention and acclaim her accomplishments deserve, generations of lesser talents might never have managed to emerge from her shadow. If she gets it now—finally!—it will be a welcome and very timely triumph...

Eraser

Operator!

Siltbreeze

Eraser followup the devastating lunge that was their debut LP (Hideout) w/a furious new riposte entitled, Operator! The Panic Wave jams they kick out as their own have roots in the spirited days of Soho/TriBeCa, pre trust fund infestation. C'mon you remember; those days of ZE & 99 Records, Tier 3, Mudd Club, the "good" cocaine? And yet that's just foundation in the overall sonic spectrum; the driving backline of Juliette & Kat's rhythm tremors, Pier's rapier sharp guitar lines that will cut you, while over this is Sonam's vox harbingering while pivoting effortlessly to on point synth twitchery. It's past, present AND future. Hey man, the Marvel Universe can eat a bag of AI dicks, Eraser are the REAL superheroes ruling the blood & guts scene. 'Operator' is all about your blood, and their guts. West Coast tour starts 9/18. Go open up & bleed.

Cash Rivers And The Sinners

High Flyin' UFOs

Splendid Research

More Guided By Voices inebriated comedy / country hi-jinx. Never on streaming, always limited edition and usually too few pressed, Cash Rivers vinyl tend to fly outta here. High Flyin' UFOs will be no exception.

V/a

Aliens, Psychos & Wild Things Vol. 5

Arcania International

Fifteen sides of unreleased sixties punk, surf and psychedelia from Virginia and beyond. No kings here, only garage punk princes on this, the fifth volume of Arcania International's seminal series. This latest and gravest installment is built for our troubled times. Roil in the teen-beat torment today!. This is the sound for garage lovers of every stripe, now, for a better tomorrow. Features tracks from: Mid City Shadows, The Mods, Thursdays Children, The Unknowns, Hampton Sit-Ins, Rise, The Second Coming, and Morning Disaster.

O'Grady, Camille

Terminal Fascination

Dark Entries

Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides...

Osees

OFF COURSE

DEATHGOD CORP

We went back to an older method of writing for this one. We jammed and jammed and jammed. I took the tapes home and ironed out some mutant tunes. We went back into the studio and burned them to tape live and then I took it home to Stu-Stu-Studio and did the vocals and bought in Tom Dolas & Brigid Dawson to put the finish on. Spice is always nice. Mixed it all up in the cauldron and thus we have a strange brew indeed Floating in the smoke we have: A couple long jams, a couple short jams and a finale that’ll dump a bucket of ear worms on you (reminiscent of “the axis”?) Dip your toe in organ rock and roll So without further ado We present to you “OFF COURSE” An album wondering where the fuck are we and how did we get here A signal dispatched out into the darkness We are here We are alive And we are together CHEERS NO EARS JPD/DG/OSEES

Boay, Andy

Doomed

Does Are

A lifetime of inordinate fear and sadness leaves one feeling doomed. The first one-to-one remedy I found for this ailment was writing music. Take something unbearable, painful, ugly, and make it beautiful.Smooth, melancholy, abstract art-pop. Not exactly “lo-fi” but, nonetheless, lovingly and painstakingly recorded to cassette tape. Stacked vocals. Homemade, carefully tuned internal feedback rigs. Galloping tremolo-delay guitar that shimmers and pulses along its journey. Beach Boys counterpoint voices, slammed piano chords, drifting lonesome shuffles. Melancholic disharmony finds its equilibrium in the sweet ecstatic arc of pop music.

Mountain Movers

Knifethrowers

Redscroll

***Since debuting in 2009, Connecticut psych band MOUNTAIN MOVERS (previously having released albums through the now defunct Trouble In Mind label) have delivered a lengthy discography floating through rich textures and experimental sounds. Now the group releases a new instrumental album, Knifethrowers. On the record, the band build from the sounds of 2024’s double album Walking After Dark, while trading in vocals for synths, keys, percussion, and drum machines. Self-recorded and mastered by JOHN MILLER, Knifethrowers sprawls five tracks with a run time of nearly 42 minutes. The songs came together as free jams and were recorded live to a Tascam 488 with no overdub. The album captures a journey through time and the changing of the seasons, reaching its destination in closing track “Blue Fort.”

Atomic

Satan Metal

Nuclear War Now

***Sátán Metál compiles previously unreleased demo recordings from 1985–1986 by Hungary's long-forgotten evil metal cult, Atomic. Much like their contemporaries Dentonator, Angel Reaper, and Tormentor, Atomic delivered a primitive form of first-wave black metal inspired by Bathory and Sodom; music driven more by youthful aggression and rebellious spirit than technical proficiency.What emerges is an exceptionally raw recording that perfectly captures the untamed energy of mid-1980s Eastern European underground metal. Despite its rough edges, these demos remain surprisingly listenable for devotees of Eastern Bloc Obscurities. The vocals are raspy and youthful, sounding as though the singer had only recently gone through puberty. The guitars buzz and crackle with the fidelity of the cheapest practice amplifier imaginable, while the drums struggle to keep everything from completely derailing. For fans of this era and style, these qualities are not flaws, they are precisely what make recordings like this so compelling. Sátán Metál offers an authentic glimpse into a time and place that can never be recreated. This is the sound of teenagers in 1980s Hungary channeling darkness through whatever equipment they could get their hands on. The result is raw, chaotic, and genuine.A fascinating document of Eastern Europe's early extreme metal underground, Sátán Metál stands as a testament to the harsh conditions and uncompromising spirit that gave birth to some of the most primitive and evil metal ever committed to tape.

Doombringer

Ad Compita!

Nuclear War Now

***Doombringer returns with Ad Compita!, the band's third full-length album and another step deeper into its singular vision of occult death metal. Emerging from Poland's underground, the updated lineup injects fresh ideas into the band's already distinctive formula without abandoning the darkness that has defined Doombringer since its inception. Rather than relying on excessive speed, downtuned heaviness, or modern tendencies, Ad Compita! focuses on atmosphere, and composition. Dissonant death metal riffs collide with sinister black metal melodies, creating a unique fusion of Eastern European barbarity and Hellenic occultism. Slow passages give way to tremolo riffs and haunting vocal arrangements, while the band's layered guitar work and prominent bass presence generate a constant sense of unease throughout the album. The varied vocal performance ranges from desperate rasps and commanding shouts to ritualistic chants, reinforcing the album's occult atmosphere. Supported by dynamic drumming and carefully constructed songcraft, Doombringer successfully bridges the divide between death and black metal without becoming trapped by the conventions of either genre.

Useless Eaters

Music for Clout

Total Punk

***Music for Clout kicks off with a warning. Get your shit together because after a nearly ten year hiatus USELESS EATERS Are back and they are coming for you. 10 tracks of tape hiss pushed to their limits. It bumps, it thumps, it pulses, it grinds. It bludgeons you with its directness. This thing hits so hard it jumps off the turntable to smack the self satisfied smile off your face. What you view as a healthy subculture is actually a thinly veiled microcosm of the world at large. Sometimes you need to be called on your bullshit and Useless Eaters are up for the job. This album needs no qualifiers. Music For Clout is absolutely positively 100% TOTAL PUNK!!!

Brain Tourniquet

Sinking Deeper Into Madness

Iron Lung

***Iron Lung Records has long been fans of the concept album, especially in the punk context. When you have something to say and you take your time to say it, the message sinks in a lot deeper. BRAIN TOURNIQUET has made a crushing and harshly heavy example of this ethos with serious mental health commentary. While powerviolence/hardcore/punk influence of Crossed Out, Man Is The Bastard, and Mind Eraser are at its core, ‘Sinking Deeper Into Madness’, the band’s second album, also incorporates heavy doses of Swans’ bleakness, personal actualizations from outdated self-help tapes, and boundary pushing sonics from 70’s prog. ‘Sinking Deeper Into Madness’ tells the story of an unnamed protagonist whose family urges him to get a lobotomy after experiencing a manic episode. The protagonist ultimately decides to go through with the procedure and experiences extreme bouts of joy, fear, regret, and remorse until his mind ultimately disintegrates into total emptiness. FFO: Crossed Out, Mind Eraser, Swans, Man Is The Bastard

Whippets

No Skulls

No Coast

***Whippets return with ten new anthems of dark, stark and sharp-tongued post-punk. Features current and ex-members of Wristwatch, The Hussy, Tenement, Digital Leather, ETC.Tyler Spatz's intricate bass lines are the basis of the band and they perfectly push Whippets' brand of grunge into 80s post-punk and 2000s synth-punk territory.Topped off with sinewy guitar lines, snappy drums...and of course Bobby Hussy's patented yowl and penchant for hooks that rot and stick. Touring Europe in early 2027.Cover art by Erin Sullivan (A Frames). Recorded and mixed by Bobby Hussy. Mastered by Justin Perkins at Mystery Room.For fans of Wire, Unwound, Swell Maps, A Frames, Jay ReatardPressed on exclusive clear bone white swirl vinyl.

Retail Simps, Tha

Real Simple

Total Punk

***3 LPs, one 2LP, three 7"s, eight cassettes, one split lathe, 3 compilation appearances and a feature length documentary in, the Retail Simps cut their first 12" EP. If you haven't bought any of that other stuff stop being a loser and win big with "Real Simple". A wicked set featuring 8 songs recorded by Obediah Anderson with guest appearances by Kayla Mcneil, James Anderson and Trevor Turple. drum duties split 3 ways, some songs studio magic, some songs preformed live off the floor with the original 4. Tender moments, splendor moments, fried moments, rarified moments, the list goes on. there are 21 moments total so tip your hat to that moderate amount of moments! The gang will be out on the road in the EU/UK in October. Totally loose, totally amateur, and 100% Totally Punk!

Curtains

2

Carbon

***Curtains / Antony Milton is a sound artist based in Masterton, New Zealand. He has been active in the underground and experimental music scenes since the early 1990s and has toured extensively. A recurring theme of Milton's solo work is landscape; place and presence, and his practice, under a bewildering array of project names (A.M, The Nether Dawn, Paintings of Windows, Clay Man In The Well, Curtains, Agentsss etc) has encompassed field recording, drone and noise work as well as idiosyncratic song-craft."This album was recorded during a period when I was home alone for a few months whilst my partner Sara was away walking the length of New Zealand - The Te Araroa Trail. This also coincided with very reduced work hours in my day job and so I seized the opportunity to dive into recording the second Curtains album.1 had been released several months earlier and had been explicitly referencing some of the music of the early 90s that blew my mind and that has stayed with me over the years. Roy Montgomery, Peter Jefferies, Flying Nun stuff, Flying Saucer Attack etc. It is willfully nostalgic in that regard, and willfully underground-pop adjacent. The songwriting on 1 is also in that mode and is perhaps a step removed from my contemporary lived experience. The recording process is a lot more traditional and 'structured' than my usual fly-on-the-wall methodology.2 starts out on that same footing, still being aware of honoring my external influences but on this record I found I...

Animal Piss, It's Everywhere

III

Sophomore Lounge

***ANIMAL PISS, IT'S EVERYWHERE started in 2018 when Clark Griffin and Shannon Ketch started writing songs about cheap wine, themes on Jesus, tributes to bands like the Fugs and Boa Constrictor and the Natural Vine.A tape was released by Tony Pasquarosa's 4th Eye Musick that circulated among hardcore scene ramblers and record heads across the US. It seemed like interest was growing, so Griffin and Ketch started to ask the hot players around Western Mass and New York if they wanted to lend a hand and the band then started with members of Rhyton, Pigeons, Bunwinkies, Gluebag, Wet Tuna, Salvation Alley Band and BLAMMO!Soon enough, in 2022, they decided to record their first record with Mike Fellows behind the board. That record came out on the Half A Million label in late summer 2023 and sold out quickly, so they put together short tours where songs like 'Hot Sewage,' 'Naked' and 'Pink Dolphin' seemed to get people off their feet and out their minds.Then they decided "well, fuck it, let's record a second record!" This one, to be titled "Grace," had some beach'ier vibes while poking a little more at class warfare; Mike Fellows engineering again. It came out dual-released on Half A Million and Sophomore Lounge. 'The Beach Song' and 'Pay The Dues' got people up and bobbing at shows yet again, Tony Pasquarosa throwing himself all over the stage and Clark Griffin looking like a crazed wildebeest with a pair of maracas. It was fun!So now, they decide...

Silk Fence

s/t

Sophomore Lounge

***Silk Fence is a New York–based instrumental electro-acoustic trio between three longtime friends and collaborators—Arian Shafiee (Guerilla Toss, etc.) on electric guitar, Booker Stardrum (SML, etc.) on drums and percussion, and Justin Frye (PC Worship, etc.) on double bass and tapes. The group stretches the sonic possibilities of their instruments while exploring long-form, texture-driven minimalism and time-based improvisation.Recorded throughout 2024 and 2025 between Brooklyn and Bethel, New York, Silk Fence presents the trio at its most focused. Over the course of 35 minutes, the group creates unhurried snapshots that appear and dissolve––at times into immersive soundscapes, and at other times into unflinching, propulsive grooves. The album unfolds as a study in subtle changes within repetition, blending kraut-jazz intuition and slowly shifting acoustic and electronic textures. It batters and lilts, resisting easy categorization: crossing stylistic boundaries to arrive, ultimately, at a sound all its own, deeply rooted in the musicians’ shared devotion to improvised music in all forms. At just four tracks, Silk Fence is a complete, unfussy musical statement.With traditional forms always in the rearview, the music carries a sense of ease that feels equally inviting and quietly engrossing, creating an expansive musical space that lands somewhere between ESP and ECM with a subtle nod to experimental American folk.

Last Agony

Death Wave

Sentient Ruin Laboratories

***Toronto’s berserk terror-crust raiders last agony return with their incinerating sophomore album. In its pulverizing twenty minutes "Death wave" discharges an ear-splitting assault of blown-out raw hardcore punk and speed metal destruction doused in nuclear vice and ablaze with visions of a polluted, dark and violent world headed straight Into doom. Japanese noise-punk, scandinavian crust, UK d-beat and anarcho-punk, and various declinations of grind and speed metal all deliberately consumed by a raw and caustic production pushed to its limits, collapse into apocalyptic maelstrom of noise, speed and distortion in which the only law reigning is that of anarchy, chaos, and of no law at all. Fans of Doom, Anti-Cimex, Extreme Noise Terror and Napalm Death will instantly be drawn into the madness and destruction of Last Agony’s lawless assault, but this is far from just a mere throwback exercise. This is the sound of a broken world gone deaf, dumb and insane, and disintegrating into the wake of its own failures and horrendous self-destructiveness.

Soroche

Asesinostalgia

Electric Cowbell

***Soroche returns with Asesinostalgia, their highly anticipated debut LP, out October 9, 2026 on Electric Cowbell Records.Over two years in the making, Asesinostalgia fuses cumbia, punk, ska and psychedelic textures into a singular, electrifying sound. With reverb-drenched guitars, Farfisa, accordion, percussion and theremin, the band channels both urgency and atmosphere, creating music that's danceable, raw and deeply felt.Across ten songs, Soroche explores working-class existentialism ("Espera"), sacrifice ("Bala Perdida"), immigration ("El Desierto") and the pull of history and memory ("Leyenda"). The album title Asesinostalgia refers to the "call of the void" that comes from looking too deeply into the past—becoming so consumed by nostalgia that you forget to live in the present.Pressed on yellow vinyl.

Dungan, Jason / Johan Carøe

Routine

Tonal Union

Copenhagen-based multi-instrumentalists Jason Dungan (Blue Lake) and Johan Carøe didn’t set out to make an album. Instead, as the title ‘Routine’ suggests, they found their way there through a process of habitual making and listening, developing an intuitive musical language to reflect the dreamlike meanderings and creative play of life's quiet moments. ‘Routine’ blends pop orientated sounds, Avant-garde minimalism, folk and new age with the emotive depth of film-score.Their meeting was not entirely coincidental. Previously in bands such as Squares and Triangles, Jason Dungan has since recorded multiple albums under the moniker Blue Lake, including the lauded Sun Arcs, pursuing his passion for self-built percussion and multi-string instruments. Johan Carøe meanwhile is a composer whose film soundtrack work has seen him collaborate with Angelo Badalamenti, Arp, and Sofie Birch, at whose Andersabo residency (curated by Dungan) the pair first met, resulting in the highly praised album ‘Repair Techniques’ written by Birch and Carøe.‘Routine’ emerged organically over many years against the backdrop of great personal change. As Carøe said goodbye to his father and welcomed his first child, the pair sent each other fragments of melodies and patterns, working up responses when time allowed to assemble a sonic palette that combined acoustic instrumentation of zither, clarinet, cello, saxophone (among others) with the textures of tape, drum machine and Yamaha DX7 synth. Inspired by the vulnerability and DIY ethos of Arthur Russell’s home recordings, the vision of labels like Disques de Crepescule, and the art pop, experimentation inherent to late ‘70s and...

Socal's Parishoners

s/t

Going Underground

***SoCal’s Parishioners have picked a funny name for themselves. Is it a reference to the Church, the hallowed Hermosa Beach practice space that spawned Black Flag, The Circle Jerks, The Descendents, The Minutemen, Redd Kross, and The Last?  That would make sense.  This is vicious OC punk, with huge riffs, menacing vocals, and bad attitude for days.  If it’s some other church, they attend, I hope it catches on. Members of Not Shit decided they wanted to play old school punk rock the SoCal way in 2021.  Collaborating with friends from G*U*N*N, and Rolex they’ve put out some cassettes, played some house shows, and are finally ready to unleash their brutal wax debut as SoCal Parishioners on the mighty Going Underground label in 2026. Grab your board, drop in, tune out, and get pitted.  Real punks, See you at Polliwog Park!  —Goeffrey Weiss 

This Heat

Health And Efficiency

Superior Viaduct

"For some fans, Health And Efficiency is This Heat's peak achievement – their most concentrated blast of visceral intensity and wayward experimentalism. Featuring two long pieces, the EP came out in September 1980. It was released on Piano, the imprint founded by David Cunningham of Flying Lizards, and distributed by Rough Trade, home of the burgeoning post-punk movement and fellow travelers like The Raincoats, Scritti Politti, Cabaret Voltaire and The Red Crayola. "Lead track 'Health And Efficiency' combines fierce angular rock that fully lives up to Cunningham's belief that This Heat could become a post-punk King Crimson, with a multi-part babble of vocals, clattering percussive timbres and found sounds. In a large outdoor space, one of the group played with sounds 'a bit like children,’ drummer Charles Hayward told one interviewer. 'Milk bottles, melodicas, woodblocks, little shouts. And just outside across the wall was an infant and junior school. So we put a microphone by the wall and recorded the kids at playtime.' "Flipside 'Graphic/Varispeed' is more subdued and hypnotic: a wavering tonescape whose duration depends on whether you play it at 45 RPM or 33 1/3. This reissue reproduces the original release's striking cover image of a human figure painted in blue by Pete Cobb, along with the cryptic flipside of text in many different languages. "The EP title Health And Efficiency sounds like it's mocking bureaucratic language or the jargon of self-optimization. Some reckon it's a sly nod to Health & Efficiency, the long-running British magazine about nudism...

Hickli, Laura

Stranger To Myself

Ba Da Bing!

“The world just kept spinning. We hit the ground again—I thought I had died. Everything went black for a second. And then, suddenly, the van stopped. The g-forces vanished, but inside me, the spinning didn’t. My body was still. But inside, I kept tumbling.”That’s Laura Hickli, describing the car accident that changed her life and nearly shattered her relationship with music. Stranger To Myself, Hickli’s full-length debut moves through her journey from fracture to revival.“What’s the point of being alive when it can all be taken away so quickly?”Hickli’s unfiltered recollections are shaped by fear, shock, and survivor’s guilt. They appear in Stranger To Myself’s darkest passages, grounding the album in raw, unguarded vulnerability.During a 2023 U.S. tour, Hickli’s van skidded on ice and flew off the road, spun 180 degrees into oncoming traffic, careening backwards off the highway and rolling three times down a 50 foot hill. As it tumbled down the hillside, Hickli felt everything slow down, watching her belongings rise around her, suspended in eerie stillness, time stretching the space between life and death. It was just twenty-four seconds, and although there were no severe injuries, Hickli was painfully affected. In the months that followed, writing music unpacked what her body had survived yet her mind could not accept.Stranger To Myself is a sonic journey towards healing. Music holds immense power for Hickli; it’s how she processes, how she connects, how she survives. Across the album, she confronts grief, fear, and dissociation on her path to acceptance...

Biafra, Jello And The Guantanamo School Of Medicine

Audacity Of Hype

Alternative Tentacles

***BACK IN PRINT ON BLACK OR LIMITED SOLID BABY BLUE VINYL!!! In the twenty or so years since his brainchild, The Dead Kennedys, officially disbanded, Jello Biafra has made a career of spoken word gigs interspersed with musical collaborations with some of the most compelling figures in underground music. Recording projects and touring with the likes of Melvins, NoMeansNo, DOA, Mojo Nixon, and Lard (with Ministry's Al Jorgensen) among others have kept his "punk as political weapon" message sharp, but the lack of his own band made these collaborations usually short-lived and left Biafra with a ton of songs that never saw the light of day.Inspired by The Stooges gig on Iggy Pop's 60th birthday in San Francisco, Biafra laid plans for his own 50th birthday party and finally decided it was time to start a band of his own. After cramming practices for a month, the four-piece dubbed themselves Jello Biafra and the Axis of Merry Evildoers! and featured Biafra, Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), and Billy Gould (Faith No More) The band took the stage in a sold-out two-night stand at San Francisco's Great American Music Hall. Flush from that exhilarating triumph, nine months of rehearsal and writing followed; they added ace guitarist Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle), and christened themselves Jello Biafra and the Guantanamo School of Medicine. The Audacity of Hype was produced by Biafra and engineered by hip hop producer and longtime co-conspirator Matt Kelley...

Burnside, R.L.

Too Bad Jim

Fat Possum

***BACK IN STOCK!!! R.L. Burnside's album Too Bad Jim is a record worth owning. “I didn't mean to kill nobody ... I just meant to shoot the sonofabitch in the head.

Kimbrough, Junior

God Knows I Tried

Fat Possum

***BACK IN STOCK!!! "...we went into the backwoods of the Delta, where there was an illegal Sunday Juke Joint run by Junior Kimbrough, who was a contemporary of Muddy Waters...The whole thing was extraordinary - like an IV introduction to the blues." - Bono (of U2)

Unknown Mortal Orchestra

s/t (Black Vinyl)

Fat Possum

***BACK IN STOCK ON BLACK VINYL!!! UMO was initially conceived by New Zealand native, Ruban, to release some tracks via a Bandcamp page to promote his limited addition vinyl in 2010. He pieced a band together, with a skilled producer, Jake, on bass and a brilliant teenage drummer named Julian to fill out the band. They are based in Portland.

Ultha

Belong

Vendetta

***ULTHA's ninth release in five years and features two extended tracks—"No Fire, Only Smoke" (17:04) and "Constructs of Separation" (21:07). “Ultha have done it again, somehow. Converging Sins is the sort of album that any band would be lucky to release once in their career, but with Belong, Ultha proves that they are among black metal’s most inspired forces. This is atmospheric black metal, with strong elements of doom intertwined now and again, that you do not simply listen to—no; you feel it. Ultha are communing with some unseen force, and through their dense sonic tapestries, they afford us the same opportunity. Recommended!”—Ippocalyptica

Totalitar

Sin Egen Motstandare

Prank

***BACK IN PRINT!!! Sin Egen Motstandare was originally released in 1994 on CD-Only By Finn Records. A reunion album of sorts, the reconstituted band sought to get back their original hardcore roots, while at the same time sparking a direct reaction to the rising right wing political climate of time in Sweden. One of the all-time most rampaging Swedish Punk albums, it affirmed the band's template of D-beat hardcore that they continually challenged and re-imagined for another decade and a half of releases, and inspired a legions of bands worldwide. This 30th Anniversary edition is a 1-time press at RTI with a stoughton tip-on gatefold with spot gloss, new liner notes from the band, unique center labels for the release, a printed inner sleeve, a reprint poster of the flyer for the original CD release show.

Amp

Stenorette

Kranky

***The third album from this UK dream'n'drone duo returns to the drifting sound of their first album with an emphasis on rhythms, lock stepping, and clattering percussion to move the music through. Many of the songs were composed on the piano for a more delicate sound to loop drones, grooves, guitar and vocals around. Twelve dreamable tracks.

Water Damage

Repeater

12xu

***"There is something really special about music based on drones. Whether it's the vocals of Pandit Pran Nath, the ARP 2500 of Eliane Radigue, or the nearly-blown amps of Sunn O))), by changing the listeners's focus on details to one that favors flow, drones are uniquely capable of transporting our brains far far away. The debut LP, 'Repeater', by this loudly droning Austin septet is a goddamn splendid example of how the process works. Using the motto, “Maximal Repetition Minimal Deviation,” Water Damage create glowing fields of post-rock lava that pretty much suck you right in and boil you alive. Water Damage, while technically a septet, actually operate in various configurations, with the proviso there should always be two drummers and two bass players on hand. They prefer if each of their sonic ideas takes up a whole reel of tape, and once they start they don't look back. Everything proceeds towards an imaginary end point that is only achieved when the tape starts flapping. What a way to run a railroad! But the folks in the band are all vets of various projects—Spray Paint, USA/Mexico, Marriage, Black Eyes, Thor & Friends, among others—so let's assume they know what they're doing. And why not? They sound fucking great. Their approach to the form is less front-loaded than most of their peers, and the surface of their sound is sometimes ruffled by aural events of an un-drone-like nature. But the main gush is usually a blend of harmonic tones and textures pointing towards...

Sex Messiah

Metal Del Chivo

Nuclear War Now

***Sex Messiah returns from the Satanic brothels of Japan to satiate our depraved appetites for morally-corrupt black metal with four new tracks and five live tracks. Although their overall sadistic formula remains consistent with prior atrocities, their language of choice has shifted to Spanish, providing a new vehicle to spread their gospel of fornication and degradation.

Carter, Daniel / Evan Strauss / 5-track / Sheridan Riley

The Uproar In Bursts Of Sound And Silence

577 Records

***The Uproar in Bursts of Sound and Silence is a sort of emergent collage that came together over four years of composition, improvisation and production. The foundations for this album were initially recorded in 2018 by producer/engineer Jack Endino (Nirvana, Soundgarden, Mudhoney, Skinyard) at Soundhouse in Seattle, WA with myself (Evan Strauss, electric bass and upright bass), 5-Track (Guitar) and Sheridan Riley (Drums). The initial foundations of this music consisted of my long-form graphically notated conceptual compositions based on the calls of the Veery songbird (Catharus fuscescens), the astrological transits at the precise time of the recording session and some thematic elements from Ursula K. Le Guin’s novel The Dispossessed.   In 2019 the album was given the working title Bird Songs for the Stars and I commissioned the cover art, Night Fisher, from Jeane Cohen. Also around this time, Daniel Carter had emphatically told me, “I’m going to become a rapper by the time I turn 90.” So, a few weeks later Daniel and I were hanging out, recording music and eating stir fry in my Ditmas Park apartment and I convinced him to make some progress on his goals by recording his voice into a microphone. Daniel began by recording an excerpt from Virginia Woolf’s The Waves and continued by recording some of his own poetry.  The recordings of Daniel from that afternoon would eventually make their way onto this album alongside my own experimentations in production inspired by Lee Scratch Perry, J Dilla and Ingram...

White Lightning

Thunderbolts Of Fuzz

Riding Easy

Standout favorites of Riding Easy Records’ Brown Acid compilation series, White Lightning’s stellar discography of rare and under-appreciated heavy psych, proto-metal rock gets a vital revival for new generations to learn how swinging, swaggering and often blazingly fast rock’n’roll is done. White Lightning was formed in Minneapolis, MN in 1968 by guitarist Tom “Zippy” Caplan and bassist Woody Woodrich after leaving garage psych band The Litter (themselves popular standouts from the Nuggets and Pebbles series of garage rock rarities.) Originally a power trio, the band later expanded to a five-piece in 1969 while shortening its name to Lightning. The quintet’s brilliant and rare 1970 self-titled album on Pickwick International’s P.I.P. imprint provides six of the ten tracks on Thunderbolts Of Fuzz. The original White Lightning trio only released the one 45-rpm single “Of Paupers And Poets” during their existence (on local Hexagon label in 1968, later reissued by major label ATCO Records in 1969.) A long out-of-print posthumous album released in 1995 gathered unreleased recordings, three of which are found here. This rounds out this collection of recorded highlights from the band’s rocky history. Taking their name from a particularly potent type of LSD, White Lightning laid out from the start that it was not cute and cuddly ’70s rock. In fact, the band’s aggressive tempos are like punk rock way before punk. However, their dirty blues groove and musical prowess shows the band was more than unrefined ne’er-do-wells, they had true versatility.

Ruth, Rich

I Survived, It's Over

Third Man

***Recorded under a loft bed in the guest bedroom of his Nashville home, MICHAEL RUTH aka RICH RUTH's I Survived, It’s Over starts in a humble space. And while many contemporary music projects are produced in such an environment, I Survived, It’s Over sets itself apart in its transformative properties as well as its transparency. What we have here is honest sound exploration, session musician-level instrumentation, and a true love for nature run through the fingers of a dude who can channel some acute and undeniable magic. Underneath the swell of the strings and the shredding of the guitars, this record has hard working, rustbelt, drum-heavy roots all over it (which makes sense as Ruth hails from outside of Toledo, the album was mixed by JOHN MCENTIRE from Chicago band Tortoise). Many of the flutes, saxophones, pedal steel, and other instruments were recorded remotely because we live in the future, but this only adds to the collage of sampled and sample-able material that Rich Ruth has to offer. The organic relationships between the artist and other musicians on the album is evident even in the compilation style sampling that needs to occur in putting such a project together. I Survived, It’s Over is a record you should buy for your friend, your foe, and yourself. It’ll sit perfectly on your shelf between Alice Coltrane and Hiroshi Yoshimura.

Dead Void

Volatile Forms

Dark Descent

After some silence since their magnificent demo, Dead Void return from the depths to bestow a crushing debut album—Volatile Forms—upon the world. Drawing in on doomy, yet certainly not meek, atmospherics—the sheer monstrous tone of which will pin one to the wall—it is clear this is something unwieldy. Murmuring bass seeps through buzzing guitars in a manner that sounds profoundly unwelcoming, while the daunting vocals and crashing drums give no alleviation from the bludgeoning force. While the hostile and claustrophobic sounds of this record cannot be ignored, equally impactful are the grooves which hit like a hammer of pure malice when carefully spliced with the caverns of eerily contorting death metal. When the pounding drums break through the guitars, they have a real hard tone, while the seeping filth of the strings is not overshadowed. Clearly the three demos and spacing between them have allowed the band to develop into the best version of themselves, as on this debut album one hears a refined but unpolished and inhospitable cut of truly awesome music taking form. Moving forth, the hooks, the grooves, the expanses of doom and desolation, all conjure something inescapable and dread-tinged while the malignant hammering of pure old school violence is not lost or forgotten, as warped riffs and blast-beats meet gutturally-spewed vocals and occasional lead oddities. Contrasting often nuanced moments with an assault of bestial ferocity, there is no predictability or obvious pattern, rather a chaotic and honest approach to all of the songs. These tracks move...

Warmers

s/t

Dischord

***The Warmers' full-length record, released in 1996.

Juliff, Simon

Stars

Dog Meat Records

Much-loved Melbourne rock 'n' roll label Dog Meat Records returns with first solo release from former singer/guitarist/songwriter of The Roys and God / Hoss / Powder Monkeys associate, Simon Juliff The first new Dog Meat release in over a quarter of a century is the new single “Stars”, taken from the forthcoming album of the same name, from reticent Melbourne pop-rock singer/songwriter Simon Juliff. Juliff, who was singer/guitarist/songwriter for Melbourne band The Roys in the ‘00s, was a friend of many of the ‘90s Melbourne bands on Dog Meat and nearly a Dog Meat signing with his first band The Evil Dead. Produced by long-time friend Joel Silbersher (God, Hoss, Tendrils etc) and featuring backing from members of Hoss and Kim Salmon & the Surrealists, “Stars” – both the new single and the forthcoming album - combines brightly dappled glimmers of classic pop-rock melodicism with a darkened, frazzled vibe.

Owners, The

s/t

Dischord / Red Room Records

***THE OWNERS are a band from Washington DC, featuring DANTE and CATHERINE FERRANDO, ALEC BUDD and LAURA HARRIS. Over the years, they have played in bands ranging from IRON CROSS, GRAY MATTER, THE SHIRKS and EX HEX. Their first full-length is a split between Red Room Records and Dischord The vinyl is a limited edition pressing on splatter vinyl.

Raffa, Ryan J

4 e and a

Group Tightener

***4 e and a is about the infinite spaces between. As a classically trained percussionist, RYAN J RAFFA has sat in front of a metronome for the majority of their life. In their mind, they would play with the spaces between those clicks. In especially challenging times, they would attempt to expand and stretch those spaces into forever. Just existing in the between. This record is about these moments (and places) living in those infinite spaces. The title "4 e and a" is a play on words, in reference to counting and subdividing rhythmic patterns. Ryan would need to play these patterns on a drum as a child. “4 e and a” is also a reference to a country or a place with a name. Like Argentina is a place, "4 e and a" (said run all together) sounds like a country. A place we all know about and sometimes go to because it's beautiful and full of spirit, but it also can be a bit unnerving, uneasy, and eerie when we explore new places there. In mathematics, we have Cantor's diagonal argument and the understanding that the infinity between each integer (such as between 1 and 2) is larger than the infinite space that every integer that exists can fill. Like, one infinity is larger than another infinity? Huh?! When you start subdividing time (like 1 e and a, 2 e and a, 3 e and a, 4 e and a), you start creating those ever-expanding spaces, one larger...

Paranoid

Satyagraha

Paranoid Northern Discs

***PARANOID's first album is a manic, noise-drenched d-beat assault. 10 tracks that capture us at our rawest and most aggressive period up to this date. Part of the band's First Ten Years 2012-2022 vinyl reissue series. "Whether you’re the old guy at the bar with the Discharge tattoo, or the 14 year-old who just discovered punk, Paranoid will bring out your inner discontent. D-beat is an interesting genre, either you do it well, or you don’t. Paranoid, dare I say, have completely mastered the genre and everything from their tone to their album artwork embodies what it means to be in a d-beat band. There is no bullshit attached to this record"—CVLT Nation

Amba, Zoh + William Parker, Francisco Mela

O Life, O Light Vol. 2

577 Records

***New York-based Zoh Amba first cultivated her musical passion in the lush forests of the Appalachian mountains, playing to the woods around her home, before she studied at classical conservatories. Her music honors her roots, full of folk melodies, mesmerizing refrains, repeated incantations and powerfully-executed Free Jazz. Her sound is courageous and bold, soaring from muted hums to squeaky trebles, producing a confident sound imbued with an innate spirituality. On this project, Zoh Amba is joined by legendary artists William Parker (Bass, Gralla) and Francisco Mela (Drums), named the 2021 musician of the year by The New York City Jazz Record, who temper her daring saxophone with a lush percussive foundation and a steady bassline.

Fossilization

He Whose Name Was Long Forgotten

Transylvanian Recordings

***Ritualistic, Primeval Death Metal from Brazil. Featuring members of Jupiterian. For fans of Dead Congregation & Portal.

Black Witchery

Holocaustic Death March To Humanity's Doom

Nuclear War Now

***Fifteen years ago, Black Witchery and Conqueror, both still virtually unknown outside of a small cult of maniacal blasphemers, united for the split release entitled “Hellstorm of Evil Vengeance.” Exploring a style that few North American bands dared approach at that time, Black Witchery and Conqueror inherited their extremist tendencies from the likes of Blasphemy and Sarcofago among others. Looking back, the release can now be regarded as something of a statement of intent in that it signified the establishment of a second wave of Bestial Black Metal and set the course for the future of the genre. Although external circumstances would necessitate the termination of Conqueror’s mission immediately following the release of the split, J. Read continued treading the path of the Superion with Revenge and R. Forster was initiated into the ranks of Blasphemy. Black Witchery also persisted through the years, assuming a well-deserved, prominent place among the bestial legions. Since the split release in 2000, Black Witchery and Revenge have shared numerous stages all over the world and maintained a united front within the underground. Similarly, NWN!, which also began its campaign of atrocities in 2000, established its dominion over the chthonic depths of the Bestial Black Metal underground. Having settled into their respective roles as progenitors of a particular faction of extreme metal, it is time to assemble the unholy triumvirate of Black Witchery, Revenge, and Nuclear War Now! once more. For this release, Black Witchery turn in one of the band’s most primitive and punishing...

Darts, The

Snake Oil

Alternative Tentacles

***NOW ON LIMITED GREEN VINYL!!! Note new price.At last! The Darts return from their Bat Cave Covid lair, with Snake Oil—by far their best album to date. The Darts formed in 2016 with the goal of getting some solid female musicians together to make garage punk rock and roll noise, see the world, and basically have a super-fun slumber party every night. They are now hands down one of the best garage bands in the world. This is a much fuller sound than any Darts disc before, courtesy of their longtime collaborator Bob Hoag (FB Rec) and some remote control co-production wizardry from Jello Biafra himself. Featuring the return of Nicole Laurnne on vocals / Farfisa and Hammond organ, Christina Nunez on bass / vocals, and Meliza Jackson on guitars / vocals, Snake Oil is the debut of new drummer Mary Rose Gonzales. The result? It comes out smoking as if the band had been in a pressure cooker throughout the pandemic. Expect the wider sound and sparkle of Laurnne and Nunez’s previous band, The Love Me Nots (which was also recorded by the brilliant Bob Hoag), but with way more raunch—and Laurnne’s voice has never sounded better. Snake Oil is for fans of agile, sultry vocals and beefy, vintage rhythm sections paired with razor-tone guitars. This Snake Oil was concocted to remedy the most unaffected and stiff-legged garage rockers out there!

V/a

Heroes of the Night Vol. 2

Reminder

***The sequel without equal: the second installment in the Heroes Of The Night compilation universe is now here! Picking up exactly where the first volume left off and featuring a cast of twelve of the best and scarcest D.I.Y., powerpop, punk and new wave 45 tracks from the likes of JACKIE, L’HOMME DE TERRE, BRENDA PRESCOTT, AQUILA and more. Something for the girl with everything or the boy who thinks he’s heard everything, Heroes Of The Night Volume 2 continues Reminder Records’ campaign to showcase the talents of post-punk’s female musical innovators and pioneers.

Kimbrough, Junior & Soul Blues Boys

Sad Days Lonely Nights

Fat Possum

A reissue of the infamous late Kimbrough's second album. Raw rocked, and laid bare blues recorded at Junior's juke joint and produced by Robert Palmer.

Underground River

Life Cycle, Delicate Song

Nudie Records

***Underground River is the solo project of Johnson City, NY based artist, multi-instrumentalist, and recording engineer, Hunter Davidsohn. On his album, Life Cycle, Delicate Song Hunter weaves a sonic tapestry combining elements or baroque pop, chamber psychedelia, and left field recording techniques to take the listener on a surprisingly romantic journey through heartbreak and self reflection. The whole affair is anchored by Hunter’s unmistakable and singular baritone voice that washes over you and sends you adrift. From the Syd Barrett-esque stroll of “Pour Some Tea” to the tormented and clear eyed beauty of “It Continues” the album moves through styles effortlessly without ever feeling like anything less than a cohesive and exquisite portrait by a rare artist. In the words of Hunter, “It’s an album for people who have been saved by music” and we couldn’t agree more.

Les Lullies

Mauvaise Foi

Slovenly

****As smokin’ as they are, previous releases from LES LULLIES were rushed through with impossible deadlines and little time to consider the ends. Mauvaise Foi—their new LP with resolutely French title (and their first record almost fully sung in the tongue)—takes a more laid back approach to manifest the desired energy, finding the boys swimming in a sea of change from their usual methodology. The result is streamlined rock’n’roll with a new purpose: a stark contrast from yesterday’s news while remaining truly Lullies. Mauvaise Foi sounds more personal and fleshy, dabbling in influences from Phil Spector to the Real Kids, classic punk from the Normandy scene (Fixed Up, Dogs, Sub Kids), and brimming with subtle, headphone-worthy layers and details. Mauvaise Foi (“Bad Faith”) as a title sums up this full-length with accuracy. Sometimes tackling somber subjects with tongue planted firmly in cheek, has no qualms breaking free to resonate with hilarity and their trademark cockiness like a brakeless derailing bullet train. Contained herein are stories about real-life characters sung by slightly mendacious rock’n’roll adventurers.

50 Miles Of Elbow Room

Issue # 2

50 Miles of Elbow Room

***The second issue of this "lively and thoughtful" magazine is a 112-page book with extensive features on HAMID DRAKE (11,000 word historical and philosophical interview), OTHA TURNER (excellent interview wth the 90+year-old fife player), REVEREND CHARLIE JACKSON (untouchable '70s gospel guitar scorcher), LOUIS MOHOLO (WILLIAM PARKER interviews the great South African expatriate drummer), JUNE TYSON (a hail to SUN RA's righteous and radiant singer, dancer, and violinist, includes PHIL SCHAAP's never-before-published interview from '87), and ROBERT PETE WILLIAMS (retrospective on this blindingly original improvising bluesman). 8" x 8", perfect bound.

Afterhours

Collaborations of Sound And Visuals

Afterhours

***Japan’s Afterhours Magazine celebrates twenty issues with a special book-and-CD issue. Includes collaborations between fifteen international illustrators and fifteen international musicians with beautiful visuals and wonderful sounds. Includes music from MICE PARADE, ISAN, MONTAG, JOSHUA LA RUE, MUM + ADAM PIERCE, ULTRA LIVING, LONESOME ORGANIST, HIM, SPOOMBUG (aka KEV HOPPER), and more. Japanese import.

Svenonius, Ian F.

Supernatural Strategies For Making A Rock’n’Roll Group

Akashic

Badaboom Gramophone

Issue # 5

Ba Da Bing!

***The long-anticipated fifth issue comes out cracking with a wide range of subjects, including Cognitive Abnormalites Relating to Music, RAYMOND SCOTT, the newly discovered "No Exit Act II" by JEAN PAUL SARTRE, Twisted Village Records, MATMOS & FRANKLIN BRUNO, DAVID FOSTER WALLACE, a Consumer's Guide to ROBERT CHRISTGAU's Consumer Guide, and more. Includes a tribute to Raymond Scott CD with unreleased tracks from SOLEX, CEX, AROVANE, GEOMETRIC FARMS, ENSEMBLE, TELSTAR PONIES, BOGDAN RACZYNSKI, and more.

Blank Forms

Blank Forms, Vol. 3: Henning Christiansen: Freedom is Around the Corner

Blank Forms

Brother Jt

Black Journal / Non Compos Mantis

Brother JT Inc.

***The Brodge's second book of "Spirit Transcriptions and Advice For Living" is a spiffy, 5 1/2 X 8 1/2, 148 page, b&w expressway to the Id. Much the same in spirit as the larger, more colorful (and pricey) Orange Journal, Black Journal's main departure is the extensive use of typeface instead of direct scannings from the hand-scrawled journal, so as to make the maddening gibberish a might bit easier to read. Of course there are still some pages left un-transcribed for authenticity's sake, and many original and collages as well. Automatic writings, drawings, collages, and pure BROTHER JT magic. Companion CDR, Non Compos Mantis, which derives many song lyrics from Black Journal, is also included.

Mr. Pottymouth

Pussy Pow Wow

Chronoplastics

***The long-awaited (?) testimonial of the enigmatic MR. POTTYMOUTH, frontman for the rock outfit ARAB ON RADAR. A volatile collection of depraved poetry, lyrics and prose, delivered with candor, emotion, retarded adolescence and twisted morality.

Callahan, Bill

Ballerina Sketchpad

Drag City

Callahan, Bill

Death's Head Drawings

Drag City

Callahan, Bill

Women

Drag City