Upcoming Releases

Corum

Web Of Midnight

Psychic Sounds

***Corum’s Web of Midnight traces an astral cartography and psychic linkage between the psychosexual laboratories of Wilhelm Reich’s Orgonon in Rangely, Maine all the way to the Mount Teide Volcano on the Canary Islands. Different facets of the album were recorded in these charged locations causing the music to erupt with an orgasmic and volcanic force, a subconscious blast and discharge of etheric earth energy channeled through shimmering electronica.Babbling voices that speak in the babel tongues of diverse holy spirits bring the listener into a sacred communion with the spiders of the void, spiders who weave their webs beyond the mauve zone in a realm of outerplanetary darkness. As the record spins so does the silk. Translucent sonic threads connect across vast distances in the dreamtime where they each receive stellar vibrations, now penetrating the earth from the deepest recesses of space.This space music could be considered dark ambient or kosmiche, and like the distant cosmic reaches of the universe it is suitably “out there” to please the discerning tastes of brave psychonautic listeners. Seekers who have previously used Corum’s music as fuel for their own remote viewing reconnaissance missions will find this outing as entrancing as his other explorations. Web of Midnight is a soundtrack for inward travel, destinations unknown.Even as the music voyages across the celestial empyrean of space, he opens up new territory, diving downwards into the underworld where the mysteries of Orpheus (poet, musician, prophet) are encountered in their cavernous depths. Here the Orphic lyre is...

Los Guapos Sensibles

Cumbia de Colombia / Fade Into You

Discos Mas

***Spring has sprung and just like that Los Guapos Sensibles are back with a cover of a 50s classic, “Cumbia de Colombia”. Featuring La Alicia on vocals, this version employs pedal steel guitar, marimba and cosmic synthesizer lines to add a modern touch while retaining a retro aesthetic. The B-side is a dreamy cumbia version of the Mazzy Star hit “Fade into You” again featuring La Alicia on vocals and Tom Heyman on etherial pedal steel.

Bibiotheca Hermetica

One

Black Editions / La Musica Records

***Anonymous transmissions from a spectral, dead-of-night mystery zone. Recorded in 1996 and originally release by Japan's enigmatic La Musica Records label on limited cassette. A group that deconstructs and liberates the chance nature of contemporary classical and noise music enough so that their boundaries blur. Available for the first time on vinyl and digital. Recorded in 1996 and released without any identifying credits in an essentially private cassette edition, Bibiotheca Hermetica's sole release, One, was only the second by the Japanese La Musica label and remains one of its more obscure and enigmatic entries. The group works in spaces adjacent to contemporaneous outfits like Nijiumu and Toho Sara though its non-idiomatic improvisations and decentered, free sound explorations call back to seminal collectives such as the Taj Mahal Travellers and the East Bionic Symphonia. The music constantly shuffles and sifts filled with hypnotic clatter and clamor, rattling percussion, toughly scraped strings, gurgling bass tonalities and pirouetting winds. An anonymous transmission from a spectral, dead-of-night mystery zone. Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve.

Bass Drum Of Death

GB City

Fat Possum

***15th Anniversary reissue! "BASS DRUM OF DEATH’s debut full-length, GB City, might be described by most listeners as garage-rock. But perhaps the more apt term is basement-rock. It turns out that the duo's frontman, JOHN BARRETT, wrote and recorded the album in a series of basement apartments. Armed with a guitar, drum kit, and USB microphone, Barrett threw together scuzzy pop songs steeped in punk and doo-wop that dive into topics such as taking drugs, having sex, and other regular teenage activities.”—Andrew Martin

Plummer, Bill And The Cosmic Brotherhood

s/t

Jackpot

Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood—where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records.This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of “Journey To The East” to Bill Plummer’s swinging, rapid fire/cool jazz compositions, tohis covers that go straight to the heart of any 60’s genre-crossing jazz fans.Featuring an incredible who's who of the high-caliber talent bubbling over in the Los Angeles music scene at the time:• Carol Kaye (legendary bass player of The Wrecking Crew)• Maurice Miller (drummer in The Jazz Corps)• Dennis Budimir (guitarist with Chico Hamilton Quintet, Ravi Shankar & Frank Zappa)• Mike Lang (Piano with Flamin’ Groovies & Hal Blaine)• Tom Scott (Saxophone with Gabor Szabo & Thelonious Monk)• Ray Neopolitan (Bass for The Doors & Leonard Cohen)• Milt Holland (Percussionist with The Wrecking Crew & Captain Beefheart)• Bill Goodwin (Drums for Mose Allison & Tom Waits)Housed in a beautiful gatefold sleeve with iconic liner notes by Frank Kofsky, who comes out swinging hard in favor of the album, while shaking the dust off any jazz snobs left in the '60s who still were not ready to embrace the future of jazz.Produced by Bob Thiele who produced everyone from John Coltrane, Art Blakey to Charles Mingus, this sonic rarity is yet another impressive vinyl reissue from the folks at Jackpot Records

Defiance, Ohio

Midwestern Minutes

No Idea

***REISSUED!!! DEFIANCE, OHIO's third full-length album with No Idea, originally released in 2010. Reissued with full-color, heavyweight inner (Euro) sleeves printed with all the lyrics and art. Pressed on colored vinyl. Geoff Hing - guitar, vocals Ryan Woods - bass, vocals Will Staler - drums, guitar, vocals BZ - violin, piano Sherri Miller - cello, banjo, vocals

Torres, Laurie

Après coup

Tonal Union

Laurie Torres is a Canadian musician and composer raised in Montréal, Québec by Haitian parents. Since 2008, she has been a trusted stage and studio performer for Julia Jacklin, Pomme, and Land of Talk, as well as being a founding member of Folly & The Hunter, with whom she recorded four studio albums and toured Canada, Europe and the UK. In 2023, Laurie shifted focus to work on her own creations, a process of making time—the will and the need becoming omnipresent. Drawing creative inspiration from contemporary artists like Tirzah, Gia Margaret, Valentina Magaletti, Tara Clerkin Trio and ML Buch, Après coup finds Torres intersecting at a pivotal moment where artists whose marginalized identities are at the forefront in creating a beautiful array of “other options”. “Being othered and tokenized as a woman who plays music, as well as a queer and black person, takes a toll, while also positively feeding a strong urge to push and be seen.” Centering around piano, drums and synthesizer with interweaving field recordings, Après coup follows the precursor EP Correspondances in the form of a sprawling 11-track album. Translating directly from French—afterwards, after the event—its title subliminally points at something deeper between the lines. Recorded in 2023 between tours in a small window of time where ‘normal’ life hadn't quite recommenced, Torres meticulously crafted her debut solo material in view of surrounding nature, all providing the perfect nourishment for long streams of improvisation. Built right up to the edge of a lake, Studio Wild...

Novoa, Eva

Solo (I)

577 Records

***Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format. After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings. On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience—raw, cinematic, and emotionally charged.

Rotting Telepathies

Rotting Tapes II

Black Editions / La Musica Records

***Black Editions presents the first ever vinyl and digital editions of Rotting Tapes II by Rotting Telepathies, the free-punk trip of spectral poet Michio Kadotani and High Rise founder Nanjo Asahito. Recorded live in 1982, and originally issued as a limited cassette edition by the notorious label of the Tokyo underground, La Musica Records. Kadotani's music has previously only been documented on a 1991 CD on P.S.F. (entitled Rotting Telepathies ), and the recently rediscovered '87 KAD 3:4:5:6 set, which makes this disinterring of a highly limited 1990s La Musica cassette edition particularly significant. The unrelenting dunt of the rhythm section here, locked-in and revolving around Nanjo's bowel-rumbling bass, is the perfect foil for Kadotani's guitar—sometimes cutting, sometimes spindly—and the stream of babble that was his vocal style. It's frazzled but underpinned by viciously sharp logic. A beautiful representation of Kadotani, the man Nanjo once called "the only real punk in Japan." Available for the first time on LP or any physical form aside from a small run of hand assembled cassettes on the Japanese La Musica label in mid '90s (LA-107). Housed in a custom die-cut, "Uni-Pak" style gatefold with metallic ink, spot finishes and matching La Musica inner sleeve. La Musica Records was a label founded by Asahito Nanjo in Tokyo during the 1990s. It released nearly 200 cassettes and CD-r's, all handmade in micro-editions sold at shows. The catalog featured artists and recordings largely of obscure, often completely unknown origin, sanctioned and "grey-area" documentation of the Tokyo...

MORS.VOID.DISCIPLINE

Txketh)ëké

Sentient Ruin Laboratories

***Chilean bestial goregrind terror-cult Mors.Void.Discipline emerge from the bottomless dungeons of the South American extreme metal underground with their debut full-length monstrosity "Txketh)ëké", a twenty-minute inhuman assault of terror-spawning bestial war metal destruction swathed in the grinding rot and maggot-infested putridity of 90's goregrind.

Rotting Sky

Sedation

Sentient Ruin Laboratories

***REISSUED ON VINYL - FIRST TIME ON CD!!! Masterminded by Portland, Oregon-based musician T. Messing (Rohit, Nux Vomica) and taking its name from a Khanate song, Rotting Sky's 2014 masterpiece and sole full-length album "Sedation" still towers grandiose and inscrutable as defiant testament of a vision that remains unrivaled and unprecedented to this day, over a decade after it was first conceived. A swarming and sweeping creative tour de force conquering expressive totality from deep within the most tense and concealed folds of inner turmoil and personal struggle, "Sedation" plumbs the darkest depths of torment as a massive cathartic deflagration, immortalized into the present as one of the most enduring, moving and soul-shattering underground experimental black metal creations of the past decade. Adhering religiously to its foundational principles of withdrawal, isolation, confinement, and frugal self-empowerment, "Sedation" accretes from a myriad of field recordings, samples, guitar pedal layering, and home-made DIY recording tactics, to embody a massive colorless monolith of industrialized sonic ruin. A majestic convergence of dungeon-creeping raw black metal, disembodied power electronics, industrial noise and dirging funeral doom, ascending and spiraling into an obsidian maelstrom of despair. The foundational seclusion driving other recluse experimental and industrial leaning black metal projects such as Nortt, Gnaw Their Tongues, Murmuüre, Emanation and Paysage d'Hiver has convergently evolved similar stylistic traits in Rotting Sky, materializing a majestic and impenetrable aural specter in which the artist's unique personal.

Mohr, Kathryn

Carve

Flenser

Carve is the second full-length by Bay Area artist Kathryn Mohr. Written over the course of five years and recorded over several weeks in a rural singlewide in the Mojave Desert, the album centers on love experienced as a form of grief, not as an aftermath of loss, but as a condition of intimacy itself.Mohr describes Carve as an album about how memory exists outside the body, embedded in places and landscapes. It is shaped by her first return to the American Southwest since a childhood road trip at age five, and by the experience of moving through terrain that holds emotional weight long after its origins fade. The record considers how intimacy feels after years of isolation, and what it takes to carve out a life that allows for trust, presence, and feeling rather than mere survival.The project took form after a difficult tour that ended in Joshua Tree. Mohr pointed her car into the desert and drove alone, crisscrossing the Mojave on dirt roads. Months later, she returned to record the album, working alone with an acoustic guitar, a field recorder, and limited supplies.Following that period, Mohr began to allow for intimacy and connection. The time she spent recording Carve in the desert did not create isolation so much as mirror it. Working alone out of an old, western-themed jail Airbnb, the physical enclosure reflected the emotional conditions under which much of the record had been written: distance, restraint, and long stretches of stillness. In that context, love...

Vectors

Death To Disco

PNV

***Complete early discography from this short lived, stellar Fullerton, CA punk rock outfit. This top rate collection features the group's debut 1979 single, the certified KBD classic "Death to Disco," their 1981 12" EP and some odds and ends from that era. Far from a paint by numbers snotty punk rock outfit, The Vectors had a musicality and tension colored with shades of post punk, while retaining the proto-HC energy expected of a SoCal outfit from their era. In a sense they bridged the gap from the Anglo Skids/Ruts sound to the Americanized iteration in groups like Big Boys, Effigies, Minutemen, etc. This collection features a ton of photos and artwork exclusive to this release; a fitting presentation for this collection of top rate punk tunes.

Flipper

Generic Flipper

Superior Viaduct

Generic Flipper, the debut album by Flipper, remains the most absorbing full-length LP to emerge from the early San Francisco punk scene. A constant source of imitation for so-called “noise rock” bands, it has yet to be surpassed in its nihilistic glee.Recorded between October 1980 and August 1981 and released in 1982 on the indispensable Subterranean Records, this album functions as a chaotic, sticky mass of individual personalities: the magma-like bass eruptions and dual vocals of Will Shatter and Bruce Loose, Ted Falconi’s icy guitar scraping and the relentless beat of drummer Steve DePace. At times playful and taciturn, paranoid and absurd, Generic charts a deliberate path that willfully chances destruction.In early ’80s punk, when the hardening default was “faster-shorter-louder,” Generic subverts the nascent hardcore scene with a strictly applied regimen of turgid-slower-heavier. The lyrics are bleak, yet unnervingly beautiful. “Ever” sets the tone with trademark restraint—“Ever wish the human race didn’t exist? And then realize you’re one too?”—while closer “Sex Bomb” is a churning, 8-minute epic with looping bass, saxophone accompaniment and electronic effects of dropping bombs.Tons of indie bands have attempted to recreate Flipper’s mix of acidic guitar, metallic bass sludge and sardonically brilliant lyricism, using the seemingly effortless template they pioneered; however, the effect usually drives listeners right back to Generic. While most of their contemporaries wilt under direct comparison, No Trend, the Butthole Surfers, feedtime and Church Police are a few who can stand the frigid heat.

Magus

Music for Mandrax

Language Of Stone

A magus is a wizard…a sorcerer. Magus, the band, is certainly interested in such things (who isn’t), but the name is especially apt due to the band’s approach to alchemy, the blending of rock, gothic, proto metal, and psychedelic styles to create a sound that is, ultimately, unique. Part of that uniqueness comes from the instrumentation. While guitar is often a dominant instrument of the rock oeuvre, the Fender Rhodes generally plays a supportive role. Not so here, where Jessica Weeks’ deft use of the keyboard dovetails with Greg Weeks’ more standard six-string approach. Not standard is the band’s sound. Doomy yet inspirational, dour yet vibrant, the duo’s tunes map sinister realms whose subjects span metaphysical creatures to enigmatic portals. You know, the typical stuff that rubs elbows with a magus. Formed in late 2024, Magus sprung from a desire by both artists to experiment with darker, heavier sounds. Long enamored of artists like Flower Travelling Band,, Black Sabbath, and Deep Purple, the duo delved deeply into trance like riffs and euphoric solos to create the backbone of what has become their debut album, Music for Mandrax. This thirteenth Language of Stone offering features grounded, metronomic grooves, organic, lugubrious synth lines, and tandem vocals (supplied by both Weekses) that, in total, weave a heavy, trance-like spell sure to entice fans of bands as disparate as Sabbath is to Pink Floyd. Recorded at Weeks’ Hexham Head studio (to analog tape, of course), the band enlisted long-time counterparts Jesse Sparhawk (bass) and...

Reeking Aura

On the Promise of the Moon

Profound Lore

Reeking Aura, a five piece death metal group made of seasoned veterans from the NY/NJ underground scene, returns in 2026 with their second album On the Promise of the Moon. Tracked at OK Studios in Kinderhook, NY then mixed and mastered by the legendary Dan Swano, On the Promise of the Moon builds on the "Fires in Deep Frost" EP released in 2025 with a dark, melodic atmosphere that does not compromise their brutal, guttural NY roots.Returning from the first album are guitarists Terrell Grannum (Thaetas), and Rick Habeeb (Grey Skies Fallen) as well as vocalist William Smith (Afterbirth). Drummer Hudson Barth and bassist TJ Coon (both also in Trog) round out the lineup and bring fresh blood to the band, with all members having contributed to the writing process.The album also features contributions from guest vocalists Eston Browne (Vulnificus) and Jon Berg (The Path) as well as string arrangements by Ben Karas (Slaughtersun).Reeking Aura began in 2019 and promptly recorded their debut EP "Beneath the Canopy of Compost" and first album "Blood and Bonemeal" with Colin Marston in Queens, NYC. In addition to NY and NJ gigs supporting Malevolent Creation, Horrendous, Crypt Sermon and Mortician, they have toured the North and Southeast U.S. with such acts as Replicant, Atoll, Pyrexia, Hath, Animals Killing People, False Gods and Carrion Vael.

Night Of The Vampire

The Enchanting Winds of the Dreamweaving Masquerade

Profound Lore

***ON LIMITED WILD BERRY VINYL OR BLACK WIDOW VINYL!!! Night Of The Vampire is the shadow of the witching hour, never seeing the light of day. It will expand your mind into the depths of psychedelic solitude and the haunting chambers of darkness within. If you so dare, mastermind Astral Shadow will be your guide through the untamed worlds of Black Metal and Darkwave. But beware, for if you choose to travel this path you may lose yourself and forever go mad.

Choncy

Trademark

Feel It

Trademark is the third LP from Cincinnati punk quartet Choncy. Within genres that have been recycled, revitalized, and pushed to their limits for over fifty years, the group is constantly dancing around their signature sound. References of alternative music motifs stretched from bustling British megalopolises to rust-covered Midwest neighborhoods displays Choncy’s desire to play punk music but refuses to pick an era to pull from. Is there anything left to say? Are we all playing the same three chords? If we are, who owns the rights to them?Known for their “kitchen sink” style, Choncy has cleaned off the plates this time around; loosening up on their hardcore roots and taking a step further towards the estranged and angular corners of punk. Unpredictable dances between demented dissonance and craggy punches parallel a constant shift in power, resulting in a record that demands attention more than ever before.Since the release of their sophomore LP, Choncy has been ping-ponging phone demos as a full-time Ohio to New York remote effort. In similar fashion, the group elected to record these ten tracks on their own between their respective practice spaces and bedrooms in Cincinnati and Brooklyn. Even with hundreds of miles between them, Choncy continues to refine and deliver their trademark style and sound.

Gentilesky

Dream

Slovenly

***It’s 2026 and the world is coming to the end it deserves. In a post-world world, the soundtrack should be post-what-fucking-ever, and it needs to careen at light speed with piles upon piles of noise and tension. What remains of Sardinia and Turkey? GENTILESKY is there, and there, and HERE, bonding over a common goal of survival. “Dream” is their second album, and its ferocity was carefully designed to stop you dead in your tracks, but it’s not like you have anywhere left to run anyway. The nightmare continues on Slovenly Recordings this Spring. Stick around for it... We need you more than you realize.

Twenty-One Children

After The Storm

Slovenly

***Malaria infected mosquitos everywhere need to watch their backs. The most ferocious TWENTY ONE CHILDREN of Soweto are geared to exterminate all filth but their own, as they again join forces with Slovenly Recordings for an exercise in max irritability, and a structured plan with which to execute it. Immediately following the shockwaves of their explosive debut 7inch, the ‘Children return with a mini album’s worth of heavy distortion and a shit ton of bad attitude.Twenty One Children are the riotous punk pulse of Johannesburg — a fearless trio tearing up South Africa’s alt-music rulebook. Formed by friends Thula and Abdula with drummer Biko, they fuse U.S. skate punk grit with Soweto’s heartbeat in a storm of noise, soul, and defiance. Combining the insolent attacks of Suicidal Tendencies & Reagan Youth with the crude, rural thud of Ngozi Family, the 'Children are much more than just another punk band. Fueled by wit and DIY spirit, they’re a movement — building skate parks, hosting benefit shows, and igniting stages from Joburg to Kenya to the UK. In 2025 they toured the UK, shared the stage with proto-punk legends DEATH at We're Loud Fest in Kenya, and played loads of packed DIY gigs in South Africa… and they’re just getting started. 2026 ain’t just another year — it’s the Year of Twenty One.

Akusmi

Lines

Tonal Union

London based composer, multi-instrumentalist and producer Akusmi presents Lines, an exhilarating new collection of works born from the desire to take where the acclaimed debut album Fleeting Future left off—in search of new forms. Formed with a sense of urgency and a reductive approach, Lines is almost entirely comprised of alto saxophone, clarinet and piano, with embellishments of ambience and minimal percussive elements. Recorded in full at his home studio in London, Pascal Bideau speaks about the process: “I wanted to go a bit more horizontal and ambient, work with layers of lines, might they be dotted or straight, and leave them to unfold and see where they would take me.” “Secant” is the electrifying and cinematic opener, emerging with the main motif deriving from the recording sessions of Fleeting Future. It’s distinct sound echoes New York, a homage in part to the works of Steve Reich and inspired also by train travels across the English countryside. Rhythmical looping pianos unite with shifting strings that build to a symphony of hypnotic rich layers, towards a euphoric and filmic climax. “Oblique,” on the other hand is otherworldly and hopeful, a breathtaking musical meeting between jazz and ambient minimalist music. Rich layered saxophones sound a patterned melody, meshed with dotted piano, swirling electronics and percussive hits, before deep-diving into shimmering ambient tones echoing like summer rainfall against windows. Akusmi uniquely finds the spaces in between experimental, crossover classical and ambient music. “Parallel” is the ambient companion to the acclaimed title track...

Abdul-Rauf, Leila

Andros Insidium

20 Buck Spin

Through her work across five Vastum albums, Leila Abdul-Rauf has been a sonorous contributor to 20 Buck Spin’s discography for more than fifteen years now. Concurrent to that she’s also amassed an impressive body of solo work whereby she could showcase the full range of her multi-instrumental artistic and vocal talents. We now bring that part of Leila’s output to 20 Buck Spin showcasing her darkest and most confrontational material to date with new album Andros Insidium.On Andros Insidium Leila draws us into a ceremonial descent, through the architecture of shadow itself. Unfolding like a ritual text etched in obsidian, each movement traces the violent and sacred geometry of transformation. The presence and wisdom of the feminine divine looms throughout, as an ancient and uncompromising force, in conflict with everything buried, exiled and made monstrous by the machinery of societal pressures and unrealistic expectations. The album delves deep into the dark vastness of the psyche of woman: wild, ugly, vulnerable and powerful.Sonically Andros Insidium is a mutation of the cinematic dark-ambient, industrial and ritual folk expressed in prior releases, now sharpened into something far darker, more narrative and intimate. Leila’s vocal work becomes a new focus with a wider variety of styles and characters, exorcising the demons of patriarchal fragmentation and revenge fantasy as lived myth. In its most potent moments, Andros Insidium suggests that wholeness is not purity or light, but the terrifying act of reclaiming everything that was discarded, and learning to speak with its voice.

C.I.A. Debutante

Trespass

Siltbreeze

Can you believe there are now four CIA Debutante lp's in the world? That's right, this newest one, 'Trespass' is batting in the cleanup spot & it is very to task; the strongest, most focused effort put forth yet. Narrator/guitarist Nathan Roche is at the peak of his oratory & string mangling prowess. His recitation over flared fret work, conjoined with Paul Bonnet's alchemical electronic stitchery (don't forget that clarinet!-Woodwinds ed.) summons forth a promethean tableau that's inexplicably both gothic & futuristic. Imagine if Mary Shelley had created Roxy Music instead of Frankenstein? 'Trespass' burns with a demanding urgency, its majesty sweeping across time from the charnel houses of Ingolstadt, Barvaria, to the Offworld shoulders of Orion....frontiers! Whatever you thought of their previous three albums, those are now but tears in the rain. With 'Trespass', could CIA Debutante be approaching the pinnacle of Godhead? The Fates whisper only, "perhaps."

Crozer, Mark

Homecoming

Dusty Mars

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

Kumo 99

Body N. Will

Going Underground

***Kumo 99 is an electronic duo whose unique music and art direction speaks for itself, appealing to a wide variety of audiences. Post-national, apocalypse-adjacent, lo-tech love songs for the digital native.Vinyl edition includes lyric insert and 33" x 23" fold-out poster housed in a laminated tip-on jacket.

Kumo 99

Headplate

Going Underground

***Kumo 99 is an electronic duo whose unique music and art direction speaks for itself, appealing to a wide variety of audiences. Headplate reaches out from the window of a passing car and it all makes sense. You know exactly what you have to do.Vinyl edition includes lyric insert and 33" x 23" fold-out poster housed in a laminated tip-on jacket.

Pine, The

Lead Blocks for Feet

Going Underground

***Lead Blocks For Feet captures The Pine in a formative moment, pushing outward while beginning to settle into a sound that feels distinctly their own. While previous releases drew heavily from the California emo landscape, the band takes a darker turn here, experimenting with folk-inspired songwriting and introducing the character-driven storytelling that would help define their sound: fast, loud, distorted, and heartfelt.Back in print for the first time in over twenty years, this edition is packaged in a gatefold sleeve and remastered with care.

Akusmi

Fleeting Future

Tonal Union

Akusmi is the new project moniker of French-born, London based composer, multi-instrumentalist and producer Pascal Bideau, who signs to the new Tonal Union imprint for the release of his album ‘Fleeting Future.’ With its hallucinatory, genre-defying blend of minimalism, cosmic jazz and Fourth World influences, and in its quest for optimism in the face of unknown and limitless possibility. ‘Fleeting Future’ stands apart as an inventive and inspirational debut. The creation of the album’s richly colourful and multi-layered sound world was originally inspired by Bideau’s journey to Indonesia, where he immersed himself in traditional Gamelan and gong music. Many of the themes, motifs and melodies on ‘Fleeting Future’ seed from the ‘Slendro’ scale, one of the essential tuning systems used in Gamelan. However it is not musical scales, but scales as in the size or extent of things that most fascinates Bideau, specifically he explains; “the compelling way things dramatically change when you shift from any given scale to another.” The album connects directly to nature and the wider world in its evocation of perceptive shifts and transitions from microscopic to macro scale, as evidenced by the opening title track ‘Fleeting Future’, on which a simple dotted saxophone line morphs and billows into synths, brass and strings, indicating the musical voyage that lies ahead. Like the start of a journey or adventure it is full of anticipation, its arborescent growth conveying the optimism of the unknown and of limitless possibility. The album centrepiece ‘Neo Tokyo’ is a vibrating, ebullient...

Lew, Hannah

Hannah Lew

Night School

“One foot out the door, another in the otherworld...” So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and surrealism that conversely deals with the times we find ourselves in. Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and Cold Beat. While musically bearing similarities with her previous work, Hannah Lew is a bold leap into direct pop territory, making ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a perfectly honed nugget that frequently pulls the heart in two directions at once. Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo” material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and dreams to guide her creative process, Hannah Lew frequently...

Beathoven

Live At Pascoe Vale High School 1977

Grown Up Wrong

Previously unheard live recording from '77 of legendary Aussie power pop pioneers Beathoven, who were described by Kim Fowley as 'the Tasmanian Bay City Rollers'.Huge in their home state, Beathoven failed to break nationally (despite multiple TV appearances and a Best New Band' nomination at the 1978 Countdown Awards) and eventually morphed into the Innocents, who are also much loved in power pop circles.Recorded live to two track, this album captures the mania surrounding the band and captures the band at their early Beatles best and sounds like The Beatles at the Hollywood Bowl reenacted in a Melbourne highschool in the '70s! Includes great versions of fan faves like "Please Don't Go", "Darlin'" and "Shy Girl" and plenty of songs never before released.Includes liner notes by the band's David Minchin, with plenty of cool pix and memorabilia.Both Beathoven and the Innocents have been recently names as favorites by The Lemon Twigs.For Fans Of: Lemon Twigs, Sharp Pins, the Gnomes, early BEATLES!, Swinging Blue Jeans, Bay City Rollers, Rockin' Horse, the Poppees, the Innocents, the Nerves, the Scruffs, the Spongetones, Shake Some Action-era Flamin' Groovies, Utopia's Deface the Music, the Rutles!Edition of 500 copies on sold blue vinyl.

Breakers, The

Night After Night

Grown Up Wrong

Long lost Sydney power pop band circa '79-80 whose two main players came together at the urging of legendary LA svengali/producer (Runaways, Hollywood Stars, Candy etc) and songwriter (Kiss, Van Halen etc.) Kim Fowley after he 'discovered' them both during his Australian sojourn of Xmas '78/79. Those two main players were Jarryl Wirth, guitarist of now iconic and oft-bootlegged early Melbourne punks Babeez/News (Jarryl recorded solo tracks for Fowley under the name the Lonely Boys) and Jimmy Manzie, songwriter/bass player for hugely popular Sydney band Ol' 55 (Aus's answer to Sha Na Na/Flash Cadillac) who previously had a #1 album and multiple Top 10 hits (and who can still sell out theatres). Manzie is also known amongst power pop fans as the producer of the classic single 'Sooner or Later' by Fowley's other Aussie power pop proteges, the Innocents, and is known to Ausrock fans as the producer of the Choirboys.Edition of 500 copies on hot pink vinyl.

Eastern Dark, The

Johnny and Dee Dee / Julie Is A Junkie

Grown Up Wrong

To commemorate the 40th Anniversary of the passing of James Darroch, singer / songwriter / guitarist for Sydney's incredible The Eastern Dark, Grown Up Wrong! is thrilled to announce a long-awaited reissue of the band's classic single "Johnny and Dee Dee / Julie Is A Junkie".Heavily influenced by the Ramones—the band opened their first live show with 'Blitzkrieg Bop' and from then on opened with a new Ramones song every time they played, working through the band's complete catalogue in chronological order—as all manner of hyper-melodic and high energy rock. The Eastern Dark were a classic trio powered by former Celibate Rifles bassplayer James Darroch's blazing guitar and anchored by former Lime Spiders backing vocalist Bill Gibson's hard driving and melodic bass playing (and supreme backing vocals) and Geoff Milne's untouchable beat keeping. They set Sydney's Radio Birdman influenced scene alight in 1984 and quickly built an international following on the back of their classic single. Sadly, just hours after completing what would become their next release - the mini-LP Long Live the New Flesh— the band's life, and that of 26-year old James Darroch, was brutally ended in a road accident whilst the band was on its way to Melbourne.On the back of the tragedy, the band's music lived on and it's global impact was reflected in the influence it bore on numerous bands, from Boston's the Lemoneads to Tokyo's Teengenenete, and obviously a succession of Australian bands from the Hard-Ons through to God and the Meanies and beyond.After...

Black Swan Network

The Early Music Vol. 1

HHBTM

***The Early Music Vol. 1’ by Black Swan Network is a collection of songs and sketches by Elephant 6 co-founder Will Cullen Hart written between the hiatus of The Olivia Tremor Control in 1999 and before the formation of Circulatory System in 2000. Side A features tracks from the HHBTM Records 7" singles club single and side B features 8 tracks from those same sessions that have been unreleased until now. The Early Music Vol. 1 tells a story of an artist working through a million ideas via a 4 track blending textures and tiny melodies pulling from ambient soundscapes and field recordings while working out tiny vocal melodies falling between the baroque psychedelic pop of his previous Olivia Tremor Control work and the long ambient minimalist passages of The Black Swan Network. These songs would be the blueprint for the start of Will's next project Circulatory System. These songs will feel different in each place and way you play them. The label heavily suggests listening loudly through speakers, through headphones, and once using the download card play them through your computer and in your car. Each listening experience will bring different elements to the forefront. This release is being pressed on black vinyl with no banding between tracks and being meant to be listened to as one continuous side.

Dead Bob

Nothing Changes Everything

Wrong

***Exactly three years after the debut album, Life Like DEAD BOB continues to mine the archives of old and new demos that JOHN WRIGHT has created over the years, including two of the last songs demoed for NOMEANSNO with brother ROB WRIGHT.Whereas Life Like was primarily a solo project of John, since the formation of the live band the gang, FORD PIER, BYRON SLACK, KRISTY LEE AUDETTE and COLIN MACRAE take a far more active role in this record.Nothing Changes Everything is a 35 min. 8 song release that takes you on Bob's journey and keeps you wondering, “Where the f**k is this going next!” Balls to the walls and head in the clouds, you're in for a treat.With a couple years under their belts and return of SELINA MARTIN to collaborate on another song, Dead Bob takes it to the next level.

Bikini Kill

I Like Fucking / I Hate Danger

Bikini Kill Records

***Originally released in 1995 this single has been out of print for 13 years. To celebrate it's 30th year anniversary we've brought it back on clear pink vinyl

Bikini Kill

The Anti-Pleasure Dissertation

Bikini Kill Records

***Originally released in 1995 this single has been out of print for 13 years. To celebrate it's 30th year anniversary we've brought it back on baby blue vinyl.

White Fence

Orange

Drag City

***Orange is an unstill life, a bowlful of new White Fence concepts for guitar band, grown larger through thoughts, feelings/SONGS. Rock ‘n balladry play with genre in uncrowded space. Orange is KILLER POP thru clean lines of power, outlined with an emphatic/unalterable (minimalist) frame. Dark magik at its most bright! A trance-like chronology of consciousness/SONGS captained by producer Ty Segall in opalescent diamond tightness and ice fidelity.

Prism Shores

Softest Attack

Meritorio

*** Montreal janglers Prism Shores return with Softest Attack, a sharper, more immediate follow-up to their acclaimed 2025 breakthrough Out From Underneath. While the previous record leaned into atmosphere, this new album doubles down on hooks, maximalist guitars, and the pure strength of their melancholic songwriting.Produced by Scott “Monty” Munro (Preoccupations) and mixed by René Wilson, Softest Attack blends jangle pop, ‘90s power pop, and shoegaze with clear echoes of The Wedding Present, Teenage Fanclub, and My Bloody Valentine — all filtered through the band’s Dunedin-inspired indiepop sensibility. For the first time, all four members contribute lyrics and lead vocals, marking their most collaborative and ambitious effort yet. Softest Attack is Prism Shores’ boldest attempt to craft a top-tier indiepop record: bigger, brighter, and overflowing with guitars, but always anchored by undeniable melody.

Lupo Citta

Inverno

12xu

***The title track for Lupo Città’s second LP, Inverno (‘winter’ in Italian), was born in January 2023. Written in waking sleep at 4 am. Looking out the window at the winter world below when it's too quiet, no one is around, but anything and everything feels possible. Lupo Città wrote the songs for Inverno by instinct: each song, in viscera, a life and personality of its own. Chris, Jenn, and Sarah each brought in songs at different stages, in different forms and moods. Some came together fast, others took long. Some songs had to be stripped, slowed down or sped up, while others were completely gutted and rebuilt. A hard coming out of post-COVID lockdown, trying to relearn to live outside of isolation. Moving from the dark of winter into light, a jarring shift, the world was changing so fast in such stark contrast between the quiet isolation we settled into with close friends and family. We couldn’t look away anymore, in the light of day, escalating political and social chaos happening outside, now rapidly closing in.While Lupo Città’s debut was melodic, energetic, world-weary, sometimes chaotic, Inverno is out on a limb, taking a risk, and not caring at all how it turns out. Inverno is a snapshot of the bad and good, trying to stay awake and be present, fighting off the sleep of winter and the lure of time standing still, so we can create the world we want instead of trying to survive the world we're in....

Optic Sink

Relentless Metamorphosis

Dig! Records

***Natalie Hoffmann, Ben Bauermeister and Keith Cooper are back after their benchmark third album, Lucky Number (for FEEL IT RECORDS) with this long-percolating project of original compositions for the short films of mid-20th century filmmaker, Maya Deren (also an adroit dancer, writer, and general badass.) Experience over 40 minutes of aural and visual mind fry, translated sonically for the body and soul, as only this southern post-punk trio dare deliver. "I was fortunate to have two of my favorite professors at Memphis College of Art, Mary Molinary and Jill Wissmiller, show me Maya Deren’s work while I was a student. I was in a poetry class with Mary and an experimental cinema class with Jill. Both perfect and very different contexts to see and discuss Deren’s work. Meshes of the Afternoon redefined how I thought about both film and poetry. The framing, the pace, the repetition, and her strong use of the body and its contrasting movements were all so new and revolutionary to me. Her films were poems, they were choreographed dances, and they were hugely avant-garde and experimental, especially for the time she was making them. (Meshes of the Afternoon came out in 1943!) Crosstown Arts asked Optic Sink to score her films in 2022, and we were honored to be part of bringing her work to a bigger crowd in Memphis. After the show, people from the crowd enthusiastically discussed how incredible her work was and questioned why they had never heard of her, even though she...

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...

High Back Chairs

2 Songs

Dischord

***Two songs by the High Back Chairs, released in 1992. Peter Hayes (vocals & guitar) Jim Spellman (guitar) Charles Steck (bass & vocals) Jeff Nelson (drums & vocals)

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.

Doomsayer

Awake In Darkness

Nuclear War Now

***In celebration of the 30th anniversary of their sole demo from 1992, Awake in Darkness, NWN is proud to present Doomsayer’s legacy on LP for the very first time! This burning triumph- described as “Pestilential Death Metal” by the band back in the early ’90s when they were establishing themselves in the Italian extreme metal scene- combines all of the power of their varied influences, giving both a perfect snapshot of the heavy metal and occult tinged nascent scene in their country as well as an image of a power, creative band that managed to create a single work that still resonates now decades later. Though Doomsayer fits squarely in the saga of other cult Italian bands, it has plenty of its own voice to offer and fans of early extreme metal will be pleasantly surprised at the strength of this long-hidden obscurity. For fans of Varathron, Sadist, and Necrodeath.

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

Destroy Future Less System

Paranoid Northern Discs

***PARANOID's Destroy Future Less System 7” EP is back in print on its original format for the first time since its original release in 2014 by Konton Crasher. A violent metal-punk storm with cascading sheets of noise punctuated by thunderclaps of d-beat and quick lightning strikes of lead guitar.

Paranoid

Heavy Mental Fuck-Up

Paranoid Northern Discs

***PARANOID's second album album channels the noisy sound of their debut into a heavier, more powerful attack. 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

Paranoid

Out Raising Hell

Paranoid Northern Discs

***PARANOID's third assault delivers some of their most nasty riffs and songs yet. 10 blackened punk anthems. 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

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

Gen Pop

Beat Sessions Vol. 9

Shout Recordings

***"In just half a decade Olympia’s Gen Pop have forged a singular style over the release of several EPs and the aptly titled, 2020 full length, PPM66. The group draws water from the disparate wells of early 80’s American hardcore and late 70’s UK post-punk, filtering it through the shitshow chaos of the early 21st century international cultural, political, and environmental climates. A sound fully realized and on display here in the ninth volume of the infamous Beat Sessions, presented by Shout Recordings. Precise, punchy, yet dynamic and fluid drumming underlie a cascade of tones, textures, styles, and voices to form a repertoire of songs where change is the only constant. The music cycles between uplifting, romantic, distressing, aggressive, and disjointed. Tempo and feeling will shift on a dime, and songs often exhibit romance, buoyancy, aggression, and anxiety simultaneously. This performance was captured by Shout’s Mike Kriebel in December 2021 at LA’s Golden Beat Studios. The line up was supplemented on this session by Anthony Gaviria, of the fellow Washingtonian oddball outfit Lysol, on bass guitar."

Vidro

Glod

Beach Impdiment

***And here we have it, the North American pressing of VIDRO's brilliant 2nd 12" titled GLÖD. Featuring an amalgamation of members that span the globe from Brazil to the USA to their sonic and geographical home of Stockholm, Sweden, Vidro have been churning out quality hardcore punk in recorded and live settings for five years now with no apparent signs of letting up anytime soon. Previously released on Germany's Kink Records near the outset of 2022, this North American pressing serves both as a means to alert the uninitiated of what they've been missing along with providing a taste of what is to come. Each record comes in a jacket with a large poster, featuring design work and art by Vidro guitarist LUCAS LIMA .

Indre Krig

Destroyer

Beach Impediment

***Released earlier in the year on the magnificent Adult Crash Records out of Copenhagen, Denmark, Beach Impediment is pleased to handle the North American pressing of an absolute, bonafide international hardcore punk ripper... the Destroyer EP from INDRE KRIG! Six tracks of razor sharp musicianship with truly memorable hooks and riffs to match it, this platter keeps up the reputation K-Town has garnered for generating quality punk music over the course of multiple decades now. Each record comes in a pocket sleeve embellished with particularly striking art by the living legend we call NICKY RAT.

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!

The War Goes On

Assisted Armageddon

Black Water

***Second full length of catchy melancholic and bleak Copenhagen punk rock. Continuing to draw influences from early US and UK punk and Danish '80s classics.

The War Goes On

The War Goes On

Black Water

***Hailing from Copenhagen, THE WAR GOES ON formed from the ashes of legendary Danish bands NO HOPE FOR THE KIDS and HJERTESTOP among others. Their first full length is dark and catchy as hell punk that owes as much to the US as it does to the UK, but with a somewhat “pop” sensibility. These songs are packed with big melodies with gritty hooks. An instant Danish punk classic.

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.

Militia

Regiments of Death / No Submission

Nuclear War Now

***Though they were a favorite around their hometown of Austin and nearby San Antonio, Militia received scant attention outside of Texas during their short-lived existence from 1984-1986. Formed in 1984 when bassist Robert Wellingham (who, at the time, neither owned nor knew how to play a bass) met drummer Phil Achee, Militia’s origin is inseparable from the story of the heavy metal scene in and around Austin, Texas during the 1980s. With the inclusion of vocalist Mike Soliz, whose powerful, Halford-esque shrills became a defining feature of Militia’s sound, the band established itself as a fixture of the regional metal scene, sharing members and performing live with many notable acts around the area, including Watchtower, Wyzard, and S.A. Slayer, among many others. Militia swiftly progressed, writing original material and perfecting their live performances. During the three years they were together, they recorded two demos—Regiments of Death and No Submission released in 1984 and 1986, respectively—and the highly coveted MLP, The Sybling, privately pressed by the band in an edition of just 100 copies. The two demos, the band’s first and last recordings, depict Militia’s evolution during its brief lifespan. On Regiments of Death, Militia displayed a unique fusion of skill and passion, an amalgamation of the most potent elements of aggressive speed metal and melodic power metal. The second demo, recorded in the wake of several lineup changes, displayed a more “progressive” approach, drawing inspiration from early Queensryche and other similar acts. Now that NWN! has established its permanent base...

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.