Upcoming Releases

Thætas

The Irredeemable Age

Profound Lore

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

Insane, The

The Whole World Is Going Insane

PNV

***Crucial collection of all studio works from this celebrated early 80's, politically incendiary UK punk outfit. Perhaps best known for featuring d-beat pioneer Dave Ellesmere of Discharge on drums, the Insane released classic singles on the Riot City and No Future labels. All tangential connections aside, though, The Insane sonically carved out a place in the early 80's UK scene somewhere between the po-faced anarcho outfits and their brash, street punk counterparts. Subhumans or Conflict may be apt comparisons, though The Insane had a certain charm all their own. Unfortunately, having never recorded a full length, this long overdue collection—complete with all singles, demos and comp appearances—serves as the greatest testament to the group's short lived, but fruitful existence.

Samples

Fire Another Round

PNV

***Collection of all studio output, recorded 1980-1983 from this short lived UK punk outfit. With only two singles released in their time—the insanely scarce Vendetta, and the No Future essential Dead Hero—this compilation rounds out the LP with demo sessions and comp tracks. The Samples were something of a bridge between the first wave of UK punk and the hardcore "UK82" era. Think a more snarling, street level version of Stiff Little Fingers. Tuneful, politically uncompromising and bursting at the seams with energy, this collection is mandatory for fans of 80's UK punk.

False Flowers

Secret Futures

Strange Club

***Sacramento, CA's False Flowers return with their second release in under a year. Finding time to sneak into the studio and record two new tracks after a busy 2025 into 2026, with a handful of West Coast runs and hometown dates with bands like Home Front, MESS, Generacion Suicida, Ultra Sect, Primitive Heads, Altar Girl, Planet On A Chain, and many others.These 2 tracks provide a new glimpse into how no two False Flowers songs sound the same and offer the intense, atmospheric drive that False Flowers is becoming known for. Including one original track, "Secret Futures," and a cover of the Adam And The Ants classic "Beat My Guest." Pressed on random colored vinyl. Includes a sticker.

Sonus

Planes of Torment

Sonus

***SÖNUS has returned with their third full album release, Planes of Torment! Recorded live in the studio to capture the raw, untamed power of their performances and pressed in wax for the first time in SÖNUS history. In translucent FIERY ORANGE vinyl no less!Following the critical acclaim of 2022’s Doom Charts–topping Usurper of the Universe, multi-instrumental mastermind David Wachsman stood at the summit as the ground beneath him gave way, his inner and outer worlds collapsing in a cataclysm of mind, body, and spirit. Beaten down, but undeterred, he put his faith in Rock and assembled a powerful team of sonic sorcerers, determined to etch their names into the annals of Heavy Metal history.And it worked; in spite of the tough competition for the May Doom Chart, Planes of Torment hit #7- the highest rated independent release!With Wachsman on the pen, lead vocals, rhythm, and lead guitar; joining on bass, the lord of the low-end, Dave Reno. On drums: the bringer of thunder, Colin Drake Jaramillo. With help from the Titan from Tipperary, “Gory” Mike Gorman on rhythm guitar and special guest Will Harper (on the flute in the epic “Scorpio”) joining them in the studio, the fearsome band united to forge an infernal slab of Heavy Metal.Planes of Torment is a blistering, hell-bent journey through madness, heartbreak, and despair. Yet, within it burns the unrelenting will to survive, to fight, and to triumph with a sound that harkens back to the golden age of hard rock and the dawn...

Riedl, Eric & Hanging Moss

Split

Special Low Frequency

***"Posthumous split 12” of restored archival recordings from my late father & myself, compiling some of Eric Riedl’s unreleased home tapes from 1974-1980 on Side A, and the original hanging moss demo “Quiet Songs Vol. 1” from 2013 on Side B. While the source materials were quite lo-fi compared to most of my releases, everything has been lovingly remastered by Arthur Rizk to present these old songs as best as possible, resulting in 33 minutes of low-key, intimate, sombre & at times melancholic acoustic guitar music for fans of John Fahey, Nick Drake or Leo Kottke."—Paul Riedl..Limited to 300 copies on Eco-Mix vinyl with pocket insert.

Hydromatics, The

Powerglide

Bang

***In the early 2000s, The Hydromatics brought together three scenes, three cities, and one shared devotion to rock'n'roll: the fiery tradition of Detroit, the raw punch of Amsterdam, and the high-energy attitude of Scandinavia. Fronted by none other than Scott Morgan (Sonic´s Rendezvous Band), one of the great voices of Detroit rock, and backed by Tony Slug (Loveslug) and a band built out of genuine love for the legacy of Sonic's Rendezvous Band, the result was Powerglide—a record that is tough, streetwise, soulful, elegant, and raw all at once. Originally released in 2001, Powerglide captures The Hydromatics in full flight. Original songs sit alongside explosive takes on material connected to the Sonic's Rendezvous universe, all delivered with nerve, conviction, and the kind of authority that simply cannot be faked. The guitars bite, the rhythm section drives relentlessly, and above all there is Scott Morgan's voice—capable of sounding fierce, wounded, and defiant within the very same line. Far from being a mere exercise in homage, Powerglide stands tall as a living, breathing record with a personality all its own: high-octane rock'n'roll fueled by rhythm and blues soul and steeped in the unmistakable spirit of Detroit. This is an album for those who understand that proto-punk, garage soul, and real rock'n'roll were never separated by any meaningful border in the first place.

Foster, Josephine

Adormidera - Josephine Foster Sings The Songs of Victor Herrero

Eiderdown Records

***Josephine Foster is a Colorado-born singer, composer, and lyric poet. A former opera student turned visionary folk experimentalist, she breathes new life into archaic forms. Her music channels the spectral glow of the cultural archaeology of Harry Smith's old weird America while simultaneously conjuring a scrambled past that exists only in her vision. Across 25 years of singular work, Foster plays at the boundaries of psych-folk hymnody, country blues, lieder and avant-song, lending her characteristic mezzo-soprano and interpretive wit to collaborations with fellow underground musicians around the globe.As homage to her longtime collaborator, Josephine invited Spanish composer Víctor Herrero to curate a selection of his own songs for her voice. Herrero's classical guitar accompanies Josephine's gossamer singing, in compositions that reanimate the lineage of Amancio Prada and Victor Jara.“If stained glass windows could sing they would sound like Josephine Foster, and her interpretations of the songs of Víctor Herrero are as artful and finely detailed as motes of dust falling through shafts of light in the libraries of your childhood, engrossing in their restraint. Josephine's naked voice an echoing truth in repose against the existential question mark of Víctor’s guitar. In a world that can feel bewildering and relentless, this music is shelter. Adormidera is the sound of a hypnotised mind; the shadow-dance of old souls.”—Alex Neilson

Foster, Josephine

Adormidera - Josephine Foster Sings The Songs of Victor Herrero

Nyahh

***Josephine Foster is a Colorado-born singer, composer, and lyric poet. A former opera student turned visionary folk experimentalist, she breathes new life into archaic forms. Her music channels the spectral glow of the cultural archaeology of Harry Smith's old weird America while simultaneously conjuring a scrambled past that exists only in her vision. Across 25 years of singular work, Foster plays at the boundaries of psych-folk hymnody, country blues, lieder and avant-song, lending her characteristic mezzo-soprano and interpretive wit to collaborations with fellow underground musicians around the globe.As homage to her longtime collaborator, Josephine invited Spanish composer Víctor Herrero to curate a selection of his own songs for her voice. Herrero's classical guitar accompanies Josephine's gossamer singing, in compositions that reanimate the lineage of Amancio Prada and Victor Jara.“If stained glass windows could sing they would sound like Josephine Foster, and her interpretations of the songs of Víctor Herrero are as artful and finely detailed as motes of dust falling through shafts of light in the libraries of your childhood, engrossing in their restraint. Josephine's naked voice an echoing truth in repose against the existential question mark of Víctor’s guitar. In a world that can feel bewildering and relentless, this music is shelter. Adormidera is the sound of a hypnotised mind; the shadow-dance of old souls.”—Alex Neilson

Mayhem

Blood Money - Singles And Demos '79-'85

PNV

***Complete discography from Mayhem, a brilliant, underrated UK punk act. Mayhem are best known for a searing duo of singles on the legendary Riot City label, but this compilation collects those as well as the seldom heard 1979 demo and a final, self released EP from 1985. In many ways Mayhem were the archetypal 2nd wave UK punk outfit, combining the '77 brand of infectious songwriting with a political urgency and aggression fitting of early 80's England. Though there was little to document their short time as a band, this collection pairs all their recorded works with a ton of unseen photos, flyers and 'zine clippings for the ultimate tribute to a group who epitomized such a crucial time for UK punk.

V/a

Buried Alive - The Best From Smoke 7 Records 1981-1983

PNV

***Originally released in 1987, the Buried Alive compilation was a time capsule of sorts, highlighting the prolific 1980-1983 era when the Smoke 7 label was most active. Almost 40 years later, the compilation still serves as testament to the diverse, exciting sounds documented by this SoCal hardcore label. With acts such as Bad Religion, JFA, Red Cross and Circle One shoulder to shoulder with more obscure cuts from Ten Minute Warning and Sacred Order, Buried Alive showcases the anti-commercial and community approach of the Smoke 7 label. Not to mention it's front to back packed with killer tunes. Essential listening for first wave SoCal hc enthusiasts!

Vicious Rumours

The Sickest Men In Town

PNV

***Second LP from this cult British Oi! / street punk outfit, originally released on the legendary Link label in 1987. Refining the high octane sound of their 1984 debut full length into something a bit more tuneful, this 12 track platter delivers a front to back dose of street savvy melodic Oi! comparable to Stiff Little Fingers or Peter and the Test Tube Babies. The late 80's was host to a bevy of obscure, relatively out of time punk records containing a level of quality that belies their unsung stature. Hopefully giving this Vicious Rumours album a US pressing for the first time will right that miscarriage of justice.

Bad Posture

C/S

Mono Records

***REISSUED!!! BAD POSTURE's 1983 Irresponsible records C/S 12". These guys hung around and shared members with Flipper. They started in SF and ended the band in NYC shortly after this release. Eight tracks including the classic "G.D.M.F.S.O.B." featured on the 1982 MRR Not So Quiet On The Western Front compilation. Features bonus demo tracks and a large fold-out poster with unseen photos, fliers and band bio/interviews. Limited edition of 500 copies. Limited edition of 500 copies. "The eight tracks on this release showcase BAD POSTURE’s hysterical brand of aggressive funnypunk to its best advantage. The title song and “Time for Smack” are good examples of this band’s abrasive, mid- to fast-tempo hardcore assault, and while I admire their on-target lyric sense, the song structures could use more catchiness and originality as a rule. Nonetheless, there are some nice, gravelly vocals on this entertaining disc, so give it a listen."—Steve Spinali, MRR # 12, March 1984

Akusmi

Terra Incognita

Tonal Union

Cartographers and US multinational technology corporations might think they’ve mapped out most of our big, beautiful blue planet, and yet there’s always more to discover if you know where to look. French-born, London-based composer and musician Pascal Bideau takes this as his central premise on a new album of intrepid sonic exploration that delights in the sensation of being somewhere you’ve never been before. ‘Terra Incognita’ invites us to seven faraway sonic imaginariums fusing global and spiritual jazz with life affirming minimalism into a hypnotic, polyrhythmic odyssey. This time, the albums’ sound palette is more vibrant, earthy and abundant, drawing inspiration from the radiating optimism and high-energy sources heard in Afrobeat, Highlife and Electronic Afro-pop music, sounding looser, free and primarily interested in raw sensations. Antithetical to the precise ostinatos and gamelan patterns of the acclaimed debut ‘Fleeting Future’ (2022) and ‘Lines’ (2023). Terra Incognita, then, is a hybrid blend of traditional music and modern electronics, a trip into the unknown that ambulates freely, taking pleasure in its repetitions and never staying still. Bideau suggests this unmarked territory could be as much a fantasyland as it is a transportive journey into the inner self. “It’s probably the feeling I love the most in life,” enthuses Pascal. “It pushes you into a state of wonder and naivety that brings you back to how everything felt when you were a child.” He’s talking about dépaysement, a French word that literally translates as “uncountryfication” but has no English equivalent. “It’s the sensation you...

Rudimentary Peni

EPs of RP

Sealed

Unavailable since its original release on the Crass side label Corpus Christi in 1987, the much bootlegged compilation The EPs Of RP finally gets an official reissue on Sealed Records.The LP collects both Rudimentary Peni 7” releases pre-Death Church LP, completing the trilogy of Rudimentary Peni's first era recordings before their first hiatus.The A side contains the band’s stunning debut. A breakneck 12-song 7” EP recorded in 1981 at Street Level Studios and originally released on the band’s Outer Himalayan label. From the first track Rudimentary Peni pull you in and aurally assault your ears creating the template for many to follow. It’s abrasive, sharp, intricate with supreme musicianship and a unique dark sense of humour. They created a perfect, demented universe of twisted, poetic and needle in the red punk often imitated and truly never matched.Flip over for the follow up, the 11 track 7” Farce that was originally released in 1982 on Crass Records. Like most records on such label it benefits massively from John Loder’s engineering and Penny Rimbaud production. Farce never lets up the intensity with twisted melodies, a locked in rhythm section and Blinko’s much copied anguished vocals that he sings like his life depends on it. It energetic, manic and 40+ years later nothing comes close to both EP’s.While both EPs were originally packed in Nick Blinko’s artwork, he created a masterpiece of dark and intricate art with microscopical detail to house their collection. You can literally get lost for hours in it. This...

Eddy Current Suppression Ring

In Light Of Recent Events

Suppression Records

Eddy Current Suppression Ring make a surprise return with their fifth album In Light of Recent Events. True to form, it finds the disinterested careerists sidestepping expectation and working on their own terms, in their own time. Dialed in through closed-door weekly jams across 2025, that pent-up energy has only leaked via pseudonym-billed small-room shows as Jimmy and the Ringtones and Top Hats, record shop in-stores and country detours, plus a pair of phantom straight-to-YouTube singles (‘Swimming Hole’ and ‘Hard To Be Moved’), each with accompanying films by Chris Middlebrook and Amiel Courtin-Wilson respectively. Modern-day anxiety and human disillusionment press through the album’s darker, more politically aware subject matter, as suburban melodramas and tender, hard-hitting reflections articulate everything you’ve never been able to. Taped within the band’s signature close-quarters claustrophobia, Brendan Suppression purges his dome with a newly awakened vocal range, while riff savant Eddy Current bleeds through quicksilver, blood-raw scratches, cut against the tension-wound, locked-in low end of Danny Current and Rob Solid.

M.A.T.B.

Spatz / Make It My Own

Ernest Jenning Record Co.

***M.A.T.B. (fka Miranda and The Beat) is here to drag you through the chaos. Born in the NYC gutters and now wreaking havoc from New Orleans, they’ve been tearing it up since 2018 with raw, reckless energy and no rules. Miranda “Randy” Zipse screams like a howler monkey on speed, exploding through leads on her Telecaster with sloppy, glorious precision. Dylan “Baby” Fernandez on Farfisa and guitar keeps the chaos ablaze, while Alvin “MF” Jackson and Christian “Sugar” King drive The BeatTM like a freight train. They’ve run with legends like The Black Lips, The Spits, and The King Khan and BBQ Show, and unleashed music on Third Man Records, Khannibalism/EJRC, and Wild Honey.

Tiger Bear Wolf

s/t

Ernest Jenning Record Co.

***This record shouldn’t exist. But somehow after 17 years it does. Tiger Bear Wolf’s third self-titled LP completes a trilogy begun decades ago. This record shouldn’t exist, but It had to... Formed in the summer of 2002, Greensboro NC's Tiger Bear Wolf emerged from the fetid wastes of the Piedmont to make their prints across the United States. The quartet of Jonathan Moore (guitar, vocals), Noah Howard (guitar, vocals), Matt Bostick (bass) and Lawrence Holdsworth (drums) self-released their debut album in 2003 and found refuge alongside fellow truth seekers Hello Sir Records of Athens, GA for their second LP in 2005. Twisted riffs of southern rock, fed on a steady diet of hardcore and psychedelic post-punk all filtered into their raw recordings and pummeling live shows. Relentless touring followed, that both sharpened senses and dwindled accounts, and the four entered a prolific creative period penning music for what would be their third album. Basic tracks for the third Tiger Bear Wolf album were recorded in 2009 between the sweltering heat of a collective performance space and an attic bedroom. It was there the trail went cold. Time and distance intervened, and hard drives gradually succumbed to devilry and malign influences. The record was lost, said to be unrecoverable, and the story was over. Fast forward to 2015, where a savior emerged to retrieve the lost data, almost completely intact from its silicon sarcophagus against moonshot odds. Just for the love and belief that there was something worth saving....

Hunter Complex

Call of the Wild and Void

SFI Recordings

***Call of the Wild and Void is the sixth studio album by Hunter Complex the electronic music moniker of Dutch artist and producer Lars Meijer. Active since 2008, the project is known for its lush, cinematic soundscapes heavily inspired by 1980s synthpop, new wave, and ambient music. It features contributions from Aquiles Navarro (trumpet) and Kat Epple (flute). It’s the follow-up to Airports and Ports (‘22) and Dead Calm and Zero Degrees (‘20), both on Burning Witches, and Open Sea (Death Waltz, ‘19). The artwork was created by Andrew Crawshaw.

Riedl, Paul

Ocean Of Peace

SFI Recordings

***A colored vinyl edition of the 2023 Ocean Of Peace album from Paul Riedl (Blood Incantation, Spectral Voice, Leech, hanging moss). Another gem of magical ambient soundscapes.

Bellerue, Bob

Chaos Is A Law

Helen Scarsdale Agency

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

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.

Sproton Layer

Press Your Hand And Feel the Whole Room Fluctuate

12xu

***The Miller Brothers, Roger (Mission of Burma, etc. etc. etc.), Laurence (Destroy All Monsters, etc. etc. etc.) and Benjamin (Destroy All Monsters, etc. etc. etc.) grew up in Ann Arbor, Michigan in a musical family. When the Beatles hit in 1964 Roger was 12 and Laurence and Benjamin were 10, all three ready to rock. Their first band, which covered 13th Floor Elevators, Love, Kinks, Yardbirds, etc., performed two shows summer 1967 (ages 15 and 13). In 1969, their spontaneous improv. session "Freak Trio Electric" sealed the fate towards Sproton Layer. With a complete belief in weed as the doorway to an alternate universe, Roger began a furious bout of composing that spring. There was a lull in the summer, but in the fall, with the addition of Harold Kirchen (brother of Bill Kirchen, Commander Cody, etc. etc. etc.) on trumpet, they were off and running again. A few recordings were made in 1969 with one mic on the ping-pong table, and Mark Brahce (who recorded "With Magnetic Fields Disrupted" eight months later), set up his first session with the band. The best of these recordings make up the "1969" side of "Press Your Hand and the Whole Room Fluctuates."At the end of August 1970, Mark Brahce recorded their album "With Magnetic Fields Disrupted" in the Miller family recreation room, and the band promptly folded when they got no notice or response. Their brand of psychedelia was on the wane. They reformed briefly in 1971 as an instrumental trio (see...

K/S/R & Nihilist Spasm Band

Split

Gilgongo

Overjoyed to announce the release of this monumental record featuring two very different sides of the free-improv coin. This intergenerational, wide-minded split LP blurs the hedges of national borders and the traditions of composition, marking a niche interzone inhabited solely by the uncles of punk and their experimental stepchildren. Canadian noise pioneers, Nihilist Spasm Band, deliver a ripping side-long opus rife with their singular blend of hi-octane kazoo, invented instruments and propulsive, arrhythmic drumming. This deep cut is likely to be the final NSB recording released featuring the late great vocalist Bill Exley, who passed away in 2025 after performing as a Nihilist for exactly 60 years. On the flipside, K/S/R screw the tempo down to their patented desert crawl pulse and lock the door behind them. Departing from the interstellar density of the trio’s 2025 Already in Heaven LP, the side-long treatise of An American Sonnet brandishes the group’s minimalist approach heard during recent performances across the United States. A plein air structure of ascetic interplay locates K/S/R carving sonic terrane from the space between notes, where each gesture is ascertained both as an individual voice and a building block of the collective. 180-gram mixed color vinyl, edition of 245. Co-released with Physical.

Lay, Shannon

Past The Veil

All The Best

***"Shannon Lay’s seraphic voice and fingerpicking has long been a guiding spirit—a compassionate steward of tender hearts and minds. For the last decade, her music has tendered a retreat from one’s worries, and created a refuge out of delicate and minimalist arrangements. With her new studio album, Past the Veil, she proffers the same care and understanding, and a similar emotional timbre, but from an entirely different sonic vantage point. Rather than weaving a safe cocoon in which listeners may hide out, Past the Veil rips it apart, offering a bold invitation to move through our discomfort and uncertainty. It is the sound of rebirth. It is a chance to stand up, join together, and maybe even dance."—Erin Osmon. Co-Written and Produced by Rob Shelton at Altamira Sound in Alhambra, CA.

Gun Outfit

Early Tapes Vol. 1

L.G. Records

A remaster and first time pressing of the earliest Gun Outfit cassettes, which were produced by the band to sell on their first two national tours in 2009 and 2010, along with some unreleased tracks. The aesthetic at the time was basically an embrace of primitivism. Technical know how was actively disdained in favor of abject expressionism. The context was the hardcore scene, but it was Olympia, so there was some kind of hermetic awareness that could be read as art. This record shows the side of the band that was least afraid of what people thought. The tapes were for friends, there was no outside audience yet.The Emanation cassette was recorded by four track cassette wizard Adam Croce (from Broken Strings) at Carrie's dad (Chunk's) house during the summer. “We thought he was insane because he made us do multiple takes.” Reuben Storey of the death metal band Funerot was the drummer and played a role in arranging the songs. The tape had space on it that an LP didn't. The self-titled cassette was recorded in various spots throughout Olympia—mostly the slummy abandoned office building where every band practiced downtown and was mixed at the double wide where Carrie did work trade shoveling out horse stables for rent, Weeping Willow Ranch. Daniel Swire joined on drums after Reuben slid back into metal world; his style was more subtle. “The band got weirder and the tape got worked so much it started to bleed through. There was confusion throughout but...

Lockstep

I Know What I Saw

Profound Lore

Lockstep is a Nashville-based band pulling elements from shoegaze, doom and heavy rock. They’ve built a sound rooted in atmosphere and weight, moving between quiet, uneasy moments and crushing walls of noise. With each release, the band has tightened their approach—cutting excess and focusing on impact. Their debut full-length, I Know What I Saw, out through Profound Lore Records stands as the band’s most focused and complete statement to date. Following the release of several singles (their last being the “Drag Along” single from 2025), their Arrival EP from 2023, and already having a decent number of shows and tours under their belt (notable past tours include runs with Prize Horse and Gumm), I Know What I Saw leans into massive, slow-burning riffs and dense, layered guitars that stay engaging without letting up, locking into sections that feel both hypnotic and suffocating. Songs stretch and build with purpose, pulling listeners deeper into the band’s world while keeping a constant sense of tension and release. It’s the clearest and most realized version of Lockstep yet.

Woodwose

Woodwose

Language Of Stone

Rooted in the Philadelphia experimental music and acid-folk revival scene of the early 2000’s, Woodwose neither fits comfortably into said scene nor any musical movement current or past. While their sound can be described as primitive, in the sense of the primordial, not in terms of playmanship, their folk-horror aesthetic abuts a pop sensibility that undermines pure thrift in either genre. What results is a wholly unique sound that permeates one’s physiognomy like poison from a deliciously enchanted apple. Keyboardist/flautist/vocalist Jessica Weeks (Magus, The Valerie Project) and guitarist/vocalist Gillian Chadwick (Ex Reverie, Rusalnaia) together draw from a storied musical past to infuse a new creation whose iteration defies ease of labeling. Dueting vocals clamber and soar, guitars stab and arpeggiate, keys rumble and swoon as the rough beast that is Woodwose’s debut long-player stands upright, ready to be born into the world.

Odor Eater

But For Who?

Feel It

On Odor Eater’s third album, their first for Feel It Records, But For Who?, Harley Moore and Logan Devlin have appropriated various sonic idioms of the New Wave employing a similarly playful mode of critique lyrically and musically while updating the social context to reckon with the maelstrom of contemporary pop culture. The Olympia/Portland duo have created a record that speaks the language of their influences fluently but with a definitively contemporary accent—a bricolage of the sounds of Devo, Bill Nelson, Vince Clarke-era Depeche Mode, and Kraftwerk. Devlin and Moore bring fresh ears to this style of composition, mixing freely the aforementioned with a more fully developed sound of their own that is brighter this time around—less heavy and more danceable. Over the course of 11 songs, propulsive drum machines bip bap in deceptively simple patterns, with Devlin’s zig-zagging bass lines shuffling under arpeggiated chords and rhythmic synth leads while Moore’s vocals act as a sort of post-everything Virgil guiding us through the contemporary inferno. Lasers zip-zap in the background, machine-like sounds whoosh and whirr, percussive blips and beeps pop here and there, along with occasional clarinet parts provided by Moore. Meanwhile the lyrics, written and sung by Moore, deal with a wide range of personal and political issues, their vocal delivery often calling to mind the expressive dynamics of Stateless era Lene Lovich—at times veering towards the shouts and howls of Lydia Lunch. There’s songs that deal with genocide, the MAGA cult, and social one-upmanship—and there’s a couple of...

Mesh

No Fun At All

Feel It

Philadelphia four-piece Mesh end a 5-year wait with debut LP No Fun At All, out Summer 2026 on Cincinnati’s Feel It Records. Members Sims Hardin (guitar/vocals), Allison Durham (12-string guitar/vocals), Tom Riese (bass) and Steve Darling (drums) formed in 2019, taking inspiration from a blend of influences: early British post-punk, 80’s indie and Philly living. Out of their local DIY scene, Mesh home-recorded their self-titled debut cassette, released in 2021 with Chicago’s Born Yesterday Records. Following their debut tape, the band zeroed in on writing and performing new material locally while also completing several Midwest and East Coast tours.On No Fun At All, Mesh break away from lo-fi recording habits, leaning into clarity and depth with eleven new tracks. Songs like “Hold Onto” and “Boots On The Pavement” move with urgency, accented by Durham and Hardin’s intertwined vocals and guitar work. “Atrophy” is a bright and jangly number highlighting Durham's voice and 12-string chime, while “Violent Peasant” captures a sardonic medieval critique of modern landlord/tenant inequities. No Fun At All is a playful yet mature, dynamic first LP from Mesh. Spin it til your turntable breaks.

Go Public

You Are Traffic

HHBTM

***The past isn't real, the future ain't happening, all we've got is right now and Go Public and You Are Traffic: Hey now, don't dream it's over. An Atlanta band naming a record after traffic might be like dropping a two-ton anvil right on the biggest Bozo-red clown nose imaginable, but there are levels to every parking deck. Maybe it's a gridlock of the soul? The close-together shame of becoming a stranger, a slow motion accident of skeleton details? This band's business—skronky contortions and nope wave deconstructions, prickly wisdom and post-punk pith—is ageless yet absolutely right this very moment, distilling the cosmically unique pointlessness of this number that never should've become a year, and magnifying the microscopic glimmer of hope at its furthest corner. Call it dice-roll politics: a saving throw at a craps tempo—bleakly vibrant jams for endtime dance parties.These men have been in bands. You have maybe heard those bands, if you live in Georgia, or are their friends. Their bands were good; this band is great. Go Public can drop names, a whole catholic education of influences and inspirations, from every acre of the radio dial; but what matters is what comes out, not what goes in. You Are Traffic has few peers; brittle but hard-boiled, it's a swinging splatterhouse of booksmart, tough guy art with the jittery anxiety of Talking Heads and the restless musicality of This Heat in equal measure. The guitar sounds like a dayglo glass sword, for Christ's sake. Sean Rawls and Adrian...

Bishop, Sir Richard

Hillbilly Erotica

Drag City

***Guitar lord Sir Richard Bishop: ‘one guitar, six strings, no overdubs, 7/8ths improvised, 1/8 composed’ are the terms for a faux vol 2 of speculative Hillbilly music, a psychotic mash of inspired modal post-grass recitals, inherited recollections and new national anthems. Revisiting his pa’s ol’ Tennessee home, Rick’s picks are steel-string mayhem on the tracks, American music at its most gorgeous/literal/violent. And you can dance to it! Are y’all ready for some Hillbilly Erotica?

Askew, Ed

The Final Painting

Drag City

***In his last years of life, poet/painter/songwriter Ed Askew worked again with his producer on 2013’s remarkable For the World album, Jerry David DeCicca, to create an evocative new set of songs, which would become The Final Painting. The twilight energy is at once lush and minimal, with contributions from Sharon Van Etten, Eve Searls, Canaan Faulkner, Bill Callahan, William Tyler, Ryan Jewell, Dustin Laurenzi, Fulvio Sigurta & Trevor Nikrant from Ryan Davis's Roadhouse Band. Bracing meditation on romance and the slow shuffle off our mortal coil.

Prison

Big Rigs on the BQE

Drag City

***Prison hits the road album, riding two massive jams across altered routes of consciousness a la the allegorical and literal heavy traffic of the Brooklyn Queens Expressway, visible from the windows of the studio in which Big Rigs on the BQE was recorded! The requisite Prison gear, guitars, bass and drums plus synth & FX, coughs out exhaust flavored with Groundhogs / Velvets / Hampton’s / Pink Fairies / Magic Band / Good Rats / Can. An improvised rock and roll tapestry, gas ‘n guitar pedal on down to the metal.

Severed Heads

Cuisine (With Piscatorial)

Dark Entries

Severed Heads reattach themselves to Dark Entries for an expanded reissue of their 1991 opus Cuisine (With Piscatorial). As originary Aussie industrial legends—although founder Tom Ellard would balk at being branded as such—Severed Heads shaped the continental subcultural sound with their kitchen electronics, chaotic tape loops, and infectious nursery-rhyme-esque melodies. Cuisine (With Piscatorial) was the long-running project’s ninth album, and is a commentary on the state of music. Ellard explains: “The whole food joke is really about what music's about and how disposable it is; people have records like they have cups of coffee.” The album also presents a turn away from the dancefloor formalism of the era, which Ellard dismissed as already sufficiently explored. Cuisine brings us punchy pop kernels of the prime Heads variety, all clocking in around three minutes. Cuts like “Pilot in Hell” and “Ugly Twenties” rank among the band’s best through their deadly skewering of synth pop tropes. But the album also offers us a Piscatorial section, where Ellard felt free to “go fishing for ideas.” Here we get a taste of the project’s demented cut-up sensibilities, like on the “Quest for Oom Pa Pa” suite, where vintage jazz records are collaged into an angular nightmare. This double-LP reissue is the first time that Cuisine (With Piscatorial) will appear on vinyl, with a previously unreleased early version of “Seven of Oceans.” Also included is a 6-page booklet with liner notes, lyrics, and press clippings.

Why Bother?

Beyond Step One

Feel It

***"As we shift out of the Age of Pisces, chaos reigns. The false profits continue to squeeze water from the stone of life, and humanity continues to look for the light in a growing darkness. It is easy to feel powerless… to give up hope… but do not despair. As Jupiter enters Leo, we are on the verge of a new awakening. And with that, we have a new WHY BOTHER? Offering. Iowa punk druids WHY BOTHER? return from a brief cosmic silence with their most esoteric and ethereal work to date; Beyond Step One.Little is known about this collective of endless hitmakers. They operate in silence and darkness, and not by accident. What we do know is that they continue to issue sprawling musical works that skew from garage punk- to surf rock- to new wave and beyond. Their music is connective, frenetic, and eruptive with covert but powerful subliminal messages bubbling beneath the surface. Unlike many modern bands, WHY BOTHER? choose not to perform live. Instead, they offer Odyssian sonic works like reclusive painters uninterested in the novelty of attention or a cult of personalities. And so we listen closely, and we wait patiently for each new and expansive batch of songs; a singular and cohesive rock n roll vision.With Beyond Step One, WHY BOTHER? conjures eighteen pieces. Eight punk songs, which are par for the course for the group; oddball yet hyper-infectious tunes that utilize grotesque horror film tropes and off-kilter love songs as a trojan-horse for...

Prophetic Justice Ministry

Key To World Peace

Night School

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

Heathen Axe

s/t

DEATHGOD CORP

“I wanted to make a totally fried recording, quick and dirty. Sort of a cathartic expulsion. Clean the cobwebs. “I recently bought a Vestax MR44 (the best sounding 4-track ever IMHO)—the same 4-track I recorded some Coachwhips, early OCS etc. on. Now we had the tools we needed so I spent a week writing riffs and brought them to Tom Dolas and John Hodge. We ran them one time and then recorded them on the second go. Loosely improvised and unhinged. Everything turned all the way up. “Hope you dig—play loud.” —John Dwyer

Whiles

Hummingbird

Anyway

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

Ultra Lights

Pleasure's All Yours

Chunklet

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

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.

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

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.

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.

Abhorrent / Thyabhorrent

Occultus Brujeria

Nuclear War Now

***Abhorrent formed in Sarpsborg, Norway in 1989, during a period in which the now-famous black metal scene was developing in the same area. The most renowned of its founding members was Stian “Occultus” Johansen, who has also been active in Perdition Hearse and co-founded the infamous Helvete record store in Oslo with Øystein “Euronymous” Aarseth (of Mayhem notoriety) and Geir “Thrasher” Bratteli. In fact, Occultus was also briefly an official member of Mayhem following Dead’s untimely demise. Abhorrent recorded one live and one studio demo in 1990 before adopting the moniker of Thyabhorrent for an EP and another demo in 1991. Their music reflected the transitional nature of the moment and location, as the more traditional form of death metal assumed an increasingly evil nature, while black metal was taking hold of the Norwegian underground. “Occultus Brujeria” documents this obscure entity’s existence as a compilation of the band’s “Occultus Brujeria” demo, which also includes the same three recorded tracks from its “Death Rides at Dawn” 7″, and some additional bonus tracks. Given that these recordings have not been officially available for well over two decades, “Occultus Brujeria” is an overdue reissue that is sure to satiate all appetites for early Norwegian extreme metal.

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.