Upcoming Releases

Bergsonist

Depths

Dark Entries

Bergsonist emerges on Dark Entries with Depths, a genre-bending 12-track LP of atmospheric and rhythmic excursions. For more than a decade, Moroccan-born Selwa Abd has been using the Bergsonist moniker to examine postcolonial identity and speculative temporalities across disparate media, including sound, image, video, and installation. She is also a key figure in New York underground music, fostering mutual aid and community support through her platforms Pick up the Flow (PUTF) and BizaarBazaar. On the 2025 album ASL أصل ⴰⵙⵍ, Bergsonist explored her Amazigh heritage using field recordings captured in Morocco. With Depths, her sixth LP, she continues the project of ancestral reconnection through sound. Abd notes: “I really use making music as therapy, not as a precious act, more as an energy release that makes me feel alive.” Depths overflows with this excess of vitality. Tracks like “Trust the Current”, “Depths”, and “Underwater World Pursuit” showcase her singular take on diasporic techno-futurism, where James Stinson-esque atmospherics meet Moroccan rhythms. Elsewhere, “Again” and “Higher” push into coldwave territory, with icy arpeggios and electroid beats dancing beneath Abd’s ethereal vocals. But the dancefloor is not to be neglected: “Breakthrough” and “Ode to Life” spring forth with the kind of skewed peak-hour energy that only Bergsonist can bring. Artwork for Depths was designed by Eloise Leigh, and incorporates photographs by Abd and Greg Zifcak taken in Morocco. Also included is a protection poster that features an Amazigh symbol used for warding off the evil eye. Depths is an album that achieves a...

Noveller

I Am The Weather

Experimentia

Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in “The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside.” Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise—a vocal track!It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to...

No Peeling

EP2

Feel It

Formed in 2025 as a studio project by five friends in the fertile Nottingham DIY underground, No Peeling have rapidly expanded way beyond their initial brief. September 2025’s self-titled EP was the perfect introduction to the No Peeling universe. Bandcamp Daily picked it as an Essential Release, calling it “a clanging collection of get-in-get-out egg punk that doesn’t ask for more than 10 minutes of your time and overdelivers on every front”. It managed to cram a lifetime of idea-nuggets into seven songs that rarely exceeded the minute mark. A blast of enthusiasm and hyperactivity, the EP was the audio equivalent of a barrage firework: exhilarating and energising (although slightly confusing unless experienced from a distance).Whilst the first EP was completed before the band had played live; EP2 hits a little differently. Written in preparation for their first UK tour and recorded just after, No Peeling’s new-found live energy pushes the results to somewhere new again. EP2 has the garage punk clatter and sparkly efficiency of their debut but is somehow faster and weirder. The guitar and synth seem to be engaged in a constant (playful) fight, tumbling further and further away from the song structure being held together (and propelled) by one of the tightest rhythm sections around. The scrawl and skronk might occasionally recall No Wave but those grooves are locked down.This all provides the perfect foundation for the wry, dry observations of Sophie Diver. From pasta post and fluff-clad delinquents to clingfilm catastrophes and poor working conditions,...

Genre Is Death

Attractive People

In The Red

Genre Is Death is an uncompromising noise duo made up of Ty V (guitar, vox) and Tayler Lee (bass, vox). Their sound is abrasive yet melodic, using heavy distortion, dissonant riffs, and reverberating vocals to create a wave of boldly hypnotic noise. The duo have been compared to the likes of Sonic Youth and Teenage Jesus and the Jerks, yet have managed to create a sound that is distinctly their own, avoiding mimicking the zeitgeist of decades before. Beyond the integrity of their music, Tayler’s intimidating glare, or Ty’s staggering gait, the duo share something truly inimitable— the overwhelming feeling that their music is a byproduct of the high esteem they hold of each other.The duo moved to NYC in August of 2023 looking for something more than their mundane suburban lifestyle of day drinking and playing doom metal in friends' basements…their move to NYC coupled with their desire to express something, anything, led to the inception of Genre is Death. The pair hit the ground running, playing anywhere and everywhere they could… however, it was only after a chance encounter with 80s noise forerunners Live Skull that the pair was introduced to the strange underbelly of NYC noise and began playing regular gigs with The Art Gray Noizz Quintet and Lydia Lunch. In 2025 the pair played New Colossus Festival, toured with Gogol Bordello, embarked on their first East Coast tour, and played gigs with Cherubs, Bush Tetras, and Jon Spencer. Their upcoming record was recorded with legendary sound...

Memo PST

Eternal Actors

In The Red

"LA Punks Memo PST return with another modern punk classic Eternal Actors, their new album out this May on In The Red. These 12 tracks capture the fury of late '70s rough and raw punk rock, with Orville Neeley crafting hit after hit of god-tier punk bangers. Vocalist Chris Shaw is also at his most versatile to date, with his lyrical capabilities and patented punk sneers dripping across every song."Simply put, Eternal Actors finds two lords of the punk genre at their very best. There are classic punk bashers like “Dog Groomer Stylist,” and “Doomed to Repeat” but also primitive, bare-bones rock rippers like “Chrome Bubble” and Worship Me.” The band also delivers some of their most hardcore songs to date with “Concrete Club” and “Blown Away.”"With the San Clemente wrecking crew of Jackson Todd (drums) and Emmanuel Koulouris (bass) back again to round out the four piece band, this is truly a powerhouse presentation of punk music in 2026. If the band proved they were a punk force with their long sold out, self titled album, Eternal Actors may solidify their place at the top of the punk pile."Recorded in late 2025 by longtime collaborator Mike Kriebel at Tropico Beauty Supply in Los Angeles, Eternal Actors is Memo PST's second album for In The Red." – Johnny Dogface

Barreca, Marc

A Penchant for the Useless

Palace Of Lights

“While performing at an early Twentieth Century steam driven power plant and imagining what its industrial ambiance might have been, an outline of ‘A Penchant for the Useless’ emerged. Like many of my projects, the album started with a search for the kinds of unique, amusical sounds I wanted to work with. And credit is also due to a rereading of Nicolas Collins’ ‘Handmade Electronic Music.’” Using a collection of electric guitar pickups, contact microphones, and transducers that would vibrate random metallic and wooden objects, Barreca built a library of loop recordings. Also recorded were the electronic buzzes and bleeps of a computer and various home appliances.  Granular effect processing and layering with a sampler and a physical modeling synth transformed this largely atonal source material into deep, harmonious assemblages.These long chains of sonic transformations fused with the dark beauty of their industrial steam-era inspiration, and resonate throughout the music. Only rarely will these pieces hint at their now obsolete and decaying source materials. ‘A Penchant for the Useless’ is Marc Barreca’s 15th solo album, adding to a catalog of constantly evolving and refining experimentation and compositional innovation that now spans more than four decades.Barreca has also collaborated with Three Point Circle, Young Scientist, Savant, and K. Leimer. Mastered by Taylor Deupree at 12K Mastering.

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

Sonic Blossoms

s/t

Slouch

***Sonic Blossoms are a heavy psych and space rock supergroup drawn from some of LA's most respected underground acts. Channeling Spacemen 3, Red Crayola, The Stooges, and raw '60s psychedelic garage, the band deploys extreme fuzz and distortion, wah-soaked guitar, organ drones, trancelike rhythms, and echoing theremin into a sound that is both vast and claustrophobically intimate. Their self-titled debut on Slouch Records is a singular, cohesive statement—a feedback-drenched journey that rewards repeated listens.

Smarm

s/t

Smarm

"Having only been sloughing around the Queen City for about a year, SMARM have already ran into a studio to knock out a three-song EP that reclaims some of the sting oft-absent from the current underground trash rock scene.The maniacally majestic opening guitar lick on, uh, 'Lick the Fist' makes it point and gets out of the way of the monster riff. Then the lead in “Cut Out,” uh, cuts out like a 17-year old jumping the gun on the last tick of homeroom before summer vacation starts. Of course SMARM are no teens (at least not numerically), but that only means their seasoned playing can avoid any insecure putzing around.This feisty foursome are past the point of investigating a hoot about what anyone who’s watching or listening might think; but close enough to their initial R’n’R inspiration to remember the root cause: fun!Eric Stein—he of the aforementioned wild leads—slices’n’dices around with guitarist Sam Richardson, while bassist Liam Dolan drives the bass right up the gut.Throughout, nifty tricks like the unique doubled-up vocals (members switch up singing duties) dodge between the flailing riffs, and drummer Drew Decker’s micro-rolls feel like they’re shoved by the caveman pound of the snare, giving the songs a rattled feel that grooves into something like burly in the midtempo closer, 'Make Something Happen.'Cincinnati has a proud tradition of coughing up a solid barn-burning garage rock band every 7 years or so, and SMARM might be the latest match-striker. Hearing these tunes, the visual is of...

Badterms

Nest Of Vipers

Tko

***When last we heard from Boston bootboys Badterms, they were fresh off the release of their TKO Records debut LP Panic Age and poised to deliver the Rock n’ Oi! ruckus to fans near and far. In the ensuing eight months, Badterms has waged a sonic assault on audiences in a multiple front campaign: including Canadian festival appearances, a European tour, and plenty of gigs on East Coast of the USA. And now, on the eve of their next European tour, they have returned with a brand new album of previously unreleased material: Nest Of Vipers.Nest of Vipers picks up where Panic Age left off. For the new album, founding members Curt Florczak and Hans Molnar are joined on record for the first time by the rest of Badterms' live line up: Jason Hunt (guitar), Mike Reinhalter (drums) and Dominic DiNardo (bass). Much like their TKO labelmates No Time, Badterms is a band that treats every new release as an opportunity to push things to the next level, and Nest Of Vipers unquestionably delivers in this regard. These songs, pull no punches, give no quarter, and rest on no laurels.So get ready for your next dose of razor-sharp Skinhead Rock n’ Roll from Badterms. Nest Of Vipers ratchets up the band’s lethal combination of blazing riffs, inescapable hooks and poignant lyrics that’s sure to make this record a contender for 2026’s album of the year.Edition of 400 copies on colored vinyl.

Owen, Maisy

Dark On A Sunny Day

Tompkins Square

***"Maisy Owen, a Nashville native, has been surrounded by music and the art of songcraft just about all her life. First came the viola at age nine, then guitar where she embraced fingerpicking, soaking in influences from Nick Drake, Bert Jansch, Mazzy Star and David Olney. Raised in a musical family, her father Gwil Owen is an Academy Award-nominated songwriter.Maisy’s unique sound, musical truth and stirring vocals inhabit Dark On A Sunny Day, her debut album, produced by Robin Eaton (known for his work with Jill Sobule and co-writer of 'I Kissed a Girl')Drawn to melancholic melodies and dark poetic imagery, her first single 'My Youth Is All For You' was released as a 7” and gave Maisy a chance to explore her visual side / love for abandoned houses with an accompanying video. Her second single, 'On My Way Down' was recently featured as KCRW's 'Today's Top Tune.'Often spotted around Nashville playing bars or cruising around in her beloved pickup, Maisy is that special talent in a city awash with singer-songwriters. While folks thus far seems to have different takes on who she might sound like (for us, it's some of our favorites; Vashti Bunyan, Anne Briggs, Tia Blake...), pinning that down is a fool's errand. She is Maisy... a singular talent, and one worth watching.""Drawing on the moody intimacy of Nick Drake, the folk finesse of Bert Jansch, and the hazy dream-pop glow of Mazzy Star, she’s carving out a sound all her own."—KCRW"A finger style that is...

Squirrel Bait

Skag Heaven

Drag City

***REISSUED ON VINYL!!! What’s new for the first time in over a decade? Squirrel Bait's self-titled 12” EP and Skag Heaven in the black. In ’85-’87, their screamin’ teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. “Kid Dynamite” would ring in your head like a #1 single that had just unseated “Sun God” from the vaunted top spot. Every week. Anthems for the freaks!It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds.Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomor- row as well as your own damn selves, get copies now.

Squirrel Bait

Squirrel Bait EP

Drag City

***REISSUED ON VINYL!!! What’s new for the first time in over a decade? Squirrel Bait's self-titled 12” EP and Skag Heaven in the black. In ’85-’87, their screamin’ teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. “Kid Dynamite” would ring in your head like a #1 single that had just unseated “Sun God” from the vaunted top spot. Every week. Anthems for the freaks!It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds.Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomor- row as well as your own damn selves, get copies now.

Theya

Theya Vol. 1

theyaonfire

***San Francisco’s heavy sound mystics Theya are proud to present their debut full length opus Theya Vol. 1. A sweeping, genre bending collection of mythic, hard hitting tracks, the record blends the new wave of British heavy metal, thrash, doom, MC5-style rock and roll, and classic psych into a soulful sound entirely their own. Recorded, mixed, and mastered by Tim Green (The Melvins, Earthless, The Fucking Champs) at Louder Studios over the course of Venus re-emerging as the evening star, Theya Vol. 1 is a fully realized introduction to the band’s expansive world.Theya was first envisioned in 2018 by longtime friends Tuula Paivio-Ala and Michael Scanland. Together, they began developing a shared sound, with Scanland’s bass providing a steady foundation and Paivio-Ala’s baritone leads adding a heavy melodic edge. Drummer Mic Rawls soon joined, strengthening the rhythmic core. Followed by Samantha Grove on lead vocals, whose four octave range brought a powerful and dynamic presence. Tobias Wettstein completed the lineup on second guitar, complementing the band’s evolving sound. Together, the band has crafted a musical language entirely their own.Theya Vol. 1 moves with cinematic scope, weaving together mythology, cosmic consciousness, Philip K. Dick inspired characters, and fever dream symbolism. As the band assumes mythic forms, the Witch, the Warrior, the Horseman, and the Wizard, they guide the listener through a shifting terrain of shadow and revelation. Shaped by deep musical devotion and a belief in the redemptive power of rock and roll, Theya Vol. 1 is an immersive blend of...

Hatakeyama, Chihei

Unconsciousness Silence

Constellation Tatsu

***Unconsciousness Silence is the latest ambient exploration from Japanese sound artist Chihei Hatakeyama. Known for his ethereal guitar drones and textured soundscapes, Hatakeyama creates immersive sonic environments that unfold slowly, inviting deep listening and introspection. This release continues his signature approach, blending delicate melodies, subtle electronics, and spacious ambient textures into a meditative journey.

Tatlow, Anita

Everything in Watercolour

Constellation Tatsu

***Everything in Watercolour is a luminous and intimate ambient work from vocal artist and songwriter Anita Tatlow. Known for her instantly recognizable ethereal voice and immersive collaborations across the ambient and electronic spectrum, Tatlow crafts music that feels both weightless and deeply emotive.Blending soft vocal layers with gentle synthesis and spacious production, the album unfolds like a series of delicate washes, where tone and texture drift in slow motion. Rooted in her background in ambient music and her work across projects such as Salt of the Sound and Narrow Skies, Tatlow’s compositions evoke stillness, reflection, and a quiet sense of wonder. Subtle and immersive, Everything in Watercolour invites the listener into a meditative space shaped by light, memory, and atmosphere.

Above Me

Soften The Blows

Dandy Boy

***above me is the main songwriting vehicle for SF based artist Rick Altieri, formerly of Blue Ocean and drummer in Aluminum. A project defined by guitar driven pop songs reinforced with drum machines, sampled beats, dreamy synths and strange sound design treats.Equally rooted in the realms of shoegaze and sample based electronica, above me doesn’t set out to reinvent any particular sound but pays homage to a wide variety of influences from MBV and Chapterhouse to Autechre and OPN.

Autos

s/t

Dandy Boy

***Autos are veterans of the Santa Cruz punk/power pop scene having cut their teeth in countless unsung bands from their sleepy surf town. Inspired by everything on their turntables from glam and mod revival to left-of-the-dial indie rock and post-punk, Autos cross the subcultural arcade to an 80’s mall rock beat and never shy away from a melody, nor catchy chorus.Written over a transitional period while moving from San Francisco back to Santa Cruz, Auto’s debut EP is a retrospective love letter to time in the big city and returning home to the small town that formed them. A smart and soulful take on punk with lyrical themes of class consciousness, anxiety and the human spirit with heart on your sleeve vocals, moody chorus washed guitars, driving bass, and a steadfast beat perfect for marching in solidarity with the underdog.

Softjaw

s/t

Dandy Boy

***“SOFTJAW burst onto the international power pop scene in 2024 with a couple of killer digital singles that laid the groundwork for an impressive self-titled EP. The Long Beach, CA quartet combines Cheap Trick guitars and Teenage Fanclub harmonies with a dash of The Exploding Hearts’ energy to create a sound that’s timeless.”—S.W. Lauden

Roxanne, Ana

Poem 1

Kranky

“I wanted to travel / Home into somewhere,” Ana Roxanne breathes across an eerie suspended drone on “The Age of Innocence”. “I wanted to try / And go very far.” These are the first words we hear on Poem 1 and reintroduce an artist who’s in a conspicuously different phase of her life than she was when her debut album, Because of a Flower, sprouted nearly six years ago. Heartbroken and reflective, Roxanne surveys the transformations that followed and displays a new-found boldness. Her voice is naked, vulnerable and alive, no longer shrouded in tape noise or looped and echoed beyond recognition beneath layered electroacoustic textures. Throughout the course of Poem 1, Roxanne displays her skill as a singer and songwriter in the classic sense, using the limited instrumentation simply to accent her exposed tones. Muted piano phrases and plucked bass notes languidly trail her anguished siren song on “Berceuse in A-flat Minor, Op. 45”, making each word count.On “Keepsake” meanwhile, she sounds as if she’s alone in an abandoned bar, stroking the dust off the piano’s keys as she inventories her emotional scars. There’s a smell of old whisky in the air, but Poem 1 is a remarkably sober album; never wallowing in self pity, Roxanne finds catharsis in the logic of her expressions, twisting out the edges of her memories into surreal, cinematic asides. “Untitled II”, the album’s pronounced, uninhibited centerpiece, delivers on the Lynchian promise that’s been present since her first EP, 2019’s ~~~. “[I] always picked...

Kramer, Bonner / Thurston Moore

They Came Like Swallows

Silver Current

Two giants of alternative / experimental music join creative forces for the first time in their storied, nearly fifty-year careers. A startlingly cohesive union that burns through landscapes of primitive outsider rock, avant-garde composition, progressive ambient and further locales boldly and beautifully unnamable. Bonner Kramer (previously known as Kramer) decoded the sounds of Galaxie 500 as producer on all of their records as well as producing Low, Will Oldham and Urge Overkill’s hit single “Girl, You’ll be a Woman Soon” for the Pulp Fiction soundtrack, to name just a few of his over three hundred and seventy producer credits listed on Discogs. He is the proprietor of iconic indie label Shimmy-Disc (a one-time home to Daniel Johnston, Ween, Boredoms and John Zorn’s Naked City among countless others), and an esteemed recording studio mastermind. Thurston Moore is a founding member of Sonic Youth, and responsible for Chelsea Light Moving and a massive and varied solo career, and remains an era-and genre-defining composer, cultural critic, prime mover of all things cool, and one of the most iconic, singular guitarists in rock music’s long tail, the keystone of the explored tension between rock and noise.

Anenon

Dream Temperature

Tonal Union

Saxophonist, producer and composer Brian Allen Simon explores darker hues, transposing waking and altered states under his studio veil Anenon. On the deeply evocative new album ‘Dream Temperature’, he shifts electronic processing to the foreground, introducing digitized wind instruments and unworldly atmospherics, not heard since his innovating mid-late 2010s output.A longtime Los Angeles resident, born and raised, Brian Allen Simon has expressively operated under the moniker Anenon, releasing the highly revered ‘Petrol’ (2016), ‘Tongue’ (2018) and the viscerally beautiful ‘Moons Melt Milk Light’ (2023), in a line of unwavering musical dialogues. While the penultimate album was a deliberate, reductive, entirely acoustic detour that was born out of a want to unplug, ‘Dream Temperature’ sees Brian primed with a newly discovered wind synthesizer as his central compositional tool, alongside acoustic piano and tenor saxophone. The entirety of the album’s electronics are triggered by Brian’s lungs, generating otherworldly synths modulated by expressive breath control, channelled through the laptop as the core processing chamber for added textural components and field recordings.A free floating and heavy emotional resonance marks 'Dream Temperature' from beginning to end, invoking the feeling of waking up, still heavy from a night of half-remembered dreams, and continuing one’s day in this state. Simon maps out the album's spatial voice early on the statement title track, a deep, yet compact cut, generated from digital saxophone rasps that whistle by in close proximity, along with haze filled textures and sub bass. There is a sonic oscillation of urban grit and pastoral drift...

P.E.E.

I Win Me Over

Deathbomb Arc

***Hailing from the Bay Area in the 90s, P.E.E.'s brand of sloppy and complex pop punk was manic and completely loving. These recordings were originally made for an album that would later get completely re-recorded before release. Yet these raw, lo-fi versions remain some of the most vibrant material the band ever set to tape. Deathbomb Arc is very excited to release them for the first time! Recorded on 4-track reel-to-reel by Gar Box.

Sleeveens, The

National Anthem

Goner

A Dublin-born, stylistically-restless but fundamentally punk troubadour, Stefan Murphy emerged in the early 00s under the moniker The Mighty Stef, which became a full-band concern around 2007, wrapped up in 2016, and was followed by a short stint as Count Vaseline. Then, in 2019, Murphy met a gentleman by the name of James Mechan, who happened to be Stiff Little Fingers’ guitar tech. That last part is relevant, as any current convert to the band we’re discussing here can testify. And so is the first part, as Mechan wanted to record Murphy at his Nashville studio. Those plans were derailed by the pandemic but not forgotten when Murphy moved to Nashville in 2022. Work commenced, the pair were joined by Ryan Sweeney (of Cheap Time) on drums and Eli Steele (Sweet Knives) on lead guitar. The result was The Sleeveens, named after an Irish slang for “trixter”…not the earthly type responsible for a plastic Aztec death whistle on your exhaust pipe but rather the otherworldly one that temporarily vanishes the keys to the vehicle.  The Sleeveens’ debuted on 7-inch with 2023’s “Give My Regards To The Dancing Girls” on Sweeney’s Sweet Time label and “UFO’s” b/w The Four Tops’ “Bernadette” on Interstate 94 Recordings in 2024, followed by their fantastic self-titled LP on Dirtnap Records the same year, which gained traction on independent radio thanks to bangers like “Metallica Font” and “Aretha Franklin”. An official Gonerfest 22 inclusion, the band has also shared stages with G.G. King, Schizophonics, Total Hell,...

Geraldi, Phil

Rural Deceased Undiscovered

Not Not Fun

California composer Phil Geraldi’s vinyl debut both refines and refracts his signature muse of interstitial Americana across 11 melted glass mosaics of processed guitar, decayed radio glow, and Harmonia synth horizons: Rural Deceased Undiscovered. He describes his vision for the pieces as “multilinear,” rearranging classic radio songbook elements like hooks, choruses, and emotional cues into unfamiliar topographies of “alien country.”Shards of acoustic guitar and pedal steel flicker in long shadows of amplifier hum and airwave static, like the scrambled broadcast of some heartland station along a desert highway. It’s music both rustic and placeless, warped by weather and technology, shimmering like northern lights over the badlands.Mastered by Jared Carrigan.Sleeve design by Jo Minor and Matt GoldbergInsert design by Anthony Boruch-Comstock.

Frank Hurricane

Southern Shrymp in the Big City

Nudie Records

***Frank Hurricane is a spiritual blues and folk musician/storyteller/bard from the South and the North of the US. He has been traveling and performing in the underground and DIY scene for well over a decade, gathering tales and touring across the world. He has released a large catalog of records. PBS recently made an Emmy-Nominated documentary about his musical journey. He has performed alongside many legends across the spiritual board and has hiked thousands of miles of trails in the mountains.Southern Shrymp (In the Big City) is Frank Hurricane’s chronicle of kaleidoscopic folk-forward Americana spiritual blues, interpreting both the modern urban and backwoods experience and inviting you into the lives of the people on the outskirts - the wild ones, the rough angels sitting on the mystic margins. Shedding the prism-light on the characters he meets in his songs, Frank also sings about the spiritual glory of the mountains and rivers of the Appalachian landscape he loves, psychedelically wound together over Frank’s intricate fingerpicking, soulful vocals, tender melodies, and transcendent vision.

V/a

Brown Acid - The Twenty-Second Trip

Riding Easy

Just as you were getting your head straight coming off the 21st Trip … Brown Acid dose # 22 drops, continuing to fry your mind in a revolving trap-door Twilight Zone alternate world of early hard rock… populated by real life characters so far out they can look like a cheesy wedding band but sound like Blue Cheer! Uncanny! This music comes at you from many angles. Teens in a garage colliding with booze, drugs and girls for the first time, lounge lizard hustlers with snazzy stage clothes and fuzz boxes… gnarly backwoods troublemakers meet blow dried glam rock wannabes here, seamlessly clobbering your head with sound rather than each other! An electric post-psychedelic bar brawl for your mind awaits, unfasten your seat belt, crank it up and fly!Sounds Synonymous "Babylon" out of Flint, Michigan 1969 rip the devastating Blue Cheer classic a new one, immediately swarming you with organ swells and distortion before collapsing into a tuff funk groove, a psychedelic James Brown vibe shot through with dirty howling fuzz guitar, vocals nailing the messed up but confident relaxed sneering attitude of the original Cheer eruption.The Bumps "Shining" from Seattle 1969 resides right at the transition of ‘60s psych into early prog, well constructed, no diluting things artsy fartsy style, a compelling heavy riff, spacious vocal harmony hook floating above a turbulent take on getting your shit together and shining like a star. Fat chance, but you can dream, the band did and their dreams kick ass across time...

Drakulas

Midnight City

Dirtnap

Austin’s creepiest bad boys are back!After a few years of wandering in the wilderness, Drakulas return to their spiritual home at Dirtnap Records (and Wild Honey Records in Europe/UK!) to unleash Midnight City upon the world!Drakulas move in the shadows of a neoned, late‑’70s city—proto‑punk bite, garage grit, ’80s synth ghosts and new‑wave chill wrapped in world-building, nocturnal lyrics.Conceived as an art experiment by Savage Lord Mic, Sam Francisco  (Riverboat Gamblers) and Pink Rick (Rise Against), and filled out with a rotating cast of sketchy characters, Drakulas quickly shed their daylight skins—black turtlenecks, medallions, VHS flicker—and became emissaries of a cinematic underworld where drugs, arcade lights, pornography and occult whispers score the streets.Their 3rd LP, Midnight City turns up the musical quirk factor a bit, with fully-realized, inter-connected songs that are at the same time unsettling and yet weirdly danceable. Marvel as they emerge from the fog with a new full‑length on Dirtnap/Wild Honey—listen if you dare.

Matthews, Jae

Man On The Beat

Heartworm Press

***Jae Matthews reinterprets Buzz Kull’s cult classic “Man On The Beat” with a dark, hypnotic edge, driven by her unmistakable voice and a cold, cinematic synth pulse. Known as the vocalist of Boy Harsher, Matthews channels the nocturnal spirit of the original while making the song distinctly her own.Released as a limited-edition 12" on Heartworm Press, the single transforms the underground favorite into a late-night anthem, with the B-side featuring an extended remix by Los Angeles duo Spike Hellis, stretching the track into a driving, synth-charged club version.

Fulci

Risorsero Dalla Tomba E Fu… L’Apocalisse!

20 Buck Spin

***ON ONE-SIDED NEON ORANGE VINYL!!! Coming on the heels of the band’s most successful LP, 2024’s *Duck Face Killings*, FULCI return with a special 12” maxi single serving as the soundtrack to the short film *Risorsero dalla Tomba e Fu… L’Apocalisse!* (“They Rose From the Tomb and It Was… The Apocalypse!”). Created in collaboration with director Domenico Montixi, the 30-minute film merges paranormal horror with Spaghetti Western atmosphere, drawing direct inspiration from Lucio Fulci’s *City of the Living Dead* and *Four of the Apocalypse*. The film is set to begin its international festival run soon, with a trailer premiering at FULCICON 2 in Milan. The maxi single features a suite of new FULCI compositions that drift between eerie, cinematic soundscapes evoking the Lovecraftian aura of Fulci’s films, and the band’s signature Gore-Giallo Death Metal. It also includes a special cover of Fabio Frizzi’s “Apoteosi Del Mistero” from *City of the Living Dead*. *Risorsero dalla Tomba e Fu… L’Apocalisse!* further expands the band’s cinematic universe where extreme music and cult horror collide, serving as a uniquely atmospheric release bridging *Duck Face Killings*, the band’s relentless touring schedule, and the eventual resurrection of their fifth full-length album.

Go Hirano

The Habit

Black Editions

***For more than three decades, Go Hirano has developed a quietly enthralling sound world on the peripheries of the Japanese underground. Emerging in the 1990s, Hirano released three albums with the revered PSF Records label and established himself as an artist with a unique sense of melody and atmosphere that was both entrancing and intimate. His work, largely recorded at home and in the field, de-emphasized technical perfection in favor of an unvarnished immediacy that imbued the quiet moments of daily life with a dreamlike splendor. On The Habit, Hirano brings together recordings that span decades of his playing the piano and other instruments on a daily basis. The core of the album was recorded in 2020 at Pianola Records in Tokyo, while other pieces draw from recordings dating as far back as the late 1980s. Through this span of years, a coherent vision emerges, marked by patient, subtle engagement with repetition, space, and resonance. Hirano works with a restrained palette—piano, pianica, wind chime, percussion, and synthesizer—to develop simple melodic figures that gradually shift in harmony and texture. Spacious piano chords expand through soft synthesizer tones. Near-imperceptible rhythmic frameworks intertwine with tranquil phrases that drift and merge with the sounds of the world around them. This synthesis of music and the environment in which it is created is critical to Hirano's approach. Rather than isolating the music from its surroundings, he embraces the atmosphere of the moment, the room in which each piece is played, capturing the subtle sounds and...

I Hate Myself

4 Songs

No Idea

The legendary, influential, celebrated, and inarguably debut release by I Hate Myself back in print after a twenty-year hiatus. Remastered, re-cut, and reissued in an aesthetically-pleasing chipboard LP jacket with kraft paper inner sleeves. Edition of 666 copies pressed on 150-gram vinyl.

Watson, David & Bill Nace

On Bats

Amish

***"Amish Records is pleased to announce the first recorded collaboration between David Watson and Bill Nace, entitled On Bats.Historically, ensembles combining taishōgoto and bagpipes (at least inside the milieu of “jazz”) have been on the tame side. The Winkler Twins, Dagnabbit, CUZ and other such units pandered to the bowtie set so exclusively that many people have all but dismissed the instruments as hopelessly moldy or even (in the words of critic Milo Fine) “tools of fascism and complacency.” That said, it is my pleasure to announce that the duo of William “Bill” Nace and Dave “David” Watson has made a mighty effort hereon to liberate these instruments from the yoke of yokelism.Nace is a Philadelphia-based wizard of avant-string tomfoolery with a recording history stretching back to Vampire Belt (with Chris Corsano) in the early Oughts. Watson is an NYC-based New Zealand ex-pat whose multi-instrumental genius was first evidenced with the Primitive Art Group in the '80s. Now, with On Bats, the pair have set out to right the wrongs of generations of the dull ass taishōgoto/bagpipes artists who preceded them.The taishōgoto is, of course, a Japanese stringed instrument perhaps best described as a cross between a zither and a typewriter. Bagpipes are...well...pipes with a bag attached. Using their respective instruments to create both long-form tones and berserk machine-like squeedles, Nace and Watson create a varied and surreal aural landscape that shifts contours and colors with ease. The way they combine voices here often manifests as a sonic analogy to...

King Automatic

Playing 6 Garage & Sixties Hits

Slovenly

***King Automatic makes cover like dirt across the grooves of this big-hole 10inch, taking classic tracks from bands as generationally distant as The Seeds and The Gories, transforming “Pushing Too Hard” and “Thunderbird ESQ” into perfectly effortless Jamaican rock steady, fortified with his signature drum machine, and multi-layered loop treatment. And what would a covers record from a French artiste be without paying respect to Mssr. Jacques Dutronc? His 1968 classic "L'augmentation" gets a 21st century rub-down to loosen up the kinks, and emerges revitalized for a daring new scene. The real madness, however, lies at the end of the programme, with an inverted version of “One Step Beyond” knocking the record’s concept on its head, as this 2 TONE classic is stripped of its syncopated nuttiness, summoned back to its roots, and emerges born again as pure rhythm‘n’beat. And this, fellow punk rudes, is how we’re demanding our rock’n’roll be delivered today… COPASETIC AND INTENSIFIED!

Sumos

Luck

Meritorio

***Sumos are a scuzz-pop quartet from Manchester, UK. The project began as a bedroom recording outlet for Joel Sloan and Kyle Tarbuck after a hiatus from playing together in a previous band. After laying the groundwork for their first EP, Weird Summer, the group expanded into a four-piece with the addition of Kyle’s sister Siobhán McKnight on bass and Andrew Kilroy on drums. Their debut album, Surfacing, was released in 2023 via Meritorio Records and Safe Suburban Home. Part of the UK DIY scene, Sumos have shared stages with like-minded acts and label-mates such as The Planes, Teenage Tom Petties, Dignan Porch, Perennial, Oort Clod, Special Friend, Stuart Pearce, Park Safely, and Hugs of the Sky. Sumos’ sound is built on a foundation of melodic indie rock and noisy power-pop. Key influences include Husker Du, The Lemonheads, Pixies, P.S. Eliot, The Beths, Mikal Cronin, East River Pipe, and Mike Krol.

Sleeves, The

The Sleeves

12xu

***The Sleeves are the duo of Jack Cooper and Tara Cunningham, both likely known to you as one half of Modern Nature. Following an all-instrumental Mossy Tapes release last November, Cooper and Cunningham have recorded 10 new songs showcasing their vocal and guitar interplay with only the faintest echoes of prior efforts (individually or collectively), representing a fully realized leap forward from their largely improvised debut.'The Sleeves' is a somewhat counter intuitive take on the guitar/vocal duo formula (provided you think there is such a thing) though it's not nearly as simplistic as "the space between the notes"—it would be the height of exaggeration to say an album this simultaneously expansive and incandescent is unprecedented. But it doesn't happen nearly often enough, either.

You-On

New Side

12xu

***You-On is a collaboration between Masami Tomihisa and Jim White.Three sessions, all improvised consisting of keyboard and drums were recorded at Jim’s in April and May of 2024. Guy Picciotto mixed, edited and sequenced the recordings comprising ‘New Side’, the duo’s first album together.You-On is two Japanese characters put together, asobu which means to play or to have fun andon which means sound.‘New Side’ is a work of precise, at times otherworldly beauty. The interplay between Tomihisa and White is nothing short of uncanny—it seems hard to believe these are the results of their first recordings together.Masami Tomihisa is a pianist, composer and improviser based in New York City. Prior to this, her most recent release was the ‘Invitations’ cassette released by Purplish in 2024.Environmental concerns prevent us from publishing drummer Jim White’s entire associated discography ; his most recent solo album, his second such LP for Drag City, ‘Inner Day’ was released in the Autumn of 2025.

Rural France

SLOTHS

Meritorio

*** Rural France is the project of Tom Brown (Teenage Tom Petties) and Rob Fawkes, who began writing songs together after both moving from London to rural Wiltshire and starting families. What started as a casual way to meet up soon turned into a band built around Tom’s scrappy slacker pop songs and Fawkes’ melodic, jangly guitar lines.After releasing their debut on Half-a-Cow Records, the duo recorded two lo-fi albums in a garage—RF (2021) and Exacamondo! (2024)—both released by Meritorio Records and warmly received by the DIY indie community for their short, melodic songs inspired by the spirit of Guided by Voices, Teenage Fanclub and Pavement.Their fourth album, SLOTHS (out May 8 via Meritorio), sees the band expanding their sound. Mixed by Rob Slater, it’s their clearest and most expansive record yet, adding organ, horns and mellotron while keeping the jangly, scruffy charm that defines Rural France. The songs reflect on getting older, time passing, and the strange realities of adult life—thoughtful, melodic indie rock with heart and humor.

Les Rallizes Denudes

Disque 4 - '76 Studio et Live

Temporal Drift

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

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.