Upcoming Releases

Versus

The Stars Are Insane

Teenbeat

Considered by many the template for 1990s indie rock. Versus’ first full-length album became an instant cult classic. Recorded by Adam Lasus (Yo La Tengo,Helium, Lilys) at his Studio Red in March of 1994 and released just six weeks later in early May of that same year on the Teenbeat label. Finally back on vinyl LP with all new art on the outside (designed by Unrest’s Mark Robinson) and the original art on a full-color innersleeve, plus an OBI strip holding the package together. While the first pressing didn’t include the track “Fallow,” this edition has all 12 songs from the CD. Each of them remastered by Scott Anthony.Formed in New York City in 1990 by guitarist Richard Baluyut and bassist Fontaine Toups, Versus became one of the most important, influential and underrated bands in the then budding indie-rock genre.“They weren’t as influential as Pavement, as industrious as Guided By Voices, as idiosyncratic as Unrest, or as ubiquitous as Superchunk. But the part that Versus played in the indie rock underground of the 1990s can’t be overlooked. . . . Versus were the quintessential indie rock band.” — Pitchfork

Cemetery Reign

Confined To Time

Carbonized

***Confined to Time, the debut full-length from Cemetery Reign, features eight Death Metal / Punk emanations brought forth from the mind of David McMaster, known from the ranks of such celebrated underground acts as Street Tombs and Superstition. With Confined to Time, McMaster thematically opens the gateway for a soundtrack to the catastrophic apocalyptic devastation happening above, beneath, and beyond the funeral grounds of Earth, developed from a multitude of riff-charged songs with haunting, reverberating guitars, and obliterating rhythmic assaults of drum and bass ruthlessness that have been entombed until now. Confined to Time was recorded, mixed, and mastered by Augustine Ortiz (Street Tombs, Dysphotic) at The Decibel Foundry and The Kitchen Sink in Santa Fe, New Mexico. Cover Artwork by Grady Gordon (Predatory Light, Reversed, Sutekh Hexen).

Dog Faced Hermans

Everyday Timebomb

Megaphone

***Explosive. Urgent. Wildly inventive. Everyday Timebomb captures Dog Faced Hermans at their most fearless—fusing punk intensity, free jazz chaos and political fire into a sound that defies genre and time. Long out of print and increasingly difficult to find, this lost classic is finally back on vinyl for a new generation to discover. Formed in the vibrant European post-punk scene of the late '80s, Dog Faced Hermans stood apart for their raw energy, charismatic vocals and an instrumentation that inspired artists from The Ex to Godspeed You! Black Emperor . Their fearless spirit and DIY ethos turned noise into art and protest into rhythm. This limited reissue stays true to the original analog sound while the fresh remastering gives the original tracks new depth and punch. Each copy includes carefully reproduced artwork and archival notes celebrating the band's unforgettable legacy. For fans of Chumbawamba, Rip Rig + Panic, Fugazi, and anyone who believes that music should sound like liberation itself. Everyday Timebomb is more than a record. It's a reminder of how revolutionary sound can be. LP limited to 500 copies; Cut at Schnittstelle Mastering and pressed at Optimal in Germany.

Disassociation, The

Losing Is A Luxury

Shrimper

The Disassociation is a collective made up of all five members of Refrigerator, Amy Maloof of the band Falcon Eddy, author/bassist Jonathan Lethem and artist/musician Sam Sousa. Their first record is comprised of material written and shared over the last five years and recorded over one long seventy three hour weekend. It is called Losing Is A Luxury.Some songs feature one member, some all eight, as the mood turns from stoic Tammy Wynette to Shambolic ESP Godz/MIJ Yodeling Astrologer before circling back to NZ circa 1985. This is no side project, no "eclectic and organic album", it is a fucking electric shut down. The band is a true collective with members bouncing from instruments, vocals and songwriting duties.The seed of the project was a song that Maloof recorded for Lethem and Sousa's weekly radio show on KSPC. Lethem, who has written lyrics for Lee Ranaldo, Walter Salas-Humara and a myriad of others, does the same here, but also plays and sings, while his radio co-host sings a gruff Lee Hazlewood/Ann Margret duet with Maloof. Refrigerator offers both knee play balladry and some bright cherry shoulda been AM pop leanings on the record as members back up or step out with the collective of The Disassociation.The band is doing three shows on the west coast and two shows on the east coast as well as multiple pop up shop variants of satellite versions of the band that will feature two to seven members, across the states throughout the spring and summer....

Sixth Great Lake, The

Up The Country

Dust and Memory

Originally released in 2001, Up The Country is the debut album by The Sixth Great Lake and a quietly revered title within the late-’90s / early-2000s indie scene. Rooted in jangly guitars, melodic songwriting, and a distinctly pastoral sensibility, the album sits at the intersection of indie pop, folk-rock, and classic guitar-driven pop.Although initially released with modest exposure, Up The Country steadily developed a loyal following, earning cult status among fans of understated, melody-focused indie. Its charm lies in its simplicity: clean arrangements, memorable hooks, and an unforced warmth that has allowed the record to age exceptionally well over the past 25 years.This 25th anniversary reissue presents an opportunity to reintroduce an overlooked catalogue gem to today’s market, appealing both to original fans and to a new audience drawn to timeless, guitar-led indie records. With renewed interest in archival and heritage releases, Up The Country offers strong long-term catalogue potential beyond initial anniversary demand.

Gutvoid

Liminal Shrines

Profound Lore

Gutvoid was formed in Toronto, Ontario by Daniel Bonofiglio (Guitar) and Brendan Dean (Guitar and Vocals), soon followed by Justin Boehm (Bass) and D. W. Lee (Drums). Blending modern death and doom soundscapes with progressive rock and metal songwriting foundations, Gutvoid creates a monster seething with gut-wrenching riffs, cavernous vocals and prog virtuosity. With the release of the “Astral Bestiary” EP in 2019, the debut album “Durance of Lightless Horizons” in 2022 and their latest output, the “Breathing Obelisk” EP in 2024, Gutvoid has continued to build on their sound, focusing on more elaborate yet intentional song structures while deepening the depth of their aggressiveness and technicality. The upcoming full length album “Liminal Shrines”, the first half of a two-part concept, showcases the band at their most intricate, aggressive, and creative thus far, further expanding and building on their cosmic horror infused atmospheres and origins. “Liminal Shrines” was recorded at Boxcar Sound Recording, Mount Wexler Studio and Dystonic Sounds, mixed and mastered by Greg Dawson and BWC Studios and features cover art by Kjell � ge Meland.

Pan American

Fly The Ocean In A Silver Plane

Kranky

“The music on this record is a reflection of journeys and travel. The real world kind and the metaphorical ones as well. Having experienced the arrival of my children, the decline and departure of my parents, and the many years of venturing out and returning home in my own life, travel feels like the perfect tropology to consider the mysteries we inhabit. Travel and its impressions, rituals, superstitions—the possibilities and risk-all open up onto the landscape of our biggest questions, fear and wonder.“Two songs established the spine of this music. Songs I’ve always loved, it seems even before I’d heard them. The first one, and the source of the title is ‘You Belong to Me’ by Jo Stafford. Colonial overtones unmissable to our modern ears aside, it’s also a beautiful mid century romance—and an ode to the threat of a shrinking world. The song represents the loneliness and the mystery of being alone and left behind. The singer is not asking their loved one to shut down horizons, merely reminding them to return when the traveling is done. To set aside The Silver Plane of transition, change and the in-between for the intimacy of solid earth.“The second song is ‘Promised Land’ by Chuck Berry. Also about a journey and another one that moves easily between allegory and narrative. The singer is on the move across segregated America trying to get to the promised land of California. The song is both a tall tale that evokes Mark Twain, and an American...

Shine

Wrathcult

Dark Descent

Born from the grips of the pandemic, Shine are the newest brainchild of Hazael’s Tomasz Dobrzeniecki, and their first album Wrathcult leaves no doubt that a new force in Polish extreme metal has awakened.Inspired by the likes of Emperor, Bathory, Morbid Angel, Entombed and Dismember, Dobrzeniecki’s new outfit channels that lineage into something raw, relentless, and unmistakably its own.“‘Shine’ for me is a sheen of a sword's blade, the last thing that your foes see in their lives. You can also relate it to the Promethean light given to people that enlightens or sometimes blinds us. It can also be a glare of rage stemming from the resistance towards the unnatural rules forced upon us,” explains Dobrzeniecki when asked about his new unit’s name. “Our music is full of references to ancient rules and rituals and times when people lived in accordance with nature and cosmos using the primeval knowledge.”Dark Descent Records will handle the release, having previously collaborated with Dobrzeniecki on the reissue of Hazael’s classic opus. Wrathcult continues in similar thematic territory, invoking forgotten ancestral knowledge and tapping into primal forces, and mythic echoes of a pre-Christian world.“Lyrics for the album are mainly inspired by the pre-Christian spirituality and mythology of our forefathers and based on such books as Bestiariusz Słowiański, Mitologia Słowiańska by J. Bobrowski and M. Wrona, and Słowiańska Czarownica (Slavic Bestiary, Slavic Mythology, Slavic Witch). The lyrics pay homage to nature and higher powers in order to upkeep the memories of the beliefs that once...

Rotting Telepathies

Rotting Tapes II

Black Editions / La Musica Records

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

Suitor

Saw You Out with the Weeds

Feel It

***After their debut release, Communion, Suitor’s efforts went into sculpting a different sound with their newly expanded lineup. A pared down selection of songs they wrote during this period would ultimately become Saw You Out with the Weeds. In the spring of 2024, the songs were recorded live in Lawrence, Kansas by Caufield Schnug and Lira Mondal of Sweeping Promises. Suitor’s wide range of influences and exploratory ethos are on full display in this concise yet diverse set of tracks. The record is a push and pull between elements of noise pop, post-punk, and indie rock, balanced by densely worded vocal melodies and strong, captivating hooks. Embracing a larger wall-of-sound approach for the mix, Saw You Out with the Weeds is filled with sharp, layered guitars and driving rhythms that course through all of its shimmering textures.

MORS.VOID.DISCIPLINE

Txketh)ëké

Sentient Ruin Laboratories

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

Big Sexy Noise

Live In Italy

In The Red

The unholy triumvirate of Big Sexy Noise featuring Lydia Lunch, James Johnston (Nick Cave, PJ Harvey, Faust) & Ian White (Barry Adamson) of the notorious Gallon Drunk are dead set on proving once more that ROCK is alive and kicking, down and dirty and raunchier than ever!Lunch helped pioneer no wave in 1977 with the slashing din of Teenage Jesus and the Jerks and has remained a caustic presence in the alt-rock firmament ever since. Big Sexy Noise unites her with guitarist James Johnston and drummer Ian White of guttural London greasers Gallon Drunk for the most joyfully bawdy music of her career, stripping bare the bluesy brawn of 70’s heavy-rock and inverting its every cock-rock cliche to Lunch’s delight.White’s limber shuffle injects sinful grace into what could have been Neanderthal sludge, while Johnston stirs up the din of an entire band with his single guitar, hurtling between bone-simple, steamy riffs and blasts of near psychedelic noise.Big Sexy Noise Live in Italy, a fierce, fearless, tub thumbing, balls to the wall rock monsterpiece.

Masonna

Noisextra

No Holiday

Pressed on vinyl for the first time, Masonna’s Noisextra receives the standalone treatment it deserves. Originally released in 1995 as part of RRRecords Pure series, Noisextra is updated with new cover art and printed on white on red splatter vinyl. Each LP comes packaged with an 8 page booklet printed on glossy 150gsm art paper.

Masonna

Super Compact Disc

No Holiday

For the first time, Masonna’s Super Compact Disc is pressed to vinyl. Recorded at Acty Hanazono and released on the legendary Alchemy Records in 1995, Super Compact Disc represents a high point in Maso’s 90’s discography. The LP reissue is presented in a high gloss silver laminate jacket and pressed on sky blue on white splatter vinyl. Each LP comes with a 12-panel poster and postcard insert.

Orcutt, Bill

Music In Continuous Motion

Palilalia

Music in Continuous Motion, Bill Orcutt’s latest entry into his 21st-century repertoire of quartet guitar music, pointedly steps away from the cut-and-paste constructivism of Music for Four Guitars into a sonic stratum that's yearningly melodic, resolutely human, and built for performance. Conceived for a 2026 NYC concert, Music in Continuous Motion shares the concision of its predecessor—but rather than the discrete, mechanistic precision of Music for Four Guitars, the tracks on Music in Continuous Motion unify—each song weaving four gleaming threads into the warp and weft of an evolving, complex texture that employs simple, repeating motifs to build new melodies from counterpoint itself. It accomplishes this in the most efficient manner possible: most of these 12 tracks hover around two-and-a- half minutes, each iterating first the substrate, then the melody and its variations, then slamming shut like a clockwork music box.Based on previous recorded evidence, Orcutt is fond of boundary conditions for his studio guitar records. Much of the time, his launchpad is obvious (The Four Louies, How to Rescue Things); with others, it’s intentionally obscured. When recruiting me to write about each release, he might send me a clue (“This is a bridge pickup record more than a neck pickup record,” Orcutt helpfully offered for Music for Four Guitars). Although any given dispatch is a potential red herring, up until now, each has implied an Oulipian conceit (however obtuse) that at least somewhat determines the outcome. Thus, I was a bit surprised by his statement on Music in Continuous...

Damaged Bug

ZUZAX

DEATHGOD CORP

“Forty or so Damaged Bug tunes from the past seven years were orphaned / unfinished, which is pretty rare for me. I just kept having other things going on and life kept getting in the way. And frankly, the songs were all over the place so I didn’t see a thread in there, but in light of current events in the world, I feel like it’s every artist’s calling to construct personal messages cloaked in a moments of escapism. That’s what this record is for me—was something to clear the decks a little bit in my studio and relax my mind and keep the wolf from the door. It’s a bit of a joyous / sad record dealing with hope and forgiveness, two things which I hope end up more in my life.“It’s abstract and poppy, fried and sugary.“It exactly how I feel at the moment fried and skewed.“Good luck out there and I hope this turns off the torrent for you, for a moment .”— John Dwyer

Egregore

It Echoes In The Wild

20 Buck Spin

Here we find ourselves, among the Canadian miscreants Egregore whereupon they return from whence the wind howls like a damned choir and the Earth knows no master, to chart a broader sonic wilderness via It Echoes In The Wild. And much as sea-rogues and freebooters sought fortune upon blackened waters, so too does Egregore venture musically into diabolic and ungoverned lands.Presenting something more expansive, elemental and untamed on It Echoes In The Wild, the early occult black death metal lunacy embraces atmospheric breadth equally alongside primitive force to delve deep into not only geographic wilds, but the psychological, esoteric and spiritual hinterlands at the edges of complete madness. Dark invocations and secret tongues draw forth echoes from forest and fen, cave and cliff, tempting the temporally tethered to receive the curse, all the while driven by a primal, unknowable sardonic menace.Though the voyage be perilous, to succumb to It Echoes In The Wild is to become ensconced in a lawless dominion of the soul in service of a higher call. Mirroring nature’s unbridled forces and the hidden echoes that dwell within, Egregore’s second album takes the band’s mystical insanity and magickal perversion to the edge of the abyss and plunges forward.

Shop Talk

Shop Talk

One Track Mind

***Following an EP and several singles, Brooklyn-based punk band Shop Talk delivers a full-length album. The band's self-titled LP was recorded in Nashville with Stiff Little Fingers tech / Sleeveens bassist James Mechan behind the boards. The LP is the product of an immersive five-day session at Mechan's residential studio, and it harnesses the power of Shop Talk's live show with minimal overdubs. It's a snapshot of this hardworking New York group on the heels of their summer tour, and half-delirious in the Tennessee heat. These songs have the emotional intensity of a fever dream—partly because Mechan and the band were running moderate-grade fevers during tracking. Listen well, but don't get too close. Recommended for fans of: X, The Adverts, Nick Cave, The Pretenders, The Damned, etc.

Sleep Paralysis

A Visitor's Soundtrack

Feel It

***A Visitor's Soundtrack is the first glimpse into the world of Sleep Paralysis. Instantaneous Expressive Music. Single-take free improvisation featuring Moog synthesizer and drums in the forefront of the mix, accented with an array of strange percussion instruments such as the Walaphone. Sleep Paralysis share a conceptual foundation with free jazz and early experimental electronica, creating an abstract / surrealistic painting with live sound. The album flashes between minimalist drone and frenzied bursts of avant-garde percussion and electronics. Sleep Paralysis invite the listener to a deep and free soundscape on A Visitor's Soundtrack.

Bikini Mutants

Let's Mutate

Sealed

It’s taken Sealed records more than five years to put this release together but finally it’s here. The one and only Bikini Mutants. The Bikini Mutants were from Yeovil, Somerset and part of the All the Madmen world. In their short life as a band they recorded two demos at Monitor Studios, Milborne Port in Somerset in 1982. Let's Mutate collects these two demos on one LP, along with a 20 page booklet featuring photos, lyrics, reviews, interviews and much more. The band played mostly in Yeovil and the West Country along with the Mob and the Review, and even though they were part of the West Country anarcho scene, the sound was a mix of scratchy post punk and indie pop. Members of the band went on to be in My Bloody Valentine and the Chesterfields. The songs are intricate, delicate and engaging with the drums and bass locked in, the fuzzed out guitar weaving on top and Christine Cole’s angelic voice taking each song to pop heaven. Think a mix of Girls at our Best, Au Pairs and the Marine Girls.

Kemp, Alice

9 Dreams In Erotic Mourning

Helen Scarsdale Agency

***Alice Kemp is a British artist working with noise, performance, fetish objects, installation and many other forms of media. Throughout her work, she articulates a broken and illogical syntax of the subconscious through trance states, dreams, and disturbances. She has performed extensively, occasionally as an associate to the Schimpfluch-Gruppe of Swiss extreme aktionists.It is a rarified violence that the Kemp invokes on her 9 Dreams In Erotic Mourning. Something disfigured. Something fucked. Something left behind. The subject matter of her investigations are deliberately inscrutable as she grotesquely amplifies a moment of terror, or fear, of sadness through pockets of piano melodies broken by psychoacoustic noise, razor-cut silence, ghastly vocalizations, crushed acts of physical aggression, and buckets of high-pressure suspense. Cryptic and oblique by design Kemp's work reads perhaps as a seance gone awry, certainly as private ritual made public, and as a transfiguration of literary body horror turned into a sonic nightmare that runs parallel to the works of Rudolf Eb.Er, Puce Mary, Sewer Election, and Luc Ferrari.9 Dreams In Erotic Mourning was originally published as part of the instantly out of print boxset, On Corrosion - a 10 cassette anthology from 2019 that was housed in a handcrafted wooden box and featuring full albums from Kleistwahr, Neutral, Pinkcourtesyphone, Alice Kemp, She Spread Sorrow, G*Park, Relay For Death, Francisco Meirino, Fossil Aerosol Mining Project, and Himukalt. The collection also stood as the 50th release for The Helen Scarsdale Agency.

Heads, The

YOURPRETTYPLACEISGOINGTOHELL

Rooster

The album was recorded over three days whilst the Heads were rehearsing for a couple of live dates with their friends, and peers, Mudhoney. The guitars, drums and bass were laid down live in Bristol, over-dubs added and then mixed/produced by John McBain in Portland. Initially planned as two single albums, (Volumes 1+2) it soon made sense that they should be put together as a double LP. Named in a nod to the Stooges' Raw Power classic 'Your Pretty Face Is Going To Hell', it describes the trajectory we're all on. The Heads are renowned for their brutalist take on psychedelic rock, this new album shows how much they have absorbed from their years of existence, their peers and the world around them. Not much change though, they haven't mellowed out. The pummel is there, the spaced out sike zones are there, there’s wigged out guitar solos that will peel the paint off the walls, there’s even pop songs if you look/listen hard enough. John McBain has done a grand job in fine tuning the noise and sonic assault. It's hard to draw a direct “for fans of “ list, because ultimately this album is for fans of the Heads. However, you can trace the DNA of this album back to the Stooges, Hawkwind, 13th Floor Elevators, Can, Mudhoney, Monster Magnet, Loop, Spacemen 3, MC5 etc. all squeezed through the Head's heavy sonic blender. A band that only ever existed on the fringes, "if you're not on the edge, you're...

Bolero!

Greetings Mother Earth

Spiritual Pajamas

The long‑awaited sophomore release and first full‑length LP from San Francisco’s hybrid psychedelic Latin blues rock explorers, Bolero! has risen—an unapologetically primal expression of human music.The album unfolds as a guided journey through the spiritual and mortal realms, bridging past, present, and future through dynamic, richly layered compositions. Drawing inspiration from the San Francisco Sound of the late ’60s and ’70s while reframing it through a contemporary lens, the record moves fluidly between groove, ritual, and reflection.The journey opens with “Greetings,” an acknowledgment and welcome to our planet spoken in fourteen languages by friends and family of the band, layered over a deep, funky instrumental jam that ignites the album’s momentum.A drum hit snaps into motion the next track, “Espíritu,” beginning in a hypnotic trance with ghostly vocals inviting listeners to commune and dance with the spirits. The piece steadily builds into a powerful groove, featuring percussion breaks and soaring guitar and organ harmonies. Wind chimes drift in as a deep, tribal rhythm emerges, leading seamlessly into the final track of Side A, “Bathala.” Inspired by the ancient Tagalog deity said to have created the universe, the song erupts like a volcanic war cry—thunderous, cathartic, and elemental.Side B opens with “U.A.V.” a bluesy, fuzz‑drenched anti‑war anthem featuring vivid, incisive lyrics delivered in a dark, Morrison‑esque baritone over a crushing, Sabbath‑inspired musical assault. As the smoke clears, “Simply Livin” rolls in like the ignition of a classic car. Rooted in California sweet soul, the track pairs everyday imagery with soothing vocal...

Harry Pussy

You'll Never Play This Town Again

Palilalia

***Limited double-LP version of the 2008 CD originally issued on Load, compiling the best live and studio recordings by the final iteration of this group."60 second bursts of chaotic rock 'n' roll that barbarize whole histories of freakout style, from free jazz through classic hardcore, boogie, blues, Black Flag, Germs, most explicitly through Beefheart, but all hyper-condensed into ultra-kranky riffs that Orcutt plays at hallucinatory speed, compressing Zoot Horn Rollo style avant confusion into lighting runs and metallic two note knock-outs. Hoyos's style is so primitive that it's wildly avantgarde, with an instinctive feel for time that confounds the most advanced improvisatory strategies with the most hysterical. And her vocals are post-Yoko in the truest sense, not directly informed by her but sharing the same spontaneous energy and a-musical appeal, sometimes breaking from songs completely to expand on barely articulated vocal rants and fever pitched bouts of screaming. The whole group existed in a zone that was constantly beyond technique. The arc of their career was perfect, the mission truly accomplished, and all that's left is this amazing series of recordings, a body of work that has had a disproportionate effect on the minds, if rarely the actual sound of the underground."—David Keenan , The Wire, December 2008

These Bastards

s/t

Alimentary Music

***A crazy tripped-out-thrash hymn worshipping at the altar of the West Bay Koalition. Imagine a mix between Zappa, Kalmaex, And The Riff Merchants, Spazz, The Feederz, with a touch of Captain Beefheart, executed across 16 tracks of high-speed punk thrash. One of the craziest concept HC punk LPs to come out of the West Bay, listening to this will make you want to fight in your local Jack-in-the-Box parking lot. Features ex-members of THREE WHEEL MOTION, VENKMAN, AGENTS OF SATAN, SLOBBER, MORBID LIFE SOCIETY, VVM, CONQUEST FOR DEATH and gazillion other West Bay / Bay Area projects, fronted by the legendary LEECH of Slobber. Recorded by the high priest of all things West Bay, BART THURBER at House of Faith Studios. Drink the fucking Kool-Aid! 625330. Limited to 250, all on green vinyl. Co-release with Alimentary Music, Coxinha and Mighty Morphine Power Violence.

Bobbie

Lessons

Orindal

Lessons is the new record from bobbie. This is their first release with Orindal Records. bobbie lives in Western Massachusetts, where they alchemize dream pop ethereality, twinkly ambient abstraction and intimate vocal clarity into their unmistakable sound. Distorted Omnichord autoharp looping, layers of drone-y synthesizers and low, reverberating guitar crack open into a wide sonic landscape. bobbie architects this atmosphere then introduces rhythm (often just Omnichord pre-set drum beats but also live drums from Lessons engineer, Felix Walworth) and then adds the lyrical presence. The songs are deeply layered and spatial but with a clear vocal throughline. There is harmony and dimensionality to this assemblage. bobbie evokes the ambient qualities of Enya, Brian Eno and Cocteau Twins as well as the pop-y poetic vibes of Dear Nora and Frankie Cosmos. Influences range widely from artists such as Laraaji, Beach House, Arthur Russell, Bill Callahan, Beverly-Glenn Copeland, Alice Coltrane, Astrud Gilberto, to projects like Plantasia and to recurring dreams + visions. When they wake up in the morning, bobbie often records themself dictating and attempting to make meaning of the previous night’s dream. Much of their album’s imagery comes from this practice.

Silverman, Harlan

Music For Stillness

Mississippi

***In a world filled with noise and chaos, Harlan’s music offers a restoration to peace. Music for Stillness unfolds slowly, inviting rest and quiet presence. The bansuri flute leads the sound, its vocal-like quality weaving melody atop cello and ambient textures. Influenced by Indian classical music, Japanese environmental music, and Western ambient music, the album leaves space for the listener to choose how deeply to engage. The music offers a single question: What might peace sound like?

K8A

Woradj Alle

Domino Sound

***“Woradj Alle-Impressions of Ethiopia for solo violin and electronics”, is the first solo album by New York based Kaethe Hostetter. After calling Ethiopia home for eleven years, K8A has put together a beautiful seven song album. No words, no drums, no back up musicians, nothing but K8A with violin and pedals creating a calming and warm audio experience to be added to the Ethiopian canon of music. Comes in a tip-on Stoughton sleeve with insert.

Lungfish

Artificial Horizon

Dischord

***REISSUED ON SILVER METALLIC OPAQUE VINYL!!! The fifth full length album from Baltimore's armaggedonally inclined avant-emo artisans darkly yearns out eleven songs of out-from-the-skin crawling bent rock. Hearts set to flame, souls burnt into ash.

Disinhibition

Demo 2012

Carbonixed

***Originally recorded in 2012, then self-released by the band in 2016, Demo 2012 contains four tracks of classic Death / Grind worship in the vein of Napalm Death, Repulsion, and Terrorizer. This exclusive second pressing is now available again to commemorate the tenth anniversary of the initial recording. Disinhibition features members of Mortuous, Necrot, and Socioclast. Recorded, Mixed, and Mastered by Fred Avila (Mortuous, Permanent Ruin, Unurnment). Artwork by Yuri Kahan (Cerebral Rot, Funebrarum, Trepanation).

Fulker, Tina

Collected Works

Zaius Tapes

"The artist Tina Fulker (1954-1992) would be a bit of a mystery to most folks, myself included. A poet hailing from the UK, she is the author of 4 books of poems (Gash!, Skylight, Scrapbook, Jukebox) that are highly coveted amongst collectors of rare ephemera. Her recorded works seems to have come from those pages & this album collects the 8 tracks from her cassette release, 'Tender Hooks' (1986) + the five included on a V/A tape, 'Real Time 6' from 1983. With assistance from John Ramo (guitar) & Zenon Slawinski (electronics), Fuller's cadence both flickers & haunts around the the sparse, brilliantly executed arrangements. Zaius Tapes mastermind, Johan Klepp, says that he'd been listening to his copy of 'Tender Hooks' almost exclusively over the 2025 holidays & decided it needed a vinyl legacy, thus combining 'Tender Hooks' with the 'Real Time 6' recordings for this 'Collected Works' lp. Spoken word, lo-fi, minimal synth, glits of Suicide come to mind within these pieces, as does the early works of Anne Clark. Done in a paste-on edition jacket w/a pressing of 200, this is certainly release no one saw coming. Leave it to Zaius Tapes to make available something else we didn't know, but now need."—Anne Shirley, Bolingbroke, Nova Scotia

Bosse-De-Nage

Hidden Fires Burn Hottest

Flenser

There's a tendency in metal to mistake aggression for honesty, volume for depth. To confuse the performance of darkness with its actual weight. Hidden Fires Burn Hottest, the new album from San Francisco-based post-black metal band Bosse-de-Nage, sidesteps this entirely. It’s the group’s most fully realized work yet, precisely because it refuses to be pinned down.Bosse-de-Nage have been working with The Flenser for over fifteen years. They were one of the first bands the label ever partnered with and have the longest active relationship in the label's history. But unlike most bands who build momentum through constant touring and visibility, Bosse-de-Nage has largely existed apart from the music world's usual machinery. They've evolved on their own terms, in relative isolation, allowing the work to develop without outside pressure or influence. What began rooted in black metal anonymity has mutated into something that actively defies categorization. The aggression is still there, but it's no longer the point.Hidden Fires Burn Hottest finds the band treating emotions like physical objects, feelings with spatial properties. “No Such Place" describes a space that can't exist but does anyway, somewhere between thought and location. "Immortality Project" examines infinite possibility not as promise but as problem, endless options collapsing under their own weight. These songs don't use metaphor to describe emotion. They make emotion into something you could theoretically touch.Tracked by Jack Shirley (Deafheaven, Oathbreaker) at Atomic Garden East and mixed and mastered by Richard Chowenhill of Agriculture, Hidden Fires Burn Hottest was years in development, with...

Disciple BC

The Homecoming

Creepy Crawl

Creepy Crawl kicks off the 2026 in a suitable way…unleashing the new LP by Disciple BC.Titled The Homecoming, this really is music for the world as it is today. Continuing the blood soaked saga, The Homecoming documents the bands return to the uk, with 9 tracks of the finest horror crust punk, each one telling tales of crime, punishment, revenge and retribution. Is this the end, or a new dawn?Featuring members of Sore Throat, Doom & Agnosy and featuring the enigmatic and mysterious Rev Schneider on vocals and faith healing.Disciple BC. has been described as “Jello Biafra fronting Motorhead” & like “Dave Vanian singing with Bathory playing Anti Cimex songs”.Coming at you wrapped in a deluxe gatefold sleeve, splatter vinyl and a hand screened 12” print done inhouse here at Creepy Crawl and limited to 300 copies.

Agnew, Rikk

All by Myself

Munster

***Rikk Agnew's All by Myself is one of those records that feels like a secret you're lucky to stumble upon—a raw, weird, totally personal snapshot of a restless artist at a pivotal moment. Originally released in 1982 on Frontier Records, the album stands apart from most of what was coming out of Southern California at the time, even though it was born right in the middle of the exploding hardcore punk scene. By 1982, Rikk Agnew was already a big deal underground. As the guitarist for Adolescents, he helped shape the sound of Orange County hardcore with sharp riffs, surf-inflected melodies, and a sense of urgency that became hugely influential. He also played in bands like D.I. and later Christian Death, moving fluidly between hardcore punk, post-punk, and darker, more experimental territory. Agnew wasn't just a fast, aggressive guitarist —he was a songwriter with range, curiosity, and a strong DIY instinct. All by Myself lives up to its title in the most literal way. Agnew recorded the album largely on his own, playing all the instruments and handling vocals himself. Instead of delivering another straight-up hardcore record, he went inward. The result is a lo-fi, home-recorded collection of songs that blend punk energy with new wave, post-punk, psychedelic touches, and even moments of pop sensitivity. It's rough around the edges, but that's exactly the point—the album feels intimate, unfiltered, and honest. In the early '80s, Southern California punk was loud, fast, and often confrontational. Bands were pushing against the mainstream...

Motorists

Never Sing Alone

We Are Time

***Driving is a huge part of rock and roll’s enduring mythology. Images of cruising down the highway with friends and lovers while basking in the freedom of the open road pervade pop music’s lyrical canon. Yet, so often, these idealized images clash with the everyday drudgery of being a motorist: traffic jams, detours, and bad news on the radio.This tension is central to Motorists’ sound—as much about the colourful possibilities of life as it is about the way those possibilities are boxed in by technologies. It’s clear that, for the band, creative collaboration is the only way to break the tension. In a world where everyone’s been in their own bubble, Motorists have pushed theirs together and worked through feelings of isolation as a group, to the tune of jangly guitars, infectious power pop hooks, and a steady motorik beat. The result is an album (the band's third) full of revelations about what it means to be together, and how bad you want it when you’re being torn apart.

Gomez, Jeff

Sammy

J-Card Press

***In the nineties, Sammy checked all the indie‐rock boxes. The duo—East Village singer/guitarist Jesse Hartman and L.A. lead guitarist Luke Wood— released a lo‐fi debut on Smells Like records, the label run by Sonic Youth’s Steve Shelley. They moved up to major‐label Geffen for their second LP, Tales of Great Neck Glory. And then it was over. Sammy left behind two LPs, an EP, and a legion of fans wondering what happened. Hartman went on to a well‐received solo career; Wood became a heavy hitter behind the scenes. Thirty years later, the pair are looking back on lives well lived and their wildest dreams realized. F. Scott Fitzgerald—whose best‐known novel incidentally takes place in Great Neck—once wrote, “There are no second acts in American lives.” The story of Sammy proves him wrong. 5x8 224 page paperback book. Includes 22 B&W photos. "The story of so many bands who didn’t quite break through, but came close enough to taste it. Jeff Gomez’s history of Sammy is well-researched, admirable, and clearly an act of love.”—Howard Fishman, author of To Anyone Who Ever Asks: The Life, Music, and Mystery of Connie Converse

Peltier, Tommy

Echo Park (The 70's Sessions)

Drag City

***Tommy Peltier's Echo Park, compiled of unheard tapes from the early/mid 1970s, brings us into contact with a long-extinct creature—equal parts slinky hipster, universal soldier of the heart and snuggly loverman—he light-rockin’ tinseltown troubadour, the likes of which hasn’t been served around Hollywood since 1979! Tommy’s somewhere in the tuneful tradition of Rupert Holmes, Stephen Bishop, Andrew Gold, David Batteau and of course, Captain Fantastic and the Thin White Duke. His soulful songs and high-pitched vocals (he was once called “Tom Rapp on helium”) are paired with the requisite chopsy, jazz-enriched LA players, entrancing the ear with grooves and performances both tasty and sweet. Mixed and mastered with great zest by Jim O’Rourke (he brought new life to recordings of a similar vintage for Judee Sill’s posthumous Dreams Come True back in 2005), Echo Park is an encompassing trip through a whole other time and place.

Abrams, Joshua

Music For Pulse Meridian Foliation

Drag City

***Joshua Abrams’ piece for two violas, harmonium and electronics – written in dialogue with Lisa Alvarado’s 2023 REDCAT exhibition – sonically considers her matrix of geographic, geologic and personal histories. On its own, the LP ensures that the exhibit’s expansive ambiance persists, via Alvarado’s graphics and the music’s mesmerizing stream of subtle sonics and polarities, spiraling in and out of change and recurrence on multiple planes.

Young Charlatans

1978 LP

Eminent Vinyl

***The first ever official release by this legendary Melbourne post-punk band who only ever existed for a number of months in 1978, but who cast an important and influential light in Australian (and global!) music, influencing the likes of the Boys Next Door/Birthday Party and The Models, the group's membership and its diaspora reading like a who's-who of crucial Australian music of the past 50 years. In the band was a young Rowland S. Howard, who would soon go onto join the BND/Birthday Party; Ollie Olsen (Whirlywirld , No, Max Q , Dogs In Space soundtrack and so much more); Janine Hall (Saints; Weddings, Parties, Anything) and Jeffrey Wegener (drummer extraordinaire for the Laughing Clowns and the Saints, among others). The Young Charlatans recorded a demo with Ron Rude, and also surviving is a live recording from the Tiger Lounge in Richmond. With help from band manager Bruce Milne , Eminent Vinyl have sourced these two recordings to make up this LP, mixing the best of the both to document 45 minutes of inspired music as young players were still grappling with the fallout of punk rock, and wishing to push the music further into more experimental and adventurous directions. Contained here are 13 original songs composed by Rowland and/or Ollie—including an early version of Howard's defining track, "Shivers"—remastered by Mikey Young and featuring extensive liner notes by author and friend/fan of the band, Clinton Walker. With photos, articles and ephemera provided by Bruce Milne and Phil Morland, it is...

Lubricated Goat

Paddock Of Love

Sorcerer Records

***Originally released on the Black Eye label in 1988, Paddock Of Love was the Sydney band's second LP and the first to really feature a more stable line-up, which included Guy Maddison (future Mudhoney bassist), Nick Barker (future pop star!), Peter Hartley and, of course, the man who drove the engine, Stu Spasm (Art Gray Noizz Quintet). Around the time of its release, the band were invited to play on Andrew Denton's nationally-televised TV show on the ABC, Blah Blah Blah, and played the opening barnstormer, "In The Raw," fully nude, causing an uproar in the tabloids. It was a fun time to be alive, and shot the band into the national consciousness of confected outrage for a few weeks. What's more important is this recording, which is a glorious collection of scungey 'n' grungey rock 'n' roll degeneracy in the finest sense of such words. It is filled with killer tracks like "Funeral On A Spit", "Gargoyles" and "Cannibal's Lament", sounding focused, purposeful and like a real BAND. Paddock Of Love has been out of circulation for 30+ years, and in this edition, Sorcerer also include a huge fold-out poster with a reproduction of the cover on one side, and lyrics and new liner notes from Stu on the other side, as well as outraged articles from the time, press clippings, etc. The cover shown here is the Censored Version (spot the difference!), so that it can stay on the internet and not get taken down, though the real...

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.