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The first ever live album from this fiery and popular Melbourne punk quartet. On this the band run through a raging live set to reveal the full extent of their unparalleled live show. Real heads know that their records rule but their live shows positively shred. The proof is fully on display within the confines of this high energy pudding. A glorious package ready to reward the diehards (130k monthly Spotify listeners) and make new converts alike.

“Wallsocket is a loose concept album about the American town of Wallsocket and the people that live in it. I first started making music purely on the computer, so my challenge for this album was writing the songs acoustically first and adding production afterwards. A lot of the themes of the project can be summed up by taking something natural and trying to sterilize it.

At the time of writing, I was obsessed with using the 'horseshoe theory' in an apolitical context. Where in our lives are we so one thing that we wrap back around and become its opposite? That theory is riddled throughout the album.” - underscores

In the early 1990s, before the era of social media dominance, skateboarding culture found its voice through magazines and VHS video releases, notably from brands like Santa Cruz and Powell Peralta. These videos not only shaped the skateboarding world but also influenced creativity across various industries worldwide.
In 1988 and 1989, two groundbreaking videos, "Shackle Me Not" and "Hokus Pokus," emerged from the fledgling skateboard company: H-Street, unleashed a seismic shift in street skateboarding. These videos are revered as iconic masterpieces, celebrated for their innovative skateboarding sequences and unforgettable soundtracks.

“What’s particularly interesting about Hokus Pokus was its soundtrack, largely comprised of demo cassettes, unsigned artists, and bands with loose ties to the brand. Some of the songs were goofy, others almost anthemic, and few sounded of their time. Perhaps it was the repetition or the fact that Matt Hensley could have skated to the sounds of a broken oven and it would have been iconic, but the songs in Hokus Pokus became a secret handshake for the hardcore—people who really gave a shit about skateboarding’s culture not just the act”.
Artless / Anthony Pappalardo

“When we were filming for Shackle Me Not we were still a brand new company and hardly anybody knew who we were and it was so brand new. I was so busy skating and I noticed there was like a movement in skateboarding, you could feel there was a change in the way, in the tide, not just white H-Street but with every company. I think that video, the H-Street video was saw raw, with the crazy music, and you know, just the wackiness of all of it, I think that feeling went out into the world, and kids everywhere understood you don’t need to live 20mn away from Del Mar to actually be part of what’s happening. I think that just opened up the world of skateboarding to more people”
Matt Hensley – Pro skater and Floggin Molly band member.

Fast forward 35 years, and H-Street, in collaboration with Paris (France) based label Stereo Ronin Records, embarks on a momentous project to release special edition vinyl soundtracks from these seminal videos. This exclusive release features meticulously remastered tracks, including new versions and previously unreleased gems on vinyl, making it a treasure trove for any skateboarding enthusiast.

Curated from bands like Kirk & The Jerks, Sub Society, Wonderful Broken Thing, The Cry,Potential Threat and Figure Ground, representing the golden era of skateboarding music,this album promises an unparalleled experience for fans of Punk Rock, Indy Rock, and ofcourse, skateboarding.

Working alongside RTM Studio in Paris, Stereo Ronin Records has undertaken a remastering journey, ensuring that this vinyl edition delivers a truly unique sonic experience, capturing the essence of a bygone era while resonating with contemporary audiences.

Original Sound Track recording from the acclaimed motion picture Ghost World. The movie is the raw-edged tale of two teenage girls who are out of sync with the world around them and stars Scarlett Johannson and Thora Burch who are pictured on the cover of the LP. The sound track is a fascinating mix-ture of atmospheric blues, vintage jazz, calypso, rock, ragtime, Indian film music and more.

Perpignan Burning: the Southern French capital of garage rock in search of the riff. Or as Lou Reed would put it: "You can"t beat two guitars, bass, and drums." Content: 27 previously unreleased tracks on the double LP and six digital-only bonus tracks.All tracks on this compilation were recorded in or around Perpignan, France, and go to the musical extremes of an extreme city. Whether garage punks or freakbeat mods, country punks or city rockers, whether pioneers or new to the scene: the only thing that counts is the riff.Pascal Comelade, infamous riff explorer since the 1970s, is the unlikely godfather of this bunch of punks and rockers. He opens the trip with his emblematic cover design and closes it with his own Riffifi orchestra to the ultimate riff of The Stooges" "I Wanna Be Your Dog".

WE ARE WINTER'S BLUE AND RADIANT CHILDREN (WAWBARC) is the new quartet of Mat Ball(BIG|BRAVE), Efrim Manuel Menuck (Godspeed You! Black Emperor, Thee Silver Mt. Zion),and Jonathan Downs and Patch (both Ada). On "NO MORE APOCALYPSE FATHER" they presentsix modal lullabies drenched in seared distortion, slathered across striding electronic pulses.Ball and Menuck began creating music in and for the bleakest moments of Montréal winters:"We're honoring that idea of winter, when you come inside and your house is warm, a placethat only exists because of how cold it is outside," says Menuck. They later recruited Downsand Patch to flesh out their initial ideas. Menuck met them in 2015 when recording Ada'sfinal album at Montréal's Hotel2Tango _ where they reconvened to make this record."NO MORE APOCALYPSE FATHER" is an album about witnessing bleakness from a place ofsafety. Carrying newfound descriptive depth, thanks to the quartet's open-ended songsfreeing him from writing in meter, Menuck likens his lyrics to photorealism. On opener `Ratsand Roses' he sings of an unnamed city struck by an unknown cataclysm, but the details arelocal: specifically, his neighbors inadvertently poisoning birds when tackling a rat infestation.It's backed by blown out synths and guitars reaching a soaring crescendo. "Seeing thingsfrom a distance and not being able to intervene happens a lot on the record," Menuckexplains. "If you're a feeling and thinking person, that's just part of the human condition.We watch horror unfolding from afar, unable to do anything concrete to change it."A powerless witness, able to describe but not intervene. `Dangling Blanket From A Balcony(White Phosphorous)' references Michael Jackson holding his child over a hotel balcony in2002_the bizarre media spectacle still lodged in Menuck's psyche. This and the album'sclosing track also elegize white phosphorous, a technology of war designed to light upbattlefields but capable of inflicting horrific burns on those it touches...

"The music of New York trio Weak Signal (Mike Bones, guitar and voice; Sasha Vine, electric bass, violin, and voice; Tran, drums and voice) is a masterclass in simplicity and economy but these aspects aren’t present for their own didactic sake. Rather, their art is world-building in the most essential of ways, subtly spinning out in an enveloping, rich haze from a clear, architectural core. There are sections of knife-like collective squall and dialogic drift that glance at improvised music; while not strictly pop, the tunes are incredibly catchy with wry, keenly memorable lyrics that easily stick in one’s craw. With associations including Endless Boogie, Sian Alice Group, and Soldiers of Fortune, Weak Signal formed in 2017. They waxed two full lengths in the period leading up to the pandemic ('lp1'; 'Bianca'), and during that unsettling year-plus without many gigs to speak of, the trio kept busy and unleashed a handful of choice digital EPs and a couple of split 7” singles (cue up 'Rolex' if you haven’t heard it). In 2023 the group released 'War and War', a self-published book / CD (its title taken from a volume by Hungarian writer László Krasznahorkai) that was reissued on LP by 12xu the following year. 'Fine' is their fourth full-length to date, its tight ten-song program fleshed out with sonic icing from keyboardist Alexis Taylor (Hot Chip) and guitarists Doug Shaw (Gang Gang Dance; White Magic) and Cass McCombs."—Clifford Allen

The concept for and palette of Crystal Dorval aka White Poppy’s ‘Paradise Gardens’ trilogy first germinated in 2016 as a notion of “paradise music” combining new age, bedroom shoegaze, and bossa nova into “transcendental Tropicalia.” As she filled tapes of recordings exploring the idea, many of the songs gradually gravitated towards the hermetic dream pop her project is best known for, becoming the albums Paradise Gardens (2020) and Sound Of Blue (2023). Dorval describes these collections as a sort of “emotional purging or shadow work,” before arriving at “the state of inner paradise:” Ataraxia.

As the third, final, and most purist realization of the original ‘Paradise Gardens’ vision, Ataraxia delivers. Nine instrumentals of nimble guitar, elevated bass, clean rhythm, and clear light, gliding like swans on a shimmering pond. There’s a sense throughout of playful tranquility, of serenades at sunset, of kisses of blissful Muzak wafting along a boardwalk.

But behind the music is a patience, grace, and levity born of Dorval’s personal journey with spiritual healing that paralleled the trilogy. A process of transmuting pain into beauty, day by day, melody by melody, cleaving the darkness from the soul and re-entering one’s rightful home in the Garden.

Whitney Johnson, alter-ego of psychoacoustic voyager Matchess, presents a new composition for sine waves, marimba, viola, Arp Odyssey and Halldorophone. Meditating on the duality of the human body (it collects/collates all the sensory info, allowing us the gift of hearing music; it is a fallible structure, wearing down often on the long path to final breakdown), Whitney compassionately radiates healing frequencies to inspire inspired response.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

'Wish On The Bone' is Why Bonnie's sophomore LP and debut for Fire Talk. It's untethered from any landscape or genre, propelled by this freedom and resulting in Why Bonnie's most catchy, hopeful body of work to-date. Ranging from twangy country infused rock jams to more intimate and lo-fi arrangements, ‘Wish on the Bone’ is wide-eyed and waiting. It’s a coming of age film in which the protagonist rejects the forces that have tried, and failed, to shape her into something other than herself. It leaves you with a hard-fought sense of hope, which is among songwriter Blair Howerton’s greatest gifts. “You owe it to the people who are experiencing the worst to just keep pushing,” Howerton says. That’s the throughline of “Wish On The Bone”, a record that rewards with repeated listens.

worlds greatest dad, the four piece of Maddie Duncan on vocals and guitar, Keagan Krogh on guitar and keys, Matt Hendler holding down percussion and Ben Etter on bass and backing vocals, recorded their sophomore album partially at Maze Studios in Atlanta, while filling in the rest in their respective homes in 2020. The band doesn’t shy away from the emo/pop-punk influences that permeate their earlier recordings, but on their second LP have embraced their roots and, as Duncan calls it, the redneck emo sound that is deeply influenced by their youth growing up in the backwoods of Florida.

Tokyo based indie pop / psychedelic pop band, xiexie finally releases their long-awaited debut album called “wellwell” on June 12. They have played in Fuji Rock Festival, and opened for many international artists. They also did their first headline show overseas in Taiwan and it was very successful.Their music is a bridge between Asian indie music scene and US indie music scene.

Yon Loader is a New Zealand recording project developed over distance and led by James Stuteley (Carb on Carb). Made in numerous sessions in various locations, the project weaves together many elements and talents of Aotearoa indie rock. Stuteley composed the core of the songs before fleshing them out with help from a cast of rotating collaborators and key engineer and producer Harry Lilley. These collaborators (including members of Recitals, Welcomer, For Everest, Model Home, Fouler, First Move, and Bad Friend) build Stuteley’s straightforward, candid compositions into an album of weighty, intricate rock songs with melancholic, diaristic emo-punk energy. Interweaving guitar and cello draws on the epic without going into excess. Slipping between thoughtful guitar passages and poignant interludes to expansive uplifting blowouts of repeated vocals and waves of cymbals, Yon Loader's debut album draws you in and holds you tightly.