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2019 saw the band facing guitar player changes and with a new line up they entered studio with Dani Frutos to record the 9 songs on Fi Del Mon. 9 tracks or urgent hardcore punk continuing the tradition of modern Barcelona Hardcore while keeping an eye in Finnish hardcore and which are not afraid to turn the speed down to a pace that could bring to mind mid paced DISCHARGE or CRO-MAGS. The riffs are thick and crunchy, full of feedback and distortion, backed by a solid rhythm section and a assertive Catalan voice.

Ragdoll Dance is the 4th album by New York-via Texas punks Institute. Most underground punk bands don’t make four albums, but it makes sense for Institute. Even on their earliest releases, Institute’s sound teemed with possibility, drawing from a long history of anarcho-punk, post-punk, and hardcore, and fusing those aesthetics with great, classic-sounding songwriting. Ragdoll Dance finds Institute back with their original lineup (including Albert from Nosferatu and Altar of Eden on drums) and returning to a DIY approach to recording, working both at home (using the same setup as singer Moses Brown’s solo project, Peace de Résistance) and with Joe and Owen of D4mt Labs, whose gritty yet vital recordings have documented some of DIY punk’s best contemporary bands. Institute also chose to work within the international hardcore community to release the record; Brown plays drums in Secretors alongside Joe from Roach Leg Records, whose label is known for releasing some of the noisiest, most fringe recordings in the punk sub-underground (across the pond they’ve gone with the iconic La Vida Es Un Mus). While Ragdoll Dance is culturally embedded in the world of DIY hardcore punk, musically it tends to move back toward the more eclectic sound of Salt and Catharsis. The album’s title is a nod to Siouxsie and the Banshees, and Brown also cites arty post-punks Magazine as an influence on the record, which shows on tracks like “City” and “Where’s It Go,” energetic, left-of-center pop songs that challenge but also gratify. If you’re looking for the savage young Institute, though, “Uncle Sam’s Hate” and “Plateau of Self” crackle with raw rock and roll energy that few groups can summon, particularly groups with Institute’s inimitable style, musical chops, and lyrical weight. While so many punk bands peak early, Institute has continued to refine these qualities, and Ragdoll Dance’s assured tone makes it as vital as anything they’ve recorded so far.

I Can Make A Mess (aka Ace Enders) "Silver & Gold" available on 12" vinyl for the first time w/ all new artwork!

I Can Make A Mess (aka Ace Enders) "Growing In" available on vinyl for the first time!

Record Store Day 2021 Release. 1500 pressed on Creamy White vinyl & DL card. First time on vinyl since 1998 for this magnificent patchwork collage of the Giant Sand main man's eclectic muses; a cut and paste gem, meandering, melancholy and beautiful. Classic solo album from Giant Sand's main man Howe Gelb circa 1998, re-issued with new liner notes and remastered on cream vinyl.

Tracklisting: 01. Temptation OF EGG 02. 4 Door Maverick 03. This Purple Child 04. SHY OF Bumfuck 05. Propulsion 06. Catapult 07. Creeper 08. Tanks Rolling Into Town 09. Halifax IN A Hurricane 10. Living ON A Waterfall 11. Like A Store Front Display 12. Explore YOU 13. Nico's LIL Opera 14. Thereminender 15. Hisser 16. Intro Speck 17. Soldier OF Fortune 18. Lull 19. Short WAY TO END THE DAY

1500 pressed on Creamy White vinyl & DL card. First time on vinyl since 1998 for this magnificent patchwork collage of the Giant Sand main man's eclectic muses; a cut and paste gem, meandering, melancholy and beautiful. Classic solo album from Giant Sand's main man Howe Gelb circa 1998, re-issued with new liner notes and remastered on cream vinyl. A catch-all collection from the much-travelled troubadour that brings together a wealth of personal recordings edited into an intriguing ponder wander through the man's thinking. A truly intoxicating set of songs buoyed by Howe Gelb's prosaic prose and effortless use of the mind-bending one-liner. "'Hisser' is the vision of a truly unique and engaging talent, and in its pure heart and soul lies a masterpiece." College Music Journal * "One of those albums that could have a semi-permanent spot next to the hi-fi for late-night playing." The Independent

Hailing from Swansea, UK, Hot Mass take their eclectic taste in music and throw it all into the melting pot to create some melodic, grunge fuelled, indie popping, jaw dropping, punk bangers awash with defiant upbeat lyricism.They released their debut record 'Nervous Tensions' in 2016, a record filled to the brim with raw energy and young ideas. In the wake of this, Hot Mass embarked on successful tours around the UK and Europe supporting bands such as "The Menzingers", "Toys that Kill", "Iron Chic" and "The Bouncing Souls".Hot Mass are now back with their 2nd album, titled 'Happy, Smiling and Living the Dream'. Featuring 12 melodic and poignant songs the album expertly combines driving rhythms with their talent of infusing catchy melodies. The sounds of early college rock, 90's grunge and UK punk particularly shine through on this record. The band feel more self-assured than ever and play with themes of joy and melancholy with relatable lyrics that take a satirical, questioning and sometimes apathetic stance on world affairs and modern lifestyles.

Created on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta's HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, "Second Empire Justice" era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the "death" of punk and the "birth" of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT. Recorded by HOME FRONT in an unheated plywood box in some semblance of fading daylight. Produced and mixed in the darkest depths of lockdown by Jonah Falco on a boat moored outside an isolated estate along the A40 in between sets of "The Evil Russian Pushup Challenge" and icy walks to Lidl.

Cover with a beginning seam split at the upper edge.

Cover with a seam split at the upper edge.
Record with just a few paper scuffs.
Includes original inner sleeve.

Director David Lynch once said "I long for a kind of quiet where I can just drift and dream. I always say getting inspiration is like fishing. If you're quiet and sitting there and you have the right bait, you're going to catch a fish eventually. Ideas are sort of like that. You never know when they're going to hit you." Inspired by this quote in both name and spirit, Hollie Kenniff's The Quiet Drift is an ambient gallery of cloudlike synths, seraphic strings, echoing guitars, and other celestial textures guided to cohesion by Hollie's own wordless singing. Though the album certainly creates (and originates from) the kind of space where Lynch's proverbial "fish" can be caught, The Quiet Drift is a fitting title for Hollie's own history, both recent and distant. During the course of the album's creation, Hollie and her family moved cross-country from an island in Washington state, to an island in Maine before ultimately relocating to Canada. "As a child I visited Ontario year-round," she explains in her own words. She continues "More than any other landscape, I think the lake, rivers, and woods there left the most enduring impression on me. The landscape and pace of life of these places will always stay with me." But the reverberant spaces Hollie crafts need no physical headquarters. Instead of conjuring views of nature at the ground level, her sound more readily evokes a top-down perspective, with the distinct features of the land shrinking underfoot as the listener becomes untethered from geography altogether. The Quiet Drift belongs more to the liminal spaces between life and afterlife, memory and fantasy, landscape and dreamscape, than any mappable locale. Describing her formative years, Hollie says "As a dual US/Canadian citizen who spent my childhood in a rural town-- one that I haven't returned to in many years - I have a sense of not entirely belonging anywhere. When I was a teenager my close friends were male musicians, so I was also an outsider to the degree that they were wild and anarchic in a way that I wasn't. I was a quiet book reader and avid music listener who enjoyed being around a creative group. I was also a radio DJ for alternative and punk music throughout high school." In this light, The Quiet Drift attests that creativity is placeless, and calls into question the stereotype of artists as scene-centric city dwellers. Having come of age in the absence of metropolitan sensory overload, Hollie learned to spot the muse in nature, and within herself, instead of the echo chamber of a frenzied peer group. On The Quiet Drift Hollie Kenniff wholly escapes from such pop-culture feedback loops into transcendent, shimmering realms, and she brings the listener along with her. In this age in which we have all been called to reevaluate our relationship to indoor spaces, and seek refuge in the great outdoors, The Quiet Drift provides an apt soundtrack for such rebalancing.

Ever Since The Release Of Their Acclaimed Debut Ep P'eau (2018) These Mechelen-Based Musicians Have Been Honing Their Craft In Songwriting And Production, Building A New Home Studio To Record Future Material While Also Expanding From A Three-Piece To A Five-Piece Ensemble. By Adding Singer/Percussionist Stefan De Graef (Psychonaut) And Guitarist/Singer Sander Rom (L'itch) To Their Ranks, Hippotraktor Have Become A More Versatile Outfit Able To Employ A Broader Palette Of Sounds, Taking The Band's Earlier Instrumental Prog Metal Sound To New Heights.Taking Notes From The Best Moments In Contemporary Progressive And Post Metal, Hippotraktor Capture The Awe-Inspiring Power Of Nature_from The Delicacy Of The First Falling Leaf To The Massive Cosmic Energy Of The Sun. By Combining The Big, Catchy Riffs And The Rhythmical Prowess Of Gojira With The Relentless But Equally Groove-Loaded Complexity Of Meshuggah, Meridian Delivers An Overwhelming Experience Of Sound, Presenting The Listener With Sentiments That Are Recognisable, But With An Intensity That Seems Larger-Than-Life. "Meridian Tells The Story Of A Solitary Wanderer On The Earth In The Absence Of Other Beings," Explains Stefan. "Without Anyone To Share Knowledge And History With, The Protagonist Is Forced To Create His Own Truths And Stories About The Nature Of Life, Consciousness And The Universe. The Protagonist Begins To Personify And Deify His Surroundings, Assigning Sentience To The Trees, The Mountains, The Wind, The Waters Etc. For They Are His Only Companions In This Desolate World."Essentially, Meridian Is An Exploration Of The Evolutionary Theory Of Naturism, Which Was Put Forth By German Scholar Max Mu"Ller In The 19th Century, And Which Argues That Religion Finds Its Origin In The Deification Of The Forces Of Nature By Early Human Beings. By Juxtaposing This Sociological Theory With Seven Tracks That Unfailingly Conjure Images Of The Earth, Sea And Sky, Hippotraktor Have Created An Analogy That Enlarges The Imaginative Quality...

The Seattle-based songwriter Grant Olsen -best known as half of the duo Arthur & Yu-christens his new project GOLD LEAVES. An autumnal character imbues these nine originals. Just as foliage buds, changes color, and eventually falls from the branches every season, so too do themes of birth, death, and regeneration permeate "The Ornament". Like most creative types, Olsen's muse is always in transition. The album went through myriad permutations between inception and completion. Although he began work on it nearly four years ago, he scrapped the bulk of those early efforts after a bag...

The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. The multi-faceted album is complex in its construction, but by enlisting producer Jaime Gomez Arellano (Paradise Lost), each element is given ample room to breathe and indeed shine. Gold's fourth album, Why Aren't You Laughing?, produced by Jaime Gomez Arellano (Paradise Lost, Grave Pleasures). The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. Available on CD & LP. Recalling the experimentalism of Godspeed You! Black Emperor, the dark and sweet beauty of Kristin Hersh and Throwing Muses, but firmly rooted in a powerful, yet artsy rock vibe, Gold have tapped into something truly unique.

Black & White Smash Vinyl.Since first splashing on to the Southern California circuit in the midaughts,Geneva Jacuzzi (née Garvin) quickly cemented herself as thequeen of the Los Angeles underground. Her immersive and unhingedmultimedia performances are the stuff of legend, a psychotropic galleryof masks, costumes, confrontation, and massive art installations.Jacuzzi's recordings are equally revered, catchy hooks and crypticmoods dusted in 4-track grit. The arrival of her third official full-length,and Dais Records debut, is cause for such celebration. Triple Fire vividlyexpands and crystallizes Jacuzzi's signature fusion of midnight melodyand mutant aerobics across a 12-track hit parade of wildcard synth-popand sly post-apocalyptic camp. Her enthusiasm for the album is as boldas her body of work: "Halfway through, we started calling this the recordof the prophecy, the record that's going to save mankind."Opener "Laps of Luxury" sets the template - a strobe-lit dreamer'sdelight of swaggering synth bass, Haçienda drum machinery, and sultryvocal spellcasting ("Tragic mysteries I've known for centuries / I burnedall memories and turned to fantasy"). The collection burns throughshades of sardonic strut ("Art Is Dangerous," "Nu2U," "Keep It Secret"),coldwave kiss off ("Speed Of Light," co-produced by Andrew Clinco ofDrab Majesty), retro-futurist body music ("Dry," "Scene Ballerina," "BowTie Eater"), and cheeky glitterball pop ("Take It Or Leave It," "Heart FullOf Poison" co-produced by Roderick Edens and Andrew Briggs). Shelikens the eclectic spectrum of moods to the continuum of humanemotions: "Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually itdeconstructs, turns into a party, and then ends sweet and soft."Taken as a whole, Triple Fire comes as close as any document yet tocapturing Jacuzzi's kaleidoscopic alchemy of pop sugar and chaosenergy, flickering between icy and ironic, chic and surreal, hungry andheartsick. Hers is a muse as rare as...

Since first splashing on to the Southern California circuit in the midaughts,Geneva Jacuzzi (née Garvin) quickly cemented herself as thequeen of the Los Angeles underground. Her immersive and unhingedmultimedia performances are the stuff of legend, a psychotropic galleryof masks, costumes, confrontation, and massive art installations.Jacuzzi's recordings are equally revered, catchy hooks and crypticmoods dusted in 4-track grit. The arrival of her third official full-length,and Dais Records debut, is cause for such celebration. Triple Fire vividlyexpands and crystallizes Jacuzzi's signature fusion of midnight melodyand mutant aerobics across a 12-track hit parade of wildcard synth-popand sly post-apocalyptic camp. Her enthusiasm for the album is as boldas her body of work: "Halfway through, we started calling this the recordof the prophecy, the record that's going to save mankind."Opener "Laps of Luxury" sets the template - a strobe-lit dreamer'sdelight of swaggering synth bass, Haçienda drum machinery, and sultryvocal spellcasting ("Tragic mysteries I've known for centuries / I burnedall memories and turned to fantasy"). The collection burns throughshades of sardonic strut ("Art Is Dangerous," "Nu2U," "Keep It Secret"),coldwave kiss off ("Speed Of Light," co-produced by Andrew Clinco ofDrab Majesty), retro-futurist body music ("Dry," "Scene Ballerina," "BowTie Eater"), and cheeky glitterball pop ("Take It Or Leave It," "Heart FullOf Poison" co-produced by Roderick Edens and Andrew Briggs). Shelikens the eclectic spectrum of moods to the continuum of humanemotions: "Funny, sexy, sad, scary, witty, hopeful, menacing. Eventually itdeconstructs, turns into a party, and then ends sweet and soft."Taken as a whole, Triple Fire comes as close as any document yet tocapturing Jacuzzi's kaleidoscopic alchemy of pop sugar and chaosenergy, flickering between icy and ironic, chic and surreal, hungry andheartsick. Hers is a muse as rare as it is regenerative, forever re...