Pop & Rock Vinyl New Releases

22, A Million is a record of dualities. First released in 2016, Bon Iver's third album found Justin Vernon reckoning with pain and love, suffering and redemption, omens and happenstance. Such ambiguity is the core of how Justin composes words: there are always two ways to see something. Inside a fragmented language of symbols and numbers is a sonic distillation of past years of turbulence and how to recover. Across ten songs, 22, A Million shattered expectations of what a Bon Iver record could be. Through different groups of friends—close, passing, new, old—he began to assemble proto-melodies, vague textures and specific moods from hundreds of hours of recorded improvisations. Songs like “22 (OVER S--N),” “33 ‘GOD’,” “715 - CRΣΣKS” and “8 (circle)” traded familiar structures for fractured electronics, pitch-shifted vocals and dense layers of sound. What initially felt like a radical departure has since become one of the most influential and enduring works in Bon Iver’s catalog. 2026 marks the ten-year anniversary of 22, A Million. To celebrate,


Bon Iver and Jagjaguwar will release a deluxe anniversary edition pressed on Frosted Silver vinyl, featuring new alternative artwork with soft-touch finish and spot UV gloss detailing. The package will include the original 28-page lyric booklet, represented here in 3x silver inks, with an additional 12-page full-color inlay booklet documenting the album’s creative process through previously unseen artwork and an essay penned by Eric Timothy Carlson. The Brooklyn-based artist’s visual work has shaped the Bon Iver world since 22, A Million and his visual language has become inseparable from the album itself. A custom 12-panel ‘inverted cross’ CD edition will also be available.

Das zeitreisende Duo Angine de Poitrine aus dem kanadischen Quebec, inspiriert von den größten Rockstars der Welt, ist fasziniert von Hotdogs, Pyramiden und der schieren Grandiosität der Rockmusik. Mit treibenden Drum-Grooves und kunstvoll geschichteten mikrotonalen Gitarren erzeugen Klek und Khn de Poitrine hypnotische Klang- und Bildwelten im psychedelischen Math-Rock-Kosmos. Ihre Live-Session bei KEXP hat bereits Millionen von Aufrufen erzielt – Tendenz steigend. Im Februar 2026 zählt die neue Single "Fabienk" zu den 50 meistgesuchten Songs weltweit auf Shazam. Hinzu kommen in wenigen Minuten ausverkaufte Konzerte, Auftritte auf internationalen Festivals und zehntausende Vinylpressungen, um die Nachfrage zu decken… All das ist vor allem für uns Menschen wichtig. Angine de Poitrine hingegen spielen einfach nur gerne Rock’n’Roll.

Das zeitreisende Duo Angine de Poitrine aus dem kanadischen Quebec, inspiriert von den größten Rockstars der Welt, ist fasziniert von Hotdogs, Pyramiden und der schieren Grandiosität der Rockmusik. Mit treibenden Drum-Grooves und kunstvoll geschichteten mikrotonalen Gitarren erzeugen Klek und Khn de Poitrine hypnotische Klang- und Bildwelten im psychedelischen Math-Rock-Kosmos. Ihre Live-Session bei KEXP hat bereits Millionen von Aufrufen erzielt – Tendenz steigend. Im Februar 2026 zählt die neue Single und Album-Opener "Fabienk" zu den 50 meistgesuchten Songs weltweit auf Shazam. Hinzu kommen in wenigen Minuten ausverkaufte Konzerte, Auftritte auf internationalen Festivals und zehntausende Vinylpressungen, um die Nachfrage zu decken… All das ist vor allem für uns Menschen wichtig. Angine de Poitrine hingegen spielen einfach nur gerne Rock’n’Roll.

Originally released April 15th, 2014, Do to the Beast was on its release the first new album by The Afghan Whigs in over a decade and a half. Founded in Cincinnati, Ohio, in 1988, the band has long stood out from its peers, with their savage, rapturous blend of hard rock, classic soul, and frontman Greg Dulli’s searing obsessions. The album served as both a homecoming – it marked their then return to Sub Pop, for whom the Whigs were the first signing from outside the label’s Northwest base – and a glimpse into the future of one of the most acclaimed bands of the past thirty years.

On the one hand, In Spades is as quintessentially Afghan Whigs as anything the group has ever done – fulfilling its original mandate to explore the missing link between howling Midwestern punk like Die Kreuzen and Hüsker Dü, The Temptations’ psychedelic soul symphonies, and the expansive hard-rock tapestries of Led Zeppelin and Lynyrd Skynyrd. At the same time, this record continues to push beyond anything in the Whigs’ previous repertoire – another trademark, along with the explosive group dynamic captured on the recording.

Much like a teacher, Meryl Streek imparts his knowledge and lived experiences to all who are willing to listen. His third album, ‘Stories They Don’t Teach You At School’, serves as an alternative form of education, delivered through a visceral blend of factual soundbites and raw emotion, loops and samples, guitars and bass. The lyrics resonate with core values of compassion, resilience, and community—themes rarely explored within a classroom setting or seen in today's fragmented society. By prioritising conviction over commercial success, the Dublin artist's outspokenness may invite controversy. Yet beneath the fervor lies a profound desire for positive social change at home in Ireland, and beyond.
Meryl Streek returned to Darkland Studios in Dublin to fine-tune the recordings previously made in a shed at the back of his ma's garden. Here he continued the genre-blurring nature of his earlier work, enticing listeners toward dissonant landscapes and hypnotic rhythms. Gentle piano tones collide with abrasive synths, creating a striking tension between beauty and noise. Streek tempers his rage when appropriate, integrating atmospheric textures and pop sensibilities into his ever-expanding sonic collage.
As is tradition with any Meryl Streek record, ‘Stories They Don’t Teach You At School’ unearths many uncomfortable truths. ‘Rotten Fruit’ examines media manipulation and the numbing proliferation of misinformation, all soundtracked by synth-punk. With gliding keys and a crunchy bassline, ‘Council Estates’ critiques systemic government failures affecting the working class. ‘Kelly’ is a slice of electronica that details an ongoing criminal investigation, currently classified as a “Contested Cause of Death”. The indie pop of 'The Chancer' brings much-needed attention to landlord politicians. As the album progresses, the mission remains absolute: to provide a voice for the voiceless.
To amplify these narratives, Meryl Streek handpicked a diverse group of collaborators for the project. ‘Rotten Fruit’ features Steve Ignorant of anarcho-punk collective CRASS. ‘Depression’ opens with a touching recording of the late Liam Norton, close friend and former touring companion, while Pete Holidai of The Radiators From Space contributes guitars on the song. Comedian Phill Jupitus provides the spoken outro for ‘The Chancer'. ‘Housing For All’ incorporates audio from Derelict Ireland campaigners Frank O’Connor and Jude Sherry. Venn Records owner and Gallows guitarist Laurent ‘Lags’ Barnard joins forces with Adebisi Shank bassist Vinny McCreith on the aggressive ‘Bullet,’ while Sophie Porter of Other Half provides bass guitar for ‘Life is Not a Rehearsal’. The album concludes with a three-minute spoken word piece by Frankie McNamara, the viral creator behind ‘Meditations for the Anxious Mind’.
In her 1990 protest anthem “Black Boys on Mopeds,” the late Sinead O’Connor warned, “To say what you feel is to dig your own grave”. With this release, Meryl Streek firmly holds the shovel.

Als Post Animal ihr neues Album IRON aufnahmen, waren zum ersten Mal seit fast einem Jahrzehnt alle sechs Originalmitglieder wieder zusammen im Studio. Das Ergebnis ist die Verkörperung von 30 Tagen voller Kameradschaft und grenzenloser musikalischer Entdeckungsreise – ihre erneuerte Verbundenheit ist unerschütterlich. Das Album nutzt die neue Schärfe, um Genregrenzen zu überwinden und erweitern, von Synthpop über Folk und Vintage-Radiorock bis zu spannungsgeladener Psychedelia. IRON versetzt den Hörer direkt in den Raum der Band – freizügig und experimentell, aber dennoch präzise gespielt. "Das Zusammentreffen all dieser kreativen Kräfte war wie geschärftes Eisen," sagt Sänger/Bassist Dalton Allison. "Wenn wir nah beieinander sind, machen wir uns gegenseitig besser."

Moving between lo-fi experimental songwriting, sparse post-punk textures and intimate recordings; Ukrainian artist Regina Collage’s new album ‘Horizont’ is a personal and honest document of rebuilding a life and creative voice in Bristol. The record holds space for themes of burnout, quiet shame, tenderness and the courage of staying emotionally open when the world feels unstable. Sung entirely in Ukrainian, ‘Horizont’ does not ask the listener to understand every word. Feeling carries the songs forward. Across bedroom recordings and borrowed studios, Regina moves between cloudy dissonance and stark minimal arrangements built around bass, fragments of guitar, and an exposed voice. The recordings hold onto their rough edges. Mistakes remain and imperfection becomes part of the story. “Music for me is about not being scared to be vulnerable,” Regina says. “Almost every song I have is about what it means to be open and emotional. I really do not think it is a weakness. I hope people can listen and feel welcome to take a break and just let their emotions exist.” The album takes its name from the Ukrainian word for “horizon,” that unreachable line where sky meets earth. For Regina, the horizon became a quiet metaphor for living with distance and uncertainty. Inspired by one of her collage artworks showing a figure lying in grass and staring toward that far line, the title track reflects a feeling of moving toward something that never quite comes closer. Even without understanding the lyrics, the song carries a slow sense of longing and suspended arrival. m‘Vpiznavaty’, by contrast, initially feels almost light. Beneath that surface is a candid portrait of burnout and depressive exhaustion. The song looks at those moments when even greeting friends feels overwhelming. It captures the quiet embarrassment of withdrawing from people you care about, and the slow recognition that sometimes stepping away is simply how you survive. Other songs reveal different sides of the same emotional landscape. ‘Weak’ strips everything back to bass, a hint of guitar, and a bare vocal. Written and recorded in a single instinctive session, the track circles around the idea that softness might be its own kind of strength. Repetitive and intentionally unpolished, it quietly sets the tone for the whole record. Running through ‘Horizont’ is the reality of Regina’s life between Ukraine and the UK. Her hometown Kharkiv continues to face attacks, and many of her friends remain on the front line.

Where other bands seem to be hellbent on pushing an energy of exhilaration, London’s premiere grief peddler’s SECRECY seem to be more interested in reminding us all what deep shit we are in. Their debut recorded outing captures the morbid and grandiose power of their successful string of London shows, refining the message to a promising and bewildering first release. Taking compositional cues from THE EXECUTE, SOUTHERN DEATH CULT, and THE CHAMELEONS, the room filling instrumentals carry a bleak and punishing prophecy of moral turmoil and hysteria, opting to drive the notion of post punk off a cliff through force of will alone. The sound is crisp and wide without giving up the austerity necessary to carry the prophetic sense of dire urgency in the vocals, driving and marching drums and bass lines carrying almost danceable guitar parts to climax. Soaring guitars over driving drums push the corpus to blistering movement, restrained by lyrics about fucking and dying, an Eros/Thanatos act delivered with a refreshing lack of irony or sarcasm. Lyrical influences from RIMBAUD and BAUDELAIRE abound, veering from the brink of poetry back down to primitive taunts and cries.

Rochester, NY's The Jet Black Berries existed at the strange and fertile intersection of post-punk restlessness, roots-rock mythology, psychedelic revival, and science-fiction dread. Emerging from the band’s earlier incarnation as New Math, the group refocused in the mid-1980s with a new name, a new vision, and a sound that moved beyond the limits of punk rock and new wave. What followed was darker, stranger, and more ambitious: country-rock ghosts, rockabilly swing, western balladry, psych-punk atmosphere, and beat-inspired storytelling fused into one singular vision. After feeling stymied in their previous form, the renewed band set its sights on breaking out to other countries and, conceptually, other planets.

Recorded in two days in August of 1984, Sundown on Venus was originally released by Enigma/Pink Dust after the newly reconfigured band signed with Enigma. The original 1985 release, however, arrived with complications. Enigma wanted additional material included, so the album was packaged with a bonus 12-inch featuring extra tracks, including a song written for the film The Return of the Living Dead, ill-chosen cover songs, and re-recordings of older New Math material.

Now, the Sundown on Venus Definitive Edition restores the album to what the band originally envisioned it in 1985. Released on CD for the first time with 12 songs newly remastered & re-presented with focus, this "Definitive Edition" brings attention back to the album’s dark narrative arc & unusual genre chemistry. Though the original album received press coverage on both sides of the Atlantic in outlets including Cash Box, Billboard, CMJ, Interview, and the UK’s SOUNDS, Sundown on Venus never found the commercial audience its ambition deserved. What once slipped through the cracks of underground rock history now stands as a missing link between cowpunk, psych revival, rockabilly, goth, post-punk, Americana, & cinematic sci-fi storytelling.

A sought-after collaborator in Chicago’s indie music scene for over a decade, V.V. Lightbody’s third LP is a marvelous showcase of her singular production and arrangement skills, ear-catching melodies, and signature frank lyricism. Period Piece presents a deeply relatable audit of Lightbody’s own anxieties, imperfections, and charming peculiarities as she falls in love, ages, dabbles in divination, and re-evaluates her place in the world.

Notably, Period Piece also marks Lightbody’s debut as a lead producer on her own album – a dazzling and welcome emergence. With layers of perfectly tucked backing vocals, swirling guitars in harmony, chugging bass lines, and romantic, melodic flutes, Lightbody has crafted a playful and pristinely recorded collection of indie-folk songs, veering between 70s Brazilian samba and contemporary electro-pop. Think, Cate Le Bon strolling through an overgrown meadow. Dave Vettraino provided additional production and mixing support, and Lightbody called in a robust team of friends to contribute throughout, including Macie Stewart, Sam Cantor, Emma Hospelhorn, Jack Henry Lickerman, and Cassandra Jenkins.

A sought-after collaborator in Chicago’s indie music scene for over a decade, V.V. Lightbody’s third LP is a marvelous showcase of her singular production and arrangement skills, ear-catching melodies, and signature frank lyricism. Period Piece presents a deeply relatable audit of Lightbody’s own anxieties, imperfections, and charming peculiarities as she falls in love, ages, dabbles in divination, and re-evaluates her place in the world.

Notably, Period Piece also marks Lightbody’s debut as a lead producer on her own album – a dazzling and welcome emergence. With layers of perfectly tucked backing vocals, swirling guitars in harmony, chugging bass lines, and romantic, melodic flutes, Lightbody has crafted a playful and pristinely recorded collection of indie-folk songs, veering between 70s Brazilian samba and contemporary electro-pop. Think, Cate Le Bon strolling through an overgrown meadow. Dave Vettraino provided additional production and mixing support, and Lightbody called in a robust team of friends to contribute throughout, including Macie Stewart, Sam Cantor, Emma Hospelhorn, Jack Henry Lickerman, and Cassandra Jenkins.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday

The long-awaited vinyl re-issue of ‘Hawk’ from Isobel Campbell and Mark Lanegan.
Isobel Campbell (ex-Belle & Sebastian) and Mark Lanegan (ex-Screaming Trees, Queens of the Stone Age) third album Hawk, will be reissued on November 6th on LP and CD.

Hawk builds on the critical acclaim of 2006’s Mercury Prize-nominated Ballad of the Broken Seas and 2008’s Sunday at Devil Dirt, solidifying the duo's signature dynamic—Campbell’s ethereal, whispery arrangements juxtaposed against Lanegan’s deep, gravelly baritone. Written, arranged, and produced entirely by Campbell, Hawk was recorded across studios in Scotland, England, and the United States. The 13-track record expands their sonic palette far beyond classic country-folk, venturing into dusty Southern soul, garage-rock stomps, and soaring gospel arrangements. "With this record, I wanted to stretch the canvas further," says Isobel Campbell. "Mark and I have built a true shorthand together over the years, which gave us the freedom to push into heavier grooves, raw blues, and sweeping orchestral textures while keeping the core intimacy intact. Album Highlights & Key Collaborations "You Won't Let Me Down Again" — The album’s lead single, driven by a hypnotic rhythm and featuring a searing guitar solo from former Smashing Pumpkins guitarist James Iha. "Come Undone" — A moody, slow-burning Southern soul ballad showcasing Lanegan at his most vulnerable. Townes Van Zandt Covers — Faithfully rendered versions of "Snake Song" and "No Place To Fall," the latter featuring guest vocals from American singer-songwriter Willy Mason. "Lately" — A cinematic album closer that swaps the pair's vocal interplay for a rousing, brass-tinged gospel choir.

The long-awaited vinyl re-issue of ‘Sunday At Devil Dirt’ from Isobel Campbell and Mark Lanegan.

Sunday At Devil Dirt is the second full-length collaboration between the former Belle & Sebastian member (Campbell) and Lanegan, the Screaming Trees frontman and part-time QOTSA vocalist.

Recorded between studios in the Catskills and Isobel's native Glasgow, Sunday At Devil Dirt is an album of dust bitten ballads and troubled wanderings, easily the equal of its predecessor. Again, Campbell and Lanegan complement each other beautifully, like silk on cracked leather. While continuing to mine the same rich seam of Alt-Country, Folk and Blues of their debut, the new record also embraces a dusty southern gothic, while a sultry, jazzy feel is evident on a number of tracks. As with their debut, the album has been written, produced and arranged by Isobel Campbell, with Lanegan providing lead vocal duties.

Blood Sanctum Vinyl w/ Poster

Futurismo präsentiert das legendäre Debütalbum "Only Theatre Of Pain" (1982) der Gothic-Legenden Christian Death in neuen limitierten Deluxe-Formaten - remastert und erweitert um frühe Demos und rarem Material, samt Poster. "Only Theatre Of Pain" gilt als Meisterwerk und Ursprung des Deathrock - ein wegweisendes Epos von unheiliger Kraft und tiefschwarzer Emotionalität. Obwohl seine Wurzeln im Punk liegen – die Ursprünge der Christian Death-Originalbesetzung liegen in der Früh-1980er Hardcore-Explosion in Südkalifornien –, kann die Bedeutung dieses Werks für die nachfolgende Musiklandschaft nicht hoch genug eingeschätzt werden. Wie ein Adrenalinstoß ins Herz der Finsternis entspringt diese ungezügelte und geheimnisvolle Aufnahme bis heute jeder Kategorisierung. Mit dem visionären Rozz Williams (damals noch Teenager) sowie Punk-Legende Rikk Agnew (Adolescents), James McGearty und George Belanger präsentiert "Only Theatre Of Pain" eine musikalische Erkundung, geprägt von psychosexueller Lyrik und einem tiefen Glaubenskampf, aufgenommen innerhalb weniger Tage mit Produzentenlegende Thom Wilson. Klanglich und visuell seiner Zeit voraus, ist dieses Stück sakrilegischer US-Punk ein absolutes Muss für alle, die sich für Gothic begeistern, für Fans von The Misfits, Bauhaus und The Cramps.

Infusing his cinematic, psychedelic musical vision into cutting-edge, bass-heavy electronics, Kutiman presents a euphoric club journey through UK garage, D&B, post-dubstep, and futuristic dance music.

With syncopated drums, deep basslines, and R&B-soaked vocals from standout artists like Jenny Penkin, Misha Sutherland and Odelya Illouz, the project bridges the gap between the indie electronica of Four Tet, Caribou, and Jamie xx and classic alternative club sounds.

Club music is emotional at its heart, and this release captures its essence perfectly; the peak-time euphoria, the moments of introspection & the times spent lost in the music.

Three years after the release of their debut album, Do Nothing return with their much anticipated sophomore, 'Friend World'. The Nottingham four piece consisting of Chris Bailey, Kasper Sandstrøm, Charlie Howarth, Andrew Harrison, emerge bolder, self-assured and more energetic than ever.

Lead single 'Stars' gives an insight into the upcoming LP, synth-laden with hypnotic riffs, meandering vocals and bouncing basslines. The single, already a fan favourite, paves the way for listeners to enter the 'Friend World' that Do Nothing have created. At first glance, the album is overflowing with hard hitting guitars, infectious rhythms and frontman Bailey's signature razor-sharp witted lyricism, but dive deeper into tracks such as These People Want Blood and standout track Loner, to find an alternative take on the album, representing a softer and more pensive side of the band's writing.

feeble little horse is naturally delighted to present their third full-length LP, bitknot. The album was written, arranged, produced, and recorded by Sebastian Kinsler, Lydia Slocum, and Jake Kelley across their respective homes in Pittsburgh, Pennsylvania. A spirited investigation into the unnatural space created between human nature and a culture of convenience, a synthesis of dirt and digital, bitknot by feeble little horse creates a language wherein one can re-imbue a sanctity of interdependence away from consumptive “self-suciency” and materialism. Slocum’s meandering introspection playfully harmonizes against Kinsler’s hooks, walls of noise, a supercharged car battery’s worth of synths and samples dropped in the ocean of their guitar-driven songwriting framework.

Futurismo are proud to present DEVO’s NITROUS NIGHTMARE, Halloween Live ‘75. Never before released, or heard in it’s entirety, this legendary live performance is presented here in it’s full chaotic glory on Super Limited edition Deluxe cassette format!
The live release all hardcore Devo fans have been waiting for, Nitrous Nightmare demonstrates a band harnessing their artistic greatness in the purest of forms. This mythic performance captures Devo perfecting some of their most iconic concepts in the raw. Expertly restored, this live recording makes for a thrilling experience, it also captures Devo as a lightening rod for hostility.
On Halloween 1975, Devo took the stage at the WHK Auditorium in Cleveland, in a supporting capacity for jazz legend Sun Ra, to perform for a raucous crowd dressed in the finest of Halloween cliché. Already riding high on Nitrous Oxide and booze supplied by the sponsoring radio station, this unaware horde was expecting to see a slick cover band churning out renditions of Bad Company hits, only to be subjected to an act of subversive performance art that would send the growingly aggravated crowd into eventual meltdown. Physical threats ensued, but Devo played on.

The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.

Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.

The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.

Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.

The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.

Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.

The choice of the title “Unwanted” creates a striking contrast with the elaborate variant designation of the pressing and immediately distinguishes the LP as a physical release; Arising Empire is handling the release, keeping Thrown in the label’s roster.

Musically, “Unwanted” continues the uncompromising direction Thrown already showcased with their 2026 singles: advance releases such as “critic” and “rehearsed” highlight the concise, hard-hitting song structures defined by distinctive riffs, forceful breakdowns and intense choruses. On the LP, Thrown brings these approaches together into a cohesive sequence of tracks that combine immediate aggression with catchy songwriting moments. The “Unwanted” LP on White Grey Blue Splatter vinyl thus rounds out the band’s current chapter of recorded output and underscores Thrown’s profile within the metal scene, while the singles already preview the album’s sonic character.

Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie

(A Winged Victory For The Sullen, Stars Of The Lid).



• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.

Mogwai release this new 30-year, career-spanning compilation. As with their debut single ‘Tuner’ in 1996, Happy Tears is being released via the band’s self-owned and run record label Rock Action Records, also celebrating its 30 year anniversary. The album features the physical release of the incredible dream-come-true pairing of Mogwai and Iggy Pop with the single “Underground”. Happy Tears also features highlights from across the band’s discography, including a previous digital only single and a special new re-working of a Mogwai classic, titled ‘Brand New Paths to Helicon 1,’ featuring the Budapest Art Orchestra, and orchestrated by Adam Wiltzie

(A Winged Victory For The Sullen, Stars Of The Lid).



• The DLP features 13 tracks on one artwork matching black and one yellow vinyl.

Flowgeist emerges from a shared inquiry into sound and aesthetics. Genre remains peripheral; meaning stays tethered to sensation. The self-titled debut, released on Evighet Records (EVIGHET007), follows that logic across a full record, moving from matter to memory and giving passing states somewhere to stay. Trip Hop, Drum and Bass, post-punk, breakbeat, EBM, Techno and modular electronics all surface within it, summoned only where a feeling demands them, with acoustic instruments retaining their grain inside the electronic frame. The A side keeps its instruments close and its focus intimate, opening on "Molecules," where Zainab J Lascandri's voice and Arthur Boudet's guitar set the album's tone before it moves through cycles that won't break: a life stuck in place, a trust already gone bu14t still being tended, an attraction whose charm thins out under repetition. That inward attention eventually turns outward, closing the side on a colder note about how influence gets performed and mistaken for substance. The B side works through broken rhythm and cinematic scale. It examines political language for the seams in its polish, follows a relationship reduced to proximity without real contact, and rises to the record's most forceful club passage before settling into "Crystal Muse," where Massimo Capobianco's guitar moves alongside an extended modular passage, luminous and unhurried. The album closes by turning its attention to composition itself, treating the act of writing music as a way of holding onto experience before it disappears. Across both sides, the record travels from immediate, bodily feeling toward something more contemplative, carrying the same emotional attention from private entanglement into wider systems and finally into the quiet work of making the record itself.

Fishtailing across a trimmed sod lawn, the parking lot of a box-store strip mall, a fast food drive-thru––it’s a hyperreal Americana fantasy that calls Caroline Rose (she/they) home on 'Gentling the Horse at the Walt Whitman Mall'. The release doubles as the debut of SUCK records, the LA based artist’s own imprint—a fitting next form for an enigmatic musician whose work resists settling into one shape.

'Gentling the Horse at the Walt Whitman Mall' stretches the ordinary into the uncanny. The record pairs sharply observed, memoiristic songwriting with expansive guitar textures that render the everyday with violent clarity and mythic scale. Beneath its melodic sweep and signature hooks runs a current of violence and American dream leakage.

It’s Ennio Morricone with an AR15: surf guitars, spaghetti westerns, and suburban dread colliding until they become their own sharp vernacular. Reality is unstable, so we’ll keep telling stories—and for Rose, the sinister slickness of the everyday grows a new head.

Working with producer John Congleton, Rose built the record through humor, layering, and instinct rather than polish. Songs like “Conversations with Shiv,” “Goddamn Train,” and “Everything in its Right Place” were recorded in studio for the first time, with sessions that prized first impulses over perfection. The result is panoramic but never precious—songs that feel meticulously constructed while always threatening to mutate.

Over the last six years, Rose’s music has evolved alongside their work organizing around stronger labor protections and collective bargaining rights for musicians and crews. Creative and political practice have increasingly become the same project as Rose’s career has taken on its hyper-independent form. Those concerns echo throughout 'Gentling the Horse'. Its landscapes are populated by inherited systems that feel absurd yet inescapable, where humor becomes a survival tactic and satire reveals the quiet violence embedded in everyday Am

In 2022 bracht Hendrik Lasure met 'Het Wiel' voor het eerst een album onder eigen naam uit. Vier jaar later krijgt die plaat een vervolg met 'De Val': elf eigenzinnige Nederlandstalige songs waarin Lasure een wereld bouwt die ergens tussen het alledaagse en het magisch-realistische zweeft.

Waar 'Het Wiel' nog terugblikte op de kindertijd, draait 'De Val' rond verbinding en het gebrek eraan. Melancholie en sehnsucht lopen als een rode draad door het album, maar Lasure verpakt ze in poëtische taferelen waarin de gewone wereld voortdurend een beetje uit haar voegen raakt. Mensen gooien stenen in de slotgracht van een paleis, de avondzon kleurt de hemel paars en een toevallige ontmoeting kan zomaar een heel nieuw universum openen.

Ook muzikaal kiest Lasure voor de essentie. Voor 'De Val' verruilde hij zijn vertrouwde piano tijdens het schrijven voor een gitaar, een beperking die de songs hun eigen vorm en directheid gaf. Producer Koen Gisen hielp die wereld verder uitbouwen, samen met onder anderen Meskerem Mees, Jolan Decaesteker (Ão, Mooneye), Aya Suzuki en Sep François.

Het resultaat is een spaarzaam gelaagde plaat met veel ruimte voor Lasures karakteristieke manier van zingen: ergens tussen melodie en poëtisch parlando. Referenties als Spinvis, Mount Eerie, Sun Kil Moon en PJ Harvey zijn nooit ver weg, maar 'De Val' heeft bovenal een heel eigen signatuur. Avant-kleinkunst, nu-pop ofiets waarvoor nog geen naam bestaat: Lasure maakt muziek voor wie graag even uit de werkelijkheid verdwijnt.

If Izzy Hagerup’s new album, ‘System’, feels immediately uncompromising it’s because it was never really designed for public consumption. Released under her Prewn moniker, Hagerup describes the album as a “private journal made public”. Told across nine arresting new songs, the album chronicles a deeply personal journey through the darkness of depression, but one that’s always undercut by moments of humor, selfishness and self-reflection, a push-and-pull that feels wholly distinctive. Following on 2023’s ‘Through The Window’ LP - a collection of songs that Pitchfork hailed as a “striking example of Hagerup’s ability to sit with ugliness” - ‘System’ finds Hagerup crawling even deeper into the dense folds of the night. Written and recorded solely by Hagerup, mostly in long stretches of bedroom sessions that found her working through the small hours until she began to hear birdsong, the album reckons with a lot of the thoughts that tend to needle in at that time of night; guilt, shame, and self-absorption, as well as the societal pressures that sit at the root of such things. From a bedroom floor in the middle of the night, through a tangle of cables and complex emotions, System grew into a document of disassociation, but it comes undercut with a sense of lightness when compared to what’s come before. It doesn’t surrender to the darkness, it dives into it with a keen and exploring eye and through the gloom it finds constant realizations of the wonder and appreciation of life. That journey holds a special kind of power. There’s bravery in it, a struggle that never asks you to look away but instead to follow it down the rabbit hole. That it leads to a place of fascination is testament to the sheer force these songs hold; songs of hurt and heart, fear and fun.