This collection pulls together a vast, unruly landscape of sound, weaving through jagged post-punk rhythms, raw underground grit, and hauntingly melodic experiments. It is a deliberate collision of the obscure and the visceral, where high-octane distortion shares space with stripped-back, dusty anthems and strange, sonic detours. Designed for the listener who prefers their music without borders, this playlist offers a restless journey across decades and genres—a sprawling, unpolished tribute to the power of finding a perfect noise in the chaos.
Tiger! Shit! Tiger! Tiger! - Glue - Glue
JFK HOLE - Raymond The Bastard - Living Next Door To Monster Incinerator
Ecce Shnak - Eddie, Legalistic Homeslice - Eddie, Legalistic Homeslice
Taxi Girls - Auto-Hysterics - Static
The Veldt - Morning, June, And, Yesterday - Morning, June, And, Yesterday
Jeane - Cash - Sicko
Jonny Couch - Where The Sidewalk Ends - Where The Sidewalk Ends
Joey’s Coop - Henry Collins - Sawdust Memories
Sunnyboys - I’m Shakin’ - Sunnyboys Box Set
Tacron John - You Make Me Scream - Truthfully… You Make Me Scream
Blood Magick - Vox Mortis - Moribund
Semantron - Krummholz Heart - Secrets of a Krummholz Heart
Pylar - Adoración - Delyrio
Irata - Seeds - Human
Nine Pound Hammer - Burn The Whole World Down - Too Outlaw For Outlaw Country
Steve Austin - Crazy Dreams - The Magnolia Sessions
Hannah Juanita - Workin’ Girl Blues - The Magnolia Sessions
Tony Orzano, Bryan Rohmer, Jeremy Wexler - Vintage Gym Shorts - Blown Fuse
James Lyon - Dejate Caer - Turning
The Go-Betweens - Night Time Rising (Acoustic Demo) - G Stands For Go-Betweens: The Go-Betweens Anthology - Volume 3
Danny Short - Curveball - HALT!
Moff Skellington - Nannas Butter Guts Are Safe - Dawn Ablutions
Smoked Salmon - Pathologise Me - Totally Sick!!
The Junta - Afterglow - Euphoria
Dave Graney and Clare Moore - The Stuff That Night Is Made Of - Kiss Tomorrow Goodbye
Peter Hammill - His Best Girl (2026 Remaster) - A Headlong Stretch: The Fie! Albums 1992-1996
The Dream Syndicate - When You Smile - Live, Through The Past Darkly
Neon Crabs - Why Apologise, They, Lisa Kudrow, Planet Destroyer - This Puppy Can See A Frog
Salem Trials - No Earthly Good - Fingerprint on a Blind Eye
Jackson Code - Hold On Tight - Del Musical Del Mismo Nombre
Indie rock/post-punk band formed in 2006 in Foligno by Diego Masciotti (guitar, vocals), Giovanna Vedovati (bass), and Nicola Vedovati (drums). This’ is a two‑track digital single issued on 26 June 2020 by To Lose La Track. The release pairs the tracks ‘Glue’ and ‘Glue Glue’, functioning as a standalone precursor to the band’s forthcoming full‑length material. It marks one of their first published recordings following the Cornelis LP cycle and documents the group’s shift toward more spacious, repetition‑driven structures within their noise‑rock framework.
The debut EP from JFK HOLE, formed in Manchester in early 2026 by Mark Corrin (beats) and Thomas Hadfield (vocals). Corrin’s prior work includes appearances on BBC 6 Music’s Freak Zone and collaborations with Una Baines of The Fall and Damo Suzuki of Can, while Hadfield previously performed with Killer Kowalski, who shared stages with IDLES. The EP introduces the duo’s self‑described crankwave sound and is positioned for listeners of Sleaford Mods, Baxter Dury and electro‑punk hybrids. A second EP is being recorded.
‘Eddie, Legalistic Homeslice’ is the second single from Ecce Shnak’s forthcoming album Dandy Variances, set for release later this year via Records, Man Records. The track arrives with a video directed by Djay Brawner and featuring comedy duo Syd and Olivia. Formed within New York’s art‑rock scene, Ecce Shnak has built momentum following their previously featured 2025 Shadows Grow Fangs EP and three tours with EMF, positioning the single as part of the rollout for the band’s next full‑length release.
‘Static’ is the debut full‑length album by Montreal’s Taxi Girls, released June 26 on Stomp Records. The ten‑track LP follows the band’s first two singles and marks their transition from initial introductions into a fully realised album cycle. The record consolidates the group’s dual‑vocal approach and hook‑driven song-writing, framing the themes they explore across the release — including love, loss, mental health, postpartum depression, self‑doubt and nostalgia — without offering tidy resolutions. Positioned as the band’s first major statement, Static establishes Taxi Girls’ identity within the current Montreal rock landscape and sets the foundation for their subsequent activity.
‘Morning, June and Yesterday’ is the new single from The Veldt, offering an early look at their forthcoming tour‑exclusive EP Spanikopita. The track arrives with a video paying homage to designer Vaughan Oliver. Formed in the 1980s by Daniel and Danny Chavis, The Veldt developed a distinctive blend of shoegaze, soul, gospel and experimental rock, later expanding their lineup after relocating to New York. Spanikopita compiles new tracks and demos curated for their recent US and Canadian tour with The Chameleons, and features mixes by Carlos Bess, Will Brooks and Jason Furlow, reflecting the group’s ongoing collaborative production work.
Jeane is a Melbourne‑based project whose debut EP Sicko was released on 21 May 2026. The five‑track digital EP (CASH, Emotional Baby, Good God (What Have We Become), Wildfires, Desperate Believer) was issued via Bandcamp, accompanied by a limited‑edition football jersey to help fund future recording. The release blends pop‑leaning songwriting with emotionally volatile themes, and has recently gained attention through Dave Graney’s Banana Lounge Broadcasting show, where he highlighted the band’s emerging presence, and where I first heard the music.
‘Where The Sidewalk Ends’ is the second single from U.S. indie rocker Jonny Couch’s forthcoming full‑length album of the same name, his first in seven years. The ten‑track record includes earlier fan favourites like Sweet Charlene alongside newer material, expanding on the melodic power‑pop and new‑wave foundations that define his songwriting. The single draws thematic inspiration from the 1950 film noir Where the Sidewalk Ends and pairs shadowy, narrative‑driven verses with a dance‑leaning chorus influenced by 1970s disco synths and modern new‑wave production. The album marks Couch’s return with a renewed focus on strong melodies, classic rock‑and‑roll energy and emotionally direct song-writing.
Joeys Coop’s new album Sawdust Memories is out now, accompanied by a national tour and a fundraising wine release tied to the record. The band centres on Brett Myers (Died Pretty) and Mark Roxburgh (Decline of the Reptiles), joined by Marc Lynch (Glide) and Lloyd Gyi (Perry Keyes, Dave Warner). Despite the strength of the line‑up, the group has often operated under the radar, partly due to their reluctance to foreground past credentials. After two albums on Citadel Records, they are releasing Sawdust Memories independently, presenting ten new tracks that build on the melodic, guitar‑driven foundations established by Myers and Roxburgh’s long‑running collaboration.
Sunnyboys mark the 45th anniversary of their self‑titled 1981 debut with a 4LP vinyl‑only box set and a one‑off performance at Brisbane’s Roma Street Parkland on October 23. Released via Warner Music Australia, the box set includes the original album, the 1980 Phantom Records debut EP, the full 17‑track pre‑album demo session, and a 1981 live recording from Governors Pleasure in Sydney. It also features interview excerpts with Triple J’s Stuart Matchett and archival material from drummer Bil Bilson’s family scrapbook, presenting a comprehensive document of the band’s first year. Widely regarded as one of Australia’s greatest debut albums, Sunnyboys introduced the group’s high‑energy blend of late‑’70s Sydney rock, sharp pop instincts and Jeremy Oxley’s direct, heart‑on‑sleeve song‑writing, with singles Happy Man and Alone With You remaining enduring favourites.
Tacron John’s album Truthfully… You Make Me Scream has now arrived, featuring the singles “Saw You At A Party”, “Retro Dance”, and “On Your Way”. The San Diego‑based project centres on Tony Casciano’s vocals and song‑writing, working with a consistent studio line‑up of Dan Morilak (drums), Frank Hankin (bass) and Joe Arlauskas (lead guitar). Recorded at Anticline Studios and produced by Eric Cathcart, the album continues the group’s developing studio identity and marks their latest step forward as a self‑contained recording unit.
Blood Magick’s new album Moribund was released June 26, 2026, marking the Swedish death‑synth project’s first output since 2021. The ten‑track release pushes their established blend of slow, punishing EBM rhythms, corroded synth work and occult‑leaning atmospheres into a more focused, industrially abrasive form. The record frames mortality, decay and transformation as ritual processes, presenting a set of pieces built around tension, heaviness and a stark death‑ritual aesthetic. Moribund positions itself as a soundtrack to the moment the body fails but consciousness lingers, extending the project’s thematic and sonic identity with a sharpened sense of intent.
Semantron is the solo project of multi‑instrumentalist Dave French, best known as the drummer for Yob, with the debut LP Secrets Of A Krummholz Heart presenting six pieces developed from years of classical‑guitar writing on the road. French has toured globally with Yob, played with Brothers Of The Sonic Cloth, collaborated live with Steve Von Till/Harvestman, and produced records for members of Soundgarden. The album was begun in an off‑grid cabin near Mount Adams in Winter 2023, where he recorded core acoustic tracks before completing drums, bass, electric guitars and vocals between his home studio and Yob’s rehearsal space. Blending acoustic and electric instrumentation with field recordings from natural environments, the record was mixed by Nathan Yaccino and mastered by Tad Doyle. Secrets Of A Krummholz Heart introduces Semantron as a meditative, atmospheric project shaped by French’s long‑running song‑writing practice and his interest in elemental, slow‑unfolding sound.
Pylar’s new album Delyrio marks the opening chapter of the Spanish group’s final album cycle, pushing their experimental metal vocabulary into a more fractured, hallucinatory form. The record expands their established blend of extreme music, ritualistic weight and psychedelic disorientation across four long movements, abandoning conventional structure in favour of shifting, unstable sonic architecture. Drawing on philosophical and speculative influences, the band continue their practice of deforming metal’s language through their self‑defined “Law of Salazar,” producing a dense, concept‑driven work that sits somewhere between industrial unease, avant‑metal intensity and free‑form delirium. Delyrio was produced and composed by Pylar, recorded and mixed at La Mina, and completed with artwork by Gonzalo Santana and accompanying texts by Francisco Tójar Pérez and Bar‑gal.
Irata’s new album Human was released July 10 via Small Stone Recordings, with the North Carolina trio returning after five years to deliver eight tracks built around their trademark combination of thundering bass, hypnotic drums and expansive choruses. Formed in 2007 by Jon Case and Jason Ward, the band has shifted line‑ups and approaches across four previous records but continues to evolve while retaining its heavy, rhythmic core. Now operating once again as a three‑piece, Irata push further into melodic confidence and atmospheric detail showing a more patient, dynamic approach without losing their underlying drive.
Recorded with Hunter Allen and Adam Joyce at Amplified Acres in Liberty, North Carolina and mixed by J. Robbins at The Magpie Cage in Baltimore, Human arrives on CD, digital formats and limited 180g vinyl (Birthday Cake Mix and Blue Grackle Mix). The album’s focus on vocal melody, intricate riffing and organic movement sets it apart within the current heavy‑rock landscape — a clear statement of identity from a band still pushing forward nearly two decades in.
Nine Pound Hammer return with Too Outlaw for Outlaw Country, a six‑song mini‑album released July 10 via Reptilian Records and timed to coincide with new US and EU tour dates. The long‑running Kentucky cowpunk outfit deliver four new tracks written by Scott Luallen and Blaine Cartwright, plus covers of Billy Joe Shaver’s Black Rose and the Hank Mills/Dick Jennings tune Lil Ol’ Wine Drinker Me. Recorded at Underground Studios and engineered, mixed and mastered by Brian Pulito, the release appears digitally and as a limited 10" picture disc. Luallen frames the record as a pushback against the current “outlaw” trend, with the band leaning into their established mix of hard‑rocking cowpunk and country grit.
Steve Austin is one of the latest additions to Anti‑Corp Music’s Magnolia Sessions series, with his instalment released July 3. Recorded live outdoors beside the magnolia tree at the Anti‑Corp/Black Matter Mastering headquarters in Nashville by Dan Emery, the series has become a home for bluegrass, dark country and folk artists, with many past entries charting on the Billboard Bluegrass listings. Austin is a long‑running figure in traditional outlaw country, raised in Lebanon, Tennessee and rooted in the Appalachian lineage of Chestnut Mound. Alongside that background, he’s spent more than three decades as a recording and touring musician, best known as the singer and guitarist for Today Is The Day, releasing fourteen albums, producing landmark records for Lamb Of God, Converge and Deadguy, and appearing in the documentary The Man Who Loves To Hurt Himself. His return to country was sparked by the songs of his father, Tillman Austin, leading to his recent full‑length Marked Cards And Loaded Dice, recorded on vintage analogue gear and released on SuperNova Records. Following that album, Austin’s Magnolia Sessions set presents eleven songs drawn from the LP and beyond, including Townes Van Zandt and George Jones covers, performed in the stripped‑back, intimate style that defines the series.
And another Magnolia Sessions release arrives in early August, this time from Hannah Juanita. Juanita’s session features eight songs, including several long‑loved covers she chose specifically for the project. Performed alone with guitar in the dark, heat‑heavy outdoor setting, the recording captures the immediacy and atmosphere that define the Magnolia Sessions. Emery notes the smoothness of the session, with most tracks completed in single takes, save for one interrupted by unexpected fireworks — a moment he describes as an oddly fitting conclusion to the night’s work.
And another early‑August release arrives with Blown Fuse, the fully improvised sophomore record from Tony Orzano, Bryan Rohmer and Jeremy Wexler. Following their debut Balloons on Grass on 577 Records, the trio return with a raw, in‑the‑moment set that also marks the inaugural title on Orzano and Rohmer’s new imprint, Sonic Index Works — a label created to document improvisational music across genre and mood. Recorded live with no overdubs or edits, Blown Fuse pushes further into the spontaneous interplay that defined their first album. Featuring Orzano on alto saxophone and clarinet, Rohmer on guitar, and Wexler on drumset, the record was captured at The Sound Cellar in Huntington, NY by Dave Alini, with artwork and mixing handled by Rohmer. The release lands August 1, 2026.
Turning, released July 17, is the new solo album from violinist James Lyon, marking the close of his 35‑year tenure at Penn State. Rather than presenting a single thematic through‑line, Lyon frames the record as an invitation to move from one composer’s voice to another, reflecting the variety of music he has performed and championed during his time at the institution. The programme ranges from rediscovered repertoire to newly commissioned works. It opens with Albert Spalding’s Sonata in E for Violin Solo, followed by Bruce Trinkley’s Courtyard Tango. Baljinder Sekhon’s Praying Alone offers a meditative contrast, while the title track, Turning, was written for Lyon by former student Nalah Palmer. Featured track sCarolina Heredia’s Déjate Caer closes the set, the album’s sole piece with electronic accompaniment. Turning presents Lyon in a direct, unadorned setting, highlighting the breadth of music connected to his long career and the composers within his orbit at Penn State.
And another archival glimpse appears with Night Time Rising (Acoustic Demo), an unreleased song that surfaces only within G Stands For Go‑Betweens: The Go‑Betweens Anthology – Volume 3. With no studio version ever issued, the demo stands as the sole documented recording, capturing the track in its raw, early form and offering a rare look at the band’s songwriting process during that period. It sits among the box set’s broader collection of demos, session fragments and developmental material that map the group’s mid‑career evolution.
Another track from Horwich’s finest new album.
And another new Moff Skellington piece - a typically skewed, word‑bent fragment from his ongoing “edgeland” song‑world, folding together his trademark spoken‑song delivery, oddball humour and elastic melodic shapes. Within Dawn Ablutions, it stands as one of the record’s more immediately graspable moments while still carrying the unmistakable Moff logic and homemade strangeness that define his long‑running output.
More from Kim’s new one.
The next featured track from Monty’s new album
As I have exhausted the new album I thought I would return to one of my favourite Graney and Moore releases - this is from the expanded 2019 digital version of the original 2000 album. This is Dave and Clare at the height of their powers.
Featured box-set - originally on the Fireships album
More live stuff from Steve Wynn and his chums
A Goz-fest with the final four tracks from the latest album
More Goz - this time with Russ
Classic Jackson Code - from the 1989 debut album
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