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“Running in at 50 minutes 'It's Time to Bounce, Amigo!' is a short and sweet punk rock odyssey that is influenced by the likes of the Pixies, The Flaming Lips and Guided by Voices!”
Dark currents run deep: I Ya Toyah's WHITE WALLS is a raw confession and an outstretched hand — confronting the invisible distance between how we appear and what we're actually surviving, with proceeds supporting mental health advocacy. Chalice Sect's Finis Initii closes one era with pulsating beats, dancefloor-insistent melodrama, and EBM-charged post-punk darkness. Jacob's Fall's The War We Miss? is sinfully counterintuitive and deeply atmospheric — symphonic, somber, and dipped in the deepest minor. Alxael's Bleed for the Machine fires a high-energy shot straight at the heart of generative AI.
Alternative Rock releases
64 in stock
“A song that gives shame, embarrassment, and insecurity a voice, and asks how those feelings shape who we become.”
32 in stock
“Something keeps me coming back here, leaving me for worse”
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“Psychedelic soundscapes, like a soundtrack to your most haunting dreams”
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13 in stock
“RF release their jangliest, most baroque and thoughtful album yet, but maintain 'Pavement playing Teenage Fanclub” mission statement”
“Crunchy guitars and two-part vocal harmonies; power pop influences distorted through 90s alt rock sensibilities.”
28 in stock
“TRÄUMEN is my third full-length album, blending my indie rock roots with psychedelic and ambient textures, experimental production, and genre-bending songwriting to reflect my growth as an artist a...”
16 in stock
“I Ya Toyah Reveals Cover of Iconic Nine Inch Nails Hit 'Closer'”
23 in stock
“German Electro-Industrial Collective PAHL! Release Cybernetic Single “Digital Oblivion””
17 in stock
“Dark ‘80s underground sounds influence a new dimension of body music”
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“Cliff & Ivy combines inventive death rock inspired by the rugged Alaskan wilderness with modern mysticism on goth-rock heavy-hitter, Angels Eyes”
Featured
27 in stock
“A five-track fever dream caught between punk abrasion and post‑punk hallucination”