Citizen’s persistent sonic evolution and refusal to make the same record twice has earned them a reputation as one of the most consistently captivating bands in modern rock music. It’s precisely this commitment to their craft that has led to their new album, 'Halcyon Blues'. It’s a dynamic and confident culmination of all that’s come before, making it crystal clear that for all their sonic restlessness, Citizen have always known exactly who they are.

From the start, the band–vocalist Mat Kerekes, guitarist Nick Hamm, bassist Eric Hamm, along with newer members guitarist Mason Mercer and drummer Ben Russin–were steadfastly determined to follow their creativity wherever it led. Over the years they deftly moved through raw emo, menacing post-hardcore, anthemic alternative, garage-y indie pop, and so much more. Now Halcyon Blues brings elements from throughout their entire catalog together into a singular and instantly satisfying record that just sounds like Citizen. Where past Citizen albums have felt like direct responses to the preceding release, 'Halcyon Blues' sounds like the group wrapping their arms around their entire catalog and carrying it forward. Recorded by Kerekes in his home studio in Toledo, then mixed by Tom Lorde-Alge (U2, Weezer, Blink182), the record taps into the urgency and ferocity of Citizen’s early albums while embracing the epic scope and undeniable hooks of their more recent work. These are huge rock songs with fittingly huge emotions, but the youthful frustration of Citizen’s early work has grown up too, replaced by a more nuanced, though no less cutting, adult perspective.

TRACK LISTING

1. Good Fortune
2. I Can See You From Here
3. Halcyon Blues
4. Is It In My Brain
5. Always the Last One To Leave
6. Either Way
7. Matador
8. Ether
9. Smooth Talker
10. Highs and Lows
11. Anne

On their third studio full-length, 'Charmer', Tigers Jaw went into the legendary Studio 4 in Conshohocken, PA with Will Yip (Title Fight, Circa Survive, La Dispute) to record 12 new songs that make up their most cohesive release to date.

TRACK LISTING

1. Cool
2. Frame You
3. Hum
4. Charmer
5. Nervous Kids
6. I Envy Your Apathy
7. Divide
8. Slow Come On
9. Teen Rocket
10. Softspoken
11. Distress Signal
12. What Would You Do

Under the moniker Trace Mountains, Dave Benton writes music that asks large questions in quietly profound ways. On the project’s earliest release, the 2014 compilation 'Buttery Sprouts & Other Songs', these thoughts appeared as lo-fi scraps of wit andtenderness. But by the time 'A Partner to Lean On', Trace Mountains’ debut full-length, arrived in 2018, Benton’s perceptive indie rock had matured into more existential meditations about identity, existence, and finding sense in an increasingly chaotic world.

In the two years since 'A Partner to Lean On', Benton’s life has undergone several large changes, namely the dissolution of LVL UP, the indie rock quartet he co-founded in college, and a move to Kingston, a small city in New York’s Hudson Valley. Composed during—but not directly inspired by—this transition, Trace Mountains’ second record, Lost in the Country, reflects Benton’s need toreconnect with his inner world.

Prompted by an urge to access a more authentic voice, 'Lost in the Country' finds Benton digging deeper into candid songwriting. “I wanted to open myself up and write lyrics that are a little bit more direct,” he explains. “I write a lot of songs that are about myself and a lot of songs that aren’t, but on this record, the focus is turned inward either way.” The result is Trace Mountains’ strongest and most assured record yet, 10 songs driven by a desire for introspection and self-discovery. The backdrop for this insularity is an expanse of wide blue skies, seas of trees, and winding roads, ideal locales for thoughts to blossom into greater reflections of the outer world. The slow-burning 'Absurdity', which Benton modestly says is about “hiking and standing in the country,” uses the sublimity of the wilderness to comment on technology’s inescapable presence. Similarly, the driving opener 'Rock & Roll' transforms the premise of a “simple song about being a rocker” into a stream-of-consciousness, apocalyptic poem about delusions, regrets, and getting lost in your own limited perspective. This self-examination culminates with the record’s ambitious and anthemic title track. Channeling the cosmic sprawl of the War on Drugs or Kurt Vile, Benton recalls a moment of deep loneliness and depression outside a concert venue in the Netherlands, and how an unexpected moment of compassion led to a moment of awakening.

Despite its frequently bucolic setting, 'Lost in the Country’s underlying current is an urgent commitment to Trace Mountains and “finding a creative process that requires me to be honest with myself.” “I know I sing to forget, I sing to hold my breath, to feel the thumping in my chest,” Benton sings on 'Cooper’s Dream'. This line is “rooted in the importance of music in my life, it’s definitely a reflection on that and how I can keep it in my life, because if I’m not careful and I don’t nurture it, I could lose it.” The self-imposed pressure has been empowering for Benton. “I really like having full control in making a record, deciding what songs are going to be on it, as well as shaping the vibe or narrative of the whole thing,” he says. “It brings a peace of mind knowing that I am responsible for just my voice.”

While Benton is Trace Mountains’ songwriter, he asserts that 'Lost in the Country' is by no means a solo effort. Collaboration is crucial to the project and Benton is quick to credit the contributions of his bandmates, which include Jim Hill (Slight Of), Greg Rutkin (LVL UP, Cende), Sean Henry and Susannah Cutler (Yours Are the Only Ears). “It’s definitely our record,” Benton says. “I couldn’t make this thing without them.” After beginning the recording process at Brooklyn’s Studio G with engineer Matt Labozza, Benton finished 'Lost in the Country' at his home studio in Kingston, where he also added contributions from Carmen Perry (Voice), Stew Cutler (Guitar, Lap Steel), Dan Goldberg (Synthesizer) and ARTHUR (Samples, “AB” by ARTHUR). It was then mixed by Mike Ditrio and mastered by Ryan Schwabe.

TRACK LISTING

1. Rock & Roll
2. Dog Country
3. Me & May
4. I am Leaving You
5. Cooper's Dream
6. Lost in the Country
7. Benji
8. Fallin' Rain
9. Absurdity
10. Turn to Blue

For some time now, followers of Field Medic have been piecing together clues about 'Floral Prince'. The name has been mentioned in late night Twitter hints, secret YouTube leaks, teaser riddles, Instagram live sets, and standalone single drops. This unconventional approach paints a bigger picture for the 11-track project as a whole.

Part mixtape, part album, part collection, part musical patchwork quilt, 'Floral Prince' is the latest offering from Field Medic, aka the preeminent Bay Area freak folk artist Kevin Patrick Sullivan. It’s a reflection of his unique approach to songwriting and a creative drive that can’t be contained to the traditional album format. Field Medic’s songwriting rarely slows down; even after the release of his 2019 full-length fade into the dawn and the busy touring schedule that followed, Sullivan still found himself flush with new songs and ideas. As he attempted to earmark certain songs for his next release Sullivan began to chafe at the pressures of a follow-up album.

Longing for the spontaneity of Field Medic’s earlier work, Sullivan found inspiration in what he calls the “full-time freestyle” mindset where he writes and records songs on the fly with a four-track, usually with a self-imposed limit of three takes. “This style lends itself to more off-the-cuff lyrics and recordings that communicate their point much clearer to my ears,” he explains. “It’s also fun.” The process proved surprisingly satisfying, often capturing the diary-like nature of Sullivan’s songwriting more accurately than some of the music he’d been poring over. “The songs born from this method aren’t always ‘hits,’ he says. “But they feel much more important to me…closer to how I really feel.” Some of these charming homespun missives made their way onto the internet, spurring fans to follow the breadcrumbs towards these first glimpses into 'Floral Prince' and the ever-expanding Field Medic mythology. “I realized the songs I was saving for another album were much less focused and effective than some of the freestyles I had been creating and subsequently leaking,” Sullivan says. “I think that’s because I really enjoyed the process of writing and recording the freestyles, whereas the ‘hits’ I was attempting to make were being approached as more of a chore.”

'Floral Prince' officially began to see the light of day through a series of stand-alone singles released throughout early 2020 in tandem with episodes of Sullivan’s homemade webseries, the field medic show. To invite fans further into Field Medic’s unique world of achingly beautiful melodies and conversational lyricism, songs like the atmospheric ballad 'better way' and the Alex Menne (pickleboy/Great Grandpa) collaboration 'talkin johnny & june (your arms around me)' were shared alongside the YouTube show’s accompanying live versions. Other tracks—like rousing opener '-h-o-u-s-e-k-e-y-z-' and the longing 'i want you so bad it hurts'—were repurposed from the fade into the dawn sessions to finally find a home on 'Floral Prince'. Elsewhere 'it’s so lonely being sober' exemplifies the unvarnished appeal of the full-time freestyle attitude. The song’s direct lyrics and single-take phone recording preserve the deeply personal storytelling, relatable details, and palpable emotions that make Field Medic’s work so intimate and enthralling.

Although 'Floral Prince' is culled from several years of Field Medic songs, its 11 tracks have a sense of cohesion that can be attributed to Sullivan’s singular vision and willingness to allow the listener into his life. “These songs were written through different seasons of my life but they all share a common theme of quiet, nagging, yet somehow defiant insecurity,” he explains. “To hear them all grouped together reminds me that I’ve always felt more or less the same way, and have had the same obsessive tendencies my whole life that have often led to self-destructive behavior. Maybe this is catharsis.”

In the end 'Floral Prince' is actually many things at once: a snapshot of an artist shaking off the perceived boundaries of his medium; a document of years of Sullivan’s life preserved in musical form; the closing of one songwriting chapter and the start of another. Or perhaps as Sullivan puts it, “All songs have their day…”

TRACK LISTING

1. -h-o-u-s-e-k-e-y-z-
2. i want you so bad it hurts
3. i will not mourn who i was that has gone away
4. bundle of hyacinths
5. HEADCASE
6. it’s so lonely being sober
7. better way
8. talkin johnny & june (your arms around me)
9. older now (it hurts)
10. before your body goes
11. TRANQUILIZED

There’s a palpable feeling of intimacy throughout every moment of 'Radiator', the debut album from Philadelphia’s Sadurn. The band’s spare-yet-satisfying instrumentation, diary-like lyrics, and graceful vocal harmonies bring you in extraordinarily close, breaking down any walls between artist and listener to offer fleeting glimpses of life’s most internal moments—as well as one of the most compelling debut records in some time.

Sadurn started as the solo project of Genevieve DeGroot, who picked up the guitar in 2015 in an effort to delve deeper into songwriting. “I came to the game really late relative to most people,” DeGroot explains, “I didn’t start playing guitar and really writing songs until after college. I’d always been a singer but I just felt like I needed an instrument to really write songs on.” It wasn’t long until DeGroot was creating the music that would eventually become Sadurn. “When you reach into a new creative outlet, it’s really exciting because there’s just so much there. I didn’t have this idea that I was going to go and become a musician, but I was learning new chord progressions and writing, and I’d moved to Philly and was surrounded by other songwriters.” One of these fellow musicians was guitarist Jon Cox, who joined up with DeGroot to form an early incarnation of Sadurn. The two started playing DIY shows in the city and released several homemade, charmingly lo-fi EPs, then in early 2020, a chance experience kicked off the next phase of Sadurn. “My friend Amelia [Swain] was just learning to play drums, we started playing some of my songs together and it just made sense, we both had this feeling that we had to do this.” The group was soon joined by Tabitha Ahnert who had recently taken up bass, and Sadurn’s new lineup was complete.

With new members and an evolving sound, the beginning of 2020 was meant to be the four-piece’s debut, but the world had other plans. “I’d already been scheming about making a record before the pandemic because I was excited about the full-band songs,” says DeGroot. “We played one gig together and then everything got put on hold for a while.” After months of isolation and waiting, Sadurn figured out a way to push forward. “The only way we thought it could work was if we isolated together for a couple weeks, so we found a cheap Airbnb in the Poconos and our friend Heather Jones brought out all this recording gear.” The band moved the furniture and created a makeshift recording studio, tucking themselves away in close quarters, with only passing animals around to witness the making of what would become their first full-length. “We didn’t even know if we were going to do enough songs for an album at first, it was kind of a mystery of what was going to work,” DeGroot explains. “The whole project up to that point had been so lo-fi, so close to the source and unproduced. I wanted the band and the new recordings to still have that to some extent. We’re all so close and we were living in this cabin for two weeks making this thing, I think it was sort of the special circumstances that lent themselves to the way the album turned out.”

That warmth and familiarity permeates 'Radiator', with its roomy recording and lean instrumentation nimbly serving the songs, bolstering DeGroot’s stunning vocals and conversational lyrics. Sadurn’s affecting indie folk draws on a range of influences from Jason Molina, to Gillian Welch, to Alex G and Elliott Smith, working in the tradition of songwriters whose melodies are as captivating as the words within them. 'Radiator' explores the struggles and eventual beauty of grappling with multiple emotional realities, particularly when it comes to relationships. “I definitely write as a way of processing what’s going on,” says DeGroot. “I’m usually making space for a feeling or a thought that, for some reason, I can’t talk to other people about because it’s too destructive.”

Indecision, doubt, heartbreak, the idea of being forced to choose–these internal conflicts are wrestled with throughout 'Radiator'. Tracks like 'Snake', the album’s instantly powerful opener, and 'Golden Arm', an unhurried ballad that shows its truest colors with time, are full of memorable moments and emotional detail. Elsewhere 'Moses Kill' tries to make sense of unresolved feelings around identity and family overtop acoustic guitars recorded so closely that you can hear fingers moving from fret to fret, while mid-album highlight 'Special Power' is an unabashed breakup song with a soaring chorus that belies its aching lyrics. “If you’re having doubts about a relationship, there aren’t many places you can air them,” DeGroot says. “Writing about that kind of thing is a way to wrap your mind around them.”

'Radiator' culminates in the penultimate song, 'Icepick'–a mix of gentle guitars, a hazy drum loop, and DeGroot’s revealing lyrics that slowly tumbles into album closer '<--'.

TRACK LISTING

1. Snake
2. Moses Kill
3. Golden Arm
4. Lunch
5. Special Power
6. The Void / Madison
7. White Shirt
8. Radiator
9. Icepick
10. <--

'Satisfaction' changed everything for Narrow Head. As the group’s first full length recording, 'Satisfaction' was an unofficial progression, a signal that the Texas-based outfit was coalescing around a vision for their band and their music.

Although changes in the band’s lineup and in the individual lives of members were on the horizon, 'Satisfaction' is a result of spontaneity and a willingness to experiment. At that time, Narrow Head was comprised of Jacob Duarte (guitar, vocals), Ryan Hughes (guitar, vocals), Ryan Seelig (bass), and Carson Wilcox (drums).

Everything on 'Satisfaction' was tracked over a three day period, and the group moved quickly through the writing, rehearsing, and recording process. “It’s pretty clear we were still figuring out the dynamics within the songs and what the exact right parts were, and I think that shows in how differently we play those songs live now,” Wilcox said.

TRACK LISTING

1. Necrosis
2. Feels Like Sand
3. Ashtray
4. Cool In Motion
5. Stay
6. Nancy France
7. Paranoid Hands
8. Wallflower
9. It's Whatever To Me
10. Uncover
11. See You Around

For Wilkes-Barre’s One Step Closer - the concept of home is complicated. “I’ve never felt so distant in my life,” vocalist Ryan Savitski screams on the lead single 'Pringle Street', a place in his hometown that binds the album’s lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover 'This Place You Know', the band offers a modern coming-of-age story about growing up and grasping both the known and the unknown.

One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP ‘From Me To You’ countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band’s now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album.

'This Place You Know' grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, emphatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener 'I Feel So', the stakes are made clear by the anchoring lyric ‘this place you know, sometimes it hides the truth and lets people go” - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

TRACK LISTING

1. I Feel So
2. Lead To Gray
3. Leave Me Behind
4. Home For The Night
5. Pringle Street
6. Hereafter
7. Time Spent, Too Long
8. Autumn
9. Chrysanthemum
10. As The City Sleeps

The five members of Sun June spent their early years spread out across the United States, from the boonies of the Hudson Valley to the sprawling outskirts of LA. Having spent their college years within the gloomy, cold winters of the North East, Laura Colwell and Stephen Salisbury found themselves in the vibrant melting-pot of inspiration that is Austin, Texas. Meeting each other while working on Terrence Malick’s ‘Song to Song’, the pair were immediately taken by the city’s bustling small clubs and honky-tonk scene, and the fact that there was always an instrument within reach, always someone to play alongside.

Coming alive in this newly discovered landscape, Colwell and Salisbury formed Sun June alongside Michael Bain on lead guitar, Sarah Schultz on drums, and Justin Harris on bass and recorded their debut album live to tape, releasing it via the city’s esteemed Keeled Scales label in 2018. The band coined the term ‘regret pop’ to describe the music they made on the ‘Years’ LP. Though somewhat tongue in cheek, it made perfect sense ~ the gentle sway of their country leaning pop songs seeped in melancholy, as if each subtle turn of phrase was always grasping for something just out of reach.

Sun June's 'Somewhere' is a record that feels distinctly more present than its predecessor. In the time since, Colwell and Salisbury have become a couple, and it’s had a profound effect on their work; if Years was about how loss evolves, 'Somewhere' is about how love evolves. “We explore a lot of the same themes across it,” Colwell says, “but I think there's a lot more love here.”

'Somewhere' showcases a gentle but eminently pronounced maturation of Sun June’s sound, a second record full of quiet revelation, eleven songs that bristle with love and longing. It finds a band at the height of their collective potency, a marked stride forward from the band that created that debut record, but also one that once again is able to transport the listener into a fascinating new landscape, one that lies somewhere between the town and the city, between the head and the heart; neither here nor there, but certainly somewhere.

TRACK LISTING

1. Bad With Time
2. Everything I Had
3. Singing
4. Bad Girl
5. Karen O
6. Everywhere
7. Once In a While
8. Finding Out
9. Seasons
10. Real Thing
11. Colors

Arriving after two acclaimed releases into their then short career - a debut EP and a split 7" with Citizen - Virginia's Turnover quickly grabbed the attention of a scene of angst filled teens and twenty-somethings who grew up on Drive-Thru records classics and 90's grunge radio. Turnover spent a month with producer Will Yip (Title Fight, Circa Survive) and emerged with 'Magnolia'. Their debut LP fulfills the promise set forth on their prior releases - contemplative, brooding pop-punk songs written with a somber, yet undeniable catchiness.

TRACK LISTING

1. Shiver
2. Most of the Time
3. Wither
4. Pray For Me
5. Seed
6. Bloom
7. Hollow
8. To the Bottom
9. Like A Whisper
10. Flicker and Fade
11. Daydreaming

Fiddlehead wasn’t supposed to make a second record. But, if we’re being totally honest, they weren’t supposed to make their first record either. Formed in what singer Pat Flynn describes as “a deeply, deeply, laughably depressing part of my life,” Fiddlehead was born with modest intentions. Flynn and his then-roommate, guitarist Alex Dow, decided to work on some songs, and with Basement having just broken up, guitarist Alex Henery entered the fold. Drummer Shawn Costa and bassist Adam Gonsalves—who has since been replaced by Casey Nealon—linked up with them and, all together, they wrote what would become the 'Out Of The Bloom' EP. Those five songs established what Fiddlehead would be, a band that merged elements of post-hardcore, post-punk, and classic ‘80s emo into something that felt distinctly theirs.

After the release of their debut album 'Springtime & Blind', the band did some weekend-long tours, and saw that their music was hitting people harder than they ever expected. “Kids were singing along in a very desperate way and we realized it wasn’t just resonating with us, it was resonating with these people in a really meaningful way,” says Flynn. Springtime & Blind was a hit for many reasons, but chief among them was Flynn’s open-hearted exploration of his father’s passing, which saw him use his lyrics as a means of relating to and understanding his mother’s grief. So when it came time for Fiddlehead to work on a second record, people weren’t just curious what the songs would sound like, they were curious what they’d even be about.

Opening with 'Grief Motif', 'Between The Richness' effectively picks up where 'Springtime & Blind' left off, as Flynn dives headfirst into that same subject matter. But astute listeners will notice a major difference this time: Flynn is singing about himself. “These massive things happened in my life between the first record and this record. It just so happened that I ended up getting married, I had a child, and it was around the 10-year anniversary of my father’s passing. So what if I want to write another record about how I feel about the loss of my father? Will people be like, ‘Pick another topic, dude.’ So, the opening track is called ‘Grief Motif’ because it’s the idea that this is an eternal struggle that will never go away. Take it or leave it, but it will be part of this dude as long as he’s got a pen in the hand.”

TRACK LISTING

1. Grief Motif
2. The Years
3. Million Times
4. Eternal You
5. Loverman
6. Down University
8. Get My Mind Right
9. Joyboy
10. Heart to Heart

Fiddlehead’s debut LP 'Springtime and Blind' is an exploration of grief both introspective and through the insight of others. Following the release of their 'Out of the Bloom' EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration.

'Springtime and Blind' stemmed from Pat’s loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. Like the pain both he and his mother experienced, “a wild grief so well hidden,” the songs on this album hide the pain of loss beneath a layer of punchy, energetic instrumentals.

TRACK LISTING

1. Spousal Loss
2. Poem You
3. USMA
4. Tidal Waves
5. Head Hands
6. Rejoice
7. Lay Low
8. My World
9. 4/17/70
10. Widow in The Sunlight

Over the last decade, Portrayal of Guilt have solidified themselves as a pillar in the extreme underground music scene. With relentlessly consistent releases like 2023’s orchestral nightmare 'Devil Music', and year-round world touring with the likes of Deafheaven, Uniform and Pg. 99, POG have unquestionably carved their own path.

Defying accurate categorization since formation, the three piece blends elements of black, death and nu metal with crust, screamo, powerviolence and hardcore, with the bands forthcoming LP '…The Beginning of The End' continuing to further obscure genre lines. The band takes the unhinged discordance to the next level on album standouts 'Ecstasy' and 'Human Terror', with KoRn-like guitar dissonance, punishing death metal lows, and haunting spoken passages confidently riding the line between 'Life is Peachy' and 'Scum'.

TRACK LISTING

1. Backstabber
2. Human Terror
3. Heaven’s Gate
4. Under Siege
5. Ecstasy
6. Death From Above
7. God Will Never Hear Me
8. Chamber Of Misery Pt. IV (Feat. Slim Guerilla)
9. Total Black
10. Object Of Pain
11. The Last Judgement

Teen Suicide’s seventh LP marks the band’s first full-length release in three years, following 'Honeybee Table At The Butterfly Feast', which found renewed attention through tracks like 'You Were My Star', a breakout success on TikTok. Originally formed in 2010 as a side project of Sam Ray, Teen Suicide gradually evolved while remaining a passion-driven endeavor. Since 2017, the lineup has included Kitty Ray, and in 2022 the band officially became a full-time project with the addition of drummer Niko Wood. Together, the trio began writing and recording their LP, 'Nude Descending Staircase Headless'.

The album represents a series of firsts for the band: their first record recorded in a professional studio, their first release written and recorded as a full-time band, and their first since 2012 to feature a dedicated drummer throughout. It also marks the beginning of a fully shared writing process between Sam and Kitty Ray, who married in 2016 and collaborated from the ground up on the entire record, splitting both songwriting and vocal duties.

Described by Sam Ray as the band’s “career highlight so far,” 'Nude Descending Staircase Headless' explores the endless pursuit of fulfillment through creation, threading motifs of death and rebirth with themes of embracing joy in the wake of immense loss. The record reframes the self not as an isolated object, but as a single strand within a larger, interconnected web. Standout tracks include 'Idiot', which leans into direct, literal storytelling, and 'Spiders', featuring Kitty Ray on lead vocals and introducing a darkly feminist undercur- rent to the album’s broader narrative.

Musically, the band draws inspiration from artists such as Nirvana, Radiohead, Shellac, and Helmet, channeling the intensity and experimentation of late-’80s and ’90s heavy rock. Their recent tours with DELTA SLEEP further highlight Teen Suicide’s growing incorporation of math rock and metal influences into their evolving sound.

TRACK LISTING

1. Anhedonia
2. Idiot
3. Suffering (Mike’s Way)
4. Spiders
5. The Knives
6. Everything In My Life Is Perfect
7. Candy / Squeeze
8. Living Death
9. Keeping Her Keys
10. Hypnotic Poison
11. Kindnesses
12. Not Born To Run
13. Come And See The Clown

Knumears understand that no band exists in a vacuum. They are an embodiment of a sonic tradition, one that’s been molded and shaped for decades and can only be carried by those who truly love it. Call it screamo, skramz, post-hardcore or whatever else–it’s a sound that’s somehow endured through years of changing musical tides and is now impacting a whole new generation of underground musicians. Now Knumears’ debut album, 'Directions', is equal parts love letter and cartography project, one that explores the deep history of a convoluted scene while creating an exciting blueprint for a new one.

Knumears are a group of not just passionate musicians, but friends whose bonds are as important as the music they make together. Since 2021, the Knumears (bassist Dante Garcia II, drummer Frankie Lopez, and vocalist/guitarist Matthew Cole) have been writing, touring and playing nonstop, moving from playing packed local shows with kids screaming, climbing, shouting and dancing to touring nationally and finding the same fervent reactions all across the country. But outside of the chaos of touring, the group found equal growth in their personal lives, strengthening old bonds with those back home, discovering new connections, and cultivating their own worlds. “All of us were kind of finding ourselves on our own and finding new relationships of all kinds,” Cole says, reflecting on the record’s development. “A lot of change was happening for each of us.” At first all of this personal upheaval was not completely conducive to writing a new album.

The band was scheduled to record with legendary producer/engineer Jack Shirley (Deafheaven, Loma Prieta, Touche Amore) but the band’s process felt somewhat stagnant until suddenly it wasn’t: “We were all struggling very much creativity wise,” explains Cole “We’d all found outlets in other projects while trying to write this record. But a few weeks before our time with Jack, we sat down and basically wrote the whole record. We practiced three times a week for probably a month and a half, it was practically flowing out of us.“

The result is an exceptionally urgent sounding album– even for a visceral genre like screamo. Knumears’ traffic in a sound that’s hyper-immediate yet notoriously difficult to define: it evolved from the primordial ooze of late ‘80s hardcore, earning the “post” signifier in the most literal way, then shifted in the ‘90s into something even more emotionally wrought and musically chaotic with bands like Heroin, Pg. 99, and Orchid. The sound evolved further with another boom in the late 2000s/early 2010s as Loma Prieta, Touche Amore, and more boiled the music into something more direct and even at times catchy in its own caustic way. Now Knumears and their contemporaries find themselves at the forefront of a modern screamo landscape.

TRACK LISTING

1. Introduction
2. One Light, Sunshine
3. My Name
4. Breaking Ground
5. Directions
6. Untitled
7. Bridged
8. Fade Away
9. Friendly Face
10. The North

Nothing have always been rule-breakers. Shoegaze renegades who’ve rebuilt the stereotypically lightweight genre in their own bloodyknuckled American image. Outlaw poets spilling existential dread on mile-wide canvasses of fuzz and reverb. Beginning as a Philly-born bedroom solo project in 2010, Nothing’s music has always captured the full scale of the human condition, both the blaring anger and the whispering sadness. 'a short history of decay', Nothing’s fifth album and first for Run For Cover Records, widens that aperture even further, providing the most hi-def rendering of Nothing to date.

The band have never sounded this colossal, never felt this intimate, never been this honest. With the strongest arsenal in Nothing’s ever-shifting lineup locked in -- guitarist Doyle Martin (Cloakroom), bassist Bobb Bruno (Best Coast), drummer Zachary Jones (MSC, Manslaughter 777), and third guitarist Cam Smith (Ladder To God, also of Cloakroom) -- singer-songwriter Domenic “Nicky” Palermo knew he had the manpower to make the band’s most ambitious record yet. Cowritten and produced with Whirr guitarist Nicholas Bassett, and with additional production and mixing work from Sonny Diperri (DIIV, Julie), 'a short history of decay', is the most evolved musical statement in Nothing’s catalog. Songs like 'Cannibal World' and 'Toothless Coal' are cataclysmic lashings of mechanized industrial-gaze that sound like My Bloody Valentine -- except more extreme. On the other end of the spectrum, the ornately morose 'Purple Strings' boasts a beautiful string arrangement that includes harpist -- and two-time Nothing contributor -- Mary Lattimore. That baroque delicacy permeates other a short history of decay, highlights, particularly 'The Rain Don’t Care', a lilting ballad that channels the worn-down elegance of Mojave 3, and also 'Nerve Scales', a pattering bop that resembles Radiohead in its marriage of otherworldly atmosphere and mortal precision. Palermo calls the new record “a final chapter.” Not the end of Nothing, but the conclusion of a story that began with Nothing’s 2014 debut, 'Guilty of Everything' -- another album about time, regret, and confronting uncomfortable truths -- and now resolves with 'a short history of decay',. As much a snapshot of Palermo’s past as it is a leap into Nothing’s future.

TRACK LISTING

1. Never Come Never Morning
2. Cannibal World
3. A Short History Of Decay
4. The Rain Don’t Care
5. Purple Strings
6. Toothless Coal
7. Ballet Of The Traitor
8. Nerve Scales
9. Essential Tremors

Released in tandem with 'I Will Swim to You: A Tribute to Jason Molina', this limited edition 7” features MJ Lenderman’s contribution to the compilation (a cover of Songs: Ohia’s 'Just Be Simple') alongside a rarity pulled from the Jason Molina Archives. This demo version of 'The Last Three Human Words' runs just over 5 minutes, but captures the intimacy of Jason’s entire catalog perfectly well. MJ Lenderman’s cover of 'Just Be Simple' brings a fresh urgency to the song, blending its twangy confessions with bursts of full-band energy. His distinct North Carolina drawl trembles with poetic conviction, reimagining Molina’s original with reverence and grit. The cover plays to the emotional depth of both artists, setting the tone for a project rooted in tribute and transformation.

TRACK LISTING

1. Jason Molina - The Last Three Human Words (Demo)
2. MJ Lenderman - Just Be Simple (Songs: Ohia Cover)

Pelican has always been a band that’s not just from Chicago, but distinctly of Chicago. Formed in 2000 by guitarists Trevor Shelley de Brauw and Laurent Schroeder-Lebec alongside brothers Bryan and Larry Herweg on bass and drums respectively, Pelican’s foundation was built upon the rule-free, genre-agnostic scene synonymous with the Fireside Bowl. With Schroeder-Lebec returning to the band following Dallas Thomas’ departure in 2022, this reunified version of Pelican allowed the band to tap back into the spirit of their formative era and build something distinctly new with their 2025 LP, 'Flickering Resonance'.

With multiple legs of touring in the US and Europe supporting the record, 'Flickering Resonance' has reinvigorated and injected new life into the band. The album is already on it’s 3rd vinyl pressing. New fans and old fans alike are digging back into the Pelican catalog which has also resulted in additional represses and reissues of their most beloved titles.

With 3 vinyl represses in just the first year, and multiple legs of touring in the US and Europe to support the record, Pelican has now repackaged an EP of 4 'Flickering Resonance' era tracks as a 12” EP. Pelican fans will recognize the last two tracks 'Adrift' and 'Tending the Embers' which were self released digitally in 2024 and were only available physically on a limited number of cassette tapes. This 12” also features a vocal version of 'Flickering Resonance’s lead single 'Cascading Crescent' featuring Geoff Rickly of Thursday. This version of the track was previously only available on a limited number of 7”s so this is the first time that it will be released digitally as well as being made widely available on a physical format. The EP’s title track 'Ascending' is a track that was recorded around the same time as 'Flickering Resonance', but was left off of the album as it felt more like its own distinct entity. Bringing these 4 tracks together onto one EP further cements the idea that Pelican’s rule-free approach is at the core of what makes Pelican a mainstay across all of the genres they explore.

TRACK LISTING

1. Ascending
2. Cascading Crescent (ft. Geoff Rickly)
3. Adrift
4. Tending The Embers

A critical darling and beloved by fans, the success and recognition of 'Domestica' changed the trajectory of Cursive’s career. It was recorded over nine days at Lincoln, NE’s Whoop-Ass studios (the original studio of Mike and AJ Mogis), and the album’s bracing, jagged, cathartic, and visceral songs capture the urgency of the reunited young band—and continue to resonate with fans 25 years later.

TRACK LISTING

1. The Casualty
2. The Martyr
3. Shallow Means, Deep Ends
4. Making Friends And Acquaintances
5. A Red So Deep
6. The Lament Of Pretty Baby
7. The Game Of Who Needs Who The Worst
8. The Radiator Hums
9. The Night I Lost The Will To Fight

From the maniacal opening notes and carnival barker howl that launch the album, 'The Ugly Organ' wasted no time searing itself into a listener’s ears and quickly established Cursive as a musical force with which to be reckoned. A self aware examination of artistic constraints (or lack thereof), relationships, sex, and the intersection of all three, 'The Ugly Organ' wowed critics and audiences alike with its cerebral, cathartic blend of songs.

Fiercely intelligent and cohesive – the liner notes laid the songs out like a play, complete with stage directions – across its diverse sonic landscape, the album landed Cursive on the Sunday Arts & Leisure section cover of The New York Times (which also called it “a marvelous collection of riddles and left turns, conceived as a single piece of musical theater”) and earned accolades from Rolling Stone (“a brilliant leap forward”), Entertainment Weekly, Billboard, Alternative Press, MAGNET (“The best punk record you’ll hear all year”), Esquire, and SPIN, among many others, as well as a place on numerous year-end best lists.

'The Ugly Organ' feels as vibrant and vital today as it did upon release more than 20 years ago. A landmark album, it not only catapulted Cursive from the simmering indie underground to the forefront of a genre, but also served to inspire a host of young bands in its wake.

TRACK LISTING

1. The Ugly Organist
2. Some Red-Handed Slight Of Hand
3. Art Is Hard
4. The Recluse
5. Herald! Frankenstein
6. Butcher The Song
7. Driftwood: A Fairy Tale
8. A Gentleman Caller
9. Harold Weatherstein
10. Bloody Murderer
11. Sierra
12. Staying Alive

For more than three decades, AFI has been in a nearly constant state of reinvention. The band have made it a point to evolve with every album—sometimes dramatically so—never allowing themselves to become too comfortable in one genre or rest on any of their impressive career laurels. It’s an approach that has grown their audience but also challenged it with a sonic identity that can shift in wild, unexpected directions.

Now with their twelfth album, 'Silver Bleeds the Black Sun…', AFI are once again at the start of a bold new chapter—only this time, they’ve even managed to surprise themselves.

How does a band that’s known for creative upheaval still find ways to push themselves out of their comfort zones? Typically, the group would start an album by immediately throwing themselves into writing and simply letting their intuitive musical shorthand guide the process. But for 'Silver Bleeds the Black Sun…', AFI set out to purposely change their creative approach altogether. This time, it started with a conversation: how could they break new ground?

The key to moving forward actually ended up coming from AFI’s collective past. “We started with something that sounded like Echo & the Bunnymen,” explains guitarist Jade Puget, who produced and engineered the album. “But eventually we ended up with this melange of death rock and post-punk—all this stuff from the late ‘70s and early ‘80s that we grew up on, like Sisters of Mercy, and Bauhaus, and Siouxsie and the Banshees.”

The goal became making an album with a singular mood—something dreamy and ethereal—and the band members found themselves diving headfirst into influences that had always been deeply embedded in AFI’s musical core, but now were being brought to the forefront.

'Silver Bleeds the Black Sun…' is dark and otherworldly, but also grandiose and stately, biting and beautiful in equal measure. In other words, it’s very AFI—yet not quite like any version of the band you’ve ever heard before.

TRACK LISTING

1. The Bird Of Prey
2. Behind The Clock
3. Holy Visions
4. Blasphemy & Excess
5. Spear Of Truth
6. Ash Speck In A Green Eye
7. VOIDWARD, I BEND BACK
8. Marguerite
9. A World Unmade
10.Nooneunderground

It’s impossible to talk about Wicca Phase Springs Eternal without talking about transformation. For over a decade the singer, songwriter and producer Adam Andrzejewski has used the moniker as a wide creative umbrella, under which he’s made a vast body of work that’s as consistently compelling as it is constantly changing. This deft ability to blend sounds and styles has become his calling card, but no matter the genre signifiers–from rap beats, to new wave synths, to goth atmospherics–the beating heart of WPSE is Andrzejewski’s singular voice and esoteric-yet-emotional lyricism. Those key elements have centered the project through musical explorations, and now on his latest full-length, Mossy Oak Shadow, Andrzejewski really puts them to the test. Shedding thumping 808s and intricate production in favor of a no-frills band and sparse live recording, the album is a stirring collection of hazy folk rock songs that prove Wicca Phase Springs Eternal can truly be anything.

“I always kind of thought that as long as I have the Wicca Phase Springs Eternal name that I can do whatever I want,” Andrzejewski explains. “The name provides a framework for the lyrics and aesthetics of the project–my songwriting with a mystical overlay to it–and as long as I can make something work within that, then the genre doesn’t totally matter.” That daring creative mentality is what steered Andrzejewski when he first started the WPSE project, through his work as a co-founder of the influential GothBoiClique collective, or as member of Thraxxhouse and Misery Club, and even with his punk side project, Pay For Pain. Still, few could have guessed that the new proper Wicca Phase Springs Eternal release would be a set of country-leaning folk songs performed without a wink in sight. As with all things Wicca Phase, Mossy Oak Shadow finds Andrzejewski fully committed.

Mossy Oak Shadow might seem like a drastic pivot for the Wicca Phase Springs Eternal fans who got on board through his beat-driven modern classic albums, like 2016’s Secret Boy or 2018’s Suffer On–but it shouldn’t come as a total surprise. WPSE releases have always dabbled in stripped down acoustic songs, and even further back there’s Andrzejewski’s earlier work as a member of emo/indie stalwarts Tigers Jaw. When he left that band to focus on Wicca Phase in 2013, he was met with skepticism from listeners who were hesitant to embrace his new persona and experimental trap sound. Ironically now Andrzejewski has so thoroughly established Wicca Phase Springs Eternal that he’s once again challenging his fans witha stark sonic shift–but this time by returning to the guitar-oriented songwriting he’d set aside. “Dylan, Will Oldman, Richard Thompson–what I like most about those songwriters is that I’m able to trust them,” Andrzejewski explains. “If they do something that’s totally strange I trust that they know what they’re doing because it’s coming from the same person that wrote all these other songs that I love. So even if it might take some time for me to get where they are, I want to try.”

TRACK LISTING

Side A
1. Rough Roads
2. Horseback
3. Enchantment
4. I Just Moved Here
5. Magic Moment
6. Meet Me Anywhere

Side B
1. Looking Back
2. I Get It
3. Settler’s Bend
4. Last Riders Crew
5. I Was A Runner Once

Jason Molina was an artist who didn’t like to look back. Throughout the singer-songwriter’s life and career, a restless and evolving creative pulse propelled him forward, training his focus on what was next. His unyielding creativity and work ethic bore sacred fruit. In his short life, Molina achieved what most musicians strive for: a sound that is instantly recognizable but rarely repeats itself.

From the banks of Lake Erie in his hometown Lorain, Ohio, to international stages with his bands Songs: Ohia and Magnolia Electric Co., Molina performed his vast catalog of mysterious, romantic, tempestuous, and monumental songs that were at once innovative and rooted in American tradition. He consistently tinkered with his sound, image, band, and homebase in order to sate his muse. Tenor guitar-toting misfit. Lovesick lo-fi indie rocker. Dirgey slowcore bard. 21st century roots-rock trailblazer. Canonical Midwestern songwriter. Jason Molina planted his creative flag in all of these territories — to stake his claim, convey how far he’d traveled, and leave behind a trail of precious talismans.

With I Will Swim to You: A Tribute to Jason Molina — named after a line in Molina’s song “Lioness” — Run For Cover Records and a coterie of affiliated artists honor the songwriter’s enduring impact. The compilation of Molina covers is performed by some of today’s most visionary singer-songwriters, including MJ Lenderman, Hand Habits, Horse Jumper of Love, Sun June and more, and includes singular interpretations of Molina fan favorites and deep cuts from his solo albums and lesser-known EPs. The resulting collection, an unmistakable labor of love, is an often-stunning gestalt of generational talent paying homage to one of the most gifted but underrated American songwriters.

TRACK LISTING

Side A
1. MJ Lenderman - Just Be Simple
2. Horse Jumper Of Love - Blue Factory Flame
3. Trace Mountains - The Dark Don’t Hide It
4. Sun June - Leave The City
Side B
1. Runnner - When Your Love Has Gone
2. Sadurn - The Old Black Hen
3. Advance Base - Everything Should Try Again
4. Hand Habits - Lioness
Side C
1. Teen Suicide - Whip-Poor-Will
2. Friendship - Hard To Love A Man
3. Lutalo - Shadow Answers The Wall
4. Another Michael - Farewell Transmission
Side D
Etched Artwork

Runnner’s sophomore full-length, 'A Welcome Kind of Weakness', emerged from a simultaneous tear in songwriter Noah Weinman’s body and life. Written during the months spent bedridden and healing from a torn achilles and the drastic upheaval of a breakup, the 11 songs on this record are Weinman’s most bracing, inviting the perceived vulnerability of the album’s title willingly. But at the same time, these songs are Runnner’s most present, defiant and self-assured, a reminder of the resolve that can come from gracefully accepting submission.

Longtime fans of Weinman’s likely fell for his signature homespun indie rock, recorded almost exclusively in bedrooms and home studios, where his poignant and self-deprecating lyrics float over beds of banjos, guitars and reverberant horns crescendoing to cathartic peaks. But on 'A Welcome Kind of Weakness', Weinman soars for the first time in high fidelity. Runnner’s first studio record, it recalls the larger-than-life highs of the early aughts rock that Weinman grew up on, bands like Coldplay, Radiohead, and Snow Patrol with their pristine vocal presence, scintillating guitar riffs, and astral synth sparkle. This is rock music in its most delicious form, music that gave Weinman something to look forward to when he could finally play live again.

But as high as the sonic highs may be on 'A Welcome Kind of Weakness', we also see Weinman struggling gracefully with the questions that emerge from moments of physical and emotional undoing. As he sings about spackling holes in the house he shared with his ex and reckoning with a long span of physical futility, we’re reminded, too, of all the spectrums of experience we endure. We are all perpetually pulled between polls—weakness/resolve, nostalgia/presence, powerlessness/control—but it takes a certain bravery to sit in the murky middle long enough to write about it. And in his willingness to bear witness to that transitory space, Weinman seems to reassure us: You may think you won’t run again, but, given time, you might.

TRACK LISTING

1. A Welcome Kind Of Weakness
2. Achilles And
3. Spackle
4. Chamomile
5. Claritin
6. PVD
7. Coinstar
8. Get Real Sleep
9. Split
10. Sublets
11. Untitled October Song

Celebrate a decade of Turnover’s iconic sophomore album 'Peripheral Vision' with this Deluxe Anniversary Edition. This three-disc boxset includes 'Peripheral Vision' in full alongside two bonus tracks ('Humblest Pleasures' and 'Change Irreversible') on disc one. Disc two features a completely instrumental version of 'Peripheral Vision’s original eleven songs. Disc three features newly-recorded alternate versions of 6 Turnover songs from the era recorded with original producer Will Yip at Studio 4.

Packaged in a slip-case set, this deluxe edition features a 24” poster and 12”x 12” book with lyrics, liner notes, archival photos and an interview with the band reflecting on a decade of Peripheral Vision. Released on May 4th, 2015 via Run For Cover Records, Turnover’s second album 'Peripheral Vision' is widely regarded as an essential body of the work in the band’s discography, maturing its sound into a shoegaze-inflected post-punk direction following the band’s 2013 debut record 'Magnolia'. Described as “a tour de force” by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022’s 'Myself in the Way'.

TRACK LISTING

1. Cutting My Fingers Off
2. New Scream
3. Humming
4. Hello Euphoria
5. Dizzy On The Comedown
6. Diazepam
7. Like Slow Disappearing
8. Take My Head
9. Threshold
10. I Would Hate You If I Could
11. Intrapersonal
12. Humblest Pleasures
13. Change Irreversible
14. Cutting My Fingers Off (instrumental)
15. New Scream (instrumental)
16. Humming (instrumental)
17. Hello Euphoria (instrumental)
18. Dizzy On The Comedown (instrumental)
19. Diazepam (instrumental)
20. Like Slow Disappearing (instrumental)
21. Take My Head (instrumental)
22. Threshold (instrumental)
23. I Would Hate You If I Could (instrumental)
24. Intrapersonal (instrumental)
25. Cutting My Fingers Off (alternative)
26. Humming(alternative)
27. Diazepam (alternative)
28. Like Slow Disappearing (alternative)
29. Take My Head (alternative)
30. Humblest Pleasures (alternative)

Graham Hunt has an intuitive ability to carve out his own space within the long, confusing history of American pop music. The Wisconsin-based songwriter has spent the past four years hard at work building records that synthesize timeless guitar pop chops with a layered approach to production and a sly lyrical eye. His music balances the surreal with the quotidian, the melodic with the rhythmic, the cryptic with the triumphant–often proving that slacker playfulness and Heartland earnestness are not mutually exclusive.

'Timeless World Forever' - Hunt’s first release for Run For Cover - provides closure on a formidable body of songs while opening the gates for a new stage in the artist’s long, prolific career. For years, Hunt has been a staple of the Midwest indie rock world, dating back to his time leading Midnight Reruns and performing with acts like Mike Krol and Disq. In 2019 he released his first solo record, 'Leaving Silver City', but it was 2022’s 'If You Knew Would You Believe It?' where he hit his stride. The album was quickly followed by 'Try Not To Laugh' in 2023, and now 'Timeless World Forever' picks up those threads. The three records are of a piece: all made in the same Madison basement with a beat-driven density and sonic imagination that is as indebted to rap and rave as power pop.

It’s hard to look backwards and forwards at the same time without getting your wheels stuck in some sludgy atemporal mud. By sheer force of commitment, Graham Hunt has made a body of music that makes an argument for experimentation within a tradition— one that invokes both familiarity and mystery. Timeless World Forever is the culmination of a half-decade of growth; it’s the sound of a lifer revving up, shifting into a higher gear, pressing his foot on the pedal, and attacking the highway.

TRACK LISTING

1. I Just Need Enough
2. East Side Screamer
3. Robot World
4. Spiritual Problems
5. Been There Done That
6. Power Object
7. Frog In The Shower
8. Cave Art
9. CRC
10. Movie Night

Celebrate a decade of Turnover’s iconic sophomore album 'Peripheral Vision' with this 10 Year Anniversary Edition. Retaining the album’s iconic cover art, the packaging has been completely overhauled to include a new lyric poster & printed photo inner sleeve. This special limited edition also includes two bonus tracks from the era - 'Humblest Pleasures' and 'Change Irreversible'.

Released on May 4th, 2015 via Run For Cover Records, Turnover’s second album 'Peripheral Vision' is widely regarded as an essential body of the work in the band’s discography, maturing its sound into a shoegaze-inflected post-punk direction following the band’s 2013 debut record 'Magnolia'. Described as “a tour de force” by Kerrang!, the album set the stage for an extensive and prolific touring history over the past decade and three subsequent albums, including their most recent LP, 2022’s 'Myself in the Way'.

TRACK LISTING

1. Cutting My Fingers Off
2. New Scream
3. Humming
4. Hello Euphoria
5. Dizzy On The Comedown
6. Diazepam
7. Like Slow Disappearing
8. Take My Head
9. Threshold
10. I Would Hate You If I Could
11. Intrapersonal
12. Humblest Pleasures
13. Change Irreversible