Thee Autumn Almanac forecasted a perfect storm of gloomy, melancholy albums from Elder, The Black Angels, Colour Haze, And Also the Trees, Dungen, Custard Flux, Vitskär Süden, Breanna Barbara, Dune Sea and more.
Albums that already had full reviews published are linked from the list at the bottom. Elder review coming soon.
Vitskär Süden – The Faceless King (Ripple)
Since Vitskär Süden’s 2020 self-titled debut, they’ve been on my watch list of new up and coming bands. Their name, cover art and style suggests they come from the dark forests of Finland or Sweden rather than sunny Los Angeles. Martin Garner’s vocals remind me of Isaiah Mitchell’s work on his too-brief project with Golden Void, while their mix of psych noir, prog and gothic folk evoke Elder’s most recently gorgeous soundscapes and Wovenhand’s apocalyptic imagery. On top of all that, the band offers the most amazing add-on — a genuine Dungeons & Dragons module!
Breanna Barbara – Nothin’ But Time (Fuzz Club)
There’s a lot of accomplished women solo artists who I admire lately — Phoebe Bridgers, Marissa Nadler, Lydia Loveless, to some extent Taylor Swift. Then there’s artists who I actually listen to a lot, who delve into deeper, darker wells of gothic country, cosmic Americana, folk noir, blues psych and country soul — Tami Neilson, Adia Victoria, Keeley Forsyth and Rosali. These are my people, and I’m chuffed to add Breanna Barbara to that list. She has a couple low-fi solo tapes on her Bandcamp, and debut album Mirage Dreams (2017) which flew under my radar until I heard three singles and videos last year — “Big Bang Blues,” “The Way Out” and “New Moon.” Barbara’s music has roots in rockabilly and country, and particularly a couple influential albums from 1998 – the ethereal but intimate vocals of Cat Power on Moon Pix and the avant blues/folk noir on my favorite PJ Harvey album, Is This Desire?. Recorded in Nashville’s Bomb Shelter studio with Jack Lawrence (The Dead Weather), Tall Juan, Derry DeBorja (Jason Isbell), and Champagne Superchillin’s Ben Trimble and Charles Garmendia, the diverse musicians also reference 60s garage psych and some psych fuzz that could come out of Rosalie Cunningham’s psych noir band Purson. UK label Fuzz Club is a great home for this album, with labelmate Tess Parks. With Barbara’s caliber of talent, she might cross over to bigger mainstream popularity. At the crossroads or not, this album will likely be remembered as a magical time.
Dune Sea – Orbital Distortion (All Good Clean)
Trondheim, Norway’s Dune Sea have specialized in a top notch approach to space rock since their All Quiet Under the Suns EP debut in 2017. Now on their third full length, their original inspirations of Hawkwind/Monster Magnet combined with some Nebula/Yawning Man style stoner fuzz can still be heard, but they’ve also embraced some stately post-rock guitar textures on “Astro Chimp” and “Draugen,” prog (hear the violin on the Norwegian-sung “Hubro”) and ambient sounds throughout. The bassline on “Trinity” is delicious. Without a doubt their best batch yet, but unfortunately you can’t buy it. “Available anywhere” must translate from Norwegian as “streaming only.” The vinyl record will be available sometime in 2023, and lossless downloads will be available possibly never. I’m still trying to track down a download of their previous album, Moons of Uranus (2020), a fruitless quest so far. The EP and first album are available on Bandcamp, I’m not sure why they can’t also sell the more reason albums there.
WIZRD – Seasons (Karisma)
Trondheim, Norway’s fertile scene has spawned another great project, with Spidergawd’s Hallvard Gaardløs teaming up with folks from the Jazz Conservatory, including two members of Soft Ffog, who released their debut of Canterbury flavored instrumental jazz fusion in May. WIZRD’s jazz-rock draws from an eclectic pool including the freewheeling, irreverent spirit of White Denim (especially on “Fire & Water,” where sounds just like James Petralli), jammy prog and Southern Rock complete with vocal harmonies. It’s a jazzier version of what I like about another Texas band, Crypt Trip. A prime example of the band’s range is illustrated on “Show Me What You Got,” which shows off their energetic, fast fretwork and rhythms for four minutes, segued into a dreamy, cosmic country psych second half.
Cursed Arrows – Crone (Tarantula Tapes)
Starting the week leading up to Thanksgiving, we at Rancho Bulboso like to indulge in cheesy Holiday romance movies, such as the upcoming Netflix movie Christmas With You with a middle-aged Freddie Prinze Jr. as a music teacher widower, and Aimee Garcia (who was great in Lucifer) as the lonely pop diva. A kind of Latin pop version of Once (2011) with Glen Hansard of The Frames and Markéta Irglová, they should keep another generation of boys inspired to pick up a guitar. It’s a great story, much better than the tired cliche of rock stars and groupies. Instead, the boy proves himself through the quality of his songs and musicianship to be worthy of a woman not just his equal, but probably superior. Such is the case of Canadian blues punk couple who make up Cursed Arrows. Ryan Stanley had put out a ragtag acoustic solo album in 2003, which attracted the attention of Jackie. They met and formed a musical and romantic partnership that’s gone strong ever since with seven albums and several EPs. For the first decade they used the White Stripes style drums and guitar setup, and then added multi-instrumentalist Scott Grey to the lineup on Rebirth (2018). The expanded arrangements helped focus their garage noir, post-punk and grunge into their unique style, which sounds better than ever on their latest, with their most powerful, majestic walls of guitar fuzz and moody atmospherics. I went ahead and subscribed on Bandcamp, because I’m all in with whatever they come up with next.
Mutautu – Graveyard of Giants
Mutautu are from Finland, the land of psych prog chameleons Circle, occult psych noir pioneers Jess and the Ancient Ones and Mansion, and vast sub-arctic forests that provided the settings for reoccurring dreams filled with supernatural creatures. Mutautu sounds like it could be an intriguing beast, but it actually translates to “get muddy.” The band are fairly earthy in their repertoire of dirty, bluesy heavy rock and proto-metal, topped with some nicely sinister occult content. Their second album is a step forward from their debut Somewhere Over the Death Trip (2019) with an increased proportion of sticky riffs and melodies that could please fans impatiently waiting for a new Graveyard album. Ismo’s vocals are solid but a touch too modestly buried in the mix.
Crippled Black Phoenix – Banefyre (Season Of Mist)
It’s funny to read complaints about the length of the 82 minute long Banefyre, because what else does one expect from Crippled Black Phoenix? Sprawling epics of goth, prog, post-rock and art rock is what Justin Greaves and company have done since 2007, and this ranks up there among their best, like (Mankind) The Crafty Ape (2012). With the aid of Belinda Kordic’s vocals, her vibrato invoking Stevie Nicks at an occult dance party turned satanic orgy, the band gives both the sense of joyful exploration, and weighty drama. Those in favor of a union of the cinematic post-rock of Explosions in the Sky and late period Swans should appreciate this vibe, with the double album not leaving them exhausted, but rather primed to dig into all thirteen hours of the band’s full catalog.
Glass Hammer – At the Gate
This Chattanooga, TN band has released over 20 albums since 1993. I was a latecomer, the first full length I heard was Valkyrie (2016), one of their top tier entries of Glass Hammer’s symphonic prog. There’s an ever-revolving roster of vocalists and musicians who contribute to the project, with Steve Babb as the key songwriter and multi-instrumentalist. The band got some attention for featuring Jon Davison in the 10s, who became Yes’ vocalist in 2014. They got my attention with the second installment of their Skallagrim trilogy, Into the Breach (2021). Two things stood out for me — the additional vocalist Hannah Pryor, and a sharp turn into toward stoner metal and doom. First installment The Dreaming City (2020) dabbled in it, but was still very keyboard heavy (courtesy of Fred Schendel), lending to a kind of space rockin’ 70s Rush vibe at times. At the Gate completes the trilogy, but those who follow the lyrics closely will get a different story than what’s fleshed out in Skallagrim: In the Vales of Pagarna (Book 1), which Babb published earlier in the year. I haven’t read it all yet, but it seems that Part II was their heaviest ever in order to properly accompany perhaps some battle scenes in the sword and sorcery/romance tale. On Part III they circle back to the symphonic prog they’re most known for, with just some occasional heavy riffs along the lines of the first album. Anyone who says there aren’t any current ambitious event albums and immersive epics need to hear all three of these.
Orango – Mohican (Stickman)
What sounds like a quintessentially American classic rock band, fusing Crosby, Stills & Nash folk rock harmonies with bluesy Southern Rock, is actually cooked up in the mountains of Norway. Orango’s eighth album, their first in four years, offers no big surprises, but it’s good to hear them back. They wrote enough songs for three albums during the pandemic, but nearly went on hiatus with some considering an indefinite break, others starting a solo project. Fortunately they finally got together in a room and rediscovered their magic, and clearly had unfinished business worth hearing.
Goat – Oh Death (Rocket)
I’ve been on board with Goat since the beginning, and love their odd occult/vodou backstory, costumes and gumbo stew of psych, kosmische, Afrobeat and Toureg. The only thing they lacked were memorable songs and melodies. There’s only so many ceremonial chants and shouts that can stick in the brain. On the other hand, no one can expect them to become the Beatles. On their fourth album (fifth if you count last year’s solid odds ‘n’ sods Headsoup), they do the next best thing, and diversify their songs throughout the album, distilling their own unique takes of key influences from Funkadelic, Fela Kuti, Tinariwen, Can, The Slits, Dungen, etc. There’s always a danger of blending discordant influences so fine it becomes a gray sludge. Here they focus on just a couple at a time which makes for their liveliest sounding albums since Commune (2014). The overall vibe is celebratory, even if it’s more of a death party. Consider the chants of The Go! Team if they were murdered, then dug themselves out of their graves. “Do the Dance” recalls the Drums of Burundi that fueled Bow Wow Wow and Adam & the Ants. “Under No Nation” breaks for some free-jazz saxophone squawks without derailing it’s Afrobeat-via Remain in Light groove, with Eddie Hazel fuzz guitar, which returns at the end of “Blow Your Horns” with added Black Sabbath heft. The Funkadelic influences persist with the Pedro Bell influenced cover art, and the voice of god/satan/George Clinton in “Remind Yourself.” The result is as colorful and enjoyable as the best of any of the aforementioned artists.
Preoccupations – Arrangements
None of the neo or revival hogwash, the post-punk and goth genres have never been dormant in their 40 plus years. This is the Calgary band’s fourth album counting their debut as Viet Cong in 2015, and another strong entry. From afar, it might appear to be gray wash of despair, but zoom in and you’ll see a bit of color, a few flowers planted in the dirt amongst the decaying bodies, a bit of jangle pop adorning the gloom. The future may be bleak, but there’s still beauty and life on the dying planet.
Elkhorn – Distances (Feeding Tube)
The guitar duo of Jesse Shepherd (acoustic) and Drew Gardner (electric) have been recording music for over a decade now, and it’s gratifying to see their diverse batch of albums that include elements of outsider psych folk, kosmische and American Primitivism embraced by audiences and critics in the past few years. Every album features something unique, and on Distances, recorded in 2019, they include two drummers, Ian McColm and Nate Scheible. The powerful combination of two guitars can be an unwieldy union in less virtuosic hands, but Elkhorn keep the volume reigned in. It’s simply enough to know they could hold their own with the likes of Earthless should they choose to plug in a pedal or five, but for now it’s plenty satisfying to hear Shepherd’s 12-string provide a luxuriously fluffy bed of notes on top of which Gardner picks his electric with the hypnotic grace of the desert blues of Tinariwen at times, Sir Richard Bishop/Sun City Girls and Chris Forsyth at others. I can’t wait to hear what this versatile duo tackle next.
King Gizzard & The Lizard Wizard – Ice, Death, Planets, Lungs, Mushrooms and Lava (KGLW)
It’s impressive how big a following King Gizzard & the Lizard Wizard have gotten without focusing their talents on any one singular breakthrough album. Instead they’ve released 23 albums in eleven years, and manage to come all the way from Australia for multiple tours through North America, building a loyal fanbase. Generally their albums are like a party game for musicians — pick an exercise with a set of rules and see what happens. Or perhaps they’re leading a psychedelic school of rock in which they master a massive toolset to prepare themselves to one day create the ultimate album. I suspect their legacy will simply be the vast scope of their entire body of work, which exceeds 18 hours of music so far. Ice, Death, Planets, Lungs, Mushrooms and Lava, probably their best of their five (!) albums released this year, tackles the seven Greek modes of music, set to singular tempos for each track. The improvised jazz-rock and funk jams, combined with collaborative lyrics focusing on nature recovering from the soon-to-be extinct humans, and the inevitable fiery death of the planet in the far future, are actually their most accessible music they’ve come up with in years. “Ice V” and “Magma” almost sound composed in parts, with actually catchy vocal hooks. Both served as highlights in their two sets at Austin’s Levitation festival, along with “Iron Lung” (featuring some scorching Tuareg style desert blues guitar) and the floating psych of “Lava” adorned with saxophone. For those just joining in the fun, it’s a great entrypoint before digging back into highlights like Flying Microtonal Banana & Murder of the Universe (2017) and I’m In Your Mind Fuzz (2014).
Edena Gardens – Edena Gardens (El Paraiso)
Martin Rude & Jakob Skøtt of Causa Sui, Sun River and London Odense Ensemble are joined by Papir guitarist Nicklas Sørensen, who’s also released solo albums on El Paraiso. This is minimalist space rock, stripped down to bass, drums, guitar, unadorned except for the occasional slow-motion analogy synth whoosh. The psychedelic journey inversed to inner space. As with all El Paraiso productions, it sounds fantastic, and a must have for fans of the label.
King Buffalo – Regenerator (Stickman)
This heavy psych band from Rochester, NY has been extremely productive during the pandemic, putting out three albums since 2021. Their fifth album locks into a languid, hypnotic groove of heavy psych, space rock and a touch of prog that European bands would envy. Their smooth, uncluttered sound stands out when I played the new one on random among other new releases.
Avatarium – Death, Where Is Your Sting (AFM)
Avatarium’s fifth album retains it’s gothy doom and psych noir vibes, but leans heavily on high drama and accessible melodies in an understandable bid to cross over to a larger audience. The band has always maintained a balance of dark atmosphere and high quality musicianship and songwriting, and certainly deserves to be better known. Jennie-Ann Smith’s vocals are in top form, from the memorable title track to the single “God Is Silent” that features an extended section of heavy guitar riffing. Perhaps they’re not yet poised to crash the pop charts, but it should gain them some new fans.
Bhopal’s Flowers – Joy of the 4th (Sound Effect)
Dedicated to Lionel Pezzano’s baby son, Joy of the 4th (possibly a take on Kevin Ayers’ Joy of a Toy), while it is uplifting, psych/sunshine pop, it’s fully in line with the band’s previous work that bridges the sitar and tanpura-driven Hindustani music with typical psychedelic instrumentations of 12-string acoustic, harpischord, mellotron and leslie effect. It’s an ode to the 4th degree of the musical scale to invoke joy, love, happiness, rainbows and unicorns. I dare say we could use some of that right now.
Korb – III (Dreamlord)
There’s both too much and not enough space rock. Meaning, there’s a lot of space junk to sift through to find the gems. The British duo of Alec Wood and Jonathan Parkes are responsible for three diamonds in the rough that inhabit a sweet spot between propulsive motorik kosmische rhythms and tasty analog synth whooshes. This is all instrumental, but the music successfully evokes amazing imagery for songs like “Robots of the Ancient World.”
Sammal – Aika laulaa (Svart)
The first three albums and one EP released by this Finnish band between 2013-18 stayed pretty under the radar. While all three are consistently great, their jammy, Fenno-Ugrian take on psych prog remains exotic to some perhaps due to their sticking to the Finnish titles and lyrics. In the four years since the last album, they’ve pared down from five to three members. On their fourth album they’ve diversified both their languages and influences, with certain songs sung in Swedish and English. Pandemic woodshedding has lead songwriter Jura Salmi down some rabbit holes that include everything from Bo Hansson and Iron Butterfly to Type O Negative and Whitesnake. Not that you’re gonna hear a hair metal anthem here, you can get that from Circle and King Gizz.
The Janitors – Noisolation Sessions Vol. 2 (Cardinal Fuzz)
Over a decade ago I was excited by this Swedish band’s fusion of The Jesus & Mary Chain post-punk noise fused with space rock. Aside from some EPs, they weren’t as prolific as I’d hoped, but their two volumes of Noisolation Sessions are extremely promising. Here’s hoping they’re back on track.
Onségen Ensemble – Fear (Svart)
There’s literally tons of instrumental post-rock available every year, which gets overwhelming for someone who only needs just a few albums. Finland’s Onségen Ensemble get an automatic buy from me every time, four releases so far, because they add flavors of psych prog and jazz fusion that are irresistible. Combine that with the top notch production and gorgeous artwork, and you’ve got something worth collecting on vinyl for those so inclined.
Big Joanie – Back Home (Kill Rock Stars)
When UK punkers came out with their debut, Sistahs (2018), no one seemed interested. I loved it, and was chuffed when they played at SXSW this year, which meant they likely had new music finally coming out. Stephanie Phillips, who was previously in a band called My Therapist Says Hot Damn, formed the band in 2013 when she wanted to fuse her love of punk with her interests in Black feminism, influenced by pioneering feminist theorist bell hooks. They’ve both expanded and focused their approach into their own take on art rock and post-punk, with more sophisticated arrangements and instrumentation, including keyboards, omnichord and violin. Phillips takes a unique approach in intertwining her lead vocals with backing vocals, influenced by former Kill Rock Stars figureheads Sleater-Kinney. Thankfully this time around, people are taking notice.
The Otolith – Folium Limina (Blues Funeral)
I can’t believe it’s already been six years since the fifth and last album of Salt Lake City’s mighty SubRosa, who subsequently broke up. The band soldiered on without Rebecca Vernon as The Otolith. While the previous band’s mix of avant doom, sludge and post-metal can be heard here, along with Kim Cordray and Sarah Pendleton’s violins, everything’s gotten much heavier. An impressive debut.
Upupayāma – The Golden Pond (Cardinal Fuzz)
I was bewitched by Alessio Ferrari’s one-man psychedelic folk debut EP in 2020. Now he’s put together a band, and the sound is augmented by some heavy fuzz guitar, at first a surprising addition on top of the gauzy folk, but not an unwelcome one. With roots in German, Swedish and English 70s progressive folk and psych, along with contemporaries Kikagaku Moyo. There’s also some influence from French proggers Magma, with Ferrari singing in a made-up language. It seems a lot of trouble to be unintelligible when sticking with Italian and mumbling the vocals would do the trick for most of the world just as easily, but more power to him.
Gold Dust – The Late Great Gold Dust (Centripetal Force)
Just a year after Stephen Pierce’s highly regarded self-titled debut as Gold Dust, the follow-up maintains momentum while expanding on the original Cosmic Americana/psychedelic folk rock palate, with layers if distorted guitars putting weight on top of the ethereal jangle and vocal harmonies, such as opener “Go Gently” like a rustic Love & Rockets.
Spell – Tragic Magic (Bad Omen)
Vancouver’s Spell sit under the general heavy metal banner, but have always been a bit more, incorporating psych and progressive hard rock into their sound, which puts them on a parallel, if less popular path as Sweden’s Ghost. At this point Spell are obviously the far superior band, even if they don’t match the former’s live theatrics. There’s plenty of accessible melodies on their fourth album without any missteps in poor taste, like their ABBA-loving competition.
Stephen Bailey – G.G. Rider (Third Eye Stimuli)
Stephen Bailey is the singer of Perth, Australia psych rock band Mt. Mountain. Far different from the kosmiche/post-rock influences of his band, his solo albums, including Silo (2017), 9 (2019) and Tunnel (2021) reflect his passion for West Coast cosmic Americana, Bobby Charles and chooglin’ J.J. Cale. His fourth solo album is his best distillation of those influences into his own brand of folk rock and country psych pop so far.
6kitty – Tux
While Tux is the debut for this dream rock power trio, guitarist/lead vocalist Donna G. and bassist/vocalist Stephanie H. have been involved in bands in the Chicago scene since the 90s. It makes sense that noise pop and shoegaze are locked into their DNA. While I get positive flashbacks to Velocity Girl and Veruca Salt, they also fit comfortably between contemporaries UV-TV and Vanishing Kids, anchored with a satisfyingly heavy bottom end. Along with well written tunes, the advanced chemistry of their vocal interplay and harmonies set them a cut above most indie rock contemporaries. “Taxi” is one of several standouts, and Stephanie H. takes the lead on the “Do I Walk,” with a sticky hook that The Pixies would envy.
Nathan Hall & The Sinister Locals – Golden Fleece (Hip Rep)
Earlier this year I purchased the entire catalog of the two bands lead by Nathan Hall. I still am not able to tell the difference between Soft Hearted Scientists and The Sinister Locals — both specialize in psych folk, psych pop and prog pop. I enjoyed every single album in the catalog, but I don’t know if it was the kind of wonky cover art of Golden Fleece or the fact that I overate this particular entree, but the latest didn’t hit me quite the same way. A good entry point are two compilations, Whatever Happened to the Soft Hearted Scientists that spans from 2004-18, and The Kraken of Roath Park Lake, that covers highlights starting in 2017 through last year. While digging through their catalogs, I was reading Steven Wilson’s book Limited Edition of One, where he talks about how Porcupine Tree came about as homemade tapes of him approximating XTC’s side project Dukes of Stratosphear, and maybe some Bevis Frond. Those early recordings were interesting only because of what he later achieved. Had they been as good as Nathan Hall’s work, perhaps Wilson would be known for his psychedelic rock more than anything else.
Sun Voyager – Sun Voyager (Ripple)
A.A. Williams – As the Moon Rests (Bella Union)
The Necromancers – Where the Void Rose
Spoon Vs, On-U Sound – Lucifer on the Moon (Matador)
Mythic Sunship – Light/Flux (Tee Pee)
Robyn Hitchcock – Shufflemania (Tiny Ghost)
The Casual Dots – Sanguine Truth (Ivor Stix)
The Green Pajamas – Forever For a Little While (Green Monkey)
Arctic Monkeys – The Car (Domino)
Autumn Rundown
- Elder – Innate Passage (Stickman) | Nov 25 | USA/Germany | Bandcamp
- The Black Angels – Wilderness of Mirrors (Partisan) | Sep 16 | USA | Bandcamp
- Colour Haze – Sacred (Elektrohasch) | Sep 14 | Germany | Bandcamp
- Custard Flux – Phosphorus (Custard Flux) | Sep 15 | USA | Bandcamp
- Thus Love – Memorial (Captured Tracks) | Oct 07 | USA | Bandcamp
- Blacklist – Afterworld (Weird) | Oct 28 | USA | Bandcamp
- And Also The Trees – The Bone Carver (Border) | Sep 09 | UK | Bandcamp
- Dungen – En Är För Mycket och Tusen Aldrig Nog (Mexican Summer) | Oct 07 | Sweden | Bandcamp
- Vitskär Süden – The Faceless King (Ripple) | Nov 04 | USA | Bandcamp
- Syvdoh – Gentlemen (Iffy Folk) | Nov 25 | UK | Bandcamp
- Breanna Barbara – Nothin’ But Time (Fuzz Club) | Nov 11 | USA | Bandcamp
- Remina – Strata (Avantgarde) | Nov 11 | New Zealand | Bandcamp
- Faetooth – Remnants of the Vessel (Dune Altar) | Oct 28 | USA | Bandcamp
- Dune Sea – Orbital Distortion (All Good Clean) | Nov 11 | Norway
- King Buffalo – Regenerator (Stickman) | Sep 02 | USA | Bandcamp
- WIZRD – Seasons (Karisma) | Oct 21 | Norway | Bandcamp
- Hammered Hulls – Careening (Dischord) | Oct 28 | USA | Bandcamp
- Sumerlands – Dreamkiller (Relapse) | Sep 16 | USA | Bandcamp
- Cursed Arrows – Crone (Tarantula Tapes) | Nov 22 | Canada | Bandcamp
- Mutautu – Graveyard of Giants (Mutautu) | Sep 15 | Finland | Bandcamp
- Avatarium – Death, Where Is Your Sting (AFM) | Oct 21 | Sweden | Buy
- Wippy Bonstack – 22 (Wippy Bonstack) | Nov 22 | USA | Bandcamp
- Sloan – Steady (Yep Roc) | Oct 21 | Canada | Bandcamp
- Crippled Black Phoenix – Banefyre (Season Of Mist) | Sep 09 | UK | Bandcamp
- Glass Hammer – At the Gate (Glass Hammer) | Oct 07 | USA | Bandcamp
- Garrett T. Capps & NASA Country – People Are Beautiful (Spaceflight) | Oct 21 | USA | Bandcamp
- Orango – Mohican (Stickman) | Oct 07 | Norway | Bandcamp
- Goat – Oh Death (Rocket) | Oct 21 | Sweden | Bandcamp
- Preoccupations – Arrangements (Preoccupations) | Sep 09 | Canada | Bandcamp
- Gilla Band – Most Normal (Rough Trade) | Oct 07 | Ireland | Bandcamp
- Elkhorn – Distances (Feeding Tube) | Sep 16 | USA | Bandcamp
- King Gizzard & The Lizard Wizard – Ice, Death, Planets, Lungs, Mushrooms and Lava (KGLW) | Oct 07 | Australia | Bandcamp
- Edena Gardens – Edena Gardens (El Paraiso) | Oct 28 | Denmark | Buy
- Suede – Autofiction (BMG) | Sep 16 | UK
- Modern Stars – Space Trips For The Masses (Little Cloud) | Nov 11 | Italy | Bandcamp
- Bhopal’s Flowers – Joy of the 4th (Sound Effect) | Nov 04 | Canada | Bandcamp
- Korb – III (Dreamlord) | Sep 30 | UK | Bandcamp
- Sammal – Aika laulaa (Svart) | Nov 18 | Finland | Bandcamp
- The Janitors – Noisolation Sessions Vol. 2 (Cardinal Fuzz) | Nov 03 | Sweden | Bandcamp
- Onsègen Ensemble – Realms (Svart) | Nov 11 | Finland | Bandcamp
- Big Joanie – Back Home (Kill Rock Stars) | Nov 04 | UK | Bandcamp
- The Otolith – Folium Limina (Blues Funeral) | Oct 21 | USA | Bandcamp
- Upupayama – The Golden Pond (Cardinal Fuzz) | Nov 04 | Italy | Bandcamp
- Gold Dust – The Late Great Gold Dust (Centripetal Force) | Nov 04 | USA | Bandcamp
- Les Big Byrd – Eternal Light Brigade (Chimp Limbs) | Nov 25 | Sweden | Buy
- Los Palms – Skeleton Ranch (Fuzz Club) | Nov 25 | Australia | Bandcamp
- Holy Fawn – Dimensional Bleed (Wax Bodega) | Sep 09 | USA | Bandcamp
- Nathan Hall & The Sinister Locals – Golden Fleece (Hip Rep) | Sep 09 | UK | Bandcamp
- Alvvays – Blue Rev (Transgressive) | Oct 07 | Canada | Bandcamp
- Stephen Bailey – G.G. Ryder (Third Eye Stimuli) | Nov 25 | Australia | Bandcamp
April 2, 2026
Fester’s Lucky 13: 1986
February 27, 2026
Fester’s Lucky 13: 1976
