Past Releases

The Clientele "I Am Not There Anymore"

The Clientele’s I Am Not There Anymore regularly evokes what singer-guitarist Alasdair MacLean calls “the feeling of not being real.” Recording for the album began in 2019 and continued piecemeal until 2022—in part because of the pandemic, but also because the band wanted to experiment. “We’d always been interested in music other than guitar music, like for donkey’s years,” MacLean says. This time out, he and bassist James Hornsey and drummer Mark Keen incorporated elements of post-bop jazz, contemporary classical, and electronic music. According to MacLean, “None of those things had been able to find their way into our sound other than in the most passing way, in the faintest imprint.”This stretching out—what MacLean calls “a leap forwards and to the side”—can be heard clearly in lead single “Blue Over Blue,” with its percussive samples and its moments where the arrangement opens up suddenly into something cinematic in scope, with horns and strings.

MacLean says I Am Not There Anymore is all about “the memory of childhood but at the same time the impossibility of truly remembering childhood… or even knowing who or what you are.”

PWNT "Play What’s Not There"

Get ready to be transported to a world of mesmerizing music with PWNT’s latest project, ‘Play What’s Not There.’ It all started with the release of PWNT’s debut album, ‘Days in the Summer,’ in the midst of the most trying times for the music industry. While most artists would have gone on a support tour to promote their album, Kosta Galanopoulos, the mastermind behind PWNT, found himself creatively invigorated during the pandemic.


With newfound free time, Kosta poured all his energy into creating a new album, and ‘Play What’s Not There’ was born. This collection of tracks feels so timeless and captivating that you’ll find yourself coming back to it again and again. Kosta brought on board an exceptional team of artists, musicians, and producers to help him pull off this masterpiece.


From the haunting vocals of Will Fox to the unforgettable woodwinds from Steven Frieder and the masterful textures crafted by David Davis, the album takes you on a musical journey like no other. ‘Play What’s Not There’ is an expanded acronym for PWNT’s artist name, inspired by Miles Davis, and it perfectly epitomizes Kosta’s vision.


This album is a testament to Kosta’s ability to make music that feels both brand new and timeless, and it’s destined to hold a space all its own in the world of music. So sit back, relax, and let PWNT’s ‘Play What’s Not There’ take you on a journey you’ll never forget.

Mutoid Man "Mutants"

When Mutoid Man came crashing out of the gate back in 2013, the Brooklyn trio’s combination
of basement punk’s zero-fucks-given energy, classic metal’s over-the-top showmanship, and
prog rock’s musical gymnastics had a seemingly unstoppable momentum. Riding on the success
of their debut EP Helium Head (2013), the band took on a manic work ethic over the next four
years, cranking out two full-lengths, Bleeder (2015) and War Moans (2017), touring relentlessly
across the US and Europe, and becoming something of a de facto house band for esteemed
New York metal venue Saint Vitus along the way. With tour dates supporting acts like
Mastodon and Danzig, it appeared that Mutoid Man’s entry into the upper echelon of heavy
metal heroes was inevitable. However, life has a way of complicating things, and between line-
up changes, an exodus from Brooklyn, a slew of other musical projects, and, ya know, a
pandemic, the band was put on hold in the midst of their ascendancy. But after a six-year
recording hiatus, Mutoid Man are back to reclaim their throne with their third full-length album
and most mindboggling effort yet, Mutants.

Guitarist/vocalist Stephen Brodsky (Cave In, Old Man Gloom) and drummer Ben Koller
(Converge, Killer Be Killed) have always excelled at crafting their own unique brand of frenzied,
hyper-focused, dynamic, and deliciously excessive fretboard-savvy metal. Take two players who
were raised in the hardcore world and who quickly surpassed the technical requirements for
playing even the more sophisticated spins on that sound, and then make them playfully push
each other into more outrageous and catchy territories, and you have a rough approximation of
the Mutoid Man sound. But with new bassist Jeff Matz (High on Fire, Zeke) in tow, you now
have a trifecta of prog-level players approaching metal with punk irreverence on Mutants.

Upper Wilds "Juptier"

On Jupiter, Brooklyn trio Upper Wilds voyage deeper into the cosmos, mapping out the overwhelming enormity of the universe in soaring hooks and blistering noise. The third installment in the trio’s exploration of our solar system looks to its largest planet for a daring exploration of scale and perspective. New York underground mainstay Dan Friel’s melodic gifts and wry lyricism are magnified and propelled ever outwards by the thundering rhythm section of bassist Jason Binnick and drummer Jeff Ottenbacher, all immersed in rippling fuzz. Just like its namesake, Jupiter stands as Upper Wilds most colossal offering in their catalog. The raw power of their music is amplified to titanic proportions, sky-clawing riffs invoking the sheer awe that the heavens inspire.

Throughout Jupiter, Friel makes canny use of shifting perspectives to make sense of the universe’s infinite expanse and our place within it. The buzz-saw groove of “Drifters” mirrors the relentless forward-motion of the NASA Voyager space probes pushing out to the edges of the known universe, Friel musing on the likelihood that they outlast the existence of the earth and our sun. “Short Centuries” pays homage to the oldest married couple on Earth, Julio Mora and Waldramina Quinteros, and love’s ability to echo out through the eons, rising from a slow shuffle to ecstatic peaks bolstered by guest vocals from Katie Eastburn (KATIEE) and Jeff Tobias (Sunwatchers). Album centerpiece “10’9”” liquifies the trio’s fizzing distortion into molten sludge in an ode to the tallest person on Earth, still a mere speck from the perspective of the cosmos. “Books About UFOs” turns instead to the legacy of science-fiction in punk music, their bounding cover of the Husker Dü original amplified by Tobias’ screeching saxophone. The juxtaposition of strange true stories of the human experience alongside grand interstellar narratives brings the enigmas and mystery of space home to the more familiar and mundane.