{"title":"Featured Releases","description":null,"products":[{"product_id":"afi-silver-bleeds-the-black-sun","title":"AFI - Silver Bleeds the Black Sun…","description":"\u003cdiv id=\"afi-container\"\u003e\n\u003cp\u003eFor 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.\u003c\/p\u003e\n\u003cp\u003e“I realize this is something we’ve said about our records for years, but this record is starkly different from what we’ve done in the past,” says frontman Davey Havok. “In our 33 years together, we’ve covered so much, musically, that I found myself daunted at the prospect of doing something different, and questioning what that would be.” So 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 all together. This time it started with a conversation: how could they break new ground? \u003c\/p\u003e\n\u003cp\u003eThe key to moving forward actually ended up coming from AFI’s collective past. “We started with something that sounded like Echo \u0026amp; 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. “We were leaning into that post-punk world and embracing that part of our DNA, but at the same time still sounding like AFI,” says drummer Adam Carson. The result is an album that feels out of time, at once familiar and fresh, drawing on classic sounds and reinterpreting them through a modern lens. 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. \u003c\/p\u003e\n\u003cp\u003eIt’s this combination of endless creative daring, deftly wielded influences, and above all else, an unshakeable sense of self that’s allowed AFI to stay relevant for more than 30 years, often leading the way through emerging musical moments. From their scrappy roots as a high school hardcore band in the early ‘90s (Answer That and Stay Fashionable, Very Proud of Ya and Shut Your Mouth and Open Your Eyes), to their dark punk reinvention at the turn of the century (Black Sails in the Sunset and The Art of Drowning), to their crossover into mainstream stardom in the early 2000s (Sing the Sorrow and Decemberunderground) and their years as shapeshifting alternative rock journeymen (Crash Love, Burials, The Blood Album, Bodies), the band has survived and thrived by staunchly being themselves—no matter what that is. “We’ve gotten to experience virtually every aspect of the music industry,” Puget says. “Whether it’s playing to 20 people at [legendary DIY punk venue] 924 Gilman Street, and underground clubs across the country, to having a number one song at radio.” No one could have predicted that the same snarling hardcore band from California’s East Bay would one day be a globetrotting rock phenomena, racking up platinum records, performing on SNL, or taking home MTV Video Music Awards, but there’s a fiercely independent spirit that’s remained consistent throughout AFI’s journey, and it’s that same spirit that’s led them to their new label, Run For Cover Records, and Silver Bleeds the Black Sun…. \u003c\/p\u003e\n\u003cp\u003eOpening track “The Bird of Prey” immediately introduces many of the album’s recurring musical motifs: prominent acoustic guitar strums, lush synth textures, propulsive bass lines, and cavernous drums. These elements combine into something that feels intriguingly new for AFI yet fits perfectly within the band’s sweeping milieu. Havok’s voice enters the track as if to guide the listener through unfamiliar territory, but throughout Silver Bleeds the Black Sun… even his inimitable timbre sounds different. On brooding tracks like “Blasphemy \u0026amp; Excess” or “A World Unmade” the singular frontman twists and contorts his voice, pushing himself down to a baritone croon then nimbly swinging back to his soaring tenor range or into a hushed whisper. Elsewhere on the driving post-punk of “Voidward, I Bend Back” and “Marguerite” bassist Hunter Burgan channels Peter Hook and Simon Gallup, his airtight playing providing the foundation for Puget’s shimmering, intricate guitarwork. \u003c\/p\u003e\n\u003cp\u003eThematically, Havok describes Silver Bleeds the Black Sun… as “a struggle to reconcile existence in a godless dystopia that lacks sanctuary, mystique, reason, and a chance of survival.” On “Holy Visions,” he showcases these lyrical themes over the kind of muscular, dark new wave that would make Andrew Eldritch proud. “It’s a bit tongue-in-cheek,” Havok explains. “It addresses the concept of right and wrong, and good versus evil, and what is truly evil and is truly good, and whether or not there is such a thing, while also mocking organized religion.” Early album standout “Behind the Clock” roars to life around distorted bass and effects-drenched Killing Joke-esque guitars, while Havok takes inspiration from his lifelong love of the films of David Lynch, dissecting how we relate to the art we consume. “It’s an exploration of life mirroring art versus art mirroring life,” he says. “In a grander sense, it’s about who is part of the art and who is made of the art.”\u003c\/p\u003e\n\u003cp\u003eThat extra layer of intentionality is part of what makes AFI such a special and enduring band. Where so many long-running groups have stumbled, hung up on audience expectations or nostalgic navelgazing, AFI have flourished by fearlessly driving forward, making something that’s authentically meaningful to them and trusting that their genuine enthusiasm for the music will translate to their loyal listeners. “Long ago, it became very natural for us to shy away from things that were familiar,” Havok says. “For me, success is creating something that I feel happy about, and in order for me to connect with something, it has to be fresh.” That mentality is palpable throughout Silver Bleeds the Black Sun…, even as it comes to a close with “Nooneunderground” a track that starts with an atmospheric, disquieting introduction before it bursts into a raucous amalgam of death rock anguish and primal punk ferocity. The song feels like an alien, mutated version of AFI’s many different eras all seamlessly combined into the kind of outsider anthem that they’ve been excelling at for over 30 years—the perfect ending to a record that proves AFI still have plenty of surprises left for us. \u003c\/p\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e1. The Bird of Prey\u003cbr\u003e2. Behind the Clock\u003cbr\u003e3. Holy Visions\u003cbr\u003e4. Blasphemy and Excess\u003cbr\u003e5. Spear of Truth\u003cbr\u003e6. Ash Speck in a Green Eye\u003cbr\u003e7. VOIDWARD, I BEND BACK\u003cbr\u003e8. Marguerite\u003cbr\u003e9. A World Unmade\u003cbr\u003e10. Nooneunderground\u003c\/span\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003ePressing information:\u003c\/strong\u003e\u003cbr\u003e100 Pink with Black Splatter (\u003ca href=\"https:\/\/runforcoverrecords.com\/products\/run-for-cover-magic-circle-vinyl-subscription\"\u003eMagic Circle Subscription\u003c\/a\u003e)\u003cbr\u003e500 Purple, Clear, Black Marble (RFC Exclusive)\u003cbr\u003e500 Neon Pink in Clear (\u003ca href=\"https:\/\/www.roughtrade.com\/en-us\/product\/afi\/silver-bleeds-the-black-sun\"\u003eRough Trade Exclusive\u003c\/a\u003e)\u003cbr\u003e500 Violet, Aqua, Hot Pink (\u003ca href=\"https:\/\/seasickbham.com\/products\/afi-silver-bleeds-the-black-sun-lp-violet-aqua-hot-pink-swirl?_pos=15\u0026amp;_sid=e4ab94a4a\u0026amp;_ss=r\u0026amp;lf=66243eab09f0f92f1ed3a4a7e8c36872\"\u003eSeasick Exclusive\u003c\/a\u003e)\u003cbr\u003e500 Purple \/ White Swirl (\u003ca href=\"https:\/\/shop.brooklynvegan.com\/products\/afi-silver-bleeds-the-black-sun-lp-exclusive-limited-to-500-purple-white-swirl-vinyl?lf=66243eab09f0f92f1ed3a4a7e8c36872\"\u003eBrooklynVegan Exclusive\u003c\/a\u003e)\u003cbr\u003e500 Pink \/ Black Galaxy (\u003ca href=\"https:\/\/www.ziarecords.com\/p\/16297204?lf=66243eab09f0f92f1ed3a4a7e8c36872\"\u003eZia Exclusive\u003c\/a\u003e)\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e1000 Pink \/ Magenta (RFC Exclusive)\u003cbr\u003e1000 Blue \/ Hot Pink Swirl (\u003ca href=\"https:\/\/shop.afireinside.net\/products\/silver-bleeds-the-black-sun-exclusive-color-vinyl\"\u003eAFI Exclusive\u003c\/a\u003e)\u003cbr\u003e1000 Purple, Magenta, Black Marble (\u003ca href=\"https:\/\/www.hottopic.com\/product\/afi-silver-bleeds-the-black-sun%E2%80%A6-magenta-black-marble-vinyl-lp-hot-topic-exclusive\/35260565.html\"\u003eHot Topic Exclusive\u003c\/a\u003e)\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e1000 Ash Speck in a Green Eye (Spotify Fans First Exclusive)\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e4000 White \/ Violet (First Run Club Indie Retail)\u003cbr\u003e∞ Black\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003e \u003cstrong\u003eRelease Date:\u003c\/strong\u003e October 3rd, 2025\u003c\/span\u003e\u003c\/p\u003e","brand":"AFI","offers":[{"title":"LP - Black","offer_id":50893761052954,"sku":"RFC300lp","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":50893761085722,"sku":"RFC300cd","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Cassette Tape - Clear with Black Liner","offer_id":50906208305434,"sku":"RFC300cass-c1","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital Download","offer_id":50893761118490,"sku":"RFC300digital","price":10.0,"currency_code":"USD","in_stock":true},{"title":"LP - Purple, Clear, Black Marble \/ 500 (RFC Exclusive)","offer_id":50893760987418,"sku":"RFC300lp-c2","price":25.0,"currency_code":"USD","in_stock":false},{"title":"LP - Pink \u0026 Magenta \/1000 (RFC Exclusive)","offer_id":50893761020186,"sku":"RFC300lp-c3","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0728\/7776\/8986\/files\/AFI_SBTBS_Cover_1500px.jpg?v=1753715783"},{"product_id":"angel-du-t-cold-2-the-touch","title":"Angel Du$t - COLD 2 THE TOUCH","description":"\u003cdiv class=\"TypographyPresentation TypographyPresentation--medium RichText3-paragraph--withVSpacingNormal RichText3-paragraph HighlightSol HighlightSol--buildingBlock\"\u003e\n\u003cp class=\"p1\"\u003eThere’s no other band like Angel Du$t. In fact, the singular group is almost defined by how far they stand apart from the pack. So if saying Angel Du$t aren’t like anyone else is a no-brainer, then what are they like? Are they cutting edge genre-destroyers or one of the last authentic guitar bands standing? Are they blunt force aggression incarnate or earnest experimentalists? Are they the hardcore version of an indie band or is it the other way around? You might ask yourself these kinds of questions while taking in the totality of Angel Dust’s decade-plus journey–but the band’s new album, COLD 2 THE TOUCH, suggests that maybe it’s not so complicated after all. Or as vocalist\/mastermind Justice Tripp puts it: ”Angel Du$t is rock \u0026amp; roll.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eCOLD 2 THE TOUCH captures this simple fact better than ever before. The 26-minute blast of eclectic and hardhitting music makes it clear that Angel Du$t can’t be contained within the confines of narrow subgenres, and that a term as elemental as rock \u0026amp; roll might actually fit like a glove. This is the band’s most overtly ferocious album in some time–a blender of hard riffs and big hooks that are matched by Tripp’s open-hearted existentialism.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eA constellation of collaborators makes COLD 2 THE TOUCH a captivating listen that’s constantly surprising the listener: guitarist Jim Caroll makes his presence especially felt on “Zero,” a veritable Angel Du$t epic that clocks in at over three minutes of spiraling riffs and features vocals from Wes Eisold of American Nightmare and Cold Cave; “Downfall” has the growl of Restraining Order’s Patrick Cozens; “Man On Fire” taps UK punk legend Frank Carter; and “The Beat” includes guttural guest vitriol from Taylor Young of Twitching Tongues, Deadbody, and more.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe album’s final one-two punch of “The Knife” and “The Beat” sum up exactly what makes Angel Du$t such a special band. This is a creative endeavor where heart-on-sleeve musings about the finite nature of life can coexist with the unbridled thrill of violence-enducing riffs, where real humanity can flourish and being true to yourself and your own spectrum of thoughts, interests, and feelings takes primacy above all else. “This is who I am,” says Tripp. “and I speak for the band too: these are people who are always going to be playing aggressive rock \u0026amp; roll. It’s happening whether you like it or not. I’m me, and if you get in my way I’m gonna crush you.”\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e1. Pain Is A Must\u003cbr\u003e2. Cold 2 The Touch\u003cbr\u003e3. I'm The Outside\u003cbr\u003e4. Jesus Head\u003cbr\u003e5. Zero\u003cbr\u003e6. Downfall\u003cbr\u003e7. DU$T\u003cbr\u003e8. Nothing I Can't Kill\u003cbr\u003e9. Man On Fire\u003cbr\u003e10. The Knife\u003cbr\u003e11. The Beat\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eRelease Date: \u003c\/strong\u003eFebruary 13, 2026\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003ePressing Information: \u003cbr\u003e\u003c\/strong\u003e150 Copper Nugget (\u003ca href=\"https:\/\/runforcoverrecords.com\/products\/run-for-cover-magic-circle-vinyl-subscription\"\u003eMagic Circle Subscription\u003c\/a\u003e)\u003cbr\u003e350 Bloodshot Marble (RFC Exclusive)\u003cbr\u003e500 Insomnia Splatter (Pop Wig \/ Evil Greed Exclusive)\u003cbr\u003e500 Red \u0026amp; White Swirl (Lunchbox Records \/ Park Ave CDs Exclusive)\u003cbr\u003e500 Wild Berry Marble (Angel Du$t Exclusive)\u003cbr\u003e1000 Red \u0026amp; Black Button (First Run Club Indie Retail)\u003cbr\u003e2500 Red Vinyl\u003cbr\u003e500 Purple Swirl Vinyl (Devil Dog \/ Celebrated Summer Exclusive)\u003cstrong\u003e\u003c\/strong\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Angel Du$t","offers":[{"title":"LP - Squid Ink \/2000","offer_id":52297627238682,"sku":"RFC293lp-c12","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP - Bloodshot Marble \/ 350 (RFC Exclusive)","offer_id":51214045806874,"sku":"RFC293lp-c2","price":25.0,"currency_code":"USD","in_stock":false},{"title":"LP - Red \/ 2500","offer_id":51214045839642,"sku":"RFC293lp-c9","price":25.0,"currency_code":"USD","in_stock":false},{"title":"CD","offer_id":51214045872410,"sku":"RFC293cd","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Cassette Tape","offer_id":51214045905178,"sku":"RFC293cass-c1","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital Download","offer_id":51214045937946,"sku":"RFC-ANGLDST-C2TT-DIG","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0728\/7776\/8986\/files\/ad-cover.jpg?v=1761141353"},{"product_id":"nothing-a-short-history-of-decay","title":"Nothing - a short history of decay","description":"\u003cdiv class=\"TypographyPresentation TypographyPresentation--medium RichText3-paragraph--withVSpacingNormal RichText3-paragraph HighlightSol HighlightSol--buildingBlock\"\u003e\n\u003cp\u003eNothing 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 solo 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. \u003c\/p\u003e\n\u003cp\u003eWith 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. Co-written 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. \u003c\/p\u003e\n\u003cp\u003eOn 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. \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist\u003c\/strong\u003e\u003cem\u003e\u003cstrong\u003e\u003cbr\u003e\u003c\/strong\u003e\u003c\/em\u003e1. never come never morning\u003cbr\u003e2. cannibal world\u003cbr\u003e3. a short history of decay\u003cbr\u003e4. the rain don’t care\u003cbr\u003e5. purple strings\u003cbr\u003e6. toothless coal\u003cbr\u003e7. ballet of the traitor\u003cbr\u003e8. nerve scales\u003cbr\u003e9. essential tremors\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003ePressing Information:\u003cbr\u003e\u003c\/strong\u003e150 Taffy Pink Marble (\u003ca href=\"https:\/\/runforcoverrecords.com\/products\/run-for-cover-magic-circle-vinyl-subscription\"\u003eMagic Circle Subscription\u003c\/a\u003e)\u003cbr\u003e350 Jawbreaker Splatter (RFC Exclusive)\u003cbr\u003e1400 Peppermint Pinwheel (RFC Exclusive)\u003cbr\u003e3000 X-Ray Smoke (Retail)\u003cbr\u003e2000 Candy Corn (First Run Club Indie Retail)\u003cbr\u003e1000 Starburst Pink (Nothing Tour exclusive)\u003cbr\u003e500 Blue M\u0026amp;M (\u003ca href=\"https:\/\/www.bandofnothing.com\/\"\u003eNothing Web exclusive\u003c\/a\u003e)\u003cbr\u003e300 Lemon Fizz Glitter (\u003ca href=\"https:\/\/bit.ly\/nothing-seasick\"\u003eSeasick Records Exclusive\u003c\/a\u003e)\u003cbr\u003e300 Sour Cherry Glitter (\u003ca href=\"evilgreed.net\/collections\/run-for-cover-records\"\u003eEvil Greed Exclusive\u003c\/a\u003e)\u003cbr\u003e300 Grape Soda Glitter (\u003ca href=\"https:\/\/www.roughtrade.com\/product\/a-short-history-of-decay-1\"\u003eRough Trade Exclusive\u003c\/a\u003e)\u003cbr\u003e300 Sour Apple Glitter (\u003ca href=\"https:\/\/shop.brooklynvegan.com\/products\/nothing-a-short-history-of-decay-lp-exclusive-limited-to-300-sour-apple-glitter-vinyl\"\u003eBrooklynVegan Exclusive\u003c\/a\u003e\u003ca href=\"https:\/\/shop.brooklynvegan.com\/collections\/exclusive-vinyl-records\"\u003e\u003c\/a\u003e)\u003cbr\u003e400 Bubblegum Splatter (\u003ca href=\"https:\/\/vertigovinyl.com\/store\/p\/vv-nothing\"\u003eVertigo Vinyl Exclusive\u003c\/a\u003e\u003ca href=\"https:\/\/vertigovinyl.com\/vv-exclusives\"\u003e\u003c\/a\u003e)\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eRelease Date: \u003c\/strong\u003eFebruary 27, 2026\u003cbr\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"TypographyPresentation TypographyPresentation--medium RichText3-paragraph--withVSpacingNormal RichText3-paragraph HighlightSol HighlightSol--buildingBlock\"\u003e\u003cbr\u003e\u003c\/div\u003e","brand":"Nothing","offers":[{"title":"LP - Peppermint Pinwheel \/ 1400 (Run For Cover Exclusive)","offer_id":51257629802778,"sku":"RFC295lp-c3","price":25.0,"currency_code":"USD","in_stock":true},{"title":"LP - Sweetart \/ 2000","offer_id":52464999629082,"sku":"RFC295lp-c14","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":51257629868314,"sku":"RFC295cd","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Cassette Tape - Green Tint Shell","offer_id":51257629901082,"sku":"RFC295cass-c1","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Digital Download","offer_id":51257629933850,"sku":"RFC295digital","price":8.0,"currency_code":"USD","in_stock":true},{"title":"LP - Jawbreaker Splatter \/ 350 (RFC Exclusive)","offer_id":51257629770010,"sku":"RFC295lp-c2","price":25.0,"currency_code":"USD","in_stock":false},{"title":"LP - X-Ray Smoke \/ 3000","offer_id":51257629835546,"sku":"RFC295lp-c4","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0728\/7776\/8986\/files\/RFC295-1500.jpg?v=1762207628"},{"product_id":"pelican-ascending-12-ep","title":"Pelican - Ascending 12” EP","description":"\u003cp\u003ePelican 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. \u003c\/p\u003e\n\u003cp\u003eWith 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. \u003c\/p\u003e\n\u003cp\u003ePelican has now repackaged an EP of 4 Flickering Resonance era tracks as a new 12” EP - Ascending. 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.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Ascending\u003cbr\u003e2. Cascading Crescent (ft. Geoff Rickly)\u003cbr\u003e3. Adrift\u003cbr\u003e4. 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They’re part of a sonic tradition that's been evolving for decades: call it screamo, skramz, post-hardcore, call it anything you want, but it can only be carried on by those who truly love it. The band’s debut album, Directions, is equal parts love letter and cartography project, exploring the genre from its roots in hardcore to the contemporary scene bubbling up on the West Coast, and even contributing to a blueprint for a new generation of screamo fanatics. But perhaps most importantly, Directions–like many of the genre’s best releases–is simply about young musicians expressing themselves through some of the most explosively cathartic music imaginable. \u003c\/p\u003e\n\u003cp\u003eFor the first five years they’ve been a band, the only constant for Knumears has been movement. Since their inception in 2021, bassist Dante Garcia II, drummer Frankie Lopez, and vocalist\/guitarist Matthew Cole have gone from playing packed local shows with kids screaming, climbing, shouting and dancing, to touring nationally and finding the same fervor and impassioned reactions at venues all across the country. Outside of that chaos, the group found themselves at crossroads in their own lives. They were discovering new relationships, cultivating their personal worlds, and learning to navigate the space between youth and adulthood–all while trying to find the time to forge their debut album. \u003c\/p\u003e\n\u003cp\u003e“We were all struggling very much creatively when trying to write this album,” explains Cole. “We have several projects outside of Knumears [like vs self, Elm, and Bettin Horses] and I think exploring music that wasn’t necessarily about aggression helped clear some blocks–getting all of the ‘fun’ music out of the way so that we could focus on something deeper that leaves it all on the table.” With studio time on the books with legendary producer\/engineer Jack Shirley (Deafheaven, Joyce Manor, Touche Amore) the band’s writing process suddenly kicked into gear. “A few weeks before our time with Jack, we sat down and basically wrote the whole record. It practically was flowing out of us,” says Cole. \u003c\/p\u003e\n\u003cp\u003eThe result is an album that sounds as urgent and immediate as the feelings it explores. Directions is steeped in the confusion of exiting adolescence and bracing for what’s next, the challenge of deciding what parts of life will stay with you and what might be left behind. Tracks like “One Light, Sunshine” or “Breaking Ground” delve into this kind of growth and the bonds that help foster it. Cole’s penmanship is sparse yet evocative, and intensely delivered alongside his caterwauling guitar riffs, Garcia’s distorted bass, and Lopez’s acrobatic drumming. “Lyrically I dug deep into the familial aspect of love and hardships,” Cole explains. “When most people think of a love song I think they have such a narrow headspace about it. Your one true love could be your grandma or your best friend, not just a significant other. I wanted to kind of focus on that with these lyrics. A lot of them are about my mother, father, and grandmother, who all shape my creativity a lot.” \u003c\/p\u003e\n\u003cp\u003eOn late album standout “Friendly Face” Cole howls “take me with you, we’ll watch the clouds \/ Each shape forming a different sound \/ Lay with me upon a bed of green, we’ll see things that only we can see” referring to the influence of his grandmother with his love for her emanating from the speakers alongside some of the album’s most pummeling instrumentals. “Those lyrics are really personal to me,” he says. “Whenever I'm lost or don't really know who I'm supposed to be, I just think of my childhood and the people that helped me grow.”\u003c\/p\u003e\n\u003cp\u003eThroughout Directions, Knumears manage to take classic screamo tropes–the wildly swinging dynamics, the crushing ferocity, the unabashed vulnerability–and reinvigorate them through sheer force of will. “The early screamo bands are special because they didn't have pre-existing bands to try and sound like,” says Cole. “They were screaming because they needed to not because it was cool.” This appreciation for the genre’s forebears is built into the incendiary lead single “Fade Away,” which features a guest appearance from Jerome’s Dream frontman Jeff Smith. The song’s panicked opening riff gives way to a propulsive snare roll, exploding into a full-band attack as Smith’s unhinged voice rips through the finale. \u003c\/p\u003e\n\u003cp\u003eIn the end Knumears’ ability to encapsulate so much of what’s made screamo exciting and enduring simply comes down to the passion that’s so intrinsic to the genre itself. \"I think what draws us to this type of music, just like everyone else, is the absolute raw emotion,” Cole says. “We all grew up listening to hardcore, and I think that allows you to see the world in a completely different light—both more creatively and intellectually. Not being raised on music that had nothing real to say was the best thing that happened to us.\"\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Introduction\u003cbr\u003e2. One Light, Sunshine\u003cbr\u003e3. My Name\u003cbr\u003e4. Breaking Ground\u003cbr\u003e5. Directions\u003cbr\u003e6. Untitled\u003cbr\u003e7. Bridged\u003cbr\u003e8. Fade Away\u003cbr\u003e9. Friendly Face\u003cbr\u003e10. 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It marks the British band’s first album in eight years, a reunion with their original label Run For Cover Records, and a return to making music with the unbridled passion and creative intuition that's always animated their best material. Since forming in 2009, Basement have always been the same five friends -- vocalist Andrew Fisher, guitarists Alex Henery and Ronan Crix, bassist Duncan Stewart, and drummer James Fisher -- with the same alchemic bond. The only thing that's changed in recent years is their renewed sense of purpose, and their new album makes that loudly apparent. WIRED is the most dynamic, daring, and inspired Basement have ever sounded, while also retaining the timeless fundamentals of the band’s singular sound: growling guitars, rousing choruses, striking emotional verbiage. \u003cbr\u003e\u003cbr\u003eBasement are back firing on all cylinders, but they're not interested in rehashing old glories. The whole band was adamant that WIRED had to be their most decisive artistic statement yet. Title-track “WIRED” is the most urgent they’ve ever sounded, a surefire live staple propelled by needling guitars, a slugging drumbeat, and a skyscraping hook that finds Fisher’s voice in peak form. “Broken By Design” has the opposite temperament: dusky, delicate, bass-led, but still quintessentially Basement in its immediate catchiness and moody character. Nothing on WIRED sounds stagnant. Not one part feels undercooked. The band looked to a smorgasbord of adventurous heroes for inspiration (REM, Interpol, Smashing Pumpkins, to name a few) without ever sounding like they’re imitating any one band -- not even themselves. \u003cbr\u003e\u003cbr\u003eThe record’s title condenses all of this into a single word. The textural connotations of WIRED -- metallic, sharp, jagged -- evoke the album’s steely sonics, and on a more conceptual level, the title speaks to Basement’s unshakeable tenacity. An analog band who’ve thrived in an increasingly digital world without resting on the comforts of nostalgia. Five friends who’ve persisted through several breakups and breakthroughs, but have only grown as people and evolved as a musical unit. At this point, Basement have to accept their fate: they're WIRED for this shit. \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Time Waster \u003cbr\u003e2. WIRED \u003cbr\u003e3. Deadweight \u003cbr\u003e4. Broken By Design\u003cbr\u003e5. Pick Up The Pieces \u003cbr\u003e6. Embrace \u003cbr\u003e7. Sever\u003cbr\u003e8. The Way I Feel\u003cbr\u003e9. Satisfy \u003cbr\u003e10. Head Alight\u003cbr\u003e11.Longshot\u003cbr\u003e12. 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The band’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. But following your own path often means walking it alone, and their unlikely rise from a band of Toledo high schoolers to long-running headliners capable of selling out shows around the world has been hard-earned. 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.\u003c\/p\u003e\n\u003cp\u003eFrom 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.\u003c\/p\u003e\n\u003cp\u003eIn the band’s earlier years, their sonic shifts were seen as a bug rather than a feature. “We’ve never easily known where we belong,” explains Kerekes. “When we were coming up we’d try to get tours and people would ask verbatim, ‘What kind of band is this?’ We were the ugly ducklings for a long time, and maybe we still are, but I like that we figured out how to stand on our own.” And the band has also stood the test of time. While many of their contemporaries from the 2010s emo boom burned bright but also quickly burned out, Citizen’s singular focus on pushing themselves musically allowed them to grow steadily–and for their audience to grow with them. “A lot of bands try to do anything they can to be the hottest thing of the moment and we’ve just never operated like that,” says Nick Hamm. “We don't think in moments, or months, or record cycles. Some bands end up getting sick of whatever walls they exist in, but I see Citizen as this long term creative project where there’s always somewhere new to go, and that’s kept me exhilarated through all these years. And we’ve trusted that people who like our band will want to come along. A lot of people grew with us and we’re really thankful for that.”\u003c\/p\u003e\n\u003cp\u003eWhere 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. “I think the band is always in conversation with itself,” explains Hamm. “Early on we tried to set it up so that Citizen could be whatever we want it to be, so we’ve always been ready and willing for the music to change as we change as people. But at the end of the day we are still the same people making music together, the same people that made Youth and all the rest.”\u003c\/p\u003e\n\u003cp\u003eBeing those people hasn’t always been easy, for Kerekes in particular, and Halcyon Blues finds him simultaneously reckoning with personal upheaval while finding a sense of security within the band for the first time. “When you're doing what you always dreamed of doing, you really don't understand why it’s not always fulfilling,” he explains. “There’s been times where I've thought about leaving the band, but the Youth anniversary shows were a real gamechanger for me. I would walk out on stage and look out at the front row and see people’s faces that I recognized because they’ve been coming to Citizen shows for a decade. It made me sort of feel like this is the coolest thing ever. Why would I even for a second not be stoked on it? From that moment on I've just been all in. This is who I am and this is what I do.”\u003c\/p\u003e\n\u003cp\u003eKerekes’ self-assuredness with his role in the band contrasts the uncertainty that permeates Halcyon Blues’ lyrics. “It’s about unexpected change,” he says. “You think you know everything, you think you have everything figured out, and then all of the sudden you don’t. Everything’s different, for better and for worse. Sometimes it’s really hard but ultimately it might be for the best.” The opening salvo of “Good Fortune” and “I Can See You from Here” explode from the speakers, introducing the record’s blend of technicolor sound and melancholic themes. 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. “The album sounds sad but it’s not necessarily like that,” says Kerekes. “Sometimes coming of age things are bittersweet, and this is sort of like that too.” Mid-album standout “Always The Last One To Leave” offers one of the most sweeping ballads Citizen have ever penned, while scorching tracks like “Matador” or “Smooth Talker” tap into pent up resentment with cathartic results. “Highs and Lows” pushes the band’s sound to truly astounding heights, a soaring alternative song driven by propulsive drums, a towering chorus melody, and synth strings that draw the listener into Kerekes’ emotionally raw storytelling.\u003c\/p\u003e\n\u003cp\u003eAs the cinematic “Anne” closes out Halcyon Blues, it’s clear that Citizen have truly arrived. “I never imagined we’d play shows to several hundred people, let alone thousands,” says Hamm. “We never had that red-hot rocketship thing, but we always did what we wanted to do and we had a feeling that if we kept doing it, then eventually everything else would come together. Maybe we’ve started to come to that point.” This is the sound of nearly two decades of musical and personal experience combined into a declaration of something their dedicated fans already know: Citizen is one of our great modern rock bands–and they’re at the absolute top of their game.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003c\/strong\u003e\u003cbr\u003e1. Good Fortune\u003cbr\u003e2. I Can See You From Here\u003cbr\u003e3. Halcyon Blues\u003cbr\u003e4. Is It In My Brain\u003cbr\u003e5. Always the Last One To Leave\u003cbr\u003e7. Either Way\u003cbr\u003e8. Matador\u003cbr\u003e9. Ether\u003cbr\u003e10. Smooth Talker\u003cbr\u003e11. Highs and Lows\u003cbr\u003e12. Anne\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003ePressing Information:\u003c\/strong\u003e\u003cbr\u003e150 Spotlight (\u003ca href=\"https:\/\/runforcoverrecords.com\/products\/run-for-cover-magic-circle-vinyl-subscription\"\u003eMagic Circle Subscription\u003c\/a\u003e)\u003cbr\u003e850 Halcyon Blues (RFC Exclusive)\u003cbr\u003e1000 Matador Red (\u003ca href=\"https:\/\/www.citizentheband.net\/\"\u003eCitizen Exclusive\u003c\/a\u003e)\u003cbr\u003e2000 Good Fortune (First Run Club Indie Retail)\u003cbr\u003e400 Highs and Lows (\u003ca href=\"https:\/\/www.goingundergroundrecords.com\/\"\u003eGoing Underground\u003c\/a\u003e \/ \u003ca href=\"https:\/\/www.wannahearitstore.com\/\"\u003eWanna Hear it\u003c\/a\u003e Exclusive)\u003cbr\u003e400 Ether (\u003ca href=\"https:\/\/shop.brooklynvegan.com\/collections\/all\"\u003eBrooklynVegan Exclusive\u003c\/a\u003e)\u003cbr\u003e300 Smooth Talker (\u003ca href=\"https:\/\/www.roughtrade.com\/en-us\/collection\/exclusive\"\u003eRough Trade Exclusive\u003c\/a\u003e)\u003cbr\u003e2500 Sea Glass \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRelease Date:\u003c\/strong\u003e August 7, 2026\u003c\/p\u003e","brand":"Citizen","offers":[{"title":"LP - Halcyon Blues \/ 850 (RFC Exclusive)","offer_id":52127327912218,"sku":"RFC299lp-c2","price":25.0,"currency_code":"USD","in_stock":false},{"title":"LP - Sea Glass \/ 2500","offer_id":52127327944986,"sku":"RFC299lp-c4","price":25.0,"currency_code":"USD","in_stock":true},{"title":"CD","offer_id":52127327977754,"sku":"RFC299cd","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Cassette","offer_id":52127328010522,"sku":"RFC299cass-c1","price":15.0,"currency_code":"USD","in_stock":false},{"title":"Digital Download","offer_id":52127328043290,"sku":"RFC299digital","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0728\/7776\/8986\/files\/RFC299-1500_7432688f-8c2e-4df9-bd4c-b71f2080f972.jpg?v=1777242258"},{"product_id":"fiddlehead-baby-i-ll-change-ep","title":"Fiddlehead - Baby I’ll Change EP","description":"\u003cp\u003eSince starting over a decade ago, Fiddlehead’s members—vocalist Patrick Flynn, guitarists Alex Henery and Alex Dow, bassist Nick Hinsch, and drummer Shawn Costa—have always written music for themselves first. “The thing that we’re always chasing is that unified excitement,” says Henery, describing how Fiddlehead never sees an idea through unless there’s full belief from every member. “We’ve gone into every record with the idea that it might be the last thing we ever do,” explains Flynn. “That was true even of the first EP: ‘This is probably the last thing—probably the only thing.’ Everything’s been treated that way because of the nature of our lives and our relationship with making music and creating art; it’s not career-driven. We don’t care if people like it; we care if we’re satisfied.”\u003c\/p\u003e\n\u003cp\u003eAfter their third album Death Is Nothing To Us, Flynn was concerned that making another album just because it’s what they should do might spoil the energy of this thing he holds so dear. “This band has done such wonders for my life in a mental health way that I felt totally satisfied, “says Flynn. “The concept of writing more after a third LP was like, ‘What are we fucking doing here?’” Tragically, Flynn soon found that answer. The week of Thanksgiving 2024, Flynn’s wife and kids were on a cruise with his in-laws while he stayed home to work. It was there he received the call that his mother died. “It was the only time in my life where if I wanted to see my children on a dime, I couldn’t. They were in the middle of the fucking ocean; I felt completely isolated,” says Flynn. Two days later, a knock at his door revealed guitarist Alex Henery and bassist Nick Hinsch, who flew in from across the country to surprise their grieving friend. \u003c\/p\u003e\n\u003cp\u003eThough they convened as friends, music started to share the space with them, too. “We went to Pat’s house just to support him in a dark time and then, in that, we ended up writing music,” says Henery. “It came out of a really good place, of us just wanting to write music together in that moment, and that freed us up to experiment.” Reflecting on it now, Flynn cuts to the core of what has kept Fiddlehead alive all these years: “I don’t think you get better friends than this.” \u003c\/p\u003e\n\u003cp\u003eWith new songs unexpectedly forming, and a drive to deepen the scope of Fiddlehead’s musical landscape, Dow received a fortuitous message from producer Alex Farrar (Wednesday, Archers of Loaf, M.J. Lenderman) offering to record new Fiddlehead material. The band felt it was worth it to see what would come from a weekend in his North Carolina studio, and what resulted is Baby I’ll Change, a new three song EP that pushes the boundaries of what Fiddlehead can be. \u003c\/p\u003e\n\u003cp\u003eRaucous opener “The Dogs” is the sound of a band reaffirming their commitments to one another, and sharing that joy as one cohesive unit. Flynns sings about each bandmate with genuine love and appreciation as he simultaneously tries to process even more loss, a recurring theme in the band’s beloved discography. “This is a gift of life to have four guys who I have no dysfunction with,” he says. “Those guys are my brothers and I wanted to stop playing with them? Now I want to keep this thing going until the wheels fall off.” Next comes “Porchlight,” an exhilarating cut of alternate tuning riffs and stirring vocal melodies. Finally there’s “Baby I’ll Change” the title track and stunning standout of the new EP. The song is unlike anything Fiddlehead has done before: a sprawlingly dynamic composition with triumphant reverb-drenched leads, a charging rhythm section, and perhaps the most cathartic finale the band has penned to date. Its title and lyrics were inspired by a phrase the deceased Boston hardcore legend Jimmy Flynn (no relation to Patrick Flynn) would say, always half-joking and half-wishing. “In my life, I’ve been surrounded by addiction, and a lot of hopeful people making big promises and seeing other versions of themselves,” explains Flynn. “That, to me, is the greatest heartache of my life. It’s not seeing people fail, it’s seeing people desperately try to not fail.”\u003c\/p\u003e\n\u003cp\u003eAs Fiddlehead left the studio, they were buzzing at what they just created. Flynn says he was so charged up by what just occurred that he couldn’t sleep that night. “It felt like a new band in a very organic way,” says Flynn, quick to note that Fiddlehead didn’t go into the studio with some self-inflated idea of reinventing the band. They just did what they always have: listen to what’s inside of them and find an honest way of expressing it. “There’s a lot of times in the band group chat where we’re like, ‘What if we did a song like this?,’” says Henery. “And that’s the thing—what if?”\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTracklist:\u003cbr\u003e\u003c\/strong\u003e1. The Dogs\u003cbr\u003e2. Porchlight\u003cbr\u003e3. 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