Nobody makes squawking, unhinged post punk quite like Sweden’s Viagra Boys.

The latest volume in Numero Group’s terrific Eccentric Soul series showcases the Cobra Records label, an establishment founded in San Antonio by record producer and real estate mogul Abraham Epstein.

Bootleg Detroit is an incredibly vibrant documentation of live Morphine in its prime.

Undoubtedly Fleetwood Mac’s most enduring and potent period from their story, Rhino and Warner have released the five albums that span 1975 and 1987 in a consolidated box set on vinyl and CD.

Peter Murphy, the erstwhile frontman of Bauhaus, returns with Silver Shade, an album that feels both familiar and strangely adrift. While his distinctive croon remains a captivating element, the sonic landscape he inhabits here often feels like a diluted version of past glories, occasionally hinting at intriguing avenues without fully committing.

FACS’ sixth LP, Wish Defense, is a study in restraint, disorientation, and elemental power—an album that refuses to chase resolution in favor of sculpting tension into form.

Tiger Rose, while certainly of its time, offers enduring charms in a set of songs that are alternately moving and rollicking.

The cover art for The Crux, Djo’s third album, depicts a mismatched cast of puzzled guests spilling out of a hotel, staring aimlessly into the lazuli blue sky. The image is symbolic of the album’s main themes: disorientation, disconnection from one’s own identity.

Self-destruction is part of the creative DNA of Toronto punk band PUP.