On Joliette’s new album, Pérdidas Variables, the Mexico City quartet takes the urgency of scene heroes like Saetia and Raein and laces it with the brooding, post-metal grandeur of Neurosis or Cult of Luna. While some bands in the genre use sloppiness as their medium, wielding chaos to convey emotional fragility, Joliette moves as steadily as a freight train.

The rhythm section of Hugo Madrid and Matías Acuña bangs and growls in perfect, propulsive unity, while the guitars of Gastón Prado and Juan Pablo Castillo combine into apocalyptic storm clouds of sound. Screaming in his native Spanish, Gastón Prado’s earnest voice transcends language barriers. Loud in the mix, his raspy pleas demands attention as they transmit universal angst.

Pérdidas Variables is an album inspired by Joliette’s hometown. “It’s a meditation on Mexico City,” states Juan Pablo Castillo, “as both a physical space and a psychological one, a place constantly shifting under your feet, full of layers, ruins, and noise. The lyrics are rooted in very real fears, earthquakes, collapse, systems failing, but they’re also about the quiet, daily sense of disconnection and mourning that urban life can bring. Each song looks at a different fragment of that experience.”

“Pérdidas Variables” was recorded by Matías Acuña and Fernando G. Esteve, mixed by Hugo Madrid, and mastered by Paolo Riffo. The LP comes packaged in full color jacket with lyric insert.

Originally recorded by Kurt Ballou at GodCity Studio and released in 2001 on Robotic Empire, Document #8 is a showcase to the enduring spirit of punk rock and youthfulness. This reissue includes two additional songs from the same session originally released on the long out-of-print split 7” with City of Caterpillar.

LP comes packaged in a full color jacket with 16 page booklet. Cassette comes with five panel j-card insert with lyrics and photos. Artwork by vocalist Chris Taylor (aka Cris Crude).

For over a decade now, Richmond titans Ostraca have written works definitive of screamo as a punk subgenre. Their catalogue is deceptive in its relative brevity; Ostraca’s habit of offering songs in groups of three and six gives each track a specific and undeniable gravity. Of course, this is no steadfast rule; for Ostraca, the distinction between EP and LP is immaterial, much the way Loma Prieta contended two decades ago. In 2017, they released two songs on Yarrow, a split with Coma Regalia, Vril, and Untold Want, one of which has been re-recorded for their upcoming four song 12”, Eventualities.

After taking five years between Enemy in 2018, and Disaster in 2023, the trio of bassist Gus Caldwell, guitarist Brian Russo, and drummer John Crogan showed that Ostraca is an unflappable mainstay in the world of emotive post-hardcore that they inhabit. The drama and passion expected of Ostraca’s work is only magnified by the dynamic shifts in their writing, earmarked by the inclusion of other genres in their style, like crust, metal, and post-rock. Their aptitude for this demarcates them from the entirety of their peers. Ostraca builds on the same tradition as German greats June Paik, creating heart-wrenching atmospheres driven by melodies that oscillate between resolution and discordance.

Eventualities was recorded in 2024 and was engineered, mixed and mastered by Danny Gibney, who the band worked with on Disaster.

25 years after the formation of Forlì, Italy’s legendary La Quiete, Persistent Vision Records are proud to reissue their full length album, 2004’s La Fine Non è La Fine. Widely considered the most influential band of the European screamo movement, La Quiete plays, and indeed helped generate every stylistic component of the genre that has since been copied and reimagined by countless bands around the world. The dissonant guitar chords strummed at breakneck speed, panic attack vocals, blast beats and tuplet rhythms counterbalanced by dulcet, undistorted melodies are all represented in earnest on this towering LP.

Far from La Quiete’s sole release, La Fine Non è La Fine is the quintet’s only full length album amongst a slew of splits with other familiar names like Louise Cyphre, Phoenix Bodies, and The Apoplexy Twist Orchestra, as well as compilation appearances, and loose singles. Out of print for 20 years, the iconic record was originally recorded in 2003, and previously released in small pressings on Heroine Records, React With Protest, and Gasping For Breath Records.

La Fine Non è La Fine was remastered in December 2024 by Will Killingsworth. Persistent Vision presents the vinyl reissue in a gatefold jacket and limited colored vinyl. An essential for any devotee of the genre, this long celebrated record has already been a long sought after piece of punk history.

Raein are an emotional and discordant punk band from Italy, originally founded by members from La Quiete and Neil On Impression. Upon their formation in 2002, the band released a dizzying amount of music, across multiple splits, EPs and albums, while extensively touring the world during their original run. Reformed in 2023 Raein is considered to be one of the leaders in emotional post-hardcore, carrying a similar spirit and sound as bands like Orchid, Saetia, Pg.99, and others. Melding melody and discordance into something truly beautiful to experience.

Raein are an emotional and discordant punk band from Italy, originally founded by members from La Quiete and Neil On Impression. Upon their formation in 2002, the band released a dizzying amount of music, across multiple splits, EPs and albums, while extensively touring the world during their original run. Reformed in 2023, Raein is considered to be one of the leaders in emotional post-hardcore, carrying a similar spirit and sound as bands like Orchid, Saetia, Pg.99, and others. Melding melody and discordance into something truly beautiful to experience.

In the decade that Blind Girls have spent making blistering and technical screamo, their efforts have resulted in 2 albums, 3 EP’s, a split, and a single. The 2022 album from the Gold Coast, Queensland, Australia quintet, The Weight of Everything, is a crushing exploration of seamless discord. Blind Girls’ tempestuous performances have earned them a dedicated following in their home country, further expanded by tours in Japan, Canada and the United States. While performing the unrelenting material of The Weight of Everything over two years around the world, Blind Girls quietly administered higher doses of melody in new work, giving more time and care to doleful passages of solitary guitar strumming that appeared in past songs. These songs make up Blind Girls’ new album, An Exit Exists.

Blind Girls have a distinct way of making entire works sound like a single composition, both live and on record, championing the punk tradition of playing with as few breaks as possible, if any. Ben Smith’s extraordinarily intense drumming is akin to bands like Ampere and Converge, the frantic riffage of guitarists Julian Currie, Luke Sweeney, and bassist Mark Grant is simultaneously representative of current hardcore and reminiscent of metalcore of days past, and the throat-lacerating screams of vocalist Sharni Brouwer are in a class shared perhaps only with Jerome’s Dream. This is no small feat. Still yet, the tracks on An Exit Exists are more powerful than ever before, as Blind Girls employ the same engineering team of Brock Weston for recording and Rollie Ulug for mixing and mastering as they did for The Weight of Everything. The band was intent on harnessing the familiarity built with the two for An Exit Exists, and as listeners are pulled through the record, it’s clear that they have once again overseen Blind Girls achieving new heights of sonic extremity, now stitched together by passages of deeply emotional musicality.

The emotion in the heavily incorporated melodies, not to mention the face-ripping breakdowns and thrashing blast beats, of An Exit Exists are the complement to its conceptual theme addressing abuse. Brouwer explains, “An Exit Exists was written during and retrospectively on two separate instances dealing with abuse from those I loved. Each song is a reflection on the emotions and process I went through from realization, feeling trapped, guilt, defeat, acceptance and eventually finding a safe way out.”

Insania, the 2016 debut album from Tijuana, Mexico’s Habak reissued on vinyl for the first time ever. Habak exploded into the DIY scene in the last few years with their emotionally charged blend of blackened crust, screamo, and post-metal.

This first album captures the intensity of the young band early on, melding aggressive Tragedy-inspired d-beat with dark moments of melody that bring to mind contemporaries like Envy or Pageninetynine. Sung in Spanish, vocalist Alex’s lyrics touch on themes of mental anguish, isolation, and hopelessness.

This new reissue was remastered by Jack Shirley at the Atomic Garden (Deafheaven) and includes a bonus live version of “Orbe de Almas” recorded in 2023 by Steve Roche at Permanent Hearing Damage.

Packaged as a double LP, this reissue includes the companion album “Memorial”, an entirely instrumental, orchestral version of the eight songs from “Dénouement”, available for the first time on vinyl. Equally chilling and triumphant, layers of strings, horns, and piano make up the compositions of “Memorial”, which has been newly remastered by Will Killingsworth (Orchid).