Punk | Hardcore Sale 166 Items

London psychobilly beasts Skitzo began in the mid-1980s as the Electros, when vocalist Phil O’Connor began screaming with bashing drummer, Rod Connor, bassist Tony Bronham and guitarist Tony McVey; by the time they signed to Nervous Records for this brilliantly ghoulish debut LP, drummer Steve Tomlinson was on board. Along with freaked-out originals like ‘Witching Hour,’ ‘Possessed’ and the crazed title track, there are fun covers of ‘Lonesome Train,’ ‘Caldonia’ and ‘Your Cheating Heart,’ all transformed the psychobilly way. If you like your psychobilly with the emphasis on the psycho, this one’s for you!

London psychobilly beasts Skitzo began in the mid-1980s as the Electros, when vocalist Phil O’Connor began screaming with bashing drummer, Rod Connor, bassist Tony Bronham and guitarist Tony McVey; by the time they signed to Nervous Records for this brilliantly ghoulish debut LP, drummer Steve Tomlinson was on board. Along with freaked-out originals like ‘Witching Hour,’ ‘Possessed’ and the crazed title track, there are fun covers of ‘Lonesome Train,’ ‘Caldonia’ and ‘Your Cheating Heart,’ all transformed the psychobilly way. If you like your psychobilly with the emphasis on the psycho, this one’s for you!

This Chinese punk band has been giving the authorities the finger for over 20 years. Their uncompromising so...

Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.

‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.

Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.

When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.

Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also

performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.

‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.

This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

"This album was created on the frontlines of the medical systems collapse fighting Covid-19". After their debut smasher "Grind surgical shrine" and a few demos, singles and split releases, here's the definitive consecration of this new grind revelation from Kanda, Tokyo! 13 tracks of punishing fierce grindcore combined with Japanese tribal/experimental breakdowns and the use of ancient traditional instruments, creating a unique psychotic sound all of its own. Founding guitarist/singer Tomoki works as a general thoracic surgeon and donated his own blood for the cover art of this album!! FOR THE First Time ON Vinyl, with a special blood-drenched packaging including OBI strip (with a quote written by Ishiya Death Side/Forward), foldout insert and PVC sticker. Recommended if you also like Unholy Grave, Excreteass, Terrorizer and Macabre.

Reissued for first time on vinyl the demo-tape "…Al Servicio" by the Chilean Punk/Oi! band Ocho Bolas! Since its formation in the late '80s, Ocho Bolas has been an emblem of the Punk scene in Valparaíso (Chile). The band was formed in 1988 and they gave their first concert that same year at the Mauri Theater (Valparaíso) when the Punk scene was still a resistance to the fierce Pinochet dictatorship. A year later in 1989 they recorded their first demo-tape "…Al Servicio" which contained 8 songs that were released on cassette by the band themselves (today it is almost impossible to find copies of that first edition). "…Al Servicio" is the closest thing in that corner of the world had to the spirit of the first Hardcore/Punk with direct lyrics and enormous honesty, without any pretension other than to shout about what bothered them and what was different a lot to what was done in Santiago at that same time, both in terms of lyrics and music. Ocho Bolas were much more aggressive and direct than other bands of the time. Already in 1991, they recorded their best-known 12” through the German label DIM Records. 1000 copies were pressed of the Mini-LP "Trabajo Duro" which also included a version of Cock Sparrer converted into “Yo Quiero a Mi País”. But that is another story… Deluxe edition with gatefold cover and insert including lyrics, cuts and old photos. For the EU version of the album 300 copies have been pressed on black vinyl and 100 on baby blue vinyl (this colour version includes an A2 poster as extra).

The Loyal Cheaters are returning with their sophomore studio album 'And All Hell Broke Loose.' It’s more than just a collection of songs; it’s fuel against the fast-paced, love-deprived society we find ourselves in. Their raspy vocals and high-voltage guitars serve as a sonic rebellion, channeling the raw energy of punk souls that refuse to be silenced. Memories of the past mingle with a sense of uncertainty about the future, and they offer no answer for living in the present. Through their music, they challenge the status quo, daring to confront the harsh truths of our reality head-on.

Moon Phase Swamp Green/White w/ Black Splatter vinyl

MENSCHENFRESSER" is the name of RAWSIDE's new album and will be released in May 2024 via Fettfleck Records. Five...

In a time where it’s become increasingly difficult to find the motivation to head out my front door, CUT Piece has become one of the few exceptions, and in their brief year of existence my favorite local band. Featuring a lineup of Portland scene stalwarts from RED Dons, Piss Test, ERA Bleak, Dials, Petite... every time they hit the stage with power, ferocity, and a purpose, commanding the audience and never out staying their welcome. On their debut LP Your Own Good they stick to that formula. Combining elements of post-punk, hardcore, and the early 80s UK anarcho scene, Cut Piece turn in a 23 minute album of driving anthems that demand your attention and drill their way into your brain. Songs about the fucked-up state of our world, the overwhelming apathy of the population at large, self-empowerment, and the creeps who lurk the neighborhood. With one of the hardest badgers in the game, a constant barrage of hook exchanges between the wiry guitars and rumbling bass, and a vocalist shouting arithmetic calls to protests, Your Own Good makes for a captivating debut, and if album closer Gugi is any indication of what’s to come sign me up now. Dark, powerful, and 100% Total Punk!

It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of “Crossing The Red Sea”, The Adverts “Cast Of Thousands” has since been recognized as a lost classic of the time. TV Smith’s cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert’s bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield “Tubular Bells”) the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV’s best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear “Cast” for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on “My Place” or via the anthemic surge of “Television’s Over”, with TV’s hook factory on full display on the anti-love song “Love Songs”, and the band closing the album with the creeping ballad “I Will Walk You Home”; The Adverts had grown from a great punk rock band to a great rock band.

Missiles fire off their debut album "Weaponize Tomorrow" on Svart Records

Malmö’s Missiles are set to release their inaugural album, "Weaponize Tomorrow", on May 10, 2024, under the banner of Svart Records.

The members of Missiles are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund - sincerely interested in doing something new and exciting together. The band's trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, Missiles have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on “Weaponize Tomorrow”, Missiles promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock.

The band’s lineup consists of:

Gabriel Forslund (vocals and guitar)

Jens Rasmussen (drums)

Tobias Augustsson (synthesizers)

Sebastian Gadd (guitar)

Linus Larsson (bass)

Missiles claim their debut is a one-of-a-kind album, truly a loved bastard. ”Weaponize Tomorrow” will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. Missiles couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, "Weaponize Tomorrow" is a high yield blast wave that will leave Missiles hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, “Weaponize Tomorrow” will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk.

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland Cr-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

Escalate is a vegan, straight-edge hardcore band out Hungary, formed in 2020. They are the first and only fully vegan, straight-edge band in the country’s history. Their goal was to bring radical vegan and leftist ideas to the scene. The band is inspired by the political XVX bands of the ’90s and early 2000s just as much as current heavy hardcore bands. When the pandemic restrictions got lifted, Escalate started to play around Hungary and neighboring countries. In a three-year span, they managed to release a demo tape, a 7” EP called The Damage Is Done, and their songs were featured on two international straight-edge compilations. They also finished five tours across ten European countries. Now in 2024, Escalate is ready to take the next step in collaboration with New Age Records and show the world their best and most mature record so far. The band’s first full-length is titled Consequences and contains eight blistering tracks mastered by Scott Crouse (earth Crisis).

If you want to get out of a bummer headspace for the next 22 minutes and just enjoy some catchy and fun pop/punk songs, Hakan Manifesto is just what the doctor ordered.

Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favoured football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins, The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of One Law for Them, dropped in amongst the Radio and blistering Bumper Sessions with Evil sitting squarely in its unpolished centre is the ska-inflected gallop of Seems To Me, an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.

Reissue of the classic Australian punk compilation of tracks from 1977-1982. Featuring Bodysnatchers, Skunks, Young Identities, Proles, Public ExecutioN, Press, Thought Criminals, Wrong Kind Of Stone Age, Vacant Lot, Sputniks, Just Urbain, Tactics, Quick And The Dead, Z-Cars, Section Urbane, Rejex, and Chosen FeW.

Starting out as pub rock band the Marauders, shifting to the Subversives after getting hip to punk at the Roxy and finally settling on UK Subs, the revered band were part of the initial London punk scene and one of the first to go hardcore, despite frontman Charlie Harper’s blues roots. Live At The Roxy Club captures the group on the rise in 1977, delivering an intoxicating set of full-throttle winners, with ‘Illegal 15’ and ‘Lady Esquire’ sounding better than their subsequent studio recordings. This in-demand first live offering has stood the test of time – a definite must-have for all fans of the band and for lovers of original British punk.

Formed in Birmingham in 1976, English punk quartet Suburban Studs built their reputation through fearsome early live gigs, supporting the Pistols and the Clash at the 100 Club, and having the Clash return the favour at a gig the Studs headlined in their home town; they later supported Ac/dc and Judas Priest, among many others. Signing to the independent Pogo label in l977, debut album Slam had 16 brisk originals and a double-time take of the Who’s ‘My Generation’; this edition comes with four bonus tracks taken from their unfinished in-progress second album, which was never released. A must-have for all original punk fans.

Recorded at the Damned's live debut at the 100 Club on 6 July 1976 supporting the Sex Pistols. Recorded on a Sony cassette recorder, hidden in a sports bag, onto a Scotch 120 tape. Killer set!

Before embracing punk through the influence of bands like the Damned, UK Subs frontman Charlie Harper was active in pub rock groups, so when he decided to cut his debut solo album for Flicknife Records in 1981, he returned to classic rock ‘n’ roll and R&B, cutting an enjoyable covers album with fellow Subs Steve Slack and Pete Davies in tow. Tune in to this long lost gem to catch the other side of Charlie, who delivers one-off takes of Hendrix’s ‘Hey Joe,’ the Doors’ Light My Fire, the Velvets’ ‘Femme Fatale’ and Muddy Waters’ ‘Hoochie Coochie Man,’ among others. All UK Subs fans take note: your hero’s alter-ego awaits!

Seven albums and countless tours, Bleeding Through wasted little time in their 15-year career. Influenced and fueled by the ’80s metal bands they grew up on fused with the brutal onslaught of Swedish influences (IN Flames, AT THE Gates, etc.), Bleeding Through helped pioneer a new genre from their native home of Orange County, California. At the time of its initial release in 2002, Portrait Of The Goddess was a departure for the band members and set in motion a new wave of imitators as well as critics.

We are glad to announce the first official reissue of Genetic Control's 1984 first impressions EP.This 35th anniversary edition will be released as a full length vinyl with loads of never before released tracks from the Genetic Control vaults. Limited to 500 numbered copies.

1st press

1st press

14 Punk-rock anthems. Two punk veterans bands, Cólera from Brazil, with 4 re-recorded classic tracks in 2023 and 3 tracks never issued before in vinyl. The Zips, classic Scottish Punk Band return with one unreleased song and re-record song and 2 tracks inedits in vinyl until now. Last but not least we have the Portuguese Razor Kids with 3 new fresh tracks, in vein of The Stains, Only Ones, Protex, mixing Punk with Powerpop.

Either intentionally or unwittingly this is a band experimenting with extremes. Formed in 1985 when Thatcherism swooped over England and scalped the North East, Hellbastard admit to being ‘’too metal for punk, too punk for metal’’, instead coining the term ‘’crust’’ as a way to feel at peace within themselves whilst simultaneously starting a sonic war that shocked the nerves into spools of frayed tape. With Malcolm ‘’Scruff’’ Lewty on guitar and vocals, Ian ‘’Scotty’’ Scott on bass and vocals and Phil Laidlow on drums, it was all captured with their classic Ripper Demo debut release in 86’. But really, it's all encapsulated right here with this reissue also containing the follow-up demo-lition from ‘87 - Hate Militia. Both are perfect ways to establish the nightmarish worlds, of death camps and dark sides, that wildly writhe within his group’s menacing worldview.

Svart Records proudly present Earthly Remains, a three 7" singles box set with new Coffinshakers tracks!

The ”Earthly Remains” box-set includes three songs from the latest ”Graves, Release Your Dead” album and three brand new tracks from the same sessions. These tracks shouldn’t be seen as left-overs though, they certainly deserve their place in any serious Coffinshakers collection and in a sense makes the album complete.

”March of The Coffinshakers” marks the procession of the dead featuring a lead guitar taken straight from the spaghetti-horror dimension with massive string arrangements to boot. ”Raising Hell” sees the band in garage mode, complete with a vicious fuzz! Finally the doomsday story of ”No Return” almost takes us to crooner territory, imagine that! The three 7”s are housed in brand new watercolor artwork by Jenny Bengtsson. Will you dare to take one step further into the strange realm of The Coffinshakers?

The highly revered, inspirational, and most recent recording by Bloomington's much-loved Defiance, Ohio. First pressing in eleven years! Remastered, re-cut, and reissued in an aesthetically-pleasing chipboard LP jacket with kraft paper inner sleeves and insert. Edition of 300 copies pressed on 150-gram vinyl.

High-level reissue of one of the legendary and world-renowned bands that emerged in Australia, essential for any lover and collector of Australian Rock and Punk Rock / High Energy. "Spaceman In a Satin Suit' was released in 1994 and it is one of the best and most mature works in Celibate Rifles' discography, and now for the first time on vinyl since its initial release. This great LP reflects the simple spirit of the Rifles' rock'n'roll with catchy choruses and signature guitars, with another part that they began to play with after this album, a more experimental and introspective side. The 14 songs of the Celibate Rifles introduce you with an electric storm, oppressively dense, hard and heavy, which then become faster, sharper and stronger, where they overflow Punk, which remains their hallmark, with sharp guitars, wounded and full of fury, until they reach a kind of breaking point towards a more experimental part, together generating an interesting sonic boom (The Ramones team up with Blue Oyster Cult in a particularly gloomy alley). Lovelock's lyrics exude more optimism than on previous LPs and this peaks with 'Big World', a declaration of love to his beloved planet Earth. There is also room for his usual biting social commentary. On the album we also find a tribute to one of its musical influences, 'Let's Do It Again' by Sonic's Rendezvous Band (with the participation of Fred 'Sonic' Smith, ex-MC5).

Emerging out of Amsterdam's vibrant squat scene in 1979, The Ex – a name chosen for the ease and speed with which it could be spray-painted onto a wall – have for four decades been an entirely self-sustaining musical entity, charting a course through the global underground with a spirit of freedom and radical exploration.

Blueprints For A Blackout, The Ex's fifth album and first double LP, combines caustic studio experimentations and loose songs from their gripping live-set at the time. The band consisted of singer G.W. Sok, guitarist Terrie Ex, two new recruits on bass, Luc and Yoke, and drummer Sabien Witteman, along with a plethora of guests including Mekons' Jon Langford and long-serving sound engineer Dolf Planteijdt, among others.

Originally released in 1984 on the band's own Pig Brother Productions, Blueprints veers from jagged punk explosions to sharply focused improvisations featuring field recordings that would become a hallmark of their subsequent forays into free jazz and experimental music. The overall effect is not unlike the menace of a slowly building winter storm.

Tracks like "Rabble With A Cause," "U.S. Hole" and "Scrub That Scum" stand out as exemplars of this phase of The Ex. Comparisons can be made to contemporaries Einstürzende Neubauten, NoMeansNo and Svätsox as well as later Crass label bands.

Kronstadt Uprising took their name from the uprising at the Kronstadt Naval Base in 1921. Lenin referred to the incident as “the flash that lit up reality better than anything else”.

Formed in Southend-On Sea, Essex in 1981, Kronstadt Uprising survived six turbulent years with many members coming and going. However, far from being a negative factor, it produced a very stimulating and creative environment that lead to an ever evolving musical style that can be heard on this CD.

Founder member Steve Pegrum was encouraged by the self-empowerment message and ethos of punk rock. In 1979 he acquired a drum kit and formed several punk bands. By 1981 the scene was starting to fragment. The area of punk that now interested Steve was that which stayed true to the original DIY ethic and this developing scene encouraged Steve to form Kronstadt Uprising.

By November 1981 the band were ready to record. They recorded nine tracks and sent the tape to Crass who decided to use ‘Receiver Deceiver’ on Bullshit Detector Vol. 2, released in September 1982. Also in 1982 the band recorded ‘The Unknown Revolution’ EP under the production of John Loder and Derek Birkett at Southern Studios for Spiderleg Records. The record was eventually released a year later.

Late 1983/1984 saw the band move away from the confines of the current punk scene and concentrate on writing new material. However, after three years various members felt they had progressed as far as they could and in March 1984 they played their final concert in London.

In the Summer of 1984 Steve decided he wanted to continue playing, so a new Kronstadt Uprising emerged with a totally new line-up. In April 1985 they recorded the ‘Part Of The Game’ EP for local Dog Rock Records. The band continued to gig and increased their fan base, but diversifying music tastes within the band took their toll and they eventually decided to call it a day in 1987.

Always true to punk, but never happy being genericised or put into any kind of musical straightjacket, this CD shows the ever-evolving Kronstadt sound.

Limited to 300 copies, the 15 tracks feature both singles, their Bullshit Detector Vol. 2 appearance and seven studio recordings including one previously unreleased, packaged with a 12″ x 12″ insert with previously unseen photos and a detailed history from founder member Steve Pegrum.

Sex Virgin Killer, who released their 2nd full album "devil" in November 2023, is already releasing their new EP "Heaven", which is their first work in the memorable "Darkwave set"!! SVK's tour with Blu Anxxety in Tokyo, Nagoya, and Osaka in 2023 is still fresh in our minds, and since then, SVK has been in close contact with foreign artists visiting Japan, such as Aidan Baker and Un Hombre Solo, and is attracting attention from talented musicians and bands not only in Japan but also from abroad. This album contains 6 songs including instrumental versions.

Omega Sessions is a 5-song EP recorded by Bad Brains in 1980 and released in 1997. The tracks were recorded and mixed at the original Omega Recording Studios in Rockville, Maryland. The EP contains early versions of songs that eventually appeared on later releases, including a reading of "I Against I." Side B of the LP features a custom etching.

The long time in the making troubled debut album from The Family Men is finally here! Consisting of people now involved in the Harmful Records imprint and acts like Incipientium and The Flesh-Eating Bugs, The Family Men was founded in 2017 when the band members were only around 15 years old. From the early era and a rather rowdy garage punk sound, the band has progressed their music into something very different during the years. 9 blistering industrial rock tracks for fans of Big Black, Amphetamine Reptile Records and early Swans.

"From the depths of Gothenburg, The Family Men emerge. Since 2017, they have slowly carved out a sound entirely their own within the current music scene, standing out as one of the hardest groups in Sweden today. Making use of unconventional sampling, chainsaw-guitars and gritty industrial tones, they manage to blast their way into yet uncharted musical territory. Their debut album 'No Sound Forever' is an explosive, daring and vital record of a band ready to swallow you whole."

Youth OF Today was initially active from 1985 to 1990 before reforming in 2010. The band played a major role in establishing the “youth-crew” subculture of hardcore, both espousing and evolving the philosophies of the straight-edge and vegetarian lifestyles. Formed in Danbury, Connecticut, by two members of the hardcore band Violent Children, Ray Cappo (vocals) and John Porcelly (aka Porcell, guitar) were aiming to start a straight-edge band at a time when most old-school straight-edge bands had disbanded. Having difficulty finding a bassist and drummer, Ray and Porcell found help from two high-school friends, Graham Phillips and Darren Pesce, who had played with Porcell in a band called THE Young Republicans in the past. In 1986, Underdog vocalist Richie Birkenhead joined the band on second guitar. With this lineup, the first Youth OF Today full-length album was recorded, Break Down The Walls. More than just an album, it’s an anthem for a way of life.

Originally released in 1992, this is an all-Discharge covers tribute compilation including Extreme Noise Terror, Concrete Sox, Disaster, Raw Noise, the legendary Japanese crusties C.F.U.D.L., among others. A lot like human sacrifice was an everyday experience for Mesoamerica as a bloody offering to the gods that birthed the world; so too is this an intense testament to the gods that started it all. You wouldn’t expect anything less than aural warfare with the likes of Extreme Noise Terror who bleed the battery acid from the veins of ‘No T.V Sketch’ and ‘They Declare It' with their Earache playmates Concrete Sox do punishing justice to the unholy ‘This Is To Be’, leaving one unable to move, let alone ‘Hear Nothing, See Nothing, Say Nothing’, as Nausea remind us of with their rendition of an instant Discharge classic from a decade earlier.

Limited TO 200 Copies Each ON THE Backbite Label From Germany! Recorded November 26th in the year 2022 on a sold out show in Brooklyn!

Groundbreaking bands typically don't function as stars hanging in the night sky for all to gaze upon. Rare talent functions more accurately like tectonic plates, mutating their surroundings deep underground by bulldozing the pre existing turf. These kinds of musicians who regenerate and evolve our world by forging new creative languages that future artists will liberally borrow from and build upon. Richmond, Virginia may seem like a surprising location for seismic catalysts, but Hard Copy now joins an elite list of RVA bands moving sound in unexpected and earth shaking directions. Destruction! Invention! Rebirth! Once upon a time there was Honor Role who deconstructed midwest hardcore and carved out a path for what eventually would become mathrock. Combining empathy wrapped in anger, a following generation would use this template to birth post-hardcore and a 2nd wave emotional music. A bit later came Labradford who were atmospheric scientists creating pulsating soundscapes bathed in drone. Their music was so devastatingly unique that Kranky willed themselves into existence to release their debut for which this historic label was built upon and continues to lead the way in experimental music. I can't help but to include Hard Copy among this kind of revelatory innovation. They are subtle shapeshifters of synth driven post-punk. At their core, we find unorthodox art rock for which Talking Heads and Pere Ubu belong, but it is stretched taut like taffy into trance-inducing, long form motorik musings. Singular vocals act as a secondary percussion. Bass lines double as a metronome heartbeat. Guitars zigzag inside a monochromatic prism. Linnear drums hammer the band's abstract narrative into a carefully crafted double-helix staircase spiraling up into ambitious avant-garde territory. Cantankerous poetry minus the Mancunian snarl of Mark E Smith behaves as a modern day deadbeat descendant making good. In short, making very very good. Riyl the kind of bands who have no interest in grabbing a spotlight and are more likely to kick out the bulb to avoid it completely."—Tracy Wilson (Courtesy Desk)

One of the first hardcore bands to come out of the North East of England; starting in 1982. The Fiend were well renowned for their loud hard hitting uncompromised sound which has been described as like throwing a "nail bomb into a crowded church" and a "live assault on the senses". This release compiles the five demos from the band's original run in the '80s. Some of the tracks were released as the "Stand Alone EP" in 1985 and the track 'What Future' featured on the "We Won't Be Your Fucking Poor" compilation on Mortarhate. For fans of Discharge, Crucifix, Slayer.

New edition of the highly controversial 1981 release ‘In God We Trust, Inc.’ on stunning grey vinyl presented in a gatefold sleeve! 'In God We Trust, Inc.' is the first of the group's albums with drummer D.H. Peligro. The record is a screed against issues ranging from organised religion and Neo-Nazism, to the pesticide Kepone and government indifference that worsened the effects of Minamata disease catastrophes. 'In God We Trust, Inc.' is also the first Dead Kennedys album released after the presidential election of Ronald Reagan and features the band's first references to Reagan, for which they — and hardcore punk as a genre — would become notorious. An all-time classic release featuring tracks like "Moral Majority", "Rawhide", "We’ve Got A Bigger Problem Now" and "Nazi Punks Fuck Off"!

Formed on a grim council estate in Edinburgh in l979 by singer Terry Buchan and guitarist Stevie Ross with bassist Alan Paget and drummer Andy McNiven, The Exploited became one of the most popular and notorious of all hardcore punk bands. When they signed to Secret Records in l98l for debut LP Punks Not Dead, Terry had been replaced by his ex-soldier brother Wattie, with guitarist Big John Duncan, drummer Drum Stix, and bassist Gary McCormack; by the time “Let’s Start A War…” was released, the group featured Wattie’s brother Willie on drums and Billy Dunn on bass, while “Horror Epics” had Wayne Tyas on bass and Karl ‘Egghead’ Morris on guitar. That same line-up is featured on “Live At The Whitehouse”, a riveting and lengthy performance recorded in Washington DC in April l985; highlights include the opening “Let’s Start A War,” a take of “Rival Leaders” aimed at Reagan and Thatcher, “I Hate You” (with a reverse Jello Biafra reference), a castigating “Daily News” aimed at Maximum Rock n Roll, and a rousing “Punks Not Dead” encore.