Punk | Hardcore Vinyl Sale 303 Items

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.

When Calgary, AB, punk rockers

Territories released their self- titled debut album on Pirates Press

Records in 2018, they were a new band with a lot to say and a lot to prove. What a difference five years, and a clutch of the catchiest,

best-written, and most thought- provoking punk rock songs, makes!

In the interim, the band kept busy with the six-song EP When The Day Is Done as well as a split with fellow Canadians THE Vicious Cycles. The band has truly outdone itself with the 11 songs on Colder Now, deftly navigating the waters of the so-called “difficult second record” with a collection of songs that will blow the minds of longtime fans and newcomers alike. This is a band that pours their hearts and their minds into both their music and lyrics, tackling big issues, but always articulated from a relatable, personal perspective that acts as a rallying cry and a beacon of hope for everyone who feels alienated by modern society. The world is unfortunately still a dangerous place, but for those who dare to dream of something better, there is solace in the fact that Territories is back to give voice to those dreams with Colder Now.

Out of the smoke of the pandemic, Intoxicated return with a renewed energy in the form of their debut full length, Watch You Burn. Recorded at Morbid Angel's old rehearsal studio in Tampa that Intoxicated literally rehabbed and converted into a state-of-the-art studio for renown producer, Ryan Boesch (Foo Fighters, Whores, Helmet, Melvins, Andrew WK), now known as Candor Recording, Watch You Burn is a product of a band on a mission who's Florida roots are worn proudly on their sleeves. While you can hear traces of Obituary, Massacre, and Chuck Schuldiner sprinkled all over the album, Intoxicated offer much more than shades of death. There is a heavy crossover vibe present ala D.R.I. or early C.O.C., as well as some Skate Punk /Thrash like the early Venice Beach bands. In addition, there are moments you'll swear you heard a Matt Pike riff or something out of the Nola playbook. With guest spots courtesy of friends Tony Foresta of Municipal Waste and Ken Andrews of Obituary, Watch You Burn is a bonafide rager! Intoxicated took little time off during the pandemic, adding a new guitarist, John Sutton, who is no stranger to the Florida metal scene having spent time with 90's act Pain Principle. In the last 6 months alone, Intoxicated have supported Obituary, Massacre, Nasty Savage, Gruesome, D.R.I., The Casualties, Inhuman Condition and High Reeper. With Andrew WK's disappearance leaving Erik Payne and Gregg Roberts to their own devices, Intoxicated have certainly taken a front seat and there is no sign of slowing down - the band have the pedal to the floor and plan to be out supporting the album all Summer. You can catch them this Summer supporting Obituary and Municipal Waste on select dates as well as Into the Darkness Fest and Full Terror Assault Open Air!

East London punk pioneers the Wasps were part of the first wave of punk acts that exploded in early 1976. After extensive touring across the UK, debut single ‘Teenage Treats’ was championed by John Peel and follow-up ‘Can’t Wait Till ‘78’ was also well-received; singing to RCA in 1979, ‘Rubber Cars’ made an instant impact before being canned by the label, shortly before the band’s fatal rupture. This must-have compilation gathers those great 45s with previously unreleased demos, this edition complete with a demo of ‘Stranger Love’ and the Live At The Vortex take of ‘Waiting For My Man’. A must for all true punk lovers!

Arriving to the world for the first time, really—beyond the ears of the deep-digging few—Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release. Undesirable Elements—here expanded as Undesirable Element with appended bonus tracks—is a desolate and deconstructed album which touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto-punk via abrasive, fuzzed guitars, and refracted mutant strains of British post-punk through a distinctly American underbelly sensibility. Drum-led and in-the-red, Undesirable Elements is a loose concept album of sorts, from the sympathetic pen of an innately skilled commentator. The album displays polemical disdain for the behavior of humans, insular views, and blindly moving forward on simple suggestion, while carrying a keen eye into the many textures of the mindscape of man. While you may hear occasional tears at aiming at the trends of the times, Jenkins’ direct, intensely personal and lyrically sophisticated material, combined with his charged attack, is in a realm all its own. Jenkins’ lyrics are nearly cinematic, like bite-sized scripts, or character vignettes, filled with wizened, introspective and radicalized perspective. The self-contained home-recording maverick was searching, sensitive, subversive, topical, yet several steps from the soapbox. Got Kinda Lost Records is over the moon to allow this unique, outsider singer-songwriter/psych-punk album another turn at its time in the shine…

Eight years on from the release of their previous studio album, legendary band “The Last Resort” are back with a brand new offering. The world has changed a lot over the last few years. The music scene/industry has obviously been affected with no live shows & no new albums etc. Covid-19 has hit mankind hard. The sound, feel and lyrical content of this album hits the mood of this time perfectly with a dark & heavy vibe. Those who’ve heard it have referred to it as “Doom Oi!”! The band has had a line up change since their last album. Lars Frederiksen of Rancid fame has now joined on guitar as a full time member of the band. 11 new songs from the 4 band members. On hearing these songs, you will soon realise that you are listening to a classic album. Opening track “Freedom Pt.2” pays homage to the opening track from their debut album. “Boots on the Ground” is all about standing your ground & standing up for your rights no matter the cost. “No Man’s Land” takes a look at some of the horrors of war. The album continues with observations of such diverse subjects as murder, taking chances, football hooligans, learning from your mistakes, war, working class pride and trying to do the right thing even though it can be tough. The album was engineered by Pat Collier and mixed & mastered by Michael Rosen! Additional backing vocals by Steve Whale of The Business! The album artwork has been kept very minimalist which fits perfectly with the tone of the album. The booklet comes with all song lyrics! A milestone for the Punk/Oi! Scene.

By way of some cosmic miracle, only one Total Hell pops up when the band moniker is searched on Discogs. And that would be the band responsible for the five-song blast of heavy metal sounds at hand. Now active for about two years plus change and exported from the very metal and punk fertile New Orleans, Total Hell is DD Deth (aka Drew Owen—Sick Thoughts wheelman, Trampoline Team etc) on drums / vocals, Henry Hell (John Henry of Static Static, Heavy Lids) on bass / vocals, and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and Michael Maniac (Michael He-man of Trampoline Team). If self-deprecation is beyond the listener’s processing skills, then please know that as self-described purveyors of the “New Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is not “shitty” in any manner whatsoever. These four recordings (“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”) are melodic monstrosities that hit with a wall-to-wall, floor-to-ceiling hugeness, while doing so in an economical manner. There will be no mistaking this for Broken Bones screeching out of an iPhone inside the vegan squat. On the flip, this is no Bob Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track cassette live at home (aka “The Parkway”) by Michael He-Man and the process was a nightmare. Original tape crapped out on us back in early 2020 so we had to redo the whole thing. Intros and interludes were done last minute by me with the cheapest midi keyboard on the net.” Well, color Goner Records impressed. One might get momentarily lost in the cavernous drums that introduce opener “Desecrate”, but soon the buzzsaw-riff-wall will crush one into a smudge on the bathroom floor. Without rocking some safety goggles and diving headfirst down a terminology rabbithole, this is punk jumping into the sack with metal and leaving black boots on the bedroom floor rather than white hightops. Xmas came early for fans of Anti-Cimex, Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight, Venom, Broken Bones and...one gets the picture.

"Common Crusades" is the second full-length from French Nightwatchers, and the musical and lyrical continuity of their 2019 thematic debut "La paix ou le sable". Political lyrics dealing with the conflicts rooted in France's colonial era clash with melodic, subversive, and gloomy and soundscapes throughout the tracks of "Common Crusades". An album that is as musically captivating as politically current. "Common Crusades" offers 10 melodic punk rock tracks, all contributing to the overall story and theme of the album. Fast-paced, distorted, and punchy cuts are mixed with tracks highlighting a colder and post-punk influenced side of Nightwatchers. The sound is perfectly captured by studio engineer Mathieu Zuzek. "Common Crusades" tackles the same issues that shaped Nightwatchers debut album "La paix ou le sable", but from a different perspective. Both albums deal with events surrounding France's violent colonization and exploitation of their occurred territories. While the lyrics of "La paix ou le sable" is based on excerpts taken from two historical books and written with the objective of raising awareness of France's colonial violence, "Common Crusades" mainly focuses on the aftermath of these conflicts, and how the colonial era still affects modern day France. In particular, its Muslim population. All the lyrics of "Common Crusades" are based on speeches or writings of personalities who played a role in the colonization process, as well as those who currently play a role in the perpetuation of colonial logic within the French society.

Black vinyl, repro-sleeve with original artwork

Formed in 1995 in Karlstad, Sweden by Rob Coffinshaker, these graveyard country pioneers have been steadily putting out records, most of which have now become highly sought-after collector items. The Coffinshakers successfully merged the imagery of German expressionist cinema with traditional country sounds of Waylon Jennings and Johnny Cash, occasionally flirting with Ennio Morricone -style melodies and the 60’s surf-garage sounds of The Ventures. Topped with full-bodied lyrics and Rob Coffinshaker’s haunting, low register voice, this combination gained them a cult following in the late 90’s and 2000’s, and they even creeped up to the Finnish top 40 with their self-titled album in 2007.

Svart Records are proud to announce the official Coffinshakers vinyl reissues, which have been in the works for a couple of years now. These reissues include the full length albums We Are The Undead (1998) and The Coffinshakers (2007), both of which come in repro-sleeves with original artwork. There’s also a deluxe box set edition titled “The Curse of the Coffinshakers 1996-2016”, which includes both albums, 2 bonus LPs (From the Crypt – Rare and Unreleased vol. I and vol. II) and a thick booklet with a lengthy interview and archive material. The bonus LPs are only available in the box set and they include rare compilation tracks, EP releases and a handful of unreleased tunes from Rob Coffinshaker’s personal vaults.

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.

Following the youthful energy of Sixteen and the melodic precision of Facetious Folly Feat, Shook Ones check those boxes and more on The Unquotable A.M.H With the help of superstar producer Jackson Long, the band achieves that fine balance of not being able to sit still and not being able to get the hook out of your head. Their attempt at the “difficult third record” displays the band’s development as songwriters as much as it delivers a familiar restless energy. The lyrical perspective has been seasoned by the passage of time as Scott Freeman continues to evaluate, question, and reflect. A.M.H captures the band hitting their stride, embracing new sonic territory and dynamics as they push the concept of “pop-punk” beyond its stereotyped confines. If you missed it the first time, Revelation Records is giving you another chance to bring home your favorite ShookS’ songs on this record.

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.

Post-punk (originally called new musick) is a broad musical genre that emerged in 1977 in the wake of punk rock. Post-punk musicians moved away from punk's traditional elements and raw simplicity, adopting instead a broader, more experimental approach that included a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethos, but determined to break with rock clichés, artists experimented with styles such as funk, electronic music, jazz and dance music; dub and disco production techniques; and ideas from art and politics, including critical theory, modernist art, film and literature. These communities have produced independent record labels, visual art, multimedia performances and fanzines. These three compilations are by no means 'Best Of' or collections of chart hits. They are compilations that endeavour (and we think they do well) to take a wide-ranging look at the UK and American post-punk scene in the years from 1978 to 1984, but here almost everything stops in 1981, giving space to bands and artists that almost always didn't make it beyond the 45 rpm mark. A representation of the true 'Outside of Everything' of the era.

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)

Voice Imitator is the collaborative project of PER Bystrom, Justin Fuller, Mark Groves, and Leon O’regan. All four have been active as part of numerous, cross-genre ventures in the Australian underground for many years. Bystrom has offered a rhythmic heart for Exhaustion and Leather Towel, whilst further expanding on metrical ideas in Compound, his solo electronic undertaking. Zond, TOL, Grane and various solo outings have all showcased Fuller’s severely manipulated, hallucinogenic guitar and unsettling electronics. O’Regan has provided lithe, turbulent and imaginative bass guitar for THE Bunyip Moon, and antagonistic industrial electronics as Dire Ears. Groves, as vocalist, has previously oscillated between the idiosyncratic combination of drily delivered text, close-miked voice and concrète sound for RED Wine AND Sugar and solo project Absurd Cosmos Late Nite, as well as functioning as frontperson for noise rock and heavy electronic acts True Radical Miracle and Dead Boomers. In Voice Imitator, these four pursue mutual auditory fixations and eccentric individual inputs toward a distinctive and cohesive unit. Groves’ texts are the outcome of anxious and fatigued surveillance, emerging as bleak satire and quietly surreal flashes drawn from the mundane. Vacillating awkwardly between barely contained frustration and ironic detachment, this voice is ushered by a relentless ostinato pulse, washes of heavily effected guitar, subterranean electronic noise and a tense ambience of self-conscious nervousness. Recurring undercurrents of motorik rhythm, and motor city techno draw shared obsession together, providing an altogether new construction. Much like the allegory of a boiling frog, here tension slowly builds to an aggressively muscular conclusion.

Tongue-in-cheek punk act Toy Dolls came together in the northeast formerly industrial town of Sunderland, England in 1979 with working-class humour at the forefront of everything and frontman Olga breaking up the Oi singalongs with searing guitar assaults. Issued on the independent Volume label as usual, third album Idle Gossip continued in the same mould as their first two LPs with ‘Geordie’s Gone To Jail,’ ‘Keith’s A Thief,’ ‘Silly Billy’ and the title track all cracking numbers built on Olga and company’s irresistible charm; ‘I’ll Get Even With Steven’ even gives a po-faced punk nod to Elvis. Another great Toy Dolls LP!

With insert.

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.

Every Time I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. Every Time I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-Every Time I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

Raw hardcore punk insurgents Junta arise from the concrete purgatory of New York City with their pulverizing debut self-titled full-length offering, a twenty-minute incursion of blistering upheaval and caustic retaliation. This dark document of crystalline urban terror introduces the NYC four-piece at the height of their rage as they emanate a grim edict against imperialism, genocide, capitalism and social injustice. Junta's uncompromising and militant vision has been known for years in New York City, frequently manifesting with benefit shows across the city aimed at the empowerment and defense of the city's vibrant multicultural underground to which they belong and have committed unconditional militancy. The self-titled eleven-track weapon of social unrest and abject refusal represents the band's sense of belonging and commitment to a social fabric torn by segregation and injustice and their strenuous combat against powers much larger than themselves which has resulted in a bleak manifesto of cultural warfare. The work encompasses the most bitter aspects of idealism and realism, with this ambivalent concept animating a raw onslaught of blown out, dissonant hardcore aggression interwoven with passages of poetry and spoken word that define and exalt an existence spent at the forefront of struggle and in a perpetual fight for enlightenment and retribution.