Punk | Hardcore 247 Items

close to NM

insert is missing, close to NM

Orange 9mm was formed by vocalist Chaka Malik (burn) in 1992 with Chris Traynor on guitar, Eric Rice on bass, and Larry Gorman on drums. The hardcore rhythm outfit are self-described as a result of being “happy and pissed off at the same time and playing at the moment.” Orange 9mm went on to release two full-lengths on major labels East West and Atlantic, releasing videos, and touring with bands such as Quicksand, Biohazard, Deftones, and more.

We recorded this at Westbeach recorders in "89 once again with Brett Gurewitz. This record took 6 days to record and mix. We had a blast recording this time cuz we had 6 whole days. We didn"t know how to sing harmonies yet, so Greg Graffin of Bad Religion came in and sang the back-ups on 3 or 4 songs. That was ultra cool. Too bad we couldn"t pull them off live. This was our first record to come out after Suffer (the record that changed everything) and the first record to come out on Epitaph. It sold 3500 copies the first year and that was a lot more than our previous one. Flipside fanzine called us metal and that was a total bummer. I think it was because Steve had long hair and a metal guitar. Oh well they"re forgiven.

vinyl is Close to VG+

The debut 7” from one of Orange County, California’s premier hardcore bands and the first West Coast release by Revelation Records is finally back in print. NO FOR AN Answer delivered fast, intense, straight-edge hardcore alongside their local contemporaries like Chain OF Strength and Insted, but infused more thoughtprovoking and confrontational lyrics than most other bands of their day. Fronted by hardcore luminary-turned-author Dan O’Mahoney, NO FOR AN Answer can be credited as being one of the cornerstones of the West Coast straight-edge movement of the late ’80s. New pressing now available on opaque red vinyl.

First original EU pressing with inner sleeve misprinted, back side with monkey picture is upside down printed!
Cover has slight wear on the edges and light creasing. Vinyl with some light scuffs and hairlines. Original inner sleeve. Copy close to VG+

remastered reissue of the original 1074 album on 180g vinyl

When NYC hit its punk stride in the mid 1970s, the one-of-a-kind ‘Neon’ Leon Matthews was already in the thick of it. Getting his start in music in the late 60s and having incredible luck in his friendships along the way, Neon Leon’s life story could easily be made into a really amazing film. Along with being roommates with Rolling Stones’ guitarist Mick Taylor (and dating his wife!) while living in the UK in the early 70s, he was recording acetates as far back as the mid 1970s with the original members of Pure Hell around Philadelphia, and ended up moving into the Chelsea Hotel in ’73 soon after, upon the insistence of his pal Johnny Thunders. Making fast friends with Elda and the Stillettos, the New York Dolls, and David Peel and Harold Black & the Teenage Lust crew, he soon fell into the maddening world of the Lower East Side zeitgeist right when everything was exploding. He was gigging at Max’s on the regular, seeing the incredible NY punk scene blossom before his eyes, and he even got to appear briefly in the exploitation film classic, Punk Rock (1977) with Elda and the gang. Leon put together his band with girlfriend/stripper Honi O’Rourke and hit the scene around Max’s, Cbgb and the like, and upon entering the studio, caught lightning in a bottle with the recording of the Rock’n Roll Is Alive 7” EP in 1979. The title track is simply irresistible, laying down the filthy scuzz guitar tone dreams are made of, in one of the ‘most potent anthems of NYC punk’ ever caught on tape, right up there with “Max’s Kansas City” by Jayne County, and headed straight into your pleasure receptors. Everyone was reeling and even those mysterious Glimmer Twins, Keef and Mick, locals at the time and looking to sign bands for their label, took note… Fast forward to Sid Vicious’ implication in Nancy Spungen’s death, and Leon’s alleged involvement with being the last witness of the couple at the Chelsea, and legend starts to build exponentially. But even after being courted by Mick & Keith for a possible signing to the fledgling Rolling Stones Records, Leon said Mick talked him out of the deal. But sure enough, they both got together for an impossibly great recording of “Heart of Stone” included here that surely equals the classic rendition by The Pagans (that’s become the gold standard). Despite the record deal falling through, Neon Leon was still asked to perform for the NYC album launch party for Some Girls, and remained on great terms with the Stones camp. But in the early 80s, as the winds shifted, Leon moved back to Europe and settled in Sweden with some musical cohorts, and started the second phase of his underground rock’n roll career. Releasing three singles over the next few years on Scandinavian labels and touring as support for his old friend Johnny Thunders, Leon entered his next chapter, and continued to enjoy the success that was evading him back home in the States. This archival LP collects all of the Neon Leon 7” releases from his 1979-84 period and makes these overseas-only recordings available in the US for the first time, cementing the Neon Leon legend in the sacred halls of the US punk pantheon. The Neon Leon debut album was released in 1983 (funded by Mick Jagger) as a Swedish-only LP but featured Blondie’s Clem Burke as well as notorious KBD star Snuky Tate, and showcases a sold late 70’s Stones vibe perfectly ripe for radio consumption, in a better world, that is… fast forward to the 21st century and Leon still holds it down in Germany these days, still performs occasionally, and we’re extremely proud to finally get these 70s-80s era recordings back into circulation, so make sure to check out both of Neon Leon’s books (Fast Track to Hell and New York City Babylon) crank it up, and don’t ever look back!

The late eighties were an exciting time to get caught up in the hardcore scene. While many of the early eighties pioneers of the music had moved along, the scene went through something of a renaissance with a new crop of energetic kids who had seized the power of the music and molded it into something that was relevant to the style of their times. Leading the pack in this regeneration was Revelation Records, who released a clutch of seven-inch singles and albums by bands like Sick OF IT ALL, Gorilla Biscuits, Bold, Judge and Chain OF Strength that defined where the scene was at that time. Somewhere in central New Jersey, a group of kids attending Ewing High School were spinning these records incessantly while attending many of these bands’ live shows. The combination set their minds ablaze with inspiration and so they started Mouthpiece in January of 1990. In between getting their band from the basement to the clubs, an abrupt change happened within the hardcore scene. Most of the bands Mouthpiece wanted to share the stage with had suddenly broken up or changed paths. With no concern for the changes in sound and style going on around them, they went along with their original agenda and unconsciously became the band to lead straight edge hardcore into the nineties until their demise in 1996. Can’t Kill What’s Inside: The Complete Discography contains the band’s entire recorded output as well as previously unreleased soundboard recorded live tracks. The packaging contains photos of the band as well as a complete listing of every show the band has ever played in their existence. The entire product is both a labor of love as well as a sight to see and proves that what

The flourishing Eastern European post-punk scene has given way to a boom of dark, rhythmic, and powerful new activity. One of the most original and captivating artists to recently emerge from this scene is Kiev, Ukraine's Morwan. The solo project of Alex Ashtaui, Morwan evolved from an earlier post-punk project, 563 (Pyat'shest'tri). Searching for a new direction, Ashtaui circled back to his half-Ukrainian, half-Arab roots, arriving at the perfect crossroads - a sonic aesthetic informed by both ethic tradition and the familiar territory of dark, driving post-punk. Ashtaui cites additional influence from contemporary Russian groups Utro and Shortparis, as well as the industrial/experimental sounds of Swans.
Zola-Zemlya, Morwan's second release, is an exceptionally original piece of work. It is an album that reaches to the furthest corners of post-punk, further revealing a deep connection to the ethnic sounds of both Arabic and Slavic tradition. There is a profound reverence for nature in Morwan's lyrics - as Ashtaui best explains, "The nature in songs acts as a fundamental force, a given from which you cannot escape. With the help of metaphors associated specifically with nature I tell about some of my personal experiences and stories." Zola-Zemlya is equal parts primitive and contemporary, as traditional Middle Eastern instrumentation and structures are woven through driving, modern post-punk rhythms. Morwan's genius shines across all five tracks, a sound both genre-expansive and futuristic.

The first vinyl pressing of Zola-Zemlya is packaged inside a full color jacket with lyric insert & download code and comes shrinkwrapped with a hype sticker.

Memphis has garnered a reputation for producing some of the wildest, freaky punk rock over the last 40 years—a thread running through acts like The Oblivians, Lost Sounds and Nots. More recently newcomers Model Zero have created a fresh brand of psych-leaning punk to River City. Formed by members of Ex-cult, Aquarian Blood and Jack Oblivian's Sheiks, Model Zero make bouncy, low-fidelity guitar grooves and analog synthesizer squeals that chase a motorik beat and never stray too far off into the tackiness of jam territory.

Minor THREAT’s classic self-titled album remastered and re-released with a digital download coupon inside.

Millencolin's debut album "Same Old Tunes" (originally released on October 28, 1994 under the original title "Tiny Tunes") opens with the incredible manic-paced and emotionally uplifting classic "Mr Clean" (which is still a highlight of any Millencolin show). "Same Old Tunes" is considered by many to be a defining record in the Skatepunk genre. Fast yet melodic; fun but sincere and pure concentrated sonic energy: This is Millencolin at their awesome inspirational beginning.

Repressed on 180 gram vinyl!

Legendary second solo studio album by American recording artist Lou Reed. Produced by David Bowie and arranged by Mick Ronson, the album was released in November 1972 by RCA Records. Pressed on standard black vinyl.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

Due to being too slow for highspeed punkrock champions league Knochenfabrik gives advice from the sideline. They sensibly used the inspiring corona-break (getting drunk in front of the laptop, homeschooling, quarantine). Don't worry - there is nothing heard about that because most of the songs were written in the wild 10s years. The eye listens too - children's book illustrator Bernd created a hidden object etching on the B side of the 10 Inch.