Punk | Hardcore 49 Items

Record with just a few paper scuffs.

Blue Vinyl Edition.
Cover with a beginning seam split at the upper edge.
Record is close to VG+.
Includes poster.

Includes original inner sleeve.

Purple & White Vinyl Edition.
Includes original inner sleeve.
Record is close to VG+.

cover and vinyl are close to NM. With insert

From São Paulo, the largest metro area in the southern hemisphere, hails Point OF NO Return. Founded in 1996, this three-singer Brazilian band has long carried the vegan, straight-edge banner in the tropics, singing about political issues and playing a metallic, mosh-infused brand of hardcore. After releasing two albums, one EP, and extensively touring South America and Europe in the early 2000s, the band went on hiatus in 2006. At the point the band stopped playing, they had written nine new songs, which they planned to eventually record and release as a third album. However, life got in the way as members formed families and some moved away from São Paulo. Slowly, they began to progress toward finishing and recording the new songs: instruments were recorded in Brazil in 2017, lyrics were written between 2019 and 2024, and vocals were recorded between 2023 and 2024. The result is Point OF NO Return’s new album, The Language Of Refusal, whose title refers to hardcore punk as a transnational community, a form of art, and a means of expression for those discontent with the way things are. With songs addressing some of the most pressing issues today, such as deforestation and labor exploitation in the Amazon rainforest, the inequities of global warming, the rise of global conservative populism, and the challenges of organizing dissenting political movements, the album delivers these topics in a mix of late-’90s mosh core, SLAYER-esque riffs, gang vocals, and hints of Napalm Death.

The sample and sounds scientists surprise with a SEX PISTOLS cover, but of course in their very own style. The b-side is a new track called "Willfully obscure".

White wax!

We already have Weirdsville & Wowsville and now the collection is complete with ‘WILDSVILLE’…..Oh yeah, 16 tracks of weird and wonderfully whacky tracks including the Gamma Goochee himself…The Creep, The Lifeguards and sooo much more. If you don’t already have the other couple of volumes in this series, you really should….These were compiled by the same folk that originally did the Born Bad series…..Good enough pedigree for you ?

What a feast for fans of the real Fab 4! Here's A collection of 1983/84 sessions, demos, B sides (and more!) presenting the kings of Punk going through critical times as they approach the fiasco of their previous album, "Subterranean Jungle", and toughen their sound (never forgetting their Bubble Gum roots) to deliver what would be their hardest album to date, "Too Tough To Die".

Brand new remastering approved by the band, for a definitive musical experience. New artwork and cd - with identical tracklist - included ! ‘Se Ho Vinto, Se Ho Perso’ is the album that took Kina into the 90s with a brand new sound tracing the path for the new decade. Things were moving fast for the Aosta band with their latest eighties efforts tracing a crucial change in signature. Often labeled as the north-italian answer to Husker Du, Kina were truly pre-dating the original emo-core revolution, with a melodic driven sound seriously attending the Washington DC underground party of bands like Rites Of Spring and Soulside. A classic on its own with the very audacious anthem “Questi anni”.

The Ruins' eponymous EP (also known as the “gray record”) was originally released in the late spring of 1984 and in fact represents a significant moment in the Italian independent music scene of the early 1980s. The then contemporary burgeoning wave of entertainment music contaminated by experimental accents and conveyed essentially by electronic instruments saw the Ruins at the forefront. The band, essentially a duo, formed in Mestre (Venice) in 1978, had already carved out a window of national attention within the Italian new wave in 1981 with their first single “Short wave” and their participation in one of the very first (if not the very first) Italian new wave compilations entitled “Samples Only.” Following this, between 1982 and 1983, there had been an important interlude in the evolution of the Ruins sound with the foundation of the quintet project (of which SPITTLE/DepenDance recently published an essential anthology titled “brain Flakes”). At the end of 1983, having concluded the group experience with the consequent and inevitable return to the original duo dimension the musical style further evolved putting even more emphasis on the unique blend of electronic sounds and almost black /soul influences of the new compositions that would later be collected in 1984 in the original version of E.P. The duo's sound at that particular time was characterized by the innovative use of synthesizers and drum machines for unconventional song structures, which at the same time also encapsulated Ciranna and Pizzin's experimental ethos, thus allowing them to follow a parallel trajectory capable of maintaining a certain distance - while remaining somewhat related to - from the contemporary mainstream pop and the so-called Italo disco strand. Ultimately, this 1984 EP by the Ruins - of which Spittle DepenDance now offers a valuable reissue enriched with additional material from the period that has remained completely unreleased until now - is a testament to the band's innovative spirit and its role in shaping the Italian new wave scene, landing moreover to international acclaim and acclaim even over the following decades. With its mix of electronic experimentation and dark pop sensibility, it remains essential listening for fans of avant-garde pop music.

While veteran TKO fans should already be well-versed in Italy’s reigning champs of Bootboy Bovver Rock, Giuda, here’s the scoop for newcomers: Hyper-catchy, mastercrafted Glam/Pub/Punk Rock that pulls from legendary acts like Slade, Budgie and the Sweet, with football-chant choruses aplenty and Power-Pop hooks that stay firmly lodged in your brain. After the disbanding of Taxi, Giuda busted onto the scene in 2010 with their modern take on no-holds-barred Glitter Rock. This new style and direction was unquestionably established by their tour de force debut album, Racey Roller. To call Racey Roller a staggeringly strong debut is a gross understatement: this album was an international cult sensation. Standing toe to toe with the '70s classics from which it draws, Racey Roller's boot-stomping clap-along chants, infectious leads, and sugary sweet melodies are so immediately and powerfully arresting that underground rockers the world over had no choice but to sit up and take notice. Since its original release, Racey Roller has seen release on Dead Beat Records (usa), Fungo Records (Italy), Damaged Goods (uk), TKO (just in case), Burning Heart Records (Sweden), and most recently on Italy’s Overdrive Records in 2019. Fourteen years on, Racey Roller has earned its status as a modern European underground classic, comparable in impact to other cult favorites like Turbonegro's Apocalypse Dudes. This most recent TKO reissue, presented in support of Giuda's current 2024 North American Summer tour, will be the first domestic release of the title since our previous 2013 version. And you can bet your favorite tartan trousers and platform shoes that TKO is delivering it with every bit of the care and reverence an album of this caliber deserves

While veteran TKO fans should already be well-versed in Italy’s reigning champs of Bootboy Bovver Rock, Giuda, here’s the scoop for newcomers: Hyper-catchy, mastercrafted Glam/Pub/Punk Rock that pulls from legendary acts like Slade, Budgie and the Sweet, with football-chant choruses aplenty and Power-Pop hooks that stay firmly lodged in your brain. After the disbanding of Taxi, Giuda busted onto the scene in 2010 with their modern take on no-holds-barred Glitter Rock. This new style and direction was unquestionably established by their tour de force debut album, Racey Roller. To call Racey Roller a staggeringly strong debut is a gross understatement: this album was an international cult sensation. Standing toe to toe with the '70s classics from which it draws, Racey Roller's boot-stomping clap-along chants, infectious leads, and sugary sweet melodies are so immediately and powerfully arresting that underground rockers the world over had no choice but to sit up and take notice. Since its original release, Racey Roller has seen release on Dead Beat Records (usa), Fungo Records (Italy), Damaged Goods (uk), TKO (just in case), Burning Heart Records (Sweden), and most recently on Italy’s Overdrive Records in 2019. Fourteen years on, Racey Roller has earned its status as a modern European underground classic, comparable in impact to other cult favorites like Turbonegro's Apocalypse Dudes. This most recent TKO reissue, presented in support of Giuda's current 2024 North American Summer tour, will be the first domestic release of the title since our previous 2013 version. And you can bet your favorite tartan trousers and platform shoes that TKO is delivering it with every bit of the care and reverence an album of this caliber deserves

After the uncompromising opening salvo of 2010’s Racey Roller, Giuda followed things up with the aptly titled 2013 sophomore release, Let’s Do It Again. And "do it again" they did indeed. Solidifying the band's lineup with the additions of new drummer Daniele Tarea and lead guitarist Michele “Mikey Steakknife” Malagnini, Let’s Do It Again finds the Giuda in top form, delivering on the promise of Racey Roller and then some. The stomps are harder, the chants are louder, and the grooves are heavier than ever. Every song on this album is catchy enough to be a legendary single in its own right. This is the very definition of "all killer, no filler." Thanks to increased touring, and an excellent promotional campaign by Damaged Goods for the UK release, Let’s Do It Again elevated Giuda's international profile as subculture heroes. Much like Racey Roller before it, Let's Do It Again has seen release internationally on many labels like Fungo Records (Italy), Damaged Goods (uk), TKO, Burning Heart Records (Sweden), and Overdrive Records (Italy). This is the first domestic release of Let’s Do It Again since TKO initially released it in 2014, and we’re eager to get it into the hands of anyone who missed it the first time around. If that’s you, don’t make the same mistake twice. Giuda is unequaled at what they do; namely cranking out stomping, modern Glitter Punk anthems that are every bit as essential as the classic '70s material that inspired them.

After the uncompromising opening salvo of 2010’s Racey Roller, Giuda followed things up with the aptly titled 2013 sophomore release, Let’s Do It Again. And "do it again" they did indeed. Solidifying the band's lineup with the additions of new drummer Daniele Tarea and lead guitarist Michele “Mikey Steakknife” Malagnini, Let’s Do It Again finds the Giuda in top form, delivering on the promise of Racey Roller and then some. The stomps are harder, the chants are louder, and the grooves are heavier than ever. Every song on this album is catchy enough to be a legendary single in its own right. This is the very definition of "all killer, no filler." Thanks to increased touring, and an excellent promotional campaign by Damaged Goods for the UK release, Let’s Do It Again elevated Giuda's international profile as subculture heroes. Much like Racey Roller before it, Let's Do It Again has seen release internationally on many labels like Fungo Records (Italy), Damaged Goods (uk), TKO, Burning Heart Records (Sweden), and Overdrive Records (Italy). This is the first domestic release of Let’s Do It Again since TKO initially released it in 2014, and we’re eager to get it into the hands of anyone who missed it the first time around. If that’s you, don’t make the same mistake twice. Giuda is unequaled at what they do; namely cranking out stomping, modern Glitter Punk anthems that are every bit as essential as the classic '70s material that inspired them.

Antifascist Raw Melodic Streetpunk from Stuttgart.Probably the most Californian of all German street punk bands comes from Stuttgart. Although NECKARIONS are not stingy with borrowings from the Dead Kennedys, they have developed their own no-frills style. After only 3 days, the 4 guys had the album `Waterfront' in the can, as refreshingly rough and dirty as the river that flows through their hometown.

Antifascist Raw Melodic Streetpunk from Stuttgart.Probably the most Californian of all German street punk bands comes from Stuttgart. Although NECKARIONS are not stingy with borrowings from the Dead Kennedys, they have developed their own no-frills style. After only 3 days, the 4 guys had the album `Waterfront' in the can, as refreshingly rough and dirty as the river that flows through their hometown.

More than 4 years after "Sculpture Of Violence," Giver from Cologne, Germany, announce their third album "The Future Holds Nothing But Confrontation" for September 20, 2024, on End Hits Records. In recent years, Giver have not only refined their hardcore sound to be more brutal and atmospheric with elements of metal and post-punk, but thematically, it's clear that their new album serves as an even more drastic political manifesto. Capitalism, culture wars, the climate crisis, and their societal implications and consequences are central themes on "The Future Holds Nothing But Confrontation." Giver critique the prevailing neoliberalism and its ongoing agitation for the uncompromising pursuit of happiness and satisfaction. The band explains: "What neoliberalism has established is a lonely place. Its driving force is the individualized pursuit of constant fulfillment, altering the way we interact with each other. Whatever we do to achieve satisfaction, there's always a lingering sense of something missing. Happiness and contentment are never the goal; they've been replaced by profit margins and excess. These are endless and extremely unevenly distributed. Anger arises in this vacuum. With this album, we want to remind that it's the economic conditions and inequalities that should be the target of our collective frustration. They create depression, despair, and a downward spiral. Being anti-fascists is not enough; we must also be anti-capitalists." This anger is also reflected musically in the furious 11 new tracks. Filled with powerful guitar riffs and sometimes bilingual lyrics, some of the songs also introduce a new, deep style of spoken word for Giver, making the eventual eruptions that much more impactful. With the release of their third album, Giver venture into fresh and melodic territory, integrating elements of post-punk, black metal, and hardcore into a sound that sits somewhere between bands like Oathbreaker, Converge, or Chelsea Wolfe. Although "The Future Holds Nothing But Confrontation" builds on a foundation of biting, powerful metal, it also incorporates dark vocal lines that could be found on a Fontaines D.C. or Idles record. "The Future Holds Nothing But Confrontation" was produced by Lewis Johns (Rolo Tomassi, Employed To Serve, Funeral For A Friend).

Clear vinyl, limited to 200 copies.Started before, almost failed during and finally completed after the pandemic, "Für 3 Minuten 11" is the third album by Mannheim punk band Kaptain Kaizen. As an homage to the average length of a pop song, the title symbolizes the question of the why of one's own creativity, the art of switching off in these times and the unforgettable pleasure of a fleeting moment. The ten tracks on the record examine various topics, mostly in a critical examination of current social developments. For example, "Hängepeters" denounces the careless handling of the legacy of colonial crimes, while "Lindnereffekt" takes aim at the increasing superficiality in politics. Kleiekotzer" takes a critical look at the role of the media in society's shift to the right. But that is only one side of "Für 3 Minuten 11". The Carpe Diem anthem "Panini" shows that things can also be lighter and more liberating, and the song "Pflugschreiber" sends a musical greeting to the pride of Mannheim's adopted city in its pop academy. It is the intense mixture of profound lyrics and energetic sound with a pinch of hope and cheerfulness that makes "Für 3 Minuten 11" the musical equivalent of an intense, short-lived moment to be enjoyed to the full.

Nausea's sole full length offering 'Extinction' finally available on wax again after more than two decades via Svart Records in December

After releasing the Cybergod/Lie Cycle 12” EP, Svart Records is set to continue reissuing the work of New York’s most legendary crust thrashers, Nausea. The band’s only full-length album, Extinction, was originally released in 1990 by Profane Existence in the US and Meantime Records in the UK. Now, Svart Records is proud to present this cult album with remastered sound, gatefold covers, booklet, and new album artwork taken from the poster included with the original pressing of the Extinction vinyl.

While Nausea’s timeline may not have been the longest, their influence on hardcore, punk, and crust is massive. Nausea elevated the game with the raging dueling vocals of Amy and Al, blending classic UK crust and anarcho-punk elements. Their sound echoes the rock’n’roll spirit of Discharge and Motörhead, alongside the epic metal-punk fusion reminiscent of Sacrilege and Slayer, all infused with a sociopolitical message and the experimental flair of Crass. Their lyrics depict a post-apocalyptic world akin to Amebix, with bleak themes, such as, "The world is growing weaker, with the passing of each day. Riding the west winds. The fetid stench of decay. Resources dwindle into the consumerist machine. As mechanical vultures pick the carcass of our world clean."

Nausea's sole full length offering 'Extinction' finally available on wax again after more than two decades via Svart Records in December

After releasing the Cybergod/Lie Cycle 12” EP, Svart Records is set to continue reissuing the work of New York’s most legendary crust thrashers, Nausea. The band’s only full-length album, Extinction, was originally released in 1990 by Profane Existence in the US and Meantime Records in the UK. Now, Svart Records is proud to present this cult album with remastered sound, gatefold covers, booklet, and new album artwork taken from the poster included with the original pressing of the Extinction vinyl.

While Nausea’s timeline may not have been the longest, their influence on hardcore, punk, and crust is massive. Nausea elevated the game with the raging dueling vocals of Amy and Al, blending classic UK crust and anarcho-punk elements. Their sound echoes the rock’n’roll spirit of Discharge and Motörhead, alongside the epic metal-punk fusion reminiscent of Sacrilege and Slayer, all infused with a sociopolitical message and the experimental flair of Crass. Their lyrics depict a post-apocalyptic world akin to Amebix, with bleak themes, such as, "The world is growing weaker, with the passing of each day. Riding the west winds. The fetid stench of decay. Resources dwindle into the consumerist machine. As mechanical vultures pick the carcass of our world clean."

Nausea's sole full length offering 'Extinction' finally available on wax again after more than two decades via Svart Records in December

After releasing the Cybergod/Lie Cycle 12” EP, Svart Records is set to continue reissuing the work of New York’s most legendary crust thrashers, Nausea. The band’s only full-length album, Extinction, was originally released in 1990 by Profane Existence in the US and Meantime Records in the UK. Now, Svart Records is proud to present this cult album with remastered sound, gatefold covers, booklet, and new album artwork taken from the poster included with the original pressing of the Extinction vinyl.

While Nausea’s timeline may not have been the longest, their influence on hardcore, punk, and crust is massive. Nausea elevated the game with the raging dueling vocals of Amy and Al, blending classic UK crust and anarcho-punk elements. Their sound echoes the rock’n’roll spirit of Discharge and Motörhead, alongside the epic metal-punk fusion reminiscent of Sacrilege and Slayer, all infused with a sociopolitical message and the experimental flair of Crass. Their lyrics depict a post-apocalyptic world akin to Amebix, with bleak themes, such as, "The world is growing weaker, with the passing of each day. Riding the west winds. The fetid stench of decay. Resources dwindle into the consumerist machine. As mechanical vultures pick the carcass of our world clean."

The debut, self-titled release from New York City’s Quicksand came out in 1990 and is the 18th release from Revelation Records. It includes four songs including an instrumental entitled “Hypno Jam With Dan”. Frontman/ guitarist Walter Schreifels, the main creative force behind Gorilla Biscuits and bassist for Youth OF Today, assembled the band’s lineup from his dissolved project called Moondog. Guitarist Tom Capone had founded Long Island’s Beyond, and had previously played in Bold, writing their album Looking Back. Drummer Alan Cage had been in Burn and played with Capone in Beyond. Bassist Sergio Vega arrived from the short-lived Collapse and a later incarnation of Absolution.

Sharp Tongues is a melodic hardcore band formed in late 2020, hailing from Gothenburg, Sweden. After two EPs and numerous shows and festivals, they are already an established act. Their music draws inspiration from the ’90s wave of classic hardcore with a special love for Carry ON and IN MY Eyes, while incorporating modern elements that give their sound a fresh and contemporary feel. Despite their relatively short time existing, the band has already made a significant impact. Sharp Tongues has been mentioned in various podcasts, blogs, and online publications. Their music has also extended to the airwaves, with their song “glow” being played on Australian and Canadian radio stations.

Sharp Tongues is a melodic hardcore band formed in late 2020, hailing from Gothenburg, Sweden. After two EPs and numerous shows and festivals, they are already an established act. Their music draws inspiration from the ’90s wave of classic hardcore with a special love for Carry ON and IN MY Eyes, while incorporating modern elements that give their sound a fresh and contemporary feel. Despite their relatively short time existing, the band has already made a significant impact. Sharp Tongues has been mentioned in various podcasts, blogs, and online publications. Their music has also extended to the airwaves, with their song “glow” being played on Australian and Canadian radio stations.

Formed with an acute awareness that they wanted to step away from the traditional sounds they had made in previous bands, Kill Holiday was forged with the idea that they wanted to break new personal ground. Seasonal is a retrospective on those early, experimental years for the

band. Compiled by founding member O. Paz, this collection of record- ings features the complete output from the pre-Revelation era of the

band while he was still a member. Started as a simple passion project

for the guitar player, it now culminates into physical form as a limited- edition, one-time vinyl pressing of 250 copies on burgundy vinyl.

Spawned from the Nwhc territory, Heiress has been forging their own path since 2006 when guitarist Wes Reed set out on his vision to concoct bleak, dynamic, forward-thinking, hardcoreinformed metal along with friends Justin Martinez (jough Dawn Baker) on drums, John Pettibone (undertow, Himsa) on vocals, and Mat Houot (nurser) taking up bass duties. In 2023, the band embraced a second guitarist in Bob Reed (devotion, Supercrush), adding his resonance and warmth to their existing soundscape. Always difficult to pin down or pigeonhole, Heiress’ stylistic fluidity has allowed them to share the stage with bands like Bl’ast!, Eyehategod, Cave IN, Integrity, HOT Water Music, Voivod, 40 Watt SUN, and YOB.

"Old City, New Ruins" takes its title from Rome, the city where the band is based. It depicts the contemporary ruins of the capital, yet it's merely a pretext to expose the complexities of everyday life common to Western societies and their major cities, foremost among them. The album unfolds episode by episode, driven by the need to express anger and frustration, but also the antidotes to them. Social references abound, as well as intimate reflections and even profound investigations into the psychoses of the marginalized and abandoned. It tells the story of collective strength, musically expressed through a choral quality that runs deep in the band."Old City, New Ruins" is a unique hardcore album, inspired both by emerging currents of the genre - such as Comeback Kid, Turnstile, Trapped Under Ice - and by the European and Northern European heavy tradition - like Kvelertak, Turbonegro - to the pantheon of influences of Feldspar: Nirvana, Motorhead, Gorilla Biscuits, Slayer and everything in between. The album consists of ten songs, with bellicose episodes alternating with cathartic moments, explosions of energy accompanied by timeless slogans, songs for celebration and songs for war, moments for reflection, and others for denunciation. All of this alternates within the ten tracks preceding the instrumental that gives the album its title, also the final track of the record, a sort of Carpenteresque ballad that serves as the soundtrack to visualize the marvelous and creepy ruins Feldspar speaks of. Production note: for the album, Feldspar worked alongside Nick Terry, a legendary figure in the English music scene, known for his productions with Ian Brown/Stone Roses, The Libertines, Turbonegro, Simian Mobile Disco, Kvelertak, Peaches, and more. His involvement adds international depth to the project. The artwork was entrusted to Chris Wilson, an American illustrator renowned for his work on covers for bands like MindForce, Scowl, Combust, and Gel, essentially the cream of the crop of contemporary American hardcore.

“Rarely has there been a better album opener than Fun n’ Frenzy, a shimmering yet abrasive mix of Subway Sect dustbin lid guitar, No Wave twitchiness, a hint of psychedelia and a crooning vocalist intoning poetic, abstract lyrics that conveyed existential menace. Continuing with Revelation, Crazy to Exist and single tracks like Sorry for Laughing, The Only Fun In Town was an extraordinary achievement – eclipsed by the group's split. It remains an early 80s high point. Those who haven’t heard it should; those who have might be tempted by this latest upgrade, which features remastered sound and different extras”. Josef K ‘The Only Fun In Town’ (Jon Savage – Mojo 2014) Crepuscule presents a new limited 180gm black vinyl edition of The Only Fun In Town, the influential debut album by iconic Scottish guitar group Josef K, originally released on Postcard Records in July 1981. Speedily recorded in a small studio in Brussels, The Only Fun In Town was a defiantly abrasive, serrated long-player in the mould of the second Velvets album, Josef K having already shelved a more conventional recording. Sharp-edged pop singles abound – It’s Kinda Funny, Sorry for Laughing, Revelation – along with rattling Haig/Ross twin guitar classics such as Fun ‘n’ Frenzy, Heart of Song, Forever Drone and The Angle. The Only Fun In Town topped the independent charts on release and remains a canonical post-punk album. This remaster arrives housed in a handsome gatefold sleeve, and by way of bonus tracks also features several Postcard single A and B sides including Radio Drill Time and Chance Meeting. Side 4 features all four tracks from JoKay’s celebrated John Peel Session in June 1981, including Heaven Sent and The Missionary.

Warsaw, Poland's greatest garage punk band is back with a raging double shot of blood & guts '70s punk rock 'n' roll that's tailor-made for the 7" format.

Three classic Fugazi songs—”Song # 1,” “Joe # 1,” and “Break In”—recorded at Inner Ear Studio in July 1988

LA Sacree Grole is a tale by the Tamerantong company, set to music by Ludwig VON 88. Tamerantong! is a theatre company based in Mantes-la-Jolie, Paris-Belleville and Saint-Denis that puts on shows with children and young people from these neighbourhoods. Ludwig VON 88, road companions of the great hours of alternative rock (Bérurier Noir, Parabellum...) is also the only rock band capable of rhyming in ‘ong’. Tamerantong! had long been plundering their repertoire for their shows. In retaliation, the Ludwigs decided to compose the soundtrack to ‘La Sacrée Grôle’: a Gallic legend told and sung by twenty kids from Paris-Belleville. In the heart of the land of the Arvernes, reigns a valiant free people. Their village lies on the edge of a dreadful forest where no one ever ventures. But the time has come for all the peoples of Gaul to enter the fearsome forest and set off in search of the Sacred Pole! La Sacrée Grôle premiered at Paris-Belleville and was performed from 1996 to 1998 in Paris (Café de la Danse, Palace, Trianon, Café Éphémère / Les Halles), Mantes-la-Jolie, Briançon, Rouen (Festival Débarquement Jeunes) and Montreal/Quebec. This record, released for the first time on vinyl by the Archives de la Zone Mondiale label, includes 7 previously unreleased songs by Ludwig VON 88.