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Artificial Go is a new four piece hailing from the DIY post-punk scene of Cincinnati, Ohio. Local labels Feel It and Future Shock have teamed up to co-release Artificial Go's debut album, Hopscotch Fever. Consisting of eight tight tracks, this debut is just that: an introduction. A little bit mercurial, a little bit iconic. Artificial Go is operating out of their own genre - not quite post-punk, not quite pop. Hopscotch Fever seems to have been recorded just outside of the collective-genre-periphery to form some sort of extraterrestrial kind of music. With angular guitar breaks, bouncing rhythms, and jolting vocals, Artificial Go is truly here on their own terms."—Jacob Mouser

San Francisco’s last and only rock and roll band THE Okmoniks has teamed up with Slovenly Recordings for Afterparty Fever!!! Here are nine new houserockin’ woman led punk rock’n’roll blasts that capture the essence of a party that just don’t stop. This particular all-nighter was recorded live in a small room, and you can tell from the screams, handclaps, and peals of laughter that this 17 minute end result was produced in a gloriously boisterous session. Afterparty Fever!!! captures the girls-to-the-front, make-room-for-dancing, leave-’em-wanting-more live show they’ve been dishing out for freaks world-wide for the past two decades. The OKs are fronted by Helene 33 on vox, simultaneously playing impossible sounding, finger stretching 60s Ace Tone Top 5 organ tones while tossing it around like a toy… It must be seen to be believed, and a believer you shall be!

The Okmoniks recorded and produced every song on this album, and wrote them all with the forgivable exception of one cover by Tucson 60s punk outfit The Grodes. “Afterparty Fever!!!” sounds like a band in 1977 doing their favorite 1966 stompers: devastating dancers like “Don’t Wanna See You No More” and “I’ll Let You In” could fit comfortably in a John Waters teen shimmy montage, giving way to rockers like “He Left the Party with Me” and “Summer Break Up” that could serve as the captions for a comic panel in “Punk” Magazine.

Second album of the Berlin FRONTALANGRIFF with the illustrious guests Walli, Sucker and Henne & Justin as a scoop on top! FRONTALANGRIFF play Berlin hardcore punk. Dirty and fast, just like the city they come from. What began as a fictional punk band in a film project became real in mid-2020. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) got Sascha (Darwins Rache) on the mic and they were ready to go.The first album was recorded in just a few weeks in the legendary Görli rehearsal room (Vorkriegsjugend, Jingo de Lunch). Recorded by Sascha at Trailerpark Studios, mastered by Matze Wendt...

Second album of the Berlin FRONTALANGRIFF with the illustrious guests Walli, Sucker and Henne & Justin as a scoop on top! FRONTALANGRIFF play Berlin hardcore punk. Dirty and fast, just like the city they come from. What began as a fictional punk band in a film project became real in mid-2020. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) got Sascha (Darwins Rache) on the mic and they were ready to go.The first album was recorded in just a few weeks in the legendary Görli rehearsal room (Vorkriegsjugend, Jingo de Lunch). Recorded by Sascha at Trailerpark Studios, mastered by Ma...

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

Here comes No Obligation, the second full-length release from THE LINDA LINDAS further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with alt-rock, garage rock, power pop, new wave, rock en español. No Obligation was written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia and Eloise are still in high school, Mila just finished middle school, and Bela is patiently waiting for them to get done with it already) and was produced by Carlos de la Garza (Paramore, Best Coast, Bleached).Known for their incredible musicianship and live performances, the band who has shared stages with and opened for Paramore, Japanese Breakfast, Jawbreaker, and Yeah Yeah Yeahs, are about to embark on a massive two-month tour across America with Green Day. Look for headlining shows at small clubs in between-including a sold-out gig at the famously DIY Gilman Street in Berkeley. The new album, No Obligation, is out on October 11 .No Obligations. No expectations. No limits for THE LINDA LINDAS.

Here comes No Obligation, the second full-length release from THE LINDA LINDAS further advances their unironic, joyful, and exciting trajectory of mashing up L.A. punk with alt-rock, garage rock, power pop, new wave, rock en español. No Obligation was written and recorded by the band during spring breaks, winter breaks, and long weekends (Lucia and Eloise are still in high school, Mila just finished middle school, and Bela is patiently waiting for them to get done with it already) and was produced by Carlos de la Garza (Paramore, Best Coast, Bleached).Known for their incredible musicianship and live performances, the band who has shared stages with and opened for Paramore, Japanese Breakfast, Jawbreaker, and Yeah Yeah Yeahs, are about to embark on a massive two-month tour across America with Green Day. Look for headlining shows at small clubs in between-including a sold-out gig at the famously DIY Gilman Street in Berkeley. The new album, No Obligation, is out on October 11 .No Obligations. No expectations. No limits for THE LINDA LINDAS.

Limited edition of 100 copies.

New edition of RSD 2023 release in new cover artwork with additional 12” x 12” print.

Ten Punk Bedrooms

New artwork matches the cover of the book 'Punk Rock Pictures on my Wall (cat number: 9780956999160).

Mal-One’s new five track 12’’ offering has broached the tender subject of the bedroom wall and what as a teenager we would cover it with, as we revelled in our teenage glory. During what we now fondly remember as the Punk Rock period, this would have been the promo posters, gig tickets, flyers, badges, t- shirts anything we could find to extend our allegiance to the Punk Rock cause. Track one of this extended play covers this dilemma in fine style:

Side One

1. Punk Rock Pictures on my Wall …from floor to ceiling and ten feet tall !!!

2. JJ’s Alright relates a true story of Mal-One’s run in with the Euroman Cometh himself and finding out first hand that even if his band The Stranglers were to become Punk’s social outcasts that in fact JJ was Alright and so in fact was Hugh….

Side Two

1. The Buzz-Cocks Are Coming tells the Buzzcocks connection to this movement and their entry point into the affray.

2. Damned Disciple tells what is required to become a Damned devotee. Which includes amongst other requirements and as stated on one of their early badges ‘skipping off school to see them play’.

3. The Satellite Kid tells the engaging story of Mr Paul Weller coming to London seeing the Sex Pistols for the first time at the Lyceum Ballroom on The Strand. In doing so he found some likeminded souls and more importantly people the same age that he could relate to and forge an identity with.

Hopefully to hang on your bedroom wall… it’s never too late Punk…

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.

Warning! was the only studio recorded document from the amazing hardcore band, The Latin Dogs, from Battle Creek, Michigan. This EP was released in 1982 and has never had a legitimate reissue until now. This remastered record is a perfect time capsule of punk becoming hardcore and original copies sell for several hundred dollars. This self-produced effort easily compares to the early hardcore punk released on Dischord Records or Touch and Go Records. From the ashes of some very seminal undiscovered punk bands such as the Brain Police, The Lips are Back, and The Itch, came The Latin Dogs. The band’s sole record was a DIY project paid for by the earnings of live performances. In those days it took many shows to get enough cash to pay for a pressing of a 7" record. It was recorded on a 4 track reel to reel and the sleeves were printed by a shady print shop that went out of business during the pressing, and the band had to break into the building to pick up the half-finished printed sleeves. This record put their early Political stance at attention. The power of a Marshall stack and Gibson SG backed by a Fender P bass with Ampegs at full volume, driven by a thin, wiry straight ahead drummer, fueled by a Jack Daniels drenched rebellious singer, gave this band a unique hardcore sound that was still reminiscent of an earlier punk sound. This powerful band, with two 6-foot guitarists, sandwiched a cocky, political, savvy singer who was not afraid of bold and precise statements. The Latin Dogs were deflected and rejected from popular punk circles, yet remained influential enough to carve out their own fan base in Grand Rapids, Detroit, Battle Creek, Kalamazoo and east Lansing. They played on shows with bands like: Big Boys, Die Kreuzen, Negative Approach, Tar Babies, Channel 3, Violent Apathy, Destroy All Monsters, and others. The Latin Dogs were ahead of their time, but also a bit ignored by their peers. Six song EP with double-sided insert, limited to 550 copies.

LOUIS LINGG AND THE BOMBS are goddamn punk-rock-garage-pop-anarcho saviours of the 2 and half minute pop song. They come from Paris where they regularly blow up little bars with explosions of snot and beer fuelled punk rock energy. The group is named after Louis Lingg, the famous Chicago anarchist who committed suicide on death row in 1887. Some of their songs are ultra-political anarchist punk rock and some of their songs are like children's nursery rhymes. ALL of their song's are full of interesting pop hooks and melodies and they are sung with energy and commitment.Their influences are punk bands like The Briefs, The Epoxies, Antiflag, Pansy Division and The Dickies. They have a strong love of '77 style punk like The Buzzcocks, The Clash, The Adverts and The Undertones. Never forgetting that they are children of the 90s having grown up with bands such as Nirvana, Bikini Kill, Sleater Kinney and The Butthole Surfers. In their song-writing however, their admiration of classic children's songs is clearly visible, as is their 60s influences; Shirley Ellis,...

A limited repress of debut 6-Track EP by Swedish legends Avskum. Original released in 1984, "Crucified By The System" is a growling, lo-fi intense dose of rampaging Swedish hardcore with hoarse vocals, pounding drums and rushing guitars. The fold-out cover is near-exact replica of the original 1984 7" EP, and this edition for the records 40th anniversary includes a reprint of a band info insert from the time of release, a 3" circular vinyl sticker and is pressed on lime green vinyl with hand stamped labels.

Just in time to kick off summer, Helsinki, Finland's daydreaming pop tunesmiths, Teini-pää, return with a four-track EP that's on assignment to swallow your insecurities and your anxieties, and spit them back to the world in bubbles of carefree elation and effervescent romantic charm. At the end of the day, the reason we are drawn to the music that sticks with us, is because it moves us and strikes an emotional response that tickles our chemicals in a way that we want to keep coming back over, and over, and over, chasing the initial high. The way that "Mietin Minne Meet" washes along the break between tight and clean, upbeat indiepop melancholia and a nostalgic power-pop-punk sound—that is specifically Scandinavian in its nuance here—brings me back to that heart-in-throat wonderment I felt the first time I heard (and fell in love with) Teini-pää's tunes. Lyrically the record spends most of its time in its own head, trying to work through some shit—which makes a whole lot of sense when you learn that the band name translates to "Teen Head"—and Renata Rojo's artwork reflects this theme flawlessly.

“artificial Peace lasted barely a year, but in that short time managed to become a leading band in the early DC hardcorepunk scene. Pete Murray had played in the short-lived RED C while Mike Manos, ROB Moss and Steve Polcari were in a band called Assault & Battery. Towards the end of 1981 they formed A.P. and began playing around town. They were tight, fast, and aggressive, prerequisites for most of the DC bands of the time, but also had a unique sound and surprisingly catchy songs. I loved the band and offered to record them at Inner Ear Studios. In November 1981 the studio was still a 4-track in the basement of DON ZIENTARA’s family house. The ‘live’ room was actually his children’s playroom, and the mixing desk and tape machine were set up next to the furnace in what could be described as spacious closet. A.P. knocked out their 17 songs in almost no time. I think we recorded, mixed, and sequenced the tape in two or three days and were very happy with the results. There may have been some discussion about putting a few of these songs on a 7” EP, but at that time all of the label’s resources had been put into releasing Flex Your Head, our first full-length album. FYH was a compilation documenting the DC punk scene and since A.P were one of the great young bands coming up at that time, we included three songs from their session. There never was an opportunity to do anything with the other 14 songs as Dischord was poor and, like many of the bands in DC at that time, A.P. was not long for this world. However, before breaking up in the latter half of 1982, A.P. recorded again at CAB studios in Rockville, MD and released those recordings on a split 7” (w/The Exiled). This was the fi rst release on the Fountain of Youth label. After A.P. disbanded, Pete, Steve, and Mike started playing with Kenny Inouye and Andre LEE to form Marginal MAN. That band would release a 12” on Dischord as well as two full-lengths on Gasatanka and Giant respectively and continued playing for seven years. While working on the Dischord Archives, we came across the Artificial Peace November 81 session and decided that the tape should be finally and properly released in its entirety. Artificial Peace may well be an obscure band, but their effect on the DC scene was signifi cant and played a sure role in the evolution of the music.”—Ian MacKaye, 2010

“The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a ‘little break’ from the road. You all know what happened next. That ‘little break’ turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings). Sean [Hoffman] and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our ‘Scavenger’ 7-inch came out, around 2012. We had run into them in Berlin a few months back and I knew they weren’t playing anymore. I called Josh first, ’cause asking a dude if you can take his drummer, is like asking your girlfriend’s dad if you can marry her. And Josh said ‘go for it.’ And Jeff was in.

“Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard—basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a ‘Fake Live’ record—like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors, and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1.

“These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!” —Jed Maheu (guitars/vocals for Zig Zags)

"Therapy In Melody" impresses with twelve highly melodic songs that oscillate between hardcore punk rock and pop punk. It gets your dancing feet tapping,adrenalin flowing and the songs drill into your nerves like healing acupuncture. A good dose of variety keeps things entertaining at all times.Powerful hooks and catchy melodies invite you to listen again. In collaboration with British producer Phil Gornell, who works in Sheffield (UK) and LosAngeles (US) for All Time Low, Hot Milk and Bring Me The Horizon, among others , Indecent Behaviour have produced an outstanding album that isbursting with optimism and hope. 1. Hide From The Truth2.Twice As Good3.Bird Of Prey4.Too Close5. Show Me What You Got6. To Hell And Back7. Animal8. White Lies / / Black Tattoos9. Like Any Other Morning10.Fire In The Attic11. I Love Goodbyes12. A Life Turned Into Art

Lilac vinyl!

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!

In 1990, Judge had a new song entitled “Forget This Time” and there was a desire to record it and get it out into the wild. Additionally, the band had been touring and made some improvements to some of their existing songs; one standout was “The Storm,” which now had a breakdown in the middle that didn’t exist in the previous versions. Mike was excited about covering “When The Levee Breaks” (which was a bonus track on the Cdep, now a streaming bonus track) and the idea of his local buddy Todd Schwartz doing the harmonica solo. With these three songs the guys headed to Don Fury’s studio on Spring Street to record what became “The Storm” EP. One day Mike showed up on his Harley and the idea came about to run a microphone cable out into the street to record it rev, which you can hear on this version of “The Storm.”

In 1990, Judge had a new song entitled “Forget This Time” and there was a desire to record it and get it out into the wild. Additionally, the band had been touring and made some improvements to some of their existing songs; one standout was “The Storm,” which now had a breakdown in the middle that didn’t exist in the previous versions. Mike was excited about covering “When The Levee Breaks” (which was a bonus track on the Cdep, now a streaming bonus track) and the idea of his local buddy Todd Schwartz doing the harmonica solo. With these three songs the guys headed to Don Fury’s studio on Spring Street to record what became “The Storm” EP. One day Mike showed up on his Harley and the idea came about to run a microphone cable out into the street to record it rev, which you can hear on this version of “The Storm.”

1st press

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls through out the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the bands first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’.

Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the bands musical pathway, and he’s achieve stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

Yep, there is a repress of this masterpiece. And as always licensed by Epitaph Europe. Artwork was done by long term Breach designer Pierre Johansson and is printed with silver ink & UV lacquer on 350g heavy gatefold jackets. Nothing more to add.

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).

Just one year after the release of their highly acclaimed "Mainstream View," Grade 2 dropped this incredible record, "Break The Routine." The band amazingly managed to further mature their sound and songwriting ability, thickening their intense barrage on the scene, and quickly bringing this band into everyone's sights. The memorable choruses, catchy guitar riffs, groovy bass lines, and the powerful drumbeats show that the boys clearly have a new and brilliant understanding of how to make great music.

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.

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.

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.

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!

Last House is the third album from Sacramento’s Th’ Losin Streaks. The album was recorded at Louder Studios in Grass Valley, California, with Tim Green behind the board. Green played piano on several tracks, and Anton Barbeau—a friend of the band since the beginning—plays organ on some cuts. All of the band members—Tim Foster, Stan Tindall, Mike Farrell and Brian Machado—contributed to the songwriting, and the album also features a cover of The Weeds classic “It’s Your Time.” The album cover and other photos were shot by their pal (and Bay Area punk legend) Al Sobrante. "This album is about true love and good times. And bad decisions. It’s about breaking down. It’s about coming apart. It’s about sleeping rough. It’s about Dyer Lane. It’s about shaking it til you make it. It’s about EKO, Silvertone and Supro, Vox (Super Continental) and the Hohner Marine Band. It’s about 2” tape. It’s about the plague, and politics, and war or hands of time. It’s about the ice cream man after the apocalypse. It’s a trans-world punk rave up. It’s about Link Wray, The Sonics and the Downliners Sect. It’s about The Rolling Stones covering Sam Cooke. It’s about Folk Rock. It was about time slipping away (but it’s not now). It’s about bullshit. It’s about being too late, always too late. It’s about getting old. It’s about those who never will. It’s about the person you dream about but never get. It’s about nothing in this world. It’s about surviving T-Minus self-destruction. And about the other side."

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.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation. Essential!

Re-release of the classic Oi Polloi compilation that features some of the band's best studio tracks from years past, as well as a live side recorded in their hometown of Edinburgh.

The whole album has been completely re-mastered, the "live" side now features the whole gig without any breaks between the tracks so is now one long recording.

Limited edition Color Vinyl with a printed inner bag including lots of new sleeve notes by Deek.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation. Essential!

With rabid audiences worldwide clamoring for a taste of Seattle rockers The Drowns’ latest album Blacked Out, a 7” single release was inevitable! This presented the band and Pirates Press Records with a unique conundrum, however: how do you pick a single with an entire album chock full of wall-to-wall rock ’n roll anthems and no “B-sides”? The only possible answer is this: the double A-side single “Just the Way She Goes” / “1979 Trans Am.” On an album of swaggering, glam-in- fused rock with punk heart, these two standout singles are bound to get fans’ motors revving and hips swaying, all the while building even greater anticipation for the forthcoming album! Both of these singles pay tribute to very different vehicles and the lifestyles that go with them. “Just the Way She Goes” examines the life of a rock band’s relationship with their cantankerous tour van, as a metaphor for perseverance and optimism in the face of life’s adversity. “We all break down from time to time,” relates singer & bassist Andy Wylie, while the music propels the listener forward with enough spirit and energy to overcome any setback. “1979 Trans Am” on the other hand, fronted by singer-guitarist Aaron Rev Peters, is The Drowns’ take on the classic rock ’n roll story of “boy-meets-girl, boy & girl go for a joyride in a classic muscle car,” with a steady backbeat that will get any listener moving!

Sidetracked: Tacoma, WA frantic powerviolence champions deliver 14 exclusive tracks (recorded in 2018) of annihilating fast hardcore to leave you completely floored and devastated. Taking the best elements of fast US hardcore and powerviolence and blending them together in a grinding cyclone of rapid tempo changes, neck breaking blasts and raging vocals. Isolation AS Cult: 180 song pulverizing noisecore hecatomb at its fiercest degradation stage. Combining the old school extremism of 7mon, Fear Of God, VNA, AxCx, Crawl Noise with Japanese filthnoisepunk influences (Gai, Confuse, Toxo-Vomit, State Children). Featuring: GTB (Cripple Bastards) / HOD (Toxic Basement Studio). Get ready for a lethal overdose of micro-song nihilism! LP with insert and bonus I.A.C. sticker

Eight new destructive Tracks from Tokyo’s Crow, featuring five classic blasts of crushing metallic hardcore with harsh vocals and searing guitar solos, framed by bursts of noise-driven experimentation and end capped by a “Hi-tone” vocal version of the title track. Eye is Crow's first new recording in twelve years. Crow’s origins are in the legendary mid-1980s golden era of Japanese punk, formed in Osaka with an intense influence of guitar driven UK hardcore. They released two seminal Japanese punk records, Who Killed Dove? EP and Last Chaos LP, before going dormant at the end of the 80s. Lead Vocalist Crow reorganized the band in the mid 1990s in Tokyo with new members including guitarist Tomio from Juntess. Tomio's playing added a heavier weight to the band’s sound as their sound became a synthesis of their original Discharge-influenced attack and metallic crust hardcore. The band released several EPs, the classic Bloody Tear album, and toured the West Coast three times. Eye touches on aspects of the band's often experimental 7" EP releases, but is grounded by their classic brutal hardcore sound. Recorded at Noise Room Studios in Tokyo in 2022, mastered for vinyl by Dietrich Schoenemann at Complete mastering, It Comes with an 11” x 17” insert in a 24 Pt. Board jacket designed by lead vocalist, Crow and was pressed at RTI.

Erik Nervous (aka Erik Hart to his folks) has produced at least an EP a year since 2015, releasing his music on a long list of American indies, such as Warm Ratio, Total Punk, Neck Chop, Lumpy, and Digital Regress. There was a short break for the Covid-19 pandemic, but even then, Erik hooked up with two friends, as the Beta Blockers. Erik also happens to be one of the top punk recording engineers in the Midwest and has been playing synth in the Spits since 2021. Immaturity marks the return of Erik Nervous as a solo artist. The thirty-nine minute long playing rock album will be co-released by FatCat (uk) and Feel It (us) on November 3, 2023. Most of Immaturity was written, as it was recorded, in the basement of Erik’s rural North Eastern Indiana home—the same house he’s lived all his life. The title of the record reflects Erik’s refusal to grow up. Song subjects range from anxiety to astral projection. A big fan of fellow self-taught “outsider” artists, and the DIY ethic, Erik’s sonic armoury contains yellowed plastic Casiotones, Yamaha Portasounds, and a smiling cat-shaped Meowsic keyboard, all purchased from yard sales, Goodwills, and misspelled eBay auctions. These, and a Tyco toy guitar all add to the album’s nostalgic retreat back into a treasured childhood, and its overall irresistible, enthusiasm-packed, perhaps tongue-in-cheek, joyful punch. However, don’t let the self-depreciating playfulness fool you. Erik is totally schooled, and has serious chops.

After countless hours of data driven market research it was determined that the wild success of the first Retail Simps album, Reverberant Scratch was 82.6% due to the cheeky and iconic album cover, as such the group was faced with a dilemma. Using focus groups funded by the Center for Odd Human Behaviour (cohb), the group surmised that the man pictured on said cover, none other than Montreal born chanteur JOE Chamandi, reminded the typical unsophisticated commoner of their ne’er do well uncle, and it is this sense of uncanny familiarity that drove people to purchase the record. Upon first needle drop it was revealed to house an abhorrent and obfuscatingly decrepit take on roots rock. Armed with this keen analytical knowledge, the band and their creative team harnessed the boundless marketability of the Trashmen, Dancing Cigarettes and 2 Live Crew to adorn their new disc with an equally palatable and deceptive frontal armour, provoking the straight laced garage rocker of yore to pay the price of entry. Once the branding and visual identity of this little package invited potential listeners in, they were met with incorrigible confusion. You see, after being pigeonholed by the punk paparazzi as a lowly party band, the Simps were tasked with driving home their knack for fervent versatility. This new record captures a group, in the clutches of maturity, boasting their emotional depth, triumphant chops and humble servitude to the trade of rock n roll clowning. Recalling the double speak of VU’s murder mystery, the soul bent lament of Fred Cole and the bastardized funk of Minutemen, the Simps have thusly widened their sonic palate and created yet another masterpiece of the modern age. This is the southern soul of Memphian tradesmen flipped on it’s snowy head, conjuring an impure regionalism that was largely thought to be dead and gone. An alternate kind of Northern Soul with a frosty Arctic sheen. More spazzed out guitar, more howling lunacy, more heat of the moment, turnt poetry and outside the box-isms. “The Simpies have done it again!” Proclaim the industrial-indie-music-complex! Bolstered by the angelic croon of Theee Simpettes and the honking heart-wrench of Theee Horny Boys, Theee Retail Simpletones bring you this 97.5 % Total Punk din!

Water Machine is an office romance between Hando Morice (they/them), Flore de Hoog (she/her), Jimmy Gage (he/him) and Goda Ilgauskaitė (she/her). An unassuming supergroup formed out of Glasgow institutions including Goth GF, Passion Pusher, Brenda and Soursob, their sound careens between punk, country and alt-rock underpinned by the unique quality they call “Raw Liquid Power”.

Following last year’s self-titled demo tape on Gold Mold Records, and fresh off of shows with the likes of Holiday Ghosts, The Cool Greenhouse and The Orielles, as well as a rollicking Viagra Boys afterparty, the four-piece will release their highly-anticipated first studio effort ‘Raw Liquid Power’ on Upset The Rhythm on August 4th.

The EP opens with a menacing, modulating synth melody. Gage’s guitar enters with a mighty bend before breaking into the chugging rhythm of ‘Water Machine Pt. 2’. This timely reminder to refill your water bottle - “don’t be late, hydrate!” less a wellness mantra than a threat - builds to a spacey outro with flashes of the art-punk weirdness of Suburban Lawns. ‘Stilettos’ marches on indignantly with a spiky riff punctuated by Ilgauskaitė’s cowbells. Staccato talk-singing tells a playful tale of stray cats following you home, but belies a darker subtext as the breakdown gives way to paranoid duelling guitars evoking The Fire Engines.

The anti-anthem ‘At the Drive In’ skewers joyless DIY crowds, reminiscent of much-missed Glasgow punks Breakfast Muff. Water Machine’s irrepressible sincerity can’t help but shine through in the final moments though, as jibes about “late night trade potential” give way to plaintive vocal harmonies. Morice tears public transport a new one on closer ‘Bussy’, a First Bus diss track bemoaning precarious employment amidst crumbling infrastructure. “That’s why I’m not on time!” they roar over de Hoog’s frantic, pounding bass, bringing the record to a skidding, screeching halt.

Captain Planet is a special band. A band that you don't forget, even if you don't hear from them for a while. The last album "An End" was released in 2016, the last concert was in February 2020. It is the definition of a favorite band that accompanies, stays, also likes to be quiet sometimes, to then gently break your heart with new music and new lyrics when the time comes, while at the same time telling you It goes on. Somehow. Must. whispers in your ear. Musically, "Come On, Cat" is energetic, melodic emo-punk that has been in its own league in Germany since the band was formed in 2003. Captain Planet will not climb the German punk Olympus in this country with their fifth album. And that's not what they've set out to do. This band is with itself, is not a scene figure. And yet: Few bands cause such excitement and enthusiasm among their friends (don "t say fans) when something new happens.

22 years, several ep’s and splits, 3 full lengths and countless tours around the globe, Hellshock are still standing relevant and still playing some of the heaviest riffs in the world wide punk scene. Where most bands of the crust genre seem to lose the fire and filth or simply break up before their prime, this band seems to get more powerful with each release and this long awaited LP is no exception! This recording features the addition of Robbie Chronic from Ripper on guitar who adds some real sick fucking solos on top of the established rolling crust riffage that the original core group had perfected years ago. Neck aching tempos, sheer brutality, growled anguished vocals, and epic song writing without straying from pure unadulterated crust. For the seasoned Hellshock fan, you know you will already love this album and it will only exceed expectations. For the newcomer, if they were to ask “what is this crust/stenchcore thing about?”, I would point them to Amebix, Deviated Instinct, Axegrinder, and Hellshock. The name deserves to be right beside the creators and masters. In another 20+ years this record will be regarded as one of the best crust records of the 2020’s, just as we look back at “Only the Dead Know the End Of War” as a defining record of the early 2000’s.

As smokin’ as they are, previous releases from LES Lullies were rushed through with impossible deadlines and little time to consider the ends. Mauvaise Foi—their new LP with resolutely French title (and their first record almost fully sung in the tongue)—takes a more laid back approach to manifest the desired energy, finding the boys swimming in a sea of change from their usual methodology. The result is streamlined rock’n’roll with a new purpose: a stark contrast from yesterday’s news while remaining truly Lullies. Mauvaise Foi sounds more personal and fleshy, dabbling in influences from Phil Spector to the Real Kids, classic punk from the Normandy scene (Fixed Up, Dogs, Sub Kids), and brimming with subtle, headphone-worthy layers and details. Mauvaise Foi (“Bad Faith”) as a title sums up this full-length with accuracy. Sometimes tackling somber subjects with tongue planted firmly in cheek, has no qualms breaking free to resonate with hilarity and their trademark cockiness like a brakeless derailing bullet train. Contained herein are stories about real-life characters sung by slightly mendacious rock’n’roll adventurers.

Rancid"s classic second LP, originally released in 1994, is disarmingly good from start to finish. With roots set firmly in their Berkeley punk rock origins, on Let"s Go Rancid set out with heart, soul and vehemence to reach new heights in their music. Some of the highlights are "Salvation," "Radio," and "Nihilism," but all the of the songs bristle with the unmatched signature of Tim Armstrong"s intensely evocative writing style. Recorded in their hometown of Berkeley CA, at legendary Fantasy Studios and mixed in Los Angeles at Westbeach Recorders, Let"s Go foreshadows the ground breaking success that would be found on their next record, And Out Come the Wolves.

The new EP from American Nightmare and their first 10" vinyl release. Dedicated To The Next World is AN refusing to rest on legacy. The legendary hardcore punk band returns with four new songs that sound like classic and future AN, stripped down and sped up to their trademarked urgency and live violence. With stream of conscious lyrics and existential dread, these are revival songs for the modern disenchanted. The band’s volatile mix of traditional American hardcore, dark aesthetics, and singer Wesley Eisold’s (cold Cave) emotional lyrical prose set a new creative standard for the worldwide hardcore community. "How I Got Away" recalls AN's anthemic hardcore sound a la tracks "We Are" and "The World Is Blue." "Self Check-Out" is a minute-long punk blister. "Real Love" flies like speed fueled Stooges and "Praying Hands..." nods to the influences of Bad Brains and Negative Approach. Having started in 2000 and initially breaking up in 2004, the band reunited in 2012 and subsequently launched a second life of lauded shows and records proving that there is life after youth. Recorded live to 2 inch tape by American Nightmare drummer Alex Garcia-Rivera at Mystic Valley Recording Studio in Boston. Mastered and cut for vinyl by Bob Weston at Chicago Mastering Service.

Straight Ahead Hardcore Punk, "NO Excuse" releases their first solo 7" record. Limited edition of 300 copies!

The donkeys are back again! After a mandatory break due to the pandemic the trio SENDESCHLUSS from Neunburg is back with huge fireworks. Not only live on stage but also with their third longplayer ,In the Sign of Esel" in the trunks. Our baby includes 16 tracks and is the musical quintessence of over 7 years of SENDESCHLUSS by now! Easy and melodic punkrock songs to dance and sing along to, uncompromising crushers with hardcore attitude and contrast titles with influences of ska, stoner rock or funk. From skinheads to metalheads, from punks to rock'n'roll-grandpas and from hardcore-kids to the nerds from the last row - This record brings something for everyone. Always with the slogan ,Against bad entertainment - Against dry throats - Against intolerance". In the Sign of Esel!

Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more

Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's debut full-length American Nervoso was originally recorded in 1998, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's debut album is set to be re-issued on Sargent House 25 years after its original release. The album features white-hot guitar action, scathing vocals, sweet bass moves, and torrential drums, smashing existing precepts of hardcore and redefining both the word and the music for a generation of kids and grizzled vets alike. Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. Over 20 years since they played their final show, Botch are reuniting for select dates in the Pacific Northwest in February 2023. 25th anniversary re-issue of Botch's critically lauded debut album. Botch have their first live performances in over 20 years for early 2023. Botch have been included on "Most Influential lists" by outlets like Decibel, Rock Sound, Alternative Press, A.V. club + more

UP red vinyl reissue of classic 1997 ska-punk masterpiece by NYC act. Gained national attention on MTV's 120 minutes, this 2nd album was ahead of it's time! Extravagant rhythms heralded a new shift into experimental territories with funky breaks, avant garde solos and metal/hardcore forays!

Breaking onto the hardcore scene in 2013, New York’s Regulate has shown a resilient and earnest approach in everything they do. This rings true on the band’s upcoming, self-titled LP that will drop September 30th on their new label home, Flatspot Records. The ten tracks on the album developed organically throughout the brunt of the pandemic, inspiring vocalist Sebastian Paba’s most personal lyrics to date. Regulate has always been an outlet for vulnerability.

Wut Cruise With An Hc Style That Is Either Slow Or Moderate But Emits Incredibily Quick Thrash Breaks To Increase Power And Interest. Politically Lyrics Combine In These Moments Of Instrumental Anger. A Very Nicely 3-Panel Digipac With The Lyrics, Old And Previously Unpublished Picture Complete This Publication.

Deeply inspired by Aleister Crowley’s esoteric thinking , Thelema are regarded as one of the crucial 80’s post-punk acts from Italy. Orignally released in 1986 Tantra was the band’s debut album, a unique chemistry between occultism, acid guitars and pagan rhythms.

Influencial cult classic reissued plus new Botch song! Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's second and final full-length album We Are the Romans was originally released in 1999, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's seminal album is set to be re-issued and will include Botch's first new song in over 20 years, "One Twenty Two". There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo LP, it made sense. He explains: "During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, "Hey, I know the best hardcore singer ever to do it," so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an "active" band faces." Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums ever for the genre garnering posthumous acclaim across the board.

Influencial cult classic reissued plus new Botch song! Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's second and final full-length album We Are the Romans was originally released in 1999, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's seminal album is set to be re-issued and will include Botch's first new song in over 20 years, "One Twenty Two". There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo LP, it made sense. He explains: "During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, "Hey, I know the best hardcore singer ever to do it," so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an "active" band faces." Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums ever for the genre garnering posthumous acclaim across the board.

New 7" single of songs not found elsewhere and exclusive to this release. Amy Boone and Willy Vlautin both love duets. Over the years Willy has written a few but so far they haven"t fit on any of the Delines album. The wrong place at the wrong time sorta thing. The Golden State leans on the bands cowpunk roots dating back to Richmond Fontaine (Portland) and The Damnations(Austin). Willy brought it in to the band right just as they were drifting away from that sound. My Blood Bleeds The Darkest Blue was inspired by those great Nancy Sinatra & Lee Hazelwood duets. It has a real desert feel to it but at the time the Delines were working on The Sea Drift which was set on the Gulf Coast. So both are songs that the band loved but songs that were left orphaned and they thought they better give them a proper home before they got lost along the way.

Rampaging D-beat hardcore punk, Stockholm’s Totalitär are one of the longest running and most renowned classic Swedish hardcore bands from the 1980’s, with almost twenty releases since their beginnings in 1985. Respected for their challenging political lyrics, Integrity and continual inventive spins on a brutal and straightforward formula of rock-driven, blasting hardcore. After a series of Farewell shows in Sweden and in the U.S. in 2003, Totalitar decided to do one final recording and album- Vi Ar Eliten (We are the Elite) which features seventeen rock-hard tracks. A combustive steamroller of their trademark desperate angry vocals, pounding rhythm section and searing guitar leads, their third full length album is one of their finest. Mastered at Fantasy Studios. This repress is true to the original pressing, 1500 Pressed at RTI from the original Plates mastered in 2007 by George Horn. Packaged in heavy weight Stoughton gatefold tip-on Sleeves.

As one of the most sonically challenging and visually unique bands of their generation, Daufødt swept the floor of the underground with their debut “1000 Island” and won a Norwegian Grammy in the Rock category. They could easily become the Next BIG Name IN Rock, but – no thanks! got other things to do. Instead, the Daufødt-gang circled back to the underground, hooked up with Lasse Marhaug, associated Sunn0)))-member and recent producer of Jenny Hval and Thurston Moore.

On their upcoming sophmore album “Aromaterapi”, Marhaug has challenged the band on all levels and pumped them into Absolute Sonic MAYHEM-mode, giving associations to similar noise-rock-mongers as Napalm Death, Swans, The Body and Årabrot. Likewise, the scorning lyrics of the debut that made local billionaires spam singer Annika with self-righteous messages have been sharpened into something even more destructive and dangerous.

When we now can announce the first single from the album, one thing is for sure: Daufødt has big amps, but even bigger ambitions. “Knekken” (translated: “the crack, like in cracking you teeth..)

The dictionary describes to crack like this: “to break something so that it does not separate, but very thin lines appear on its surface”.Daufødt, on the other hand, shows us that the crack, Knekken, is the musical equivalent of being hit by a freight train full of decibels. The crack is about getting your snout crushed, regardless of the direction of the sky, and with an unknown sender.

Daufødt consists of bassist Eskild Myrvoll (Mall Girl, Kanaan, Blodkvalt), vocalist, visual artist and designer Annika Linn Verdal Homme, guitarist Eirik Albrethsen Reithaug and drummer Mads Antonsen Gerzić.

The band says: “This album is clearly something else than the first album. It’s harder, faster and more violent – and made to better fit the times we live in. The first album was written in 2019, while Aromatherapi was written in 2021, when the world looked quite different. The bold creative choices we have made with Lasse are made not to be naive, but to actually be honest with ourselves and the audience about how things really are.”

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

Take a step into the abrasive live venues of 80s Japan with this 7” edition single reissue for gritty post-punk wranglers Jungle’s. Originally released in 1981, the three track EP titled simply “Jungle’s” was a revelation to those it reached. “Break Bottle” is an adrenaline rush, and the guitars hammer home the punk spirit at the heart of their sound. P-vine is excited to be reissuing the first single the group put together for this limited release.

Running with the ball that 2020’s “Serve To Serve Again” punted forward, this album marks another energetic break towards the goal for Vintage Crop. ‘Kibitzer’ sees the band define their field of play, more melodic at times, still bruising, forever droll. These ten tracks of ‘snappy as elastic’ Australian punk are packed with tensile riffage, hefty beats and witty refrains of everyman curiosity.

‘Kibitzer’ was written in quick response to their critically lauded ‘Serve To Serve Again’ album. Harsh guitars, a brutish rhythm section and a knack for always having the right words at hand are still abundant, but this time Vintage Crop’s songs expand upon their forceful nature with greater harmonic arrangement. It was recorded by Jasper Jolley in one single session on a former apple orchard in Geelong, a backdrop that mirrors the band’s own organic growth whilst highlighting their willingness to approach capturing their own sound their own way. The album was then mixed and mastered by Mikey Young.

‘Kibitzer’ delves into themes of identity, resilience and acceptance; some of the more upbeat notions that the band have dealt with to date. ‘Casting Calls’ opens the record, slamming through the speakers with gusto and setting the tone for the following 30 minutes. “It’s rolling, we’re rolling, we’re winding back the tape, we’re getting better with each take” sings lead songwriter Jack Cherry. Accepting your limitations and taking pride in your work are key themes on ‘Kibitzer’. In fact ideas around learning, growing and being able to take things in your stride are strongly felt through their entire body of work. These themes hit home with the album’s title too, with Cherry feeling that ‘Kibitzer’ is an apt way to describe a lot of the band’s focus. “I feel like a lot of our lyrics over the years have been our unsolicited opinions on other people’s situations, the very definition of the word Kibitzer. So for this record we wanted to lean into that tendency by acknowledging it and even go as far as stamping it on the album cover.”

Musically the band have expanded their palette on this album; exploring a world of rhythmic harmony and a newfound vocal melodicism. There’s also greater lyrical elaboration and considered song structures at play. ‘The Duke’ is a mob of rollicking chants and heavy hitting, catchy to the core. ‘The Bloody War’ is a more sanguine reflection of tumbling drums, struck chords and shrill keyboard warble. “He’s got the keys to the universe and they’re hanging from his belt loop, his wit is as quick as lightning, his disapproving gaze is the thunder that follows” pipes Cherry on ‘Double Slants’, guitars chiming through the hubbub. ‘Hold The Line’ turns the wry amusement of dealing with cold callers into a fidgety anthem of knowing frustration. Whilst ‘Switched Off’ even welcomes the introduction of horns (courtesy of Heidi Peel) to the group’s repertoire, ushering in an unexpected serenity into their tough sound.

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.

Santa Barbara's pride and joy, MAD Caddies are back in the mix with 5 brand-new toe-tappin, earth-shakin, Punkdixielandjazzmayhemcore tunes that are gonna send the kids straight into the pit! How can you beat the potion of hardcore breaks and dixieland interludes all stuck together with drums of thunder and some of the most harmonious vocals on the planet? The guys even pay tribute to disco giants Abba with their very own rendition of the hit song "S.O.S." The only thing bad about this EP is that its only 5 songs... the good news? The Holiday Has Been Cancelled is now available on vinyl for the first time! This 10” is a must for any Caddies fan’s collection.

Penelope Spheeris’ ground-breaking documentary The Decline Of Western Civilization captured the agony and the ecstasy of the Los Angeles punk scene of the late 1970s and its excellent soundtrack is required listening for all west coast Punk fans. The raw, jagged live sets by icons such as Black Flag, the Circle Jerks, the Germs, and Fear must be heard to be believed and the numbers by X point to their later commercial breakthrough; Catholic Discipline, with Claude Bessy of Slash magazine, provide another nugget. Totally essential!

Originally released in 1994 by Photographer Murray Bowles and Filth bassist Lenny Johnson’s collaborative East Bay Menace label, this split combined two of New Mexico’s fiercest hardcore bands on one split LP. East Bay Transplants from Santa Fe, New Mexico GRIMPLE’s sound had become more harsh, caustic and acidic, retaining strong songwriting of their debut LP but shedding some of their pop sensibilities for quick metallic riffing. Their brother band, Santa Fe’s Logical Nonsense had also begun to leans heavier, creatively arranged songs which front harsh guttural vocals and brutal crushing riffs pointing to the sound of their raging follow up LP’s on Alternative Tentacles, and their influences of Extreme Noise Terror, Naplam Death and Neurosis. This album has not been repressed since it’s original pressing in 1994. It was been remixed by Noah Landis from Neurosis / Christ On Parade and re-mastered by BOB Weston at Chicago Mastering Service. The packaging is true to the original but has been painstakingly recreated with slight upgrades, including a new 11x22” insert with band photos and lyrics.