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What is there to say about SSD’s long out-of-print 1983 release, Get It Away, that hasn’t already been written? Long heralded as the album which defined the band, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered artistic statement that’s singular in scope and vision. The Boston act’s follow-up release was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with updated remastered audio. Over the years the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa and drummer Chris Foley perform live. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of Get It Away is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded. In a genre where authenticity reigns supreme, SSD stands tall as torchbearers, embodying the essence of hardcore music with every chord and lyric; this record is a must-have for new and old fans.

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straight-edge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on cassette by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the stripped-down groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood.

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straightedge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the strippeddown groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of The Kids Will Have Their Say is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded.

(Cold Wave/PostPunk) SUIR is a duo based in Cologne, which started in the beginning of 2017 when Denis Wanic (guitar and vocals) and Lucia Seiß (synths, guitar and bass) joined forces for their band project. In a constant play of guitars and synthesizers, supported by minimalist and electronic drum rhythms and melancholic lyrics, SUIR produces reverberated shoegaze and cinematic, atmospheric music defined by dense and complex sound walls.This rich, velvety sound constantly shifts between post punk, dark shoegaze, heavy dark wave, and psych, but due to their own sound creations, none of these genres can be unambiguously attributed. The music combines heavily influences by contemporary bands like Bleib Modern, The Underground Youth, The KVB, The Brian Jonestown Massacre or shoegaze pioneers like My Bloody Valentine and The Jesus and Mary Chain.Their live performance is expanded by a visual program which is strongly influenced by the origin of the two from the fields of art history and philosophy and builds a filigree and gloomy overall concept. SUIR has toured from eastern to western Europe, performing as main or support acts for artists like Motorama, Lebanon Hanover, Esben and the Witch, The Underground Youth and The KVB, and appeared at major festivals that include Wave-Gotik-Treffen (WGT), NCN-Festival and Owls 'n' Bats Festival. The duo released two full albums, "Ater" and "Soma" with Black Verb Records and Manic Depression Records (Vinyl, CD, Tape). 2021 they created "Studio Session", a live session recording in SUIR's discography, which was released April 1st by Wave Tension Records (Vinyl, CD, Tape). Currently they are in the middle of the writing process for their third album.

Suir is a duo based in Cologne, Germany. Formed in 2016 when Denis Wanic (guitar and vocals) and Lucia Seiss (synths, guitar and bass) joined forces for their band project. In a constant interplay of guitars and synthesizers, supported by minimalistic and electronic drum rhythms and melancholic lyrics, Suir produces a reverberated psychedelic post-punk defined by a dense, lynchesque sound. Especially their live shows are known for their cinematic, atmospheric music defined by complex sound walls and the hypnotic visualisation – like waking up from a dark and intense dream. Being locked down in their apartment/studio in Cologne during the Covid-19 crisis, not able to play live shows, they re-recorded a selection of tracks from their previous albums in a live rendition to capture the raw intense feeling of their live shows which they are dearly missing right now. The session also includes the previously unreleased track “Not Accustomed To Be Hurt”.

A live album (again) is a rather obvious and yet fitting idea for Talco's anniversary. In 2022, Talco had decided to hire a mixing desk for the "Videogame" tour. The opportunity to record every concert was tempting, and by the end of the tour there were around 35 sets tha...

A live album (again) is a rather obvious and yet fitting idea for Talco's anniversary. In 2022, Talco had decided to hire a mixing desk for the "Videogame" tour. The opportunity to record every concert was tempting, and by the end of the tour there were around 35...

Let's Punkchannka again! After Talco's acoustic Maskerade in Locktown and the release of DIY EP "Insert Coin", the band's Delorean travels back in time to February 2020 in pre-pandemic with the album "Videogame", recorded by Marc Boria at Labedoble Estudi and mixed & mastered by Jason Livermore at the Blasting Room Studio. 15 tracks of different kinds of punk-rock, influenced by the Californian sound, with the horns leading the sing-a-long in the now consolidated style of Talco, aggressive and party-going. An important album for the band, which shuffles the cards by inserting at the same time a committed actitude with an introspective path in which the theme of fear is analyzed in all its facets, in the background of a "Videogame", out in late September 2022. Press Start now!

Oddball, die neue Single von THE Baboon Show ist für alle Sonderlinge, Außenseiter*innen und Einzelgänger*innnen, die nicht rein passen oder nicht reinpassen wollen. Für alle Oddballs, wie es The Baboon Show nennen und zu denen sie sich selbst zählen. In ihren eignen Worten: "Be whoever you wanna be and have fun while doing it! Oddballs we salute you!!! Musikalisch ist der Song eine eingängige und kraftvolle gute Laune Rocknummer wie sie typisch für das besondere Songwriting der Band ist. Neben dem genannten Song Oddball enthält die 7" noch den Track Have A Party With ME, im Original vom in Schweden berüchtigten Rock'n`Roll Cruiser King Eddie Meduza. Der Songtitel sagt schon alles: Let`s party! Danke für den Song, Eddie, rest in peace! Als THE Baboon Show letztes Jahre ihre 12"ep I Never SAY Goodnight veröffentlichten, sind sie fest davon ausgegangen, dass als nächstes ein Album folgen würde_Leider ist die Welt noch immer in der Hand der Pandemie und da eine Releasetour für die Band untrennbar mit der Veröffentlichung eines Albums verbunden ist, werden sie noch ein wenig auf den richtigen Moment warten. THE Baboon Show selbst sprechen aber bereits jetzt von einem Killeralbum, welches auf dem Weg ist. Wir sind gespannt und bis dahin wünschen wir großen Spaß mit Oddball! Die Oddball 7" erscheint in einem besonderen Set zusammen mit einem 20-seitigem full colour Comic und einem speziellen Oddball Patch. Das Comic stammt von Gabriel Renner, die herrlich unterhaltsame Story von Doctor Rock, der hier auf Geschichten und Erinnerungen aus dem Touralltag der Band zurück greift. Von beiden eine richtig gute Arbeit und sehr sehr lustig. Comic und Patch wird es nur in Verbindung mit der Oddball Single geben.

Proud to present you the extended edition of the classic and cult Intimidation EP on 12” vinyl including 3 bonus tracks that were recorded in that very same studio session back in June 1989 at the Bunkhouse Studio in Portsmouth. Lots of pictures straight out of the band members archive and some liner notes are included in the refreshed and updated artwork. To top it off, the whole session is carefully remastered for vinyl. The staccato beats, thriving bass, low crackling guitars and vocals skipping with youthful energy and aggression can not be imitated and can only sound the way they do like they did right then and right there. An anchor and milestone of US Oi! glory. We make sure this gem is preserved for the new generation as well as offering a fresh updated version for the old guard as a nice collectable piece of wax. Licensed directly from The Bruisers.

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).

After releasing Three singles already this year, THE Clerks are now set to release their album! Only 150 Copies Pressed! From their beginnings in late '76 The Clerks had been gigging the pubs, clubs and halls of Birmingham and London and places in between. By the start of 1980 they'd built a reputation for delivering a lean 45 minute set of their own three-minute songs with a 6o's sensibility and a pop punk energy. They had a loyal following and had supported the likes of Spizz and Tenpole Tudor. The Hope & Anchor in London had become a regular haunt where the small room would overflow with fans, pub rockers, punks and mods plus the odd record company A&R guy. The twelve songs on this LP were recorded by a friend and fan of The Clerks as they played a live set. Consequently, the recording is not of studio quality; it's been transferred, restored and edited but has no overdubs nor any other musical enhancements and is now available for the first time on Detour Records. All of the songs are written by The Clerks apart from 'I'm Down' written by a certain Lennon-McCartney. Lead guitarist Paul Day takes lead vocal on ten of the songs; rhythm guitarist Martin Booth sings lead on 'Cold About Love' and ' It Doesn't Mean That Much To Me'. Martin Poole is on bass and vocals and Paul Cuthbert plays drums. Despite the growing reputation and record company interest, by the end of the year the band had split up and gone their separate ways. So, turn the lights down low, turn the volume up and imagine you're in the steamy basement of a north London pub on a mid-winters evening in 1980. This is the authentic sound of The Clerks as you would have seen and heard them 'Live in London'.

Black vinyl, repro-sleeve with original artwork

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

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

The Good the Bad and the Zugly have been delivering premium class, antiquated rock for almost 15 years straight. They’ve always been the real deal. True heroes of the Armageddon. Whenever responsibility came knocking at the door they stuck to their guns and kept living the rock life to the fullest. Their contemptuous look at everything and everyone who doesn’t fit into their world view has always been prominent in their sound, and their musical and lyrical expression has stayed uncompromised. No one has yet dared to confront their satirical know-it-all attitude, but recently water has started to seep through their seemingly waterproof façade. Band members have on several occasions been observed at the Oslo’s local shopping malls wearing reading glasses, down jackets, and sensible footwear, pushing strollers filled with blaring, chocolate devouring children. With wistful eyes they’re seen pushing strollers through to the suburbs, far away from dirty dens credible dark nooks and shitty toilets. To mend this rapidly declining rock image they´ve decided to release what they consider to be their worst album so far: A collection of B-songs that have never made the list when assembling the list of Norwegian Grammy nominated classics. This upcoming album is nothing less of a wonderful bouquet of contemptuous elegies who haven't yet found a place on the big, dark web. Truth be told the opinionated armor GBZ has been hiding behind was mostly for show, they’ve always beat around the bush – or as we say in Norwegian: had a walk around the porridge.

The Good the Bad and the Zugly have been delivering premium class, antiquated rock for almost 15 years straight. They’ve always been the real deal. True heroes of the Armageddon. Whenever responsibility came knocking at the door they stuck to their guns and kept living the rock life to the fullest. Their contemptuous look at everything and everyone who doesn’t fit into their world view has always been prominent in their sound, and their musical and lyrical expression has stayed uncompromised. No one has yet dared to confront their satirical know-it-all attitude, but recently water has started to seep through their seemingly waterproof façade. Band members have on several occasions been observed at the Oslo’s local shopping malls wearing reading glasses, down jackets, and sensible footwear, pushing strollers filled with blaring, chocolate devouring children. With wistful eyes they’re seen pushing strollers through to the suburbs, far away from dirty dens credible dark nooks and shitty toilets. To mend this rapidly declining rock image they´ve decided to release what they consider to be their worst album so far: A collection of B-songs that have never made the list when assembling the list of Norwegian Grammy nominated classics. This upcoming album is nothing less of a wonderful bouquet of contemptuous elegies who haven't yet found a place on the big, dark web. Truth be told the opinionated armor GBZ has been hiding behind was mostly for show, they’ve always beat around the bush – or as we say in Norwegian: had a walk around the porridge.

The long playing record splayed out in front of you is the third strike of the Retail Simps’ iron claw. In baseball a strike out is a loathsome outcome, in bowling it’s gold. I ask you, dear listener to sift through these delicate poles of meaning and experience these 16 toons free from the qualitative chains that burden your ear in favour of the openness and exploratory liberation of a child. This one landed the Simps in W.B.A. (world builders anonymous) after total and utter detachment from reality ensued. After copious amounts of blind encouragement from their label boss and his peers (all victims of half-Zheimers) and trace amounts of measurable success (money? no sir), the groups’ egos were operating at a loss, or at least a state of confusion. Faced with the pitfalls of modern drudgery and the music industry’s impending and unrelenting judgement, their perseverance was yet again tested. Through the magical transportive inspiration of rock n roll, our unequivocally handsome protagonists found salvation thrice. R n B stimulation, ponk agitation and slop rock demonstration saved them from themselves, from the downcast stares of detractors, from the cruelness of the everyday. Art as therapy for the clinically insane. A functional state of illness is the bottom line of this cultural achievement. Herein, the band exercises the democratic tools they learnt in their formative years as craftsmen and apply them broadly to a new swath of material. The crucial pin prick guitar, exasperated (ing) vocal maelstrom and beatific pounding of the previous 2 slabs carry over, but new strategies in expounding are implicated for varied and freewheeling results. The spotlight has been flayed, with every simp performing dutifully on the microphone, every simp sitting behind the drumthrone, every simp penning refrains, every simp trading high end for low and visa versa. They have triggered an uncanny singularity. If you have followed the band up to this point, or even happened upon them begrudgingly, with the raw and open ear these savants require, this will truly be Your version of the band. With their service weapons cocked, Total Punk brings you, Thine Retail SIMPS!" —someone who cares

This Halloween Total Punk will be releasing the third LP by misanthropic shed dwellers True Sons OF Thunder. Featuring members of Manateees, Oblivians, Mangina, Rat Traps...TSOT has turned not caring into an art form and even unknowingly submitted a track from their second LP for inclusion on this one. Sour tunes for sour times by sour dudes. Lurching low end, two guitars and a banjitar that make a cacaphanous symphony which can only be described as amp torture. Southern brutality at its finest. Dad rock for deadbeats! This was the record Total Punk was made to put out and it only took us 8 years to get here. Loud, broken, out of tune, and 100% Total Punk!!!! Limited TO 400 Copies.

Limited edition box set with 3 x 7″ inch singles in picture sleeves. Black vinyl.
The aim of the Punk elää 7″ box series is to offer people the chance to digest these often impossibly rare and expensive records in their original 7 inch format. Each box comes with an insert with text from Fenno-punk historian Juho Hänninen.
The second box set, Systeemissäkö vika?!? (Something Wrong With The System?!?) offers three replicas of privately pressed Finnish punk seven inches from 1980.
The most famous title here is the debut seven inch by RATTUS, Khomeini-Rock. Known for their classic hardcore records such as WC räjähtää (1982), the band’s first single was a self-financed affair of 200 copies only. This new facsimile edition presents a rare chance to hear how the band’s early steps in search of their style sounded like.
Lapsuuden Loppu (Childhood’s End) existed for a brief period first in 1979 and then with another lineup in 1980. This latter version of the band, who hailed from northern Finland, close to the Swedish border, wanted to steer clear of new wave which was rearing its head and becoming fashionable, and stuck to hard-hitting old school punk. They managed to self-release a self-titled seven inch before splitting up, original copies now almost impossibly rare to find.
Systeemi, whose debut single also gave this set its title, differs from many of their contemporary diy punk rock groups in that they made a second 7 inch too, although not until 1983. This 1980 debut, Systeemissäkö vika?!? was the fruit of youngsters that met each other at a vocational school in Jyväskylä, central Finland, in the late seventies. They named the band Systeemi in 1979 and entered the studio on the spring of 1980. The self-released record, as with all titles in this set, has become a holy Grail for punk rock collectors due to its obscurity and extremely low pressing run.

Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.

At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.

Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.

Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.

The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.