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Los Angeles, California—DIVINE Horsemen, the fiery, eclectic ’80s group that rode the unique vocal chemistry of Chris Desjardins (aka Chris D.) and Julie ChrisTENSEN, return to the musical stage with Hot Rise Of An Ice Cream Phoenix, a collection of all-new recordings. Co-produced by Desjardins and Craig Parker Adams (who engineered I Used To Be Pretty, the 2019 release by Chris D.’s groundbreaking ’70s punk band the Flesh Eaters), this new 13-track album comprises the first new music by the Horsemen in thirty-three years. Founded after the dissolution of the Flesh Eaters and launched with the 1984 Enigma Records album Time Stands Still, billed as Chris D./Divine Horseman, the band released three albums and an EP on SST Records, all of which featured the searing harmonies of Desjardins and Christensen, who were married at the time. The couple split professionally and personally just prior to the release of their January 1988 EP A Handful of Sand. However, the two musicians remained in touch over the years, and Christensen contributed vocals to five tracks on I Used To Be Pretty, which reunited the 1980 “all-star” edition of the Flesh Eaters heard on the Ruby/Slash classic A Minute To Pray, A Second To Die. By then, the idea of reviving Divine Horsemen was already percolating. Featuring onetime Divine Horsemen guitarist Peter Andrus, who had appeared on A Handful Of Sand and the 1987 album Snake Handler, and Bobby Permanent, the 2021 Divine Horsemen lineup is completed by drummer DJ Bonebrake of the incomparable L.A. band X. Hot Rise Of An Ice Cream Phoenix stands as a bracing new achievement by a distinctive musical partnership that has always marched to the beat of its own drum. Like the Flesh Eaters’ recent reunion, it’s a welcome return that plays to the group’s historic strengths.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather

tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.

A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is Punk. We hope you enjoy the indulgence.

Magenta/Black Marble Vinyl. Devil in Me from Lissabon were born in 2004. Started as a project they worked really hard and involved this band to the king pins of the european hardcore scene. After a longer absense those guys are back and stronger than ever.Their new album is a masterpiece which contains their most agressive songs, dedicated to the true believers. All their previous records had their own flavours and a very unique style. With their new album they keep reinventing themselves while adding new tasteful igredients. This album sounds like a proper 90's crossover record_. Razor-sharp riffing, angry vocals, a grooving bass and a hard hitting drum work, in addition a popping production which explodes.DEVIL IN ME whose characteristic sound perfectly closes the gap between "Rock Star Mayhem", "Modern Metal" and the "Classic NYHC Hardcore" are ready to start a new and successfull chapter and to shape their carrier.

Second album from the Regensburger boys, which seamlessly follows on from their pretty well-celebrated (out of print!) debut! In the wake of the Hamburg Rachut bands (the vocals sometimes sound amazingly like Jens Rachut including his cryptic lyrics) things continue lively in terms of sophisticated, slightly scrappy punk rock with a lot of heart. Sometimes it reminds of Oiro, Turbostaat and Boxhamsters/EA80. There are enough hits with a tricky verse and the best chorus heard in a long time. In general, the album impresses with a lot of variety, and despite the comparisons mentioned, the 12 tracks are independent enough to create their own sound. Great band and great German-speaking punk rock record, no shit!

Pink/White Swirl vinyl

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…

“Prior to forming the Gun Club, Jeffrey Lee Pierce (1958-1996) fronted The Red Lights. While 1980 is viewed as ground zero for Pierce’s career—his autobiography Go Tell The Mountain starts with the founding of the Gun Club—Pierce was active as a rock critic for Slash magazine and had started songwriting years earlier. Throughout the late 1970s, Pierce’s primary musical interests were power pop and reggae. He was the president of the Blondie fan club and had interviewed Burning Spear. So when the Red Lights, Pierce’s first serious attempt at forming a band, started rehearsing it’s unsurprising that power pop (with a hint of reggae) was the group’s musical direction. “The Red Lights existed throughout 1978. The lineup for the band’s debut show on July 14, 1978—opening for The Germs and The Middle Class at the Whisky—was Jeffrey Lee Pierce (vocals and guitar), Anna Statman (bass), Vitus Mataré (keyboards) and Jack Reynolds (drums). Mataré and Reynolds were members of The Last; Anna Statman was a contributing writer to Pleasant Gehman’s Lobotomy fanzine. This lineup was short-lived. Mataré dropped out afterwards; Jack Reynolds stuck around a little longer. Thanks to Flipside’s gig reviews, it’s known that the Red Lights played at least two more shows: one at The Arena in Culver City and another one at The Rock Corporation in Van Nuys on August 9, 1978, opening up for The Weasels. By the end of 1978, Pierce had moved to New York City, effectively ending the Red Lights “At some point in the second half of 1978, The Red Lights recorded a demo. Little is known about the session. Mataré had already left the band, Statman vaguely remembers recording it. Unfortunately, Jack Reynolds passed away in 2009. The Red Lights were obscure; people familiar with the band were likely committed Gun Club fans. Few were aware that this demo tape existed; those who had a cassette copy likely received it from Pierce directly. “Fast forward four decades and what’s surprising about the Red Lights’ material is how advanced Pierce’s songwriting was at 19 years old—the songs’ dynamic range, that voice—this is clearly the Gun Club’s Jeffrey Lee Pierce. Again, it’s all here.” —Ryan Leach

If the original intent of punk rock was to reject the excesses of mainstream rock, strip things back to bare bones basics, jettison slickness and embrace a DIY ethic, then THE REVENGE were punk rock personified. Formed in 1977 in Cheshunt, London by Lol Hammond (vocals/guitar), Ian Strange (bass/vocals) and Dave Edgar (drums/vocals), these teenagers played most of London’s punk clubs, including the Roxy. The band self-released two singles in 1978 on their own Loony Records before disbanding in 1979. Both 7-inches were pressed in incredibly small amounts and now have legendary status amongst collectors going for ridiculous sums. The recordings are extremely raw, even by punk standards—particularly on the band’s first single, where the guitar sound is so tough and scuzzy it would not sound out of place on a volume of Back From The Grave. Needless to say, the singles received little press and vanished without a trace. Nowadays Lol Hammond is one of London’s well known DJs who has recorded as Drum Club and Girl Eats Boy, collaborated with Roger Eno, directed film scores and has remixed the likes of Jah Wobble, Killing Joke and The Fall, to name but three. In The Red is proud to issue the first legitimate (these singles have been bootlegged) reissue of The Revenge’s two singles.

Prior to his release this record was simply ‘labeled’ as Punk-Rock but this one comes from the New York Dolls side of Glam Punk. Storm the Gates of Heaven reveals unusual aspects of County's work: serious, reflective and profound. The monologue introducing the title track is the only part that may be considered offensive. The sound is a blend of bass, lead & rhythm guitar, drums & percussion by the versatile Electric Chairs. Embellished by Hammond organ, the title track rages against and laments the suffering caused by religious wars. Cry Of Angels is an eloquent, even anthemic defense of Enlightenment values on which the guitar textures and the hook around the chorus superbly complement one another. An artful blend of County's characteristic outrage and the pure pop genius that lay behind the garish accoutrements, Storm the Gates of Heaven jams its eight tracks between two undisguised classics, the anthemic title track and a so-optimistic reading of "Tomorrow Is Another Day, not to mention a stunning cover-version of the Electric Prune´s "I had too much to dream last Night"

Cran from Paris, France who you may have heard on the Paris on Oi! 12" compilation are releasing their debut LP 'Natë' on the amazing Uvpr label who had previously released their 7" EP. The Cran album: punk, melodies, big choirs, dark, deep lyrics. Lots of good songs, nice evolution.

The return in force of Normand, 8 punk/ oi! tracks in French, and nothing to throw away. The new line up’s songs are excellent, the sound works great. The good old comrades are always the best.

Johnny Moped's "lost album" from 1990, finally gets a reissue! I like this album, Johnny hates it. But why? I think it's more "Johnny Moped" than any other album out there. What other album has entirely penned JM songs/ditties like 'Soldiers' and 'Moped crash' plus ad-libs and all the other little interludes in between the tracks that are pure "Moped". Johnny thinks it sounds like a "disco" album, which it does in places, but, hey-ho, it was 1989 and it was the age of Stock, Aitken and Waterman. At the time there had been no Moped band since 1985-ish and certainly Slimy hadn't been in the band since the early '80s. Also, there was only one album out there, Cycledelic so there was a lot of songs destined for a follow up album that never happened and it looked like we were going to be a one album band. So, with so much unreleased material and a chronic lack of "mopedisum" I decided to embark on a little project_ This album came out in 1990 on Deltic records but the deal was that I had to produce a finished master tape that could go straight to the cutting room and be pressed, so I borrowed a 4-track Teac and a Roland sampler and Roland drum machine and got to work. Some of the tracks sound like they were recorded in someone's bedroom, that's because they were, but Captain recorded some great stuff on his 8-track where I had recorded Johnny "live" and handed over a tape for him to work with ('I'm a Spasm', 'Soldiers', 'Cut across Shorty'). Also, he provided some decent backing vocals on other tracks ('Corpse Boogie', 'Hiawatha'). The album came out in 1990 and to promote it we put the band back together... in a different format. The Johnny Moped Big Band did a series of gigs where we started with two guitarists, bass drums and Johnny for three songs and then swapped to different musicians during 'Wild Breed' for another three songs. Then we'd bring the whole lot together for the rest of the set. The photos on the back cover are taken from the "live at the Cartoon" video. Notice Johnny's original Moped jacket ha...

Oakland, CA's Kids On A Crime Spree have spent the last decade crafting a compact but potent discography that shows a deep love of 60s Brill Building songwriting, 70s power-pop, bubblegum glam/pop, the Ramones and of course the seminal sonic overload and pop pathos of Phil Spector's legendary productions. With each release head Kid Mario Hernandez -- along with drummer Becky Barron, and guitarist Bill Evans -- have put a more and more unique stamp on the music they love and gathered a rather devoted fanbase doing so. Now back with a new record, Kids give us something their fans have always wanted ... more! "Fall In Love Not In Line" is a 10-song full-length record, a first for them. Cut at 45rpm, the album clocks in at a brisk 25 minutes, and it's a solid assemblage of noise-pop exuberance in all respects. Hernandez sought to move even farther from their influences, and the thick, rich sound that the band has put to tape (analog, of course) shows more warmth and some darker textures than in previous efforts; more shifting of tempos and melodies; a unity of purpose that can only come from years of playing together and listening to each other. The result is thoroughly modern power-pop that wears it's love of the classics lightly, finding new paths through familiar territory.