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"At some point it becomes clear to all of us that trying to navigate life on The Darkest Timeline is pretty heavy going. Politics, economics, human rights… all that grown-up stuff you have to worry about as an adult. Turns out they’ve all been surrendered to ideological grifting and cynical culture wars, which should be enough to make you pretty fkn furious. And you know what? We’re gonna need a soundtrack to this that sounds equally pissed off; something loud, fast and ‘orrible that gives you the impetus to finally drive that bulldozer through the cop shop. In case you hadn’t guessed where this was going, please welcome the grand, timely and thoroughly welcome return of Chain Whip. Straight out of the gate, their second full-length Call Of The Knife is absolutely raging. The opening title track might have you squinting at the turntable for a couple of seconds to check that someone hasn’t reanimated the young Circle Jerks, but as soon as frontman Josh Nickel’s voice kicks in, hardcore cognoscenti will be under no illusions that they could possibly be listening to anyone else. His voice is a righteous, gravelly roar that cuts straight through the noise with the very loose subtext ‘I’m having a bad day and it’s imperative that you know about it’. There’s a vitality to it that helps make these Vancouver boys one of the best bands in punk today, and it helps that he’s backed up by a rattling, rolling collective who remind us all that good old-fashioned hardcore (like the ‘80s used to make) remains one of the best ideas anyone’s ever had. Suck on that idea for a moment, poindexter! You know what you’re getting with song titles like ‘Class Decay’ and ‘Hatewave’, but there’s something about the band’s garage-slanted take on the genre that makes ‘em a cut above. Panache? Chutzpah? Just the simple matter of really fkn good songs? Impossible to say, so let’s just settle by agreeing that this album does it all: you can skate to it, you can slam to it, you can paint your bedroom black to it. You can even listen to it while kicking over the statues and kickstarting that violent and bloody revolution we’ve been promised. Look, this is serious stuff that also happens to be oodles of fun. ‘Something’s gotta give,’ they sing, and maybe it’s your resistance. On this sort of delicious form, no one can touch Chain Whip right now. Form a cult and get obsessed immediately."—Will Fitzpatrick

Re-issue of Buzzcocks' 9th studio album 'The Way' on stunning Clear vinyl! It was their first album since 2006 and ninth overall, Shelley and Diggle delivered their patented fuzzed out melodies with traces of surf rock, hard rock and influences from both Ramones and The Beatles. Shelley’s voice sounded great, especially considering his age, and the hooks and riff heavy sounds are a great reminder of the legacy these legends are still cultivating. This clear vinyl is surely a must-have for any Buzzcocks fan collection!

On Vinyl for the first time. Re-issue of Buzzcocks - French on amazing Blue vinyl! So named because of the concert location in Paris, French captures the '90s Buzzcocks lineup ripping through an extensive, energetic set of old classics and newer material. Both Diggle and Shelley rock along trading guitar lines and keeping the songs moving with pretty much the same level of intensity as in the past. Buzzcocks were one of the punk revolution's tightest bands, and their short, frenetic bursts of guitar pop and angelic harmonies require a certain level of professionalism to be put across in a live setting. Thankfully, subsequent tours and American shows showcased the Buzzcocks as a tight, lean pop machine. French, a live document from one of these shows, is an excellent souvenir of the band at its best!

Re-issue of Buzzcocks' 2006 studio album on stunning White vinyl! Buzzcocks – a band with a past, present, and a legacy they could never have imagined back in the heady punk rock days of 1976. 30 years later, still going strong, still doing it arguably better than anyone else, the godfathers of punk-pop were back with a new album, “flat-pack philosophy”, released 2006 “flat-pack philosophy” was Buzzcocks eighth studio album. In true punk rock fashion, and with superlative production by bassist Tony Barber, the album packs 14 songs into 36 minutes. Taking an urban guerrilla stance against the evils of the modern world, from Tesco self-service tills to the cult of Ikea, “flat-pack philosophy” proves that when you put the right creative personalities together, the magic manifests!

Hailing from Buffalo, NY, and featuring TERROR’s Scott Vogel on vocals, Buried Alive was known for their unique metallic edge, and despite their short-lived existence, proved to be one of the most influential hardcore bands from the late ’90s. From touring with the likes of 7 Seconds, ALL OUT WAR, HOT Water Music, and Converge, to releasing now classic records with Victory, their brief few years cemented their place in hardcore’s history. Twenty years after their initial breakup, Buried Alive is back and ready to release Death Will Find You, an EP featuring two brand-new songs and two re-mastered songs from their split with Reach THE SKY. The band picks up right where they left off, bringing you a serious dose of hard-hitting urgent, metallic hardcore.

1st press

Re-release of John Joseph's (ex-Cro Mags) Both Worlds “Memory Rendered Visible”. Originally released on Roadrunner in 1998, this releases includes the “Beyond Zero Gravity” EP and is lovingly remastered at Maverick Studios.

By combining the Mags' unrefined, pissed-off sound with a state-of-the-art production on "Memory Rendered Visible", and the time may just be right for this new band. The songs have an energized, raucous sound throughout, often fooling the listener into believing that the band is about to veer off course, which surprisingly never happens. Kicking things off with the Quicksand-sounding 'Cornered', Both Worlds pummels the listener with a barrage of heavy, discordant guitar riffs (courtesy of guitarist A.J. Novello), but then take an unexpected melodic turn on 'Hate Mantra'. The band keeps indulgence to an absolute minimum, as they bash and grind through such highlights as 'Space Junkies', 'Mode of Ignorance', 'Karma Inc.', and 'Inner Outlet'. Joseph has said that Both Worlds' material requires more thought for the listener, while the Cro-Mags were more about straightforward bashing. After hearing "Memory Rendered Visible", chances are you'll undoubtedly agree.

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.