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One of the most iconic albums of the 1980s underground, American scene, 7 Seconds debut album, The Crew, delivers 18 legendary songs in 20 minutes. This classic album became the soundtrack to the suburban youth of that era. It also propelled 7 Seconds into an international headline act, which at their peak drew 2,000 – 3,000 fans per show. Known for their positive and progressive lyrics, 7 Seconds also became one of the first in the genre to address racism, homophobia, and sexism with songs such as “Not Just Boys Fun,” “Colourblind,” and “I Have a Dream,” which are all found on this album. The Crew also includes their hit “Young ‘Till I Die,” a staple in their set from 1984, when The Crew was released, until 2018, when the band officially disbanded. This masterpiece has been remastered by David Gardner from the original analog tapes. It has been repackaged as a gatefold featuring a beautiful, 20-page, full-color book on the oral history of the band from inception through the making of The Crew. It includes insights from the likes of Ian MacKaye (minor Threat), Jello Biafra (dead Kennedys), Keith Morris (circle Jerks & Black Flag), and many others, as well as unpublished flyers, photos, and other fun, little trinkets. The original packaging, including labels, lyric sheet, and original color ways,

Cobraside has an exclusive color variant (red and black galaxy) limited to 1500 copies! One of the most iconic albums of the 1980's underground American scene, 7seconds debut album The Crew, delivers 18 legendary songs in 20 minutes. This classic album became the soundtrack to the suburban youth of that era. It also propelled 7seconds into an international headline act, which at their peak drew 2,000 - 3,000 fans per show. Known for their positive and progressive lyrics, 7seconds also became one of the first in the genre to address racism, homophobia, and sexism with songs such as "Not Just Boys Fun", "Colourblind", and "I Have a Dream," which are all found on this album. "The Crew" also includes their hit "Young till I Die," a staple in their set from 1984 when "The Crew" was released until 2018, when the band officially disbanded. This masterpiece has been remastered by David Gardner from the original analog tapes. It has been repackaged as a gatefold featuring a beautiful 20-page full-color book on the oral history of the band from inception Through the making of The Crew. It includes insights from the likes of Ian MacKaye, Jello Biafra, Keith Morris, and many others, as well as unpublished flyers, photos, and other fun little trinkets. The original packaging, including labels, lyric sheet, and original colorways, has been reproduced in exact detail.

San Diego has a rich history of hardcore dating back to Amenity during the Reagan era, to Unbroken, House OF Suffering, and Struggle in the ’90s, to Over MY Dead Body, Take Offense, and Mizery in the 2000s. Abstain pick up where Unbroken left off, melding metallic hardcore riffs with heavy breakdowns and a decisively straight-edge message. Their debut EP, Infirm of Purpose, was recorded, mixed, and mastered by TERROR’s Nick Jett (strife, Berthold City, Backtrack, Rotting Out). Comprised of five songs clocking in at just under 14 minutes, Infirm of Purpose serves as the perfect introduction to Abstain’s sonic and lyrical arena. With influences ranging from architects of the ’90s hardcore sound like Unbroken, Earth Crisis, and Hatebreed, to modern influences such as Magnitude and Year OF THE Knife, Abstain are poised to help put San Diego back on the map!

Following hot on the heels of Ethbo's excursion to Russia, with Letov, Suchillin and Pillayev, Howard Williams' Ethbo swivels its telescope to Deptford, South London in 1978.

The band Alternative TV were, and remain, a radical creative force. Originally formed by Mark Perry (Mark P), and Alex Fergusson (later of Psychic TV) in the early days of punk, when Perry was editor of the pioneering punk fanzine, Sniffin' Glue.

Early rehearsals were held in Throbbing Gristle's Industrial Records studio, with Genesis P-Orridge on drums. After line-up changes, the 1978 release of Life After Life saw Dennis Burns on bass, Chris Bennett on drums, Kim Turner on guitar and Mark P. on vocals. The session was produced by prolific Trojan Records artist and producer Joe Sinclair, and released on the independent label Deptford Fun City Records.

The song presents a “conscious” lyric through an urban music form of its time. And here’s the result, more than 40 years on, the dub still rocks. Perry’s vocal, like no other from the punk era, talks of the afterlife, in a twisted nod to Nietzsche, he chants “Wake Me Up When We Are Dead”.

A Venn diagram of Mark P and Mark E Smith, leader of The Fall, would show some common ground. Both band leaders survived numerous member changes throughout the decades, had a baleful eye on the producers and consumers of their music, and expressed themselves through a poetic, existential form of lyric writing and musical experimentation. In the early days Smith cited Alternative TV in a list of favourite music - alongside Johnny Cash.

Remastered with love, pressed at RAND, with sleeve and label artwork re-jigged by Will Bankhead, there's no better way to skank yourself to Armageddon.

Formed in London in 1977 by Mark Perry and Alex Fergusson, then editors of the punk fanzine Sniffin' Glue, Alternative TV was a post-punk group known for incorporating reggae rhythms and pushing the boundaries of the definition of punk toward the experimental and avant-garde. Their first album, The Image Has Cracked, came out originally in 1978 and is a wholly unique piece of British post-punk. Beloved by John Peel, and close confidantes of Throbbing Gristle, Alternative TV is one of the most original and beguiling groups of the era.

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"Web of Lies / Death Won't Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity_ not so much in style, but in the way Ammo sounds like they're maniacs who might materialize out of your home speakers in order to slash your throat.

For more than two decades, Anberlin has remained a formidable force in the alt-rock world, boasting a wildly devoted fanbase who’ve come to rely on the raw, cathartic power of their music. On the massively anticipated Vega—the first album in ten years from vocalist Stephen Christian, guitarists Joseph Milligan and Christian McAlhaney, bassist Deon Rexroat, and drummer Nathan Young—the Florida-bred band delivers a body of work forged with an explosive, new energy, thanks in part to the addition of singer Matty Mullins (the Memphis MAY Fire frontman who’s stepped in as live vocalist for Anberlin, following Christian’s announcement that he’ll no longer tour fulltime). The latest triumph in an extraordinary career that’s included selling over 1.5 million albums in the U.S. alone and turning out hits like the No. 1 Alternative Radio smash “Feel Good Drag,” Vega reveals a band whose creative passion and one-of-a-kind vision have only grown stronger over time. Arriving on the heels of two back-to-back EPs— 2022’s Silverline and 2023’s Convinced—Vega emerged from a period of unbridled creativity for Anberlin, who parted ways soon after 2014’s Lowborn and reunited for a series of lockdown-era livestreams. In bringing their new album to life, the band embraced a deliberately free-flowing and DIY approach, building up songs in McAlhaney’s garage before self-producing the LP at Tampa’s Feral Sound Studios. “In the past we’d sometimes limit our sound to some preconceived idea of what Anberlin is supposed to be,” says McAlhaney. “This time the mantra was, ‘If it feels good, let’s try it.’ Because at the end of the day, Anberlin is whatever we say it is.” As a result, Vega encompasses everything from the shout-along-ready pop perfection of “Walk Alone” to the brutally heavy intensity of “Seven” (a shapeshifting and strangely enthralling epic featuring a savage vocal performance from Mullins). “I think after spending time apart we came back with a new perspective, where we were all just excited to work together and create the best songs we can,” says Young. “No one was precious about their ideas; it was all about making something that feels new and risky and like nothing we’ve ever done before.” As they get set to embark on the “20 Years Of Tears” amphitheater tour with Thursday, Hawthorne Heights, and SAOSIN—a 56- date run that marks their most extensive tour in a decade—Anberlin looks forward to the pure thrill of performing their new material for their longtime legion of fans. “We’ve had so many people tell us things like, ‘Your songs got me through a really difficult time in my life,’ or ‘You guys are what made me pick up a guitar and start my own band,’” says Rexroat. “It’s an incredible feeling to know that we’ve impacted other people on that level—the amount of love we’ve felt is undeniable, and it’s one of the main reasons we’ve kept going for as long we have.”

Limited edition reissue of this classic Angelic Upstarts album, originally released in 1983 by Anagram Records. A UK independent chart nº12, it includes two of their best loved songs in Woman In Disguise and Solidarity. This pressing comes with a full colour insert with lyrics, press clippings and memorabilia from the era.

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The word ‘legendary’ is bandied around far too lazily and conveniently these days. But, in the case of Antisect: legendary is precisely what they are! As a band/collective, they sit right up there with other great names from the raging era of early 80s true ‘anti-establishment’ punk rock such as Discharge, Flux Of Pink Indians, Subhumans, Rudimentary Peni and even Crass, in terms of the impact they have had over the years. This, their debut album was released forty years ago in the paranoid year that was 1984. It is, without doubt, a classic combination of autonomous philosophy and hardcore thrash. But there is more to the album than just that. Aside the obvious musical influence of Discharge, Motörhead, Black Sabbath, Venom etc, there was a creative and atmospheric musical backdrop behind the recording that set them apart from everyone else at the time. It was a very ambitious concept, which successfully pieced together the balance hope and despair within the realm of sound and projection. In Darkness, There Is No Choice, is finally reissued as a fully authorised edition for the first time since its original release. 1. Intro2. They (The Eternal Myth and Paradox) 3. The World’s Biggest Runt 4. A Midsummer Night’s Dream 5. Channel Zero (Reality) 6. Yet The Still Ignore 7. Ghost Of Mankind 8. Tortured And Abused9. Education Or Indoctrination10. In Darkness11. Heresy12. Hallo There….How’s Life?13. The Buck Stops Here

ARROW MINDS are a melodic Metalcore / Hardcore band from Rostock, Germany. They were formed in a cold winter night back in 2016. The same year they released the digital EP "Big Kahuna Jams". In 2018 those guys released their first full length record "Alcatraz Affairs".If you love bands like Strike Anywhere, Avail or Architects this band will turn your world upside down. Their new album is a major step up from their last one and you can tell this band has found their musical stride. Arrow Minds are maybe the next big thing and are ready to pave their way for future glories. Their power- and meaningful songs represent everything a moderrn melodic metalcore band should stand for - fast positively aggressive tunes leading to catchy hooks; with lyrics that do not try to be empty paroles, but rather raise necessary questions about today's absurd ideals, ideas, and issues.The band brings a high-energy live-set wherever they are put on the bill, and have already shared the stage with Wisdom In Chains, Terror, All For Nothing, Evergreen Terrace and many more all around Germany during their first couple of years.

Brilliant second album from the wholly original cult Sheffield post punk band. Released in 1983 on Red Flame ‘One Afternoon In A Hot Air Balloon’ is an adventure on its own. Artery somehow replaced the somber post-punk of the debut with a stream of melancholic pop paeans influenced by british folk and certain ballroom dances, with a spectral keyboard sound worth killing for. The secret weapon - when compared to the rest of their discography - is largely explained by the presence of keyboard player and (by now) main composer Christopher Hendrick. The band was in fact reduced to a trio with former members Mark Gouldthorpe (guitar) and Garry Wilson (drums) now supported by the singular effort of Hendrick (also on bass and xylophone). At the same time Garry Wilson was playing in an early incarnation of Pulp. Despite the early Joy Division influence - which the band firmly dismissed – Artery is moving forward into the so-called new romantic era. A vaudeville scenario light years ahead from the streets and the aggro-culture, a way to some pleasant and revealing experience.

After the ferocious one-two punch of Suffer and then No Control Bad Religion began toying with their sound. The changes were not drastic, as they had been on the prog-rock, non-classic Into the Unknown, but beginning with Against the Grain and growing more pronounced with Generator (powered by the stronger drumming of Bobby Schayer) the band's musical straitjacket got loosened. With that in mind, let's check out this live from the Generator era and and abide by Mr. Brett's words, "I'll remain unperturbed by the joy and the madness that I encounter everywhere I turn".

Bent Blue is a melodic hardcore band from San Diego, California who first emerged in 2020 via their DC hardcore-inspired demo, Between Your And You’re. The band quickly made waves throughout Southern California, and signed to War Records, who would go to release their demo on cassette and later issue a remixed and expanded version of Between Your And You’re as a limited edition 12” vinyl EP. Written and recorded throughout the pandemic, Bent Blue’s new EP, Where Do Ripples Go?, is a showcase of the band’s artistic progression and determination to stand out among their contemporaries. Sonically eclectic and arrangements that keep you on your toes, Bent Blue leaps forward energetically with the kind of melodic hooks that are both alluring and timeless. Earnest, impassioned, and aggressive, no two songs on the forthcoming EP sound the same. And while Bent Blue maintain their empathetic and socially conscious approach to their lyrical work, this record introduces deeply personal and introspective themes that discuss topics like self-confidence and grief. Where the demo exhibited the band’s understanding of their roots, Where Do Ripples Go? finds Bent Blue broadening their songwriting scope into new and thrilling directions.

Los Angeles straight-edge hardcore band Berthold City returns with their highly anticipated new record, A Moment In Time. This LP features a collection of songs that showcases the band’s evolution since their formation. A Moment In Time features three unreleased tracks recorded during the same sessions as their debut LP, When Words Are Not Enough. In addition to the new material, A Moment In Time includes both of Berthold City’s celebrated and out-of-press 7” records, comp tracks, and two cover songs. With A Moment In Time, Berthold City once again proves themselves as one of the most formidable forces in the Los Angeles hardcore scene. This record showcases the band’s growth as well as their unrelenting passion for hardcore music. With aggressive riffs, thunderous drums, and thought-provoking lyrics, Berthold City unleashes a sonic assault that demands attention

Los Angeles straight-edge band Berthold City has completed work on their first official full-length When "Words Are Not Enough". With twelve foundational tracks of hard hitting, anthemic hardcore, When Words are Not Enough will solidify Berthold City into the forefront of modern hardcore. The album was recorded and mixed at Jet To Mars Studio by Nick Jett (terror), mastered by Brad Boatright at Audiosiege (integrity, Jesus Piece, God’s Hate), completed with cover art and design by Jeremy Dean, and features a guest appearance from Jason Mazzola (count ME Out) on “Left With Nothing” and John Eightclip (allegiance) on “Still Holding On.”

If you’re looking for a band that embody everything hardcore punk should be, then you’re looking for Birds in Row. Sonically, they’re fearless. Lyrically, they’re as poetic as they are recusant. And live, they’re a ruthless force, matching the power of their music with boundless, must-see energy. After debut album You, Me & the Violence sparked listeners’ imaginations, 2018 follow-up We Already Lost the World was an unyielding inferno of brazen ideas. Metal Hammer UK called it “intelligent, poignant art,” writing that “this downward spiral changes pace and weight at every turn.” It screamed for mutual respect in a world of increasingly extreme political divides, and used the vehicles of punk, post-hardcore and post-metal to carry its cries. Now comes Gris Klein. Birds in Row’s third full-length album is their most genre-bending and timely declaration yet. “Water Wings” opens, its scraping guitar strums a ticking clock, counting down to the inevitable barrage of hardcore to follow. “Noah” revs up over its six gargantuan minutes. Its singing slowly spirals into apoplectic screeches. “Trompe l’oeil” is half folk, half punk, and “Winter Yet” has no qualms about busting out seismic metal guitars at its climax. It’s an amorphous beast of an album: always unpredictable, but never out of character for this creative collective. Gris Klein’s lyrics were sculpted by the Covid-19 pandemic, eloquently summarizing the cruel and sometimes nonsensical nature of mental illness. “Trompe l’oeil”, for example, sings, “Most of the times I feel lonely are when my friends are around.” “This is the exact moment where you should feel like you’re surrounded by people you love and you’re not alone,” the band add. “It asks, ‘If I can’t feel loved in this specific moment, then when can I feel that?’” Gris Klein is a portrait of a world enduring its most chaotic era in a generation. Yet throughout, the Birds in Row manifesto is the same as it’s always been: love each other. “We really want people to know that they’re not alone, and that they can count on each other,” they say. “The way we treat each other is political. It’s OK to trust each other. All the movies about catastrophes show people turning against each other, but that’s not what would happen. When people are in the shit, they help each other. That’s what we’re trying to transmit with this record: hold each other’s hands.” Not even a world-shaking pandemic could damage Birds in Row’s invention, compassion and brutality. Now three albums in, they remain the model portrait of punk. – Matt Mills, May 2022

Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw.

To mark the 25th anniversary of BOYSETSFIRE’s explosive debut This Crying, This Screaming, My Voice Is Being Born, Dark Operative is proud to reissue the album on vinyl and digital formats worldwide. Known for powerful songs that still appear in the band’s live sets to this day (particularly “Vehicle” and “Resection”), this release also stands as a monument to the DIY ethic and spirit of enduring friendship itself, as the band and Dark Operative owner/operator Brent Eyestone have worked together on this release via handshake since its inception (initially via Eyestone’s old label, Magic Bullet Records). Packaged in a chipboard-stock LP cover evocative of the exact aesthetic of the mid- ’90s era from whence this record was initially made, the original silkscreen design has been faithfully replicated with a package rounded out with complete lyrics and credits included.

Lavender vinyl. Limited edition 2018 reissue. Tiny wear.

close to NM. Stamped and numbered inner sleeve.

Tiny wear. Stamped and numbered inner sleeve.

The title of the first song on The One Thing That Still Holds True says it all:
“Impact.” CHAIN OF STRENGTH made one of the most undeniable impressions
of any hardcore band from their era, with a message as outright and direct as any
before them, and perhaps with an in-your-face attitude that was only matched by
the power of their recordings.
This Southern California band struck with the force of a ten-ton truck—merging
the guitar sound of MINOR THREAT with the crunch of CRO-MAGS, and melding
it with an intensity that gained notoriety from coast to coast. Rarely has a band
from the West Coast been able to hold its own with their East Coast counterparts;
CHAIN OF STRENGTH not only held their own, but was considered to be at the
forefront of the movement. Perhaps no other band from this era has been so
often imitated, but never has their power been duplicated.
The One Thing That Still Holds True compiles their entire recorded output, both
the True Till Death and What Holds Us Apart EPs as well as the bonus track
“Impact.” No true fan of hardcore can call their collection complete without this
essential album.

Second release on Robert Pollard's new Splendid Research label is a vinyl & CD reissue of a 1984 demo cassette by Children's Crusade, post-punk teenage band of Guided By Voices' Doug Gillard. The Cleveland guitarist went on to record for Scat, Homestead and Restless Records with the bands Death of Samantha, Cobra Verde, My Dad Is Dead, and Gem, before joining GBV (1996-2004), then Nada Surf (2010-2016), then rejoining GBV (2016-present), as well as playing on albums by Richard Buckner, Neko Case and others. 1980s Cleveland was a hotbed for indie rock, following in the Northern Ohio footsteps of Pere Ubu, The Dead Boys, The Styrenes, Mirrors and Devo. "Children’s Crusade was a fleeting blotch on the wild, mid-80s Cleveland underground music scene, slowly seeping through like a drop of oil on the uniformly black jeans of that era – noticeable only after it settles, spreads, and you realize it won’t come out in the wash."

"chris Brokaw is the consummate underground rock musician. In a career spanning thirty-plus years he has been in countless bands (come, Charnel Ground, Codeine, and THE Lemonheads to name a few) has been a sideman with everyone from Thurston Moore to GG Allin, pounded countless stages on nonstop tours, and played on over seventy recordings. Puritan is his tenth solo album and it's a killer. From the hypnotic repetition on the extended instrumental outro of title-track opener 'Puritan', the wounded grace of 'Depending,' to the fragile beauty of the Velvets-esque duet with Claudia Groom, 'I'm the Only One for You,' and the ghost of Alex Chilton echoing through 'The Bragging Rights,' onto the GBV-like firestorm of 'Periscope Kids,' and ending with the On The Beach-era Neil Young minimal strum of his cover of Karl Hendricks’ 'The Night Has No Eyes,' Brokaw has crafted an understated masterpiece. Puritan is an album that is all heartache and rebirth, resignation and joy, the kind of record that is so needed but all too rare these days. A classic from front to back."—Mark Lanegan 2020

While the average person might think of Buffalo, NY, for its frigid winters and its contributions to the world of professional football, the initiated know Buffalo best for its outsized role in hardcore’s history. The city has produced more than its fair share of genre-defining acts, not least of which was the criminally short-lived, under-documented, and wildly innovative Cinderblock, whose members would go on to such legendary bands as Snapcase, Buried Alive, Earth Crisis, Terror, and more. Thirty years after their initial existence, Cinderblock has reconvened in order to commit their music to vinyl for the first time. Breathe The Fire is a collection of six songs originally conceived in the early ’90s, re-recorded by the band with accomplished producer Jay Zubricky at the helm. With tight grooves, adept melodic sensibilities, and a pummeling heaviness that presaged nearly the entire breadth of ’90s hardcore, the record is a critical document of one of hardcore’s most exciting and transitional periods. It’s not often that a band is afforded the opportunity to retroactively cement their legacy as pioneers, but Cinderblock has more than earned that right, and Breathe The Fire firmly cements their long overdue place in the hardcore canon.

My mates went on holiday to the Isles for this one. Galactic romantic entropy three sheets to the 'Wind. Saxy glimmers, broken sunbeams, oil dancing in a puddle of water in a parking lot somewhere in St. Louis or Birmingham. And just as first-wave yankee punk was decidedly solipsistic, the Poms folded in a more civic bent to explain the zeitgeist of generational disaffection. Is 'Scared To Care' about spikey punks whose apartments are littered with Amazon boxes? Is 'Biggest Sale of The Year' an indictment of late-stage capitalism? Is 'The Milkman' an effective populist who wants you to sink so that he can swim? Is this record more political than those dystopian hardcore records you sold when a nice girl opened your eyes once? Merely conjecture...

It's an album dripping with clandestine musical intelligence, artisanal song-writing, great voices. The illegitimate son of Dinosaurs' bassist isn't in the mix this time, but I can assure you his spirit is there—I can almost hear the glass of side mirrors cascading to Richmond Ave on a drunken bike ride 15 years before Josh Allen and Conway The Machine made The City That Always Sleeps cool! (not recommended... you truly cannot cheat Carma).

What is soul? Soul is finding your own catalytic converter at the thrift store. Soul is trying out for the Harlem Globetrotters on your 37th birthday and it not going so well. Soul is wearing those attractive bygone eras on your sleeve without hesitation or embarrassment. Pentatonic rock didn't exactly bubble from a serious bog, and when adults who partake become artistically conservative, grow egos in a Petri dish somewhere in the well-adjusted hyper-capitalist cityslicker life they've created because they can seemingly play Vibrators riffs better than the actual kids, everything is lost! Class know this, resisting that spiritual deficit of our collective moment with the voice of honest men trying to have fun in this fuckin' wacky world, unafraid to rhyme words like 'narcissist' and 'anarchist'. I mean, how many songs wouldn't have a pinky toe to pirouette on if 'school' and 'fool' didn't rhyme?! Now get your ass to Class."—Brandon Gaffney

With 2007’s Here We Stand, legendary punk rockers Cock Sparrer moved into the 21st Century, and staked their claim on an exciting new era for the band. Never content to simply rest on the considerable laurels of their back catalog, the first Sparrer studio album since the 1997 not only put a new release into the hands of the old faithful and new fans alike, but kicked off a renewed period of active international touring and headlining festival appearances that has continued to this very day.

Unheard Rejects 1979-1981 is a collection of demo tracks recorded between 1979 and 1981 by the mighty Cockney Rejects. 12 songs from the first era, their first steps inside the 77 punk movement that them and others bands like UK Subs or Sham 69 helped to build. Here you can find the rudest Cockney Rejects songs with some of The Clash's influences in some reggae riffs but without losing energy or sounding soft. This record was originally released under the Wonderful World label in 1985.

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.

Dehumanization is the only full length album from the band Crucifix. Recorded in 1983, it is considered a classic American hardcore album and a landmark of anarcho-punk. Dehumanization delivers a raging critique of war, violence, displacement, and the decimation of human rights and human dignity—themes at once global in scope and also completely endemic to Reagan-era America. The intensity of this message is matched only by the intensity of the sound: a heavy minimalist construction built on brutal guitar riffs, low-end distortion, hardcore fury and teenage speed. It is an album of pure raw power, a hot blast of personal and political outrage and musical adrenaline. Fusing California hardcore with metal and second wave British anarcho-punk, Crucifix carved out their own highly distinctive wall of sound on this release. Ignoring the rules of punk purism in favor of a well produced huge guitar sound, the album preceded much of the hardcore metal crossover of the mid-80s and played an influential but often unacknowledged role in the punk and metal subgenres that followed. “Annihilation,” the album’s opening track, has become iconic. Quoted often, it’s been sampled by Orbital and covered by A Perfect Circle and Sepultura. The original vinyl version of Dehumanization was released on the Crass Records offshoot label Corpus Christi in the UK, and has been out of print since the 1980s. This new Kustomized rerelease has been carefully remastered from an original vinyl source and adheres closely to the audio quality of the original. In addition, the six-panel foldout poster sleeve has been reproduced in its entirety. Taken together, the words, music and graphics of Dehumanization form a complete work and a resonant and enduring document of the period.

In a time where it’s become increasingly difficult to find the motivation to head out my front door, CUT Piece has become one of the few exceptions, and in their brief year of existence my favorite local band. Featuring a lineup of Portland scene stalwarts from RED Dons, Piss Test, ERA Bleak, Dials, Petite... every time they hit the stage with power, ferocity, and a purpose, commanding the audience and never out staying their welcome. On their debut LP Your Own Good they stick to that formula. Combining elements of post-punk, hardcore, and the early 80s UK anarcho scene, Cut Piece turn in a 23 minute album of driving anthems that demand your attention and drill their way into your brain. Songs about the fucked-up state of our world, the overwhelming apathy of the population at large, self-empowerment, and the creeps who lurk the neighborhood. With one of the hardest badgers in the game, a constant barrage of hook exchanges between the wiry guitars and rumbling bass, and a vocalist shouting arithmetic calls to protests, Your Own Good makes for a captivating debut, and if album closer Gugi is any indication of what’s to come sign me up now. Dark, powerful, and 100% Total Punk!

Recently rediscovered Birmingham art punk recorded in 1978-1982. An all-male combo, despite the name, the Dangerous Girls released their first single in 1979, “Dangerous Girls/I Don’t Want To Eat (With The Family)” and started touring the UK offering use of the PA, lights and equipment to local bands who wish to play. Their second single, the 'Taaga' ep released in the same year on the Happy Face label, reached number one in the last indie charts of the 70's. Reminding of early-era Gang Of Four, Minimum Joy, Slits, Wire, and all things post-punk or as John Peel himself defined them, 'spasm rock'. After a BBC session and a couple more singles, the Demolition Girls unfortunately broke up right while recording an album. This compilation is brought to life by the punk archivists at Rave Up Records and contains their full 1978-1982 production.

Dead Kennedy's Bedtime For Democracy Available Again On Vinylbedtime For Democracy Is The Fourth And Final Studio Album By American Punk Rock Band Dead Kennedys. Released In 1986, Songs On This Album Cover Common Punk Subjects Often Found In Punk Rock Lyrics Of The Era Such As Conformity, Reaganomics, The U.S. Military, And Critique Of The Hardcore Punk Movement. The Album's Title Refers To The 1951 Comedy Film, Bedtime For Bonzo Starring Ronald Reagan And Also Reflects The Band's Weary Bitterness From The Trial They Were Undergoing At The Time Over The Controversial Art Included With Their Previous Album. By The Time Recording Of Bedtime For Democracy Had Begun, The Dead Kennedys Had Already Played What Would Be Their Last Concert With Jello Biafra And Announced Their Breakup Immediately After The Release Of The Record, Whose Opening Track Is A Cover Of David Alan Coe's "Take This Job And Shove It"

Very limited vinyl pressing of the second edition, 500 copies, full colour single outer sleeve, newly designed full colour printed lyric inner sleeve. Transparent red vinyl with white splatter effect. Download included. CD in a 4-panel digipack with a 12-page lyric booklet. When the self-titled debut album from female Ukrainian punk trio Death Pill, came out on the 24th of February (a year to the day that Putin invaded Ukraine) the reaction was unanimous. 'Death Pill have made one of the best crossover albums of the modern era' - Metal Hammer // 'Death Pill are intensely furious. There is nothing on the Ukrainian trio's debut that isn't seething with anger or delivered with boiling vitriol.' - Kerrang // 'A tirade of metalcore, thrash and hardcore, it's a face-toasting listen' - The Guardian // 'This eponymous album is a real masterstroke and a sign not only that DEATH PILL are here to stay but that they are going to take a few scalps with them' - Distorted Sound // Those lucky enough to witness Death Pill live on their recent Euro tour, would have also clocked something a bit special. Mariana Navrotska, vocals/guitar, Anastasiia Khomenko, drums and Natalya Syeryakova, bass are without doubt a 'force majeure'. Thunderous thrash infused hardcore coupled with fantastic musicianship and attitude in spades. A truly thrilling live embodiment of their self-titled debut. So, with the vinyl and cd sold out, a repress of said debut was warranted. But this is not just a repress. This is that cracking debut _ with a difference. The band explain _. "In the original first pressing of the Death Pill album, there were 2 Russian-language lyrics songs, which the band recorded before the full-scale invasion of Russia into the territory of Ukraine, and the band didn't have the opportunity to change these lyrics before the release of the album in 2023. From February 2022, the band performs its program only in English: - "We deleted from the story those lines that were written in Russian, and we no longer want to have the...

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

20 years ago DISCLOSE released their response to the greatest hardcore 12" ever released: DISCHARGE's Why. At the time the band was at the peak of their DISCHARGE era and had perfectly crafted a trademark sound, which shows through on the recording. The chainsaw-sounding double-toned guitar, Kawakami's unmistakable vocals, and a rhythm section firmly based on the Stoke-On-Trent's beat melded together to create a repetitive mantra-like noise chant. Recorded at Grove Cargo and mastered at Studio D-Takt by Jan Jutila, the production is a perfect example of noise not music pressed into vinyl, with both high and low frequencies cutting through the mix without losing any power. Lyrically Nightmare Or Reality focuses on the tragic sights of war while aurally the record is a full-blown attack on all senses. D-Beat Raw Punk at its best. 20 years on and many times imitated but never duplicated. Originally released by MCR Company, this 20 year anniversary official reissue comes in a printed inner sleeve and heavy board outer sleeve.

The Coventry (UK) based five piece have gained a worldwide unique cult-like following thanks to their enigmatic B-Movie inspired style of song-writing and adrenaline fuelled live performances led by the mesmerizing antics of their lead singer, Fi.

Empire was an offshoot of punk legends Generation X, very influential for the Washington hardcore and UKneo-psychedelic scenes.These two previously-unavailable-on-vinyl songs were recorded in 1981 for a second album that wasn't finally released.Empire was an offshoot of Generation X, and their only LP "Expensive Sound" remains an obscure (yet highly rewarding) listen.Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, "Expensive Sound" was out-of-step with the climate of commercial music. Their music was raw, bare, warm - distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, "Expensive Sound" does what great albums tend to: preserves a specific moment in time.While "Expensive Sound" may be better known for the bands it inspired - the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi - they deserve appreciation on its own merits: one of the finest guitar pop records of the era.These two previously-unavailable-on-vinyl songs were recorded in 1981 for a second album that wasn't finally released.

Empire was an offshoot of Generation X, and their only LP "Expensive Sound" remains an obscure (yet highly rewarding) listen.Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, "Expensive Sound" was out-of-step with the climate of commercial music. Their music was raw, bare, warm - distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, "Expensive Sound" does what great albums tend to: preserves a specific moment in time.There's an arid, unvarnished quality to the recordings - typified by frontman Derwood Andrews's voice and words. He sang with uncommon fragility and in a soft, almost diffident voice. There's little reverb, almost no double tracking, and absolutely no attempt to Americanize his delivery.The subject matter is rendered in a similar, disarmingly plain way. Boredom, depression, unrequited love, and existential dread are treated in equal parts -sans one song about playing the electric guitar (the aptly titled 'Electric Guitar'). While Derwood's lyrics exhibit some of the doom-and-gloom sentiment of post-punk progenitors Joy Division, they are almost Holden Caulfield-esque in their simplicity. Empire's response to adversity is delivered with a shrug and a sigh.If Andrew's bashful vocals are part of the charm, his expressive guitar playing is the main attraction of "Expensive Sound". As the sole guitarist on the record, he demonstrates a versatility unusual for the band's punk roots - deftly maneuvering between chunky, minimalist riffing (like on 'Hot Seat'), vast swathes of dark noise ('Empire'), and lacerating, tightly coiled leads ('Safety'). While "Expensive Sound" may be better known for the bands it inspired - the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi - they deserve appreciation on its own merits: one of the finest guitar pop records of the era.

Over the past four decades, the Pacific Northwest has been responsible for producing a specific sound and mindset that has permeated throughout hardcore. This tradition has been passed down the upper echelon of Interstate 5 by bands such as Brotherhood, Undertow, and Trial. The tradition has endured in modern times, but has not seen a worthy predecessor since the youth-crew revival of the mid-2000s. Enact is a straightedge hardcore band from Portland, Oregon, who have taken up the mantle of continuing the area’s legacy with veteran members of the West Coast hardcore scene whos contributions include bands like Blue Monday, GET THE Most, Cutting Through, Dying FOR IT, Dance FOR Destruction, and Xcauterizex. On the record, the Pacific Northwest tradition can be heard in guitarist Kyle’s songwriting, which can be attributed to his tenure in the area; however, Enact draws influence from the Revelation Records/1980s hardcore scene through bands like Bold and Judge, with the refreshing melodic elements found in bands like Burn and Turning Point. The lyrics are channeled through the lens of singer Rikki’s lived experience as a Chicana and include ideas about straight edge as a catalyst for personal growth and healing from trauma, intersectional veganism, challenges to political apathy, and gun violence’s connection to toxic masculinity. The band and label are proud to release this crucial expression of radical politics and urgent ideals. Enact believes that amplifying the voices of Bipoc is essential to hardcore and punk and is dedicated to the work of forging a safe and inclusive community.

Am freitag, den 17.12. 2021 ist es soweit, die vierte Ausgabe der Four Track Mind single serie erscheint via tomatenplatten auf 7inch /stream /download.ES WAR Mord haben an einem nachmittag 6 Songs dafür eingespielt. sechs lieder über schlechte streitkultur, agressionsprobleme im "kampf um jeden zentimeter identität" und die idee, dass 90 sekunden ausreichen könnten, einen brauchbaren vortrag zu gestalten. die verwendung eines 4 spur tascam 244 kassettenrecorders war keine folklore performance sondern schlüssiges werkzeug und sinnstiftendes ritual für einen entwurf, der frei von illusion gegen kapitalistische massgeblichkeit steht. Indessen bemerkenswert: die liebe, der glaube, die hoffnung, dass das mass dessen, welches sich schuld nennt, in den einzelnen vorhanden ist und keine höhere instanz benötigt, bleibt.mit freundlicher erlaubnis : "der kampf um jeden zentimeter identität" zitat von flavio bacon (human abfall) aufnahme: es war mord, max power, thomas götz mix: es war mord, max Power, thomas Götz master: dennis kern.

Classic 1983 hardcore scuzz rock debut is a unique mix of erratic thrashers & slow Sabbath-oid noise riffs. Its best-known tune is without a doubt the rumbling & stumbling opening track "The Money Will Roll Right In," which has been covered by Nirvana, Metallica, Mudhoney, The Butthole Surfers & god knows who else. Download includes the band's Where the Wild Things Are album plus compilation tracks from the same era.

Picking up right where Dag Nasty era 1988 left off, comes Field Day. Peter Cortner (Dag Nasty vocalist) and Doug Carrion (Dag Nasty, Descendents bassist) haven't lost a beat on this, their second 12" release to date and now available widely to their U.S. fans. Melodic D.C. style hardcore at its finest. The Doc is amped up to have finally gotten this one out! For all those kooky-crazy-colored vinyl exclusives, get in touch with the crew at Cobraside or the Doc himself. ALL of their previous releases have sold out in less than a month, this one will too!

1st press

1st press

Philadelphia stalwarts Fixation are far from newcomers, but on The Secrets We Keep—recorded, mixed, and mastered by the band’s own Wyatt Oberholzer and releasing via WAR Records—there are few traces of the band’s five year history left intact. Opting to demolish the past, pave over the rubble, and start fresh, Fixation makes good on the promises of their 2020 promo. With an impressive roster that features members of Chemical FIX, Wild RED, and Drowse, the band has perfected their own brand of deft, blistering hardcore that’s difficult to ignore. Whether they’re channeling the stripped back stomp of Right Brigade, the tasteful melodicism of American Nightmare, or the self-reflective rage of Blacklisted, Fixation tidily corrals their influences into a refined, no-filler take on modern hardcore that only accomplished students of the genre could deliver. The Secrets We Keep is the final step in a long ascent, trimming the fat and leaving everything but the essentials behind.

White vinyl