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I’m not living my life so good, tell me, how about you?’ What can we really say about 14th Wish, how did this band even exist? This record and band were Completely unknown up until the last couple of years, when we were approached by a notorious record fiend who was looking for more info after our official release of David Peel’s King of Punk LP. Here we have a band with no paper trail, zero online search results, and released in a tiny quantity on Orange Records in 1980, right alongside the first GG Allin and Eddie Criss Group LPs. But instead of a stylized gutter glam workout with a hot-shot studio guitarist, 14th Wish trip over themselves with a snotty/sloppy amateurism that veers farther into the beloved ‘Killed By Death’ arena, with it’s sweltering TAPEWORM-style lead guitar freak-outs.
Fronted by the mysterious figure known as Halo Peace, both 14th Wish tracks offer a refreshing mid-tempo crud-punk slop-take on the sounds swirling around the drain of the Lower East Side at the end of the 1970s. Although both tracks aren’t lightning fast, their instant ominous catchiness and absolutely sordid and squalorous guitar tone suggests a more murderous background, as well. Mention of this record just drew blanks across from the board, from all of the rare punk record dealers, to the most avid international collectors, and even NYC scene members from the time. Never even turned up in a Mike Bastarache Want List! And of course, the internet was no help either. Was this really one that Everyone missed? Recommended If You Like: Tapeworm, GG Allin & the Jabbers, Freestone, The Trend, Mentally Ill, The Gears, Killed By Death compilations.”

2024 re-release of the one of the original and biggest and best selling UK Oi! bands of the early 80s which still continues today!All of this amazing early 80s Oi! band's most popular early tracks are included... SIDE 1:1. One Law For Them2. Yesterday's Heroes3. Clockwork Skinhead4. A.C.A.B.5. I Don't Wanna Die6. Seems To me7. Low Life8. On The Streets SIDE 2:1. Plastic Gangsters2. Evil3. 19844. Sorry5. Five More Years6. Jack The Lad7. Wonderful World8. Chaos

Agnostic Front’s debut LP, Victim In Pain, went out of print again for a while, so Bridge Nine did a quick pressing to keep it available! This pressing features the original cover art printed as a low-contrast halftone on an almost-black matte cover. Agnostic Front and Victim In Pain are embossed and spot-UV printed so the band’s logo and album title pop off the jacket.

From Buenos Aires in Argentina, street musicians folk trash rock'n'roll punk mayhem, these crazy hillbillies on speed fry your poo at Sonnhalde 14 and eat you with sharp tongues like worms and bugs.Angry Zeta was founded in Buenos Aires Argentina in 2015 as an originally traditional blues-grass country hillbilly street busker band and then became a constant part of the local punk scene and clubs where they found their punk sound, today they mix it all together into a molasses of punk hillbilly folk and raw str...

"The wash of flangers & shimmery reverb have been the foundation in Cali psych ever since the Byrds went electric. And while that sound might've dropped off occasionally, it never dropped out. The Velvets minimalist stylings were infused into the mix by The Dream Syndicate in the early 80's & thus a game changer was born. Clay Allison, Opal, Green On Red all took their charge from that current. Then the Shoegaze scene of the 90's looked at those bands as vectors, things got a little more drenched, so yet more seeds were sown into the fertile terroir. Cut to current climes & the bay area is teeming with the latest iterations: Children Maybe Later, Now, & Cindy easily come to mind. But curiously the band most steeped in the mohair constitution is April Magazine, who (thus far) have been content in the shadows. Up till now they've seemed like characters plucked out of a Kazuo Ishiguo novel-mysterious & ethereal-but perhaps this pressing of last year's cassette only release will flush them out. 'Wesley's Convertible Tape For The South' shows the band defly balancing all those that have come before them while also incorporating flourishes of Les Rallizes DeNudes, Hallelujahs & Nagisa Ni Te into the pageantry . So in a way, April Magazine is transforming the landscape yet again; denser, fuzzier, lush & wistfully challenging. 'Wesley's Convertible Tape For The South' is the band's 1st vinyl release stateside (an LP of older tracks was released last year via a UK only label) so no import tariffs! What were once whispers are now proclamations. Just because you don't know them doesn't mean you can't love them. So grab a copy & hug it out amongst yourselves." -- Tom Lax (Siltbreeze Records)

Limited edition clear vinyl only release featuring audio from the Bad Brains 1982 live DVD. REISSUED FOR 2014 IN LIMITED CLEAR VINYL! This vinyl only release contains audio selections from the DVD release, LIVE CBGB 1982.

Sure it sounds confusing, but the material on the CD and LP, while culled from the same series of live shows around Christmas 1982 at CBGBs, is completely different.

Includes blazingly awesome live versions of "FVK," "How Low Can a Punk Get," and more.

Beyond, though short lived in the Nyhc scene (1988–1989), made an impact with their personal brand of Long Island metaltinged hardcore with intricate riffage. The Dew It! demo was supposed to be recorded for Schism but the label folded before it got off the ground. They sold their demos through Some Records on the Lower East Side until the store closed and the rest were sold through mailorder. Originally recorded on a 1” tape and mixed on cassette, Dew It! has been remixed to give it the sound that was previously intended. Backed with the demo is Beyond’s live set on WYNU’s legendary punk and hardcore radio show, “Crucial Chaos,” which was started in the late ’80s and still continues to this day, nearly 25 years later. Members of Beyond have gone on to bands like Quicksand, Bold, Inside OUT, Burn, Shelter, 108, and more. Revelation Records has combined these two gems on vinyl and paired it with a 20 page 12” x 12” booklet.

“Billy Liar is one of my favorite songwriters. Powerful and honest.” - Tim Armstrong (Rancid) That’s one hell of a statement coming from Armstrong, a guy who knows his way around a tune as one of the most beloved songwriters in punk rock history. A single listen to Billy Liar’s new album “Crisis Actor” will have any listener agree with Armstrong. With this album, Billy Liar showcases his outstanding talent for storytelling and his ability to capture raw, unfiltered emotions that resonate with listeners on a deeply personal level. These songs are bold, brash, and destined to be played loud in any size venue Billy steps into, from a solo show at a DIY space to a full-band set on a giant festival stage and everywhere in between…all with fans screaming back every word! From the outset of “Crisis Actor,” Billy Liar commands the listener’s attention. From the opening track “Oblivion,” he pulls no punches when he sings “The only way I win is by not giving in to oblivion.” Throughout the album, Billy intricately weaves anecdotes, scathing social commentary, and self-realization to craft a record that will please old and new punks alike. Drawing the inevitable comparison to the legendary punk troubadour Billy, Mr. Liar shares Mr. Bragg’s ability to address society, politics, and the world at large through the lens of lived experience and deeply personal, confessional emotion. And just to put “Crisis Actor” over the top, a friend turns up to lend his familiar voice to one of the record’s highlights: the one and only Frank Turner joins Billy on “Negroni,” adding his trademark powerhouse grit to Liar’s boundless, exuberant energy. With “Crisis Actor,” Billy Liar is poised to step up as a central voice in a new wave of singer-songwriters ready to tell their tales to listeners across the world. Clocking in at just 28 minutes, this album is a proverbial uppercut to the jaw. It hits you hard and fast, but it is intricate enough to reward close repeat listens. This is fortunate, because you’ll find yourself dropping the needle on this one again and again! Whether armed only with his guitar or backed by a full band, Billy Liar will be traveling the globe, commanding stages of pubs, clubs, and arenas alike with this new set of tunes ready to catapult him into the hearts - and record collections - of punks worldwide!

Brutal Panda is honoured to join the likes of legendary labels, Trance Syndicate and Amphetamine Reptile, in bringing one of noise-rock's gnarliest albums ever recorded back into print."Heroin Man stands as both the chronological centre of the Cherubs catalogue, and its defining moment. As one of noise rock's finest moments, Heroin Man is both a delicate, tragic statement and send-off to a friend who had OD'd, and a bellowing, roaring, over-amped screwball masterpiece of Butthole Surfers mayhem and Husker Du pop structures. It's sometimes difficult to distinguish between Kevin Whitley's guitar and Owen McMahon's bass, and that's precisely the point -- this is noise rock; and still at others, Whitley's guitar is a washing, white-noise counterpoint to the pummelling rhythm section. This is a dense, sprawling, spiralling work showing a band peaking aesthetically, with perhaps an even more ambitious album to follow. Unfortunately, due to the usual host of reasons, that never occurred. This was the Cherubs final studio album until their reformation 20+ years later." - words by Patrick Kennedy SIDE A:1. Stag Party2. Animator3. Blackhouse4. Baby Huey5. Dave Of The Moon6. Coonass7. Mr. GoySIDE B:1. Cockpit - Kiss The Shine2. Venus Flytrap3. The Big Groovy4. Wornout Balls5. Playdough6. Example Maiden Japan / Devil's Food

Fragments of the past intersect with a dynamic sonic vision on Hallways of Grey, the second full length from Corker. Expanding upon the dense, rhythmic post-punk of their 2023 debut—the Cincinnati group have not only tightened the screws on their repertoire, they've upped the ante significantly. Decamping from drab studio confines to the expanses of an Indiana farm, Hallways of Grey finds the collective style and creativity of Corker flourishing. While the delivery and dark-to-light balance might echo shades of what Adrian Borland patented decades ago, Corker add their own color (more than just grey, mind you) in a convincing manner across the album. Lead cuts, "Distant Dawn" and "Vital Fall" showcase the range and dexterity that Ohio seems to inherently cultivate, but tracks like "Forever Silent" (featuring Angie Willcutt from Artificial Go and Rod) and the finale, "No Necessities", are like a death trip from the cosmos down to the factory floor. It's a focused frenzy towards the finish line, a rush of calculated execution, a mad dash run with style.

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.

Since 2015, Berlin’s Cuntroaches have defiled countless venues across Europe and the UK, playing festivals and touring relentlessly. The trio’s influences range widely from metal to punk to hardcore to experimental noise. They aim to create a hybrid sonic experience within a dense wall of sound (often combined with some form of performative mischief - if they’re in the mood). Audiences have been subjected to spewing beer bra harnesses, diaper outfits, empty pet food containers or witnessed band members performing from inside of a trash bag. They’ve thrown a lot of trash on a lot of people. "Cuntroaches - a name inexplicably unused throughout the history of bands, orchestras... any grouping of people really... As it is, the mantle’s (finally) been taken up by two women and a bloke making ferociously warped hardcore-flecked no wave. Mutating waves of feedback intoxicate and induce hangovers all at once, while David Hantelius gets a frankly obscene sound out of his bass - and the vocals - reverbed to an absurd degree - approach black metal levels of demonic witchery. As with New York’s no wave OGs, what it is definitely not is inept pissing around, ‘noise for noise’s sake’ - no matter how blown-out and violent Cuntroaches get, their interplay is lithe, their arrangements measured." - The Quietus “I want to make something clear: at this very moment, I think that Germany’s Cuntroaches are the most important and life-affirming band on the planet. Period. The first demo blew me away, but this one... Fuck ME. Somehow they have become more in control and more chaotic at the same time, and the intensity borders on bleak / black metal darknes. I simply do not understand how this music exists, and how it can be so good... eternal hails.” - Maximum Rocknroll

LONG AWAITED FOURTH LONG PLAYER BY LEEDS PUNK BAND CYANIDE PILLS!FIRST PRESSING ON LIMITED EDITION YELLOW/RED SPLATTER VINYL!We catch up with lead singer Phil to discuss where the band is at man_ Q: What inspired you to make this concept album, time was right?A: I had to look up what a concept album was, it means an album where the songs all relate to each other? It must have been an accident due to memory loss, "Phil, haven't we already done a song about war?" "Phil, haven't we already done a song about corruption?"We live in dark times, the stupid ones are in charge, the evil ones are at the controls. It's hard to write songs about kittens and flowers at the moment.Q: It's been six years since your last album, why so long?A: It's taken a while! At first due to laziness, everyday life gets in the way, we have to pay the rent and eat so tyres have to be changed, holes have to be dug, floors have to be swept, then there was a pandemic! but it's mostly laziness, we are lazy cunts.Q: The album was produced by Carl Rosamond at the Billiard Room in Leeds. What's it like working with him?A: Everything we have ever recorded is with Mr Rosamond, he's the extra member of the band. Who needs George Martin or Phil Spector when you have the 'razor blade' Rosamond living down the street.Q: Love the cover art for the new album. Who's the talented artist?A: The cover was drawn by 'The head honcho' 'Numero uno' 'The big cheese' 'Our glorious leader' 'Das Kapitan' 'The chosen one' 'The golden goose' 'The idiot Savant' 'The one that walks among us' otherwise known as Phil Privilege, he didn't credit himself as he is very humble and shy.Q: 'Low Budget Rock 'n' Roll' - Love it! If you were making a mixtape of low budget rock 'n' roll, which bands would be on it?A: Low budget rock n roll, the mix tape would include anyone who hasn't got a pot to piss in but knows three chords and just wants to play rock n roll, you know who you are.Q: How do you think the government are doing,...

Dennis Most is a singer, songwriter, producer and arranger of a hybrid of punky-garagy-psychedelic-hard rock with hooks you can remember. 2008 album, limited to 300 copies on Tornado Ride Records.

Dennis Most, the underground legend together with Tornado Ride Records, delivers this desperate vocals-slashing guitars-pounding bass/drums album… throw in some melody here and there and what you have is a record that will rip you up. Limited to 300 copies.

LA synth-punk drippers Diode bubble to the surface with 2—the next level, off the rails sequel to their already unique, deeply wonky catalog of alienized post-punk. This well-seasoned troup of rockers comprise many great bands from the LA underground scene—including Advoids, Vaguess, and Seudo Youth. Diode is a supergroup of experimentally conscious and fiercely talented like-minded folks making warped, yet endlessly catchy, dystopian rock. With 2, Diode have fortified their DNA with layers of dense, radiating synthesizers, modulated guitars, freaky vocals, and tightly wound, speedy drums. Music to hack the freakin’ system to. After the release of their debut self-titled LP in 2020 and since playing a slew of stacked West Coast shows, Diode quickly gained local and online recognition from a widespread audience. After a few months of recent silence, the group has pulled an unlicensed weapon out of their Slash-sized tophat and shattered the silence with 2. This record is an untethered journey into a diverse landscape of synth-punk excellence. Songs like 'Diode' dive into jerky and aggressive progressions, while 'Card Dealer' and others are less jagged, and instead, are deeply infectious and prevailing heart-melters. The substantial 14 song record is captured on a decedent and triumphant mid-fi recording- the band now sounding more concrete and dialed than ever. This record is a wild, glitchy ride inside and out and has something for everyone- humans and droids alike. Diode should not be underestimated. They are rapidly mutating, becoming more powerful, and tearing through the frequencies of reality one record at a time."—Sims Hardin

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.

$E VENDE RINCON is a punk'n'roll band based in Rincon, Puerto Rico, the surfing capital of the Caribbean, and the lower east side of New York City. Their debut record titled "Gracias" is a mix of old school punk rock (see The Ramones, Dead Kennedys, Misfits or Iggy & The Stooges) and Chicago Blues from the 50s and 60s (think of Muddy Waters, Lil Walter, Hound Dog Taylor, Howlin' Wolf). $E VENDE RINCON sees punk and blues as the same in attitude.

You don’t have to be a genius to figure out what kind of sonic wares a dude who goes by Egg Idiot is peddling. But that doesn’t mean this gooey Leipzig freak is a one-note act. Over the 16 tracks that make up this debut LP—composed of re-recordings of songs from earlier cassettes—you’ll be taken on quite the lo-fi journey. Yes, you can expect plenty of squiggly power-poppin egg punk in the vein of Cherry Cheeks or Billiam, but you’ll also come across some denser polyrhythmic numbers not too far from something off an early Uranium Club release, a couple of slacker rock jams, what sounds like a contemporary take on ‘90s cassette punk, and even some stuff that borders on oddball industrial. This maybe isn’t a record for the easily annoyed. But you gotta imagine a dude dressed as a giant egg wouldn’t have it any other way. (Alex Howell)

First ever reissue of this sought-after punk-funk / no wave / electro post-punk 45 from 1979 by post-Wayne County Electric Chairs, produced by David Cunningham (flying Lizards). Expanded to 12” including hot edits / reworks by Gareth Goddard aka Cherrystones. In 1979, Wayne County & The Electric Chairs – the legendary punk-rock band - recorded their third album, Things Your Mother Never Told You, in London. It was produced by David Cunningham of the Flying Lizards, famous also for his work with This Heat, Michael Nyman, etc. He also played synthesizer on some of the tracks. Often compared to Bowie’s Low and Iggy Pop’s Lust For Life, the album combined the no-frills punk-rock sound of the band with the experimental production of Cunningham, showing his love for dub music and cut'n'paste / electronica. After a tour promoting the album, vocalist Wayne County along with guitar player Eliot Michaels departed the band and returned to New York, where County later emerged as Jayne County. The remaining Electric Chairs members - Val Haller, JJ Johnson and Henry Padovani (ex-Police!) - decided to continue under the Electric Chairs name. Their record label gave them just a month to find a replacement singer and write material for an album. After rehearsing with a few singers, none of which were suitable, the trio decided to go into the studio and record some tracks with Cunningham as producer. The result was the "So Many Ways" / "J'Attends Les Marines" 45, released in November 1979 by Safari Records. Here, Cunningham applied his most experimental production techniques, using electronic treatments on drums, rhythms and vocals. "So Many Ways", featuring Val on lead vocals, was far from anything else the band had previously done: an hypnotic punk-funk / no wave / synthetic pop hybrid that still sounds years ahead of its time. In 2013, it was included on the compilation "Under The Influence" by famous DJ James Glass. "J'Attends Les Marines" was a rework of "Waiting For The Marines" from the Things Your Mother album but adding a cool dub / experimental touch. Here's the first ever vinyl reissue of this sought after punk-funk / no wave 45, featuring the original artwork but expanded to 12" format for maximum sound quality and including two exclusive edits / reworks by Electric Chairs fan and mix/edit wizard Gareth Goddard aka Cherrystones

Though he only released a few singles (on the legendary independent labels Bus Stop & Parasol) and the classic 1993 album “Sandbox” (recorded with a cast of friends that included Adam Schmitt, Patrick Hawley, Jay Bennett, Steve Scariano and Nick Rudd), Erik Voeks’ music has resonated deeply with a small but dedicated group of pop and powerpop fans around the world. “Lost treasure,” “hidden gem” are expressions often used to describe “Sandbox,” which is now, for the first time in its 30th anniversary, being reissued on vinyl by Hanky Panky Records along with a CD that brings together 8 demos of the album, his two singles for the Bus Stop label and a previously unreleased original track, “Pristine”. For years Erik kept a low profile, but never stopped recording music, playing with friends like The Octopus Frontier, or even touring the United States and Europe with Jon Dee Graham. In late 2012, Spring Records released a 4-song EP titled “Free Range” on vinyl, which received rave reviews. Since then, Erik has kept busy putting out more new recordings through his bandcamp page, playing live shows, and touring Spain a couple of times. In 2016, Hanky Panky released “So The Wind Won't Blow It All Away” his first full-length album in over 20 years. The album garnered much critical acclaim and was the #1 album of the year on John Borack's influential “Power Pop Plus List.” After touring Spain in 2017 as Erik Voeks & The Spanglish Settlement, Erik, Juan Ferrari, Pepe Bermejo, and Patrick Hawley decided to record an album together. Plans were made for the four of them to reunite in Spain to finish the album, but the pandemic interfered and the recording process took a long and winding road. But better late than never, as they say: “It Means Nothing To Me Now” was finally released in early 2024 under the Erik Voeks & The Ghosters moniker.. “Pure pop magic,” says the Powerpopaholic website, and who are we to disagree?

The LP contains the 9-track demo of the Düsseldorf band which was recorded in 1984. The band came from the circle of DIE TOTEN HOSEN with whom they played in their first concert, others followed with STUNDE X / FAMILY 5 / MALE / RANOLA / LUZIBÄR and more. The LP comes with a perfectly designed booklet, liner notes by bassplayer Rudi Esch, who later played for Die Krupps. A piece of contemporary history of the Düsseldorf scene!!!Tracklist:A1Von Anfang An 3:16A2Amerika 3:24A3Mit Dem Rücken An Der Wand 4:52 A4Lebendig Begraben 4:16B1So Wie Die - Werden Wir Nie 2:50B2Verlorene Hoffnung 3:07 B3Revolution 3:35 B4Einzelkämpfer 3:41 B5Sound Of Silence 3:21

Pummeling curveball from Fucked Up channelling the world of HC that birthed them -- despotic and horrendously sludgy riffs exploding in octaves lower than Hades, crashing against hellish bellowing all while the rhythm section heaves at a pace that only Noothgrush, Crossed Out, Kiss it Goodbye, and Bloodlet would tread upon. Topped off with an absolutely despicable cover of Saint-Saens "The Aquarium" this is the mythologically psychedelic sludge record you never thought Fucked Up would make. 4 tracks of pure audio excretion.

With One Day, Fucked Up have delivered one of the most energizing and intricate albums of their entire career, a massive-sounding record that arrives in deceptively small confines. The Canadian hardcore legends have been known for their epic scale in the past, from towering concept albums to 12-hour performances-so it might be a surprise that Fucked Up's sixth studio album is their shortest to date, written and recorded in the confines of one literal day (hence the title). Don't mistake size for substance, though: The band's sound has only gotten bigger, more hard-charging, with even denser thickets of melody. If that sounds like a study in contrasts, well, that's Fucked Up for you-and you shouldn't expect, or want, anything different. The result is a record that sounds full-bodied and immediate, with music that burns brutally and passionately in a way that only Fucked Up can evoke. The guitars sound like ziggurats reaching to the sky, reaching dizzying levels of melodic interplay while always maintaining a tuneful clarity-and the musical adventurousness that marked 2018's epic, lush Dose Your Dreams is plenty present here, too. One Day is an undeniable work of confidence from a band that continues to operate at the top of their game, making music that's guaranteed to last a lifetime and beyond.

Blue in milky clear vinyl pressed color-in-color! With One Day, Fucked Up have delivered one of the most energizing and intricate albums of their entire career, a massive-sounding record that arrives in deceptively small confines. The Canadian hardcore legends have been known for their epic scale in the past, from towering concept albums to 12-hour performances-so it might be a surprise that Fucked Up's sixth studio album is their shortest to date, written and recorded in the confines of one literal day (hence the title). Don't mistake size for substance, though: The band's sound has only gotten bigger, more hard-charging, with even denser thickets of melody. If that sounds like a study in contrasts, well, that's Fucked Up for you-and you shouldn't expect, or want, anything different. The result is a record that sounds full-bodied and immediate, with music that burns brutally and passionately in a way that only Fucked Up can evoke. The guitars sound like ziggurats reaching to the sky, reaching dizzying levels of melodic interplay while always maintaining a tuneful clarity-and the musical adventurousness that marked 2018's epic, lush Dose Your Dreams is plenty present here, too. One Day is an undeniable work of confidence from a band that continues to operate at the top of their game, making music that's guaranteed to last a lifetime and beyond.

There it is, the TCM heaviness-hat-trick! Right after Phantom Winter and Park+Riot, Leipzig's G i f t are entering the room, levelling everything in their way. With RUPTURES, the band adds their debut to the TCM line-up and believe me, this is one wild beast. Chaotic and groovy, dashing and dark, rolling and sludgy, Old Man Gloom meets Ken Mode, or the heavier parts of Botch meet Deadguy. Whatever labels you want to put on it, one thing is for sure: this stuff gets you moving. Some of you might find old acquaintances from the German DIY scene in the band's line-up: G i f t's members were and are active in The Tidal Sleep, Throwers, Trainwreck, Glasses, Dezefra Ridge, Antes and Quallus. This wide spectrum also hints at the musical variety and the super heavy, all-consuming sound on RUPTURES. Stay tuned, this beast is coming your way soon.

In Poor Taste is the debut EP from London's Grazia—written and recorded by Heather Dunlop and Lindsay Corstorphine. Often referential—In Poor Taste pulls inspiration from the high and low brow, but mostly the low. Grazia pays homage to everything from The Fall to cheap lingerie brands in a campy pastiche of 80’s new wave and pop. In Poor Taste is all about having a lot of fun while delving into your worst, core self.

Not much has been written written about the conceptual hardcore band inspired by and named after a 9th century antisocial loner monk-poet of China’s Tang dynasty. Han-shan [the band] existed from 1991 to ‘93 in California. Their lyrics covered themes of solitude, mystery, poverty, and discord, directly inspired by the verses of the titular poet. Han-shan’s music was psychopathic, with blood-curdling vocals, and messy but powerful, in the vein of Void, Siege or Septic Death. The band played to the absolute limits of their physical ability and then some, with a sound that complemented their West Coast contemporaries—bands like Heroin, Mohinder, Second Story Window, Antioch Arrow and Angel Hair. Recorded in San Diego by Matt Anderson in late 1993 and originally released posthumously in early 1994 on the tiny Soledad record label, Hans-shan’s eight song seven inch EP came packaged in a manila envelope, each one hand-printed with a woodcut block and roller, with the art and insert referencing both the poet and Tang dynasty China. LG Records has carefully reproduced this cover art and returned to the original multitrack tape. Tim Green has remixed the recording at Louder Studios for a significantly more powerful, and yes, Louder, 12” 45rpm release. Members of Han-shan had previously been in Suckerpunch, Brain Tourniquet, End of the Line, and John Henry West; and went on to play in Behead The Prophet Nlsl, Solid Gold, Drunk Horse, Astral, Tight Bro’s from Way Back When, Sex/Vid, Very Paranoia, Low Plateau and Nudity. For fans of fast, out of control hardcore with a raw emotional edge. And saxophone.

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

“The Idiot” is the debut solo album by American rock singer Iggy Pop. It was the first of two LPs released in 1977 which Pop wrote and recorded in collaboration with David Bowie. Drawing on the electronic sounds of German groups such as Kraftwerk, “The Idiot” is a departure from the hard rock of Pop's former band the Stooges, and has been compared to Bowie's contemporaneous "Berlin Trilogy" of albums in its treated instrument sounds and introspective atmosphere. Sessions for the album were begun prior to the recording of Bowie's Low (1977), and “The Idiot” has thus been called the unofficial beginning of Bowie's Berlin period.

Blue vinyl

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

Written and recorded amidst the devastating bushfires which ravaged his adopted hometown Canberra, just before the wave of pandemic broke, Shoot Out The Cameras reveals John Sharkey III to be a master craftsman; honing in on the existential dread of living in a burning world, and the imperative to find beauty in what remains. Perhaps best known as the creative force behind Clockcleaner, Sharkey’s credentials include Cleveland's 9 Shocks Terror and more recently, literate rock explorations as Puerto Rico Flowers and Dark Blue, the latter having released a pair of 12xu full-lengths. It was love (of course) that brought Sharkey from Philly to Melbourne in 2008, where he worked behind the bar at beloved venue, The Tote. Sharkey and his partner Yasmin moved back to Philly for several years; then, amid the darkening landscape of US politics, the couple decided to settle in Canberra, Yasmin’s hometown. At a physical but not psychological remove from the horrifying dysfunction of Trump’s America, Sharkey watched catastrophic bushfires encircle Canberra, raging through the hills of the Southern Tablelands, the city glowing orange, the suburbs suffocating in smoke. This is when the songs of Shoot Out The Cameras took form. As if to echo the craters of “before” and “after” that apocalyptic events leave in our collective consciousness, the songs arranged themselves into a cinematic narrative arc, from the foreboding of disaster (Side A) through its aftermath (Side B). The background horrors of totalitarianism, paranoia and surveillance also stalk the album—the cameras of the title inspired by Canberra’s omnipresent Cctv and speed cameras—just to add to the unmistakable sense of impending doom. Features guest appearances from Mary Lattimore and Duncan Lowe

Limited to 300 copies only!A-side taken from soon to be released LP Quonk!B-side exclusive to this release! 'Things May Happen' is being released as a single. What inspired you to write that song?Slimy - The extraordinary lightness of being ... just the path and what's on it.Marty - This is Toad's one and it's a cracker.Johnny turned 70 last year, celebrating in style with a gig at London's 229 Venue. Some people have said it was the best Moped gig ever. How was it from your point of view?Slimy - I thought Johnny's birthday gig was a rip-roaring success _ I enjoyed it _ The next Moped gig will be the best Moped gig ever and the one after that ...Marty - It's not the best gig as far as how we performed. But as far as the turn out and the size of the crowd that came along to celebrate Johnny's Birthday it was the best vibe of all the gigs for certain for me.This year marks the 50th year of Johnny Moped. What have been the high (and low) points for the band in the last five decades?Slimy - The constitution of these thoroughbred punk rockers is testimony to getting up and rocking out _ Johnny is not stopping he's class.Marty - I've only been in the band since 2017 and before that was the driver and shit carrier and before that a fan and also the band are my mates. So not one low point for me at all.You'll be back out on the road this summer. Any message for fans who'll be coming to see you?Slimy - You better believe it! You enjoyed that you bums or I'll kill you! Tomcats!Marty - Be afraid. Be very afraid.

The debut EP from Laura Jane Grace & The Mississippi Medicals entitled 'Give An Inch' releases on a Dial Back Sound exclusive variant of "Fun Dip" colored vinyl. This six song EP was recorded at Dial Back Sound in Water Valley, MS and lacquered for 140g vinyl at historic Sam Phillips Recording Service in Memphis, TN by Jeff Powell. Disc plays at 45rpm for maximum deep grooves. The Mississippi Medicals are Laura Jane Grace (Against Me!), Paris Campbell Grace, Matt Patton (Drive By Truckers) and Mikey Erg!

About a year ago Leroy Se Meurt delivered a simply hard-hitting and smashing debut EP… which quickly sold out at the ET HQ… the mixed background of this duo from Paris in electronic music and in punk-rock shapes the distinctive sound of Leroy Se Meurt… you can call it synth-punk or elektropunk… or simply post-punk for that matter… Not only their debut EP did have impact… possibly even more did their live shows… their live performance is wild and in your face… Now there is the follow up to that acclaimed debut EP… this time Leroy Se Meurt takes a little step back from the totally in your face attitude… the sound is a bit darker and aims less on a direct confrontation but works to crawl under your skin… the energy and tension is still there but is building up gradually… and has a bigger impact that way… Don’t miss out on this next step in the campaign of Leroy Se Meurt!

Gold vinyl. Club Edition.
Still in shrink, but opened, with hype sticker.

Needs no introduction” is a phrase that’s frequently bandied about with little attention paid to its real weight. But with five full lengths, over a dozen 7” EPs, a live record, countless compilation appearances, and a nearly 30 year career under their belt, Lower Class Brats are a band that truly need no introduction. Since their formation in 1995, the Brats has been one of the premier American punk acts, playing a brand of Glam Rock and Oi!-informed streetwise Punk Rock that is unmistakably their own. With 15+ years since their last LP, the droogs are back at long last with a new offering of sonic ultra-violence in the form of Tales Of The Wild, The Ugly & The Damned. While other bands with long histories inevitably crest and dip over time—seeking that elusive “return to form” in their later years—Lower Class Brats have managed to forge a legacy free of missteps. Consequently, Tales Of The Wild, The Ugly & The Damned isn’t a return to form, but the next chapter in their legendary career. Produced by Jack Control (of World Burns To Death) at Enormous Door, in their original home of Austin, TX, this album clocks in at just over 25 minutes, and boasts 11 raging, sub-3 minute songs. Tales is replete with the razor-edged, boot stomping, singalong anthems that have long been the band’s hallmark. Massive choruses, 70s rock ’n’ roll swagger, and no shortage of antisocial mania make this yet another worthy addition into the formidable Lower Class Brats discography. Even after 28 years, LCB are running circles around groups decades their junior. Presented with the patented TKO care, Tales Of The Wild, The Ugly & The Damned is as much a welcome gift to the longtime fan as it is a compelling entry point for the new listener. Any conversation about American punk rock that doesn’t mention Lower Class Brats is either revisionist or woefully ill-informed, and Tales is irrefutable proof that this band has no intention of going gentle into that good night.

15th Anniversary Edition!!! Lower Class Brats' groundbreaking 2006 album released domestically on vinyl for the first time. Brutally remastered for max audio destruction. Edition of 300 on orange vinyl.

After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.

Memes is John Meme and Paul Meme - a laptop rock duo from Glasgow, formed in February 2019.

"Nine months is what MEMES have taken to get together and release their first 7", " Blah Blah Blah ", whose vinyl will reach the buckets in less than a week through the French label Six Tonnes De Chair Records, happening everything so fast thanks also to Steve Lamacq on the BBC6, who praised the John and Paul hard work behind the eponymous single to the album, whose strategy is based on a saturated lo-fi that makes post-punk and garage go hand in hand before the strings end up taking the control in favour of the motivating rock, implanting also its lyrical message in 'Happy Shopper', which takes it to the Sleaford Mods ground while the instrumentation is approaching a Christmas dyed of BODEGA, getting noticed by the use of a megaphone with which they approach their lyrics to the people, causing the hips to not stop moving at any time, which well taken advantage of by 'Funny Man', means visiting the 70's, chanted by the 50's, generating a mosh whose limits are not yet defined."

Memphis has garnered a reputation for producing some of the wildest, freaky punk rock over the last 40 years—a thread running through acts like The Oblivians, Lost Sounds and Nots. More recently newcomers Model Zero have created a fresh brand of psych-leaning punk to River City. Formed by members of Ex-cult, Aquarian Blood and Jack Oblivian's Sheiks, Model Zero make bouncy, low-fidelity guitar grooves and analog synthesizer squeals that chase a motorik beat and never stray too far off into the tackiness of jam territory.