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One of the most revered, reviled and talked about records in all Australian music history (I’m) Stranded by The Saints finally gets the vinyl box set treatment. A joint collaboration between In The Red, Universal Music Australia and spearheaded by Feel Presents and Saints founder Ed Kuepper, the deluxe edition of (I’m) Stranded will feature four vinyl long players covering all the band’s studio and live recordings from 1976 thru 1977 and includes:

- The iconic debut album remastered for vinyl for the first time in over forty years.

- A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time.

- A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time.

- All three tracks from the 1977 This Perfect Day 12-inch single and all four tracks from the 1977 1-2-3-4 double 7-inch single.

- The previously unreleased 1976 demo mix of the full (I’m) Stranded album.

- In addition to all that vinyl, (I’m) Stranded - Deluxe Box Set will also features a twenty-eight page 12” x 12” photo essay of the band covering their origins from 1973 through the end of of ’77, an authorised band history, an 8” x 10” 1976 promo photo and a (I’m) Stranded sticker.

“It’s been an exhausting yet thrilling process being involved in the creation of this box set. It’s been fifty-one years in the making and has possibly turned out even better than I anticipated. It’s by far the most extensive appraisal of the band, both aurally and visually, that has ever been made available and hopefully reveals some things people may not have known about the band.”

—Ed Kuepper

The iconic debut album remastered for vinyl for the first time in over 40 years

A five-song live performance from Paddington Town Hall Sydney 3.4.1977 appearing on vinyl for the first time.

A full live performance from the Hope & Anchor Front Row Festival, London November 1977 appearing on vinyl for the first time

All three tracks from the 1977 This Perfect Day 12” single and all four tracks from the 1977 1-2-3-4 double 7” single

The previously unreleased 1976 demo mix of the full (I’m) Stranded album.

White Vinyl.
Records are close to NM.

When it came to the follow-up of their 1990 magnum opus Feel The Darkness, failure was not an option for Poison Idea. Seeking a way to expand their musical horizons while still retaining their cranked-up style, UK-cum-Chicagoian producer Iain Burgess (Big Black, The Effigies, Naked Raygun) was brought in to assist in this audacious feat. The results—1992’s Blank Blackout Vacant—successfully showcased a meshing of Poison Idea's classically surging sound and a new found refinement: demonstrated by the brass section on tracks like the driving opener “Say Goodbye” or the chugging, Motörhead-esque “Forever and Always”. Rolling on with their relentless reissue schedule for Portland’s Kings of Punk, TKO replenishes the double-disc edition of Blank Blackout Vacant first introduced back in the maddening year of 2020. Along with the album’s original batch of thirteen tracks capped off by a thundering version of New York Dolls'’ “Vietnamese Baby”, you get a bonus LP containing a bevy of B-Sides, covers by acts as disparate as Lords Of The New Church, The Who, and Booker T. & The MGs., as well as a live on-air performance on Portland’s long-running community radio station Kboo from the Fall of 1991. Originally released at a pivotal point in the band's career, Blank Blackout Vacant remains an essential component in the understanding of the band's epic trajectory.

Long traded and coveted, discussed and debated, Propeller Product’s 1981 cassette compilation finally receives a physical release reflecting its original intention and aim. And this is its Boston origin story: a small collective with a DIY artistic bent, Propeller launched in 1981. Founded as a collaborative taking inspiration from Factory Records and the “pay no more” ethos of Dischord Records and Crass, Propeller offers a unique window into Boston and the American post-punk underground. Led by Justin Burrill, Michael Cudahy, and Steve Gregoropoulos, alongside a constellation of curious cohorts, Propeller hoped to move beyond Boston’s bluesy bar rock, to say nothing of its nascent hardcore scenes. The Allston-based Propeller bands explored a more angular and inventive musical space. “Propeller wanted a unified aesthetic,” Cudahy recalls. “I remember having a meeting where we spent over an hour deliberating what typeface to use. I wanted to release a compilation of bands I thought weren’t being done justice.” Existing concurrently with the brawny hardcore acts emerging from the Bay State, Propeller’s influences, execution, and intent offered a 180-degree turn from the alpha male Boston Crew. By contrast, “Punk rock was a refuge,” Cudahy says about his fellow Propeller artists, but just “two years after punk happened and hardcore came along in Boston, it was like, ‘Hey you were the guys who beat me up for being punk and now you’re in a band!’ Propeller was the weird offshoot species.” Propeller’s practice space occupied the very same building as Gallery East, where many Boston hardcore bands played. This was also the location where most of the Prop 4-1 tape was recorded. Boston’s offshoot species had found its voice. Upon release Propeller’s cassette-only compilation hit a monumental snag. Because of a manufacturing error almost all of the Propeller Product cassettes were defective, screeching in rotation and making the music largely inaudible. Even the deluxe edition that came with a 24-page cut-and-paste collage booklet housed in an oversized polybag didn’t sound right. Propeller had the music, the artwork, and the vision, but manufacturing, materials, and logistics all failed Allston, until now. Carefully restored and remastered by Massachusetts's Bob Weston (Chicago Mastering Service), Lawrence Wilmington’s debut release presents the original 18 songs on 180-Gram double LP for the first time and features reworked artwork taken from the deluxe booklet. 450 copies, full-color gatefold includes download.

In 2001 Lost Sounds released their sophomore double album, following up Memphis is Dead with a maturing sound that encapsulates the bands efforts to create a record that touched on many genres including Black Metal & New Wave (hence the album title). JAY Reatard, Alicja Trout, Rich Crook, and Jonas Garland created what is commonly known as one of the most important synthpunk records in the 2000s. After many years of Black Wave being out of print, and the always fantastic Empty Records called it quits, we began discussions to reissue this release. Remastered by Dave ECK at Lucky Lacquers. Housed with reworked and additional art in gatefold jackets.

The forthcoming acoustic album Make The Most Of It by NEW Found Glory tackles the last year head-on with their most emotional and cathartic collection of songs to date. Written in the wake of guitarist Chad Gilbert’s cancer diagnosis and mixed by Mark Trombino (blink-182, Jimmy EAT World), Make The Most Of It is a rumination on what it means to grieve, to live, to approach every day with appreciation and a sense of fulfillment. There’s gratitude for the CPR Gilbert’s wife performed on him (“Mouth To Mouth”), for the doctors who got him back on the road in time to celebrate the landmark 20th anniversary of Sticks & Stones (“Get Me Home”), and for life in general - the opportunity to wake up every day in this beautiful, messy, heartbreaking world (“Kiss The Floor”). “Even though the songs are sadder, they’re still hopeful,” Gilbert says. “You hear so much online about mental health and fear and anxiety. I feel proud that we can release an album with joy and honesty in a way that will hopefully make people less fearful of life. A lot of times we punish ourselves for things that might never happen. I’m going through something that did happen, but doing it with hope and joy and a greater appreciation.” Gilbert and his bandmates - vocalist Jordan Pundik, bassist Ian Grushka, and drummer Cyrus Bolooki - are all husbands and fathers, and as elder statesmen of the pop-punk genre (though still able to incite a circle pit with ease), Make The Most Of It finds the quartet contemplating the future, what they hope their loved ones will hang on to and how they’ll be remembered. It’s all there on “Watch The Lilies Grow,” the record’s centerpiece dedicated to Gilbert’s daughter, Lily, and the most poignant NEW Found Glory song ever.

“I’ve had the pleasure of being a [The] Fall fan since I was a teen. I was lucky enough to have some guidance from my local record shop stoner-lords. They turned me on to many of my heroes, but once I heard my first slanted and barky Fall song, I was part of the army for life. The word prolific gets tossed around a lot. It almost seems like a slag-off in the press, as if they wish the artist would produce less so they wouldn’t have to do their self-imposed job of judging releases for the rabble. The Fall is subjected to this lazy word often.Yet I can honestly say that I am so thankful for any nugget of Fall that lands at my feet and in my brain. Live Fall performances are always a pleasure because they seem to take what already made the Fall great and push it even a bit more into the rough and bloody uncharted wasteland that is drug scorched proto-punk and heady political poetry. “So, it is with great pleasure that we introduce this Fall bootleg soundboard recording to you. Recorded during one of the many strong points in the bands vast and mighty history. They really burn bright here and bring every ounce of what you expect from this formidable force. “We have reached out to every surviving member of the band, the sound person, the bootlegger who recorded it and the photographer and received their blessings and help piecing it all together. Castle Face will be donating 50% of our profits to Centrepoint, which helps the homeless in the Manchester area get back on their feet, so the local and deserving Fall fans get a little, and give a little back, too. “Nothing but the hits here folks and as raw as you dig it. This one really is exceptional in terms of live sound for The Fall. All the stars were aligned over St. Helens that eve. And it wouldn’t be complete with a bit of Fall fan saltiness so, fuck you too, Jason.” —John Dwyer

PARANOID's first album is a manic, noise-drenched d-beat assault. 10 tracks that capture us at our rawest and most aggressive period up to this date. Part of the band's First Ten Years 2012-2022 vinyl reissue series. "Whether you’re the old guy at the bar with the Discharge tattoo, or the 14 year-old who just discovered punk, Paranoid will bring out your inner discontent. D-beat is an interesting genre, either you do it well, or you don’t. Paranoid, dare I say, have completely mastered the genre and everything from their tone to their album artwork embodies what it means to be in a d-beat band. There is no bullshit attached to this record"—CVLT Nation

There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

“Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

“Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.

To mark this milestone in their 20-year career Deecracks is releasing A Frantic Effort, a massive 3x10” colored vinyl retrospective compendium of their favorite songs from the past two decades. But don’t think for a second that Deecracks

would try to sell you a stodgy, frozen-in- amber “greatest hits” collection. “We decided

to revisit our career and re-recorded our favorites and what we think are the band’s classics, as well as two completely new songs,” says Mike. “This way, we have songs from 2003 up until 2023 on one album—and in one great sounding production.” “We decided to record some songs a little closer to how we would do them live but give them the studio treatment,” adds Matt. Indeed, the inspiration for the tracklisting is largely based on the band’s world-renowned live show, where the raw energy of seasoned punk rockers comes ripping out of every tune. And being able to revisit those tunes after road testing them for all these years inspired the band to add just the right amount of studio magic, including new vocal harmonies, guitar parts, or keys, while staying true to the live set. The pair of new songs, “Burnt Out” and “Where We Belong,” are a song about facing your demons and a straight-up love song, respectively—two sides of the Deecracks’ coin. They are certain to take their place in the band’s canon alongside this collection of revitalized classics for both longtime fans and newcomers alike. Or as Matt puts it, “I think if you don’t know what we are all about and you check out A Frantic Effort, you’ll get a clue.” Cheers to 20 years of Deecracks—and on to the next 20!

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

If you mention Heresy's 'Face Up To It!' album many people will tell you what a great HC album it was but, let down by horrendous production. Now, 30 years since it was recorded, the band undertook a mammoth project to make the album finally sound how they had envisaged. The original multi track master tapes were unearthed and baked to allow a transfer of all the raw recorded material and for the band to do a total ground up restoration/remix on not only the original album, but also the rest of the session that included the bonus tracks originally only released on the Japanese version of the album 'Voice Your Opinion'. To say that the results have been remarkable would be an understatement and have exceeded the band's own expectations.

After 40 years as one of the longest running and most prolific groups in American Punk music, one could suspect that ANTiSEEN might be pretty close to running on E ... but this couldn’t be further from the truth. With their latest full length offering, Great Disasters, they aim to silence the doubters and unbelievers, and they hit their mark dead on. Their first LP since 2017’s Obstinate, Great Disasters is a filler-free, 25 minute tour de force that perfectly exemplifies the qualities that have made AntiSeen such an enduring presence in the underground. The record’s nine urgent, lively, and expertly-composed tracks range from motor-charged rippers to anthemic stompers, all brimming with the band’s ever-present Southern swagger and grit. After four decades and dozens of releases, the band is somehow sharper and more vital than ever, with all energy and twice the personality of bands half their age. This is feat is in no small part due to the band’s newly minted “ultra Line-Up," featuring mastermind Jeff Clayton, longtime collaborator SIR Barry Hannibal, and known associates Malcolm Tent and Walt Wheat. Tent’s long track record as a paragon of American outsider music both running the label Tpos and as a member of Broken Talent and the Bloody Apostles, among many others, make him a valuable asset to the new line-up. Likewise, Wheat’s decades-long stint as the guitarist of Mississippi’s Before I Hang earned him a honed edge ready-made for ANTiSEEN’s razor-sharp style of homegrown Southern Punk. And with none other than Scott “wino” Weinrich (the Obsessed, Saint Vitus etc.) lending his talents to the phenomenal cover of Steppenwolf’s “Who Needs Ya?,” Great Disasters boasts a roster whose combined credentials guarantees an absolute barn burner of a record. Where lesser bands are hobbled by the passage of time, AntiSeen only see it as an opportunity to perfect their craft. With four decades of practice under their belt, it’s no surprise that they’re masters of their trade, and Great Disasters is simply the latest piece of evidence to back their rightful claim to the throne of Destructo Rock.

Megamouth is an album that reflects post-pandemic anger. Composed in between 2021 and 2022 and recorded in mid-2023, Megamouth features ten hard-charging tracks dripping with fat-fuzzy guitars, cheeky pumping basslines and furious drumming.
Megamouth consolidates The Clamps’ well-recognizable high-adrenaline energetic sound squeezing rock n’roll, stoner and speedrock into a solid track list that will make you jump on a car, turn the volume up and push the damn gas like a motherfucking drag racer from the seventies. Then you stop at a gasoline station, hail to Lemmy, share a couple of pints with Hellacopters and tell Fu Manchu to pay the bill !!

This is the 10th pressing of CEREMONY’s iconic third full-length album Rohnert Park. This album is equal parts aggressive, incendiary, and, dare we say it, catchy—a must in any hardcore collection.

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

We say "Complete Discography" and we mean it! This 3xLP set features every Battalion Of Saints studio recording since their inception including all the singles, albums, rare unreleased demo tracks, alternate versions, compilation appearances, and even 2 new tracks. Several albums were remastered and sound better than ever. The gatefold sleeve includes lyrics to every track & personnel list for each recording. This is your one-stop-shop to own everything the band has done in one concise, organized place. Battalion Of Saints were the early pioneers of hardcore punk in America. Bringing a raw, aggressive tone and speed to the west coast punk movement. More in line with UK punk above all else, BOS replicated the ferocity of bands like Discharge and Broken Bones in the USA. Leading on to influence countless bands in the punk and metal genres. Since its 1980 inception, many line up changes have not halted the band from continuing unto present day. Riyl: Discharge, G.B.H., The Exploited, Negative Approach, Dead Kennedys, Agnostic Front, Circle Jerks, Angry Samoans.

Friction is one of the first Japanese punk bands and formed by Reck, Chiko Hige and Lapis in Tokyo in March 1978, and now the band is still keeping active. Reck and Chiko Hige had previously been on the NY no wave scene as founding members of James Chance and the Contortions, and brought back the experience and influence to the Japanese music scene. It's no exaggeration to say that the band laid the foundation for alternative music in Japan. P-vine is proud of reissuing all of their albums on vinyl.

Songs To Scream At The Sun was recorded with Kurt Ballou of Converge at GodCity Studio. Combining Ballou’s signature grit and style of recording with Have HEART’s style of music results in a dichotomy of clean, sharp drums, and a variety of guitar tones and sounds when combined, does not hint at one particular or obvious influence. Musically, there are moments which are mid-tempo and melodic, there are moments that are classic hardcore anthems, and it’s balanced with times which are dark and atmospheric. It’s an impressive accomplishment. As frontman Pat Flynn said, Songs To Scream At The Sun is the coming of age story. It’s about the growing process of a young kid shaking the chains of selfishness, but it’s everything about what you lose and gain in that process of growing up. The songs have an honest, yet poetic reflection that digs deep into the private lives that are shared by everyone-the deconstruction and dismantling of one’s life and the eventual rebuilding and rebirth. This is at times dark and depressing, but Flynn’s lyrics never lose hope in what allows people to get strength in these situations. And what’s so strong about the performance and lyrics, aside from the cliché of hardcore singers “meaning what they say,” is that the perception of the lyrics (are they dark, depressing, positive, or hopeful?) is up to the listener to decide.

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.”

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

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

2022 classic black vinyl repress of reissue of 1987's opera rock by Spain's legendary punk band Eskorbuto.Housed in a controversial gatefold sleeve, the double LP is a political satirical work against any kind of dictatorial regime."Los demenciales chicos acelerados" is Eskorbuto's fourth studio album, originally released by Discos Suicidas in 1987. It was their most ambitious project, a double LP rock opera in the vein of "Quadrophenia" by their beloved The Who. It tells the story of an unscrupulous young man who wishes to achieve power at all costs, stepping over everyone and everything in order to do whatever he wants politically. In the end, he falls due to his ego and is betrayed by those around him. Hence lines such as "crowds are a nuisance", "I'll come unscathed out of the attacks planned by my image consultant" or "shouting in front of the scum".In 1988 band members Iosu and Juanma narrated the album's concept and story on a Radio Euskadi show, the Basque Country's public broadcaster. This satirical political plot also explains the controversial Nazi pictures on the front and back covers. Eskorbuto were equalling the unprincipled politician of their rock opera with the Nazis and Franco's dictatorship. It's a conceptual record that attacks any kind of dictatorial political regime.Although "Los demenciales..." came out on Discos Suicidas, in typical Eskorbuto fashion the band stole a copy of the master and sold it to the Twins label, which also released it a few months later with a different cover. The original sleeve caused some trouble, to say the least, with its combination of Nazi photos and the Spanish flag on the back accompanied by the words "Of national interest".The album contains new versions of a few previous tracks such as 'Ratas rabiosas' and 'Enterrado vivo' plus the studio version of 'Más allá del cementerio'. For the recording the band enrolled keyboardist Aitor Amezaga, who would also collaborate on their next album.This is a facsimile vinyl reissue of o...

The soundtrack LP for 2017's controversial documentary on the "Kings Of Punk." Every single member, living or dead, finally has their say, and there's plenty of lip to go around. Live & studio recordings of tracks from PI's entire 40-year history are intercut with choice dialog from the film. Sort of like a greatest hits, kinda. Newly remastered for release on TKO, delivering superior sound to previously available versions. Includes color poster.

Let It Burn" is a firework of a rock album with which BONSAI KITTEN are coming back loud in 2024. Do they want to burn everything down now? Not everything, but certainly the bridges to everything y...

Recorded over the course of 1993-1994 in the band’s own "Acre" home studio, the Templars' debut full length, The Return Of Jacques De Molay, introduced the lo-fi DIY sound that would serve as the band's sonic signature over the coming decades. This decision was as pragmatic as it was artistic: the band having endured the loss of their previous master recordings to a failing studio/record label only a year prior. Determined to never again find themselves in that position, the Templars opted for self-recording, and the rest, as they say, is history. The Return Of Jacques De Molay has gone on to influence and inspire generations of Punk & Oi! bands worldwide. While the Templars debut album is held up as one of the the crown jewels of the band's discography, The Return Of Jacques De Molay, is something of a white whale among the fans of this very vinyl-orientated band. Outside of a few limited German pressings, The Return Of Jacques De Molay had previously only been available widely on CD—until now. TKO is proud to present the 30th Anniversary "Grandmaster" edition of The Return Of Jacques De Molay. Featuring painstakingly remastered audio, completely reworked packaging and the overall attention to detail that you've come to expect from TKO / Templecombe reissue collaborations, we can say without hesitation that this new versions presents The Return Of Jacques De Molay as it always should have been. Of course, the Templars lasting legacy arose from more than just the charm of their recordings. The Return Of Jacques De Molay crystalized the songwriting style established on the band's earlier EPs—A sound rooted in Oi! tradition, but unafraid to explore beyond that genre’s boundaries. Oi!’s familiar pro-labor / anti-bullshit approach is on full display, but songs like “The Sixties Are Over” show a willingness to go outside the lines with acoustic guitar and shockingly tuneful songwriting that few of their peers ever matched. Paired with the album's signature fuzz guitars, warmly saturated drums, and deft, melodic basslines, it’s clear why The Return Of Jacques De Molay continues to resonate after the last 30 years.

Pirates Press Records is thrilled to welcome Santa Cruz, CA’s Northern Soul outfit THE Inciters to the Pirates Family! This ten-piece combo of veteran players has been filling dance floors globally since the mid ’90s, electrifying audiences across the spectrum of skins, rudies, punks, mods, and rockers alike. No strangers to playing side by side with ska, punk, and Oi! bands, they are a natural fit to help expand Pirates Press Records’ roster of soul artists. “We wanted to keep it feeling live, not a ‘live album,’ but our energy. We recorded as much as possible all together. We had the rhythm section in the main room, the horns in a booth (a big booth), but [there was] also a large window so the horns could see the rhythm section. All the horns recorded at the same time so we could capture the feel. The singers were in another booth.” says trumpeter Rick Kendrick. “There was the usual overdubbing and whatnot, but for the most part this captures our energy...I guess you could say our ‘soul!’” These recordings are by far the band’s best work - capturing the energy and spontaneity of their live show—11 tracks of upbeat, hard-partyin’ soul stompers! The band can also be caught doing what they do best, embarking on their first European tour in over five years following the release of the LP.

Zounds released their first album The Curse of Zounds in 1982, recording and mixing the LP within five days. The album is now seen as a classic of the genre and one of the most inspirational albums of the post-punk period. This is a limited pressing of 500 only on white vinyl, which closely reproduces the cover, inner bag and labels of the original.

Australia’s THE Cavemen are back with a new long glob for a dirty and dilapidated world, and it’s as grimy as you’ve ever heard from the wretched brethren. Ca$h 4 Scrap scrapes up more than enough degenerate garage-punk trash with unavoidable forays into theme of death, demons, and even amputation, making sure to stop for a kiss on your daughter's lips along the way. Yuck Mouth SAY Muah! “Booze, Ciggies ‘n Drugs” is the first single, and leaves us wondering how many types of cancer these ghouls have among them, and if all four Cavemen share a brain tumor. “Leather Boys” is solid gold junk shop stomp, and the rest… well, you know by now how The Cavemen rock’n’roll—the Only way, because any other way ain’t!

Missiles fire off their debut album "Weaponize Tomorrow" on Svart Records

Malmö’s Missiles are set to release their inaugural album, "Weaponize Tomorrow", on May 10, 2024, under the banner of Svart Records.

The members of Missiles are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund - sincerely interested in doing something new and exciting together. The band's trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, Missiles have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on “Weaponize Tomorrow”, Missiles promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock.

The band’s lineup consists of:

Gabriel Forslund (vocals and guitar)

Jens Rasmussen (drums)

Tobias Augustsson (synthesizers)

Sebastian Gadd (guitar)

Linus Larsson (bass)

Missiles claim their debut is a one-of-a-kind album, truly a loved bastard. ”Weaponize Tomorrow” will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. Missiles couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, "Weaponize Tomorrow" is a high yield blast wave that will leave Missiles hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, “Weaponize Tomorrow” will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk.

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

Silent Drive is a group of individuals whose musical history has been long in the making. Boasting members of Bane and Drowningman, Silent Drive’s personnel have been performing and writing within the independent music scene for close to 20 years. Though this four-piece has deep roots in the hardcore/metal scene, it is branching out far beyond the constraints of any genre. The recipe is strict: anything goes, as long as it rocks. “There is no melody too sweet and no riff too heavy for us...as long as it says what we want it to say, we have no boundaries,” comments bassist Pete Chilton. Musicians, first and foremost, any category they are put in will be superseded and canceled out by the fact they are fearless musicians who live for the song and for the process of bringing it to anyone who may enjoy it.

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?

No Nostalgia sees L.A post punk quartet Agender satirically examine their place in today's fast-evolving world. Existential terror hurrah punchy post-punk! “The album reads as a newspaper or a collage. It’s a political, spiritual, philosophical look at modern society—the information age. It’s an anthropological look at the absurd current state of affairs. It’s focused yet unhinged, self reflective, observant, brash, tongue in cheek, serious yet playful. Excavations and observations of the mind of an anxiously attached, overthinking, spiritual human." Says frontwoman Romy Hoffman. Fourteen tracks of smart, snappy post-punk. Produced by Hoffman and David Scott Stone (lcd Soundsystem, Unwound, Melvins), mixed by Sean Cook (St. Vincent, Angel Olsen), and mastered by BOB Weston.

"Greetings from the Northern plains of the hopeless heartland. We are now entering the time when the leaves hiss and the dark corners of reality are not so brightly lit....And hidden within these long shadows reside the band WHY Bother? where they have recorded and will be releasing yet another album to close the punk rock door on 2024. ...This record we call 'hey, AT Least You're NOT ME' was going to be released in 2025 , but we decided that the sooner the better is the way to go so we can focus and work on more material for the future. (Until then, this is our self-proclaimed masterpiece to date) So what do you think?... Is there even a future to talk about?.... Well, the ALL seeing eye says YES. But will you be there to embellish it is the Real question. If so, we will be there waiting for you. Sincerely, WHY Bother?"

Popeye was an established fixture in Southern California, both personally and creatively, as the former frontman for melodic hardcore greats Farside. There was little in his routine to suggest at that point that Popeye’s life was headed for any sort of major change. It felt like an ideal life, in fact, until it didn’t. “It was very solitary, and I guess I was OK with that—or at least I told myself that I was OK with that—until I met the woman who is now my wife,” he explains. “That absolutely changed everything.” At the tail end of 2021, Popeye (Farside) uprooted his entire life to move across the country to the city of Scranton, Pennsylvania, where he would eventually come to meet the rest of his new band Calling Hours: guitarists Thomas McGrath (the Commercials) and Tony Bavaria (the Commercials), bassist Garrett Rothman (don’t Sleep), and drummer Jim Bedorf (don’t Sleep). For Brian McTernan, a celebrated producer with a nearly 30-year history of shaping some of the biggest hardcore records of all time—including albums for HOT Water Music, Turnstile, Circa Survive, and THRICE—advancing Calling Hours from the idea stage to the recording stage was personal: “Popeye is one of his favorite singers of all time,” Rothman explains. “He told me he named one of his cats after Popeye.” The outcome of that collaboration is Say Less, a seven-song record for Revelation Records that revisits the band members’ melodic, post-punk sensibilities while working in a decidedly contemporary direction. It’s also a deep dive into the feelings of displacement and discomfort that punctuated Popeye’s move—a meditation on the intersection of sense of place and sense of self

Featuring an impressive pedigree including members of Bl’ast!, Good Riddance, THE Distillers, and Fast Asleep, the band picks up right where they left off on their 2020, debut LP, Brace Yourself, with a ten-song barrage of relentless, uncompromising rage, touching on topics such as religion, self-medication, and survival in a—literally and figuratively—sick society. In between playing shows with legendary acts like Quicksand, Fear, R.K.L., and Propagandhi, the band got back together with Paul Miner at Buzzbomb Studios to lay down the follow-up to their explosive debut. All in all, it is a continuation of the band’s fast and hard approach in every way, and if anything, the band is more dialed-in and focused than ever. The songs on the record come from extremely personal and often dark places for singer and lyricist Clifford Dinsmore, such as the first single, “Hanging In The Balance.” He explains, “In the time period I was fighting cancer, I was shacked up, feeling like a prisoner in my own house. Living in a semi-purgatory state, I felt like I was looking at the world from an outside view.” Of the bleak, punishing “Omen Of Despair,” guitarist Danny B simply says, “Musically and lyrically, this is where we feel Seized UP is right now.” The band also re-recorded “Forum Of Decay,” from their 2021 7”, wishing for it to be featured on the album with the laser tightness the band is now playing with after five years as a unit.

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

Nathan Hose, known more commonly as N8noface, has built a heavy history behind his name. Known for his previous work with Crime Killz and a string of solo mixtapes, EP’s and collab projects, he comes out swinging to close out 2021 with “Homicide”. Both a full-length album of all new material and his debut Blackhouse release, N8 shows up with a catalog of raging synth-punk jams, knocked out with only a synthesizer, a computer, and the true-life humility and humanity only he can deliver. The dose of reality that lives within N8noface’s lyrics resonate with a population of people who have stayed true to themselves all the while feeling disenfranchised. People needing an outlet and something raw and new over a year and a half long pandemic (and counting) is the allure behind N8noface, and this record is sure to deliver that and more. Southern California. A Jekyll-and-Hyde atmosphere of glitz and glamour, with a seedy dark side that lays as an unspoken wasteland in the streets. There’s a thriving underground that has always existed among the Southwest United States. It’s a melting pot of the punk, metal, and hip-hop scenes, skateboarding, art, underground fashion, and custom car cultures. It’s also a hotbed for some real-life shit, to say the least. Crime, drugs, homelessness, porn, and shady activity is part of the life; proof that the city is not only wide awake at night, but it burns white hot. With all the musings one would need to inspire nothing less than a prolific output, when it comes to Long Beach-by- way-of-Tucson synth-punk dynamo N8noface, calling him prolific is an understatement.

Naked Raygun release their first album since the 1990's on Clear vinyl! Chicago punk legends Naked Raygun – famously, the first live band Dave Grohl ever saw – are releasing their first studio album since the 1990's Raygun...Naked Raygun The album, Over The Overlords, is also the band's first release since the sad passing of bassist Pierre Kezdy. With an instrumental introduction, and a crescendo of intricate bass riffs and drum solos that lead into the energetic, in-your-face track, “Go the Spoils.” Combined with a catchy guitar riff and danceable drum beats, lead singer Jeff Pezzati’s voice is able to shine through the layering of vocals throughout the track, showing off his range and setting a standard for the rest of the album that leaves people eager for more. The next track, “Living in the Good Times,” which also happens to be the album’s lead single continues on the trend by providing a back-to-basics form of instrumentals that are simple but easy to get stuck in your head. 31 years is a long time in between album releases for a band; it is safe to say that with all that Naked Raygun has to offer with Over the Overlords, the wait was so worth it!

After 1993’s How To Clean Everything and 1996’s Less Talk, More Rock, Today’s Empires, Tomorrow’s Ashes was PROPAGANDHI’s third and penultimate album on FAT. It marked a transition period for the band. Not only was it their first record after the departure of bassist/vocalist John K. SAMPSON—who was replaced by Todd KOWALSKI—but it also saw the start in the shift towards the sound that has now come to define them. The result was an album that, despite singer Chris HANNAH’s reservations, truly set the benchmark back then, and does so even more in its new sonic form. But the band was never quite happy with how the album turned out. It was betterthan it was given credit for. While the pieces were all there, the album lacked sonically in a way the band was never satisfied with. Fast forward almost two decades, when Propagandhi was in the studio with Jason Livermore mixing Victory Lap, and Hannah brought up the issues with Today’s Empires, Tomorrow’s Ashes. Right there they decided that with a remix the album could be shaped into the masterpiece they intended way back in 2001. Finally, 20 years later, Propagandhi can say they are happy with how Today’s Empires, Tomorrow’s Ashes (Reissue) turned out. CD features bonus tracks.

Every Time I DIE is a loud rock institution committed to leaving an outpouring of chaotic passion and blissful malcontent all over their records and on the stage. With boiling charisma and unrelenting energy to spare, the Buffalo, NY band manages not one but two near-impossible tasks. They've survived two decades as an underground entity cherished for coloring outside the lines, and contrary to most career arcs, continually improving with each successive album as they charge ahead. Every Time I DIE makes a glorious hardcore-punk noise. Alchemized by a swampy summoning of Southern rock and coarse poetry, the music swirls beneath sardonic and clever wordplay, cementing them as leaders, not followers. The band's ninth studio album, Radical, is 16 tracks of peak-Every Time I DIE, including raucous new anthems. They deliver what you have come to know and love and then diverge into new paths. To say that "All This And War" featuring guest vocals by Josh Scogins from The '68 is absolute brutal heaviness is an understatement. It's an addictive punch in the face, you'll want on repeat. The boys then run off to explore the dark haunted woods of a more somber and melodic side in the track "Thing With Feathers" featuring Andy Hull from Manchester Orchestra. Radical proves with every track that it is a distillation of the strengths of their past, injected with their unyielding revelry and signature sarcasm while cognizant - and fiercely combative - of the present state of world affairs.

"Before I made my home in & became Tanzania's #1 acknowledged periodontist, I was a busking girl throughout the UK. From early 1978 until the mid 80's I squatted everywhere; Glasgow, Cardiff, Manchester, Hastings & finally London. Music was our currency-mostly crude folk, DIY punk or amateurish, Klaus Schulze inspired synthesizer buzzings echoed off the walls wherever I chose to lay my hat. Admirers of records from this time know all too well that many compilations-mostly regional-flooded Britannia in those lean years, perhaps my favorite being one entitled Scaling Triangles. It was the first female forward collection I'd come across; three women artists, each tracking three songs. Only The Petticoats I was familiar with as she'd released a 7" ep on her own. The other two-Sole Sister, Sub Verse-seem to start & end here (Sub Verse contributes a track to the 'Compilation 1' lp on Starforce Studios-4th Wall ed). And as such, it is a diverse panorama of 'Le Beau Sexe' flexing wooly muscles. If this is from a particular scene I cannot say, but if you want taunt (Sub Verse), aggro (Petticoats) & free (Sole Sister) moving tracks, look no further. Fans of Young Marble Giants, The Flowers, Udder Milk Decay could do worse. Thank you Johan Klemp, it is so great to hear these songs so many years later. Now reissued on Tanzania's #1 recording label! And don't forget to brush your gums!"—Bupi Ramadhani (Tanzania's #1 acknowledged periodontist, Esnan Dental Center, Dar Es Salaam)

Megamouth is an album that reflects post-pandemic anger. Composed in between 2021 and 2022 and recorded in mid-2023, Megamouth features ten hard-charging tracks dripping with fat-fuzzy guitars, cheeky pumping basslines and furious drumming.
Megamouth consolidates The Clamps’ well-recognizable high-adrenaline energetic sound squeezing rock n’roll, stoner and speedrock into a solid track list that will make you jump on a car, turn the volume up and push the damn gas like a motherfucking drag racer from the seventies. Then you stop at a gasoline station, hail to Lemmy, share a couple of pints with Hellacopters and tell Fu Manchu to pay the bill !!

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...

Pulverizing grindcore meets raging powerviolence perfection. Need we say more? Horrible Mess collects everything Hatred Surge recorded between 2005 and 2007. This is the first time these tracks have been available on vinyl since they were originally released.

Punter hail from Melbourne and their brand of noise is thrillingly intense. They describe themselves as 'a hardcore band described as a rock band', and it's difficult not to fall in love with a statement like that, especially when it so accurately describes their slalom between all-out axe heroics and to-the-point, in-yer-face-and-then-some punk ferocity. From the intro track's snarkily deployed job centre answerphone message ("Just say, 'in Australia, my voice identifies me'"), we're catapulted straight into the wholly-inaccurately-titled A Minute's Silence, which rages like Motörhead gargling bleach in the middle of a circle pit. This is likely the moment where you'll know that your new favourite band is here, and they're absolutely tearing it up. Thrill! To the anthemic hooks and glorious mob shoutalong of Retirement Simulator. Spill! To the guitars piling up like wrecks at a demolition derby on Curfew Eternal. Be fulfilled! By the joy of a very brilliant band being very brilliant at you. This record pulls from a similar formula to their citymates Stiff Richards, but with the ingredients thoroughly fucked about and the proportions changed to the point that any resemblance is minimal at best. By the time the sunny 'ooohs' of A Year's Silence get you thinking of proto-punk UK pub rock, you'll be ready for more power chords propelled by even more diamond-hard energy - Punter offer all this by the bucketload. Get involved, friends. Get the fuck involved right now.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom. The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

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

To kick off the next wave of Templars releases, we bring you La Premiere Croisade. These recordings are from the first time the Templars set foot in a professional recording studio back in 1993. Included are the four songs that would comprise the band's debut Poor Knights Of Acre 7" EP, plus seven additional tracks that have remained unreleased until now. La Premiere Croisade is essentially the Templars' lost first album: their Holy Grail, some might say." Meticulously remixed and remastered from the original multi-track recordings. First pressing limited to 666 copies on black vinyl.

Death Pill, are an all-female hardcore punk power trio of considerable muscle, combining metalcore, punk rock and (like labelmates 'Shooting Daggers') oodles of 'Riot Grrl' vibe. It's significant how many female punk bands are using the stance and attitude of the 'Riot Grrl' movement as a touchstone for what they are about, but it doesn't end there. From the classic punk of Black Flag, The Distillers and Circle Jerks, to modern outfits like Axe Rash and the thrash metal of Nervosa and Exodus, there's a nod to all of this in Death Pill's visceral sound. Full on and fully formed on their self-titled debut album.That aside, what makes this release even more pertinent for us, and the fact that it is happening at all, is that Mariana, Anastasiya and Nataliya are from the Ukraine, who's troubles are well known to all of course. Hard times, but right now there is a real chance to change lives for the better, the victory is still undoubted.So there is hope for sure, and as this album amply demonstrates, plenty of fighting spirit. It's a killer debut.However, producing a 'killer record' under such extraordinary circumstances was a challenge too. Tracking started during Covid and was completed in late 2021, only three tracks were mixed before the war hit. However the band and their production team were able to somehow continue and finished everything including the artwork in 5 months whilst the Russian invasion rolled on. A testament to their drive and single mindedness.Although things are uncertain, the band is still going strong, still together.Death Pill is set for release on the 24th February 2023, perhaps fittingly a year to the day that Russia invaded Ukraine.'Death Pill' will be released on limited edition white with red splatter vinyl housed in a full colour single sleeve with a printed lyric inner. Full download included. There will also be a limited CD version in a 4 panel digipack with a 12 page lyric booklet.

LA’s Sweat are gonna change the landscape of hardcore. Through a blend of contemporary heaviness, classic rock, punk, and other diverse influences, the band represents at once an amalgamation of canon styles and something wholly unique. The perfect blend of ridiculously great riffs, an intensely powerful singer and a rhythm section holding it down with nuance and creativity. All whilst having that special magic on stage that lets you know that these people are friends and care about what they are doing. That they aren’t playing in a band to climb some music industry ladder, but to have fun and sate the deep-seated need for musical catharsis. How often do you hear a hardcore band doing something new? How often do you hear a hardcore band where the members are mature enough to be amazing musicians, but still really fucking angry? How often to you hear a hardcore band that actually have something to say? Sadly, the answer to all of those questions is “rarely” - but Sweat show that it can be fucking done. That they can tick all the boxes and will be your new favorite hardcore band.

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.

No, you really can't say that GIMP FIST have had a 'Losing Streak' since they were founded in 2005, at least as far as their music and the band's success are concerned. However, the world out there doesn't seem to have a particularly bright future these days of war, hatred, racism, social misery or the profit-hungry exploitation of our living space. The 15 new songs on their 11th album 'Losing Streak' are dedicated to this sad development in all its facets from the perspective of the English working class. "Who's gonna help to get this country right on track?" (Born and raised) 'Losing Streak' is bursting with passion, emotion and pure energy and is a bit faster than their last two records. No breathing space, no beating around the bush, but rather a direct line to the wound of deceitful politics and its divided society: "Whatever happened to our community in today's society?" (Community) Resignation is not the answer. The time has come to call things by their name, to stand up to the charlatans in power and to focus on our strengths: "Hey politicians, you devils in disguise, we won't stop until we see the whites in your eyes". The band doesn't stop at their own scene either, with an aggressive declaration of war on the right wing community: "This is our scene and we're taking it back. The sound of the streets for white and for black" ("Less English") The rousing, old school UK skinhead rock'n'roll & street punk sound combined with top notch lyrics by Gimp Fist is authentic and convinces with every chord and every note! The anger is noticeable! As with their previous albums, Gimp Fist, with their unique feeling for exceptional songs, delivers an album that is as reliable as the clock face of Big Ben, convincing from start to finish! It just became "more pissed and angry"! Rightly so, and at exactly the right time! 1. HOW COME 2. COMMUNITY3. LOSING STREAK4. HEAT OF THE STREETS 5. HYPOCRISIS6. LESS ENGLISH 7. SERTRALINE8. BLIND 9. WHITES OF YOUR EYES 10. WASTE OF TIME11. BORN AND RAISED12. SEVENTEEN13. TIME IS UP14. RIGHT ON TRACK 15. SCREAMING

It's always nice to put out something from your hometown. It's even better when that something is this good. Cherry Cheeks is the work of fellow Orlando resident (recently relocated to Portland) Kyle Harms. Started in early 2020, Cherry Cheeks was born out of countless hours stuck in front of a computer screen with a raging pandemic outside. Kyle put his boredom, boiling over anger, and frustration to work and started a new project. He put out a few bandcamp EPS and limited run tapes that a mutual friend back home turned me onto. He also informed me that there was even better stuff that hadn't yet been released. I hit Kyle up, he sent me a few tracks, and boy was my friend right. EGG Punk, Devo-core, Quarantine Punk.. whatever the kids are calling it these days this is 12 tracks of bass driven, pop stained, punk agitation. I'm very proud of this record and am ecstatic to say it is indeed 100% Total Punk!!!!

Naarm / Melbourne, Australia has been churning out reliable punk rock since the likes of The Chosen Few and Rowland S. Howard were kicking about in the late ’70s. Split System are a band that carry on this tradition into the 21st century. Cooked up behind the scenes in the Covid lockdowns, they seemingly came out of nowhere but sounded like they’d been slamming beers to Saints and Radio Birdman records together and playing gigs for many years. Their Vol. 2 is unmistakable Aussie high voltage proto-punk.

In their short time on the scene they have demonstrated a knack for combining muscular street punk with classic rock hooks. Their debut album Vol. 1 and follow up 7-inch were described as ferocious and powerful records with amphetamine swagger. They’re high energy and don’t believe in muddy guitar tones. The band are in their element during their raw live shows. They have shared bills with the likes of Amyl & The Sniffers, Cosmic Psychos, Civic, Bad//Dreems, Hard-Ons, Clamm, Cable Ties & C.O.F.F.I.N.

It's been ten years since No Trigger gifted the world a full length. TEN Goddamn Years. But all that is about to change with the release of 2022's Dr. Album. They're the first sextet on Red Scare (we think?) and the biggest thing to come outta Worcester, MA since Bob Cousy. These guys have played all over the world (Europe, Japan, South America, Austra[1]lia, etc.) and made their name perfecting melodic hardcore, but this new 13-song record has something for everyone. Dynamic indie-punk of all stripes can be heard on Dr. Album, and this doctor has an IV bag of hooks, choruses, melodies, and ferocious lyrics that you'll wanna inject straight into your veins. Side note: Did you know that Emma Goldman opened an ice cream shop in Worcester (aka Wormtown) back in the 1800's? It's true, and Saint Emma would be proud of these scrappy punks and this Left-Wing masterpiece. It may have taken a decade, but No Trigger is relentless, and the band is playing Riot Fest, Punk In Drublic Festival, and shows with The Lawrence Arms in support of these new songs. Onward and upward.