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Bringing together all of the recordings from seminal anarcho puck outfit Stone The Crowz - on stunning White Vinyl! Formed in East London / Essex, a mutual love of Crass and all things anarcho first brought Trevor Speed and Trevor Delasalle together and the band was formed. After several false starts with different musicians they finally found what they were looking for in Steve Beatty drums) and Matthew Sheath bass) and very quickly they had a set and made their live debut supporting The Subhumans. In just under a year the band were in the studio and recorded their first six track demo in 1985, a second demo with a much angrier feel soon followed and racks from both demos ended up on vinyl: Mortarhates We Won't Be Your Fucking Poor, Endangered Musics Relying On Us EP and Punk Lives, Lets Slam released by Slam Records.

clear vinyl. tiny wear. With insert

When Upset The Rhythm released Normil Hawaiians’ lost album ‘Return Of The Ranters’ back in 2015, the band members got back in touch with each other after a 30 year break and starting playing music together again. Out of this the group played a launch show for the album and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO and supporting Richard Dawson in London too. They even recently toured Greece in support of having all three of their renowned exploratory post-punk albums finally back in print.

tiny wear

New album from Swedish stoner crust legends Warcollapse.

A COLLECTION OF RAW, EARLY SINGLES AND B-SIDES FROM 1981 AND COMPILED IN THE MID-90S. TEN TRACKS OF FULL-ON PUNK WITH A COVER OF THE STONES TRACK 'UNDER MY THUMB' THROWN IN.

Dead Kennedy's 'Mutiny On The Bay' Available Again On Vinylmutiny On The Bay Is A Live Album By The Dead Kennedys.The Album Is Not One Consecutive Concert, But Rather Tracks Taken From Various Performances In 1982 And 1986.The Tracks "Police Truck", "Holiday In Cambodia", "Forward To Death", "I Am The Owl" And "Riot" Were Recorded At The Elite Club, San Francisco, On March 20, 1982. "Hellnation", "California Über Alles", "Too Drunk To Fuck" And "This Could Be Anywhere" Were Recorded At The Stone, San Francisco, On February 16, 1986. "Moon Over Marin", "M.T.V. - Get Off The Air" And "Goons Of Hazard" Were Also Recorded At The Stone The Following Day."Kill The Poor" Was Recorded On February 21, 1986, At Freeborn Hall In Davis, California. The Show Is Notable In That It Was The Final Performance Of The Dead Kennedys.

Abrasive Wheels' second studio album, recorded in December 1983 and released in March 1984, produced by Mike (Clay) Stone. Hits like Nineteen, The Prisoner, Christianne and Devil on my Shoulder don't lose their charm even after 40 years, Abrasive Wheels sound better than ever on record.

Los Angeles is the debut album of the American Punk rock band X, released on April 26, 1980. In 2003, the album was ranked number 286 on the Rolling Stone's list of the 500 greatest albums of all time. Los Angeles is considered by many to be one of Punk's all-time finest recordings, and with good reason.

180g vinyl.

Reissue of the classic Australian punk compilation of tracks from 1977-1982. Featuring Bodysnatchers, Skunks, Young Identities, Proles, Public ExecutioN, Press, Thought Criminals, Wrong Kind Of Stone Age, Vacant Lot, Sputniks, Just Urbain, Tactics, Quick And The Dead, Z-Cars, Section Urbane, Rejex, and Chosen FeW.

Home Alone, Retarded hailed from Voghera, Italy, and debuted in 1998 with three singles and this self titled lp of pure Ramones-inspired madness, reissued on vinyl after 25 years. One of the best Italian punk albums of the 90’s, according to Rolling Stone Magazine. One bonus track, double sided insert included.

The donkeys are back again! After a mandatory break due to the pandemic the trio SENDESCHLUSS from Neunburg is back with huge fireworks. Not only live on stage but also with their third longplayer ,In the Sign of Esel" in the trunks. Our baby includes 16 tracks and is the musical quintessence of over 7 years of SENDESCHLUSS by now! Easy and melodic punkrock songs to dance and sing along to, uncompromising crushers with hardcore attitude and contrast titles with influences of ska, stoner rock or funk. From skinheads to metalheads, from punks to rock'n'roll-grandpas and from hardcore-kids to the nerds from the last row - This record brings something for everyone. Always with the slogan ,Against bad entertainment - Against dry throats - Against intolerance". In the Sign of Esel!

The B-Sides features 11 tracks recorded between 2008 and 2011 by The Gaslight Anthem. The Side One Dummy Records release includes the studio track “She Loves You,” rare acoustic takes on some of the bands’ biggest songs, an inspired version of The Rolling Stones’ “Tumbling Dice,” sparse covers of songs by Fake Problems and Lightning Dust, a ripping live version of “State of Love and Trust” and more! Vinyl also comes with a digital download code.

Deluxe 20th anniversary 2xLP edition of dorkrorckcorkrod.

Includes 2024 remaster by Justin Perkins and 20th anniversary remix by Steve Albini.

Extensive oral history of dorkrockcorkrod by Mike Faloon.

In 2017 Rolling Stone listed the album as #34 on their "50 Greatest Pop-Punk Albums" list.

"The three-song suite of "Most Violent Rap Group," "Pray For Rain," and "Saturday Night Crap-O-Rama" may be one of the best triple plays in all of rock music, let alone pop-punk" - The A.V. Club

The live album originally peaked at #22 in the UK Top 40 Album Chart in 1980 and also spent an entire year in the Independent Album Chart, earning a Silver sales certification.

The recorded gig took place on 17 June 1980 at the legendary Club Lafayette, Wolverhampton where Sex Pistols, Led Zeppelin and Stevie Wonder all performed. The gig was recorded on the Rolling Stones’ Mobile Recording Unit and has been remastered from the original master tapes by Nick Watson.

This neon yellow vinyl edition comes with a new inner bag with rare and unseen imagery.

Self Obliteration is defined as any behavior that is harmful or potentially harmful towards the person who engages in the behavior. It is also applied to the potential at a communal or global level for the entire human race to destroy itself through the technological choices made by society and their possible consequences. Keeping that in mind and applying that knowledge toward writing fucked up hardcore you can start to see into the world of Sect Mark with all its darkness and anger being the driving forces. There is no beauty left in that world, no light. And in that world this is pure poetry: “Eat the broken stones, the old picutres of the churches; the pebbles of gone floods, loaves scattered in the gray valleys.”

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 !!

Green Day is one of the most successful bands in the world and named best punk rock band of all time by Rolling Stone. Emerging in the early 90’s, influenced by the late 70’s British punk, the American trio took a more mainstream turn by incorporating catchy hooks and harmonies into their loud, energetic sound. They popularized punk rock in the US to the point of selling out stadiums, especially after the release of “Dookie” in 1994 which sold 15 million copies woldwide. The singles “Basket Case” and “When I Come Around” spent weeks on top of the the American modern rock charts. All the classics are present on this excellent live recording.

You guessed it, Retarded are back with a new album titled "Same As The First", that literally brings back the formula of their first release. Ramones-core to the max, from Italy's Ramones-core pioneers. Produced, mixed and mastered by the legendary Mass Giorgini (Rise Against, Alkaline Trio, Screeching Weasel, Riverdales, Queers, Squirtgun, Common Rider, and more). Risen from the ashes of 90’s pioneering pop punkers Home Alone, Retarded hailed from Voghera, Italy, and debuted in 1998 with three singles and a self titled LP of pure Ramones-inspired madness: one of the best Italian punk albums of the 90’s, according to Rolling Stone Magazine.

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 !!

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 !!

Neo-Mod act the Carpettes began as a Stones-influenced school band, formed in the small northeast Norman town of Houghton-le-Spring in the mid-l97Os, the trio of frontman Neil Thompson, bassist George Maddison, and drummer Kevin Heard shifting to punk before signing to Small Wonder as a Mod revival act. By the time they joined the Beggar’s Banquet roster in 1978, Heard was replaced by Tim Wilder (with Simon Smith of the Merton Parkas briefly in the fold). Sophomore album Fight Amongst Yourselves is arguably their best, the appealing material ranging from the socially-relevant power-pop of the title track and the pop-punk of ‘The Reason I’m Lonely’ to the reggae cadences of ‘The Last Lone Ranger’.

Prolific outsider artist Andrew G. Thomson - aka AyGeeTee - brings his unique sonic language to Kit Records, with a frenetic peep into a sprawling archive of unreleased work.
About You mutates through elastic synthesis, torporific loops, dislocated percussion and the splattered voices of AyGeeTee's backing group, The Actress Pets.
What begins life as a dervish of repurposed instrumental fragments ('Today's W'), ghosts into mantric pop irreverence ('Troubled Dinghy'), burnished orbits of guitar ('Sweetness One') and shuddering avant rap atmospheres ('Raiders').
Recommended if you like Carl Stone, Odd Nosdam, Shit and Shine.
About You is pressed to a very limited run of 50 tapes, with artwork by Andrew.

Over ten songs and 30 minutes, Bokassa is as diverse as ever on their new full length “All Out of Dreams”. The power trio offers everything from riffy stoner metal in "Bradford Death Squadron", almost progressive skatepunk in "No More Good Days", 45 seconds of metallic hardcore in "Everyone Fails In The End" to laid-back Izzy Stradlin bottle neck-riffing on the desert rocker “Gung Ho”. Not to mention the hooky and anthemic title track. In other words, the band has not become less fond of mixing genres over the years! In an age where everything sounds the same, it has also always been important to Bokassa that each record is sonically different from the previous one. Therefore, they have been very conscious of how this record should sound. Where, for example, the debut "Divide & Conquer" had a noisy soundscape and 2021's "Molotov Rocktail" had a more playful and bigger rock sound, "All Out Of Dreams" has a slightly more raw metallic sound. This can clearly be seen in the conscious choice to go for a snare drum sound that brings to mind 90s metal, rock and punk ala Clutch, Helmet, Therapy? or The Vandals' "Live Fast Diarrhea”, too name a few. The album was recorded, mixed and mastered by Tue Madsen (Meshuggah, BabyMetal, Madball, Sick Of It All, The Haunted) in Antfarm Studio in Denmark in June 2022. The band also has guest artists for the first time, in the form of Lou Koller from the Nyhc legends Sick Of It All and Aaron Beam from the stoner rockers Red Fang. It doesn't get much better when it comes to famous guests on an album, if you ask us!

Over ten songs and 30 minutes, Bokassa is as diverse as ever on their new full length “All Out of Dreams”. The power trio offers everything from riffy stoner metal in "Bradford Death Squadron", almost progressive skatepunk in "No More Good Days", 45 seconds of metallic hardcore in "Everyone Fails In The End" to laid-back Izzy Stradlin bottle neck-riffing on the desert rocker “Gung Ho”. Not to mention the hooky and anthemic title track. In other words, the band has not become less fond of mixing genres over the years! In an age where everything sounds the same, it has also always been important to Bokassa that each record is sonically different from the previous one. Therefore, they have been very conscious of how this record should sound. Where, for example, the debut "Divide & Conquer" had a noisy soundscape and 2021's "Molotov Rocktail" had a more playful and bigger rock sound, "All Out Of Dreams" has a slightly more raw metallic sound. This can clearly be seen in the conscious choice to go for a snare drum sound that brings to mind 90s metal, rock and punk ala Clutch, Helmet, Therapy? or The Vandals' "Live Fast Diarrhea”, too name a few. The album was recorded, mixed and mastered by Tue Madsen (Meshuggah, BabyMetal, Madball, Sick Of It All, The Haunted) in Antfarm Studio in Denmark in June 2022. The band also has guest artists for the first time, in the form of Lou Koller from the Nyhc legends Sick Of It All and Aaron Beam from the stoner rockers Red Fang. It doesn't get much better when it comes to famous guests on an album, if you ask us!

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.

1st press

1st press

2024 will be the 50th Anniversary of Radio Birdman. To celebrate that milestone, Citadel is pleased to announce the recutting / repressing of all their albums. Radios Appear was Radio Birdman's first full length album. Recorded piecemeal over 1976 and early 1977, on weekends and nights when their home base (Trafalgar Studios Sydney) had no paying customers, it was finally released on the Trafalgar label, created specifically to release their records. In addition to mail order, the album was literally distributed by hand and out of the back of cars. The band thus wrote the Australian handbook on DIY independent music. It was hailed as a breakthrough album in Australian music, a turning point after the scene's early and mid seventies stagnation. Radios Appear was given a 5 star review in Rolling Stone, and the album gave the band a needed boost to depart Sydney as a national touring entity, while still maintaining their renegade status

This is the sixth studio album by American metalcore band Every Time I Die. Buffalo's magnificently brutal metallic punk ensemble Every Time I Die have unleashed their brand new album titled Ex Lives. The new album was produced by renowned heavy rock producer Joe Baressi (The Melvins, Queens of the Stone Age, Parkway Drive) and offers an unrelenting onslaught of ingeniously composed and furiously executed cathartic hardcore. This is the band's highly anticipated follow up to 2009's raging masterwork New Junk Aesthetic which Absolute Punk heralded as a musical "weapon of mass destruction" and Allmusic.com described as "the group further refining its signature approach with a new sonic clarity - energized and passionate, delivering its blend of old and new sounds with a directness that gives the ferocious music an unusually broad appeal."

After their last EP "...was it six or five shots?" in summer 2019, RULES from Zagreb now put out 4 more brandnew songs on this split release! They stick with their dirty rocking HC/Punks-sound, though this time the songs are slightly more influenced by stoner and noise-rock. Recorded and mixed on a 4-track recorder by Goran Lautar of NEON LIES and MODERN DELUSION who also helped bands such as DEATH ROW GROUPIES, INDIKATOR B and CELETOIDS to sound amazing on their records.

ANTISOCIAL SKILLS from Prague released their first self-titled 7" in 2017. Their sound is more in the vein of 80ies influenced midtempo HC/Punk with somewhat rocking elements. They added 10 songs to this record whose lyrics reflect on the solitude and hopelessness in modern society.

The Split LP is limited to 300 copies on black vinyl

By the early 80s punk had become something else compared to what it was when Year Zero stabbed a flag in the sand and established ‘War!’ on boredom and normality. You could argue that in 1982 when Endangered Species arrived...UK Subs were very much that. The vanguard of the second wave. A crucial nook in the subculture. Still alive. Still kicking. Still prowling around the town with their best point yet to be proven. From Ambition, essentially an annihilated bluegrass-skank version of the Stones’ Satisfaction, to Indie Chart hit single Countdown and the atomic sonics of a post punk dub attack in Ice Age, all blistering guitar razors that chime against the night as well as chew it up, it's easy to see both why Charlie Harper considers the group's fifth LP to be their strongest and Guns ‘n’ Roses covered Down on the Farm.

In 1977 this classic punk album had a sound flaw and wasn"t heard properly until it was recompiled in 1994 - after both former New York Dolls Johnny Thunders and Jerry Nolan had died. Now songs like Born to Lose and Chinese Rocks are acclaimed as punk anthems. The album was remastered and repackaged in 2017 to celebrate its 40th anniversary, but has only ever been in black vinyl since then. "That "L.A.M.F.", the only studio album by Johnny Thunders" swaggering, smacked-up post New York Dolls outfit, The Heartbreakers, is one of New York punk"s defining artefacts (despite being recorded in Britain), is beyond dispute. 12 songs that put the guitarist"s abiding passions - Chuck Berry, The Rolling Stones, Phil Spector and Shadow Morton girl groups, glam, garage, trash and junk - in perfect, speedy collision." - Damien Love, Uncut mag, 9/10.

The Pointed Sticks were formed in early 1978 and quickly became a big part of the underground punk / new wave scene in Vancouver, Canada, gigging with bands like D.O.A., the Subhumans and the Dishrags—they had a fun, quirky style that they combined with pure pop genius.

Their first single, “What Do You Want Me To Do / Somebody’s Mom,” was released in 1978 by the newly formed Quintessence Records. It quickly took off and led to the follow up “Real Thing / Out of Luck” single on Quintessence as well.

On the momentum of these instant pop classics, the band started touring up and down the west coast of North America, the crowds grew, and so did the press coverage. In 1980 the Pointed Sticks signed to Stiff Records and flew to England to record an album. Through bad luck and bad production, the album was never released (the Bob Rock production of the Perfect Youth album came out on Sudden Death in 1981).

Throughout their short career, 1978-1981, the band produced three singles and a multitude of demos and TV and radio recordings. The best of these have been melded together by Davie Wiese and Chris Cutress (producer of the fabulous Vancouver Complication album) into Waiting For The Real Thing.

On this compilation one gets to hear one of the very best bands of that great musical era at their most inspirational stage.

Sudden Death is excited to announce the release of the D.O.A. album 1978. It’s a 21-track collection of never released demos, rare tracks and early singles from Canada’s punk pioneers. Joey Shithead went deep into the vault and came up with some super exciting and raw punk rock.

Canada's punk rock legends DOA release their twelfth album Northern Avenger on Sudden Death Records. Led by Canada's punk rock godfather JOE SHIT KEITHLEY, Northern Avenger is a bone-rattling combo of anthemic punk, intense riffs, politics and a good dose of humor—just what you want from a DOA album. The album was produced by BOB ROCK (Mettalica, Offspring, Motley Crue, Pointed Sticks) and JAMEY KOCH (Copyright).

There really isn’t much you can do to prepare yourself for something as profound as Burnt Envelope. Punk this “pure” has to be fake these days, or does it? We stumbled upon this band (or is it high concept performance art?) the old fashioned way, on a podcast while being quarantined for a global pandemic, and its charm and impressively brazen lack of luster wiggled its way deep inside the Hozac brain trust, big time. Starring the eternally optimistic Anthony Pasquarosa (formerly of Weeping Bong Band, Frozen Corn, Gluebag, etc), the Burnt Envelope concept is very easy to swallow, and impossible not to immediately heave back up. If there was a “ballet” for sloptastic stoner-sweat exercise routines, this would be the Swan Lake. And Burnt Envelope would probably end up drowning in that lake, because you, my dear, are indeed “Stuck in this World.” If you’ve been curious about Ancestry.com and the like, “23 and Me” will be the song that gets you through the rest of 2023 with a spring in your step, a smile on your face, and a shot in your eye. “I’m A Chameleon Parts 1&2” are some of the most ambitious tracks ever released on this label, a seriously hypnotic soured mash of “Sister Ray” and Randy Savage/Mean Gene Okerlundisms that will cast a heavy spell, only to crack your wits out with a Maggots-esque “Nothing To Do” that will leave you dizzy and drooling. Set up as singles across the dehumanizing entire LP, every two tracks is in essence a “single” and quickly sears your fingers/toes and brain/ass simultaneously. Burnt Envelope is the modern national treasure you never knew we had, a brilliant barrage of slop punk perfection and black humor that shows we’ve still got a long way to go with “evolution,” and a nasty reminder of the beauty of a perfectly fried guitar solo. Will this immaturity get old any time soon? Not as long as baby shit stinks it won’t, and this incredible LP will give you the courage you need to tackle tomorrow’s hurdles, at least in your brain. Don’t worry, we won’t let many people get copies of this, we promise. People in stone houses shouldn’t thrown glass as it just gets everywhere, and it’s a huge mess to clean up….

When THE Release OF Various Junk Shop Glam Compilations Created AN Ever Growing Demand FOR Those Great Lost Nuggets OF THE Glitter ERA IT Didn´t Come AS A BIG Surprise That IN THE Wake NEO Glam Bands Started TO Rise. Giuda Paved THE WAY, FAZ Waltz Come TO Mind BUT Then THE WAS Little More, WAS There? BUT Wait! Since THE Days OF Rodney Bingenheimers English Disco LOS Angeles HAS Always Been THE Epicentre OF Glam IN America. While Glam NEver Made IT BIG IN THE U.S., IT Nonetheless NEver Completely Disappeared. Glam Aficionados Kept ON Deejaying Their OWN Shows TO A Small Circle OF Committed Supporters. Enter Noah Wallace. TO SAY Noah Knows A BIT About Junk Shop Glam Would BE THE Understate-ment OF THE Year! Ever Since HE DiscoVERED THE Milk´n´cookies Album HE NOT Only Build UP THE Most Comprehensive Collection OF Junk Shop Glam Obscurities, HE Also HAS THE Deepest Understanding OF ALL Facets OF THE Genre, HE Lives IT, HE Breezes IT! SO Putting Together HIS OWN Band IN 2010 WAS A Logical Step. HE Named IT: Hammered Satin. IN 2012 Hammered Satin ReleaseD A Very Limited Tape Which Brought Them TO THE Attention OF Burger Records, AND 2014 Gave Birth TO Their Great First Album GlamORAMA. Oddly Enough THE Album – Which IS EN PAR With THE Very Best NEO Glam YOU CAN Think OF! – Failed TO Make AN Impact IN Europe. IT WAS NOT Distributed Here AND TO This Very DAY A Copy OF THE Original IS NOT Easy TO Locate. TOO Great TO BE Ignored I Came TO THE Decision That Europe Needed This Record! SO When Noah Agreed I Started TO Work ON A Reissue AND Finally… Here IT IS!!! Hammered Satin ARE Still Going Strong AND Have Added Ex-germs Drummer DON Bolles TO THE Line UP!

When THE Release OF Various Junk Shop Glam Compilations Created AN Ever Growing Demand FOR Those Great Lost Nuggets OF THE Glitter ERA IT Didn´t Come AS A BIG Surprise That IN THE Wake NEO Glam Bands Started TO Rise. Giuda Paved THE WAY, FAZ Waltz Come TO Mind BUT Then THE WAS Little More, WAS There? BUT Wait! Since THE Days OF Rodney Bingenheimers English Disco LOS Angeles HAS Always Been THE Epicentre OF Glam IN America. While Glam NEver Made IT BIG IN THE U.S., IT Nonetheless NEver Completely Disappeared. Glam Aficionados Kept ON Deejaying Their OWN Shows TO A Small Circle OF Committed Supporters. Enter Noah Wallace. TO SAY Noah Knows A BIT About Junk Shop Glam Would BE THE Understate-ment OF THE Year! Ever Since HE DiscoVERED THE Milk´n´cookies Album HE NOT Only Build UP THE Most Comprehensive Collection OF Junk Shop Glam Obscurities, HE Also HAS THE Deepest Understanding OF ALL Facets OF THE Genre, HE Lives IT, HE Breezes IT! SO Putting Together HIS OWN Band IN 2010 WAS A Logical Step. HE Named IT: Hammered Satin. IN 2012 Hammered Satin ReleaseD A Very Limited Tape Which Brought Them TO THE Attention OF Burger Records, AND 2014 Gave Birth TO Their Great First Album GlamORAMA. Oddly Enough THE Album – Which IS EN PAR With THE Very Best NEO Glam YOU CAN Think OF! – Failed TO Make AN Impact IN Europe. IT WAS NOT Distributed Here AND TO This Very DAY A Copy OF THE Original IS NOT Easy TO Locate. TOO Great TO BE Ignored I Came TO THE Decision That Europe Needed This Record! SO When Noah Agreed I Started TO Work ON A Reissue AND Finally… Here IT IS!!! Hammered Satin ARE Still Going Strong AND Have Added Ex-germs Drummer DON Bolles TO THE Line UP!

Originally released in 2008, Machine 15, celebrates it"s 15th anniversary with a long awaited vinyl repress, remastered for vinyl by Dan Swanö. With an impressive string of releases behind them, nearly two million records sold worldwide and having shared stages with the likes of Blink 182, the Foo Fighters and Queens of the Stone Age, the Orebro based quartet of vocalist/bassist Nikola Sarcevic, guitarists Erik Ohlsson and Mathias Farm and drummer Fredrik Larzon show that they are on top of their game. While upholding the classic Millencolin sound, they chose to diversify, evolve and progress on the new album The explosive result is pop infused punk at its all-time best with driving beats, anthemic choruses and irresistible melodies that prove the band is back to kick ass and take names. For Machine 15, Millencolin re-teamed with producer Lou Giordano (Sugar, Taking Back Sunday, Plain White T"s), who previously worked with the band on 2003"s Home From Home. "We wanted the kind of crisp sound that Lou is notorious for. Plus we have a great chemistry with him," guitarist Erik Ohlsson adds.

Slovenly’s first ever split 7-inch is finally here, a mere 250-some releases after kicking shit off back in the stone age of the 20th century, and this nasty platter is geared with an ungodly racket from two of our very favorite purveyors of supersonic catastrophe! From Venice, Italy, our squid ink pasta slurping pal who sometimes goes by the name Wasted Pido when striking out on his own trash rock excursions, rounds up his wee crew Destroy ALL Gondolas for their side “Death By Hamburger,” and we promise you it sounds as dumb as it sounds. Kobe, Japan youth gone mad Gutara KYO —the stars of our 200th release, the self-titled 10” with a big hole that shocked the world stupid in 2017—are back with two tracks in which they attempt to destroy Destroy All Gondolas for the most epic clash of the titans since Godzilla versus Megalon. Which mob will emerge victorious? All we know for certain is without this record on your hi-fi, the only loser is YOU.

Crawl disc:

By the time the Hyenas went back into the studio, Kevin Strickland and Jim Kimball had left to form Mule and had left John and Larissa without a rhythm section. Many people thought this marked the end of the band. Not the case. Todd Swalla (founding member of Necros) stepped in on drums and Kevin Ries on bass. Todd is a much more subtle timekeeper than Jim and Ries had no problem locking in with him, but stayed in the background a little more than Strickland leaving Larissa to take up a little more of the slack. She rises to the occasion, her leads a bit more melodic than before, although still blanketed in a sheet of noise. Brannon's anguished vocals will still peel the paint of the walls and over the new slightly toned down direction, somehow seem even more extreme.

Crawl is notably the only of the Hyenas records recorded in Detroit at White Room Studios.

Bonus material
All tracks from the Covers ''bootleg'' 7'', featuring:
''Solid Gold Hell'' (Scientists)
''I Want You Right Now'' (MC5)
''Under My Thumb'' (Stones)
''Serves Me Right To Suffer'' (JL Hooker)

Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
Unseen photos and flyer reprints

Hard Times disc:

This album saw one more line up change: Kevin Ries left and one time Necros Ron Sakowski stepped in, the Hyenas went down to Memphis to the legendary Easley Studios to record their final LP with the one and only Doug Easley. On Hard Times, we see the Hyenas influences are more Howlin' Wolf/Muddy Waters than they are Nick Cave/Iggy Pop. The full-on sonic assault of the first three records has given way to a hard hitting groove that has a graceful Exile-era Stones vibe. Larissa's simple and one-of-a-kind guitar playing has never been better. Brannon does more crooning than screaming on this one, giving us their most ''musical'' offering yet. Every bit as emotionally ruthless as their previous releases, the Laughing Hyenas went out on a high note with Hard Times.

Bonus material
''Shine'' - from the Jabberjaw compilation

* Released in partnership with Touch and Go Records
* Liner notes by Bob Bert (Sonic Youth, Pussy Galore, Chrome Cranks) and Allyson Baker (Dirty Ghosts, Teen Crud Combo)
* Includes unseen photos and flyer reprints

Reverse Board Matte LP jacket, standard weight vinyl, full color inserts and printed inner sleeves

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

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

The inspiration for the ScorpKlub project was to create unique works, using the remarkable collection of Toulon Art Museum's as a palette, through a multidisciplinary exchange of sound and moving image. Hifiklub responded in music to the digital collages created by James Kerr, who mischievously altered twenty artworks ranging from the 15th to the beginning of the 20th century, from the museum's permanent collection. The work of assembling the visuals took place in James Kerr's studio in Montreal, whereas the musical component to the project was created in two stages: - The first recording session took place at the end of January 2021 at Coxinhell studio in Saint-Aygulf, with Iggor Cavalera (MixHell, Cavalera Conspiracy, Pet Brick, co-founder of Sepultura) recording remotely. This session resulted in ten original compositions, to which Kerr animated his videos to. - The second stage of Hifiklub took place in Toulon on July 2 and 3, 2021 during the Murex Festival, with the remote participation of Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven). This session of sound research and recording was done in front of a live audience, to which the music was created in response to ten premade animations created by Kerr. ScorpKlub I & II will be broadcasted in 2022 on the internet in the form of two seasons: one with Iggor Cavalera + one with Alain Johannes.

The inspiration for the ScorpKlub project was to create unique works, using the remarkable collection of Toulon Art Museum's as a palette, through a multidisciplinary exchange of sound and moving image. Hifiklub responded in music to the digital collages created by James Kerr, who mischievously altered twenty artworks ranging from the 15th to the beginning of the 20th century, from the museum's permanent collection. The work of assembling the visuals took place in James Kerr's studio in Montreal, whereas the musical component to the project was created in two stages: - The first recording session took place at the end of January 2021 at Coxinhell studio in Saint-Aygulf, with Iggor Cavalera (MixHell, Cavalera Conspiracy, Pet Brick, co-founder of Sepultura) recording remotely. This session resulted in ten original compositions, to which Kerr animated his videos to. - The second stage of Hifiklub took place in Toulon on July 2 and 3, 2021 during the Murex Festival, with the remote participation of Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven). This session of sound research and recording was done in front of a live audience, to which the music was created in response to ten premade animations created by Kerr. ScorpKlub I & II will be broadcasted in 2022 on the internet in the form of two seasons: one with Iggor Cavalera + one with Alain Johannes.

Poontang Twang, Cosmo J., David Kossoff, and Nigel Partridge make up the band Cosmo Jimmy. This foursome hails from a town that has a beaver for the town mascot named Seymour Of Hamilton. The album was recorded at Songgram studios in early 1987, produced by Tommy Marolda (The Toms, Richie Sambora, Smithereens). Members of Cosmo Jimmy played the local Jersey circuit when they decided to record their song “Batteries Not Included” for a movie soundtrack project, but the movie was never released. The song became a single for the new Scorpio Records label. The 12 track album was then green lighted to be recorded with song influences ranging from XTC to the Rolling Stones. Using analog recording equipment including Tascam 16 track DBX recorder, Tascam 24 track mixing board, Hammond B-3, Magnatone and Vox guitar amps, Yamaha Baby Grand Piano, Gibson and Fender guitars and bass, Hohner Harmonica, Vibraphone and Ludwig Drums, the album was recorded within a two week period.

Under That Dress was scheduled for release on Scorpio Records - and despite making it all the way to test pressings, the album never saw the light of day. 36 years later, Feel It Records (responsible for recent reissues of Marolda's late-70's recordings as the Toms) is proud to issue the Cosmo Jimmy album for the first time ever.

Jayne/Wayne County's most audacious album is also possibly among the most important albums of its age. Released in 1979 just as the new wave was teetering on the brink of some kind of bold step forward, Things Your Mother Never Told You was one of the sudden shoves which sent it sprawling into its destiny. Electro-punk starts here. Producer David Cunningham takes only a portion of the credit; in years to come he would lead the Flying Lizards into the realm of heavily stylized electronica. But County's songs match his ambitions all the way, from the harsh, grating soundscapes behind "C3"'s muttered imprecations to the soft-spoken paranoia of "Waiting for the Marines," and onto "Berlin," the song that put into words everything David Bowie (among others) tried to convey about that city via image and insinuation. It's not all electro-art smarts, of course. "Boy With the Stolen Face" and the pouting, punishing "Wonder Woman" are archetypal Electric Chairs - a reminder of how, at the band's very best, they could run the Rolling Stones close in the swaggering rock & roller stakes - and the murder mystery "Wall City Girl" could have fallen off a forgotten volume of Nuggets or Pebbles. The title track, meanwhile, doesn't simply seethe with all the promise -- sexual, social, and societal -- which made County the superstar (s)he so very nearly was, it also lets listeners know why no one has ever truly snatched that crown away. (All Music)

The Raging Nathans Are Back With A Brand New Lp And They Have Stepped It Up In Every Way: Punk-Er, Catchier, Better.The Raging Nathans Are Back With A Brand New Lp Less Than A Year After Their Last Full Length Album And They Have Stepped It Up In Every Way. "Waste My Heart" Is The Bands 4th Studio Album And It Sees A Major Development In The Bands Songwriting. Their Ability To Write 1 Minute And 30 Second Punk Rock Rippers With Anthemic Choruses Is Now Highlighted By Their Penchant For Writing Slightly Longer And More Complex Songs That Blend Intricate Guitar Work With The Honest And Introspective Lyrics That They Have Come To Be Known For, All While Making It Look Easy. New Themes For The Band Collide With Familiar Ones Including Poverty, Politics, Love And Hate. The Drumming Is Tight, The Bass Is Always In Your Face, The Music Is Relatable, And Clearly Having A Solid Line Up For Several Years Has Done The Band Good. Drawing On Influences From Everyone From The Buzzcocks To H20, The Evolution Of The Raging Nathans Is On Full Display On This Record. The Bands Longtime Songwriters Josh Goldman And Nick Hamby Collaborative Efforts Really Shine On "Waste My Heart". Tireless In Their Work And Efforts, They Have Proved Their Importance As A Band To Their Peers And To Themselves Every Step Of The Way. They Are Prolific, Unapologetic And "Waste My Heart" Cements Their Legacy In Stone As The Worlds Last Great Punk Band. Every Record They Have Released Topped The One Before It And "Waste My Heart" Is No Exception. The Record Was Recorded By Luke Mcneil (The Copyrights, Hospital Job) And Was Mastered By Stephen Egerton (All, Descendents). Ffo: Early Propaghandi, Bad Religion, The Ramones

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.

“It's a devastating debut...this album has struck me with a vengeance. Because it delivers such a powerful, complex and open-ended punch, it's almost impossible at such an early stage to explain why or how in full detail.” Melody Maker. / “I would be willing to sit down and argue that modern-day rock ‘n’ roll reached its peak in 1978 with Pere Ubu’s The Modern Dance and has declined ever since." Rolling Stone / “Peru Ubu’s full length debut fancies itself a fusion of musique concrete and The Stooges. Shrill and ugly it crystallises their original version of industrial rock” Uncut / ‘The Modern Dance’ is the first studio release from Pere Ubu set for reissue on Fire Records in August, 2015. Following their self-released first singles on Hearpen Records, the uncompromising complex debut has continuously stirred critics. Today the record is still as direct and powerful as it was first heard. Exploding onto the scene with a handful of releases behind them, Pere Ubu’s ‘The Modern Dance’ stunned the music world and quickly began appearing on ‘Most Influential’ album lists. Pere Ubu originally formed as a studio project drawing on a body of musicians who were involved in the Cleveland underground music scene that had, by August 1975, seemingly run its course. The main objective of the band at that time was to document their work and then disappear. Luckily for us they were on the cusp of changing the face of rock forever. For this reworking, Paul Hamann at Suma has transferred from the original 2-track analogue mix tapes to digital at the highest resolution available which, is at least four times the resolution of the original. The tracks have carefully been re-mastered by sonic architect Brian Pyle so as to capture the unique qualities within.

"Old City, New Ruins" takes its title from Rome, the city where the band is based. It depicts the contemporary ruins of the capital, yet it's merely a pretext to expose the complexities of everyday life common to Western societies and their major cities, foremost among them. The album unfolds episode by episode, driven by the need to express anger and frustration, but also the antidotes to them. Social references abound, as well as intimate reflections and even profound investigations into the psychoses of the marginalized and abandoned. It tells the story of collective strength, musically expressed through a choral quality that runs deep in the band."Old City, New Ruins" is a unique hardcore album, inspired both by emerging currents of the genre - such as Comeback Kid, Turnstile, Trapped Under Ice - and by the European and Northern European heavy tradition - like Kvelertak, Turbonegro - to the pantheon of influences of Feldspar: Nirvana, Motorhead, Gorilla Biscuits, Slayer and everything in between. The album consists of ten songs, with bellicose episodes alternating with cathartic moments, explosions of energy accompanied by timeless slogans, songs for celebration and songs for war, moments for reflection, and others for denunciation. All of this alternates within the ten tracks preceding the instrumental that gives the album its title, also the final track of the record, a sort of Carpenteresque ballad that serves as the soundtrack to visualize the marvelous and creepy ruins Feldspar speaks of. Production note: for the album, Feldspar worked alongside Nick Terry, a legendary figure in the English music scene, known for his productions with Ian Brown/Stone Roses, The Libertines, Turbonegro, Simian Mobile Disco, Kvelertak, Peaches, and more. His involvement adds international depth to the project. The artwork was entrusted to Chris Wilson, an American illustrator renowned for his work on covers for bands like MindForce, Scowl, Combust, and Gel, essentially the cream of the crop of contemporary American hardcore.

When The Steves' two extremely limited (maybe 100-200 of each?) EPs were released back in 1980 and '81 respectively, the squares around Harvard's newsroom were aghast at the audacity of this group. Having the stones to release such crudely-rhythmic, near mechanical and downright terse tunes in the day's often long winded prog rockin' ballad heavy radio reality that were too robotic to be “punk” and too unruly to be anything but was, to say the least, a bold move. Sure to cause an uproar in the halls, protests in the classroom and uninvited dancing in the streets! In the annals of New England's rock journalism, there is not a mountain of coverage on The Steves, certainly not as much as the Alan Parsons Project or Aerosmith, but the fact remains that they were a fully charged powder keg of raw energy and new musical direction that seemed to elude most of the world back then. Not to say they didn't get any light shone on them, they did get a fair amount of airplay on the college stations around Boston and even appeared on the cover of Boston Rock magazine. It is Iron Lung Records' distinct pleasure to offer the modern world a new chance to discover the ever vital and effervescent music of The Steves' initial EPs along with a third EP of songs never released on vinyl until now that were recorded at the time or shortly after the initial sessions. A true synth-punk/KBD treasure. Obscurity is for suckers. Let's get shakin'! 700 copies of each EP on black 70gr vinyl housed in a 12pt reverse board glue pocket sleeve with faithful reproductions of the original art. Originally produced by V. Ray, Darlene Wilson and The Steves. Remastered by John Golden in 2023. These reissues are dedicated to Steve Arey, a great drummer and the original steve.

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it." The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs." Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit. For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

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

Last House is the third album from Sacramento’s Th’ Losin Streaks. The album was recorded at Louder Studios in Grass Valley, California, with Tim Green behind the board. Green played piano on several tracks, and Anton Barbeau—a friend of the band since the beginning—plays organ on some cuts. All of the band members—Tim Foster, Stan Tindall, Mike Farrell and Brian Machado—contributed to the songwriting, and the album also features a cover of The Weeds classic “It’s Your Time.” The album cover and other photos were shot by their pal (and Bay Area punk legend) Al Sobrante. "This album is about true love and good times. And bad decisions. It’s about breaking down. It’s about coming apart. It’s about sleeping rough. It’s about Dyer Lane. It’s about shaking it til you make it. It’s about EKO, Silvertone and Supro, Vox (Super Continental) and the Hohner Marine Band. It’s about 2” tape. It’s about the plague, and politics, and war or hands of time. It’s about the ice cream man after the apocalypse. It’s a trans-world punk rave up. It’s about Link Wray, The Sonics and the Downliners Sect. It’s about The Rolling Stones covering Sam Cooke. It’s about Folk Rock. It was about time slipping away (but it’s not now). It’s about bullshit. It’s about being too late, always too late. It’s about getting old. It’s about those who never will. It’s about the person you dream about but never get. It’s about nothing in this world. It’s about surviving T-Minus self-destruction. And about the other side."

“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

This is Gianni and Erika third album, after two works released by Voodoo Rhythm Records and produced by Jim Diamond, musician and producer for two iconic bands from Detroit, The Dirtbombs and The White Stripes. The record features former Screaming Trees vocalist - and acclaimed solo artist - Mark Lanegan and Chilean multi-instrumentalist Alain Johannes (Queens Of The Stone Age, Spinnerette, Ten Commandos, The Desert Sessions). “The title track of the new album was born during our last day of re-cordings” - says Gianni Blacula and Switchblade Erika.. “Alain is an enthusiast of strings instruments, and on the last day he arrived at the studio with a Neapolitan mandola he bought in the historical centre of Naples. We were astonished about how a traditional instrument as the mandola can get a rock sound, so we followed up went to the recording room. Alain at the mandola and vocals and us on guitar and drums. There was suddenly the right atmosphere that to Alain reminded “ the Desert Sessions” , so much that the song came out at the first take. Then Alain wrote the lyrics and the last line “Beast Must Regret Nothing” affected us , we have chosen it as the title of the album because it totally reflects his mood, and it does taste of Devils!” Gianni and Erika got in touch with Alain for the first time in September 2019, during a Spanish tour, while they were looking for inspirations for their new record. In the same moment Alain was on a European tour which ended in Italy. The collaboration was born in a spontaneous way, for a mutual esteem between the Devils and the famous producer and musician. The album have been recorded in Naples, Italy, with a two weeks session in a historic studio equipped with a large tracking room with truly unique acoustics. Alain actively collaborated in the production of the album taking part to creative process and helping them with the arrangements. The Devils formed in Naples in 2015 and their first two albums “Sin,You Sinners!” in 2016 and “Iron Butt” in 2017 were produced by Jim Diamond (The White Stripes, The Sonics and the Dirtbombs), pub-lished by Voodoo Rhythm Records. From 2016 the duo constantly tour, and has played everywhere doing over 400 shows between Europe and Canada. The Devils are the sound of desolation and chaos; their style is primitive, filled with sex, sin and rock’n’roll. They are wild, loud and sexy. The name of the band was chosen has tribute to the movie “The Devils” by Ken Russell and they have been on tour with Jon Spencer, The Sonics, Boss Hog and The Monsters, and has open act around Europe for Mudhoney, Nashville Pussy, Guitar Wolf, Kid Congo and many more.

Svart Records is proud to present The Limit. Punk & Doom originators go straight to the soul of heavy rock on their new album Caveman Logic to be released via Svart Records on the 9th of April 2021.

More than a super-group, The Limit goes over the edge, to deliver real-deal, soulful Rock and Roll. Consisting of members of legendary Punk instigators The Stooges, the founders of Doom Rock Pentagram, legendary NYC Punk originators Testors and infamous Portugese metal band Dawnrider, The Limit break out from the foundations of heavy rock and defy all expectations, to show a new generation what doom and punk really means. On the new album Caveman Logic, Bobby Liebling, singer and main-man of Pentagram, one of the originators of early Doom Rock and an inspiration for generations of Heavy Rock fans, on vocals, gives the performance of his career, singing like his life depended on it. Sonny Vincent, enigmatic legend of the early NYC Max’s Kansas City, Cbgb Punk scene with his band Testors, having been on the road and recording with members of The Velvet Underground, lays down the guitar driven songs, his writing bearing all the hallmarks of ground-breaking Rock history in it’s filthy DNA. Phenomenal bass playing from Jimmy Recca, ex- The Stooges, and Ron Asheton’s New Order, gives The Limit the intense and world-class, speaker-destroying bottom end. Joined by Hugo Conim on Guitar and João Pedro Ventura on Drums from Portuguese band Dawnrider, The Limit fuses star-dust pedigree with an organic incendiary chemistry that’s instantly raw and real. A dream come true to those that know their Doom/Punk history, The Limit brings the past right up to date on Caveman Logic, with an essential, burning passion at the heart of their songs. Seldom has a collaboration of well known stars in music sounded so vigorous and frenzied as The Limit’s caveman-like roar. The Limit is an astoundingly fresh and hot-blooded shot to the veins that Heavy Rock needs in this day and age. Conjured forth by stone-age pioneers, Caveman Logic goes to the heart of impassioned Heavy Rock and Punk, to deliver the basic and vital elements often missing in so much of today’s music. If you want primitive and straight to the soul primal rock, fresh from the grave and exhumed for a new unwitting future, look no further than Caveman Logic. This is it. This is as far as it goes. The Limit!

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.

‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.

Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.

When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.

Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also

performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.

‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.

This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.