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Reissue, originally released in 1986. Cólera, formed in the early 1980s by Pierre and his brother Redson, who is one of the key figures in South American punk. They played a vital role in the scene and garnered a dedicated following with their energetic and politically charged music. Pela Paz, which translates to "For Peace" in English, is often regarded as one of the most important and influential releases in Brazilian punk. Pela Paz stands as a testament to the DIY spirit of the Brazilian independent music scene. The record's success demonstrated that independent music could thrive outside of major record labels, inspiring countless bands and artists in South America.

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Influencial cult classic reissued plus new Botch song! Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's second and final full-length album We Are the Romans was originally released in 1999, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's seminal album is set to be re-issued and will include Botch's first new song in over 20 years, "One Twenty Two". There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo LP, it made sense. He explains: "During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, "Hey, I know the best hardcore singer ever to do it," so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an "active" band faces." Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums ever for the genre garnering posthumous acclaim across the board.

Influencial cult classic reissued plus new Botch song! Legendary Tacoma, Washington mathcore/hardcore/metal band Botch's second and final full-length album We Are the Romans was originally released in 1999, eventually becoming one of the most ground-breaking records during a pivotal shift in heavy music. Now, the band's seminal album is set to be re-issued and will include Botch's first new song in over 20 years, "One Twenty Two". There was never any intention for the band to release anything else, but when guitarist David Knudson went to write his debut solo LP, it made sense. He explains: "During Covid, I was writing my debut solo LP, and mentally, I was sick of everything in quarantine. Lots of frustration had set in at home, and I figured the best way to deal with it was to write something heavy. I had no intention of writing anything for Botch, but when I was thinking of a singer to collaborate with, I thought, "Hey, I know the best hardcore singer ever to do it," so I hit up Dave V. He was super excited and so it just kind of snowballed from there. There was never any intent or conversation about getting back together or writing. It just happened so naturally and was a great release for all of us to make it happen without any of the traditional pressure an "active" band faces." Bassist Brian Cook, guitarist David Knudson, drummer Tim Latona, and vocalist Dave Verellen formed Botch in 1993, eventually becoming one of the most significant bands of their time. Their final show was June 15, 2002, the same day as the release of their final EP, An Anthology of Dead Ends. The members would go on to play in These Arms Are Snakes, Minus the Bear, and Russian Circles, among others, with acclaim for the band coming mostly post-breakup. We Are the Romans went on to become one of the most influential albums ever for the genre garnering posthumous acclaim across the board.

In the twenty or so years since his brainchild, The Dead Kennedys, officially disbanded, Jello Biafra has made a career of spoken word gigs interspersed with musical collaborations with some of the most compelling figures in underground music. Recording projects and touring with the likes of Melvins, NoMeansNo, DOA, Mojo Nixon, and Lard (with Ministry's Al Jorgensen) among others have kept his "punk as political weapon" message sharp, but the lack of his own band made these collaborations usually short-lived and left Biafra with a ton of songs that never saw the light of day. Inspired by The Stooges gig on Iggy Pop's 60th birthday in San Francisco, Biafra laid plans for his own 50th birthday party and finally decided it was time to start a band of his own. After cramming practices for a month, the four-piece dubbed themselves Jello Biafra and the Axis of Merry Evildoers! and featured Biafra, Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), and Billy Gould (Faith No More) The band took the stage in a sold-out two-night stand at San Francisco's Great American Music Hall. Flush from that exhilarating triumph, nine months of rehearsal and writing followed; they added ace guitarist Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle), and christened themselves Jello Biafra and the Guantanamo School of Medicine. The Audacity of Hype was produced by Biafra and engineered by hip hop producer and longtime co-conspirator Matt Kelley (Hieroglyphics, The Coup, Digital Underground, Victims Family, Tumor Circus) at Prairie Sun Recording in Cotati, CA, and San Francisco's Hyde Street Studios. The band's twin guitar attack retains some of the space-punk overtones and spy-music-on-meth chaos of The Dead Kennedys while adding a healthy dose of Detroit-style proto-punk flavored with Weiss' industrial excursions into metal percussion.

Life behind the Berlin Wall, before the fall. Once there was DDR (Deutsche Demokratische Republik), otherwise known as East Germany. Verging on the ruins of the 2nd world war, in the fog of the socialist utopia, there was a widespread scene fighting against corporations and restrictions. Die neuen Bands, that was the manifesto, a number of small alternative bands facing the efforts of the post-punk (and even post-industrial) revolution. This was happening right after the English new wave or the Neue Deutsche Welle (the western counterpart). A musical resistance, a counterculture, spreading all over the country the clandestine way. An enduring dangerous strategy that brought to life many artistic figures, way ahead of their time. Such is the case of Frank Bretschneider (Stein im Brett, Kriminelle Tanzkapelle) still one oft he most prolific glitch producer (founder of the influential imprint Rastermusic), Ornament & Verbrechen the east-Berlin combo ran by brothers Ronald e Robert Lippok (To Rococo Rot) and Reinhard Lakomy a true innovator in the vein of Klaus Schulze. The ghost of an era, a social turmoil that eventually had an impact on our daily routine.

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

Bound/Cured are two brand-new songs from the Richmond, Virginia/Asheville, North Carolina/San Diego, California, quartet Bleach Everything. Their first new recordings since 2019’s split LP with Integrity, Bound/Cured goes even further into both the pure violence put forth on 2018’s So We Gnaw LP and the melodic components introduced on the aforementioned Rftcc recording. Clocking at 1:29 and 1:08 respectively, both songs get in, get to the point, and then get out with razorlike precision, cutting exactly as intended. Thematically, “Bound” explores the uncertainty of luck and life and never truly knowing how it can, will, and can still shake out. “Cured” addresses the notion of figuring out how one must come to terms with the truth before death takes care of the task. It took you longer to read to this point than to experience both songs in their entirety.

Though the hallowed halls of Berlin’s nightlife excess now sit cold, the sounds that once haunted their depths beat ever onward, and colder still. Birthed in these hushed plaguelands, XTR HUMAN’s new full-length G.O.L.D evokes the frozen melancholy of a post-pandemic city, driven ever onward by the impetus of night’s primary currencies: sweat, release and change. The latest full-length from Johannes Stabel, G.O.L.D finds the German producer evolving as much as the rest of the world has had to. Taking his political and socially conscious lyrics into his native tongue brings a deeper and more powerful thrust to their weight—particularly at a time when Germany is weighing its own social consciousness after years of being seen as a leading world figure. Across G.O.L.D’s ten tracks, Stable brings our zeitgeist into a new realm, where the anger and frustration at our current existence is refined into the energy that fuels our engines, that primal desire always amplified during times of social upheaval—the desire to move your body. Many of the songs delve into Stabel’s own experiences as a German, from explorations of the Deutsch mentality of persistent fear to tackling the fake news, jingoism, racists and coronavirus deniers on hypnotic bangers ‘Dark Germany’ and ‘Dieser Klang’; issues just as prevalent in Germany as in the USA and UK. Yet each song carries just as much weight on to the dance floor, melding driving EBM bass with soaring synthlines and coldwave atmospheres that dispel the tenseness that such heavy topics imbue, in favor of intensity and beauty. Influenced by the pop hooks of Austrian New Wave legend Falco, G.O.L.D never neglects its danceability and HD club accessibility, no matter how heady the lyricism. ‘Starker Junge’, a dissection of toxic masculinity, drops down onto the listener with sparkling synths and razor-sharp guitar, while capitalist critique ‘Fleisch’ is a pogo synthpop anthem that could send any floor into a twirling frenzy. Wrapped in darkened beats and political ideals, G.O.L.D can’t hide the light that emanates from within its glistening, imminently catchy hooks and groove-laden rhythms. In a time where the dance floor sometimes seems like a distant memory, it’s the perfect philosopher’s metal to transmogrify your existence. All songs written and recorded by Johannes Stabel Mixing by Andrew Wiseman Arwork by Nicolas Zupfer Mastering at Dadub Studio Distributed by ReadyMade Distribution Braid Records 2021

What if the Velvet Underground had written ‘Wooly Bully’ and Sam The Sham ‘Sister Ray?' If Ron House picked up some bongos and joined CCR or if Half Japanese and Hasil Adkins started a Meters cover band? This is the scrap yard of the Retail SIMP's mind. Gang activity started when moldy JOE (Celluloid Lunch, Itchy SELF...) enlisted fellow rhythm bro, TOM THA Moleanderthal (feeling Figures, Hélène Barbier band...) to make a perfect record in the Ides of corona March. A million Doll hairs and several rock bottoms later, the idea was to make something that would easily fall apart, this was executed with Montreal's best and brightest in the wings, lending a foot (all in the name of bogtime[sic] exposure). Bathroom-stall-wart and Barstool-smart Chrispy Burns (terminal Sunglasses, American Devices…) was brought in to add his patented 'racket roll' guit-o-rama. James "gogo" Goddard (skintone, Egyptian Cotton ARKESTRA...) skronked his reliable sax machine and the ticket was printed. Short on practice and high on ideas, thee Retail Simple Tones were born, well traveled and unraveled individuals, bound by a musical adventure. Now to show for it, Reverberant Scratch is a 9 track ruckus of tinny guitar sketching, horn-honking deliberations, keyboardarific doodles, and whatever else one can summon in a basement to bang on. It's a ramshackle party stabber. Loose, loud, and 100% Total Punk!!!

Redshift is the latest band from US hardcore punk legend Vic Bondi. From being a founding member of political Chicago punk band Articles OF Faith, to his later bands Alloy and Jones Very, to later solo releases as well as more recent projects such as Report Suspicious Activity and Dead Ending, Bondi has been one of the most hugely influential figures on the US punk scene for over 4 decades.

Pela Paz is the second and most classic LP by the Brazilian Punk Rock band Cólera. It was originally released in 1986. The album holds a significant place in the history of independent music in Brazil and is considered one of the best-selling independent records in the country.This album was remastered from the original master tapes at the legendary El Rocha studios in Sao Paulo.The reissue has the original artwork, with the lyrics translated to English.It's the first time Pela Paz is released outside of Brazil.Cólera will do a European tour in August 2023.Cólera, formed in the early 1980s by Pierre and his brother Redson, who is one of the key figures in South American punk. They played a vital role in the scene and garnered a dedicated following with their energetic and politically charged music. Pela Paz, which translates to "For Peace" in English, is often regarded as one of the most important and influential releases in Brazilian punk.Pela Paz stands as a testament to the DIY spirit of the Brazilian independent music scene. The record's success demonstrated that independent music could thrive outside of major record labels, inspiring countless bands and artists in South America.Over the years, Pela Paz has become a beloved and iconic album within Brazilian punk rock, leaving a lasting impact on subsequent generations of musicians and fans. It continues to be celebrated for its aggressive musical quality and socially conscious lyrics.One year after the release of Pela Paz, Cólera became the first Brazilian punk band to tour Europe. Additionally, their inclusion in various compilations such as "Beating The Meat", "Empty Skulls," and "1984 The Third" made Cólera became the most well-known South American punk band.

Originally released in 1983, SUB is the most iconic Brazilian punk compilation ever. It's the first official recording of Ratos de Porao, and the only studio recording of Psykoze and Fogo Cruzado in the 80s. It features the most famous and classic songs from Cólera, who will be touring Europe again in August 2023. Remastered from the original master tapes at the legendary El Rocha studios in Sao Paulo.It has 4 bonus tracks from the pre-recording, comes with a rare poster, an insert with lyrics, and a great new text written by Pedro Carvalho. This is the first time SUB is being released in Europe.SUB is the most classic Brazilian punk compilation, recorded between 1982 and 1983. It was conceived and brought to fruition by Redson, the guitarist and vocalist of Cólera, who is considered one of the key figures in South American punk. Besides Co?lera, Redson invited Fogo Cruzado, Ratos de Pora?o and Psyko?ze, three of the most promising and active unrecorded bands at the time. If Co?lera was the most experienced band in the scene at the time, Fogo Cruzado had already left its mark as one of the best, if not the best in terms of skill and stage presence. Similarly, Ratos de Pora?o and Psyko?ze on the other hand were younger and had fed on the new ways of punk from the get-go. Even though the Grito Suburbano bands had initiated the evolution towards hardcore a year before, SUB brought to the scene even higher levels of belligerence and speed.Just like how other international scenes documented the rise of punk with Flex Your Head in the US, Propaganda - Russia Bombs Finland in Finland, Punk and Disorderly in the UK, Outsider in Japan and many others in several countries during 1982, the idea was to record the growth of Brazil's punk scene. The title chosen for Brazil's second punk comp was SUB, which used part of the idea for Co?lera's aborted debut album and alluded to Sa?o Paulo's literal (working class) suburbs, as well as its proverbial "subterranean" underground - punk's natural habitat...

Captain Planet is a special band. A band that you don't forget, even if you don't hear from them for a while. The last album "An End" was released in 2016, the last concert was in February 2020. It is the definition of a favorite band that accompanies, stays, also likes to be quiet sometimes, to then gently break your heart with new music and new lyrics when the time comes, while at the same time telling you It goes on. Somehow. Must. whispers in your ear. Musically, "Come On, Cat" is energetic, melodic emo-punk that has been in its own league in Germany since the band was formed in 2003. Captain Planet will not climb the German punk Olympus in this country with their fifth album. And that's not what they've set out to do. This band is with itself, is not a scene figure. And yet: Few bands cause such excitement and enthusiasm among their friends (don "t say fans) when something new happens.

New jams from Sweeping Promises, Conditioner Disco Group, Germ House, Star Party, Hood Rats,, Billiam, Neutrals, Life Forms,The Darling Buds, Friendzy, plus a few favorites from past Cassette-only Girlsville releases like "Christine" by The Myrmidons, "Almost 24" by The Prissteens, UK Gold's alternate Girlsville comp version of "Off Duty Nuns," Uv-tv's "Severed Hand Revisited," and The Maxines "Honestly" are all here and available on vinyl for the first time ever. Proceeds to benefit Feline Rescue, Inc. "Girlsville is punk comp royalty"—Lars Gotrich (npr Music) Conditioner Disco Group (Portland, OR) Post Everything Downtown Disco Rhythm & Funk Treble Punk UK 78, NYC 81, SAN Francisco 2002. Last recording as a full band. Sweeping Promises (Lawrence, Kansas by-way-of Boston) Avant Pop. Angularity with Sharp Hooks, Dancing this mess around with Egyptian Shumba. Germ House (Warren, RI) "Justin Hubbard’s solo project Germ House strikes a balance between earnest, lo-fi songwriting and bizarro erudite post-punk...Luke Henley, Maximumrocknroll" Star Party (Seattle, WA) Shambolic Noise Pop sounds like something that came out on Subway Organization or 53rd and 3rd Records circa 86-87. Hood Rats (Montreal, Québec) The real deal - melt your face off punk rock. Music influenced by our dystopian present butting heads with some 80's Hardcore and a little 90's Rip Off Records. Always maximum shredding & guttural pissed off vocals. Uv-tv (Queens, NY) Always brilliant Noise Pop favorites. THE Maxines (Olympia, WA) Garage Rock duo at their Girls In The Garage best with Kel Norman on vocals. THE Prissteens (nyc) Demo from 1999 that I could not fit on their Girlsville compilation LP, and have always kinda regretted that! I figured this was my chance to rectify that situation. Life Forms (Falmouth, UK) - Catchy, Wavey Punk Pop. Buzzcocks ish? Charlie Murphy from Freak Genes is in this band. Friendzy (Los Angeles, CA) Bomp! style power pop bounce. THE Darling Buds (Newport, South Wales, UK) Indie Pop legends what more needs to be said? The Buds in top form here. Neutrals (Oakland, CA) Quirk punk with smarts and hooks ffo Television Personalities, Mekons, Wire THE Myrmidons (nyc) Members of Book Of Love and a former Prissteen make sparkling dance-floor ready synth pop. UK Gold (Olympia, WA) "Their take on tense, aggressively dry post-punk is almost disarmingly straightforward" Erika Elizabeth, Maximumrocknroll Billiam (Melbourne, Australia) Biting hilarious quirky and hyperactive synth punk jam.

It's probably an understatement to say FAT Mike is a bit of a contentious figure. Whether through Nofx—the punk band he formed in 1983—or outside of it, he likes to provoke and prod people. Because of that, people often dismiss Nofx as little more than an amusing pop-punk band. They're wrong. That's one of the reasons Fat Mike decided to sit down with his good friend and frequent musical collaborator BAZ THE Frenchman and make Gets Strung Out, a record of (mostly) Nofx songs recast and reimagined as classical compositions. It's a way of setting the record straight for those who think Nofx are just another punk band. Suffice it to say, Gets Strung Out is quite an addition to his resume, one that most people would likely not expect, and designed to dispel dumb punk musician stereotype. It does so comprehensively—and this record only solidifies that fact. "The thing is," says Fat Mike, "I really want people to understand my songwriting.” "I'm A Rat," is a perfect example. "The punk version of that song," Mike says, "is 54 chords in a row without any repeat. And when you listen to the classical version, you can hear that. Finally, people can hear every part of my songs without my vocals and drums annoying them. And what you hear on these songs is what the songs are. It's the melody, it's the harmony, it's the guitar chords and octave chords, and it's the bass. Those are the parts." It's true. Needless to say, though, the songs also sound completely different from their original incarnations. They were all transposed and translated by Baz The Frenchman using midi, then recorded by professional classical musicians playing violas, violins, cello, bass, and piano. The result is that these songs transformed into something you could and would never imagine they could become—truly beautiful pieces of classical music.

RVDMNTL's first release, composed of energetic and functional cuts in which textures, the distortion of some elements and a sound synthesis coming from modulars and analog devices seek to push the tracks to the limit and provoke their disfigurement.

Previously protected under other artistic names and owner of the Incense label, the artist definitively adopts this pseudonym after some years exhibiting his sets in booths and in charge of productions that seek to shape the genre through his own conception. Now, he will go into a more personal, complex and focused on the dancefloor. Non-conformism, independence, originality and forcefulness remain a common element in the artistic figure and label he runs."

This is the first time these Maria T-Ta y El Empujon Brutal songs are released on an LP. Recommended for fans of Mercenárias, Honey Bane, Yanka and raw recording (but charming) punk in general.This LP has been remastered from the original tapes and includes a poster with photos, lyrics, and a text written by the guitarist and founding member of El Empujon Brutal, Iván Zurriburri.Led by one of the most important figures in Peruvian Punk, Maria T-Ta y El Empujon Brutal recorded a few songs in 1987 with a raw, fascinating and primitive aesthetic that could only have originated from the "subterraneos" of South America.In a scene predominantly dominated by men, Maria T-Ta was a spokeswoman against sexism and the system. Ironic, political, fun, catchy and super punk, even in the three acoustic bonus songs.

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NOi!SE is a band that has always dealt in pure honesty at every stage, from songwriting to performance. The listener is always guaranteed the unvarnished truth as the band members see it. However, there are many truths in life, and some of the hardest to put into words can be the truths imparted to those closest in your life, such as from a father to a son. Years ago, while serving in the military, lead singer and songwriter, Matt Henson, set out to gather his thoughts to speak his truth to his son Liam, in the event that the worst came to pass, leaving the young man to grow up without a dad. It was a message to offer the fatherly advice and encouragement he feared he may not be present to give, a truth imparted the best way he knew how: through music. Matt recorded a demo with bass, guitar, and vocals, with the intent of circling back to the song when possible. About a year later, his bandmates surprised him with what they had added to his original recording. As moved as he was by the gesture, Matt remained uncertain about releasing it given the raw, emotional honesty of a song written for an audience of a single loved one, as well as its degree of departure when compared to a traditional NOi!SE song. Ultimately, the band will continue to speak their truth on all subjects. The raw honesty and intimate truths in this song, which will resonate with parental figures and children alike, will be shared with the world on a limited-edition picture flexi, featuring artwork by Liam himself!

That true beauty lies in the essentiality and meticulous combination of a few elements is sometimes not just a cliché. The delicate blend of Roland Cr-78, acoustic guitar and dissonant organs that intertwine in Open Windows is a vivid demonstration of this. It is these few elements, now distant and hinted at and now close and deafening, that paint the backdrop of melancholic nostalgia where laconic whispers move the listener within the paintings that bear the sonic signature of Human Figures. To Daniel Lewis’ new project, which has seen its springboard through releases on the label of his friends at Frigio Records, perhaps the adjective “new” is already quite tight. He has built a very recognizable sonic tibre, an influence of producers and listeners at different latitudes of the post-punk and wave scene.

In the 8 canvases of Open Windows the folk tradition is repainted in a more contemporary guise: the sweet and sad litanies are alternated with fast and frenetic stornelli in which the combination of tradition and experimentation constitutes the stylistic signature. The open window through which the listener has the opportunity to look out in this album does not, however, give onto a natural external panorama. It projects into an inner world where introspection and silence are the only chance to grasp its sublime beauty.

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

On 2021’s Noise Noise Noise, THE Last Gang pushed their musical boundaries in new and unexpected ways, spitting barbs both personal and political at whoever might listen. The follow-up Obscene Daydreams is 11 tracks of sharply composed, no-punches-pulled punk, which finds the Orange County quartet in top form and ready to explode. Produced once again by Cameron Webb (Motorhead, Pennywise, Alkaline Trio, Nofx), Obscene Daydreams is the result of a new, more intentional writing process. Working on a deadline this time around, the album was written and recorded in less than a year. The expediency of recording served the quartet well, as Obscene Daydreams delivers in abundance, The Last Gang's signature mix of melodic hooks and raw feelings. While outrage and defiance figure prominently in those feelings, love and pride share center stage. Opener “Electric Avenue” is an ode to ride-or-die friendship, and “Madness” is a full-on love song (or as close to one as a “nihilistic optimist” like singer Brenna Red can deliver). “Berlin to Rome” celebrates life on the road, and “Rumors” finds Red flexing her no-bullshit self-confidence. An interaction with a bigoted fan inspired “The Others,” forcing Red to make clear the quartet’s Lgbtqia+ allyship. The authenticity of The Last Gang's music lies in these lived experiences, making each album a kaleidoscopic journal of sorts. With nonstop touring planned throughout 2024, The Last Gang cannot wait to share this chapter with the world.

Trance Macabre's self-titled debut is a jazz album born in the punk-house basements of Connecticut. Inspired by the ensemble's Hartford roots, this music responds to figures like Jackie McLean and Alice Coltrane and their outcry of speculative musical timbres within pop forms. The band recorded these four original compositions to quarter inch tape in East Haven, CT thanks to engineer Matt Paolillo (Tick Hive, Kodak Fire, Shirese) in one take apiece over the course of two hours in October of 2023. For fans of ESP Disk, Strata East, and ECM Records, but also an enticing choice for new jazz listeners who may enjoy uptempo ostinatos patterned by a spectral periphery.

Klasse Kriminale is a legendary punk Oi!band from Savona, Italy, founded in the 1980s by Marco Balestrino. The band is a key figure in both the Italian and international Street Punk scene, known for their extensive discography, including 12 studio albums. "Belin, Dei Pazzi!" is their last album, a tribute to the early Punk band from Savona and Genoa and to that sound born in the 80's, when it all started. Obsc...

"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.

Klasse Kriminale is a legendary punk Oi! band from Savona, Italy, founded in the 1980s by Marco Balestrino.The band is a key figure in both the Italian and international Street Punk scene, known for their extensive discography, including 12 studio albums."Belin, Dei Pazzi!" is their last album, a tribute to the early Punk band from Savona and Genoa and to that sound born in the 80s, when it all started.Obscure and underground bands like "Total Crash", rare and desperately wanted stuff from "HERBERTS", "GANGLAND", or 80s subcultural hymns like "Ziga Zaga OiOiOi! from "SHELLSHOCK". Klasse Kriminale brought back to life 15 lost songs, most of which have never even been recorded, reinterpreting them in their unmistakable style.A true musical archaeology work, rounded up by an unwritten Klasse Kriminale song "Keep the Faith". The 15 tracks, full of anger and fun, reflect the DIY spirit and alternative approach of the early punk bands.Recorded at "Vecchio Son" in Bologna, the project involves historical musicians and young talents.A work of passion as a tribute to the Punk Rock scene they were born in.Vinyl available in classic black or as clear with Italian Tricolor-Splatter, contains two inner sheets where the story and songs were also told from Marco himself! 1. INANDIA2. BRUCIA LA CITTA (VANEXA)3. DEMOLIZIONE PERIFERICA (TOTAL CRASH)4. SANGUE IN GRADINATA (GANGLAND)5. ZIGA ZAGA OI!OI!OI! (SHELLSHOCK)6. GIARDINI DI PLASTICA (HERBERTS)7. SORRIDI (DRULL)8. INFRANGETE LE LEGGE (GANGLAND)9. A.K. RULE OK (ALIENATED KIDS)10. IO SONO IL FRUTTO DI QUESTA REALTA (TOTAL CRASH)11. MARIO (RAGNI)12. SKIN DELLA LANTERNA (U-BOOT)13. BASTARDA CHIAMAMI (MAURIZIO HERBERTS)14. LIVING IN A JUNGLE (HERBERTS)15. KEEP THE FAITH (KLASSE KRIMINALE)

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.