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Formed with an acute awareness that they wanted to step away from the traditional sounds they had made in previous bands, Kill Holiday was forged with the idea that they wanted to break new personal ground. Seasonal is a retrospective on those early, experimental years for the

band. Compiled by founding member O. Paz, this collection of record- ings features the complete output from the pre-Revelation era of the

band while he was still a member. Started as a simple passion project

for the guitar player, it now culminates into physical form as a limited- edition, one-time vinyl pressing of 250 copies on burgundy vinyl.

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

The first full-length release from Cleveland’s Disintegration brings their intricate circuitry of nocturnal synthwave and noise-saturated post-punk to a new plateau. Sharper, leaner, and more involved than the material on their first EP, Shiver in a Weak Light is a huge step forward in terms of production, atmosphere, and overall construction, with singer/synthesist Haley Himiko turning in stellar vocal performances, guitarist/vocalist Noah Anthony and bassist Christopher Brown moving in lockstep, and new drummer David MacCluskie adding clatter and thump to the gridded framework the band architects and then dismantles on every song. The album roves between shadowy dream sequences and slow-motion shatter, drawing a dark and futuristic sound that’s sometimes familiar, sometimes confounding, but always captivating.

Listening closely to the web of sounds on “In Your Diary” reveals a series of unlikely turns and transitions; like the brittle guitar line that arrives out of nowhere to lace up a propulsive chorus, the nearly subliminal hits of percussion that move throughout the stereo field, and a song structure that jumps between its parts in unexpected ways, always landing on a new hook. “Hideaway” connects its fragmented sections in a perfect balance of dissonant chaos and shout-along melodies. Live bass and guitar parts are processed until they sound more like alien synth programming, with choppy rhythms bouncing like sequenced ones and zeroes. Each repeated listen to Shiver in a Weak Light unlocks a new room of sounds and ideas that may have gone unnoticed the time before. It’s an album that beckons the listener to trek ever deeper into its network of neon hallways and interconnected underground tunnels, exploring a world where it’s always night and time moves differently.

Third full-length album by La Inquisición, a record slowly gestated in the deepest and most veteran catacombs of Barcelona punk. This time, La Inquisición refines the formula that has brought them to this invisible world, where we find ten tracks of dark punk with melodic outbursts. The lyrics stand out from the typical genre themes, featuring solid bass lines, powerful guitars, and drumming that steps over everything like a steamroller. Everyone say the third album of any band is the hardest one. And this time, La Inquisición takes us by the hand to their particular universe, full of light and shadows, butalso honesty, redemption, and perseverance in a musical tradition on the verge of extinction.A bunch of friends with something to say in a noisy, beautiful, aggressive, and honest way.Because as they say, "Anger, noise, and blood...will save us."Vinyl as dark black or deep red and CD available!

Third full-length album by La Inquisición, a record slowly gestated in the deepest and most veteran catacombs of Barcelona punk. This time, La Inquisición refines the formula that has brought them to this invisible world, where we find ten tracks of dark punk with melodic outbursts. The lyrics stand out from the typical genre themes, featuring solid bass lines, powerful guitars, and drumming that steps over everything like a steamroller. Everyone say the third album of any band is the hardest one. And this time, La Inquisición takes us by the hand to their particular universe, full of light and shadows, butalso honesty, redemption, and perseverance in a musical tradition on the verge of extinction.A bunch of friends with something to say in a noisy, beautiful, aggressive, and honest way.Because as they say, "Anger, noise, and blood...will save us."Vinyl as dark black or deep red and CD available!

Obnox is dead, long live NOX! Cleveland guitarist/vocalist Lamont Thomas has officially changed the name of his long running no-fi Afropunk / Hip-Hop hybrid Obnox to its longtime nickname NOX—and it makes sense. With almost a decade and a half behind him since he stepped out from behind the drum kit (he made his bones as the rhythmic spine for incendiary Ohio outfits like Bassholes and This Moment IN Black History), Thomas has grown well beyond the childish punk posture of valuing obnoxiousness for it’s own sake—as have many of us, right? Right? But we’ve ALL taken our share of knocks by now. Under the new name, Thomas is, for the first time ever, independently self-releasing his new album Iron Knowledge, the long-brewing follow-up to 2020’s sprawling, face melting, aggressively genre-agnostic 2xLP Savage Raygun, the damn near perfect album for the most messed up year of our lives. Iron Knowledge keeps forging ahead with Thomas’ heavy alloy of garage-punk, gospel, psych, soul, and electronics, enshrouded as always in a heavy dusting of Midwest rust. Slow-burners like “They Power” and “She Was a Bully” (respectively beat-doctored by acclaimed producers Aaron “a-live” Snorton of Muamin Collective and RA Washington of Mourning [A] Blkstar) feel laid-back even as they absolutely Seethe. On Iron Knowledge’s hip-hop-leaning side, “Most High (God Body)” avails NOX of the flow talents of guest rapper Maxwell Shell, while “Instant Extra” adorns left-field rap with an industrial edge. Cuts like “Cold Piece” and “Blow” deliver classically ominous NOX garage-soul, with detuned guitars bellowing like they’ve been set on fire—and at the end of the day, haven’t they? And the title track, side 1’s closer, positively Drips with heavy-lidded psych R&B, successfully synthesizing melanin and melatonin as it lends a menacing underground edge to the tradition of black psychedelia in ways that could make Sly himself proud.

Step into the unknown with URN's latest masterpiece, 'Surprise Me.' In this kaleidoscope of sound, genres intertwine like threads in a tapestry of boundless creativity. Led by the enigmatic Jakub Volovar, each track is a journey into the depths of emotion and imagination.

From haunting melodies to pulsating rhythms, 'Surprise Me' defies classification, inviting listeners on a sonic adventure through uncharted territory. Like a meticulously crafted collage, it weaves together elements of jazz, trap, and beyond with effortless grace.

While a sense of doom lingers in the shadows, it never overwhelms; instead, it adds depth and texture to an already mesmerizing landscape. With 'Surprise Me,' URN proves once again that true art knows no boundaries.

Originally released in 1980, Stiv Bators first solo effort. As we all know, Mr. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv has turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead its a true step forward into another unknown arena packing all the glare and attitude that remained from the last. Bomp Records 50th anniversary reissue.

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)

Escalate is a vegan, straight-edge hardcore band out Hungary, formed in 2020. They are the first and only fully vegan, straight-edge band in the country’s history. Their goal was to bring radical vegan and leftist ideas to the scene. The band is inspired by the political XVX bands of the ’90s and early 2000s just as much as current heavy hardcore bands. When the pandemic restrictions got lifted, Escalate started to play around Hungary and neighboring countries. In a three-year span, they managed to release a demo tape, a 7” EP called The Damage Is Done, and their songs were featured on two international straight-edge compilations. They also finished five tours across ten European countries. Now in 2024, Escalate is ready to take the next step in collaboration with New Age Records and show the world their best and most mature record so far. The band’s first full-length is titled Consequences and contains eight blistering tracks mastered by Scott Crouse (earth Crisis).

Escalate is a vegan, straight-edge hardcore band out Hungary, formed in 2020. They are the first and only fully vegan, straight-edge band in the country’s history. Their goal was to bring radical vegan and leftist ideas to the scene. The band is inspired by the political XVX bands of the ’90s and early 2000s just as much as current heavy hardcore bands. When the pandemic restrictions got lifted, Escalate started to play around Hungary and neighboring countries. In a three-year span, they managed to release a demo tape, a 7” EP called The Damage Is Done, and their songs were featured on two international straight-edge compilations. They also finished five tours across ten European countries. Now in 2024, Escalate is ready to take the next step in collaboration with New Age Records and show the world their best and most mature record so far. The band’s first full-length is titled Consequences and contains eight blistering tracks mastered by Scott Crouse (earth Crisis).

Very little is known about He who cannot be named's actual identity. Some say he is a high ranking corrupt GOP politician, or an undercover agent for a foreign government. He has been banned from venues al over the world and Interpol reportedly has an ongoing warrant out for his immediate arrest on undisclosed charges. He rarely appears in public and very few have seen him without a mask. There have been numerous reports of Hewho impersonators spotted all over the world, especially when The Dwarves play live shows. It has even been suggested that He Who Cannot Be Named does not really and is in fact merely a rock legend. Perhaps Hewho himself is an imposter. We will probably never know for sure.

Svart Records proudly present Earthly Remains, a three 7" singles box set with new Coffinshakers tracks!

The ”Earthly Remains” box-set includes three songs from the latest ”Graves, Release Your Dead” album and three brand new tracks from the same sessions. These tracks shouldn’t be seen as left-overs though, they certainly deserve their place in any serious Coffinshakers collection and in a sense makes the album complete.

”March of The Coffinshakers” marks the procession of the dead featuring a lead guitar taken straight from the spaghetti-horror dimension with massive string arrangements to boot. ”Raising Hell” sees the band in garage mode, complete with a vicious fuzz! Finally the doomsday story of ”No Return” almost takes us to crooner territory, imagine that! The three 7”s are housed in brand new watercolor artwork by Jenny Bengtsson. Will you dare to take one step further into the strange realm of The Coffinshakers?

Svart Records proudly present Earthly Remains, a three 7" singles box set with new Coffinshakers tracks!

The ”Earthly Remains” box-set includes three songs from the latest ”Graves, Release Your Dead” album and three brand new tracks from the same sessions. These tracks shouldn’t be seen as left-overs though, they certainly deserve their place in any serious Coffinshakers collection and in a sense makes the album complete.

”March of The Coffinshakers” marks the procession of the dead featuring a lead guitar taken straight from the spaghetti-horror dimension with massive string arrangements to boot. ”Raising Hell” sees the band in garage mode, complete with a vicious fuzz! Finally the doomsday story of ”No Return” almost takes us to crooner territory, imagine that! The three 7”s are housed in brand new watercolor artwork by Jenny Bengtsson. Will you dare to take one step further into the strange realm of The Coffinshakers?

Raw hardcore punk insurgents Junta arise from the concrete purgatory of New York City with their pulverizing debut self-titled full-length offering, a twenty-minute incursion of blistering upheaval and caustic retaliation. This dark document of crystalline urban terror introduces the NYC four-piece at the height of their rage as they emanate a grim edict against imperialism, genocide, capitalism and social injustice. Junta's uncompromising and militant vision has been known for years in New York City, frequently manifesting with benefit shows across the city aimed at the empowerment and defense of the city's vibrant multicultural underground to which they belong and have committed unconditional militancy. The self-titled eleven-track weapon of social unrest and abject refusal represents the band's sense of belonging and commitment to a social fabric torn by segregation and injustice and their strenuous combat against powers much larger than themselves which has resulted in a bleak manifesto of cultural warfare. The work encompasses the most bitter aspects of idealism and realism, with this ambivalent concept animating a raw onslaught of blown out, dissonant hardcore aggression interwoven with passages of poetry and spoken word that define and exalt an existence spent at the forefront of struggle and in a perpetual fight for enlightenment and retribution.

Ten short sharp blasts of ultra-frenetic, intense and to-the-point American hardcore punk in the vein of Negative FX, Agnostic Front, The Abused and Deathwish. They sure don’t waste time with any unessentials. What they have done is take a little more time with My God… since the previous tapes and 7” to expand on their sound and enrich the overall listening experience. A couple of these triumphant new epics are more than one minute in length so consider this their step up to Long Play maturity. Crawl Space has emerged from the basement and stepped into the daylight ready to stomp your ears out. This MLP is downright nasty.

Bursting out of a burning trash heap like some mutated, blitzed skeleton in a leatherjacket, Citric Dummies thrash their listeners with a heavy dose of pulverizing punk madness on their latest LP Zen and The Arcade of Beating Your Ass. The Minneapolis based trio have previously released a handful of endlessly infectious records on US and Euro labels like Erste Theke Tonträger, Fashionable Idiots, and Another Label—luring in unsuspecting punks with their aberrant, tuneful noise. Citric Dummies rip turbocharged, catchy songs riddled with big hooks that are inhaled like paint fumes by fans of niche KBD gems and classics like The Ramones and The Misfits. The band has signed with Feel It Records to release their most dialed and corrosive record to date- a pièce de résistance for LSD enthusiasts and jabronis alike. Produced by Erik Nervous, Zen and The Arcade of Beating Your Ass is a masterclass in unpretentious and unrelenting party punk. The cover is a clever mockery of Hüsker Dü's Zen Arcade waving a friendly middle-finger paying homage to the punk heroes of yore. Citric Dummies power through 14 songs in 23 minutes in a psychotic frenzy. The songs conjure chaotic and hilarious glimpses into the everyday life of a hesher self-deprecating, taking copious amounts of illicit substances, and kicking the teeth out of the phonies that step in their way. Sonically, Citric Dummies have honed their knuckle-dragging craft, and sound more unique, more evolved, and more like themselves than ever. The arrangements, riffs and lyrics are meticulous yet effortless, like they've practiced so much the music flows through them, spike in vein. Zen and The Arcade of Beating Your Ass is the manifestation of these three droogs stepping off the fleshy escalator and into the gaping void of pure rock n roll elation."—Sims Hardin

London group The Tubs return to Trouble In Mind with their hotly anticipated full-length album entitled "Dead Meat". The band were formed in 2018 from the ashes of beloved UK post-punk band Joanna Gruesome by former members Owen 'O' Williams and George 'GN' Nicholls. By incorporating elements of post-punk, traditional British folk, and guitar jangle seasoned by nonchalant Cleaners From Venus-influenced pop hooks and contemporary antipodean indie bands (Twerps/Goon Sax, et al)."Dead Meat" is resplendent in hi-fidelity strum & thrum, incorporating fleeting elements of post-punk and indie jangle, but the group's penchant for trad British folk & Canterbury folk-rock takes a noticeable, caffeinated step forward. Echoes of Fairport Convention's decidedly English chime cross swords with singer Owen Williams' lyrics directing Bryan Ferry's "thinking man's libertine" persona into a more dolorous outlook. Many songs (like "Round The Bend" and "Duped") soar with an urgent strum under Williams' acerbic lyrics, recalling a younger fiery Richard Thompson. They languish in an aching, bitter resignation (of both the situations described & the protagonist's place in it), particularly near the album's second half. Others like the previously released "I Don't Know How It Works", "Two Person Love" and "Illusion" (re-presented here as "Illusion Pt. II" and all rerecorded from their original 7-inch versions) up the urgency, implying that the journey for the person described in each tune is not over & may be even more desperate than before. The band has never been tighter & more dynamic, often imperceptibly ratcheting up the tension, an extra guitar strum overdubbed, a barely audible organ/synth cranking under a chorus or bridge, or unexpected backups from current Ex-Vöid (and ex-Joanna Gruesome) vocalist Lan McArdle. The Tubs are poised to take over your stereo - there's no point in resisting.

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

In January 1983, Minor Threat went into Inner Ear Studio for the first time as a five-piece (Brian Baker had moved from bass to second guitar and Steve Hansgen was now playing bass). They had six new songs that would end up being the center piece of what became the Out of Step 12" EP. The band had also decided to re-record the song "Out of Step" with some extra language to try to clarify the lyrics, as well as "Cashing In", a tongue-in-cheek song about the DC punk scene which they had only played live once. After much debate, "Cashing In" was added as a hidden track on the original vinyl release though not listed on the cover or label. There was still blank tape on the reel, so they decided to record an instrumental with the working title, "Addams Family" and then recorded new versions of "In My Eyes" and "Filler" to hear what they sounded like with two guitars. "Addams Family" ended up being used as a coda to "Cashing In", but the other two songs were never mixed and largely forgotten for over 35 years until the multitrack tapes were taken into the studio to be digitized in 2021. Surprised by the discovery, Ian and Don Zientara mixed the two songs along with the complete take of "Addams Family". These outtakes are now being released on a 7" to mark the 40th anniversary of the release of Out of Step.

The fourth studio album from Dutch quartet Lewsberg. Recorded in Amsterdam in Spring 2023 with producer Yulya Divakova. Out And About sees founding members Shalita Dietrich (vocals, bass guitar), Michiel Klein (guitar) and Arie VAN Vliet (vocals, guitar, violin) joined for the first time on record by drummer and vocalist Marrit Meinema, who joined the band in the Autumn of 2021. Out And About embraces a collaborative spirit, allowing each member to contribute their unique songwriting talents. The result is a collection of tracks that capture the band's collective creative energy and their individual perspectives. The album also showcases the continued expansion of Lewsberg's sonic palette, with Arie van Vliet's violin playing adding a rich texture to tracks like "Going Places" and "Canines". Compared to their first three albums, Out And About feels lighter, calling to mind the The Feelies, Marine Girls and Young Marble Giants, whilst remaining distinctly Lewsberg

Would it be October without a new WHY Bother? album? We first heard from the Iowa group with 2021's "A Year of Mutations" and they have not looked in the rear view mirror since. "Calling All Goons" is WB?'s fourth album in three years - a lexicon for the freaks, a beacon of hope amidst the digital deluge, or just a true artist's piece depending on how you see it. And that's the beauty of WHY Bother? They are the enigma. A band that extends from the roots of Midwestern punk while adding something new to the conversation. This is the kind of rare phenomenon that is outwardly difficult to describe...so step inside the world of WHY Bother? for the 13 songs spread across "Calling All Goons".

It is rare that any band displays the combination of talent and tenacity to continue connecting with audiences three decades into their career without becoming a cabaret show, but New York City ska/reggae institution THE Slackers continue to push boldly into the future with a fresh energy that belies their 30+ years! The band were on their creative rise during the mid-late ’90s explosion in mainstream interest in ska, but never lost a step when that bubble burst, emerging as a band that continually built up their fanbase the old-fashioned way: with relentless touring across the world and consistent recordings that always brought something new to the table. THE Slackers have pushed on long enough to be regarded as elder statesmen of a new era of interest in ska, but as always, rather than rest on their considerable laurels, this band is achieving new milestones on their own terms. One such milestone was the LP Don’t Let The Sunlight Fool Ya lighting up several Billboard Charts, including hitting #1 on the Current Reggae Albums chart. The album was the band’s first full-length since joining the Pirates Press Records family, a fruitful, creative relationship which has also yielded a slew of popular singles, as well as reissues of back catalog classics such as Redlight, Wasted Days, Peculiar, and the fanfavorite live album Live at Ernesto’s.

Oxnard, a smallish town about an hour or so north of Los Angeles, has been a hardcore hotbed since the genre’s earliest days. Forever tied to their hometown, Vendetta has been a part of that city’s colorful story for two decades and counting. Crafted during the lockdown and produced by Roger Camero (the Warriors), the recording finally sees the light of day on August 25th. The fast parts are fast and the mosh parts are moshy. Death Grip is another step forward on the band’s musical journey without being a departure from what made them what they are.

Morning Again returns with their second in a series of EPs, offering up five brandnew, powerful, riff-heavy tracks. The lineup consists of vocalist Kevin Byers, guitarists John Wylie and Stephen Looker, bassist Gerardo Villarroel, and drummer Joshua Williams. Before the band initially dissolved, they released their farewell full-length, As Tradition Dies Slowly, in 1998, also on Revelation Records. When the idea of recording new material came up, it was unanimous on both sides to return where the music fit. Their 2018 EP, Survival Instinct, was tracked in California with producer Beau Burchell, who has recorded the likes of Saosin, Mooseblood, THE Bronx, and countless others. Band founder and guitarist John Wylie says, “The time is right for new Morning Again music. When we started playing one-off shows and festivals again in 2011, we realized not only do we have more material left in us, there seems to be a demand for it.” During the lockdown of 2020, Morning Again would use that time to create some new music that truly showcases the band’s musical evolution. Eager to get back in the studio again with Burchell, they created five new tracks that reflect how each of them experienced the time in seclusion. Borrowed Time take’s their sound one step further and includes some of the heaviest tracks to date. Wylie goes on to say, “We feel these are five of the best and strongest songs we have ever written and we are very excited to be able to present them with modern-day recording capabilities, something we weren’t exposed to in our early years.” Since recording, the band has been busy playing festivals and shows in Europe and North America. Appearances at Furnace Fest in Alabama, Hellfest in France, and Resurrection Fest in Spain allowed the band to give people a sneak peak of Borrowed Time

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….

Another Italian hardcore punk milestone getting its deserved F.O.A.D. treatment! Formed in Modena in the early '80s with the aim of blending late '70s punk with new waveish vibes, Stigmathe gradually moved to hardcore punk territories in their own original way, combining the magic of the "furious years" of Italian HC with melodies and a desperate yet melancholic mood... This Lp+cd set is their most complete discography ever made consisting of: - "Suoni puri dalla libertà" EP (1983) - "Lo sguardo dei morti" EP (1985) - tracks from "Raptus - Negazione e superamento" v.a. LP (1984) ..and their ultra-rare early demo (1983) for the first time on vinyl, showing the band's early steps still with new wave contaminations and a solid Clash influence. Plus a bonus CD containing the entire "Hardcore Vivo" live demo 1983. Includes a 16 page booklet with rare photos, flyers, biographical notes, fanzine excerpts, scans of the original releases and an extra 4 page full colored insert with never seen before photos! The definitive Stigmathe 80's discography that does justice after years of incomplete anthologies and bad quality replicas of the two 7"s.

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

Holyname is the new project from Sleeping Giant vocalist Tommy Green. This is the 12-track full-length featuring an all-star cast of guest vocalists including Ryan Clark of Demon Hunter, Joe Musten of Advent, Brook Reeves of Impending Doom, Eric Gregson of xDEATHSTARx, and more.

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

Madrid-based 90’s punk rock nostalgics “weak” is back to the fray with their second album “A Guide for Adult Despair”. You can tell they grew up with Nofx, Lagwagon and No Use for A Name tapes blaring on their Walkmans as their sound could be defined as a passionate homage to the Californian punk rock bands of the nineties. On this new album the band decides to go one step further in terms of composition and recording quality and hits Ultramarinos Costabrava Studio with the mighty Santi García in charge. The result is a much more elaborate and consistent album, combining the speed and rage of punk rock with slower and super melodic pop style cuts. Although it is not a concept album, everything is wrapped in an atmosphere of sadness and despair in which many of us have been trapped in these past years. A Guide for Adult Despair is a deeply personal album, which revolves around the ups and downs that each member of the band has experienced during these last turbulent years. Nevertheless, the album also leaves room for some fast and direct songs loaded with social and political criticism. Recorded between the past months of December/January at Ultramarinos Costabrava by Santi García, this album is definitely much more consistent and emotionally engaging than the previous one.

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

Solid black vinyl version (180 grams) limited to 200 copies. "Varukers and Discharge main-men go head to head!!". Pounding, metallic Dis-charged Hardcore delivered by two timeless giants that wrote the history of British Punk: Tezz (Discharge, Broken Bones, Battalion Of Saints and more) & RAT (Varukers, Discharge, The Vile and more)!! And of course you get the best elements from the 40+ years experience of these two iconic characters: taking the Punk Rock blue print ingrained in their souls and adding a touch of the thrashing vibe that has always distinguished Tezz's song-writing and the perfect Metal/Punk crossovering of Broken Bones, the 4 brand new studio anthems included here are ready to hit your teeth like a pickaxe! One sided LP (180 grams) with silk screened art on B-side. Includes insert

Punch Drunk is the second album from London-based trio More Kicks. The band’s self-titled debut album was a concise and ragged lesson in pop songwriting dripping in melody, cynicism and energy—Punch Drunk marks a new era for the band. Heavier, more expansive, more twists and turns. It veers from sparkling harmonies to fearsome riffing in the blink of eye, with never a second wasted. As with the first record, it was recorded live on to 2-inch tape. It’s bottled lightning and the sound of a band firing on all cylinders. James Sullivan aka Sulli (vox / guitar), Kris Hood (drums),and Paolo Mantovani (bass / vox) have cooked up a rare alchemy. The result: a More Kicks song can touch on classic ’60s garage, ’70s NYC rock and roll, jagged ’90s guitar pop—all wrapped in a razor sharp bundle. A glance backwards and a decisive step forwards. “When the world collapsed in 2020, I realised more than ever how much I rely on music and More Kicks,” says Sulli. “This album became a total obsession and a lifeline. Stuck in one place, the songs all came from heartbreak, frustration, anger, hope. It feels like a unique set of circumstances that produced this record and I’m really proud of what we’ve done.”

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.

Drift, their fifth studio album sees Pianos Become THE Teeth taking another sonic step forward to craft a musical statement that truly transcends genres. For the recording of Drift, the band took it back to basics, starting at a family-owned cabin in the woods of Virginia, that they transformed into an analog recording studio. The band lived together, recorded together and ate dinners together where they would listen to the day's recordings, talk about them and pull them apart and reworking them, creating what may be their finest album to date. Per front man Kyle Durfey, "Something that we really took away from this experience was just the connection we had together. We produced the record ourselves with our longtime friend/collaborator/engineer Kevin Bernsten who recorded our first two records." The recordings that the band created using innovative recording techniques, recording 100% analog are sonically transportive and certain to mystify and inspire generations of recording artists. All the echoes were made with old echoplexes and tape delay, which made for a really organic record. With Bersten's help the band was able to take some of the weirder and more ambitious ideas they had and turned them into reality making this a fantastic album for immersive headphone listening.

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.

One of the most respected British bands in the mid 80's post punk era. Sad Lovers and Giants played highly atmospheric music made of melancholic melodies and epic guitar riffs. An overtly romantic attitude that slowly developed towards an even more open (pop) sound approach. Originally released in 1987 on Midnight records "Mirror Test", the band's third studio effort, arrived as the fruit of an updated line up and a clear step in such direction. A very harmonious collection of songs, some of which are still recognized among the best in the band's entire catalog.

Everyone’s favorite (and only existing) punk rock all-star cover band ME First AND THE Gimme GimmeS are back with their latest offering, Go Down Under. Instead of enhancing (or disgracing, depending on who you ask) one specific genre of music, as is their typical approach, this time they’ve decided to take on the music of an entire continent. As you may have guessed from the album’s title, Australia is the lucky recipient of the Gimmes latest musical makeover. Crikey! Five tracks from proud Aussies the likes of Inxs, Olivia Newton-John, and Air Supply, are belted out with the boisterous fun-loving style that only the Gimmes know how to pull off. Didgeridoos be damned, these tunes are all brimming with ripping guitar leads, up-tempo rhythms, and the signature silky smooth vocals of Spike Slawson. Go Down Under is their first newly recorded material since 2006 and from the opening riff it’s blatantly clear the guys haven’t lost a step. Just to add to the excitement, the vinyl version of the album is available for the first time on 10- inch vinyl! Originally released as a double 7”.

In the summer of 2021, the ArOzA Crew released the tune "Asphalt" as single. Shortly thereafter, the then still unknown band was perceived as a promising newcomer in the HipHop scene. Interviews were given with BET, Urban Vault UK, Puls, and the Süddeutsche Zeitung and the record label Expanded Art Records also got in touch to license the song for a 12inch vinyl. Instead of just one single song for a 12inch, the band offered EAR an entire EP with more songs from the time Asphalt was created and fitting remixes. For remixes, Flip from Texta and Maniac from the Demograffics were won over. Flip, a rap star in his country Austria, remixed the song "For Da Nation" which features London rapper Rece Miller. Maniac from the Demograffics, known for his work with Liquid, Dexter and the Tribez, did the remix work for the title song „Aspahlt“. Also on the EP the joint "Roswell Incident", a bomb by 90Wyse from Buffalo in the United States on which the ArOzA crew gave a feature. The 12-track EP is rounded off with the instrumentals of the songs and remixes.

What's Realness? Realness is a lifestyle, an attitude towards life. It is the essence of what HipHop's all about. Unfortunately this realness has been nearly completly lost in the last few years and is only rarely found in recent productions. One whack song followed by another is released to generate plays and to enter the charts. The Realness, the values, the art and the soul of this African American culture is being sold for some small change. Marlonhil is now stepping into the ring to revive HipHop with realness.

For the bands that really make a difference, there are releases that prove to be the proverbial ‘tipping point’ - taking them to another level, exposing them to giant new waves of fans… “Under Tension“ de¬nitely had it’s game changing moments - but ultimately was hampered by a pandemic hell-bent on preventing this band from taking those tracks across the globe with serious gusto! ….This record, oh, this record… an EP at that, is without a doubt the one that will prove to be that game changing moment for the vast majority within earshot. It includes epic ballads and heart wrenching, truly game-changing barn-burning life-altering tunes, for Today. This is the real deal. If you’re into Punk, you are into this band, and this record is just epic! The power and presence that this band will throw in your face in every way, at every opportunity is an extension of “Under Tension” - Profound, somewhat intimidating, and most importantly - overwhelmingly welcoming... and noble! Best get out of the way, or better yet, sign up and join the ¬ght!

Dame Peligro, the new 7-inch record by Tijuana’s own Dfmk is the definition of punk rock and roll. With driving tempos and raw leads. the high octane vocals will coerce any fan of hardcore punk to seek out more! Walking the line between melodic riffs, and soaring melodies, this is the band at their harnessed best—three songs to two-step to!

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

For Wilkes-Barre's One Step Closer - the concept of home is complicated. "I've never felt so distant in my life," vocalist Ryan Savitski screams on the lead single "Pringle Street," a place in his hometown that binds the album's lyrics to both a precise location and feeling of displacement. On their first ever full-length album and debut for Run For Cover This Place You Know, the band offers a modern coming-of-age story about growing up and grasping both the known and the unknown. One Step Closer started in 2016 and in their short five years, Savitski, along with drummer Tommy Norton, bassist Brian Talipan and guitarists Ross Thompson & Grady Allen have come into their own as a modern hardcore mainstay. Their 2019 EP 'From Me To You' countered existing trends in exchange for a more melodic sound in the vein of bands like Turning Point and Title Fight. They went on to open for Have Heart at the band's now legendary reunion shows that summer, and joined bands like Knuckle Puck and Turnstile on tour before pausing to write their debut album. This Place You Know grapples with the weight of themes like isolation, depression, and loss - all amplified by driving bass lines, em-phatic guitar riffs and unwavering drumming performed by the band. From the first moments of album opener "I Feel So," the stakes are made clear by the anchoring lyric 'this place you know, sometimes it hides the truth and lets people go" - One Step Closer is attempting to resolve the unresolvable anguish of moving on from everything you once knew.

Bristol punk quintet the Cortinas began as an R&B covers band, but soon sped up their repertoire when punk arrived, making them local pioneers. A slot supporting the Stranglers at the Roxy brought them onto Miles Copeland and Mark Perry’s Step Forward label and they later signed to CBS before imploding, guitarist Nick Sheppard then joining the Clash and drummer Daniel Swann San Francisco’s the Sneeches. This ace compilation gathers the best of their early work, including the immortal debut ‘Fascist Dictator’/‘Defiant Pose,’ as well as ‘TV Personalities,’ both in the studio and live. Another crucial piece of the Bristol puzzle!

Jesuit was a nefarious, mid-’90s, heavy band from Virginia Beach that released a small batch of demos, 7”s, and comp tracks while absolutely terrorizing and uprooting DIY hardcore shows around the country at the time. Upon dissolution, members went on to THE Dillinger Escape Plan, Converge, OLD MAN Gloom, Doomriders, Cave IN, and Bleach Everything. This release is a reissue of the band’s entire discography, originally issued by Magic Bullet Records in 2011. It compiles the band’s 7” on Hydra Head, their cover of Black SABBATH’s “Hole In The Sky” from Hydra Head’s In These Black Days compilation series, the self-titled 7” on Reservoir Records, and the original self-released demo tape. All tracks were restored, remixed, and remastered by Kurt Ballou at GodCity Studio, where everything but the demo was originally recorded. The 2021 edition of the record features a new cover colorway, a translucent, hot pink LP, a clear 7” flexi with silver foil, and a giant fold-out poster that contains all lyrics, liner notes, and over 100 photos. Proceeds from this release will help fund public concrete skatepark additions and repairs.

Feeling Lower than the Dow Jones Industrial Average? Me too, but this record is helping. When I heard it I finally believed that one guy with long hair and a green shirt who told me 'Those Cats Can Really Play!' RIK and his deplorable Pigs imploded in 2018 but not before recording two final sessions in California—one with Mike Kriebel (The Beat Sessions guy), another with Tony Santos. They skipped town before paying the bill, but we’ve stepped in to pick up the tab because we think it’s a great value. The Pigs, man…those guys are the laziest delinquent sort of pig slobs ever born, but at least they’re well rehearsed. They’re salty from marinating in the degenerate RNR Dick Manitoba, Cheetah Chrome and Dave E gave us long ago and it shows. Ricky the cunning wordsmith delivers with weasel verve, as one with an actual Venus in Taurus would. There’s a rawness and honesty here that has more to do with ‘80s hardcore than the modern garage rock scene that has embraced them. 'Lifes A Bust' is the hit—a scorching groove that lasts 7 minutes 26 seconds and still somehow feels too short. Play it at the bar and the people over 40 will be tapping their toes. The Last Laugh is probably a great gift for your father or father’s father, get it while it’s

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

Retail Exclusive SEA Blue Vinyl (500 Made) SKA Punk Legends Less Than Jake Team UP With ‘new Tone UP & Comers Kill Lincoln FOR A Generation-spanning Split Release. Both Sides Feature THE Bands AT Their Absolute Best, With TWO Fiercely Catchy Instant Classics. This Split Will GO Down IN SKA Punk Lore AS THE First Step Bridging THE GAP Between THE ’third Wave’ AND THE Current SKA-Punk Resurgence.

This year Los Fastidios celebrates their 30th anniversary and for this important step the label has planned some special releases. They will start to reprint all the old Los Fastidios albums in a limited Colored Vinyl version. First release, the first Los Fastidios / FFD "Hasta la Baldoria" album split, 1996, an album that had a lot of success in the street scene and that brought to the two italian bands recognition in Italy and abroad.

Del Rio is the third album from the Austin triumvirate of guitarist Craig Clouse (Shit and Shine), bassist Nate Cross (Marriage, Expensive Shit) and drummer King Coffey (Butthole Surfers) and the band’s first release to feature vocals from Colby Brinkman (Taverner). While their two prior albums (2017’s Laredo and 2019’s Matamoros) were somewhere on the periphery of rock music, Del Rio is a step or several beyond and a real testament to human imagination (maybe you’re impressed by Tesla Powerwall batteries but that’s because you’ve not heard “Soft Taco,” yet). Coming off a pair of records their respective labels could barely keep in stock and critical assessments that put reviewers’ own chops to the test (see below), USA/Mexico have delivered their most fully realized statement to date.

Arriving to the world for the first time, really—beyond the ears of the deep-digging few—Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release. Undesirable Elements—here expanded as Undesirable Element with appended bonus tracks—is a desolate and deconstructed album which touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto-punk via abrasive, fuzzed guitars, and refracted mutant strains of British post-punk through a distinctly American underbelly sensibility. Drum-led and in-the-red, Undesirable Elements is a loose concept album of sorts, from the sympathetic pen of an innately skilled commentator. The album displays polemical disdain for the behavior of humans, insular views, and blindly moving forward on simple suggestion, while carrying a keen eye into the many textures of the mindscape of man. While you may hear occasional tears at aiming at the trends of the times, Jenkins’ direct, intensely personal and lyrically sophisticated material, combined with his charged attack, is in a realm all its own. Jenkins’ lyrics are nearly cinematic, like bite-sized scripts, or character vignettes, filled with wizened, introspective and radicalized perspective. The self-contained home-recording maverick was searching, sensitive, subversive, topical, yet several steps from the soapbox. Got Kinda Lost Records is over the moon to allow this unique, outsider singer-songwriter/psych-punk album another turn at its time in the shine…

You'd think Jake Robertson would already have his hands full playing in the likes of Ausmuteants, Leather Towel, School Damage, Drug Sweat et al. But no, evidently there's always time for one more thoroughly wracked project, and Alien Nose Job's focus is as kaleidoscopically scattershot as you'd expect from a man with such a short attention span. Just to confirm: yes, that's a good thing. From the off, we glide through the Coneheads-style Devocore of Television Sets before romping through the jangling lo-fi pop of Weight of the World, which skips and mopes while making like The Clean setting light to their parents' carpet with a magnifying glass. There's also charmingly scruffy soul-pop, chugging sci-fi slop-punk, straight-up college rock balladry and much, much more. But these aren't sketches or tossed-off genre exercises. They're bona fide works of consummate skill that resonate sincerely and effortlessly. Essentially, each song sounds like a challenge to the one that follows, a cry of 'step the fuck up'; Suddenly Everything is Twice as Loud is a treasure trove of mini-masterpieces. Rough as fuck mini-masterpieces, sure, recorded with a cheap drum machine and guitars that sound like rusty drills cutting through power cables, but mini-masterpieces nonetheless. When venerable doyens of the pop establishment make albums of such eclectic scope and genuine songwriting talent, they get called geniuses. When punk as fuck wiseguys like Robertson pull it off, words like 'maverick' get tossed around. Rest assured, his Alien Nose Job project covers both angles. This second album is an instant classic that deserves to be heard far beyond the underground - but if it isn't, who cares? He's probably playing in another seven bands already by the time you read this. I've not heard them yet either, but I can tell you they're all fucking amazing. Just buy this record and join the cult. Will Fitzpatrick.

Step Forward. Umeå Hardcore Originals. In 1989 there were no such things as Umeå Hardcore. There was no scene and hardly any punk bands. A bunch of friends got together under the moniker of Step Forward to play fast and wild Hardcore. This is the first proper Straight Edge band of Sweden - started a couple of years after some members of legendary Svart Parad brought it to Scandinavia. In their short lifespan between 89-91 they recorded two demos, put on numerous shows and did a fanzine called Umeå Hardcore Zine. For the first time ever the 2 demos are being released on vinyl. Remastered and with liner notes from Dennis Lyxzen and a bunch of unseen photos. The band was only around for a fraction of time but they had a huge impact on the small world surrounding them and Dennis of course went on to form Refused right after the break up. Members of Step Forward were also involved in bands like Final Exit, International Noise Conspiracy, E.T.A., Regulations, AC4 or Invsn in the next three decades! If you are into fast Hardcore done by a bunch of alienated teens from the north of Sweden you need to check out this record.

East London record shop World of Echo debuts on the other side of the counter with a reissue of Two Wishes, the solitary 12" by Anglo-German collective, Mutabor!. Seemingly lost to time, Mutabor! were first brought to World of Echo's attention when drummer/singer, Gary Asquith, played at the shop's first birthday celebrations while promoting one of his other bands, Rema Rema. And so the story goes... Mutabor! emerged wraith-like from the monochromatic grit of Berlin's art punk underground late in 1981 when Asquith left London to set up temporary residence in the city following a chance meeting with Malaria's Bettina Koster backstage at a Birthday Party gig at the Lyceum earlier that year. Beguiled by the possibilities of collaboration, musical and otherwise, he was soon to make his own contributions to what was an already fecund scene. Partnering with Koster, and Gudrun Gut and Manon Duursma also of Malaria!, Mutabor! were publicly birthed via an impromptu performance at punk rock polestar the Risiko. Asquith found himself playing percussion in what would be a first, while the rest of the band ossified in front of him in typically idealistic post-punk democracy. Little documentation of the performance survives beyond that which exists in the memories of those playing - that itself shaky enough - though there was clearly sufficient encouragement for them to commit to a recording session. Later that winter, the four booked time at Music Lab, the studio operated by Harris Johns, for what would ultimately be their only studio visit. Two songs were laid to tape, and soon after a photoshoot was to take place at Koster's flat, resulting in a handful of images that, along with the music, comprise the sum total evidence of the band's existence. 1001 Nights and Treats both found their way to Peter Kent, a co-founder of 4AD who had recently left the label with the ambition of starting his own imprint. Entitled Two Wishes, the two track 12" was to be the first and only release on Loaded. It seems that Mutabor! were to represent a series of firsts and lasts, a trend that continues now as they open the World of Echo imprint. It's fitting to think of Mutabor! in these prescient terms given how they sounded. Berlin at that time shared a spiritual axis with New York, the conceptual & aesthetic discordance of no wave and a nascent off-beat dance culture underpinning much of the respective creative activity. There are shared signifiers, but even in that context, Two Wishes sounds oddly out of step, moving to its own unusual rhythm. 1001 Nights stutters along on a tribal beat that seems to run independent of skronking sax, spidery guitar lines and deadpan vocal incantations, the ghosts of two songs meeting in some kind of incompatible voodoo union. On the reverse, Treats slows down and dims the lights further, as Asquith sardonically recites desirous threats as an increasingly malevolent sax and guitar grinds behind him. No surprise the darkness within the music given the parent bands and the backdrop of a crepuscular early 80s Berlin, though there remains a complex compositional element to these songs that suggests a broader spectrum of emotion - desire, romance, and ultimately, infinite possibility. Recut and mastered, Two Wishes is now presented with the original front cover artwork alongside additional imagery, including a 16 page booklet, all culled from Asquith's own archive. A brief bolt of energy at a crucial juncture in music history, Mutabor!'s story is emblematic of the mutli-verse of post-punk and the creativity its ideology necessitated.

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

Limited edition box set with 3 x 7″ inch singles in picture sleeves. Black vinyl.
The aim of the Punk elää 7″ box series is to offer people the chance to digest these often impossibly rare and expensive records in their original 7 inch format. Each box comes with an insert with text from Fenno-punk historian Juho Hänninen.
The second box set, Systeemissäkö vika?!? (Something Wrong With The System?!?) offers three replicas of privately pressed Finnish punk seven inches from 1980.
The most famous title here is the debut seven inch by RATTUS, Khomeini-Rock. Known for their classic hardcore records such as WC räjähtää (1982), the band’s first single was a self-financed affair of 200 copies only. This new facsimile edition presents a rare chance to hear how the band’s early steps in search of their style sounded like.
Lapsuuden Loppu (Childhood’s End) existed for a brief period first in 1979 and then with another lineup in 1980. This latter version of the band, who hailed from northern Finland, close to the Swedish border, wanted to steer clear of new wave which was rearing its head and becoming fashionable, and stuck to hard-hitting old school punk. They managed to self-release a self-titled seven inch before splitting up, original copies now almost impossibly rare to find.
Systeemi, whose debut single also gave this set its title, differs from many of their contemporary diy punk rock groups in that they made a second 7 inch too, although not until 1983. This 1980 debut, Systeemissäkö vika?!? was the fruit of youngsters that met each other at a vocational school in Jyväskylä, central Finland, in the late seventies. They named the band Systeemi in 1979 and entered the studio on the spring of 1980. The self-released record, as with all titles in this set, has become a holy Grail for punk rock collectors due to its obscurity and extremely low pressing run.

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

First time release with all the songs recorded from this seminal Spanish band. Replica for cover and inside art work. 180 gram vinyl. Espasmódicos were formed in the Malasaña council, Madrid in the first days of 1981. J. Siemens (guitar), Kike (voice) and CSG71 (bass) were the first line-up, completed when Carlos Torero joined them as a drummer. Influenced by the first punk-hc bands coming out but also for some hard-rock elements, soon the first tracks were composed and then, in 1982, the mighty DRO label released their first 7" called "Recomendado para molestar a su vecino", featuring 3 songs that are one of the seminals steps into punk in this country. They had a guest on the person of Karlox from Polansky y El Ardor at the saxophone, something very weird in the bands of that first punk wave. Since the 7" was released the band started to be well known and they went to some Spanish TV shows to promote their work. Carlos Torero decided to leave the band and a studio-session drummer joined in the person of Carlos de Yebra. In 1983 the band recorded their last songs: first they registered the mighty tracks that went on to the great compilation "Punk, qué punk?" released by DRO. This songs were "Tía, vete a cagar" and a free cover-version from Sex Pistols called "Belsen was a gas", something that pointed the band to a weird status as the lyric was something into Nazism or fascism, something that the band never were. The second studio session for that year (and the last ever for the band) was to register their maxi-single "Espasmódicos", five songs together with the great art-work done by J. Siemens and Kike Kruel, very similar to the Crass's stuff and so. Beat Generation, absolutely fan of the band, is more than proud to release this LP with all their discography, together with a replica of the art-work.

Vinyl is close to NM. With insert. tiny wear

White vinyl

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!

Faraquet began as a side project featuring Smart Went Crazy members Devin Ocampo and Jeff Boswell, along with Devin's high school friend Chad Molter. Faraquet stepped up as a full-time band after the demise of SWC and started playing more shows, releasing a couple of singles as well as appearing on a split CD with Akarso. Due to their non-traditional time signatures and off-kilter arrangements the band was often described as “math-rock”—a description they never warmed up to. Faraquet felt more aligned with the Minutemen and both the passion of their live performance and their advanced sense of melody set them well above and apart from the basement scientist crowd. The View from This Tower was recorded by J. Robbins and released in November of 2000. In 2003 core Faraquet members Devin and Chad reunited to form Medications, who continue to release new music on Dischord Records. Remastered from the original tapes. LP includes a download.

“artificial Peace lasted barely a year, but in that short time managed to become a leading band in the early DC hardcorepunk scene. Pete Murray had played in the short-lived RED C while Mike Manos, ROB Moss and Steve Polcari were in a band called Assault & Battery. Towards the end of 1981 they formed A.P. and began playing around town. They were tight, fast, and aggressive, prerequisites for most of the DC bands of the time, but also had a unique sound and surprisingly catchy songs. I loved the band and offered to record them at Inner Ear Studios. In November 1981 the studio was still a 4-track in the basement of DON ZIENTARA’s family house. The ‘live’ room was actually his children’s playroom, and the mixing desk and tape machine were set up next to the furnace in what could be described as spacious closet. A.P. knocked out their 17 songs in almost no time. I think we recorded, mixed, and sequenced the tape in two or three days and were very happy with the results. There may have been some discussion about putting a few of these songs on a 7” EP, but at that time all of the label’s resources had been put into releasing Flex Your Head, our first full-length album. FYH was a compilation documenting the DC punk scene and since A.P were one of the great young bands coming up at that time, we included three songs from their session. There never was an opportunity to do anything with the other 14 songs as Dischord was poor and, like many of the bands in DC at that time, A.P. was not long for this world. However, before breaking up in the latter half of 1982, A.P. recorded again at CAB studios in Rockville, MD and released those recordings on a split 7” (w/The Exiled). This was the fi rst release on the Fountain of Youth label. After A.P. disbanded, Pete, Steve, and Mike started playing with Kenny Inouye and Andre LEE to form Marginal MAN. That band would release a 12” on Dischord as well as two full-lengths on Gasatanka and Giant respectively and continued playing for seven years. While working on the Dischord Archives, we came across the Artificial Peace November 81 session and decided that the tape should be finally and properly released in its entirety. Artificial Peace may well be an obscure band, but their effect on the DC scene was signifi cant and played a sure role in the evolution of the music.”—Ian MacKaye, 2010

Recorded over 6 months by Jon Drew at Giant Studios in Toronto, Year of the Ox is the band's fourth record in the continuing 12-year cycle and adds to its evolving retinue of guest musicians. The patient and building Year of the Ox features Nika Rosa Danilova of Zola Jesus for a guest vocal passage and Toronto's string quartet, New Strings Old Puppets. B-side "Solomon's Song," a gothic vampire love tribute to Twilight, features a 5-minute saxophone solo from Aerin Fogel of the Bitters and heavy synthing from Trust.

This is the first single from the new album 'Triple Distilled' and it's already getting played on BBC 6Music, 'Begging You' was recorded at Ranscombe Studios in Grahams hometown Rochester and it's backed with an exclusive b-side a great instrumental called 'Sitar Spangled Banner'. After a year of touring and the release of their 'Travelled And Unravelled' EP earlier this year, the Gaolers returned to the studio in July 2008 to record their follow up to the critically acclaimed debut album 'Soundtrack To The Daily Grind' with their second album 'Triple Distilled' at Ranscombe Studios in Rochester, Kent which is due for release in October 2008. 'Triple Distilled' is made up of 12 blistering new tracks with fairly autobiographical lyrics telling tales of their life on the road, drinking and smoking. As usual they are the amalgamation of Graham's tuneful and aggressive songs, driven with an energy and attitude, which has been perfectly captured in a simple no-frills studio recording. Buzz couldn't make the recording so Johnny Barker (Ex of The Buff Medways) has stepped in and will also be part of the band that hits the road again around the albums release for another European tour and a headline show at the legendary 100 CLUB in London on October 29th Dan Elektro from the great US band The Woggles is on drums. GRAHAM DAY - Founder member of The Prisoners, Prime Movers & The Solar Flares as well as drummer in The Mighty Caesers and bassist in The Buff Medways alongside old friend Billy Childish.

Madrid-based 90’s punk rock nostalgics “weak” is back to the fray with their second album “A Guide for Adult Despair”. You can tell they grew up with Nofx, Lagwagon and No Use for A Name tapes blaring on their Walkmans as their sound could be defined as a passionate homage to the Californian punk rock bands of the nineties. On this new album the band decides to go one step further in terms of composition and recording quality and hits Ultramarinos Costabrava Studio with the mighty Santi García in charge. The result is a much more elaborate and consistent album, combining the speed and rage of punk rock with slower and super melodic pop style cuts. Although it is not a concept album, everything is wrapped in an atmosphere of sadness and despair in which many of us have been trapped in these past years. A Guide for Adult Despair is a deeply personal album, which revolves around the ups and downs that each member of the band has experienced during these last turbulent years. Nevertheless, the album also leaves room for some fast and direct songs loaded with social and political criticism. Recorded between the past months of December/January at Ultramarinos Costabrava by Santi García, this album is definitely much more consistent and emotionally engaging than the previous one.

Unit Pride was a band from California’s Bay Area that was a part of the late-’80s “youth crew” hardcore scene. The singer, Eric Ozenne, went on to front THE Nerve Agents (Hellcat/Revelation), Redemption 87 (Blackout/ New Age), and Said Radio (Mankind). This collection includes the long-outof-print Unit Pride Then And Now 7”, originally released in 1988 on Step Forward Records, as well as their even rarer, self-released Holding On Strong demo from 1987. Originally reissued by Mankind Records in 2002.

Santa Barbara's pride and joy, MAD Caddies are back in the mix with 5 brand-new toe-tappin, earth-shakin, Punkdixielandjazzmayhemcore tunes that are gonna send the kids straight into the pit! How can you beat the potion of hardcore breaks and dixieland interludes all stuck together with drums of thunder and some of the most harmonious vocals on the planet? The guys even pay tribute to disco giants Abba with their very own rendition of the hit song "S.O.S." The only thing bad about this EP is that its only 5 songs... the good news? The Holiday Has Been Cancelled is now available on vinyl for the first time! This 10” is a must for any Caddies fan’s collection.

It was 1992 when a hardcore band was formed in the tranquil town of Kassel: The Ryker's were born. A name that, even decades later (!), is familiar to anyone who is even remotely familiar with hardcore in general and the scene in Germany and Europe in particular. There was no getting around them, especially in the 90s. Massively influenced by the sound of the Cro-Mags, Agnostic Front and Sick of it All, the Ryker's gradually gained a foothold on larger stages in clubs and at festivals.

After the 1995 album First Blood, Germany was covered in dark blue hoodies with the Brother Against Brother print. Everyone knew the band. After various singles and LPs, a real masterpiece of an album was released in 1999: "Life's A Gamble... And So Is Death". The band was technically at their peak and in top form, with ultra-brutal groove, hard metal guitars and a really strong drumming that sets the pace for hard pits. Add to that the distinctive, deep and ultra-angry voice of Kid D. - to this day rarely achieved by other shouters. "Life's A Gamble" was released on Century Media Records, the only right step after the relevant experience with a major label. The label, which was still manageable at the time compared to today, offered the band exactly the right platform for this smash album. 18 songs, including 3 brilliant cover versions, make up a whopping 49 minutes. Almost an epic by HC standards. All killers – no fillers.

Of course there was also a vinyl version in 1999. This is now a sought-after rarity and has never been re-pressed. Why not? Well, then Noisy Plastics Records and Backbite Records are taking over at this point and are finally presenting you with a vinyl repress of this milestone almost 25 years later. The record will be released on December 20th, 2024 and collectors can look forward to chic colored vinyl editions and the legendary liquid-filled vinyl from “ Vinyl Manufaktur ”. This reissue was created under license from Century Media Records and in collaboration with the band.

For us, Nico and Mo, it's a real matter of the heart. Working on a repress of such a legendary LP is simply the best job in the world. 'nuf said.