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Artificial Go is a new four piece hailing from the DIY post-punk scene of Cincinnati, Ohio. Local labels Feel It and Future Shock have teamed up to co-release Artificial Go's debut album, Hopscotch Fever. Consisting of eight tight tracks, this debut is just that: an introduction. A little bit mercurial, a little bit iconic. Artificial Go is operating out of their own genre - not quite post-punk, not quite pop. Hopscotch Fever seems to have been recorded just outside of the collective-genre-periphery to form some sort of extraterrestrial kind of music. With angular guitar breaks, bouncing rhythms, and jolting vocals, Artificial Go is truly here on their own terms."—Jacob Mouser

‘Well let me tell you a little story that should not be forgotten something i’ll call the ballad of Johnny Rotten’

As the opening line states in Mal-One’s latest single release, Mr Rotten lead the charge and in many respects took most of the impact. Whether that be from the media, the government, the people or in fact from his own management. His stance and attitude made it all the easier for us all to follow through the many doors he pushed open.

Although Neil Young mentioned his name in song many years ago, Mal-One felt that his deserved the full nine yards, or 3 minutes. So here is his heartfelt sonnet to the man. They took his name away and forced him out of the country. The leader of the pack and come judgement day he will be the one who cannot be forgotten..

‘God Save Liberty and God save Johnny Rotten’….

2024 re-release of Marching Orders' second LP originally recorded between February and October 2012 and released in 2013. This re-release contains re-worked and updated artwork plus insert jacket with full lyrics/band pics and credits.Living Proof was branded 'The best Marching Orders release ever' by reviewers and featured songs that are still played regularly at live shows today. From 'Dog Eat Dog' to 'Spirit Of 84' to the drumless ballad 'Hand Of Fate' there was a wide range of song-writing on the album to appeal to all. Rooted firmly in their Australian environment, the influences are evident with nods to the likes of The Angels and Rose Tattoo. It was around this time that the band started to peak domestically with an appearance at the Pugs Day Out Festival in Sydney to rave reviews. There was talk of trying to go abroad and tour Europe and America again but unfortunately it wasn't to be. With members unable to travel and very little time to rehearse, the band instead ground to a halt unfortunately. After more than a decade since its release and long sold out, it is only now in 2024 that this album is getting the recognition it always deserved with some tracks pushing half a million plays on digital platforms. With Marching Orders back together again with a strong new line up and a successful European Tour in 2023, it is time for 'Living Proof' to be made available again on vinyl for all to hear. And with new songs recorded and plans for a new release in early 2025, Marching Orders is back! SIDE 1:1. Dog Eat Dog2. Guilty By Suspicion3. Living Proof4. Callous World5. Nothing To Lose6. Hand Of FateSIDE 2: 1. Spirit Of `842. Place Called Home3. The Party`s Over4. Rich Man5. Songs Of Yesterday

Leaving the putrid confines of Pigfuck, TN's dankest basements, full time rock and roll heroes emerge. Prepare for battery acid guitar solos, Johnny Paycheck death screams, blackened humor, and a little old fashioned fuckin’ in the USA--all clocked in for a full 9-5. You don’t christen yourself Filth lightly—forget the classics, forget poetry, forget respect. Don’t come here looking for an honest job. Take your punk and shove it and let the scene heads fracture. Welcome to Full Time Filth.

"Plastic Bullets" is an in your face instant punk classic. Its catchy melody, groovy tempo, singalong lyrics and pop sensibilities fit right in with the best the late seventies had to offer. The song comments on authenticity, the importance of staying true to yourself, and trusting your instincts: when you live life trying to be something you're not, you're just like a little kid playing cowboys with toy guns and plastic bullets.

"Plastic Bullets" is an in your face instant punk classic. Its catchy melody, groovy tempo, singalong lyrics and pop sensibilities fit right in with the best the late seventies had to offer. The song comments on authenticity, the importance of staying true to yourself, and trusting your instincts: when you live life trying to be something you're not, you're just like a little kid playing cowboys with toy guns and plastic bullets.

"Plastic Bullets" is an in your face instant punk classic. Its catchy melody, groovy tempo, singalong lyrics and pop sensibilities fit right in with the best the late seventies had to offer. The song comments on authenticity, the importance of staying true to yourself, and trusting your instincts: when you live life trying to be something you're not, you're just like a little kid playing cowboys with toy guns and plastic bullets.

Disposition stands as the final installment of the School Drugs , four-part full-length venture Funeral Arrangements. “I called a local funeral home to ask if the term ‘disposition’ was commonly used in the industry,” says School Drugs vocalist Josh Jurk. The director was a little surprised by the question. He said “yes” with some reservation. When I asked him why, he noted that it’s more of an insider term and derives its meaning from disposal, and the bereaved most likely wouldn’t be thrilled by the insinuation.” Opening the 7” record, “With Sympathy” admonishes the callousness of those involved

in an industry of death. Following close behind, “Feel Like Shit” is derived from a real- life conversation Josh had in therapy. The final track, “Funeral Arrangements,” reads

something like a hardcore ode to NOFX’s “The Decline”—an over 5-minute journey through various movements, tempos, and emotions.

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTIONMarky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result i...

“The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a ‘little break’ from the road. You all know what happened next. That ‘little break’ turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings). Sean [Hoffman] and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our ‘Scavenger’ 7-inch came out, around 2012. We had run into them in Berlin a few months back and I knew they weren’t playing anymore. I called Josh first, ’cause asking a dude if you can take his drummer, is like asking your girlfriend’s dad if you can marry her. And Josh said ‘go for it.’ And Jeff was in.

“Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard—basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a ‘Fake Live’ record—like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors, and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1.

“These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!” —Jed Maheu (guitars/vocals for Zig Zags)

Since forming in 2021, Heavyhex has quickly gained a reputation for their ability to translate raw emotion into their music, blending melodic and post-hardcore. Following Heavyhex’s 2022 EP, Stare, True To You dives deep into the realm of personal struggles, societal issues, and the demand for equality. Single “You Can’t Stay Here,” out now, bursts with an impactful vocal delivery and winding riffs before heading into an infectious hook. The song itself addresses how the unhoused are treated with little regard. Vocalist David Gastiaburo expands on the lyrics: “You Cant Stay Here” was written after NYC’s failed attempts to sweep homeless encampment sites. It was an ill attempt to force the homeless into shelters but it failed. Out of the 2,300 homeless people present during those sweeps, only 119 agreed to go to a shelter and most of them did not stay. Many were forced out with little time to take any of their belongings with them. These are people too, just like us, trying to get by.” On True To You, Heavyhex collaborated with producer Jay Maas (defeater), channeling their collective energy and creativity to shape guitar tones that strike a balance of aggression, clarity, and emotion, accompanied by fast and hard-hitting percussion. This collection of songs fearlessly explores the human experience with honesty and vulnerability. They serve as a powerful reminder of the importance of self-love and staying true to oneself. Confronting the challenges we face, while advocating for a world that embraces equality and understanding, True To You is a demonstration of the power of music as a catalyst for change. Heavyhex is a part of the blossoming Long Island melodic hardcore scene alongside bands including Stand Still, Koyo, and Private Mind. The band’s captivating, sing-along ready live show has allowed them to share the stage with acts like Silent Majority, Militarie GUN, Soul GLO, I AM THE Avalanche, and Spite House.

In the early days of punk amidst the gritty pop riffing and cocaine blasted glam holdovers of Cbgb, Max’s Kansas City and the like, Negatives sauntered into life as an anti-poser power trio who enjoyed writing music that was anything but pop. Consisting of reconfigured fallout from The Erotics and Inside Out (no, not that Inside Out), they employed a jagged, machine tight, hyped up guitar centric new wave approach to skewer what little public actually saw them with biting tracks about drugging, paranoia, anxiety and the mindless contentment of standard humans. Big city shit… Without much support, they managed to gig for about 6 months or so before disappearing into the hazy annals of the “me decade”. They did manage to track a few songs and release this lone EP that was all but lost until a lucky thumb met a curious eye in a New York record bin. With some help from friends, we were able to rescue this incredible EP from obscurity and we are beyond excited to offer this KBD monster to you now, freshly remastered from the original and finally in a picture sleeve. 500 copies on black 70gr vinyl housed in a 12 pt reverse board custom ILR silver lined glue pocket sleeve. Originally recorded in a now long defunct rehearsal studio in midtown Manhattan around 1979/1980. Exact dates are unknown as the master tapes were lost a long time ago. Recut and remastered by John Golden in 2023. Art by Jensen Ward.

A sweet golden wind blows, a wonky guitar plays tricks on your mind, an eerie voice slides through the dampness makin your hair stand on end and suddenly you are right in the middle of the sound of Highway Patrol. Whether it's a lonely motel, an overgrown swamp or a strip bar, those songs do indeed take you on a wild and sensual ride. Seems like those instrument swapping freaks have been diving deep into the waters that have been fueling blues and rock'n'roll since the 70ies. Producing a mysterious mixture between country, soul, rhythm'n'roll. (Have dark forces been dippingtheir finger in the pie?) You'll get your heart broken and fixed in no time!, while those putrid drums will make you dizzy with their wild rhythm. Either way they play a barn in front of 30 people or a venue packed to the top, nobody could ever escape their ease 'n' tension. So lets hear what some other guys have to say after listening to this little beast:

You probably forgot about Rouge. That’s understandable. It’s been two long years since these Berlin punks dropped their debut cassette. But the folks who were paying attention knew better. There was enough promise in that 2022 release to suggest they had more up their sleeve, and it was clearly just a matter of time before they were ready to share it. Well, that time has come. Once again they’re teaming up with Phantom Records, this time making things official with their first vinyl release. They’ve seemingly spent these last couple of years honing their craft--across the eight tracks on this release, they sound much more confident, bolstered by a production that’s a little more polished, though not necessarily slick. Still, they manage to make this a distinctly Rouge-ish affair, mixing the frenetic pre-hardcore punk of the Bags with the drippy garage of Thee Oh Sees and a heaping helping of contemporary Aussie-styled, po-faced post-punk/new wave and anchored by excellent guitar work and an energetic vocal performance. Good music for bad times! (Alex Howell)

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.

Seven albums and countless tours, Bleeding Through wasted little time in their 15-year career. Influenced and fueled by the ’80s metal bands they grew up on fused with the brutal onslaught of Swedish influences (IN Flames, AT THE Gates, etc.), Bleeding Through helped pioneer a new genre from their native home of Orange County, California. At the time of its initial release in 2002, Portrait Of The Goddess was a departure for the band members and set in motion a new wave of imitators as well as critics.

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

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.

When Irish-born Count Vaseline / The Mighty Stef songwriter Stef Murphy met Stiff Little Fingers guitar tech Jamie Mechan in Nashville, Tennessee, it began a musical partnership of the highest order. After cranking out a few tunes at Mechan’s fledgling studio, 302 Sound, the duo started recruiting other musicians. The band was rounded out by drummer Ryan Sweeney (Cheap Time) and Eli Steele (Sweet Knives.) Dubbing themselves The Sleeveens, an Irish term for a trixter, the band got to work. After recording and releasing their highly-touted “Give My Regards To The Dancing Girls” 45rpm single on Sweeney’s Sweet Time Records, they finished off their eleven track debut album. The quartet were soon approached by longrunning punk label Dirtnap Records for the album’s 2024 release.

The resulting album is an homage to the kind of classic punk Chiswick, New Rose and Stiff Records were releasing forty-five years before The Sleeveens existed. With earworm melodies and screaming guitars, the foursome have crafted one of the best albums of the year. Murphy’s penchant for charmingly brilliant, matter-of-fact lyricism has a similar poetic quality as Mark E. Smith or Jonathan Richman. With expert mastering by Jim Diamond (The White Stripes, The Dirtbombs) to put the finishing touches on the sound, The Sleeveens is a record that is simultaneously uncompromisingly raw and thoughtfully crafted.

With all eyes seemingly on the international street-punk scene during a time of boundless creativity, Guadalajara’s Mess stands poised to make a global impact. Influenced by the classic sounds of Oi! and Uk82, the band brings a raw but catchy sensibility to their street-level, rock ‘n’ roll anthems, sung mostly in English, with a little Spanish. After making a huge impression with their opening salvo of singles and EPs, as well as a split with UK heroes THE Chisel, the 14-song LP Under Attack is Mess’s most fully formed creative vision to date, showcasing a timeless sound across songs like “Leave Me Alone,” “Fueled By Rage,” and the impossibly catchy, mid-tempo anthem “In The City.” Taken together, this is the sound of the streets, tough as nails, but with an appeal to the human spirit of survival in a bleak society. Under Attack is the world according to Mess.

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

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

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

Limited to 300 black copies. A few weeks ago, the first planetary defense test was successfully carried out: the Dart probe diverted the orbit of the asteroid Dimorphos. With this Nasa operation we know, once again, that when we humans play god we are unstoppable, that we are not going to become extinct like the dinosaurs as long as progress makes us move. However, while this space shock was brewing 11 million kilometers away, here, more specifically in Torelló (Barcelona), a disc was being created that is like the Trojan horse of asteroids. Sin has made a crater or is going to do so; we are talking about Meant to collide of Wud. The second album of the band arrives three years after the debut Okeanos (2019), three are also the nuclear components that currently form it (and not the five before) and, again, three are the letters with which the name of the band remains (wud), previously they were called Wood. It seems that many things have changed in three years and that's right, the group has grown while it has been reduced and this new album testifies to that. The eight songs concisely concentrate the soul of the project. Although what they continue to love is the structured edginess of math-rock, they want the work to have punk-rock and pop constantly on the horizon, which makes the computation more digestible for all kinds of ears that like sharp-guitars music. Behind the songs we find Marc Fernández, Aleix 'Jimmy' Vilarrasa and Rai Costa, three friends of Torelló who for the last, almost, two years have been carrying out the recording. A long and arduous process that has gone through different studios, such as Fontderola by Jordi Casadesús and Jordi Torrents, or Lluerna by Èric Fuentes, but above all it has been hatched in their rehearsal room where they themselves have persevered in the attack to record a good part of the instrumental. The trio's bizarre ideas have been grounded with millimeter precision, faithfully capturing the centennial hyperactivism that accompanies them wherever they go. On the one hand, the songs trot lively and directed with a hardcore soul and rounded pop, on the other, if we look a little, we notice how the details of each cut are infinite, that the structures could be applied to the Sagrada Familia, that, in definitely, there is a lot of hard work. That the process has been laborious is also noticeable in the guitarist's lyrics, words spat out with the impatience of someone who doesn't want to waste another minute in the loop of self-destructive thought. Meant to collide is a fight between the two opposite and complementary parts of oneself, and I say two to simplify. Between the adrenaline side that wants to end everything through romantic escape and the other, the one that wants to reconstruct the fragments of memory to heal from serenity. From this very personal dispute comes a more than possible collision which, deep down, is what makes the group's creative drive advance and, above all, what makes the feeling that the songs are alive because they are lived intensely. Are we talking about emotions? Yes, thank God, because there such of this on the album, all the time, even in the instrumental interludes. The dreamy piano of “Barnum’s Circus”, the spectral autotune of “Lost Stars” or the Queens-of-Stoneagian guitar solo of “Cul-de-Sac” are at the service of the emotional magma of the musicians. The influence of highly emotional groups such as Delta Sleep (the English band performed one of the most memorable concerts for the wud crew at Torelló’s Arundo Fest in 2018), Algernon Cadwallader or Faraquet is noticeable. Over the years we are discovering where exacerbated technological progress is leading us: that's right, to collapse. Meanwhile, but, this band warns us that they have already arrived there and that humanity can be taken in abundance from there, in fact, there is nothing more human than collapsing.

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

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.

Sometimes making music is just a cheap excuse to spend some time with your friends. And so the three of us went touring last winter in South-Denmark or how you would call it: Germany. Whatsoever, here's a tour-split one year too late, but who gives a fuck. If you like danceable music but hate clubs, if you like punks doing non-punk and if you think it's a waste of time to read this, as much as I think it was a waste of time to write this, then maybe you should just give this record a try.

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.

Canadian powerhouse Warkrusher are back after their insanely great self titled Demo Tape, Pils Sessions #11 Tape and the Epitaph 7". Agipunk will release their debut LP in Europe (American press by Desolate Records) right on time for their European tour. Now, a few words about the music: I honestly think this is the perfect combination between old school stench core a la Axegrinder, Deviated Instinct, early Hellshock and early nineties Bolt Thrower. I've been shocked by the thick granitic power of this new recordings and felt my eardrums under a relentless siege that I had to listen to this damn good record over and over again for the next days. Not to talk about the artwork: simply insane with all those little details and stuff.

“I somehow missed that the Chicago hardcore punks C.H.E.W. broke up, but if we get Stress Positions out of the deal, I ain't mad about it. Stephanie Brooks now fronts the ex-C.H.E.W. dudes, but it's not a cut and paste job—where C.H.E.W. relied on speed and swagger, Stress Positions wide-screens the pit's psychedelic vista. There's a little more metal riffage and mid-tempo tension to maximize the intensity so that, once the band revs to hallucinatory level, the impact is devastating.”—Lars Gotrich

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather

tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.

A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is Punk. We hope you enjoy the indulgence.

After countless hours of data driven market research it was determined that the wild success of the first Retail Simps album, Reverberant Scratch was 82.6% due to the cheeky and iconic album cover, as such the group was faced with a dilemma. Using focus groups funded by the Center for Odd Human Behaviour (cohb), the group surmised that the man pictured on said cover, none other than Montreal born chanteur JOE Chamandi, reminded the typical unsophisticated commoner of their ne’er do well uncle, and it is this sense of uncanny familiarity that drove people to purchase the record. Upon first needle drop it was revealed to house an abhorrent and obfuscatingly decrepit take on roots rock. Armed with this keen analytical knowledge, the band and their creative team harnessed the boundless marketability of the Trashmen, Dancing Cigarettes and 2 Live Crew to adorn their new disc with an equally palatable and deceptive frontal armour, provoking the straight laced garage rocker of yore to pay the price of entry. Once the branding and visual identity of this little package invited potential listeners in, they were met with incorrigible confusion. You see, after being pigeonholed by the punk paparazzi as a lowly party band, the Simps were tasked with driving home their knack for fervent versatility. This new record captures a group, in the clutches of maturity, boasting their emotional depth, triumphant chops and humble servitude to the trade of rock n roll clowning. Recalling the double speak of VU’s murder mystery, the soul bent lament of Fred Cole and the bastardized funk of Minutemen, the Simps have thusly widened their sonic palate and created yet another masterpiece of the modern age. This is the southern soul of Memphian tradesmen flipped on it’s snowy head, conjuring an impure regionalism that was largely thought to be dead and gone. An alternate kind of Northern Soul with a frosty Arctic sheen. More spazzed out guitar, more howling lunacy, more heat of the moment, turnt poetry and outside the box-isms. “The Simpies have done it again!” Proclaim the industrial-indie-music-complex! Bolstered by the angelic croon of Theee Simpettes and the honking heart-wrench of Theee Horny Boys, Theee Retail Simpletones bring you this 97.5 % Total Punk din!

This is the original Breeders, formed in Champaign, IL, in the early-eighties. They released a 7" EP titled "Zen Punk" and an eight song cassette titled "Things Happen". This is a little hidden gem of Midwestern punk. Three songs, remastered for the occasion. A side is an elaborate song between Punk Rock and No Wave, that brings in mind bands like Gang of Four, Contortions, Wire,... On the flip side, two miniatures on the verge of hardcore. Think early Husker Du, Minor Threat and White Cross. Comes with the original artwork and a sticker!

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

As smokin’ as they are, previous releases from LES Lullies were rushed through with impossible deadlines and little time to consider the ends. Mauvaise Foi—their new LP with resolutely French title (and their first record almost fully sung in the tongue)—takes a more laid back approach to manifest the desired energy, finding the boys swimming in a sea of change from their usual methodology. The result is streamlined rock’n’roll with a new purpose: a stark contrast from yesterday’s news while remaining truly Lullies. Mauvaise Foi sounds more personal and fleshy, dabbling in influences from Phil Spector to the Real Kids, classic punk from the Normandy scene (Fixed Up, Dogs, Sub Kids), and brimming with subtle, headphone-worthy layers and details. Mauvaise Foi (“Bad Faith”) as a title sums up this full-length with accuracy. Sometimes tackling somber subjects with tongue planted firmly in cheek, has no qualms breaking free to resonate with hilarity and their trademark cockiness like a brakeless derailing bullet train. Contained herein are stories about real-life characters sung by slightly mendacious rock’n’roll adventurers.

From being right in the middle at the birth of US hardcore punk with DYS to creating the blueprint of melodic hardcore with DAG Nasty, from helping to invent pop punk as we know it with ALL to finding himself in the middle of the west coast punk explosion of the 90s with Down BY LAW: Smalley was always on the forefront every time hardcore punk pushed its envelope. While others may use a legacy like that as an excuse to take it a little slower, Dave Smalley has no intention to rest on his laurels and keeps writing new music and releasing records. When he founded Don't Sleep with fellow East Coast punk rockers Garrett Rothman, Tony Bavaria, Jim Bedorf and Tom McGrath in 2017, the world was more than excited about seeing him front a fast yet melodic hardcore band again. Being motivated by immensely positive feedback, Don't Sleep was finally ready to release its debut album "Turn the Tide" in 2020. And then the world came to a grinding halt. But after the dust settled, all five members decided that Don't Sleep was too important to not overcome all obstacles thrown in their way. The five piece went back into the rehearsal room, finished 8 original songs and added an amazing TOM Petty cover to the mix. The result is Don't Sleep's second full length "See Change".

Who doesn’t love a split 7”? This limited-edition, oxblood vinyl highlights two exceptional new and unreleased songs from two bands gaining steam out of two different corners of the world, both with a ton of gas/petrol in the tank! Both songs exemplify why there is so much excitement and energy around these bands right now. Just a prelude of what’s to come, this little nugget of wax is sure to wet your whistle and leave you wanting more from ’em both! Be sure to pick up a copy now, as this is a one-time limited pressing, and you won’t want to miss out

There was a time when the fear of nuclear destruction was so thick you could feel it in the your lungs and walked the streets. Like at any moment some Icbm would rain fire on your town and the troops would be thrust into action. Only they wouldn’t be defending the town they would use the melee as an excuse to rid their little podunk heaven of the “punker plague”. Those freaky weirdos with pins in their ear and stains on their gear. The ones that spray paint “Ronald Reagan Sucks a big one” on the hoods of cars. The ones that don’t fit and don’t wanna… Friends and enemies, introducing Electric Chair! 1,100 copies on black 150gram vinyl housed in a full color 24pt jacket with lyric insert included. Recorded by Detto. Mastered by Geza X. Art by Collin Buhr and Jesse Michaels.

If credibility were currency, Fake Names’ wealth would be off the charts. Composed of Brian Baker (Minor Threat, Bad Religion, Dag Nasty), Michael Hampton (S.O.A., Embrace), Dennis Lyxzén (Refused, Invsn, The International Noise Conspiracy), Johnny Temple (Girls Against Boys, Soulside) and the newest member Brendan Canty (Fugazi, Rites of Spring), the band is a veritable post-hardcore dream team. However instead of rehashing the past, Expendables is a reinvention that sees the band dialing back the distortion and leaning into the melodies. The result pairs their unparalleled pedigree with a pop sensibility that’s slightly unexpected and wholly satisfying. “For our last record [2019’s Fake Names]the general influences were 70’s U.K. punk and power-pop; but it wound up with a little classic rock vibe as well, like the Vibrators meets Aerosmith. We never saw that coming!” , Baker explains. For Expendables the band enlisted producer Adam “Atom” Greenspan (idles, Yeah Yeah Yeahs). Baker explains, “The pop influences are a little more out front on this one and the production really helps it shine. It sounds more direct, more urgent.” Expendables is the latest exchange in a musical conversation that spans four decades. Baker aptly refers to the lineup of Fake Names as a “mutual admiration society” and says that once the five members got in the same room together, it felt as if they had already been in the band together for years.

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

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

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

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

What kind of image does “Full Moon Forever” invoke to you? Slightly gothic feels with a sense of timelessness? Good! Then Kepi Ghoulie and friends have succeeded! When Ara Babajian of the Slackers approached Kepi about having an all new challenge, Kepi jumped at the chance to work with his long time friend and drummer hero! Bass player? B-face!!!! With solid rhythm section secured, they started selecting songs that they loved! Years of long backstage chats revealed a common love of some of the “darker” songs of rock’s pop, goth, and new wave eras… the Cure, Cars, Lords of the New Church, Nick Cave all entered the conversation and a group of tunes was selected! Who would produce? Ara wanted to go somewhere new to him, so Kepi and Bface rounded up their old friend Mass Giorgini at Sonic Iguana studios in Lafayette, IN, a colleague who had produced some of Lookout records music in the 90’s and early 2000’s... With 10 songs, also including selections by Nick Cave, Peter Murphy, Lou Reed and Iggy Pop, this little project was actually taking shape! They realized that if they just added David Bowie’s “Heroes” and Trex’ “Cosmic Dancer”, they would have a personal ‘desert island disc’, so they did! The record includes contributions from Ian Fowles (Aquabats, Gerard Way), Prima Donna’s Aaron Minton and Kevin Preston (also currently playing in Green Day), and several other friends, with artwork by artist Tom Neely.

Doping the Void is a punk rock band. That part of the description is easy. A big part of the DtV sound is trumpet, and here is where it gets a little complicated. Doping the Void is not a ska band. DtV is a punk rock band with a trumpet player beamed in from the early sixties. Think guitar riffs + distorted bass + shouting + bourbon + soul trumpet melodies. You get the idea. This more refined take on dirty Pittsburgh / Munich trumpet punk, the newest album from Doping the Void was recorded on separate continents during plague ridden 2021. Which makes 3 songs featuring Ronald J. Murrays horror poetry and the included frankensteinian punk rock classics mash-up all the more fitting. Still blind, loud and ugly.

Out of the smoke of the pandemic, Intoxicated return with a renewed energy in the form of their debut full length, Watch You Burn. Recorded at Morbid Angel's old rehearsal studio in Tampa that Intoxicated literally rehabbed and converted into a state-of-the-art studio for renown producer, Ryan Boesch (Foo Fighters, Whores, Helmet, Melvins, Andrew WK), now known as Candor Recording, Watch You Burn is a product of a band on a mission who's Florida roots are worn proudly on their sleeves. While you can hear traces of Obituary, Massacre, and Chuck Schuldiner sprinkled all over the album, Intoxicated offer much more than shades of death. There is a heavy crossover vibe present ala D.R.I. or early C.O.C., as well as some Skate Punk /Thrash like the early Venice Beach bands. In addition, there are moments you'll swear you heard a Matt Pike riff or something out of the Nola playbook. With guest spots courtesy of friends Tony Foresta of Municipal Waste and Ken Andrews of Obituary, Watch You Burn is a bonafide rager! Intoxicated took little time off during the pandemic, adding a new guitarist, John Sutton, who is no stranger to the Florida metal scene having spent time with 90's act Pain Principle. In the last 6 months alone, Intoxicated have supported Obituary, Massacre, Nasty Savage, Gruesome, D.R.I., The Casualties, Inhuman Condition and High Reeper. With Andrew WK's disappearance leaving Erik Payne and Gregg Roberts to their own devices, Intoxicated have certainly taken a front seat and there is no sign of slowing down - the band have the pedal to the floor and plan to be out supporting the album all Summer. You can catch them this Summer supporting Obituary and Municipal Waste on select dates as well as Into the Darkness Fest and Full Terror Assault Open Air!

With lyrics that seem purposely designed to get as little radio play as possible, and complete and utter apathy, the brash punk music of these Kansai punks still sounds as fresh as it did nearly four decades ago. Released in 1985 from Beat Crazy Records, P-vine and Alchemy Records hare releasing Sekiri’s self-titled debut EP as it was originally released - on a 7" record!

According to Jeff Clayton's words: "What you have here is a collection of the earliest releases of a band made up mostly of small southern town guys trying to make a name for themselves in the "big city". With little help or guidance (with the exception of a few very influential cases) we created what became OUR sound and OUR attitude that would stay with us for four decades. Come hear the DAWN OF ANTISEEN."Limited to 600 units. For fans of GG ALLIN, DWARVES, BORED!...

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.

Johnny Moped's "lost album" from 1990, finally gets a reissue! I like this album, Johnny hates it. But why? I think it's more "Johnny Moped" than any other album out there. What other album has entirely penned JM songs/ditties like 'Soldiers' and 'Moped crash' plus ad-libs and all the other little interludes in between the tracks that are pure "Moped". Johnny thinks it sounds like a "disco" album, which it does in places, but, hey-ho, it was 1989 and it was the age of Stock, Aitken and Waterman. At the time there had been no Moped band since 1985-ish and certainly Slimy hadn't been in the band since the early '80s. Also, there was only one album out there, Cycledelic so there was a lot of songs destined for a follow up album that never happened and it looked like we were going to be a one album band. So, with so much unreleased material and a chronic lack of "mopedisum" I decided to embark on a little project_ This album came out in 1990 on Deltic records but the deal was that I had to produce a finished master tape that could go straight to the cutting room and be pressed, so I borrowed a 4-track Teac and a Roland sampler and Roland drum machine and got to work. Some of the tracks sound like they were recorded in someone's bedroom, that's because they were, but Captain recorded some great stuff on his 8-track where I had recorded Johnny "live" and handed over a tape for him to work with ('I'm a Spasm', 'Soldiers', 'Cut across Shorty'). Also, he provided some decent backing vocals on other tracks ('Corpse Boogie', 'Hiawatha'). The album came out in 1990 and to promote it we put the band back together... in a different format. The Johnny Moped Big Band did a series of gigs where we started with two guitarists, bass drums and Johnny for three songs and then swapped to different musicians during 'Wild Breed' for another three songs. Then we'd bring the whole lot together for the rest of the set. The photos on the back cover are taken from the "live at the Cartoon" video. Notice Johnny's original Moped jacket ha...

Limited record store day edition on picture disc, hand-numbered out of 500 copies, available at our store and through very selected indie distributors only.

Ninth issue in a series of limited picture discs celebrating Radiation Records’ storefront in Rome, Italy for Record Store Day. This is a nice little collectible featuring the most sinful punk band ever, ladies and gentlemen: THE Nuns! Side A: Do You Want Me On My Knees? with Josey Cotton on backing vocals and Geza X on guitar. Recorded at CD Presents, San Francisco, 1993. Side B: You're The Enemy recorded at Laughing Tiger, San Anselmo, 1994. Jeff Olener: Vocals; Jennifer Miro: Vocals and Pipe Organ; Brett Domrose: Guitar; Jeff Rosen: Drums; Tommy King: Bass. Licensed from Robbie S. Fields / Posh Boy Records.

Limited to 4500 copies.

Stiff Little Fingers "bbc Live In Concert" features two high energy performances from these very influential Northern Irish punk rockers, recorded for the BBC. Fronted by singer and guitarist Jake Burns, the first LP of this 2LP set kicks off with "Roots, Radicals, Rockers & Reggae" from their "Go For It" album, recorded at London’s Paris Theatre in 1981, a venue used for many classic BBC In Concerts. The second LP features an equally raucous show captured at Norwich’s University of East Anglia in the UK in front of a highly appreciative crowd. Recorded a year after the Paris Theatre show, the 1982 set starts with "Tin Soldiers" and ends with "Gotta Getaway."

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

Nyc's Porvenir Oscuro Are Back With Their First Full Length After A Very Distant Demo And 7". Made Up Of 13 Tracks "Asquerosa Humanidad" Doesn't Let The Foot Off The Gas For A Second. It Is Relentless Pogo Inducing Attack That Falls Somewhere Between Fertil Miseria, Rip And Early Chaos Uk. With Tunes Full Of Aggression, Melody And Fuzz In Equal Measure, Laying The Foundation For Vocalist Sara To Spit Her Vile. Lyrically The Album Deals With Modern Day Frustration, Showing Little Faith In Humankind And A Massive Dis-Respect Towards Authority Like Any Self Respecting Person Should. While Stand Firmly In The Punk Terrain Porvenir Oscuro Borrows From The Rich Worldwide Sounds Of The Underground Delivering A Fully Formed Sound And Aesthetic Which Is Their Own. "Asquerosa Humanidad" Sleeve, Labels And Double Sided A2 Poster Were Designed By Guitarrist Gage Allison And Was Recorded, Mixed And Mastered By Sasha Stroud At Artifact Audio. Credits

One of the most iconic albums of the 1980s underground, American scene, 7 Seconds debut album, The Crew, delivers 18 legendary songs in 20 minutes. This classic album became the soundtrack to the suburban youth of that era. It also propelled 7 Seconds into an international headline act, which at their peak drew 2,000 – 3,000 fans per show. Known for their positive and progressive lyrics, 7 Seconds also became one of the first in the genre to address racism, homophobia, and sexism with songs such as “Not Just Boys Fun,” “Colourblind,” and “I Have a Dream,” which are all found on this album. The Crew also includes their hit “Young ‘Till I Die,” a staple in their set from 1984, when The Crew was released, until 2018, when the band officially disbanded. This masterpiece has been remastered by David Gardner from the original analog tapes. It has been repackaged as a gatefold featuring a beautiful, 20-page, full-color book on the oral history of the band from inception through the making of The Crew. It includes insights from the likes of Ian MacKaye (minor Threat), Jello Biafra (dead Kennedys), Keith Morris (circle Jerks & Black Flag), and many others, as well as unpublished flyers, photos, and other fun, little trinkets. The original packaging, including labels, lyric sheet, and original color ways,

We’re excited to announce the debut LP from Glasgow’s Soursob this month, a viciously minimal 3-piece that does so much with so little, yet packs such a powerful punch you won’t soon forget. A bass-driven groove holds these songs in an awesome aggressive limbo between the lush, heavy-noise of the post C-86 sound and the brash early 90s invigoration of riot grrrl noise. Like nothing we’ve ever encountered, their anger toward simple modern pleasures is just short of breath-taking, dragging everything you hold sacred into their pit of resilience. Thick accents drizzle over thick blocks of drastic fuzz as each song bleeds effortlessly into the next, encompassing some of the catchiest choruses this side of Dolly Mixture, yet with a sinister darker underpinning, all tied into their increasingly hypnotic bass lines. With the three members of Soursob originating from Glasgow, Lithuania, and Australia, they are currently in limbo post-pandemic, but with the immediate impact of this crushingly infectious new LP, they hope to be bashing it out in front of live crowds again soon. Such an impressively confident collection of songs here, and your fleeting taste for craft beer, cocaine, mass transit, watching TV on a cell phone, and Berlin in general, is very much “on the line” with these sublime and profound revelations. One these teeth sink in, you won’t believe how you’ve lived this long without the prickling & sickening throb of Soursob!

"The Land of Fire and Ice" has long been known for immense natural beauty, ancient folklore, hakarl, aluminum and hairy little horses. What you may not know is that punks were also there from the very start of the show. One of the most important bands to emerge from the thriving Reykjavík scene was Vonbrigði. Though they draw influence from UK and European post-punk and American hardcore, have no doubts Vonbrigði were 100% their own unique thing. They didn't receive a ton of international attention at the time and sort of faded into history but not without releasing a handful of songs, including a blistering hardcore track on the Rokk Í Reykjavík soundtrack compilation and an incredible EP on the fledgling Gramm label owned by Ásmundur Jónsson and Einar Örn (of Purrkur Pillnikk, Kukl and, more notably, Sugarcubes fame). All of the aforementioned songs are included here along with the rest of the previously (and unbelievably, I mean how is material this amazing not released immediately after recording it? Crazy!) unreleased '82/'83 sessions. 71 minutes of sweat and grit. Who needs volcanoes when you have Vonbrigði's fire? All tracks recorded between July 1982 and January 1983 at Studio Hanagal by Kjartan Kjartansson. Mixed and mastered in 2020 at Klakhöllin by Hallur Ingólfsson. Art by Þórir Georg.

Total Punk is keeping things in Atlanta for a little longer. Following up GG KING's- Remain Intact with the new album from Predator—Spiral Unfolds. The two bands share members including Ryan Bell who masterfully recorded both albums. Atlanta has one of the best punk scenes going and Predator are its longest running practitioners. Despite the seven years since Predator's last full length Complete Earth and vocalist Brannon Greene splitting time between Predator and his other projects Hospice and NAG (both of which just dropped new albums) Spiral Unfolds shows the band at its strongest. The lead work is minimal but razor sharp and extremely effective. Brannon talk/sings the vocals but the hooks are so large that the understated approach lends them more assurance. Predator are kings of efficiency. Stating as much with what is there as what isn't.

Cobraside has an exclusive color variant (red and black galaxy) limited to 1500 copies! One of the most iconic albums of the 1980's underground American scene, 7seconds debut album The Crew, delivers 18 legendary songs in 20 minutes. This classic album became the soundtrack to the suburban youth of that era. It also propelled 7seconds into an international headline act, which at their peak drew 2,000 - 3,000 fans per show. Known for their positive and progressive lyrics, 7seconds also became one of the first in the genre to address racism, homophobia, and sexism with songs such as "Not Just Boys Fun", "Colourblind", and "I Have a Dream," which are all found on this album. "The Crew" also includes their hit "Young till I Die," a staple in their set from 1984 when "The Crew" was released until 2018, when the band officially disbanded. This masterpiece has been remastered by David Gardner from the original analog tapes. It has been repackaged as a gatefold featuring a beautiful 20-page full-color book on the oral history of the band from inception Through the making of The Crew. It includes insights from the likes of Ian MacKaye, Jello Biafra, Keith Morris, and many others, as well as unpublished flyers, photos, and other fun little trinkets. The original packaging, including labels, lyric sheet, and original colorways, has been reproduced in exact detail.

Child’s Pose build little worlds. We’re emerging from a long slumber and they’re inviting you in! This is New Wave for Now People, lush, warm vignettes of start-stop punk-pop, played by members of Sauna Youth, Woolf, Sarcasm, and Nekra. SOP’s fluid—almost taunting!—vocal delivery is at once dark and jubilant, punctuated by instrumentation that reinvents itself over and over, twisting and turning songs that reward repeat listens. Limited to 400 copies on black vinyl, accompanied by a Risograph printed insert and housed in a full color jacket.

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

THE Lungs have a mantra: “make it visceral,” and with their dynamic live performances and series of independently released EPs, this Los Angeles-based punk power trio has been doing just that since 2016. Driven by the daily hand-to-mouth grind that they and their fellow Angelenos endure, and fueled by the macro volatilities that sparked the anger of so many Americans, The Lungs express their discontent with a surge of infectious post-hardcore dynamism. The band formed after San Fernando Valley based musicians Trevor Howard and Billy Goldstein exchanged some home demos and realized that they were writing music for the same band… all they needed was a drummer. After hearing these demos, it took little convincing for powerhouse drummer Dylan Howard, Trevor’s brother, to agree to join the pair in their mission. The trio quickly set to work on their debut self-titled EP, which they released in 2017. They followed this with 2018’s Bodysnatchers EP, a split 7” with Total Massacre entitled Church + State in 2019, and a slew of kinetic live shows. While THE Lungs’s music is grounded in punk rock, the band borrows the frenetic spirit of hardcore, the immortal energy of rock and roll, and the discordance and rhythmic complexity of post-hardcore, channeling these into an undeniably commanding cacophony that is sure to become the next pandemic. Add to that, they've got something to say, addressing issues ranging from substance abuse to mental health collapse and collective economic pressures. The band has now teamed up with LA record label, Dune Altar, who are thrilled to announce the release of THE Lungs’s debut LP, Psychic Tombs.

“Prior to forming the Gun Club, Jeffrey Lee Pierce (1958-1996) fronted The Red Lights. While 1980 is viewed as ground zero for Pierce’s career—his autobiography Go Tell The Mountain starts with the founding of the Gun Club—Pierce was active as a rock critic for Slash magazine and had started songwriting years earlier. Throughout the late 1970s, Pierce’s primary musical interests were power pop and reggae. He was the president of the Blondie fan club and had interviewed Burning Spear. So when the Red Lights, Pierce’s first serious attempt at forming a band, started rehearsing it’s unsurprising that power pop (with a hint of reggae) was the group’s musical direction. “The Red Lights existed throughout 1978. The lineup for the band’s debut show on July 14, 1978—opening for The Germs and The Middle Class at the Whisky—was Jeffrey Lee Pierce (vocals and guitar), Anna Statman (bass), Vitus Mataré (keyboards) and Jack Reynolds (drums). Mataré and Reynolds were members of The Last; Anna Statman was a contributing writer to Pleasant Gehman’s Lobotomy fanzine. This lineup was short-lived. Mataré dropped out afterwards; Jack Reynolds stuck around a little longer. Thanks to Flipside’s gig reviews, it’s known that the Red Lights played at least two more shows: one at The Arena in Culver City and another one at The Rock Corporation in Van Nuys on August 9, 1978, opening up for The Weasels. By the end of 1978, Pierce had moved to New York City, effectively ending the Red Lights “At some point in the second half of 1978, The Red Lights recorded a demo. Little is known about the session. Mataré had already left the band, Statman vaguely remembers recording it. Unfortunately, Jack Reynolds passed away in 2009. The Red Lights were obscure; people familiar with the band were likely committed Gun Club fans. Few were aware that this demo tape existed; those who had a cassette copy likely received it from Pierce directly. “Fast forward four decades and what’s surprising about the Red Lights’ material is how advanced Pierce’s songwriting was at 19 years old—the songs’ dynamic range, that voice—this is clearly the Gun Club’s Jeffrey Lee Pierce. Again, it’s all here.” —Ryan Leach

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!

Originally released a mere eight months after their groundbreaking 1978 self-titled debut LP (RAD 8002LP), The Kids' second album is a pure masterpiece of straightforward punk rock. A little less raw than their previous material, but still far from the new wave sounds the band started experimenting with on their following records, Naughty Kids remains one of the best examples of non-UK '70s punk and definitely a mandatory addition to the collection of any Killed by Death fanatic! This reissue also includes five bonus tracks recorded live in 1978

The three obnoxious jack-offs known as PUPPY AND THE HAND JOBS are back with another crude EP of filth ridden, barely listenable / tolerable punk called I Hate Everything, and with 7 songs this time around, that’s only a buck a track in as many inches. WHAT A FUCKIN BARGAIN. Never before in the history of recorded music has it been so cheap and effortless to be insulted and assaulted with a swift kick in the genitals by “songs” with titles like “Cocksucker” and “Rocker Hag.” But even a band of total degenerate creeps like this can still muster a touch of class here and there: enter one-time SUN CITY GIRLS collaborator EDDY DETROIT who penned the shitty little ditty “Plan 9"—a catchy track that will have you singing along like a dope before Puppy threatens your puny, worthless existence with “Predator.” WARNING: the actual record cover for this release isn’t nearly as polite as the digital artwork. You’ll be reaching for the dull pencil it was drawn with and stabbing your eyes out upon first glance.

Back when they started out as a side project of Melbourne's goth punk band—MASSES, UBIK described themselves as "Catchy brat-beat with a little sprinkling of anarcho goodness". That still rings true but with a slight lineup change and a couple years of practicing/gigging, they've gotten 100x tighter and traded most of the goodness for a bit more snarl. The catchiness remains strong a deliberate. This band rules, we can't wait for you to hear their best work.

With two much loved 7”’s, as well as countless riotous live shows already to their name, it was only a matter of time before Brighton punks, Gender Roles unleashed their debut album on the world, and now PRANG is finally here.

Capturing the frenetic energy of their live shows, the new record sees their grunge/punk sound evolving into something a little more complex. The new songs blend in a lyrical honesty and nuance but retain the angst and charm of their earlier material, to make it sound unmistakably Gender Roles and their most complete work to date.

If the original intent of punk rock was to reject the excesses of mainstream rock, strip things back to bare bones basics, jettison slickness and embrace a DIY ethic, then THE REVENGE were punk rock personified. Formed in 1977 in Cheshunt, London by Lol Hammond (vocals/guitar), Ian Strange (bass/vocals) and Dave Edgar (drums/vocals), these teenagers played most of London’s punk clubs, including the Roxy. The band self-released two singles in 1978 on their own Loony Records before disbanding in 1979. Both 7-inches were pressed in incredibly small amounts and now have legendary status amongst collectors going for ridiculous sums. The recordings are extremely raw, even by punk standards—particularly on the band’s first single, where the guitar sound is so tough and scuzzy it would not sound out of place on a volume of Back From The Grave. Needless to say, the singles received little press and vanished without a trace. Nowadays Lol Hammond is one of London’s well known DJs who has recorded as Drum Club and Girl Eats Boy, collaborated with Roger Eno, directed film scores and has remixed the likes of Jah Wobble, Killing Joke and The Fall, to name but three. In The Red is proud to issue the first legitimate (these singles have been bootlegged) reissue of The Revenge’s two singles.

Formed in Fullerton, CA in 1978, Social Distortion were one of the original LA punk groups and their first single was released on legendary LA punk label Posh Boy. But far more rare than that first single ("Mainliner" b/w "Playpen") is the unreleased EP Posh Boy's Little Monsters. This EP only made it to the test pressing stage back in 1981, and featured those two tracks from the first single along with "All The Answers" and "Justice For All." This is the absolute holy grail for Social Distortion fans and it's finally available in commercial form on two limited edition pressings for RSD 2019, black vinyl available worldwide and a Europe only red vinyl limited edition. Includes 2 bonus tracks.
“Of the 3 teenagers who recorded for me, one has died, another was believed to be dead and one became immensely wealthy from playing music. The one who did hard time in prison was not Mike Ness. It was the drummer Carrot, better known as John Stevenson, now living a very ordinary life in rural Florida.
I now count John as a dear friend. Apparently, he was only l6 years old when he rolled into the studio that day in April l98l, armed with a taped up pair of drumsticks. He played great as did both Mike and Dennis (RIP). This time there was no fighting in the studio over production values. I had promised Ness that we would not fight so once there was a minor disagreement over the artwork for the proposed l2", I dropped the project in favor of the Playpen/Mainliner 7" which sported iconic artwork from the band.”