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San Francisco’s last and only rock and roll band THE Okmoniks has teamed up with Slovenly Recordings for Afterparty Fever!!! Here are nine new houserockin’ woman led punk rock’n’roll blasts that capture the essence of a party that just don’t stop. This particular all-nighter was recorded live in a small room, and you can tell from the screams, handclaps, and peals of laughter that this 17 minute end result was produced in a gloriously boisterous session. Afterparty Fever!!! captures the girls-to-the-front, make-room-for-dancing, leave-’em-wanting-more live show they’ve been dishing out for freaks world-wide for the past two decades. The OKs are fronted by Helene 33 on vox, simultaneously playing impossible sounding, finger stretching 60s Ace Tone Top 5 organ tones while tossing it around like a toy… It must be seen to be believed, and a believer you shall be!

The Okmoniks recorded and produced every song on this album, and wrote them all with the forgivable exception of one cover by Tucson 60s punk outfit The Grodes. “Afterparty Fever!!!” sounds like a band in 1977 doing their favorite 1966 stompers: devastating dancers like “Don’t Wanna See You No More” and “I’ll Let You In” could fit comfortably in a John Waters teen shimmy montage, giving way to rockers like “He Left the Party with Me” and “Summer Break Up” that could serve as the captions for a comic panel in “Punk” Magazine.

Oakland-based post-punks Marbled EYE have been blowing minds and smashing worlds with their astute riffing, masterfully tight rhythm section, and memorable hooks since they released their first two EPs in 2016 and 2017. Since then, the band has gone on to release two stellar full-length records and tour the US and the EU extensively. For the first time since their original releases, these artifacts are being re-released together on one 12”. EP I and EP II contain some of the most memorable Marbled Eye hooks and progressions, forming songs like “Primrose,” “Oddity,” “Former,” “Feast,” and “Objects”—though every song is a singular hit. Marbled Eye’s dueling guitarists and vocalists, Chris Natividad and Michael Lucero, expertly craft intricate guitar tangles as they trade deadpan vocal hooks. Bass player Andrew Oswald pummels through the songs with precise and heavy downstrokes, while drummer Alex Shen muscles through tight grooves, adding tasteful syncopation. Together, these elements put Marbled Eye at the top of their class, producing some of the genre’s most interesting music. Informed by bands like Joy Division, Television, and Total Control, Marbled Eye understand the necessity of big hooks and deliver them song after song. This release will be coveted by those who already own the first 2 LPs, or the perfect start for the new Marbled Eye record collector—Don’t sleep."—Sims Harden

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:

"Jolifanto" takes its name from the first verse of "Karawane", a seminal Dadaist phonetic poem by Hugo Ball. When Ball first recited it in 1916 at the Cabaret Voltaire, both the author and the audience embraced a trance that left Ball exhausted, requiring assistance off the stage as the audience claimed the spotlight.
Over a century later, by a series of fortuitous events, "Jolifanto" is also the title of an album featuring two powerful musical entities. Artists stemming from diverse backgrounds converge with a shared experimental spirit, curiosity and passion for exploration in their music.
"Jolifanto" is an unexpected explosion propelled by (poly)rhythm, expanding into seemingly distant territories under the influence of flamenco. The Dadaist spirit permeates the work, where a constant tension between the improvised and the meticulously planned is evident. ZA! and Perrate together form an organism traveling from the roots to the rave, with nothing sounding out of place because the place is yet to be defined.
Perrate witnessed ZA!'s concert in a festival he attended as part of the audience. The Catalans surprised him with a proposal that he found radical and unclassifiable. Later, after being invited to prepare a collaboration for the Música y Museos season in Seville, Perrate decided to move off the beaten path, approaching ZA!, who quickly embraced the proposal. Exchanges of ideas and audio tracks ensued in a short time and they quickly found out that they were in the same wavelength.A week before the concert, they met in the same physical space for the first time, dedicating a couple of days to composition and preparing the gig at La Mina Studios in Seville. The concert took place, hailed as "the best concert most attendees had experienced in a long time", as reported by the Diario de Sevilla. That energy needed to be captured, and so it was, at the Happy Place studio in Seville, where the album was recorded between March 6th and 9th, 2023.
The Catalan duo ZA!, "the duo that mash up terrace-chant mayhem with... everything else" (The Wire #384), has operated independently and self-managed since their inception in 2004. They overlap genres and amalgamate sounds that move, with intensity, between wild jazz, post-rock and avant-garde electronics, among other influences. In their acclaimed latest work, they have revived the Phoenician language, exploring Mediterranean sounds alongside MegaCobla and Tarta Relena.
Perrate, active since the late 90s, explores the outer edges of flamenco without forsaking its profound essence rooted in lineage and tradition, evident in every note of his voice. His latest work, "Tres golpes" (Lovemonk/El Volcán, 2022), named flamenco album of the year by Babelia/El País, and one of the albums of the year for BBC3's Late Junction, reflects an innate curiosity, possibly the seed of all the fortuitous events leading to this album.
The encounter between Perrate and ZA! is the result of serendipitous events interwoven with the narrative of artists dedicated to experimentation and radicalism in all its forms.

Spaced live up to their name, blending hardcore with out-of-this-world sounds to create an explosive and hallucinogenic landscape. Originally formed in 2019, the Buffalo, NY-based band would burst onto the scene in 2021 with their four-song demo, followed by the 2022 compilation Spaced Jams and a split single in 2023, both on New Morality Zine. On This Is All We Ever Get, the band pulls from a wide range of influences while still staying centered around individuality. Working with Jay Zubricky (mindforce, Terror) at GCR Audio in Buffalo, NY, Spaced knocked out recording over a few days in May 2023 and sent the album off for mastering with Will Killingsworth (orchid) at Dead Air Studios. The eight tracks on This Is All We Ever Get are enthralling and dynamic, with the longest run time hitting two minutes and thirty seconds. Opener “Landslide” leads with a huge bounce, as vocalist Lexi Reyngoudt’s shouty approach drives off the band’s circling rhythms primed for side-to-side mosh. Spaced has quickly become one of the buzziest bands in the genre thanks to their blend of “farout hardcore,” garnering praise from press including BrooklynVegan, Stereogum, and Revolver. The band has been able to take their high-energy live show across North America and Europe, performing alongside bands like THE Armed, Snapcase, GEL, and SPY. With heavy touring plans already on the docket for 2024 including a US run supporting Militarie GUN, Spaced is continuing to assert themselves as a must-see live act. Ringing true to the title of This Is All We Ever Get, Spaced is set to hit the ground running on their own terms to make 2024 their year. The band stresses, “We want to continue to express the importance of being ourselves and tell the listener to either get with it or get out.”

The LP features a compilation of classic tracks from the legendary Bristol band. Side A was recorded in 1985 for a split LP with Extreme Noise Terror, side B is a long time sold out mini-album from 1993. Tracks from both sides rightfully belong to the top of UK punk rock.

“After releasing our third album in 2021, during the lockdown, we thought we would never play again. But all that anguish and disillusionment gave us the energy to go back to writing new songs, thanks to our desire to discover new musical horizons and many inspirational blues and soul listenings in recent years. Let The World Burn Down is dedicated to all the Brothers and Sisters who have had enough of Humanity.” - The Devils This quote from the Naples-based power duo introduces us to their fourth studio album. Let The World Burn Down marks their renewed collaboration with California musician Alain Johannes. The tracklist includes covers of ‘Big City Lights’ by Cleo Randle (1966) and ‘Teddy Boy Boogie’ by Crazy Cavan ‘n’ The Rhythm Rockers (1975), here adapted into ‘Teddy Girl Boogie.’ About THE Band THE Devils formed in Naples, Italy, in 2015. Their first two albums, Sin, You Sinners! (2016) and Iron Butt (2017) were produced by Jim Diamond (The White Stripes, The Sonics) and released by Voodoo Rhythm Records. Since 2016, they have been consistently touring with over 500 shows throughout Europe, the UK and Canada. Gianni Blacula rapes the guitar, and Erika Switchblade hits the drums. The Devils embody the definitive sound of chaos; their style is primitive, filled with sex, sin, and Rock’n’Roll. They are wild, very loud, and sexy. They named themselves after Ken Russel’s legendary movie The Devils (1971).Their third album, Beast Must Regret Nothing (2021), was produced by Alain Johannes (qotsa, Them Crooked Vultures, Chris Cornell, PJ Harvey) and features Mark Lanegan on lead vocals for ‘Devil Whistle Don’t Sing.’ Their upcoming studio album still features the multifaceted musician Johannes in mixing, mastering, and performing guitar solos for ‘Horror and Desire.’Let The World Burn Down will drop via Go Down Records in February 2024. The same label released The Devils’ first live album in January 2023. The band has toured with great acts such as The Sonics, Jon Spencer & The Hitmakers, Boss Hog, Mudhoney and many others. They have also performed at several major European festivals, including Azkena Rock Festival and Helldorado

“After releasing our third album in 2021, during the lockdown, we thought we would never play again. But all that anguish and disillusionment gave us the energy to go back to writing new songs, thanks to our desire to discover new musical horizons and many inspirational blues and soul listenings in recent years. Let The World Burn Down is dedicated to all the Brothers and Sisters who have had enough of Humanity.” - The Devils This quote from the Naples-based power duo introduces us to their fourth studio album. Let The World Burn Down marks their renewed collaboration with California musician Alain Johannes. The tracklist includes covers of ‘Big City Lights’ by Cleo Randle (1966) and ‘Teddy Boy Boogie’ by Crazy Cavan ‘n’ The Rhythm Rockers (1975), here adapted into ‘Teddy Girl Boogie.’ About THE Band THE Devils formed in Naples, Italy, in 2015. Their first two albums, Sin, You Sinners! (2016) and Iron Butt (2017) were produced by Jim Diamond (The White Stripes, The Sonics) and released by Voodoo Rhythm Records. Since 2016, they have been consistently touring with over 500 shows throughout Europe, the UK and Canada. Gianni Blacula rapes the guitar, and Erika Switchblade hits the drums. The Devils embody the definitive sound of chaos; their style is primitive, filled with sex, sin, and Rock’n’Roll. They are wild, very loud, and sexy. They named themselves after Ken Russel’s legendary movie The Devils (1971).Their third album, Beast Must Regret Nothing (2021), was produced by Alain Johannes (qotsa, Them Crooked Vultures, Chris Cornell, PJ Harvey) and features Mark Lanegan on lead vocals for ‘Devil Whistle Don’t Sing.’ Their upcoming studio album still features the multifaceted musician Johannes in mixing, mastering, and performing guitar solos for ‘Horror and Desire.’Let The World Burn Down will drop via Go Down Records in February 2024. The same label released The Devils’ first live album in January 2023. The band has toured with great acts such as The Sonics, Jon Spencer & The Hitmakers, Boss Hog, Mudhoney and many others. They have also performed at several major European festivals, including Azkena Rock Festival and Helldorado

Osaka based psych-rock three piece Hibushibire return after a long break, with a new line up and a stunning third album.

Following the successes of their debut album 'Freak Out Orgasm!' (2017), the follow up ‘Turn On, Tune In, Freak Out’ (2019) and two very well received UK tours. The band headed home to Osaka, Japan and then, the pandemic hit.

During this downtime, guitarist/vocalist Changchang decided to create a new power trio. Enter Tetsuji Toyoda (Bass/Vocals) & Aoi Hama (Drums/Vocals). The new trio have spent the last three years writing new music, playing live and honing their sound in Japan, and a short well received tour of Taiwan with Riot Season labelmates Dope Purple. And now finally, Hibushibire mark 2 is born properly.

“Hibushibire has returned after a change of members. A psychedelic, progressive work, suitable for a new beginning"

Entering the studio with Acid Mothers Temple/Mainliner guru Makoto Kawabata in the producer chair (and also as a guest musician) once again, the band recorded album number three, 'Magical Metamorphosis Third Eye’. Makoto also adds some of his own trademark guitar howls through out the album, perfectly complimenting Changchang’s own growing prowess.

Here the band have taken their trademark psych-rock blasts and blended them perfectly with some more trippy, dare I say sweet progressive psychedelic sounds.

“The idea of this album is based on the theme of "occultism and mysticism". But it's not a serious thing, it's about the things we like (UFOs, pyramids, psychic phenomena, shamanism etc) and we all had fun while making it. In terms of what makes it different from the previous Hibushibire albums, it’s where AOI HAMA's vocals are present. I had wanted to use a female vocalist for a long time, so it was a good feeling!”

Like the bands first two albums, 'Magical Metamorphosis Third Eye’ is very much an album of two halves. Side one again is full of killer shorter tracks, while side two is reserved for a blinding majestic 20 minute epic ‘Ayahuasca Witch Abduction’.

Perhaps the biggest musical surprise here though is probably track two, the beautifully mellow tripped out ‘We Won't Go Back To The Past’, which sounds like it’s been beamed straight out of the late 60s/early 70s.

The band also tip a nod to the Beatles psychedelic classic ‘Tomorrow Never Ever Knows’, but with their own twist of course.

It’s clear with the line up changes, Changchang has decided to expand the bands musical pathway, and he’s achieve stunning results.

The band plan to return to the UK and Europe in 2024 to see friends old and new.

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….

Let’s not mince words—In the American punk canon, there are few acts as tenured as Charlotte, NC’s legendary ANTiSEEN. With dozens of singles, LPs, compilations, and live records to their name, choosing a definitive “best” is nigh on impossible. But if we’re going to have the conversation anyway, there’s zero question that their now classic 1996 full length Here To Ruin Your Groove is in the running. Marking a shift in both personnel and paradigm for the band, Here To Ruin Your Groove introduced Tripp McNeill and Barry Hannibal into the fold; A pair whose contributions would help shape the band’s sound for years to come. As a veteran of fellow Charlotte underground luminaries Seducer, McNeill’s metal-infused, melodic approach to bass both perfectly complemented and expanded upon ANTiSEEN’s patented brand of grimy, Southern punk rock ’n’ roll. For Hannibal’s part, his role as drummer, producer, engineer, bassist, and more has remained an integral component of the band’s makeup for the last several decades. The result of this newly minted rhythm section was a record that delivered on the raucous, irreverent punk ANTiSEEN had spent years perfecting, while broadening the band’s scope to include even more melodic flare and heavy metal flourishes. With Jeff Clayton’s singular voice and uncompromising vision anchored by the feral roar of Joe Young's buzzsaw guitar, Here To Ruin Your Groove immediately cemented its status as one of ANTiSEEN’s most compelling, hard-hitting, and lasting efforts. Lovingly reissued for the first time since 2003 as a newly remastered double LP, this deluxe edition of Here To Ruin Your Groove includes both the original record and an additional LP featuring two previously CD-only hidden bonus tracks, two singles, and six tracks from their 1997 set at the Confederacy of Scum Supershow in Lawrence, KS. Packaged in a gatefold jacket and pressed on colored vinyl, the record also includes a 16”x20” poster and a CD copy of the original 1996 version. With the painstaking attention to detail you’ve come to expect, TKO Records is proud to present the definitive version of ANTiSEEN’s Here To Ruin Your Groove. Accept no substitutes.

Skingraft was a band from Rochester, New York who made jarring, technical, irregular death metal. Three teenagers who spent the frigid, upstate winters mastering arcane scales and double bass patterns, their elaborate, dynamic songs pair howls and blast beats with brooding, minor-key melodies and deviant rhythms. Picture the bludgeon of Entombed's "Left Hand Path," the shattered glass frequencies of Godflesh's "Streetcleaner," and the destabilization of "Remain Sedate" by Roschach. Skingraft recorded these two songs at Rochester's famed Dajhelon Studios during their junior year of high school. Released on the 30th anniversary of this recording session, this 7-inch is the first time these songs have been made publicly available. Guitarist MAT Colbert went on to play in Blurring, Kalibas and Humiliating Moan. Drummer Andy Meyering is a member of Further Damage. Limited edition of 300 copies on colored vinyl. Cover art is silkscreened onto handmade paper stock jackets made from pulped bibles. For every seven copies of Skingraft made, on bible was removed from this world. Includes an insert.

The Dark were a Cleveland hardcore / deathrock hybrid that in many ways was ground zero for The Guns, Spike in Vain, Knifedance, and several more beyond. For The Dark’s first ever vinyl album Dressing The Corpse, Scat has collected highlights from sessions recorded between 1981 and 1984 that range from savage post-punk (imagine Venom covering Warsaw), to raging exacto-knife thrashers, deathrock, and proto-black metal —there’s even the requisite creepy, atmospheric instrumental to open the album (“Beyond The Ice”)—which is naturally followed by “Fire In The Church.” Then things go other places, the group covered a lot of ground in its two and a half years and were always ahead of the curve.

Although the band’s median age ranges from fifteen to seventeen across these recordings, the rhythm section is second to none. The guitar playing is way further afield than most hardcore bands of the era. Namesake vocalist Tom Dark howls like a wolf, and could command a stage like few others. To be fair, the band’s youth does make itself known in some of the lyrics, but otherwise you’d never guess this was just a bunch of kids—it needn’t be graded on a curve.

The Dark had auspicious beginnings. They cut their teeth as The Decapitators in 1979, learning to play at the feet of the electric eels, Pagans, Dead Boys, and Cramps. After a year off, the four reformed to play only originals as The Dark, and almost immediately Mike Hudson of the Pagans wanted to manage the band. Included here is a demo Hudson recorded just three weeks after the band’s first practice. Hudson only lasted a year, but it was a hell of a start. The majority of the recordings on Dressing The Corpse are culled from the band’s 1984 album Scream Until We Die, which was not released until 2006 when Grand Theft Audio did a comprehensive double CD version of it. Included here are a few of the best non-album tracks from that release as well. Previously unreleased tracks include the aforementioned Hudson demo, as well as a previously unknown second demo from early 1982, ably representing the pre-thrash version of the band.

It was ten years ago that the rowdy but ever-elegant Midnight Kings made their stage debut. Since then, these unlikely monarchs of rhythm'n'blues – gentlemen who’ve thrown in their lot with rock'n'roll, garage punkers with hearts full of soul – simply haven’t stopped for a minute. They’ve sweated, sung, danced and driven others to dance at hundreds of clubs and dozens of festi- vals across Europe, earning the respect, esteem and, more often than not, the adoration of many loyal fans of true rock’n'roll. Following hot on the heels of two popular albums distributed throughout Europe, and a single that has now become a sought-after collector's item, comes their latest offering, "Last Chance To Dance", due for release at the end of 2022 on Wild Honey Records. It consists of eight songs, five originals and three covers ("Bumble Bee", "The Girl Can't Dance" and "C'mon And Swim"), destined to become the soundtrack of every rock'n'roll party worthy of the name. Are you ready to get back on the dance floor? Sure you are!

In the history of punk, the Sex Pistols reign supreme; the anarchic quartet changed the history of popular culture forever with their caustic rupture of rock, a mixture of shock and awe that gave two fingers to the establishment, kick-starting a musical revolution. Released a few months before their Never Mind The Bollocks debut, Spunk is a revelation, raw demos cut in late 76 and early 77 by producer Dave Goodman, with Glen Matlock’s bass far more melodic than what Sid Vicious cut on Bollocks; this edition has bonus demos of ‘Anarchy’ and ‘Pretty Vacant’ cut at Denmark Street, as well as an unedited ‘No Fun.’ Absolutely crucial!

(Cold Wave/PostPunk) SUIR is a duo based in Cologne, which started in the beginning of 2017 when Denis Wanic (guitar and vocals) and Lucia Seiß (synths, guitar and bass) joined forces for their band project. In a constant play of guitars and synthesizers, supported by minimalist and electronic drum rhythms and melancholic lyrics, SUIR produces reverberated shoegaze and cinematic, atmospheric music defined by dense and complex sound walls.This rich, velvety sound constantly shifts between post punk, dark shoegaze, heavy dark wave, and psych, but due to their own sound creations, none of these genres can be unambiguously attributed. The music combines heavily influences by contemporary bands like Bleib Modern, The Underground Youth, The KVB, The Brian Jonestown Massacre or shoegaze pioneers like My Bloody Valentine and The Jesus and Mary Chain.Their live performance is expanded by a visual program which is strongly influenced by the origin of the two from the fields of art history and philosophy and builds a filigree and gloomy overall concept. SUIR has toured from eastern to western Europe, performing as main or support acts for artists like Motorama, Lebanon Hanover, Esben and the Witch, The Underground Youth and The KVB, and appeared at major festivals that include Wave-Gotik-Treffen (WGT), NCN-Festival and Owls 'n' Bats Festival. The duo released two full albums, "Ater" and "Soma" with Black Verb Records and Manic Depression Records (Vinyl, CD, Tape). 2021 they created "Studio Session", a live session recording in SUIR's discography, which was released April 1st by Wave Tension Records (Vinyl, CD, Tape). Currently they are in the middle of the writing process for their third album.

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records. Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound. Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G. 'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub. Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform. Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions. X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time. To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

In the history of punk, the Sex Pistols reign supreme; the anarchic quartet changed the history of popular culture forever with their caustic rupture of rock, a mixture of shock and awe that gave two fingers to the establishment, kick-starting a musical revolution. Released a few months before their Never Mind The Bollocks debut, Spunk is a revelation, raw demos cut in late 76 and early 77 by producer Dave Goodman, with Glen Matlock’s bass far more melodic than what Sid Vicious cut on Bollocks; this edition has bonus demos of ‘Anarchy’ and ‘Pretty Vacant’ cut at Denmark Street, as well as an unedited ‘No Fun.’ Absolutely crucial!

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."

Two new songs from COLLATE—no wave for the now; desperate sounds for desperate living. "Shards of glass guitar punctuate a rhythm section that wants you to dance that anxious bedroom dance you did when you first played that Au Pairs mixtape your cousin made. Each song is delivered with minimal fanfare and maximum intent: music by people who know what they're doing and know what they want." (Allan McNaughton)

For the first time ever this 27 track double album collects all of their singles on Red Rhino and Beggars Banquet/Situation Two. A mandatory compilation that also includes the bonus 7 inch originally appeared on the first ltd version of the 1986 album ‘Paint Your Wagon’ (Paint Your Wagon/More Jipp), an alternative and harder rendition of ‘Beating My Head’ (originally appeared o the Ep ‘This Today’) and ‘Russia’ from the 1984 Ep ‘Hollow Eyes’. Red Lorry Yellow Lorry were one of the most successful independent bands of the 80’s with their dark and often manic rhythms.

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

Dead Cells out of Vancouver do it dark, desperate, and minimal. An archaic sound from the gothic ages of punk—when punk was catchy, but also dangerous. Going back to the three chord song, with downstrokes, vicious energy, and the two minute deadline. Sacred by the outstaning artwork, it's night church in the post apocalyptic wasteland. Their first LP and follow-up to their 2018 demo tape which was overheared by many people. Desperation, angst and frustration pepper the words that twist and turn like daggers to the back of emperors. Twin guitar attacks carry melody and smart chord changes backed by a rhythm section that runs the risk of falling off the edge of the cliff. It's complimented by a brooding vocalist that half shouts-half sings.

Mermaid Chunky are an audiovisual duo made up of artists Freya Tate and Moina Moin. Bathing in milkmaid serenity and improvised chaos, the duo boast of pumping trance rhythms, sad Easter time chicks and seriously arousing sax solos. Much of their cultivation has come out of the mossy club culture of Stroud's SVA and London's Total Refreshment Centre, collaborating with the likes of Alabaster DePlume, Danalogue, Donna Thompson, Grove, Snapped Ankles (UK tour support) and Yama Warashi.

Their debut Faith and Industry album Vest (produced by Capitol K at Total Refreshment Centre), was birthed last year out of a history of improvised cheek and club dexterity forefronting their live shows and audiovisual solstice celebrations, recently captured by British Vogue's 2021 Pride series. Championing this action is the Mermaid Chunky Mothership, a gang of fellow artists and performers, often clad in nauseous satin frills, swamping the stage with french mime and slut drops (Roundhouse 2021, End Of the Road 2021, SVA Solstice always.) The MC gang just scoured their PRS Woman Make Music funding so who knows what they will be stirring up in the heat of summer soup 2022 (the most ducks in a year we will ever experience.) The only way for you to find out is to join the chunklett buffet and dip your wicked, webbed fingers into something mega.

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.

THE KARL HENDRICKS TRIO is a Pittsburgh rock institution. Having released nine full-lengths and six singles of uncompromising, emotionally charged, very loud rock over the course of twenty years, it's probably safe to call them an American rock institution as well. A former bedroom 4-track confessionalist, Karl Hendricks formed the Trio late in 1991. The band has undergone numerous line-up changes since, having had four different drummers, four different bass players, and during the two separate spans when the band augmented to a four-piece dubbed appropriately enough, the Karl Hendricks Rock Band, two different rhythm guitarists. The one constant has been, of course, Karl himself. The Trio debuted on record with 1992's Buick Electra, released on Karl's own Peas Kor label. From the mid '90s to the early 2000s the trio released several albums on Merge Records, and in 2007, Hendricks self-released the one and only Karl Hendricks Rock Band album, The World Says, on his Surplus Anxiety imprint. Comedy Minus One's release of The Adult Section in 2012 officially marks the end of the Karl Hendricks Rock Band Mark II and the return of the stripped-down Trio line-up. Karl's sound and his approach to songwriting have only gotten more nuanced and thoughtful with age. Musically, the Trio remains rooted in a muscular yet melodic sound built on a massive wall of guitars, and a bass and drum assault that powers things forward as much as it anchors them down. It's a straightforward aesthetic but it has allowed Karl's guitar playing to develop into a more sprawling and heroic version of the spirited six-string blasts of his youth. Edition of 500 copies with bonus CD version.

Orange 9mm was formed by vocalist Chaka Malik (burn) in 1992 with Chris Traynor on guitar, Eric Rice on bass, and Larry Gorman on drums. The hardcore rhythm outfit are self-described as a result of being “happy and pissed off at the same time and playing at the moment.” Orange 9mm went on to release two full-lengths on major labels East West and Atlantic, releasing videos, and touring with bands such as Quicksand, Biohazard, Deftones, and more.

Reissue of 1992 third wave Moon Ska Records classic on blue vinyl, with original Bob Fingerman sleeve art reconstructed. Songwriter and lead singer Rob Hingley perfected a smooth, American-inflected vocal style across these eleven tunes, creating a blueprint for the top-ranking outfit's authentic-yet-unique revival sound. And while ''New York Fever'' is founded on the best of the Jamaican and U.K. ska scenes, it also burns with the special flame of the hyperactive New York City outpost of ska's international cosmos. The band's playing is stunning on this third long-player, with brilliant bursts of horns punctuating an airtight rhythm section - every track provides the speedy rush that modern ska fans craze. This album is full of class, charm, and honest energy - elements that made the early third wave ska scene great - why else would Joe Jackson get involved and mix the record? ''New York Fever'' is in many ways the transitional record that positioned the band for major chart success in the 90's, and these songs d continue to be a part of the band's live set thirty years later.

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output. Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly d istorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide. Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy. Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

Re-issued for the very first time on vinyl, finally we have the chance to collect the only two EP's published by the influential post-punk combo from Bristol. Both records have been released on Recreational in 1982 and still sound fresh and highly influential. Their infectious hybrid of d.i.y. punk attitude and straight funk rhythms made the difference throughout the local club scene. A mandatory re-issue ! Also heard on the incredible Cherry Red box set ‘Shake The Foundations: Militant Funk & The Post-Punk Dancefloor 1978-1984’

First ever reissue of this sought-after punk-funk / no wave / electro post-punk 45 from 1979 by post-Wayne County Electric Chairs, produced by David Cunningham (flying Lizards). Expanded to 12” including hot edits / reworks by Gareth Goddard aka Cherrystones. In 1979, Wayne County & The Electric Chairs – the legendary punk-rock band - recorded their third album, Things Your Mother Never Told You, in London. It was produced by David Cunningham of the Flying Lizards, famous also for his work with This Heat, Michael Nyman, etc. He also played synthesizer on some of the tracks. Often compared to Bowie’s Low and Iggy Pop’s Lust For Life, the album combined the no-frills punk-rock sound of the band with the experimental production of Cunningham, showing his love for dub music and cut'n'paste / electronica. After a tour promoting the album, vocalist Wayne County along with guitar player Eliot Michaels departed the band and returned to New York, where County later emerged as Jayne County. The remaining Electric Chairs members - Val Haller, JJ Johnson and Henry Padovani (ex-Police!) - decided to continue under the Electric Chairs name. Their record label gave them just a month to find a replacement singer and write material for an album. After rehearsing with a few singers, none of which were suitable, the trio decided to go into the studio and record some tracks with Cunningham as producer. The result was the "So Many Ways" / "J'Attends Les Marines" 45, released in November 1979 by Safari Records. Here, Cunningham applied his most experimental production techniques, using electronic treatments on drums, rhythms and vocals. "So Many Ways", featuring Val on lead vocals, was far from anything else the band had previously done: an hypnotic punk-funk / no wave / synthetic pop hybrid that still sounds years ahead of its time. In 2013, it was included on the compilation "Under The Influence" by famous DJ James Glass. "J'Attends Les Marines" was a rework of "Waiting For The Marines" from the Things Your Mother album but adding a cool dub / experimental touch. Here's the first ever vinyl reissue of this sought after punk-funk / no wave 45, featuring the original artwork but expanded to 12" format for maximum sound quality and including two exclusive edits / reworks by Electric Chairs fan and mix/edit wizard Gareth Goddard aka Cherrystones

Prior to his release this record was simply ‘labeled’ as Punk-Rock but this one comes from the New York Dolls side of Glam Punk. Storm the Gates of Heaven reveals unusual aspects of County's work: serious, reflective and profound. The monologue introducing the title track is the only part that may be considered offensive. The sound is a blend of bass, lead & rhythm guitar, drums & percussion by the versatile Electric Chairs. Embellished by Hammond organ, the title track rages against and laments the suffering caused by religious wars. Cry Of Angels is an eloquent, even anthemic defense of Enlightenment values on which the guitar textures and the hook around the chorus superbly complement one another. An artful blend of County's characteristic outrage and the pure pop genius that lay behind the garish accoutrements, Storm the Gates of Heaven jams its eight tracks between two undisguised classics, the anthemic title track and a so-optimistic reading of "Tomorrow Is Another Day, not to mention a stunning cover-version of the Electric Prune´s "I had too much to dream last Night"

Formed in early stages of the British punk explosion by four high school mates in Finchley, north London, Eater quickly established themselves as one of the youngest and rawest bands on the scene. Inspired by a line in the T Rex song, “Suneye,” Eater was influenced by the classier side of glam rock but was very much a rapid-fire power-punk concern with their own output. Signing to Dave Goodman’s fledgling punk imprint, The Label, Eater issued three singles before their greatly anticipated debut album, which has since been hailed as an all-time classic; pointing their fingers at upper-class twits and taking the piss out of themselves and their fans on “No Brains,” the album also features two Velvet Underground covers and an unusual David Bowie adaptation, all delivered in no-holds-barred triple time. Poster included.