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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.

Copy close to NM

Green vinyl. Still in shrink, but opened, with hype sticker

Chicago’s Woolworthy were mainstays of Boss Tuneage’s “ink Splat” logo years, being one of the label's most critically acclaimed bands between 2001-2003 with the release of the near iconic “blasted Into Ashes” mini album and “recycler” compilation, as well as two amazing UK and European tours in 2001 and 2002. The members remained active in bands such as Textbook and THE Dead ON, both of whom had subsequent releases on Boss Tuneage, as well as featuring in other Chicago underground punk icons such as Noise BY Numbers and DAN Vapid AND THE Cheats.

Limited Edition for Record Store Day 2022.

Milky clear w/ brown splatter vinyl

180 gram vinyl

Hailing from Adelaide, South Australia in 1985, the ‘debut’ full-length by Where’s the Pope? established the band as a bridge between greasy, hardcore punk thrills and manic thrash attacks. After a hiatus and a slight line-up change, Sunday Afternoon BBQs diverts from the typified, aural reference points in critical UK punk icons such as Disorder and Discharge but sees the band refined as they carve out a passage soaked entirely in their own electric stink. This is a record rejoicing in the lore of beery adolescents on the edge of the city streets with the dark, frenetic menace of ‘Geek Attack’, or the tumultuous sludge of ‘Tourist Dream’ insurmountably evidential in just how profoundly important the band was to the Australian circuit.

Sleeve with matchstick.

Vinyl closer to NM. Cover with slightly bumped corner

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

White vinyl

Clear withTeal Splatter vinyl

Bronze vinyl is very close to NM. Single sided. With insert.

This very personal take on the Stooges' "I Wanna Be Your Dog" from 1983 is one of the most iconic and sought-after records from the early years of Spanish punk music. This short-life band led by girls made an historical appearance on Spanish TV that generated an unprecedented media, and even legal, uproar. Available again after 15 years out of print with its original artwork and including a poster of the band.On the morning of Saturday, April 16, 1983, the Spanish television show "Caja de Ritmos" aired the video 'Me gusta ser una zorra', a personal adaptation of The Stooges' classic 'I Wanna Be Your Dog', by the Basque punk band Vulpes. The media, and even legal, uproar that their television appearance generated had unprecedented consequences in the entire history of TVE (Spanish National Television), including the resignation of the program's director.Taking advantage of the notoriety achieved by the band, Dos Rombos -an independent Spanish label- would materialize the release of the single, previously modifying the name of the group by adding a final 'S' that would only increase the controversy: Vulpess.Closely watched by the police and beset by far-right violence, the gigs to present the single frequently ended in incidents. The story of this pioneering band, led by girls (Loles Vázquez on guitar, Estíbaliz Markiegui on vocals, Ruth Astigarraga -former member of N-634- on bass and Bernardo Vázquez -from M.C.D.- on drums; as well as Lupe Vázquez and Mamen Rodrigo), would soon come to an end, elevating the Vulpess to the category of myth, and their only proper release of the early 80s becoming a sought-after collector's item, and an icon of the early years of punk music sung in Spanish and an icon of a historical period in which Spain was moving towards full democracy, getting over last vestiges of the still recent dictatorship.