Search "monokle+saints" 205 Items

This is the 10th pressing of CEREMONY’s iconic third full-length album Rohnert Park. This album is equal parts aggressive, incendiary, and, dare we say it, catchy—a must in any hardcore collection.

Very ltd vinyl pressing, 500 copies in a full colour single sleeve housing eco mix vinyl colour and effect vinyl. Exact colour and effect will be a surprise. 8 page lyric booklet & DL. 6 tracks of visceral hardcore punk, full of spit and fury, venom and hooks, with twists and turns going beyond a straight mosh and thrash.This is shit kicking UKHC full of youthful anger and shorn of vacuous posturing, which continues gaining fans with every gig. The EP is called "ATHAMES" which are a type of daggers used by witches during rituals. Women in history have been perceived with an evil eye and were burnt because they were suspected to be witches merely for being independent and living outside society's patriarchal rules. Add to that an in-your-face Riot Grrl attitude, fat grunge licks, speeding 'SST band' riffs, and the artful and political angst of DC Hardcore and you have a cracking debut EP.

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straightedge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the strippeddown groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of The Kids Will Have Their Say is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded.

What is there to say about SSD’s long out-of-print 1983 release, Get It Away, that hasn’t already been written? Long heralded as the album which defined the band, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered artistic statement that’s singular in scope and vision. The Boston act’s follow-up release was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with updated remastered audio. Over the years the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa and drummer Chris Foley perform live. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of Get It Away is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded. In a genre where authenticity reigns supreme, SSD stands tall as torchbearers, embodying the essence of hardcore music with every chord and lyric; this record is a must-have for new and old fans.

Featuring an impressive pedigree including members of Bl’ast!, Good Riddance, THE Distillers, and Fast Asleep, the band picks up right where they left off on their 2020, debut LP, Brace Yourself, with a ten-song barrage of relentless, uncompromising rage, touching on topics such as religion, self-medication, and survival in a—literally and figuratively—sick society. In between playing shows with legendary acts like Quicksand, Fear, R.K.L., and Propagandhi, the band got back together with Paul Miner at Buzzbomb Studios to lay down the follow-up to their explosive debut. All in all, it is a continuation of the band’s fast and hard approach in every way, and if anything, the band is more dialed-in and focused than ever. The songs on the record come from extremely personal and often dark places for singer and lyricist Clifford Dinsmore, such as the first single, “Hanging In The Balance.” He explains, “In the time period I was fighting cancer, I was shacked up, feeling like a prisoner in my own house. Living in a semi-purgatory state, I felt like I was looking at the world from an outside view.” Of the bleak, punishing “Omen Of Despair,” guitarist Danny B simply says, “Musically and lyrically, this is where we feel Seized UP is right now.” The band also re-recorded “Forum Of Decay,” from their 2021 7”, wishing for it to be featured on the album with the laser tightness the band is now playing with after five years as a unit.

Scared OF Chaka is back (!?) with their first new recordings in over Twenty years, and WOW, it really feels like they are picking up right where they left off in 2001 when they released their final (and many say Best) album, "Crossing With Switchblades". Dave Dameon and RON and Ron are all back in action in one way or another, and we couldn't be happier about it.

Knocking OUT Punk Rock Since 1981, THE Band HAS Seen A LOT OF UPS AND Downs Over THE Last 40 Years, BUT ONE Thing HAS Remained Constant AND That's JOE Queer’s Ability TO PEN A Good OL' POP Punk Song. THE BandS Latest Album Released ON JOE Queer’s OWN ALL Star Records Brings THE Band Back TO Their Early Lookout Records Sound OF Love SongS FOR THE Retarded. BLastING OUT With 15 NEW Tracks OF Their Signature Ramones Core Sound. AS JOE Queer Says "we're NOT Trying TO Reinvent THE Wheel Here, We're Just Playing 1234 Buzzsaw Punk Rock". JOE Found Himself Saying A Prayer TO Joey Ramone Leading UP TO THE Writing Session. Asking Joey TO Throw HIM A Bone With Some Inspiration. AND Thus, Save THE World.

Parasite kicks off with the title track, a rowdy throwback to a younger, angrier
incarnation of the band. Crafted in the wake of the election and during a tumultuous
period in the band members' private lives, "Parasite" is pure catharsis. "During the
making of our last album, I didn't want to scream anymore, I just wanted to sing and
focus on melody. When we came to this recording, I just wanted to scream and
curse," says guitarist/vocalist Julia Kugel. If the EP is meant as a journey through the
various stages of the band's career, it certainly storms out of the gate with the same
kind of piss-and-vinegar of their eponymous debut. And while "Wipe Out" is another
rowdy venture, with bassist Meredith Franco taking over the lead vocal duties over a
steady barrage of pointed power-chords, it also showcases the rousing choruses that
elevated the trio from underground heroines to an internationally renowned garage
act. Despite the adverse times, The Coathangers' mastery of pop cannot be contained
forever, as is evident in the EP's single "Captain's Dead", with its sultry verses,
triumphant chorus, and a bombastic freak-out of noisy guitar. The journey through
The Coathangers' musical evolution leads to a revamped version of "Down Down" off
2016's Nosebleed Weekend LP and the smoky twang of "Drifter", in which
drummer/vocalist Stephanie Luke demonstrates her knack for solid Dusty Springfieldstyle
ballads.

Beach Rats are five punk rock lifers in an Asbury Park, NJ basement making a riot of their own, with a membership that includes impossible-to-avoid New Jersey punk stalwarts. “We all live at the beach; we see each other all the time. We’re friends and we enjoy getting together and creating stuff on the fly,” says guitarist Brian Baker. Beach Rats features members of Bad Religion, Bouncing Souls and Lifetime, and “Rat Beat” is the lead single from the band’s upcoming new album out this July.

The Intima led a chameleon-like existence from 1999 to 2004, confounding critics who struggled to describe their distinctive sound while sharing stages with everyone from The Rapture to The Mekons. Hailing from Olympia and Portland, the postpunk quartet utilized sharp rhythms, prescient lyrics, and a collaborative compositional approach to conjure forth a sound that manages to be explosive yet detailed, experimental yet propulsive and melodic. Featuring a classically-trained violinist, custom-tuned guitars that careen at odd angles, and an imaginative and powerful rhythm section, the band explored the intersection of art-punk and agitpop with a spirit and tenor uniquely their own. In 2017, the Polish website More Noise summed up their sound by saying that "the first association that comes to mind is The Ex and the Dutch avant punk scene of the 1980s, but fans of the bands Dirty Three, Godspeed You Black Emperor and Unwound may also be intrigued."The group toured the States extensively during the 4+ years that they were active, including one grueling six-week tour undertaken just after 9/11 and another one in 2003 during which the US began bombing Iraq. The group's live sets are remembered for their combination of unbridled intensity and tightly-coiled musicianship, as well as their chaos potential, whether that chaos was performing in the middle of an illegal street party or causing a PA to burst into flames immediately preceding a headlining set by Deerhoof. A memorable show in DC with Q And Not U was mentioned by Dischord group Black Eyes in their Speaking In Tongues booklet last year, with Hugh McElroy describing the Intima as "a really aggressively-beautiful and poetic punk band with a violin where a guitar normally would be...pushing genre barriers in a way that helped me see a vision of how we might want to do that ourselves."Peril and Panic was recorded in Olympia over eight months in 2002 and was released in 2003 on LP (Zum/Collective Jyrk) and CD (Slowdance). In 2022, in the midst of the pandemic,...

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.

The title of the first song on The One Thing That Still Holds True says it all:
“Impact.” CHAIN OF STRENGTH made one of the most undeniable impressions
of any hardcore band from their era, with a message as outright and direct as any
before them, and perhaps with an in-your-face attitude that was only matched by
the power of their recordings.
This Southern California band struck with the force of a ten-ton truck—merging
the guitar sound of MINOR THREAT with the crunch of CRO-MAGS, and melding
it with an intensity that gained notoriety from coast to coast. Rarely has a band
from the West Coast been able to hold its own with their East Coast counterparts;
CHAIN OF STRENGTH not only held their own, but was considered to be at the
forefront of the movement. Perhaps no other band from this era has been so
often imitated, but never has their power been duplicated.
The One Thing That Still Holds True compiles their entire recorded output, both
the True Till Death and What Holds Us Apart EPs as well as the bonus track
“Impact.” No true fan of hardcore can call their collection complete without this
essential album.

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.

Before fronting classic post-punk group The Sound, Adrian Borland was a Wimbledon teenager enamored of Iggy Pop and the Velvet Underground. With friends, he formed The Outsiders. In 1976, they home-recorded Calling On Youth, a searching full-length that straddles nihilo-punk argot (“Terminal Case” and “I’m Screwed Up”) as well as smudged glam balladry (“Start Over” and “Weird”). Its release in 1977, on the group’s own Raw Edge label, with Borland’s cityscape abstraction on the cover, marked the first independent punk full-length in the United Kingdom. The Outsiders, featuring bassist Bob Lawrence and drummer Adrian “Jan” James, were punk in the moment before punk cut ties with solos and five minute songs. (Close Up, released in 1978, is more streamlined.) Like the Saints or Crime, they still trafficked in rock ’n’ roll. Calling On Youth, though, announces Borland as more than a precious teenage bandleader. The nervous introspection, wiry leads and negative space that he would refine solo and in The Sound, Second Layer and Witch Trials glistens throughout Calling On Youth, beckoning rediscovery.

Megamouth is an album that reflects post-pandemic anger. Composed in between 2021 and 2022 and recorded in mid-2023, Megamouth features ten hard-charging tracks dripping with fat-fuzzy guitars, cheeky pumping basslines and furious drumming.
Megamouth consolidates The Clamps’ well-recognizable high-adrenaline energetic sound squeezing rock n’roll, stoner and speedrock into a solid track list that will make you jump on a car, turn the volume up and push the damn gas like a motherfucking drag racer from the seventies. Then you stop at a gasoline station, hail to Lemmy, share a couple of pints with Hellacopters and tell Fu Manchu to pay the bill !!

When it came to the follow-up of their 1990 magnum opus Feel The Darkness, failure was not an option for Poison Idea. Seeking a way to expand their musical horizons while still retaining their cranked-up style, UK-cum-Chicagoian producer Iain Burgess (Big Black, The Effigies, Naked Raygun) was brought in to assist in this audacious feat. The results—1992’s Blank Blackout Vacant—successfully showcased a meshing of Poison Idea's classically surging sound and a new found refinement: demonstrated by the brass section on tracks like the driving opener “Say Goodbye” or the chugging, Motörhead-esque “Forever and Always”. Rolling on with their relentless reissue schedule for Portland’s Kings of Punk, TKO replenishes the double-disc edition of Blank Blackout Vacant first introduced back in the maddening year of 2020. Along with the album’s original batch of thirteen tracks capped off by a thundering version of New York Dolls'’ “Vietnamese Baby”, you get a bonus LP containing a bevy of B-Sides, covers by acts as disparate as Lords Of The New Church, The Who, and Booker T. & The MGs., as well as a live on-air performance on Portland’s long-running community radio station Kboo from the Fall of 1991. Originally released at a pivotal point in the band's career, Blank Blackout Vacant remains an essential component in the understanding of the band's epic trajectory.

It's always nice to put out something from your hometown. It's even better when that something is this good. Cherry Cheeks is the work of fellow Orlando resident (recently relocated to Portland) Kyle Harms. Started in early 2020, Cherry Cheeks was born out of countless hours stuck in front of a computer screen with a raging pandemic outside. Kyle put his boredom, boiling over anger, and frustration to work and started a new project. He put out a few bandcamp EPS and limited run tapes that a mutual friend back home turned me onto. He also informed me that there was even better stuff that hadn't yet been released. I hit Kyle up, he sent me a few tracks, and boy was my friend right. EGG Punk, Devo-core, Quarantine Punk.. whatever the kids are calling it these days this is 12 tracks of bass driven, pop stained, punk agitation. I'm very proud of this record and am ecstatic to say it is indeed 100% Total Punk!!!!

The second album from the fiercest Swedish hardcore punk band has been unavailable for more than a decade and we're very happy to bring it back in 2023, 20 years after its inception. « In Darkness » was one of the most influential records in the very prolific crust / hardcore scene of the early 2000s, ten songs of a perfect mix of brutality and melody and a cover of Poison Idea's Say Goodbye. We were very honored to be able to release the European version of this record in 2003 and the enthusiasm is still real to be able to offer you this reissue 20 years later. The disillusioned rage and urgency of this album remain intact after two decades.

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.

180gr vinyl reissue for shoegaze primemovers Charlottes sophomore 12" with the addition of six bonuses. Fully remastered. RIYL: my bloody valentine, pale saints, slowdive and the likes.

Songs To Scream At The Sun was recorded with Kurt Ballou of Converge at GodCity Studio. Combining Ballou’s signature grit and style of recording with Have HEART’s style of music results in a dichotomy of clean, sharp drums, and a variety of guitar tones and sounds when combined, does not hint at one particular or obvious influence. Musically, there are moments which are mid-tempo and melodic, there are moments that are classic hardcore anthems, and it’s balanced with times which are dark and atmospheric. It’s an impressive accomplishment. As frontman Pat Flynn said, Songs To Scream At The Sun is the coming of age story. It’s about the growing process of a young kid shaking the chains of selfishness, but it’s everything about what you lose and gain in that process of growing up. The songs have an honest, yet poetic reflection that digs deep into the private lives that are shared by everyone-the deconstruction and dismantling of one’s life and the eventual rebuilding and rebirth. This is at times dark and depressing, but Flynn’s lyrics never lose hope in what allows people to get strength in these situations. And what’s so strong about the performance and lyrics, aside from the cliché of hardcore singers “meaning what they say,” is that the perception of the lyrics (are they dark, depressing, positive, or hopeful?) is up to the listener to decide.

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straight-edge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on cassette by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the stripped-down groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood.

Pirates Press Records is thrilled to welcome Santa Cruz, CA’s Northern Soul outfit THE Inciters to the Pirates Family! This ten-piece combo of veteran players has been filling dance floors globally since the mid ’90s, electrifying audiences across the spectrum of skins, rudies, punks, mods, and rockers alike. No strangers to playing side by side with ska, punk, and Oi! bands, they are a natural fit to help expand Pirates Press Records’ roster of soul artists. “We wanted to keep it feeling live, not a ‘live album,’ but our energy. We recorded as much as possible all together. We had the rhythm section in the main room, the horns in a booth (a big booth), but [there was] also a large window so the horns could see the rhythm section. All the horns recorded at the same time so we could capture the feel. The singers were in another booth.” says trumpeter Rick Kendrick. “There was the usual overdubbing and whatnot, but for the most part this captures our energy...I guess you could say our ‘soul!’” These recordings are by far the band’s best work - capturing the energy and spontaneity of their live show—11 tracks of upbeat, hard-partyin’ soul stompers! The band can also be caught doing what they do best, embarking on their first European tour in over five years following the release of the LP.

The pack is back with six scorching new Oi! infused American hardcore tracks that will boil you over and leave everything in your path a smoldering wastepile. Denver has never been known as a mild place and “Endless Siege” reflects Direct THREAT’s harsh environment to a tee, tackling subjects ranging from a monotonous reality sparking violence to hopeless futures to threats and paranoia. To say life is uneasy is putting it mildly and mild is something DT just doesn’t fuck with. Our favorite lyric line on the record sums it all up nicely: “We are the hammer and they are the nail.” If you let these sounds fuel your fight, you cannot lose. 500 on black 70gr vinyl housed in a 350 gsm reverse board glue pocket sleeve with lyric sheet included.

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.

When The Steves' two extremely limited (maybe 100-200 of each?) EPs were released back in 1980 and '81 respectively, the squares around Harvard's newsroom were aghast at the audacity of this group. Having the stones to release such crudely-rhythmic, near mechanical and downright terse tunes in the day's often long winded prog rockin' ballad heavy radio reality that were too robotic to be “punk” and too unruly to be anything but was, to say the least, a bold move. Sure to cause an uproar in the halls, protests in the classroom and uninvited dancing in the streets! In the annals of New England's rock journalism, there is not a mountain of coverage on The Steves, certainly not as much as the Alan Parsons Project or Aerosmith, but the fact remains that they were a fully charged powder keg of raw energy and new musical direction that seemed to elude most of the world back then. Not to say they didn't get any light shone on them, they did get a fair amount of airplay on the college stations around Boston and even appeared on the cover of Boston Rock magazine. It is Iron Lung Records' distinct pleasure to offer the modern world a new chance to discover the ever vital and effervescent music of The Steves' initial EPs along with a third EP of songs never released on vinyl until now that were recorded at the time or shortly after the initial sessions. A true synth-punk/KBD treasure. Obscurity is for suckers. Let's get shakin'! 700 copies of each EP on black 70gr vinyl housed in a 12pt reverse board glue pocket sleeve with faithful reproductions of the original art. Originally produced by V. Ray, Darlene Wilson and The Steves. Remastered by John Golden in 2023. These reissues are dedicated to Steve Arey, a great drummer and the original steve.

Originally released in November 1982, ‘Sound of Music’ was the second album from ‘Clockwork punks’ the Adicts. Preceded by the release of the three track “Chinese Takeaway” EP, which also featured “Too Young” and “You’ll Never Walk Alone” - both included here as bonus tracks along with their subsequent hits ‘Bad Boy’ and ‘Tokyo’ and an unreleased version of Ramones’ classic ‘I wanna be sedated’ - the album was widely praised in the music press of the day with ‘Sounds’ saying “thank Christ for The Adicts. In this often grey and depressing world they entertain us, uplift us and unify us”. Thirteen slices of punk/Oi! fun that made history, in a luxurious one-time Gatefold edition with poster, including liner notes by Mark Brennan and a total of 5 bonus tracks!

Naarm / Melbourne, Australia has been churning out reliable punk rock since the likes of The Chosen Few and Rowland S. Howard were kicking about in the late ’70s. Split System are a band that carry on this tradition into the 21st century. Cooked up behind the scenes in the Covid lockdowns, they seemingly came out of nowhere but sounded like they’d been slamming beers to Saints and Radio Birdman records together and playing gigs for many years. Their Vol. 2 is unmistakable Aussie high voltage proto-punk.

In their short time on the scene they have demonstrated a knack for combining muscular street punk with classic rock hooks. Their debut album Vol. 1 and follow up 7-inch were described as ferocious and powerful records with amphetamine swagger. They’re high energy and don’t believe in muddy guitar tones. The band are in their element during their raw live shows. They have shared bills with the likes of Amyl & The Sniffers, Cosmic Psychos, Civic, Bad//Dreems, Hard-Ons, Clamm, Cable Ties & C.O.F.F.I.N.

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

The Good the Bad and the Zugly have been delivering premium class, antiquated rock for almost 15 years straight. They’ve always been the real deal. True heroes of the Armageddon. Whenever responsibility came knocking at the door they stuck to their guns and kept living the rock life to the fullest. Their contemptuous look at everything and everyone who doesn’t fit into their world view has always been prominent in their sound, and their musical and lyrical expression has stayed uncompromised. No one has yet dared to confront their satirical know-it-all attitude, but recently water has started to seep through their seemingly waterproof façade. Band members have on several occasions been observed at the Oslo’s local shopping malls wearing reading glasses, down jackets, and sensible footwear, pushing strollers filled with blaring, chocolate devouring children. With wistful eyes they’re seen pushing strollers through to the suburbs, far away from dirty dens credible dark nooks and shitty toilets. To mend this rapidly declining rock image they´ve decided to release what they consider to be their worst album so far: A collection of B-songs that have never made the list when assembling the list of Norwegian Grammy nominated classics. This upcoming album is nothing less of a wonderful bouquet of contemptuous elegies who haven't yet found a place on the big, dark web. Truth be told the opinionated armor GBZ has been hiding behind was mostly for show, they’ve always beat around the bush – or as we say in Norwegian: had a walk around the porridge.

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

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

We say "Complete Discography" and we mean it! This 3xLP set features every Battalion Of Saints studio recording since their inception including all the singles, albums, rare unreleased demo tracks, alternate versions, compilation appearances, and even 2 new tracks. Several albums were remastered and sound better than ever. The gatefold sleeve includes lyrics to every track & personnel list for each recording. This is your one-stop-shop to own everything the band has done in one concise, organized place. Battalion Of Saints were the early pioneers of hardcore punk in America. Bringing a raw, aggressive tone and speed to the west coast punk movement. More in line with UK punk above all else, BOS replicated the ferocity of bands like Discharge and Broken Bones in the USA. Leading on to influence countless bands in the punk and metal genres. Since its 1980 inception, many line up changes have not halted the band from continuing unto present day. Riyl: Discharge, G.B.H., The Exploited, Negative Approach, Dead Kennedys, Agnostic Front, Circle Jerks, Angry Samoans.

Londoners Buster Shuffle are back with a brand-new studio album, announced for release 18th March 2022. The new 10 track album is called 'Go Steady'. After the devastating effects of the pandemic and other recent UK/Europe touring difficulties that have directly impacted UK artists, Buster Shuffle have decided to Crowd Fund the record, using fan power to help them spread the Shuffle gospel far and wide. Jet says 'its been such a tough few years with the pandemic and so we thought we'd ask our loyal fans that have grown with us over 10 years plus, to help us get the album out there. It's not something that we have ever done before but we have seen other bands successfully engage with their fans to release music and we think the time is now for us'. Jet reached out to fellow punk music aficionados in the height of lockdown to release a hard-hitting AA side 7 inch single "Unsung Heroes" for charity. Bands that jumped to Jet's aide to feature on the songs, which raised key funds for the World Health organisation included members of Die Toten Hosen, Flogging Molly, Donots, Hepcat, The Mighty Mighty Bosstones, Rhoda Dakar, Toy Dolls, Talco and more. After this massively successful campaign and a great response from the fanbase, Jet and the boys decided to get back in the studio to put together a new batch of songs that form the upcoming 5th studio album that promises to feature their biggest songs to date. Go Steady will feature 10 tracks of Ska Punk, Rockney tunes including current single "New Badge For My Uniform" and will also feature the highly successful 7"single 'Sucker Punch Blues' which was released back in May 2021. "We wanted to add Sucker Punch Blues as its been such a hit with the fans. We all thought it had to go to on the new album because it's such a banger and we know people will be happy about it" says Jet. Go Steady is set for release 18th March 2022 on 'Do Nothing Records' Buster Shuffle's own label and comes via Hfmn Crew

Australia’s THE Cavemen are back with a new long glob for a dirty and dilapidated world, and it’s as grimy as you’ve ever heard from the wretched brethren. Ca$h 4 Scrap scrapes up more than enough degenerate garage-punk trash with unavoidable forays into theme of death, demons, and even amputation, making sure to stop for a kiss on your daughter's lips along the way. Yuck Mouth SAY Muah! “Booze, Ciggies ‘n Drugs” is the first single, and leaves us wondering how many types of cancer these ghouls have among them, and if all four Cavemen share a brain tumor. “Leather Boys” is solid gold junk shop stomp, and the rest… well, you know by now how The Cavemen rock’n’roll—the Only way, because any other way ain’t!

Mannequin Pussy’s music feels like a resilient and galvanizing shout that demands to be heard. Across four albums, the Philadelphia rock band that consists of Colins “Bear” Regisford (bass, vocals), Kaleen Reading (drums, percussion), Maxine Steen (guitar, synths), and Marisa Dabice (guitar, vocals) has made cathartic tunes about despairing times. “There’s just so much constantly going on that feels intentionally evil that trying to make something beautiful feels like a radical act ,” says Dabice. “The ethos of this band has always been to bring people together.” Their new album, I Got Heaven, which is out March 1 via Epitaph Records, is the band’s most fully realized recording yet. Over ten ambitious tracks which abruptly turn from searing punk to inviting alternative pop, the album is deeply concerned with desire, the power in being alone, and how to live in an unfeeling and unkind world. It’s a document of a band doubling down on their unshakable bond to make something furious, thrilling, and wholly alive.

Satya Sai Maitreya Kali aka Craig Smith was a successful singer-songwriter in Hollywood who wrote songs for the Monkees, Andy Williams, and Glen Campbell. With the royalties from his songwriting, Smith embarked on the famed Hippie Trail and somewhere along the way lost his mind to LSD. When he returned to the United States, Smith became highly introverted, filled with visions of grandeur, eventually getting a spider tattooed on his forehead. He would rename himself “Maitreya Kali” and record, compile, and custom-press these two LPs Apache / Inca documenting his musical journey from 1967-72, including tracks with the Penny Arkade. Combined into a double album set, Apache / Inca was given away or sold hand to hand on the street before Maitreya… and Craig… disappeared into the shadows. “Ice and Snow,” in particular, is a hauntingly beautiful song that captures a deeply lonesome feeling with its empty sounding reverb.

Ignite, who’ve been making music together since the band’s formation in 1993, are a successful international act with a diehard global following. They’ve got a proven, rabid fan base that populates over 40 countries. People go crazy for Ignite all over Europe, Australia, South America, and in their native US. Put simply, Ignite inspires. The spirited California based five-piece has waved a blindingly brilliant hardcore torch for nearly 20 years, with the aggressive music that it plays and the awareness it creates by supporting organizations that defend the environment like Doctors Without Borders, Habitat For Humanity, Sea Shepherds, Pelican Rescue Team, and Earth First. But the OC crew does not just spout rhetoric. It has played countless benefit shows and has pressed limited, live 7 inches and CDs, the proceeds of which were donated to these groups. “Every penny donated doesn’t go to a CEO somewhere but directly to the boats or the people out in the wilderness,” says vocalist Zoli Teglas. Their music is catchy, well-written, and timeless enough to seep into your brain, your blood, and your heart; these songs will stay with you forever. In today’s overpopulated rock music scene, standing out and making yourself memorable are essential survival tools. Ignite has mastered the art of memorable melodies without sacrificing an ounce of intensity, aggression, or heart.

What is there to say about SSD’s long out-of-print 1983 release, Get It Away, that hasn’t already been written? Long heralded as the album which defined the band, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered artistic statement that’s singular in scope and vision. The Boston act’s follow-up release was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with updated remastered audio. Over the years the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa and drummer Chris Foley perform live. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of Get It Away is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded. In a genre where authenticity reigns supreme, SSD stands tall as torchbearers, embodying the essence of hardcore music with every chord and lyric; this record is a must-have for new and old fans.

If you’re looking for a band that embody everything hardcore punk should be, then you’re looking for Birds in Row. Sonically, they’re fearless. Lyrically, they’re as poetic as they are recusant. And live, they’re a ruthless force, matching the power of their music with boundless, must-see energy. After debut album You, Me & the Violence sparked listeners’ imaginations, 2018 follow-up We Already Lost the World was an unyielding inferno of brazen ideas. Metal Hammer UK called it “intelligent, poignant art,” writing that “this downward spiral changes pace and weight at every turn.” It screamed for mutual respect in a world of increasingly extreme political divides, and used the vehicles of punk, post-hardcore and post-metal to carry its cries. Now comes Gris Klein. Birds in Row’s third full-length album is their most genre-bending and timely declaration yet. “Water Wings” opens, its scraping guitar strums a ticking clock, counting down to the inevitable barrage of hardcore to follow. “Noah” revs up over its six gargantuan minutes. Its singing slowly spirals into apoplectic screeches. “Trompe l’oeil” is half folk, half punk, and “Winter Yet” has no qualms about busting out seismic metal guitars at its climax. It’s an amorphous beast of an album: always unpredictable, but never out of character for this creative collective. Gris Klein’s lyrics were sculpted by the Covid-19 pandemic, eloquently summarizing the cruel and sometimes nonsensical nature of mental illness. “Trompe l’oeil”, for example, sings, “Most of the times I feel lonely are when my friends are around.” “This is the exact moment where you should feel like you’re surrounded by people you love and you’re not alone,” the band add. “It asks, ‘If I can’t feel loved in this specific moment, then when can I feel that?’” Gris Klein is a portrait of a world enduring its most chaotic era in a generation. Yet throughout, the Birds in Row manifesto is the same as it’s always been: love each other. “We really want people to know that they’re not alone, and that they can count on each other,” they say. “The way we treat each other is political. It’s OK to trust each other. All the movies about catastrophes show people turning against each other, but that’s not what would happen. When people are in the shit, they help each other. That’s what we’re trying to transmit with this record: hold each other’s hands.” Not even a world-shaking pandemic could damage Birds in Row’s invention, compassion and brutality. Now three albums in, they remain the model portrait of punk. – Matt Mills, May 2022

At its purest, there is little that can match the visceral thrill and empowering spirit of hardcore. As front-man of New York City hardcore kings Cro-Mags, this is something John Joseph knows very well, and with Up In Arms, he and his Bloodclot compatriots deliver a furious collection that hits hard on every level. "In this band we're doing what each of us have always done: give it our all," he states plainly. "We work hard, and we have a lot to say. Look around the planet - people are fed up with the corrupt ruling class. They destroy the planet and kill millions for profit, and the formula for our response is simple: Anger + applied knowledge = results. Don't just bitch. Change it." The results reflect the roots and passions of the individual members. Danzig/Murphy's Law guitarist Todd Youth was the first piece of the puzzle. "We've always talked about doing this record together, Todd had songs written and I had notebooks full of lyrics. In late September 2015, I went out to LA to do a triathlon and injured my calf muscle, so I couldn't race, and Todd said he could get some studio time. So, we went in and cut the demo. While there are things we may perceive as a negative in our lives, in fact the universe has a bigger plan, and that experience ultimately resulted in the record." Having been friends with Queens Of The Stone Age and Danzig powerhouse drummer Joey Castillo for three decades, the two musicians had long admired each other's work, and their collaboration has been a long time coming. Following Castillo's suggestion of bringing in Nick Oliveri (Queens Of The Stone Age/The Dwarves) to handle bass duties, the lineup was complete. The songs that comprise Up In Arms manifested after the quartet plugged in and let the music speak for them. "We didn't decide to try to play anything, these are the songs that happened when we started jamming, and I love this band because there are no egos involved. Our goal is to make the best music possible, period. I love it when those guys contribute with melodies, etc., and I've even helped with some of the arrangements. Because we all think alike, our lyrics deal with the issues of the day, and that makes for better songs." Every track on Up In Arms lives up to the rallying cry of the album's title - the bursts of high energy hardcore act as the perfect accompaniment to Joseph setting his sights on injustice and the seemingly endless flaws of the contemporary world. The breakneck thrashing of "Slow Kill Genocide" is an anthem for everyone sickened by those responsible for "killing the planet and all its inhabitants through industry and war. They're fucking maniacs and must be stopped." The suitably titled "Manic" attacks with bared fangs, Joseph making it clear that you can only push someone so far before they will react with violence - a call to arms for the disenfranchised who want tomorrow's world to be better than today's. Tracked at NRG in Los Angeles, the raw, old-school production that leaps out from the speaker comes courtesy of producer Zeuss (Hatebreed, Revocation), and the record was mixed by Kyle McAulay at NRG. From the moment the opening title track explodes to life, it's clear that everyone involved is having a blast and playing from the heart, and that this is no frills / no bullshit music at its most passionate - every song evoking mental images of utter chaos in a heaving mosh pit. For anyone approaching the album for the first time, Joseph has only this to say: "Turn the volume way the fuck up!" And with plans to tour everywhere, Bloodclot will be getting in a lot of faces in 2017 and beyond. "We are already writing material and the next album is in the works. But, for now, all we want is to hit the stage to support 'Up in Arms', and every single night leave every ounce of ourselves up there."

Let It Burn" is a firework of a rock album with which BONSAI KITTEN are coming back loud in 2024. Do they want to burn everything down now? Not everything, but certainly the bridges to everything y...

Let It Burn" is a firework of a rock album with which BONSAI KITTEN are coming back loud in 2024. Do they want to burn everything down now? Not everything, but certainly the bridges to everything y...

Let It Burn" is a firework of a rock album with which BONSAI KITTEN are coming back loud in 2024. Do they want to burn everything down now? Not everything, but certainly the bridges to everything...

Pummeling curveball from Fucked Up channelling the world of HC that birthed them -- despotic and horrendously sludgy riffs exploding in octaves lower than Hades, crashing against hellish bellowing all while the rhythm section heaves at a pace that only Noothgrush, Crossed Out, Kiss it Goodbye, and Bloodlet would tread upon. Topped off with an absolutely despicable cover of Saint-Saens "The Aquarium" this is the mythologically psychedelic sludge record you never thought Fucked Up would make. 4 tracks of pure audio excretion.

LA’s Sweat are gonna change the landscape of hardcore. Through a blend of contemporary heaviness, classic rock, punk, and other diverse influences, the band represents at once an amalgamation of canon styles and something wholly unique. The perfect blend of ridiculously great riffs, an intensely powerful singer and a rhythm section holding it down with nuance and creativity. All whilst having that special magic on stage that lets you know that these people are friends and care about what they are doing. That they aren’t playing in a band to climb some music industry ladder, but to have fun and sate the deep-seated need for musical catharsis. How often do you hear a hardcore band doing something new? How often do you hear a hardcore band where the members are mature enough to be amazing musicians, but still really fucking angry? How often to you hear a hardcore band that actually have something to say? Sadly, the answer to all of those questions is “rarely” - but Sweat show that it can be fucking done. That they can tick all the boxes and will be your new favorite hardcore band.

As a massive early Killed By Death style punk fanatic, constantly in pursuit of the ever elusive records and one-off-obscuro sound, I frequently turn up my nose at modern bands playing the style. You can't just crap out a poorly recorded generic riff punk track, slap a 'kbd' label on it and expect me to fall for the ruse. I mean bands have done that and had varying degrees of wool pull—see The Uncalled 4's 'Grind Her Up' 7" for the best success of this—but it doesn't usually work out. What I particularly enjoy about Rotary Club is that they rework the lyrics into all things landline telephone while heavily referencing the riffage from the genre's top tier tunes, twisting them just enough to make them their own. A refreshing and well executed take to say the least.—Jensen. Rotary Club is from Reno, NV. This is their first ever vinyl record, the only format that matters. 4th of 5 in the Systemic Surgery series each hand numbered and limited to 200.

close to NM. tiny seam split

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:

Silent Drive is a group of individuals whose musical history has been long in the making. Boasting members of Bane and Drowningman, Silent Drive’s personnel have been performing and writing within the independent music scene for close to 20 years. Though this four-piece has deep roots in the hardcore/metal scene, it is branching out far beyond the constraints of any genre. The recipe is strict: anything goes, as long as it rocks. “There is no melody too sweet and no riff too heavy for us...as long as it says what we want it to say, we have no boundaries,” comments bassist Pete Chilton. Musicians, first and foremost, any category they are put in will be superseded and canceled out by the fact they are fearless musicians who live for the song and for the process of bringing it to anyone who may enjoy it.