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My mates went on holiday to the Isles for this one. Galactic romantic entropy three sheets to the 'Wind. Saxy glimmers, broken sunbeams, oil dancing in a puddle of water in a parking lot somewhere in St. Louis or Birmingham. And just as first-wave yankee punk was decidedly solipsistic, the Poms folded in a more civic bent to explain the zeitgeist of generational disaffection. Is 'Scared To Care' about spikey punks whose apartments are littered with Amazon boxes? Is 'Biggest Sale of The Year' an indictment of late-stage capitalism? Is 'The Milkman' an effective populist who wants you to sink so that he can swim? Is this record more political than those dystopian hardcore records you sold when a nice girl opened your eyes once? Merely conjecture...

It's an album dripping with clandestine musical intelligence, artisanal song-writing, great voices. The illegitimate son of Dinosaurs' bassist isn't in the mix this time, but I can assure you his spirit is there—I can almost hear the glass of side mirrors cascading to Richmond Ave on a drunken bike ride 15 years before Josh Allen and Conway The Machine made The City That Always Sleeps cool! (not recommended... you truly cannot cheat Carma).

What is soul? Soul is finding your own catalytic converter at the thrift store. Soul is trying out for the Harlem Globetrotters on your 37th birthday and it not going so well. Soul is wearing those attractive bygone eras on your sleeve without hesitation or embarrassment. Pentatonic rock didn't exactly bubble from a serious bog, and when adults who partake become artistically conservative, grow egos in a Petri dish somewhere in the well-adjusted hyper-capitalist cityslicker life they've created because they can seemingly play Vibrators riffs better than the actual kids, everything is lost! Class know this, resisting that spiritual deficit of our collective moment with the voice of honest men trying to have fun in this fuckin' wacky world, unafraid to rhyme words like 'narcissist' and 'anarchist'. I mean, how many songs wouldn't have a pinky toe to pirouette on if 'school' and 'fool' didn't rhyme?! Now get your ass to Class."—Brandon Gaffney

Siouxsie And The Banshees Live at De Nieuwe Kade,Tiel,The Netherlands 1981. Great Concert from the JuJu Era. The European tour began on June 14th 1981 in Brussels, and ran to the end of the summer before the group flew to North America for dates throughout October and November. This Dutch concert features live versions of tracks that appear on ‘Ju Ju’, only missing ‘Into The Light’ and ‘Monitor. A superb recording.

Defining post-punk is no easy task. While punk was defined by a raw, rebellious simplicity, post-punk (1978-1986) expanded into a diverse array of sounds and ideas. It maintained punk's independent spirit but embraced experimentation, incorporating influences from various musical and cultural traditions, resulting in a movement far more eclectic and fragmented than its predecessor.

At its core, post-punk broke away from traditional rock structures, blending genres like industrial, goth, and punk-funk with emerging dance music cultures. This era's spirit of innovation and defiance against musical norms continues to inspire, making post-punk a pivotal moment in music history that defies easy categorization.

Tony Thorpe presents Postpunk Theory - Alpha ? is a meticulously curated compilation by the legendary Tony Thorpe, known for his work with The Moody Boys, 400 Blows, and The KLF. These classic tracks were played at parties by Thorpe at the time, making them his personal classics. The compilation features 16 rare and sought-after tracks from the post-punk era, including works by Mark Stewart and The Maffia, Basement 5, 23 Skidoo, African Headcharge, and more.

Growing up in a vibrant musical environment in South London, Thorpe was deeply influenced by the eclectic sounds around him, from jazz-funk to Brit-Funk, and later, the post-punk records he discovered. As Thorpe recalls, "Post-punk was a mishmash of different cultures and ideas. Out of post-punk came dance music culture. That period was the most creative time because the culture was in its experimental phase." This compilation captures that innovative spirit, offering a glimpse into the era that shaped Thorpe's musical journey.

The album comes as a limited 2xLP set, accompanied by an extensive 40-page fanzine. The fanzine, written by Matt Annis (Join The Future), dives deep into the post-punk movement, offering insight and context enriched with striking photographs by Simon Pyke and Ian Brodie.

Drawn up by some of the most unsavory souls in the Boston, MA underground hardcore scene and reinforced by members who have done time in infamous area bands like Mind Eraser, Righteous Jams, Mental, Xfilesx and many others, THE Rival MOB have become the darlings of the current hardcore scene, inspiring shameless violence and playing high on the bill at the most important hardcore festivals in America; This Is Hardcore in Philadelphia, Sound And Fury in California, and Chaos in Tejas in Austin, TX. In between serving time with their current other projects World WAR 4, Give, NO Tolerance, and Boston Strangler, the band will be playing on both coasts highlighted once again by the big summer festivals as well as their first-ever trip across the Atlantic to Europe. The band’s Revelation Records debut picks up right where their previous EP, Hardcore For Hardcore, left off, with vocalist Brendan Radigan spewing venom at the ills that plague both the outside world and the scene itself, all delivered over fast, stage dive-inspiring hardcore that brings to mind the best of mid-to-late ’80s New York hardcore bands like Youth OF Today, Warzone, and Breakdown.

The word ‘legendary’ is bandied around far too lazily and conveniently these days. But, in the case of Antisect: legendary is precisely what they are! As a band/collective, they sit right up there with other great names from the raging era of early 80s true ‘anti-establishment’ punk rock such as Discharge, Flux Of Pink Indians, Subhumans, Rudimentary Peni and even Crass, in terms of the impact they have had over the years. This, their debut album was released forty years ago in the paranoid year that was 1984. It is, without doubt, a classic combination of autonomous philosophy and hardcore thrash. But there is more to the album than just that. Aside the obvious musical influence of Discharge, Motörhead, Black Sabbath, Venom etc, there was a creative and atmospheric musical backdrop behind the recording that set them apart from everyone else at the time. It was a very ambitious concept, which successfully pieced together the balance hope and despair within the realm of sound and projection. In Darkness, There Is No Choice, is finally reissued as a fully authorised edition for the first time since its original release. 1. Intro2. They (The Eternal Myth and Paradox) 3. The World’s Biggest Runt 4. A Midsummer Night’s Dream 5. Channel Zero (Reality) 6. Yet The Still Ignore 7. Ghost Of Mankind 8. Tortured And Abused9. Education Or Indoctrination10. In Darkness11. Heresy12. Hallo There….How’s Life?13. The Buck Stops Here

Crust punk originates from the misty moors and factory cities of the UK. Since the '80s, countless bands have been established to play their dirty apocalyptic ruckus in the vein of Amebix, Antisect, and Axegrinder. At the same time, across the ocean, in the squats of New York’s Lower East Side, bassist John John Jesse founded Nausea.

Svart Records is releasing Nausea’s two legendary EPs in 12” format for the first time ever, including the Cybergod 7” from 1991 - with a bonus track, "Here Today," from the same recording sessions - and the Lie Cycle 7” from 1992. All tracks are remastered from the original, untouched studio tapes by Jack Control (Darkthrone, Kohti Tuhoa, Fear). Tribal and rocking apocalyptic crust for apocalyptic times.

The Cybergod lineup might be the most legendary era of Nausea, where the tracks reach almost epic proportions. The EP is pretty much the blueprint of crust, where Vic Venom’s hypnotic and rocking guitar riffs meet the tribal drumming of Roy Mayorga. Al’s and Amy’s dueling vocals spit out timeless issues dealing with consumerism and the hypocrisies of organized religions. Musically, the Lie Cycle EP rocks out more in the faster and straightforward style, where Discharge meets Motörhead, and lyrics reflect the times when war and nuclear destruction are still the plague of mankind.

Nausea’s timeline lasted only seven years, but they managed to create a cult following with their true dedication to the punk scene and played shows in the squats of Europe and the eastern part of Europe. Their music is timeless, unpleasant music for unpleasant times, but hey! At least it’s more fun to rock out to the apocalypse!

Second release on Robert Pollard's new Splendid Research label is a vinyl & CD reissue of a 1984 demo cassette by Children's Crusade, post-punk teenage band of Guided By Voices' Doug Gillard. The Cleveland guitarist went on to record for Scat, Homestead and Restless Records with the bands Death of Samantha, Cobra Verde, My Dad Is Dead, and Gem, before joining GBV (1996-2004), then Nada Surf (2010-2016), then rejoining GBV (2016-present), as well as playing on albums by Richard Buckner, Neko Case and others. 1980s Cleveland was a hotbed for indie rock, following in the Northern Ohio footsteps of Pere Ubu, The Dead Boys, The Styrenes, Mirrors and Devo. "Children’s Crusade was a fleeting blotch on the wild, mid-80s Cleveland underground music scene, slowly seeping through like a drop of oil on the uniformly black jeans of that era – noticeable only after it settles, spreads, and you realize it won’t come out in the wash."

Quatro Muchachos is the third Man-Eaters entry in an ongoing tale of crushingly primal punk rock that asks only one question of its listeners, will you raise your lighter to their rock? Inhale, hold, and release. Get ready for a lifelong addiction to the purest rock on the streets. Firing on all conceivable cylinders on this junior effort, the album works as a veritable best of for the band. The purest, and most refined Eaters effort to date. Bringing to mind the best elements of Hot steel and acid-era Nervous Eaters, The Album by Eater, tinges of A Minute to Pray a Second to Die Flesh Eaters, and the 70s psychedelic progressive Welsh group Man. Yet, neither nervous, children, or fans of prog rock, Man-Eaters third installment sways distinctly on a playing field of its own. Hailed the world over for their bombastic and crystal-clear sound and image, unforgettable, and sometimes forgettable live performances, and immortal hymns. Punk Rock Legends Man-Eaters have changed the lives of Rockers for more than four years plus. With powerful storytelling, their music and concerts bring to life universal themes like friendship, loyalty, and integrity. Man-Eaters unite people of all ages and backgrounds in a worldwide community, providing them with motivation and inspiration to achieve their dreams, overcome, and conquer any obstacles in their path, and to write their own history. With unfaltering courage, always true to themselves, Man-Eaters have endured and inspire victory to all who come to know them. They give their fans what they love them for; massive, powerful soundtrack of their lives, songs that celebrate the audacity of the individual and the spirit of the community. Deeply embedded into the inner core of the hardest of rock, dwells these quatro muchachos, unaffected by the modern world, hard at work erecting, and orchestrating the foundations of rock pillars that this entire world rests upon. The boys are back, and god dammit they’ve done it again.

Original member and bassist GUY has taken on vocal duties, with former Outo member Tank joining as the new bassist. Naoki, who shares the same hometown as Tank and Oumi, has joined as a new guitarist. Additionally, Gucci, the guitarist from Hiroshima rock band "red in Blue" and a support member for "YOASOBI," has also joined the lineup. With the return of second-generation drummer Oumi, the newly reformed Gudon is now a five-member band, releasing their first new material!

The single opens with a re-recording of "Twin Tail" from their 1984 debut cassette "Fushuu," followed by a powerful new version of "stoice Violence" from their 1986 first single "Hige Shibou." The new song "Against Stupid Law," a speed thrash number by new member Tank, recalls the glory days of Outo while proving that Gudon is still evolving. Gucci’s new track "shame ON YOU!" updates Gudon for the Reiwa era, showcasing the potential of a new hardcore sound.

GUY, now on vocals instead of bass, channels his rage against issues like the Gaza massacre and the revised Japanese Immigration Control Act. GUY's furious roars are backed by Naoki and Gucci’s skillful and aggressive twin guitars, Tank's machine-gun bass, and Oumi's extraordinary drumming, making it clear that the new Gudon is a force to be reckoned with.

The first press comes with a bonus "TO Future Zine Winter 2024," featuring an interview with Gudon.

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

Available on vinyl for the first time anywhere, THE Revelons are known to punk prevaricators one of best “lost bands” of the Cbgb era who simply released one earth-moving 7” single on Ork Records in 1979, didn’t get signed to a major, and shuffled back into the shadows of an ever-growing scene. Fronted by Gregory LEE Pickard, the band dug into the trenches of New York City’s seedy Bowery life and were frequent players alongside most of the top-tier punk bands of the time, becoming mainstays at not only Cbgb but Mudd Club, Danceteria, Hurrah’s and Max’s as well as incorporating a rotating cast of members that, at times featured Richard Lloyd of Television and JAY DEE Dougherty of THE Patti Smith Group in the lineup. Incorporating a brash and aggressive pop sound with a vicious edge, The Revelons teetered between Television-like sparkling minimal artistic flourishes, but with more raw & primitive delivery. To which, they solidified their street-level prowess with a tenderized toughness not many other bands could match. The Revelons also were pretty hard to pigeonhole sound-wise then as they are now, with Talking Heads comparisons generally falling short, but there were some genuine Doo Wop moments that sneak in as well, showing their deeper roots to the NYC of days long past. But the real crime here is that this previously unreleased collection of recordings has never appeared in the vinyl LP format, as it surely would have escalated The Revelons’ profile much higher in the timeline of New York Punk, and in the minds of rock’n roll historians across the globe. Its a fully-realized album overloaded with massive cuts that’s sadly been forgotten for far too long, so of course, we felt like it was our responsibility to make that happen, and we hope you enjoy this instant-classic album of 1977-82 material from one of New York City’s overlooked gems.

Empire was an offshoot of Generation X, and their only LP "Expensive Sound" remains an obscure (yet highly rewarding) listen.Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, "Expensive Sound" was out-of-step with the climate of commercial music. Their music was raw, bare, warm - distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, "Expensive Sound" does what great albums tend to: preserves a specific moment in time.There's an arid, unvarnished quality to the recordings - typified by frontman Derwood Andrews's voice and words. He sang with uncommon fragility and in a soft, almost diffident voice. There's little reverb, almost no double tracking, and absolutely no attempt to Americanize his delivery.The subject matter is rendered in a similar, disarmingly plain way. Boredom, depression, unrequited love, and existential dread are treated in equal parts -sans one song about playing the electric guitar (the aptly titled 'Electric Guitar'). While Derwood's lyrics exhibit some of the doom-and-gloom sentiment of post-punk progenitors Joy Division, they are almost Holden Caulfield-esque in their simplicity. Empire's response to adversity is delivered with a shrug and a sigh.If Andrew's bashful vocals are part of the charm, his expressive guitar playing is the main attraction of "Expensive Sound". As the sole guitarist on the record, he demonstrates a versatility unusual for the band's punk roots - deftly maneuvering between chunky, minimalist riffing (like on 'Hot Seat'), vast swathes of dark noise ('Empire'), and lacerating, tightly coiled leads ('Safety'). While "Expensive Sound" may be better known for the bands it inspired - the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi - they deserve appreciation on its own merits: one of the finest guitar pop records of the era.

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

Limited Edition for Record Store Day 2022.

Los Angeles straight-edge band Berthold City has completed work on their first official full-length When "Words Are Not Enough". With twelve foundational tracks of hard hitting, anthemic hardcore, When Words are Not Enough will solidify Berthold City into the forefront of modern hardcore. The album was recorded and mixed at Jet To Mars Studio by Nick Jett (terror), mastered by Brad Boatright at Audiosiege (integrity, Jesus Piece, God’s Hate), completed with cover art and design by Jeremy Dean, and features a guest appearance from Jason Mazzola (count ME Out) on “Left With Nothing” and John Eightclip (allegiance) on “Still Holding On.”

"Common Crusades" is the second full-length from French Nightwatchers, and the musical and lyrical continuity of their 2019 thematic debut "La paix ou le sable". Political lyrics dealing with the conflicts rooted in France's colonial era clash with melodic, subversive, and gloomy and soundscapes throughout the tracks of "Common Crusades". An album that is as musically captivating as politically current. "Common Crusades" offers 10 melodic punk rock tracks, all contributing to the overall story and theme of the album. Fast-paced, distorted, and punchy cuts are mixed with tracks highlighting a colder and post-punk influenced side of Nightwatchers. The sound is perfectly captured by studio engineer Mathieu Zuzek. "Common Crusades" tackles the same issues that shaped Nightwatchers debut album "La paix ou le sable", but from a different perspective. Both albums deal with events surrounding France's violent colonization and exploitation of their occurred territories. While the lyrics of "La paix ou le sable" is based on excerpts taken from two historical books and written with the objective of raising awareness of France's colonial violence, "Common Crusades" mainly focuses on the aftermath of these conflicts, and how the colonial era still affects modern day France. In particular, its Muslim population. All the lyrics of "Common Crusades" are based on speeches or writings of personalities who played a role in the colonization process, as well as those who currently play a role in the perpetuation of colonial logic within the French society.

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

Life behind the Berlin Wall, before the fall. Once there was DDR (Deutsche Demokratische Republik), otherwise known as East Germany. Verging on the ruins of the 2nd world war, in the fog of the socialist utopia, there was a widespread scene fighting against corporations and restrictions. Die neuen Bands, that was the manifesto, a number of small alternative bands facing the efforts of the post-punk (and even post-industrial) revolution. This was happening right after the English new wave or the Neue Deutsche Welle (the western counterpart). A musical resistance, a counterculture, spreading all over the country the clandestine way. An enduring dangerous strategy that brought to life many artistic figures, way ahead of their time. Such is the case of Frank Bretschneider (Stein im Brett, Kriminelle Tanzkapelle) still one oft he most prolific glitch producer (founder of the influential imprint Rastermusic), Ornament & Verbrechen the east-Berlin combo ran by brothers Ronald e Robert Lippok (To Rococo Rot) and Reinhard Lakomy a true innovator in the vein of Klaus Schulze. The ghost of an era, a social turmoil that eventually had an impact on our daily routine.

R.I.P. is a mythical name from Arrasate (Basque Country). It was about 1984 when the label BCT released the tape 'Spanish HC' presenting some Iberian bands from that era. Included was a brutal live set from R.I.P. recorded in 1984 in the coastal village of Lekeitio. Recovered and remastered by Jack Control in Texas, this live includes a 12-page b&w A4 insert.

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.”

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.

It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

Post-punk (originally called new musick) is a broad musical genre that emerged in 1977 in the wake of punk rock. Post-punk musicians moved away from punk's traditional elements and raw simplicity, adopting instead a broader, more experimental approach that included a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethos, but determined to break with rock clichés, artists experimented with styles such as funk, electronic music, jazz and dance music; dub and disco production techniques; and ideas from art and politics, including critical theory, modernist art, film and literature. These communities have produced independent record labels, visual art, multimedia performances and fanzines. These three compilations are by no means 'Best Of' or collections of chart hits. They are compilations that endeavour (and we think they do well) to take a wide-ranging look at the UK and American post-punk scene in the years from 1978 to 1984, but here almost everything stops in 1981, giving space to bands and artists that almost always didn't make it beyond the 45 rpm mark. A representation of the true 'Outside of Everything' of the era.

Post-punk (originally called new musick) is a broad musical genre that emerged in 1977 in the wake of punk rock. Post-punk musicians moved away from punk's traditional elements and raw simplicity, adopting instead a broader, more experimental approach that included a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethos, but determined to break with rock clichés, artists experimented with styles such as funk, electronic music, jazz and dance music; dub and disco production techniques; and ideas from art and politics, including critical theory, modernist art, film and literature. These communities have produced independent record labels, visual art, multimedia performances and fanzines. These three compilations are by no means 'Best Of' or collections of chart hits. They are compilations that endeavour (and we think they do well) to take a wide-ranging look at the UK and American post-punk scene in the years from 1978 to 1984, but here almost everything stops in 1981, giving space to bands and artists that almost always didn't make it beyond the 45 rpm mark. A representation of the true 'Outside of Everything' of the era.

Post-punk (originally called new musick) is a broad musical genre that emerged in 1977 in the wake of punk rock. Post-punk musicians moved away from punk's traditional elements and raw simplicity, adopting instead a broader, more experimental approach that included a variety of avant-garde sensibilities and non-rock influences. Inspired by punk's energy and DIY ethos, but determined to break with rock clichés, artists experimented with styles such as funk, electronic music, jazz and dance music; dub and disco production techniques; and ideas from art and politics, including critical theory, modernist art, film and literature. These communities have produced independent record labels, visual art, multimedia performances and fanzines. These three compilations are by no means 'Best Of' or collections of chart hits. They are compilations that endeavour (and we think they do well) to take a wide-ranging look at the UK and American post-punk scene in the years from 1978 to 1984, but here almost everything stops in 1981, giving space to bands and artists that almost always didn't make it beyond the 45 rpm mark. A representation of the true 'Outside of Everything' of the era.

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

Hardcore punks School Drugs announce Procession, the third installment of the four-part LP Funeral Arrangements. Procession finds the group bringing the bereaved into the inner sanctum of darkness, greeting the listener with lush strings, thick reverb, and a symphony of synthesizers—with reverence to early Ministry and Beneath The Shadows-era T.S.O.L. Like the grieving process, Procession finds School Drugs transitioning from their staunch, old-school hardcore beginnings to a new way of being and expressing the darkness within. This fresh sound is described as “stage diving into an open grave.” Procession fans will find this a turning point for the group: either a death or rebirth into anew.

Los Angeles straight-edge hardcore band Berthold City returns with their highly anticipated new record, A Moment In Time. This LP features a collection of songs that showcases the band’s evolution since their formation. A Moment In Time features three unreleased tracks recorded during the same sessions as their debut LP, When Words Are Not Enough. In addition to the new material, A Moment In Time includes both of Berthold City’s celebrated and out-of-press 7” records, comp tracks, and two cover songs. With A Moment In Time, Berthold City once again proves themselves as one of the most formidable forces in the Los Angeles hardcore scene. This record showcases the band’s growth as well as their unrelenting passion for hardcore music. With aggressive riffs, thunderous drums, and thought-provoking lyrics, Berthold City unleashes a sonic assault that demands attention

Recently rediscovered Birmingham art punk recorded in 1978-1982. An all-male combo, despite the name, the Dangerous Girls released their first single in 1979, “Dangerous Girls/I Don’t Want To Eat (With The Family)” and started touring the UK offering use of the PA, lights and equipment to local bands who wish to play. Their second single, the 'Taaga' ep released in the same year on the Happy Face label, reached number one in the last indie charts of the 70's. Reminding of early-era Gang Of Four, Minimum Joy, Slits, Wire, and all things post-punk or as John Peel himself defined them, 'spasm rock'. After a BBC session and a couple more singles, the Demolition Girls unfortunately broke up right while recording an album. This compilation is brought to life by the punk archivists at Rave Up Records and contains their full 1978-1982 production.

Formed in London in 1977 by Mark Perry and Alex Fergusson, then editors of the punk fanzine Sniffin' Glue, Alternative TV was a post-punk group known for incorporating reggae rhythms and pushing the boundaries of the definition of punk toward the experimental and avant-garde. Their first album, The Image Has Cracked, came out originally in 1978 and is a wholly unique piece of British post-punk. Beloved by John Peel, and close confidantes of Throbbing Gristle, Alternative TV is one of the most original and beguiling groups of the era.

After the ferocious one-two punch of Suffer and then No Control Bad Religion began toying with their sound. The changes were not drastic, as they had been on the prog-rock, non-classic Into the Unknown, but beginning with Against the Grain and growing more pronounced with Generator (powered by the stronger drumming of Bobby Schayer) the band's musical straitjacket got loosened. With that in mind, let's check out this live from the Generator era and and abide by Mr. Brett's words, "I'll remain unperturbed by the joy and the madness that I encounter everywhere I turn".

Originally released in 2015, this 2xLP collects all studio material from Boston, MA, hardcore champs Guns Up! who, during their existence from 2002-2007, released a full-length and EP for 1917 Records, and were an important player in the machine that was the Northeast hardcore scene of that era alongside bands like Have Heart, Verse, and others. Now available again on vinyl.

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

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

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

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

The LP "Wie lange Noch", a milestone in German punk/hardcore history. Rolls like a tank over the corpses of his listeners. No compromises, pure aggression, a powerhouse thrash, quite different from the tracks from the "Die Deutschen kommen" Sampler. . Wonderful! Another amazingly strong release from this era. The second LP includes a legendary concert on June 19, 1982 in the Wuppertal "Börse" where LIEBIES, HASS and BLUTTAT also played. 16 brutal, rough live tracks in the usual Stosstrupp tradition. (Five of these songs are unreleased to date). The double LP also includes the original concert poster, a booklet with pictures and an interview with Alla the singer.

HEY YOU! Get a whiff of this: Scratch ‘N’ Sniff by The Whiffs — the second album by Kansas City’s foremost power pop foursome is upon us via Dig! Record Co (us) & Bachelor Records (eu). Not unlike their first album (Another Whiff), and as rock critic Jon Harrison heralds in the album’s liner notes: “this sophomoric offering provides all of the things you love about The Whiffs.” … Now, if you’re asking yourself ‘what do I love about the Whiffs’? Here’s a clue: Songs. You love The Whiffs’ songs! And now Scratch ‘N’ Sniff’s got 13 new boffo numbers brimming with the hook-laden, never-far-from-the-bar pub-rock snarl The Whiffs nail everytime. The Whiffs are less recording artists than a band of journeymen, from the drums Jake Cardwell (c&c Drum Co.) built-by-hand, to Joey Rubbish’s home recording studio (Club Sandwich). It’s only natural Scratch ‘N’ Sniff is a homegrown production from the floor (tom) up, and was recorded in the band’s living room. The songs are all their own too. Whether penned by Cameron (Rory), Campbell (Zach) or Rubbish (Joey), they all stink of The Whiffs broken-in power pop confectionery. A close listen will reveal the cracks of many-a-can and roommates laughing at vocal takes. As such, everyone’s invited to Scratch ‘N’ Sniff and dive in! Recommended if you DIG!: The Whiffs’ previous output, Stiff Records, The Mats, The Rubs and any era of the Fab Four!

"Web of Lies / Death Won't Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity_ not so much in style, but in the way Ammo sounds like they're maniacs who might materialize out of your home speakers in order to slash your throat.

Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw.

NEW Re-issue OF THE SKA Meets Pop-punk Classic That Kicked OFF THE Modern SKA Resurgence ON Retail Exclusive Blue Vinyl W/ Marketing Sticker Whatever arguable resurgence that ska punk seems to be having, you can’t attempt to explain it or pinpoint it without referencing We Are The Union or their 2018 masterpiece “Self Care”. Initially a crowd-funded venture that raised over $60,000 worth of support, the record’s release was met with critical success and an instantly sold out modest initial pressing of 600 units. Now for the first time since it’s release the record is available again from the ska-punk focused Bad Time Records (who released the band’s 2021 album “Ordinary Life”), ready to meet the since dramatically expanded ska fan base. The record focuses on mental health in a way that hadn’t been addressed especially by a ska band. Singer Reade Wolcott addressed it in an article for Spin: “At that point, my focus was very pro-normalizing talking about mental health,” Wolcott says of 2018’s Self Care, the band’s first post-hiatus record. Wolcott wanted to push the conversation around mental health and open the possibility of taking complex emotions and putting them at the center of a ska song. “People related to it in a way that I hadn’t seen in the past,” she says of the album’s themes of depression, anxiety and existential crises. - Niko Stratis, Spin With radio-worthy singles like “A Better Home” and “What’s Wrong With Me”, the record is not only important in the annals of ska history but a critical success in the world of independent music, period, and a must have for collectors and fans alike.

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.

The Maniacs were one of 1977’s original first flush Punk Rock bands in London signing to United Artist Records and releasing the single Chelsea ‘77 b/w Ain’t No Legend recorded at Pathway studios and produced by early Sex Pistols producer Dave Goodman. The Maniacs played all the renowned Punk Rock venues in London, contributing two tracks to the Live at the Vortex album and appearing live at the Mont de Marsan Punk Rock Festival with the Clash the Damned and the Police in’77. The band were to crash and burn in true Punk Rock style at the beginning of 1978. Band members Rod Latter went on to join the Adverts. Robert Crash went on to working in songwriting & production with the Eurythmics and Robert Plant. Alan Lee Shaw went on to form the Physicals and worked with Brian James, Paul Cook, Glen Matlock, Kirsty MacColl, Dee Dee Ramone and finally ending up as a member of the Damned. So Far So Loud is a 40th anniversary compilation of the most of the songs recorded in the brief history of the band including the UA single Chelsea ‘77 b/w Ain’t No Legend, the Live at the Vortex tracks plus studio and rehearsal demos. The album also comes with a fine collector’s collage of photos and memorabilia on both sides of the inner sleeve from the era.

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

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

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

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

Futurismo present their new anthology series: Altered Vision, beginning with Suburban Annihilation The California Hardcore Explosion / From The City To The Beach: 1978-1983. This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fueled by a crumbling American Dream and the collapse of family values. Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California Über Alles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more. Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realized music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America. This 2xLP comes in a choice of limited edition colored vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

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

First official reissue of the first (and only) 7" of the legendary Punk band from Green Bay, WI. Originally released in 1981. Contains two unreleased live tracks + Insert 4 pages. RED vinyl!. New artwork by Art Chantry (SubPop, Norton records...). Limited edition of 400 copies.

While the average person might think of Buffalo, NY, for its frigid winters and its contributions to the world of professional football, the initiated know Buffalo best for its outsized role in hardcore’s history. The city has produced more than its fair share of genre-defining acts, not least of which was the criminally short-lived, under-documented, and wildly innovative Cinderblock, whose members would go on to such legendary bands as Snapcase, Buried Alive, Earth Crisis, Terror, and more. Thirty years after their initial existence, Cinderblock has reconvened in order to commit their music to vinyl for the first time. Breathe The Fire is a collection of six songs originally conceived in the early ’90s, re-recorded by the band with accomplished producer Jay Zubricky at the helm. With tight grooves, adept melodic sensibilities, and a pummeling heaviness that presaged nearly the entire breadth of ’90s hardcore, the record is a critical document of one of hardcore’s most exciting and transitional periods. It’s not often that a band is afforded the opportunity to retroactively cement their legacy as pioneers, but Cinderblock has more than earned that right, and Breathe The Fire firmly cements their long overdue place in the hardcore canon.

The Pointed Sticks were formed in early 1978 and quickly became a big part of the underground punk / new wave scene in Vancouver, Canada, gigging with bands like D.O.A., the Subhumans and the Dishrags—they had a fun, quirky style that they combined with pure pop genius.

Their first single, “What Do You Want Me To Do / Somebody’s Mom,” was released in 1978 by the newly formed Quintessence Records. It quickly took off and led to the follow up “Real Thing / Out of Luck” single on Quintessence as well.

On the momentum of these instant pop classics, the band started touring up and down the west coast of North America, the crowds grew, and so did the press coverage. In 1980 the Pointed Sticks signed to Stiff Records and flew to England to record an album. Through bad luck and bad production, the album was never released (the Bob Rock production of the Perfect Youth album came out on Sudden Death in 1981).

Throughout their short career, 1978-1981, the band produced three singles and a multitude of demos and TV and radio recordings. The best of these have been melded together by Davie Wiese and Chris Cutress (producer of the fabulous Vancouver Complication album) into Waiting For The Real Thing.

On this compilation one gets to hear one of the very best bands of that great musical era at their most inspirational stage.

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

Sleeve with matchstick.