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Originally released on Toxic Shock records in 1989, this is the debut album of junk rockers Sloppy Seconds. It makes you want to jump around, dance, party and roll through town with the windows down and the volume up to eleven. Shirtless, sweaty and unleashed, not for the faint of heart. The junk-rock classic is back!

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

Neo-Mod act the Carpettes began as a Stones-influenced school band, formed in the small northeast Norman town of Houghton-le-Spring in the mid-l97Os, the trio of frontman Neil Thompson, bassist George Maddison, and drummer Kevin Heard shifting to punk before signing to Small Wonder as a Mod revival act. By the time they joined the Beggar’s Banquet roster in 1978, Heard was replaced by Tim Wilder (with Simon Smith of the Merton Parkas briefly in the fold). Sophomore album Fight Amongst Yourselves is arguably their best, the appealing material ranging from the socially-relevant power-pop of the title track and the pop-punk of ‘The Reason I’m Lonely’ to the reggae cadences of ‘The Last Lone Ranger’.

Reissue for the 2018 album by Nyhc pioneers Sick Of It All. Wake the Sleeping Dragon is not sensitive, subtle, nuanced singer songwriter fare. Aggressive, angry and in your face old school Lower East Side hardcore punk. Sick Of It All have made another career and genre defining album. Don’t sleep on Wake the Sleeping Dragon.

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.

Hawaii is not exactly the place that springs to mind when one thinks about Christmas. Coconut palms rather than conifers, and macadamias instead of chestnuts roasting on an open fire. Does Santa ditch his red suit for shorts and swap out his sleigh for a surfboard, choosing to ride waves instead of snow? Of course, Go Jimmy Go throw the eggnog out the window and grab a couple of daiquiris, a Pina Colada, and dash down to Waikiki beach to create Christmas tunes steeped in sweet island sugar! ''holiday Hell YEAH!'' is a scrumptuous set of ten seasonal selections with a high level of musicianship, smooth rhythms, haunting vocal harmonies, and slick arrangements. Sure, the set includes beloved staples ''Meke Kalikimaka'', ''Sleigh Ride'' and ''Merry Christmas, Baby'', but what makes this album shine years later are the originals: one you hear ''Holiday Movie Marathon'', ''Tropical Christmas'' and the title track you're hooked for life! Originally issued on CD by Moon Room Records in 2007, Jump Up is proud to reissue this Christmas classic on vinyl for the very first time, on holiday red vinyl limited to 200 copies. Come dip your toes in the warm waters of the ''Island Sound Known The World Round''. Merry Christmas everybody - Hawaiian Style! Go Jimmy Go style!

30th Anniversary Super Deluxe Numbered Limited Edition.

Records Side E (Outakes) and Side K are slightly warped but still enjoyble, the rest is VG+. Box is close to NM.

Includes booklet, button set, bumper sticker, 'Dookie' Dog Poop Bags', 'Dookie' Air Freshener, postcard, paper plane & Color-your-own 'Dookie' Cover Lithograph.

Before Circus Lupus landed on DC’s venerable Dischord Records, the group’s original Midwest lineup recorded a full LP's worth of songs less than a year after forming. With the demise of DC’s Ignition in the late 80’s, bass player Chris Thomson headed to Madison, WI for college. Before leaving DC, he dove headfirst into being a vocalist fronting the short- lived throwback punk/hardcore project Fury. Chris served up pointed and profound Tony Cadena-inspired screeds about betrayal, disappointment and poseurs all set to a soundtrack of furiously primitive and chaotic music supplied by members of the DC punk band Swiz. Brief yet influential, this band marked Chris’s switch to vocals, putting him on course to front Circus Lupus and claim a notable spot in the DC punk timeline of the late 20th century. Soon after arriving in Madison, Thomson was invited to join a new project started by friends Chris Hamley, Arika Casebolt, and Reg Shrader. Circus Lupus marked a change in direction from the familiar sounds of DC punk that Thomson had been associated with for years. The newly formed group looked to noisier Touch & Go and Homestead bands for inspiration, aligning themselves with bands from Chicago, Louisville and Milwaukee. One early supporter of the band described the new group as “profoundly familiar yet uncategorizable. Like if the Germs had gone to college and never got pulled into hard drugs and suicidal behaviors.” The original Circus Lupus lineup played a dozen shows and recorded these songs with Eli Janney at Inner Ear studios in August of 1990 while on a brief tour. Within a year, the band would decide to permanently relocate to Washington DC, where they felt they had more opportunities. Reg opted to move to Chicago and would ultimately join the Touch and Go band Seam. Old friend Seth Lorinczi (Vile Cherubs) would become their new bass player, forming the version of the band that most listeners are familiar with. While a few of these ended up on their first single, the rest were shelved, some later to be rerecorded with Seth and released on Dischord. LG Records is proud to have helped this notable recording see the light of day. The original tapes were recovered by Ian MacKaye and transferred by Darren Edwards. Tim Green remixed and remastered the original recordings at Louder Studios in California. 180-gram black vinyl with 28pt Tip-On sleeve and heavy printed inner jacket.

NOFX's live performance at Butzweilerhof in Cologne, Germany, on August 17, 1996, was nothing short of legendary. The band's signature blend of punk rock energy and irreverent humor electrified the crowd from start to finish. As they tore through their setlist, fans moshed and sang along with fervor, creating an atmosphere of pure punk rock camaraderie. NOFX's onstage banter and antics added an extra layer of excitement, keeping the audience engaged between songs. Their Cologne show in '96 showcased the band at the height of their powers, leaving an enduring impression on all who were fortunate enough to be in attendance.

Young Ginns began in November 1991 when Unwound was staying at The Embassy house where Nation Of Ulysses guitarist Tim Green lived. Somehow around the coffee table, an idea was conceived to have a “jam band” in the vein of the instrumental songs of Black Flag and other SST artists. Brandt Sandeno stuck with the drums while Justin Trosper went back to his previous role as a bass player with Green on guitar. A couple fun sessions happened, that sometimes sounded like Black Flag but more like the guitar player from NOU and some Unwound dudes. A few days later Unwound went on their long way back home to Olympia, WA.

After NOU broke up, Green packed up, went west and settled in Olympia where Sandeno and Trosper lived. Sandeno had since left Unwound but he and Trosper were always looking for an excuse to play together. Since there was so much free creativity and time bouncing around in 1993 Olympia, the Young Ginns idea was easily reborn in the Red House basement where Green lived and was building up his next studio.

Teenaged San Diego transplant Brett Frost decided that the band needed a frontman after witnessing a few practices and wiggled his way into the fold. A couple of local shows and a recording session at the Red House led to a malt liquor and nyquil-fueled west coast tour with a 7-inch record fresh off the presses from Gravity records (release #3) of San Diego.

The return to Olympia saw the band writing and rehearsing a couple more new tunes and a recording with Pat Maley at Yo-Yo studios in the Capitol Theater in Olympia. The band split up shortly after as everyone decided to pursue other endeavors. Ironically, the band started as a pretty casual tribute jam band but it burned hotter and brighter like a typical hardcore band with Frost as the wild frontman. What began as a math rock fantasy transformed into a punk rock nightmare.

Unwound continued recording and touring throughout the ’90s and Green started several bands, most notably the Fucking Champs. He had a successful recording career with his own studio in Northern California that is still going strong. Frost moved on and around, ending up in Brooklyn, NY. Sadly, he died in 2023. Honeybear released a compilation of all the recordings on CD in 1998. This batch was freshly remixed and mastered by Tim Green at Louder Studios in the winter of 2023.

Las Mordidas were a short-lived Washington DC band that existed from Summer 1993 through Spring 1994. The band was comprised of four well-known veterans from the DC punk community: Chris Thomson (Circus Lupus / Monorchid / Ignition), Dug E. Bird (Beefeater / All-Scars / Fidelity Jones), Jon K. (Rain / Chrisbald 96 ), and Jerry Busher (Fugazi / All- Scars / Fidelity Jones). The Chris Thomson-fronted bands Circus Lupus and Monorchid that bookended Las Mordidas have received much more exposure, but Las Mordidas were no less audacious and uncategorizable. The familiar DC rhythm section of Bird and Busher here are augmented by the unhinged guitar talent of the relatively obscure Jon K. (Kirschten, younger brother of musician Chris “Bald” Kirschten). Jon was a revered, integral character in the DC scene and played in many well-known bands, yet he appeared on scant few recordings. To fans of the late ’80s and early ’90s DC scene, this record is an artifact that it arrives out of the blue and demands an ear. A Frankenstein collaboration that both defies and embodies the DC sound of the era. Recorded by Geoff Turner at Wgns in 1994 and Brendan Canty at Pirate House in 1993. Tapes recovered and transfered by Ian Mackaye and Don Godwyn. Mastered by Tim Green at Louder. Studios, CA.

2016 EP from southwest emo, pop, punks, Shit Present ‘One sided 12" on green vinyl limited to 300 copies

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don't need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn't a letdown as far as the illustrious company of their forebears goes. In fact, it's a fast-paced thrill ride that oscillates between hip-shaking rock'n'roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin' Fine 7", which dropped via Drunken Sailor (hey, those guys sound familiar_) early in 2021. If you though that short EP was a good time, wait 'til you see what they've got in store here: right out of the gate, opener Dead Man's Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that's a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There's no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock'n'roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that's not the point. Much like The Stools, there's nothing you can say about Toeheads that can't be summarised with the phrase 'total exhilaration'. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two youn...

The Hirs Collective rely on an ethos of de-individualization. It is their strength, and their love. Through co-opting the anarchist phrase “No Gods. No cops. No masters,” as a ‘fuck you’ to the disingenuity of too much art and life of the capitalist world at large, the group introduced themselves as humanly as possible. Yes, there are individuals who make up this band/Collective/organization. Yes, the politics are in play, which a listener might likely expect from a group that comes from the leftist punk rock world that boasts community, acceptance, and radicalism. However, these are the foundations the Hirs Collective itself. As such, the Collective watched these community virtues and ideologies change through overuse and abuse and holds to them more tightly because of it. After thrice releasing 100-song albums and countless splits and collaborative records, the Hirs Collective had already begun to realize their next frontier through 2020’s highly collaborative Friends. Lovers. Favorites. Since then, the band has doubled-down on prioritizing the love of creation over the expansion of an artist’s public identity, and through the act of expansive collaboration, the Hirs Collective brings We’re Still Here, an immersive album featuring over 35 musicians and vocalists across 17 tracks. The name of the game is world expansion, cultivating true senses of community, and making sure that an idea can never die because it will have spread beyond the mind and powers of any single person. Once you work with the Collective, you are the Collective.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order [referring to Joy's post- Moss Icon band, Universal Order of Armageddon ]. Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order [referring to Joy's post- Moss Icon band, Universal Order of Armageddon ]. Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

Almost an anti-Christmas song, the Soul Duo's "Just A Sad Xmas" doesn't exactly evoke the festive spirit of the season. Comprised of Tidewater's queen of soul Ida Sands and former Anglos tenor Joe Webster, the duo issues just two singles on Noah Bigg's Shiptown label. Just in time for the holidays, Numero has repressed this maudlin yuletide burner and packaged the red, white, and green splattered 45s in a rigid cardboard sleeve for easy wrapping.

"Richard Martin (4 Johns, Victimized Carcass, Corn For Texture, True Sons Of Thunder) with John Floyd, Roger Moneymaker, and Eddie Hankins (under loose pseudonyms) in Free Rock blurred reality mode, 1997-98. Stars in a scene of their own.... outsider psych brilliance that only gets better the deeper you dig."—Goner

"Formidable non-lameness circa 97/98 from behind Goner Records lines, Memphis style. It's all heart, like one of those Animals, live-in-a-lounge-bar '68 mono boots when they're just killing it for themselves. And by The Animals, I also mean Pere Ubu circa, 'Don't Expect Art'... Fans of Metallic K.O. & The New York Dolls 'Red Patent Leather' will be thrilled"—Tom Lax

Silkscreened front covers. Hand-pasted back covers. Mixed black and coke bottle green vinyl.

Key Features:
- Reissue of this highly sought-after gem from 1989 - and now available digitally for the first time ever.
- Insert containing an exclusive interview with acclaimed Hungariancomposer, vocalist and multi-instrumentalist Másik János.
- Restored and remastered by Grammy-nominated engineer Frank Merritt at The Carvery, London

Overview:
Foam On A Wave is proud to present the first international issue of this chameleonic, shapeshifting record, from one of Hungary's most prolific musician and film composers, János Másik. At times it calls to mind 23 Skidoo, Talking Heads and The Pop Group, at others it sits in its own corner of the room.
1989 was a revolutionary year. For many in the West the fall of the Berlin Wall marked the Autumn of Nations; the End of History and the triumph of progress. In Hungary, the year saw the Round Table Talks establish a new multi-party democracy and the effective end of communist rule after 40 years - Rendszerváltás; 'regime change'.
It's hard to ignore these cataclysms while listening to Trance Balance. After all, its initial release was on Hungaropop, 'one of the first privately owned, independent labels launched after the liberalization of the market in Warsaw Pact-era Hungary' (we highly recommend delving further into their remarkable catalogue). Is music always an expression of the shifting political landscape? Or does it exist beyond it?
These are all questions that percolate as the needle drops. Freud, a ghost from the Dual-Monarchy, runs in streams through the album sleeve. Trance Balance itself is reminiscent of a trip, transporting the individual through a semi-conscious dreamland. Synthesisers woosh and swirl overhead. The percussion is propulsive. Voices take on the guise of characters, guide-like, beckoning. There are Brechtian interludes where the musical fourth wall is punctured. At points, the listener awakes to playful refrains, bohemian folk song and calypso detours. This is a masterwork of musical surrealism - an act of pure intuition - free and honest. A manifesto in all but words. We'll let you decide how much it has to do with politics.
Pressed by Deepgrooves- Europe's leading ecologically-friendly plant for sustainable vinyl production, made using 100% green biomass energy.
Restored & Remastered by Frank Merritt @The Carvery, London

The inspiration for the ScorpKlub project was to create unique works, using the remarkable collection of Toulon Art Museum's as a palette, through a multidisciplinary exchange of sound and moving image. Hifiklub responded in music to the digital collages created by James Kerr, who mischievously altered twenty artworks ranging from the 15th to the beginning of the 20th century, from the museum's permanent collection. The work of assembling the visuals took place in James Kerr's studio in Montreal, whereas the musical component to the project was created in two stages: - The first recording session took place at the end of January 2021 at Coxinhell studio in Saint-Aygulf, with Iggor Cavalera (MixHell, Cavalera Conspiracy, Pet Brick, co-founder of Sepultura) recording remotely. This session resulted in ten original compositions, to which Kerr animated his videos to. - The second stage of Hifiklub took place in Toulon on July 2 and 3, 2021 during the Murex Festival, with the remote participation of Alain Johannes (Queens of the Stone Age, Them Crooked Vultures, Eleven). This session of sound research and recording was done in front of a live audience, to which the music was created in response to ten premade animations created by Kerr. ScorpKlub I & II will be broadcasted in 2022 on the internet in the form of two seasons: one with Iggor Cavalera + one with Alain Johannes.

Feeling Lower than the Dow Jones Industrial Average? Me too, but this record is helping. When I heard it I finally believed that one guy with long hair and a green shirt who told me 'Those Cats Can Really Play!' RIK and his deplorable Pigs imploded in 2018 but not before recording two final sessions in California—one with Mike Kriebel (The Beat Sessions guy), another with Tony Santos. They skipped town before paying the bill, but we’ve stepped in to pick up the tab because we think it’s a great value. The Pigs, man…those guys are the laziest delinquent sort of pig slobs ever born, but at least they’re well rehearsed. They’re salty from marinating in the degenerate RNR Dick Manitoba, Cheetah Chrome and Dave E gave us long ago and it shows. Ricky the cunning wordsmith delivers with weasel verve, as one with an actual Venus in Taurus would. There’s a rawness and honesty here that has more to do with ‘80s hardcore than the modern garage rock scene that has embraced them. 'Lifes A Bust' is the hit—a scorching groove that lasts 7 minutes 26 seconds and still somehow feels too short. Play it at the bar and the people over 40 will be tapping their toes. The Last Laugh is probably a great gift for your father or father’s father, get it while it’s

This Two-Hour Demented Punk Extravaganza Is An Audio Oddity Unlike Anything Else... Twind Up Your Radio Dementites And Dementoids--The Doctor Is In!This Extra-Special Two-Hour Demented Punk Extravaganza Is An Audio Oddity Unlike Anything Else! An Eclectic Mix Of Artists From The World Of Classic And Contemporary Punk/Indie/Alt-Rock Have Assembled, Along With Special Guest Stars From Film, Tv And More, To Pay Homage To Radio Icon Dr. Demento (A World Renowned Institution Who Has Championed Novelty Music And Its Creators Since The 1970s), For This Mind-Blowing Compilation. Over Thirty Different, Never Before Released, All-New 'Punk' Cover Versions Of 'Mad Music And Crazy Comedy' Songs Famously Heard On The Airwaves Of The Legendary "Dr Demento Show"--Have Been Intermixed With 'Wild Card' Tracks Showcasing Some Incredible, Newly 'Demented' Versions Of Punk-Rock Classics!The Result Is A Uniquely Original, Highly Entertaining, Modern Day Homage To Dr. Demento's Classic Radio Show, And Its Undeniable Impact On Popular Culture. This Bizarro Broadcast From Beyond The Fringe Is Hosted By Dr. Demento Himself, Offering Up Interesting Factoids And Anecdotes Between Songs, With Celebrity Guest Id Spots, Creatively Crafted Bumper Segments, And More 'Demented' Surprises Tying It All Together Into An Unconventional Take On The Traditional Radio Show Format.Over Two-Full Hours, A Total Of 64 Tracks--All Created Specifically For "Dr. Demento Covered In Punk"!Both The Two-Disc Cd, Or Three-Disc Vinyl Lp Come With An Equally Entertaining Full-Color Booklet Jam-Packed With Extensive Liner Notes And Quotes Personally Written By The Artists, A Foreword By Producer John Cafiero (Misfits, Ramones, Osaka Popstar), An Afterword By Dr. Demento, As Well As Facts, Photos, And An Array Of Dynamic Paintings And Illustrations Created Specifically For The Project By A Team Of Visual Artists Spanning The World Of Comic Books, Classic Punk-Rock Album Covers, Topps Trading Card Series, Mad Magazine And More.Joined By Everyone From...

Reissue On Green Vinyl.The Swedish Punk Rock Four Piece Acclaimed Much Attendance With The Forerunner "Punkrock Harbour". Since The Band Started In 2003, They Have Become Well Known For Their Furious Live Shows And Earned Rightfully The Reputation To Be One Of The Most Exciting Live Acts In The Genre. Hence Expectations And Suspense Are Highly Leveled. But Nonetheless The Baboon Show Reveals On "People's Republic." That Nothing Leads Them Astray And Once Again They Prove Their Excellence: In A Tremendously Catchy Songwriting! Whether A Short Garage - Punk - Piece, A Groovy Dance - Punk - Monster Or A Real Gem Of A Punky Pop Song, It Is Absolutely Regardless: The Baboon Show Songs Are Perfectly Arranged And They Deploy Directly Their Stunning Impact.

Beyond, though short-lived in the Nyhc scene (1988–1989), made an impact with their personal brand of Long Island metal-tinged hardcore with intricate riffage and members going on to other influential hardcore bands on both coasts. No Longer At Ease was originally released in 1989 by Combined Effort Records and later reissued in 1997 on CD by Some Records. This 2016 Revelation Records reissue of their fulllength LP No Longer At Ease