Punk | Hardcore Tape 144 Items

Received a perfect 10 Best New Reissue rating from Pitchfork. Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. This is the first time that it has been released as a 12-inch (special note for all you vinyl fanatics, we managed to keep it at 45rpm for better sound quality)! The Singles was initially released in 1998 as a CD only compilation of all of Bikini KILL's 7”s. Once called "their defining document" by Pitchfork it includes Bikini Kill's legendary collaboration with Joan Jett on the New Radio (1993) single as well as the long out of print Anti Pleasure Dissertation (1995) and I Like Fucking (1995) singles.

Gorilla Biscuits' "Start Today" is one of the most influential records in hardcore. Hailing from NYC, Gorilla Biscuits carved a niche within the NY hardcore scene. Blending the aggression and energy of bands like Agnostic Front with a sense of melody likened to Dag Nasty, Gorilla Biscuits still stands as a unique reference point for many hardcore bands that have come after them. Now available again on cassette.

Rock for Light is the second full-length album by Bad Brains, released in 1983. It was produced by Ric Ocasek of The Cars. We're proud to present the original mix of the album, for the first time in decades, as the band originally intended. Most fans will be more familiar with the 1991 reissue, which was remixed by Ocasek. Version used an altered track order, significantly different mixes and a speed increase of the master which results in a raising of the pitch by one-half step.

This reissue marks the fourth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

High Vis were formed in 2016 from the ashes of some of the UK's besthardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics aboutlife in working class Britain were familiar to fans of Tremors' full-throttle thrash,but alongside his former bandmate Edward `Ski' Harper and veterans of DirtyMoney, DiE and The Smear, High Vis sought to transform that energy andintensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely sourcematerial from classic doo-wop or Micromoon have by combining everythingfrom psychedelia and metal into their high potency mix, High Vis' 2019 debutalbum, No Sense No Feeling showed the band were never going to beconstrained by any sense of genre rules or regulations. Its claustrophobicrattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Fourlurking in the shadows. 2020's synth-driven EP, Society Exists, was furtherevidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider thanever before. Alongside longstanding favourites such as Fugazi and Echo andThe Bunnymen; Ride and even Flock Of Seagulls were shared reference pointsas the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track'spsychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' soundblossoming into something with an unlimited richness. The hazy drift of"Shame" or the melodic jangle of "Trauma Bonds" may take them untiluncharted waters, but they still have all the power and bite that made NoSense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly aboutpoverty, class politics, and the challenges of everyday life, Sayle's lyrics havealways addressed the downtrodden and discarded communities across Britainslipping below the waterline. This time around, Sayle's lost not of that socialconsciousness, but he's looked at himself and his own em...

In the early '80s, British punk took a turn toward hardcore and the Exploited (along with G.B.H, Disorder, etc.) led the charge. The beat was fast and furious, the politics ferocious, and the magenta mohawk became state of the art. This album is blessed with great production, something many hardcore albums lack, meaning the froth and fury don't come across as a total muddle. Moreover, the machine gun beat comes with hooks that leave you humming along with the tunes. It's raw, loud, and a downright classic. This is a crucial album in the evolution of The Exploited.

Born of working class roots in Edinburgh, Scotland, The Exploited emerged from the punk underground in 1981 with the release of their debut LP, Punk's Not Dead. A direct reaction to Crass' "Punk Is Dead", The Exploited brought to the early 80s all the fire, speed and attitude of 1977's first wave, with an street/Oi! swagger that was fresh. Peaking at #20 on the UK charts, Punk's Not Dead was the best selling independent record of 1981. Another essential piece of the UK Oi! scene of the early 1980s.

First time on cassette for the debut studio album by English punk rock band led by vocalist/guitarist Adrian Borland, who would go on to form the Sound. 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”). For any fan of The Sound, an essential purchase.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation. Essential!

After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.

Brutal Panda is honoured to join the likes of legendary labels, Trance Syndicate and Amphetamine Reptile, in bringing one of noise-rock's gnarliest albums ever recorded back into print."Heroin Man stands as both the chronological centre of the Cherubs catalogue, and its defining moment. As one of noise rock's finest moments, Heroin Man is both a delicate, tragic statement and send-off to a friend who had OD'd, and a bellowing, roaring, over-amped screwball masterpiece of Butthole Surfers mayhem and Husker Du pop structures. It's sometimes difficult to distinguish between Kevin Whitley's guitar and Owen McMahon's bass, and that's precisely the point -- this is noise rock; and still at others, Whitley's guitar is a washing, white-noise counterpoint to the pummelling rhythm section. This is a dense, sprawling, spiralling work showing a band peaking aesthetically, with perhaps an even more ambitious album to follow. Unfortunately, due to the usual host of reasons, that never occurred. This was the Cherubs final studio album until their reformation 20+ years later." - words by Patrick Kennedy SIDE A:1. Stag Party2. Animator3. Blackhouse4. Baby Huey5. Dave Of The Moon6. Coonass7. Mr. GoySIDE B:1. Cockpit - Kiss The Shine2. Venus Flytrap3. The Big Groovy4. Wornout Balls5. Playdough6. Example Maiden Japan / Devil's Food

Formed in 1976, the Damned were Britain's first punk rock band.

By 1979 they had managed to disintegrate and re-assemble, way before it was fashionable.

By then punk rock and its neater sibling, new wave, were regularly producing real hits in the UK and the Damned were no exception, with three hit singles drawn from the “Machine Gun Etiquette” LP released that year.

Adventurous southern California punk trio Agent Orange was the first band to mix surf rock with punk. The group was formed in 1979 in Placentia, a small town close to Fullerton and Anaheim, by frontman Mike Palm on guitar and lead vocals, Steve Soto on bass and Scott Miller on drums. That early line up recorded the classic version of "Bloodstains" in 1979 as a demo produced by Daniel R. van Patten (of the group Berlin). A year later it was included on the seminal Rodney On The Roq compilation album released by Posh Boy Records. Meanwhile James Levesque had replaced Steve Soto (Adolescents) and the new line up released their own self produced and self released 7" ep in 1980. A year later, the group signed with Robbie Fields' Posh Boy Records for their debut LP Living In Darkness, co-produced by Fields and former Simpletones guitarist Jay Lansford. The album was recorded at Brian Elliott’s store front studio in North Hollywood (a few years before Elliott struck gold writing Madonna’s “Papa Don’t Preach”).

Dead Kennedys’ incendiary debut still screams some of the most brilliant cynical songs the genre has ever seen. It’s not wholly consistent, but it’s manic, rapid-fire approach retains momentum throughout. It’s an absolute riot: the sound of true rebellion.

This is some exciting news here. Back in 1986 Barbie Army was making its first steps on Chicago underground scene. At all times an all-girl band, Barbie Army was a wild, loud and defiant bunch of damsels that honed their skills playing both DIY punk venues as well as the Chicago Blues circuit. Featured in Maximumrocknroll in 1987, Barbie Army was able to merge influences ranging from female doo wop bands to punk´n´roll bands like X to punk bands of pop sensibilities like the Fastbacks, and they made that style their own. 19 songs, on a C-60 tape, is their whole discography.

The roots of punk and hardcore are about taking a stand for what you believe in, and seventeen bands come together for Exhibit A compilationThe roots of punk and hardcore have always been about taking a stand for what you believe in, and today seventeen bands come together for the Exhibit A compilation. 100% of proceeds from both physical and digital sales will benefit Southern Poverty Law Center, an Alabama-based non-profit organization focused on ensuring the promise of civil rights through legal advocacy, exposing hate groups, and providing communities with educational resources. The compilation was put together by Bitter Branches drummer Jeff Tirabassi as a call to action against the political and civil injustices taking place in the United States and beyond.17 bands including, FAIM, GEL, EXHALANTS, EVERY SCAR HAS A STORY, MULTICULT, HIRS, EASY PREY, CROSSED KEYS, RID OF ME, THERAPY, SCHOOL DRUGS, FASHION WEEK, BE WELL, BITTER BRANCHES, TRUTH CULT, DEAD TORCHES, FAKING

When you hear of someone in the punk scene putting out solo material, you expect them to pull out the acoustic guitar and channel their softer side. With Tino Valpa it couldn’t be more the opposite. New Hampshire’s one-man powerhouse is here with his first full-length solo album Live Or Be Lived All Over. Tino tackles all duties: guitar, bass, drums and vocals. From the get-go this record is heavier, harder & better structured than its predecessors. Tino’s previous releases in 2010 & 11 were two 7” EPs of blazing old-school hardcore punk with few songs clocking in over the 30 second mark. Since then, Valpa has traveled the world touring in many bands with focuses on other things. In 2022 the solo project will finally to come to light as a live playing, touring band. This self-released album is available on LP, Digipak CD and Cassette).

Sweden’s Gehennah is back to stink up the scene once again, with their fourth full length album Too Loud To Live, Too Drunk To Die. This marks the bands album-debut on Metal Blade Records, and the first full length album by Gehennah since 1997's Decibel Rebel. The album contains 13 tracks of dirty and raw street-metal, destined to please the hardcore filth hounds of the scene, and annoy the ponytailed internet-snobs who prefer their metal clean and polished.

D-beat defenders Disfear strike back with its full-length Live The Storm. The legendary Swedes, led by Tomas Lindberg's infamous vocal howl, power through 10 burners with new-found ferocity and intensity captured by engineer Kurt Ballou (converge, Coliseum, Doomriders, Animosity). As "Get It Off", "The Furnace", "Deadweight" and their ilk prove, Disfear are the undisputed kings of crust-core.

The Scandinavian hardcore assault of Disfear utilizes blistering distortion, nihilistic rage and a scorching metallic powerload to bleed the Earth and burn its skies. On Misanthropic Generation, detonating power chords collide with raging rhythms, while the merciless vocals of Tomas Lindberg (At the Gates) explode through the heart of the band's sonic architecture.

13 years after they first stormed the stage, Rock Bottom prepares to raise hell once again. This hardcore band of bastards first emerged from the snake room of a Philadelphia suburb basement. There, they grew their following with brazen, unfettered tributes to the devil. From their smashing debut 7" BORN II HATE to their ripping full-length album DOWN WITH THE DEVIL, the band's demonic lyrical tomes told tales of devil worship, police brutality, love for snakes, and being made into a chump by life. These themes always left their audience guessing, "What does it all mean?" Well, those fuckers are about to get another taste. In their forthcoming album, Rock Bottom reveals the reality behind their time out of the public eye: experiences with alien abduction, doing hard time, racing for pink slips, and yes....performing satanic rituals with a witch's brew. The time has arrived. Quarantine is over. Get your ass off the couch, put on a diaper, pull up your sweats, and get ready to shit your pants. THIS is SPEEDWAY.

Kansas City mutated noise rock power trio. FFO Breather Resist, Fight Amp, Lords.Limited edition yellow cassette.Limited edition of 100 on yellow cassette.

"Motherhood’s newest LP, Winded, dives headlong into a narrative that explores the natural world as it mirrors human suffering. The avant-punk trio spin a yarn about navigating a straight line through a storm, “persevering—perhaps for no good reason.” With colourful, hip-hop influenced lyrics floating over relentless, complex rhythms, Motherhood tackles heady metaphors with ease, whipping through sweet fuzz-pop, sludgy stomps and ragged breakneck punk to deliver a 9-track album that pulses, stings and washes over the listener. It was written in empty spaces, too—in shuttered local haunts during the pandemic lockdowns of 2020. Recorded in a small analog studio, Winded was mixed by Deerhoof’s Greg Saunier, and features guest vocals from Les Hay Babies’ Julie Aubé and Katrine Noël. Motherhood has been setting deep thoughts to rippin’ music since they were kids, and their tireless boundary-pushing has built a catalogue brimming with bold experimental work. Winded, for all its turbulence, marks an evolutionary bloom for the band, and proves that, although they continue to shapeshift, they remain unmistakably and unwaveringly Motherhood."

Oakland, CA's Kids On A Crime Spree have spent the last decade crafting a compact but potent discography that shows a deep love of 60s Brill Building songwriting, 70s power-pop, bubblegum glam/pop, the Ramones and of course the seminal sonic overload and pop pathos of Phil Spector's legendary productions. With each release head Kid Mario Hernandez -- along with drummer Becky Barron, and guitarist Bill Evans -- have put a more and more unique stamp on the music they love and gathered a rather devoted fanbase doing so. Now back with a new record, Kids give us something their fans have always wanted ... more! "Fall In Love Not In Line" is a 10-song full-length record, a first for them. Cut at 45rpm, the album clocks in at a brisk 25 minutes, and it's a solid assemblage of noise-pop exuberance in all respects. Hernandez sought to move even farther from their influences, and the thick, rich sound that the band has put to tape (analog, of course) shows more warmth and some darker textures than in previous efforts; more shifting of tempos and melodies; a unity of purpose that can only come from years of playing together and listening to each other. The result is thoroughly modern power-pop that wears it's love of the classics lightly, finding new paths through familiar territory.

Jesus Was Born in a Mobile Home, a cassette release from the fall of 1984, represents Spike in Vain's first attempt at a second album. Recorded shortly after the release of Disease Is Relative in January 1984, the original group returned to The Island and laid down tracks for nine songs, with a focus on the band's earliest material. Most of these songs were written before those that appeared on the debut album, so the tape functions as a prequel to the debut even though it was recorded afterwards. Some of the tracks have a more traditional hardcore approach than the first album, but there is still the trademark coloring outside the lines for which the group is known. And of course it's mostly quite dark, with the majority of songs addressing death or paralyzing fear. Not long after recording basic tracks, drummer Bruce Allen announced his plans to cut ties and focus on his own group. It was decided to quickly finish the recordings anyway, release them on cassette, and try again later when another drummer was found. Since one of the songs was rejected and the rest only added up to 20 minutes, it was decided to include additional random material to fill out the tape. But what glorious "filler" that turned out to be! There's the very first performance of "Ugly and Damaged" from the band's first gig in early 1983. And "Love Isn't Hollow" from a 1981 rehearsal tape featuring Bruce completely shredding on guitar, the only known recording of this embryonic version of the band. Rounded out with rousing live takes of the Stooges' "Real Cool Time" and a newer song, "Deathstyle," what seemed like random extras at the time of release now seem like prescient grave-robbing. They would've been lost by now had they not been issued back then.

Outerwear were a more primitive, less ambitious offshoot of Cleveland's Spike in Vain, which means the rhythm section was so crappy that simple songs were a necessity and they took an inordinate amount of pride in just badly they sucked. In fact, sucking was so much the point that once the band had become "kind of good," they mummified themselves in gauze at their final shows so their hands couldn't function nor could they see their instruments. This, along with painfully long versions of their slowest songs were enough to drive more than 200+ audience members from a hall show when opening for Social Unrest. Perhaps Outerwear's finest moment, aside from the day they were somehow allowed into a recording studio to record their 1983 cassette album, The Outerwear Limits, which against all odds, is fairly compelling. Given that Chris Marec of Spike in Vain sang, played guitar, and wrote all the songs, there's six string insanity in spades, and the morbid tales of amateur coroners and being buried alive somehow contain genuine hooks. Yes, you will find yourself singing along to "Bloody Toilet Paper," banging your head to "Fountain of Scuz," and then scratching it as you puzzle through the backwards guitar and trombone of "Piss II." But wait, there's more! Power tools! Tuba! Cello solos! Or how about the absolute worst version of the Ohio Players' "Fire" ever recorded by man? Amateur home lobotomy may become an attractive new hobby, because you'll want to remove the parts of your brain that might remember this track. That, or listen to their cover of the Doors' "The End," which could do the job on its own (and doesn't include any of the actual music from the song). These are just a few among the many torturous pleasures the listener will "enjoy" on a great aural adventure, as they experience the awe and mystery of The Outerwear Limits.

"Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of it's release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft." This reissue marks the fifth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

To most fans of hardcore, Judge is a band that needs no introduction. The band took the ideals and positive goals of Youth Of Today and infused them with beefy guitar licks, introspective lyrics, and a hefty influx of New York style. Now available again on cassette.

Fully Licensed, Limited Cassette Version FOR This Absolute Punk Classic!

Bad Brains is the self-titled debut studio album recorded by American hardcore punk/reggae band Bad Brains. Recorded in 1981 and released on (then) cassette-only label Roir on February 5, 1982, many fans refer to it as "The Yellow Tape" because of it's yellow packaging. Though Bad Brains had recorded the 16 song Black Dots album in 1979 and the 5-song Omega Sessions EP in 1980, the Roir cassette was the band's first release of anything longer than a single. The release includes the original liner notes by Ira Kaplan of Yo La Tengo.

This reissue marks the second release in the remaster campaign on the band's own Bad Brains Records imprint with Org Music. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Tørsö is armed with a powerful punk and hardcore sound with influences as geographically diverse as its members. Punch guitarist Keith and Holy drummer Giacomo put together a transcontinental powerhouse adding bassist Jasmine of NEO Cons and Everybody ROW (among many others) and vocalist Ethan of Ritual Control. One can hear the D-beating drums of Discharge, the all-out speed attack of Swedish crust legends Totalitär, and the stomping breaks of late-’80s N.Y.H.C. Lyrically, Tørsö does not rely on any of the hardcore clichés or spew overly simplistic lyrics that carry no real meaning. Instead, the band tackles issues of veganism, politics, mental health, displacement, and feminism at a time when the world needs it the most. In addition to the Home Wrecked 7”, we will be issuing both EPs together on a cassette for the first time, an ode to

the long awaited tape edition of this soon to be #1 of the Top 2020 polls

To celebrate 40 years of Mucchio Selvaggio, the split-tape of two of the most seminal bands of European hardcore punk returns for the first time on Italian vinyl, LP. Decline/negazione, a musical combo that has become legend and has defined the aesthetics and sound of a genre. Graphics of the new edition by DeeMo. Remastered audio. Inner slave with reproduction of the original tape materials and 1985 European tour flyer. 27 minutes of hardcore punk that made history.

A quartet of milanese kids destined to write the history of hardcore punk: ladies and gentlemen, here are Crash Box! At their debut and grappling with some of the most iconic hits such as Nato per essere veloce and Veleno per voi. Demo 1983, where Marco Maniglia Medici's lyrics are already at the peak of creativity and at the service of one of the most virtuous formations in the history of the band. 22 minutes of true Italian hardcore. Anastatic reissue of the original 1983 cassette and remastered audio. Graphix by DeeMo on original materials.