Punk | Hardcore Tape 145 Items

The good doctor is finally back to flip us on our backs and give us the old one-two-three-four, following a cassette I only knew about and listened to death and onto rebirth after hanging with the boys in Marseille.

These new-age space cowboys take us to the other side of the galaxy with a space shuttle of punk-fuelled psychedelic country… and drop you off into a black hole. The riffs bring the good news of the apocalypse to the new world from the one they left behind. US Maple lightsaber guitars fighting in a Uranium Club? Singer running out of oxygen.

References aren’t required anymore, just like when you hired VHS from the local video store. Take the risk, take the plunge, form an opinion yourself… get your money’s worth, tell me to go to hell and stop reading this.

If Captain Beefheart kept playing punk music and joined Marbled Eye or something, wearing modern, youthful clothes with an iPhone to hang out with some of the deranged, loveable, lust-for-lifers of Leipzig, maybe it would sound like this, but only after pulling him apart and putting him back together as robocop with a country teasers bumper sticker on his metal arse.

Why hire VHS when you can see their amazing video clips, which look like they’ve been directed by Giuseppe Andrews... Doc Flippers are trailer trash cooking bratwurst on top of flaming oil drums... crazy homeless, performance art punk rock.

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

Prolific outsider artist Andrew G. Thomson - aka AyGeeTee - brings his unique sonic language to Kit Records, with a frenetic peep into a sprawling archive of unreleased work.
About You mutates through elastic synthesis, torporific loops, dislocated percussion and the splattered voices of AyGeeTee's backing group, The Actress Pets.
What begins life as a dervish of repurposed instrumental fragments ('Today's W'), ghosts into mantric pop irreverence ('Troubled Dinghy'), burnished orbits of guitar ('Sweetness One') and shuddering avant rap atmospheres ('Raiders').
Recommended if you like Carl Stone, Odd Nosdam, Shit and Shine.
About You is pressed to a very limited run of 50 tapes, with artwork by Andrew.

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!

Originally released on the Toxic Shock label from 1989, this is the debut album from Indianapolis pop punk legend Sloppy SECONDS.Makes you want to jump around, dance, party and roll through town with the windows down and the volume up. Not for the faint of heart! Limited to 200 only cassette version on HEY SUBURBIA.

First time ever cassette edition for Nikki & the Corvettes’ self-titled debut album originally released on Bomp Records in 1980. Led by Nikki Corvette, the group brought a fresh burst of energy to the punk and power pop scene of the late '70s and early '80s. Fueled by catchy melodies, infectious hooks, and Nikki's charismatic vocals, the album delivers a rollicking ride through a blend of punk, rock, and retro pop influences. Tracks like "Back Seat Love" and "Let's Go" capture the carefree spirit of youth and rebellion, making this LP a cult favorite among fans of vintage punk and power pop. With its raw energy and unabashed fun, "Nikki & the Corvettes" remains a timeless gem in the annals of underground rock’n’roll.

New York's Spa Club ignites in June 2001! This live recording captures punk iconDeeDeeRamonespitting fire in his last NYC show. Raw vocals belt out classics like "Beat on the Brat" and "I Wanna Be Sedated," infused with the spirit of the Ramones. Dive into a sweaty night of pure punk energy - a must-listen for any Ramones fan.

Modern Lovers' self-titled debut album, released in 1976, is a timeless exploration of proto-punk and alternative rock. Led by Jonathan Richman, the album captures a minimalist and lo-fi charm, with tracks like 'Roadrunner' becoming anthems of the emerging punk scene. Richman's witty lyrics and stripped-down sound make 'Modern Lovers' a seminal work, influencing generations of indie and punk musicians. The album stands as a testament to the band's pioneering role in shaping the landscape of alternative music.

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.

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.

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.

"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."

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.

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.

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

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.

Originally released in 1980, Stiv Bators first solo effort. As we all know, Mr. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv has turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead its a true step forward into another unknown arena packing all the glare and attitude that remained from the last. Bomp Records 50th anniversary reissue.

Visionary No Wave legend Teenage Jesus and The Jerks created a confrontational sound, with a shifting line-up as a platform for Lydia Lunch’s shouted vocal shocks, accompanied by her jagged guitar noise, non-melodic bass, and minimalist drums. This must-have live anthology is culled from six performances undertaken during their heyday, these atonal, in-your-face blasts somehow even more caustic than their studio work, rendering an aural assault not for the fainthearted. Benefitting from the presence of James Chance on select numbers, this uncompromising collection of staccato eruptions will get right up your nose – a must for all Jerks fans.

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.

awakebutstillinbed return with chaos takes the wheel and i am a passenger, their first new full-length album in five years. From the very first moment, with its warm, opening guitar strum, absib pick up exactly where they left us at the end of their debut album. Produced by Joe Reinhart (Hop Along, Beach Bunny) and engineered by Jack Shirley (Joyce Manor, Jeff Rosenstock), the new album is sonically massive, allowing the band to peak higher and swoop to more intimate depths than ever before.

Hailing from Antwerp, Belgium, The Kids formed in 1976 to prove to the world that punk was more than just a London vs New York fashion contest. Originally released on the Philips label in 1978, and highly acclaimed as one of the best punk records Ever, The Kids' debut album is now reissued on solid black cassette, with two bonus tracks recorded in 1977. This is pure and quintessential punk rock.

The first album release from San Diego’s Unbroken. The tracks on this album offer a glimpse into the starting point of what would become one of the ’90s most iconic hardcore bands. Although the cultish following this band has been able to maintain for the last three decades stem from their sophomore album, Life.Love.Regret., this early batch of songs have garnered their own interest due to scarcity as this album has not seen an official pressing since the mid ’90s. To commemorate the 30th anniversary of this album, we are making this limited pressing available on all formats.

Girls At Our Best! were one of the greatest and most influential bands to emerge in the early 1980s as part of a new wave of independent acts. DJ John Peel championed them, playing their singles repeatedly and inviting them to record a session for his programme. Wry vocalist Judy Evans and brutal yet melodic guitarist James Alan who’d met at art college in Leeds fronted Girls At Our Best!, the proto-Indie band that formed from the ashes of Alan’s 1977 punk band SOS! Pleasure, the sole album, reached number two in the Indie Chart. It was an album so different from the rest of the post-punk indie pack that you can still play it now and completely baffle new listeners. As John Peel said about Roxy Music, it just doesn’t seem to relate to anything else.

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.

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.

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.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains influential to this day, inspiring countless punk, ska, reggae, and hardcore bands with it's innovative sound and uncompromising attitude.

This reissue marks the eighth 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 and pressed at Furnace Record Pressing.

OKO DJ’s first mixtape, landing on Accidental Meetings. 90 minutes of head banging rock & metal, screwed up saxophone & weirdo dub.