Punk | Hardcore 204 Items

THE Ghost Inside stands as an unstoppable force in the realm of hard rock music. Fueled by unwavering determination and unyielding passion, this band has forged a path marked by resilience and redemption. Their latest endeavor, the 6th studio album titled Search for Solace, delves into the profound theme of grappling with one"s own thoughts - the internal struggle between good, bad, and evil. It explores the journey of finding comfort and making peace amidst the chaos of life"s ebb and flow. The album reflects the band"s commitment to not succumb to negativity, anger, or darkness, aligning with their identity as an uplifting and comforting musical force for fans seeking solace. Established in 2004, THE Ghost Inside has solidified its position as a trailblazer in melodic hard rock. Their music seamlessly combines raw aggression with profound lyricism, creating a resonant experience for their dedicated fanbase. Despite facing challenges, notably a tragic bus accident in 2015 that left some members with life-altering injuries, the band refused to be broken. Through unwavering perseverance, they made a triumphant return to the stage, defying the odds. Their music embodies a spirit of resilience, unity, and the indomitable power of the human spirit. Each thunderous breakdown and soaring melody strikes a deep chord within the hearts of their fans, serving as a testament to the band"s enduring impact. THE Ghost Inside"s journey is a testament to their ability to inspire and uplift through music. As they embark on a global tour starting this Spring, venturing into new territories, including South America and beyond, the band continues to share their message of strength and perseverance with audiences around the world.

Back in print!

Sect have a lot on their minds. With the release of their brand new single, New Low and the promise of Plagues Upon Plagues, the follow up full-length to 2019’s Blood of the Beasts, Sect explore the intersection of issues which have cascaded over us for the last five years, the “plagues” of the title referring to the literal pandemic, and the metaphorical plague of the political state and the rise of fascism.

Comprised of an international cast of stellar musicians, who cut their teeth in a formative moment of political, cynical, antagonistic extremes, Sect unites Scott Crouse (Earth Crisis, Tooth & Claw) & Jimmy Chang (Undying, Catharsis) - guitars, Steve Hart (Day of Suffering, Mania For Conquest) - bass, Andy Hurley (Fall Out Boy, Racetraitor) - drums and Chris Colohan (Cursed, Unwell) - vocals. They released No Cure For Death in 2017 and Blood of the Beasts in 2019.

Originally released in 1985. GAUZE's legendary 1st album!!

20 years ago DISCLOSE released their response to the greatest hardcore 12" ever released: DISCHARGE's Why. At the time the band was at the peak of their DISCHARGE era and had perfectly crafted a trademark sound, which shows through on the recording. The chainsaw-sounding double-toned guitar, Kawakami's unmistakable vocals, and a rhythm section firmly based on the Stoke-On-Trent's beat melded together to create a repetitive mantra-like noise chant. Recorded at Grove Cargo and mastered at Studio D-Takt by Jan Jutila, the production is a perfect example of noise not music pressed into vinyl, with both high and low frequencies cutting through the mix without losing any power. Lyrically Nightmare Or Reality focuses on the tragic sights of war while aurally the record is a full-blown attack on all senses. D-Beat Raw Punk at its best. 20 years on and many times imitated but never duplicated. Originally released by MCR Company, this 20 year anniversary official reissue comes in a printed inner sleeve and heavy board outer sleeve.

On their seventh studio album, Deftones prove that they don't need to compromise aggression for ambition. Koi No Yokan ranges from brutal, blunt-force trauma ("Gauze") to epic prog-rock atmospherics ("Tempest"). Opener "Swerve City" sets the tone immediately with a bludgeoning riff, but Deftones also take nuanced approaches to angsty tension, weaving meticulously crafted cosmic rock on "Entombed" and wading through murky, jagged textures on "Rosemary."

Overloaded with buzzy guitars, explosive drums and snotty vocals, National Threat, the debut full-length from Detroit street rockers FEN FEN, is guaranteed to melt the needle off your Crosley Cruiser and mysteriously empty out your parents' beer cooler.

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 days of punk amidst the gritty pop riffing and cocaine blasted glam holdovers of Cbgb, Max’s Kansas City and the like, Negatives sauntered into life as an anti-poser power trio who enjoyed writing music that was anything but pop. Consisting of reconfigured fallout from The Erotics and Inside Out (no, not that Inside Out), they employed a jagged, machine tight, hyped up guitar centric new wave approach to skewer what little public actually saw them with biting tracks about drugging, paranoia, anxiety and the mindless contentment of standard humans. Big city shit… Without much support, they managed to gig for about 6 months or so before disappearing into the hazy annals of the “me decade”. They did manage to track a few songs and release this lone EP that was all but lost until a lucky thumb met a curious eye in a New York record bin. With some help from friends, we were able to rescue this incredible EP from obscurity and we are beyond excited to offer this KBD monster to you now, freshly remastered from the original and finally in a picture sleeve. 500 copies on black 70gr vinyl housed in a 12 pt reverse board custom ILR silver lined glue pocket sleeve. Originally recorded in a now long defunct rehearsal studio in midtown Manhattan around 1979/1980. Exact dates are unknown as the master tapes were lost a long time ago. Recut and remastered by John Golden in 2023. Art by Jensen Ward.

Big Hotel, the sophomore effort of Winged Wheel, is an evolutionary document. Core members Cory Plump (Spray Paint, Rider/Horse, Expensive Shit), Fred Thomas (Tyvek, Idle Ray), Whitney Johnson (Matchess, Damiana), and Matthew J Rolin (Powers/Rolin Duo, solo) expand their lineup to include Lonnie Slack (Water Damage) and Steve Shelley (Sonic Youth), and instead of the entirely remote method utilized to create their 2022 debut No Island, the far-flung party convened in person in Kingston, NY for a long weekend of live studio recording.

The results are undeniably compelling. The band’s signature cyclonic energy is simultaneously augmented and refined with the approach of real-time collaboration. After tracking three days’ worth of group improvisations, weirdly-born songs, and other spontaneous creations, the hours of material were edited with a similar intensity. Half-hour jams became three-minute ragers and fragments were looped into infinity, calling on the same spliced aesthetic as some of the most adventurous material by Can, Faust, or more recently the experimental production of the International Anthem camp. The stereo field has been torn apart and sewn together again, rerouted with strange and mesmerizing left turns. Vignettes of ambiguous construction, both tightly coiled and exploding, revolve around themselves, gathering intensity and mass, coalescing into something greater than the sum of its parts.

'Demonstrably False' swells into existence like a motorik tidepool, tossing fauna onto the shoreline where it sprouts legs with a steady gait lying readily in wait within them. The controlled frenzy of 'Sleeptraining' marks a determined dash to a patch of reeds that are given form by the propulsive and minimal 'Clean Blue Shelf,' where lush terror and the balm of shelter seem equally likely to dwell. 'Grief in the Garden' describes itself like the eventual, fleeting triumph of eyeing the sun as it rises to declare the end of a starless night.

'Smudged Textile' seems another gesture from the sun, where it begins its work of burning swaths of cloud away to uncover the stark and perfect sky; it is around here that the sensation of flight becomes all but irresistible. The aerial coolness of 'Aren’t They All' maintains a reassuring pace much more like a heartbeat than a flapping of wings, which flows naturally into 'Soft Hands,' a piece that widens and ultimately splits the perception, somehow evoking an even, landbound march even as it continues to narrate that endless, gliding flight. 'Short Acting' is blissfully ambiguous in its suggestion, managing to hint at the vault of heaven before descending unhurriedly but inevitably back to earth. 'From Here on Out Nothing Changes' completes the vast arc, teeming as it is with the wild and singular energy of conscious life.

Where No Island was born out of distance and murk, these songs breathe and erupt in close quarters. Though the band isn't necessarily concerned with finding new levels of clarity, there’s a newfound power in the steady drive of Shelley’s unmistakable rhythmic style, and the unexpected interplay that builds on this foundation. Big Hotel is the sound of what happens in the rare and intriguing moments when Winged Wheel are all in the same room."—Jen Powers, March 2024

Self Obliteration is defined as any behavior that is harmful or potentially harmful towards the person who engages in the behavior. It is also applied to the potential at a communal or global level for the entire human race to destroy itself through the technological choices made by society and their possible consequences. Keeping that in mind and applying that knowledge toward writing fucked up hardcore you can start to see into the world of Sect Mark with all its darkness and anger being the driving forces. There is no beauty left in that world, no light. And in that world this is pure poetry: “Eat the broken stones, the old picutres of the churches; the pebbles of gone floods, loaves scattered in the gray valleys.”

Reissue as a part of the Start Your Year Off Right Kampagne von Warner. (Original RD: October 1978)

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

The music on Blackout rocks, has a truckload of sweat, blood and energy & conveys an intense insight into relationships (Walk Away) & personal politics (Gonna Be A Blackout Tonight - lyrics written by Woody Guthrie after the band was given special exclusive access & permission to use the words of Woody Guthire through his family). The record still contains rousing tunes rooted in Irish music & American Folk (Black Velvet Band & The Dirty Glass) and destined to be a Boston Bruins call to arms classic called "Time To Go". And it"s important to mention that each member of the band played a crucial role, working hand in hand to create this new record. Everyone"s influence from the youngest member of the band to the most experienced, bring together their many influences to play a role in creating an all time gem of a rock record. With each new record, they just don"t let up, their passion, life experience & and true commitment to music fans shines through on every song.

A concise, cranium splitting, stipped-to-the-bone, audio onslaught! The avatars of Swedish hardcore are back with their second release for Epitaph and they clearly mean business. "Dedication" features maniacally focused and furious vocals, drums that reach ungodly speeds and a blistering guitar storm that will peel the chrome off a trailer hitch. "Dedication" is a pure hardcore expression of monumental proportions.