Punk | Hardcore 240 Items

Discography Volume 2 compiles 42 tracks and spans the years 1995-2013. This includes Hostile EP, and splits with Unholy Grave, Totalitar, Look Back And Laugh, Converge, Systematic Death, Ruidosa Inmundicia, and Brainoil as well as compilation tracks and the Arms Race EP.

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...

Rampaging D-beat hardcore punk, Stockholm’s Totalitär are one of the longest running and most renowned classic Swedish hardcore bands from the 1980’s, with almost twenty releases since their beginnings in 1985. Respected for their challenging political lyrics, Integrity and continual inventive spins on a brutal and straightforward formula of rock-driven, blasting hardcore. After a series of Farewell shows in Sweden and in the U.S. in 2003, Totalitar decided to do one final recording and album- Vi Ar Eliten (We are the Elite) which features seventeen rock-hard tracks. A combustive steamroller of their trademark desperate angry vocals, pounding rhythm section and searing guitar leads, their third full length album is one of their finest. Mastered at Fantasy Studios. This repress is true to the original pressing, 1500 Pressed at RTI from the original Plates mastered in 2007 by George Horn. Packaged in heavy weight Stoughton gatefold tip-on Sleeves.

Originally released in 1994 by Photographer Murray Bowles and Filth bassist Lenny Johnson’s collaborative East Bay Menace label, this split combined two of New Mexico’s fiercest hardcore bands on one split LP. East Bay Transplants from Santa Fe, New Mexico GRIMPLE’s sound had become more harsh, caustic and acidic, retaining strong songwriting of their debut LP but shedding some of their pop sensibilities for quick metallic riffing. Their brother band, Santa Fe’s Logical Nonsense had also begun to leans heavier, creatively arranged songs which front harsh guttural vocals and brutal crushing riffs pointing to the sound of their raging follow up LP’s on Alternative Tentacles, and their influences of Extreme Noise Terror, Naplam Death and Neurosis. This album has not been repressed since it’s original pressing in 1994. It was been remixed by Noah Landis from Neurosis / Christ On Parade and re-mastered by BOB Weston at Chicago Mastering Service. The packaging is true to the original but has been painstakingly recreated with slight upgrades, including a new 11x22” insert with band photos and lyrics.

Wipers were a punk rock group formed in Portland, Oregon in 1977 formed by guitarist/songwriter Greg Sage. The group’s tight song structure and use of heavy distortion were hailed as very influential by many critics and musicians alike.

Land of the Lost is the band’s fourth studio album. It was very well received, with Maximum Rocknroll praising the title track for being “heavier and riffier” than the band had ever sounded before. Spin Alternative Record Guide called the album “the most definitive Wipers record for sound and songwriting”.

Land of the Lost remains a highly sought-after album, but now there’s a chance to get a hold of it again. It’s a limited edition of 1000 numbered copies on yellow coloured vinyl

Launched is the second album from German hardcore punk band, Beatsteaks. It was released in March, 2000 and follows the band's debut release 48/49 in 1997 on XNO Records. The album contains an interesting half acoustic cover version of a song by heavy metal band, Manowar, "Kings of Metal".

No Use For A Name were one of the first bands on Fat Wreck Chords and remain a cornerstone of the label roster. Their unique take on California punk emphasized equally innovative and catchy melody, paired with top-flight musicianship. Of course, a lot of what made this possible was the vocal range and imaginative song writing of TONY SLY. Despite his tragic passing in 2012 Tony’s presence can still be felt today, as his influence is evident in the work of many other artists. Over the course of their more than 20 year career, No Use For A Name amassed an impressive catalog of albums packed with hit songs. In 2007 NUFAN compiled a “best of” collection from their material up to that point. In order to encapsulate the true life of the band from start to finish, All the Best Songs has been thoughtfully updated. Now including songs from their resurgent and critically acclaimed release Feel Good Record of the Year, as well as new artwork, All the Best Songs is a definitive collection. It’s truly a perfect album for new and old fans alike. The reissue also marks the first time All the Best Songs is available on vinyl, which will have collectors in a frenzy.

Repressed on 180 gram vinyl!

One of the most influential albums of all time!

Dead Bob is the solo incarnation of John Wright, drummer from long time and apparently legendary but now retired Punk rock band NoMeansNo. Life Like, a NMN cover actually, is the first album John has released on his own. Though primarily written and performed by John he can not take all the credit having engaged the help of several friends to get this thing done including—Byron Slack (Invasives), Kristy Lee Audette (Rong), Ford Pier (doa, Rheostatics), Selina Martin, and his son Aidan Wright, as well as two old collaborations with his brother Rob in the writer's chair Recorded and Produced by John in the wilds of British Columbia, this album's material spans several decades and there is lots more in the archives. As might be expected the songs roll out cohesively but defy the cookie cutters and pigeon holes hence "Genre" is a tough one to convey but one thing that is not unclear is it is not to be listened to quietly! Play loud and enjoy!

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.

“In November of 1982, I went into the studio with Government Issue to record what was to be their first full-length album. Up until that time, they had only released the Legless Bull 7-inch EP, and the tape they recorded early 1982 would take over a year and a half to be released as the Make An Effort 7-inch EP. The members of G.I. excelled at driving each other crazy and there was a lot of arguing, but still we had a great session at Inner Ear and we managed to track 20 songs in one day. From the beginning the band had been divided on what to record, and it was only after much debate that they decided to leave off the material they had recorded with the earlier line-ups and only put out 10 new songs. In early 1983 Dischord was strapped for cash, meaning that we could only work on one release at a time. Since all of our money was tied up with the manufacturing of Minor Threat’s Out of Step 12-inch EP, the G.I. record would have to wait. A new DC label, Fountain of Youth expressed an interest in releasing Boycott Stabb, so it was decided to do a ‘split-label’ record. In this case, Fountain of Youth put up the money and we let them use the Dischord Records name to help with context and distribution. It has since been reissued on a number of different labels and formats, but after coming across the master tapes and hearing the songs that had been left off, we thought it would be cool to release the complete session, and to fi nally release the record on Dischord proper. In going through the tapes, I discovered that most of the outtake songs were never mixed, so earlier this year I took the recordings back into the studio. Hearing the separated tracks amazed me. Such great playing and songs! With the technological advances in the recording world making multi-tracking and overdubbing so common, it’s easy to forget that studios could also be used as something more akin to a photo-booth, capturing what was happening at that very moment. Most of the early Dischord sessions were essentially ‘live’ recordings, so the bands had to be able to play, and because the budgets were minuscule, they had to get the songs down in short order. G.I. stepped up on both counts.”—Ian MacKaye, August 2010.

"Before I made my home in & became Tanzania's #1 acknowledged periodontist, I was a busking girl throughout the UK. From early 1978 until the mid 80's I squatted everywhere; Glasgow, Cardiff, Manchester, Hastings & finally London. Music was our currency-mostly crude folk, DIY punk or amateurish, Klaus Schulze inspired synthesizer buzzings echoed off the walls wherever I chose to lay my hat. Admirers of records from this time know all too well that many compilations-mostly regional-flooded Britannia in those lean years, perhaps my favorite being one entitled Scaling Triangles. It was the first female forward collection I'd come across; three women artists, each tracking three songs. Only The Petticoats I was familiar with as she'd released a 7" ep on her own. The other two-Sole Sister, Sub Verse-seem to start & end here (Sub Verse contributes a track to the 'Compilation 1' lp on Starforce Studios-4th Wall ed). And as such, it is a diverse panorama of 'Le Beau Sexe' flexing wooly muscles. If this is from a particular scene I cannot say, but if you want taunt (Sub Verse), aggro (Petticoats) & free (Sole Sister) moving tracks, look no further. Fans of Young Marble Giants, The Flowers, Udder Milk Decay could do worse. Thank you Johan Klemp, it is so great to hear these songs so many years later. Now reissued on Tanzania's #1 recording label! And don't forget to brush your gums!"—Bupi Ramadhani (Tanzania's #1 acknowledged periodontist, Esnan Dental Center, Dar Es Salaam)

Originally released to a fan base and music press that were unprepared for the band to move on from the punk fury of “Crossing The Red Sea”, The Adverts “Cast Of Thousands” has since been recognized as a lost classic of the time. TV Smith’s cutting observational lyrics and sharp musical instincts saw his song writing grow and move in unexpected directions. The primal thumping was replaced by dynamic and driving drumming, acoustic guitars and probing solos emerged, and Tim Cross joined to add keyboards and fill out the overall sound. The one constant was the pounding throb of Gaye Advert’s bass. Encouraged to experiment by surprise producer Tom Newman (Mike Oldfield “Tubular Bells”) the band found themselves stretching creatively, both in song writing and recording techniques. They might agonize over the sound of recording a match being lit in the middle of one song, while doing a single take of a vocal via a microphone hung in the bathroom for another. Giant choirs were built meticulously over multiple tracks, while the sound of a rat running through the reverb room would be captured forever. The results wrapped some of TV’s best songs in strange and inventive sounds to compliment his anti-pop smarts and rock and roll heart. They did not know it at the time, but the band was falling apart. Tensions would soon rise to the level that replacement players were called in to finish their final tour. Punk fans left them in droves. Critics skewered the singles from the album. Their record label had moved on to the next big thing. Feeling that they had reached a creative peak made the tumble even harder to swallow. Time has been very kind though, and fans discovering punk after the first wave have been able to hear “Cast” for what it is - a brilliant and biting collection of rock and roll. Still full of stomp and swagger even when stripped down on “My Place” or via the anthemic surge of “Television’s Over”, with TV’s hook factory on full display on the anti-love song “Love Songs”, and the band closing the album with the creeping ballad “I Will Walk You Home”; The Adverts had grown from a great punk rock band to a great rock band.

Classic Black vinyl, 1000 pressed. A punk classic, gloriously anthemic power pop from the cult UK outfit. On 17 March 1978, a mere six months after the release of their self-titled debut, The Boys second album “Alternative Chartbusters” was released (once again, produced by Dangerfield & Steel). As AllMusic recognises, “Alternative Chartbusters” was way ahead of its time, a buried treasure that only got dusted off much later: “Condemned at the time for offering up little more than a straight carbon copy of its predecessor, the second Boys’ album has since ascended to the pantheon of power pop greats, a combination of the band's own inestimable position at the forefront of what, by early 1978, was already a burgeoning movement, and their seemingly effortless grasp of the rudiments of, indeed, a great pop song.” Along with the Sex Pistols, Clash and the Damned, The Boys were part of the first wave of the mid-1970’s UK punk explosion. Armed with an arsenal of killer Steel/Dangerfield songs The Boys became the first UK punk band to sign an album deal in January 1977 and subsequently released two albums, their self-titled debut and the follow-up “Alternative Chartbusters” in quick 7 succession. Highly regarded by the music press and their contemporaries, yet somehow criminally ignored by a wider punk audience, unable to grasp their heritage of vintage rock ‘n’ roll that went back to Chuck Berry courtesy of The Beatles. Their well-crafted songs, together with Steel and Dangerfield’s layered harmonies, even led to them being described as ‘The Beatles of Punk’

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Pink vinyl limited to 425 copies! First up, that title - Quonk! What's that all about?Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title.Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets.Marty - This one's for Toad really. It was his call and it's a great title for a Moped album.Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it.It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one?Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums.Slimy - Toads are slow moving creatures.Marty - Because we're old and very very lazy.Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round?Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!)Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright.Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can.Robot - Yeah it's always fun...

To celebrate 50 years of this mighty band - A brand new studio album by the legendary Johnny Moped! Green vinyl limited to 425 copies! First up, that title - Quonk! What's that all about?Johnny - I have no idea where the name Quonk! come from! it seemed rather weird for a possible album title.Slimy - Incidental noise that's picked up _. We are a bit like that _ Johnny Moped's Quonk! is very Quonk le Donk (saucepan lid landing on head) and it's available soon from all Damaged record outlets.Marty - This one's for Toad really. It was his call and it's a great title for a Moped album.Robot - The band suffers from Quonking pretty regularly, so we thought we'd make a whole album of it.It's been five years since your last album Lurrigate Your Mind. How come it's taken so long to write and record this one?Johnny - it must have taken up to five months to rehearse for that album. Around the same time as previous albums.Slimy - Toads are slow moving creatures.Marty - Because we're old and very very lazy.Robot - That's pretty quick for us, it was over 30 years between 'Rock 'n' Roll Rookie' and Cycledelic. We wanted to make sure it passed quality control before letting it loose on the world. It sounds like you had a fun time recording it. Is that the case or was it more painful this time round?Johnny - We did have a lot of fun recording those albums starting from Real Cool Baby and Lurrigate Your Mind. Classic albums! I have enjoyed recording all of our albums from Cycledelic up to our latest album (problems aside!)Slimy - Creating Quonk! was fun _ always thrills me when the sounds come together _ Johnny and his band have a plethora of tunes. Yeah! It was alright.Marty - Bits were really easy and other bits were really hard. A lot of the songs on any Moped album really only take shape in the studio. And Dick Crippen helps a lot with how they turn out. I'm very proud of this album and the band and Johnny have worked really hard to make the best record we can.Robot - Yeah it's always fu...

"At the very dawn of the 90s, Love Child's debut 7” made a splash on the burgeoning scene of shambolic bands and lo-fi recordings. Back then, they were mentioned in the same breath as Pavement, Sebadoh, or Beat Happening. But Love Child’s two great albums and sparkling singles have become the stuff of record collectors, unavailable vis streaming and out of print, until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by a band that could be the bestof all of the 90s buried treasures. Culled from their smashing debut 7-inch, their two full-length albums, another great single and some unreleased radio sets (including a Peel Session), Never Meant To Be has catchy hooks, gritty noise, sneakily-deft playing, brainy but blunt lyrics, and lots of other awesome stuff. Love Child were part of lo-fi’s beginnings, but also had the NYC pedigree to absorb predecessors like the Velvet Underground, the Voidoids and Teenage Jesus and the Jerks. (Their swirl of brightness, brains, and brawn led Byron Coley to liken them to a fantasy VU made up of Moe Tucker, Doug Yule, and Angus MacLise). Will Baum started Love Child while a student at Vassar College, bringing on classmates Rebecca Odes and Alan Licht. At first, Baum wrote the majority of the songs, bringing a Modern Lovers-like garage-pop attack to the band’s 19-song whirlwind debut album Okay? (Homestead, 1991) But Odes and Licht contributed songs as well, each with a distinct sonic fingerprint (One fan, Kurt Cobain, allegedly predicted Love Child would become the Fleetwood Mac of the 90s). All three members were happy to trade roles and instruments from song to song, but they also had some specific chops. Licht was a bit of a guitar prodigy, having taught himself how to tap like Eddie Van Halen, but versed enough in punk to know simplicity could be just as powerful. Odes’ bellowing bass was equally prominent, and her vocals could veer quickly from sweet to snarling, like Kim Deal or Georgia Hubley with a jagged edge. Take 'Asking for It' (taken here from a 1992 Peel Session), whose righteous slam makes it a proto-riot-grrrl anthem. Not long after Okay?, Baum left, replaced by drummer Brendan O’Malley. Love Child’s sound evolved too, toward a dronier zone not far from the bubbling haze of then-nascent shoegazers like My Bloody Valentine and Slowdive. On their next album Witchcraft (Homestead, 1992), smart hooks stretched into deeper ruminations, without any loss of brashness. 'Stumbling Block' turned a riff into a minimalist mantra, while 'Wait and See' took two melodies–one sung by Licht, one by Odes–and weaved them into the band’s most hypnotic moment on record. Love Child didn’t last long past Witchcraft, though it's not 100% sure that they're fully done (Alan and Rebecca have been rumored to be playing together again). But until that comeback emerges, Never Meant To Be should satisfy fans and newcomers for a long time."—Marc Masters

What we don't have here is "Omelette Punk," or "Country-Rawk," or Anything but stripped-down Rock'n'roll from Missouri's Still Animals. The 10 tracks on this eponymous debut are short, and to the point. In a perfect world, real kids everywhere are dancing to it on real radios while ditching real lame study hall, and they Look Kool doin’ it. This is the sound of St. Louis: the city's lead and limestone from a dead era, revitalized, and without a lick of gentrification. A couple of the cats here picked up their axes for the first time for this band, and the others cut their teeth touring with some excellent punk and hardcore combos. "Still Animals" fully represents uncharted territory for this crew, and it sounds to Slovenly like they were born to kill in their simplicity and ineptitude. We demand they don't get any "better" (it's in the contract). Album recorded by Andy Peterson (home & Office, Trauma Harness, Lumpy AND THE Dumpers) in a 130 year old limestone Mound City basement.

Memo PST a new Los Angeles based band featuring Chris Shaw (EX Cult/gøggs), Orville Neeley (obn IIIs), Daniel Clodfelter (shark Toys) and Jackson Todd. This single features two short blasts of straight up punk rock. Their debut album will be released later this year on In The Red and it’s a total face melter.

Homework' was an earth-shaker the first time I heard it. Blasting off the sketchy Cd-r on the Hyped2Death volume of Homework Volume 1: American DIY R-T, it defined frantic punked-out power pop from the Midwest. In such great company on those comps, sometimes the tracks seemed to seep into each other, yet Screaming Urge seemed to consistently dig itself deeper, standing out and don’t forget, they named their entire Series after that invigorating cut! Columbus, Ohio, in the late 1970s had an incredible cast of characters running around Mr. Brown’s, Crazy Mama’s and such. Tommy Jay, Mike Rep, Ron House, Jim Shepherd, Nudge, it must have just been a brown leather fever dream! 'Released' on Mike Rep’s New Age label in 1980, the 'Homework' single is pure American DIY punk gold that really checks all the boxes. Overbearing parents, teenage frustration, beer, everything you’d want in a punchy underground would-be hit. Later the same year they released their powerhouse debut LP BUY, (aka The Blue Album) on Garner Records, which has sadly been out-of-print for 43 years, until now. Packaged together with the 'Homework' 7” tracks and freshly remastered, this Ohio Punk milestone is finally available again."—

After grumbling for 30 years waiting for the first two albums from Atlanta’s Subsonics to appear on our preferred long playing format, we delinquents at Slovenly Recordings have taken the matter into our own leathery clutches and proudly present the first ever vinyl versions of Subsonics (1992) and Good Violence (1993). Criminally overlooked due to being CD only releases at the time—anyone who was anyone in those days was still stuck on *records* during the world’s biggest boom of slick digital coasters - these feculent works of pure derelict attitude are a sorely needed reminder of just how fucking Cool the rock still rolled at the dawn of its death, and prove that Subsonics—if you’ve been paying attention—remain consistent in their execution. A Subsonics mention in the same breath as the era’s most revered luminaries is crucial to the garage-rock conversation due to their unique take and attack on the teenbeat tongue, whether they consider themselves to be a component of the scene, or as outsiders making catchy and clever bang-shang-a-lang for their own inside kicks. Either way, our ATL heroes are playing the same stage, and they aren't particularly concerned if you missed the set… that’s our job. Here they are in 2023, exhumed at their most frantic, and they’ve never been more exalted.

Special Guests on the record include: Mark Cisneros, Joe Lally, Derrick Decker, Bob Berberich, Clint Walsh, Dave Grohl, Onam Emmett, John Goetchius, Jerry Busher, Amy Pickering, Ian MacKaye, Amanda MacKaye, Brian Baker, Randy Austin, Martha Hull, Michael Reidy, Nate Bergman, Bobby Madden.

Scream formed in 1979. Drummer Kent Stacks, bassist Skeeter Enoch Thompson and the brothers Pete and Franz Stahl attended school together in Bailey’s Crossroads, Virginia, when they began to discover the punk and new wave scene in DC and the provocative power of making music.

Like most of the punk bands in DC, they were influenced by the Bad Brains, but their rock and roll sensibilities set them apart. In 1982, they went into Inner Ear Studio with Ian MacKaye and Eddie Janney to record Dischord's first full length album, Still Screaming.

Scream followed this with a second full length album, This Side Up, in 1984. The band toured throughout the US and were one of the first US hardcore bands to tour Europe and the UK. In 1987, they released Banging the Drum, which was recorded at both Southern Studios in London and Inner Ear. In 1988, No More Censorship was released on reggae label RAS records. Scream returned to Dischord to release Fumble in 1993.

They made a few line-up changes along the way, including the addition of their friend Harley Davidson on second guitar, and, when Kent Stacks (rip) left the band to start a family, they asked a young local drummer, Dave Grohl, to take over. After a number of years with "the Scream team," Dave went on to join Nirvana and form The Foo Fighters.

In 1996, at a Christmas reunion show, Kent Stacks returned as Scream’s drummer; the show was recorded and released as the CD “Live at the Black Cat.” Over the next few years, everyone branched out in different directions – Franz joined the Foos for a short period and Pete played with Goatsnake and earthlings? The band returned as a unit, with Clint Walsh on second guitar, in 2011 to record the Complete Control Sessions, which was

released as an EP on Side One Dummy and was, until now, the band’s most recent release.

Scream’s newest album, DC Special, will be released in the fall of 2023 on Dischord Records. For this record, Scream invited their extensive music community to help create a unique project that weaves the history of music in Washington DC into the story of the band. Recorded by Don Zientara just weeks before his studio was evicted from its longtime location, the record is rich with both the sounds of Inner Ear and those of friends and musicians who influenced Scream and who shaped DC music over the past six decades. DC Special embodies the same sense of community and politics that inspired Scream from the start and is a truly special collection of new music that speaks to the present and also tells the story of DC music, Scream, and the influences that shaped them.

Fevr is a post-punk trio from L.A. that delivers what surely could be described as the best American post-punk album in years, the simplicity and quality of the arrangements and the very unexpected vocal works vocals transports immediately to the best of the best of the genre, not being at any time encapsulated in it, very surprising changes of style happens all the time making the listening a truly musical journey. No doubts; this one will become a sure future jewel in the collectors market. Comes presented on deluxe Double Gated edition including lyrics in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl. All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

20 Jahre nach der Originalveröffentlichung ist das Album wieder auf Vinyl zu haben! "Männer, Bomben, Satelliten" wurde 2003 zum achtzehnten Geburtstag der Wattenscheider Band als sechstes reguläres Album veröffentlicht. Zwar volljährig geworden, verblüffte die Band mit den verbesserten Gehirnen weiterhin mit spätpubertären Schlüpfrigkeiten gegen den guten Geschmack. Das musikalische Spektrum dieses Klassikers reicht jedoch weit über Punk hinaus und enthält Ausflüge in Jazz, Chanson, Country sowie Heavy Metal. Dazu neodadaistisches und Kabaretteinlagen. Die kulturelle Bedeutung der Kassierer festigte sich mit diesem Gesamtkunstwerk.