Punk | Hardcore 174 Items

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!

First released in 2001, this album is fully remastered, remade and presented once more in its entirety and features A Certain Ratio, Cabaret Voltaire, Throbbing Gristle, The Human League, The Pop Group, Gang of Four, The Slits, 23 Skidoo and This Heat.As Muzik magazine noted on its initial release "In The Beginning" is a choice selection from the fertile post-punk period when bands thought nothing of combining politics and philosophy with imported dance rhythms and edgy industrial angst.The bands featured come (mostly) from the then bleak post-industrial North of England - Manchester, Sheffield, Leeds as well as Bristol and London, and yet all show a fascination with black American rhythms and an experimentation in sound that was completely unique at the time.

Fast metallic virtuoso pop punk from Santa Barbara, RKL takes their sarcasm very seriously. On Rock N"Roll Nightmare, RKL delivers an album of irreverent songs, blaming every track on society!Originally released in 1987 this album by the legendary band RKL is now available again, limited to 500 copies on green/orange a-side/b-side.

Dicks’ debut LP has been acknowledged as a foundational statement in Punk ever since its initial 1983 release. Following their first single, 1980’s “Dicks Hate The Police,” and a live split with fellow Austinites the Big Boys, Kill From The Heart does not disappoint. Originally released on SST, the album stands apart from the mass of generic thrash-hardcore contemporaries— fueled by the manic, but controlled power of singer Gary Floyd along with the original lineup of guitarist Glen Taylor, bassist Buxf Parrot and drummer Pat Deason. Dicks were operating at an absolute peak at this point, alternating damaged workouts that suggest Flipper or No Trend on one end and highly charged tracks in the vein of Minutemen or Tales of Terror on the other. Straight out of the gate on “Anti Klan,” the band trades blues-grounded guitar with squealing feedback and intensely political lyrics. The raw emotional sincerity of Floyd, who was openly gay in Reagan-era Texas, provides unmistakeable urgency to songs such as “No Nazi’s Friend,” “Rich Daddy” and the title track, which remains one of the stone-cold classic punk anthems. Forty years on, Kill From The Heart continues to smolder—an arresting testament to the possibilities embodied in creative rage. It is no surprise that Dicks have been covered by Mudhoney, Jesus Lizard and more. Superior Viaduct is honored to present this truly essential reissue. Comes with original tracklist, insert and download card.

In 1977 The Adverts sent a five song cassette they recorded at a rehearsal to Chiswick Records. Chiswick chose not to pick up the band and the tape sat at the label’s headquarters until October 2022 when the tape was auctioned on eBay. The winning bidder was Henry Rollins who, upon hearing the tape, contacted TV Smith (the band’s singer and principal songwriter) and got permission to release the tracks. The tape was transferred at Tonal Park in Maryland and mastered by Mikey Young in Australia and it sounds incredible in all its raw glory.
The Adverts were one of the original Class of ’77 UK punk bands and they were arguably one of the best. Their singles and debut album, Crossing The Red Sea With The Adverts, are all time classics of the genre. Rehearsal Tape is the first time the band was ever recorded. In The Red and 2.13.61 are over the moon to have the opportunity this punk rock artifact on vinyl. Pressed on red vinyl and limited edition.

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.

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.

The legendary, influential, celebrated and inarguably smallest release by I Hate Myself. First pressing in twenty-four years housed in pocket sleeves from the original source artwork and pressed on limited edition glow-in-the-dark vinyl.

“The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a ‘little break’ from the road. You all know what happened next. That ‘little break’ turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings). Sean [Hoffman] and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our ‘Scavenger’ 7-inch came out, around 2012. We had run into them in Berlin a few months back and I knew they weren’t playing anymore. I called Josh first, ’cause asking a dude if you can take his drummer, is like asking your girlfriend’s dad if you can marry her. And Josh said ‘go for it.’ And Jeff was in.

“Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard—basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a ‘Fake Live’ record—like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors, and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1.

“These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!” —Jed Maheu (guitars/vocals for Zig Zags)

“Here We Stand.” It is a phrase that means a lot to the legendary UK punk band Cock Sparrer. It was the title of the band’s 2007 LP, which announced their arrival in the 21st century. It cropped up again as a rallying cry in the lyrics to their 2017 anthem “One By One.” And now it is the title and chorus of a brand-new single off the band’s farewell studio LP, Hand on Heart.

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.

No Atlanta punk record from the 1980s creates such a lather as the debut single by DDT (except maybe Neon Christ's single, but I digress). Self released in 1983, merely finding a copy would put you into serious debt. That is, until now. Audio was restored by Jason NeSmith at Chase Park from a spotless copy of the record given to Chunklet by Joe Perry who recorded the single at his Bombay Studios in Smyrna. Never before reissued until right now. Get in on the ground floor of Atlanta's punk scene from 40 years ago

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

Bed Maker's origins date back to summer 2019, when bassist Arthur Noll (Light Beams, Kid Congo Powers) and drummer Vin Novara (The Crownhate Ruin, 1.6 Band), each having played in Alarms & Controls, invited guitarist Jeff Barsky (Insect Factory, Time Is Fire) to collaborate and see what might happen. By autumn, they invited Amanda MacKaye (Desiderata, Routineers) to join them, and the chemistry was immediate. In February 2020 at DC's Rhizome, Bed Maker played their first show and then paused their activities the follow- ing month, as did most people.

Due to the state of the world in 2020 and 2021, they continued writing music through sharing recordings. Mike Schleibaum assisted by assembling home recordings of their individual parts into working demos. This allowed them to keep momentum, and by the time in-person rehearsals resumed, a handful of songs and new ideas were close to fruition. Bed Maker resumed playing shows in November 2022.

Following a self-released digital single ("Miss Dickens") and an EP (Three on the Tree) -- each recorded with Schleibaum and Matt Michel at Viva Studios -- Bed Maker began work on their self-titled LP in May 2023 with Ian MacKaye and Don Zientara at the original Inner Ear Studio in his basement in Arlington, VA, and with Mike Schleibaum at his home studio in Maryland.

That their debut LP even exists is only possible thanks to the support of family and many friends, and also serves as an act of defiance to the horrors of the last four-plus years.

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.

Recorded over the course of 1993-1994 in the band’s own "Acre" home studio, the Templars' debut full length, The Return Of Jacques De Molay, introduced the lo-fi DIY sound that would serve as the band's sonic signature over the coming decades. This decision was as pragmatic as it was artistic: the band having endured the loss of their previous master recordings to a failing studio/record label only a year prior. Determined to never again find themselves in that position, the Templars opted for self-recording, and the rest, as they say, is history. The Return Of Jacques De Molay has gone on to influence and inspire generations of Punk & Oi! bands worldwide. While the Templars debut album is held up as one of the the crown jewels of the band's discography, The Return Of Jacques De Molay, is something of a white whale among the fans of this very vinyl-orientated band. Outside of a few limited German pressings, The Return Of Jacques De Molay had previously only been available widely on CD—until now. TKO is proud to present the 30th Anniversary "Grandmaster" edition of The Return Of Jacques De Molay. Featuring painstakingly remastered audio, completely reworked packaging and the overall attention to detail that you've come to expect from TKO / Templecombe reissue collaborations, we can say without hesitation that this new versions presents The Return Of Jacques De Molay as it always should have been. Of course, the Templars lasting legacy arose from more than just the charm of their recordings. The Return Of Jacques De Molay crystalized the songwriting style established on the band's earlier EPs—A sound rooted in Oi! tradition, but unafraid to explore beyond that genre’s boundaries. Oi!’s familiar pro-labor / anti-bullshit approach is on full display, but songs like “The Sixties Are Over” show a willingness to go outside the lines with acoustic guitar and shockingly tuneful songwriting that few of their peers ever matched. Paired with the album's signature fuzz guitars, warmly saturated drums, and deft, melodic basslines, it’s clear why The Return Of Jacques De Molay continues to resonate after the last 30 years.

Picking up where 2022’s “Seething” EP left off, “Threats” finds a reinvigorated Extortion further distilling their water tight stop/start anti-feedback power violence velocity to “communicate... something. actually, a LOT of something- too much panic, too much frustration, too much nausea, too much of everything.” The new EP is an absolute brain pummel that will leave you more destroyed than ever. Seriously, this band just keeps getting faster and tighter and more ferocious with no limit to what they can do. Extortion is a gift… just don’t look ‘em in the mouth. 600 on black 70gr vinyl housed in a 12pt custom die cut jacket with lyric insert included.

Reissue of the 90’s Hidden Gem originally released on the infamous “Rugger Bugger” Records, featuring Frankie Stubbs of Leatherface. The album is a complete Discography, of all things Jesse on a double album, one unreleased song and everything remastered for its release. “Stubbs seems on the verge of breakdown into sorrowful melancholy on a number of tracks, only with an air of odd defiance, as if he's hurting but knows he'll weather it. He inspires hard empathy instead of irritation. You look forward to Stubbs' lyrics and he never fails, particularly as one experiences them with that gut-wrenching sincerity clutched within that sandpaper-voiced howl.” – Jack Rabbid Remastered – Nigel Walton – The Edit Suite & Graeme Philliskirk Artwork – Cactus Vella

The pack is back with six scorching new Oi! infused American hardcore tracks that will boil you over and leave everything in your path a smoldering wastepile. Denver has never been known as a mild place and “Endless Siege” reflects Direct THREAT’s harsh environment to a tee, tackling subjects ranging from a monotonous reality sparking violence to hopeless futures to threats and paranoia. To say life is uneasy is putting it mildly and mild is something DT just doesn’t fuck with. Our favorite lyric line on the record sums it all up nicely: “We are the hammer and they are the nail.” If you let these sounds fuel your fight, you cannot lose. 500 on black 70gr vinyl housed in a 350 gsm reverse board glue pocket sleeve with lyric sheet included.

Since forming in 2021, Heavyhex has quickly gained a reputation for their ability to translate raw emotion into their music, blending melodic and post-hardcore. Following Heavyhex’s 2022 EP, Stare, True To You dives deep into the realm of personal struggles, societal issues, and the demand for equality. Single “You Can’t Stay Here,” out now, bursts with an impactful vocal delivery and winding riffs before heading into an infectious hook. The song itself addresses how the unhoused are treated with little regard. Vocalist David Gastiaburo expands on the lyrics: “You Cant Stay Here” was written after NYC’s failed attempts to sweep homeless encampment sites. It was an ill attempt to force the homeless into shelters but it failed. Out of the 2,300 homeless people present during those sweeps, only 119 agreed to go to a shelter and most of them did not stay. Many were forced out with little time to take any of their belongings with them. These are people too, just like us, trying to get by.” On True To You, Heavyhex collaborated with producer Jay Maas (defeater), channeling their collective energy and creativity to shape guitar tones that strike a balance of aggression, clarity, and emotion, accompanied by fast and hard-hitting percussion. This collection of songs fearlessly explores the human experience with honesty and vulnerability. They serve as a powerful reminder of the importance of self-love and staying true to oneself. Confronting the challenges we face, while advocating for a world that embraces equality and understanding, True To You is a demonstration of the power of music as a catalyst for change. Heavyhex is a part of the blossoming Long Island melodic hardcore scene alongside bands including Stand Still, Koyo, and Private Mind. The band’s captivating, sing-along ready live show has allowed them to share the stage with acts like Silent Majority, Militarie GUN, Soul GLO, I AM THE Avalanche, and Spite House.

Dead Moon's first LP! Originally released in 1989, In The Graveyard sounded like nothing else happening at the time. Lo -fi psychedelic masterful songwriting with so much murk and mystery—it's perfect. Features absolute hits like "In The Graveyard", "God Damn I Hate The Blues and "Dead In The Saddle." This is one of the most important rock and roll releases of all time.

2024 repress, Glow In The Dark Vinyl.Bergen, Norway- Blood Command have announced their new studio album, "World Domination"(Produced by Yngve Andersen) to be released on the 29th September 2023 through Hassle Records. Whilst early singles have cradled audiences with their ethereal death pop sound, make no mistake, the album "World Domination" is 20 rapid bursts of every side the band has to offer. Infectious grooves, blast beats, singer Nikki Brumens powerful screams and riot grrrl chanting, techno interludes and that delicate side which lulls you into a false sense of security before ripping into the listener once more.The record dives into unrequited love, the hatred of the unjust, the power of faith and the darkness of the abyss and never giving up on trying to climb out of it."Like various underground religious groups throughout history, Blood Command's ever growing following, The Awaketeam, is rising around the globe, and we are not stopping until World Domination. So keep your eyes peeled for purple shrouds, three stripes and black and white sneakers."This is Blood Command at its most interesting. Come and be a part of the movement.

In a time where it’s become increasingly difficult to find the motivation to head out my front door, CUT Piece has become one of the few exceptions, and in their brief year of existence my favorite local band. Featuring a lineup of Portland scene stalwarts from RED Dons, Piss Test, ERA Bleak, Dials, Petite... every time they hit the stage with power, ferocity, and a purpose, commanding the audience and never out staying their welcome. On their debut LP Your Own Good they stick to that formula. Combining elements of post-punk, hardcore, and the early 80s UK anarcho scene, Cut Piece turn in a 23 minute album of driving anthems that demand your attention and drill their way into your brain. Songs about the fucked-up state of our world, the overwhelming apathy of the population at large, self-empowerment, and the creeps who lurk the neighborhood. With one of the hardest badgers in the game, a constant barrage of hook exchanges between the wiry guitars and rumbling bass, and a vocalist shouting arithmetic calls to protests, Your Own Good makes for a captivating debut, and if album closer Gugi is any indication of what’s to come sign me up now. Dark, powerful, and 100% Total Punk!

Consumption is key. War crimes in real time an arms length away, mandatory connectivity to hive mind. The common human experience is experiencing the shift. The 1000 Yard Stare is commonplace, no longer experienced only by soldiers and victims at the front. The front is everywhere. Colonial legacies, genocide, poisoned drug supplies and failed policy, killer cops, global warming, Neo-Liberal fallout, rising Fascism. The Information Age in its current state is one that sees the mask of the emperor starting to slip, a power struggle with the worst pla...

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.”

Heaven is the culmination of many years hard work and careful consideration of all the modern methods of outsider and extreme music being funneled into one comprehensive overview of Japan’s underground culture as Klonns sees it. Since their 2016 inception, they have drawn inspiration not only from their allies in the punk/hardcore scene, but also their friends from other scenes such as techno, experimental music, industrial/noise, hip-hop, etc. A united creative community of forward thinking maniacs centered on pushing culture in a positive direction. The “new Wave OF Japanese Hardcore” has never sounded more necessary.

Portland, OR's Long Knife have spent the last 10+ years turning out some of the most well-crafted and unrelenting hardcore punk in North America, fusing the speed and ferocity of first wave Ushc, the barely restrained chaos of Japanese hardcore, and the guitar heroism of classic Hard Rock to devastating effect. And with three albums, numerous 7"s and compilation appearances to their name, this is a band that's never been content to rest on their laurels. If you, woefully ignorant poseur that you are, somehow missed the memo, and are now desperately clamoring to own the band’s long out of print EPs, TKO Records has got you covered. Rip City Bonerpunk Classics Vol. 1 compiles all of Long Knife's 7” tracks, including 'Possession,' 'Sewers of Babylon,' and 'Night of the Hunter,' as well as songs from their split 7” with Japanese Hardcore legends Forward and several previously unreleased covers. The assembled material featured on Rip City is some of the most incisive, hard-hitting, and musically interesting Hardcore Punk available today. Whether you pine for the unhinged guitar wizardry of G.I.S.M., the pummeling neanderthal churn of Motörhead, or the frenetic lunacy of United Mutation, Long Knife delivers. Grab a copy while you can, or don’t and wish you did later.

MENSCHENFRESSER" is the name of RAWSIDE's new album a...

What is there to say about SS DECONTROL’s long out-of-print 1982 debut, The Kids Will Have Their Say, that hasn’t already been written? Long heralded as the first straight-edge album, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered, artistic statement that’s singular in scope and vision. The Boston act’s debut was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on cassette by Trust Records with remastered audio and a painstaking recreation of the iconic cover art courtesy of Bryan Ray Turcotte. Over the years, the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa, and drummer Chris Foley perform live. In many ways, SSD launched the hardcore scene in Boston as we know it and the band’s kinship with Minor THREAT’s Ian MacKaye arose out of the fact that both acts refused to conform to society’s still shifting standards at the time. From the unbridled aggression of SSD’s “Boiling Point” to the stripped-down groove of “How Much Art,” the album was as reactionary as it was revolutionary and is an artistic statement that remains to be remarkably complex for a group of guys barely into adulthood.

A couple years back here in Richmond, VA, a group known as Invertebrates emerged from the river sludge, dropping an absolutely scorching demo AND promo tape in conjunction with the pulverizing of many a gig audience fortunate enough to witness them. While the Inverts have stayed the course on the latter, continuing to belt out the hits in the live setting the hardcore punk faithful have been hungry for more, and folks, am I excited to let ya know the wait is over! Featuring a handful of tunes from those aforementioned tapes that many have surely worn out by now, Sick To Survive is ten tracks of perfectly executed "45 RPM on a 12" style hardcore punk"—meaning that while it doesn't overstay it's welcome you will be left with a few sonic rage induced lumps as a reminder of the time spent together. Truly a slab for those who love the genre yet refuse to allot time for any of the extra bullshit that comes in tow with it at this particular point of the dystopian nightmare we find ourselves in. Each record comes in a jacket with a huge fold out newsprint poster and insert, all of which were designed by singer Max Mattoon.

The complete collection of Lion's Law tracks in French, with two excellent new songs and a previously unreleased version of their classic "Lafayette", recorded for the occasion. A truly coherent album that traces all the band's eras and influences, and it works!

Picking up right where Dag Nasty era 1988 left off, comes Field Day. Peter Cortner (Dag Nasty vocalist) and Doug Carrion (Dag Nasty, Descendents bassist) haven't lost a beat on this, their second 12" release to date and now available widely to their U.S. fans. Melodic D.C. style hardcore at its finest. The Doc is amped up to have finally gotten this one out! For all those kooky-crazy-colored vinyl exclusives, get in touch with the crew at Cobraside or the Doc himself. ALL of their previous releases have sold out in less than a month, this one will too!

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.

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.

R'n'Cs is the contraction of "Rem and the Courbarians". made up of Rem (drums - Vox) and the Courbarians brothers, Saïd (Guitar - Vox) and Gui (Bass Guitar - Vox). they were formed in the Orléans region at the dawn of the second millennium, combining Punk / Hard Core with overdriven Garage Punk'n'Roll. giving birth to a Rock'n'Roll speed all their own!The years go by. but the cadence remains the same. they are and remain definitively addicted to feedback and BPMs. Their Rock'n'Roll remains fast and furious. You'd think the teats they feasted on from an early age were loaded with nitroglycerine! And these R'n'R aficionados never tire of it!Class, delicacy and refinement have nothing to do with it. even if some music lovers will enjoy it! Their music isn't a poem, it's an ode to sex, drugs and rock'n'roll. all at breakneck speed! Hang on to the handlebars, because no one escapes this infernal spiral that grabs you and sends you straight to the devil's entrails!They became a national benchmark for speed rock'n'roll. and were repeatedly asked to play with bands such as Nashville Pussy, Supersuckers, Discharge, GBH, Unseen, Guitar Wolf, New Bomb Turks, The Cellophane Suckers, The Butchers, Burning Heads, Etc..Over the years, R'n'Cs has always been backed, produced and supported by labels such as 442ème Rue, Beast Records, Guerilla Vinyl and of course Trauma Social.Their 7th Opus "Flytrap in the Murderhouse" released on Beast Records / Fly House Records (Trauma Social for the CD) saw the light of day in Spring 2024 and still remains in the tradition of Zeke, Peter Pan Speedrock, Mötorhead. This incendiary bomb will not differ from previous productions. Still in sweat, flames and Rock'n'Roll!!!! Hell Yeah!

It's a year later and everything has gone from bad to worse.

Machiavellian Art and Riot Season Records present "Population Control". A Sonic Examination of the Mechanisms of Control.

An intense exploration of societal and self-imposed controls, encapsulated in a dynamic contrast between Side A's visceral anger and the introspective ambiance of Side B. This duality mirrors the contrasting themes of external control versus internal reflection.

"Population Control" extends beyond its predecessor, "Indoctrination Sounds," in both musical depth and thematic scope. The album confronts a broad spectrum of modern-day addictions - not just to substances, but to technology, social media, and the relentless 24-hour news cycle. These themes manifest across tracks like "A Slow Death," "Population Control (1) + (2)," "Fear of the Outside World," and "Crisis," each exploring the resulting isolation, paranoia, fear, and hopelessness. "Seaside Holiday," a critique of environmental negligence, specifically highlighting the issue of untreated sewage being dumped into Britain's waterways by private companies.

MENSCHENFRESSER" is the name of RAWSIDE's new album and will be released in May 2024 via Fettfleck Records. Five...

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...

Hate Your Friends is the 1987 debut album by the Lemonheads, one of only three full-length releases to feature the original band line- up of Evan Dando, Ben Deily, and Jesse Peretz. The album showcases a hardcore-punk-to-pop-rock sound and sensibility as playfully fierce as it is surprising…

A remastered version of the very first Screaming Females album, originally self-recorded and self-released in 2006. Includes such hit singles as “Dinosaurs,” “Baby Jesus” and “Foul Mouth.” An instant classic.

I Against I is the third studio album from Bad Brains, originally released in 1986 on SST Records. It remains the best-selling album in the band's catalog, showcasing Bad Brains' unique fusion of punk rock, hardcore punk, reggae, and heavy metal influences. 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.

Creator is the second album by legendary Boston band The Lemonheads. Still featuring the full original line-up of Evan Dando, Ben Deily, and Jesse Peretz, the album also includes John P. Strohm (of the Blake Babies, Antenna, and Velo-Deluxe) on drums.

From Buenos Aires in Argentina, street musicians folk trash rock'n'roll punk mayhem, these crazy hillbillies on speed fry your poo at Sonnhalde 14 and eat you with sharp tongues like worms and bugs.Angry Zeta was founded in Buenos Aires Argentina in 2015 as an originally traditional blues-grass country hillbilly street busker band and then became a constant part of the local punk scene and clubs where they found their punk sound, today they mix it all together into a molasses of punk hillbilly folk and raw str...

What is there to say about SSD’s long out-of-print 1983 release, Get It Away, that hasn’t already been written? Long heralded as the album which defined the band, this collection of songs captures a time and an era in the nascent hardcore scene before formulas and posturing. In other words, it’s an unfiltered artistic statement that’s singular in scope and vision. The Boston act’s follow-up release was extremely limited, never repressed, and has gone on to have a life of its own despite the fact the only affordable way to listen to it has been low-quality streams on YouTube. Now, after being out of print for 40 years, the album will be available on vinyl by Trust Records with updated remastered audio. Over the years the mythology of the album has only grown—and this reissue of the album is sure to introduce this prescient and powerful collection of songs to a new generation of fans who never had the opportunity to see the original lineup of guitarist Al Barile, vocalist Springa, bassist Jaime Sciarappa and drummer Chris Foley perform live. Whether you’re buying this because you’re lucky enough to own the original pressing or you’re hearing the album for the very first time, this version of Get It Away is a striking document of the nascent hardcore scene that sounds just as vital today as it did when it was originally recorded. In a genre where authenticity reigns supreme, SSD stands tall as torchbearers, embodying the essence of hardcore music with every chord and lyric; this record is a must-have for new and old fans.

Lick is the third full-length album by the Lemonheads, and the last to feature founding member Ben Deily. It was the group's last independent label-released album before signing to major label Atlantic. An odd mixture of brand-new, and considerably older, sounds, 1989’s Lick brings together the output of several distinct recording sources: six brand new songs recorded with Minneapolis-based band friend and producer Terry Katzman, and a collection of older, B-side and never-released material originally overseen by producer and engineer Tom Hamilton.

Rochambeau stands out because of the unique sound created by the band. However, a major part of why it sounds the way it does has to do with where the band recorded and who engineered it. Produced by Eric “E” Garten at For The Record Studios, this album has a polish to it that just wasn’t sonically happening when punk bands recorded at that time. As a result, Rochambeau captures the sound of the 1990s and also holds up over time. This four piece featuring Mike “Popeye” Vogelsang on vocals, Rob Haworth on guitar, Brian Chu on bass, and “Bob Violence” Beshear on drums, came together to create a sound that was unique to this band. With such influences as Hüsker DÜ, THE Descendents, Elvis Costello, as well as seminal hardcore bands of that time, Rochambeau occupies a special place in not only the band’s history but in the history of hardcore and post-punk music as a whole. Touching on such vast topics as heartbreak, racism, being your own worst enemy, and just about everything in between, Rochambeau continues to speak to new generations of listeners who hear it. As a result, their fanbase has remained as rabid and continued to grow, even today. The album represents the breakthrough that this post-hardcore band had, while also reminding bands in the present of the necessity to push boundaries and make music from the heart.