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Pirates Press Records is thrilled to celebrate the long running California punk rock band Monster Squad with an extensive vinyl reissue campaign, starting from the beginning with their debut EP! The 6-song EP Not For Them is truly ground zero for Monster Squad, and a document of the band’s origins. In the summer of 2000, the band members moved in together in a shanty of a punk house with old gravestones strewn about the basement, across the street from their skate spot of choice in Vacaville, CA. These were heady times for young punks at the end of their teenage years. As their reputation as outspoken rabble rousers, grew, so too did the target on their backs, enduring fights with cops, jocks, and rednecks, and even having a Molotov cocktail tossed at their front door by a local neo-Nazi who apparently took issue with the band’s anti-racist and anti-fascist stance! Across six songs, the band members bashed out what could be considered a manifesto for what Monster Squad would be: shout-along choruses, pogo punk positivity, lyrics that stated in no uncertain terms their opposition to the Bush-era war machine & Proposition-8 era institutionalized homophobia. Perhaps most personally, the song “Pressure” featured an honest & relatable discussion of mental health issues that would become a recurring theme in the ensuing decades. Originally self-released via CD-Rs burned on the clock at Guitar Center on the band’s own Strength Through Pain Records, Monster Squad’s Not For Them is on vinyl for the first time ever! Pirates Press Records is proud to present this essential piece of turn-of-the-century California punk on 12” Magenta Vinyl with Black Splatter.

From the moment the needle drops on Monster Squad’s 2007 album “Fire The Faith” with the title track’s scorching bass lines, the record serves as a time capsule for a tenuous moment around the world. Radicalized politics, a neverending war, and the onset of an economic depression characterize a period we’d all soon rather forget.All of that, however, served as the fuel behind arguably the band’s most recognizable and revered album from the northern California punk band. Monster Squad firmly entrenched themselves by crafting songs with breakneck speeds and wholly relatable lyrics that fans around the world would sing back as the band took the stage around the globe. “You Are Not Alone” is dedicated to their late friend Robbie Western, which has evolved into one of the band’s most anthemic and popular songs. Many fans credit this track with helping address mental health issues. As more members of the Monster Squad family like Travis ‘Bobby Hill’ Gustafson leave this world far too early, the line “And I ask - why? Our questions will never be answered” hits harder than ever before. The album's artwork, an oil painting by frontman Phil Geck, serves as a bold statement. Created during George W. Bush’s presidency in 2007, it is an anti-war piece symbolizing defiance against government and corporate greed. This reissue boasts a 12x24 double-sided gatefold insert , 18x24 poster of the cover painting, and a two-song flexi, featuring the rare gem “Leach" and the previously unreleased track “State Of Confusion.” Fans will also get a double-sided 11x17 poster, displaying the album release show at Gilman on one side and their 2008 European tour flyer on the other. Pick up a copy on 12" Red w/ Neon Yellow Splatter! SIDE A1. Fire The Faith2. Unmasked3. Force Fed4. You Are Not Alone5. All These Things6. DirtSIDE B7. Separate The Lines8. The Curse (Pay The Price)9. Pull Me Away10. Abrasive11. A Nightmare To Consume12. Reggae Jam13. UntitledFLEXI :1. State Of Confusion2. Leach

Depression is an album of overcoming the struggles that we all encounter in one form or another; seeing the strength that we all possess, though rarely recognizing it. The album is very much an illustration of personal stories from the band, their fans, friends, and loved ones. Monster Squad was formed in 1997 and after self-releasing a few tapes, a 7”, and a CD in the late ’90s/early ’00s, they’ve released records with Rodent Popsicle Records, Burnt Ramen Records, Charged Records, Punk Core Records, Glue Rot Records, and now Pirates Press Records in the USA, Tsor Records, Razorblade Music, and Voltage Records in Europe. Constant touring from 2003-09 across the USA, UK, and Europe earned them a massive and dedicated fan base. With the original release of "Depression," the band was able to tour Europe including appearances at Rebellion Fest and Moscow. Additionally, the band has been playing festivals like “Fuck You We Rock OK” Fest (starting in 2014), multiple times C.Y. Fest,, Punk Invasion Fest, and 40 Oz Fest. Since its release, the band has seen a flood of supporters reach out telling them how grateful they are about the lyrical content and how open frontman Phil Geck has been concerning mental health - helping listeners heal in their own ways. In addition to some amazing artwork by Winston Smith (Dead Kennedys, Green Day), the band collaborated with Bryan Lothian (A Global Threat) and Mike “Rufio” Kadomiya (life IS Posers) to throw some pretty incredible finishing touches on this extremely well-thought-out release! After a ten-year recording hiatus, all the while remaining the best of friends, this year, the time was just right. Some of the band’s personal dust settled and this album became a document of reflection. The band has grown so much, learned so much, and been continually inspired by the effect that they’ve had on their fans and the people around them. The record reflects that beautifully and musically sacrifices nothing in terms of the aggro and passion that has now driven them for over 20 years. Depression is a soundtrack to our intelligent screams at the world and ourselves; it’ll pick you up and set you back in motion, spinning around in that circle pit of life with the energy and heart of a teenager all over again! This new pressing has been remastered by the original engineer, Jack Shirley, along with layout changes by drummer Matthew Kadi!

The 4 songs that make up Monster Squad’s “All Out Of Control” were written during extensive touring and shortly after the band released their influential 2004 LP “Strength Through Pain.” Monster Squad went to legendary Bart Thurber (Spazz, Capitalist Casualties, Neurosis) at House of Faith in Oakland to record the EP. These songs represented a slight departure from the speed that fans got to know on “Strength Through Pain.” The title track “All Out of Control” was a different side for Monster Squad, showcasing more anthemic (and much slower) songs than the breakneck, frenetic pace of their previous works. The band utilized ‘call and response’ vocal patterns which quickly became and remains one of the band’s most popular songs. The band continued to explore new ideas, such as incorporating a cowbell on “Church and State,” which talks about the overwhelming presence and oppression that organized religion has in politics. “Gotta Get Out” focuses on the ruts people find themselves in - nowhere to go to escape daily life with the inability to control anxious and hopeless feelings “All Out Of Control” has been out of print since 2006 and fans have been clamoring for a reissue for many years. This new 12” 45rpm version, remastered by Jack Shirley (Sweat, Deafheaven, Gouge Away) at The Atomic Garden, has a completely new layout. Monster Squad used images from the photo session of the original release and scans of the original lyric sheets written in 2005. The band also stumbled upon a collage from 1982 that the legendary collage maestro Winston Smith (Dead Kennedys, etc) made, titled “Security Control” which was a perfect fit, and is included in this new artwork. The record also includes a double-sided 11x17 poster of the MS/APG red skull image + a collage designed by the band’s long-time friend Amanda Chavez. Pick up a copy on limited edition 12” Magenta w/ Cyan Splatter vinyl! SIDE A1. Got No Time2. All Out Of ControlSIDE B3. Church And State4. Elitest

New York City’s invigorating Italo-hardcore outfit Mirage are back with a new 12" Legato Alla Rovina. Their latest release shifts ever closer toward the forefathers of classic Italian punk with eight new tracks in the vein of Nerorgasmo and Upset Noise. Martial drums and commanding riffs are the backdrops to sonorous mad-preacher-style vocals while maintaining a reverence for post-punk influence.

With all eyes seemingly on the international street-punk scene during a time of boundless creativity, Guadalajara’s Mess stands poised to make a global impact. Influenced by the classic sounds of Oi! and Uk82, the band brings a raw but catchy sensibility to their street-level, rock ‘n’ roll anthems, sung mostly in English, with a little Spanish. After making a huge impression with their opening salvo of singles and EPs, as well as a split with UK heroes THE Chisel, the 14-song LP Under Attack is Mess’s most fully formed creative vision to date, showcasing a timeless sound across songs like “Leave Me Alone,” “Fueled By Rage,” and the impossibly catchy, mid-tempo anthem “In The City.” Taken together, this is the sound of the streets, tough as nails, but with an appeal to the human spirit of survival in a bleak society. Under Attack is the world according to Mess.

This 7" EP is a teaser of the upcoming full-length ("To My Chagrin") from indefatigable Philadelphia emo quartet Mechanical Canine. The A-side features 3 tracks from their upcoming LP (which is out this August on Don Giovanni Records), while the B-side features four tracks which are exclusive to this 7" EP; including live recordings of their two most popular streaming tracks. This EP is a one-time pressing - blink and you might miss it! The disc will be pressed on random color vinyl, and comes in a hand-numbered folder sleeve.

Meadows return with their sophomore album, Familiar With Pain. Familiar With Pain explores the thoughts and themes chronologically from Palm Sunday through the flogging of Christ that took place on that fateful Good Friday. The album considers each moment woven into the story of how Jesus knew what was ahead of Him, and chose to endure it for us. Familiar With Pain is derived from the book of Isaiah referring to Jesus as a man of suffering and familiar with pain, a man who understands us. As we encounter the pain, the silence, the darkness, the suffering, and the weight of the world that surrounds us, we can endure it all because we remember that Christ endured the same for us.

‘Hey don’t touch that dial, good news Punk Rock Is Back!’ Mal-One

Mal-One’s new album starts with running through the radio dial, looking for some suitable music to listen to. These snippets are actually samples of songs from his previous album ‘It’s All Punk Rock’. Leading the listener nicely into a new set of songs to get their Punk Rock teeth into.

Songs that cover… the great New York punk scene of the 1970’s that grew out of a little bar in the Bowery District of New York City called CBGB’s ‘New York City Punk’. The Clash’s first album discussed in ‘When The Two 77’s Clashed’. The excitement of London’s Roxy Club revisited with its one line chant ‘Down The Roxy’. Those great ‘Punk Rock Fanzines‘, that kept us all so well informed. An early Sex Pistols gig at the Chelsea School of Art, ‘Machine Bubble Disco’. So named after what was to be the main event of that nights entertainment!!!.’45 Random Punk Memories’ sprang from Mal-One’s own reminisces. Talking of memories ‘Looking At The Decals On Steve Jones Guitar’, the recollection of Steve Jones, future guitarist of the Sex Pistols, stealing Mal-One’s bike when he was the tender age of seven years old. An incident that might have triggered this whole road of discovery in the first place.

A reflection on London’s harsh setting in those heady Punk times in ‘Corrugated London’ alongside a call and response to remember that ‘London’s Turning’ all the time for better or worse and that we can’t always pick and choose the bits we want to keep. The self-explanatory, ‘We Will All Lose Some Good Friends Along The Way’. ‘Shakespeare Meets Chuck Berry On Shepherds Bush Green’, a great story when Joe Strummer was asked by a reporter what he was up to and what he might call The Clash’s next album, which would turn out to be the timeless ‘London Calling’. Joe’s rather

tongue in cheek answer was “Shakespeare Meets Chuck Berry On Shepherds Bush Green’’.

A place close to Mal-One’s heart and a great title, that was crying out to be reused. Which Mal-One does via what he calls his Punk Art Poetry. Sometimes these lines are turned into lyrics and reworked into songs.

The album ends with such a call, ‘An Open Letter To…’ all those people who helped influence us all along the way. As the lyric states often without thought of financial gain, but done so, quiet simply because it had to be done.Maybe some young guns might in some small way, be inspired and find in Mal-One’s current efforts that ‘anything is possible’ and the true meaning of Punk was in fact, ‘Do It Yourself’.

The vinyl version of this release includes a poster that is part of Mal-Ones continuing Street Art project that involves putting up posters around London. This time declaring the news ‘Punk Rock Is Back!’. Included in the album packaging also is a signed and blind stamped limited print of one of Mal-One’s works ‘What Is It About Punk That’s So Different So Appealing’. A punk collage that just carries one word in among its multiple punk images and that word is Punk. We hope you enjoy the indulgence.

Major Pain plays a well blended mix of bicoastal hardcore that is almost equal parts New York as it is California. Recorded at Orange County, CA’s famed Buzzbomb Studios with Paul Miner at the helm, the eight tracks that comprise this album do not disappoint.

Recorded in Los Angeles in 1982, 13.13 exists as document to the pandemonium of specters and potential serial killers who twisted the California Dream into a waking nightmare as they snaked through the boulevards, back yards and basements of a sun stroked paradise turning into a blood soaked inferno of fear, paranoia, panic and lust killings. Lush musical textures provided by members of seminal art punks The Weirdos - Dix Denney, Cliff Martinez and Greg Williams create a hypnotic backdrop to Lunch’s evocative vocals and terrifying lyrics

As a child my mother told me not to play with incendiaries but I just loved the way things looked as they exploded and burned. All that searing heat and crackling destruction made me thirst for more, for bigger, for total annihilation. That is how Klonns feels too. Crow is four chunks of aural dynamite come together to form an EP chock full of explosive Japanese HC in the vein of the greats like Bastard, Lip Cream of DEA.

It takes a certain special kind of band to make a perfect indie-pop song, and Kindsight are exactly that kind of band. The Danish four-piece have mastered the craft of distilling their artistic identity into sweet and scrappy songs, every note and detail carefully tailored so it all falls into place, for music that wakes warm memories and shines with daydreams about tomorrow.

Kindsight (Nina Hyldgaard Rasmussen, Søren Svensson, Anders Prip and Johannes Jacobsen) announced themselves properly in 2022 with their debut LP Swedish Punk, and promptly headed out on the road to introduce that record to the world, setting off for shows including slots at Sxsw and Roskilde Festival’s emerging talent stage. Always unwilling to rest on their laurels, the band have kept moving forward, and are now back with a new album, No Shame No Fame

It takes a certain special kind of band to make a perfect indie-pop song, and Kindsight are exactly that kind of band. The Danish four-piece have mastered the craft of distilling their artistic identity into sweet and scrappy songs, every note and detail carefully tailored so it all falls into place, for music that wakes warm memories and shines with daydreams about tomorrow.

Kindsight (Nina Hyldgaard Rasmussen, Søren Svensson, Anders Prip and Johannes Jacobsen) announced themselves properly in 2022 with their debut LP Swedish Punk, and promptly headed out on the road to introduce that record to the world, setting off for shows including slots at Sxsw and Roskilde Festival’s emerging talent stage. Always unwilling to rest on their laurels, the band have kept moving forward, and are now back with a new album, No Shame No Fame

There's a band that perfectly encapsulates the mean and dirty streets of middle Canada. That freezing, Prairie capital of Winnipeg Manitoba that's home to a busy art scene, abject poverty and brutal racism. The relief is in the waste. For all this there's JUG. Take Flipper's pace and Wiccans slow-burning ferocity and sear it to plastic. Here's their 4 track debut of Hardcore Punk with nary a care in the world besides ensuring the liquor store is still open and the boss isn't looking. If you ever need a soundtrack for when you feel that enormous zit on your back reach the aching stage. That one that you just can't reach. The one that throbs endlessly until you've finally had enough and you scape your back against the sharp corner of a wall and feel it burst in a stab of pain and wet relief. Here's an earful of Juno-worthy fury that you can turn on and smile, satisfied with yourself as the stain on your shirt turns yellow-y red and the staphylococcus begins to take hold. You deserve that soundtrack. You deserve all of this. After all you're Just another Ugly Guy(s). Ain't we all?

In 1990, Judge had a new song entitled “Forget This Time” and there was a desire to record it and get it out into the wild. Additionally, the band had been touring and made some improvements to some of their existing songs; one standout was “The Storm,” which now had a breakdown in the middle that didn’t exist in the previous versions. Mike was excited about covering “When The Levee Breaks” (which was a bonus track on the Cdep, now a streaming bonus track) and the idea of his local buddy Todd Schwartz doing the harmonica solo. With these three songs the guys headed to Don Fury’s studio on Spring Street to record what became “The Storm” EP. One day Mike showed up on his Harley and the idea came about to run a microphone cable out into the street to record it rev, which you can hear on this version of “The Storm.”

In 1990, Judge had a new song entitled “Forget This Time” and there was a desire to record it and get it out into the wild. Additionally, the band had been touring and made some improvements to some of their existing songs; one standout was “The Storm,” which now had a breakdown in the middle that didn’t exist in the previous versions. Mike was excited about covering “When The Levee Breaks” (which was a bonus track on the Cdep, now a streaming bonus track) and the idea of his local buddy Todd Schwartz doing the harmonica solo. With these three songs the guys headed to Don Fury’s studio on Spring Street to record what became “The Storm” EP. One day Mike showed up on his Harley and the idea came about to run a microphone cable out into the street to record it rev, which you can hear on this version of “The Storm.”

The album-length result of Biafra's collaboration with long-time associates D.O.A. for the super soundtrack of Terminal City Ricochet! Both DKs and D.O.A. began playing music in the same week of 1978, so perhaps this project was bound to happen. It sure seems like it...

In the twenty or so years since his brainchild, The Dead Kennedys, officially disbanded, Jello Biafra has made a career of spoken word gigs interspersed with musical collaborations with some of the most compelling figures in underground music. Recording projects and touring with the likes of Melvins, NoMeansNo, DOA, Mojo Nixon, and Lard (with Ministry's Al Jorgensen) among others have kept his "punk as political weapon" message sharp, but the lack of his own band made these collaborations usually short-lived and left Biafra with a ton of songs that never saw the light of day. Inspired by The Stooges gig on Iggy Pop's 60th birthday in San Francisco, Biafra laid plans for his own 50th birthday party and finally decided it was time to start a band of his own. After cramming practices for a month, the four-piece dubbed themselves Jello Biafra and the Axis of Merry Evildoers! and featured Biafra, Ralph Spight (Victims Family, Freak Accident, Hellworms), Jon Weiss (Sharkbait, Horsey), and Billy Gould (Faith No More) The band took the stage in a sold-out two-night stand at San Francisco's Great American Music Hall. Flush from that exhilarating triumph, nine months of rehearsal and writing followed; they added ace guitarist Kimo Ball (Freak Accident, Carneyball Johnson, Mol Triffid, Griddle), and christened themselves Jello Biafra and the Guantanamo School of Medicine. The Audacity of Hype was produced by Biafra and engineered by hip hop producer and longtime co-conspirator Matt Kelley (Hieroglyphics, The Coup, Digital Underground, Victims Family, Tumor Circus) at Prairie Sun Recording in Cotati, CA, and San Francisco's Hyde Street Studios. The band's twin guitar attack retains some of the space-punk overtones and spy-music-on-meth chaos of The Dead Kennedys while adding a healthy dose of Detroit-style proto-punk flavored with Weiss' industrial excursions into metal percussion.

Indignation Meeting are punky rail fans from Leeds. 15-year-old Peter is the driver - he's the drummer and lead singer, writes most of the songs, and also plays bass and trumpet on the album. The rest of the crew is his dad Michael on guitar, Hugo on bass, and with Keith, Heather and Sally often along for the ride when they play out.Here at DGHQ we've been listening to their self-released debut album Trouble In The Shed since last year and finally spoke with the band and agreed to release it on vinyl for the first time.It was very good timing as they've just been in the studio to finish recording their second album, so we'll be releasing that later in 2024.Welcome on-board!We caught up with Peter to ask as few questions about the band_Q: "In a week when the Labour Party promised to return the rail network to public ownership, we ask how did your fascination with trains begin?"A: "Honestly, I don't really know - I've just loved them ever since I can remember. It's not like with some people who had a family connection or watched Thomas the Tank Engine; I've just always loved them. I guess it's just a childhood obsession that never went away!" Q: "'Trouble In The Shed' is quickly becoming a firm office favourite here at DG. There's a touch of punk, indie and new wave about it. What would you say are the key influences that make up your musical DNA?"A: "My main influence when this album was released was Blyth Power. They'd been my favourite band for years when this was recorded, so everything on it was influenced by them in some way. They've had so many different musical styles over the years that they kind of conglomerated into this album, to create yet another eclectic mix of songs. The only real exception to that on this album is Electrification - no prizes for guessing the influence there! If you see us live, however, you may notice another influence pervading through our songs. That influence is the anarcho-hippy band 'The Astronauts,' whom I discovered midway through the recording process,...

"Therapy In Melody" impresses with twelve highly melodic songs that oscillate between hardcore punk rock and pop punk. It gets your dancing feet tapping,adrenalin flowing and the songs drill into your nerves like healing acupuncture. A good dose of variety keeps things entertaining at all times.Powerful hooks and catchy melodies invite you to listen again. In collaboration with British producer Phil Gornell, who works in Sheffield (UK) and LosAngeles (US) for All Time Low, Hot Milk and Bring Me The Horizon, among others , Indecent Behaviour have produced an outstanding album that isbursting with optimism and hope. 1. Hide From The Truth2.Twice As Good3.Bird Of Prey4.Too Close5. Show Me What You Got6. To Hell And Back7. Animal8. White Lies / / Black Tattoos9. Like Any Other Morning10.Fire In The Attic11. I Love Goodbyes12. A Life Turned Into Art

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.

What started out as an exciting career kick off back in 2019, with the Fat Skeleton EP on Iron Lung Records, Homeless Cadaver continued to write with the intention of making more records and finally playing a show but the 2020 police had alternate plans for the band. We don’t need to get into the details on that but they’re out now and picking up where they left off. Before the break they had recorded most of these four songs intended for a release on a Southern Californian label (details also withheld here, NDA blah blah blah) but the label didn’t have the patience to deal with the mess so HC was dropped and the world moved on. Well kinda, it was early 2020, so I guess you could say the world moved… in. Anyway, the band finished the songs late last year and sent them to us so here we are, offering stripped down, juvenile thug synth KBD inspired garage stains about hustling, dating and excessive pleasures. Speaking of excessive, at one point during the Champale Wishes and Cadaviar Dreams completion phase the band did up some deluxe horn and string arrangements to accompany the EP. And then laughed really really hard when they threw them directly in the trash because “that shit sucks” and “what are we Juliards?”. They certainly have a way with words... 200 copies of black 70gr vinyl housed in a hand cut and assembled, silk screened glue pocket sleeve. Recorded in their rehearsal shed. Mixed and mastered by Greg Wilkinson. Art by Nick Name.

Hailing from Chicago, Home Invasion is not your typical hardcore-punk band. Their music is a raw and unfiltered sonic assault for the fuck ups, outcasts, and rejects who find solace in the aggressive embrace of hardcore punk. With roots in bands like Noose, Duress, and Guts AND Glory, their chaotic sound draws inspiration from hardcore legends like Bastard, Think I Care, Gauze, and Negative Approach. Featuring stunning cover art by Keith Caves, Home Invasion’s debut LP, Enemy, is set for release on May 17th on WAR Records. Featuring 12 songs of unapologetic, pure fucking hardcore, Enemy, will solidify Home Invasion in the current space occupied by such bands as Conservative Military Image, C4, SPY, Restraining Order, and GEL.

Holyname is the new project from Sleeping Giant vocalist Tommy Green. This is the 12-track full-length featuring an all-star cast of guest vocalists including Ryan Clark of Demon Hunter, Joe Musten of Advent, Brook Reeves of Impending Doom, Eric Gregson of xDEATHSTARx, and more.

Black/Red Marble vinyl,limited to 200 copies.Berlins own Herzblut plays punk rock. Herzblut stands for energetic, sweat-inducing live shows. Anyone looking for a powerful catchy tune à la "Die Toten Hosen" with the lyrical wit of "Die Ärzte" in the youthful sound of "Blink 182" will find Herzblut. With regular shows in Berlin cultural venues such as "SO36" and "Wild At Heart", in the sold-out "Maschinenhaus" in the Kulturbrauerei, and at the "Spirit From The Street" festival, Herzblut has made a name for itself in the Berlin scene. As the pandemic subsided and coronavirus restrictions were lifted, Herzblut were ready to go wild with great songs, a party atmosphere and live performances reminiscent of "fat-burning work-outs" (Alexis Georgiu).

Three years after "Symphonies of Horror" and the split EP "Greensleeves" with "THE CRIMSON GHOSTS" in 2022, they present their first album with a new line-up. More dark, alternative rock'n'horror!Band founder and singer Slaughter Lamb has built a stable band with bassist/guitarist Chris Cranium (ex-The Other / Sumerian Tombs), drummer Fab McIan (ex-Schelmish) and guitarist Dr. Hoffmann, who now present their Hymns Of The Dead. The four deliver a dark punk rock record with influences from gothic...

Three years after "Symphonies of Horror" and the split EP "Greensleeves" with "THE CRIMSON GHOSTS" in 2022, they present their first album with a new line-up. More dark, alternative rock'n'horror!Band founder and singer Slaughter Lamb has built a stable band with bassist/guitarist Chris Cranium (ex-The Other / Sumerian Tombs), drummer Fab McIan (ex-Schelmish) and guitarist Dr. Hoffmann, who now present their Hymns Of The Dead. The four deliver a dark punk rock record with influences from gothic rock and a pinch of metal that goes far beyond the usual genre boundaries of horror punk.The twelve new songs are faster, heavier and more melodic than ever before. In tracks such as "Take...

Three years after "Symphonies of Horror" and the split EP "Greensleeves" with "THE CRIMSON GHOSTS" in 2022, they present their first album with a new line-up. More dark, alternative rock'n'horror!Band founder and singer Slaughter Lamb has built a stable band with bassist/guitarist Chris Cranium (ex-The Other / Sumerian Tombs), drummer Fab McIan (ex-Schelmish) and guitarist Dr. Hoffmann, who now present their Hymns Of The Dead. The four deliver a dark punk rock record with influences from gothic rock and a pinch of metal that goes far beyond the usual genre boundaries of horror punk.The twelve new songs are faster, heavier and more melodic than ever before. In tracks such as "Take...

Three years after "Symphonies of Horror" and the split EP "Greensleeves" with "THE CRIMSON GHOSTS" in 2022, they present their first album with a new line-up. More dark, alternative rock'n'horror!Band founder and singer Slaughter Lamb has built a stable band with bassist/guitarist Chris Cranium (ex-The Other / Sumerian Tombs), drummer Fab McIan (ex-Schelmish) and guitarist Dr. Hoffmann, who now present their Hymns Of The Dead. The four deliver a dark punk rock record with influences from gothic rock and a pinch of metal that goes far beyond the usual genre boundaries of horror punk.The twelve new songs are faster, heavier and more melodic than ever before. In tracks such as "Take...

Hammered Hulls' debut LP, Careening, may very well be the last record to be recorded and mixed at the famed Washington, D.C. area recording studio, Inner Ear. Engineered by studio owner Don Zientara and produced by Ian MacKaye, Careening was started right before the pandemic lockdown and completed in summer/fall of 2021. A new band of long-time players, Hammered Hulls' music hews close to some of their early influences. Alec MacKaye is the voice, Mark Cisneros is the guitarist, Mary Timony takes a nimble and rarely-heard turn as bassist, and Chris Wilson commands the drums. Each of them bring their individual imprint to the total sound. This concussion of strength upon strength, unified by vulnerable songs, only barely contained, is the signature sound of Hammered Hulls.

Born in the Basement, the 1994 second LP from horror-pop-punk mainstays the Groovie Ghoulies, in many ways marked a pivotal transition point for the band that would set the course for the rest of their career. After the first LP, the band had moved from Los Angeles to Sacramento, the city that would remain their home base for the duration of the band. The title of the record is more factual than one might assume: at the time, the Ghoulies' lineup of Kepi (bass/vocals), Roach (guitar), and Wendy (drums) were all co-habitating in a house by the city cemetery, practicing in the basement, where the record was indeed "born"! This lineup would remain together for the follow-up World Contact Day, which became the best-selling Ghoulies record! They also found themselves working with a prestigious new producer, recording at Seattle's Egg Studios with Conrad Uno (Mudhoney, The Presidents of the United States of America, The Ergs!). This relationship, too, would continue for World Contact Day. Fuelled by fan-favourite Ghoulies staples such as "The Beast with Five Hands," "I Wanna Have Fun," and "Back to the, Garage," the album was a self-released sell-out through two pressings, attracting the attention of legendary Bay Area punk label Lookout Records, who would work with the band through the year 2000, releasing 4 LPs and re-releasing 2, including Born in the Basement. Having already re-released the best-selling classic World Contact Day, Pirates Press Records is proud to present the album that paved the way for it and the long & storied career of the Groovie Ghoulies, Born in the Basement!

If anything has been brought up and adorned by this team of veteran punks from Brest, it is well crafted moody punk songs. Their debut looks like a single from back in the day, Grisaille is no stranger to the heavy dose of melody, angst and desperation that characterize their other projects. But while all of these projects are rooted in the classic French territory, their sound here is also a nod to the Copenhagen/Umeå scene, reminiscent of late Gorilla Angreb era with their twangy guitar chords or the flawless production on the early Masshysteri records. You’ll get the best of both worlds on this single and much more. At last, their name (which means Gloom like in weather’s term) could also sound like a warning: Grisaille is about to settle down on you and you better be ready.

If you don’t know who Government Issue is, then pick up a book on the history of the early ‘80s hardcore man! One of the most respected bands to emerge out of the Washington, DC scene. Government Issue really hit the mark on their 1987 release of “You”– combining their hardcore style with a more melodic edge and is considered to be their best LP ever. Now reissued this for the first time since 1987. Remastered by guitarist Tom Lyle himself, it never sounded so stong, clean and punchy! Doctor’s order, pick this up pronto! SIDE A:JADED EYESBEYONDMAN IN A TRAPCARING LINEYOUNG LOVESIDE B:WHERE YOU LIVEWISHINGPUBLIC STAGEWORLD, YOU AND IHOLE IN THE SCENEMELANCHOLY MISS

Originally released by Drunken Sailor in the UK. "'What if Blitz hailed from Los Angeles and sang in Spanish’ isn’t a question you hear all that often. Fortunately, we don’t need to ask—the answer is provided by Generacion SUICIDA’s latest album, which rages and rattles in all the right places, drenched in the memorable brilliance that powered the Killed By Death compilations (ask yer dad—and if he doesn’t know or care, burn his terrible records and make some space to track down the KBD LPs). The band’s slogan is ‘musica del barrio, para el barrio’—music from the neighbourhood, for the neighbourhood—but it sounds like they could use these hooks to take on the world. That’s a pretty accurate sentiment as well, because this album was written during the Covid-19 lockdown of 2020, while the world bubbled over with carefully managed misinformation, police violence and the sickening overspill of white supremacy’s foul brew. If Regeneracion sounds potent, it’s because there was a lot to be angry about, and the result is arguably their best album yet. Those chorused-out guitar lines carry shades of deathrock, hints of Manchester circa 1980, elements of something you might call goth if it was several degrees less furious. But there’s no doomed romance to this music; it’s an all-out attack. Street punk with the smarts turned up and an ear turned to the lessons learned from post-punk (but crucially, not the ‘post-punk revival’ that is essentially shirtless beardy lads chanting non-sequiturs over landfill indie). Chiefly, it’ll make you wanna get out of your chair, unite your local community and march on down towards your government’s centre of operations with a simple-to-use molotov cocktail kit. Its rage is infectious. It’s inspired by bleak moments in our recent shared history, but it revels in humans’ capacity to find strength in each other. And the tunes? Oh damn, they’re good."—Will Fitzpatrick.

Deadstock vinyl from the 2005 press unearthed from the closets of Slasher Records, this edition of 450 copies in an updated sleeve features three hard hitting Discharge-worship tracks in the classic Fucked Up style, including the title-track anthem, used as walkout music by professional wrestlers and covered by such musical luminaries as Gord Downie and Dallas Good. Sleeve art features the cover font in blue, this is Fucked Up Records 019

"Being Annoying" is the 54th 7" single of Fucked Ups career, and is the spiritual sequel to 2003's instant classic "Baiting The Public". Self-released by the band on April Fools day 2024, begging the question: "is anything real?" Limited to 1000 copies.

Friction is one of the first Japanese punk bands and formed by Reck, Chiko Hige and Lapis in Tokyo in March 1978, and now the band is still keeping active. Reck and Chiko Hige had previously been on the NY no wave scene as founding members of James Chance and the Contortions, and brought back the experience and influence to the Japanese music scene. It's no exaggeration to say that the band laid the foundation for alternative music in Japan. P-vine is proud of reissuing all of their albums on vinyl.

Portraits is the second studio album by this Sioux City, IA, metalcore band FOR Today. Recorded at The Basement Recording Studio with Jamie King (between THE Buried AND ME, THE Human Abstract) resulting in ten tracks of excellently produced metallic hardcore.

FOR TODAY’s third album, Breaker, builds on the success of their previous two albums and the non-stop touring that they have done over the couple of years prior to its release. Recorded at the Machine Shop by Will Putney, Breaker is 12 tracks of metal-infused hardcore that fans worldwide have come to love.