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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

Midlands NOS Gruff Org Punk outfit, Back Teeth met whilst partying it up at Punk Rock Holiday 2022 in Slovenia. Back Teeth release their debut 7” EP on UK Label Little Rocket Records comprising of four songs and a supporting video. Mixed by Jeff Dean (The Bomb, Airstream Futures and Her Head’s on Fire) and mastered by Daly George (Drones). Back Teeth are: Dave on bass, Lewis on guitar/vocals, Tom on drums, and Paul on guitar/vocals. Back Teeth could loosely be described as a gruff punk, or org-core band, with a “Gainesville Fest” feel.

4 Lo-Fi garage punk songs in under 5 minutes. Husband / wife duo from Washington D.C.—now in Tampa, FL. Mastered by Joseph Lambert (Smart Shoppers / Lucky Lamb Productions). Riyl: early Ripoff Records / Supercharger / The Gories.

CPC Gangbangs arose from the ashes of garage punk architects LES Sexareenos, Daylight Lovers and Spaceshits. These two tracks are part of the last batch of recordings from the scrapped final LP

Just in time to kick off summer, Helsinki, Finland's daydreaming pop tunesmiths, Teini-pää, return with a four-track EP that's on assignment to swallow your insecurities and your anxieties, and spit them back to the world in bubbles of carefree elation and effervescent romantic charm. At the end of the day, the reason we are drawn to the music that sticks with us, is because it moves us and strikes an emotional response that tickles our chemicals in a way that we want to keep coming back over, and over, and over, chasing the initial high. The way that "Mietin Minne Meet" washes along the break between tight and clean, upbeat indiepop melancholia and a nostalgic power-pop-punk sound—that is specifically Scandinavian in its nuance here—brings me back to that heart-in-throat wonderment I felt the first time I heard (and fell in love with) Teini-pää's tunes. Lyrically the record spends most of its time in its own head, trying to work through some shit—which makes a whole lot of sense when you learn that the band name translates to "Teen Head"—and Renata Rojo's artwork reflects this theme flawlessly.

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?

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!

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.”

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.

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.

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.

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.

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.

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.

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.

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.

The Darts can’t stop, won’t stop! Hot on the heels on last year’s groundbreaking album Snake Oil, The Darts have returned guns blazing with a brand-new album, Boomerang! While on a break from their intense international touring schedule, the band stopped at Station House Studio in Los Angeles to work with producer Mark Rains (Hooveriii, Death Valley Girls, Hunx and His Punx) with the mission of capturing the band’s raw rock spirit.

From the opening chords of “Hang Around,” listeners are launched into an explosive garage party, with the Farfisa organ bringing a carnival and snarky gang vocals adding to the fray. The band doesn’t let up from there. With Nicole Laurenne on vocals and Farfisa, Christina Nunez on bass and backup vocals, Meliza Jackson on guitars, and Mary Rose Gonzales on drums, the tight lineup fuels the album’s themes of resilience and empowerment. Each track on Boomerang packs a punch, drawing the listener into a world of infectious hooks and soaring riffs.

“Boomerang is a reference to the fact that, right after we released Snake Oil, we turned right around and went back into the studio to do a whole new full-length album! I can’t stop writing songs! But ‘boomerang’ also refers to a lyric on the album that describes toxic people and things that keep coming back into your life despite your repeated attempts to fling them as far away as possible. This album is my manifesto about finding strength—the kind of strength it takes to do what you personally need to do to be peaceful and healthy. For me it meant cutting a lot of stuff out of my life, and that was really hard, but it also meant adding a lot of amazing stuff I never thought I’d see. I’m in a better place than I’ve ever been, and I think you can feel that power in this record.” – Nicole Laurenne

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

The sophomore release for this seminal Orange County punk outfit and the first release for long-time guitar player, Dan Palmer, originally released in a single pressing in 2001. It was only pressed one more time on vinyl in 2015 for Record Store Day and has since been unavailable. This new pressing coincides with the release of the 25th anniversary of their first album and is pressed on glow in the dark vinyl.

Originally released in 1999, this limited, silver vinyl pressing commemorates the 25th Silver Anniversary of this classic debut from Orange County’s Death BY Stereo. In the last two and a half decades, Death BY Stereo has continued to play, tour, and release records. But even after all this time, this first album has endured and these songs still make it into every setlist.

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.

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

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

The punk movement also came fully clothed. Mal-One’s new single talks about the fashion side of Punk that ran parallel to the music. These clothes were supplied from Malcolm McLaren and Vivienne Westwoods emporium situated at 430 King’s Road, the epicentre of the Punk Movement itself. The clothes were not cheap and you needed deep pockets to buy them. But you also needed an attitude to wear them, as many factions were not so appreciative of them, especially the ‘Teddy Boys’. You had to run the gauntlet of the King’s Road on a Saturday from Sloane Square to the Worlds End. A tricky mile, in which you always had to keep your eyes open from enemy attack.

The clothes were pieces of art and deserve their time in the spotlight and perhaps even in song. Hope you appreciate the gesture.

Respect to that.

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.

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.

There it is, the TCM heaviness-hat-trick! Right after Phantom Winter and Park+Riot, Leipzig's G i f t are entering the room, levelling everything in their way. With RUPTURES, the band adds their debut to the TCM line-up and believe me, this is one wild beast. Chaotic and groovy, dashing and dark, rolling and sludgy, Old Man Gloom meets Ken Mode, or the heavier parts of Botch meet Deadguy. Whatever labels you want to put on it, one thing is for sure: this stuff gets you moving. Some of you might find old acquaintances from the German DIY scene in the band's line-up: G i f t's members were and are active in The Tidal Sleep, Throwers, Trainwreck, Glasses, Dezefra Ridge, Antes and Quallus. This wide spectrum also hints at the musical variety and the super heavy, all-consuming sound on RUPTURES. Stay tuned, this beast is coming your way soon.

In this follow-up to their inaugural, self-titled EP, Jupiter Hearts dig into their not quite so nostalgic sound, laying bare an angst seasoned in their middle-aged hearts, but hauntingly familiar to all. In All That Pain You Left Behind, the band shares six new songs, each a banger with its own musical story to tell. Jupiter Hearts is Rob Pennington (endpoint, Btgog, Black Cross, Black God), Charles Wood (broken Hearts ARE Blue), Tim Kriependorf (triple Threat, THE Living Memories), and Scott Wishart (late Bloomer, Scout).

There's something to be said about the great state/nation/planet of Texas and it's ability to seemingly ooze vicious hardcore punk from the cracks of the land mass it claims. After a series of demos and storied live performances home and elsewhere over the course of nearly a decade, Sexpill gives us In Dust We Trust—the band's first venture onto the 12" format. Each slab harnesses twelve tracks of belligerent and noisy hardcore punk, capturing Houston's finest at their most maniacal to date, featuring brand new tracks flanked by some reimagined fan favorites from the earlier mentioned demo days. IN Dust WE Trust. IN Dust WE Must.

Amidst a seemingly endless onslaught of bands, labels, and other opportunistic clowns vying for commercial gain via subcultural cannibalism, it can be easy to lose sight of what drew us to punk in the first place. But despite the deluge of bullshit, we know that occasional nuggets of ugly and raw authenticity will claw their way to the surface for the hardcore punk faithful. And folks, we have just such a nugget in Deadly Struggle: 8 tracks of pummeling aural turbulence on a 12" slab for those who desire reality over cosplay. Building off the shockwaves of 2020’s Condemnation, Public Acid’s sound—a skewed, arty amalgamation of bludgeoning hardcore, frantic, riff- soaked d-beat, harsh noise, and underground metal—has only grown more focused and furious. There’s the virtuosic rhythm section, possessing an inhuman combination of lightness of touch and neanderthal power; the blinding, riffs-inside-of-riffs guitar style; the density of sound, massively heavy and pock-marked with kaleidoscopic fuzz; the maniacal vocals, inventive in both their technique and their rhythmic cadences; and, of course, the deadly mid-paced parts. Deadly Struggle reminds us that while hardcore punk will never die, those who cheapen it absolutely will. Recorded by Sasha Stroud at Artifact Audio in NYC and mastered by Arthur Rizk for maximum impact, each record comes in a screen printed jacket with cover art by Thomas Sara immersed in a hypnotic layout by Matt Martin, plus a large fold out poster designed by Tower Kevin.

DOG Date has such sights to show you. Controlled chaos is the name of the game for the New York City-based five-piece—heavy on the latter and light on the former. Powered by two guitars, bass, and not one, but two drummers, DOG Date is a rock ‘n’ roll force to be reckoned with, and their sophomore full-length, Zinger, is a technicolor blast of distortion and hooks that’s sure to put a smile on your face.

Strategies of Tension is the debut full length offering from the San Francisco/Bay Area Based post-punk band Sectarian Bloom. The album combines all of their recorded music featuring a brand new master exclusive to this presentation. The music is infectious, catchy and lyrically rooted in social unrest. Dark post-punk with a heavy emphasis on Punk. Produced by Andrew Oswlad (Mortiferum, Ash Borer, False Figure) in Los Angeles and featuring artwork by Camila G. Dunster. Pressed on limited edition marbled smoky translucent vinyl.

From the foxhole of the Rust Belt, Choncy fleshes out a frenzied, multifaceted approach to punk with their sophomore album, 20X Multiplier. The Cincinnati four-piece delivers an intoxicating 9-song 12” tinged with personality and dumb luck following Community Chest, their 2023 debut on Feel It Records.

20X Multiplier was recorded to tape at The Bomb Shelter in Nashville by Joe and Jack Tellman, providing a raw and unhinged sound. Choncy hones in on their sonic persona by bridging the gaps between angular post-punk and abrasive hardcore, pushing their sound to its absolute limits. With a chaotic mix of relentless bass, sharp drums, splintering guitars, and off-kilter vocals, Choncy provides a glimpse into the grotesque realities of life. Lead single "Dead Meat" shows the group putting their own spin on contemporary punk, segueing into "Default", an anthem for those who will be forever indebted to the neoliberal institutions. The album is filled with profit margins, budget cuts, and man-made horrors beyond your comprehension.

Choncy’s 20X Multiplier displays a maniacal yet ingenious approach to punk that can only be compared to hitting a slot machine jackpot or maybe committing tax fraud and running for the Secretary of Defense. Let this record be a proclamation of what could have been - if only they knew the right numbers to pick.

‘Empires into Sand’ is the first album of new material from Normil Hawaiians in 40 years. The group first refined their sound during the early 80s, hitting on a pastoral experimentalism that drew on ambient drone, motorik impulse and post-punk pep.

‘Empires into Sand’ came together in the familiar manner of their original three albums, with improvisation and nuance informing the blueprint of the tracks. It was with the official release of this last record ‘Return of the Ranters’ (originally recorded in 1984/85, but then unconsciously shelved) in 2015 by Upset The Rhythm that led to the group reconnecting with the intention of playing music together again. Normil Hawaiians played a launch show for that ‘lost album’ and followed that up with more concerts, including an appearance at Supernormal, a residency at the Edinburgh Festival, gigs at Cafe OTO. They were even chosen by Richard Dawson to perform with him in London.

Throughout this time, Normil Hawaiians revisited their original songs for live performance. However for a group always so interested in evolving their sound, it came as no surprise that they shirked at the idea of a faithful retread. The band pushed their songs into new inventive dimensions, still progressive at core, but now imbued with a cosmic uncanny. A cinematic approach that was always quietly present has come to the fore. The quaint weirdness of folk song, the humanity of communal practice and the group’s ecological mindedness have all found a place in Normil Hawaiians’ current sound world.

When Normil Hawaiians write and record music they prefer to gather in a remote location and live together for a while, such is their communal ethos. Being far-flung across the UK, the Family Hawaii (numbering seven key members) decided to encamp to Tayinloan, a small village on the west coast of the Kintyre peninsula in Scotland. They set up their own studio in an isolated, windswept house overlooking the sea and started the tape rolling. Noel Blanden from the band explains the process neatly: “we set up and began playing, slowly and patiently, allowing the music to take its own shape based on where we were staying and our ongoing friendship. We recorded for days, capturing everything. A lot of new and rich ideas began to emerge”.

Normil Hawaiians took their time to develop these threads at their own pace, allowing songs to mutate and settle over months. Simon Marchant deftly produced and recorded the album whilst also

performing in the band, this marked the first time the band had total control of their own sound. The last few years has seen the band reconvene in Herne Bay, Faversham, London and Leith to record new parts, constantly responding to the changing form of these quietly spectral songs of defiance.

‘Empires into Sand’ incorporates samples from old rehearsals and live music into the new finished pieces, this is in continuum with their previous records. Snippets of sound from the static of short wave radio and satellite transmissions also embellish the work. In fact the whole album is stitched together with interludes, creating an acutely immersive 45 minutes. ‘Exiles’ opens the album amid swirling atmospheres, synth flights and recordings of Vilnis Egle (father of Zinta Egle from the band) retelling his experience of fleeing his home in Latvia during Soviet occupation in 1942. George Bikandy also features on this track talking about his flight from Syria in 2014. ‘Ghosts of Ballochroy’ is a winding river of a song featuring a lively discourse in Scots courtesy of Rodney Relax. There’s a commitment to truth telling present across this hopeful album populated with angels, incoming tides, long shadows and the rose-washed sun. “From our broken windscreen, we feel the breeze” soars Guy Smith triumphantly over the driving beat of ‘Waterfalls : Bedford 330’. ‘Big City Sky’ flutters and sparkles with rapid synth runs, tape-looped drums and Jimmy Miller’s commanding vocal. With ‘In The Stone’ Zinta’s melody is deliberately jagged and blunt, exaggerated by octave-layered vocals and interjections from Guy.

This is thought-provoking, boundary-bothering music. Honest in intent, a solidarity of vision. The album’s title is derived from a poem by band member Mark Tyler, who sadly passed away during the recording process and the transience of life is felt heavily throughout. Noel best coins the group’s wish for the album: “we wanted to create an album that acknowledges our history and also reflects who we are today. We remained true to ourselves and we wanted to make something beautiful without removing the edges.” ‘Empires into Sand’ certainly does that, it’s an echo from the past, an echo from the future.

"Monolith" is the second studio album by the British crust punk band Amebix, originally released in 1987 and now made available again by Back On Black on limited edition blood red vinyl!

Formed as "The Band With No Name", Amebix's original run was from 1978 to 1987, during which time they released three EPs and two full-length LPs. "Monolith", the band's second studio album, was originally released in 1987. Shortly after its release, Amebix disbanded, and "Monolith" would be their final studio album until they reunited in 2008. By being one of the first bands to blend anarcho-punk and heavy metal music, Amebix are often cited as one of the key bands that helped to create the crust punk genre. Such notable bands as Sepultura, Neurosis and Deviated Instinct have paid homage to the band.

Evolution does not happen overnight. From demo track to demo track, Orange County’s Whirlwind has adjusted and adapted to find their voice; their sonic makeup, if you will. Lasting Peace, their debut album, is the culmination of a writing and recording process that took the better half of 2023 to come to fruition. Pulling influence from bands like Hands OF GOD, Foundation, and Guilt Trip, Whirlwind has sculpted something that pays homage to their inspirations but is still uniquely their own.

Evolution does not happen overnight. From demo track to demo track, Orange County’s Whirlwind has adjusted and adapted to find their voice; their sonic makeup, if you will. Lasting Peace, their debut album, is the culmination of a writing and recording process that took the better half of 2023 to come to fruition. Pulling influence from bands like Hands OF GOD, Foundation, and Guilt Trip, Whirlwind has sculpted something that pays homage to their inspirations but is still uniquely their own.

The Stockholm based electronic punk duo Ghlow returns with new album Levitate, the follow-up to the acclaimed debut LP Slash and Burn, which was a stirring proof that there is something truly special in the musical bond between Emille de Blanche and Nikolay Evdokimov. Levitate is a daring and ambitious sequel that maintains that record’s sense of urgency whilst also finding room for experimentation and artful reflection – a record that distills Ghlow’s punk artistry down to its purest form yet.

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.

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!

Bloody fucking hell! Two of modern Oi's finest together on a slab, you say?! You bet your ass! THE Chisel (London, England) and Mess (Guadalajara, Mexico) have teamed up to deliver quite the sonic melee of a split 7" featuring two new ones from each group that showcase the balance of proficient songwriting and brute force that both bands have gained a well deserved reputation for over the past couple years. And as the The Chisel Boys' reiterative chorus resounds through the speakers while you're spinning this platter, you'll know that it's true—you truly ain't seen nothing yet as this is but a taste of what's to come from both of these stalwarts of the genre. Featuring art and layout by the great Nicky RAT, this record is a one time pressing so snag it while ya can or don't!

The Hamburg-based label Last Exit Music continues the reissue series of the "German skatepunk pioneers", this time with the fourth NOT Available album Grandpunks from 2017. Founded in 1992, NOT Available are still active in 2022 and are often mentioned in the same breath as Venerea, Satanic Surfers or NO FUN AT ALL when it comes to the most popular bands of the genre in Europe. The guys from Baden-Württemberg have given themselves six years since the predecessor work "v8". Six years in which you can finally process what you have experienced on the numerous tours at home and abroad; six years to practice adult things. And six years to work on 5 Aces, which turns out to be a real stroke of luck after the first hearing. The songs have become more mature without despising the classic trademark sound. Seven years after that the band released record #5, NO Excuses! Three years later, Grandpunks, the band's sixth album, was released. The limited LP edition was sold out in no time at the time, which is why Last Exit Music has now re-pressed this gem again on blue vinyl. Limited to 200 pieces!