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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.

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.

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.

Colorway of 50 copies exclusive to HHV.

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.

“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.

Time Suck / Hellbent is the first vinyl EP from Richmond, Virginia’s Added Dimensions (the home recording project helmed by Sarah Everton OF Blowdryer and Telepathic), following a self-released, self-titled cassette released in 2022. Sarah’s trebly/jangly guitar riffs and sneaky bass lines are backed by a charge of unfussy, driving drums from ROB Garcia, all cloaked in the perfect amount of lo-fi Tascam grit, as she lyrically pares down the heavy psychic weight of modern living (the social cost of convenience and connectivity, the inane routine of labor as a means of survival, etc.) into disarmingly hooky mini-manifestoes—even the sugar-coated melodies can’t hide the harsh truths behind lines like “every day, same as before” (“Interruption”). Wire rubbing elbows with the Shop Assistants as a C86 band? A Kim Deal-fronted Urinals? Charms you can’t resist!

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.

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.

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.

awakebutstillinbed return with chaos takes the wheel and i am a passenger, their first new full-length album in five years. From the very first moment, with its warm, opening guitar strum, absib pick up exactly where they left us at the end of their debut album. Produced by Joe Reinhart (Hop Along, Beach Bunny) and engineered by Jack Shirley (Joyce Manor, Jeff Rosenstock), the new album is sonically massive, allowing the band to peak higher and swoop to more intimate depths than ever before.

Unity rose from the ashes of a high-school punk band called Squad 51 sometime in 1983. The four friends—Rob Lynch, Joe D. Foster, Joe Navarrete, and Pat Longrie—unknowingly became one of the first straight-edge bands to establish itself in the Southern California suburb of Orange County. Recorded in drummer Pat Longrie’s house, this live rehearsal demo perfectly showcases Unity’s unbridled rage through nine blistering hardcore songs.

Unity rose from the ashes of a high-school punk band called Squad 51 sometime in 1983. The four friends—Rob Lynch, Joe D. Foster, Joe Navarrete, and Pat Longrie—unknowingly became one of the first straight-edge bands to establish itself in the Southern California suburb of Orange County. Recorded in drummer Pat Longrie’s house, this live rehearsal demo perfectly showcases Unity’s unbridled rage through nine blistering hardcore songs.

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.”

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!

Stockholm, Sweden’s Speedway is the offshoot of Time TO Heal, an older band that Jens (bass), Gabriel (drums), and Anton (vocals) were once in. When that band split, Anton and Gabriel spent time living in Japan writing music for what became Speedway. Members have also spent time in bands Existence, Blood Sermon, and Lifeblind before going all in on Speedway. Their latest EP,Paradise includes three high-energy tracks entitled “Balance,” “Hands Of Time,” and title track, “Paradise.” The band channels the passionate energy that made Revelation Records what it once was back in the ’80s, but with a slightly more melodic flare akin to bands like Turning Point, Inside OUT, and Uniform Choice.

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.

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.

Following up their Lukko cassette from 2021, Sorry State presents the debut vinyl from Joensuu, Finland’s Valtatyhjiö. While Valtatyhjiö takes inspiration from furious 80s Finnish hardcore punk, they don’t allow reverence for the classics to box in their sound, crafting a unique and instantly identifiable blend of hardcore, punk, metal, and rock and roll. The title track leads off Kuristusleikki by going straight for the jugular, but by the second song, “Petoksen Messias,” the scope widens, bringing in black metal touches and double bass drumming, the creative and tasteful deployment of which is a hallmark of Valtatyhjiö’s sound. On the b-side, “Viilto Kerrallaan” has a big riff and a rock-and-roll swing, while “Riite” closes the EP on an ominous note, sounding like a more hateful version of label-mates Zorn. Like Zorn, Valtatyhjiö’s music floats between hardcore, punk, and metal seamlessly and organically. While those genres can feel like they’ve been done to death, Valtatyhjiö finds their voice in the spaces between and across them, their originality granting them direct access to the intensity at this music’s core.

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?

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.

‘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.

Received a perfect 10 Best New Reissue rating from Pitchfork. Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. This is the first time that it has been released as a 12-inch (special note for all you vinyl fanatics, we managed to keep it at 45rpm for better sound quality)! The Singles was initially released in 1998 as a CD only compilation of all of Bikini KILL's 7”s. Once called "their defining document" by Pitchfork it includes Bikini Kill's legendary collaboration with Joan Jett on the New Radio (1993) single as well as the long out of print Anti Pleasure Dissertation (1995) and I Like Fucking (1995) singles.

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.

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.

"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.

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

Brutal Panda is honoured to join the likes of legendary labels, Trance Syndicate and Amphetamine Reptile, in bringing one of noise-rock's gnarliest albums ever recorded back into print."Heroin Man stands as both the chronological centre of the Cherubs catalogue, and its defining moment. As one of noise rock's finest moments, Heroin Man is both a delicate, tragic statement and send-off to a friend who had OD'd, and a bellowing, roaring, over-amped screwball masterpiece of Butthole Surfers mayhem and Husker Du pop structures. It's sometimes difficult to distinguish between Kevin Whitley's guitar and Owen McMahon's bass, and that's precisely the point -- this is noise rock; and still at others, Whitley's guitar is a washing, white-noise counterpoint to the pummelling rhythm section. This is a dense, sprawling, spiralling work showing a band peaking aesthetically, with perhaps an even more ambitious album to follow. Unfortunately, due to the usual host of reasons, that never occurred. This was the Cherubs final studio album until their reformation 20+ years later." - words by Patrick Kennedy SIDE A:1. Stag Party2. Animator3. Blackhouse4. Baby Huey5. Dave Of The Moon6. Coonass7. Mr. GoySIDE B:1. Cockpit - Kiss The Shine2. Venus Flytrap3. The Big Groovy4. Wornout Balls5. Playdough6. Example Maiden Japan / Devil's Food

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!

Notorious Japanese punk bank The Stalin came after socialist activist Michiro Endo fronted short-lived punk band Jiheitai; The Stalin was formed June 1980 with guitarist Atsushi Kaneko, drummer Jun Inui and bassist Shintaro Sugiyama. Antagonising the state and challenging the strictures of Japanese society, debut album Trash was half-live, half-studio, and sophomore set Stop Jap was the major-label debut that hallmarked their popularity, with opener ‘Romantist’ their best-known song worldwide. This is raw, uncompromising, and in-your-face punk from true Japanese innovators of the form – tune in and be amazed!

Originally released on Toxic Shock records in 1989, this is the debut album of junk rockers Sloppy Seconds. It makes you want to jump around, dance, party and roll through town with the windows down and the volume up to eleven. Shirtless, sweaty and unleashed, not for the faint of heart. The junk-rock classic is back!

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.

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