Punk | Hardcore Sale 303 Items

Long awaited re-issue for one of the most influential and controversial post-punk combos of the 'Granducato era'.
After more than three decades I Refuse It! are still quite a great thing. Rock’n’roll’s later reaching of higher peaks of brutality finally made acceptable what once was considered noise and chaos and now make them appear just a bit less subversive, but their impact is still strongly felt. So, collecting and publishing their complete output in one album is definitely an historical act. Differently from Cronache del videotopo, the CD published in 2005 by the glorious Wide Records, the present double LP includes also their great version of Atto di forza numero 10 from I Ragazzi del Sole, a real gem from the Sixties Italian beat repertoire. Even if the Internet seems to have saved from oblivion any obscure document of the international hardcore punk saga, all these songs together in vinyl represent the best celebration for a band who, back in the day, really tried to stay away from the safe track of the business when it was very complicated if not self-destructive to do so.
They were certainly a bit too far out for a large part of the aficionados of “classic punk” but deserved attention, at least for those who began to be tired of the old stereotypes. It’s no coincidence that reviewing the Permanent Scar/Sfregio permanente casette in the magazine Il Mucchio Selvaggio I described their style as “experimental hardcore” and “a sort of Meat Puppets oriented sound”.
Finally, between 1982 and 1983, Italian punk got its spot on the international map. In fact, even if there were already some Italian punk bands, it was not before the emergence of the hardcore movement that we could really start talking about a real Italian scene. Needless to add that this was not just a simple musical issue, back in the day, for many of us, hardcore punk was mainly an attitude and a way of life.
In Tuscany, the whole scene became known under the acronym of GDCH (Granducato Hardcore) and I Refuse It! (together with CCM, Wardogs, Putrid Fever, Traumatic, Juggernaut and others) became one of its most significant bands.
Because of their varied and multiple inspirations and tendency to experiment, it's hard to consider I Refuse It! as simply a hardcore band. This 2LP collection compiles their complete recorded output for the first time and is an essential piece of Italian punk history.

When HorrorPops say Bring It On, it"s as much about the music as it is about kicking ass. While never dropping their trademark sexy, horror-flick flair, Bring It On!, produced by BAD RELIGION"s Brett Gurewitz, revealed new depths of songwriting. Brash, Link Wray guitars; singer Patricia"s sultry petulance; throbbing standup bass - all served up in loving tribute to the brooding pop of 80s icons like Blondie and Siouxsie Sioux. First repress since the original release in 2005.

This is an early live recording from the iconic Japanese noise band "Hijokaidan," also known as the "King of Noise," during their performance at the "Answer 81" event held in a venue called "Kyoto TakuTaku" in 1981. While the recordings of this event were previously included on their 1st album "Zouroku No Kibyou" though it was just a part, it has now been finally made available as a standalone work with the whole recording. It's worth noting that this live performance was a historic moment when The Stalin and Hijokaidan shared the stage for the first time, and 2 years later, both bands formed a collaboration project "Sta-Kaidan".

If you mention Heresy's 'Face Up To It!' album many people will tell you what a great HC album it was but, let down by horrendous production. Now, 30 years since it was recorded, the band undertook a mammoth project to make the album finally sound how they had envisaged. The original multi track master tapes were unearthed and baked to allow a transfer of all the raw recorded material and for the band to do a total ground up restoration/remix on not only the original album, but also the rest of the session that included the bonus tracks originally only released on the Japanese version of the album 'Voice Your Opinion'. To say that the results have been remarkable would be an understatement and have exceeded the band's own expectations.

Hellions' thrillingly raw debut album is now available on LP in the UK & Europe for the first time ever. While the band would later shoot
to prominence with their subsequent albums, Die Young is a riot of colour, youthful energy and righteous anger.

Either intentionally or unwittingly this is a band experimenting with extremes. Formed in 1985 when Thatcherism swooped over England and scalped the North East, Hellbastard admit to being ‘’too metal for punk, too punk for metal’’, instead coining the term ‘’crust’’ as a way to feel at peace within themselves whilst simultaneously starting a sonic war that shocked the nerves into spools of frayed tape. With Malcolm ‘’Scruff’’ Lewty on guitar and vocals, Ian ‘’Scotty’’ Scott on bass and vocals and Phil Laidlow on drums, it was all captured with their classic Ripper Demo debut release in 86’. But really, it's all encapsulated right here with this reissue also containing the follow-up demo-lition from ‘87 - Hate Militia. Both are perfect ways to establish the nightmarish worlds, of death camps and dark sides, that wildly writhe within his group’s menacing worldview.

Scandinavian jawbreakers Harmagedon offer up a nightmare future on their debut album Dystopian Dreams, with a refreshingly modern concoction of melodic death metal and crust punk.

Three piece riff machine from Stockholm Sweden, Harmagedon is a raw festering carcass of dynamic grind and roll. Featuring members of Martyrdöd and Freedom raising hell once again, Harmagedon’s debut record Dystopian Dreams is a fusion of heaviness that is difficult to pin down but makes all the damn sense in the world! With focus on primal minimalism but maximum animalism, Dystopian Dreams is the ground zero of an explosive power trio summoning raw energy into being. With no frills and no gimmicks, just relentless heaviness, Harmagedon is a matured brew of “crust punk” or “d-beat” (“kängpunk” for the diehards) infused with ravishing death-metal. Dystopian Dreams is made by adepts of distortion and grime to be imbibed by connoisseurs of rage and chord-fury.

Recorded live at their own studio, Dystopian Dreams was conjured with the help of Fred Forsberg of Mass Worship at the controls, capturing Harmagedon’s wildfire and blending this dense stew together. With the addition of Magnus Lindberg of Cult of Luna mastering it, Dystopian Dreams has that exceptional flavour of a future classic, where all the cogs and wheels of this merciless weapon fire on all cylinders.

Black Sabbath, Entombed, Neurosis & High on Fire spring to mind, as the calibre of Harmadgedon’s riff whirlwind is of the finest quality, the antithesis of royalty but epic and majestic in delivery. Dystopian Dreams’ hulking magnetism leads you expertly to headbang and worship at the altar of timeless metal, without the slightest remnant of doubt.

Songs like Reptilian and Controlled Chaos groove and churn, but pack a hell of a concrete punch, with nihilistic, gravelled guitars and spewing vocals of molten brimstone.

Guitarist and vocalist Tim Rosenquist says:

“Controlled Chaos is about propaganda actions and distractions but Reptilian is about how hard work makes you into this emotionless beast of a being. That song is best served blasting on the factory floor or in the car on your way to the office! Reptilian’s themes are at the core of what Harmagedon is about”.

Look to the masters to deliver true heavyweight metal when the current scene lacks enough muscle and teeth. From a band made up of underground titans, Harmagedon is drawn from the well of eternal heaviness, living in death forever, what nightmares are made of.

Harmagedon is:

Tim Rosenquist - Guitars & Vocals

Magnus Berglund - Bass

Jens Bäckelin - Drums

Groundbreaking bands typically don't function as stars hanging in the night sky for all to gaze upon. Rare talent functions more accurately like tectonic plates, mutating their surroundings deep underground by bulldozing the pre existing turf. These kinds of musicians who regenerate and evolve our world by forging new creative languages that future artists will liberally borrow from and build upon. Richmond, Virginia may seem like a surprising location for seismic catalysts, but Hard Copy now joins an elite list of RVA bands moving sound in unexpected and earth shaking directions. Destruction! Invention! Rebirth! Once upon a time there was Honor Role who deconstructed midwest hardcore and carved out a path for what eventually would become mathrock. Combining empathy wrapped in anger, a following generation would use this template to birth post-hardcore and a 2nd wave emotional music. A bit later came Labradford who were atmospheric scientists creating pulsating soundscapes bathed in drone. Their music was so devastatingly unique that Kranky willed themselves into existence to release their debut for which this historic label was built upon and continues to lead the way in experimental music. I can't help but to include Hard Copy among this kind of revelatory innovation. They are subtle shapeshifters of synth driven post-punk. At their core, we find unorthodox art rock for which Talking Heads and Pere Ubu belong, but it is stretched taut like taffy into trance-inducing, long form motorik musings. Singular vocals act as a secondary percussion. Bass lines double as a metronome heartbeat. Guitars zigzag inside a monochromatic prism. Linnear drums hammer the band's abstract narrative into a carefully crafted double-helix staircase spiraling up into ambitious avant-garde territory. Cantankerous poetry minus the Mancunian snarl of Mark E Smith behaves as a modern day deadbeat descendant making good. In short, making very very good. Riyl the kind of bands who have no interest in grabbing a spotlight and are more likely to kick out the bulb to avoid it completely."—Tracy Wilson (Courtesy Desk)

BLUE VINYL REPRESS

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.

Tracks A1-7 and B1-2: Recorded live at the Shoreline Amphitheater in Mountain View, California, October 1996 - FM Broadcast. Tracks B3-b7: Recorded live at Kings College London, September 1996 - FM Broadcast

Quantity: 3200
Release type: RSD Exclusive Release

Goo Goo Dolls (also known as First Release) is their first studio album, released in 1987. Before the Power Pop hits, this was a PURE RAW PUNK album recorded in their hometown of Buffalo, NY, mixing covers and originals. It has long been has been out of print and unavailable on vinyl. The package includes an OBI side strip, single album jacket, original album art cover, printed inner sleeve, original record labels and red/clear vinyl.

recorded at the starwood. official 1980 fan club release.

We are glad to announce the first official reissue of Genetic Control's 1984 first impressions EP.This 35th anniversary edition will be released as a full length vinyl with loads of never before released tracks from the Genetic Control vaults. Limited to 500 numbered copies.

Street punk pioneers Charged G.B.H. formed in Birmingham in 1978, the name referencing original bassist Sean McCarthy’s trial for grievous bodily harm. The in-your-face hardcore of EP “Leather, Bristles, Studs And Acne,” paved the way for super-charged debut LP, City Baby Attacked By Rats, which hit the number two position on the British indie charts on release in 1982, as well as the mainstream top 20, despite being released by tiny independent, Clay Records. With a touch of Motorhead and Sabbath beneath their straight-up hardcore, City Baby is where the legend begins, capturing G.B.H. at their bloodiest.

Blackpool based noise rock and punk trio ‘Those Fucking Snowflakes’ are a vibrant clash of political punk, hardcore rock and math rock that has been getting 6music play from the likes of Tom Robinson and Gideon Coe and has a two page feature in the next issue of Vive le Rock magazine as well as props from Jason Williamson of Sleaford Mods.

Fucked Up"s now classic 2008 album The Chemistry Of Common Life synthesizes numerous diverse impulses into an expansive epic about the mysteries of birth, death, and the origins of life (and re-living). Merging elements of hardcore songwriting with up to 70 tracks of guitars, organs, winds and vocals, (including 18 guitars on the first single, the fatalistic "No Epiphany"), the music remains iconoclastic and startling, with Pink Eyes" vocals front and center. Guest musicians, of course, abound, notably gorgeous voices such as Brooklyn"s Vivian Girls and Toronto"s Katie Stelmanis.

Foxx Bodies' second album, Vixen, required thousands of dollars in therapy and medication to create. What started as another album filled with harsh memories of childhood and sexual abuse quickly evolved into a present day telling of the lead singer's battle with various mental illnesses as she was diagnosed with them. An exploration of queer identity, the permanent impact that trauma has on the brain, and an unfiltered inside perspective on psychiatric hospitalization and borderline personality disorder can be found within these 13 tracks.

Italian hardcore punk band formed in La Spezia in 1979. Their self-produced Ep7" Criminal World, influenced by the American school and recorded in June 1982 but released in early 1983, immediately caught the attention as a milestone of Italian Hardcore, with themes ranging from the brutality of war to anti-militarism. Great technical preparation, but also great graphic creativity thanks to the help of the Anarchist Typography of Carrara, which printed the flyer (attached here in its full version) that contained the record. On the B-side, hitherto unreleased tracks from 1989 mark the group's evolution. Gatefold cover with insert

Fronted by Dennis Lyxzen from The Refused/International Noise conspiracy, and featuring Brian Baker (Minor Threat/Bad Religion) and Michael Hampton (SOA/Faith) on guitar, Johnny Temple (Soulside/Girls Against Boys) on bass and guest drummer Brendan Canty (Rites of Spring/Fugazi) you know you need this single!

Pressed in an ultra limited number of 200 back in 1980. Ervin Berlin was the work of Ervin Shuemake (a late 20s acid rocker) and two young punks named Jeff and TOM THE Bomb. Ervin had cut his teeth playing guitar on the crazy Terry Brooks "strange" Translucent World LP back in 1973 and spent the remainder of the 70s in various acid, hard, and prog rock bands throughout Central Florida. He met the younger punk duo of Jeff and "The Bomb" at end of 79 beginning of 80 and decided to take a stab at the punk craze with his two new acquaintances. Soon the trio was at a country and western studio in Winter Haven recording the Ervin Berlin single between sessions for possible Bellamy Brothers tracks. The blending of Ervin's acid rock chops and Jeff and Tom's thuggish punk approach resulted in this KBD space punk stomper. Equal parts Blue Cheer, Debris, Sacramento's Ozzie, and late 70s Hawkind. The 7" was pressed, a few house parties were played, and all parties went separate ways. 42 years later we are kicking off Total Punk Archives with a reissue of this lost Orlando classic. 100% Total Punk!!