Punk | Hardcore Sale 273 Items

If an actor or a reality show host can become President and wreak havoc around the world, then surely musicians have a time honored duty of reacting to that and speaking up for regular people. Punk rock legends D.O.A. have decided to do just that. That’s the reason for the new D.O.A. album: Treason.

Joey Shithead Keithley, Canada’s Godfather of Punk, has been getting sick of the dismaying news coming out of world capitals like Washington, Moscow, Beijing, Tehran, Pyongyang etc., so he decided to come up with D.O.A.’s musical reaction to this crap. So here it is: Treason—it’s the band’s eighteenth album. It takes off in full frenzy with “All The President’s Men”—“It’s time to put them in the pen.” Then the band quickly launches into a modern punk anthem, “Wait Till Tomorrow”, a look at the brutal treatment of refugees.

But never lost on D.O.A. is that part of their mantra that is punk rock humor, hence they have spawned: “It Was D.O.A.”, an uproarious piss-take on unsuspecting musicians that will soon learn the tough lessons of the road: the D.O.A. members themselves. Of course with an album named Treason one would expect some comment on President Donald Trump. So the Men of Action have taken one of their all-time classics and come up with new lyrics. They have reworked “Fucked Up Ronnie”, the result is “Fucked Up Donald” and it’s a blistering 73 seconds of mayhem! There’s also an absolutely ripping version of fellow Canadian Neil Young’s “Hey Hey, My My”. On Treason D.O.A. pulls no punches and nor should they. This is an uncontrollable punk rock riot that seems to breathe fire, the way punk was meant to be.

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

Great album of live tracks recorded on September 24th, 1976 at The 76 Club In Burton-on-Trent. 14 tracks including great versions of "Anarchy In The UK", "Satellite", "No Feelings", "Pretty Vacant", "No Fun" and "Substitute"

Have you been through some extreme research lately ? Any fans of Japanese hardcore out there ? We’ve got something for ya. These two double lp compilation are a who’s who of the underground scene, covering any key market from Tokyo to Sendai. Mostly released in the second half of the eighties – with just a bunch of 1984 seven inches – these tracks are a pretty rare example of suburban violence. Often influenced by English d-beat and Italy early fast and furious hardcore agenda, those bands were more than a menace to the system. Here, for the first time on vinyl, two mandatory compilation depicting the decline of the Eastern civilization.

Formed in Birmingham in 1976, English punk quartet Suburban Studs built their reputation through fearsome early live gigs, supporting the Pistols and the Clash at the 100 Club, and having the Clash return the favour at a gig the Studs headlined in their home town; they later supported Ac/dc and Judas Priest, among many others. Signing to the independent Pogo label in l977, debut album Slam had 16 brisk originals and a double-time take of the Who’s ‘My Generation’; this edition comes with four bonus tracks taken from their unfinished in-progress second album, which was never released. A must-have for all original punk fans.

The second LP from Umea Sweden’s kang masters, Warchild. This output finds even tighter driving riffs that are equal parts brutal and catchy (in the true Swedish tradition). Bouncy fist pumping d-beats with a couple raging mid tempo numbers. Closing out the b-side with a Free Speech For the Dumb-esque rocker. With a “thank you” list that starts off with Discharge, Anti-Cemex, Disclose and Totalitar, it’s no secret where the influence comes from and it’s pulled off flawlessly, impressing the most hardened Scandinavian Hardcore connoisseurs. Included is a ten page booklet with sick art adding perfect bleak imagery to the smart, short anti-war lyrics.

Here we have it, the debut release from the Austin, TX hardcore punk powerhouse known as Peace Decay. Death is Only... features six tracks of the blazing and pummeling hardcore ferocity you'd expect from a group consisting of current and former members of Vaaska, Severed Head OF State, Guerra Final and many more acts the great nation of Texas has bequeathed to us, the hardcore faithful, over the past few decades or so. Mastered by Jack Control at Enormous Door, each record comes in a full color matte jacket adorned with cover art by vocalist Enok Vazquez and also features a stunning 11" x 17" collage by Barcelona visual artist and analog collagist JFKollages. Much like death, this initial offering from Peace Decay is only the beginning.

The Pacific Northwest-based Twin Void is a formidable rock and roll machine that has steadily become credible contenders in the regional scene. The band features road-tested musicians, including frontman & founder Nathan Bidwell on vocals & guitar. The band plays with an energy and ferocity that has gained them the reputation as a must-see live act! They believe in what they do and continue to deliver memorable heavy music on their terms. Twin Void is just returning home from their recent U.S tour dates, including a mainstage performance on Judas Priests' Warlando Fest in Florida. These determined heavyweights continue to write, record, and play select national dates as they work on the next batch of tunes. Catch them live and discover what the others already know!

Flex Your Head was first released in January 1982 and was the first full-length album released by Dischord Records. The compilation features thirty-two songs by 11 DC area bands and went a long way towards “putting DC on the map” as one of the era’s great punk scenes. This new edition, which has been re-cut features a cover image of the DC Flag stars and bars (on a red field), an image so associated with DC punk that many mistake it for a made-up symbol for straight edge. This cover image was also used (on a black field) for an edition of the album briefly pressed in conjunction with Alternative Tentacles in the ‘80s. Tracks from Minor Threat, Teen Idles, SOA, G.I., Youth Brigade, Void, Iron Cross, Artificial Peace, and more. Includes a free MP3 download coupon,

Perry Dear & THE DearSTALKERS have become one of the most "in demand" groups on the big beat scene, with one of the most distinctive sounds in Europe today. After several singles and a fantastic debut LP "Six-String Holiday", the talented Norwegian quartet spent two days at London's famed Toe Rag Studio recording their second LP, Oh Dear! Its jaw-dropping sound will capture your heart in an instant.

Lobsterbomb announce the release of their debut album "Look Out" for 21st July 2023 via Duchess Box Records. Formed in Berlin, via an instagram notice board "We Formed A Band" set up by the band Gurr, Lobsterbomb had no idea at the time it would lead to them signing to the label that discovered Gurr, Duchess Box Records. The Trio Nico Rosch, Vik Chi and Crayon Jones all immigrated to Berlin looking for the same escape and lust from the places they had left behind. After connecting with eachother during the pandemic of 2020 they started writing songs drawing on their environment, fears and frustrations of the time but had an desire for seizing the moment and making the world their own, a feeling they still have today.. "I have a bit of an obsession with a band from Germany called Lobsterbomb, I think they are magnificent" says legendary Duran Duran frontman Simon Le Bon on his American radio show on Sirius XM.

Eight years on from the release of their previous studio album, legendary band “The Last Resort” are back with a brand new offering. The world has changed a lot over the last few years. The music scene/industry has obviously been affected with no live shows & no new albums etc. Covid-19 has hit mankind hard. The sound, feel and lyrical content of this album hits the mood of this time perfectly with a dark & heavy vibe. Those who’ve heard it have referred to it as “Doom Oi!”! The band has had a line up change since their last album. Lars Frederiksen of Rancid fame has now joined on guitar as a full time member of the band. 11 new songs from the 4 band members. On hearing these songs, you will soon realise that you are listening to a classic album. Opening track “Freedom Pt.2” pays homage to the opening track from their debut album. “Boots on the Ground” is all about standing your ground & standing up for your rights no matter the cost. “No Man’s Land” takes a look at some of the horrors of war. The album continues with observations of such diverse subjects as murder, taking chances, football hooligans, learning from your mistakes, war, working class pride and trying to do the right thing even though it can be tough. The album was engineered by Pat Collier and mixed & mastered by Michael Rosen! Additional backing vocals by Steve Whale of The Business! The album artwork has been kept very minimalist which fits perfectly with the tone of the album. The booklet comes with all song lyrics! A milestone for the Punk/Oi! Scene.

To mark the 25th anniversary of BOYSETSFIRE’s explosive debut This Crying, This Screaming, My Voice Is Being Born, Dark Operative is proud to reissue the album on vinyl and digital formats worldwide. Known for powerful songs that still appear in the band’s live sets to this day (particularly “Vehicle” and “Resection”), this release also stands as a monument to the DIY ethic and spirit of enduring friendship itself, as the band and Dark Operative owner/operator Brent Eyestone have worked together on this release via handshake since its inception (initially via Eyestone’s old label, Magic Bullet Records). Packaged in a chipboard-stock LP cover evocative of the exact aesthetic of the mid- ’90s era from whence this record was initially made, the original silkscreen design has been faithfully replicated with a package rounded out with complete lyrics and credits included.

By way of some cosmic miracle, only one Total Hell pops up when the band moniker is searched on Discogs. And that would be the band responsible for the five-song blast of heavy metal sounds at hand. Now active for about two years plus change and exported from the very metal and punk fertile New Orleans, Total Hell is DD Deth (aka Drew Owen—Sick Thoughts wheelman, Trampoline Team etc) on drums / vocals, Henry Hell (John Henry of Static Static, Heavy Lids) on bass / vocals, and guitarists Jason “Panzer” Craft (Persuaders, Tirefire) and Michael Maniac (Michael He-man of Trampoline Team). If self-deprecation is beyond the listener’s processing skills, then please know that as self-described purveyors of the “New Wave of Shitty Heavy Metal”, Total Hell’s big-boy debut is not “shitty” in any manner whatsoever. These four recordings (“Desecrate”, “Clones From Hell”, “Violator”, and “Disfigured”) are melodic monstrosities that hit with a wall-to-wall, floor-to-ceiling hugeness, while doing so in an economical manner. There will be no mistaking this for Broken Bones screeching out of an iPhone inside the vegan squat. On the flip, this is no Bob Rock joint. DD Deth elaborates: “Recorded on a Tascam 8-track cassette live at home (aka “The Parkway”) by Michael He-Man and the process was a nightmare. Original tape crapped out on us back in early 2020 so we had to redo the whole thing. Intros and interludes were done last minute by me with the cheapest midi keyboard on the net.” Well, color Goner Records impressed. One might get momentarily lost in the cavernous drums that introduce opener “Desecrate”, but soon the buzzsaw-riff-wall will crush one into a smudge on the bathroom floor. Without rocking some safety goggles and diving headfirst down a terminology rabbithole, this is punk jumping into the sack with metal and leaving black boots on the bedroom floor rather than white hightops. Xmas came early for fans of Anti-Cimex, Celtic Frost, pre-shit Discharge, Motörhead, Blitz, Midnight, Venom, Broken Bones and...one gets the picture.

Life behind the Berlin Wall, before the fall. Once there was DDR (Deutsche Demokratische Republik), otherwise known as East Germany. Verging on the ruins of the 2nd world war, in the fog of the socialist utopia, there was a widespread scene fighting against corporations and restrictions. Die neuen Bands, that was the manifesto, a number of small alternative bands facing the efforts of the post-punk (and even post-industrial) revolution. This was happening right after the English new wave or the Neue Deutsche Welle (the western counterpart). A musical resistance, a counterculture, spreading all over the country the clandestine way. An enduring dangerous strategy that brought to life many artistic figures, way ahead of their time. Such is the case of Frank Bretschneider (Stein im Brett, Kriminelle Tanzkapelle) still one oft he most prolific glitch producer (founder of the influential imprint Rastermusic), Ornament & Verbrechen the east-Berlin combo ran by brothers Ronald e Robert Lippok (To Rococo Rot) and Reinhard Lakomy a true innovator in the vein of Klaus Schulze. The ghost of an era, a social turmoil that eventually had an impact on our daily routine.

In support of their Walk Among Us album, the Misfits embarked on a 37-date tour of the united States, during which the group performed three shows at New York’s Irving plaza, and is their performance from the 27th March 1982 that features on this LP. Featuring a host of tracks from across their career- plus numbers that would latter appear on Earth A.D./Wolds Blood in 1983, this seminal band deliver a blistering set full of dark passion and energy:

incl. bonus CD of full album

Youth OF Today was initially active from 1985 to 1990 before reforming in 2010. The band played a major role in establishing the “youth-crew” subculture of hardcore, both espousing and evolving the philosophies of the straight-edge and vegetarian lifestyles. Formed in Danbury, Connecticut, by two members of the hardcore band Violent Children, Ray Cappo (vocals) and John Porcelly (aka Porcell, guitar) were aiming to start a straight-edge band at a time when most old-school straight-edge bands had disbanded. Having difficulty finding a bassist and drummer, Ray and Porcell found help from two high-school friends, Graham Phillips and Darren Pesce, who had played with Porcell in a band called THE Young Republicans in the past. In 1986, Underdog vocalist Richie Birkenhead joined the band on second guitar. With this lineup, the first Youth OF Today full-length album was recorded, Break Down The Walls. More than just an album, it’s an anthem for a way of life.

The Catatonics were Syracuse and Central New York’s first hardcore punk band. Besides pioneering the original 1981/1982 Syracuse Hardcore scene, their classic Hunted Down Ep/7" is considered one of the first hardcore thrash/metal crossover releases, right up there with COC or DRI and remains a sought after (and pricey) collectors item 30+ years after it's release. Often compared to Jerry's Kids, SSD, Negative Approach and even Slayer, The Catatonics weren't followers or imitators, more like period contemporaries. Although the wait has been decades in the making, Southern Lord will be reissuing Hunted Down as a 12” vinyl release with bonus tracks.

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.

The Pacific Northwest-based Twin Void is a formidable rock and roll machine that has steadily become credible contenders in the regional scene. The band features road-tested musicians, including frontman & founder Nathan Bidwell on vocals & guitar. The band plays with an energy and ferocity that has gained them the reputation as a must-see live act! They believe in what they do and continue to deliver memorable heavy music on their terms. Twin Void is just returning home from their recent U.S tour dates, including a mainstage performance on Judas Priests' Warlando Fest in Florida. These determined heavyweights continue to write, record, and play select national dates as they work on the next batch of tunes. Catch them live and discover what the others already know!

Less than twelve months on from the triumphant rock ’n’ roll record that was Stained Glass, Australia’s most tasteful sonic culinary artiste Jake Robertson serves up The Derivative Sounds Of, another platter in his never-ending, ever-extending Alien Nosejob banquet.

Since initially firing out similar flavors on his first offering, Alien Nosejob has conquered the challenges of disco, hardcore, new wave, rock and roll (all drowned in his characteristically sweet sense of humor) before finally returning back to his musical roots: the jangly, adolescent feel of 1960s garage.

After one of Robertson’s first bands, The Frowning Clouds, reunited for a few shows in September 2022, he found himself digging up old songs and riffs from the period, some spanning back to as early as 2006 and up until around 2012. This record features many of those song ideas—some reworked, some rewritten, some exactly the same. All together now as one hot package.

Leaning into his musical tastes from the Clouds’ period of existence, Robertson digs up inspiration in some teenage staples: The Troggs, Mike Furber, the under-appreciated bands that make up the Shutdown ’66 / Back From The Grave compilations, without overdoing the sugar, salt, MSG, whatever one wants to call it. This record was recorded by Robertson all by his lonesome over a weekend in his garage. There’s no paisley shirts, no skinny-ties, no winkle-pickers, no slim-fit suits and no haircuts—just Robertson and his 1964 MacBook Pro.

Garage rock revival is a sound that’s often overdone, drenched in nostalgia and small-minded attitudes, but this album is not just a throwback to the sounds of yesterday. It doesn’t belong with the golden oldies or the usual garage resuscitations. Goner Records is proud to present, The Derivative Sounds Of, the sixth piece of Alien Nosejob’s eternal buffet and the “all you can eat” of record titles.

Omega Sessions is a 5-song EP recorded by Bad Brains in 1980 and released in 1997. The tracks were recorded and mixed at the original Omega Recording Studios in Rockville, Maryland. The EP contains early versions of songs that eventually appeared on later releases, including a reading of "I Against I." Side B of the LP features a custom etching.

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)