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After their last EP "...was it six or five shots?" in summer 2019, RULES from Zagreb now put out 4 more brandnew songs on this split release! They stick with their dirty rocking HC/Punks-sound, though this time the songs are slightly more influenced by stoner and noise-rock. Recorded and mixed on a 4-track recorder by Goran Lautar of NEON LIES and MODERN DELUSION who also helped bands such as DEATH ROW GROUPIES, INDIKATOR B and CELETOIDS to sound amazing on their records.

ANTISOCIAL SKILLS from Prague released their first self-titled 7" in 2017. Their sound is more in the vein of 80ies influenced midtempo HC/Punk with somewhat rocking elements. They added 10 songs to this record whose lyrics reflect on the solitude and hopelessness in modern society.

The Split LP is limited to 300 copies on black vinyl

“Prior to forming the Gun Club, Jeffrey Lee Pierce (1958-1996) fronted The Red Lights. While 1980 is viewed as ground zero for Pierce’s career—his autobiography Go Tell The Mountain starts with the founding of the Gun Club—Pierce was active as a rock critic for Slash magazine and had started songwriting years earlier. Throughout the late 1970s, Pierce’s primary musical interests were power pop and reggae. He was the president of the Blondie fan club and had interviewed Burning Spear. So when the Red Lights, Pierce’s first serious attempt at forming a band, started rehearsing it’s unsurprising that power pop (with a hint of reggae) was the group’s musical direction. “The Red Lights existed throughout 1978. The lineup for the band’s debut show on July 14, 1978—opening for The Germs and The Middle Class at the Whisky—was Jeffrey Lee Pierce (vocals and guitar), Anna Statman (bass), Vitus Mataré (keyboards) and Jack Reynolds (drums). Mataré and Reynolds were members of The Last; Anna Statman was a contributing writer to Pleasant Gehman’s Lobotomy fanzine. This lineup was short-lived. Mataré dropped out afterwards; Jack Reynolds stuck around a little longer. Thanks to Flipside’s gig reviews, it’s known that the Red Lights played at least two more shows: one at The Arena in Culver City and another one at The Rock Corporation in Van Nuys on August 9, 1978, opening up for The Weasels. By the end of 1978, Pierce had moved to New York City, effectively ending the Red Lights “At some point in the second half of 1978, The Red Lights recorded a demo. Little is known about the session. Mataré had already left the band, Statman vaguely remembers recording it. Unfortunately, Jack Reynolds passed away in 2009. The Red Lights were obscure; people familiar with the band were likely committed Gun Club fans. Few were aware that this demo tape existed; those who had a cassette copy likely received it from Pierce directly. “Fast forward four decades and what’s surprising about the Red Lights’ material is how advanced Pierce’s songwriting was at 19 years old—the songs’ dynamic range, that voice—this is clearly the Gun Club’s Jeffrey Lee Pierce. Again, it’s all here.” —Ryan Leach

Formed in 1977 in South Shields the Angelic Upstarts self-released debut single released in 1978 was ‘The Murder Of Liddle Towers’. The song highlighted the death of Liddle Towers who died after having been beaten in police custody, a crime that was covered up and no officers ever brought to justice. The record became a rallying point against police brutality. The record, and it’s B side ‘Police Oppression’ became a classic punk single and is a passionate call for justice. Mensi: “Liddle Towers was our protest single. It was the story of a boxing coach who was arrested for being drunk and disorderly. He was examined by a doctor and was perfectly healthy. Then in the morning was discovered dead and had injuries which the police surgeon described as being similar to that of a person who had been in a serious 70 miles-an-hour head-on collision. His injuries were absolutely horrific. He was basically kicked to death. “We done a couple of shows and got the money together and we pressed 500 singles, and then Small Wonder/Rough Trade re-released it, and it got to number one in the indie charts despite no radio play. Apart from John Peel, nobody else played it, and it was actually banned off any sort of play list in the northeast. Fair play I say.” The single is reissued as a limited edition of 500 on White vinyl, closely reproducing the first pressing from 1978.

Previously unreleased - Recorded live in 1980 for Strike Under's first show on Wzrd. Strike Under of course became the first official Wax Trax! Records release with the Immediate Action EP.

Members went on to play in Naked Raygun, Effigies, Breaking Circus and Pegboy.

C.O.F.F.I.N’s forthcoming album and proudest work so far since they first recorded as young teenagers.
The self titled record ‘Children Of Finland Fighting In Norway’ was recorded and produced by Frenzal Rhomb’s Jason Whalley at his studio The Pet Food Factory (NSW), mixed by Clem Bennett at Black Mountain Studios (ACT), and mastered by Mikey Young

The first ever U.K. Subs live album, recorded at the seminal Roxy Club back in 1977, reissued on Stunning Orange Vinyl and with the track list and between song banter all restored to its original glory. Added as a bonus is the 4 track demo the band recorded in 1977 in a search for a record deal. A must for all Subs completists!

To mark this milestone in their 20-year career Deecracks is releasing A Frantic Effort, a massive 3x10” colored vinyl retrospective compendium of their favorite songs from the past two decades. But don’t think for a second that Deecracks

would try to sell you a stodgy, frozen-in- amber “greatest hits” collection. “We decided

to revisit our career and re-recorded our favorites and what we think are the band’s classics, as well as two completely new songs,” says Mike. “This way, we have songs from 2003 up until 2023 on one album—and in one great sounding production.” “We decided to record some songs a little closer to how we would do them live but give them the studio treatment,” adds Matt. Indeed, the inspiration for the tracklisting is largely based on the band’s world-renowned live show, where the raw energy of seasoned punk rockers comes ripping out of every tune. And being able to revisit those tunes after road testing them for all these years inspired the band to add just the right amount of studio magic, including new vocal harmonies, guitar parts, or keys, while staying true to the live set. The pair of new songs, “Burnt Out” and “Where We Belong,” are a song about facing your demons and a straight-up love song, respectively—two sides of the Deecracks’ coin. They are certain to take their place in the band’s canon alongside this collection of revitalized classics for both longtime fans and newcomers alike. Or as Matt puts it, “I think if you don’t know what we are all about and you check out A Frantic Effort, you’ll get a clue.” Cheers to 20 years of Deecracks—and on to the next 20!

The Feeding of the 5000 is the first album by the anarcho-punk band Crass. The album was recorded on 29 October 1978, by John Loder at Southern Studios and was released the same year. It was considered revolutionary in its time due to what was considered an extreme sound, frequently profane lyrical content and the anarchist political ideals in the lyrics. This album is considered one of the first punk albums to expound serious anarchist philosophies.

They came from some of the most popular, if not polarizing hardcore bands of the early ’90s (shelter, 108, Ressurection), but by the time Texas IS THE Reason formed in 1994, a new aesthetic crystallized almost instantly and reduced its members’ previous efforts to history. Indeed, it was only a year later, when Revelation Records released the band’s selftitled EP—their name derived from a lyric in the Misfits song “Bullet”—that Texas IS THE Reason were already headlining their own tours in America and well on their way to defining a new moment in post-punk. In April of 1996, the band reinforced that initial success with their first and only album, produced by JAWBOX’s J. Robbins and named after the last words that John Lennon was alleged to have heard: Do You Know Who You Are? In the years since, Spin, Alternative Press, and Paste would all go on to call Do You Know Who You Are? an essential ’90s album. Unfortunately, after a year of heavy promotion and touring for the record, inner-band tension came to a head, and Texas IS THE Reason officially split in 1997. Its members would go on to form Jets TO Brazil, NEW END Original, and Atlantic/pacific. Since then, the band had only reunited once—for two sold-out New York City shows in 2006—but their presence has barely waned: Newer generations of bands like Spitalfield, Into IT. Over IT., and Transit have covered Texas IS THE Reason songs over the years, and even vets like Thursday, Taking Back Sunday, and Armor FOR Sleep have all publicly cited their influence. Marketing / Selling Points • New pressing on opaque purple vinyl • The complete recorded discography featuring the Do You Know Who You Are? LP & the self-titled EP, as well as two B-sides, and two previously unreleased tracks written in 1997 and recorded in 2012 with J. Robbins • Packaging includes never-before-published photos, a comprehensive concert history for the band from 1995-2012, and complete lyrics • Fully remastered by Vlado Meller (muse, Jeff Buckley, Kanye West, Weezer) • Two-LP set, gatefold jacket, mastered and sequenced for high-fidelity

Richmond's rip-blasting fusers of all things heavy and most things sweet, tear up a new album, and light the scene on fire. Fourteen anthemic new tracks that expertly forge elements of hardcore, emo, punk, country and classic rock into one mighty sound that hits both raw and rah-rah. Always on tour.

incl. bonus CD of full album

This September, coffins will shake and graves shall release their dead

Darkness is falling. A cold wind blows from the snow-covered Carpathians, making the windows rattle and the corners of the house creak. Something is coming, eyes flashing red in the night and its footprints filled with grave dirt. What nocturnal terror is this? Why, it’s the arrival of the long-awaited third album by The Coffinshakers, folks.

While most bands quickly lose the spark, The Coffinshakers have stayed relevant – eternal like the undead. Though humor is their hallmark, there is also poignancy and something genuinely spine-tingling in their rugged, melancholy ballads. And this new offering shows them at the height of their baleful, campy power. They truly are a band that ages like fine wine – although vampires, of course, never drink… wine.

Much will be familiar to dedicated fans. Rob’s trademark malevolent chuckles still reverberate with sardonic glee, the deep rumble of his voice continuing to send all yellow-bellies hiding behind the barn. At the same time, his vocals have gained in both power and subtleness. The same goes for the guitar, bass, and drum work, now incorporating a broader array of classic Americana influences. These unholy badmen have drunk the blood straight from the neck of the authentic country, bluegrass, folk and other rootsy music of inbred US backwaters – and it has made their fangs sharper than ever.

And though The Coffinshakers still ride forth with tongue firmly planted in cheek, there is a new apocalyptic urgency to their third offering. From the marching drums of the desolate “Graves, Release Your Dead” to the echoing vocals of “River of Souls” and the cathartic cataclysm of “Down in Flames”, it all forebodes the imminent end of the whole dirty enchilada of existence. The band’s flippancy comes with a genuinely unsettling kernel of darkness – and black humor is always the most satisfying. Vampires may not cry, but we all know they laugh wickedly as they rise from the bone orchard.

- Per Faxneld, Södertörn University department of religion and vampirism, author of Satanic Feminism, Offerträdet, The Devils Party and others

The Coffinshakers' past nocturnal glories include the debut album "We Are The Undead" (1998) and the eponymous sophomore record (2007), after which the cadaverous quartet retreated to the silence of the tomb, having vacated their respective coffins only sporadically when invoked to perform undead rituals in front of a live audience. Now, many moons since they last haunted the earthly domain, the hour has come for another foray into the realm of the living. Yet again the dead shall live, the living die, and Musick shall untune the sky.

Svart Records will release Graves, Release Your Dead by The Coffinshakers on September 15th on long playing vinyl, compact disc and digital formats, including an exclusive variant with a 3D cover.

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.

For the first time ever this 27 track double album collects all of their singles on Red Rhino and Beggars Banquet/Situation Two. A mandatory compilation that also includes the bonus 7 inch originally appeared on the first ltd version of the 1986 album ‘Paint Your Wagon’ (Paint Your Wagon/More Jipp), an alternative and harder rendition of ‘Beating My Head’ (originally appeared o the Ep ‘This Today’) and ‘Russia’ from the 1984 Ep ‘Hollow Eyes’. Red Lorry Yellow Lorry were one of the most successful independent bands of the 80’s with their dark and often manic rhythms.