Punk | Hardcore 404 Items

As smokin’ as they are, previous releases from LES Lullies were rushed through with impossible deadlines and little time to consider the ends. Mauvaise Foi—their new LP with resolutely French title (and their first record almost fully sung in the tongue)—takes a more laid back approach to manifest the desired energy, finding the boys swimming in a sea of change from their usual methodology. The result is streamlined rock’n’roll with a new purpose: a stark contrast from yesterday’s news while remaining truly Lullies. Mauvaise Foi sounds more personal and fleshy, dabbling in influences from Phil Spector to the Real Kids, classic punk from the Normandy scene (Fixed Up, Dogs, Sub Kids), and brimming with subtle, headphone-worthy layers and details. Mauvaise Foi (“Bad Faith”) as a title sums up this full-length with accuracy. Sometimes tackling somber subjects with tongue planted firmly in cheek, has no qualms breaking free to resonate with hilarity and their trademark cockiness like a brakeless derailing bullet train. Contained herein are stories about real-life characters sung by slightly mendacious rock’n’roll adventurers.

The complete collection of Lion's Law tracks in French, with two excellent new songs and a previously unreleased version of their classic "Lafayette", recorded for the occasion. A truly coherent album that traces all the band's eras and influences, and it works!

The Lipstick Killers released just one single in their life time – the perfect ’79 Deniz Tek-produced pairing of “Hindu Gods of Love” and ”Shakedown Usa” on their own Lost in Space Records and Greg Shaw’s Voxx Records - but a posthumous live album and a couple of archival releases followed. It was all incredible. All that material is included here, as is a plethora of additional stuff, all from the best-available sources (mostly original tapes).

The Lipstick Killers’ enigmatic and high-energy sound – heavily inspired by the Stooges and the ‘60s psychedelic punk sounds of bands like the Thirteenth Floor Elevators and the Chocolate Watchband – bridged the gap between Radio Birdman and subsequent Sydney groups like the Sunnyboys (whose first-ever show was opening for the Lipstick Killers), Lime Spiders, Hoodoo Gurus, the Screaming Tribesmen and the Psychotic Turnbuckles. And of course they anticipated generation after generation of other bands with similar things in mind, right up to today’s ‘60s-inspired freaks like The Straight Arrows, The Living Eyes and Thee Oh Sees.

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.

"At the very dawn of the 90s, Love Child's debut 7” made a splash on the burgeoning scene of shambolic bands and lo-fi recordings. Back then, they were mentioned in the same breath as Pavement, Sebadoh, or Beat Happening. But Love Child’s two great albums and sparkling singles have become the stuff of record collectors, unavailable vis streaming and out of print, until now. Never Meant to Be: 1988-1993 pulls from these releases and some unreleased radio sessions, unearthing a trove of lost gems by a band that could be the bestof all of the 90s buried treasures. Culled from their smashing debut 7-inch, their two full-length albums, another great single and some unreleased radio sets (including a Peel Session), Never Meant To Be has catchy hooks, gritty noise, sneakily-deft playing, brainy but blunt lyrics, and lots of other awesome stuff. Love Child were part of lo-fi’s beginnings, but also had the NYC pedigree to absorb predecessors like the Velvet Underground, the Voidoids and Teenage Jesus and the Jerks. (Their swirl of brightness, brains, and brawn led Byron Coley to liken them to a fantasy VU made up of Moe Tucker, Doug Yule, and Angus MacLise). Will Baum started Love Child while a student at Vassar College, bringing on classmates Rebecca Odes and Alan Licht. At first, Baum wrote the majority of the songs, bringing a Modern Lovers-like garage-pop attack to the band’s 19-song whirlwind debut album Okay? (Homestead, 1991) But Odes and Licht contributed songs as well, each with a distinct sonic fingerprint (One fan, Kurt Cobain, allegedly predicted Love Child would become the Fleetwood Mac of the 90s). All three members were happy to trade roles and instruments from song to song, but they also had some specific chops. Licht was a bit of a guitar prodigy, having taught himself how to tap like Eddie Van Halen, but versed enough in punk to know simplicity could be just as powerful. Odes’ bellowing bass was equally prominent, and her vocals could veer quickly from sweet to snarling, like Kim Deal or Georgia Hubley with a jagged edge. Take 'Asking for It' (taken here from a 1992 Peel Session), whose righteous slam makes it a proto-riot-grrrl anthem. Not long after Okay?, Baum left, replaced by drummer Brendan O’Malley. Love Child’s sound evolved too, toward a dronier zone not far from the bubbling haze of then-nascent shoegazers like My Bloody Valentine and Slowdive. On their next album Witchcraft (Homestead, 1992), smart hooks stretched into deeper ruminations, without any loss of brashness. 'Stumbling Block' turned a riff into a minimalist mantra, while 'Wait and See' took two melodies–one sung by Licht, one by Odes–and weaved them into the band’s most hypnotic moment on record. Love Child didn’t last long past Witchcraft, though it's not 100% sure that they're fully done (Alan and Rebecca have been rumored to be playing together again). But until that comeback emerges, Never Meant To Be should satisfy fans and newcomers for a long time."—Marc Masters

The Loyal Cheaters are returning with their sophomore studio album 'And All Hell Broke Loose.' It’s more than just a collection of songs; it’s fuel against the fast-paced, love-deprived society we find ourselves in. Their raspy vocals and high-voltage guitars serve as a sonic rebellion, channeling the raw energy of punk souls that refuse to be silenced. Memories of the past mingle with a sense of uncertainty about the future, and they offer no answer for living in the present. Through their music, they challenge the status quo, daring to confront the harsh truths of our reality head-on.

Down the Street' is the latest EP from Seattle punks Lysol, following 2021's 'Soup for My Family'. The four piece lineup of Anthony Gaviria, Xtine Lundberg, Chad Ringo Bucklew, and Noah Earl Fowler waste no time on this EP, with all four tracks clocking in at two minutes or less. Perfectly executed hardcore punk with a touch of Pacific Northwest guitar rock in the mix. Lysol have yet again kicked down a steamroller of a record that matches their power as a live band.

Vinyl reissue of the first iconic, full-length classic HC record by M.D.C., originally dating from 1981. This edition is remastered, but features the original mix.

Limited edition for Black Friday RSD 2015!