Punk | Hardcore 404 Items

It's the year 2000 and the term "cuddly rock" needs to be reassessed. After the mega-success of the predecessor "13", a new album is on the way. So to warm up, they first recorded an ultra-German punk EP, "5, 6, 7, 8 - Bullenstaat". The genesis of the new album title can be described, but not explained. And: plush.

Under the fluffy cover, "Runter mit den Spendierhosen, Unsichtbarer!" turns out to be a cornucopia of hits, almost all of which still occupy a firm place in the not exactly slender-breasted canon of classics of the best band in the world almost a quarter of a century later and are way ahead of the zeitgeist. Because the ärzte are - surprise! - are extraordinarily diverse, especially when it comes to one topic: Sexual intercourse. There are all kinds of sexual intercourse, including more or less common problems that unfortunately complicate the fun between men, women and everything in between.

"You're even more annoying than Yoko Ono" has not only long since become everyday language, but even landed in the Guinness Book of Records for the short but painful video. "Sometimes Women Have" almost grows into a medium scandal because of the tangible topic, then becomes a radio hit - thanks to the even more tangible video - and ultimately shows an option for feminist self-empowerment. "Rock Rendezvous" is exceedingly F-word intensive and unrestrainedly funny. But BelaFarinRod are also in an extremely good mood in other respects, rhyme their heads off extensively even by their standards and are also totally rock.

die ärzte: Now with a lot of woo-hooing, onprangering, even more pop sex, a fatal lack of kohl and a very simple question: "Does the sun also shine for Nazis?"

"the Toms was originally released in 1979. The project of TOM Marolda, a New Jersey musician, he recorded the album in his home studio, playing all the instruments himself. In the years since its release, it's become a highly prized treasure amongst power pop fans around the world, at least those lucky enough to discover it. Beatlesque melodies abound on a record that sounds anything but lo-fi. Feel It Records is proud to re-release this long sought after gem with 12 bonus tracks that have never seen the light of day on vinyl before!"—John M. Borack, Author, Shake Some Action 2.0: An Updated Guide to the 200 Greatest Power Pop Albums.

"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

Repressed on 180 gram vinyl!

180 gram vinyl!

Maybe the best Deftones Album back in print!

There was plenty of genuine discontent in Britain at the tail end of the 1970s, and it had little to do with bin strikes or dark rumours about overflowing morgues. In the world of popular music, the most liberating after-effect of the Sex Pistols was that anyone with something to say now felt they could make a 7” single. “Winter Of Discontent” is the sound of truly DIY music, made by people who maybe hadn’t written a song until a day or two before they went into the studio. It’s spontaneous and genuinely free in a way the British music scene has rarely been before or since.

“Winter of Discontent” has been compiled by Saint Etienne’s Bob Stanley and Pete Wiggs, the latest in their highly acclaimed series of albums that includes “The Daisy Age”, “Fell From The Sun” and “English Weather” ("really compelling and immersive: it’s a pleasure to lose yourself in it" - Alexis Petridis, the Guardian). The era's bigger DIY names (Scritti Politti, TV Personalities, the Fall) and the lesser-known (Exhibit A, Digital Dinosaurs, Frankie’s Crew) are side by side on “Winter Of Discontent”. Mark Perry’s Sniffin’ Glue command – “Here’s one chord, here’s another, now start a band” – was amplified by the Mekons and the Raincoats, whose music shared a little of punk’s volume, speed and distortion, but all of its obliqueness and irreverence.

The discontent was with society as a whole. No subject matter was taboo: oppressive maleness (Scritti Politti); deluded Britishness (TV Personalities); gender stereotypes (Raincoats, Androids of Mu); nihilistic youth (Fatal Microbes); alcoholism (Thin Yoghurts); self-doubt and pacifism (Zounds). The band names (Thin Yoghurts!) and those of individual members (Andrew Lunchbox!) had enough daftness to avoid any accusations of solemnity.

“Winter Of Discontent” is the definitive compilation of the UK DIY scene, and a beacon in grim times.

Cobraside has an exclusive color variant (red and black galaxy) limited to 1500 copies! One of the most iconic albums of the 1980's underground American scene, 7seconds debut album The Crew, delivers 18 legendary songs in 20 minutes. This classic album became the soundtrack to the suburban youth of that era. It also propelled 7seconds into an international headline act, which at their peak drew 2,000 - 3,000 fans per show. Known for their positive and progressive lyrics, 7seconds also became one of the first in the genre to address racism, homophobia, and sexism with songs such as "Not Just Boys Fun", "Colourblind", and "I Have a Dream," which are all found on this album. "The Crew" also includes their hit "Young till I Die," a staple in their set from 1984 when "The Crew" was released until 2018, when the band officially disbanded. This masterpiece has been remastered by David Gardner from the original analog tapes. It has been repackaged as a gatefold featuring a beautiful 20-page full-color book on the oral history of the band from inception Through the making of The Crew. It includes insights from the likes of Ian MacKaye, Jello Biafra, Keith Morris, and many others, as well as unpublished flyers, photos, and other fun little trinkets. The original packaging, including labels, lyric sheet, and original colorways, has been reproduced in exact detail.

Reissue of the 90’s Hidden Gem originally released on the infamous “Rugger Bugger” Records, featuring Frankie Stubbs of Leatherface. The album is a complete Discography, of all things Jesse on a double album, one unreleased song and everything remastered for its release. “Stubbs seems on the verge of breakdown into sorrowful melancholy on a number of tracks, only with an air of odd defiance, as if he's hurting but knows he'll weather it. He inspires hard empathy instead of irritation. You look forward to Stubbs' lyrics and he never fails, particularly as one experiences them with that gut-wrenching sincerity clutched within that sandpaper-voiced howl.” – Jack Rabbid Remastered – Nigel Walton – The Edit Suite & Graeme Philliskirk Artwork – Cactus Vella