Punk | Hardcore 127 Items

"Before I made my home in & became Tanzania's #1 acknowledged periodontist, I was a busking girl throughout the UK. From early 1978 until the mid 80's I squatted everywhere; Glasgow, Cardiff, Manchester, Hastings & finally London. Music was our currency-mostly crude folk, DIY punk or amateurish, Klaus Schulze inspired synthesizer buzzings echoed off the walls wherever I chose to lay my hat. Admirers of records from this time know all too well that many compilations-mostly regional-flooded Britannia in those lean years, perhaps my favorite being one entitled Scaling Triangles. It was the first female forward collection I'd come across; three women artists, each tracking three songs. Only The Petticoats I was familiar with as she'd released a 7" ep on her own. The other two-Sole Sister, Sub Verse-seem to start & end here (Sub Verse contributes a track to the 'Compilation 1' lp on Starforce Studios-4th Wall ed). And as such, it is a diverse panorama of 'Le Beau Sexe' flexing wooly muscles. If this is from a particular scene I cannot say, but if you want taunt (Sub Verse), aggro (Petticoats) & free (Sole Sister) moving tracks, look no further. Fans of Young Marble Giants, The Flowers, Udder Milk Decay could do worse. Thank you Johan Klemp, it is so great to hear these songs so many years later. Now reissued on Tanzania's #1 recording label! And don't forget to brush your gums!"—Bupi Ramadhani (Tanzania's #1 acknowledged periodontist, Esnan Dental Center, Dar Es Salaam)

Hypnotics were one of those amazing early 80s hardcore-punk bands from Long Beach, California who expertly channeled the guitar sounds of bands like Tsol and Angry Samoans and melded this buzzsaw sound with snotty, offensive lyrics. This reissue of their 1982 LP is not for the faint or the politically correct. Includes a 4-page booklet and "Filth" hype sticker on the polybag.

Svart Records presents the 40th anniversary reissue of Peilitalossa by Musta Paraati. The vinyl edition, limited to 500 copies, is wrapped in a replica of the original cover layout and contains a booklet with accompanying text and rare photos. The Svart Records store has an exclusive clear/purple/turquoise marble vinyl version, limited to 150 copies, that also comes with a repro of the original promo poster from 1983.

Peilitalossa is the most important classic gothic rock album to come out of Finland. Musta Paraati began in 1981 and were soon signed by Johanna Kustannus, who released the album, produced by Jimi Sumén and recorded by Risto Hemmi at Finnvox, in 1983. After Musta Paraati split up in 1984, Peilitalossa evolved into one of the most loved cult albums in Finland. It has been reissued on CD in 2001 and in an earlier vinyl edition by Svart in 2012.

Released 20 years ago yet still retaining much of its Oi! impact intact, the debut album and last before a split that would last a number of years by No Future luminaries, Sunderland’s Red Alert is a lesser-known classic in punk history. The locomotive chug and chant of unification in We’ve Got The Power, the metallic burn of Crisis, the acoustic-driven, kitchen-sink bristle of Industrial Slide or the caustic, hypnotic stomp of Rebels in Society exploding with fierce, powder keg intensity. With that in mind, and now pressed on color vinyl, as a prescient feature of not just English culture, but a culture that cuts deep, that stretches far, the art of brutality still lingers loud and clear.

40 YEAR VETERANS OF THE CALI PUNK SCENE WHO ARE STILL TOURING TO THIS DAY. THIS ALBUM IS RESPONSIBLE FOR PUTTING THEM ON THE PUNK-ROCK MAP, A RAW AND RAGING CLASSIC.

No Atlanta punk record from the 1980s creates such a lather as the debut single by DDT (except maybe Neon Christ's single, but I digress). Self released in 1983, merely finding a copy would put you into serious debt. That is, until now. Audio was restored by Jason NeSmith at Chase Park from a spotless copy of the record given to Chunklet by Joe Perry who recorded the single at his Bombay Studios in Smyrna. Never before reissued until right now. Get in on the ground floor of Atlanta's punk scene from 40 years ago

Official reissue. Black vinyl. Includes a memorabilia insert and an A2 poster.

Dead Kennedy's 'Give Me Convienience' Available Again On Vinyl!Give Me Convenience Or Give Me Death (Stylized As Give Me Convenience Or Give Me Death) Is A Compilation Album By The American Hardcore Punk Band Dead Kennedys. It Was Released In June 1987 Through Front Man Jello Biafra's Record Label

Re-issue of Naked Raygun's - Jettison on Transparent RED Vinyl! Naked Raygun's finest work came at a pivotal point in hardcore's nadir, and Chicago's finest did not disappoint with Jettison! The band is tightly wound, and whether they're ploughing straight ahead or experimenting with groove, Naked Raygun fill the air with grit and texture. Jettison is their masterpiece.

"Quickness" is the fourth full-length studio album by Bad Brains, originally released by Caroline Records in 1989. At the time of it's release, it was the band's best selling album and also landed them a featured MTV music video for the opening track, "Soul Craft." This reissue marks the fifth release in the remaster campaign, re-launching the Bad Brains Records label imprint. In coordination with the band, Org Music has overseen the restoration and remastering of the iconic Bad Brains' recordings. The audio was mastered by Dave Gardner at Infrasonic Mastering and pressed at Furnace Record Pressing.

Face To Face celebrates 25 years as a band this year. For their silver anniversary, they are reissuing their first 3 records, including bonus tracks from each original recording session. All 3 have also been remastered and boast enhanced artwork that incorporates silver details to denote the 25th anniversary. These deluxe re-releases are the perfect nod to 3 absolutely classic albums that not only cemented Face To Face's place among the punk rock elite, but influenced legions of fans and helped to define the genre.

Lyburnum Wits End Liberation Fly was the one and only full-length album by experimental post-punk innovators, Moss Icon . Recorded in 1988, Lyburnum would not be released until 1993 - several years after Moss Icon 's demise. Originally released on Vermiforn - the esoteric noise label founded by Sam McPheeters of Born Against - the vision that Moss Icon 's Tonie Joy had for Lyburnum failed to manifest in its finished product. Of the process of preparing Lyburnum for its eventual release, Joy recalls, "My creative mind was well into its next chapter, onto an apocalyptic order [referring to Joy's post- Moss Icon band, Universal Order of Armageddon ]. Getting Lyburnum to look like what I envisioned in my mind became an uphill battle that involved misplaced photos, misunderstood instructions by the printer, increasing apathy, and lack of advanced printing knowledge (on my part), amongst many other technical and creative issues. With a deadline near it ended up being an it-is-what-it-is situation. Some corrections were attempted for the second pressing the following year, but a further lack of coordination between various parties saw it losing even more of the original vision." Despite these challenges and shortcomings, Lyburnum Wits End Liberation was instantly cherished as a feral masterpiece - a singular entity that would become a defining influence on post-hardcore and emo in the 1990s and beyond. Nothing before sounded like this, and nothing since has quite captured the same mysterious fury. Now, finally, Moss Icon 's seminal Lyburnum Wits End Liberation Fly LP will be released exactly as it was always intended to look, sound, and feel. The artwork has been fully restored, and includes previously unpublished photos that were inadvertently missing from the original release. Brilliantly remastered by Alan Douches at West West Side Music, the vinyl has been newly cut by Bob Weston at Chicago Mastering Service, and pressed onto audiophile-grade vinyl at Record Technology Inc.

The Complete Blitz Singles Collection, a compilation of songs by Blitz on clear vinyl!

The fourth record from each of these bands, so make it a split one. Floridian hardcore in the vein of angry and aggressive.

Re-release of John Joseph's (ex-Cro Mags) Both Worlds “Memory Rendered Visible”. Originally released on Roadrunner in 1998, this releases includes the “Beyond Zero Gravity” EP and is lovingly remastered at Maverick Studios.

By combining the Mags' unrefined, pissed-off sound with a state-of-the-art production on "Memory Rendered Visible", and the time may just be right for this new band. The songs have an energized, raucous sound throughout, often fooling the listener into believing that the band is about to veer off course, which surprisingly never happens. Kicking things off with the Quicksand-sounding 'Cornered', Both Worlds pummels the listener with a barrage of heavy, discordant guitar riffs (courtesy of guitarist A.J. Novello), but then take an unexpected melodic turn on 'Hate Mantra'. The band keeps indulgence to an absolute minimum, as they bash and grind through such highlights as 'Space Junkies', 'Mode of Ignorance', 'Karma Inc.', and 'Inner Outlet'. Joseph has said that Both Worlds' material requires more thought for the listener, while the Cro-Mags were more about straightforward bashing. After hearing "Memory Rendered Visible", chances are you'll undoubtedly agree.

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 legendary, influential, celebrated and inarguably smallest release by I Hate Myself. First pressing in twenty-four years housed in pocket sleeves from the original source artwork and pressed on limited edition glow-in-the-dark vinyl.

For all who missed the boat with the final pressing of Reinventing Axl Rose some time ago, the vessel is coming back around!

A remastered version of the very first Screaming Females album, originally self-recorded and self-released in 2006. Includes such hit singles as “Dinosaurs,” “Baby Jesus” and “Foul Mouth.” An instant classic.

Deluxe vinyl reissue of The Meteors' 2009 album!

Maybe the best Deftones Album back in print!

Deluxe vinyl reissue of The Meteors' 2012album!

No Use For A Name were one of the first bands on Fat Wreck Chords and remain a cornerstone of the label roster. Their unique take on California punk emphasized equally innovative and catchy melody, paired with top-flight musicianship. Of course, a lot of what made this possible was the vocal range and imaginative song writing of TONY SLY. Despite his tragic passing in 2012 Tony’s presence can still be felt today, as his influence is evident in the work of many other artists. Over the course of their more than 20 year career, No Use For A Name amassed an impressive catalog of albums packed with hit songs. In 2007 NUFAN compiled a “best of” collection from their material up to that point. In order to encapsulate the true life of the band from start to finish, All the Best Songs has been thoughtfully updated. Now including songs from their resurgent and critically acclaimed release Feel Good Record of the Year, as well as new artwork, All the Best Songs is a definitive collection. It’s truly a perfect album for new and old fans alike. The reissue also marks the first time All the Best Songs is available on vinyl, which will have collectors in a frenzy.

This LP is a collection of songs released on various EP and split records. France’s Syndrome 81 started gaining momentum in the punk scene with their 2013 demo tape, drawing comparisons to the plethora of great bands that defined the French Oi sound of the 1980s with a heavy stomp culled from classic Ushc. The band has progressed since then, and the sound is more diverse but also more defined, having filed off some of the American influences and moved in a darker, distinctly French direction that is both melancholy and anthemic, with lyrics being influenced by growing up in Brest, France. The band comes from this dark place and write songs about their personal struggles growing up and growing old. These are songs about watching your friends lose sight and move on while you question why you are still here, haunted by your past and having to look your former self in the eye while you apologize for who you’ve become. These are songs about trudging through a desert you built yourself. 18 songs in all.

New York City hardcore legends Sick Of It All aren’t slowing down with age; the long-standing quartet are still pissed off & have plenty to say, and remain a beacon of continuity, integrity, and resolve. Since forming in 1986, Sick Of It All have traveled the world many times over, played in front of hundreds of thousands, and released 11 acclaimed full-length albums. Their latest Wake the Sleeping Dragon! is both riotous and anthemic.

5 years after its ghostly original release and facing its last tour to take place in June I cannot be more proud to be able to reissue the debut LP of the Colombian band Primer Regimen. Uk82 punk in its purest form and capturing the essence of the British bands of the 80s as few bands have known and been able to do throughout the subsequent decades. Taking Charged GBH, Crux, Ultraviolent or even the first single from Blitz in equal parts, 7 songs and a cover of Dead Wretched + a bonus track closing a practically perfect LP and again within the reach of those who did not have the option of getting hold of it at the time. Limited to 300 copies only!

20 years ago DISCLOSE released their response to the greatest hardcore 12" ever released: DISCHARGE's Why. At the time the band was at the peak of their DISCHARGE era and had perfectly crafted a trademark sound, which shows through on the recording. The chainsaw-sounding double-toned guitar, Kawakami's unmistakable vocals, and a rhythm section firmly based on the Stoke-On-Trent's beat melded together to create a repetitive mantra-like noise chant. Recorded at Grove Cargo and mastered at Studio D-Takt by Jan Jutila, the production is a perfect example of noise not music pressed into vinyl, with both high and low frequencies cutting through the mix without losing any power. Lyrically Nightmare Or Reality focuses on the tragic sights of war while aurally the record is a full-blown attack on all senses. D-Beat Raw Punk at its best. 20 years on and many times imitated but never duplicated. Originally released by MCR Company, this 20 year anniversary official reissue comes in a printed inner sleeve and heavy board outer sleeve.

Reissued on 10-inch vinyl, previously available as a long-out-of-print 12-inch in 1994. Features members of English bands Snugg and THE Wildhearts.

Since their formation in 1983, the BossToneS have been credited as one of the forefathers of ska punk and the creators of its subgenre, ska-core. With a career spanning over 30-years Boston's best dressed band has built and continued to build a devoted following with their unique brass-infused brand of punk rock. Here with their 11th studio album , When God Was Great , their first for Hellcat Records, produced by Tim Armstrong (of Rancid) and Ted Hutt (of Flogging Molly), and featuring guest artists from the many punk and ska bands that they have influenced. The Mighty Mighty BossToneS are vocalist Dicky Barrett, bassist Joe Gittleman, saxophonists Tim "Johnny Vegas" Burton and Leon Silva, Bosstone Ben Carr, drummer Joe Sirois, guitarists Nate Albert and Lawrence Katz, keyboardist John Goetchius, and trombonist Chris Rhodes.

Face TO Face are a rarity in the music world: A band that not only helped define a sound, but who continue to fine-tune their music with each subsequent release. This is undoubtedly true of the band’s tenth full-length No Way out but Through, a melodic-punk masterpiece teeming with blistering guitar riffs, fleetfingered basslines and vocal harmonies that are so infectious they’ll be rattling around your brain for weeks on end. Then again this should come as no surprise to anyone who has followed face to face’s 30-year history. While their sound is rooted in the West Coast punk genre they helped pioneer, No Way out but Through raises the sonic bar when it comes to songwriting, arranging and musicianship. This time around, singer/guitarist Trever Keith was able to get out of his proverbial comfort zone by renting a cabin near Malibu, California, and holed up with bassist Scott Shiflett as they transformed a collection of their respective demos and ideas into the polished recording you hear today. Production-wise, the band teamed up again with Juno Award winning producer Siegfried Meier and Davey Warsop (Foo Fighters, Green Day) and later was mixed and mastered by Jason Livermore at the legendary Blasting Room. The result is an album that’s sound quality mirrors its sonic weight and is the best-sounding face to face album to date.

Hailing from Los Angeles and coated in a layer of warbled analog glory comes the debut full length album from Smirk, the solo project helmed by Nick Vicario (Public Eye, Crisis Man). These 11 meticulously crafted tracks originally appeared on two small run cassettes in 2020 and have since been remastered at North London Bomb Factory and paired with fresh artwork from Smoking Room. A trebly & wiry punk sound comes into effect straight out of the gate, reminiscent of the early Dangerhouse Records singles as well as the “Bloodstains Across...” comps (to be more precise). But there's far more to Smirk —with great songwriting, precision, and instrumentation that seem to emanate from a past that never was, bursting any preconceived sub-genre bubbles from this reality and those parallel to it. ‘lp’ is a tour de force of bratty, pissed off punk energy.

At Last! a new vinyl edition of the three legendary "Punk and Disorderly" compilations originally released between 1982 and 1983. At the dawn of the Eighties the first volume arrived as a fiery statement from the heart of the British punk scene. Back in the day, the glorious early punk energy was still alive and in the meantime transforming through a wave of new bands coming up with fresh ideas and attitudes. Thanks to a great selection of both originators and newcomers, the whole explosive energy that was at the core of punk movement is perfectly captured throughout these three landmark compilations. An incredible roster of bands such as Vice Squad, Blitz, Chaos UK, Anti Nowhere League, Vibrators, Angelic Upstarts... all original British punk acts except the San Francisco based Dead Kennedys represented here with their seminal hit "Kill the Poor". This is fierce, loud and raw music caught in the midst of transition between punk rock and its next "hardcore" evolution. All three volumes feature brand new tracklists including bonus tracks not available in the first editions.

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.

Cool Misfits release. The back sleeve credits the live recordings as being from a show at DC Space on 2/31/1983 - but everyone knows February doesn't have 31 days in it, and the band has never played at DC Space. The live tracks on the B-side were actually recorded live at Michigan Union Ballroom in Ann Arbor, MI on 4/23/83.