Punk | Hardcore 127 Items

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.

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.

Picking up right where Dag Nasty era 1988 left off, comes Field Day. Peter Cortner (Dag Nasty vocalist) and Doug Carrion (Dag Nasty, Descendents bassist) haven't lost a beat on this, their second 12" release to date and now available widely to their U.S. fans. Melodic D.C. style hardcore at its finest. The Doc is amped up to have finally gotten this one out! For all those kooky-crazy-colored vinyl exclusives, get in touch with the crew at Cobraside or the Doc himself. ALL of their previous releases have sold out in less than a month, this one will too!

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

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.

Green Day is one of the most successful bands in the world and named best punk rock band of all time by Rolling Stone. Emerging in the early 90’s, influenced by the late 70’s British punk, the American trio took a more mainstream turn by incorporating catchy hooks and harmonies into their loud, energetic sound. They popularized punk rock in the US to the point of selling out stadiums, especially after the release of “Dookie” in 1994 which sold 15 million copies woldwide. The singles “Basket Case” and “When I Come Around” spent weeks on top of the the American modern rock charts. All the classics are present on this excellent live recording.

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.

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!

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.

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.

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!

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.

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

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.

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.

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.

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

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.

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.

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.

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.

Maybe the best Deftones Album back in print!

A couple years back here in Richmond, VA, a group known as Invertebrates emerged from the river sludge, dropping an absolutely scorching demo AND promo tape in conjunction with the pulverizing of many a gig audience fortunate enough to witness them. While the Inverts have stayed the course on the latter, continuing to belt out the hits in the live setting the hardcore punk faithful have been hungry for more, and folks, am I excited to let ya know the wait is over! Featuring a handful of tunes from those aforementioned tapes that many have surely worn out by now, Sick To Survive is ten tracks of perfectly executed "45 RPM on a 12" style hardcore punk"—meaning that while it doesn't overstay it's welcome you will be left with a few sonic rage induced lumps as a reminder of the time spent together. Truly a slab for those who love the genre yet refuse to allot time for any of the extra bullshit that comes in tow with it at this particular point of the dystopian nightmare we find ourselves in. Each record comes in a jacket with a huge fold out newsprint poster and insert, all of which were designed by singer Max Mattoon.

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

After several years of relentless travel up and down the West Coast circuit, Oakland’s Smokers has finally completed their blistering 15 song debut album The Rat That Gnawed the Rope. Inspired by favorite bands like The Stranglers, Minutemen, and early Replacements, Andy Asp (Nuisance, The Pattern), Cyrus Comisky (Black Fork, Drunk Horse), Jim Nastic (Talk is Poison, Year Future) and Omen Starr (St. James Infirmary) met up with lead engineer Phil Becker (Pins of Light) at San Francisco’s historic El Studio to put together the songs that became The Rat. The sessions progressed swiftly, and sonically define the band’s tough but thoughtful compositions. Highlight tracks include the driving ‘The Irish Tenor,’ ‘East of Oakland,’ and the reflective Covid-era song ‘The Strand.’ Fans of garage rock, East Bay punk, pub rock, and vintage street rock will find something here in this succinct, powerful collection. Smokers have played with The Avengers, Jawbreaker, Samiam, Subhumans, Murder City Devils and countless others.

Picking up where 2022’s “Seething” EP left off, “Threats” finds a reinvigorated Extortion further distilling their water tight stop/start anti-feedback power violence velocity to “communicate... something. actually, a LOT of something- too much panic, too much frustration, too much nausea, too much of everything.” The new EP is an absolute brain pummel that will leave you more destroyed than ever. Seriously, this band just keeps getting faster and tighter and more ferocious with no limit to what they can do. Extortion is a gift… just don’t look ‘em in the mouth. 600 on black 70gr vinyl housed in a 12pt custom die cut jacket with lyric insert included.

Recorded over the course of 1993-1994 in the band’s own "Acre" home studio, the Templars' debut full length, The Return Of Jacques De Molay, introduced the lo-fi DIY sound that would serve as the band's sonic signature over the coming decades. This decision was as pragmatic as it was artistic: the band having endured the loss of their previous master recordings to a failing studio/record label only a year prior. Determined to never again find themselves in that position, the Templars opted for self-recording, and the rest, as they say, is history. The Return Of Jacques De Molay has gone on to influence and inspire generations of Punk & Oi! bands worldwide. While the Templars debut album is held up as one of the the crown jewels of the band's discography, The Return Of Jacques De Molay, is something of a white whale among the fans of this very vinyl-orientated band. Outside of a few limited German pressings, The Return Of Jacques De Molay had previously only been available widely on CD—until now. TKO is proud to present the 30th Anniversary "Grandmaster" edition of The Return Of Jacques De Molay. Featuring painstakingly remastered audio, completely reworked packaging and the overall attention to detail that you've come to expect from TKO / Templecombe reissue collaborations, we can say without hesitation that this new versions presents The Return Of Jacques De Molay as it always should have been. Of course, the Templars lasting legacy arose from more than just the charm of their recordings. The Return Of Jacques De Molay crystalized the songwriting style established on the band's earlier EPs—A sound rooted in Oi! tradition, but unafraid to explore beyond that genre’s boundaries. Oi!’s familiar pro-labor / anti-bullshit approach is on full display, but songs like “The Sixties Are Over” show a willingness to go outside the lines with acoustic guitar and shockingly tuneful songwriting that few of their peers ever matched. Paired with the album's signature fuzz guitars, warmly saturated drums, and deft, melodic basslines, it’s clear why The Return Of Jacques De Molay continues to resonate after the last 30 years.

“The origin of this record is a weird one. In 2019, we had just returned from two long European tours when we decided to take a ‘little break’ from the road. You all know what happened next. That ‘little break’ turned into a couple of years and during that time Dane, our drummer, decided to quit the band and music in general (no hard feelings). Sean [Hoffman] and I had a discussion and thought about ending the band as a whole, but I knew I had to go out on my own terms. I had an ace in the hole, though. Jeff Murray, drummer from LA rippers The Shrine. I had been friends with Jeff and The Shrine’s founder, Josh Landau since our ‘Scavenger’ 7-inch came out, around 2012. We had run into them in Berlin a few months back and I knew they weren’t playing anymore. I called Josh first, ’cause asking a dude if you can take his drummer, is like asking your girlfriend’s dad if you can marry her. And Josh said ‘go for it.’ And Jeff was in.

“Honestly if he had said no, that would have been the end. I had written a ton of stuff since our last album but I had shelved most of it. I was trying too hard—basically. Eventually Sean, Jeff and I said, ‘Fuck it, let’s make a ‘Fake Live’ record—like Kiss or Slayer did. John Dwyer from Osees was opening his new studio, Discount Mirrors, and it seemed like the perfect place to record it. We settled on re-recording a bunch of old stuff while simultaneously demoing our new material, as the three of us were now starting to really get in the groove. The result is Strange Masters Vol. 1.

“These are not new songs. These are Zig Zags classics re-recorded with a ripping-ass band that’s old and angry and just wants to get on with it. We are already on to recording the next album of new songs. That one is coming soon, but in the meantime, enjoy this one…while you still can!” —Jed Maheu (guitars/vocals for Zig Zags)