Punk | Hardcore 4406 Items

Anarcho Punk was the one sub-genre of Punk that emerged in isolation from the rock & roll establishment. During its pioneering days of the early 1980s it thrived in opposition to the music industry, existing as a fiercely underground alternative to the bands, labels and venues of the commercialised mainstream Punk scene. It continues to do so. Anarcho Punk represented one of the last truly underground and autonomous music movements ever witnessed and remains a movement that has never sold out and has never gone away.

The major differentiation between the Anarcho Punk acts and the more traditional Punk outfits was that for the former, albeit often more due to musical limitation than intent, the message was more important than the music. Standard song structures were often dispersed with in favour of a relentless lyrical polemic accompanied by a similarly uncompromising aural assault. As the scene grew, so did the diversity of records that emerged under the Anarcho Punk umbrella: from D & V (drums & vocals) to the proto-EBM synth-pop of Belfast’s one-man Hit Parade and the Dadaist Beefheart hybrid of The Cravats. In later days the two biggest acts of the scene, Flux of Pink Indians and Crass themselves, both released LPs which had more in common with improv Jazz than hardcore punk.

The resounding victory of Anarcho Punk is that it is now a the unifying soundtrack to a culture of resistance that spans Scotland to Indonesia and remains without compromise. It is still as removed from mainstream music and oppositional to conventional culture as it was over forty years ago and shows no sign of changing. Quite the opposite: the more popular Anarcho Punk becomes the less it has to engage with the music establishment and the more control it can enjoy. In 2023, that message remains as uncompromising as ever.

This is a double vinyl retrospective compilation of some of the most radical music ever made, a musical force that changed lives. Covering the years 1979 - 86 and including classic tracks from Crass, Poison Girls, Flux Of Pink Indians, The Mob, Zounds, Annie Anxiety, The Ex, ATV plus 10 more, all newly remastered by iconic Punk mastering engineer Daniel Husayn. It has been lovingly compiled by JD Twitch and Anarcho legend Chris Low and was ten years in the making. There are also a couple of previously unreleased mixes included. It comes as a high quality double vinyl pressing, and has a full colour sleeve with back and front images designed by the legendary Gee Vaucher. It also comes with a 6 page fold out poster on one side with detailed sleeve notes, recollections and essays on the other side.

The compilation is a fundraiser for Faslane Peace Camp. Not so far from Glasgow Faslane Naval Base is home to Britain's abhorrent Trident nuclear missiles. The camp has been there, protesting since 1982 and is still active to this day. We hope in our lifetime we will see those missiles leave Scottish soil. We have so much respect for those who have dedicated their lives to protesting these weapons and it seemed an obvious choice that the proceeds from this release should go to help them, and the Scottish Campaign for Nuclear Disarmament.

This is Fugazi's debut record, released in 1988.

Attn.: We did not receive this record in time for RSD, but we will get it this week.

The complete legendary 1993 MTV Unplugged performance, newly mixed from the original tapes and released for Record Store Day 2023 for the first time on vinyl. This double album features sixteen tracks, including four previously unrelease, non-broadcast performances.

On their seventh studio album, Deftones prove that they don't need to compromise aggression for ambition. Koi No Yokan ranges from brutal, blunt-force trauma ("Gauze") to epic prog-rock atmospherics ("Tempest"). Opener "Swerve City" sets the tone immediately with a bludgeoning riff, but Deftones also take nuanced approaches to angsty tension, weaving meticulously crafted cosmic rock on "Entombed" and wading through murky, jagged textures on "Rosemary."

Initially released in a deluxe vinyl-only edition (totally sold out), Soul Jazz Records' 'punk 45: I’m A Mess' is now being released in standard double album vinyl (and for the first time on CD). Soul Jazz Records’ long-lasting Punk 45 series are high-quality editions of early punk 45s. While previous editions have focused on the early days of punk in Los Angeles, Cleveland, Akron, France, and proto-punk, this new edition focuses on mainly do-it-yourself, or self-released 45s, all made in the UK in the early days of punk. While only a handful of Punk 45s were released in 1976, the following two years produced an avalanche of them. Aside from the few punk bands who signed to major labels, many of these singles were self-released private press 45s or independent label 45s. With limited distribution and access to the media, many of these sunk without trace and were lost in history. This album features many of these independent punk 45 gems, lost nuggets of gold from the sea of time! The bands featured here come from all across the United Kingdom. Here you will find The Drive, Scotland’s answer to the New York Dolls, Dansette Damage from Newcastle, Stormtrooper from the Isle of Wight and many more – a snapshot of some of the finest private-press 45s ever made. Other bands include Cybermen, The Exile, Neon as well as the early punk incarnations Johnny and The Self-Abusers (who later became Simple Minds) and The Killjoys (led by Kevin Rowland who later formed Dexy’s Midnight Runners). These are all one-off and super rare releases from bands that you have probably never heard of – totally hidden gems from the wastelands of the early days of punk! Totally in keeping with the spirit of the time, this is high-octane, righteously-independent – DIY or die!

Faith and Minor Threat broke up within months of each other in 1983. During 1983 and ‘84 there was a general malaise in the DC hardcore scene which saw a lot of the founding bands and scene makers move to the sidelines as shows became increasingly violent and the attitude became increasingly mainstream. In the summer of '85 there was renewed spirit, often referred to as "Revolution Summer," (ushered in by the Rites of Spring and members of a band that formed later called Fire Party). This "Revolution Summer" included a handful of bands who preferred smaller more intimate venues and focused on a more personal and introspective interpretation of punk rock. Embrace was part of this renewal. They were formed by ex-Minor Threat member IAN Mackaye and three of the former members of Faith. They played shows from the summer of 1985 until the Spring of 1986.

The classic split album of legendary DC hardcore, plus the side by THE Faith.

There's freedom to be found in consistency. Until recently, Juan Wauters may not have agreed with this statement. As a touring musician and multinational citizen, transience had always come naturally to him. Circumstance, however, recently prompted him to

1989 erschien die LP "Feeling B – Hea Hoa Hea Hoa…". In dieser Umbruchzeit standen die Verkaufschancen unter keinem guten Stern. Die Plattenläden versuchten alle AMIGA-Bestände für kleines Geld loszuwerden, um ab 01.07.1990 mit der Einführung der D-Mark ihre Regale mit Westprodukten vollzustellen. Das konnte die Band Feeling B nicht beindrucken – sie komponierten, produzieren, tourten unentwegt weiter und schon 1991 veröffentlichten sie ihr 2. Album "Wir kriegen euch alle" mit dem Klassiker von Yiri Korn "Ich such die Yvetta", den sie mit den ihnen eigenen Punk-Charm in die Zeile umtexteten "Ich such die D.D.R. und keiner weiß wo sie ist…".

For RSD 2023 it’s a first outing on vinyl for pioneering producer Dennis Bovell’s ‘Rough Mixes’* of the album, previously unearthed as part of the research for 2009’s anniversary CD Deluxe Edition of the album. As a standalone vinyl piece ‘Rough Cut’, then, presents an entire alternative version of ‘Cut’, plus the addition of the band’s startling cover of ‘I Heard It Through The Grapevine’. For this incarnation of ‘Cut’ Slits guitarist Viv Albertine advised on a new alternate treatment for the sleeve and, for the inner bang’s sleeve notes, has donated a new Q&A essay reflecting on the album’s recording, The Slits’ uncompromising musical ethos, and their place in history as post-punk’s premiere female musical revolutionaries. ‘Rough Cut’ makes for both a fascinating listen and a fascinating read. *Note: as no Rough Mix of ‘Spend, Spend, Spend’ exists in the Island Records archive, ‘Rough Cut’ instead places the band’s original 8-track demo instead.

IDLES – bristol's punk quintet glorified by all the press – release their new album on August 31 on Partisan. On the 12 songs that make up "Joy as an Act of Resistance ." we find Joe Talbot and his acolytes who once again deliver a powerful, electric and effective record. Produced by Space and mixed by Adam Greenspan and Nick Launay (Arcade Fire, Yeah Yeah Yeahs, Kate Bush). "Joyas an Act of Resistance."puts into yoke everything related to machismo, nationalism, immigration, and class inequality all with a contagious and natural positive energy.

Received a perfect 10 Best New Reissue rating from Pitchfork. Bikini Kill Records is excited to reissue of The Singles, on both vinyl and compact disc. This is the first time that it has been released as a 12-inch (special note for all you vinyl fanatics, we managed to keep it at 45rpm for better sound quality)! The Singles was initially released in 1998 as a CD only compilation of all of Bikini KILL's 7”s. Once called "their defining document" by Pitchfork it includes Bikini Kill's legendary collaboration with Joan Jett on the New Radio (1993) single as well as the long out of print Anti Pleasure Dissertation (1995) and I Like Fucking (1995) singles.

The Demos and Alternative Mixes from one of the most important and groundbreaking British albums of all time, 1979’s Cut, by The Slits.

Drain – the Santa Cruz, CA based hardcore band, whose energetic live shows have propelled them to peak underground popularity (during a global pandemic) and they are ready to break wide open in 2023. Living Proof is the band’s Epitaph Records debut and follow up to their 2020 breakout release, California Cursed. The new album is a testament to the hard work and heartfelt ethos that’s at the center of Drain’s good-time psyche. There are a couple surprises on the album. Rapper Shakewell appears on the track, “Intermission”. There’s also a cover of “Good, Good Things,” a nearly four-decade old melodic punk carol by the Descendents: slam-pit forebearers to Drain if there ever were any. “It’s crazy because the song’s been out like forty years, but lyrically it’s a Drain song!” exclaims vocalist Sam Ciaramitaro. “It just hits on everything that I love, that I’m about.” What Sammy’s about is plenty wholesome. “I hope with this record that when someone hears it, it gives them hope,” beams. “If we were able to get through the tough times, anyone can. I can’t wait to play these songs and hear a room full of people singing back to us. We’re what the title says, the Living Proof.” Produced by longtime friend and multi-instrumentalist Taylor Young (God’s Hate, Suicide Silence), then mixed by John Markson (Drug Church, Koyo), this is hardcore for everybody. “As the band gets bigger, I try and keep that feeling alive,” says the smiling singer. “Every night I set up the merch and run it until it’s time to play. I want to be the guy that everyone says hello to. I want to thank every single kid that comes out for being there.”

Improving on their very fine, self-titled debut album, Sing Sing Death House, is battle-scarred and resolute, but Brody's tough voice is more expressive than your average punker's and especially affecting when she flaunts the full range of her throaty snarl. On "Seneca Falls," an appreciation of the women's suffrage movement set to chugging guitars and a thumpity-thump bass, there's an exceptional, goosebump-inducing though unintelligible chorus, which soars above the music because of the emotional quality of Brody's howl. Otherwise, the music is quite stirring, coming from a gang of gutter-punks with lip piercings. New colored vinyl pressing to celebrate the 20th anniversary of the band's iconic album!

Spanning some eight albums and multiple line-ups, "All Ages" contains the very best of Bad Religion"s Epitaph years. It includes live versions of "Do What You Want" and "Fuck Armageddon..." with artwork that is culled from original show flyers! The lyrics sheets are also the original hand-written versions; some of which were scribed on bedroom walls!

20 Jahre nach der Originalveröffentlichung ist das Album wieder auf Vinyl zu haben! "Männer, Bomben, Satelliten" wurde 2003 zum achtzehnten Geburtstag der Wattenscheider Band als sechstes reguläres Album veröffentlicht. Zwar volljährig geworden, verblüffte die Band mit den verbesserten Gehirnen weiterhin mit spätpubertären Schlüpfrigkeiten gegen den guten Geschmack. Das musikalische Spektrum dieses Klassikers reicht jedoch weit über Punk hinaus und enthält Ausflüge in Jazz, Chanson, Country sowie Heavy Metal. Dazu neodadaistisches und Kabaretteinlagen. Die kulturelle Bedeutung der Kassierer festigte sich mit diesem Gesamtkunstwerk.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

With this album a fuse was lit, leading to an explosion that spawned a new religion: Bad Religion. How Could Hell Be Any Worse?, their second record and first LP is nothing short of genius. Shattered-glass guitar riffs, fast, furious drums, and a 16 year old Greg Graffin"s voice for the ages. The coalescence of lyrical intellect and savage music make for a sound seldom (if ever) heard before. The impact of this record still resonates to this day. Classic tracks like "Fuck Armageddon...This Is Hell," "American Dream," and "The Voice Of God Is Government" are as crucial and socially lucid as the day they were created in a southern California garage. When the greatest punk records of all-time are discussed, How Could Hell Be Any Worse? is sure to be mentioned. Reissued on clear & black marble vinyl to celebrate the 40th anniversary!

"No Control" is one of the albums that helped bridge the band"s more reckless earlier direction with their more focused (but just as pissed-off) "90s-era. The strength of such cuts as "Big Bang," "Automatic Man," the title track, and "I Want to Conquer the World." No Control is one of the bands best all-time albums and an archetypal blueprint for the genre.

Im vielfältigen Spektrum der DT64-Musikformate hat sich der engagierte Lutz Schramm durchgesetzt, um "Parocktikum" als eigenständige Musiksendung für alle Fans von Indie und Hardrock zu etablieren. Die Songs dieser irrwitzigen Szene sind auf der LP gleichen Namens festgehalten – auch mit dem OriginalBooklet-Text von Lutz Schramm, der nachdrücklich betont, dass diese LP eine "Momentaufnahme" der 2. Hälfte der 1980er-Jahre der verschiedenen Bands ist und aus dieser LP eigentlich eine Reihe entstehen sollte. Mehr wollen wir an dieser Stelle nicht verraten, vielleicht kommt hier noch mehr… Mit der Reihe "Kleeblatt" hat Amiga ein LP-Format etabliert, auf dem die Sturm- und Drang-Ära junger Musiker der verschiedensten Genres zu hören sind. Auf dieser LP die ersten Gehversuche der sogenannten "anderen Bands" mit Hard Pop, Feeling B, Sandow und Wk13.

During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch’s shouted lyrics matched by her non-conventional use of electric guitar. The group’s self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it’s an awesome disc that rebuffs punk’s easy cliches and refuses to be categorized. This reissue also includes the ‘Pre’ EP and the tracks from the legendary No New York compilation. Essential!

THE Vacant LOT are a first wave punk band from Canberra that released one lone EP in 1981 on the Thought Criminals’ label, Doublethink Records. They played a few gigs and broke up shortly after. What they left behind was a bit of a head scratcher for most with two songs of rough and tumble KBD / MurderPunk / proto-hardcore and two songs of pulsing, keyboard driven post-punk in the Wire Chairs Missing vein that once sold out, sort of faded into obscurity. Now with a 2022 remaster from Mikey Young and a renewed vigor for creative activity since 2014, Living Underground finally gets the proper reissue treatment. Faithfully and lovingly recreated to be exactly the same as the elusive original issue.

limited edition single on randomly shipped Colored Vinyl. 300 copies on pink and 300 copies on clear vinyl, shipped randomly.1977. The band had been together for a few months, and we had some songs roughly worked out. I had managed to arrange a meeting with Miles Copeland (manager of the Police), and he wanted us to bring a demo tape. We didn't have much money, but I found a very cheap studio in Hayes in Middlesex, which we booked for two hours.At that point I didn't have my own amp but the man at the studio said not to worry because he had a great Fender amp which was all set up and ready to go. The studio was a very small, converted building in a back garden, it was a tight fit, and the Fender amp was actually a miniscule combo amp, with a very clean sound. It was a million miles from the overdriven noise I was looking for. Also, there was no proper headphone mix and I had to play guitar in the tiny "control room" to avoid sound spillage. This meant I could only vaguely hear the rest of the band.We quickly ran through our three songs. The man thought we were playing so fast because we were nervous, he wasn't aware of punk rock yet. I told him it was meant to be like that. All three songs were recorded and mixed within the two hours.The following week myself and Esso took the tube up to Oxford Street for our meeting with Miles Copeland. He had a good listen to the three songs and appeared unshocked. He was well aware that punk was "happening" so he was friendly and took us seriously. He was mainly interested in what our ambitions for the band were, we should have said "we wanna be worldwide stars," or something like that but we didn't.

Great classic UK punk, originally released on Link records in 1992, for the first time on vinyl. Recorded in various locations in 1981. Limited edition on color vinyl, comes complete with a Poster for an exclusive photo by Ray Stevenson and OBI strip. Limited to 500 copies for RSD 2023.

‘Mellifluous’... is a word you won’t hear much when conversation turns to early Pooh Sticks records. But ‘noise pollution’, sure: that comes up. I’ve even used it myself. So look away now if you must: ‘Straight Up: Noise Pollution C88-90’ is a selection of some of the most loved/despised/ignored tracks released by The Pooh Sticks on however many records it was before it all went wilfully ‘American’ sometime around dotted-lining for BMG mega-corp in 1991.

Lobsterbomb announce the release of their debut album "Look Out" for 21st July 2023 via Duchess Box Records. Formed in Berlin, via an instagram notice board "We Formed A Band" set up by the band Gurr, Lobsterbomb had no idea at the time it would lead to them signing to the label that discovered Gurr, Duchess Box Records. The Trio Nico Rosch, Vik Chi and Crayon Jones all immigrated to Berlin looking for the same escape and lust from the places they had left behind. After connecting with eachother during the pandemic of 2020 they started writing songs drawing on their environment, fears and frustrations of the time but had an desire for seizing the moment and making the world their own, a feeling they still have today.. "I have a bit of an obsession with a band from Germany called Lobsterbomb, I think they are magnificent" says legendary Duran Duran frontman Simon Le Bon on his American radio show on Sirius XM.

One-off collectors pressing bespoke 500 copies Only! Comes in fold out paper sleeve and specially silk-screened Punk 45 outer sleeve! Superb exact reproduction of the debut (and only) punk single by Johnny and The Self Abusers originally released on Chiswick Records in 1977. In classic punk style, the band split-up two weeks after this hi-octane debut only to start a new band called Simple Minds. Johnny and The Self Abusers" "Saints and Sinners" features on Soul Jazz Records" Punk 45 "I"m A Mess".

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 city of Santa Cruz, CA, is known for its boardwalk, hippie university, and The Lost Boys movie, drawing tourists and students from all over the globe, driving up the cost of living and pushing out long-lived independent businesses. Within Santa Cruz locals lies a distinct resentment, an attitude that one only gains when being pushed to the margins within their own world. Drain is the musical manifestation of this resentment and frustration. The same feelings that have been expressed over the decades by local legends Bl’ast! and later Good Riddance.

From the very beginning, Turning Point was unique and not what you’d expect from a hardcore band. They expanded on the sounds of bands like Youth OF Today and Chain OF Strength, and brought in more melody while taking inspiration from 7 Seconds to push more emotion in their lyrics. Their impact was immediate. Originally released in 1990 on hardcore powerhouse NEW AGE Records, It’s Always Darkest… Before The Dawn, would be Turning Point’s only full-length. While the band only existed for a very short time, over 30 years later, its influence is still being felt. Revelation Records is proud to bring back It’s Always Darkest… in its original, stand-alone form as the third installment of reissuing the band’s out-of-print catalog

THE Transplants are Tim Armstrong (Rancid), Travis Barker (Blink 182) and Rob Aston. Their sound is a highly original mix of stylistic influences that never strays too far from the home base of Punk Rock while managing to incorporate such disparate elements as blistering Hardcore Guitars, Hip-Hop and Dance Hall beats, Rap rhymes, and an overall un-wavering dedication to the spirit of Rock "N" Roll. Newly reissued on Blueberry vinyl to celebrate the 20th anniversary of their debut album.

Limited double-LP version of the 2008 CD originally issued on Load, compiling the best live and studio recordings by the final iteration of this group. "60 second bursts of chaotic rock 'n' roll that barbarize whole histories of freakout style, from free jazz through classic hardcore, boogie, blues, Black Flag, Germs, most explicitly through Beefheart, but all hyper-condensed into ultra-kranky riffs that Orcutt plays at hallucinatory speed, compressing Zoot Horn Rollo style avant confusion into lighting runs and metallic two note knock-outs. Hoyos's style is so primitive that it's wildly avantgarde, with an instinctive feel for time that confounds the most advanced improvisatory strategies with the most hysterical. And her vocals are post-Yoko in the truest sense, not directly informed by her but sharing the same spontaneous energy and a-musical appeal, sometimes breaking from songs completely to expand on barely articulated vocal rants and fever pitched bouts of screaming. The whole group existed in a zone that was constantly beyond technique. The arc of their career was perfect, the mission truly accomplished, and all that's left is this amazing series of recordings, a body of work that has had a disproportionate effect on the minds, if rarely the actual sound of the underground."—David Keenan , The Wire, December 2008

Emotional Rescue returns to what it does best by unearthing musical gems of the British post punk scene with a double pack compilation of Bristol's short lived Recreational Records. Teaming up with Bristol Archive Records, 10 songs are remastered, reissued and cut loud for DJs and collectors. What is most striking is, although created in the space of just two years, with a disparate collection of artists, musicians and producers coming together, the music holds a considerable cohesive sound. Set up in 1981 by Bristol based shop, Revolver Records, Recreational was formed as an independent label with its own distribution, as part of the co-operative, Cartel. The label was a natural progression from the shop's punk's DIY aesthetic, acting as a hang out and inspiration for local artists from Mark Stewart to later staff member, Daddy G. 'Get It Right' starts with a one-off project in Scream + Dance, who similarly, alongside local bands Glaxo Babies, Maximum Joy and Rip Rig & Panic, explored post-punk with funk and jazz all underpinned with heavy tribal and dub influenced rhythms. 'In Rhythm', with its infectious groove, acts as a call to arms for the compilation, coming in two parts, the latter dropping away to explore the links with dub. Next is possibly the label's biggest band in Talisman, going on to be active up to today, their release 'Run Come Girl / Wicked Dem' are both featured in long 12" mixes that explore the classic 'discomix' of vocal and dub in longform. Animal Magic lead with the pack's title, 'Get It Right' a short-driven punk funk burst that captures the label's sound to perfection. However, much of the compilation is given over to the more experimental side of the bands, with a high percentage the B sides where they headed to the mixing desk for echo chambered dub inspired versions. X-Certs' 'Untogether; Electric Guitars' 'Don't Wake The Baby' and Animal Magic's 'Trash The Blad' are culled from the flips of various 7" singles and all are a fusion of percussive rhythms, studio trickery and dub inspired techniques, played out against the "Do it Yourself" aesthetic of the time. To complete is London based, soukous, kwela and afrobeat inspired collective, Ivory Coasters' 'Mungaka Makossa' and two rhythmic curveballs by Scream + Dance in 'Giocometti Wicked Mix)' and their riotous (and short) closer, 'In Pink & Black'. "Get it right this time, get it right!".

Gorilla Biscuits' "Start Today" is one of the most influential records in hardcore. Hailing from NYC, Gorilla Biscuits carved a niche within the NY hardcore scene. Blending the aggression and energy of bands like Agnostic Front with a sense of melody likened to Dag Nasty, Gorilla Biscuits still stands as a unique reference point for many hardcore bands that have come after them.

2. Auflage mit neuem Cover., aber gleicher Musik.

The flourishing Eastern European post-punk scene has given way to a boom of dark, rhythmic, and powerful new activity. One of the most original and captivating artists to recently emerge from this scene is Kiev, Ukraine's Morwan. The solo project of Alex Ashtaui, Morwan evolved from an earlier post-punk project, 563 (Pyat'shest'tri). Searching for a new direction, Ashtaui circled back to his half-Ukrainian, half-Arab roots, arriving at the perfect crossroads - a sonic aesthetic informed by both ethic tradition and the familiar territory of dark, driving post-punk. Ashtaui cites additional influence from contemporary Russian groups Utro and Shortparis, as well as the industrial/experimental sounds of Swans.
Zola-Zemlya, Morwan's second release, is an exceptionally original piece of work. It is an album that reaches to the furthest corners of post-punk, further revealing a deep connection to the ethnic sounds of both Arabic and Slavic tradition. There is a profound reverence for nature in Morwan's lyrics - as Ashtaui best explains, "The nature in songs acts as a fundamental force, a given from which you cannot escape. With the help of metaphors associated specifically with nature I tell about some of my personal experiences and stories." Zola-Zemlya is equal parts primitive and contemporary, as traditional Middle Eastern instrumentation and structures are woven through driving, modern post-punk rhythms. Morwan's genius shines across all five tracks, a sound both genre-expansive and futuristic.

The first vinyl pressing of Zola-Zemlya is packaged inside a full color jacket with lyric insert & download code and comes shrinkwrapped with a hype sticker.

Back in print!

Limited edition for Record Store Day 2016!

Reissue of a great Skate Punk classic.

Limited edition for Black Friday RSD 2015! Red, White & Black Colored Vinyl, limited to 5000

"No Control" is one of the albums that helped bridge the band"s more reckless earlier direction with their more focused (but just as pissed-off) "90s-era. The strength of such cuts as "Big Bang," "Automatic Man," the title track, and "I Want to Conquer the World." No Control is one of the bands best all-time albums and an archetypal blueprint for the genre.

CALLING ALL BULLSHITTERS. Crass Records have remastered the infamous ‘Bullshit Detector’ series in all its glorious entirety.

First time reissue of the yellow cover variant! French anarcho-punks Berurier Noir formed in Paris in 1983, intended to implode after one sole gig, but this intense mask-wearing duo, featuring Loran on guitar, François on vocals and a drum machine named De’de’ caused pandemonium live, leading to distinctive LPs. Debut album Macadam Massacre captures the group at their rawest, their non-conformist format and confrontational lyrics chronicling the squats and HLMs on the peripheries of French society. Deliciously dark and with jagged edges galore, it will appeal to the band’s cult followers and all those interested in cutting-edge European punk and post-punk. Includes original poster replica and lyrics sheet.

Originally released by Hopeless Records in 2006, now remixed and remastered with love by Jeff Dean (the Bomb). Jeff truly ripped the lid off this record and brought a newfound clarity and immediacy! To all those who loved these songs already, allow us to reintroduce you. Includes a bonus song and shiny updated artwork by Sergie Loobkoff. Colored vinyl; includes download code.

"Against The Grain" is screechingly released hot on the heels of the previous years punk hit `No Control" which sold so many copies, why not keep the formula untouched? The exuberance of this release is kinda tuff ta" blow off. Contains the superior original version of "21st Century Digital Boy" plus 16 more crucial cuts. A barrage of melodic, hyper-overdrive.

After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true No Wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale’s drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam’s dense layers were designed to provoke and inflame; listen closely to fully decode.

On Unknown Road, Pennywise steps up their songwriting, maintains all their fury and intensity, and lays out their philosophy of independence and the importance of daring to live every moment to its fullest. This album features a number of songs that played on tons of skate, surf and snowboarding videos, making this, and other PW records to come, the soundtrack to the exploding extreme sports board scene. Featuring such Pennywise classics as “Homesick,” “Unknown Road,” “It’s Up To Me,” and “You Can Demand,” Unknown Road is arguably the quintessential So Cal hardcore record of the ‘90s. Reissued on limited edition Sunset Boulevard vinyl to celebrate the album’s 30th anniversary!