Stardumb Vinyl, CD & Tape 23 Items

Over the past 20 years The Peawees from La Spezia, Italy became a household name in the European rock ‘n’ roll scene, with 5 albums and multiple 45’s under their belt, and having shared the stage with bands like The Sonics, The Dictators, Radio Birdman, The Damned, The Dwarves, and many others. Started, back in 1995, as a straight forward punk rock band, over the years the sound of The Peawees got richer and richer, influenced by garage rock, rhythm ‘n’ blues and more, but always recognizable as The Peawees within seconds, not in the last place thanks to their singer Hervé’s warm, soulful voice. In 2001 the band released their third album, ‘Dead End City’, which is considered a classic by fans all over the world. The album includes their ‘underground hit’ ‘Cause You Don’t Know Me’, which was covered half a dozen times by bands like Califorian punk rockers the Groovie Ghoulies and Swiss country band The Hero Brothers.

Mikey Erg's new 7” is chock full of classic pop punk along with a Beatles cover for good measure.

The Copyrights and Kepi Ghoulie both recorded a brand new tune as well as a cover of a song of each other. This is actually the first new music from The Copyrights since 2014 and Kepi recorded his songs together with Kevin and Allyson Seconds, so that's some bonus punk rock celebrities right there!

After two critically acclaimed solo albums, Geoff Palmer is back with his third full-length, this time coming with a surprising cover album. Ever since Screeching Weasel covered the self-titled Ramones debut, it became a tradition among punk rock bands to cover Ramones albums in their entirety. So far, Dee Dee King’s infamous 1989 rap album ’Standing In The Spotlight’ – hated by some, dearly loved by others – remained untouched, though. Until now! With the help of a bunch of friends (including Kurt Baker, Brad Marino, and Mass Giorgini), Geoff Palmer pays tribute to this piece of history by lovingly covering it, hopefully putting a spotlight on these songs to bring them to a new generation. Out on Dee Dee’s birthday, September 18th.

With another lockdown hitting London in November 2020, James Sullivan knew he had to do something to stay sane. “The year was a total car crash but I knew there was a way to save it. I set myself the challenge of writing 10 songs in 10 days and recording them – with no intention of anyone ever hearing it. It was a move away from writing songs for a touring live band – More Kicks. I wanted to make something based entirely on instinct – trying out new styles and not thinking about anything for longer than a few minutes. Write it, record it, move on.” (The fact you’re reading this of course proves things took a slightly different turn, but hey...) Light Years is a whistlestop tour of blitzed-out fuzz (‘Totally Bored’), paranoid drum machine twitches (‘Getaway’), stadium-sized reflections (‘In The End’) and lo-fi 60s pop nuggets (‘It Won’t Do You Harm’). Take lead single ‘Lea Bridge’, a Velvet Underground, Modern LOVERSstyle paranoid stomp which blends saturated guitars and a swirling organ with a spoken word account of a fatigued journey across town, breaking stride only to say: “All I wanna do is laze around and lie beside you.” “That song laid the foundations for the whole project,” James says. “I’m usually so obsessed with chasing melodies but this time I wanted to free myself completely and just speak directly. I’d been keeping a journal after having some CBT during a particularly rough patch last year. That was part of the advice they gave me – to try and track what was going on in my head. The lyrics for that song are lifted almost word for word from that diary.” The record was self-recorded on a half-broken Tascam 8-track. “This record is full of horrendous recording practices. You can hear saturation, tape reels whirling, me pressing stop too early. But none of that stuff sounds out of place. This record is the antithesis of overthinking. Everything is live takes on to tape from start to finish. How could I even overdub any ‘mistakes’? It’s just me in the room and I only have two hands.” Light Years may have been born of frustration, but showcases an endlessly productive musician – a snapshot of an innately melodic writer holding a microphone up to a beating heart and a restless mind. Definitely worth being heard by more people than just the musician himself.

With another lockdown hitting London in November 2020, James Sullivan knew he had to do something to stay sane. “The year was a total car crash but I knew there was a way to save it. I set myself the challenge of writing 10 songs in 10 days and recording them – with no intention of anyone ever hearing it. It was a move away from writing songs for a touring live band – More Kicks. I wanted to make something based entirely on instinct – trying out new styles and not thinking about anything for longer than a few minutes. Write it, record it, move on.” (The fact you’re reading this of course proves things took a slightly different turn, but hey...) Light Years is a whistlestop tour of blitzed-out fuzz (‘Totally Bored’), paranoid drum machine twitches (‘Getaway’), stadium-sized reflections (‘In The End’) and lo-fi 60s pop nuggets (‘It Won’t Do You Harm’). Take lead single ‘Lea Bridge’, a Velvet Underground, Modern LOVERSstyle paranoid stomp which blends saturated guitars and a swirling organ with a spoken word account of a fatigued journey across town, breaking stride only to say: “All I wanna do is laze around and lie beside you.” “That song laid the foundations for the whole project,” James says. “I’m usually so obsessed with chasing melodies but this time I wanted to free myself completely and just speak directly. I’d been keeping a journal after having some CBT during a particularly rough patch last year. That was part of the advice they gave me – to try and track what was going on in my head. The lyrics for that song are lifted almost word for word from that diary.” The record was self-recorded on a half-broken Tascam 8-track. “This record is full of horrendous recording practices. You can hear saturation, tape reels whirling, me pressing stop too early. But none of that stuff sounds out of place. This record is the antithesis of overthinking. Everything is live takes on to tape from start to finish. How could I even overdub any ‘mistakes’? It’s just me in the room and I only have two hands.” Light Years may have been born of frustration, but showcases an endlessly productive musician – a snapshot of an innately melodic writer holding a microphone up to a beating heart and a restless mind. Definitely worth being heard by more people than just the musician himself.

Coming this summer, Geoff Palmer will be back with his brand new album ‘Charts & Graphs’, stacked with 10 killer tunes ranging from punk rock to power pop even some indie rock. The album will be released by Stardumb Records (lp), Rum Bar Records (cd), and Memorable But Not Honorable (Cassette). Leading up to the full length, Stardumb Records is proud to present the first single taken from the album: ‘Many More Drugs’! Available on black as well as limited white 7” vinyl, the title track tells the hilarious story of a teenage Geoff desperately searching for this punk rock song ‘Manny Moe And Jack’, which he fell in love with but misheard the lyrics of. On the B-side, you’ll find two songs exclusive to this 7”: ‘Mary’ and ‘Over It’. The first one shows Geoff’s love for acoustic rock ‘n’ roll, with some nice piano parts thrown in by the one and only Kris Rodgers, while the latter rocks just as hard as the A-side tune, completing the circle.

From Springfield, Illinois, Local Drags on this outing consists of songwriter Lanny Durbin plus Carter Bibb and Fred Malcom. Being three quarters of their other band Starter Jackets, Local Drags shares some DNA, though what was born is a more laid back and stripped out thing. Following up their 2019 debut ‘Shit’s Lookin’ Up’, ‘Keep Me Glued’ is the band’s sophomore outing. Sonically, the record moves like Whatever Pop – loud and quick but still very chill. The songs share an overarching theme of finding something good to hang onto in a real drag of a time, keeping it together however you gotta do it. Like the energy of the hours after blasting out of work on Friday and before the exhaustion takes you over. The sound brings to mind garage-esque indie rock in the Replacements, Gin Blossoms, or Teenage Fanclub veins filtered through Dirtnap-style American power pop/punk. The album got recorded and produced by Luke McNeill (The Copyrights, Starter Jackets, Hospital Job) at his Capitol City Recording studio.

Travoltas' nothing less than amazing hit album 'Teenbeat' turned 20 this year! Congrats guys! It was never released on vinyl though, can you believe it? Until now that is, because we are celebrating this album's 20th anniversary with this reissue. Comes with brand new liner notes by Kurt Baker too! Get ready to enjoy some summertime goodness in October!

In Spring 2022 and with a new record from his band More Kicks in the can, James found himself waiting. Release dates scheduled for nine months in the future, nothing much could happen beyond tour planning for the following year. “To be honest, I was scared” says James. “I’d been writing and recording like a man possessed for the past 18 months, writing the More Kicks album ‘Punch Drunk’ and my first solo record ‘Light Years’. I was worried what would happen if I stopped. So I headed back to my cupboard-sized ‘studio’ and plugged in my halfbroken tape machine.” ‘Vital Signs’ was written and recorded over the next couple of months, dragging a handful of friends into that cupboard studio for a lending hand here and there. Written, recorded, mixed, mastered and then back to the ‘day job’ of More Kicks touring across Europe, USA and UK. Stuff. To. Do. But something wasn’t quite right. “It took me a long time to realise that I didn’t want to make another record with More Kicks. I was obsessed with making us as good as we could be but suddenly I didn’t feel like writing new More Kicks songs and I had this finished record sitting there doing nothing.” ‘Vital Signs’ expands James’ musical palette to include blitzed-out fuzz (‘Dronify’) and chewed-up chamber quartets (‘La Rochelle’), while never entirely abandoning the more familiar turf of sneakily self-lacerating melodic nuggets (‘All I Wanna Do’, ‘Endless Summer’). Take the first track, ‘It’s Good To Be Wrong’, a Modern Lovers, Alex CHILTON-style stomp that blends heartbeat drum crashes with psychedelic organs and swooning Replacements guitars. “That song was a deliberate attempt to do as little as possible. My tendency is to overthink structure so I wanted to make a song that was essentially a mantra. Just hammer myself over and over with only two chords. It almost worked, there are three. “I recorded everything on an 8-track by myself and there are unhealthy amounts of tape hiss over everything. But for me, the whole point of these solo records is to get out of my head, don’t think twice, press record, keep going. It’s not that I don’t care, quite the opposite. But if I’ve learned nothing else from playing music, it’s that I should trust my instinct far more than my brain.” That brain almost left this record languishing on a tape before the instinct to put it out into the world took over. If what comes next isn’t immediately obvious, it’s certain that more music will continue to emerge from this innately restless writer. “I’ve accepted my fate that I’m a lifer.”

Yes sir (m/f/x), you read that correctly! Our highly prolific friend Geoff Palmer returns with a brand new full-length! Accompanied by his long-time friends Zack Spraque on drums and Kurt Baker on bass, on these 10 brand new songs Geoff is seemingly effortlessly and perfectly bridging the gap between power pop and pop punk again, like only he can. Here’s some words by Geoff himself about the new album:

"Time fuses into a vast tapestry of memories. Unraveling those individual moments requires some effort. Yet, I distinctly recall the countless instances of starting and halting work on this record. Each time we gained momentum and enthusiasm, life’s unexpected obstacles would appear, impeding our progress. One might assume these hindrances would dishearten me, but surprisingly, every hurdle brought something exhilarating. Thus, the title ‘An Otherwise Negative Situation’ encapsulates the crafting of these songs. It could have been a negative experience if these challenges had been joyless or unwanted. However, it is challenging to lament being inundated with enjoyable, transformative, and thrilling life changes that momentarily pause one project but open the doors to countless new opportunities. Hence, it is not a negative situation per se but an otherwise negative one. Regarding the songwriting process, it adhered to the usual pattern, involving the familiar accomplices I always anticipate with excitement. It remains one of my greatest joys. We gather with many ideas, accompanied by some beers or gummies (all legal, of course), sharing laughter and weaving melodies. To be surrounded by creativity alongside my best friends, family, pets, and dope recording gear - few things surpass such bliss."

With their unique brand of infectiously catchy indie meets post-pop punk, Lone Wolf have been building a name for themselves and recruiting fans everywhere they go in Europe and North America ever since forming back in 2016. They’re now presenting their third album, 'Haze Wave', via Stardumb Records on May 12. The first single is 'Begging Me' and on the first notes of the album’s opening track there’s that instantly recognisable and unique sound that Lone Wolf have honed for themselves over the years. The sound is certainly familiar yet there’s a new polished edge to it that keeps things sounding wonderfully fresh. 'Haze Wave' is the band sounding better than ever and, with tour dates planned in Europe and North America in 2023, there’s no better time than now to jump on the Lone Wolf train.

After Screeching Weasel broke up 2002, founding member John Jughead Pierson formed Even In Blackouts as an "acoustic pop punk" band. Over the years they released four great albums, all of which only appeared on CD. This is their vinyl debut; compiling sixteen of their favorite songs from all four albums.

The Apers’ third album ’Skies Are Turning Blue’ from 2005, never released on vinyl before! The LP appears on limited sunshine yellow vinyl, and is fully remastered by Perry Leenhouts (Travoltas). This album finds The Apers in a slightly more experimental mood than on their previous two records, which turned this album almost into the black sheep of their catalog. Those who gave the album a chance know there’s a lot to love here though, from the Jerry Hormone-penned lead single ‘Hey Girl’ to the classic Marien Nicotine tune ‘Wine & Dine’.