• CHANGE | closer still | LP

    17.00 incl. tax
    It’s time to grow towards the sun again. It’s time for Change. Closer Still is the debut LP from Change, the Pacific Northwest Straight Edge band made up of Aram Arslanian, Chris Williams, Jeff Caffey, Mike Jurek and Matt Bertell. The record is 13 songs of urgent hardcore influenced by Youth of Today, Uniform Choice, INSTED, Sportswear, Turning Point and Embrace. However, the song writing pulls inspiration from across genres keeping the record from painting itself in a corner musically. Lyrically, Closer Still was written over a year and at its core is about coping with loss, anxiety and depression and trying to make the changes needed to find a better path. The songs focus on growth, both personal and social, and encourage embracing who we are while also working on becoming the best version of ourselves. Written and recorded by Aram Arslanian, Dave Mitchell, Carl McBeath and Alex Schollen, the LP was tracked and mixed by Jesse Gander at Rain City Records, with lead vocals recorded Avrinder Dhillon at Ziyen Studios and mastering by Alan Douches at West West Side Music. The record features art by Eric Himle and the packaging was designed by Evan Wivell with help from Jon A Gaasland. Closer Still will be released on LP through REACT! Records in North America and by Refuse Records in Europe, and on cassette by Life.Liar.Regret Records in Australia. (Refuse Records/2020)
  • After several years in the shadows, CONQUEST FOR DEATH offer their first full length slab since 2013’s Many Nations, One Underground. Breaking from their routine of haste and geographical separation, A Maelstrom Of Resentment and Remorse was written in Oakland over the course of several months following their East Asian tour in 2015, giving them time to fully develop and realize songs while honing sights on the short blasts of fury that have been their signature since the band was born out of an impossible idea more than a decade ago. Razor sharp guitars have a heft that we haven’t heard before from CFD, and the addition of B (SCHOLASTIC DEATH, NO STATIK) on drums has turned their thrash into a battering ram. Dating back to his time in WHN?, and ALL YOU CAN EAT before that, Devon’s words have always provoked thought, but this record shows a reflection that is not always pretty, or even hopeful…and he’s showing us our own faces in that mirror. Doses of frustration to rip the scabs off of still healing wounds, exposing our differences and our hypocrisies with lyrics decidedly more dark than the band’s previous releases, a darkness and intensity that consumes the vocal delivery. But the record is not without hope, far from it, and closes with a two minute sonic montage featuring the voices of friends from all over the world celebrating the power of DIY hardcore in more than fifteen languages. Grit your teeth if you need to, fight through the frustration, because there’s a reason we are still here. (Refuse Records)
  • Step Forward. Umeå Hardcore Originals. In 1989 there were no such things as Umeå Hardcore. There was no scene and hardly any punk bands. A bunch of friends got together under the moniker of Step Forward to play fast and wild Hardcore. This is the first proper Straight Edge band of Sweden - started a couple of years after some members of legendary Svart Parad brought it to Scandinavia. They were in many ways the origins of the scene that in the 90’s exploded with bands like Refused, Abhinanda, The Doughnuts, Final Exit and Umeå Hardcore became a thing outside of Sweden. In their short lifespan between 89-91 they recorded two demos, put on numerous shows and did a fanzine called Umeå Hardcore Zine. For the first time ever the 2 demos are being released on vinyl. Remastered and with liner notes from Dennis Lyxzen and a bunch of unseen photos. The band was only around for a fraction of time but they had a huge impact on the small world surrounding them and Dennis of course went on to form REFUSED right after the break up. Members of STEP FORWARD were also involved in bands like FINAL EXIT, INTERNATIONAL NOISE CONSPIRACY, E.T.A., REGULATIONS, AC4 or INVSN in next three decades! If you are into fast Hardcore done by a bunch of alienated teens from the north of Sweden you need to check out this record. (Refuse Records) https://refuserecords.bandcamp.com/album/demos-1989-1990-lp
  • Following the release of their debut "Alive" 7?, Protein didn?t just sit and wait for things to happen. Instead, they packed their EP, tapes, and some merch and traveled to the north, east and west of Europe. In the meantime, they appeared on the "Youth Crew 2018" compilation 7". Meeting enthusiastic feedback for both their 7? and their live shows, in a short time Protein became one of the more recognizable SEHC bands coming from Eastern/Central Europe. The demand for the next dose of nutritional protein has definitely increased! These six new songs, available on the new seven-inch release, send a clear message that Protein is a talented, smart and energetic band, ready to show their skills to the world beyond their local scene. These new songs deliver a good dose of classic hardcore influence but they?re also far from sticking to standards and a generic sound. Everything here sounds fresh, vital and authentic. Lyrically they advocate keeping our heads up while dealing with darker times and they focus on us looking carefully at one other. These tracks were recorded in Czerpak and Waiting Room Studios, with mixing and mastering done by Will Killingsworth at Dead Air Studios. Cover by Wojciech Herman. Guest vocals by Walerka. (Refuse Records) https://refuserecords.bandcamp.com/album/the-things-i-cannot-hide-7ep
  • The Vienna based 4-piece strikes once again. Pissed off by the current state of the world they provide 6 brand new fast and heavy songs. Lyrics aimed to criticize police oppression, inhumanity and overall lack of empathy and to endorse a drug free, revolutionary mindset, are wrapped up in an instrumental that takes a slight nod towards 80's thrash metal and classic Straight Edge Hardcore with a typical DREGS twist to it. This system is built to rot! (Refuse Records)
  • This is the repress of the first Observers ep, which was originally released on Super Secret Records (500 made) last year. Tracks include: 'Lead Pill', 'Can't Be Sad', 'Short Day' and 'Normally Normal'. Their album on Vinyl Warning made the majority of the top ten best albums of 2004 in MRR and for obvious reasons, this band is incredible. For fans of the Dead Kennedys, LA's Youth Brigade, and Warsaw. (Deranged Records)
  • Widely known for their full-length record “Are These Our Lives?” TRIAL was a band who, at the time they were coming up from 1995-1998, were largely ignored and underappreciated. These were not the years of big shows and epic photographs. These were the years of five to thirty people at each show, and long drives motivated by a love of hardcore. During the mid 1990’s, there were hundreds of bands with a message and it was easy to get lost in the sea of them all, but TRIAL was one of the few who stayed true to what they had to say. On these recordings, their earliest material leading up to the recording of their LP, TRIAL formed the foundation of what was to come. These early songs are raw and forceful, each making a statement about an issue, cause, or emotion which the band felt was important to share on behalf of all listeners. As was true throughout their time together, TRIAL always had other people in mind, and these songs, infused with both a love of hardcore and a passion for social involvement, were their statement on behalf of those people everywhere. This double LP contains songs that originally appeared on their demo (1995), "Through the darkest days" 7" (1996), and "Foundation" 7" (1997), "I'm still screaming - live" 7" (1999), as well as two cover songs - one of them for a first time on vinyl. In addition, for the first time ever in print, the release contains a 28 page booklet featuring singer Greg Bennick’s tour journals from that time which document the experience of touring in the 90’s along with insight into the internal workings of the band. (Refuse Records) https://refuserecords.bandcamp.com/album/the-early-years-2xlp-2
  • Rising like the phoenix from the ashes of the first version of the band; The Haskels served up heavy doses of three minute, adrenaline-fueled hard punk pop, as evidenced on the highly sought after, Killed by Death bootlegged, “Taking the City by Storm” EP released in 1981 on their own Milwaukee Hits label. Now the full story of the band can be heard, seen, and told. As the decade turned from the rust belt 70’s to the Reagan-era 80’s, the original Haskels (see their self-titled LP released last year on Splunge) split into two factions, with the local punk/new wave/post-punk scene moving to the gritty Starship club in downtown Milwaukee. The Haskels were instrumental in getting bands to play the venue, including the Oil Tasters, Plasticland, Ama-Dots, Shivvers, Die Kreuzen and a burgeoning Violent Femmes. The version of the Haskels represented here initially included Presley Haskel and Gerard LaValliere, fresh from the first line up of the band; joined by the crack rhythm section of Bobby Mitchell and Vodie Rhinehardt. Later tracks, including the EP were recorded by the Presley/Bobby/Vodie trio. In either case, the material is a match made in punk pop heaven; coupling Presley’s knife-sharp songwriting sensibilities with a tight unit of A-Team musicians driving the music forward. “Taking the City by Storm” includes 14 tracks of rare and never before released material from the Splunge Archives. The release is comprised of demos, live tracks and the entire, highly coveted “Taking the City by Storm” EP, remastered for the first time. Co-released with our pals at Bachelor Records, we’re sure you’ll dig hearing these long-lost gems. (Splunge Communications Inc./ Bachelor Records)
  • HEX DISPENSERS | III | CD

    14.00 incl. tax
    The HEX DISPENSERS give you the creeps with killer down-tuned guitars and paranormal pop hooks, sounding as if The Ramones would have only played bat caves, The Spits got stuck in black java and Devo felt the cold touch of the Misfits. They took all their latest singles hits and brand new songs into the Cool Devices Studio of Mark Ryan and Jeff Burke (MARKED MEN, RADIOACTIVITY) to record album 'III'. (Alien Snatch! Records)  
  • Milwaukee youth brings the fire and fury on their first record, Manic Revision. Sharing as much influence from Boston bands such as SSD and DYS and power violence bands such as Heresy and Infest; Big Laugh blends Hardcore and Punk in a way that is truly original and unprescendented. Big Laugh does not try conform to either genre, yet weaves the two together in an uncompromising fabric. (11PM Records)
  • In the late Seventies, Belfast produced some of the best and most enduring punk records. Bandwise, Stiff Little Fingers and the Undertones were destined to have the biggest impact on the mainstream, but just as important were bands like Rudi and The Outcasts who, alongside the Undertones, got their first break on the legendary Good Vibrations label. Following fast on their heels were a band of school kids known as Protex, whose debut single ‘Don’t Ring Me Up’ appeared at the end of 1978 and is rightly considered to be one of the classics of that era. This is the first album of PROTEX, recorded in 1979-1980 for a release on Polydor records, but the record never came out because the label was interested in the next big thing, after punk rock.... The guys from Sing Sing Records unearthed this masterpiece and put it out in 2010, it was sold out and OOP soon afterwards. So nearly 10 years after you have the possibility to buy this classic for a normal price. The Bachelor Records release of "Strange Obsessions" is not only a simple repress, we managed to improve the sound and speed, thanks to Eric Brady, PLUS the artwork was changed a bit too! (Bachelor Records)
  • “All Of Them Naturals” is a fully realized, inclusive world of faux-corporation sponsored surrealist new wave punk music rife with satire and discordance. Robotically tight. Delightfully warped. Ideas as vast as Nebraska’s GMO cornfields and as lethal as the pesticides they spray on them. Did the Sunbelt Chemicals You're being urgently, naughtily rushed up the tallest, steepest stairs you've ever climbed. Smile cautiously as the Uranium Club welcomes you into their stinky apartment. You've been here before, right? Oh, that must have been some one else. Do you have a brother or sister? One of the members mumbles some deceptively eloquent bullshit as he hands you a drink. His lips are dark red and chapped; he looks really bad. But the drink is wet, and those stairs had been tall. Sit down, lean back, sip it. There's salt in it, some pulp, some pebbles. It rolls around your tongue, hides between your teeth, a perfectly TV-worthy combination of pleasure and mischief. Swallow it. But spit it out... Spit it out now! It's supposed to go into your ears! How crazy is that? Such a sensation of taste, transmogrified for the realm of sound? Is it Sprite, or is it... music? Careful, engaging, and dare-I-say theatrical vocals over hyper bass-and-drums while other boingy-boingy instruments puke all over it, all over the whole show. That's called synesthesia. Gentle lectures, dangerous storytime, eerie fast-and-slow nightmare riffs, and a taut, bound-and-gagged rhythm section. Boingily-boingily, that's phantasmagoria. That's the Uranium Club's latest album, "The Cosmo Cleaners." So swish around some mouthwash and plug in your AirPods, kid, it's time to drop that needle! (Static Shock Records)
  • When Sydney's Oily Boys dropped their long awaited debut LP on Cool Death over the summer we were caught unawares, and quickly fell in love with it. Static Shock is now very pleased to be releasing this across the pond for the uninitiated. Here's what the Cool Death originally said about this record, as we couldn't agree more: "Chthonic, catatonic, chronic... Cro Memory Grin is a masterpiece. Thirteen turbocharged tracks indebted to the pleasures and pitfalls of their lives in the modern city of Sydney and to the the first and second waves of international extreme music freaks and loonies: pure fucking aggression. The Oily Boys have graced us with a beast of an album that swells between direct, gripping, tangible hardcore punk and near nauseating psychedelia and throb which at moments feels like either ritual trance or a nervous breakdown. Cro Memory Grin contains near equal measures of tension and release; an exercise in high catharsis. It’s rare that a punk record can give the listener anywhere near the same intoxicating feel of an “everything louder than everything else” live show, but that’s what Oily Boys have done. That lightning in a bottle feeling of excitement, chaotic energy, delirium, presence in a moment and frenzied flight into a mind state both frightening and ecstatic. The stone has been carved, the fire has been lit, and this is it... Cro. Memory. Grin. *** Best played LOUDEST ***" The LP is pressed on blue marbled vinyl and comes packaged in a slightly different sleeve to the Cool Death pressing. White vinyl edition available from Iron Lung in America. If you're in Australia, please order from Lulu's to save on shipping. (Static Shock Records)
  • TOUCHE AMORE | lament | LP

    21.00 incl. tax
    TOUCHÉ AMORÉ has been burrowing through angst, alienation, cancer, and heartbreak throughout four adored studio albums. After over a decade of working through darkness, the band?s gorgeously gruff fifth album, Lament, finds the light at the end of the tunnel. Through 11 songs, Touché Amoré looks back at its past and uses hard-won optimism to point its fans toward light, and love. For the follow up to the their critically acclaimed 2016 release, Stage Four, Touché Amoré have opted to get out of their comfort zone and work with a new producer, the famously demanding Ross Robinson (Slipknot, Korn, At the Drive-In). Both Robinson and Touché Amoré are known for their trademark intensity. "I believe there was an unspoken learning curve between Ross?s methods and the understanding that I?ve poured myself into the words and mean every one of them," vocalist Jeremy Bolm says. Robinson agreed to a rare one-song "test recording" last summer, which resulted in the song "Deflector", released last fall. In the end, "Deflector" proved the producer/band combo was undoubtedly the right fit. Robinson made Bolm read out all of his confessional lyrics to his bandmates to make sure they understood their emotional content. Making Bolm read those lyrics turned out to be what helped make their emotions palpable in the final recording. With its ruminations on the draining human connection ("I?ll test the water/I won?t dive right in/That?s too personal/I?m too delicate"), Lament?s first helping is a sharp intro to the album?s themes. Lament is their masterstroke. Its longer, structured songs soar with a ferocious but delicate musicality and powerful, gut-wrenching storytelling that smashes previous heights. Yet as much as the band has grown and matured via everything they?ve endured, it?s perhaps equally impressive how they?ve managed to stay true to their core? (Epitaph Records)
  • The London one-man synth and garagepunk project is launching its first proper full-length release after some of its already very delicious singles and EPs. I have to say that Theo Zhykharyev just topped the recent short players with this album. The record is actually just one thing - one complete highlight. Something between Screamers meets early Numan/Tubeway Army and a health dose of DC hardcore. Awesome stuff! Energetic and slightly insane - it's hard not to love it. I think this will end up being one of the albums you whip out when someone claims no one makes great music anymore. (Erste Theke Tontraeger Records / Dreamland Syndicate Records) https://ppowerplant.bandcamp.com/album/people-in-the-sun-2
  • Out of stock
    "Crunchy grind is what comes to mind after listening to this 30 minute monster. I’ll be honest straight up. I’m a fan of selective grind and it so happens I love exactly this kind of grind, so imagine my drooling when I first heard this. Internal Rot embody the purest traits that quality grind contains – violence and freedom. ‘Mental Hygiene’ will grab you by the collar and throw you straight into a pit of wild boars. You will be shredded into pieces in the frenzy that ‘Mental Hygiene’ creates. Musically, it is infused with punk thrash elements and the guitar tone it carries is jagged edged similar to what Insect Warfare, Wormrot, Infanticide and Death Toll 80k employ; and that is saying “it slays”. So fans who have heard these bands before should know what to expect and be ready to lap it up. Right from the first track ‘Muciferous’, the album is a gateway to unbridled anger and consequently, freedom. The 30 odd minutes get over in a blink of an eye. After absolutely four murderous tracks, the band also manages to get some groove in via the aptly named ‘Sex Everywhere’! It obviously doesn’t make sense to distinguish between songs in a top grindcore album like this, but ‘Internal Rot’ insert some slight shifts in tempo; alternating between blazingly fast and slightly slower mosh ready parts. Albeit for a few seconds, this keeps the attention of the listener and gives some breathing room like midway through ‘Nose in Neck’ and ‘Hodgkinson St.’, in order to get ready for the next round of barrage that inevitably follows. The last and the longest track happens to be titled ‘Riddled with Rage’ and it pretty much sums up the sentiment of the whole album. There is a certain appeal for grind albums like these, whose expressiveness and production attracts fans from other extreme genres." -dipym666 500 copies on smoky grey vinyl. Remastered from the original files. This is a shared release with 625 Productions, a tuxedo among suits. (Iron Lung Records/625 Thrashcore)
  • "The Feast of Vultures is the second LP from this Italian band. Their first record had Crass Records-inspired cover art and a sound reminiscent of Zounds or the first Cure album, Three Imaginary Boys, with a strong melodic / pop element but a punky delivery. This time around the visual aesthetic has changed, and the music is a little different too, widening in scope and incorporating influences from a broader spectrum of 80s pop. Fans of the first LP will love “Promised World” and “Bridges,” but “The Toast of Despair” has a gloomier sound a la the Cure records after Three Imaginary Boys and the album-closer “Futuro?” has a New Romantic vibe. For me, though, the highlight of The Feast of Vultures is “All Will Be Fine,” a bright and poppy song that reminds me of Modern English’s “I’ll Melt with You” and is just as charming and repeatable. If you liked A Culture of Killing’s first album (and I know a lot of you did), I don’t see any reason not to take the journey’s next step." Sorry State. ‘A Feast of Vultures’ is the title of Josy Josef’s dissection of money and corruption in India’s modern democracy; the dove is of a symbol of peace. So now we’re up to speed, it makes perfect sense that the title of these Italian peace punks’ second offering should pull from the two threads. Like their self-titled record, this was originally released on cassette before getting a vinyl from Drunken Sailor (hey, that’s this label right here!), and it certainly deserves to be heard by as many ears as possible. You’ll be able to hear the ominous rumble of anarcho forebears The Mob and Crass (circa ‘Penis Envy’, thanks to its serrated chords) in A Culture Of Killing’s addictive sonic assault, although these songs also stroll through through dark forests previously trodden by The Cure at their most morose. In fact, you’ll find yourself suckered by an emotional pull that gives these songs something lasting alongside their noticeably energetic rumble. Writing about their first record, I advised you to press play and thrill forever, adding that anyone who doesn’t is a fucking cop. This time I’ll go further: it’s never been clearer that democracy is broken. Look at how the wheels were set in motion to get actual fascism into power over the last few years; think about the resistance to structural change from those who benefit from power and oppression. Things are fucked right now. And no, a record isn’t gonna change any of that, but none of us ever believed that’s what music would do, right? The important thing is it propagates the ideas. It keeps us talking. It reminds us to believe that we’re capable of better. OK, you might not call the ethereal gloom of ‘The Toast of Despair’ a kick-ass soundtrack to all this, and you may struggle to dance to cuts like ‘Promised World’. But dammit, this is an album that’ll amplify your hope while etching glacially beautiful sounds and furious rhythms on your psyche, and if that’s not worth celebrating then I dunno what is. And just to reiterate, anyone who doesn’t get on board is a fucking cop. (Drunken Sailor Records)
  • This record has been one of the last missing pieces in the puzzle of early german punk classics. The original artwork has been complemented with a 20 page booklet, including pictures, collages and documents from the band‘s treasure box, and remastered by Daniel Husayn. Recorded 1981 at MusicLab Studio by Harris Johns and released by Aggressive Rockproduktionen this LP has passed the test of time, propagated on countless mixtapes throughout the years and perpetually covered by a new generation of bands. The eager will to fight, pressed into the form of music with clear political statements and not a sign of resignation and there‘s no other way punk out of KZ36 could have sounded. After 40 years this record is still spreading the same stench that could only be found in wall city. Kreuzberg is alive – maybe in another way as back in the day, but now at last you can hear how it sounded. (Static Shock Records)
  • Out of stock
    LEBENDEN TOTEN is one of the greatest punk bands to ever exist and this 12min one song e.p. proves the they can still do no wrong. When we asked them if they wanted to "get weird" with a single they, albeit very slowly, jumped at the idea. We had no idea what we were in for. It blows the mind all the way open. How do they keep getting better? "Static" is a perfectly wild and superbly crafted sheet of chaotic noise with a pounding goth backbone all jacked up on Hawkwind freakout space jams. Just try and imagine what that sounds like. America's best band. Cut and paste artwork with heavy subconscious symbology laced in printed on heavy duty old world 12" single style top loading sleeves house a Chanel etched 12" single mostly on black vinyl. There may be a couple migraines in there. (Iron Lung Records)
  • When Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew LT would be a highlight (they always are) but we had no idea they would kill it this hard. Pure green lighting, swirling sirens and strobes set the room into a tense, disorienting spin. With the click of the stick a blanket of pure noise and pummeling beat came at us like a canon blast pushing the whole experience into a perfect frenzy. Seriously, there is not a single discernible mistake during the entire 25 minutes except one tiny moment where we could tell the guitar was out of tune - yeah we listened to it THAT closely, because their music deserves that kind of attention. 750 copies on black, 200 on splatter and 50 on Re-Animator Green 150gr vinyl housed in a 24pt jacket with a custom die cut Halloween decoration and lyric insert included. Recorded live at The Vera Project in Seattle WA. Mixed and mastered (very hot) by Will Killingsworth. Artwork by Lebenden Toten with layout assistance by A.K. Wilson. (Iron Lung Records)
  • Out of stock
    Limited repress of the LP on yellow vinyl with massive poster. Beautiful. "Gasp, choke, puke, roll, die, live again. Ten songs to destruction, ten songs to live, ten songs that wrap up all the velocity and disturbance beneath planet earth. Impalers have Sweden in their back pocket, the U S of A dripping down the back of their legs, and use the designs that Anti-Cimex and Discard laid out to mop up the mess. There are other words to describe this blessed mess, but they become insufficient by the time the last track rolls around. In this case, Cellar Dweller can only be described as a party that you've been invited to but that you might not make it out of alive. Full color, hellish and hilarious poster insert by Mason Tucker, and sterile, alienating, squint-to-focus-on-the-horror cover by the steamroller talent J.S. Aurelius." --J. Falco (Statick Shock Records)
  • With the passage of two years since the release of their demo, along with a hefty helping of gigs under their belts, Mid-Atlantic powerhouse WITCHTRIAL have at long last bestowed upon us all the absolutely thunderous offering that is their self titled 12" EP. Drawing equally on the cult sounds of mid-80's international hardcore punk and the early days of underground extreme metal, WITCHTRIAL has made it their duty to remind us that there'd be no HELLHAMMER without DISCHARGE and no BATHORY without GBH. This slab features 6 brand new cuts of the driving metalpunk madness that many a maniac has embraced since the group's inception. Recorded by Carson Cox and mastered by Will Killingsworth ensuring a sonic assault that is unmatched. Each record comes in a jacket emblazoned with a dazzling layout designed by Reuben Storey. (Beach Impediment Records)  
  • A true Dead Moon classic. One of their most beloved LPs. Features the mega hit ’It’s Okay’ along with other classics like ‘Day After Day,’ ‘Cast Will Change,’ ‘Unknown Passage,’ and the best version of ‘The Times They Are Changin’’ ever recorded! (Mississippi Records)
  • Another all time Dead Moon classic. The band really hit their stride on this one! The best rock band of the 90’s and 2000’s kicks out some of their finest rockers and ballads. Features all time greats like Diamonds in the Rough, Say it isn’t so, Running Out of Time, Somewhere Far Away and Windows Of Time. A must have for any fan of the band and rock music in general. (Mississippi Records)
  • Dismiss! Masks on! Or get hexed now with our favorite new band of 2007! Screw the bolts thru yer head for this debut release! The HEX DISPENSERS officially started on 6.6.06 and they contaminate us with evil pop and arsenic rock. From Austin, TX - the trio is Alex Cuervo on vocals and guitar (formerly in BLACKTOP, the KING SOUND QUARTET, the GOSPEL SWINGERS, the NOW TIME DELEGATION, a FEAST OF SNAKES and THIS DAMN TOWN), Tom Kodiak (KODIAKS, DIRTY SWEETS) on guitar and Alyse Mervosh (THIS DAMN TOWN, WINKS) on the best sounding drums. This is up-beat simple, loud, blues-poisened powerpop. 10 songs, nine originals and 1 cover "Down In The Park" from TUBEWAY ARMY. (Alien Snatch! Records) https://thehexdispensers.bandcamp.com/album/the-hex-dispensers  
  • Who else can attract you with halloween pop and give you ice age snow storm camping? The looong awaited second album by our all beloved HEX DISPENSERS is here! The Austin top-tenners know how to deliver and feed the growing army of unbelievers with 12 new paranormal hit servings of their wolf spider soup, mexican bat-blood-ice-cream and medium norwegian raindeer eyes. These songs are frosted poison pills of sheer madness, lunacy! Alex Cuervo demon-calling vocals and the dispensers isolated but penetrating guitar sound and rhythm section let us stray aimlessly thru the night. Feel cornered by their genious simplicity, you still may call the WIPERS / MISFITS / RAMONES reference? Guess it´s too late pinning the HEX DISPENSERS to the wall when they already got shooted to Valhöll for their frenetic garage pop in 2007. As their first s/t album, "Winchester Mystery House" is recorded by mastermind #1 Mark Ryan (MARKED MEN) - this time mastermind #2 Dave Rahn (CARBONAS) added finishing touches. The album includes the re-recorded sold out singles "Lose my Cool" and "My Love is Bat" as far as a DEVO-Cover "Gates of Steel". Here at ALIEN SNATCH! we love putting records out where we can´t name our favorite song. Pressing on 180g vinyl and nice inner sleeve. Yes, they are the rocknroll bail-out. https://aliensnatch.bandcamp.com/album/hex-dispensers-winchester-mystery-house
  • Out of stock

    HEX DISPENSERS | III | LP

    17.00 incl. tax
    The HEX DISPENSERS give you the creeps with killer down-tuned guitars and paranormal pop hooks, sounding as if The Ramones would have only played bat caves, The Spits got stuck in black java and Devo felt the cold touch of the Misfits. They took all their latest singles hits and brand new songs into the Cool Devices Studio of Mark Ryan and Jeff Burke (MARKED MEN, RADIOACTIVITY) to record album 'III'. (Alien Snatch! Records)  
  • DOA, the legendary Canadian hardcore pioneers are still on the road today, talk minus action = nothing! The U.S version of this 1982 album has artwork by Shawn Kerri, mostly known for her work around the LA punk scene in the late 70s including the iconic Circle Jerks ‘Skank Kid’. Details: Publisher: Anarcho Puzzles Code: ANOKPUZ005 Complete Jigsaw Size: 39.5 x 39.5 cm DOA are "the" Canadian punk band! In action since 1976 Joey'Shithead' Kieghly has been the singer, guitarist and songwriter since the beginning. He is an old friend of the Anarchpuzzles crew and was keen to turn one of his many record sleeves into a jigsaw puzzle. We eventually settled on the iconic cartoon style artwork of Shawn Kerri who was an active punk rock artist in the 1980's. Joey is now selling them at his gigs in Canada. ANOKPUZZLE 5 is the catalogue number for this jigsaw. This puzzle is 39.5cm square and comes in a 22x22x5cm box. The puzzle artwork was designed by Anarchopuzzles, printed by Calverts Coop Press in Hackney and then produced by JHG Puzzles in Ashmore. More information on Shawn Kerri follows; Shawn Maureen Fitzgerald was born in 1958 in Covina, California. Her family then moved to the San Diego area, where she grew up. Her art was influenced by Mad Magazine cartoonists Jack Davis, Will Elder, Wally Wood, and Harvey Kurtzman. As a teenage girl, she was initially turned away when she applied to draw for CARtoons Magazine in 1975, but was hired on the strength of her portfolio of car illustrations. She continued to work for the magazine until it ceased publication in 1991. Between 1978 and 1982 she wrote scripts for Disney's international Donald Duck comics, which were illustrated by Tony Strobl and the Jaime Diaz Studio. She contributed comics to Cracked and pornographic cartoons for Hustler, Chic, Velvet and Gentlemen's Companion under the pen name Dee Lawdid. She also created short comics for Last Gasp's Cocaine Comix and Commies From Mars. Kerri created the "Skank Kid" character and drew the figure used in the Circle Jerks logo. Kerri moved to Los Angeles in 1977, and was active in the punk rock scene there in the late 1970s and early 1980s. In 1978, she published a fanzine called Rude Situation, with Mad Marc Rude, who was then her boyfriend. During this period, she drew numerous promotional flyers and tour posters for her friends, which included members of the Germs and the Circle Jerks. One of her best-known images, "Skank Kid" is a composite character of a white teenage punk dancing wildly. He appeared in various comics and illustrations, and was appropriated by the Circle Jerks to be part of the band's logo. Kerri was not paid for this, but reluctantly granted permission to band leader Keith Morris to avoid a legal fight and damaged friendships. Although there have been conflicting reports that Kerri died in the 1990s, either from a drug overdose, or from falling down stairs at home, documentarian Carl Schneider reported in 2004 that he had found her living with her mother, suffering from chronic cognitive problems following a fall. Pieces: 1,000 Origin: Ugly Kingdom Artwork: Shawn Kerri
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    The Death Church album artwork turned into a 500 piece jigsaw puzzle. Details: Publisher: Anarcho Puzzles Code: ANOKPUZ001 Complete Jigsaw Size: 39.5×39.5cm Pieces: 500 Origin: Ugly Kingdom Artwork: Nick Blinko ANOKPUZZLE 1 is a 500 piece jigsaw that was created by a couple of old punks from artwork by Nick Blinko of the celebrated anarcho-punk band Rudimentary Peni. That album was called Death Church. Nick's artwork continues to inspire and bemuse, he recently won The Grand Prize for Exhibited works at the Second Triennial of Self Taught Visionary Art in Belgrade Serbia! The puzzles are designed and created by AnarchoPuzzles and manufactured in the UK by JHG a small family jigsaw company using recycled materials where possible. Here is a piece about Nick from the website We Are The Mutants...... Thanks to the record covers he drew for Rudimentary Peni, the band for which he is vocalist and guitarist, artist Nick Blinko’s initial audience was mainly confined to the members of the thriving anarcho-punk scene of the early 1980s Britain. Despite apparently operating in the same aggressive idiom as their peers, however, it was immediately clear that the Peni were unique. The universe evoked by their music and lyrics, even at its most unpolished, was a delirious mixture of surreal landscapes, existential horror, bucolic whimsy, and manic excitement, all shot through with what sounded like the metastasized but beguiling echoes of childhood and a pervasive gallows humor. At once claustrophobic and expansive, Peni often engaged with the same political issues as their contemporaries, but did so in a way that made the overlap seem practically coincidental. In short, Rudimentary Peni were some distance beyond just “meaning it.” Outsiders to many of the rituals of the punk scene, the band’s skepticism about the possibility of change bubbled under the surface of their output even in their most “optimistic” moments. The same was true of the artwork that Blinko made for them. Though rudimentary (sorry) in comparison to the work that he would later produce, the cover of Peni’s first EP in 1981 was clearly already the product of a fully-formed aesthetic, the smirking undead fetus the manifesto of a bittersweet vision as playful as it is unremittingly gloomy. Despite the extent to which self-aware postmodern goth dross has since permeated popular culture, it is testament to the uniqueness of Blinko’s vision just how striking that early cover remains, its apparent artlessness concealing immense graphic nous. The cover of the band’s follow-up EP, Farce, released on Crass Records and accommodating that label’s artwork format, managed to be just as odd. The band’s music continued to evolve in unpredictable ways, as did Blinko’s art, revealing an increasingly intricate style that evoked something resembling a frenzied Virgil Finlay channeling Leonara Carrington. His work for the Peni reached its peak in the fold-out cover for the band’s first LP—1983’s Death Church, so densely shaded that it is as impossible to photograph as some cursed relic—and the impossibly detailed cover of the 1987 LP reissue of their first two EPs, The E.P.’s Of R.P. The band’s run of transcendent cover art ended with the following year’s Cacophony, a paradigm-shifting concept LP about obsession with H.P. Lovecraft that has been called, not inaccurately, the “Trout Mask Replica of British punk,” but whose cover proved surprisingly literal. Its later re-release with different artwork suggests that Blinko and the band may have felt the same way. The same motifs that fill Rudimentary Peni’s songs inform Blinko’s art: religion, history, alienation, place (especially the area around his birthplace of Abbots Langley near London), madness, fear, death, beauty, and the uncanny. And yet, rather than hopelessness, the world Blinko conjures up evokes confusion and awe at the mind-boggling detail and intimidating brevity of existence—and the vastness and mystery of the darkness that lurks around it. Despite having been co-opted by the world of fine art as an “outsider artist,” Blinko’s work remains as idiosyncratic as ever, and his sprawling visions of a world at once overpowering and incomprehensible and yet familiarly complex never seem to lose their obsessive power.
  • Out of stock
    Girl Gangs, Biker Boys, and Real Cool Cats is the first comprehensive account of how the rise of postwar youth culture was depicted in mass-market pulp fiction. As the young created new styles in music, fashion, and culture, pulp fiction shadowed their every move, hyping and exploiting their behaviour, dress, and language for mass consumption and cheap thrills. From the juvenile delinquent gangs of the early 1950s through the beats and hippies, on to bikers, skinheads, and punks, pulp fiction left no trend untouched. With their lurid covers and wild, action-packed plots, these books reveal as much about society’s deepest desires and fears as they do about the subcultures themselves. Girl Gangs features approximately 400 full-color covers, many of them never reprinted before. With 70 in-depth author interviews, illustrated biographies, and previously unpublished articles from more than 20 popular culture critics and scholars from the US, UK, and Australia, the book goes behind the scenes to look at the authors and publishers, how they worked, where they drew their inspiration and—often overlooked—the actual words they wrote. Books by well-known authors such as Harlan Ellison and Lawrence Block are discussed alongside neglected obscurities and former bestsellers ripe for rediscovery. It is a must read for anyone interested in pulp fiction, lost literary history, retro and subcultural style, and the history of postwar youth culture. Contributors include Nicolas Tredell, Alwyn W. Turner, Mike Stax, Clinton Walker, Bill Osgerby, David Rife, J.F. Norris, Stewart Home, James Cockington, Joe Blevins, Brian Coffey, James Doig, David James Foster, Matthew Asprey Gear, Molly Grattan, Brian Greene, John Harrison, David Kiersh, Austin Matthews, and Robert Baker. Format Paperback | 328 pages Dimensions 203 x 260 x 20.32mm | 929.86g Publication date 17 Dec 2017 Publisher PM Press Publication City/Country Oakland, United States Language English Praise: “Girl Gangs, Biker Boys, and Real Cool Cats is populated by the bad boys and girls of mid-twentieth-century pulp fiction. Rumblers and rebels, beats and bikers, hepcats and hippies—pretty much everybody your mother used to warn you about. Nette and McIntyre have curated a riotous party that you won’t want to leave, even though you might get your wallet stolen or your teeth kicked in at any given moment.” —Duane Swierczynski, two-time Edgar nominee, author of Canary and Revolver “The underbelly of literature has been ignored for too long. This book redresses that imbalance, as over twenty authors explore low-life fiction in Australia, the UK, and the USA. Thoughtfully written and delightfully accessible, this is a book for all seasoned readers.” —Toni Johnson-Woods, author of Pulp: A Collector’s Book of Australian Pulp Fiction Covers “The authors of this volume have paid their dues. They’ve haunted the junk shops and flea markets, combed through the ratty cardboard boxes, smelled the mildew, inhaled the dust. They’ve turned a fresh and fearless eye to the unambiguously collectible, blue-ribbon 1950s and ’60s pulps, and then turned that same awareness to later material, from the ’70s—and they’ve identified a surprisingly durable pulp tradition which we can refer to as ‘tribe pulp,' a tradition which to my knowledge hasn’t been really named till now, certainly not as clearly and cogently as here.” —From the foreword by Peter Doyle, author of City of Shadows and The Big Whatever About the Contributors: Iain McIntyre is a Melbourne-based author, musician, and community radio broadcaster who has written a variety of books on activism, history, and music. Recent publications include How to Make Trouble and Influence People: Pranks, Protest, Graffiti and Political Mischief-Making from across Australia (2013), Wild About You: The Sixties Beat Explosion in Australia and New Zealand (2010), and Tomorrow Is Today: Australia in the Psychedelic Era, 1966–1970 (2006). He also helped compile the Down Under Nuggets: Original Australian Artyfacts 1965–1967 CD compilation (2012). Andrew Nette is a writer and pulp scholar based in Melbourne, Australia. His first novel, Ghost Money, a crime story set in Cambodia in the mid-1990s, was published in 2012 and his second, Gunshine State, was published in 2016. He is one of the founders of Crime Factory Publications, a small press specialising in crime fiction, and coedited Hard Labour (2012), an anthology of Australian short crime fiction, and LEE (2014), an anthology of fiction inspired by American cinema icon Lee Marvin. His short fiction, reviews and nonfiction writing has appeared in numerous print and online publications. He is currently undertaking a PhD on the history of Australian pulp fiction. Peter Doyle is an Australian author, musician, and visual artist. He lectures in print media production at MacQuarie University and is a part-time curator of the Police and Justice Museum. The first of his four crime novels in the Billy Glasheen series, Get Rich Quick, won the 1996 Ned Kelly Award for Best Crime Novel. He has also had four nonfiction books published, including the acclaimed City of Shadows: Sydney Police Photographs, 1912–1948 (2007).
  • Soccer has turned into a multi-billion-dollar industry. Professionalism and commercialization dominate its global image. Yet the game retains a rebellious side, maybe more so than any other sport co-opted by moneymakers and corrupt politicians. From its roots in working-class England to political protests by players and fans, and a current radical soccer underground, the notion of football as the “people’s game” has been kept alive by numerous individuals, teams, and communities. This book not only traces this history but also reflects on common criticisms—that soccer ferments nationalism, serves right-wing powers, and fosters competitiveness—exploring alternative perspectives and practical examples of egalitarian DIY soccer. Soccer vs. the State serves both as an orientation for the politically conscious football supporter and as an inspiration for those who try to pursue the love of the game away from televisions and big stadiums, bringing it to back alleys and muddy pastures. This second edition has been expanded to cover events of recent years, including the involvement of soccer fans in the Middle Eastern uprisings of 2011–2013, the FIFA scandal of 2015, and the 2017 strike by the Danish women’s team. Format Paperback | 296 pages Dimensions 154 x 228 x 25.4mm | 408.23g Publication date 01 Feb 2019 Publisher PM Press Publication City/Country Oakland, United States Language English Edition Revised Edition Statement 2nd Revised edition Praise: “Gabriel Kuhn’s Soccer vs. the State is a wondrous reminder of all the times and ways and places where football has slipped its chains and offers what it always promised: new solidarities and identities, a site of resistance, a celebration of spontaneity and play.” —David Goldblatt, author of The Ball Is Round and The Game of Our Lives “There is no sport that reflects the place where sports and politics collide quite like soccer. Athlete-activist Gabriel Kuhn has captured that by going to a place where other sports writers fear to tread. Here is the book that will tell you how soccer explains the world while offering means to improve it.” —Dave Zirin, author of Game Over and Brazil's Dance with the Devil “Gabriel Kuhn has written the programme notes for the most important match of all, The People’s Game vs. Modern Football.” —Mark Perryman, cofounder of Philosophy Football “Kuhn is impressive in his global and historical scope, and in acknowledging gender and sexuality questions as well as those of class and race, as he looks at issues ranging from the exploitation of African players to the way the World Cup has been abused politically.” —Tom Davies, When Saturday Comes “Both the politics and the prose of Soccer vs. the State are clear. The view is internationalist, and the breadth of subjects covered makes the book useful for both football fans and activists.” —Daniel Widener, Radical History Review About the Contributors: Gabriel Kuhn is an Austrian-born writer and translator living in Sweden. He is a former semi-professional soccer player and has been active in social movements since the late 1980s. Among his book publications are Playing as If the World Mattered: An Illustrated History of Activism in Sports (2015) and Antifascism, Sports, Sobriety: Forging a Militant Working-Class Culture (2017). Boff Whalley is an English musician, writer, and athlete, who is perhaps best known for being the former lead guitarist for the anarcho-punk and folk band Chumbawamba. He is now a playwright and the founder of Commoners Choir, who released their first album in 2017.
  • Straight edge has persisted as a drug-free, hardcore punk subculture for 25 years. Its political legacy, however, remains ambiguous—often associated with self-righteous macho posturing and conservative puritanism. While certain elements of straight edge culture feed into such perceptions, the movement's political history is far more complex. Since straight edge's origins in Washington, DC, in the early 1980s, it has been linked to radical thought and action by countless individuals, bands, and entire scenes worldwide. Sober Living for the Revolution traces this history. It includes contributions—in the form of in-depth interviews, essays, and manifestos—by numerous artists and activists connected to straight edge, from Ian MacKaye (Minor Threat/Fugazi) and Mark Andersen (Dance of Days/Positive Force DC) to Dennis Lyxzén (Refused/The (International) Noise Conspiracy) and Andy Hurley (Racetraitor/Fall Out Boy), from bands such as ManLiftingBanner and Point of No Return to feminist and queer initiatives, from radical collectives like CrimethInc. and Alpine Anarchist Productions to the Emancypunx project and many others dedicated as much to sober living as to the fight for a better world. Straight edge has persisted as a drug-free, hardcore punk subculture for 25 years. Its political legacy, however, remains ambiguous—often associated with self-righteous macho posturing and conservative puritanism. While certain elements of straight edge culture feed into such perceptions, the movement's political history is far more complex. Since straight edge's origins in Washington, DC, in the early 1980s, it has been linked to radical thought and action by countless individuals, bands, and entire scenes worldwide. Sober Living for the Revolution traces this history. It includes contributions—in the form of in-depth interviews, essays, and manifestos—by numerous artists and activists connected to straight edge, from Ian MacKaye (Minor Threat/Fugazi) and Mark Andersen (Dance of Days/Positive Force DC) to Dennis Lyxzén (Refused/The (International) Noise Conspiracy) and Andy Hurley (Racetraitor/Fall Out Boy), from bands such as ManLiftingBanner and Point of No Return to feminist and queer initiatives, from radical collectives like CrimethInc. and Alpine Anarchist Productions to the Emancypunx project and many others dedicated as much to sober living as to the fight for a better world. Straight edge has persisted as a drug-free, hardcore punk subculture for 25 years. Its political legacy, however, remains ambiguous—often associated with self-righteous macho posturing and conservative puritanism. While certain elements of straight edge culture feed into such perceptions, the movement's political history is far more complex. Since straight edge's origins in Washington, DC, in the early 1980s, it has been linked to radical thought and action by countless individuals, bands, and entire scenes worldwide. Sober Living for the Revolution traces this history. It includes contributions—in the form of in-depth interviews, essays, and manifestos—by numerous artists and activists connected to straight edge, from Ian MacKaye (Minor Threat/Fugazi) and Mark Andersen (Dance of Days/Positive Force DC) to Dennis Lyxzén (Refused/The (International) Noise Conspiracy) and Andy Hurley (Racetraitor/Fall Out Boy), from bands such as ManLiftingBanner and Point of No Return to feminist and queer initiatives, from radical collectives like CrimethInc. and Alpine Anarchist Productions to the Emancypunx project and many others dedicated as much to sober living as to the fight for a better world. Reviews: "Perhaps the greatest reason I am still committed to sXe is an unfailing belief that sXe is more than music, that it can be a force of change. I believe in the power of sXe as a bridge to social change, as an opportunity to create a more just and sustainable world." —Ross Haenfler, professor of sociology at the University of Mississippi, author of Straight Edge: Clean-Living Youth, Hardcore Punk, and Social Change “An 'ecstatic sobriety' which combats the dreariness of one and the bleariness of the other—false pleasure and false discretion alike--is analogous to the anarchism that confronts both the false freedom offered by capitalism and the false community offered by communism.” —CrimethInc. Ex-Workers' Collective Format Paperback | 299 pages Dimensions 152 x 229 x 17.78mm | 425g Publisher PM Press Publication City/Country Oakland, United States Language English Illustrations note 12 b/w photos & 20 b/w illus
  • San Francisco's Acephalix began as a hybrid of crust punk and death metal. Given that a couple of their earliest releases came out on Prank, it's natural a little punk would shine through the murk. Through a pair of tapes released in 2010 and 2011, and packaged together as Interminable Night out on vinyl on Agipunk, the death-metal influence became more prevalent. D-beats were still a component of the band's machinery, but the riffing began to resemble Grave and other stalwarts of 1990s Swedish death metal. On Deathless Master, the crust presence has all but departed, and Acephalix are now committed to death metal. Riffs are still of the Swedish persuasion, but Acephalix also work in grooves that they can call their own. This album was released on Southern Lord on CD format only in 2012 (Agipunk Records)
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    Dormant for nearly a third of a century, originally formed in 1982 by (then) bassist Damian Thompson & drummer Andy Baker (joined by Freaky Freeman on vox & Anarchy Mole on guitar).WARWOUND spat & cursed out three demos of 'fast, no bullshit, hardcore punk' through late 82/early 83.Heavily influenced by the sounds of the time (Discharge, Crass, Rudimentary Peni, Motorhead, Bad Brains etc) the band played a handful of gigs around the midlands area of the U.K.before in the autumn of 1983 Damian & Andy were enlisted to join the VARUKERS. WARWOUND as it was, ceased to be. During their time in the VARUKERS, the pair recorded two WARWOUND numbers which were to be featured on the classic VARUKERS album 'Another Religion, Another War'. Since that time some thirty years ago the original WARWOUND demo tapes have been copied & circulated many times through underground circles of D-beat noise enthusiasts. The emergence of Sacrilege in 1984 also added to keep interest alive in the old WARWOUND material. Finally now, these hugely influential recordings (25 tracks, 15 songs in various versions) are made commercially available for the first time, to co-incide with a brand new version of the band (featuring orginal member Damian Thompson alongside past and present members of VARUKERS, DISCHARGE, STAMPING GROUND, DECADENCE WITHIN , SACRILEGE and others) who have a new album and gigs planned for later this year. A must for all lovers of D-Beat Hardcore Punk !! (Profane Existence Records / Bosstuneage Records)
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    The first full length release on Havoc! DS 13 was my favorite band during the Y2K thrash revival and I was stoked when they told me they would like for me to do their second LP. This LP was recorded at a top studio in Stockholm, has a full color cover and insert, comes on color vinyl and features original cover art by Pushead himself. DS 13's sound on this LP is similar to the last LP, the sound has progressed (regressed) into a more early 80's raw thrash sound. The guitars are less distorted and grindy sounding than the early releases. This gives the album a sort of raw intensity that allows the songwriting and energy to come out full force rather than behind a wall of distorted noise. I would compare DS 13 to early 80's HC bands like Minor Threat, Poison Idea and such, but I really feel they have a distinct hardcore sound all their own. In the years since it's release this LP has become something of a modern classic and remains one of our top sellers. (Havoc Records)
  • Hailing from Seattle, this amazing d-beat combo featuring ex memebers of Disrupt, Consume and State Of Fear, strikes for the second time back on Agipunk. 9 new bullets of absolutely relentless d-beat crust punk. Fans of Totalitar, early Disfear and of the aforementioned bands will have an orgasmic blast. (Agipunk Records)
  • Out of stock
    Released in 2001, “An Underlying Frequency” is the first full length LP by Portland, Oregons, Remains of the day. One of a handful of noteworthy bands that inspired a wave of melodic, emotive crust in the early 2000’s along with the likes of Tragedy and early From Ashes Rise. They emerged from late 90’s crust, metallic hardcore and anarcho punk, perhaps taking influence from such bands as HIS HERO IS GONE, AMEBIX, and early NEUROSIS; and yet they created something quite unique. Their crushing, chaotic d beat crust is interspersed with moments of profound melody and silence, and an evocative sense of ennui, adding to this desolation with the presence of violin with wonderful melancholy effect. Despite these fleeting moments of beauty and grandeur ’An Underlying Frequency” never stops being punk. (Alerta Antifascista Records)
  • Q: Are We Not Men? A: We Are Devo! is the debut studio album by the American new wave band Devo. It was originally released in August 1978 on the Warner Bros. label. Produced by Brian Eno, the album was recorded between October 1977 and February 1978, primarily in Cologne, West Germany.
    (Virgin Records/Unofficial Release)


  • Three track EP from this UK Punk band from Wigan with members of Flux Of Pink In and Discharge. Originally released on No Future in 1982. (Mad Butcher Records)
  • Rubella Ballet have built upon the edifice of resistance defined within the grooves of Planet Punk, recording their latest studio LP, Danger Of Death. Heralded by the singles compilation, Day Glo Daze, issued on Last Hour Records, Danger Of Death throws the pure light of reason on a modern world torn asunder by forces that seek to control, obfuscate and exploit. A lambent beacon of pure ultraviolet truth, shining vividly against a backdrop of fake news and government lies, Danger Of Death features material that confront today’s issues with honesty and defiance. (Overground Records)
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    Steve Ignorant’s Slice Of Life follow their 2014 debut ‘Love And A Lamp-post’ with a new collection of eleven songs titled ‘Don’t Turn Away’. Ignorant has excelled himself with this album, his passion of creating music and fighting injustice is clear in every single song. This album is about the highs and lows of life, getting older and the struggle to survive. Ignorant highlights some of the songs: The lines from Your Day Will Come “Something you should know bully-boys and ‘ladies’” speaks for itself. S.A.D. is a song about depression, despair and loss. Steve: “We need to keep talking about this and hopefully by sharing our experiences people will know that they are not alone” Diffrability celebrates our individualities. “I’m proud that I’m different. Glad I’m not so uniform. Proud that I’m Ignorant. Glad that I’m not of your norm.” Musically, the band is built on an acoustic arrangement of piano, guitar and bass. Having shed the punk noise that defined Crass, Slice of Life retains the emotional impact and compassion that has long distinguished Steve’s work. To sum it up: a poignant, emotional album of 11 tracks that stays with you long after the final note has been played. Track listing: Don’t Turn Away/ Your Day Will Come The Right Way/ S.A.D./ Slaughterhouse/ The Story Continues/ Song For Myself/ Diffrability/ Stretford Blue (new mix)/ Good Intentions/ Whistle Down The Wind (Overground Records)
  • Out of stock
    A well known 1982 UK Oi!/punk EP, reissued on 7-inch! This run is limited to 500 copies. (Mad Butcher Records)
  • Satan’s Rats formed in Evesham, Worcestershire in January 1977, with an average age of just seventeen. Songs like the anthemic ‘Year Of The Rats’ about the demise of the old fart groups, their appearance at the Birmingham Punk Festival and support to the Sex Pistols at the Roxy soon saw the band build a large following and inevitably drew them to the attention of record labels. Their first demo earned them a deal with DJM Records. Hardly a punk label, home to Elton John and the enigmatic Rikki Sylvan who produced their first two singles. The first single ‘In My Love For You’ was released in 1977. Bob Geldof reviewed in the NME and slagged it off. The second single ‘Year Of The Rats’ released early in 1978 fared no better, sinking without a trace. For their third single ’You Make Me Sick’ they had Vic Maile (Dr Feelgood/Fruit Eating Bears) as producer. He managed to capture the anger of the band perfectly and this single, released in 1978 was undoubtedly their finest moment. Julie Burchill reviewed it in the NME, she hated it. Later that year Paul Rencher quit, the band recruited vocalist Wendy Wu, changed their name to The Photos, signed to Epic and had a hit album. All three Satan’s Rats singles are highly prized collectors’ items and have been heavily bootlegged on punk compilations, one series even naming itself ‘Year Of The Rats’. ‘What A Bunch Of Rodents’ is a vinyl compilation of their singles and six studio recordings unreleased at the time and contains an insert with sleeve notes from Steve Eagles and photos and memorabilia. (Overground Records)
  • What happened in February 1983 then? Serial killer Dennis Nilsen was arrested, unemployment hit an all-time high, the Mini Metro was Britain’s best selling car and The Cravats released a flipping stonking LP on Corpus Christi Records. Played to pieces by Peel and hugging the indie chart’s midriff for a good few weeks, every track on ‘Colossal’ is indeed ruddy enormous. Like everything by these dada-dealing daddios the music is a highly calculated cacophony of pounding drums, behemoth bass and fraught guitars all drenched in sonically deranged saxophone while the songs are surreal stories sheathed in the scenery of their small town English home. The whole beast is a kind of all you can eat aural entertainment buffet featuring 13 of the band’s best bites of the bizarre. From the frantic psycho surfabilly opener, Off The Beach to the ferocious hornets-in-a-holdall drone of I Am The Dreg, The Cravats employed their entire toolbox of toys when putting this doozy together. Apart from newly recorded tracks, There Is No International Rescue, Fireman, Terminus, The Station, Icecubists, Daddy’s Shoes and Working Down Underground you got the Small Wonder Records single releases, And The Sun Shone, You’re Driving Me and I Am The Dreg (the version of Off The Beach on here was recorded on a mobile studio positioned in a pig pen next to their practice room down on the farm in Worcestershire. It’s noisier and more unkempt than the Small Wonder single release). Plus there’s the ‘hit’ single (well, It sold more than anything else they ever did!) Rub Me Out and When Will We Fall, forged by High Priest of Punk, Penny Rimbaud with the aid of Southern Studios sound guru, John Loder which was fired out of the Crass Records canon in 1982. No track sounds like any of its companions but every track sounds like The Cravats. The original Colossal Tunes Out LP certainly deserves its legendary status and hefty price tag on the rare record resell circuit. It’s good news that Overground Records are putting these tunes out again and it’s great news that they still sound colossal! One-time vinyl pressing of 500 copies that closely reproduces the original but with the bonus of a poster. (Overground Records)
  • The Cravats’ one, great musical handicap was that they were indescribable. Incisive, innovative musicianship was everywhere, yet the songs themselves defied comparison to anyone else’s. The lyrics, meanwhile, were uncommon, vivid, and forcefully-delivered, so reviewers (both friendly and hostile) focused on those. But the part that burrowed straight for the wee chunk of your brain marked “fight or flight” on the meat-cutters’ chart was the unsettling throb and lurch of the massively-amplified sax, guitars, bass, drums, and whatever other alien sound-forms and distortions The Cravats felt like heaving into the mix. Their devoted record-company, Small Wonder, had no idea how to present them, either, but they kept on releasing Cravats records long after they’d bid adieu to the rest of their visionary catalog (among them The Cure, Patrik Fitzgerald, Crass, Poison Girls, Menace, Bauhaus, and Fatal Microbes). Peel played and played them, recording four Cravats Peel sessions 1979-82. The Cravats formed after a Stranglers show in Birmingham in 1977: they borrowed £400 from Shend’s mum and self-released their debut 7” Gordon in July 1978. Small Wonder liked the single so much that they picked up 500 copies and booked the band into the studio with producer Bob Sargeant; the result was the Burning Bridges single, soon followed by Precinct. Next, the band relocated to Torquay for a full week in 1980 to record their first album – on an 8-track in a hotel basement: The Cravats In Toytown made it into the Top 20 in the independent charts. Two more Small Wonder 45s followed, You’re Driving Me and Off The Beach, sandwiched around their first project with Penny Rimbaud (who succeeded in making them even darker with ‘Rub Me Out’). Despite their collectability, the Small Wonder records remained un-reissued until Penny Rimbaud obtained the recently discovered multi-track Toytown masters and re-interpreted and remixed them in his own unique, eccentric style, as Alice’s Adventures In Toytown. A limited-edition vinyl pressing reproduces the original album, the 12” x 12” 4-page insert, but with the bonus of an inner bag. (Overground Records)
  • Zounds formed in Reading in 1977 releasing their first single Can’t Cheat Karma on Crass Records in 1980. This early association with Crass meant they were key figures in the bourgeoning anarcho-punk scene along with The Mob, Poison Girls, Flux of Pink Indians and many others. Moving to Rough Trade Records the band released their first album The Curse of Zounds in 1982, recording and mixing the LP within five days. The cover art, by anarchist artist Clifford Harper, featured a painting of fire fighters apparently trying to put out a blaze at the Houses of Parliament in Westminster. However, the picture continued onto the back cover, which showed that in fact they are spraying the fire with petrol, thus feeding it. Someone must have slipped one of those post-anarcho-syndicalist pamphlets in with these guys’ Beano comics! This is sturdy, above-average English pop-punk with some surprisingly infectious hooks. But the foursome ain’t just disaffected youngsters lookin’ for a kiss (or any ol’ white riot) – they’re searching out the meaning of life in the post-industrial capitalist system. As long as you’ve got the tunes, fellas – go for it! – Trouser Press. "The curse of zounds" is now seen as a classic of the genre and one of the most inspirational albums of the post-punk period. (Overground Records)
  • In many ways The Mob were the archetypal anarcho punk band. Formed in Yeovil, Somerset in 1979 the band soon spent their time permanently on the road in a convoy of trucks before squatting in Brougham Road, Hackney – a street of houses that accommodated many punk and counter-culture types. Until their demise in 1983 they remained an integral part and a huge influence on the anarcho, traveller and free festival scenes. Their first release was the 1980 Crying Again single on their own All The Madmen label, followed later that year by the Ching cassette. 1981 saw another single the hugely popular and haunting Witch Hunt soon followed by their now legendary Crass single No Doves Fly Here, both taking anarcho punk into new musically unchartered waters. 1983 saw the release of their now legendary album Let The Tribe Increase, an album that saw them moving away from the constraints of the punk sound as they continued to push the musical boundaries. This trend continued in their epic single The Mirror Breaks. The Mob’s invlovement with the counterculture saw them playing gigs with archetypal hippies Here & Now and Androids of Mu as well as being actively involved in the Persons Unknown and Centro Iberico anarchist centres and the Black Sheep Housing Co-operative. Eventually The Mob dissolved with Joseph Porter joining Zounds before founding Blyth Power. Let The Tribe Increase includes the full album, both tracks from the Mirror Breaks 7″ and a previously unheard demo version of Stay, all professionally remastered. Packaged in a 12-page booklet it contains a band history and the events that surrounded the recording of the album by Kill Your Pet Puppy fanzine editor Alistair Livingston. (Overground Records)
  • Originally released by Epitaph in 1998 this is a fan club reissue of their third full length. You already know what to expect: turbospeedrocknrollhardcoregaragepunkatitsfuckingbest. You can't go wrong with Zeke! (No Futuro Records/Unofficial)