• Finally reissued on vinyl! For their second album, first wave U.K. punks the Outsiders decided to move on from the home-recorded D.I.Y. sound of their first LP and ventured into a proper recording studio for the first time. However, they didn't use the occasion to slather gloss on their music, and while 1978's Close Up does sound cleaner, richer, and more precise than 1977's Calling on Youth, the production is admirably lean and straightforward, and if anything, the arrangements are less tricked up than on the group's debut, with fewer acoustic guitar overdubs and a sleek, speedier approach that makes room for Adrian Borland's guitar heroics. By this point in the Outsiders' career, Borland was reportedly growing tired of the confines of the punk template (he'd break up the band to form the Sound before the year was out), and in many respects, Close Up sounds as much post-punk as punk; there are a few straightforward pogo rockers like "Vital Hours," "Count for Something," and "Out of Place," but the phase-shifted atmospherics and anti-racist lyrics of "White Dept." point to a more musically ambitious vision, while the slower, blues-infused "Keep the Pain Inside" snubs its nose at punk orthodoxy, and the nervous social commentary of "Semi-Detached Life" and "Conspiracy of War" are short on sloganeering and long on thoughtful observations of an off-kilter world. While Borland was clearly feeling his oats as a soloist, his melodies here are smart, strong, and to the point, while his vocals are effective and free of pretense, and bassist Bob Lawrence and drummer Adrian James are a splendid rhythm section, adding just the right amount of texture and color while driving the songs with authority and no-frills style. Close Up hardly sounds like the work of a band on its last legs; this is powerful, efficient rock & roll that has aged far more gracefully than most of the bands in the U.K. punk class of 1978. (Mad Butcher Records)
  • Out of stock
    (Shipping: September) The Outsiders weren’t by-numbers punks, even though they regularly played Covent Garden hot-spot The Roxy. Frontman Adrian Borland was influenced by America’s Doors and Stooges, whose Iggy Pop was so moved by one of their early-1977 Roxy shows he joined them on stage. Following The Outsiders, Borland formed the moody and acclaimed post-punk outfit The Sound, who signed to the same label as Echo & the Bunnymen. After they split, he performed and recorded as Adrian Borland & The Citizens. He committed suicide on 26 April 1999. One to Infinity is an EP and the second release the Outsiders, released in November 1977. (Mad Butcher Records)
  • Long time unavailable debut album of The Restarts is now again on vinyl! Fast and energetic punk + excellent lyrics, that is The Restarts. (Papagájův Hlasatel Records) https://www.youtube.com/watch?v=hf6SyjnHxMg
  • The sixth album from UK based politically charged punk band The Restarts. Their time, toil and devotion to empowering and improving the lives of people, locally and globally - both as a band, and as individuals in the work they do outside of the band is something not to be ignored. Their usual brand remains solid relentless thrash punk, ska anthems and back to basics old school punk. (Pirates Press Records) https://therestarts.bandcamp.com/album/uprising
  • Drawn up by some of the most unsavory souls in the Boston, MA underground hardcore scene and reinforced by members who have done time in infamous area bands like Mind Eraser, Righteous Jams, Mental, XfilesX and many others, The Rival Mob have become the darlings of the current hardcore scene, inspiring shameless violence and playing high on the bill at the most important hardcore festivals in America: This Is Hardcore in Philadelphia, Sound And Fury in California, and Chaos in Tejas in Austin, TX. In between serving time with their current other projects World War 4, Give, No Tolerance, and Boston Strangler, the band will be playing on both coasts highlighted once again by the big summer festivals as well as their first-ever trip across the Atlantic to Europe. The band's Revelation Records debut picks up right where their previous EP, "Hardcore For Hardcore," left off, with vocalist Brendan Radigan spewing venom at the ills that plague both the outside world and the scene itself, all delivered over fast, stage dive-inspiring hardcore that brings to mind the best of mid-to-late '80s New York hardcore bands like Youth Of Today, Warzone, and Breakdown. Vinyl version includes digital download. (Revelation Records)
  • Out of stock
    The Ruts are an English reggae-influenced punk rock band, notable for the 1979 UK Top 10 hit "Babylon's Burning". This release compiled two The Ruts albums: - "In a Can" (2000) album of demos from three sessions in the period before they signed to Virgin. Fox, Jennings and Ruffy compiled and remastered this release, and also supplied liner notes. The sessions date from 25 April 1978 (8-track Fairdeal Sessions), 20 February 1979 (Underhill Studio) and Mystery Studio Sessions (early 1979). - "Live & Loud" originally released in 1987 as part of the Link Records Live & Loud series. Deluxe Double LP package on Limited edition coloured vinyl. (Let the Eat The Vinyl)
  • Fan club repress of the 1986 album release of the sessions The Ruts recorded for Radio 1's John Peel Show. A must have record for every 1977 UK punk fan! Tracks 1 to 5: 23/01/1979 Tracks 6 to 10: 14/05/1979 Tracks 11 to 14: 11/02/1980. (Fan Club/Unofficial)
  • THE SAINTS | T-shirt

    11.00 incl. tax
    Gildan heavy cotton t-shirt 100% cotton. All the water-based inks for screenprints have an eco-passport verification. Every stamp and logo is hand pulled silk screen print.
  • Out of stock
    IN THE SUMMER is a collection of eight songs recorded on four track reel to reel during 1977, and then four more during 1978. They were a band that came together in the early Toronto punk/new wave scene, fronted by dual excellent singer-songwriters, and became a great band that was even more underground than the others there at that time. This legendary anthology includes fan-favorites “Do The Wait,” “O Boy,” “Wild Trout,” “I Killed Marx” and the title track. (Rave Up Records) https://thescenics.bandcamp.com/album/in-the-summer
  • THE SOUND | jeopardy | LP

    18.00 incl. tax
    Formed in 1979 and fronted by the mercurial and troubled Adrian Borland (he would commit suicide in 1999 after years of battling depression), The Sound are one of the most unjustly neglected bands of the ’80s. They may not be as well-known as their contemporaries Echo & the Bunnymen or Joy Division, but their contributions to the first wave of English post-punk are as equally unique and influential. Fed up with its simplistic structure and rote posturing, Borland cut ties to the punk movement after fronting ’77-era group The Outsiders. Not unlike Magazine’s Howard Devoto, whose similar inclinations led to his leaving The Buzzcocks, Borland wanted to create a sound that relied more on atmospheres, tensions and instrumental interplay while harnessing the urgency of punk’s spirit. With the release of Jeopardy, The Sound turns this inspiration into a nearly perfect debut. Featuring rough-edged production fitting its £800 recording budget, Jeopardy is a caustic rush, full of songs with hooks and emotional impact that never resort to histrionics. The album’s opener starts off minimally, until the nervy guitars of the chorus rip through the song. This auspicious beginning only hints at what’s to come. Every song that follows builds on the momentum of a complex pop masterpiece. Borland’s lyrics also prove him to be one of the few post-punk songwriters whose words are worth poring over and analyzing. The album received extremely positive reviews, with NME, Sounds and Melody Maker all bestowing their highest ratings, and influential British DJ John Peel welcomed the band into the studio to record a session. All of the critical praise heaped on the band makes it hard to explain why The Sound never rose to the prominence of the two bands to whom they received the most comparisons, but one only need to listen to Jeopardy to hear Borland’s perfect combination of Joy Division’s dark, tortured angst and Echo & the Bunnymen’s accessible glam/art-rock fusion. (Fan Club/Unofficial Release)  
  • Out of stock
    Back in stock
    Compiled by Ben Blackwell of Third Man Records, previously only available as a limited edition at the TMR record stores in the US only. The Stooges first LP with a bonus LP including tracks lifted from the deluxe Stooges CD box. Includes some tracks appearing on vinyl exclusively for the first time. Record Store Day 2018 exclusive "The Detroit Edition" with bonus LP of alternative versions, extended jams and unused mixes. Limited edition of 8'000 copies, 180 Gram Vinyl, Gatefold. (Elektra)
  • THE SUBHUMANS | T-shirt

    11.00 incl. tax
    Gildan heavy cotton t-shirt 100% cotton. All the water-based inks for screenprints have an eco-passport verification. Every stamp and logo is hand pulled silk screen print.
  • THE UNDERDOGS were a crackin' UK82 band from Leeds. Fans of their single on Riot City will be pleasantly surprised by the more melodic tracks from their two brilliant demos recorded between 1982-83. Some of these might even rival their most famous tune "East of Dachau". 34 years later Common People Records proudly presents for the first time on vinyl these two demos and the Riot City single. All tracks were remastered in 2015. Limited edition to 520 copies - Spanish Import. (Common People Records) https://commonpeoplerecords.bandcamp.com/album/cpr011-the-underdogs-the-punk-demos-collection
  • SoCal mod/ska icons - widely credited as America's first ska band - present this fantastic collection of career highlights packaged in a limited edition colored vinyl. Features The Untouchables' signature hit "Free Yourself" as well as other favorites like "Wild Child," "Whiplash" and "What's Gone Wrong!" The Untouchables formed in 1981 as part of the embryonic L.A. mod revival, after being inspired by the ska revival/punk rock band The Boxboys. Since some couldn't play instruments, they either hastily learned, or became vocalists. In early 1984, they were signed to Stiff Records. Concerts with The B-52's, Black Uhuru, Bow Wow Wow, Red Hot Chili Peppers, Fishbone, No Doubt and X all over California gave the group a disparate following of whites, blacks, mods, punks, surfers and rockabilly fans. (Cleopatra Records)
  • "Double Seven, released by Trojan in late 1973, was the last album Lee 'Scratch' Perry would release on the label for some considerable time, and it was essentially the final album project he put together before establishing his own Black Ark studio. Opening track 'Kentucky Skank' sets the tone with a slow creeper whose frying sounds underscore its role as a praise song to the Colonel's KFC recipes; the cosmic Moog blips come courtesy of Ken Elliott at Camden's Chalk Farm studio, also prominently featured on U-Roy's double-tracked, stereo-panned gambling ode 'Double Six.' David Isaacs' 'Just Enough' was cut a few years prior, which makes it slightly out of phase with the rest of the set, though the enigmatic 'In The Iaah' sounds mightily fresh, with its uncredited chorus said to come courtesy of the Wailers. Perry's own 'Jungle Lion' has hilarious roars from the maestro at the start, strangely grafted atop a reggae re-make of Al Green's 'Love and Happiness.' (Antarctica Starts Here Records)  
  • "The inventive record producer and vocalist Lee 'Scratch' Perry was involved in every musical shift of note in his native Jamaica, from the rhythm and blues that pre-dated the arrival of ska in the early 1960s through the slower and more spacious rocksteady style that appeared mid-decade and, of course, the frenetic sound of reggae, which he helped to birth as an independent producer during the late 1960s. Operating as 'The Upsetter' from his base in a downtown Kingston record shop, Perry found his greatest success with instrumental music during this phase, the organ and saxophone re-castings of standard vocal issues proving exceptionally popular overseas. "Scratch The Upsetter Again surfaced early in 1970 as a largely instrumental set, but with dreamy reverb a hefty feature and keyboards veering away from standard organ motifs. Dave Barker, who was soon to hit the pop charts as part of Dave & Ansel Collins, tackles The Shirelles' 'Will You Still Love Me' in soul reggae mode, only for Perry to shift things towards the emerging dub spectrum with 'Take One.' "As Perry inched ever closer to the dub experimentation he would turn into an art form at his own Black Ark studio later in the decade, Scratch The Upsetter Again shows him moving away from the standard approaches of his competitors in his quest to test the very limits of recorded sound. And reggae was all the richer for it." – David Katz (excerpt from the liner notes) (Antarctica Starts Here Records)  
  • The Varukers… this band is a legend. If you’ve never heard about them, please do your homework. Originating long back in 1979, Varukers, along with Discharge, were the first to pummel the d-beat style of hardcore punk we know today. This is the raw and aggressive, fist-pounding sound that made punk loud and political. With its intensely raging guitars and galloping drums, everything these guys have ever produced is a staple in UK punk that deserves our attention. Damned and Defiant is the first new VARUKERS since 2005. The album features the seminal line up that was part of the hugely successful "Nothings Changed" era of the early 90s. Rat Martin, Biff Smith, Brian Ansell & Kevin Frost. (Nunny Dave Records)  
  • “How do you Sleep?” (2000) is the fifth studio album by hardcore punk band THE VARUKERS. (Westworld Recordings)
  • Legendary The Vibrators and their Energize album from 2002 are now available for all collectors and vinyl lovers. 16 great songs of traditional Vibrators pop-punk.
    (Papagájův Hlasatel Records)
  • Gloom Ballet delivers twelve infectious tracks drenched in the band’s ‘80s UK post-punk (Death Cult, Killing Joke, Chameleons) and SoCal deathrock (T.S.O.L., Samhain) influences. Recorded by Puscifer guitarist/producer Mat Mitchell, Gloom Ballet was mastered at Audiosiege by Brad Boatright (From Ashes Rise, Tragedy, Alaric, Arctic Flowers) and the artwork by Rebecca Sauve. Convulsive & chaotic LA Death Rock. (Southern Lord Records)  
  • Formed in 1976, the Zeros were one of the pioneers of the Southern California punk scene that included bands such as the Germs, X, and the Weirdos. They released their now classic first singles 'Wimp' b/w 'Don't Push Me Around' and 'Beat Your Heart Out' b/w 'Wild Weekend' on Bomp in 1977 and 1978. This album includes all their vintage studio recordings, singles and demos. (Bomp! Records)  
  • Nothing to prove, nothing to gain, exorcising our demons, baring our pain. UKHC veterans Tied Down hail from the North East of England and feature ex and current members of Voorhees and Break it Up. This is their debut release of 6 songs of old school hardcore that features aggression, rawness and melody all put into a musical blender and spat out into your face. FFO early NY and Boston hardcore punk with a distinct UKHC feel. Hardcore punks never die they just get angrier with age!! Co-release between Refuse Records and Sakari Empire. https://refuserecords.bandcamp.com/album/s-t-7ep-2
  • 'Tommy McCook' or, as it was known on its initial release in 1969, 'The Skatalite', is a collection of some of the greatest ska tunes ever put to tape. Recorded By Arthur "Duke" Reid at his legendary Treasure Isle Studios - named after the family run liquor store that the studio was above on Bond St. in Kingston, Jamaica - these classic recordings feature Roland Alphonso, Don Drummond, Rico Rodriguez, and all the original Skatalites. Also including some classic vocal appearances from some of the biggest names in ska history: Justin Hines, Stranger Cole, and Millicent "Patsy" Todd, the album is a perfect blend of Skatalites instrumentals and vocal tracks. Ska is the heartbeat that created the worldwide cultural phenomenon that is reggae music and at the very center of the ska universe you will find Tommy McCook and The Skatalites; dig here on some of their most historical and influential recordings, and start skanking! (Radiation Roots)  
  • There's not really that much to say about Sweden's Tortyr other than if you like your crust bassy and dirty as hell then you'll love them. Musically, they're a mix of punk and crust with a tiny hint of death metal that goes a long way to surpassing the likes of genre luminaries Skitsystem in the heaviness stakes. As with a lot of this type of music, however, it tends to get a bit samey after a few tracks. Thankfully, Tortyr do offer a little in the way of variation, although not nearly enough. "De blindas lakej" kicks off like an oldschool Swedish death metal effort, and doesn't sound a million miles away from something you'd expect from an early-90s Entombed. For me, at least, it's the track of the album and showcases an aspect of this band that they should really explore. Vocally, there's some work to be done here. It's just too shouty-screamy and, although that's the style generally used for this type of music, it's clear that these guys would benefit greatly from the odd death-growl passage here and there. It's more of this type of variation -- both musically and vocally -- that could elevate Tortyr to greater recognition and see them output a truly monstrous album. Here's hoping for next time... (D-Takt & Råpunk Records)
  • Finally, a new deep cut from Melbourne’s visceral post-punk band Total Control. Typical System, their second LP, was written, recorded, created over the past two years and is set for US/Worldwide release via Iron Lung Records on June 24th and self-release in Australia/New Zealand on June 20th. Total Control emerged from Australia’s dynamic punk scene in ’08, releasing a succession of 7”s that developed from an aggressive post-punk band sound to studio forays into electronic forms from minimal wave to house. Their debut LP, Henge Beat, was commended as one of the few records released in 2011 that evaded the ease of classification and competent tribute act status of most modern bands. Subsequently, they have released three very different records: a split 12” with Thee Oh Sees, a 7” single on Sub Pop and a house remix 12”. Typical System develops on the incongruent demands of their debut LP and ensuing releases, a further development on their continually evolving sound. (Iron Lung Records)