• All Pigs Must Die is a new band that is rapidly and viciously taking the world by storm! Right off the bat, their pedigree gives them an advantage. Kevin Baker (The Hope Conspiracy) is the throat and Ben Koller (Converge) is the battery. Although the band s members hail from these known modern hardcore/metal acts, they turn their more crust punk/d-beat-driven aggression outward with this band. God Is War is the first full-length studio album by the American metalcore band All Pigs Must Die. It was produced by Kurt Ballou and released on August 16, 2011 through Southern Lord Records. The cover artwork was designed by German illustrator Florian Bertmer. (Southern Lord Records)
  • All Pigs Must Die are far more than the sum of their parts, and their fusion of crust punk, hard core and metal is more ferocious than ever before. The band return with Hostage Animal and an expanded lineup, thanks to the addition of Trap Them’s Brian Izzi. Bound by a shared sonic vision, APMD is comprised of some of the most well-seasoned musicians on the eastern seaboard —Kevin Baker (The Hope Conspiracy), Ben Koller (Converge), Matt Woods, and Adam Wentworth (both of Bloodhorse). Distilling aggressive music to its purest tenets, APMD craft songs that pulverize, gnash, and whirl with a punishing delivery. APMD unleashed their first full length with 2011’s God Is War. The 30-minute rip was a nod to primeval disdain and anger. Exploring facets of human conflict one track at a time, God Is War introduced the world to a whole new spectrum of rage. In 2013, APMD upped the ante with Nothing Violates This Nature. Honing their craft with more speed and filth, APMD pushed their sound closer to the edge of the cliff. 2017 sees the release of APMD’s third full-length, Hostage Animal. Like its predecessors, Hostage Animal was recorded at Kurt Ballou’s GodCity Studio. But that is where the similarities end; Hostage Animal ushers in the most concise, yet dynamic collection of work in the band’s catalog. As a 5-piece, APMD broadens their sound without abandoning any brutality. Drawing from inspirations as diverse as Slayer, Trouble, Morbid Angel (old), GISM, Jesus Lizard, Bathory, Ulver (old), Sepultura (old), Nietzsche, Heidegger, Darwin, pessimism, fear, hatred, paranoia, THC. This is a record that will leave you with whiplash of both body and mind. (Southern Lord Records)
  • Out of stock
    All Pigs Must Die return with a new skull-crushing opus: NOTHING VIOLATES THIS NATURE. As with the debut album: “God Is War”, NVTN was recorded and mixed by KURT BALLOU at Godcity Studios. APMD is a band committed to uncompromising sonic warfare. Its sound and lyrics assault the listener in a fury of blackened death filled anthems. Owing as much to the Cro-Mags and Discharge as Entombed and Celtic Frost. APMD mix powerful riffs, relentless tempos and a dark presence to bulldoze a grim path of destruction. The NTVTN album contains 10 violence-inducing shredders steeped in utter filth. Aaron Turner (Isis) has lent his nihilistic hand, pen and mind to develop along with the band the dark iconic artwork contained within. (Southern Lord Records)
  • Out of stock
    Perhaps you, like me, have listened to Bauhaus and Killing Joke and thought, ‘Well, this is great, but I wish it was a bit more of a rager.’ Similarly, maybe you listened to The Effigies and Samhain before musing to yourself, ‘Cool, although I thought it’d be darker.’ In other words, it’s occurred to you that deathrock could be a tad deathier and - if it’s not too distasteful of me to say so - rock a hell of a lot harder. Step forward, Altar of Eden. The project of Austin, TX resident Albert Limones (whose bruising sounds you may have heard in the shadowy likes of Nosferatu and Creamers), it’s an unholy marriage of Big Black’s mechanistic rhythms and the serrated, atmospheric noise of yer favourite early ‘80s 4AD types. Tracks like ‘The Abandonment’ absolutely lay waste to your speakers - it opens with a harrowing shriek before throbs of chorusing bass and guitar carve out their own unnerving paths. Somewhere in the distance, a menacing voice can be heard, buried in murk and distortion, with the song operating at breakneck pace and maximum volume - hey, I think our criteria may have been met. Second track ‘Tears’ ups the ante, leaning heavily on atmospheric gloom while pushing the drum machine to the fore, like Clan of Xymox setting up traps for the Slenderman, before the lacerating strafes of guitar on ‘Eternity’ invite the nightmares to truly begin. And that’s just the first three songs - by the time ‘Death in the Country’ gallops to a beautifully discordant end, we’re well and truly bewitched by this wonderful, horrible noise. ‘The Grotto Screams’ was originally released on cassette in April of last year, before finally getting this well-deserved vinyl pressing - one of the first truly essential releases of 2021. Don’t miss out. (Drunken Sailor Records)
  • First ever reissue of Alternative TV’s "Action Time Vision", compiled in 1980 and featuring the group’s 7“es from 1977 to 1979. Including bonus track "You Bastard" and new liner notes by ATV singer Mark Perry, the founding editor of punk fanzine Sniffin' Glue. What Mark Perry says: "It wouldn’t be an exaggeration to say that Punk turned my world upside down! In July 1976, after hearing and seeing the Ramones, I went from just another music fan, avid reader of the NME and Melody Maker, to become editor of punk’s premier fanzine, Sniffin’ Glue. It was almost an instant success and by December 1976, through our no nonsense approach, our position as the ‘punk Bible’ was assured. But it was never enough for me. As I saw the initial punk explosion subside into a succession of third-rate copycats, I wanted to have a go myself. My first attempt at forming a band was in late ’76. We called ourselves the ‘New Beatles’ and it ended after a couple of rehearsals. It wasn’t until I met guitarist Alex Fergusson, a mate of Sounds writer Sandy Robertson, in early 1977, that I started putting together some more interesting ideas for a band. I worked on a bunch of lyrics and, pretty quickly, Alex had put tunes to them. Eventually calling ourselves Alternative TV, we had our first rehearsals at Throbbing Gristle’s Industrial Studios in March ’77. That initial line-up was just me singing and Alex on guitar, with Genesis P-Orridge helping out on some bass and drums. We did ask Gen to join fulltime, but he decided against it and stuck with Throbbing Gristle. After more rehearsals, we played our first gig at the Nottingham Punk Festival in May 1977, joined by Mick Smith on bass and John Towe (ex-Generation X) on drums. I started thinking about doing a record almost from the start because, by this time, I was running the Step Forward record label with Miles Copeland, who was also to become the band’s manager. It seemed like a natural move to put out my own record, but it instead ended up on Deptford Fun City, another of Miles’ labels. Before that actually happened, we made a slight detour by recording a demo for EMI. They didn’t want to sign us, but we did end up with the tapes…" (Staubgold Records)
  • Out of stock
    Release from Cassette Store Day 2017. Limited edition of 349 hand-numbered copies. Formed in London in 1977 Alternative TV was a post-punk group known for incorporating reggae rhythms and pushing the boundaries of the definition of punk towards the experimental and avantgarde. Their first album, The Image Has Cracked, came out originally in 1978 and is a wholly unique piece of British post-punk. Beloved by John Peel, and close confidantes of Throbbing Gristle, Alternative TV is one of the most original and beguiling groups of the era. (Restless Empire Records)
  • Out of stock
    "UpTown Top Ranking is a classic song by Althea & Donna which was a BIG hit in 1977. Althea Forrest and Donna Reid were 17 and 18 respectively when the song was bubbling on the charts. This record is full of the style from the Golden Age of reggae. Althea & Donna helped blaze the trail for other female artists. Produced and engineered with Karl Pitterson at the controls. Musicians like Sly & Robbie, Earl "Chinna" Smith, Bernard "Touter" Harvey, Scully, Tommy McCook, Vin Gordon and Herman Marquis provide the crucial instrumental journey. Even though I already had the classic song (it's included on various compilations) this LP is an essential addition to my collection. This release is an All Time Classic." (Survival Research Records)
  • Out of stock

    ALVILDA | négatif | 7”

    8.00 incl. tax
    ALVILDA are Nina, Eva, Sandra and Melanie and is the best power pop inconnue! Four ALIEN SNATCH! pandemic pop pearls parisiennes! Seems the four gals starring the SHANGRI LAS on "Leader of the Pack", but are the ones riding Lambretta motor scooters picking up the DOGS. The are the french version of Belfasts' PROTEX, their four-song debut 45rpm has the trademark lofi-mod to power pop drive and add some yé-yés of their idols, LES CALAMITÉS and some ice-melting RONETTES surf harmonies and back ups. Fans of NUMBER ONES, WHIFFS, BARRACUDAS, TV CRIME and PROTOKIDS put a heart-shaped cardboard file next to your A´s- After Last Night 45 until release date. Record comes in two double sided printed cover cards in super clear sleeves.This is ALVILDAS first recordings from December 2020 at Château Vergogne Studio. We´re in love toutes le nuits already. (Alien Snatch Records)
  • Monolith" is the second studio album by the British crust punk band Amebix, originally released in 1987 and now finally made available again on cd by Dissonance Productions. (Dissonance Productions)
  • Out of stock
    Monolith was the second full-length album by West County punk-metal ’80s anti-heroes, Amebix. One of the best crossover records the UK ever produced. Originally released in 1987, with second rate Giger-style sleeve-art, on a dodgy heavy metal label (called Dodgy Heavy Metal Records). The Power Remains was a posthumous collection of live and demo recordings, that was originally released in 1993 (and done in a much more appropriate and enthusiastic fashion) by MCR and Skuld Records. This band-released reissue combines both LPs, with lavish new gatefold sleeve artwork (competently created by Andy Lefton of War//Plague and Tau Cross). And these copies are “special record store day 2016 limited editions. Limited to 1000 copies. Housed in a gatefold jacket with a round silver sticker stating "Special Limited Edition- Record Store Day 2016". Tracks A1 to B4 were originally released as the Monolith LP. Tracks C1 to D2 and D4 were originally released on The Power Remains LP. Track D3 is previously unreleased. Tracks A1 to B4 were recorded and mixed at Sam Studios Bristol in May / June 1987. Tracks C1 C2, and C3 are demo recordings. Recorded at Cabs Studios late 1987 in 10 hours. Track C1 is a demo recording. Recorded at O.O.C. Studios, Holland 1985. Tracks D1 to D4 recorded live in the Longrace Hall Bath September 1987. (Amebix Records/2016)
  • Out of stock

    AMEBIX | redux | 10′

    18.50 incl. tax
    Time comes in cycles sometimes what we thought we left behind suddenly catches up with us and changes the 'Plan'. Amebix vowed never to play again after the sad ending of the band in 1987, out of steam and with little support we simply drifted apart. It wasn't until the advent of the internet that it became apparent that we had left a wake in our passing, which had in turn passed the torch on to those who would follow. There was some satisfaction in that, and also some niggling feeling that we had never really had our 'day in the sun', but as I say, time comes in cycles.Stig, Roy & I all got together for the first time in 2008, I had not picked up a bass guitar for 22 years , whilst Stig had kept his hand in with his own projects , and Roy Mayorga has barely left a drum stool since his early days in Nausea, but it was the first time that we had all met , let alone played together. The brief was to try and re -visit three songs, to see what there was left of the music that had driven us so hard when we were just kids. If it didn't work, we would all have tried anyway and had a good experience along with it. But it did work, the first track we recorded was WINTER, the first take was the one we kept, and that is ultimately the version you hear. We all stood around a bit stunned, this is easy ..lets crack into Arise!...........nailed ! As the tracks came together, we realised that a door was opening, and that we had a choice, to walk along this road again or hang up the strap for good. Personally I am glad that we walked on, 2009 was a great year , a time of celebration and re-birth, and a vindication of the body of work that we had spent ten years on, which found a home within the souls of so many good people .NGNM. A.Arise! 6:45 B i.Winter 4:59 ii. Chain Reaction 5:47 All songs written by Amebix Recorded, mixed and Engineered by Roy Mayorga o Classic Amebix tracks re-recorded with the founder members The Baron and Stig and featuring multiple talents of Drummer/ Percussionist, Producer-Engineer (Sepultura) Roy Mayorga (Nausea/ Stone Sour ) (Easy Action)
  • Silent since the late 80s, Amebix, a duo of the reclusive swordsmith Rob Miller and his brother Stig have had their lineup augmented with the addition of drummer Roy Mayorga (Soulfly, Stone Sour). Sonic Mass is their first album in over 20 years and their third in total. Deluxe gatefold sleeve with spot varnish front & back : stunning artwork by Andy Lefton : full colour printed inner sheet. (Amebix Records) https://amebix1.bandcamp.com/album/sonic-mass
  • Back in stock
    Writing about punk, especially hardcore seems to be a topic that has been passed over by most music writers. You see tons of books about the early days of punk and bands like the Ramones, Clash, Sex Pistols etc..(if you believed what those books said or VH1, punk ended they day Sid Vicous died), but very rarely do groups like Black Flag, Dead Kennedys, Minor Threat, and the hundreds others that followed in their wake get any coverage from a mainstream media. American Hardcore sets out to fill the missing piece of history that was the hardcore scene. This is an oral history of the scene as told by the author, who was a D.C. promoter and played in a band called No Trend, and interviews done by the author with the people created hardcore. He talks with some of the biggest names in the scene including: Milo Aukermen, Brian Baker, Jello Biafra, Dez Cadena, Glenn Danzig, Greg Ginn, Greg Graffin, Jack Grisham, Brett Gurewitz, Ian Mackaye, Mike Ness, Henry Rollins, Mike Watt, and many more both of larger and smaller bands spread throughout country. This personal accounts and the telling of many private and unknown stories gives the book a very intimate feel and by the end, I felt as if I understood some of the frequent contributors better and was better able to understand some of their more personal lyrics and songs. The book is divided into four parts, each with its own chapters. The first part takes a look at why hardcore happened, what were the major influences within and around the scene that prompted it to react the way it did. It discusses topics such as violence at shows, the (rightful) hatred and distrust of the police, racism and sexism in scene or more specifically why it was predominately white and male. It also talks about some of the homosexual people that helped create hardcore. The book also talks about things like straight edge, anti-fashion, people coming from middle class suburbs and stuff like that. The second part is definetly the best part. This part was about the bands and the scenes from all over the country. The best thing is that this book isn't all about the west coast or the east coast, the author attempted and made a really good effort to cover every scene from every area around the country. Some scenes and bands get more attention than others; Black Flag, Misfits, and Bad Brains each got their own chapters, and California was divided into 3 chapters, while others barely get a paragraph. When he does do the chapters on the scenes, the author starts with the bigger bands from that scene and then moves down to the smaller groups. Which is cool that he names the smaller groups along with larger ones, it does get tedious after awhile when you have never heard of some of these bands and just want to skip to the next chapter. Also this is my pet peeve through out the book, when he talks about scenes in different towns he always mentions shows his band played, especially if they were with big bands. While that's cool and I would give my left nut to see the Dead Kennedys play in their prime, let alone open for them, it got really annoying after awhile. The third part tends to drag on bit as it talks about the formation of labels, artwork, the d.i.y ethic, and media portray in movies and TV. I did learn some interesting things in this section though. For instance Belushi was the person responsible for getting FEAR to play on SNL, one more reason he is a god, and if you look during the second performance at the end Ian Mackaye grabs the mic and yells "New York Sucks!" The fourth and final section is about the demise of hardcore and why after 86 or so it became irrelevant, at least in this author's eyes, as most of the good bands quit or started new projects that were labeled "post hardcore" or "emo". A really interesting part at the end has many of the big names from the scene discussing punk/hardcore and its relevance today, and how today's scene differs from then. While some comments sounded elitist, I will give them credit that being punk during the time period 80-86 was a lot more dangerous than it is now, I have never been beaten down for the way I looked, or had cops shut down a show with tear gas and billy clubs, in some ways I feel lucky for that. He also includes a discography at the end for almost every band that recorded something, but he limits it to stuff that was only recorded in-between those magic years, or stuff that was done after 86 that the author feels was relevant. Which to me is really heavy-handed, take Bad Religion for instance, under their discography it stops after the "Back To the Known" EP, I would have included "Suffer" which was done in 87 (I think). Same with Social Distortion, with them it seems like they must have quit after "Mommy's Little Monster". Overall this book offers a very intimate and personal account of hardcore punk between the years 1980-1986. Although at times the author and contributors sound heavy handed as we started this so we are more hardcore and what not, it still is a really enjoyable read, I couldn't put it down and finished it in about a week. If for nothing else the some of the pictures are worth the price of the book alone. Some great live shots and just pictures of people hanging out and being part of the scene are cool, along with the, at times, arty pictures at the beginning of each chapter. (My favorite is called "America" and is a picture of an old worn out chair sitting in front of a busted TV set in a vacant lot). I think that anyone who is a fan of older punk bands should check this out, it gives some great background on your favorite bands and introduces you to some that time has passed over. I know I have been trying to track down some of these bands after reading about them to listen to them.
    • Paperback | 410 pages
    • 178 x 254 x 24.64mm | 824g
    • English
       
  • Out of stock
    Another slice of rare Amy Winehouse on 7", this time teaming up with The Specials! When Amy Winehouse jumped on stage with The Specials in the summer of 2009, a new classic was born. "You're Wondering Now" and "Ghost Town" were performed, also features great mocked Specials first album cover art. (Fan Club/Unofficial Release)
  • Amyl and the Sniffers are a punk band possessed by the spirit of seventies Australian rock. Amy Taylor (vocals), Bryce Wilson (drums), Dec Martens (guitar) are former housemates who formed the band, wrote a handful of tunes and released their debut EP, Giddy Up, all in a span of twelve hours. Completing their line up with Gus Romer on bass, the band take their cues from a diverse bunch of legends including AC/DC, Cosmic Psychos, Dolly Parton and Die Antwoord, setting out to have as much fun as possible. Their 2nd EP, Big Attraction, was released in February 2017, kicking off a stellar year for these young punks. Growing buzz around their blistering live show made the band a hot tip at Bigsound in Brisbane, while the band was added to festival line-ups including Meredith and CherryRock17. The band and were invited to join the Cosmic Psychos on their forthcoming November/December tour and capped off the year with a sellout NYE show at the legendary Tote in their home town of Melbourne. 2018 sees Amyl And The Sniffers ratchet up another couple of gears with their first national headline tour in April followed by UK shows in May, and their first North American tour in June with fellow Melbournians King Gizzard And The Lizard Wizard. (Damaged Goods)  
  • Out of stock
    Already renowned for a ball-tearing live show, The Sniffers made their international debut as one of the hottest tipped acts at The Great Escape in 2018. Soon afterwards, they signed deals with both Rough Trade Records and ATO Records, made a massively hyped appearance at SXSW, and finally released their self-titled debut album in 2019, landing them an ARIA (Australian Recording Industry Association) Award for Best Rock Album, capping off a wild year for the lunatic, likeable punks. Late in 2020, Amyl and The Sniffers went into the studio with producer Dan Luscombe to record their sophomore album, Comfort To Me. Written over a long year of lockdown, the album was influenced by and expanded on a heavier pool of references - old-school rock’n’roll (AC/DC, Rose Tattoo, Motörhead and Wendy O Williams), modern hardcore (Warthog and Power Trip) and the steady homeland heroes (Coloured Balls and Cosmic Psychos). Lyrically, the album was influenced by Taylor’s rap idols and countless garage bands and in her words ‘I had all this energy inside of me and nowhere to put it, because I couldn’t perform, and it had a hectic effect on my brain. My brain evolved and warped and my way of thinking about the world completely changed.’ Seventeen songs were recorded in the Comfort to Me sessions and the top 13 made the cut. They were mixed long-distance by Nick Launay (Nick Cave, IDLES, Yeah Yeah Yeahs) and mastered by Bernie Grundman (Michael Jackson, Prince, Dr Dre). Comfort To Me demonstrates the same irrepressible smarts, integrity and fearless candour as their debut but as you’d expect of any young band five years on, their sound has evolved, in Amy’s words it’s ‘raw self expression, defiant energy and unapologetic vulnerability.’ (Rough Trade Records)
  • Out of stock
    The debut album from Amyl and the Sniffers is the sound of 21st century Australia recorded in Sheffield with producer Ross Orton. It's primal and explosive with a love of glam, the 70's Sharpie movement and good time rock n roll backed with lyrics that somehow are simultaneously bleak and nihilistic, yet humorous and celebratory. The album is full of beefy riffs and stomping drums that rages and rolls and lives up to all the hype. It has attitude, sass and Amy's sore throat howl. (Rough Trade)
  • Out of stock
    The Greek avant-garde composer Anestis Logothetis was noted for his pioneering tape techniques as well as developing his own notation system for composition that incorporated visual symbols meant to be interpreted by the performers. "Hör!-spiel" / Nekrologlog 1961 / Fantasmata 1960" collects 3 of his most famous works, realized in Vienna where he spent much of the 1940s-1960s. After completing studies at the music academy there, in the 1950s Logothetis became enamored of 20th century composers like John Cage and Earle Brown, and moved away from traditional composition for orchestras and performers in favor of fully electronic composition in the late 50s. A groundbreaking composer and electronic musician, Logothetis has long been underappreciated by the world of avant-garde and electronic musicians but Fantôme Phonographique seeks to rectify that issue with this brilliant release. Originally “pressed on behalf of the musical youth of Austria” in 1975, consists of two text-sound pieces from 1971/1961 and an absolute monster of an early tape-piece: the side-long “Fantasmata 1960.” This was composed, you guessed it, in 1960 in the “Institut Für Elektroakustik Der Musikhochschule In Wien". Fantasmata is a key word in the parlance of Western philosophy. Aristotle describes “fantasmata” as images that have their origin in the reminiscence of what has been perceived, and are created through the experience of the sensual perception of individual objects and occurrences. Logothetis thereby meets the core theme of electroacoustic music. Several years later, François Bayle describes acousmatic music as a music of fictional spaces and phantom figures – a world between real and imaginary causes. As sound material, Logothetis uses ecstatically shouting voices from Congo dances and several concretely recorded sounds. With the technical means of the 1960s (tempo variation, ring modulation) a work with a high inner tempo emerges, in which the listeners become groping characters in an unknown sound universe. This river of known and unknown sounds flows into a sounding stream, that of Meditation – a raw, granularly circling soundscape that opens up an archaic world of tonal being. while Fantasmata remains Logothetis’ only work without visual realization, there is a “score” to Meditation, an action symbol which shows the circling on a drum covered with a skin. Logothetis carried out this work on his own, and it was performed in 1963 at Hermann Nitsch’s first public action (Aktion Perinetgasse – The Blood Organ”) of Viennese Actionism in Galerie Lagergasse. Nekrologlog: This brief audio play of approx. 10 minutes was created in 1961 and was added as the closing address of my audio play Mantratellurium in 1970 – as its linguistic structures complemented those of Mantratellurium – but, as an independent monologue, was first performed on January 30, 1974 in my Planetarium Concert for the musical youth. (Fantôme Phonographique/2018)
  • ANGELIC UPSTARTS | Slipmat

    15.00 incl. tax
    Αντιστατική τσόχα για το πλατό του πικάπ διαμέτρου 30 εκ. Υψηλή ποιότητα, βάρος 45 γρ., πάχος περίπου 2,5 χιλ. Ιδανικό δώρο για ντιτζέι και λάτρεις του βινυλίου. Περιορίζει βλάβες-γρατζουνιές και προστατεύει το βινύλιο. 12´´ slipmat, diameter 30 cm High quality 16 ounce felt approx. 2,5mm thick Gift idea for DJs and vinyl lovers Reduces damages/ scratches and protects the vinyl
  • Original press from 1988 on German label Subway Records, not a bootleg! Probably the most important "unknown" band in the history of punk rock, this unfailingly offensive, undeniably brilliant gaggle of rock critics and hooligans went out of its way to offend 99% of society while inspiring the remaining 1% to paroxysms of joy. This early-'80s collection ranks with the band's finest, highlighted by sonic joyrides like "They Saved Hitler's Cock" and "My Old Man's a Fatso." The Samoan influence extends through to 1997, with their songs popping up regularly in sets by bands such as the Foo Fighters (who often open with "Gas Chamber," included here) and the Mighty Mighty Bosstones (known to pop off a cover of Back From Samoa's "Lights Out"). File under: how to win friends and alienate people.--David Sprague Originally released in 1982. (Subway Records/1988)
  • Original press from 1988 on German label Subway Records, not a bootleg! Limited vinyl repressing of the Punk band's 1980 debut EP. Formed in 1978 by "Metal" Mike Saunders and Gregg Turner, a pair of erstwhile rock critics who'd previously teamed with fellow writer Richard Meltzer in the group VOM. The Angry Samoans are classic first wave LA punk at it's finest. For fans of Black Flag, TSOL, Circle Jerks, and Fear. Reissue of the "Inside My Brain" 12" (Bad Trip Records BT 201, 6 Tracks, 1980) With extra tracks B1 to B3 (Demo, Recorded October 1978) and Tracks B4 to B5 (Live At Rhino Records, May 12, 1979). (Subway Records/1988)
  • This was the Samoans last official album and it's a beauty. This band carried the punk rock, acid exploration axis better than any other band from the eighties that you'd care to mention. The sixties feel is more obvious on this release and their great '86 EP 'Yesterday Started Tomorrow', but they've reduced the hardcore burn of 'Back from Samoa' with an early Saints feel, and added some spaced out interludes with acoustic odes directed at the down sides of ingesting too much acid. (Fan Club)
  • Out of stock
    Another quality reissue on Agipunk. Ipswich/UK Anihilated formed in 1980 as Prospex and deeply involved in the anarcho-punk scene. They soon started to add metal to their music, the first in UK playing this kind of crossover along with Onslaught, Sacrilege and Concrete Sox. This 12" EP has been originally released in 1986 and for the first time is re-released on vinyl. A true gem that you need to own next to "Behind the realms of madness and "Power from hell". Original cover artwork drawn back in the days by Mid/Deviated Instinct. Comes with original insert plus a new insert with a lot of never seen pictures, commentaries and lyrics. (Agipunk REcords)
  • Back in stock
    This release was the 1st output from ANNIHILATION TIME. This is furious hardcore taking from '80s California bands like BLACK FLAG, AGGRESSION, and BL'AST. Featuring artwork by none other than Raymond Petition - this has the look and feel of a band straight out of 1982 Redondo Beach. A must for fans of scorching, atonal lead breaks, frantic vocals, and off-time, start-stop time signatures. Colored repress is limited to 500 copies. (Indecision Records)
  • Hand made high quality silk screen print. Gildan Heavy Cotton T-shirt. Ενδέχεται να υπάρχουν ελλείψεις σε κάποια από τα μεγέθη. Σε αυτή την περίπτωση θα σας ενημερώσουμε τηλεφωνικά ή με e-mail για τον χρόνο παράδοσής τους σε εμάς από τον προμηθευτή (συνήθως 3-5 εργάσιμες ημέρες). Κατόπιν παραγγελίας το σχέδιο είναι διαθέσιμο και σε μέγεθος XX-Large.

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