• CADÁVERES PODRIDOS is a punk band from Maracaibo, Venezuela incl. Juan from Doña Maldad and Mar De Rabia. The bandbrings eight tracks of punk with strong South American taste and a post punk feeling, blending power and despair, anger and depression, wrath and pain. Lyrics deal with the political situation in the counry and in the South American continent . The tracks of Viva Nada were mastered at Bomb Factory in North London. (Punk'n'Loud Records)
  • What do members of Trial, Test of Time, Expired Youth and Decline have in common? A love for classic hardcore and a band called Bystander. Their path was paved by Youth Of Today, Chain of Strength, Judge and others, yet Bystander breathes new life into the genre´s boundaries both musically and lyrically. What you hear on this five song EP is powerful oldschool hardcore coupled with heartfelt lyrics which take a look both inward and outward at the same time. This is a band calling for internal reflection while engaging the scene to be more than just passive bystanders themselves. (WAK) https://www.youtube.com/watch?v=87O5y_95vnQ
  • Time's Up is a reissue of Buzzcocks' 1976 album of demos, recorded with founder & singer Howard Devoto and originally released as a bootleg. In 1981, with disco medleys of former pop hits like “Stars on 45” climbing the charts around the world, a cluster of British punk rockers recorded their own medley of old favorites. The Friendly Hopefuls’ Tribute to the Punks of ’76 begins with the standard looped clap track and a slick, professional-sounding chorus singing: “Hey hey/Remember that day / In 1976 / When the music scene was boring / Until along came - this!” And the guitar riff from the Buzzcocks’ “Boredom” kicks in. Spiral Scratch - the four-song debut EP on which “Boredom” appeared - was a revelation. British punk rock was brand new at that point: when Spiral Scratch was released on January 29, 1977, the Sex Pistols’ “Anarchy in the U.K.” was barely two months old, the Damned, the Vibrators, and the Stranglers had some singles out, and that was it. All those bands were signed to at-least-sort-of-legitimate record labels. Meanwhile, the Buzzcocks scraped together the funds to have 1000 copies of Spiral Scratch pressed themselves, and called their otherwise nonexistent label New Hormones. The masterminds behind the band at that point - singer/guitarist Howard Devoto and guitarist Pete Shelley - weren’t Londoners like the earliest wave of UK punks. They were from unfashionable Manchester, a couple of hours’ train ride north. In the fall of 1975, Devoto and Shelley read about the Sex Pistols, traveled down to London to see them, and came back inspired to start a band of their own. The Buzzcocks’ first complete set was opening for the second of two legendary Pistols shows in Manchester during the summer of 1976. Time’s Up - initially a bootleg in 1978, and officially released in 1991 - is an invaluable document. It's the demo Buzzcocks recorded on October 18, 1976 - all snarls, yelps, and distortion, while also sounding entirely joyful. They revel in rock bands’ newly-won right to present themselves as mean and aggressive and to say "fuck" out loud. Devoto sings as if Johnny Rotten is the only other vocalist he’s ever heard, and always seems about to break into giggles. “You tear me up, you bloody swine!” he yells with adenoidal delight. “Orgasm Addict,” which they’d re-record as a single a year later, isn’t quite fully formed yet, but Devoto’s rhymes about stained jeans, as well as his whining gasps, were genuinely transgressive for their moment. The band is still finding its feet on Time’s Up, especially as teenage drummer John Maher slowed down the tempo every time he attempted to play a fill. Still, they worked out how to vigorously shove their songs forward. The two covers that were part of their live set at the time revealed a bit about where Buzzcocks were coming from: A sped-up version of the Troggs’ “I Can’t Control Myself” anticipates the love of popcraft that would shortly surface in their own songs and a heavily rewritten take on Captain Beefheart’s “I Love You, You Big Dummy” (which Devoto would take with him to his subsequent band Magazine) hints at the odder, artier side of their later records. Two months after the Time’s Up demos, they re-recorded four of those songs with producer Martin Hannett as Spiral Scratch. A few more weeks of practice had done wonders for the Buzzcocks’ sound: now they were fast, strong and acrobatically tight. They powered through “Breakdown” in two minutes flat and started to sound more like themselves than like the Pistols or the Ramones. In fact, the Ramones would ape the two-note guitar solo gag in “Boredom” for their own on “I Wanna Be Sedated.” The great joke of Devoto’s performance here is that, on the first record by a new band at the vanguard of a new musical movement, he presents himself as utterly over everything—including punk in general. “I’m already a has-been,” he sneers. “You know the scene is - very humdrum!” He wasn't kidding because less than a week after Spiral Scratch’s release, Devoto quit the Buzzcocks, and Shelley took his place as the band’s frontman. By the time they stopped re-pressing the EP in the summer of 1977, Buzzcocks had sold 16,000 copies of it. In its way, Spiral Scratch was at least as important to punk as the Sex Pistols’ rise, because it was the first record of its kind to erase the axioms that the art and business of pop music were necessarily separate, and that a band could never be important until it signed to a “real” record label. Buzzcocks said fuck it and decided to just do it themselves. (Domino Records)  
  • Out of stock
    Buzzcocks’ career defining compilation Singles Going Steady, lovingly restored and re-mastered from its original ¼ tapes for the first time since its original release.
    • Newly curated booklet featuring an essay from punk authority Clinton Heylin & previously unseen images
    • Packaged in its original Malcolm Garrett designed sleeve
    Comes with an MP3 and WAV download card. (Domino Records)
  • Out of stock
    Buzzcocks’ seminal first album, lovingly restored and re-mastered from its original ¼ tapes for the first time since its March 1978 release.
    • Newly curated booklet featuring an essay from cultural commentator Jon Savage & previously unseen images
    • Packaged in its original Malcolm Garrett designed sleeve
    Comes with an MP3 and WAV download card. (Domino Records/2019)
  • Buzzcocks’ seminal third album, lovingly restored and re-mastered from its original ¼ tapes for the first time since its original release.
    • Newly curated booklet featuring an essay from cultural commentator Jon Savage & previously unseen images
    • Packaged in its original Malcolm Garrett designed sleeve
    • Dispatched with ltd edition ‘Product’ carrier bag
    Comes with an MP3 and WAV download card. (Domino Records/2019)
  • Out of stock
    This masterpiece written by Mickey Fitz, Steve Whale and Steve Kent saw the band bring back the sound of the streets into a bigger environment. A mutual love and respect between the hardcore scene and the british oi-scene came into light. Originally released in 1997 and now reissued. Co-produced by Lars Frederiksen (Rancid), remastered by Tue Madsen (Madball, Agnostic Front). Comes in a gatefold sleeve and includes three bonus tracks. (Burning Heart Records)
  • Out of stock
    Reissue of 2003 album by The Business, on vinyl for the first time. Comes in a gatefold sleeve. (Burning Heart Records)
  • BURNING LOVE | T-shirt

    11.00 incl. tax
    Gildan heavy cotton t-shirt 100% cotton. All the water-based inks we use for screenprints have an eco-passport verification. Every stamp and logo is hand pulled silk screen print. 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.
  • One Law For Them...Another One For Us is a CD by The Bruisers that was released in 1999 by Lost & Found Records. The album features the Lost & Found releases Still Standing Up [EP, 1997], Up In Flames (LP, 1996), Cruisin' For A Bruisin [LP,1993], Intimidation (EP 1989), Independence Day (Cassette 1990) & American Night (EP, 1992). (Lost & Found Records)
  • BRONCO LIBRE from Leipzig, Germany deliver ass-kicking punk-hardcore on their debut full-length. The band perfected their brand of fast, melodic hardcore like YOUTH AVOIDERS or CAREER SUICIDE meets the hook-driven punk of the RED DONS or ROTTEN MIND. "This album is dedicated to native Americans, to their History and their fight. Our lyrics talk about their History but also their stories, and about their extermination under colonisation. We can't pretend knowing or even imagining what this people endured, what they've been through and what their descendants still experience nowadays. Also we don't think that this album will change anything. But we hope that through our simplified, romanced and vulgarized lyrics, we could take part (at our scale) in getting this topic (often forgotten and deliberatly avoided or turn into derision and entertainment) better known. It is also possible to read in between our lines a reflection on our nowaydays society, and this feeling of fury and despair that a lot could feel facing the today's world and its progress and development by any means necessary. " (Destructure)  
  • Out of stock

    BROMURE | same title | LP

    15.00 incl. tax
    Does French oi! have a typical sound, a unique attitude? Today it is difficult to say when you see so many different bands in this scene. But everybody would agree: Bromure have the french oi! sound and attitude. And this first album will soon be a reference in the style. (Une vie pour rien Vinyles) https://uneviepourrienvinyles.bandcamp.com/album/bromure-lp
  • Out of stock
    This split Lp was originally released in 1993 on No Time To Be Wasted Records, a Belgrade-based label run by the singer of Brainstorm. BoD's side is entitled "反戦-反動物実験" (meaning "Anti-War Anti-Animal Experimentation", clearly the two main themes in the band's lyrics) and was recorded in February, 1993. This Lp was actually the first vinyl output of BoD, as the band had only recorded a demo tape before, "Not Lie", in 1992. The eight songs of "反戦-反動物実験" are perfectly recorded, I don't think songs like "Battle of disarm" or "Anti vivisection" ever sounded better than on this Lp. The guitar riffs are thick and thrashy, even slightly convoluted at times, and bring to mind Crude SS or Lobotomia more than Doom. On the other side of the Lp, entitled "Join no Army, Police and Politician", is Brainstorm. Their 1989 demo and the 1990 Ep are clearly early crust classics. The nine Brainstorm songs from that split were recorded in May, 1993, at a time when the war was certainly not over in Yugoslavia. Lyrical content, which, despite unfortunate losses in translation, still reflected the anger, the outrage and the urgency of that time and place. Written from an anti-state perspective, the songs read like cries against patriotism, conformity, blind faith, media and political manipulation, the brutality of war... No longer a mere punk trope used to denounce an imaginary endless war, calls for peace and disgust at the sheep mentality designated a very real situation. (Rest in Punk Records) https://www.youtube.com/watch?v=fVrjuxfnIcs https://www.youtube.com/watch?v=7H-cYOOfRLg
  • This is it: the best sludge metal album you’ll hear all year. Singularity to Extinction is Brainoil‘s first album since 2011, following a rarities comp that same year and a split with Dropdead in 2014. The Oakland-based trio aren’t afraid to change up their tempos, varying from the more upbeat “Preface to Madness” to the miserable, crawling “Blank Static Void.” Singularity to Extinction is swathed—or maybe drowned is a better descriptor—in raw, abrasive crust. Walls of guitar backed by sluggish drumming wash over the listener and Greg Wilkinson barks out vocal lines like he wants to cough up blood at the end of a recording session. Describing Singularity to Extinction as misanthropic would be an understatement; abrasive guitar tones and vocals combined with glacially slow tempos put Brainoil’s latest in the same league as Dystopia, Grief and Noothgrush. (Tankcrimes)
  • Powerful hardcore that sounds, to me, like a cornucopia of His Hero Is Gone/Late 80's Hardcore like Christ On Parade/Motorhead/mid era Gauze/and even a more hardcore Leatherface. Like I said, that's what it sounds like to me. Alot of people like their later stuff better, but this album suitys me just fine. Top notch hardcore punk that shouldnt be missed. (Feral Ward Records) https://trujacafala.bandcamp.com/album/ruins-lp
  • Booze & Glory have been keeping everyone wide awake for the last decade, flying the flag for authentic working class rock'n'roll and the power of a rabble-rousing tune. The band's long-awaited fifth album 'Hurricane' is released via the boys' own Scarlet Teddy Records. Recorded in Sweden at Soundlab Studios, the album was produced by Millencolin guitarist Mathias Farm. (Scarlet Teddy Records)
  • Out of stock
    Together with bands such as Bishops Green and Lion's Law, the London, UK-based Booze & Glory have really started to take street punk into the new age. Eleven new, angry, yet melodic, sing-a-long anthems are presented on this, the band's fourth album, "Chapter IV" (three studio albums and a singles collection). (Piratess Press Records)
  • Out of stock
    D-beat Hardcore Punk the classic Discharge way with vicious female vocals - Members of GASMASK TERRÖR, MONARCH!... - Bordeaux. (Destructure Records) https://bombardement.bandcamp.com/album/bombardement
  • STUNNING 180 GRAM GREY VINYL REISSUE OF BOLT THROWERS DEBUT ALBUM In Battle There Is No Law is the debut album of Bolt Thrower. It is recorded at Loco studios by Andrew Fryer, and mixed at Clockwork by Alan Scott. It was released on Vinyl Solution as Sol 11 in 1988 and re-released on Vinyl Solution as Sol 11 in 1992, with a different album sleeve. The album was again re-released in 2005 with the old album sleeve restored. (Back on Black Records)
  • Body Count is the eponymous debut studio album by American crossover thrash band Body Count, released on March 31, 1992 by Sire Records. 2014 official reissue by Warner Music/Rhino Records.  
  • Easily one of the greatest roots reggae albums of all time, 1970's 'Soul Rebels' resulted from the intensive partnership brokered by the group and maverick producer, Lee "Scratch" Perry. It was the first Wailers 'concept' album, conceived as a long-player based on a rebellious theme, rather than a collection of isolated singles, and the presence of the Barrett Brothers in the rhythm section pointed the way for greater glories to come. (Radiation Roots)  
  • BLOOD PRESSURE | T-shirt

    12.00 incl. tax
    Gildan heavy cotton t-shirt 100% cotton. All the water-based inks we use for screenprints have an eco-passport verification. Every stamp and logo is hand pulled silk screen print.
    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.
  • Back in stock
    Raw, violent and catchy, Blitz's 1982 debut album sounded like a shot of pure rock and roll through the violence of the English working class. Made up by two punks and two skinheads, with a lot to say about violence and football, Blitz appealed to all kinds of lowlifes, who finally had a voice for their generation. 180 gram vinyl reissue with printed inner sleeve, contains 3 bonus tracks: Voice of Generation from V/A Total Noise, Nation on Fire and Youth from V/A "Carry on Oi". Total classic. (Radiation Records)
  • Released a year after their much hearled debut album 'Voice of a Generation' , 'Second Empire Justice' features half the members from the original line-up and with a new sound. While initially being an Oi!/Skinhead Punk band, on 'Second Empire Justice' they not only changed members and their look but also their sound and released a Post-Punk classic with a heavy dose of Joy Division worship, produced by Chris Nagle. While Nagle had also produced their debut album, he had also engineered the Joy Division and New Order albums under Martin Hannett and had also engineered various other post punk albums of the day from the likes of The Durutti Column, A Certain Ratio and Magazine. Together the band and Nagle created a masterpiece while not appreciated at the time, especially by their original skinhead/Oi! fanbase. The album would go onto influence tons of post-punk/darkwave bands that sprouted from the ashes of punk/hardcore bands decades later and become one of the most sought after albums of the golden age of post-punk.. So sit back and listen to these beautiful moody haunting guitars, dancing basslines and emotionally fragile vocals all the while retaining a punk ferocity. For Fans of : Joy Division, Magazine, Red Lorry Yellow Lorry, Killing Joke, The Middle Class Limited repress on Puke n Vomit Records, comes with a huge poster of the cover art. (Puke n Vomit Records)  
  • BLITZ | killing dream | LP

    17.00 incl. tax
    This is nothing like the old Blitz, because its a record entirely played by the only original Blitz member, guitarist Nidge on bass and guitar, Gary Bassnet from Attak on vocals. The result is an interesting post-punk sounding album, more relaxed and everything but OI ! sounding, with characteristic Nidge guitar playing plus a second guitar of basic but excellent riffling and soloing. "Well, Mackie wasn't interested, and Carl was living in Australia at the time, but Link offered me th opprtunity to do another Blitz album, and I wanted to do it. The song "Killing Dream" was actually written in 1983 and intended as a Blitz song anyway; it would've been the follow-up to "New Age" if things had been different. But it was an odding time, there was very little going on in the punk scene, and of course, we didn't have a drummer,se we had to use this horrible drum machine,which was the main drawback. But the album did pretty well for Link here, and it came out in America through Cleopatra." Nidge died in 2007, aged 48, shortly after a reunion tour. Originally released in 1989 on Link Records. This is high quality fan club release. (Skunx Records)