• Out of stock
    Porterhouse Records is excited to announce the Worldwide debut of M.I.A. (The Complete Anthology) from punk icons The Germs. First released on Compact Disc in 1993 this release has never been pressed on vinyl in the past. Completely re-mastered and re-sequenced for vinyl. The album GI appears as one 12" LP and the other LP sees the complete original sequence of the What We Do Is Secret EP, including the Live version of The Other Newest One and previously deleted live dialogue from lead singer Darby Crash. You'll now be able to experience the EP as it was actually intended to be heard. This collection represents the band’s entire recorded studio works including songs from the “Cruising” Original Motion Picture Soundtrack. Porterhouse’s attention to detail ensures world class mastering, plating and pressing as well as dead-on artwork and a full reproduction of the original liner notes. Additionally, songs recovered from the Cruising Motion Picture Soundtrack and the band's early 7"s will complete the flip-side of the second LP in the anthology. The initial pressing of The Complete Anthology consists of a two LP set featuring black and blue vinyl with reverse labels. 1 - 16 taken from the Slash Records album "GI" # SR-103. 10/79. ℗ 1979 Slash Records. Published by Crash Course Music, BMI. Adm. by Bug Music. 17 - 22 taken from the Slash Records EP "What We Do Is Secret" SREP-108. 8/81. ℗ 1977 Iloki Records. Licensed from Iloki Records. Published by ARC Music, BMI. Adm. by Bug Music. 23 & 24 taken from What? Records single #WHAT 01. 7/77. ℗ 1977 Iloki Records. Licensed from Iloki Records. Published by APRS, BMI. 25 - 28 taken from the Lorimar Pictures Soundtrack recording sessions for "Cruising". ℗ 1979 Warner Bros. Licensed from Warner Bros. Published by Crash Course Music, BMI. Adm. by Bug Music. 29 taken from the Lorimar Pictures Soundtrack "Cruising". 1980. #JC 36410. ℗ 1979 Sony Music Entertainment, Inc. Licensed from Sony Music Special Products, a division of Sony Music Entertainment, Inc. Published by Management 3 Music, BMI. Adm. by Cherry Lane Music Publishing Co. 30 taken from What? Records compilation "What Is It?" #W12 2403. 9/82. ℗ 1977 Iloki Records. Licensed from Iloki Records. Published by APRS, BMI. Side A 1. What We Do Is Secret 2. Communist Eyes 3. Land of Treason 4. Richie Dagger’s Crime 5. Strange Notes 6. American Leather 7. Lexicon Devil 8. Manimal 9. Our Way 10. We Must Bleed Side B 1. Media Blitz 2. The Other Newest One 3. Let’s Pretend 4. Dragon Lady 5. The Slave 6. Shut Down Side C 1. Round and Round 2. Lexicon Devil 3. Circle One 4. Caught In My Eye 5. No God 6. The Other Newest One 7. My Tunnel Side D 1. Forming 2. Sex Boy 3. Throw It Away 4. Not All Right 5. Now I Hear The Laughter 6. Going Down 7. Lion’s Share 8. Forming 2 (Porterhouse Records)
  • Out of stock
    An absolute must for all fans of the most extreme rock and roll figure of the past century this 'singles' compilation. Tracks A1 to A3 taken from GG Allin & The Jabbers - Bored To Death. Orange Records 1979 Tracks A4, A5 taken from GG Allin & The Jabbers - 1980's Rock 'N' Roll / Cheri Love Affair. Destiny Records 1979, Tracks A6, A7 taken from GG Allin - Gimme Some Head B/W Dead Or Alive. Orange Records 1981. Track A8 taken from GG Allin & The Jabbers - Occupation. Blood 2000 Records 2000. Recorded 1980/81 with The MC2. Tracks B1 to B3 taken from GG Allin - You Hate Me + I Hate You (Public Animal No.1). Orange Records 1982. Tracks B4 to B7 taken from GG Allin - No Rules. Orange Records 1982. Tracks B8, B9 taken from GG Allin And The Jabbers* - Out For Blood. TPOS 1997. Recorded May 1983. (Orange Records Ltd/Unofficial)
  • Out of stock
    Always Was, Is and Always Shall Be is the debut studio album by American punk rock musician GG Allin, recorded and released in 1980 on Orange Records. (Fan Club/Records)  
  • Out of stock

    GG ALLIN | hated | LP

    17.50 incl. tax
    Vinyl reissue of the soundtrack to the infamous documentary, Hated that contains short excerpts from people talking about GG and some of his classic songs. This one sounds brilliant for GG standards and it's a must have for everyone. The cover art was actually done by John Wayne Gacy. (Toilet Rock Records/Unofficial Release)
  • The Creepsylvanians strikes back their 5th full length release! "Dungeon Bastards" is a damn solid new blood-soaked slab of grindy gore/death/thrash & grind. 10 new songs has many gangshouts, somewhere between WEHRMACHT & D.R.I. with these typical IMPALED & CARCASS vibes ''Dungeon Bastards'' continues GHOULS's policy of high quality with a blast of noise that will leave fans wishing for more than this 35 minutes. No clickbaiting, no bullshit. (Tankcrimes Records)
  • Out of stock

    GHOUL | night out | LP

    22.00 incl. tax

    Seminal 80's Japanese punk band, fronted by the one handed, raspy-voiced, fan-punching legend Masami, who passed on young (like many of his contemporaries) in the early 90's, apparently of liver failure brought on by excessive love of the drink. The original Ghoul broke up in '85, as there's the official VHS entitled "Last Gig" out on ACC video label. The band got back together as "Ghoul II" with a different line-up in the late '86 (or possibly in the early '87), changed the name to "Sqwad" (originally called Masami with Sqwad) sometime during the summer of '88, either right before or after they played the "Complete Death" show at the Toshima Public Hall in Tokyo on July 17th '88, then broke up and got back together again as "Ghoul III" in '89 with just a slightly different line-up than "Ghoul II" and pretty much remained active until Masami puked the blood on the stage and went into a coma afterwards in the early '90s. "Ghoul II" and "Ghoul III" - that's exactly how Masami called themselves when they got reformed twice and those names were often mentioned in the interviews, magazine articles and that's how they were usually listed in the gig flyers as well. As most of the serious fans probably noticed, they're credited as "Sqwad (ex-Ghoul)" on the "Complete Death Live" VHS tape (released on January 1st '89), however,
    in the flyers for this show they were still listed as "Ghoul II". So, probably they changed the name to "Sqwad" right before this show or after, but sometime before the VHS came out. Later, they played as "Sqwad" during the year of '89, released 7" flexi on Slice Records and broke up before the mid '89 and got back together again later the same year (before the summer). The Ghoul tracks you find on the "Game Of Death" compilation LP (which was released in July '89) are the only recorded material by "Ghoul III", although they're simply credited as "Ghoul" on this release.
    Limited to 200 copies, fantastic top quality release, mastered for vinyl for best/huge sound. Includes a double sided insert and sticker! Import from Australia. 15 songs in total.
    Tracks 1-5: Carry Out Fucking EP (1984)
    Track 6:  Oi! Oi! single (1985)
    Tracks 7-8: Devil Must Be Driven Out With Devil V/A(1986)
    Tracks 9-12: Jerusalem EP (1985)
    Tracks 13-15: Game Of Death V/A(1989)
    (GhoulNightOut Records/Unofficial)



  • Finally the long overdue repress of a modern classic! Originally released by D-Takt & RaPunk. A fantastic unique mixture of the ultra-distorted sound of Confuse and the best of Disclose, all spiced with a note of Swedish Hardcore. An instant classic, originally from 2010, now hard to get, but dis is over for now. A D-Takt Dis-Noize opera featuring (ex)members of Martyrdöd, Warvictims, Discover, Glöm Da, Absurd SS, and many more. Fokking dope, fokking loud, fokking best. (Burning Anger/Rawmantic Disasters)
  • Out of stock
    Gil Scott-Heron’s “Pieces Of A Man” is one of the most important albums in the history of black American music. Although it didn’t set the charts alight, it stands as a masterpiece alongside contemporary works such as Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s debut LP, Funkadelic's “Maggot Brain” and Isaac Hayes’ “Shaft”. All were brilliant in their way, but lyrically Scott-Heron was on a different level from almost every other writer. “Pieces Of A Man” was contemporary music performed by great jazz players, directed and prompted by Scott-Heron and his collaborator Brian Jackson, who at the time was not yet 20 years old. Tracklist 1 Gil Scott-Heron– The Revolution Will Not Be Televised 3:05 2 Gil Scott-Heron– Save The Children 4:25 3 Gil Scott-Heron– Lady Day And John Coltrane 3:34 4 Gil Scott-Heron– Home Is Where The Hatred Is 3:19 5 Gil Scott-Heron– When You Are Who You Are 3:21 6 Gil Scott-Heron– I Think I'll Call It Morning 3:29 7 Gil Scott-Heron– Pieces Of A Man 4:52 8 Gil Scott-Heron– A Sign Of The Ages 4:01 9 Gil Scott-Heron– Or Down You Fall 3:12 10 Gil Scott-Heron– The Needle's Eye 4:48 11 Gil Scott-Heron– The Prisoner 9:25 Bonus Tracks 12 Black & Blues – Chains 3:23 13 Black & Blues – Peace 6:07 14 Black & Blues – A Toast To The People 3:26 (BGP Records – CDBGPM 274)
  • The jazz poet’s finest Flying Dutchman recordings, as originally compiled in 1974. CD edition includes an additional nine tracks from his first three albums. 1 The Revolution Will Not Be Televised 3:05 2 Sex Education: Ghetto Style 0:50 3 The Get Out Of The Ghetto Blues 5:07 4 No Knock (without Intro) 1:29 5 Lady Day And John Coltrane 3:34 6 Pieces Of A Man 4:52 7 Home Is Where The Hatred Is 3:19 8 Brother (without Intro) 1:44 9 Save The Children 4:25 10 Whitey On The Moon (without Intro) 1:25 11 Did You Hear What They Said? 3:26 ...Plus 12 When You Are Who You Are 3:20 13 I Think I'll Call It Morning 3:29 14 Or Down You Fall 3:11 15 Free Will 3:30 16 The Middle Of Your Day 4:27 17 Speed Kills 3:14 18 Paint It Black 0:30 19 Who'll Pay Reparations On My Soul? 5:13 20 The Revolution Will Not Be Televised (First Version) 2:48 Tracks 1,5-7,9,12-14 taken from Gil Scott-Heron - Pieces Of A Man Tracks 2-4,11,15-17 taken from Gil Scott-Heron - Free Will Tracks 8,10,18,19 traken from Gil Scott-Heron - Small Talk At 125th And Lenox Track 20 is an alternate version of a track off Gil Scott-Heron - Pieces Of A Man and is taken from The Revolution Begins (BGP Records – CDBGPD 305)
  • Out of stock
    Now Here’s An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album’s ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track Arterial Movements in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in Human Frailty (‘The realisation that you cannot halt their impending death’), to the aggressive attack on the rise of the right-wing in They’re Not Listening (‘The time-old tradition of the right wing accosting desperate working class people has returned’) shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, Now Here’s An Echo From Your Future bristles with an unforgiving frustration and temper. The recording of Now Here’s An Echo From Your Future started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John’s S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker (currently studying at Abbey Road). The album was mastered by Brett Shaw at 123 Studios, Peckham. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a Girls in Synthesis show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle. Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly. Catch Girls in Synthesis while you can and witness the rise of one of the UK’s most original and unique underground bands. (Harbinger Sound Records)
  • Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, with their 3 hand-packaged vinyl E.P releases selling out in days on pre-orders. The “Pre/Post” LP sees Girls In Synthesis compile their 3 previous E.P releases and also sees inclusion of their debut single ‘The Mound’/’Disappear’, never released before on vinyl. Experimentation has seen them transgress the punk bracket into something more original and unique while stage shows present a complete and controlled spectacle, with the group moving from playing on stage to dragging equipment into the audience, desperately trying to remove the group/audience barrier. Their explosive shows have seen them hand picked for support slots with bands as disparate as Bad Breeding, Slaves, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Wolf Alice, Warmduscher and Damo Suzuki. The debut, self-released single saw GIS well and truly kick the doors open for what was to follow for them over the next few years. The lopsided, fuzz groove of ‘Disappear’ rubs shoulders with the bass-driven, future crowd favourite ‘The Mound’ to add up to a frantic and stripped back, stunning calling card. Follow up E.P ‘Suburban Hell’ saw the group develop the sonic aspects of their music, with the harshness ramped up and subtle but powerful production aspects pushing songs like ‘Suburban Hell’ and ‘Phases’ into harsh, noise-punk territory. Second E.P, ‘We Might Not Make Tomorrow’, added a slight melodic edge to the previous aural bludgeon, whilst the lyrics to songs like the title track, ‘Sentient’ and ‘Tainted’ explore deeper issues such as the threat of nuclear war, animal cruelty and the outcome of the USA presidential election. The third E.P (the most recent and perhaps heaviest) ‘Fan The Flames’ further presses into deeper lyrical territory, with songs focusing on government neglect, anxiety and mental health issues. The production receives even further toughening up and also features the group’s first foray into spoken word in ‘Howling’, albeit with a glitchy, unmusical, harsh noise backdrop. In total, this compilation shows a progressive and feverish work ethic and exposes the varied aspects of one of the UK’s most promising and fruitful underground punk bands. (Harbinger Sound Records)
  • Out of stock
    At the beginning of the 1990s, the Senate didn't believe Anita Hill, Rush Limbaugh compared feminists to Nazis, and a study found that girls tended to start hating themselves during adolescence. It was a hard time to be a young woman, to be growing up on promises of equal rights that didn't square with reality. Sexual assault rates reached record highs; harassment was rife in the schools; and, boys still would be boys, and girls still had to watch what they wore and where they walked. It was enough to make a girl want to scream. Riot Grrrl roared into the spotlight in 1991: an uncompromising movement of pissed-off girls who had no patience for sexism, no stomach for double standards, and no intention of keeping quiet. Incendiary punk bands - like Bratmobile, Heavens to Betsy, and above all Bikini Kill, fronted by the magnetic, prophetic Kathleen Hanna - spread the word. Thousands of riot grrrls published handmade magazines, founded local groups, and organised conventions. The movement spread from its birthplaces of Washington, D.C. and Olympia, Washington, to the Midwest, Canada, Europe, and beyond. "Girls to the Front", the first-ever history of Riot Grrrl, is a gripping narrative with a sound track: a lyrical, punk-infused chronicle of a group of extraordinary young women coming of age angrily, collectively, and publicly. It's the story of a time when America thought feminism was dead, and feminism seemed to buy into the slacker myths of Generation X, but a generation of noisy girls rose up to prove everybody wrong. Above all, it's a story about looking for your place in the world - and finally creating it yourself. Format Paperback | 384 pages Dimensions 135 x 203 x 22mm | 299g Publisher HarperCollins Publishers Inc Publication City/Country New York, United States Language English
  • Out of stock

    GIRLS | 野良猫 | LP

    17.50 incl. tax
    Survival Research present a reissue of Girls' self-titled album, originally released in 1977. Pioneers of the josei rock movement, Japanese girl group Girls looked to the Runaways for inspiration, successfully adapting their "Cherry Bomb" in a mix of Japanese and English. Racier than contemporaries such as Mizutama Shobodan (or Polkadot Firebrigade), the band was driven by the teasing antics of lead singer Takako Nomoto, alias Rita, and the axe work of lead guitarist Atsuko Okuno, alias Iria. This riveting debut sees the Girls tackling "Honkey Tonk Woman", "Johnny B. Goode", and Blondie's "In The Flesh". The title track, "Nora Necko", or "Stray Cat" are a few of their irresistible hits. (Survival Research Records)
  • Out of stock
    A reissue of the second album by the Italian quintet Giuda, the greatest '70s glam-rock band to exist since... the 1970s. This LP is an exciting progression for Giuda featuring more complicated arrangements, more ambitious songwriting and an even bigger sound while retaining all the pure fun and infections glam-punk hooks of their debut album. (Damaged Goods Records)  
  • Out of stock
    Repress of the first solo full length by the mighty Mr. Anzalone, better known as Danzig. This record is very far from punk rock, indeed the music is sort of ambient/electronic/avantgard rock. (Plan 9 Records/Unofficial Release)
  • Glorior Belli can now be considered with no doubt as one of the best band from France along with masters such as Blut Aus Nord and Deathspell Omega: people who have no fear to experiment with other genres, although in a bigger way than them. Their sophomore album Manifesting the Raging Beast was released in June 2007 via Southern Lord Records. (Southern Lord Records)
  • The third full-length studio album from Goatsnake- :”Black Age Blues” is an instant classic, with each one of the nine songs (11 on the 2xLp version) an anthem, and each of the four band members on top form. Everything is magnified, Pete Stahl’s vocals have never sounded so soulfully deep, the rhythm section comprised of Greg Rogers on drums and new bass player Scott Renner are the driving force on each track, and Greg Anderson’s riffs are heavier than ever before. Appearing on the album intro ‘to Another River To Cross’ is acoustic guitar courtesy of David Pajo (Slint, Aerial M, Papa M), this track also contains previously released recordings from ‘The River’ by Goatsnake. Piano is played by Mathias Schneeberger and Petra Haden contributes violin and vocals. Another welcome addition to the album, across multiple tracks are brilliant soulful backing vocals by Dem Preacher’s Daughters – Wendy Moten, Gale Mayes and Andrea Merrit. There inclusion on the proceedings evokes a reverent gospel choir aesthetic that intuitively accentuates the heavy darkness laid down by the band. Behind the controls is grammy award winning producer Nick Raskulinecz, who was responsible for the engineering and production of the last Goatsnake full-length album: Flower of Disease. Over the last 15+ years Nick has gone on to work with seminal artists such as Rush, Alice In Chains, Mastodon and Ghost. United again, he and the band are sure to serve a menacing cut of the time-honored, ultra-heavy rock they are infamous for. Black Age Blues is familiar but nothing here is a repetition of what we’ve heard before, as Goatsnake continue to refine the time-honored dark-bluesy doom-rock that they are infamous for, surpassing even the highest of expectations. (Southern Lord Records)
  • Out of stock
    The third full-length studio album from Goatsnake- :”Black Age Blues” is an instant classic, with each one of the nine songs (11 on the 2xLp version) an anthem, and each of the four band members on top form. Everything is magnified, Pete Stahl’s vocals have never sounded so soulfully deep, the rhythm section comprised of Greg Rogers on drums and new bass player Scott Renner are the driving force on each track, and Greg Anderson’s riffs are heavier than ever before. Appearing on the album intro ‘to Another River To Cross’ is acoustic guitar courtesy of David Pajo (Slint, Aerial M, Papa M), this track also contains previously released recordings from ‘The River’ by Goatsnake. Piano is played by Mathias Schneeberger and Petra Haden contributes violin and vocals. Another welcome addition to the album, across multiple tracks are brilliant soulful backing vocals by Dem Preacher’s Daughters – Wendy Moten, Gale Mayes and Andrea Merrit. There inclusion on the proceedings evokes a reverent gospel choir aesthetic that intuitively accentuates the heavy darkness laid down by the band. Behind the controls is grammy award winning producer Nick Raskulinecz, who was responsible for the engineering and production of the last Goatsnake full-length album: Flower of Disease. Over the last 15+ years Nick has gone on to work with seminal artists such as Rush, Alice In Chains, Mastodon and Ghost. United again, he and the band are sure to serve a menacing cut of the time-honored, ultra-heavy rock they are infamous for. Black Age Blues is familiar but nothing here is a repetition of what we’ve heard before, as Goatsnake continue to refine the time-honored dark-bluesy doom-rock that they are infamous for, surpassing even the highest of expectations. (Southern Lord Records)
  • Vinyl LP pressing. 2013 release, the seventh full length album from the Irish Post-Rock band. Origins is their first as a five-piece and cements their place as one of the world's most intense, musically and visually inventive bands. Renowned for their searing live shows in which the music is married with provocative projected imagery, GIAA consider each of their albums to be a sonic 'photograph or snapshot of who we are in that moment of time' and Origins is perhaps their most saturated, striking snapshot to date. (Rocket Girl/2013)
  • Out of stock
    GODFLESH from the UK (formed in the year 1988) is the perfect example that is possible to fuse Punk, Hardcore, Metal and Industrial and get something new, something really great. Nowadays it´s more or less "normal" that musicians mix a lot of different styles to create something new, but in the Late Eighties GODFLESH began something more or less new, brutal and crushing as fuck. The four tracks on this 12" were recorded august 27th, 1989 and the first transmission on BBC Radio 1 has been in september 27th, 1989. Fanclub ediition on Black vinyl, comes with nice replica / remake of the official "Peel Sessions" cover artwork. (Strange Fruit/Unofficial Release)
  • After Artistic Decline, another band from Los Angeles, active between 1981 and 1982. The band released the original New Lottery 7" on Bemisbrain records famous for releasing Modern Warfare releases as well as Hell Comes To Your House compilation albums. The band recorded another song intended for another release, but it never came out, so we included it on this 7". You can also find an essay on the band and the LA punk scene of the day, band photos, flyers and lyrics, all that as part of a 12 page booklet! Great tuneful punk rock classic. This is the black vinyl limited to 300. (No Plan Records)
  • The post-punk wave of the last few years has brought us so many great bands and so many that remain to be discovered. GOING AWAY PARTY delighted us with a great four tracks demo released in winter 2019. With “A Ride With Our Ghosts”, their first vinyl release and impressive alloy of punk incisiveness and dark disenchantment, the band gives its interpretation of a severe and cold environment.The singular atmosphere of cold tension which reigns in GOING AWAY PARTY has something both captivating and exhilarating. The songs shine in their darkness and offer a nagging richness. GOING AWAY PARTY members are also known to play in great bands such as BARREN?, BITPART, BLEAKNESS, CATISFACTION or TURQUOISE... The band was surrounded by friends to make this record a reality : it was recorded and mixed by Jacky Cadiou in Brest and mastered by Will Killingworth at Dead Air Studios. The artwork has been made from pictures by Joan Astarac. (Destructure Records / Sabotage Records / Les Choeurs de l’ennui Records)
  • Out of stock
    An illustrated and wide-ranging survey of the underground U.S. punk scene in the 1980s The product of decades of work and multiple self-published editions, Going Underground, written by 1980s scene veteran George Hurchalla, is the most comprehensive look yet at America's nationwide underground punk scene. Despite the misguided mainstream press declarations that "punk died with Sid Vicious" or that "punk was reborn with Nirvana," Hurchalla followed the DIY spirit of punk underground, where it not only survived but thrived nationally as a self-sustaining grassroots movement rooted in seedy clubs, rented fire halls, xeroxed zines, and indie record shops. Rather than dwell on well-documented suspects and trendsetters from LA, NY, and DC, Hurchalla delves deep into the underground's underbelly to root out stories from Chicago, Philadelphia, Austin, Lawrence, Annapolis, Cincinnati, Florida, and elsewhere. Like most of the truly great books on punk that have emerged to date, Hurchalla mixes his personal experiences with the words of dozens of band members, promoters, artists, zinesters, and scenesters. This revised second edition includes new photos, zine scans, and flyer collections from around the United States. „The book is out since 2005, but it took some while until the meanwhile second edition found it’s way in our Po Box. Anyway, I’m very glad it did, since it is a great book! At least for me it was fun and interesting to read. Sometimes I thought you need to be a real expert in US-Punk/Hardcore in order to understand sometimes what George Hurchalla writes, since his writing is so detailed when it comes to names and bands and scenes and stuff. But I might be wrong there, find out, it was no problem for me. It is roughly A4 sized, paperback and has 300 pages, tons of great photos and flyers for illustration. It contains ca. 30 Chapters that deal with either different scenes in different parts of the country and move along from 1979 – 1992. It would be too much to list it here, but George has a good way of combining his own writing based on his own knowledge or research and quoting people, use oral history or using clippings from original interviews. Because of that you get the story presented as just that a story in the right order with lots of information and anecdotes. Unlike in other books the author does not concentrate on the already well documented scenes / bands / persons, but barely touches them and concentrates on all the other great stuff that was going on in punk rock america back then. San Francisco, Los Angeles, Chicago, Boston, New York, DC, Austin you name it, it is all there. And this book is not only concentrating on bands and the music, but also on all the political/DIY content the scene had back then, which is great, it shows that punk/hardcore was so much more than it appears to be today. Interesting also that a lot of bands from the east coast that seem to be big in Europe have had not very much impact in the usa, in other words, Hurchalla concentrates on the more interesting people/scenes. Which does not mean you will not read certain names in the book. I really do like the balance and the way it came out. I could rave on how great the book is and what other stories are being told so well, but that would mean that this review is a couple of pages long. So, you better go out there and get this, it will give you some quality reading pleasure and on top a good lesson in US Punk/Hardcore history! Thumbs up!“ Trust Fanzine "Going Underground’s subtitle may say “American Punk”, but the book almost exclusively covers American Hardcore. Of course author George Hurchalla couldn’t really use that phrase because of Steven Blush’s similar book American Hardcore. Even though Hurchalla’s survey of the regional scenes that dotted the map of American hardcore has some redundancies with Blush’s better known book, it has plenty of unique merits which make it valuable. Most importantly, it focuses heavily on bands whose stories haven’t already been told in great detail. So, while there are obligatory passages on the big guys – Minor Threat, Black Flag, Bad Brains…etc. – there’s an equal amount of ink spent on smaller acts like The Fix, Government Issue, and Toxic Reasons. Even when Hurchalla writes about hardcore’s biggest acts, he finds new avenues to explore, like Minor Threat’s cold war with T.S.O.L., or the night Mike Diamond of the Beastie Boys led a one-off group called Lucifer’s Imperial Heretical Knights of Schism in a musical roast of sorts at the expense of the Bad Brains and their Rastafarian beliefs. Hurchalla’s own experiences as a fan in Florida and Philadelphia play a large role in the book, with firsthand reports from shows by both local outfits and national touring acts. He also takes excursions into music that was important to him during this era which doesn’t neatly fit into the hardcore genre tag, like The Gun Club or the SST art-punk comp Keats Rides a Harley. Lastly, Going Underground features a ton of photos that capture the raw excitement of the era, most of which I haven’t seen published before. Like the music itself, Going Underground moves quickly, providing a raw and unflinching look into one of the most important youth movements of the 20th century." Midnight to Six Format Paperback | 402 pages Dimensions 152 x 229 x 30.48mm | 469g Publisher PM Press
  • Out of stock
    Spewn from a place of utter chaos and lightnesses, on their inaugural 2018 full-length offering ‘Perverse Offerings to Void’ Sydney-based Australian death metal harbingers Golgothan Remains impose a previously unseen new strain of dark death metal annihilation entirely their own, stitching together the timeless brutality of bands like Incantation, Immolation, Necrovore, and Morbid Angel on one side, and the transformative sonic bedlam of visionary bands like Ulcerate, Dead Congregation, and Adversarial on the other, to create a majestic extreme metal behemoth of unseen magnitude, completely unrestrained in its famished quest for complete ruin, and magnificent in its imposing display of pure darkness. Co-released with Sentient Ruin. (Nuclear Winter Records/Sentient Ruin Records)

Title

Go to Top