• Chicago-born pianist/composer Herbie Hancock had already made his mark when, in 1962, he recorded ‘Takin’ Off’ for the Blue Note label; it was his first under his own name. At only twenty-two years of age, the company offered him a solo contract which would allow him to record a number of rightly revered albums throughout the Sixties. The release of ‘Takin’ Off’ almost immediately singled out Hancock as one to watch, the hard-bop message delivered in striking fashion by the leader and his sidemen. Incidentally, trumpeter Freddie Hubbard, only a couple of years Hancock’s senior, already had a couple of albums under his belt for Blue Note, and these were as well received as the pianist’s own debut disc would be. LP - 180 Gram Vinyl. (Not Now Music/2019)
  • HEX DISPENSERS | III | CD

    14.00 incl. tax
    The HEX DISPENSERS give you the creeps with killer down-tuned guitars and paranormal pop hooks, sounding as if The Ramones would have only played bat caves, The Spits got stuck in black java and Devo felt the cold touch of the Misfits. They took all their latest singles hits and brand new songs into the Cool Devices Studio of Mark Ryan and Jeff Burke (MARKED MEN, RADIOACTIVITY) to record album 'III'. (Alien Snatch! Records)  
  • HEX DISPENSERS | III | LP

    17.00 incl. tax
    The HEX DISPENSERS give you the creeps with killer down-tuned guitars and paranormal pop hooks, sounding as if The Ramones would have only played bat caves, The Spits got stuck in black java and Devo felt the cold touch of the Misfits. They took all their latest singles hits and brand new songs into the Cool Devices Studio of Mark Ryan and Jeff Burke (MARKED MEN, RADIOACTIVITY) to record album 'III'. (Alien Snatch! Records)  
  • Dismiss! Masks on! Or get hexed now with our favorite new band of 2007! Screw the bolts thru yer head for this debut release! The HEX DISPENSERS officially started on 6.6.06 and they contaminate us with evil pop and arsenic rock. From Austin, TX - the trio is Alex Cuervo on vocals and guitar (formerly in BLACKTOP, the KING SOUND QUARTET, the GOSPEL SWINGERS, the NOW TIME DELEGATION, a FEAST OF SNAKES and THIS DAMN TOWN), Tom Kodiak (KODIAKS, DIRTY SWEETS) on guitar and Alyse Mervosh (THIS DAMN TOWN, WINKS) on the best sounding drums. This is up-beat simple, loud, blues-poisened powerpop. 10 songs, nine originals and 1 cover "Down In The Park" from TUBEWAY ARMY. (Alien Snatch! Records) https://thehexdispensers.bandcamp.com/album/the-hex-dispensers  
  • Who else can attract you with halloween pop and give you ice age snow storm camping? The looong awaited second album by our all beloved HEX DISPENSERS is here! The Austin top-tenners know how to deliver and feed the growing army of unbelievers with 12 new paranormal hit servings of their wolf spider soup, mexican bat-blood-ice-cream and medium norwegian raindeer eyes. These songs are frosted poison pills of sheer madness, lunacy! Alex Cuervo demon-calling vocals and the dispensers isolated but penetrating guitar sound and rhythm section let us stray aimlessly thru the night. Feel cornered by their genious simplicity, you still may call the WIPERS / MISFITS / RAMONES reference? Guess it´s too late pinning the HEX DISPENSERS to the wall when they already got shooted to Valhöll for their frenetic garage pop in 2007. As their first s/t album, "Winchester Mystery House" is recorded by mastermind #1 Mark Ryan (MARKED MEN) - this time mastermind #2 Dave Rahn (CARBONAS) added finishing touches. The album includes the re-recorded sold out singles "Lose my Cool" and "My Love is Bat" as far as a DEVO-Cover "Gates of Steel". Here at ALIEN SNATCH! we love putting records out where we can´t name our favorite song. Pressing on 180g vinyl and nice inner sleeve. Yes, they are the rocknroll bail-out. https://aliensnatch.bandcamp.com/album/hex-dispensers-winchester-mystery-house
  • HHH was one of the most popular and influential spanish HC bands ever, and here's their very first demotape, "Sin identidad" (1985), their debut single "Intelectual punks" (1986) and finally the outtakes from those recording sessions that were never released. This is raging and fast no frills Hardcore, sometimes reminescent of bands like LÄRM, WRETCHED, NEOS, MOB 47 and other raw speed champions of the 80s scene! (B-core Records)
  • Out of stock
    Available July 2022. "... to Revolt!" - The 1993 debut full-length of Belgium's crust punk institution HIATUS! Originally released by the legendary Sound Pollution Records of Hellnation's Ken Hansford. The original release was a quite hard to find item for decades, until now twenty-nine years after its initial release and 12 months at the pressing plant we present you the official reissue of this Euro-Crustpunk classic. Packed with 16 tracks of fast, raw and powerful scandi-crust infused hardcore punk with incredible force behind it's production. The sound of HIATUS was massively influenced by the likes of DOOM and ANTI-CIMEX but with a dash of hardrock-esque mid-tempo lines thrown in here and there to lay the foundation that will become the unmistakable unique HIATUS style. The range of lyrical topics is shockingly still too relevant even three decades later. Poverty, Police Violence, Fascism, Sexists, Warmonger, Drug abuse, Animal rights, Sell outs... a pest that has never been resolved thirty years later. Recorded at Cats Studio by Marc Daeninck 1993 Mastered at Greg Lee Processing 1993 Re-Mastered at Enormous Door Mastering by Jack Control 2021 Includes a double sided lyric sheet and a bonus poster. All artwork has been restored as close to the original as possible. (Ruin Nation Records)
  • Out of stock
    Worcester, Massachusetts-based crossover outfit HIGH COMMAND set out on a warpath to create the heaviest work they have produced yet on their debut full-length and Southern Lord debut, Beyond The Wall Of Desolation. HIGH COMMAND is, in their own words, “five friends coming together to create the sonic equivalent of a barbarian horde.” The band’s lyrical world, created by vocalist Kevin Fitzgerald, is steeped in lore and savagery, heavily inspired by fantasy-based warfare, and in the band’s words, “boundless quests frozen in the aeons of time and space hacked out of ice and transcribed in lightning. Beyond the thin vail of sanity lies the forgotten age of mysticism and heroes.” Their studio choice for such proceedings was the legendary Machines With Magnets in Pawtucket, Rhode Island, constantly challenging the boundaries of what is possible in the realm of recorded media. From hearing previous projects recorded there (, The Body, Big Brave and Churchburn to name a few) it was apparent to the band that this was a studio that had a focus on the unique and the organic. Seth Manchester, the head engineer, worked tirelessly for the week HIGH COMMAND was there, sculpting a record with a healthy respect to the Old Gods of metal they admire while at the same time, sonically speaking, also carving a realm of its own. The eight bludgeoning tracks on Beyond The Wall Of Desolation cleave the tender cranium of the listener asunder across their forty-three-minute running time. Bringing forth the undeniable heft in their self-proclaimed New Wave Of Worcester Heavy Metal, the heaviest of armament is advised against the flail. (Southern Lord Records/2019) https://highcommandsl.bandcamp.com/album/beyond-the-wall-of-desolation
  • HIS HERO IS GONE | T-shirt

    12.00 incl. tax
    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).
  • Out of stock
    Do The Get Along features 12 songs performed by the perfect Holly Golightly band line-up of Bruce Brand (drums), Matt Radford (double bass), Ed Deegan (guitar) and Bradley Burgess (guitar). Alongide nine original tracks there are three choice covers – ‘Satan is His Name’ by Steve King & The Echelons, ‘Love (Can’t You Hear Me)’ by the Knight Bros., and ‘I Don’t Know’, originally recorded by Ruth Brown. Holly first came to musical prominence as a member of Thee Headcoatees, a Billy Childish/Thee Headcoats all-girl splinter group in 1991. Four years later she broke away from the garage punk scene with the release of her debut solo album The Good Things, which featured a mix of folk, early electric blues, & ’60s beat influenced rock ‘n’ roll. It’s a template that she’s honed over the course of 12 solo albums, along the way impressing celebrity fans such as Jim Jarmusch (Holly’s track ‘Tell Me Now So I Know’ featured as the main title theme in his Broken Flowers movie), and most notably Jack White who duetted with Holly on ‘It’s True That We Love One Another’, the final track on the classic White Stripes album Elephant. (Damaged Good Records)
  • 10 year anniversary re-issue of Holly’s greatest album with 2 BONUS UNRELEASED tracks! Collector’s edition on 180 gsm vinyl and digipak CD It’s been out of stock for a while so we’ve decided to make this re-issue a little bit special. Often cited as perhaps her best solo album Truly She Is None Other was recorded in 2002/3 at Toe-Rag Studios by Liam Watson and features the song ‘Tell Me Now So I Know’ which was picked for the main title theme for Jim Jarmush’s ‘Broken Flowers’ movie. Among the nine Holly originals the album features two Ray Davies songs (‘Time Will Tell’ & ‘Tell Me Now So I Know’), along with ‘There’s An End’, (penned by her friend Craig Fox from The Greenhornes.) There’s also a fine version of Jessie Mae Robinson’s ‘Black Night’, a song most famously covered by Muddy Waters. Backed by the cream of Toe-Rag’s in house musicians, this is Holly Golightly at her finest. With sleeve notes by none other than Jack White III. (Damaged Good Records)
  • Out of stock
    High Roller Records, double black vinyl, ltd 250, 5c gatefold cover with gold ink, 8 page booklet. "Inside the power cage I can feel the music of my age It's paranoid ... first degree Tellin' me that I'm not free I've got heavy metal music in my blood And I'd like to give it to you if I could." Those words are immortal. When I listened to "Heavy Metal Mania" the first time in 1980, I instinctively knew that my life would never be the same again. What a great number. At the time, it summed up my feelings as an angst-ridden teenager perfectly. I had been bitten by the bug. The Heavy Metal bug, that is. The song "Heavy Metal Mania" should be up there with "Highway to Hell", "Breaking the Law" or "Strong Arm of the Law" - an absolute genre classic! Holocaust followed this debut EP with another 12" entitled "Smokin' Valves" the same year. In 1981, the first album "The Nightcomers" was released. Three records within 12 months, all on the small Phoenix Records label, a pretty busy schedule ... However, the history of the band goes way back to 1977 in fact - the year Punk broke in the UK! Guitarist and mainman John Mortimer knows all the details: "We formed as In Our Minds in 1977, certainly. Four of us (myself, Robin, Gary and Nick Brockie) were together at the same high school. It became clear when we were 13 years old that music was something so important to us that we simply could not NOT form a band! Ed had been at the same primary school with us and we had kept in touch with him ... well, Gary especially. So the thought-form of a band was created in 1977 and we gave that thought-form life. I mean, loads of kids would say things like 'we're getting a band together' ... but we formed the band as an actual present reality without a single guitar string, mic or drumstick and we really meant it. The first actual sounds made together - (beyond air-guitar "BVRRHOOM"-ing!) would be October/November of 1978. I especially remember January until March 1979, when 'Heavy Metal Mania' and 'The Nightcomers' were written; I always remember there was a lot of snow, a lot of sunshine - and just a magical energy in the air." The band toyed around with different names (Buzzard, Apollo and Preying Mantis) before settling for Holocaust, as Mr. Mortimer explains: "Yeah, I think we went with Buzzard when everyone was into Lynyrd Skynyrd big time and then Apollo when Rush were uppermost in our minds and then Preying Mantis we settled on. Everyone was very happy with the name Preying Mantis and then one day the announcement of the first single release by an English band of that name was made in the 'Sounds' music paper. It's strange, you know, but I recall that whilst we were devastated on one level we also had a real sense of excitement that another bunch of young guys had done the same thing as us ... got into writing in the - what was then new - metal style and chosen the name Preying Mantis and actually managed to release a single. It was inspiring. I don't recall ever playing a proper gig under the name Preying Mantis, although Pheonix may have been a bit hyperbolic in press releases and turned events like us inviting friends round to hear us playing in church halls into 'gigs', if you know what I mean." Hmm, then maybe it is time to clear up another myth. It was written that the band supported Samson and Vardis in Scotland even before "Heavy Metal Mania" was actually in the shops. Again, John Mortimer seems quite baffled: "I don't recall supporting Vardis or Samson, other than turning up at their gigs and putting my fist in the air!I think that was more creative hyperbole from Phoenix press releases." Phoenix Records and Filmworks, to cite the full name of the label, surely seems to have been a very imaginative company. How did the deal come about? "Gary got a job at the Phoenix record store in Edinburgh in 1979 and John Mayer, who was owner of the Phoenix label as well as the store, was there most days. Gary told him all about Holocaust and Mr. Mayer promptly came to see us rehearse in a church hall, accompanied by Robert Bell (his pal and member of the band Blue Nile). After half an hour or so John was impressed enough to say he wanted to release "Heavy Metal Mania" as a 12" single, (Robert Bell would be producer), and if all went well with that - an album. That was a truly exciting evening!" So Phoenix Records was a one-mal label then? Did they have any other bands sigened to them apart from Holocaust? "They did, but we were the only Metal band. They had folk-rock, reggae, all kinds of stuff. It was indeed a one-man label and that man was John Mayer." So that man, John Mayer, must have done quite a good job all on his own, as the early Holocaust records were widely available throughout the UK (in chains such as HMV or Virgin as well as in independent record stores) and all over Western Europe (especially in Germany, France and Belgium). So Phoenix must have had good distribution contacts? "I can't remember much about that", reflects John Mortimer, "except John Mayer complaining about distributors and saying that 'everyone else complains about distributors also, because they just don't care!' I wasn't interested in all that boring business stuff and happily ignored it." So the records were in the shops, you had some good reviews (apart from Sounds) and I guess what was lacking was a national UK tour supporting a big gun like Iron Maiden, Motörhead, Judas Priest or Saxon. That might have made the difference ... "Yeah, I don't think there is any doubt about that. John Mayer tried his very best for us on those fronts but the situation was extremely competitive and we were disadvantaged by being geographically remote from London in those pre-internet days. Things always work out the way they do for reasons we can't see at any given moment however ... I have to say I had a gut feeling Holocaust would not grow in accordance with the traditional paradigm of club tours/support tours/bigger club tours, and so on." As mentioned earlier, the first-ever Holocaust release was the "Heavy Metal Mania" EP, which for me still is one of Metal's most outstanding releases. A true milestone of the genre. A piece of history. How many songs did the band have to choose from for this single/EP back then? John Mortimer: "We had the entire portfolio that became "The Nightcomers" album plus maybe four or five other songs." I also do love the cover: a perfect Metal cover! Whose idea was it and who executed the drawing? "The idea was John Mayer's - he put it to us, we liked it and then it seemed like he just pulled the artwork out of thin air." It seemed a bit strange though that the Holocaust logo incorporated no less than three umlauts. Surely a nod to Lemmy and the boys, wasn't it? "Well ... it was more like an affected emulation of Motörhead, to be honest! We just liked it because it looked like Motörhead and we loved Motörhead." "Heavy Metal Mania" was quickly followed by another single called "Smokin' Valves". How did John Mortimer judge this single in relation to "Heavy Metal Mania"? "In terms of style, the two songs, 'Heavy Metal Mania' and 'Smokin' Valves' are like icons of the two divergent trends within the band. 'Smokin' Valves' is more backward looking in style. It was inspired by Ted Nugent, who was a really happening artist for us at high school. There's no question that I did find Rock bands like Aerosmith or Van Halen exciting in those days and so some of that came through in the songs, but in my heart of hearts I really wanted to develop the heavier and more abstract Metal concepts." In 1981, the big moment had arrived: Phoenix Records released the first Holocaust longplayer dubbed "The Nightcomers". The sound of the album was a bit flat for my liking. Although the songs were really strong ... John Mortimer agrees: "Yes, the reason is interesting, I think. There was a sincere attempt by Phoenix to invest more into the album. We were supplied with hired gear that was top quality for those days. For example, I used a genuine Les Paul rather than the Columbus copy with a Dimarzio humbucker that I used for the " Heavy Metal Mania" 12" single and we used proper amps rather than the converted wartime valve radio thing that Ed had customized. We didn't have the time to get comfortable with the gear and make it our own ... instead we submitted ourselves to the production process as it was traditionally understood in those days. The result was a certain loss of the unique authentic rawness of the early band." Nevertheless, the album was once again widely available. It was released in Belgium with a slightly different cover (through Lark) and also in France (via A/Z). Again, Phoenix must have done a good job ... John Mortimer knows why: "Yes, John Mayer was an enthusiastic proponent of the Midem trade fair." Then, in early 1982, came the shock: John Mortimer parted ways with Holocaust. Why? "There were two distinct stylistic trends within the band - one toward the heavier, experimental and more abstract Metal as favoured by myself and Nicky Arkless and one toward the more American Heavy Rock style as favoured by Gary and Robin. Ed had his own ideas but was definitely concerned that the band should be established and popular so that an opportunity to do it full-time would emerge. He understandably saw the American Rock direction (which was truly massive in popularity at the time) as the way to achieve that. Phoenix were not at all sure how to market the band ... you can see that by comparing the original "Heavy Metal Mania" cover to the "Smokin' Valves" cover ... and so a meeting was called to sort it all out. Gary, Robin and Ed knew me too well to think that I would go along with the rock-popularity thing and so really it boiled down to them asking me to leave. It must have been very uncomfortable for them at that time. I felt instinctively that the new Metal styles would become big once they caught on in America, but only Nicky Arkless agreed with me. So I left on amicable terms." Nevertheless, even minus their original guitarist the following "Coming through" 12" was a decent enough vinyl. John Mortimer thinks so too: "I agree, it was a decent release." Between 1980 and mid-1982 Holocaust released a wealth of vinyl. Did the band have any left-over songs from this period in time? "There was 'Bridge of Impressions', that features on the "Raw Loud 'n' Live" video. That was the beginning of my being seriously experimental ... and the beginning of the end for me in the original band. Writing a Metal song about John Constable (a nineteenth century English landscape painter who was, I perceive, an artistic radical but has been retrospectively idolized as an icon of conservative tradition) was just too strange for the rest of the band, apart from Nicky Arkless, to accept. Think about it nowadays ... let's say Opeth did a song with that theme ... no-one would think that strange for one moment." The mentioned "Raw Loud 'n' Live" video included a number called "The small Hours", which somehow reached the ears of a certain Lars Ulrich. But we will save this story for another time ... Matthias Mader (High Roller Records)
  • Out of stock
    After a slew of impossible to find tapes and an excellent EP from 2018, the force at work behind HOLOGRAM finally emerges from the shadowy basements of DC with a primo LP full of wild ferocity that shatters all expectations. 9 tracks of reclusive enigmatic hardcore punk that span a lifetime... if your life was only 16 minutes long that is. Strap on your headphones and immerse yourself in the sound of melted reality. 350 copies on black 150gr vinyl housed in a 24pt jacket with insert and download card included. Written, performed and recorded by Brendan R. Mixed by Brendan R. and Carson C. Mastered by Will K. Art by Brendan R. with additional art by Daniel P. (Iron Lung Records)
  • Out of stock
    Created on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta's HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, "Second Empire Justice" era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the “death” of punk and the “birth” of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT. (La Vida Es Un Ms Records)
  • How long have you been waiting for a record to be released? Most probably not as long as 20 years in case of this jewel by Homomilitia. Recorded 20 years ago it never made it to mastering stage and was left in a cardboard box at the guitarist’s basement, waiting for its day. Numerous attempts at releasing it had been made, all failed. Until now. We joined forces, took things seriously this time, and went in search of the cardboard box. DAT tape was found and travelled to Dobra 12 Studio in Bialystok for a mastering stage it so much deserved. The result is the second full-length LP by Poland’s most influential DIY punk bands - HOMOMILITIA. Active in the 90’s, touring Europe extensively they uniquely blended metal guitar sound with punk d-beats, spirit and anger. This LP finds the band at the pinnacle of their musical achievements. The sound they managed to produce on this recording 20 years ago still puts to shame many contemporary metal and punk studio productions. Expect 11-song d-beat mayhem spiced up with a heavy bolt thrower-ish guitar and pissed-off lyrics on state oppression and hopelessness of everyday life. Your 20-year wait is now over. This masterpiece is available on 140 gram black vinyl, limited edition orange-on-black 140 gram vinyl and CD. (Sanctus Propaganda Records) https://sanctuspropaganda.bandcamp.com/album/s-t
  • Even though Hoover was a short-lived band, they were a crucial part of of D.C.'s early '90s landscape and became a hit with a newer generation of punks. In their short time as a band, they recorded one full length album, The Lurid Traversal of Route 7 with Geoff Turner at WGNS studios. Hoover are out for blood on this recording: the musical aggression is amped up high, the lyrics are clipped, and the vocals are screamed in usually very high pitches. The group's secret weapon, though, is that the foursome could be quiet when they wanted to be -- even tender. Hoover has re-united several times over the years and band members went on to play in Radio Flyer, June of 44, Regulator Watts, and The Boom, among others. (Dischord Records)
  • Recorded and mixed in 3 hours at Maple Death Cellar on 11/17/2016. Originally released in 500 copies on 04/28/2017 as a red flexi 7" for our U.S.A. Tour. Repressed in 300 copies for our 2018 European Tour with Bellicose Minds. (Self Released)
  • The 4th full length by the Italian vampire punx is finally going to be pressed. Eight tracks of pure passion, desperation, anger and questions that will never be answered. Darker than ever and with a new rhythm section that'll make you twist and shout, this record will drag you down the abyss of existence to release you releaved and stronger than before. Fans of The Cult, A Flock Of Seagulls, Chameleons and Fields Of The Nephilim won't be disappointed. Artwork by Andrea Bonini (Aus Tears). Mastered by Nick Townsend. 1000 copies pressed (800 on black and 200 on clear electric blue vinyl) plus A2 full colored poster. (Agipunk Records)
  • Three years after their second album “Return Of The Empire”, the italian Vampire punx combo returns with their new full length „New Wave of Fear’’. The tunes got darker and less punk than their previous releases but, all in all, the formula hasn’t changed too much, and, hell yeah, this is a concept album about life and death. The A side has been named “This Side” and deals with things that belong to the world we’re living (immigration, the rise of the extreme right wing parties, terror, life in general etc.). The B side has been named “Other Side” and it’s all dedicated about death. It’s a more intense record and definitely better than their old ones, and you can also hear the crusty roots of some of the members in their last song where Amebix and Fields Of The Nephilim meet in a no men’s land to face the end of it all. Tracks A1 to B4 recorded and mixed at Ink Studio on 26/29 November 2017. Track B5 recorded on a 4 tracks deck at Maple Death cellar on 17 November 2016. Originally performed by Wretched, it appears on the "Die Schwartzen Keller Session" flexi single released by the band itself for the 2017 U.S. tour. Tracklist A1 Intro 1:09 A2 Grey Shadows 4:43 A3 New Wave Of Fear 3:55 A4 Forward 4:36 A5 We Are The Ones 4:19 B6 On The Other Side 4:46 B7 Behind 3:51 B8 Don't Dance With Me 2:10 B9 Upside Down 3:50 B10 Democrazia Recorded By – Jonathan Clancy, Nico Pasquini 2:04 Limited to 200 copies. (Self Released)
  • The second full length for the Italian vampire punx Horror Vacui after their (already) classic "In Darkness You Will feel Alright" LP. 8 brilliant tracks of pure goth/death rock in the vein of Lords Of The New Church, Spectres, T.S.O.L., Sisters Of Mercy and 1919. "Desperate Adelia" & "Lortnoced" (9-10) originally released as the "U.S.A. Tour 2014" EP Desperate Adelia. "Underworld" & "The Fall Of The Empire" (11-12) originally released as the Can You Still See Reality? EP. Track 10 originally perfomed by Discharge. The release come in a standard jewel case with a transparent tray and a 4 pages booklet containing the lyrics. Tracks 9 to 12 aren't on the vinyl, and 11 & 12 are not on the cassette. (Horror Pain Gore Death Productions)
  • Out of stock

    Reissue on Plastic Bomb Records on heavy 180gr. vinyl! - The second full length for the Italian vampire punx Horror Vacui after their (already) classic "In Darkness You Will feel Alright" LP. 8 brilliant tracks of pure goth/death rock in the vein of Lords Of The New Church, Spectres, T.S.O.L., Sisters Of Mercy and 1919.
     (Plastic Bomb Records)

  • The second full length for the Italian vampire punx Horror Vacui after their (already) classic "In Darkness You Will feel Alright" LP. 8 brilliant tracks of pure goth/death rock in the vein of Lords Of The New Church, Spectres, T.S.O.L., Sisters Of Mercy and 1919. Tracklist A1 Return Of The Empire A2 5000 A3 The Right Cure A4 Time A5 'Till The Last Drop B1 Light Of Darkness B2 Screen Of Infamy B3 Opus Tenebris Bonus Tracks From "Limited Usa Tour Edition" 7 Inch B4 Desperate Adelia B5 Lortnoced High-bias pro-done cassette tape limited to 150 copies. Recorded and mixed at Authoma Studio, 3-4-5 March 2014. Tracks A1-B3 "Return Of The Empire" LP - Black Water Records 2014 Tracks B4-B5 USA Tour 2014 EP Track B5 originally performed by Discharge ((Self Released))

  • Back in stock
    Solid black vinyl ltd to 500 copies. Double LP + CD + DVD + book + extra casewrapped box. A work of love and dedication, the result of an incredible journey from the F.O.A.D. headquarters to a remote country-town in the middle of the Hokkaidō island, northern Japan, to meet the band members and put together the most exhaustive collection of all their available recordings, spanning from 1985 to 1987. Here you get the ultra-complete discography of HUMAN GAS, including a lot of unreleased material… Musically, this is some of the rawest and most violent Hardcore ever spawned from the darkest lairs of the ’80s Japanese underground. Tracks from the split 7″ with Stali Nism (1985), “Noice and Hardcore” 1st Demo (1986), “Explosives” 2nd Demo (1986), tracks from “Street Punk in Obihiro” Omnibus tape (1986), “Lack luster” 3rd Demo + extra studio songs (1987), unreleased studio jam session with members of Human Gas + Stali Nism + Middle Class (1987). Plus there’s an extra CD with a soundboard live take from 1986 that sounds killer, assorted live recordings 1986-1987 and an instrumental version of their cult Demo “Explosives“. And to complete the massacre, you’ll also find a DVD with two complete live sets (their only gig in Sapporo, “Bessie Hall“, 1987 and one in Obihiro’s “Rocking Hall“, 1987) showing these raging maniacs in action. 79 TRACKS!! All this mastered from 1st generation sources provided by the band, transferred and restored with total care and attention to detail at Toxic Basement Studio. Trifold jacket housed in a casewrapped outer boxset, 24 page full colored booklet with loads of rare photos, flyers, memorabilia and some brief liner notes put together talking with the band members. Named after a Kuro song, Human Gas were the most destructive and iconic Northern Japan’s answer to the noisy and violent Noise/Punk scene that was growing in the opposite side of the country with bands like Gai, Confuse and Kuro themselves! Add the fact that their songs were more structured, solid and as the title of this anthology suggests: violent. The Hokkaidō area is definitely one of the most fascinating and mysterious when it comes to early pioneers of the Japanese Hardcore panorama… L.S.D., 畜生, Slang, Tranquillizer, Deef, , F.U.P., Gaizin, Napalm, Noise-Decay and many more were all based there. Human Gas still stands as one of the most respected names for their genuine anger and the highly original and influential musical approach. (F.O.A.D. Records)
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