• The blistering new studio album from one of the most revered American street punk bands on the planet, The Casualties! This is the first studio album to feature David Rodriguez (Starving Wolves, Krum Bums) on vocals alongside longtime members Jake Kolatis (guitar), Marc Eggers (drums) and Rick Lopez (bass)! Limited edition, splatter vinyl. (Cleopatra Records)  
  • Back in stock
    Rare collection of early demos - 1976-1977. The real roots of a legendary album. (Fan Club/Unofficial Release)
  • Out-of-print for over 33 years, the classic, early '80s hardcore/thrash 7" "we don't play the game" by THE CLITBOYS is finally being re-released. All 7 original raging tracks have been restored, remastered and are better sounding than ever before. Not only does this reissue contain a gatefold-cover complete with lyrics on the inside, but brand new liner notes by the bass player as well. (Beer City Records) https://www.youtube.com/watch?v=vmiuFg2xsXY
  • THE COMES | no side | LP

    20.00 incl. tax
    Official reissue of seminal Japanese Hardcore band THE COMES debut. Originally released in 1983 on Dogma Records, a newly created City Rocker’s side label to release Hardcore/ Hard punk) No Side remains a milestone of first wave Japanese Hardcore. A vital document to understand the days when the Tokyo Hardcore scene was small and unknown with G.I.S.M., EXECUTE, GAUZE and THE COMES as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. THE COMES music is frantic and sharp punk, bass driven and manic sounding with vocalist Chitose aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave Hardcore acts they own their own sound and albeit many times imitated it has never been matched. No Side reissue comes in a heavy paste on board textured sleeve and includes a replica lyric insert. Includes digital pre-order of No Side. You get 2 tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more), plus the complete album the moment it’s released. https://lavidaesunmus.bandcamp.com/album/no-side
  • Out of stock

    THE COMES | no side | LP

    20.00 incl. tax
    Official reissue of seminal Japanese Hardcore band THE COMES debut. Originally released in 1983 on Dogma Records, a newly created City Rocker’s side label to release Hardcore/ Hard punk) No Side remains a milestone of first wave Japanese Hardcore. A vital document to understand the days when the Tokyo Hardcore scene was small and unknown with G.I.S.M., EXECUTE, GAUZE and THE COMES as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. THE COMES music is frantic and sharp punk, bass driven and manic sounding with vocalist Chitose aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave Hardcore acts they own their own sound and albeit many times imitated it has never been matched. No Side reissue comes in a heavy paste on board textured sleeve and includes a replica lyric insert. (La Vida Es Un Mus Records)
  • "14 Year Old High School PC​-​Fascist Hype Lords Rip Off Devo for the Sake of Extorting $​$​$ from Helpless Impressionable Midwestern Internet Peoplepunks L​.​P​.​" The NWI scene is on another level to the rest of humanity. Oh yes, it's going to get weird once you put this shit on. Coneheads are a basement punk band who have decided to douse themselves in creepy circus riffs, robot meets alien vocals with science-fiction wackyness. Keep in mind, it's still punk and damn catchy! Who said weird can't be catchy?

    They sound like DOW JONES AND THE INDUSTRIALS on speed or a more manic DEVO. This would perfectly fit in 1982 but I doubt they were born before 92. Major points for historical awareness! The rhythm barrels along while solos are interspersed at six second intervals, desperately played like a blur between a Jerry Lee Richard piano solo and a fevered banjo picker who lives in an Appalachian cave. It's hard to find the line between cheap gimmick and true weirdness sometimes, but this one shows that line with every spin. This band is highly addictive and leaves you stunned! (Erste Theke Tontraeger) https://erstetheketontraeger.bandcamp.com/album/ett-028-the-coneheads-l-p-1-aka-14-year-old-high-school-pc-fascist-hype-lords-rip-off-devo-for-the-sake-of-extorting-from-helpless-impressionable-midwestern-internet-peoplepunks-l-p
  • Out of stock
    Founded in 1982, The Crack didn't release their debut album until 1989. These British punkers were often tied into the Oi! scene of the mid-'80s along with Cockney Rejects and The Business, but they had more in common with the melodic punk stylings of 999 and mod groups like The Jam or Secret Affair. Featuring a blistering wall of guitars and biting melodies, from the classic album opener 'My World' to the raw closer 'The Giddy House' The Crack deliver ten fantastic original tunes that, while firmly rooted in 1980s UK anthemic punk, also features a pop sensibility that presages the oncoming Brit-pop scene that would absolutely dominate the '90s. Seriously, we'd bet the farm that the young Gallagher brothers were blasting this back in 1989. Absolutely essential 1980s UK punk that bridges the gap between '80s Oi! and the Brit-pop/power-pop revival. Killer. (Radiation Records)
  • UK 10-track pressing. Dedicated to Ricky Nelson, a DATE WITH ELVIS (1986) is the third Cramps studio album, recorded five years after their last, 1981’s PSYCHEDELIC JUNGLE (in the interim, the band recorded a number of EPs and a pair of live albums, and extracted themselves from a legal dispute with their old record label). Playing as a three-piece, with the extremely talented Poison Ivy on guitar and bass (as well as singing on a couple of tracks!), the band turned their most solid studio record. From the brilliant usage of a preschool choir singing the chorus of “People Ain’t No Good” to a crunching cover of “Get Off the Road”, the theme song of the 1968 biker exploitation flick, SHE DEVILS ON WHEELS, the record includes a bunch of ought-a-be classics. Standouts include the faux-hippie duet of “Kizmiaz”, one of the band’s several peaks of hyperactive, juvenile sexual obsession; “Hot Pool of Womanneed”, featuring lyrics like “As Jacob said to Isaiah / in them biblin’ days of yore / Man that babe is the tomata / Oh my Lord I’m longin’ for”; and Lux Interior’s nearly perfect impression of the King on “It’s Just That Song”. (Big Beat Records)
  • Broadcast from Stockolm show (april 10, 1986) and London (March 13th, 1986). Limited pressing of 500 copies.

    Tracklist:

    Side A : Live In Stockholm Gota Lejon April 10th 1986 Fm Broadcast
    A1 Cornfed Dames
    A2 Do The Clam
    A3 Love Me
    A4 Whats Inside A Girl
    A5 Blue Moon Baby
    A6 Can Your Pussy The Dog?
    A7 Surfin Bird
    Side B : Live Hamersmith Odeon London March 13th 1986 Fm Broadcast
    B1 Aloha From Hell
    B2 Can Your Pussy The Dog?
    B3 Chicken
    B4 Cornfed Dames
    B5 Heartbreak Hotel
    B6 Hot Pool Of Woman Need
    B7 How Far Can Too Far Go
    B8 It's Just That Song
    (Fan Club/Unofficial Release)
  • After recruiting bass player candy del mar, thus allowing poison ivy to get back to her guitar playing full time, the cramps recorded their fourth studio album, 'stay sick!'. this record continues the tradition of lux interior's hysterically (in both senses) juvenile, and decidedly non-pc obsession with women (at least as far as they are presented in the most b-movie sense imaginable) - he even appears, along with drummer nick knox, in full drag on the cover art. standouts include a sort-of-faithful cover of carl perkins 'her love rubbed off', which appears in both studio and live versions, and a pair of propulsive rockers, 'all women are bad' - with pounding drums and interior spouting some amusing biblical references in his patented jerking vocal style - and 'journey tothe centre of a girl' - a sort of companion to a date with elvis's 'what's inside a girl', with ivy's heavily-echoed guitar leading the way. other highlights include a scorching, if somewhat bizarrely chosen, cover of the blues standard 'shortnin' bread', the straight-ahead (as far as the cramps canbe straight-ahead) rockabilly of 'daisys up your butterfly', and the distorted, surf homage 'saddle up a buzz buzz'. (Big Beat Records)
  • What happened in February 1983 then? Serial killer Dennis Nilsen was arrested, unemployment hit an all-time high, the Mini Metro was Britain’s best selling car and The Cravats released a flipping stonking LP on Corpus Christi Records. Played to pieces by Peel and hugging the indie chart’s midriff for a good few weeks, every track on ‘Colossal’ is indeed ruddy enormous. Like everything by these dada-dealing daddios the music is a highly calculated cacophony of pounding drums, behemoth bass and fraught guitars all drenched in sonically deranged saxophone while the songs are surreal stories sheathed in the scenery of their small town English home. The whole beast is a kind of all you can eat aural entertainment buffet featuring 13 of the band’s best bites of the bizarre. From the frantic psycho surfabilly opener, Off The Beach to the ferocious hornets-in-a-holdall drone of I Am The Dreg, The Cravats employed their entire toolbox of toys when putting this doozy together. Apart from newly recorded tracks, There Is No International Rescue, Fireman, Terminus, The Station, Icecubists, Daddy’s Shoes and Working Down Underground you got the Small Wonder Records single releases, And The Sun Shone, You’re Driving Me and I Am The Dreg (the version of Off The Beach on here was recorded on a mobile studio positioned in a pig pen next to their practice room down on the farm in Worcestershire. It’s noisier and more unkempt than the Small Wonder single release). Plus there’s the ‘hit’ single (well, It sold more than anything else they ever did!) Rub Me Out and When Will We Fall, forged by High Priest of Punk, Penny Rimbaud with the aid of Southern Studios sound guru, John Loder which was fired out of the Crass Records canon in 1982. No track sounds like any of its companions but every track sounds like The Cravats. The original Colossal Tunes Out LP certainly deserves its legendary status and hefty price tag on the rare record resell circuit. It’s good news that Overground Records are putting these tunes out again and it’s great news that they still sound colossal! One-time vinyl pressing of 500 copies that closely reproduces the original but with the bonus of a poster. (Overground Records)
  • The Cravats’ one, great musical handicap was that they were indescribable. Incisive, innovative musicianship was everywhere, yet the songs themselves defied comparison to anyone else’s. The lyrics, meanwhile, were uncommon, vivid, and forcefully-delivered, so reviewers (both friendly and hostile) focused on those. But the part that burrowed straight for the wee chunk of your brain marked “fight or flight” on the meat-cutters’ chart was the unsettling throb and lurch of the massively-amplified sax, guitars, bass, drums, and whatever other alien sound-forms and distortions The Cravats felt like heaving into the mix. Their devoted record-company, Small Wonder, had no idea how to present them, either, but they kept on releasing Cravats records long after they’d bid adieu to the rest of their visionary catalog (among them The Cure, Patrik Fitzgerald, Crass, Poison Girls, Menace, Bauhaus, and Fatal Microbes). Peel played and played them, recording four Cravats Peel sessions 1979-82. The Cravats formed after a Stranglers show in Birmingham in 1977: they borrowed £400 from Shend’s mum and self-released their debut 7” Gordon in July 1978. Small Wonder liked the single so much that they picked up 500 copies and booked the band into the studio with producer Bob Sargeant; the result was the Burning Bridges single, soon followed by Precinct. Next, the band relocated to Torquay for a full week in 1980 to record their first album – on an 8-track in a hotel basement: The Cravats In Toytown made it into the Top 20 in the independent charts. Two more Small Wonder 45s followed, You’re Driving Me and Off The Beach, sandwiched around their first project with Penny Rimbaud (who succeeded in making them even darker with ‘Rub Me Out’). Despite their collectability, the Small Wonder records remained un-reissued until Penny Rimbaud obtained the recently discovered multi-track Toytown masters and re-interpreted and remixed them in his own unique, eccentric style, as Alice’s Adventures In Toytown. A limited-edition vinyl pressing reproduces the original album, the 12” x 12” 4-page insert, but with the bonus of an inner bag. (Overground Records)
  • Out of stock
    Their complete first three studio sessions for John Peel's BBC Radio show, this features 13 rare and unreleased versions of their early songs. - Tracks A1-A4 Peel Session I, 11/12/1978 - https://youtu.be/Eb7GnZ0ZOoI - Tracks A5-B9 Peel Session II, 16/05/1978 - https://youtu.be/Js6cdx73zkE?list=PLMa5VnDfBAhUQTp66eccVkE0EvHmeyexA - Tracks B10-B13 Peel Session III, 10/03/1980 - https://youtu.be/bsUXcQakUno?list=PLMa5VnDfBAhUQTp66eccVkE0EvHmeyexA Tracklist A1     Killing An Arab A2     10:15 Saturday Night A3     Fire In Cairo A4     Boys Don't Cry A5     Desparate Journalist In Ongoing Meaningful Review Situation A6     Grinding Halt A7     Subway Song B8     Plastic Passion B9     Accuracy B10     A Forest B11     17 Seconds B12     Play For Today B13     M (Strange Fruit/Unofficial release)
  • This lp is propably one of the most haunting ones that i ever came across. Double male vocals, one screaming low-growling and one angry, yelling. Awesome drum works, check out the fifth song to understand what i am talking about. The riffs turns out demonic with an occult feeling. Imagine His Hero Is Gone playing black metal in a rainy forest of the northern ireland... Comes in a beautiful gatefold cover, artwork by Glynn Scrawled. (Destructure Records)
  • Out of stock
    A facsimile of the original album release. 180g vinyl with a fancy inner sleeve. Originally released in 1979 this legendary album was the first from the revised line-up of Capt, Rat, Dave and Algy. Features the classic singles Love Song, Smash It Up and I Just Can't Be Happy Today. What more do you need to know! Essential! (Ace Records/Chiswick Records/2016)
  • Through 1980 the Damned spent some 1078 hours in the studio recording / mixing and this 25th anniversary edition of THE BLACK ALBUM contains all of the released material during that year plus one previously unissued mix. The Black Album was the band’s rural album and their most psychedelic. Initially there were sessions in February and March at Wessex where MGE had been cut. Captain had come up with Rabid (Over You) as a contender for the next single and though a cracking good song and certainly commercial enough, the title was a non starter as far as mainstream radio play was concerned at the time. As Smash It Up had been regarded as an incitement to riot by Radio Wonderful lord knows what they would have made of Rabid. So a cover version was picked in the shape of the Jefferson Airplane’s White Rabbit and this was cut at the Wessex sessions along with Rabid (Over You). Anthony More was initially in charge of the Rabid session and brought along his synth box of tricks. However he didn’t quite manage to make it to the end of the session, though eventually contributed a lot to the record’s sound. Meanwhile I was cutting Rabbit and Rat was working on a very out there version of the 50s classic Chantilly Lace that was to come out under the moniker Edgar Tempest and the Wild Rockers. All three of these sides were finished and a single was scheduled with White Rabbit backed with’ Rabid (Over You) and the elegiac into mayhem guitar piece from the Captain called Seagulls. It got as far as test pressing stage at EMI and then the band went off it, though it did see the light of day in France and Germany, making its way into the U.K. on import. Chantilly Lace didn’t make it to the starting block. So, single-less, time was booked at Rockfield for May /June to record the bulk of the Black Album. Early takes of History of the World Part 1 and Curtain Call had been cut at Wessex and even a basic acoustic track for Dr Jekyll And Mr Hyde. (ACE Records)
  • This collection from legendary shape-shifting U.K. punk/goth pop outfit The Damned includes A- and B-sides from the group's output for the Chiswick label, specifically from the albums Machine Gun Etiquette (1979) and The Black Album (1980). Lovingly restored and remastered, the 24-track collection includes career highlights like "I Just Can't Be Happy Today," "The History of the World, Pt. 1," "Disco Man," "Love Song," and "Smash It Up". A1 to A3 originally released on Love Song 7'' on 27 April, 1979. A4, A5 originally released on Smash It Up 7' on 5 October, 1979. A6 to B2 originally released on I Just Can't Be Happy Today 7' on 23 November, 1979. B3 to B5 originally released on White Rabbit 7' B6 to C2 originally released on The History Of The World Part I 7' . on 22 September, 1980. C3 to C5 originally released on There Ain't No Sanity Clause 7' on 24 November, 1980. D1 originally released on Various - The Moonlight Tapes - Moonlight Club Bands Live as "Lookin' For Another" by The School Bullies; later included on Lively Arts on 1 October, 1982. D2 originally released on There Ain't No Sanity Clause (Big Beat Records reissue) on 2 December, 1983. D3 originally released on Best Of Vol 1½ - The Long Lost Weekend 19 May, 1988. D4 to D7 originally released on Friday 13th EP 7' on 13 November, 1981. (Let Them Eat Vinyl)
  • In 1980 / 1981, The Damned went to Rockfield for a series of sessions that eventually became The Black Album, The Friday 13th EP and Strawberries. Their time there produced some of the Damned’s greatest musical moments and memorable stories of horses, cows, vampires, rifles and Lemmy.
    In 2019 The Damned returned to Rockfield studios to record the first new music since 2018’s Top Ten Evil Spirits album. The line-up included three out of the four Damned members that were at the original sessions – David Vanian, Captain Sensible and Paul Gray. There was also Monty Oxymoron on keyboards and Pinch on drums. Unbeknown to the band, this was to be the last recordings with the long-time drummer Pinch, who departed The Damned after their legendary show at The London Palladium, last Halloween.
    For the first time, Tom Dalgety (Royal Blood, Rammstein, Ghost) took over the Producer duties for the EP. Tom also mixed the tracks at his studio in Bath. (Spinefarm Records)  
  • Now available on vinyl !!! ON'T BBC 80-82 is a collection of BBC recordings that was released earlier this year on a very limited CD issued by the band's Society Records. THE DANSE SOCIETY was born in Barnsley, UK in 1980 and is celebrating its 40 th birthday this year with a new album and this compilation of early days recordings which show the great potential of a band which will become an essential act of the Gothic Rock movement. This compilation features twelve songs taken from two BBC PEEL sessions, the frst was recorded in 1981 and the second one in 1982. Two other songs are from an appearance on BBC2 programme 'Riverside'. And last but not least, it features the earliest recording of the band, then called 'Danse Crazy' on the Futurama 2 festival High quality vinyl repress housed in black inner sleeve, thick outer sleeve and including insert sheet with band pictures. (Restless Empire Records)  
  • Οι Dark Rags δεν χρειάζονται ιδιαίτερες συστάσεις, καθώς το 2020 συμπληρώνουν 10 συνεχόμενα χρόνια παρουσίας στις Αθηναϊκές, και όχι μόνο, Rock’n’Roll σκηνές. Και ο καλύτερος τρόπος για να το γιορτάσουν είναι με την κυκλοφορία του 3ου τους album με τίτλο “Suburbia”. Μια συνεργασία της Labyrinth Of Thoughts και του νέου προσωπικού label του συγκροτήματος, Backstab Records. Το “Suburbia”, όπως και κάθε κυκλοφορία των Dark Rags, έχει μια συγκεκριμένη ηχητική και αισθητική προσέγγιση. 10 κομμάτια ακατέργαστου αλλά ταυτόχρονα μελωδικού garage, συνδυάζουν ιδανικά στοιχεία και επιρροές από punk έως country και 80s r’n’r έχοντας προσθέσει ταυτόχρονα στον ήχο τους με ιδανικό τρόπο, όργανα όπως σαξόφωνο και πιάνο. Περιορισμένη έκδοση: 200 αντίτυπα σε βινύλιο. (Labyrinth Of Thoughts Records)
  • DELUXE VINYL EDITION. Clear vinyl. "Chemical Warfare" is the debut album by Islington punks THE DARK, originally released in 1982. The Dark were similar to The Wall, another band with whom they shared a highly political outlook. The mostly mid-speed music also invites comparisons to Chelsea and the UK Subs. "Chemical Warfare" deserves a lot more credit than nearly all the punk albums it found itself lumped in with. The Dark invested their songs with melody and catchy as hell guitar motifs, and thoughtfully avoided the mindless rage typical of the time. Deluxe vinyl edition includes their "Chemical Warfare" LP (1982) plus 10 bonus songs from singles. (Let Them Eat Vinyl)  
  • The Day the Country Died features author, historian, and musician Ian Glasper (Burning Britain) exploring in minute detail the influential, esoteric, UK anarcho punk scene of the early Eighties. If the colorful ’80s punk bands captured in Burning Britain were loud, political, and uncompromising, those examined in The Day the Country Died were even more so, totally prepared to risk their liberty to communicate the ideals they believed in so passionately. With Crass and Poison Girls opening the floodgates, the arrival of bands such as Zounds, Flux of Pink Indians, Conflict, Subhumans, Chumbawamba, Amebix, Rudimentary Peni, Antisect, Omega Tribe, and Icons of Filth heralded a brand new age of honesty and integrity in underground music. With a backdrop of Thatcher’s Britain, punk music became self-sufficient and considerably more aggressive, blending a DIY ethos with activism to create the perfectly bleak soundtrack to the zeitgeist of a discontented British youth. It was a time when punk stopped being merely a radical fashion statement, and became a force for real social change; a genuine revolutionary movement, driven by some of the most challenging noises ever committed to tape. Anarchy, as regards punk rock, no longer meant “cash from chaos.“ It meant “freedom, peace, and unity.“ Anarcho punk took the rebellion inherent in punk from the beginning to a whole new level of personal awareness. All the scene’s biggest names, and most of the smaller ones, are comprehensively covered with new, exclusive interviews and hundreds of previously unseen photographs. Format Paperback | 496 pages Dimensions 152 x 229 x 38.1mm | 537g Publisher PM Press Publication City/Country Oakland, United States Language English
  • Formed in 1978 and regulars at Belfast punk haunts The Harp Bar and The Pound by 1980, The Defects achieved only local recognition until their debut 45 Dance (Til You Drop) was released through their own Casualty imprint in 1981. Selling out of its initial 2,000 pressing, the single led to a deal with London’s WXYZ label which released The Defects’ lone studio LP Defective Breakdown in 1982, netting them an Indie Top 10 success and a high-profile support slot on label mates The Anti-Nowhere League’s controversial So What UK tour into the bargain. Thirty six years on, Defective Breakdown remains one of the superior punk platters from the UK82 era. It hardly reinvents punk’s wheel, but the best of its impassioned, UK Subs-style gob-athons (Killer On The Streets, We Don’t Care) still convince, while the fizzing, hormonal rush of the Buzzcocks-y Deprived and the ritualistic, Killing Joke-esque power of Survival both provide signposts to future roads the Antrim boys could have taken. Ultimately, though, outside forces would decide The Defects’ fate. With punk’s second wave quickly running out of steam and their ill-conceived cover of Elvis Presley’s Suspicious Minds stiffing, they abruptly split after supporting the reconstituted Clash at Belfast’s Ulster Hall in February 1984. Official reissue with bonus tracks. (Restless Empire Records)  
  • Out of stock
    The Distillers major label debut Coral Fang is the most remarkable album they recorded to date. It is raw and effective with Brody Dalle's screaming vocal work and the catchy guitar driven rock 'n' roll. The album is filled with highlights focusing on her ex-husband and the internet. Poetic lyrics and trashing guitars melting together on album opener “Drain the Blood”, while the start/stop build “The Hunger” is just pure adrenaline at its best. Brody has a depth and subtlety in her voice that only a few female punk vocalists had. Coral Fang rocks hard and was a refreshing record in the changing landscape of the early zero's. Coral Fang is available as a limited edition of 2000 numbered copies on transparent vinyl. The package includes an insert. (Music On Vinyl Records)
  • To be honest, I didn’t expect much if anything from this album. However, once I put it in the player, I was floored. Hail the New Pawn puts these guys right at the upper tier of hardcore/grindcore ranks. It’s a no-brainer. THE DREAM IS DEAD combine grindcore, crust-punk flavorings, and dissonant hardcore into an unrelenting, chaotic anti-establishment beast. They occupy a musical space somewhere between NAPALM DEATH and MISERY INDEX. Seriously, the band hits with every kind of extreme riff they can think of, a barrage of tempo changes, and enough vocal barks to penetrate that thick material we call the “human brain.” Vocalist Clark Giles gives it all he’s got with a great performance. And thankfully, he doesn’t sound like 1,000 other hardcore vocalists. Another strength of Hail the New Pawn lays in the feel. While the songs communicate an immediate feel of brutality and unrelenting attitude, there is also an ominous air to them. To top things off, the production work was by none other than Alex Newport (THEORY OF RUIN/ex-FUDGE TUNNEL/NAILBOMB). The production is nothing short of crystal clear, powerful, and balanced especially for the drums. The bottom line is that you need to do yourself a favor and check out one of the best albums of the year. Limited to 100 copies, Clear w/ Red Splatter. (Escape Artist Records)