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Eddie Dark is a one man project rose from the catacombs of Athens. Taking inspiration from the melancholic but energetic sound of the 80's New wave/post punk and blending it with elements of modern synth-pop, Eddie tells grotesque stories about lost love and the uncomfortable facts about being undead with heavy doses of self awareness and poetic sarcasm, all packaged in a B-Movie horror aesthetic. On April 2023, Eddie released “Freakwave Cassette Vol.1” a 7 song EP raging from sad synthpop to aggressive synth-punk. "Λουλούδια" ("Flowers"), will be released on July 28th, 2023, on 279 copies, 140 of them on black and 139 on green vinyl. It's Eddie Dark's first full length album including 10 morbid songs about dealing with the grief of losing your favourite person. The LP comes with an insert and a download code. Green Vinyl. Label: Geheimnis -
In continuation of what's been one of the most prolific creative streaks of their 15-year career, Editors release the new best of album Black Gold featuring 13 tracks from their six studio albums, alongside three brand new offerings: "Upside Down," summer festival anthem "Frankenstein" and the gothically dramatic title track "Black Gold." Black Gold's cover photograph was shot by award-winning photographer Nadav Kander and the album artwork was designed by celebrated graphic designer Tom Hingston (Massive Attack, Chemical Brothers, The Rolling Stones). From their Mercury Prize shortlisted debut The Back Room, to No. 1 debuting An End Has A Start, platinum-selling In This Light and On This Evening, sprawling, transitional The Weight of Your Love, moody, self-produced In Dream and their sixth top-10 album in a row, 2018's explosive Violence, Editors have refused to either stay still or compromise. Black Gold is a chance to reflect on the past 15 years, but it also offers a glimpse into a very exciting future for one of the UK's most enduring and perhaps unexpected musical success stories of this century. Tracklist: A1 Frankenstein 4:30 A2 Papillon 5:25 A3 Munich 3:50 A4 Sugar 4:19 B1 Hallelujah (So Low) 4:04 B2 An End Has A Start 3:45 B3 Upside Down 4:43 B4 Bullets 3:13 C1 Ocean Of Night 5:07 C2 No Harm 5:12 C3 Smokers Outside The Hospital Doors 4:59 C4 A Ton Of Love 3:57 D1 Magazine 3:56 D2 The Racing Rats 4:20 D3 Black Gold 5:06 D4 No Sound But The Wind 4:31 Label: [PIAS] – PIASR1125DLP, Play It Again Sam Barcode: 5400863017217 -
EERIE FAMILY is an asteroid shot out of the stellar belt of the infamous HEX DISPENSERS orbit right when heat absorption got insane. A fantastic gloom-pop debut album by Alex Cuervo (keyboard/vocals) and Alyse Mervosh (drums/vocals). Regardless of gravitational interactions you will be pulled into their black hole of darkness and surrounded by an immense undead orchestra. Catchy garage doom, headspinning vocals, and a creepy backbeat. The synth & drums hits are so spooky that you feel watched constantly and wonder if this is a megalo-martyr explosion or a skeleton wedding. The vinyl has two bonus songs which will not be on any digital release. First pressing comes on a heavy 180 gram vinyl edition, 400 black vinyl copies, 100 copies clear white vinyl with disruptive black swirls (mail order only), all sleeved in uncoated cardboard and black inners. Dead or alive, out of Texas or Hell, those zomboids will spill black blood in Europe in August 2020. Release date is 12/31/19. Label: Alien Snatch! Records
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Annihilating old school grindcore from Osaka, Japan influenced by 80s UK & Japanese fast HC and the early Earache Records classics! A complete collection of their 90's recordings - most of them being released for the first time on vinyl: "Eternal Karma" Demo, "Terminal Filth Squad" split EP w/ Plutonium, compilation appearances and unreleased tracks. BONUS CD with: Reh-Live demo 1996 + a live performance as CHAPEL OF GHOUL, in Maizuru City, Kyoto, November 1995. 50 SONGS!! Total blasting insanity for fans of S.O.B., E.N.T. and early NAPALM DEATH.. Includes 16 page booklet packed with photos, flyers and artworks from their collected works. Black vinyl limited to 200. Label: F.O.A.D. Records
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When I had the chance to listen to this demo I didn't hesitate a minute and got straight in touch with the band asking for the possibility to reissue it on vinyl because it blew my minds away. The physical version of Ego-ism is billed as a demo on their band’s Bandcamp page, but with ten very lengthy tracks, Ego-ism is longer and more ambitious than most current punk and hardcore bands’ full-lengths. The sound is gruff and heavy (particularly the vocals, which are growling and intense), but the music is adventurous, working in elements of shoegaze and darkwave around the edges. Take the track “Dekadent,” which borrows moves from Bauhaus and Skeletal Family, but then Ego snaps right back into d-beat with “Ljudi.” Hailing from Berlin and featuring Nesha from Doomsday Graphics on vocals this will be remembered as one of the few good things that happened during the pandemic. (Agipunk)
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After the successful debut on tape, promptly reissued on vinyl in 2021, EGO from Berlin go back on the attack with their first real full length. 10 tracks of pure uk 82 punk. Nesa's powerful voice is accompanied by a stainless rhythm section and a wall of guitar that harks back to bands that were screaming from behind the Iron Curtain. What else to say? It's impossible to sit still while listening to this album. Graphics in pure black and white by Nesa/Doomsday Graphics, as usual minimal, disturbing and simply brilliant. Label: Agipunk
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Ekkaia was a neocrust band from A Coruña, Spain. Ekkaia started in 1999. In their first releases they have a notorious real screamo / emo violence touch and some influences of melodic death metal. In their last releases they evolved into a darker crust sound, in the vein of Tragedy. They can be considered the cornerstone in the Spanish crust scene. All songs recorded and mixed between 2002 and 2004 at Bonham Studios, A Coruña, Spain by José Manuel Martínez García. All songs remastered in May 2020 at Empty Fields Room Studios, Messas, France by Sébastien Bedrunes. Triple LP includes their whole discography. __________ *** Songs 1 to 9 recorded and mixed between December 2003 and January 2004 and released in May 2004 as "Demasiado Tarde Para Pedir Perdón" LP (2000 black vinyls). *** Songs 10 to 12 recorded and mixed in August 2004 and released in October 2004 as "Ya Hemos Aguantado El Sermon, Ahora Lo Destrozaremos" 7"EP (1000 black vinyls). This record was repressed in August 2008 with a different artwork (218 yellow/black haze vinyls). *** Songs 13 to 17 recorded and mixed in two evenings of December 2002. Song 13 was released in 2004 on "D.I.Y. Or Die, Vol. 1" Compilation CD in Argentina. Songs 14 to 17 were released in September 2003 as "¿Cuantos Más Moriremos Hasta Que Esten Satisfechos?" 7"EP (1500 black vinyls). *** Songs 18 to 28 recorded and mixed in May 2002 and released in July 2002 as "Manos Que Estrechan Planes De Muerte Y Sometimiento" LP/CD (1000 black vinyls and 1000 CD's). (Stonehenge)
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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).
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In a time when the death cult of this capitalism-thingamabob becomes even more obvious, a great amount of cloud-rap-autotune to become Chancellor is missing. But, hey, I`m still in love with large parts of that punk rock. And a band that makes the word "solidarity" one of the main themes of their album these days ("Grandpa, you’re repeating yourself.”) without being embarrassing earns a place in my heart. That is, if the band hadn’t had it already anyway: At El Mariachi concerts, you might see people in the first row ("never seen that at punk concerts") in Get Up Kids shirts next to a determined Slime shirt. I saw El Mariachi twice at the end of 2018, after their final show at the time, in 1848 in front of the Paulskirche. And I still had the feeling everyone was decently (!) going bananas, without suddenly finding myself in a room full of assholes. A rare feeling. Chapeau. It was loud, it was noisy, and yet there was always something to bring about an amorous smile. It was too hot, and yes, it was also a bit beery, people were having fun, and I’m thirsting so much for the next time.... The third album is awesome. It's their best. It's even funny (The end of the song „Gratis Geld“ is God). It's melancholic and combative. It's El and Mariachi: German lyrics that convey something like a concrete attitude without making your toenails wrap around your neck, straight punk paired with rhythmic melodies for billions. All of that in its particular combination makes the album something very, very special. It is the last bullet for the tenderness of the peoples and against Christian Lindner. Therefore, the Golden Hen 2021 goes to El Mariachi! (Sabotage Records)
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There was a time when the fear of nuclear destruction was so thick you could feel it in the your lungs and walked the streets. Like at any moment some ICBM would rain fire on your town and the troops would be thrust into action. Only they wouldn’t be defending the town they would use the melee as an excuse to rid their little podunk heaven of the “punker plague”. Those freaky weirdos with pins in their ear and stains on their gear. The ones that spray paint “Ronald Reagan SUCKS a big one” on the hoods of cars. The ones that don’t fit and don’t wanna… Friends and enemies, introducing ELECTRIC CHAIR! Label: Iron Lung Records
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Expanded to 12" including hot edits / reworks by GARETH GODDARD aka CHERRYSTONES. In 1979, Wayne County & The Electric Chairs – the legendary punk–rock band – recorded their third album, Things Your Mother Never Told You, in London. It was produced by David Cunningham of the Flying Lizards, famous also for his work with This Heat, Michael Nyman, etc. He also played synthesizer on some of the tracks. Often compared to Bowie’s Low and Iggy Pop’s Lust For Life, the album combined the no–frills punk–rock sound of the band with the experimental production of Cunningham, showing his love for dub music and cut’n’paste / electronica. After a tour promoting the album, vocalist Wayne County along with guitar player Eliot Michaels departed the band and returned to New York, where County later emerged as Jayne County. The remaining Electric Chairs members – Val Haller, JJ Johnson and Henry Padovani (ex–Police!) – decided to continue under the Electric Chairs name. Their record label gave them just a month to find a replacement singer and write material for an album. After rehearsing with a few singers, none of which were suitable, the trio decided to go into the studio and record some tracks with Cunningham as producer. The result was the "So Many Ways" / "J’Attends Les Marines" 45, released in November 1979 by Safari Records. Here, Cunningham applied his most experimental production techniques, using electronic treatments on drums, rhythms and vocals. "So Many Ways", featuring Val on lead vocals, was far from anything else the band had previously done: an hypnotic punk–funk / no wave / synthetic pop hybrid that still sounds years ahead of its time. In 2013, it was included on the compilation "Under The Influence" by famous DJ James Glass. "J’Attends Les Marines" was a rework of "Waiting For The Marines" from the Things Your Mother album but adding a cool dub / experimental touch. Here’s the first ever vinyl reissue of this sought after punk–funk / no wave 45, featuring the original artwork but expanded to 12" format for maximum sound quality and including two exclusive edits / reworks by Electric Chairs fan and mix/edit wizard Gareth Goddard aka Cherrystones. (Mental Experience)
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EVERY GODDAMNED FILTHY FUCKING TRACK EVER RECORDED BY ELECTRIC FUNERAL! CRUSTY, RAGING D-BEAT/RAW PUNK! 53 DISGUSTING TRACKS IN TOTAL! “Total Funeral” compiles all cassettes, 7″s etc.. that Electric Funeral ever recorded. Electric Funeral hail from Sweden, and is the one-man noise assault by Jocke of Warvictims, Paranoid, D-Beat Raw Punk label etc..) Total Discharge, Warcry, Disclose, Gloom, Framitd etc… etc.. WORSHIP. Electric Funeral’s sound is a metallic wall of filthy distortion, full of dis-passion ..this is loud, dirty & raw without a doubt, but what makes them so killer is that they still retain this layer of blackened groove to their tunes, On every song, the guitars turn out distorted riffs of death. This compilation is a treat for anyone wanting to get their hands on a comprehensive document of the bands music. Not only is Total Funeral an assembly of Electric Funeral’s best output, it is in fact a complete discography! Clocking in at an hour and a half, it comprises of 53 short, sharp shocks that make up everything they have ever released and even a few things they didn’t. This features all of their singles, EPs, compilation appearances and even the split release with Go Filth Go as well as tracks from each period which didn’t make the cut, all lovingly put together to give you everything a D-Beat fan could ever want from the band. For those who aren’t too hardcore Punk there is even a swanky 2 LP version for you to get your mitts on. Label: Southern Lord Records Barcode: 808720018813
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Record Store Day, June 2021 exclusive. Pressed on 2xLP 'Aztakea' green vinyl, limited to 3,000 copies. Housed in a full-colour, gatefold jacket. Doom metal icons Electric Wizard burst onto the scene in the early 90's and have been traiblazing ever since. Out of press for 5 years, the band present their 2014 album 'Time To Die' on Gatefold 2 140g dark green LP, silver pantone front and back with printed inserts. (Spinefarm Records / Witchfinder Records)
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There is no need to say much here, you probably know them and the web is full of infos about them. Two full demo's, live and rehearsal. Tracks A1 to A8 recorded live in January 1986 in Liverpool. Tracks A9 to A15: "Killing Babies Is Tight" demo, recorded at Dead Fly Studio on 03.03.1986. Tracks B1 to B3: rehearsal 1985. Tracks B4 to B12 "If Killing Babies Is Tight, Killing Babies For Profit Is Even Tighter" demo, recorded at Dead Fly Studio on 26.01.1987. Limited edition of 323 copies. Includes a 2-sided insert with lyrics and drawings. Tracklist A1 Unity A2 Money A3 Theme Toon A4 Am I A Punk Yet A5 Next Time A6 Thought A7 Apart A8 ... A9 Intro A10 Unity A11 Run Ronald A12 Wings Of Death A13 Vivisection Song A14 Say Goodbye A15 Outro B1 Am I Punk Yet B2 Hidewhere B3 Reject Detect B4 Intro (Death In The Swamp) B5 Satanic Warmonger Of The Abyss B6 Meltdown B7 At The Edge B8 Mother B9 Reject B10 Sheep B11 Dead End B12 Life (Liberation Records/Unofficial Release)
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Hailing from the former northern mining town of Wigan, between Manchester and Liverpool, the short-lived Electro Hippies were a band like no other, saluted as icons of crust punk and proto-grindcore. Following some cassette demos, a shared LP with Newcastle’s Generic and a Peel session, debut LP The Only Good Punk…Is A Dead One surfaced on Peaceville with twenty songs, all clocking in at under two minutes (around half being less than 60 seconds). Highly political, deeply ironic, and with a snatch of Black Sabbath in the mix, The Only Good Punk is the band at their blistering best, the peak that preceded their ultimate downfall. Label: Radiation Reissues Barcode: 8055515234732
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Though famous for other things (including doing the synths on GARY NUMAN’s iconic “Pleasure Principal” album and co-writing VISAGE’s massive hit, “Fade To Grey”), Chris Payne brought THE ELECTRONIC CIRCUS to life in 1981. At the time, poised to become his next major project, the initial single “Direct Lines” gained little traction and quickly found its way to quiet obscurity. There it remained until some genius made a video using footage from Swedish film “Summer With Monika” that so perfectly fit the surging melancholy of youth’s temporary romances that the song garnered a million views and a new cult of rabid fans (me included! -Jensen). Once this synth-pop perfection enters you it will find permanent purchase and continue to be a joyous wellspring for years to come, truly a gift that keeps giving. This fully licensed official reissue comes on 150 on red and 350 on black 75gr vinyl housed in a reverse board custom die-cut glue pocket sleeve. Originally recorded in 1981 at Pebble Beach Studios in Sussex UK (also where THE ADVERTS recorded the excellent "Gary Gilmore's Eyes/Bored Teenagers single!) by Tony Harris. Remastered in 2021 by John Golden. Art and packaging based on the original 1981 design. (Iron Lung Records)
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Almost 30 years after their first demo and several split releases, here is now the ultimate EMBITTERED discography double LP. EMBITTERED was a very underrated crust/grind band from Middlesbrough (UK) active between 1990 and 1996. The double LP contains the "And you ask why?" Demo, the "2nd Demo", all the material from their Split LPs with DYSTOPIA and Their Split 7" with HIATUS plus their own "Choke" EP. Slow metal parts mix with fast as fuck grinding moments, typical crustcore with dual vocals, some vintage hardcore, some distinctively anarcho references... Think of early Napalm Death, Extreme Noise Terror, Electro Hippies, Disrupt, Anti-System, Disorder, Deviated Instinct but at the same time, it never feels like a copy of these bands, the band had coined their own style "anarcho grind" and I can't really think of a more appropriate description: anarchopunk meets old-school grindcore. The LP comes with an extensive booklet with liner notes, previously unpublished pictures and posters. (Power It Up Records)
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Emerging in the late ’90s from western Athens as Requiem, only to be soon renamed to the more apt Embrace of Thorns, the Greek Temple of Black Death has been championing Darkness Impenetrable for more than 20 years. Having released five albums on labels such as Nuclear War Now! and Iron Bonehead plus an arsenal of demo tapes and split releases, Embrace of Thorns have been acknowledged as a force to be reckoned with. Their poison, a highly atmospheric and dense amalgam of death and black metal, has been gaining momentum since the release of their acclaimed sophomore album, Atonement Ritual, in 2009. Their third full-length, 2011’s Praying for Absolution, considered by many as their magnum opus, saw them fully embracing their potential and heralding knowledge through strife. Their latest full-length offering, 2018’s Scorn Aesthetics, was unanimously hailed and celebrated as arguably their ripest album, an idiosyncratic mix of somber, melodious, yet punishing Black Metal of Death that relies heavily on the organic mood of the performances and production. The new EP called The Pantheon I they unleashed in March continues exploring the pits of strife that is blackened metal of death, with music that is full of anguish, glorious darkness, and crushing dynamics. Now aligned with longtime fans Nuclear Winter, Embrace of Thorns are set to release their sixth album, Entropy Dynamics. The band’s first full-length recording in four years, Entropy Dynamics indeed includes many/most of the dynamics of their preceding LPs – death metalled muscularity, pitch-blackened atmosphere, stellar songwriting, and powerful production – but it also points the way toward new, creepier territory. For sure, Embrace of Thorns‘ grounding in the early bestial sound can still be heard, but rendered with the world-eating totality of classic death metal, that surge takes on a different, far-more-frightening form. The quartet heighten that frightening aspect with a subtle-yet-no-less-noticeable emphasis on dynamics rather than just crushing their enemies straightaway; when the soundfield strips back to its barest bones and ringing-into-the-abyss clean guitars take center stage, the full force of Entropy Dynamics is felt. Always staying true to themselves whilst maturing in the most respectable manner, Embrace of Thorns continue their campaign of extreme metal destruction with Entropy Dynamics. To coincide with its release, celebratory reissues of their sold-out albums Atonement Ritual and Praying for Absolution become available again via Nuclear Winter, as well as a CD version of the preceding EP The Pantheon I, which is supplemented with an exclusive bonus track. (Nuclear Winter Records)
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Formed in May of 1985 with 3 of the members from FAITH, as well as Ian MacKaye (of TEEN IDLES, MINOR THREAT, FUGAZI etc.). In their 10 month existence they only played in Washington D.C. and Baltimore and ended their existence in March of 1986. This full-length contains material from 2 different recording sessions. For fans of FUGAZI, RITES OF SPRING and even MINOR THREAT. This is something for the early DC punk scene fans. This vinyl was re-mastered in 2009 and includes a digital download card. Label: Dischord Records
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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).
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Empire was an offshoot of punk legends Generation X, very influential for the ‘80s Washington D.C. hardcore and UK neo-psychedelic scenes, acting somehow as the missing link between new wave and grunge. “Expensive Sound” was originally released in 1981, their music was raw, bare, warm —distinct from the glacial, antiseptic pop that would dominate the decade. While “Expensive Sound” may be better known for the bands it inspired — the neo-psychedia of The Stone Roses and the athletic fretwork of Fugazi — they deserve appreciation on its own merits: one of the finest guitar pop records of the era. Empire was an offshoot of Generation X, and their only LP “Expensive Sound” remains an obscure (yet highly rewarding) listen. Originally released in 1981, the same year Gary Numan and Soft Cell were raking in big bucks with their noir-flecked brand of retrofuturism, “Expensive Sound” was out-of-step with the climate of commercial music. Their music was raw, bare, warm — distinct from the glacial, antiseptic pop that would dominate the decade. The album was neither totally forward-looking nor nostalgia embracing. Instead, “Expensive Sound” does what great albums tend to: preserves a specific moment in time. There's an arid, unvarnished quality to the recordings — typified by frontman Derwood Andrews's voice and words. He sang with uncommon fragility and in a soft, almost diffident voice. There's little reverb, almost no double tracking, and absolutely no attempt to Americanize his delivery. The subject matter is rendered in a similar, disarmingly plain way. Boredom, depression, unrequited love, and existential dread are treated in equal parts —sans one song about playing the electric guitar (the aptly titled ‘Electric Guitar’). While Derwood's lyrics exhibit some of the doom-and-gloom sentiment of post-punk progenitors Joy Division, they are almost Holden Caulfield-esque in their simplicity. Empire's response to adversity is delivered with a shrug and a sigh. If Andrew's bashful vocals are part of the charm, his expressive guitar playing is the main attraction of “Expensive Sound”. As the sole guitarist on the record, he demonstrates a versatility unusual for the band's punk roots — deftly maneuvering between chunky, minimalist riffing (like on ‘Hot Seat’), vast swathes of dark noise (’Empire’), and lacerating, tightly coiled leads (‘Safety’). While “Expensive Sound” may be better known for the bands it inspired — the neo-psychedelia of The Stone Roses and the athletic fretwork of Fugazi — they deserve appreciation on its own merits: one of the finest guitar pop records of the era. Label: Munster Records Barcode: 8435008843113
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Three years after their formation, END set to release their debut full length "Splinters from an Ever-Changing Face". END is a collection of musicians from various sub genres of extreme music, including current and former members of Counterparts, The Dillinger Escape Plan, Fit For An Autopsy, Misery Signals, Shai Hulud, and Reign Supreme. What initially began as a passion project by producer/engineer Will Putney (Every Time I Die, Gojira, Body Count, Knocked Loose) in late 2016, the band has quickly built a reputation for their violent and destructive brand of hardcore/grind. The debut EP, “From The Unforgiving Arms Of God”, released in the fall 2017 via Good Fight Music was met with critical praise. The sporadic shows and festival appearances that followed helped solidify END as undeniable live act.The summer of 2020 marks the release of “Splinters From An Ever-Changing Face” , the debut full length from END to be released on Closed Casket Activities. The new LP is focused and accomplished, a rewarding period piece that pays tribute to the influences of the bands collective upbringing, but also opens new doors for the creative potential END possesses. (Closed Casket Activities Records)
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Enemy Soil was an American grindcore band from Sterling, Virginia, first formed in 1991. The band played a style of grindcore that was influenced heavily by hardcore punk, and featured many line-up changes throughout its run, with frontman Richard Johnson acting as its core. Because the group initially was unable to find a suitable drummer, earlier Enemy Soil recordings featured a drum machine.The group's music was also politically-motivated early in their career, however later recordings instead featured introspective topics for lyrics. The group eventually broke up in the spring of 1999 after releasing numerous splits and records. Members went on to form or join many bands, including Pig Destroyer, Pg. 99, and Agoraphobic Nosebleed, among others. French label Bones Brigade Records issued the two-disc compilation Smashes the State! in 2001, containing most of the band's discography, excluding the Casualties of Progress extended play.The group reformed in 2001 for a special one-off reunion show at CBGB in New York City. Footage from this show, as well as shows dating between 1996 and 1998, was released on the 2009 Selfmadegod live DVD Smashes the State Live. In June 2017, the band announced via the official Enemy Soil website that the group has reformed for a few reunion shows, including an appearance at Maryland Deathfest 2018. Tracklist: CD1-1 to 5: from the Parasitic Infestation / Enemy Soil split demo on Open Eye Records. CD1-6 to 11: from the Enemy Soil / Wadge 7" with Wadge on Break It Out Records. CD1-12: from the Midnight Offerings II - An Underground Sampler CD on With Your Teeth Records. CD1-13 to 15: previously unreleased, for a split CD that never came out. CD1-16 to 18: from the Enemy Soil / Shapeless split 7" with Desperate Corruption on Bovine Records. CD1-19 to 24: from the War Parade 7" on Slap A Ham Records. CD1-25 & 26: previously unreleased, for a split LP with Thug that never came out. CD2-1: previously unreleased, from the Random Green demo session. CD2-2 to 11: from The Ruins Of EdenThe Ruins Of Eden 10"/CD on Noise Vacuum Records. CD2-12 & 16 to 17: from the Enemy Soil / Reversal Of Man split 7" on Fish Held High Records. CD2-13 to 15: from the Enemy Soil / Agoraphobic Nosebleed split 7" on Bovine Records. CD2-18: previously unreleased version. CD2-19: from the Audio Terrorism: The Soundtrack For Weirdness And Blind Hostility compilation CD on Chaotic Noise Productions. CD2-20 to 24: from the Live In Virginia 7" on Dwie Strony Medalu Records. CD2-25 to 27: from the Corrupted / Enemy Soil split 7". CD2-28: from The Caligula Effect: A Compilation CD on Catechism Records. CD2-29 to 43: from the Fractured Theology 3"CD. CD2-44: previously unreleased, for a compilation that never came out. CD2-45 & 46: from the Obsequious / Document#2 split 7" with Pg. 99 on Sacapuntas Records. Label: Bones Brigade – BB 011
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Like a rocket from LA to the moon, enemy takes off with their new record Maladjusted. Returning from a split from LA's Downsided last year, Enemy brings their brand of straight forward LA style punk to their debut LP. Mixing modern influences from the west coast with classic 80's US HC, Enemy is one of the west coast's most consistent bands. Featuring guest vocals from Chris, from Richard Rose and GOGGS...Enemy is in good company and you will love MALADJUSTED. Label: 11PM Records
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Engine Kid was born in Seattle, Washington, 1991. The band’s original lineup consisted of guitarist/vocalist Greg Anderson, drummer Chris Vandebrooke and bassist Art Behrman. They had all been in hardcore/punk bands around town, and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months, they quickly recorded and self-released the “Novocaine” 7inch. Circa ’92, Behrman was replaced by Brian (Krafty) Kraft, a bassist and close friend of Anderson, who he had made music with in other bands. At that moment, the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. The band had two releases on C/Z in 1993. Their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and the quiet/loud song structure methodology. In the summer of ’93 the band drove to Chicago to record with their hero Steve Albini, in the basement of his house. They emerged with the eight-song album they called: “Bear Catching Fish.” Albini intuitively captured the band exactly as they were at that moment: RAW, VULNERABLE, & MAMMOTH. Shortly after the album’s release Jade Devitt replaced Vandebrooke on drums. This transition was crucial in the second phase of the group. Devitt was an absolute beast, and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hell bent on pushing the bounds of sonic exploration to its fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were on a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in it’s path. Engine Kid toured their asses off. They were constantly on the road - playing every nook, cranny and shit-hole they possibly could. Any moment not on the road was spent focused on making their new material as lethal as possible. In early ’94 the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse, Iceburn. The Engine Kid/Iceburn album showcased each groups love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994. During the summer of ’94 the band reconvened with producer John Goodmanson at Bad Animals and AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. The songs recorded were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltrane’s “OLE,” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation records released these recordings as the “Angel Wings” album. Unfortunately “The Kid” flew too close to the sun, and broke up very shortly after the album’s release. Here we are almost 30 years later, and it has taken every day of every month of every year of that time passed for the dust storms the band created to have settled. Maybe now it’s possible for the enormity of their creation to be comprehended. Remastered from the original tapes, and including an unreleased track from the session. Stoughton Tip-on gatefold jacket! Label: Revelation Records – Revelation:38, Southern Lord – LORD290 Barcode: 808720029017
