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Bérurier noir is a French punk band formed in Paris in 1983 by Laurent "Loran" Katrakazos (guitar), François Guillemot (vocals) and Dédé (drum machine). They called themselves "noir" (black) for the color of mourning (because their first concert was planned to be also their last) and for anarchy and "Bérurier" after the character from the novels of Frédéric Dard. Instead of being an end, the success of their first show inspired them to continue. A cult band, Bérurier Noir were loved by a generation of youth and feared by concert organisers for the riots that followed their shows. On the one hand, Bérurier Noir's songs were clearly derived from British punk rock as far as music and lyrics were concerned. Most of their songs were short, aggressive and usually based on a couple of basic power chords. Their lyrics reflected the typical concerns of punks such as the rejection of consumerism, politics and traditional social order and the anger felt by disaffected youth, tramps and outsiders in general. On the other, they added some interesting innovations. Their rhythm section consisted of a drum machine. The frequent use of a saxophone as of the mid-1980s also set them apart from most other punk rock bands. They would regularly appear on record sleeves and on stage wearing clown outfits, mock police uniforms or pig masks. Their shows were a unique and highly festive cross between a punk rock concert, a grotesque circus and an anarchist rally. "Souvent fauché toujours marteau" was originally released in 1989. (Archive de la Zone Mondiale) -
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A Criminal Attack Records is honored to announce its newest release, a discography of the epic Dis-Attack by Gama-Cimex-City, BESTHÖVEN!!! Pure D-beat, highly influenced by Anti-Cimex / Shitlickers and obviously Discharge, besides, of course, a lot of influence of Brazilian hardcore of the 80s. There are 31 tracks gathering the releases between the years 2009 - 2010, being the splits with "Go Filth Go" Split EP 7", "Beton" Split EP 7", "Pistöns" Split CD, The EP "A Hail To Sweden" 7", the LP Born To Kill Dreams" 10", and the tracks that came out on 4-Way "No Tomorrow" with the bands Warvictims, Peace Or Annihilation and Krüel. Material packed in digipack, containing booklet with photos, flyers, information about releases and all letters. DIS-BEAT CRUST HORRORCORE!!! TRACKLIST 1 Warplanes 1:51 2 Shadow Of Fear 3:00 3 Fire From Hell 1:50 4 Drowned In Fear 1:27 5 The End Of Life 1:27 6 Crying Children 1:28 7 K.I.A. 0:52 8 Death Bomb 1:55 9 The Morning Of Death 1:58 10 Walking To The End 2:29 11 Destroy Capitalism 2:27 12 Ingent Kvar 4:02 13 Cries Of Pain 1:17 14 Set Me Free 1:21 15 The Death Race 2:10 16 Back To Attack 1:22 17 Desperate Scream From The Heat 1:35 18 Born To Kill 4:43 19 A Dança Da Morte 2:13 20 Acid Rain 1:20 21 Death On The Air 3:06 22 Running To The Shelter 1:17 23 There’s No Shelter In Hell 2:26 24 Victims Of Lies 3:07 25 Welcome To Hell 1:20 26 Wheel Of Life 3:11 27 Napalm Raining Like Hell 2:36 28 The Night Without Silence 2:59 29 Victims Of A System Slaughter 1:27 30 Mass Crematorium 1:22 31 Tremores 1:30 Label: Criminal Attack Records -
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Soul Jazz Records’ fantastic collection Betty Harris’ ‘The Lost Queen of New Orleans Soul’ available in new one-off limited-edition heavyweight gatefold special edition green vinyl coloured pressing + download code exclusively for Record Store Day 2022! ---------------------------------------------------------------------------------------------------------- Betty Harris’ The Lost Queen of New Orleans Soul features all of her classic deep soul, sister funk and northern soul songs recorded in New Orleans in the 1960s - all written, produced and arranged by the legendary Allen Toussaint, and featuring the cream of New Orleans musicians and the incredible Meters. All of these singles featured here were released on Allen Toussaint and his business partner Marshall Sehorn’s local New Orleans label Sansu, widely distributed in the southern city but in only limited quantities elsewhere. As a consequence, Betty Harris’ music failed to achieve the commercial success of other New Orleans artists such as Lee Dorsey (who she recorded with) and The Meters (who backed her). And so at the end of the decade she stopped recording, retired from the music business to raise her family in Florida. This is no reflection of the stunning musical quality of all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and northern soul. Betty Harris has been a cornerstone of Soul Jazz Records’ New Orleans Funk and New Orleans Soul compilations. Always soulful and always funky, Betty Harris’ music contains the essence of New Orleans music. She is the Lost Soul Queen of New Orleans. This collection is released on CD, heavyweight gatefold double LP vinyl (+ download code) and digital and comes complete with full biography, original label artwork. REVIEWS: "Betty Harris’ ‘The Lost Queen Of New Orleans Soul’ collects together the steady stream of amazing soul and funk singles issued by Betty Harris from 1964 to 1969, under the musical guidance of legendary composer, musician and producer extraordinaire Allen Toussaint, a collection which truly captures the heart and soul of the city of New Orleans. There is a stunning musical quality to all these songs which encompass everything from southern soul, heavy funk, deep soul ballads and Northern Soul. Betty Harris has been a cornerstone of Soul Jazz Records’ ‘New Orleans Funk’ and ‘New Orleans Soul’ compilations. Always soulful and always funky, Betty Harris’ music contains the essence of New Orleans music." Boomkat "Wonderfully presented anthology" Allmusic (Soul Jazz Records)
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Dark death metal band hailing from Adelaide in South Australia. Spawned originally in 1995, BMD play an aggressive, destructive, dark style of death metal. Fast, heavy, savage and powerful, shredding solos and at times incorporating a dark atmospheric synth element. Their 2008 debut album, incredible atmospheric brutal and Dark Death Metal. First time on vinyl with new artwork, limited to only 300 copies! (Nuclear Winter Records)
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Recorded live in london in 1987, during the last big black tour, 'pig pile' opens in the band's typically charming manner with bassist dave riley announcing "this song is called 'dingy little back alley of a country'," before the band launches into a punishing 46-minute set. the concert includes material from the band's first ep, 'lungs', all the way up through 1987s 'songs about fucking'. the band's confrontational live sound emphasizes crackling, extremely harsh guitar and very brittle drums. in true punk rock style, the treble has been turned up as far as possible. 'cables' - about slaughterhouses and 'jordan, minnesota' - about a pedophilia scandal-both appear in radically sped-up versions. 'kerosene' is introduced as "a song jerry lee lewis wrote before he killed one of his wives," and steve albini's vocals are nearly buried beneath heaped shards of guitar shrapnel in 'steelworker.' while there is no substitute for actually living through the big black live experience, 'pig pile' - both on record and in its video form-documents one of the relatively few instances in history when music was actually dangerous. (Touch And Go Records)
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Originally released in 1983 on Homestead Records and re-released on Touch And Go Records in 1992. Recently remastered by Steve Albini and Bob Weston at Chicago Mastering. Includes coupon for an MP3 download of the album. Big Black was started by Steve Albini in 1982 while he was attending Northwestern University in Evanston, Illinois. Lungs, the first Big Black release was recorded by Steve on a borrowed 4-track. He played everything on the EP himself - except the sax bleating courtesy of pal John Bohnen and the drums courtesy of Roland. Soon after, Steve recruited Jeff Pezzati (Naked Raygun) on bass, and Santiago Durango (also Naked Raygun) joined them on guitar. In 1983, together with live drummer Pat Byrne, they recorded the Bulldozer EP. By 1984, the band had done some touring and recorded the Racer X EP and the start of the Il Duce 7”. After that, Jeff returned to Naked Raygun and was replaced by Dave Riley. In 1985, Big Black recorded their first full-length, Atomizer, as well as finishing the Il Duce 7”. Atomizer was released in 1986 along with the release of the Hammer Party compilation CD. In 1987, the Headache EP and Heartbeat 7” were released. That same year, the band recorded and released the 7” of The Model/He’s A Whore as well as their second full-length album, Songs About Fucking. They toured extensively (for Big Black). And they broke up. (Touch And Go Records)
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. They’ve long done things differently in Austin, Texas, and the take on hardcore pioneered by one of the city’s sons, Big Boys, in the early 80s was no exception. Where peers Scratch Acid, The Dicks, and MDC pursued hardcore or art-punk angularity, Big Boys were mixing furious hardcore with loose-limbed funk and tight pop, all the while penning lyrics that struck a blend between punk ideology, angsty alienation, and goofy humor. It was delivered via 7”s, EPs, a split LP, compilations, three studio albums, and the live DIY shows that were audience participation-fueled free-for-alls. The idea was for fans to leave feeling like they were part of the band. Originally released on the Wasted Talent label and reissued last year by Modern Classics Recordings, 1981’s debut album Where’s My Towel was inspired by the group’s growing dissatisfaction with their part in the release of Live At Raul’s. Returning with Lullabies Help The Brain Grow two years later, they were still striking out at situations around them. The opening track, “We Got Your Money” is a sort of rally cry to the misunderstandings of their scene and to the fraternity boys and girls that came to gawk or cause trouble: “And to all you frat boys/We got your money in our hands!” they shouted gleefully. Song titles including “We’re Not In It To Lose,” “Fight Back,” and “Assault” proved that the gloves were off. Produced by Spot, legendary in-house producer at SST Records, Lullabies is an album that caught the band in ever-turbulent mode, switching drummers through the recording from Fred Schultz to Rey Washam – the fourth person to occupy the stool for vocalist Randy “Biscuit” Turner, guitarist Tim Kerr, and bassist Chris Gates. The album found the band testing the boundaries of their wide-ranging sound, with double-quick thrashers like “Lesson” and double-funky jams like “Funk Off” (helped along by the brass of the Fun Fun Fun 12" horn section). Kerr took lead vocals on two tracks, and on “Sound On Sound,” they combine his languid delivery and pendulum bass in a way that must have pricked the ears of a young Steven Malkmus. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock,” the nascent version of the world-conquering skate punk of the late 1980s and 1990s. Now, Light In The Attic’s Modern Classics Recordings imprint is bringing their pioneering music to a new audience. Following the 2013 re-release of Where’s My Towel / Industry Standard, 2014 saw reissues of both Lullabies Help The Brain Grow and the following year’s No Matter How Long The Line Is At The Cafeteria, There’s Always A Seat, which brought the band’s story to a close. Famously, the Big Boys would end shows with the foursome shouting, “OK y’all, go start your own band.” Their message was inclusion – and action. Start a band, write a zine, participate. So what are you waiting for? Listen to this record. Label: Touch and Go Barcode: 0036172107131
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Active for five years in the early 1980s, the Big Boys mixed furious hardcore with loose-limbed funk and tight pop structures, all the while penning lyrics that struck a blend between punk ideology, angsty alienation and clever humor. They were, in the memory of Minor Threat frontman Ian MacKaye, “Enormous men, decorated jump suits, a horn section, 200 friends onstage singing and dancing.” They were Big Boys by name and by nature – and they had a big effect on US punk culture. When the prevailing trend was for playing hard and fast, this Austin, Texas four-piece played loose and funky. Their cult recordings struck a blend between punk ideology and clever humor, just as the band both railed against and celebrated the hardcore community that bore them. Released at the time of their split in 1985 and now reissued by Modern Classics Recordings, the group’s final album, No Matter How Long the Line Is At the Cafeteria, There’s Always a Seat finds Big Boys continuing to innovate, even including the sound of turntable scratching on Common Beat, a sound rarely heard outside of hip-hop at the time. Songs like “Which Way To Go” and “Narrow View” echo their boredom and anger with the changing hardcore scene, while “I Do Care” and “What’s The Word” illustrate the band’s positive outlook for things to come. With features in the earliest issues of Thrasher Magazine and coveted spots on their influential Skate Rock tape comps, Big Boys were the first band to be labeled “skate rock”, the nascent version of the world-conquering skate punk of the late ‘80s and ’90s. Now, Light In The Attic imprint Modern Classics Recordings is bringing the music of these pioneers to a new audience. Following the 2013 re-release of debut Where’s My Towel / Industry Standard, 2014 saw reissues of second album Lullabies Help The Brain Grow alongside this final record. Just as the album flirts between expressions of boredom and anger and funk jams that declare “Life is just a party” (”What’s The Word"), Big Boys were a mess of contradictions. On stage, openness was key and they became famous for encouraging the audience to get involved: “We’re the band, you’re the band,” they would say. But as a four-piece, their relationships began to fray as is not uncommon with many bands on long tours. After five short years and many recordings, the Big Boys went separate ways. “We never really decided to ‘break up’, it just happened,” said Kerr. “We had been on a two month tour, and it got to be exactly like being in a station wagon with mom and dad with your brother and sisters… lots of tension and everything.” Along with an appearance in the documentary American Hardcore and these new reissues, the band’s legacy continues in current bands, like Fidlar, Wavves, and The Orwells, and in the mark they made on Austin, Texas, which, in tribute to the band, adopted the name of their song, “Fun Fun Fun” for an annual arts/music festival. Keep Austin weird? Big Boys made Austin weird. Label: Touch and Go Barcode: 0036172107230
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Big Boys were an American pioneering punk rock band who are credited with having helped to create and introduce skate punk as a new style of music, which became popular in the 1980s. They also were famous for bringing elements of funk into their hardcore punk style. Industry Standard (usually extended to Where's My Towel/Industry Standard) is debut studio LP. It was released in 1981 on vinyl through Wasted Talent Records, operated by members of the Judy's. The album's title and many of its themes were inspired by a growing dissatisfaction with elements of the Austin, Texas punk rock scene from which the Big Boys had spawned. Label: Touch and Go Barcode: 0036172107032
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Copenhagen punk rock/power pop band BIG MESS is a pile of hooks and energy. Taking their cues from the timeless masters of melody, loud guitars and high BPMs, their music packs an infectious punch. CLEANING UP WITH is the band’s fourth full length and its first collaboration with UK-based label Specialist Subject. The album shows Big Mess at their most accomplished yet, and shows total dedication to reaching the ultimate in hit making. Imagine a singles compilation by your favourite band and you get the idea. Songwriting is key for Big Mess – as much Brill Building sparkle as hardcore punk economy, with no room for duds. Lyrically, the songs are heartfelt and occasionally stupid, with the dangers and difficulties of existence and the joys of rocking holding equal importance. Having been a band for nearly a decade, Big Mess’ playing is instinctive, effortless and relentless topped with vocals that combine a hooky sense of melody and rhythm with the right amount of desperation. This time the band adds a refreshingly shameless amount of backing vocals and harmonies that only add to the effective singalong quality. Label: Specialist Subject
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Since their inception in 2012, BIG|BRAVE have explored terrains of experimental rock with a clear focus on the key principles; space, volume, and raw emotion. The same principles are the starting point for the new album and in the process of revisiting their early intentions, BIG | BRAVE have boldly evolved, emerging with a thrilling new body of work that is all at once refreshingly new, explosively heavy, dynamically loud, beautifully minimal, carefully repetitive, and totally and utterly cathartic. . Label: Southern Lord Records
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Minimalism and instinct, structure/freedom and meticulous timing form the cornerstones of BIG | BRAVE’s precise, rhythmical sound. On their new album VITAL, the recording features the core trio Robin Wattie, Mathieu Ball and Tasy Hudson, for their most collaborative record they’ve made so far. The band comments, “having cut our teeth in very different musical backgrounds respectively, our intuitions vary, which has an interesting effect on our individual approaches and ears.” Lyrically, VITAL explores the weight of race and gender, endurance and navigating other people’s behaviors, observation and protest. The band further commented “this album involves what it means navigating the outside world in a racialized body and what it does to the psyche as a whole while exploring individual worth within this reality.” On VITAL, BIG | BRAVE once again made the trek down to Rhode Island to record with Seth Manchester at Machines with Magnets. They remark “we fully trust his instinct as an engineer and his creative output, getting to experiment with textures, concepts, layers, and with pretty much every single recorded sound, the process of making records with Seth is an absolute journey in sonic exploration”. Label: Southern Lord Records
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Originally released in 1993, "pussy whipped" is BIKINI KILL's debut full-length. Out-of-print for several years, the album is being reissued on vinyl on the bands own Bikini Kill Records. Vinyl includes a digital download card. (Bikini Kill Records)
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REISSUED!!! BIKINI KILL's final studio album originally released in 1996 on Kill Rock Stars. Bikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. KATHLEEN HANNA sang, TOBI VAIL played drums, BILLY KARREN (aka BILLY BOREDOM) played guitar and KATHI WILCOX played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances. (Bikini Kill Records)
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Bikini Kill Records is excited to announce our second reissue - the newly expanded Yeah Yeah Yeah Yeah LP featuring seven previously unreleased tracks. It will be released on April 15th, 2014. The first 500 copies ordered will receive a free, limited edition poster. Side A of Yeah Yeah Yeah Yeah was originally released in 1993 as the BK side of their split record with the UK’s Huggy Bear, to kick off their legendary co-headlining tour of the UK in March of that year. Those tracks were recorded in their Washingon DC basement practice space on a 4 track reel to reel in 1992 by Tim Green (Nation of Ulysses, The Fucking Champs). Side B features seven songs either recorded live at shows during that era or at Bikini Kill practices. The LP also includes new photos and liner notes from David Feck (Comet Gain), Erin Smith (Bratmobile), and from the band themselves. The LP was mastered by TJ Lipple and Bob Weston (Bikini Kill Records)
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Billie Holiday's first recordings for Norman Granz' Clef Records present the vocalist at the top of her craft. Originally issued as an LP titled 'Billie Holiday Sings', this 1952 session placed Holiday in front of small piano and tenor saxophone-led groups that including jazz luminaries such as Oscar Peterson and Charlie Shavers. The album includes the song 'If the Moon Turns Green' from the same session but not included on the original LP. Pure Virgin vinyl 180 gram - Classic Jazz LPs - Collector's Edition - Newly remastered - Deluxe inner sleeves - One pressing limited edition (WaxTime – 772031)
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Biohazard released their third studio album State of the World Address in 1994. Their breakout from the underground into mainstream culture yielded an album where their musical style hasn't changed that much from the predecessors. Right from the streets of Brooklyn it contains some heavy stuff, but melodies also playing an important role in the music. The high class production and the anger the band members expressing in the songs shows the versatility of the group. Billy and Evan seamlessly trade lines, resulting in some sweet call/release choruses. The lyrics, the riffs, the changes, the dimensions are flawless and showing a band at the top of their possibilities. 180 gram audiophile vinyl Including insert Label: Music On Vinyl Barcode: 8719262008182
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44-track double CD package from legendary US hardcore crossover act Biohazard, featuring two full albums from the band’s years with Roadrunner Records. • CD 1 features their second studio album ‘Urban Discipline’, originally released in 1992, with bonus tracks. • CD 2 features their live album ‘No Holds Barred – Live In Europe’, originally released in 1997. Formed in 1987 in Brooklyn, New York, Biohazard are recognised as one of the first acts to blend hardcore punk, metal and hip hop. The band signed with Roadrunner in 1992 and released their classic ‘Urban Discipline’ and toured with bands as diverse as House Of Pain, Kyuss, Sick Of It All and Fishbone. The band eventually signed to Warners and collaborated with the likes of Cypress Hill, hardcore rappers Onyx and Pitch Shifter, and toured as part of the OzzFest in 1996. Despite a couple of periods of inactivity, Biohazard recently announced the reformation of their classic line up for live touring in 2023, including the Bloodstock Festival in the UK. A contemporary New York Times live review described the Biohazard live experience of the mid 90s: “The entire dance floor on Saturday was a typhoon of slamming bodies, colorful tattoos and airborne leaflets for future concerts by local bands. Audience members dove off the stage four at a time as Biohazard flailed at its guitars. Billy Graziadei, the singer and guitarist, yelled rhythmically, as if he were punching lyrics out of his diaphragm. He kept perfect time with Danny Schuler’s rapid drumbeat. Evan Seinfeld, the bassist, and Bobby Hambel, the guitarist, growled back-up vocals during each song’s chorus, joined at the microphone by whatever members of the audience happened to be onstage.” Track Listing: DISC ONE Urban Discipline 1 Chamber Spins Three 2 Punishment 3 Shades of Grey 4 Business 5 Black And White And Red All Over 6 Man With A Promise 7 Disease 8 Urban Discipline 9 Loss 10 Wrongside Of The Tracks 11 Mistaken Identity 12 We’re Only Gonna Die (From Our Own Arrogance) 13 Tears Of Blood 14 Hold My Own 15 Business (demo) 16 Urban Discipline (demo) 17 Loss (demo) 18 Black And White And Red All Over (demo) DISC TWO No Holds Barred – Live In Europe 1 Shades of Grey (live) 2 What Makes Us Tick (live) 3 Authority (live) 4 Urban Discipline (live) 5 Modern Democracy (live) 6 Love Denied (live) 7 Business (live) 8 Tales From The Hard Side (live) 9 Better Days (live) 10 Victory (live) 11 Survival Of The Fittest (live) 12 Blue Blood (live) 13 Black And White And Red All Over (live) 14 Victory (Reprise) (live) 15 How It Is (live) 16 After Forever (live) 17 Tears of Blood (live) 18 German Lesson #7 (live) 19 Chamber Spins Three (live) 20 Wrong Side Of The Tracks (live) 21 Waiting To Die (live) 22 These Eyes (Have Seen) (live) 23 Punishment (live) 24 Hold My Own (live) 25 Shades of Grey (live)* 26 Punishment (live)* *Bonus live versions taken from the ‘Urban Discipline’ 1993 digipack release Label: Dissonance Productions, Cherry Red, Warner Music UK Ltd. Barcode: 5013929022362
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30th Anniversary Double LP. Black Vinyl housed in gatefold sleeve. Includes an exclusive fold out poster, individually foil-stamp numbered on back of gatefold. Tracks D1-D4 are bonus tracks that did not appear on the original album. In 1992, Biohazard signed with Roadrunner Records and released Urban Discipline, which gave the band national and worldwide attention in both the heavy metal and hardcore communities. The video for the song "Punishment" became the most played video in the history of MTV's Headbanger's Ball, and the album sold over one million copies. The band also began opening for larger acts such as Pantera, Suicidal Tendencies, House of Pain, Fishbone, and The Cro-Mags. In 1993, the hardcore rap group Onyx brought on Billy Graziadei for an alternate "Bionyx" version of their hit single "Slam" with Biohazard as their backup band. This led to a collaboration on the title track of the Judgment Night soundtrack. The soundtrack would go on to sell over two million copies in the United States. Months later, the band left Roadrunner Records and signed with Warner Bros. Records Inc. who released their third studio LP, State of the World Address. The album was produced by Ed Stasium in Los Angeles and contained the single "How It Is" featuring Sen Dog of Cypress Hill, for which a video was also shot. During their 1994 tour, the band made an appearance on the second stage at the Monsters of Rock festival held at Castle Donington. State of the World Address went on to sell over one million copies, and Rolling Stone magazine selected the Biohazard logo as the best logo of the year. This was the last Biohazard album with Bobby Hambel, who left due to differences with the rest of the band. The band recorded their fourth studio album, Mata Leao, as a three piece in 1996. It was produced with the help of Dave Jerden. For the 1996-97 Mata Leao Tour, former Helmet guitarist Rob Echeverria joined the band. The band also played on the Ozzfest mainstage alongside Ozzy Osbourne, Slayer, Danzig, Fear Factory, and Sepultura. While touring Europe in support of the Mata Leao album, the band recorded their Hamburg, Germany, show for their first live album, No Holds Barred (Live in Europe), which was released in 1997 through their former label, Roadrunner Records. The band signed to Mercury Records and released their fifth studio album, New World Disorder, in 1999, once again with Ed Stasium as a producer Track List Side A 1 Chamber Spins Three 3:40 2 Punishment 4:45 3 Shades Of Grey 3:26 4 Business 4:04 5 Black And White And Red All Over 4:10 Side B 1 Man With A Promise 3:20 2 Disease 4:01 3 Urban Discipline 5:33 4 Loss 5:19 Side C 1 Wrong Side Of the Tracks 3:37 2 Mistaken Identity 4:32 3 We’re Only Gonna Die (From Our Own Arrogance) 2:17 4 Tears Of Blood 4:52 5 Hold My Own 2:51 Side D 1 Business (demo) 4:13 2 Urban Discipline (demo) 5:14 3 Loss (demo) 5:12 4 Black And White And Red All Over (demo) 4:36 Label: Run Out Groove, Roadrunner Records Barcode: 0081227880170
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Female rock group Birtha formed in Los Angeles in 1967, a talented quartet with guitarist Michelle Pinizzotto, keyboardist Sherry Hagler, drummer Olivia Favela, and bassist Rosemary Butler, who opened for The Stones while in The Ladybirds; Pinizzotto had been in The Daisy Chain. After gigging the west coast, Gabriel Mekler signed them to ABC Dunhill in 1972 for this hard-rocking debut LP, a gritty original with plenty of balls, plus an emotive ballad from Pinizzotto, but despite extensive touring in support of its release, opening for The Kinks in Britain, the LP remained unjustly overlooked, making it now ripe for rediscovery. Gatefold. Label: Survival Research Barcode: 0637913420368
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"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This first volume contains the first two Peel sessions the band recorded for the BBC, on September 1980 and April 1981." Tracklist A1 Cry A2 Yard A3 Figure Of Fun A4 King Ink B1 Release The Bats B2 Roland Around In That Stuff B3 (Sometimes) Pleasure Heads Must Burn B4 Burn Side A Recorded 1980/09/10 Side B Recorded 1981/04/21 (Junkyard Records/Unofficial Release)
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"In the early '80s very few bands could match the intensity and sonic violence of Australia's The Birthday Party. Fronted by a young and hungry Nick Cave the band delivered an intoxicating mix of rusty blues and mutant rockabilly, post punk sensibilities, noise and experimentation that exploded when played live and these absolutely essential collection of live radio recordings are a powerful proof of that. This second volume contains the last two Peel sessions the band recorded for the BBC, December 1981 and November 1982." Tracklist A1 Big Jesus Trash Can A2 She´s Hit A3 Bully Bones A4 Six Inch Gold Blade B1 Pleasure Avalanche B2 Deep In The Woods B3 Sonny´s Burning B4 Marry Me (Lie! Lie!) Side A Recorded 1981/12/02 Side B Recorded 1982/11/15 (Junkyard Records/Unofficial Release)
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Packed shows, sold out tours, both their six-track debut 12" and debut full-length "Pressure" get re-press after re-press... does BISHOPS GREEN really need any further introduction? I don't think so either, but we at REBELLION RECORDS sure as hell are damn proud to present you guys the brand new sophomore album by Canada's leading street punk band entitled "A CHANCE TO CHANGE"! With this album the band found a bridge between their raw and powerful debut EP, the passionate and resistful "Pressure" LP and their wild and rowdy live shows capturing it all on "A Chance To Change". So what are you still waiting for?! Label: Pirates Press Records
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Grey vinyl. If the pandemic made you realize that you missed one thing about your connection with punk, there's a decent chance that Bishops Green had something to do with that. This band hits hard and reaches people on a very deep level. Making new fans daily, they continue to connect with scores of people very deeply, even not being able to tour. Yet the true magic in this band is really seeing them live. As the world returns to normal and gigs materialize, more and more people are gonna realize how important this band is to the social fabric of punk rock. The passion they’ve instilled in fans, and the fervor from within are both equally strong and together are the reason why this band has so much impact to deliver! This album and these songs absolutely set the tone, brilliantly, but there is so much more to come as well. Absolutely no lack of excitement in this maple-leaf-adorned corner of the punk rock world - in fact, quite the opposite! There are seemingly black skies adrift right now, but somehow these songs make you feel like there's a golden future on the horizon! We can all at least sing loud, and hope... TRACK LISTING: A Side 1. Last Minute Warning 2. Empty Streets 3. What For B Side 4. Ravens Cry 5. Your Paradox 6. No Tomorrow 7. Another Morning (Pirates Press Records)
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The Vancouver based streetpunk band, BISHOPS GREEN was formed in Spring of 2011. Bishops Green’s music is raw and energetic, with a style firmly embedded in the historic roots of Streetpunk and Oi!. The five long-time friends have been playing in bands together since the ’90s, and this history combined with the group's diverse influences, enables the creation of a catchy sing-along sound that will make sure any audience member feels like they are part of the show! Energetic and charismatic front-man Greg Huff is known to many fans of streetpunk and Oi!, as he has been the heart-beat of numerous bands since the late 80’s, including GLORY STOMPERS, SUBWAY THUGS, THE LANCASTERS and most recently ALTERNATE ACTION. Their melodic style of old-school punk draw creative influences from European groups like BLITZ, THE CLASH, STIFF LITTLE FINGERS, COCK SPARRER, THE PARTISANS and LEATHERFACE; to hardcore acts from the U.S. like THE AUTHORITIES, NAKED RAYGUN, and MINOR THREAT. Following a very impressive and critically acclaimed debut 12” MLP in 2013, this full-length album picks up right where that left off. At the core, the songs on "Pressure" are similar, but with a noticeable growth and maturation to them. The lyrics continue to be bold and ask questions of our society, while extolling the traditions and pride of punk rock culture and accountability to each other through unity. (Pirates Press Records)
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This is the 6 tack mini LP release from this amazing new Canadian band from Vancouver, Canada. Fronted by Greg Huff and supported by others formerly of bands including ALTERNATE ACTION, THE LANCASTERS, SUBWAY THUGS and GLORY STOMPERS, this is the perfect next step in the evolution of those bands. The sound is still raw yet melodic and catchy, but done with so much more skill and precision than all the aforementioned bands. Fans of catchy singalong street-punk rock 'n' roll and bands like THE BUSINESS and COCK SPARRER can buy this record without hesitation. Colored (yellow) vinyl comes with updated cover artwork and includes a digital download card. Label: Pirates Press Records
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Smashing up from the Bay Area underground, Black Cobra is ready to take the heavy music world by storm! Formed in 2002 by Rafa Martinez (Acid King, -16-) and Jason Landrian (ex-Cavity) this duo has been laying waste to audiences, taking on all comers, and leaving the remains to rot in their wake. Their sound is a crushing mix of High On Fire-tinged stoner metal and Buzzov*en’s Southern-fried sludge, with a heaping dash of Melvins-style drone to wash it all down. The two piece is the product of years of work between Jason and Rafa. Both originally from Miami, Florida, work started on Black Cobra while home visiting parents over the holidays. This lead to the trading of a series riffs through the mail and visits to each others residences in NY and LA for sporadic practices. The year 2004 saw the release of a raging 3 song demo maxing out at a whopping 6 minutes in length. The year 2006 saw the release of the 11 song goliath that is Bestial followed by relentless touring in America and Europe. In 2007, the band relocated to San Francisco and released their second album Feather & Stone taking the band to Japan for the first time and again touring Europe and America extensively. Live they are a beast like no other. Like their namesake, Black Cobra is at once hypnotic and whip-crack fast. Their two-man assault sinks its fangs into you before you even know what’s hit you. They are a touring machine, having hit the streets with everyone from High on Fire, The Sword, and Saviours to Torche and Genghis Tron. Booked by Tone Deaf Booking (Kylesa, Weedeater, Slough Feg), they don’t plan on slowing down yet. After releasing their two incredibly well-received full lengths on At A Loss Recordings, Black Cobra has taken their rightful place atop the metal throne as the latest signing to the true home of all things heavy – SOUTHERN LORD! Their first Southern Lord release, Chronomega, finds them treading in familiar territory; working with the sound that won them raves from fans and critics alike, while refining it to its sharpest point. No longer just another blunt object, Black Cobra’s music is now a razor-sharp weapon and a true force to be reckoned with. Produced by Billy Anderson (Melvins, Neurosis, Sleep, High on Fire), Chronomega is one of the heaviest records of ’09 or, for that matter, any year! It is a raging slab of pure, unadulterated heaviness. Label: Southern Lord Records
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That΄s right, the sought after Ready To Rot EP is finally seeing the light of the day with the original artwork and additional foldout insert with band΄s history, photos, lyrics and flyers. Excellent mid 80s punk from the UK. The band played with Subhumans, Flux Of Pink Indians, Cult Maniax,... This is their only record, originally released in 1982 on Illuminated records and now reissued on No Plan. (No Plane Records)
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Complete and unreleased "Damaged" recording session w/Dez Cadena. "According to Black Flag's engineer and live sound man Spot, a nearly complete version of Damaged was recorded at Golden Age Studios with Dez Cadena doing vocal duties. This session is where the tracks for the Six Pack EP came from. No official version of the remainder of this recording session has ever been released, although unlicensed copies have circulated in tape trading circles for years. A comparison of the unreleased Dez Cadena sessions with the released LP suggests that the vocal cadence and presentation of the Cadena sessions were used as a reference by the band prior to recording the final album." Wikipedia (TV Party Records/Fanclub Pressing)
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Black Flag was unable to legally record and release records for three years. During this time the band had a radically different, avant-metal sound.In 1982, Black Flag was still a five piece, but they had pulled drumming powerhouse Chuck Biscuits behind the kit. In order to get Biscuits tour ready, the band snuck into Total Access studios and recorded and mixed a demo, all in one night. Black Flag in their prime. Historical release. This CD is almost part of a “forgotten” history, as there are not many quality recordings of Henry Rollins’s gang at this time, Black Flag as a five piece with Chuck Biscuits on drums before he joined forces with Glenn Danzig. Extensive liner notes. (Fan Club/Unofficial)
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The only recordings with Chuck Biscuits on drums. Tracks A1 and A2 were never officially released, other tracks are unreleased versions. Great quality boot. Label: Suicida Discos/Unofficial
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A superior quality live recorded at the Sone, San Francisco 26.8.1984. Side A The Process Of Weeding Out Nervous Breakdown I Can't Decide Slip It In My Ghetto Side B Black Coffee I Won't Stick Any Of You Unless And Until I Can Stick All Of You I Can Stick All Of You Forever Time Fix Me Six Pack My War Side C Jealous Again I Love You Swinging Man Three Nights Side D Nothing Left Inside Wound Up Rat's Eyes The Bars Label: Fan Club/Unofficial
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Black Flag With Henry Rollins & Chuck Biscuits – Live At The On Broadway (July 23-24-1982) “Black Flag always ran into inumerous problems during their tours. Playing shows that were shut down by cops, club owners that didn’t pay them, bouncers breaking the windows of the van, people stealing from the band, and for instance when the van caught fire and Chuck had to go underneath the van with a pillow to put the fire out before it destroyed all of their equipment.” Incredible live performance in New York in ‘82, in a time when Black Flag were under legal problems with the record label and could only tour for a living. Survival was not easy but Henry Rollins kicked adversity in the teeth. Tracklist 23.07.82 1 No Martyrs 2 I've Heard It Before 3 Room 13 4 Depression 5 Can't Decide 6 Nervous Breakdown 7 Jealous Again 8 Scream 9 Six Pack 10 No Values 11 I've Had It 12 My Life (Damaged) 13 I've Got To Run 14 My Rules 15 Modern Man 16 Beat My Head Against The Wall 17 Fix Me 18 Rise Above 19 TV Party 20 Wasted 21 Revenge 24.07.82 22 I've Heard It Before 23 Room 13 24 Depression 25 I've Had It 26 Nervous Breakdown 27 Jealous Again (Really Wasted Youth – RWY02/Unofficial Release)
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“Black Flag always ran into inumerous problems during their tours. Playing shows that were shut down by cops, club owners that didn’t pay them, bouncers breaking the windows of the van, people stealing from the band, and for instance when the van caught fire and Chuck had to go underneath the van with a pillow to put the fire out before it destroyed all of their equipment.” Incredible live performance in New York in ‘82, in a time when Black Flag were under legal problems with the record label and could only tour for a living. Survival was not easy but Henry Rollins kicked adversity in the teeth. Tracklist Side 1 1. "No Martyrs" 2. "I've Heard It Before" 3. "Room 13" 4. "Depression" 5. "Can't Decide" 6. "Nervous Breakdown" 7. "Jealous Again" 8. "Scream" 9. "Six Pack" Side 2 1. "No Values" 2. "I've Had It" 3. "I've Got To Run" 4. "My Rules" 5. "Modern Man" 6. "Beat My Head Against The Wall" 7. "Fix Me" 8. "Rise Above" 9. "TV Party" 10. "Wasted" 11. "Revenge" (Waste Management Records/Unofficial)
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With My War, the true Henry Rollins era of Black Flag begins. He was brought in to sing Greg Ginn’s songs for Damaged and with My War became a fully integrated member of the band, nudging the band towards slower tempos that emphasized their atonal freakouts. This slide towards MC5, free-jazz bust-outs put them at odds with punk rock’s insistence on short, fast rules. But it made the group a distinctive entity at a time when most hardcore punk bands were passing in a blur. Only the title track ever gained true notoriety, but tracks such as “Can’t Decide,” “Three Nights” and the eternal trudge of “Scream” make the case for Greg Ginn as one of the era’s most important guitar players. His solos are off the wall, while his riffage brings back the ghosts of early Black Sabbath at a time when Sabbath was fading from view. Rollins’ throaty, guttural vocal stabs recast the band as a formidable live outfit whose concerts were true endurance tests for all involved. (EU-SST Records/Unofficial Release)
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Slip It In is the fourth studio album by the American hardcore punk band Black Flag, released in 1984 on SST Records. Label: Fan Club/Unofficial
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Αντιστατική τσόχα για το πλατό του πικάπ διαμέτρου 30 εκ. Υψηλή ποιότητα, βάρος 45 γρ., πάχος περίπου 2,5 χιλ. Ιδανικό δώρο για ντιτζέι και λάτρεις του βινυλίου. Περιορίζει βλάβες-γρατζουνιές και προστατεύει το βινύλιο. 12´´ slipmat, diameter 30 cm High quality 16 ounce felt approx. 2,5mm thick Gift idea for DJs and vinyl lovers Reduces damages/ scratches and protects the vinyl
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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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When Black Pumas made their self-titled debut in 2019, the Austin-bred duo set off a reaction almost as combustible and rapturous as their music itself. Along with earning a career total of seven Grammy Award nominations (including Album Of The Year) and winning praise from leading outlets like Pitchfork and Rolling Stone, singer/songwriter Eric Burton and guitarist/producer Adrian Quesada achieved massive success as a live act, touring large theatres all over Europe and North and South America and delivering a transcendent show Burton aptly refers to as “electric church.” As they set to work on their highly awaited sophomore album, the band broadened their palette to include a dazzling expanse of musical forms: heavenly hybrids of soul and symphonic pop, mind-bending excursions into jazz-funk and psychedelia, starry-eyed love songs that feel dropped down from the cosmos. Wilder and weirder and more extravagantly composed than its predecessor, Chronicles of a Diamond arrives as the fullest expression yet of Black Pumas’ frenetic creativity and limitless vision. Label: ATO Records Barcode: 5400863146177
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Black Pyramid play doom with the rumbling down-tuned tones of stoner metal gods, but with the epic arrangements of old school metal and doom acts. Add to the sonic brew perfectly executed forays into vintage psych and progressive rock, along with the apocalyptic lyrical ravings about war, the occult, and general alienation, and you’ve got an accurate picture of what the band is all about. Labyrinth of Thoughts records reissued band’s second album “II”, an exiled masterpiece of the metal scene. The final recording with their classic line up (Beresky – Gein – Neely). It was originally released via MeteorCity in 2012. Limited vinyl edition of 300 numbered copies on curacao color. (Labyrinth Of Thoughts)
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The second Black Randy single and a classic just like the debut. Black Randy was a talented lyricist whose work brims with irony and thumbs its nose at everything, even the L.A. proto-punk culture that spawned them. Black Randy & the Metrosquad were perhaps the wittiest band on the L.A. punk scene in the late '70s. Their sardonic humor and musicality still holds up well decades later, and is light years away from the regimented sameness of approach that afflicted L.A.-based punk bands that formed shortly after their demise. Originally released in 1978 on Dangerhouse Records, this single is a bonafide Los Angeles punk rock classic. This 4 song EP comes on black vinyl and is a faithful repro of the original pressing. Limited edition. (Dangerhouuse Records/Unofficial Release)
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Black Randy and his Metrosquad were a supergroup of the Hollywood punk era: the line up included members of the Randoms, Eyes and the Dils as well as one of the other founding partners of Dangerhouse, David Brown. Black Randy was a tragic mixture of genius and self-abuse, known for writing lyrics in PCP/alcohol/diabetic stupors which mirrored the despair of the human condition in a way that deserved immortality. This classic EP that was released by Dangerhouse Records features 3 immortal LA punk rock cuts: “Trouble At The Cup, “Sperm Bank Baby”, & “Loner With a Boner”. Black vinyl. Limited edition. (Dangerhouuse Records/Unofficial Release)
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'Black Sabbath' is the eponymous debut studio album by Black Sabbath. Released in 1970, Black Sabbath's debut album is the birth of heavy metal as we now know it. Compatriots like Blue Cheer, Led Zeppelin, and Deep Purple were already setting new standards for volume and heaviness in the realms of psychedelia, blues-rock, and prog rock. Yet of these metal pioneers, Sabbath are the only one whose sound today remains instantly recognizable as heavy metal, even after decades of evolution in the genre. Circumstance certainly played some role in the birth of this musical revolution - the sonic ugliness reflecting the bleak industrial nightmare of Birmingham; guitarist Tony Iommi's loss of two fingertips, which required him to play slower and to slacken the strings by tuning his guitar down, thus creating Sabbath's signature style. These qualities set the band apart, but they weren't wholly why this debut album transcends its clear roots. 180 gram vinyl. (Sanctuary Records/BMG/2020)
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Live FM Broadcast recorded at Montreux Casino, Montreux, Switzerland, 31st August 1970. A1 Paranoid 3:16 A2 N.I.B. 5:39 A3 Behind The Wall Of Sleep 5:17 A4 Iron Man 5:56 B1 War Pigs 7:52 B2 Fairies Wear Boots 6:45 B3 Hand Of Doom/Rat Salad 6:50 Label: Dear Boss/Unofficial Release Barcode: 0634438622352
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Cross Purposes is the seventeenth studio album by English rock band Black Sabbath, released through I.R.S. Records on 31 January 1994. The album marked the return of Tony Martin as the band's lead vocalist, after the second departure of Ronnie James Dio. (P.R.S. Records/Unofficial Release/2022)
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Forbidden is the eighteenth studio album by English rock band Black Sabbath, released in June 1995. This recording saw the reunion of Black Sabbath's Tyr-era line-up from 1990, with the return of Neil Murray and Cozy Powell. It was the last album to feature Tony Martin on vocals and Geoff Nicholls on keyboards, and the last by the band until 2013 when Ozzy Osbourne and Geezer Butler returned for the album 13. (P.R.S. Records/Unofficial Release/2022)
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Headless Cross is the fourteenth studio album by English heavy metal band Black Sabbath. Released on 24 April 1989, it was the group's second album to feature singer Tony Martin, the first to feature drummer Cozy Powell, and the only album with bassist Laurence Cottle. (P.R.S. Records/Unofficial Release/2022)
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Chapter 2 of the "Italian trilogy 1973" series. Double LP on 180 gram red vinyl. BLACK SABBATH played a string of gigs in Italy in 1973 during their "Sabbath Bloody Sabbath" world tour. This is their complete set live in Brescia (Feb. 21, 1973) that shows the band in top shape at one of their most legendary times. Songs like "Sweet Leaf", "Snowblind", "Warpigs", "Children of the grave", "Paranoid", "Killing yourself to live" and more are all included in this wonderful parade of classics. LP 1 is all taken from a rare tape circulated among fans after the show, LP 2 comes from a totally unreleased source from a private collection, recorded from a different point. A total must if you're collecting all the Sabbath records. (Unofficial Release)
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The Birmingham foursome on their historical west coast date. Track list includes: Paranoid N.I.B. War Pigs Black Sabbath Iron Man Behind The Wall Of Sleep Hand Of Doom/Rat Salad Fairies Wear Boots (Mind Control Records)
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Live at the Civic Arena, Pittsburgh 1978, FM broadcast. Track list: A1. Snowblind A2. Black Sabbath A3. Dirty Women A4. Orchid B1. Sabbath Bloody Sabbath B2. Electric Funeral B3. Iron Man B4. Children Of The GravE B5. Paranoid (Mind Control Records)
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Recorded live during 'Sabbath Bloody Sabbath' tour at the California Jam festival at the Ontario motor speedway park, Ontario, California, USA on 6th april 1974. Excellent quality soundboard recording. (Mind Control Records/Unofficial Release)
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The first 2 albums may be seminal but quality-wise, 'Master of Reality' is the band's first true classic. Whereas 'Black Sabbath' was a heavy blues album and 'Paranoid' was a psychedelic blues album, 'Master of Reality' is the first real statement from the band that earned their coined 'heavy metal' tag. From the very onset, it's all chugging, down-tuned, fuzzy, big sounding riffs that are synonymous with what heavy metal is today. it is also really their only true heavy metal album, strangely as blues and rock and roll pervades most of their Ozzy catalogue. Embossed cover. (BMG – BMGCAT481, Sanctuary – BMGCAT481)
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'Never Say Die!' is Black Sabbath's eighth studio album. It was the final Black Sabbath studio album to feature vocalist Ozzy Osbourne prior to his departure from the band in 1979 (until the 2013 album '13') and the last full studio album to feature the band's original line up. Label: Fanclub/Unofficial
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The Seminal 2nd Album from the Godfathers of Heavy Metal 50th Anniversary Includes the Legendary Cuts Paranoid, War Pigs & Iron Man. Paranoid is the album that defined the sound, style and intensity of heavy metal. Led Zeppelin and Deep Purple may have a say in that, but Black Sabbath were much, much heavier. Kurt Cobain always said he wanted Nirvana to be a mixture of the Beatles tunes and Black Sabbath's heaviness. - 50th anniversary edition. - Gatefold - 180 gram vinyl. (BMG – BMGRM054LP, Sanctuary Records – BMGRM054LP)
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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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Digitally remastered edition of this 1976 album from the veteran Heavy Metal madmen. Technical Ecstasy was born of fire and raised in flames. What emerged was definitely several steps removed from those far off days of their eponymous debut in 1970. But this was a band who were several years further down the musical dirt track and one not prepared to repeat the past. Sabbath retained their trademark ability to riff and blaze like no others on the planet, but they were also expanding their universe, proving to everyone they could not only march boldly on towards the end of their first decade together, but could adapt and mature into the bargain. This remastered and sumptuous edition of the album boasts comprehensive story of the album sleeve-notes by renowned Rock critic Malcolm Dome and a plethora of rare and previously unseen photographs and items of memorabilia. 180 gr vinyl. (Sanctuary – BMGRM059LP, Vertigo – BMGRM059LP)
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Tyr (stylized as ᛏᛉᚱ) is the fifteenth studio album by English heavy metal band Black Sabbath, released in August 1990 by I.R.S. Records. Tyr. Label: I.R.S. Records – EIRSA 1038 / Unofficial Release
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Recorded for John Peel's Sunday show on 26.4.1970. The Rebel is an unreleased demo recording from 1969. Walpurgis is a version of War Pigs with different lyrics. Tracklist 1 Black Sabbath 2 Walpurgis 3 Fairies Wear Boots 4 Behind The Wall Of Sleep 5 Black Sabbath 6 Paranoid 7 Iron Man 8 Blue Suede Shoes (Paranoid Records/Unofficial Release)
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Recorded for John Peel's Sunday show on 26.4.1970. The Rebel is an unreleased demo recording from 1969. Walpurgis is a version of War Pigs with different lyrics. Track listing A1 Black Sabbath 9:23 A2 Walpurgis 8:13 B1 Fairies Wear Boots 6:53 B2 Behind The Wall Of Sleep 5:09 B3 The Rebel 2:47 Label: Shadow Records/Fanclub Release)
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Splattering metal punk from the Scandinavian hive of hardcore: Malmö, Sweden. Black Uniforms released their classic Faces Of Death album back in 1989. This is motörcharged D-beat raw punk for all the moonlight rambling crashers. Twelve thunderous tracks that will make fans of Driller Killer and Anti Cimex drool! Finally back on vinyl for all its brutal glory! Label: Unrest Records
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Συντηρώντας τη φωτιά κάτω από ένα εκ των πλέον αγαπητών υπο-ιδιωμάτων του extreme metal, οι Blame Kandinsky βάζουν ακόμα ένα λιθαράκι στην ιστορία του παραδοσιακού mathcore. Επιδεικνύοντας εξαιρετικές τεχνολογικές δεξιότητες και μια ακατέργαστη, old school death metal αίσθηση, ανεβάζουν τη δουλειά που γίνεται με τις προηγούμενες κυκλοφορίες τους σε νέα ύψη με αυτό το νέο άλμπουμ. Υπενθυμίζοντας σε όλους τι ήταν αυτό που έκανε τους The Dillinger Escaple Plan, Botch, Every Time I Die, Burnt By The Sun τις δυνάμεις που ήταν και αναμιγνύοντας το με τις διδαχές των Death της εποχής του "Sound of Perseverance", το Eclectic Ruiner είναι μια ξεκάθαρη ένδειξη του που βρίσκονται οι Blame Kandinsky του 2022. For fans of: Botch, Converge, Dillinger Escape Plan, The Chariot, Everytime I Die. • 12” 200gr Black Vinyl LP • Standard full color 4mm spine 300gr paper Outer Sleeve • Full Color printed 230gr paper inner sleeve (Venerate Industries)
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"This band released a split cassette with No Balls, and this fact is telling. Why? Because Blank Veins play horrible, churning, untoward noise-rock that pays grubby homage to said band and the related Brainbombs. First song is a rattling, skull-scraping thing overloaded with squalling sax. The beat to it is almost like the Gun Club or something, though the instrumentation suggests broken glass and corrugated iron rather than Jeffrey Lee Pierce’s spidery guitar fragments. Second song is a stuck lurch, the same riff cycling over and over while beleaguered vocals howl misfortune and that infernal sax parps mercilessly away. It’s brain-gnawingly awful and borderline unbearable, but at the same time strangely compulsive. How they manage such a combination is a total mystery, but do it they do. Over and over and over again." 137 copies pressed in total. 95 came with black letter stamps on the label for the tracklist, and 42 came with red letter stamps. This is the second edition. Label: UNC – UNC-4
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"When the first stabs of treble drenched, over-driven guitar ring out, it sounds as if Blank Veins are about to take you straight into abstract, no-wave territory. But as the first track progresses and the drums and bass kick in, this bad boy veers straight into sleazy, pummeling noise rock territory. And fuck, as soon as the sax snaked its way in through the cacophony I was completely sold. Blank Veins take a simple, atonal riff and drive it forward for the entire duration of the song - completely deconstructing it and annihilating it in the process while the rhythm section pounds away in the background. Add intermittent background noise, yelled/slurred vocals and of course the sax and you have some sort of bastard child born from the fling between a Rhode Island noise rock band and an ex-East Village punk. Totally nihilistic, unrelenting stuff." For Fans Of: D.N.A, Brainbombs, Arab On Radar, Billy Bao, Sex Scheme, The Pop Group, Puffy Areolas Thessaloniki Noise Rules !!! Vinyl re-issue of the first Tape !!! 329 copies pressed, all on white vinyl. Label: Killedbyanaxe Rds
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All things must come to an end, and thus we present to you the final offering from Thessaloniki, Greece's elusive noise rock duo, BLANK VEINS. Following in the footsteps of their previous efforts, this release is a mess of repetitive riffs churned out with an almost New York no wave approach, and delivered in a way which should make any noise-loving degenerate salivate. Edition of 107 pro-dubbed tapes. Label: Estranged Communications
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Hailing from New Jersey, Blasphematory proudly play old-style DEATH METAL. The group was formed in 2018 by Abazagorath founder Chris Warhead and member Joe Aversario after unplanned rehearsals, which eventually led into the writing and recording of a demo titled Depths of the Obscurity. Blasphematory continued to develop their sound, which is largely influenced by time-tested American and Swedish styles whilst combining the dark melodic elements of the band’s black metal origins, all of which culminated in the recording of their first full-length, also titled Depths of the Obscurity. Subsequently, Blasphematory were joined by Tom Deceiver of Altar of Gore as second guitarist, and this expanded lineup is responsible for the writing and recording of the band’s newest full-length, The Lower Catacombs. Righteously filthy but displaying even sharper songwriting prowess, The Lower Catacombs picks up exactly where Depths of the Obscurity left off and goes even deeper into the low-and-slow death metal abyss, creating a more focused and complete representation of Blasphematory‘s sound. While references to Funebrarum and Disma are still valid here, Blasphematory exude a charisma that’s undeniable: crushing, ignorant DEATH METAL only for maniacs; all others will be summarily crushed. Sink to The Lower Catacombs! (Nuclear Winter Records)
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After what has seemed like an eternity and an extremely long journey (including 90% of the initial pressing of the record mysteriously disappearing in transit), Blazing Eye's most recent recording secures their place as one of Los Angeles's best hardcore-punk bands. Propagating punk as true and original as bands the likes of G.I.S.M. and Siege, Blazing Eye sets forth with their strongest release since their 2013 demo. It's a banger for sure and I'm happy that this record is finally a reality. A one time pressing. (Static Shock Records) https://staticshockrecords.bandcamp.com/album/ways-to-die
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Things are getting crazier every day, these times are even worse than what we could have feared only a few years ago but thankfully there are many forms of expression which are so many ramparts to resignation and defeatism. BLEAKNESS is a great testimony of that. “Life at a Standstill” is the second full lenght of this prolific and inspired band. Through these ten new songs, BLEAKNESS walks on a wire between tension and a certain sense of sensibility. The band succeeds in nuance and inventiveness : more vocal diversity, more melodic and rhythmic richness… without losing the energy and the urgency acclaimed in their previous efforts. « Life at a Standstill » shows the range of possibilities of punk culture, BLEAKNESS brings lots of new atmospheres in its universe. (Destructure Records/Sabotage Records)
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Things are getting crazier every day, these times are even worse than what we could have feared only a few years ago but thankfully there are many forms of expression which are so many ramparts to resignation and defeatism. BLEAKNESS is a great testimony of that. “Life at a Standstill” is the second full lenght of this prolific and inspired band. Through these ten new songs, BLEAKNESS walks on a wire between tension and a certain sense of sensibility. The band succeeds in nuance and inventiveness : more vocal diversity, more melodic and rhythmic richness… without losing the energy and the urgency acclaimed in their previous efforts. « Life at a Standstill » shows the range of possibilities of punk culture, BLEAKNESS brings lots of new atmospheres in its universe. (Destructure Records/Sabotage Records)
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This new 7" by Paris Dark punkers BLEAKNESS features two unreleased songs from the last album studio session, they were put on hold to get the spotlight they deserve, as the band is already working on new material it was time to release them. A side song "Words" is the last song the band wrote before entering the studio, it is another death-rock anthem while B side "Greed" is based on riffs written during the bands' first ever European tour years ago, it is reminiscent of the early 80's melancholic SoCal California hardcore punk scene. With both songs gathered together, this 7" is a good summary of the musical spectre of the band between hardcore and punk post, more energetic than ever and for sure with a heavy done of guitar melancholy. } Pressed on red vinyl. Co-released with à La Carte Records (USA) Distro-y Records (Ireland) Inhumano (Switzerland) Kick Rock Records(France) Kink Records (Germany) Scream Records (Poland) Tormenta de Idea Records (Spain) Label: Scarecrow Records
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Blessed By Perversion was created in mid 2010 inspired by death metal and extreme music. The band released their first EP called Destroy the Image of God in 2012. After many gigs and the addition of a new member Blessed By Perversion was ready to record their first full length album Between Roots And Darkness which is an old school feeling death metal album with a lot of melodic parts. The album was released in 2016 via Razed Soul Productions and received great reviews from metal sites and magazines from around the world. Now with a new drummer and with more consistency than ever, Blessed By Perversion is releasing anew masterpiece of pure death metal with old influences of American (Deicide, Morbid Angel, Monstrosity) and European (Sinister, Obsecration or Soulskinner) death metal creates “Remnant Of Existence” 6 songs of pure metal of death (Iron, Blood & Death Corp. – IBDC666117}
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New vinyl repressing of the classic first EP from Blitz, originally released on the legendary No Future Records in 1981. Four essential songs that wrote Punk Rock and Oi! history. On the B-side are the four tracks from the 'Warriors' 7" and 'Never Surrender/Razors In The Night' 7". Includes a 19.5" x 27.5" poster. SIDE A: 1. Someone's Gonna Die 2. Attack 3. Fight To Live 4. 45 Revolutions SIDE B: 1. Warriors 2. Youth 3. Never Surrender 4. Razors In The Night Label: Vile Records
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Formed in the town of New Mills, Derbyshire in 1980, Oi legends Blitz revitalised the UK punk scene of the era, their incendiary debut Voice Of A Generation a massive commercial success, but the 1983 follow-up Time Empire Justice had a different line-up and new wave orientation, pointing to fissures in the group; then, in 1990, guitarist/multi-instrumentalist Nidge Miller teamed up with former Attack frontman Gary Basnett for The Killing Dream, a studio swansong that revived the name with Nidge fully in control. Devotees will love the sterling guitar work on this final piece of the Blitz jigsaw. Label: Radiation Records Barcode: 8055515233155
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Blitz were among the most influential punk bands ever. It was Gary Bushell (who wrote for Sounds and was later dubbed the 'Godfather of Oi!') who brought the band to the attention of his friend Chris Berry, who had just set up No Future records with a bank loan and high hopes. No Future 001 (and Blitz's debut release) was a 4-track EP titled 'All Out Attack', a 20,000-copy bestseller that made the label's fortune, later to become the most representative of the whole UK82 movement. Its follow-up, 'Never Surrender', reached number 2 on the Indie charts, while their 3rd EP, 'Warriors', showed their slight move towards the sing-a-long style of classic Oi! Recorded live at the legendary Lyceum in London in April of 1982, just after the release of their second 7" (with a few tracks from the Skunx club in Islington recorded a few weeks later) this is the band at their absolute live peak. Crucial UK OI! recorded live, the way the genre was meant to be heard, with a beer in one hand and the other with a fist in the air. Blazing and brutal and classic UK82. Label: Radiation Records Barcode: 8055515230413
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Released a year after their much hearled debut album 'Voice of a Generation' , 'Second Empire Justice' features half the members from the original line-up and with a new sound. While initially being an Oi!/Skinhead Punk band, on 'Second Empire Justice' they not only changed members and their look but also their sound and released a Post-Punk classic with a heavy dose of Joy Division worship, produced by Chris Nagle. While Nagle had also produced their debut album, he had also engineered the Joy Division and New Order albums under Martin Hannett and had also engineered various other post punk albums of the day from the likes of The Durutti Column, A Certain Ratio and Magazine. Together the band and Nagle created a masterpiece while not appreciated at the time, especially by their original skinhead/Oi! fanbase. The album would go onto influence tons of post-punk/darkwave bands that sprouted from the ashes of punk/hardcore bands decades later and become one of the most sought after albums of the golden age of post-punk.. So sit back and listen to these beautiful moody haunting guitars, dancing basslines and emotionally fragile vocals all the while retaining a punk ferocity. For Fans of : Joy Division, Magazine, Red Lorry Yellow Lorry, Killing Joke, The Middle Class Limited repress on Puke n Vomit Records, comes with a huge poster of the cover art. (Puke n Vomit Records)
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Αντιστατική τσόχα για το πλατό του πικάπ διαμέτρου 30 εκ. Υψηλή ποιότητα, βάρος 45 γρ., πάχος περίπου 2,5 χιλ. Ιδανικό δώρο για ντιτζέι και λάτρεις του βινυλίου. Περιορίζει βλάβες-γρατζουνιές και προστατεύει το βινύλιο. 12´´ slipmat, diameter 30 cm High quality 16 ounce felt approx. 2,5mm thick Gift idea for DJs and vinyl lovers Reduces damages/ scratches and protects the vinyl
