• Reissue of the original 1966 Double-Shot Records album! Classic! (Survival Research Records)
  • 'The Feeding Of The 5000' is the first album by the anarcho-punk band Crass. The album was recorded on 29 October 1978, by John Loder at Southern Studios and was released the same year. It was considered revolutionary in its time due to what was considered an extreme sound, frequently profane lyrical content and the anarchist political ideals in the lyrics. The album is considered one of the first punk albums to expound serious anarchist philosophies. Crass helped reinitiate the influence of the Campaign for Nuclear Disarmament and the wider peace campaign in the UK with the songs like 'They've Got A Bomb', 'Fight War Not Wars' and the adoption of the CND symbol at their live concerts. 'They've Got A Bomb' also has a period of silence within it, inspired by John Cage's '4'33'. The band have acknowledged the influence of Cage, and said that the idea of the space in the song, when performed live, was to suddenly stop the energy, dancing and noise and allow the audience to momentarily "confront themselves" and consider the reality of nuclear war. One of the most important albums ever. It doesn't get better, angrier and original. First released in 1978 on Small Wonder Records, and later re-released on the band's own Crass Records, The Feeding of the Five Thousand showed Crass as an anti-establishment and highly uncompromising act, and one that would influence countless people, bands and activists. The record came to be made when Pete Stennett, owner of Small Wonder Records, heard a demo that the band had recorded. Impressed by all of the material, he decided that rather than release a conventional single by the band, he would put all of their set onto an 18 track 12 inch EP. (Crass Records)
  • CRASS | penis envy | LP

    22.50 incl. tax
    Penis Envy is Crass' third album, released in 1981. The albums name is a nod to some of Freud's ideas concerning sexuality. This album marked a departure from the "macho, hardcore" sounds heard on previous Crass albums, featuring more complex musical arrangements, and exclusively female vocals (those of Joy De Vivre and Eve Libertine). The album addressed issues of feminism and attacked institutions of "the system" such as marriage and sexual oppression. The album was banned by the retailer HMV, and The Greater Manchester Police seized copies of it, along with other Crass albums and Dead Kennedys material, from Eastern Bloc record shop. Its owner, Frank Schofield, was charged with "Displaying obscene articles for publication for gain". As well as this, the band Flux Of Pink Indians, Crass' labels, and their publishing company were all charged on the grounds of the Obscene Publications Act. The heavy costs incurred by this would eventually contribute to the band's demise. The album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. Penis Envy, released in 1981, was the third LP by Crass. Eve Libertine takes the lead vocals throughout the album (the one exception being de Vivre's turn on the unnerving portrayal of hospitals and waiting for death, Health Surface). A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, Bata Motel, as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling romance (Smother Love) to gender stereotyping (Systematic Death) and back again, lyrically the sharpest cut is toward those who choose to accept such a system rather than reacting back against it. Both the vinyl and CD feature fold-out poster sleeves and are exact replicas of the original pressing. (Crass Records)
  • Out of stock
    Before Green Day, Operation Ivy, and Lookout Records put the East Bay’s burgeoning punk scene on the map, a trio of Berkeley kids were reinventing the genre with music that was melodic but full of feedback, and a singer who sounded like he gargled glass. Crimpshrine's debut EP was Lookout’s fourth release, followed by an album, a second EP, and a slew of split singles and compilation tracks before the band imploded in 1989 after a ridiculous two-and-a-half-month tour in a Ford Pinto hatchback. Formed around teenage binary stars Jeff Ott and Aaron Cometbus, Crimpshrine went through a series of lineups in their four-year run, utilizing future Tilt and Go Sailor bassists Pete Rypins and Paul Curran, and briefly including second guitarist Idon Bryant. Not overtly political, their fiery brand of introspective punk touched on homelessness, teenage pregnancy, drug use, friendship, isolation, and a grimy sort of romance. Duct Tape Soup is their Lookout-rejected 1988 debut LP that was parsed out to various compilations and split 7”s before being recompiled for Larry Livermore’s punk institution in 1992. After Lookout’s unfortunate demise at the turn of the century, the album went out of print. In cooperation with the band, we’ve remastered the recordings and freshened up the accompanying booklet to make the perfect legacy edition of this ’80s punk classic. (Numero Group)
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    Cro-Mags is one of the fundamental names for the birth of the so-called “crossover thrash” subgenre, which synthesized thrash metal and hardcore punk. Cro-Mags’ first full-length, “The Age of Quarrel”, released in 1986, is one of the first albums where the unadulterated energy of hardcore punk is filtered through the aggression and the fury of thrash metal. Limited to 3600 copies.
  • Limited Edition of 300 copies on Purple Vinyl. 350g Heavy Cardboard Sleeve and includes digital Download. Cross Stitched Eyes are back with their first release since almost 9 years! - "Autosarcophagy" was recorded, arranged and mixed between 2016 and 2017 and finally finished 2020. Featured here are 8 tracks recorded just prior their final 2017 US Tour. Cross Stitched Eyes continiue to combine elements of postpunk and deathrock from the likes of early KILLING JOKE, AMEBIX and RUDIMENTARY PENI with more obscure psychadelic rock influences , odd timings and drone like compositions. Lyrically once again exploring with the darkest and twisted corners of the mind as well as personal nightmares and haunting expiriences. - "Autosarcophagy" might be a slight musical departure from previous Cross Stitched Eyes recordings but you still smell the peni! Recorded, Mixed & Produced by Tim Shapland between 2016 - 2020 Vocals Recorded 2019 by Skot Brown, Oakland, CA Mastered at North London Bomb Mastering 2019 Artwork by Steve Descamps, Brian D' Agosta, Asbjörn Skou & some ancient friends. Cross Stitched Eyes on this recording: Jason Willer (Vox & Drums) Tim Shapland (Guitars & Vox) Stevie Daniels (Bass Guitar) (Ruin Nation Records/2021)
  • The heathens of Cruciamentum assembled in 2009 with the intent of evoking the most abyssal of death metal violence, drawing on influences from dISEMBOWELMENT, Incantation, Immolation, Demigod, Rottrevore, etc. but moulding these influences into something uniquely their own. The ‘Convocation of Crawling Chaos’ demo was hewn from the purest veins of sulphurous death; three tracks demonstrating a focused and merciless intent. The demo was released in a number of pressings, attracting the attention of various labels, before a deal was struck with Nuclear Winter Records for a reissue, with new artwork from Alex Brown reflecting the swirling gates to the spheres of absurdity. Swamp green vinyl, pressed on 250 copies. (Nuclear Winter Records)
  • Another reissue of a cold war era hc/punk classic and the arrow aims again at Scandinavia, this time to the neighbouring country – Sweden. Early 80’s saw several bands emerging from here that were more or less drawing on DISCHARGE, but mostly went even more hardcore. We’re talking about ANTI CIMEX among the first, then also about AVSKUM, MOB 47, MODERAT LIKVIDATION, DISARM and – of course – about CRUDE SOCIETY SYSTEM. Apart from a demo and numerous compilation tracks CRUDE SS officially released just one 7” EP. This appeared in 1983 on Uproar Records and has become an undisputed classic of Swedish hardcore. It carries six blasting tracks of unique, aggressive and furious hardcore punk thrash with clear roots in DISCHARGE, GBH and UK punk in genreral, but also with obvious influence of Californian CRUCIFIX etc. Raw sound, elaborated yet still straight-forward riffs completed with angry English lyrics against arms race, capitalism, animal abuse or destruction of nature. If you’re wondering where did such bands like MASSKONTROLL or FRAMTID get inspiration from, you should listen to this EP. Coming out after 28 years as a band-authorised official reissue, its whole layout sticks as close as possible to the original issue, including such details as runout groove engravings or typing errors on labels. (Radiation Records)
  • Hardcore heavyweights Cruel Hand are back with three new songs produced by the legendary Zeuss (Rob Zombie, Hatebreed). While maintaining safety guidelines, the band entered the studio during the pandemic to record what listeners will welcome as a return to form. Crushing guitar riffs and blistering drums alongside anthemic chorus will have folks moshing in their bedrooms. This is the clear/green vinyl ltd to 350. (Dead Serious Recordings/2021)
  • Back in stock
    If you’re looking for crucial, full on energy 80’s New York Hardcore, then look no further!! This is the most exhaustive, high quality retrospective of the pre-”Life of dreams” recordings, 69 songs including all their Demos (the legendary “Crumbsucker cave” demo 1983, “Charge of the light brigade” Demo 1985 and two unreleased tapes 1983-1984) + a bonus CD with 3 great sounding live sets 1984-85 at CBGB‘s… one opening for the Cro-Mags! This collection shows the band’s natural evolution from basic, no frills early ’80s Hardcore to the mad thrashing assault that made “Life of dreams” and “B.O.M.B.” two unforgettable lessons of true NYHC crossovered with technical and well delivered Metal. All the stuff included here features their former singer David Brady, and displays embryonic versions of all those anthems that were later re-recorded on their debut masterpiece + a bunch of unreleased tracks! As usual all the stuff here has been mastered from 1st generation tapes with extreme care and passion by the Hand of Doom @ Toxic Basement Studio, a real guarantee of quality and passion. Including rare photos, flyers and liner notes + exclusive artwork by Lucas Kalina… bonus Live at CBGB. Double CD in a 6-panel digipack including a 16 page booklet (F.O.A.D. Records)
  • After "Demo Demo Demo" and "Single Single", this is finally the first full length album by one-man-wonder Doug out of Lorient. You may know the man behind the mask from his other exquisite projects SORDID SHIP or COUPE GORGE, in which, above all, he extensively expresses his preference for Oi! On the debut LP, as on the previous singles, he rather shows his passion for synthpunk and then simply combines both preferences into a pretty great and awesome style of Punk. Super melodic synth parts mix with angry Oi Punk and Roll sound. Voilà: CUIR. Repress! White/pink vinyl! (Offside Records / Rock Star Records)
  • Synth punk from Brittany, the solo project of the singer, Doug, of Sordid Ship and Coupe Gorge. It’s aggressive, bouncy, super-catchy and a lot of fun. Destined for a genuine cult following. I haven’t got a clue what this guy is banging-on about, but I susupect it is as wild and fucked up as the sleeve art… This compiles together the previous demo and single, along with one unreleased track. "I’ve seen people hyping Cuir online for a while now, but I haven’t given their music a close listen until we got in this LP, which compiles an earlier single and demo cassette. Their aesthetic struck me as a little cheesy, so I was resistant to investigating further, but it’s easy to see why people are hyping them. They’re excellent and don’t sound like anything else I can think of. The basic formula is tough, fist-pumping punk with an oi! edge, overlaid with super melodic synth parts. If you took away the synth, Cuir would sound like a mix of the Carbonas and Rixe, but those synth lines take these songs to places I never would have expected them to go. Every track is short, punchy, and all impact. I’m sure some people will think the synths are cheesy, but the more I listen to this, the more I think I love it." (Offside Records)
  • Out of stock
    Children Of Finland Fighting In Norway aka C.O.F.F.I.N is an Australian punk band who have accepted the mental of their nation’s long legacy of greasy-haired, outback-scrounging, garage rock rumblers, blowing out eardrums and amps one stage at a time, while chiseling their name below those of Radio Birdman and The Hard-Ons in petrol station bathroom stalls across New South Wales and beyond. C.O.F.F.I.N’s were planning on taking their sweaty, slug-trailed tunes and cracked cavalcade on the road this year, hell-bent on mopping up the USA while on tour with Amyl and the Sniffers, but due to COVID, those plans had to take a short dirt nap. The record they were planning to tour on is out though, and it is a bar-none, bar-room crashing, banger! The latest self-titled album from C.O.F.F.I.N’s is their fourth LP overall and retains a lot of the attitude from their previous releases. It unleashes a raging rip of rock fury that blazes like a wildfire, kept alive and deadly by the bellow-like thump and growl of drummer and vocalist Ben Portnoy whirlwind conjuring percussion and libido-pumping leads and grooves of the band’s three guitarists, Abijah Rado, Arthur Flanders, and Aaron Moss. Not unsurprisingly, C.O.F.F.I.N shares a lot in common stylistically with angst-primed, countryfied garage of groups like The Murder Junkies. To that point, they’ll often close out sets with a GG Allin song and the original cover of their 2018 Piss​~​Up depicted the band peeing into their own mouths (and the alternative cover isn’t much better). But it’s on matters of ethics and principals, rather than style and image, where the C.O.F.F.I.N diverges from many of their influences. What may appears on the outside like a bunch of boys having a gay old-time while playing recklessly loud and loose rock ‘n roll, is in reality a layered experience of conscientiousness and social engagement (in addition to a bunch of guys messing around and making a god damned racket!). Case in point, C.O.F.F.I.N’s track “Dead Land,” which takes up the issues of environmental degradation, the encroachment development on wildlife habitats, and the devastating impacts of global warming, all with the fires that nearly consumed their native country this past year, billowing at the top of mind, with its lusty appetite for destruction in the foreground. If the land dies, it will be humanity’s fault, and presently we as a species show no signs of abating our march towards a fallow Earth. Socials issues are of great concern to the band as well. In interviews, Portnoy and other band members will speak candidly about the need to confront homophobia and end racism in Australia and around the world. C.O.F.F.I.N may take the piss (literally) when it comes to themselves and their music, but when it comes to the subject matter of their songs, they clearly intend to inspire reflection and action, as much, or more, than simply a rowdy, good time. As guitarist Abijah Rado told Monster Children back in July, “Now is a time that, through collective unity, people’s voices are finally being heard and acknowledged. The whole system needs to change and that will never happen overnight, but it’s good to see that the ball has started rolling towards implementing these necessary adjustments.” (Erste Theke Records)
  • Out of stock
    Horse Bites Dog Cries is the second studio album by the American punk rock band D.I.. It was originally released in 1986, on the label Reject. The album was recorded at Casbah Studios in Fullerton, California in 1985 with Chaz Ramirez (of Social Distortion fame). Due to a typo on the album itself, many fans believe that it was released in 1985, but this appears to be false because its release was delayed until 1986 to avoid confusion with the band's then-current album Ancient Artifacts. Horse Bites Dog Cries was the final album featuring the Agnew brothers (Rikk and Alfie) and drummer John Knight (until his return on 1994's State of Shock). Although Horse Bites Dog Cries was not a commercial success, it has gained a cult following in recent times, and has been regarded by some music critics as D.I.'s best album. "Hang Ten in East Berlin" and "Spiritual Law" were originally recorded on Ancient Artifacts. "Johnny's Got a Problem" was re-recorded on their third album What Good Is Grief to a God? and would later be covered by the Kottonmouth Kings on their 2004 album Fire It Up, in which frontman Casey Royer makes a guest appearance in the cover song. (Nickel And Dime Records / Triple X Records)  
  • Fronted by lead singer Joey Shithead, D.O.A. is one of the most important North American band from the very early days of punk ! They are often referred to as the founders of hardcore punk along with Black Flag, Dead Kennedys, Bad Brains, Angry Samoans. « Something Better Change » is their ground breaking debut album recorded between 1977 and 1980 in their hometown vancouver, canada. This is revolutionary and highly political ! This limited 40 years anniversary vinyl repress includes a gorgeous poster and the bonus track "New Wave Sucks" from 2011 Sudden Death records repress ! High quality vinyl repress housed in black inner sleeve, thick outer sleeve and including D.O.A. Band logo poster ! (Restless Empire Records)  
  • D.R.I. is back with a five-song EP of manic thrash that only these imbeciles can muster, their first recorded output since 1995's "Full Speed Ahead." (Beer City Records)
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    DANZIG | danzig 4 | 2xLP

    21.00 incl. tax
    Danzig 4, also titled Danzig 4P, is the fourth studio album by American heavy metal band Danzig. Released in 1994, it was the band's final album on American Recordings, and the last to feature the original lineup of John Christ (guitar), Eerie Von (bass), and Chuck Biscuits (drums). Danzig 4 followed 1993's highly successful Thrall: Demonsweatlive EP and singer Glenn Danzig's 1992 instrumental solo effort, Black Aria. (Def American Recordings/Unofficial Release)
  • With the highly revered Norwegians remaining ever-dedicated to the art of the riff after 35 years of existence, Darkthrone return for album number nineteen and a new dose of metallic godliness. On the back of 2019’s triumphant 'Old Star' opus, the duo of Nocturno Culto and Fenriz present a 41 minute maelstrom of Epic Black Heavy Metal across five sprawling compositions. Organic and dynamic, the album is an exploration of the very finest vintage metal and the best of doom, all delivered in the unmistakable Darkthrone style, whilst also incorporating instruments such as the Moog to further expand upon these soundscapes. Eschewing the process of using their own Necrohell II studios – which has served the band so well over the last 15 years – and welcoming a change of environment and the opportunity to experiment with new ideas, 'Eternal Hails' was recorded at Chaka Khan Studio in Oslo, and engineered by Ole Ovstedal & Silje Høgevold, breathing new life into the sound while retaining the essence of Darkthrone’s natural, raw feeling. The cover artwork features the piece “Pluto and Charon” (1972), from renowned science fiction artist David A. Hardy; a hugely inspirational image for both Fenriz & Nocturno Culto spanning several decades, and this also stands as a symbolic link between the genre-bending styles apparent on Darkthrone’s earliest works, to those same traits evident on 'Eternal Hails'. SIDE A 1. His Master`s Voice [07:17] 2. Hate Cloak [09:16] 3. Wake of the Awakened [08:24] SIDE B 1. Voyage to a North Pole Adrift [09:24] 2. Lost Arcane City of Uppakra [07:02] (Peaceville Records)
  • MARKING 25 YEARS OF DARKTHRONE’S TIMELESS 1991 DEBUT OF MELODIC & TECHNICAL DEATH METAL Darkthrone began in the late 80's as a thrash/death metal act & progressed through technical death/doom metal experimentation to become legends of the black metal world & one of the original leading bands of the Norwegian scene, as well as inspiring a whole generation of metal bands. Soulside Journey was Darkthrone's debut studio album after signing with Peaceville Records, following their cult Cromlech demo. It was recorded in 1990 at Sunlight Studios in Sweden with Tomas Skogsberg, notable for his work with Entombed & many other acts over the years. Soulside Journey contained tracks of atmospheric & often technical & complex death metal, with influences ranging from acts such as Autopsy & Death. This was the band's only death metal album before turning to a more primitive black metal style, but is still rightly regarded as a masterpiece of the genre. This 25th anniversary edition includes a bonus commentary featuring Fenriz’s thoughts on the songs and influences, with insights into the recording session itself. The expanded booklet contains previously unseen photographs of the band & is presented in deluxe media book format. (Peaceville Records)
  • ‘Total Death’ was the sixth album from Norwegian black metal legends Darkthrone, and was originally released in 1996. After recording the previous 2 albums at Fenriz’s Necrohell portable home studio, the band reverted back to a traditional studio set-up for recording; this time it was Ancient Spectre Ruins, with the songs recorded in 2 sessions there in August and October 1995. The song-writing on ‘Total Death’ was split equally between the 2 members, Fenriz and Nocturno Culto, with Nocturno supplying lyrics to his own songs, whilst Fenriz gave the honour to notable members of the Norwegian metal scene: Garm from Ulver, Ihsahn from Emperor, Carl-Michael Eide from Aura Noir/Ved Buens Ende and Satyr from Satyricon. The album delivers a classic dose of mid and up-tempo black metal, along with thrash, such as on the track ‘Blasphemer’. (Peaceville Records)
  • Out of stock
    Darkthrone began life in the late 80’s as a thrash/death metal act & progressed through technical death/doom metal experimentation to become legends of the black metal world & one of the original leading bands of the Norwegian scene, as well as inspiring a whole generation of metal bands. Famously written and recorded over a period of just 2 weeks and featuring the iconic photocopied front cover, ’Transilvanian Hunger’ features primitive guitar riffs over a monotonous drum beat creating a feel of hypnotic starkness with its blend of Von, Burzum and Bathory. Over the years the album has become representative of the definitive 90’s Norwegian black metal sound and style, often copied but never bettered over the past 2 decades. The album was recorded with Fenriz’ ’Necrohell’ studio, and was the first release where the band became a duo, following the departure of guitarist Zephyrous. This edition of ’Transilvanian Hunger’ marks 20 years since the release of this landmark album and has been newly mastered, & contains a bonus commentary audio disc featuring Fenriz discussing his recollections, inspirations & thoughts on the album whilst the music plays in the background. (Peaceville Records)
  • Out of stock

    DAVID BOWIE | heroes | LP

    19.00 incl. tax
    2018 Remastered Version. The first of Bowie's legendary Berlin trilogy and the one that broke the most ground. It also caused so much consternation in the NME offices that they ran two reviews, one praising it to the skies, the other bewildered by Bowie's move towards the chilly electronic sounds that bore the influence of krautrock, particularly that of Kraftwerk and Neu! Collaborating with Brian Eno and produced by the genius Tony Digitally remastered edition. Heroes is the twelfth studio album by the iconic singer/songwriter, originally released on RCA Records in October 1977. The second installment of his Berlin Trilogy recorded with Brian Eno and Tony Visconti, Heroes continued the ambient experiments of Bowie's previous album Low (released earlier that year) and featured the contributions of King Crimson guitarist Robert Fripp. Of the three albums, it was the only one wholly recorded in Berlin. Recorded at Hansa Tonstudio in what was then West Berlin, Heroes reflected the zeitgeist of the Cold War, symbolized by the divided city. Co-producer Tony Visconti considered it "one of my last great adventures in making albums. (Parlophone Records)
  • Out of stock
    Legacy collects together some Bowie’s finest singles from his first hit, 1969’s Space Oddity through to the final singles Lazarus and I Can’t Give Everything Away from 2016. They also sound better than ever spread over 4 sides of vinyl. Stuffed to the gills with classic songs, Legacy also features a previously unreleased version of the classic 1971 single ‘Life On Mars?’ mixed by its original producer Ken Scott. In over fifty years from his very first recordings right through to his last album Blackstar, David Bowie was at the vanguard of contemporary culture as a musician, artist, icon and a constant influence on generations of writers, artists and designers. Bowie left a legacy of inspiration in every discipline from art to fashion to acting and beyond but it is for the groundbreaking music that he will mostly be remembered. Disc: 1 1. Let's Dance (Single Version) 2. Ashes to Ashes (Single Version) 3. Under Pressure 4. Life on Mars? 5. Changes Disc: 2 1. Oh! You Pretty Things 2. The Man Who Sold the World 3. Space Oddity 4. Starman (Original Single Mix) 5. Ziggy Stardust Disc: 3 1. The Jean Genie (Original Single Mix) 2. Rebel Rebel 3. Golden Years (Single Version) 4. Dancing in the Street 5. China Girl (Single Version) Disc: 4 1. Fame 2. Sound and Vision 3. Heroes (Single Version) 4. Where Are We Now? 5. Lazarus (Radio Edit) (Parlophone/2017)
  • DAVID BOWIE | low | LP

    20.00 incl. tax
    2018 Remastered Version. The first of Bowie's legendary Berlin trilogy and the one that broke the most ground. It also caused so much consternation in the NME offices that they ran two reviews, one praising it to the skies, the other bewildered by Bowie's move towards the chilly electronic sounds that bore the influence of krautrock, particularly that of Kraftwerk and Neu! Collaborating with Brian Eno and produced by the genius Tony Visconti, Low is an album of two distinct halves. Side one ( in old money) is full of quirky oddball pop vignettes, the highlight being the incredible Sound and Vision, a hit for Bowie in 1977. Side two was the side which upset some people, four long icy instrumentals evoking the spirit of the city of Berlin, split into two halves by the wall, and the mood of the eastern bloc in general (see Warszawa). Now, of course, these tracks are seen as a blueprint for much that was to come over the following decade, and even furter, but at the time, it so so surprising and so groundbreaking that many didn't know what to make of it. (Parlophone Records)
  • DEAD BOYS | T-shirt

    11.00 incl. tax
    Gildan heavy cotton t-shirt 100% cotton. All the water-based inks we screenprints have an eco-passport verification. Every stamp and logo is hand pulled silk screen print. 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). Κατόπιν παραγγελίας το σχέδιο είναι διαθέσιμο και σε μέγεθος XX-Large.