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Out of stockTrading Places present a reissue of Second Hand's Death May Be Your Santa Claus, originally released in 1971. After their excellent Polydor debut suffered from lack of promotion, Second Hand's sophomore LP surfaced on Mushroom, the noncommercial label formed by Vic Keary, Mike Craig, and Neil Richmond, allowing for unfettered experimentation. With George Hart on bass, new front man Rob Elliott, and drummer Kieran O'Connor on vibraphones, Ken Elliott takes melodic command on Mellotron, piano, and organ, the disc a freakily esoteric juggernaut. This lost masterwork here comes with rare bonus tracks "Dip It Out Of The Bog Fred", "Baby RU Anudder Monster?", and the orchestrated "Funeral", a scare 1972 single. Licensed from Cherry Red. (Trading Places – TDP54075)
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Hardcore/noise punk from Seoul, South Korea. A wall of noise attack, 17 tracks of pure crasher-crust insanity from South Korea. Harsh hardcore fueled by fuzzy noise that is strangely pleasing and addictive, with lots of cool groovy riffs and tempo changes. 10 brand new songs and a few remixed favorites taken from the ‘Out of Order’ and ‘Rip Up’ sessions collected on to one platter, resequenced, remixed and remastered with new artwork. Professionally manufactured cassette with pro-printed 4 panel J-card printed on 230 gsm Ivory card.Come with silver embossed Outerslip/box. Label: Pissed Off Records
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The scum of toytown is back! 20 years after their fantastic debut album "Strike", the band from Stevenage (UK) is back together and recorded a brand new full lenght LP in 2014. On here they feature a set of previously unrecorded older material alongside with new songs that sound just as they picked it up again where they left off in 1995. A festival of tuneful but subversive punk-MUSIC (yes, in capitals) merging the drive and rage of anarcho punk with reggae parts and hints of pop and dub groves. Transporting a personal yet punk political message across the listener. Sometimes full on powerful riffage, sometimes furious, sometimes melancolic and melodic, all at the same time, wrapped up in a top notch DIY production. SCUM OF TOYTOWN were a obscure phenomena of the 1990ies, rootet in the North London punk scene of the late 1970ies and 1980ies. They crawled out of the void and managed in their short existence to make a lasting impact on everyone fortunate enough to catch them either live or on record before they sunk into oblivion for unknown reason. They appeared on festivals and squats in central Europe and making everyone (seriously) move and dance along to their unique style of innovative sounding punkrock. Music that makes you toss a brick with a smile on your face. They left us with their only legacy a 7“ and a genius LP.... ... we're more than happy to have them back with their new album. They haven't lost it, not a single bit! Label: Ruin Nation Records
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Out of stockScreeching Weasel arrives with their 14th studio album, written and recorded in the midst of the COVID-19 pandemic. This time, the kings of pop-punk pick up where they left off on their 2020 LP Some Freaks Of Atavism, leaning into themes of death, insanity and the apocalypse. Whether pulling the rug out from under a relationship (Any Minute Now), skittering on the edge of madness (In La Quinta del Sordo) or struggling with a guilty conscience (Pandora's Eyes), singer/songwriter Ben Weasel spits out trenchant lyrics over sugar-coated hooks that lacerate even as they delight. The Awful Disclosures of Screeching Weasel serves up an unblinking analysis of life in lockdown. Label: Striped Records
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2024 marks the 30th Anniversary of Screeching Weasel’s beloved masterpiece, “How to Make Enemies and Irritate People!” So to commemorate this momentous occasion, we have released a 30th Anniversary edition! LP is available in two different colors (yellow or red), and includes an A3 folded poster. Graphics/illustrations by the mighty Riccardo Bucchioni. REMIXED by the great Mike Kennerty and REMASTERED by the also great Justin Perkins, we think it sounds FANTASTIC, and know you will agree! Tracklist: 1. Planet of the Apes 2. 99 3. I Hate Your Guts on Sunday 4. Johnny Are You Queer? 5. Time Bomb 6. Burnout Girl 7. If I Was You 8. Nobody Likes You 9. Degenerate 10. Surf Goddess 11. Kathy Isn't Right 12. Kathy's on the Roof 13. I Wrote Holden Caulifield Label: Striped Records
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Out of stockAnthem for a New Tomorrow is the sixth studio album by the American punk rock band Screeching Weasel. It was released in 1993 through Lookout! Records. 30th Anniversary Remix by Mike Kennerty Mastered by Justin Perkins at Mystery Room Mastering Blue Vinyl LP + CD with 4 bonus tracks + poster (29,7 x 42 cm - new art by Riccardo Bucchioni) Tracklist: 1. I'm Gonna Strangle You 2. Falling Apart 3. Leather Jacket 4. Rubber Room 5. Talk To Me Summer 6. Inside Out 7. Peter Brady 8. I, Robot 9. Every Night 10. Totally 11. Three Sides 12. I Don't Wanna Be Friends 13. Cancer In My Body 14. Thrift Store Girl 15. Panic 16. Trance 17. Claire Monet 18. A New Tomorrow 19. Every Night (Original Album Version) 20. Totally (Original Album Version) 21. Panic (Alternate Vocal Take) 22. Thrift Store Girl (Alternate Vocal Take) Label: Striped Records
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Released back in 2000 on cd format only, now reissued for the first time ever on vinyl. Cheltenham’s Horror Punk/Death Rockers The Screaming Dead, whose name is drawn from the English title of the 1972 horror film “Dracula contra Frankenstein” is one of the few bands that managed to authentically straddle the line between punk and gothic / goth rock in the early 80s. Like The Damned, the band’s oeuvre includes purist three chord punk alongside more nuanced gothic rock pieces. And similar to kindred souls in bands like The Dark and Siekiera, Screaming Dead’s early aggressive approach gave way, later in their career, to a more measured and atmospheric gothic sound. Songs like "Valley Of The Dead" or "Warcry", which still sound very originally like punk rock, already have a dark melancholy in them that foreshadows darker things. With "Night Creatures" or "20th Century Vampire" they have succeeded in creating absolute masterpieces, these songs take you into the night and leave you there. Towards the end, saxophone and organ come into play, it gets poppier, but also more dramatic, but remains darkly melancholic. There's a dirty undertone running through every song, which gives the overall work that extra punk touch. Screaming Dead from have created a new, very own sound. (Bomb All Records)
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Cheltenham’s Horror Punk/Death Rockers The Screaming Dead, whose name is drawn from the English title of the 1972 horror film “Dracula contra Frankenstein” is one of the few bands that managed to authentically straddle the line between punk and gothic / goth rock in the early 80s. Like The Damned, the band’s oeuvre includes purist three chord punk alongside more nuanced gothic rock pieces. And similar to kindred souls in bands like The Dark and Siekiera, Screaming Dead’s early aggressive approach gave way, later in their career, to a more measured and atmospheric gothic sound. Songs like "Valley Of The Dead" or "Warcry", which still sound very originally like punk rock, already have a dark melancholy in them that foreshadows darker things. With "Night Creatures" or "20th Century Vampire" they have succeeded in creating absolute masterpieces, these songs take you into the night and leave you there. Towards the end, saxophone and organ come into play, it gets poppier, but also more dramatic, but remains darkly melancholic. There's a dirty undertone running through every song, which gives the overall work that extra punk touch. Screaming Dead from have created a new, very own sound. Reissue of the compilation from 1993, first time on vinyl. This record comes with an additional CD what complains 5 more songs. This compilation is a cross-section of the band's creative phase from 1982 - 1984. Includes songs from the following releases Tracks 1 to 3 from "Valley Of The Dead" 7'' (1982, Skull Records) Tracks 4 to 5 from V/A "Pulse Of A Nation: A Rising Free Compilation" Cassette Tape (Rising Free Fanzine, 1983) Tracks 6 to 9 from "Night Creatures" 12' (1983, No Future Records) Tracks 10 to 11 from "Paint It Black" 7'' (1984, No Future Records) Tracks 12 to 15 from "Danse Macabre Collection" 12'' (1984, No Future Records) Tracks 16 to 18 from "A Dream Of Yesterday" 12'' (1984, Angel Records) (Bomb All Records)
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"These songs were recorded a few months after the Los Angeles punk scene began. These five statements of intent transcend Punk and project forward into the future: to the analog synth wave of the late '70s and beyond, to the present day, four decades later, when they finally receive an official release. Sourced from the original reel-to-reels, they are a revelation compared to the countless copies that have been circulating by multiple generations of tape-traders. Here, for the first time, is the Screamers' initial and legendary manifesto. "The Screamers concept was simple, yet audacious: take the spirit and the look of Punk – the pseudo-psychotic aggression, the spiky hair, vacant stares and barely concealed sadomasochism – and match it to a different configuration than the typical '60s rock template. As launched, the Screamers featured two keyboard players (Tommy Gear and David Brown), a drummer (KK Barrett) and an intensely charismatic singer (Tomata du Plenty). The idea was to be confrontational – to evoke (as Tomata described in an early interview) a state of anxiety. "Forty years later, this release builds on the groundswell of interest in the Screamers that has been occurring in the early 21st century. There are web sites with detailed histories of the group and several bootlegs of demos and live material from 1977-79. The video of '122 Hours of Fear' – perhaps their peak moment, recorded at Target Video in August 1978 – has now passed over 650,000 views online. This is the Screamers' time, and the time is now." – Jon Savage (excerpt from the liner notes) (Superior Viaduct Records)
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The 1983 debut release from Dischord Records' group SCREAM. Fast, angsty hardcore punk that sits in the same world as Minor Threat, Bad Brains, Dag Nasty ++ One of the less celebrated bands from the first generation of Dischord/DC hardcore punk, in part, I guess, because of their more advanced musical abilitities – that pushed their sound and style into rockier territories in later years (and let’s face it, the contribution of Grohl, albeit modest, has slightly tarnished their street credibilty). But, head back in time to this debut album of 1983, and you’re hard-pushed to find anything in the whole of early 80’s punk as blazingly fast, tight and hooky as Still Screaming. Definitely a classic, able to match Minor Threat and Bad Brains. Label: Dischord Records
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Southern Lord is proud to be chosen to reissue SCREAM’s everlasting No More Censorship album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Scream drummer Dave Grohls’ 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design is completely different from the original, with the inclusion of photos, lyrics, poetry, and other personal writings from the band during that era, collected in an extensive booklet. Label: Southern Lord Records
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Southern Lord is proud to be chosen to reissue SCREAM’s everlasting No More Censorship album. The band found the original multi-track tapes and Southern Lord had them baked/prepped for a remix at Scream drummer Dave Grohls’ 606 Studio. The new mix sounds vital and intense; the entire packaging, layout, and design is completely different from the original, with the inclusion of photos, lyrics, poetry, and other personal writings from the band during that era, collected in an extensive booklet. Label: Southern Lord Records
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"Scream formed in 1979. Drummer Kent Stacks, bassist Skeeter Enoch Thompson, and the brothers Pete and Franz Stahl attended school together in Bailey's Crossroads, Virginia, when they began to discover the punk and new wave scene in DC and the provocative power of making music. Like most of the punk bands in DC, they were influenced by the Bad Brains, but their rock and roll sensibilities set them apart. In 1982, they went into Inner Ear Studio with Ian MacKaye and Eddie Janney to record Dischord's first full-length album, Still Screaming. For their newest album, DC Special, Scream invited their extensive music community to help create a unique project that weaves the history of music in Washington DC into the story of the band. Recorded by Don Zientara just weeks before his studio was evicted from its longtime location, the record is rich with both the sounds of Inner Ear and those of friends and musicians who influenced Scream and who shaped DC music over the past six decades. DC Special embodies the same sense of community and politics that inspired Scream from the start and is a truly special collection of new music that speaks to the present and also tells the story of DC music, Scream, and the influences that shaped them. Special guests on the record include: Mark Cisneros, Joe Lally, Derrick Decker, Bob Berberich, Clint Walsh, Dave Grohl, Onam Emmett, John Goetchius, Jerry Busher, Amy Pickering, Ian MacKaye, Amanda MacKaye, Brian Baker, Randy Austin, Martha Hull, Michael Reidy, Nate Bergman, and Bobby Madden." Label: Dischord Records
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This early discography release incl. 17 songs that previously appeared on “Apartheid” 7” (1986), “Aaargh!” 7” (1987), split 7” w/ Don Don (1989) and compilation tracks (from “Rapsodie En France” LP and “1984 – Third” LP). Scraps of this period is a total loud rager – fast and uncompromising political hardcore thrash. Sonically and lyrically it’s one of the most vicious and aggressive all out attack towards the government, racist system, neo-fascism, patriarchy or animal abuse of the era. One of the few hardcore bands in France of this period. Radical, anarchist and strongly advocating DIY (“major labels fuck you – we don’t need you!”). Unfortunately with the songs like “Le Pen fuck you”, their message from back then is still relevant today, even after more than 35 years. This collection is absolutely essential if you’re into 80’s European hardcore punk. “Noise not music 1986-1989” LP is coming out with two booklets – one with tons of unknown photos, flyers, graphics and another one is a reprint of their fanzine from 1986. Mastered by Smok (Studio As One). Layout by Jarosław Składanek. Aaargh!!! Label: Refuse Records
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Sclavos mess with an exonerated post-punk glitch and their shows glamorously flirt with a meditating exploit through the exploration of the limits of the self. Cacophonous and edgy, nasty and audacious, they project the primordial basis of cathartic rock music to a post-apocalyptic, toxic sound annihilation. Their debut album, "Heroin Macarena", was recorded at Electric Highway Studio by John Vulgaris and was mixed by Dimitris Patsaros. Mastering by Haris Zourelidis. Label: Phase! Records
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Out of stockWith this 1982 album, Scientist delivers one of his most progressive mixes, deconstructing the originals down to their skeletal base and adding just the right amount of mixing board-generated Echoplex and reverb with his patented minimal sound. A landscape resplendent with steely piano, depth-charge drums, and futuristic dub effects; a mind-warping yet eminently enjoyable way to check into dub central.
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It's still out there, the spirit of the working class. Maybe not necessarily where Marx had placed it. Today, the saturated middle class with their own home, double garage and annual vacation in Thailand stands on the assembly lines of Ford or BMW. The new working class delivers food under precarious conditions in the service of turbo-capitalism, drives bus night shifts, does the dirty work of a professor on a temporary assistant contract or wipes the butts of dementia sufferers for a little applause from the balconies of the higher earners. So new times, which of course are still the same as they always were. There are “those up there”. And there are the people who keep the store running, who straighten their backs and grit their teeth. And who urgently need a beer in the evening. Because the best place is still at the bar. Somewhere between Birth, School, Work, Death there are blues, sweat and beer. Fits pub rock. Pubrock is the grassroots movement of rock'n'roll. Born in the late 1960s and early 1970s, it brought music back from the oversized stages to the basement clubs and pubs, especially in the English industrial districts, where “workers” were actually still crowding around. Where people drank, laughed and argued. Where the motto was “pub fights, pub gets along” and huge keyboard towers, Mussorgsky adaptations and delicately blown fairy hair were laughed at in never politically correct expressions. Against the then omnipresent mantra of higher!, more complex!, more delicate! Pub rockers used the simplicity of the blues, gut feeling rhythm rumbling, cleaver riffs, brutally fast hooklines and clenched fists raised in the air. If you want, you can interpret pub rock as the anti-thesis to capitalism. Because although essentially “apolitical”, the lack of ambition for “bigger things” alone means the refusal of permanent growth. And what was forced by the oil crisis in the 1970s - the practical end of the suddenly unaffordable touring throughout the country - also meant, conversely, a return to one's own strengths and resources. “Act local” also meant “in the local pub in your neighborhood”. (A rogue who draws parallels to the current crisis of rock musicians, who are losing their tours in droves and who can hardly call themselves professionals anymore, because that would mean that they could somehow make a living from their music.) Back then, pub rock triggered the reboot of rock music, was the necessary initial spark and the stepping stone for punk and everything that came after. Sometimes later eaten by one's own children or swept under the carpet of history and largely forgotten - Kursaal Flyers, Dr. Feelgood, Eddie & The Hotrods, Brinsley Schwarz - but sometimes also matured into a central actor or mentor - Nick Lowe, Joe Strummer, Ian Dury, Elvis Costello. And despite the limited resources, pub rock was anything but provincial, it unhesitatingly usurped and "appropriated" what works in every pub in the world, whether in Connewitz/Saxony or Bozeman/Montana: country casualness, heavy rock depth , tinkling honky-tonk pianos, the fearless musical freedom of a Wurlitzer speaker. Since then, the only thing that has been important is that it has to work. And the people there, on this mini stage with their mini equipment, have to fit. To dirty toilets full of stickers and stupid graffiti, to puddles of beer, unwashed hair, worn out clothes. Even with Schneckenkönich everything seems a bit dirty and greasy; Hair, denim jackets, and anyway the music, which revolves around a few blues patterns and would inevitably be denounced as "authentic", "honest" and "handmade" in the three-part announcements that might be left in the local press. A friend of the band once called it “the finest working-class hippie shit” and that pretty much says it all. The rest is available at the counter in the evening. Label: Sound of Subterrania