• Compilation LP of this British Punk-Rock band, active between 1982 and 1983. On side A we have their first demo from 1983 and on side B songs recorded in rehearsals. (Vomitopunkrock Records)
  • Out of stock
    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. "Abracadaboum" is their third LP originally released in 1987. (Archive de la Zone Mondiale)
  • 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. "Ils veulent nous tuer " is their MLP originally released in 1988. (Archive de la Zone Mondiale)
  • 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)
  • Media: Very Good Plus (VG+) Sleeve: Near Mint (NM or M-) (Mortarhate Records)
  • Out of stock
    Christ the Album was the fourth album by Crass from 1982. It was originally released as a boxed set double vinyl LP package, including one disk of new studio material and another, entitled Well Forked… But Not Dead, of a live recording of their June 1981 gig at the 100 Club in London along with other studio tracks, demos and tape fragments. The box also included a book, A Series Of Shock Slogans and Mindless Token Tantrums (which featured Penny Rimbaud's essay The Last of the Hippies, telling the story of the suspicious death of his friend Wally Hope) and a largesize poster painted by Gee Vaucher. The album took over a year to record, produce and mix, during which time the Falklands War had taken place. This caused Crass to fundamentally question their approach to making records, for as a group whose very reason for existing was to comment upon political issues, they felt they had been overtaken and made to appear redundant by real world events. Ratcheting up the continued "leave no stone unturned" lyrical approach that characterized the group from the start, Crass again sounds like the group's about to explode in eight million directions. Ignorant takes over the lead vocal role again, his rough ramalama bitterly leading the charge against the loathed Thatcher government and the society that allowed it to come into power. Libertine, here appearing as Peeve Libido, adds backing vocals while De Vivre takes the lead on Birth Control and Sentiment. Free's guitar work roars along with the usual vim, as does the Pete Wright aka Sybil Right / Rimbaud rhythm section, while continual spiking of the musical punch via production or sonic collages, or even almost power pop catchiness at points, prevents things from being one note. In addition to the two records, this box set contains a poster and the 26-page booklet "A Series of Shock Slogans and Mindless Token Tantrums. (Crass Records/Reissue 2019)
  • A compilation from UK anarcho punks Crass,including unreleased versions of classics like "Do They Owe Us A Living?," "Shaved Women," and "Punk Is Dead,". Tracklist A1 Heart Throb Of The Mortuary A2 I Can't Stand It A3 Do They Owe Us A Living? A4 Who's Side Are You On ? A5 Angela Rippon A6 End Result A7 G's Song A8 General Bacardi A9 Securicor A10 Punk Is Dead B1 G's Song B2 Count In B3 Mother Earth B4 Fight War Not Wars / They've Got A Bomb B5 Shaved Women B6 Tired (Fan Club/Unofficial Release)
  • '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)
  • 'Stations Of The Crass' is the second album by Crass, released in 1979. The record, originally released as a double 12", includes live tracks from a gig recorded at the Pied Bull pub in Islington, London, on August 7, 1979. The first three sides contain the studio tracks and play at 45 rpm, while the final side comprises the live material and plays at 33 rpm. The album's title is not only a pun on the Catholic rite of the 'Stations Of The Cross' (such jibes against the religious establishment were typical of Crass), but is also a reference to the graffiti campaign that the band had been conducting around London's underground railway system, the cover artwork depicting a wall at Bond Street tube station that had allegedly been 'decorated' by them. Although the album met mixed critical reception at first, it managed to sell at least 20,000 copies within two weeks. The re-pressing retains the original folding out poster sleeve design. (Crass Records)
  • Yes Sir, I Will was the fifth and penultimate album, released in March 1983, by Crass. The album in itself was essentially a bitter attack on then Prime Minister, Margaret Thatcher, and her government, in the aftermath of the Falklands War and is set almost entirely over raging, free-form backing by the band's musicians. The original release of the album contained no banding between songs, presenting the contents as one long piece split between two sides, effectively making it the longest punk song ever recorded. Vinyl edition feature a fold-out poster. (Crass Records)
  • Dekoder’s second LP is a 6-song mid-tempo combo of old school gothic rock, anarcho-punk and plain old ’77 style punk, influenced by the more thoughtful side of the punk musical spectrum (more on the Penetration side of things than, say, the Blatz side of things). As with a lot of the female-fronted bands working in this contemporary peace punk-meets-goth milieu, the stand-out quality here are the vocals. The vocal talents of bands like Pleasure Leftists, Blue Cross (who are label mates with Dekoder), and Masquerade comprise one of the more noteworthy aspects of all this Epic postpunk/anarcho-goth revivalist stuff. “Flowers to Blossom” is an intelligent and earnest marriage of the personal themes of liberation evinced by such past bands as the Poison Girls and Rubella Ballet combined with the musical approach of groups like early Siouxsie and the Banshees, Red Scare, later Superheroines, and Legal Weapon. It’s a combo that works quite well. "Interestingly, drummer David Earles (Dekoder, Dethfox) has compiled a book of travel essays and photography from a recent trip he made to North Korea, Vietnam, Laos, and Cambodia. The book's called Dragging for Bodies and is an interesting peek into one society Americans aren't supposed to visit (N. Korea) and other places that are still recovering the war in Indo-China that devastated those countries in the 1960s and 70s. I have a copy of this book and it's a fascinating read." -Oliver Sheppard(Cvlt Nation) (Chaos Rural Records)
  • Out of stock
    The entire discography of this shortlived but influential early nineties anarcho punk band from Glasgow, Scotland. This is fast-paced and shredding anarcho punk with little excursions into the crust-punk genre here and there. Dual fe/male vocals and alot of (sadly still) lyrical topics of todays society. DISAFFECT releases most their material via NABATE RECORDS from Belgium as well as FLAT EARTH RECORDS from the UK. Both labels were pioneering the nineties DIY punk wave alot with bands like ONE BY ONE, HIATUS, SEDITION, UNHINGED etc etc. DISAFFECT stopped playing in 1994 and members moved on to other projects such as SCATHA and QUARANTINE. In 2019 the band reformed with a new rhythm section to play occassionally the one or the other festival. The DISAFFECT discography includes the "An Injury To One..." 7" EP from 1992, the split 7" with SEDITION from 1993, the "Home Of The Brave" 7"EP from 1993 (reissued 3 times!) and their 1994 released debut LP "Chained To Morality" as well as the ultra rare split 7" with BIZARRE UPROAR also from 1994. As a bonus you will find the best tracks of the 1991 "Demotape" with the missing tracks available as download. Housed in a beatifully crafted Gatefold-sleeve with additional 16 pages booklet including lyrics and linernotes. THIS PRESSING IS LIMITED TO 550 COPIES (Ruin nation Records) https://ruinnationrecords.bandcamp.com/album/still-chained-discography
  • Out of stock
    Era Of Fear from Xanthi/Northern Greece play dark anarcho post punk with their own sound. Four new songs following their EP that was released two years ago. On the flip side we have Πανδημια from Athens. Unfortunately, these are the last four songs that they recorded just before splitting up. Great anarcho punk strictly inspired by early 80's Greek and UK punk scene. 500 copies on black vinyl. (Scarecrow Records) https://scarecrowrecords.bandcamp.com/album/split-lp
  • Sealed Records release the complete remastered ICONOCLAST Discography including the immense self released 1983 Demo, The Flipside 7" from 1985 plus Two Compilation tracks. It's a small but perfectly formed discography and one that 36 years after it was first recorded still has power, intensity and rage. ICONOCLAST were part of the early 80's American peace punk scene that included CRUCIFIX, BODY COUNT, AGAINST, ANOTHER DESTRUCTIVE SYSTEM, DIATRIBE, ARMISTICE and A STATE OF MIND. Idealistic bands highly influenced by CRASS which shined amongst the heavily nihilistic California Punk scene of the era. ICONOCLAST sound was in tune with DISCHARGE, early ANTISECT or WRETCHED while lyrically the songs were political and to the point. They played benefits for animal rights, anti nuclear, anti apartheid, anti police brutality, and Big Mountain. The demo was followed by their only vinyl release on Flipside which has two ragers and the more mellow In These Times which has a touch of THE MOB and OMEGA TRIBE about it. The band had tracks on various compilations including the seminal International P.E.A.C.E. Benefit LP on R Radical in 1984 which had the cream of the crop of international hardcore punk of the heyday. Domination Or Destruction comes housed in a heavy reverse board sleeve and includes a 24 page 11”x11” booklet containing interviews, photos and flyers from the era documented, 1983-1985, which will help understanding the band ideas and the local scene of the era. Sealed Records are proud to finally reissue ICONOCLAST's catalogue, a criminally overlooked band for some but in the label’s eyes this LP is a must have for all punk households! (La Vida Es Un Mus Records) https://sealedrecords2.bandcamp.com/album/domination-or-destruction
  • Puke n Vomit presents the first domestic vinyl release of this seminal UK Anarcho Punk classic from 1984. Onward Christian Soldiers by Icons Of Filth is a fiery slice of fierce punk/hardcore with lyrics dealing with a need for individual responsibility, action and positive change. Considered one of the defining and most popular albums to be released from the 80s UK Anarcho Punk scene. The scene bands and records from that time are enjoying a new resurgence with the new breed of Anarcho/Political bands that often cite that period and bands as major influences. Comes with poster and insert. For fans of CRASS, The Instigators, Flux of Pink Indians, Conflict, Poison Girls, Crucifix, Anti-Sect and countless others. (Puke n Vomit Records)
  • Karma Sutra were an anarcho pacifist band from Luton, Bedfordshire who formed in the early 80’s after the demise of the legendary the Phallic Symbols. Karma Sutra only had one release at the time - an album self released in 1987 called Daydreams of a Production Line Worker which came towards the end of their lifetime. Sealed Records now release the earlier years of demos and compilation tracks on a 15 track round up. Be Cruel with Your Past and all Who Seek to Keep you There includes their first and primitive demo The New Economy Roast from 1983. It’s very basic and has a Bullshit Detector Compilation quality to it. A few years later came the second demo Shoppers Paradise which is the best material Karma Sutra recorded. Six tracks of well produced classic 80’s Anarcho punk with a driving sound. It’s passionate, tuneful and politically aware. How this wasn’t released at the time on vinyl, is a travesty. Also included is two tracks from the Mortarhate Compilations Who? What? Why? When? Where? and We Don't Want Your Fucking Law!. Finally the last three tracks were from the final line up of the band and were recorded with Spon from UK Decay adding more post punk elements to the sound. The LP comes with a 40 page booklet of Lyrics, handouts, fanzine interviews and statements. (Sealed Records)
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    KURRAKÄ | self titled | LP

    8.00 incl. tax

    A trio from Texas who build on the foundation of good old anarcho punk, but are adding a thrashing Spanish hardcore flavor to the mix. The overall feel I get is that this is pretty dark and gloomy, but sharp in it’s delivery – making it very interesting. Influences range from d-beat to death rock to anarcho punk, and it’s all there in the final result. It’s hard, it’s bouncy, it’s pissed, it’s hopeful… 10 tracks.
    "I’ve reviewed a lot of great records over the last few years, but I feel guilty as hell to come up with this review just now. KURRAKÄ’s self-titled LP was released in 2014 by Trabuc Records and I have tons of reasons to love this band and record. In these ten songs we’ve been trailed off in a complete pandemonium of raw aggression by a three piece all-female bearers of chaos coming from Austin, TX.
    The fierce vocals of Dru Molina (also in Criaturas) rip and rage in the Crudos school of thought, while the dark deathrock overtones remind me of the witty macabre of my all time favorite Rudimentary Peni. Lyrically the trio is screaming to the moon and casting spells about strength and women, shadows and spirits, blood and passion, chaos and freedom… Add to that the seething mass of buzzing raw punk guitars, pounding d-beat drumming and chaos magick symbolism, and you’ll have a masterpiece of an obscure hardcore punk record. I would love to get this on a 12″ LP (it’s been pressed on 400 copies in black vinyl and 100 copies in purple) and totally recommend you to check out not only Kurrakä’s recordings prior to their LP but also their fellow peers like Criaturas, Vaaska, and Impalers."
    (Trabuc Records)

  • Out of stock
    Hailing from the coastal town Brest in the far north-western corner of France LITOVSK deliver a fulminant and outstanding 2nd album. Dark and gloomy Postpunk/Wave. Rumbling and driving basslines, straight drumming topped by partly wavey guitar riffs: simple, clean and honest while retaining a good portion of frenetic power and energy. Think of THE ESTRANGED, NEW FLESH or RED DONGS. A Band  to reckon with: LITOVSK is defintely one of the best Postpunk coming from Europe these days. On this records they manage to give an extra vibe to the last wave and created eleven hymns to dance and sing along with. (Symphony Of Destruction Records)
  • Out of stock

    LITOVSK | same title | LP

    17.00 incl. tax
    Hailing from the coastal town Brest in the far north-western corner of France LITOVSK deliver a fulminant and outstanding debut album. Eleven songs of dark and gloomy Postpunk/Wave. You could say, you’ve heard it before and yes, you proabably have: Some of the songs were taken from their 2014 Demo Tape. Rumbling and driving basslines, straight drumming topped by partly wavey guitar riffs: simple, clean and honest while retaining a good portion of frenetic power and energy. Think of THE ESTRANGED, NEW FLESH or RED DONGS. A Band to reckon with: LITOVSK is defintely one of the best Postpunk coming from Europe these days. On this records they manage to give an extra vibe to the last wave and created eleven hymns to dance and sing along with (Contraszt Records)
  • 23 studio recordings from late 70s punk band who evolved into an anarcho band. Compiles their Bluurg 7″, their Crass track and a further 17 unreleased studio tracks, all remastered and packaged in a 12-page booklet featuring a detailed band history and previously unseen photos – all at an anarcho-punk price! Issued in a standard transparent jewel case with 12-page booklet. (Overground Records)
  • Repress of this top class Scottish Anarcho-Punk meeting. Originally released in 1987 we have 7 classic crusty Anarchoi Punk stompers from the representatives from Edinburgh (OI POLLOI) and 5 folk influenced cynical Punkrock tracks by those Aberdeen lads (Toxik Ephex) … this album was unavailable since the initial press was gone… trap one now! (Mad Butcher Records)
  • OI POLLOI | saorsa | LP

    14.00 incl. tax
    This is the sixth studio album of the long going scottish anarchist punk band "OI POLLOI" (Slang for "The Common People") 15 new songs recorded in 2014 with an retrospective of the many musically influences of previous OI POLLOI records. Here you find the anarcho charged sing-a-long Oi!Punk in exchange with D-Beat-Crust and of course classic UK Anarcho Punk. "Saorsa" means "Freedom" in scottish gaelic and "Freedom" or "Liberty" is the lyrical main subject of this album. Lyrics are mostly sung in English with little excursions into Gaelic, Spanish as well as Yiddish. With all the heavy political content, OI POLLOI never excluded humor in what they do and this is what makes them so sympathic in my eyes. Responsible for the beautiful artwork was Sonia L. who already contributed to previous OI POLLOI records such as "Fuaim Catha". (Ruin Nation Records)
  • Out of stock
    The “Unfinished Business” LP includes three songs from the “Muliple Oi-Gasm” 7″ originally released 2014 by ROTTEN TO THE CORE RECORDS for the US 2014 Tour. In addition to the 7″ tracks you find 5 unreleased OI POLLOI songs from the same recording session as their “Duisg” LP. More raging antifascist anarchy punkrock in 27 minutes! (Campary Records) https://youtu.be/KJYjNufzcPU
  • Out of stock
    Remastered vinyl reissue of the debut and only Omega Tribe album, originally released in late 1983 on Corpus Christi Records. The album was recorded by Guitarist Pete Fender deep in the Poison Girl’s basement studio in Leyton and contains 11 punk anthems with a pop sensibility missed by most of their curse of 1983 peers. Omega Tribe were one of the few bands that had a much more softer, poetic and melodic style of playing that still managed to impress, educate and influence their audiences. It was protest music with a heart and sense of love that still is relevant 35 years later. This album has never been reissued and deserves it's place right next to the Mob - Let the Tribe Increase, Poison Girls - Hex and Zounds - Curse of Zounds. (Sealed Records) https://sealedrecords2.bandcamp.com/album/no-love-lost
  • Cryptic Cross Words is the 5th album that Paranoid Visions have released since their 2006 reboot. Add to this the multitude of singles and a myriad of historical re-releases and compilations and it becomes clear that Paranoid Visions are a band who are not content to sit back and relax or attempt to trade on past glories. Indeed founder members Deko and P.A are of the opinion that there are no past glories with the recent releases being more reflective of what the band were about in the first place. Cryptic Cross Words, a culmination of a year’s recording and writing is an attempt to craft a specific album with a specific modus operandi. “With every release we have done, there has always been a compromise, and certain styles or genres we have wanted to explore have been almost achieved, but not executed the way we imagined them … until now”. Switching rhythm section and losing a backing vocalist in early 2014 gave the band the opportunity to form the perfect line-up and create what the band believe is best album they have ever made. It’s certainly a more focussed and strategic release that relies on soundscapes and moods that co-exist with the various musical genres the band continues to dip into. But it explores these cohesively with production that has been described by one early reviewer as being “crisp but avoids the sheen of the nu”. Certainly this album owes as much to UK Decay as it does to UK Subs, or is “more magazine than fanzine”. Lyrically the album is tackling different subjects ranging from the Catholic church’s abuse of children, invasion in the Ukraine, sexual harmony, working culture and the voice of the downtrodden public on the verge of snapping. In the case of Anagram Sam the lyrics consist entirely of anagrams (Anagram Sam, he’s one of those NAMELESS SALESMEN, his LIFE is a FILE of anagrams, he’s the SENATOR for TREASON etc etc….you get the picture!!) whilst the album’s closer, “baNAMA Republic” is a delicate slow building acoustic song spanning seven minutes and sung by Aoife Destruction detailing the fall of the Irish economy and the corruption that facilitated it. (Overground Records)

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