• Out of stock
    Legendary English underground band Zounds returns with their first new recording in nearly 30 years! Growing out of the squatter communities of London in the early 80's, Zounds quickly became a key figure in the burgeoning anarcho-punk/DIY scene. Notoriously reclusive singer/songwriter Steve Lake has crafted ten new songs for The Redemption of Zounds; all retain the hallmarks of the band's classic template with incisive lyrics, sharp guitars, satirical overtones, emotional terror and great, memorable tunes. Lake notes, "it is as bewildering, absurd, tragic and joyful as it ever was." In his book History of Rough Trade, Rob Young described Zounds music as, "a distinctively paranoid and claustrophobic sonic crush that avoided formulaic protest song." The band's Rough Trade album, The Curse Of Zounds, is now seen as a classic of the genre and one of the most inspirational albums of the post-punk period. (Overground Records)
  • ZOUNDS | T-shirt

    12.00 incl. tax
    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).
  • The second release on Sealed Records is a 14 Track round up of the five singles by Zounds. The debut single from 1980 Can't Cheat Karma was released on Crass Records and 39 Years later still stands as one of the finest singles both politically and musically. For the next three singles Zounds released them on Rough Trade Records, along with their debut album The Curse of Zounds. 1981's Demystification was a tense and stark masterpiece. It was followed by the haunting Mikey Dread-produced Dancing and then the more straight up pop of More Trouble Coming Everyday. The final single of Zounds Mark 1 was La Vacht Qui Rit released on Belgium label Not So Brave in 1983 and was originally supposed to be a split single with The Mob but ended up with two scratchy studio tracks and two rough and raw live tracks recorded in Holland in 1982. Every home should have these essential Zounds recordings. (Sealed Records) https://sealedrecords2.bandcamp.com/album/cant-cheat-karma
  • ZOUNDS | Badge

    1.20 incl. tax
    32 mm Badge
  • WLOCHATY is a long running polish anarcho punk band probably best compared to a polish version of CONFLICT? The band formed in 1987 and just Dezerter had quite a struggle with authorities and right-wing thugs. They recorded their first album in 91 and appeared on the Jarocin Festival stage in 1993. This was a break through for the polish anarcho punk scene and om the same year WLOCHATY released their eponymous album "Włochaty" on cassette tape and sold about 20 000 (!) copies! - Due to their success the band was accused of being "commercial", but still played diy shows and demonstrations across Poland. - Now, after over 20 years these recordings are available for the 1st time on CD and double vinyl LP - Gatefold cover includes a giant poster with English translations of the songs (that somehow got up-to-date again in today's Poland) and an anti-fascist poster on the other side. - This is highly essential stuff if you dig polish punkrock! (NNNW Records)
  • TOXIC WASTE represent the hardest end of the CRASS milieu. While most anarcho-punk bands of the time sang about a war they’d only seen on TV TOXIC WASTE were being politically active in Belfast during the troubles. They played militant punk with melody and aggression. Borderline hardcore at times with a clear peace-punk message. Angry, intense and in your face. They were involved in the Warzone Collective and shared stages, experiences and activism with bands such as STALAG 17, CONFLICT , ASYLUM and ANTISECT. “Belfast” was originally released in 1987 on Vocalist Roy Wallace’s Belfast Records and has been out of print for 30 years. It was a compilation of previously released tracks and newly recorded versions of old tracks with Dino and Gary from D.I.R.T doing the female vocal parts and guitars. The 12 tracks on “Belfast” are nuggets of raging pissed off DIY anarcho punk with hard hitting lyrics and dual vocals. The recordings are raw and passionate and stand the test of time. The band released an iconic split 12” with STALAG 17 on Mortarhate (1985) - the tracks are included on “Belfast” and then the following year a split LP called We will be Free with STALAG 17 and ASYLUM before calling it a day and becoming a lost piece of the anarcho punk puzzle. This reissue comes with replica sleeve and fold-out lyric insert. (Sealed Records)
  • THE MOB | T-shirt

    12.00 incl. tax
    Hand made high quality silk screen print. Gildan Heavy Cotton T-shirt. 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 XXX-Large.
  • THE MOB | Badge

    1.20 incl. tax
    32 mm Badge
  • Repressed for the first time since 2007, Queer Pills is re-releasing/repressing this amazing slice of UK Anarcho Dark Punk. Originally self- released by the band on cassette in the UK only in 1984. The track ‘Animal Crimes' from the tape was featured on legendary UK Anarcho/Punk 'Who? What? Why? When? Where?' compilation LP in 1984 released on the pioneering and influential Mortarhate Records. Over the years the band has become very well known and is the demand has been building for this reissue. Previously released as a demo tape in 1984 on Inept Tapes. Recorded on October 3rd, 1983 at Arnys Shack, Bournemouth, UK. Insert with lyrics and band pictures included. For Fans Of: Flux of Pink Indians Mayhem Rudimentary Peni Blitzkrieg Conflict (Puke N Vomit/Queer Pills)
  • Η ιστορία του Phil Russel, ο οποίος πρωτοστάτησε στη διοργάνωση του πρώτου ελεύθερου festival στο Stonehedge. Εξαιτίας όμως αυτής του της δράσης το βρετανικό κράτος τον παγίδευσε και τον εξουδετέρωσε χαρακτηρίζοντάς τον σχιζοφρενή. Ένα "υστερικό ρομάντζο" διανθισμένο με απόψεις για τον καταναλωτισμό της μεταπολεμικής κοινωνίας, το κίνημα ειρήνης των 60's, το Oi, τους φόνους του Manson, την ψυχιατρική καταπίεση και τους τρόπους με τους οποίους μπορούμε να απαιτήσουμε πίσω τον κόσμο μας, τον κόσμο που μας ανήκει και μας έχουν κλέψει, γραμμένο από τον Penny Rimbaud που συμμετείχε στο anarchopunk συγκρότημα CRASS. Γλώσσα - Ελληνικά Αριθμός σελίδων 65 Διαστάσεις 21x14
  • Reissue of this long lost masterpice from 1981 originally released by Bulge / Genius records. The Astronauts were (and are, after close to 30 years and a history of lineup shifts only bested by The Fall) the definitive psych-punk ensemble, though even that title doesn't do 'em justice. Their sound culminates the post '77 punk dabblings of head forbears Twink (his 'Do it 77' single and The Rings' 'I wanna be free' platter), Nik Turner (the outstanding Inner City Unit and the 'punkier' late 70's bits of Hawkwind) and Daevid Allen's planet Gong (with fellow acid-punkers Here and Now) all woven in with an earlier Robert Wyatt / mellow candle-y psych folk vibe... While not sounding like any of those things at all. Get it? The album's range is gigantic: from dissonant punk a la Fall ('Everything stops for baby'), to epic progressive folk ('Protest song', 'Baby sings folk songs'), ditties ('Sod us'), hard-rock ('The Traveller'), pop ('How green was my valley'), garage / surf ('Still Talking'), industrial ('How long is a piece of string'), and set to arrangements that employ synths, flute, saxophone, and strays into progressive or even free-form / psychedelic sections. The icing on the cake is the mature statement of the lyrics, a cynical and bitter exploration of the lives of simple men, miles away from the generic horror / punk overtones that permeated most of alternative albums at the time. (La Vida Es Un Mus) https://lavidaesunmus.bandcamp.com/album/peter-pan-hits-the-suburbs-lp
  • Out of stock
    Although Sukob (Conflict) is a relatively new band, some of their members were involved in a bunch of local hardcore punk and anarcho punk acts for longer than two decades. "Tvoje Misli Su Nečija Umjetnost" (Your Thoughts Are Someone's Art) is their debut mini-album filled with ten honest, raging and uncompromising gems inspired by living in this part of the world. Musically we could place them somewhere along the spectrum of early sharp & punishing Pig Champion's rapid fire riffage and fist-pumping Scandinavian hardcore with hints of Celtic Frost-ish midtempo drives. When you spice that up with unique desperate & pissed off vocals you'll got a hell of a fresh sounding raw hardcore punk record! Turn this one up loud! Recorded, mixed and mastered by Ivan Jakić. Artwork by Bodež. Limited to 500 copies. 400 on black, 100 on red vinyl available for mailorder only. (Doomtown Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! Arguably the highlight of their ’80s output, the third SUBHUMANS album was recorded at Woodlands Studio, Castleford, during spring 1985 and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental “33322,” what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements, and dizzying time changes. With a front cover illustration inked by vocalist Dick, Worlds Apart saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks such as “Apathy,” “Businessmen,” and “Can’t Hear The Words,” but every single track on the album remains an understated masterpiece. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Red Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! Arguably the highlight of their ’80s output, the third SUBHUMANS album was recorded at Woodlands Studio, Castleford, during spring 1985 and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental “33322,” what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements, and dizzying time changes. With a front cover illustration inked by vocalist Dick, Worlds Apart saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks such as “Apathy,” “Businessmen,” and “Can’t Hear The Words,” but every single track on the album remains an understated masterpiece. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! Arguably the highlight of their ’80s output, the third SUBHUMANS album was recorded at Woodlands Studio, Castleford, during spring 1985 and released early the following year, a few months after the band had split. Opening with the slightly incongruous instrumental “33322,” what it lacks in rampant speed, it more than compensates for with some truly sublime compositions, assured arrangements, and dizzying time changes. With a front cover illustration inked by vocalist Dick, Worlds Apart saw the band find a veritable sweet spot in their song-writing, spawning many of their best-loved tracks such as “Apathy,” “Businessmen,” and “Can’t Hear The Words,” but every single track on the album remains an understated masterpiece. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! As the title suggests, this 1986 album compiled the eight-track, Time Flies... But Aeroplanes Crash 12” EP, originally recorded and released in 1983, and the four-track, Rats 7” EP, that had been recorded during the summer of 1984 and released in early ’85. Rats might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first-world capitalism and third-world poverty. Whilst it’s something of a mish- mash,, with several rowdy live tracks and a few, very enjoyable re-recordings of old STUPID HUMANS songs (STUPID HUMANS being guitarist Bruce’s pre- SUBHUMANS band...), it contains two of the SUBHUMANS’ best-loved tracks: “Work Rest Play Die” and “Susan,” the latter something of an oddity as it’s a stirring piano piece with lyrics written by Steve Hamilton, an old friend of the band. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Red Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! As the title suggests, this 1986 album compiled the eight-track, Time Flies... But Aeroplanes Crash 12” EP, originally recorded and released in 1983, and the four-track, Rats 7” EP, that had been recorded during the summer of 1984 and released in early ’85. Rats might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first-world capitalism and third-world poverty. Whilst it’s something of a mish- mash,, with several rowdy live tracks and a few, very enjoyable re-recordings of old STUPID HUMANS songs (STUPID HUMANS being guitarist Bruce’s pre- SUBHUMANS band...), it contains two of the SUBHUMANS’ best-loved tracks: “Work Rest Play Die” and “Susan,” the latter something of an oddity as it’s a stirring piano piece with lyrics written by Steve Hamilton, an old friend of the band. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! As the title suggests, this 1986 album compiled the eight-track, Time Flies... But Aeroplanes Crash 12” EP, originally recorded and released in 1983, and the four-track, Rats 7” EP, that had been recorded during the summer of 1984 and released in early ’85. Rats might just be the band’s most powerful and compelling release, the title track inspired by the Stop The City protests of ’84 that sought to highlight the undeniable links between first-world capitalism and third-world poverty. Whilst it’s something of a mish- mash,, with several rowdy live tracks and a few, very enjoyable re-recordings of old STUPID HUMANS songs (STUPID HUMANS being guitarist Bruce’s pre- SUBHUMANS band...), it contains two of the SUBHUMANS’ best-loved tracks: “Work Rest Play Die” and “Susan,” the latter something of an oddity as it’s a stirring piano piece with lyrics written by Steve Hamilton, an old friend of the band. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! The astounding debut album that established the SUBHUMANS as a genuine force to be reckoned with, The Day The Country Died, captured both the band’s serious anarcho-punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant—probably his most recognisable piece of work for the band—has adorned countless thousands of jackets and t-shirts since. Recorded over just four days during the heady summer of 1982 and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important independent charts. This exhilarating collection of songs has endured for four decades with the band still regularly kicking their live set off with the opening track “All Gone Dead”. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Red Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! The astounding debut album that established the SUBHUMANS as a genuine force to be reckoned with, The Day The Country Died, captured both the band’s serious anarcho-punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant—probably his most recognisable piece of work for the band—has adorned countless thousands of jackets and t-shirts since. Recorded over just four days during the heady summer of 1982 and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important independent charts. This exhilarating collection of songs has endured for four decades with the band still regularly kicking their live set off with the opening track “All Gone Dead”. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! The astounding debut album that established the SUBHUMANS as a genuine force to be reckoned with, The Day The Country Died, captured both the band’s serious anarcho-punk ideology and their irreverent sense of humour. It was apparent from the off that here was a band that could not only stimulate your brain but also put a big shit-eating grin on your face as you jumped about to them. And the now-iconic artwork by Nick Lant—probably his most recognisable piece of work for the band—has adorned countless thousands of jackets and t-shirts since. Recorded over just four days during the heady summer of 1982 and released six months later in January 1983, when it quickly climbed to No. 3 in the UK’s then-important independent charts. This exhilarating collection of songs has endured for four decades with the band still regularly kicking their live set off with the opening track “All Gone Dead”. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! With their eclectic influences and scintillating musicianship, SUBHUMANS were never going to be content to trot out anarcho punk-by-numbers, but no onewas really prepared for the progressive brilliance of their sophomore album, From The Cradle To The Grave. Whilst the A-side contains nine short-sharp bursts of energised punk gleefully embracing allpoints of the spikey spectrum, from the breakneck thrash of “Reality Is Waiting For A Bus” to the ominous dirge of “Wake Up Screaming,” it is the ambitious title track that really captures the imagination: its sprawling, 16+ minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim—and only kept from the No. 1 spot in the independent charts by NEW ORDER! As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Red Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! With their eclectic influences and scintillating musicianship, SUBHUMANS were never going to be content to trot out anarcho punk-by-numbers, but no onewas really prepared for the progressive brilliance of their sophomore album, From The Cradle To The Grave. Whilst the A-side contains nine short-sharp bursts of energised punk gleefully embracing allpoints of the spikey spectrum, from the breakneck thrash of “Reality Is Waiting For A Bus” to the ominous dirge of “Wake Up Screaming,” it is the ambitious title track that really captures the imagination: its sprawling, 16+ minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim—and only kept from the No. 1 spot in the independent charts by NEW ORDER! As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Black Vinyl. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! With their eclectic influences and scintillating musicianship, SUBHUMANS were never going to be content to trot out anarcho punk-by-numbers, but no onewas really prepared for the progressive brilliance of their sophomore album, From The Cradle To The Grave. Whilst the A-side contains nine short-sharp bursts of energised punk gleefully embracing allpoints of the spikey spectrum, from the breakneck thrash of “Reality Is Waiting For A Bus” to the ominous dirge of “Wake Up Screaming,” it is the ambitious title track that really captures the imagination: its sprawling, 16+ minute running time telling the sorry tale of the human life cycle across a myriad of dynamic acts. If anyone was still in any doubt, it was the band defiantly setting out their stall as a creative entity that existed outside the stifling constraints of perceived musical sub-genres. Committed to tape by the visionary John Loder at Southern Studios at the tail end of 1983, it was released in April 1984 to widespread acclaim—and only kept from the No. 1 spot in the independent charts by NEW ORDER! As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. (Pirate Press Records)
  • THIS IS A PRE-ORDER! YOUR RECORD WILL SHIP ON OR AROUND 15.03.23, THANKS! The EP-LP was originally released in early 1986 after the band had split in November 1985, and collected for convenience the first four SUBHUMANS EPs onto one disc. This includes the fiery, six-track debut, Demolition War, that was first unleashed at the end of 1981, the powerful and provocative Reason For Existence and the perennial Religious Wars, both from 1982, and the intensely angry Evolution, from May 1983, whose title track rages so effectively against the senseless tragedy that is vivisection. Whilst never intended to be released as a full-length album when first recorded, most of the 18 tracks on offer are still staples in the band’s set to this day and hang together very cohesively as an essential body of work. As a staple of the punk scene, ALL of the SUBHUMANS records are still in high demand, and this long-overdue repress of this album couldn’t be coming at a better time. SUBHUMANS are one of the most influential bands from the UK, anarcho-punk scene of the ’80s, filed right alongside CRASS and CONFLICT, and just as relevant today as they were during the darkest days of Thatcher’s Britain. Take your choice in how to label them—punk, UK82, crusty, etc.—therein lies the attraction and consequent reason for their popularity, the band epitomizes non-conformity and connects with people in many different scenes. This album is an essential piece of history in the world of punk that SUBHUMANS helped create. Red Vinyl (Pirate Press Records)

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