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Out of stock
Reissue of the 1979 and third album by 'the only band that matters'. It features all 19 of the original tracks, including the hidden hit 'Train in Vain. Bursting at the seams with creative energy, The Clash's stunning 1979 double album is now considered one of the greatest albums of all time. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ('Brand New Cadillac') to reggae ('Judy Can't Fail') to pop (the top 40 hit 'Train in Vain'), The Clash knocked down all musical walls. Label: Columbia, Sony Music Barcode: 0888751127012 -
Out of stock
Reissue of the 1979 and third album by 'the only band that matters'. It features all 19 of the original tracks, including the hidden hit 'Train in Vain. Bursting at the seams with creative energy, The Clash's stunning 1979 double album is now considered one of the greatest albums of all time. With ex-Mott the Hoople producer Guy Stevens harnessing their sound as never before, the band yielded what proved to be the best work of their career. Bouncing from hard rock (the apocalyptic vision of the title track) to rockabilly ('Brand New Cadillac') to reggae ('Judy Can't Fail') to pop (the top 40 hit 'Train in Vain'), The Clash knocked down all musical walls. This limited edition 2CD digipack has a clear plastic slip case printed with Ray Lowry’s artwork, which can be removed to reveal the Pennie Smith photo without the typography. The discs are housed in paper sleeves being replicas of the original LP inners. Discs are replica LPs with white CBS labels. Label: Columbia Barcode: 190759786727 -
Tracks A1 and A4 "The Cost Of Living" 7' (11 May, 1979) Tracks A5 and A6 "London Calling/Armageddon Calling" 7' (7 December, 1979) Trackk B1 "Bankrobber" 7' (8 August, 1980) Tracks B2 and B3 "The Call Up" 7' (21 November, 1980) Tracks B4 and B5 "Hitsville UK" 7' (12 December, 1980) Track B6 "Magnificent Seven" 7' (24 April, 1981) A1 I Fought The Law A2 Groovy Times A3 Gates Of The West A4 Capital Radio Two A5 London Calling A6 Armageddon Time B1 Bankrobber B2 The Call Up B3 Stop The World B4 Hitsville UK. B5 Police On My Back B6 The Magnificent Seven Label: Zero Thought Records
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Sensing the emollient rattle of punk was an artistic dead end, The Clash took an abrupt volte-face and invited American Sandy Pearlman to produce their second album. Respected for his work with blue oyster cult and the dictators, Pearlman introduced a sheen that disturbed purists but introduced The Clash to a wider audience. The clear sound brought a new emphasis to the quartet's internal interplay and allowed the material to stand up in its own right. 1978's 'Give 'em enough rope' contains several of the band's most popular songs, which range from the defiant 'Tommy gun' to the sensitive 'stay free,' a contrast confirming The Clash's wider musical ambitions. Included printed inner sleeve with lyrics. 180g black vinyl. Label: Columbia, Sony Music, Legacy Barcode: 0889854195410
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Tracks A1 "Radio Clash" 7' (2 November, 1981) Tracks A2 and A3 "Know Your Rights" 7' (23 April, 1982) Trackk A4 and A5 "Rock The Casbah" 7' (11 June, 1982) Tracks A7 and A8 "Live At The Shea Stadium" 7' (2014) Tracks B1 and B2 "Should I Stay Or Should I Go" 7' (17 September, 1982) Tracks B3 and B4 "Should I Stay Or Should I Go" US Press bonus songs 7' (10 June, 1982) Tracks B5 and B6 "This is England" 7'' (30 September, 1985 Side 1 1. "This Is Radio Clash" (4:12) 2. "Know Your Rights" (3:35) 3. "First Night Back In London" (3:00) 4. "Rock The Casbah" (3:38) 5. "Long Time Jerk" (5:07) 6. "London Calling" (live) (3:31) Side 2 1. "Should I Stay Or Should I Go" (3:09) 2. "Straight To Hell" (3:44) 3. "Inoculated City" (2:31) 4. "Cool Confusion" (3:15) 5. "This Is England" (3:35) 6. "Do It Now" (3:08) 7. "Career Opportunities" (live) (2:09) Label: Zero Thought Records
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Out of stock
Legend has it that The Blood were "discovered" by Cockney Rejects vocalist Jeff "Stinky Turner" Geggus on the top deck of a bus in Charlton. What they were all doing on the South East London bus has never been fully explained! Still, it was Jeff who introduced Coming Blood (as they were then known) to Sounds journalist Garry Bushell and, suitably impressed, he offered them a spot on the fourth volume of the Oi! compilation series, Oi! Oi! That's Yer Lot (1982). It wasn't just the punk scene that took to the band, the more open-minded in the metal fraternity also embraced them, making them one of the first punk-metal crossover bands, equally at home with followers of the Anti Nowhere League or Motorhead. Though the initial career of The Blood may only have been brief, the two singles, 12", and album they released have all stood the test of time, many of the songs later covered by bands not even born when they were first recorded! (Radiation Records)
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Out of stock
Legend has it that The Blood were "discovered" by Cockney Rejects vocalist Jeff "Stinky Turner" Geggus on the top deck of a bus in Charlton. What they were all doing on the South East London bus has never been fully explained! Still, it was Jeff who introduced Coming Blood (as they were then known) to Sounds journalist Garry Bushell and, suitably impressed, he offered them a spot on the fourth volume of the Oi! compilation series, Oi! Oi! That's Yer Lot (1982). It wasn't just the punk scene that took to the band, the more open-minded in the metal fraternity also embraced them, making them one of the first punk-metal crossover bands, equally at home with followers of the Anti Nowhere League or Motorhead. Though the initial career of The Blood may only have been brief, the two singles, 12", and album they released have all stood the test of time, many of the songs later covered by bands not even born when they were first recorded! Color Vinyl. Tracklist: 1) Stark Raving Normal (Stark Raving Normal single, 1983, Noise Records) 2) Megalomania (Megalomania single, 1983, No Future Records) 3) Parasite In Paradise (Megalomania single, 1983, No Future Records) 4) Calling The Shots (Megalomania single, 1983, No Future Records) 5) Incubus (Se Parare Nex single, 1985, Conquest Records) 6) I Dreamt Of Your Death Last Night (Se Parare Nex single, 1985, Conquest Records) 7) Smiling Throat (Se Parare Nex single, 1985, Conquest Records) 8) Attic Case (Se Parare Nex single, 1985, Conquest Records) 9) False Fed, Brain Dead (Se Parare Nex single, 1985, Conquest Records) 10) Se Parare Nex (Se Parare Nex single, 1985, Conquest Records) 11) Such Fun ("Oi! Oi! That's Yer Lot" Compilation, 1982, Secret Records) 12) Napalm Job ("Oi! Chartbusters Volume 3" Compilation, 1988, Link Records 13) Drunk Addict (Demo) 14) Coffin Dodgers (Demo) 15) Napalm Job (Demo) 16) Megalomania (False Gestures For A Devious Public lp outtake) 17) Such Fun (False Gestures For A Devious Public lp outtake) 18) Alconaut (The Joys of OI! compilation, 1993, Step-1 Music) 19) Bad News ("Oi! That's What I Call Music" Compilation, 1988, Link Records) (Radiation Records)
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Out of stock
Legend has it that The Blood were "discovered" by Cockney Rejects vocalist Jeff "Stinky Turner" Geggus on the top deck of a bus in Charlton. What they were all doing on the South East London bus has never been fully explained! Still, it was Jeff who introduced Coming Blood (as they were then known) to Sounds journalist Garry Bushell and, suitably impressed, he offered them a spot on the fourth volume of the Oi! compilation series, Oi! Oi! That's Yer Lot (1982). It wasn't just the punk scene that took to the band, the more open-minded in the metal fraternity also embraced them, making them one of the first punk-metal crossover bands, equally at home with followers of the Anti Nowhere League or Motorhead. Though the initial career of The Blood may only have been brief, the two singles, 12", and album they released have all stood the test of time, many of the songs later covered by bands not even born when they were first recorded! Tracklist 1) Stark Raving Normal (Stark Raving Normal single, 1983, Noise Records) 2) Megalomania (Megalomania single, 1983, No Future Records) 3) Parasite In Paradise (Megalomania single, 1983, No Future Records) 4) Calling The Shots (Megalomania single, 1983, No Future Records) 5) Incubus (Se Parare Nex single, 1985, Conquest Records) 6) I Dreamt Of Your Death Last Night (Se Parare Nex single, 1985, Conquest Records) 7) Smiling Throat (Se Parare Nex single, 1985, Conquest Records) 8) Attic Case (Se Parare Nex single, 1985, Conquest Records) 9) False Fed, Brain Dead (Se Parare Nex single, 1985, Conquest Records) 10) Se Parare Nex (Se Parare Nex single, 1985, Conquest Records) 11) Such Fun ("Oi! Oi! That's Yer Lot" Compilation, 1982, Secret Records) 12) Napalm Job ("Oi! Chartbusters Volume 3" Compilation, 1988, Link Records 13) Drunk Addict (Demo) 14) Coffin Dodgers (Demo) 15) Napalm Job (Demo) 16) Megalomania (False Gestures For A Devious Public lp outtake) 17) Such Fun (False Gestures For A Devious Public lp outtake) 18) Alconaut (The Joys of OI! compilation, 1993, Step-1 Music) 19) Bad News ("Oi! That's What I Call Music" Compilation, 1988, Link Records) (Radiation Records)
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Formed within the sound of the Charlton FC terraces, they soon became the success of the Oi music genre, that great sonic punk movement of the eighties. Oi was the perfect antidote to the grim blandness of new wave, and THE BLOOD were it’s major craftsmen. Originally known as Coming Blood, the band first made harmonious noises in 1982, and began their assualt on the establishment, or whoever needed their arses kicked. They soon graduated from the infamous Oi Chartbuster Albums and hit out on their own, looking for victims for their new brand of musical skullduggery. The essence of the band was frivolity, football style anthems and some very provocative lyrics. Their goal was to do everything to wind-up absolutely everyone, which they easily did with great humourous dexterity. With their landmark single, Meglomania, and album, False Gestures For A Devious Public, THE BLOOD shocked Britain with their quips and actions of spendidly good taste. This, their first album, is the recent reissue on Audio PLatter. Gatefold cover. Label: Audio Platter
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Great classic UK punk, originally released on Link records in 1992, for the first time on vinyl. Recorded in various locations in 1981. Limited edition on color vinyl, comes complete with a POSTER for an exclusive photo by Ray Stevenson and OBI strip. Red Vinyl w/ OBI Strip. Limited to 500 copies for RSD 2023. TRACKLIST SIDE A Gary Gilmore's Eyes New Boys One Chord Wonders On The Roof New Day Dawning Quick Step Safety In Numbers SIDE B The Great British Mistake We Who Wait New Church Bombsite Boys Bored Teenagers One Chord Wonders (Encore) (Radiation Records)
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The Sound of Music’ may be one of the most underappreciated punk albums of 1982, while many great and genre defining and seminal albums were released that year few were released that were as fun and imaginative as The Adicts ‘The Sound Of Music’. It features classics such as ‘Joker In The Pack’, ‘Chinese Takeaway’ and ‘my Baby Got Run Over By A Steamroller’ just to name a few. It can be argued that is as perfect an album as there is. Comes with a poster and liner notes from the band. (Puke N Vomit Records)
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Unofficial re-release their first LP from 1981. Glossy cover & 180g vinyl. Label: Dwed Wecords
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Out of stock
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)
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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)
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Out of stock
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)
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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)
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Out of stock
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)
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Out of stock
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)
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Out of stock
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. 600pcs. - 12" White & Black Galaxy Vinyl with Gatefold cover. Label: Pirate Press Records Barcode: 810017647965
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Out of stock
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)
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Out of stock
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)
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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)
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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)
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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)
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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)
