• For many, this band needs no introduction, as they are indeed legends in a vibrant scene stretching across the world. At the same time, for anyone not part of that category, they are far-and-away the best band that you've not heard yet. This full length, their sixth, in 45 years as a band, truly exemplifies how incredible and how special this band is. 
    Rather than follow the all-too-common trajectory of releasing a new full length every few years, and following it up with tour after tour, sparrer really remained selective with the new music they've chosen to release, and the gigs they are willing to play – and for many people, that is what really sets them apart. There is no ‘fluff’ - ever! 
    All of their albums are classics, and this one is soon-to-be as well. Hit after hit, hook after hook, sing-along after sing-along and jam packed with substance, “Forever" is an album that will be treasured by hundreds of thousands of fans for decades to come. 
    One would assume that this is the last full length that we will see from these legends; and a fitting one it is indeed. These best-of-friends wear their hearts on their sleeves, and bring an intensity and emotional component to everything that they do – whether it is recording new tracks, or getting on stage to thoroughly impress thousands of fans with their incomparable and truly spectacular live performances. This album does nothing short of illustrate that perfectly. 180gr black vinyl.
    (Pirates Press Records / Randale Records / Chase The Ace Records)

  • Some records so perfectly capture an artist at a critical point in their creativity, and make such an impact, that they become not just synonymous with the band, but an essential piece of music history. Such is the case with Shock Troops, the album that not only became Cock Sparrer’s most acclaimed record, but a defining moment for Oi!, punk rock, and underground music in general! Originally released by Razor Records in 1983, Shock Troops proved to consist of song after song which would each become anthems of the burgeoning Oi! scene and far beyond. From the opening of “Where Are They Now?” on through “Take ‘Em All,” “We’re Coming Back,” all the way to the closing chords of “Out On An Island,” there isn’t a song in the bunch that any self respecting punk rocker can’t shout along to. These working class anthems are just as vital today, as proven by the crowds of beloved fans worldwide that continue to go wild at Sparrer’s live shows, where Shock Troops tracks still make up the heart of their setlists. It is with all due reverence for the nearly four decades of influence traceable to this one-of-a-kind album that Pirates Press Records makes certain this classic is always in print. For every old schooler looking to buy a gorgeous colored vinyl copy of an old favorite, and for every young punk kid learning what it’s all about, we are proud to present Cock Sparrer’s legendary LP, Shock Troops! (Pirate Press Records)
  • Remixed and remastered, this includes all of the tracks that were recorded for their debut with Decca, only uncut with all the count-ins and banter in between. Previously released on CD by Captain Oi! as Rarities, this record is like a snapshot of being in the studio with COCK SPARRER during the very early days. As would be expected with such an amazing band, many of these songs have held strong through decades of new music and continue to reign as many of the “hits” they still perform today. (Pirate Press Records)
  • Unheard Rejects 1979-1981 is a collection of demo tracks recorded between 1979 and 1981 by the mighty Cockney Rejects. 12 songs from the first era, their first steps inside the 77 punk movement that them and others bands like UK Subs or Sham 69 helped to build. Here you can find the rudest Cockney Rejects songs with some The Clash's influences in some reggae riffs but without losing energy or sounding soft. This record was originally released under the Wonderful World label and now Beat Generation. Limited edition LP, 500 copies only. (Beat Generation Records)  
  • Out of stock
    Originally released in June of 1982, the debut album by the Cocteau Twins is considered far darker than some of their later offerings, being influenced by Siouxsie and the Banshees, early Cure and the Birthday Party. During this early period, Will Heggie's bass played a significant role in defining their sound, giving it a darker and heavily rhythmic, earthy texture. This combined with Robin Guthrie's minimalistic and heavily effected guitar arrangements; a great deal of distortion and feed-back, smoothed out with chorus, reverb and flanger. Beneath is the roland 808 drum machine thumping along, as distinctively Cocteau sounding as the guitar. All while Elizabeth Fraser seemed to veer into glossolalia and mouth music. Garlands marks the beginning of their haunting ethereal sound. A masterpiece. The debut album remastered from the original analogue tapes. MP3 download coupon included. (4AD)
  • Back in stock
    Victorialand, Cocteau Twins’ fourth album, was released in spring 1986. The largely acoustic, non-percussive album was made with Elizabeth and Robin, while Simon was working on This Mortal Coil's second album. Dif Juz label mate Richard Thomas guested on tabla and saxophone. The Guardian said "It’s not quite ambient, but it’s definitely not rock’n’roll even by the Cocteaus’ standards, building on the moments of guitar shimmer from the previous years’ EPs, while also stripping back at points to where it’s nothing but a Guthrie guitar line and Fraser’s voice." 140g black vinyl, audio remastered from the original analogue tapes and with art faithful to their original 23 Envelope designs. Download code. (4AD/2020)
  • CONFLICT | conclusion | LP

    13.00 incl. tax
    Long-running U.K. anarcho punks Conflict hardly need an introduction. This is a reissue of their 1993 album which saw the band incorporating keyboards, synths, horns, and even some ska and death rock influences. While their previous albums It’s Time to See Who’s Who and Increase the Pressure were much more rooted in hardcore punk, Conclusion offers a more challenging listen with songs clocking in at over nine minutes, with spoken word and operatic song structures. It’s probably not what I would ever recommend as a go-to or classic (their previously mentioned first two records are where I’d start with) but twenty-four years later, this album still stands the test of time and holds up about as well as anything that came out that year. The unlisted final song is perhaps the band at its most ferocious and worth the price of admission alone. –Juan Espinosa (Papagájův Hlasatel Records)
  • Out of stock

    "Increase the Pressure" is the second album by the British punk rock band Conflict originally released in 1984. Conflict, a crew of radical anarchists and animal rights activists, put out a bunch of great records in the '80s and a few in the '90s. Increase the Pressure is among the best of them.
    (Restless Empire Records)

  • 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)
  • Back in stock
    A compilation from UK anarcho punks Crass, featuring "The Feeding Of The 5000" demos and their only Peel session from 1979. Tracklist A1 End Result A2 G's Song A3 General Bacardi A4 Securicor A5 Angela Rippon A6 Major General Despair A7 Do They Owe Us A Living? A8 Punk Is Dead B1 Shaved Women B2 They've Got A Bomb B3 Tired B4 G's Song [Peel Session] B5 Mother Earth (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)
  • Out of stock

    CRASS | penis envy | LP

    22.50 incl. tax
    Penis Envy is Crass' third album, released in 1981. The albums name is a nod to some of Freud's ideas concerning sexuality. This album marked a departure from the "macho, hardcore" sounds heard on previous Crass albums, featuring more complex musical arrangements, and exclusively female vocals (those of Joy De Vivre and Eve Libertine). The album addressed issues of feminism and attacked institutions of "the system" such as marriage and sexual oppression. The album was banned by the retailer HMV, and The Greater Manchester Police seized copies of it, along with other Crass albums and Dead Kennedys material, from Eastern Bloc record shop. Its owner, Frank Schofield, was charged with "Displaying obscene articles for publication for gain". As well as this, the band Flux Of Pink Indians, Crass' labels, and their publishing company were all charged on the grounds of the Obscene Publications Act. The heavy costs incurred by this would eventually contribute to the band's demise. The album has been remastered by Alex Gordon at Abbey Road Studios, as close as possible to the sound of the original release. Penis Envy, released in 1981, was the third LP by Crass. Eve Libertine takes the lead vocals throughout the album (the one exception being de Vivre's turn on the unnerving portrayal of hospitals and waiting for death, Health Surface). A powerful and challenging record, Penis Envy uses the brutal, cruel description of sexism and rape on the opening track, Bata Motel, as a launching point for a comprehensive rip through societal control and repression throughout. Smart enough to target everything from the mechanics and business of selling romance (Smother Love) to gender stereotyping (Systematic Death) and back again, lyrically the sharpest cut is toward those who choose to accept such a system rather than reacting back against it. Both the vinyl and CD feature fold-out poster sleeves and are exact replicas of the original pressing. (Crass Records)
  • '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)
  • Out of stock
    Limited Edition of 300 copies on Purple Vinyl. 350g Heavy Cardboard Sleeve and includes digital Download. Cross Stitched Eyes are back with their first release since almost 9 years! - "Autosarcophagy" was recorded, arranged and mixed between 2016 and 2017 and finally finished 2020. Featured here are 8 tracks recorded just prior their final 2017 US Tour. Cross Stitched Eyes continiue to combine elements of postpunk and deathrock from the likes of early KILLING JOKE, AMEBIX and RUDIMENTARY PENI with more obscure psychadelic rock influences , odd timings and drone like compositions. Lyrically once again exploring with the darkest and twisted corners of the mind as well as personal nightmares and haunting expiriences. - "Autosarcophagy" might be a slight musical departure from previous Cross Stitched Eyes recordings but you still smell the peni! Recorded, Mixed & Produced by Tim Shapland between 2016 - 2020 Vocals Recorded 2019 by Skot Brown, Oakland, CA Mastered at North London Bomb Mastering 2019 Artwork by Steve Descamps, Brian D' Agosta, Asbjörn Skou & some ancient friends. Cross Stitched Eyes on this recording: Jason Willer (Vox & Drums) Tim Shapland (Guitars & Vox) Stevie Daniels (Bass Guitar) (Ruin Nation Records/2021)
  • Manchester's straight edge troupee xCurraheex has been going through hectic times in the last two years, with a lot of membership changes, causing delays with recordings and cancelled shows. But these times belong to the past – vocalist Smit and drummer Mike are now joined by Mike Wright and Adam on guitar and bass respectively and are back on track! Hence, the title of the record! This 7” contains five songs, partly recorded more than over a year ago, that were only recently finished by the new line-up. Compared to their previous release, the 'Why We Fight' 7”, the guitar work is a bit more experimental, with quite some tempo changes and breaks, but despite that, it's still 100% energetic and fast straight edge hardcore. Artwork is again done by Javi and the record comes on green vinyl! (Commitment Records)
  • 2008 debut single from the defunct Manchester straight edge band. (Double X Crossed Records)
  • It was the summer of 1976 when Dave Vanian, Rat Scabies and Captain Sensible recruited guitarist and songwriter Brian James, they played their first gig supporting the Sex Pistols at the 100 Club and quickly signed to Stiff Records and began writing the very first chapter of the punk rock history books. Their debut 7” - New Rose – was written by Brian James and backed by a proto-thrash version of The Beatles’ Help. It was recorded by Stiff’s in-house producer, Nick Lowe and set the punk dream alight at exactly 9.00am when record shops opened for business on 22 October 1976, stealing a march on the Pistols by becoming what is widely acknowledged as the very first punk record ever released.The band really came into their own with their second single - Neat Neat Neat - which had two cuts on the B-side, Stab Yor Back and Singalongascabies. Produced, like New Rose, by Nick Lowe, the vinyl had a message from one band member scratched in the run-out groove: “this is your captain speaking...” So what were Captain Sensible’s favourite acts on Stiff, one journalist asked him in 2007? “I wasn't interested!” he insists. “It was mainly pub rock in the early days, which we despised and sneered at in our young and snotty way…” After a special 7” - Stretcher Case Baby - cut to give away at gigs celebrating the band’s first anniversary, they went back into the studio, this time with Pink Floyd’s Nick Mason at the controls. Third single Problem Child was written by Brian James with Rat Scabies and featured new recruit Lu Edmonds on guitar. An incendiary two minutes of the band in their prime, it failed to crack the UK top 40 but did make number 27 in NME’s alternative singles chart. By the end of 1977, the Damned were ready to part with Stiff, just as Brian James and Lu Edmonds were ready to part with The Damned. Their last single was Don’t Cry Wolf, backed with another Nick Mason-produced track, One Way Love. This LP includes first seven The Damned's 7's on one LP! Includes double-sided insert. A1 - A2 "New Rose" 7'' (1976) A3 - A5 "Neat Neat Neat" (1977) A6 - A7 "Problem Child" (1977) A8 - A9 "Stretcher Case Baby" (1977) A10 "Don't Cry Wolf / One Way Love" (1977) B1 "Don't Cry Wolf / One Way Love" (1977) B2 - B3 "Smash It Up" (1979) B4 - B6 "Love Song" (1979) (Zero Thoughts Records/Unofficial Release)
  • Out of stock
    A Gang Of Four-like present from the nervous 1978 UK. Hailing from Birmingham, Dangerous Girls were an all-male band who played a sharp art-punk-funk described by John Peel as “spasm rock”. Try to dance to this complete singles collection, if you can! 1978, Birmingham UK: Mike Cooper (vocals), Rob Peters (drums), Chris Ames (guitar), Rob Rampton (bass) form a band called Dangerous Girls. First gig booked with Dexy’s Midnight Runners (then known as the Dynatones), UB40 and Surprises (50p entrance), but pulled at the last minute. First actual gig in Dudley (with Dexy’s Midnight Runners, The Surprises all playing their debut gig). The band builds a following but, with no records out, Chris leaves in April 1979 & Beetmoll joins on guitar 2 days before his first gig. July 1979: first single out, “Dangerous Girls/I Don’t Want To Eat (With The Family)”. Play UK tours offering use of the PA, lights and equipment to local bands who wish to play. November 1979: live “Taaga” Ep released, reaches number I in the last indie chart of the 70’s. John Peel describes the band as “spasm rock”. Sign to London indie label Human Records. 3rd record “Man In The Glass/M07S”, then 4th record “Step Out/Sidekick Phenomena/Men In Suits”. BBC Radio I session “Dangerous Girls/Simmer/Instict/Domestic Blisters”. Start to record an album, “Nerve Ends”, but Human Records go bust & album abandoned. 1982: the band splits. Get together again in 2012 for reunion gigs with new members Micky Harris (bass) and Jake Simmons (guitar). Chris Ames rejoins and the band self-release first vinyl album “Highbury Studio May 2015”. …and here we are at PRESENT. (Rave Up Records)
  • Reissue of this UK Punk classic. “Excellent, powerful release. The A-side is slower with classic soccer chants, and the B-side is a real killer.” (Maximum Rock’n’Roll, 1982) (Mad Butcher Records)
  • Another repress of a classic UK Punk EP from this Birmingham based band originally released in 1982. Four songs. (Mad Butcher Records)
  • Licensed by Cherry Red Music! Official repress of this classic from 1982. Limited to 500 copies! The band was one of the few multi-racial punk bands of the UK82 wave as there were two black kids in the band. Not only that, but these two boys were also twin brothers. (Mad Butcher Records)
  • Reissue of a monstruous split between two '80s HC faves. This 'Japan Meets England' split between Chaos U.K. and Death Side was released in 1987 by the legendary Selfish label, to celebrate Chaos U.K.'s first Japan tour. Surprisingly enough this is probably the best Chaos U.K. material ever! On the flip you hear the band that created the whole 'Burning Spirit' HC sound, and who, together with Confuse and Kuro, form the (un-)holy trinity of Japanese HC. Fuzzy, noisy, and as fast as humanly possible. (Liberation Records/Unofficial Release)


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