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Recorded several years ago before Rudimentary Peni engaged in another mysterious hiatus, Great War has finally emerged to kiss the gas-tinged light of a mustered morn. Expanding on the skeletal sounds and subject of 2009's “Wilfred Owen” single the band has seen fit to concentrate on a more mechanized approach doing away with even more of the humanizing aspects in their music this time delivering ten painful familiar shards fraught with brittle anxiety and anguished simplicity. Great War cements new phase in the ever-crawling metamorphic madness that is Rudimentary Peni. The record comes with brand new Nick Blinko Artwork on the sleeve and Inner Sleeve. (Sealed Records) -
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Reissue for the 1984 mini LP by Stoke On Trent’s own Broken Bones, originally out on the Aggressive Rockproduktionen label and collecting their first two singles. This enhanced 2021 edition also features the full 1985 Live 100 Cub LP added as bonus. (Radiation Records) -
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Legendary The Specials playing Trojan classics. Following the success of their 2000 release of fifteen new recordings titled “Skinhead Girl”, The Specials lastest LP, “Conquering Ruler“, is another post-era ska/reggae beat sensation that includes fifteen new renditions from some of yesteryear’s best. Now on vinyl for the first time ever. (Mad Butcher Records)
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Awesome vinyl reissue of the complete Peel Sessions album originally released in 1990 (which collected the two EPs released in the 80s). The sound quality is excellent and Ian Curtis' vocals come through clearer (less muffled) than the album versions. 8 tracks in all including favorites "Love Will Tear Us Apart, She's Lost Control," and "Transmission." Recommended. Tracklist A1 Exercise One A2 Insight A3 She's Lost Control A4 Transmission A5 Love Will Tear Us Apart A6 24 Hours B1 Colony B2 Sound of Music B3 Transmission B4 She's Lost Control B5 Interview Tracks A1-A4 recorded for the John Peel show 31 Jan '79 Tracks A5-B2 recorded for the John Peel show 26 Nov '79 B3-B4 Recorded live for Something Else 1 Sept '79 B5 Recorded for Radio One in '79 Label: Strange Fruit Records/Unofficial
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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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Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favoured football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins, The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of One Law for Them, dropped in amongst the Radio and blistering Bumper Sessions with Evil sitting squarely in its unpolished centre is the ska-inflected gallop of Seems To Me, an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces. 40x30 cm folded poster included, 1-5: Recorded in July 1981 for radio session that was never broadcast. 6-7: Unreleased single, due to be issued in 1983 (Secret SHH 149). 8-12: Recorded at Bumper Studios in January 1981. 13: Demo. Originally released in February 1991 on "The Oddities Of Oi! (Link LRMO 3). Tracklist A1 Wonderful World (John Peel Session 1981) A2 Jealousy (John Peel Session 1981) A3 One Law For Them (John Peel Session 1981) A4 Evil (John Peel Session 1981) A5 Yesterdays Heroes (John Peel Session 1981) A6 Norman (Unreleased 45, 1983) A7 Seems To Me (Unreleased 45, 1983) B1 Clockwork Skinhead (Bumper Session, 1981) B2 Evil (Bumper Session. 1981) B3 A.C.A.B. (Bumper Session. 1981) B4 I Don't Wanna Die (Bumper Session, 1981) B5 Yesterdays Heroes (Bumper Session, 1981) B6 Saturday (Demo) Label: Radiation Barcode: 8055515235708
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Peel session, demos and compilation songs on one LP. Lp comes with insert. Tracklist: Side A 1. Elvis Dead (Vaultage 78') 2. Tupperware Party (Johnny Clarke Demos) 3. Keep Britain Ntidy (Johnny Clarke Demos) 4. I Lust For The Disgusting Things inLife (Johnny Clarke Demos) 5. T.O.G.G.B.J.'s (Johnny Clarke Demos) 6. Intensive Care (OI! The Album 1980) 7. Rob & Bank (wanna) (OI! The Album 1980) Side B 1. Moped Lads (Peel Session 1980) 2. Beat Up The Mods (Peel Session 1980) 3. Elvis Is Dead (Peel Session 1980) 4. Maniac (Peel Session 1980) 5. Transvestite (Carry On OI! 1981) 6. Maniac (Carry On OI! 1981) (Ttan Ttakun Irratia Records)
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Finally reissued on vinyl! For their second album, first wave U.K. punks the Outsiders decided to move on from the home-recorded D.I.Y. sound of their first LP and ventured into a proper recording studio for the first time. However, they didn't use the occasion to slather gloss on their music, and while 1978's Close Up does sound cleaner, richer, and more precise than 1977's Calling on Youth, the production is admirably lean and straightforward, and if anything, the arrangements are less tricked up than on the group's debut, with fewer acoustic guitar overdubs and a sleek, speedier approach that makes room for Adrian Borland's guitar heroics. By this point in the Outsiders' career, Borland was reportedly growing tired of the confines of the punk template (he'd break up the band to form the Sound before the year was out), and in many respects, Close Up sounds as much post-punk as punk; there are a few straightforward pogo rockers like "Vital Hours," "Count for Something," and "Out of Place," but the phase-shifted atmospherics and anti-racist lyrics of "White Dept." point to a more musically ambitious vision, while the slower, blues-infused "Keep the Pain Inside" snubs its nose at punk orthodoxy, and the nervous social commentary of "Semi-Detached Life" and "Conspiracy of War" are short on sloganeering and long on thoughtful observations of an off-kilter world. While Borland was clearly feeling his oats as a soloist, his melodies here are smart, strong, and to the point, while his vocals are effective and free of pretense, and bassist Bob Lawrence and drummer Adrian James are a splendid rhythm section, adding just the right amount of texture and color while driving the songs with authority and no-frills style. Close Up hardly sounds like the work of a band on its last legs; this is powerful, efficient rock & roll that has aged far more gracefully than most of the bands in the U.K. punk class of 1978. Label: Mad Butcher Records
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Official re-release of the 1982 smash record, originally released on Riot City Records. On this record, Mayhem from Southport in England offer a wacky and unpolished punk sound that differs massively from the original GB punk of that time. MAYHEM came from the environment of BLITZKRIEG and THE INSANE with whom there were personnel overlaps. Originally the band started rehearsing with a bunch of mates who used to hang out at the legendary Eric's Club in Liverpool, where they often went to matinee shows on Saturdays. MAYHEM existed from about 1979-1986, but put out their last record in 1985. The record blasts out of the speakers with such a chaotic energy that you just can't sit or stand still, it encourages you to destroy precious things. Put the record on when you get up in the morning, it will ruin your day. This is punk. (Bomb-all Records)
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So if you want to explain to somebody the meaning of Oi, just play this record to him or her. Repress of the first album originally released in 1984 by these pioneers of strictly antifascist skinhead-music from Cardiff. 15 songs, each a killer. Absolutely classic! If you don’t already have it, go get your copy and educate yourself. (Mad Butcher Records)
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Thought you’d missed out on the chance to scoop up one of the best punk albums of 2017? Luckily for you, here’s another opportunity - the debut album from Dallas’ own Slimy Member is back in print. That first pressing evaporated from stores almost as soon as it was released by Drunken Sailor, and now here it is, just in time for Xmas. So happy fucking holidays, and maybe don’t sleep on it this time, cheez. You know the sound already; a meaner-than-thou blast of ominous power chords and lowdown menace with nods to Rudimentary Peni (obviously), Die Kreuzen and the seething rush of early Saccharine Trust. That title, meanwhile, recalls The Cramps while there are even hints of the Misfits and their horror punk brethren - not least in Cesar Perez’s compelling growl, which alternates between a cathartic croon and conjuring images of someone gargling broken glass in an echo chamber. Either way, it sounds fucking great. With an endless stream of punk bands throwing back to the 1980s and somehow getting it very wrong indeed, you’d be forgiven for reading this dumbass precis and thinking, ‘So fucking what?’ But trust me: this record more than holds its own with the bands it draws influence from. It’s a howl from the gutter set to music that makes you want to pile up your belongings and set fire to them while bricking the windows of your local Conservative Club. Alternatively, it’s WAY existential and it fucking slays. Am I swearing too much? I can’t fucking help it. I fucking love this record. Don’t let yourself miss out for a second time. (Drunken Sailor Records)
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A well known 1982 UK Oi!/punk EP, reissued on 7-inch! This run is limited to 500 copies. (Mad Butcher Records)
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In December 1979 after The Epileptics lost their drummer, Colin Latter and Derek Birkett found a replacement and continued gigging. They soon decided that with a new sound and a new set they should change their name. Colin had become interested in North American Indian culture and suggested Tribe Of Pink Indians, before settling on Flux Of Pink Indians in August 1980. Demos were recorded and the band played Stonehenge when the infamous 'biker's riot' occurred (during which Colin got bottled). Spring 1981 saw the release of the legendary 'Neu Smell' EP on the Crass label which reached No. 2 in the indie charts and sold 40,000 copies. Flux were now an integral part of the Anarcho-Punk scene and were receiving the attention of the secret service who camped outside their house, taped their phone calls and followed the band around. 1982 saw the release of the ground breaking 'Strive' album which sold 20,000 copies despite refusal of the band to promote it. No promotional copies were sent to the press or radio and no advertising was permitted. Flux decided a far more experimental path should be taken (the idea being that by making the music un-listenable people would concentrate on the lyrics) with 'The Fucking Cunts Treat Us Like Pricks' which was banned by HMV and seized from one shop by the police. The subsequent release 'Taking A Liberty' sold only 5,000. After releasing the more rhythm and dance orientated album 'The Uncarved Block' in 1986 on their own One Little Indian label the band expanded to a 15 piece, toured and decided to call it a day. This is a limited pressing of 500 copies with a 4-page insert. It’s the original demos for the ‘Strive To Survive’ album plus other demos and recordings from 1980/1. (Overground Records)
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Now Here’s An Echo From Your Future is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album’s ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track Arterial Movements in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in Human Frailty (‘The realisation that you cannot halt their impending death’), to the aggressive attack on the rise of the right-wing in They’re Not Listening (‘The time-old tradition of the right wing accosting desperate working class people has returned’) shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, Now Here’s An Echo From Your Future bristles with an unforgiving frustration and temper. The recording of Now Here’s An Echo From Your Future started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the Pre/Post compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John’s S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker (currently studying at Abbey Road). The album was mastered by Brett Shaw at 123 Studios, Peckham. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a Girls in Synthesis show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle. Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly. Catch Girls in Synthesis while you can and witness the rise of one of the UK’s most original and unique underground bands. Label: Harbinger Sound Records
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Recorded 3 months after the death of front man Ian Curtis; these are the first New Order demos made after the end of Joy Division. "Are You Ready" (a collaboration with label mates Cabaret Voltaire) and the track "Homage" are previously unreleased and all songs are quite different from their 12" versions.
A1 Dreams Never End (Mix 1) A2 Homage A3 Ceremony B1 Truth B2 Are You Ready? B3 Dreams Never End (Mix 2) (Swingshift Records) -
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Complete 22 track collection of The Cigarettes entire recorded output. 180g Gatefold Double Vinyl with poster, sticker & badge & CD with 20-page booklet. It was at the tail end of what would later be loosely termed ‘The Seventies’, in Lincoln, Merry England, that three teenagers formed, the consequences of their actions are captured here. “You Were So Young” consists of everything that The Cigarettes ever recorded in what was their two-year life span. From the very beginnings in the rehearsal room through to tracks recorded for an unreleased third single. It includes the two singles and their EP sides, some tracks that were included on a local compilation album, and their solitary John Peel session along with a handful that never found their way onto a record. Their debut single ‘They’re Back Again, Here They Come’, exchanges hands from upwards of £100 and ‘You Were So Young’ has been viewed on Youtube over 1.3m times. The CD booklet and vinyl inner sleeves include an in depth interview with Rob and Steve, answering pretty much all there is to know about The Cigarettes. (Optic Nerve Recordings/2019)
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Originally this record got pressed on vinyl simply because it wouldn't fit on the Inlé vinyl. Etching on Side B, 180gram Vinyl, Includes single-sided insert with credits and lyrics, Artwork by Alex CF (Alerta Antifascista Records) https://alertaantifascistarecords.bandcamp.com/album/aa117-fall-of-efrafa-the-burial-12
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'Tharn' (meaning 'fear') is a single-track remix release of 'Dominion Theology' taken from their latest album 'Elil', but feels more like a teaser for new material from Brighton's Fall of Efrafa. Paper Aeroplane, the remix masters at work here have turned what is a harsh and bleak track and infused it with piano, cello and a sense of post-rock pleasantries. Their wording of this in release material as a 're-imagining' of the track, although a stomach-churning term, in this case is accurate. Taking sections of guitar and sections of the relentless heaviness and turning it into almost a soundtrack-like piece of music is a great way to manipulate and show off FoE's grandeur in a way they had obviously not thought of before. it was released on 300 one-sided LPs with a beautiful screen-printed b-side, this release is sold out since a super long time, which shows you how fast word travels on a fantastic band. Big time instrumental emo (circa 1994-style) complete with piano and a cello to round out a well developed and executed piece of music. Gruff, yelled vocals make a brief appearance after a l...o...n...g calm and help usher things into more of a concerted song - yes, song, singular. The one songed, one-sided 12" has a beautifully screened B-side that does not play music. The side that does is comprised mostly of singular instruments slowly coalescing and ultimately reaching a crescendo of epic...ness. Dreary, emotional, and made for certain rainy nights alone, this is bringing me back to sad days in high school. Apparently known in some circles of heavyier music, FALL OF EFRAFA has taken a piece of music originally done by PAPER AEROPLANE and given it their personal touch of eloquence. For fans of GOSPEL, DROWNING WITH OUR ANCHORS, and MINERAL. Etching on Side B, heavy Vinyl, Insert, Artwork by Alex CF. (Alerta Antifascista Records) https://alertaantifascistarecords.bandcamp.com/album/aa118-fall-of-efrafa-tharn-12
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Brooding, dark and sombre melodic crust in the vein of Ictus and Fall of Efrafa, vast resonant guitars and cello over thundering D-beat, invoking mythologies of remnant cultures amongst the ruins of our civilisation, the earthen liturgy of forests and ice scapes. Morrow are a collective of friends from all over the world, and features guest vocals from members of Masakari, Monachus, Wildspeaker, Archivist and Anopheli Label: Alerta Antifascista Records
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Now grown out of the bedroom and operating as a fully functional band, London via Ukraine's POWERPLANT follow up last year's 'People In The Sun' LP with this new 5 track banger. The Devo / Tubeway Army / Screamers / Lost Sounds comparisons are still there but also the weirder tracks are weirder, the faster tracks are faster and is Theo fucking crooning on the opener? One way to find out. To better days! Limited to 500 copies pressed on clear vinyl. Shoved inside a reverse board sleeve complete with lyric sheet. (Static Shock Records) https://staticshockrecords.bandcamp.com/album/a-spine-evidence
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Subdued unleash their crushing debut album and not a moment too soon. In these dark and bleak days of 2020 they deliver a perfect album of classic anarcho punk with gothic tinges. impassioned vocals, raging guitar work that ranges from straight ahead to every so tinted flanged sounds mix with a locked in, energetic and relentless rhythm section. Their are moments of quiet and calm, spoken word vocals and metallic edges that just add to the tension and intensity. if someone told you that this was released in 1986 on Mortarhate, you wouldn’t be surprised. This album, along with Bad Breeding are setting the bar for a new golden age of anrcho punk in the UK. This album deserves a place in your collection next to Icons Of Filth, Anti Sect, Vex and Exit Stance. (La Vida Es Un Mus Records) https://lavidaesunmus.bandcamp.com/album/over-the-hills-and-far-away
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Raw Records was one of the UK's first ever independent labels, having been formed in 1977 by Lee Wood. This was the second compilation they issued in early 1978 following up the ‘Raw Deal!’ album (Damgood 209). This reissue includes 4 bonus tracks including the ultra rare ‘Into the 80’s’ by The Now. 16 of the label's best tracks feature here alongside a comprehensive discography of one of the most important but vastly underrated indie labels of our time. Bands such as The Users, Killjoys, Lockjaw and The Unwanted later provided members for the likes of The Cure, Psychedelic Furs, UK Subs and Dexy's Midnight Runners whilst the scarcity of Raw's releases made them highly prized collectors' items. Two Soft Boys tracks from one of the rarest Raw singles fetaure here, unavailable elsewhere. Essential listening for any an Killeded by Death/Bloodstains Across. Tracklist: A1 The Unwanted– Withdrawal/1984 A2 The Users– Sick Of You A3 The Hammersmith Gorillas*– Leavin' 'Ome A4 Some Chicken– Blood On The Wall A5 The Gorillas– It's My Life A6 The Soft Boys– Hear My Brane B1 The Killjoys– Johnny Won't Get To Heaven B2 The Hammersmith Gorillas*– You Really Got Me B3 The Users– (I'm In Love) With Today B4 Some Chicken– New Religion B5 Downliners Sect– Showbiz B6 The Killjoys– Naive Label: Damaged Goods Records
The scum of toytown is back! 20 years after their fantastic debut album "Strike", the band from Stevenage (UK) is back together and recorded a brand new full lenght LP in 2014. On here they feature a set of previously unrecorded older material alongside with new songs that sound just as they picked it up again where they left off in 1995.
A festival of tuneful but subversive punk-MUSIC (yes, in capitals) merging the drive and rage of anarcho punk with reggae parts and hints of pop and dub groves. Transporting a personal yet punk political message across the listener. Sometimes full on powerful riffage, sometimes furious, sometimes melancolic and melodic, all at the same time, wrapped up in a top notch DIY production.
SCUM OF TOYTOWN were a obscure phenomena of the 1990ies, rootet in the North London punk scene of the late 1970ies and 1980ies. They crawled out of the void and managed in their short existence to make a lasting impact on everyone fortunate enough to catch them either live or on record before they sunk into oblivion for unknown reason. They appeared on festivals and squats in central Europe and making everyone (seriously) move and dance along to their unique style of innovative sounding punkrock. Music that makes you toss a brick with a smile on your face.
They left us with their only legacy a 7“ and a genius LP....
... we're more than happy to have them back with their new album. They haven't lost it, not a single bit!
Label: Ruin Nation Records
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Second LP from Anopheli. This band features members of Fall Of Efrafa, Monuments Collapse, Light Bearer continue playing epic neo-CRUST with heaps of influences of their previous bands. Outstanding stuff!
Label: Alerta Antifascista
Time's Up is a reissue of Buzzcocks' 1976 album of demos, recorded with founder & singer Howard Devoto and originally released as a bootleg.
In 1981, with disco medleys of former pop hits like “Stars on 45” climbing the charts around the world, a cluster of British punk rockers recorded their own medley of old favorites. The Friendly Hopefuls’ Tribute to the Punks of ’76 begins with the standard looped clap track and a slick, professional-sounding chorus singing: “Hey hey/Remember that day / In 1976 / When the music scene was boring / Until along came - this!” And the guitar riff from the Buzzcocks’ “Boredom” kicks in.
Spiral Scratch - the four-song debut EP on which “Boredom” appeared - was a revelation. British punk rock was brand new at that point: when Spiral Scratch was released on January 29, 1977, the Sex Pistols’ “Anarchy in the U.K.” was barely two months old, the Damned, the Vibrators, and the Stranglers had some singles out, and that was it. All those bands were signed to at-least-sort-of-legitimate record labels. Meanwhile, the Buzzcocks scraped together the funds to have 1000 copies of Spiral Scratch pressed themselves, and called their otherwise nonexistent label New Hormones.
The masterminds behind the band at that point - singer/guitarist Howard Devoto and guitarist Pete Shelley - weren’t Londoners like the earliest wave of UK punks. They were from unfashionable Manchester, a couple of hours’ train ride north. In the fall of 1975, Devoto and Shelley read about the Sex Pistols, traveled down to London to see them, and came back inspired to start a band of their own. The Buzzcocks’ first complete set was opening for the second of two legendary Pistols shows in Manchester during the summer of 1976.
Time’s Up - initially a bootleg in 1978, and officially released in 1991 - is an invaluable document. It's the demo Buzzcocks recorded on October 18, 1976 - all snarls, yelps, and distortion, while also sounding entirely joyful. They revel in rock bands’ newly-won right to present themselves as mean and aggressive and to say "fuck" out loud. Devoto sings as if Johnny Rotten is the only other vocalist he’s ever heard, and always seems about to break into giggles. “You tear me up, you bloody swine!” he yells with adenoidal delight. “Orgasm Addict,” which they’d re-record as a single a year later, isn’t quite fully formed yet, but Devoto’s rhymes about stained jeans, as well as his whining gasps, were genuinely transgressive for their moment.
The band is still finding its feet on Time’s Up, especially as teenage drummer John Maher slowed down the tempo every time he attempted to play a fill. Still, they worked out how to vigorously shove their songs forward. The two covers that were part of their live set at the time revealed a bit about where Buzzcocks were coming from: A sped-up version of the Troggs’ “I Can’t Control Myself” anticipates the love of popcraft that would shortly surface in their own songs and a heavily rewritten take on Captain Beefheart’s “I Love You, You Big Dummy” (which Devoto would take with him to his subsequent band Magazine) hints at the odder, artier side of their later records.
Two months after the Time’s Up demos, they re-recorded four of those songs with producer Martin Hannett as Spiral Scratch. A few more weeks of practice had done wonders for the Buzzcocks’ sound: now they were fast, strong and acrobatically tight. They powered through “Breakdown” in two minutes flat and started to sound more like themselves than like the Pistols or the Ramones. In fact, the Ramones would ape the two-note guitar solo gag in “Boredom” for their own on “I Wanna Be Sedated.”
The great joke of Devoto’s performance here is that, on the first record by a new band at the vanguard of a new musical movement, he presents himself as utterly over everything—including punk in general. “I’m already a has-been,” he sneers. “You know the scene is - very humdrum!” He wasn't kidding because less than a week after Spiral Scratch’s release, Devoto quit the Buzzcocks, and Shelley took his place as the band’s frontman.
By the time they stopped re-pressing the EP in the summer of 1977, Buzzcocks had sold 16,000 copies of it. In its way, Spiral Scratch was at least as important to punk as the Sex Pistols’ rise, because it was the first record of its kind to erase the axioms that the art and business of pop music were necessarily separate, and that a band could never be important until it signed to a “real” record label. Buzzcocks said fuck it and decided to just do it themselves.
Label: Domino Records
Barcode: 0887830011211
