RAD. Loud & Fast (Sacramento) 15.50 EUR. BACK IN STOCK!! Sacramento’s RAD is a living, sweating, biting example of an era gone by. They carry on the fury, brevity, and humor of the mid-‘80s when punk and thrash were crossing over, but with totally modern sensibilities. They began in 2011 and quickly become Sacramento’s first and only hardcore apologists. RAD is LORY GILPARTIC (SHARK SANDWICH, RIFF RANDALS) on vocals, ANTHONY LEW on bass, CRAIG HANCOCK (Shark Sandwich) on drums and CHARLES ALBRIGHT on guitar and backing vocals. With their debut LP, Loud & Fast, they make no more apologies. Loud and Fast is a 20-song love letter to American hardcore and thrash. RAD would like you to believe they are Negative Approach with a sense of humor, or DRI at there most cathartic. But actually, RAD is just a good band. They’ll play in your basement. They will play your backyard. They will play in your living room. Middle Class and the Fix won’t.
RADAR EYES. S/T (Hozac) 14.00 EUR. We’ve been waiting for this moment from RADAR EYES for years. This debut album is more of a pinnacle of modern noise pop than just another invigorating album to get warmed up to on a cold morning. Soaring guitars and heavenly vocal interplay, all screaming along with such interstellar melody and power, you’d think they were on the brink of signing to Creation Records. They have been quietly building an explosive array of hits for the past few years, and now their incredible shine has become unavoidable as they crush together spacey noise with pop hooks so devastating, we just had to ask them to put out their debut album. Here, finally on the LP format they’re best suited for, they’ve aligned their angelic guitar transcendency to come to full fruition, heralding a fresh new layer of palpitating excitement to their timeless sound they’ve honed to such a fine point. This is a band that understands how to control themselves under all the constraints, firing off powerfully direct, gigantic synthesized pop anthems that twist and turn with the best of their influences and lock themselves deep inside your head.
RADIO 77. Terrorismo Juvenil (Discos Regresivos) 12.00 EUR. Discos Regresivos tiene el grandísimo honor de reeditar uno de los discos básicos del punk madrileño.
Los Radio 77 surgieron en los principios de los 90 de las cenizas de Snap, Sneakers y Sex Museum y quedó claro desde el principio que sus influencias eran el punk y la nueva ola inglesa surgida desde el 77, aunque dándole el toque de las calles de Madrid.
En esa época quizás (¿en ésta lo es?) ese estilo no era el más adecuado para tener legiones de seguidores, pero siguieron adelante sacando en 1993 un EP debut imprescindible (autoeditado en La Caverna Records).
Y en 1995 llega el Terrorismo Juvenil, temazo tras temazo empezando por un himno como Aburrido en Madrid y acabando con temones como Kamikaze.
Cara A: Aburrido En Madrid / Atrás / Radio 77 / Orden y Control / El Precio De Tu Piel / Revuelta Negra / Garageland
Cara B: Fe y Gloria / Revoluciones / Como Tú / Chicos Del Viernes / Kamikaze / Lies / Atrás (Instr.)
RADIO BIRDMAN. Radios Appear (4 Men With Beards) 17.50 EUR. BACK IN STOCK!! Originally released in 1977, Radios Appear, is the debut album from one of most important Australian bands of all time. Though they are often lumped in with the punk-rock sound of their contemporaries in London and New York, they actually owe more to the earlier sounds of Detroit, specifically the Stooges and the MC5. Their debut is a scorching piece of snotty rock and roll unparalleled in their country or beyond.
RADIOACTIVITY. S/T (Dirtnap) 15.50 EUR. BACK IN STOCK!! RADIOACTIVITY is a continuation of THE NOVICE, JEFF BURKE’s band while living in Japan. Jeff has since moved back to Texas, and out of respect to the Japanese lineup of the band, has changed the name to Radioactivity. Some of these songs are re-purposed Novice tracks, while others are brand new. Jeff is one of the most distinctive songwriters in the punk rock underground, and these songs will sound instantly familiar to any fans of THE MARKED MEN or POTENTIAL JOHNS. Band members include Jeff Burke, MARK RYAN and GREGORY RUTHERFORD, whose credits read like an all-star lineup of Texas punk and garage rock royalty, including members of The Marked Men, MIND SPIDERS, BAD SPORTS, WAX MUSEUMS, THE REDS, VIDEO and The Novice.
RAT COLUMNS. Sceptre Hole (Smart Guy) 13.00 EUR. BACK IN STOCK!! RAT COLUMNS is a trio from San Francisco, California that generates dark, ill-fit- ting pop wanderings, introspective jangle and chime, mangled noises and various points between. The band was started by DAVID WEST (RANK/XEROS, BURNING SENSATION) in the isolated environs of Perth, Western Australia, and following a move to the northern hemisphere the trio format was happened upon with the addition of drummer/guitarist MATT BLEYLE (VIOLENT CHANGE, SPOONS, ABI YOYOS) and bassist JON YOUNG. The three recorded the LP Sceptre Hole in the second half of 2011. As on the previous four-song 7” (SmartGuy Records, 2011), JAMES VINCIGUERRA (TOTAL CONTROL, SOVIET VALVES, AIDS) contributed some drums to the effort. Sure, Sceptre Hole flies closer in to the pop sun than before it also keeps a toe in the murky waters of guitar noise and dour ambience.
RATAS DEL VATICANO. Tiempos De Austeridad (Hbsp-2x) 15.00 EUR. More primo, kick-ass punk rock from Monterrey, Mexico’s RATAS DEL VATICANO. Pressed on one-sided vinyl with an etching on the B-side. Edition of 500 copies.
THE RATS. Intermittent Signals (Mississippi) 17.00 EUR. REISSUED!!! Second LP, recorded in 1980, buy Portland punk legends THE RATS. FRED and TOODY COLE of DEAD MOON, PIERCED ARROW, THE RANGE RATS, THE WEEDS, LOLLIPOP SHOP and a million other bands are joined on this one by SAM HENRY of THE WIPERS and NAPALM BEACH. A very eclectic LP with elements of Punk, new wave, art rock, psychedelia and early Rock and roll. Great nuts and bolts song writing. A true punk rock classic.
THE RATS. Rats (Mississippi) 17.00 EUR. REISSUED!!! First LP, recorded in 1979 by Portland punk legends THE RATS. FRED and TOODY COLE of DEAD MOON, PIERCED ARROW, THE RANGE RATS, THE WEEDS, LOLLIPOP SHOP and a million other bands along with ROD RAT present a punk rock masterpiece. Stripped down and lo-fi. The record has a slight psychedelic edge and some definite roots in early rock and roll. The record that started to define the aesthetic that would later inform what Fred and Toody accomplished with Dead Moon. Nuts and bolts great songwriting on songs such as “Teenagers,” “World War 3,” “Social Indigestion” and more.
RAYDIOS. Now (Dirtnap) 12.50 EUR. Our first release from a Japanese band, and we couldn't really ask for a better one than this. For those not in the know, THE RAYDIOS is FINK from the legendary TEENGENERATE and current member of FIRESTARTER. This is their 2nd album, coming about 10 years (!) after their Demo LP on Screaming Apple. The CD version of Now is released by Japan's Mangrove Records last year (and is being distributed by Dirtnap in the USA), and is just now seeing the light of day on vinyl. It's been remastered for vinyl and remixed by Fink himself, and sounds GREAT. Musically this is no frills, crunchy, mid tempo rock n roll. Less trashy than Teengenerate, but not quite as ‘pop’ as Firestarter, this is kinda a middle ground between the two. Total dream release for Dirtnap. Pinch us.”
RAYMILLAND. Recordings ’79-’81 LP+CD (BDR Records) 16.00 EUR. Raymilland formed in the summer of 1978 in St. Louis and lasted until the fall of 1981. Although starting out playing standard punk covers by the Buzzcocks, Damned, and Ultravox, their original influences and ideas about music leaned more toward the no-wave bands of NY and the more experimental bands from the UK. Raymilland played live eight times; four in St. Louis and four in Chicago. A fifth Chicago date slotted to open for Joy Division never happened when the US tour was canceled due to the death of Ian Curtis. Raymilland released one single in 1980 on Praxis; an influential Chicago music/art magazine, had one song included on the first Sub-Pop compilation cassette, and another on a compilation cassette released by the legendary Dong Dong Tapes from the Netherlands. A self produced demo cassette to attract label interest and procure live gigs was so influential that Wax Trax Records sold bootleg copies in their Chicago retail store. Although the band was constantly recording; there were no further official releases. Almost 30 years later BDR Records persuades the band to release a collection of those recordings. The members reviewed their vast archive to assemble the definitive Raymilland collection, and the result is Recordings '79-'81.
RAYON BEACH. Memory Teeth EP 12” (Horizontal Action) 10.00 EUR. “We get really excited about bands sometimes, right? Well folks, RAYON BEACH are one of the most head-blasting, endorphin-rushing musical anomalies we've stumbled across in a while, and these six tracks of exotic punk psychedelia are just what the doctor ordered. Located terrestrially in Austin, TX but borne of outer limits only imagined by acid casualties trying to find where Syd Barrett lives, Rayon Beach take us on an incredible ride through surreal soundscapes and off-center arrangements, and pull it all together under a tight black umbrella, soaked in afterbirth and glowing like weird moon rocks. With aural slices so scrappy and inspirational, they effortlessly conjoin shards of obscure noise, not unlike the uncategorizable brilliance of The Deviants, Swell Maps, and The Soft Boys, in that inescapable running of the primal Pink Floyd nuance through the chainsaw-style state of mind. With no Gold edition, and only 550 black vinyl copies available of this high-powered 12" EP's maiden pressing, you might want to jump all over this before it's morphed into something unrecognizable from it's original state. Watch out for Cryptic Scissor as well, a side-project emanating from Rayon Beach and Woven Bones as part of the next round of the HoZac Hookup Klub, coming soon.”—HoZac
RAZORS. S/T (Vince Lombardy Highschool) 13.00 EUR. Rerelease by this early german Punkclassic from 1980. One of the greatest HC-Punk events in that time. Comes nearly in the same hot artwork as 22 years ago. 14 killer tracks.
REACTIONARIES. 1979 (Water Under The Bridge) 16.00 EUR. BACK IN STOCK!! An awesome 1979 rehearsal recording from San Pedro, California’s REACTIONARIES—D. BOON, MIKE WATT and GEORGE HURLEY of THE MINUTEMEN, along with vocalist MARTIN TAMBUROVICH. Recorded in the shed in back of George’s house on 17th Street, across the street from San Pedro High School, January 1979.
READING RAINBOW. Prism Eyes (Hozac) 13.00 EUR. The Virginia-bred, Philadelphia-based garage pop duo READING RAINBOW explores the tension of dreams-versus-reality on their second full-length release. Since debuting in 2008 with a series of distorted, beautiful 7-inch singles, the band’s ability to lyrically tackle broad themes and big questions has set them apart. Twelve tracks.
REAL KIDS. Shake...Outta Control (Ugly Pop) 20.00 EUR. It's been 38 years since Boston's REAL KIDS debuted with the finest rock'n'roll record ever committed to tape, and now they're back with a long-awaited new full-length on legendary hometown label Ace Of Hearts and Canada's Ugly Pop.
Of course, long time fans can always be excused some apprehension when a band of this vintage presents new material so deep into their career, but there's no cause to fret here. “Shake...Outta Control” is a fantastic return to form, a strong set of powerful, memorable and engaging songs that do absolute justice to this band's legacy. While some bands lose track of their own soul in forced attempts at progression, and others risk diminishing returns by simply treading the water of their earlier work, 2014 finds the Real Kids negotiating this path beautifully. Boasting both the raw energy and tough hooks of 1977 and the matured chops and expanded palette of frontman John Felice's “Nothing Pretty” LP, the dozen songs on this disc settle easily among the band's best work. Producer Rick Harte guides with an expert hand, integrating Hammond organ and pedal steel seamlessly into a full yet suitably unpolished whole, and the songs run the gamut from quieter but intense ballads like a definitive new “Common At Noon” and a sublime take on Jonathan Richman's “Fly Into The Mystery” to fast-paced rockers like “All Night Boppin'” (powered along by highly caffeinated barroom piano) and of course the instant classic title track, a high-energy gem anchored by the sort of classic Boston punk rock'n'roll riff that made this band's name. Culminating in an incendiary “Who Needs You?”, this is a genuine Real Kids record that will thrill new fans and old alike.
Superbly mastered at New York's renowned Sterling Sound, the “Shake...Outta Control” LP was cut 100% analog direct from tape and pressed at RIP-V on 180G vinyl for an incredible high-quality deluxe package. Black vinyl.
REAL NUMBERS. Only Two Can Play (Three Dimensional) 11.50 EUR. BACK IN STOCK!! "Only Two Can Play" sees the REAL NUMBERS further refine their UK DIY-inspired pop approach, resulting in their best batch of songs to date. There's an adventurous air to this one —from the softer edged title track to the ominous tension of "Ordeal"—but the first class songwriting remains eminently catchy throughout. There are moments of genuine melodic splendor on here that Ed Ball would likely give a kidney to have penned. If you were a fan of their previous 12" on Three Dimensional or their excellent 45 on Florida's Dying then guaranteed you will be spending a lot of time with this record. Limited to 300 copies.
REATARDS. Teenage Hate/Fuck Elvis Here’s The Reatards 2xLP (Goner) 21.50 EUR. Goner Records presents the deluxe reissue of Jay Reatard’s first full-length LP, with a bonus album of early tracks recorded on four-track and only released on cassettes. Some songs feature Greg Cartwright (Reigning Sound, Oblivians) on drums! Teenage Hate / Fuck Elvis Here’s the Reatards offers a glimpse into the punk energy and rapidly developing raw talent of a teenage Reatard. The double-album features covers of Fear, The Dead Boys, Lil’ Bunnies, Buddy Holly, Johnny Vomit & The Dry Heaves... and The Beatles!
RED MASS. S/T (Florida’s Dying) 13.50 EUR. RED MASS creates dark, driving, and repetitive apocalypse-punk that's unique to Montreal, especially considering that this band features members of now-defunct CPC GANGBANGS. Their dissonant and disjointed dark-wave eventually erupts into hypnotic noise. The sound and vocals range from the low preach of Bad Seeds-era Nick Cave to the severe rants of Fear's Lee Ving, all bound and gagged with acidic guitar solos revived from long-dead Eddie Hazel.
RED MASS. S/T 12” (Psychic Handshake) 12.50 EUR. Absolutely killer four song 45 RPM 12" debut by a Montreal collective led and masterminded by Choyce (aka - Roy Vucino, formerly of CPC Gangbangs, Les Sexareenos, Daylight Lovers and Les Enfants Sauvages, just to name a few of his many groups). Brewing for several years prior to CPC Gangbangs untimely demise, RED MASS delivers on the promise of the Gangbangs artier and more progressive moments without losing one ounce of the ferocity or catchiness they were known for. This might very well be the best thing we’ve heard to date from Choyce, but its only the beginning. The scope and potential of Red Mass is enormous. These four songs offer a brief, exhilarating glimpse of their vision.
REDD KROSS. Neurotica (Sympathy For The Record Industry) 14.00 EUR. From Wikipedia: Neurotica is the fourth record from the band Redd Kross. It was released on Big Time Records (an RCA Records subsidiary) in 1987. The album was produced by ex-Ramones drummer Tommy Erdelyi.
REGULATIONS. To Be Me (P.Trash/Ny Vag) 12.50 EUR. Still unwrapped you can already feel this new long release by Swedish Überrockers REGULATIONS buzzing inside its sleeve and in the moment you put the needle in the groove you know you're finally home and that this is the Christmas present you desired and deserved!
Twelve new sharp fusillades that make this silly Hardcore-Punk heart inside of your beaten body jump with joy and pounding pleasure. When it comes to timeless and catchy early 80s US Hardcore sound in these fast and modern times of ours, the REGULATIONS take the biggest part of the cake. Once more they managed to step back to the classic Hardcore of the ADOLESCENTS, the CIRCLE JERKS or BLACK FLACK and stir it up with ingenuity, inspiration and passion in meldodic mid-tempo songs like ''Baghdad Beach Party'', ''Creature in a Cage'' or ''In the Shadow of a Mall''. You also find two excellent slower and distorted tunes with ''To be me'' and ''Down the street'' as well as the fast sweeper ''Busy night'' and the yet to be a classic ''Don't bother me'' which could have been recorded ages ago.
This record sure will keep you warm and shaking your bones to these freezing days coming ahead.
REIGNING SOUND. Shattered (Merge) 17.50 EUR. BACK IN STOCK!! Shattered is REIGNING SOUND’s first album for Merge and the first full LP by the group since 2009’s Love and Curses. The band’s principal songwriter/member is GREG CARTWRIGHT, who’s been leading the shifting cast of characters since 2001. You may be familiar with some of the band’s work, as this album is preceded by five studio efforts as well as numerous EPs and live records. Or perhaps some of Greg’s other projects have been on your musical radar: THE OBLIVIANS, PARTING GIFTS, COMPULSIVE GAMBLERS, ‘68 COMEBACK, DEADLY SNAKES, DETROIT COBRAS. Regardless, as far as Reigning Sound is concerned, this is as good a place to start as any because through many line-up changes and mood swings, the central, constant feature is the way Greg writes songs. This particular embodiment of the band includes longtime keyboardist DAVE AMELS, who joined the band seven years ago when Reigning Sound recorded an album, consisting mostly of Cartwright’s songs, with former Shangri-Las lead singer Mary Weiss. Dave proved to be key in putting together the current line-up as well. About three years ago, Greg was asked to make a promotional EP for Scion. Recordings were set to take place in Nashville where he had lined up two local friends to round out the band, but as fate would have it, both had to bow out at the last minute. Luckily, MIKE CATANESE, BENNY TROKAN and MIKEY POSTt—Dave Amels’ bandmates in Brooklyn soul group THE JAY VONS—were up for the task. The four flew to Nashville, learned the songs, and recorded them with Greg in a couple of days. Thus was born the group that you hear on Shattered. They’ve been touring and playing together ever since, and Shattered proves that the musical union is both exciting and consistent for fans of Cartwright’s songwriting. The album was recorded at Daptone’s Brooklyn studio (where drummer Mikey works in the office) and masterfully engineered by WAYNE DOUGLAS. The recordings are warm and punchy, a mixed bag of rockers, ballads, and something in between. There are only 11 songs on the album, but the band reckons it’s just right.
REIGNING SOUND. Love And Curses (In The Red) 14.00 EUR. It's been five years since Greg Cartwright's Reigning Sound dropped their last full-length studio album, Too Much Guitar. Not that Cartwright has been resting on his laurels. The Reigning Sound backed Shangri-La Mary Weiss on her critically acclaimed comeback album, Dangerous Game, which was produced and largely written by Cartwright. The band performed with Weiss on tour, including an appearance on Late Night with Conan O'Brien. Cartwright also produced, penned songs for, and played in The Detroit Cobras for a spell. All the while, the Reigning Sound toured the US on and off and released a couple of live albums, yet never managed to get into the studio to record. All the while, Cartwright stockpiled loads of new tunes. Finally, late last year, the band entered Ardent Studios in Memphis and laid down a bunch of songs. Some months later, they went into Echo Mountain Studios in North Carolina and recorded a bunch more. In the end, the band had more than enough for two albums, and carefully whittled it down to the cream of the musical crop. Love and Curses (title comes from Memphis TV horror host Sivad) is a return to the sound and style of the Reigning Sound's incredible Time Bomb High School. The band once again features a full-time keyboardist, Dave Amels, and has jettisoned the lo-fi approach used on Too Much Guitar in favor of a bigger, warmer studio sound. As with Time Bomb High School, Love and Curses strikes a balance between soulful rockers and beautiful ballads. The results are a rock 'n' roll album as near to perfection as any one is likely to hear this year.
REIGNING SOUND. Too Much Guitar (In The Red) 14.00 EUR. Few familiar modern garage rock’n’roll would find fault with the view that Greg Cartwright is one of the today’s brightest talents. His singing and songwriting are second to none, as demonstrated in his previous bands The Oblivians and The Compulsive Gamblers. The Reigning Sound, his current vehicle, was born in Memphis, Tennessee, sired by a Flash & The Memphis Casuals 45 and nursed by a Barbara Pittman single. Childhood was not easy for this musical what-not. Kids shunned it for its rock’n’roll sensibility and obvious lack of polished shtick. In true stepchild fashion, though, the band continued to develop a unique sound all its own that didn’t really focus on preconceived genres. Rock’n’roll, R&B, gospel, pop and soul all melt into their The Reigning Sound’s distinctive Memphis sound. Their debut album on Sympathy For The Record Industry demonstrated their talents for crafting great, moody soundscapes. Their second album, Timebomb High School on In The Red, captures their full spectrum, from rockers to ballads. On Too Much Guitar, Cartwright goes for the throat with their hardest edged, toughest recording to date. Half recorded at Memphis’s famed Easley Studios and half recorded by Jay and Alicja of the Lost Sounds inside Cartwright’s own Legba record store, the album is a powerhouse that at times recalls the garage punk energy of The Oblivians — no doubt what a lot of his fans have been waiting for.
THE RESIDENTS. Residue Of The Residents – 2xLP (Superior Viaduct) 23.00 EUR. Residue of The Residents collects outtakes, rare tracks and other experiments from this legendary San Francisco collective. Originally released on Ralph Records in 1983 and spanning The Residents’ career up to that point, this first-time vinyl reissue has been expanded to a double LP and contains 26 songs from the late ’70s and early ’80s—the group’s most fertile period. Highlights from the first LP include the Morricone-inspired “The Sleeper,” the dreamlike “Whoopy Snort” (initially on the LAFMS compilation Blorp Esette), the intense collage piece “Kamikaze Lady” from the pre-Residents 1971 Baby Sex tapes, and the RAO Studio Orchestra version of “Ups & Downs” (which may be the group’s finest pop moment). The second LP features many insider favorites that have not been available on vinyl for decades: “Loser = Weed” (initially released as the B-side to the Satisfaction single), “Death in Barstow” and “Melon Collie Lassie” (from the Babyfingers EP), as well as The Residents’ contributions to the great Subterranean Modern compilation. Balancing the group’s conceptual impulses with a dark palette of electro-esotericism, Residue of The Residents is an intoxicating collection that serves as an ideal starting point for the uninitiated.
THE RESONARS. Greatest Songs Of The Resonars (Trouble In Mind) 16.00 EUR. BACK IN STOCK!! Many people may not realize, but Tuscon native MATT RENDON has been making some of the world's greatest pop music since 1997, having released 6 full-length albums and 3 singles under the moniker THE RESONARS. What started as a band, became a solo effort with Rendon playing everything his own damn self and this 14-song compilation gathers together some of his greatest compositions from the opening guitar scree & wall of vocal harmonies of "Definitely Crescent Ridge," to the cascading guitar jangle of "Marina," all the way to the winsome chords of "Paint My Window Green." Hits. All of 'em. Limited edition of 1,000 copies on randomly colored vinyl. Includes a download.
RETAINERS. S/T (P.Trash) 12.00 EUR. After appetizing us on various small platters, these four Minnesotites finally deliver the main course on their first big one. What you get is 12 crazy and overdriven chunks of finest Garage-Punk stuffed down your throat and flushed deep down your guts on a wave of surfy guitarlines, crashing cymbals and distorted vocals. From the fast and sharp openers ''Waste of time'' and ''Gimme a pill'' to the more relaxed, but not less threatening ''Next to you'' or ''Commit crime'' right down to the farewell instrumental ''Outerspace rainbow'', this is a raw and stripped-down mash of rattling KBD Punk, the melodic outbursts of JAY REATARD, some rolling Memphis Punk plus a little Surf here and there banned straight and analogically on a 4-track with the helping hand of beers and burgers. A feast for all you noisehungry hounds out there sincerely brought to by P.Trash and Radio 81. Enjoy!
REV. NORB & THE ONIONS. S/T (Certified Pr) 14.50 EUR. "Sometimes you want your punk, and you want it served up stupid. Maybe stupid ain't the right word. You don't need it overly smart. Screw all the political hubbub and messages deep. Serve up a punk that's willing to just get drunk, shred some leads and allow you to throttle about, pogo-ing till those brainmeat start to dribble out of your ears like blue raspberry residue under a Slushy lid. Rock n' rollers and outta' controllers. THE ONIONS deliver this sorta tough, dunderheaded fun that we all need from time to time. A remedy to help scrub away the the multitude of shitty news stories about drive by shootings, police brutality and over imaginative bath salt incidents. Pound away those troubles in a case of Old Milwaukee and plop this fucker on the Hi-Fi. After all has been said, you still need to know that The Onions aren't a dumb band. They kid around, true—but they are most definitely not a joke. Manitowoc, WI scene player BRAD DAUGS has been honing his beefy chops since he was just a tender lumpling in LAST SONS OF KRYPTON, 300 B.C. After heavy digestion of KBD comps and all sorts of other things leather jacketed and full o' fury, Brad and Co. found kinship in another "sconie pep-punk weirdo, THE REVEREND NORB (BORIS THE SPRINKLER). Stitched together, they wear a heap of influences on their sleeves, clotting up like green globs of snot..."—Rob Fletcher (1-2-3-4- Go! Records). Packaged with double-sided inserts with re-sealable plastic outer sleeves.
REVELATORS. Let A Poo Boy Ride (Crypt) 12.50 EUR. BACK IN STOCK!! The unissued 2nd album, recorded in 2 days in 1998, and a goddamn masterpiece! John Schooley, Jeremiah and Bill Randt (back then drummer for the New Bomb Turks) wail through 13 cuts and reach the ultimate climax with "Jitterbug Swing". Play at the right volume (yess - all the way up, buddy) and get blown away by Schooleys buzzsaw guitar and Jerimiah's howlin' vocals. Tracks: We Told You Not To Cross Us/ Missouri Mule/ I Can't Stop Lovin'/ Love One Day/ Killin' Me/ Jack Johnson/ What I Want/ It's A Sin/ Lone Star/ Take It Back/ Buzzard & The Hawk/ Rainin In My Heart/ Jitterbug Swing.
REVISIONS. Revised Observations (Dirtnap Records) 12.00 EUR. Justin Maurer of CLOROX GIRLS asked Douglas Burns of THE OBSERVERS and RED DONS to perform an acoustic set at one of Maurer’s book readings for, Don’t You Take Your Life. Burns, along with fellow RED DONS members Hajji Husayn and Derek Skokan, adapted songs he wrote while in the OBSERVERS and SPEDS into an acoustic format for the set. This LP includes songs from the new RED DONS LP as well.
RITUAL HOWLS. S/T (Urinal Cake) 16.50 EUR. PAUL BANCELL, BEN SAGINAW and CHRIS SAMUELS are RITUAL HOWLS. They are meat machines making noise and sights. Noise with an ebb tide of melody. They collect samples of collisions, scrapings on concrete, pounding metal & oak. Chris Samuels, formerly of DI_SECT, time stretches the samples and sequences them along with the beats. Ben Saginaw, painter of nineteenth century criminals, collector of wandering lines, gives the low end it's grip. Paul Bancell. Words and music. Feral. Leaves claw marks on your soul. “Cold-sounding, lo-fi minimal post-punkish death rock from Detroit. Ritual Howls is a three-piece, with vocals, guitars, bass, drum machines and synths. The atmospheric and jangly guitar melodies here are incredible, and work well with the synths and drum machines to create a surreal sort of gloom; very introspective, and indeed cold. But still very infectious.”—Harold, HammerSmashedSound.com
RIVER CITY TANLINES. Coast To Coast (Big Legal Mess) 14.00 EUR. THE RIVER CITY TANLINES (the name being a play on the concept of a “farmer tan”) is a three-piece rock band from Memphis, TN. ALICJA TROUT, the principle songwriter, is a veteran of countless noteworthy punk/indie bands over the years, including THE CLEARS, LOST SOUNDS, and her other current projects, ALICJA-POP, MOUSEROCKET, and BLACK SUNDAY. Likewise, the powerful rhythm section of TERRENCE BISHOP and JOHN BONDS are no strangers to success, having played together behind such names as Jack Oblivian, R.L. Burnside, Jim Dandy & Black Oak Arkansas, and Monsieur Jeffrey Evans. In 2009 the Tanlines appeared in Craig Brewer’s (Hustle and Flow, Black Snake Moan) web-series (and soundtrack) for MTV, “Five Dollar Cover,” and performed “I’m Your Negative” in a rollerderby fight scene. They also have a song (“Black Knight,” a crowd favorite at live shows) featured in the EA Sports video game Skate. Together since late 2004, the band has toured extensively in North America and Europe playing clubs and festivals, and has ten releases on various record labels around the world.
ROCK*A*TEENS. A Major Motion Picture – 2xLP (Chunklet) 25.50 EUR. The perfect 'best of' collection from the undisputed kings of Cabbagetown! A 22 track, double album featuring recordings from their first four full lengths performed live at the Star bar during an extended residency in 1998 & 1999. "CHRIS LOPEZ wrote some of the most eloquent, sardonic, romantic, &, well, basically the best rock and roll songs of the 1990s. His band wrapped them in a florid southern reimagining of 1950s garage rock that always sounded sloppily, scarily out of control & yet dead serious.”—Will Sheff, OKKERVIL RIVER. Vinyl only release limited to 300 copies with download featuring bonus material.
ROCK*A*TEENS. Sweet Birds Of Youth – 2xLP (Merge) 22.50 EUR. In ’94 and ’95, ROCK*A*TEENS were a fixture in the Atlanta and Athens scene: KELLY HOGAN towing along her little teacup dog; CHRIS VERENE wearing makeup and pigtails (and a dress, maybe?); and JUSTIN looking like a wet, unfurled flannel shirt. Then there was CHRIS LOPEZ. He was always polite, always cool, but his aloof demeanor underpinned a crushingly shy guy. Who in the hell knew he had this shambolic group the Rock*A*Teens tucked up his sleeve? Flash ahead to 1998. Merge had just released Baby, A Little Rain Must Fall, and around this time, the estimable BALLARD LESEMANN had replaced Chris Verene on drums. Ballard had long been considered the Bun E. Carlos of the Georgia music scene. He had a hard thump on the floor tom, a solid foot on the kick drum, and a flair for being a showman behind the kit. I mean, can you name another drummer who drinks beer during a song? By the time Y2K came along, the band had started work on what would become Sweet Bird of Youth. Chris Lopez composed and recorded the majority of Sweet Bird’s basic tracks on keyboards and guitar at ROB GAL’s studio, and then lugged the tape machine back to their Black Box rehearsal space at the end of Krog Street to finish. Band members Will, Justin, and Lopez would each go in on his own time and add his own flourishes to each track without the others’ knowledge. This unusual hands-off collaboration progressed for months during the spring of 2000. The ladies from ULTRABABYFAT (SHONALI and MICHELLE) laid down Phil Spector-esque backup vocals on “If I Wanted to Be Famous (I’d Have Shot Someone),” and SHANNON WRIGHT sang an achingly spare duet with Chris on “It’s Destiny.” Anthemic. Majestic. Shimmering. Heart-aching brilliance. The Rock*A*Teens focused it all into Sweet Bird of Youth.
ROKY ERICKSON. Don’t Slander Me 2xLP (Light In The Attic) 24.00 EUR. BACK IN STOCK!! Received a 7.9 rating from Pitchfork. Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by ROKY ERICKSON in the 1980s: The Evil One (LITA 097), Don’t Slander Me (LITA 098) and Gremlins Have Pictures (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986’s Don’t Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and—in ‘Burn The Flames’, later found on the Return Of The Living Dead soundtrack—even power ballads. CD includes an 18-page booklet. Vinyl edition feaures a booklet, download card and Side D etching by artis TRAViS MILLARD.
ROKY ERICKSON. The Evil One 2xLP (Light In The Attic) 24.00 EUR. BACK IN STOCK!! Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by ROKY ERICKSON in the 1980s: The Evil One (LITA 097), Don’t Slander Me (LITA 098) and Gremlins Have Pictures (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. As the core member of the 13TH FLOOR ELEVATORS and an undisputed pioneer of psychedelic rock, the ’60s were thrilling times for Erickson. His band riding high in their native Texas and beyond, the howling single ‘You’re Gonna Miss Me’ was his calling card, but Erickson’s ‘60s ended in the stuff of nightmares. Under sharp scrutiny by the authorities due to the band’s well-expounded fondness for psychedelic drugs, Erickson was found with a single joint on his person. Pleading not guilty by reason of insanity to avoid prison, he was sent to the Rusk State Hospital for the criminally insane, where he was ‘treated’ with electroconvulsive therapy and Thorazine treatment. Erickson pulled through his three and a half years at Rusk, and even put together a band while incarcerated. THE MISSING LINKS contained Roky plus two murderers and a rapist. Released from the institution in 1974, Roky found his legend had grown while he’d been away–not least because ‘You’re Gonna Miss Me’ was included on 1972’s Nuggets compilation. He formed a band, THE ALIENS, and set about honing a hard rock sound that placed the psychedelic garage blues of the Elevators firmly in the last decade. Though it was produced at a time when Roky was struggling to cope with drugs and life on the outside, he hit form on his first post Elevators album-proper, 1981’s The Evil One. Produced over a period of two years by STU COOK from CREEDENCE CLEARWATER REVIVAL, it’s a masterful collection of songs about zombies, demons, vampires and, yes, even the ‘Creature With The Atom Brain’. These tracks, inspired by schlock sci-fi and horror movies and colored by Roky’s distinctive, high-pitched vocal and squealing guitar, are among the maverick performer’s best. CD includes a 48-page booklet, Vinyl includes a 20-page booklet, download card and a Side D etching by artist TRAVIS MILLARD.
ROKY ERICKSON. Gremlins Have Pictures LP + 7” (Light In The Attic) 23.00 EUR. BACK IN STOCK!! Reveived an 8.7 Best New Reissue rating from Pitchfork. Celebrating a creative purple patch by a singular performer, Light In The Attic is to reissue the three albums issued by ROKY ERICKSON in the 1980s: The Evil One (LITA 097), Don’t Slander Me (LITA 098) and Gremlins Have Pictures (LITA 099). Together, they’re a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. Collected here, the odds and ends of Erickson’s post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled ‘Anthem (I Promise)’. The span of time is great—from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by THE ALIENS, to those troubled Don’t Slander Me off-cuts. Other tracks were cut with THE EXPLOSIVES, the band Roky started working with at Raul’s punk club in Austin after he’d returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson’s recording career. Following reissues of The Evil One and Don’t Slander Me, Gremlins is now brought back to life by Light In The Attic Records. This is a chance to pick up a missing jigsaw piece in the history of American rock ‘n’ roll in deluxe packages. CD includes a 32-page booklet. LP includes an 8-page booklet, download card and bonus 7-inch with tracks 13-16 from the CD.
RONDOS. Destroy The Entertainment (Red Wig) 23.50 EUR. DE RONDOS were around from 1978 until 1980. Besides being an art-collective who were sharing a building they used as a base to launch their commie rockets at CRASSholes, the police, nihilist punx and the corrupted consumer society at large—they made some fantastic records too. Grating repetitive stripped down angry compositions—songs is maybe not the right word. They introduced a new gestalt in the Dutch music world; aesthetically having nothing to do with rock, playing on their own terms, writing their own zines, creating D.I.Y. platforms to be inclusive and inspirational. Rehearsal spaces, gigs and stencil machines. Power to the people. This double LP collects their singles on the first side, a selection from a live concert in 1978 on the second. The second LP also contains their Redattack LP. The recordings are raw and to the point. No studio trickery, overdubs or hippy noodling here. The sound is more related to English bands like Wire, Crisis, Crass (their friends turned foes) and Gang of four. They heavily inspired a new wave of bands including The Ex, Zowiso, de Kift, the Nixe and others. Packaged with a fold-out LP-sized lyric sheet and a 24-page booklet of the band’s history in English, written by Rondos singer JOHANNES VAN DE WEERT in 2009, plus lots of photos and artwork.
ROOMRUNNER. Ideal Cities (Fan Death) 14.00 EUR. On their debut full-length, Ideal Cities, ROOMRUNNER refract the past 25 years’ worth of Guitar Rock innovations into their fully-realized vision of “chunch and bunge,” in which echoes of shoegaze noise-blur, grunge squall and snark, math-rock chops, and meaty Alternative Rock power moves coalesce into the essential guitar record of 2013. Recorded by bassist DAN FROME at his studio, Ideal Cities is the first Roomrunner offering recorded as a full band. Prior EPs, the self-titled Roomrunner (2011) and Super Vague (2012), were written and played by Roomrunner singer/guitarist DENNY BOWEN, and while landmarks in their own right, the full-band Roomrunner is a whole different animal, ready to come down there and kick their collective boots around. The record starts off full-bore, with the truTV-inspired anthem “Bait Car.” Their rhythmic pedigree is showcased on tracks like the stuttering “Wojtek,” where start-stop verses and propulsive drumming recall ‘90s titans like Helmet and Drive Like Jehu before the song collapses into one of their most melodic moments yet during the chorus. Side B starts with the one-two punch of “Weird” and “Duno,” two long-time staples of their live set driven by squealing feedback, which spark mosh pits and crowd-surfing in sweaty Baltimore warehouses. Tracks like “May” and “Snac Error” give a bit of breathing room, fusing the off-kilter guitar work of Polvo and Chavez, with the quiet-loud tension of ‘90s legends like Slint and Hum. The names they garner comparisons to may be heavy, but Roomrunner’s catalog thus far has definitively proven that they are no mere pastiche. Any dorks can make a record with a deep understanding of Loud Rock—and let’s be honest, a lot of them do—but on Ideal Cities, Roomrunner harnesses a discrete range of powers to forge a thrilling and vital path forward.
ROSS JOHNSON AND JEFFREY EVANS. Vanity Session (Spacecase) 15.50 EUR. Vanity Session Was the result of a year-long residency ROSS JOHNSON and JEFFREY EVANS held at The Buccaneer club in Memphis, TN. The album was recorded on March 2l, 2008, at Zebra Ranch Studio in North Mississippi by the Iegendary JIM DICKINSON with the help of former Reigning Sound drummer, GREG ROBERSON. Ross Johnson has been a staple ofthe Memphis music scene for more than three decades. He's probably best known for his ranting on ALEX CHILTON’s seminal solo record, Like Flies On Sherbert (Ross is the Baron). Johnson was also the original drummer for THE PANTHER BURNS, although he missed the Behind The Magnolia Curtain sessions due to drunkenness. Now retired from his job as a librarian, Ross currently spends most days drinking, ranting, writing about music and playing drums (typically in that order). Like Don Ayler's trumpet playing, Ross is unrestrained—at a high volume, he’ll tell you everything you wanted to know (and more) about Memphis music. JEFFREY EVANS carne to Memphis in the mid '80s, following the path to Sun Records. A devotee of Charlie Feathers, Evans influenced many with his band THE GIBSON BROS. Alongside the late Jack Taylor, Evans fronted '68 COMEBACK throughout the ‘90s (and produced Tav Falco and The Panther Burns excellent return to form, Panther Phobia, in 2000). He currently fronts Jeffrey Evans and his SOUTHERN ACES. Vanity Session features Ross and Jeff switching off on lead Vocals; at their request, Jim Dickinson showed them how he performed "I've Had It" for Like Flies On Sherbert. Thankfully Evans recorded the song and it appears on the record, Backing Ross and Jett are Greg Roberson (drums), JOHN PAUL KEITH, ADAM WOODWARD and JEREMY SCOTT (bass). Vanity Session is highly recommended for fans of Like Flies on Sherbert, the film Stranded in Canton, The Gibson Bros., and vanity records (because that's what it is).
ROTTERS. Pull It And Yell (Bacchus Archive) 14.00 EUR. 1979 L.A. Punk rock band that raped Southern California with their notorious single 'Sit On My Face, Stevie Nix'. This is the ultimate ROTTERS reissue, with photos, one set of studio tracks (inc. unreleased material), plus an entire live appearance from 1978, all taken from the original master-tapes, with liner notes from Rotters founder, Phester Swollen.
RUINED FORTUNE. S/T (Hozac) 15.00 EUR. RUINED FORTUNE is the freedom rock project of NIC WARNOCK (Sydney, Australia) and ANGIE GARRICK (global citizen). Although their debut full-length retains some of the heavy-glitter/garbage punk moves displayed on their Bulls Eye 7” (R.I.P. Society Records, 2012), much of this record is heading down a different path. Hardly the sum of Nic and Angela’s other projects (SOUTHERN COMFORT, BED WETTIN’ BAD BOYS, CIRCLE PIT, MODEL CITIZEN, STRAIGHT ARROWS, EXOTIC DOG, ANGIE), Ruined Fortune is a group with a strong interest in communicating via the medium of rock ‘n’ roll as well as “other” sonic territories. Crude demos and open-ended concepts for an album were created before the duo headed to Brisbane for two days in a real-deal studio. CURED PINK mainman ANDREW MCLELLAN was in the captain’s chair with DANIEL SPENCER (BLANK REALM) and JOE ALEXANDER (Bedroom Suck Records, PER PURPOSE etc) sharing the role of hired help behind the drum kit. What really makes this record this record? The bits in between the would-be hits, the tension between Angie’s intuitive and Nic’s pedantic approach to making music and McLellan’s persistence in fuckin’ around with everything, ya know “studio-as-instrument” to the max. Repetitive rockers book-end the more disorientating material that nods towards Chrome, Throbbing Gristle and Xpressway Records incorporating cheap casio keyboards/drum machine combos, cassette 4 track, piano and metal percussion. The result is an album that has an agenda similar to Live, Singles, Unreleased era Royal Trux or the first couple of Alternative TV records in its love of rock ‘n’ roll while simultaneously aiming for something beyond. First pressing of 600 copies on black vinyl. Includes a download.
RULETA RUSA. Aquí No Es (Trabuc Records) 11.00 EUR. Desde San Francisco y de las cenizas de los grandes PELIGRO SOCIAL y BORN/DEAD llega RULETA RUSA con su primer LP a 45rpm (después de un EP compartido con Los Monjo y un single de 2 temas) que nos trae 10 temas propios más una versión de la mítica Banda Trapera Del Rio. 11 temas en total de punk rock empapado de rock'n'roll con ligeras influencias streetpunk y hardcore, con este toque distintivo de la voz cantando en castellano roto de Jose, el que fuera también cantante de PELIGRO SOCIAL.
El diseño de la portada ha corrido a cargo de Adrei Bouzikov.
RUNNING. Vaguely Ethnic (Castle Face) 14.00 EUR. The screech. The wall. The slanted-floor nausea. There’s not a word for the signature cyclical howling that Chicago’s RUNNING have harnessed and tortured into submission. They play with their food before they eat... flay into a terse punk trance, a Kraut-beat psycho riff for the ages, mesmerize or terrorize...but invariably they unleash The Sound upon us just when it seems most likely to bring back your lunch. That they’ve built such a mean, spare and evil band around such chaos is to our benefit—the circular mayhem alone would be a fascinating stand-alone curiosity—but lucky for us, they’ve captured their cacophonous, rotten heart in the black glove of blank-stare punk. Corrosive, serrated, and billous, Running have conjured a lurking creeper of a record in Vaguely Ethnic. it’s nasty, it’s antisocial, and you’re gonna like it.
RUSSIAN ROULETTES. R’N’R (P. Trash) 13.00 EUR. Legends of DIGGER AND THE PUSSYCATS, MOTORSPORT, The SPECIMENS, KAMIKAZE TRIO, The ACTIONEERS and SWEARJAR. What do these bands all have in common? Members from the infamous sub-par supergroup RUSSIAN ROULETTES.
Agostino Soldati bangs his vintage drum kit with a fury rarely seen in this town. Sam Agostino screams and scratches his guitar like a possessed demon and Tim Wold pounds his bass guitar into submission!!!
SACRED SHOCK. You’re Not With Us (Residue) 12.00 EUR. Tough as nails hardcore punk from the depths of Austin, TX. Hard- Hitting and Heavy, on this lp you can definetly see these guys influence from Foreign HC from all over the world i'm sure. I hear Finnish influence, Swedish Influence, Japanese Influence, but all maintaining a certain sound for them. Charging brutal hardcore/punk is the way i can describe it, Oh yeah and they cover HEADCLEANERS on here, whoa.
SAINTS. Eternally Yours (4 Men With Beards) 17.50 EUR. BACK IN STOCK!! Eternally Yours is the second album from legendary Brisbane punk band, THE SAINTS. Originally released in 1978 on Sire Records, it features a more fleshed out sound than the snotty, amped up, Stones inspired swagger of their debut, including horn parts and a more R&B inspired vibe. But don't let this scare you, Eternally Yours, is still snotty, hyperactive punk rock of the highest order, and The Saints last great album.
SAINTS. (I’m) Stranded (4 Men With Beards) 17.50 EUR. BACK IN STOCK!!! A reissue of the classic (I'm) Stranded album from legendary 1970s Australian punk rock giants THE SAINTS. Includes the fiery and tenacious favorites "(I'm) Stranded," "Nights in Venice," "One Way Street," and "Erotic Neurotic." Packaged in a gatefold sleeve with the original artwork, and pressed on 180-gram vinyl.
SAM PECKINPAH’S ORDER. Veteranos Del Desorden (Brackula Records/Bazofia Records) 12.00 EUR. Banda de Zaragoza influenciada por bandas como Lone Star,ilegales,o la primera hornada de bandas mod de Barcelona,aunque más garage,edición ultra-limitada de 300 copias.
SATAN PANONSKI. Hard Blood Shock (S-S Records) 16.00 EUR. BACK IN STOCK!! “Of all the former Eastern Bloc countries, Yugoslavia (and Croatia in particular) had one of the most exciting and innovative punk/underground rock & roll scenes and the legend among Yugo/Croat punk legends is SATAN PANONSKI (nee IVICA CULJAK). Starting with pioneering, late-70s, Yugo punk band POGREB X, through incarceration, a solo career and an untimely death by a mysterious bullet during the Croatian War of Independence, Satan Panonski literally cut his way into E. Euro punk history. His stage act was an extreme blend of punk shock and Auto-Destructiv performance. His music is a vivid mix of KBD-style punk, Serbo-Croatian folk melodies, and jags into abstract avant punk. Three cassettes were released during his life (and shortly after his death), one of which made it to vinyl. The vinyl is now very collectible. SS has culled through dozens of songs and come up with the creme de la punk, all transferred from the original tapes. Vinyl mastering by JOHN GOLDEN makes Satan Panonski sound the best he has ever sounded. This also includes much of Ivica Culjak's art, new lyric translations, a long biographical essay, and plenty of photos, all in a 16-page booklet. There is no CD or digital download.”
THE SCAVENGERS. S/T (Real Groovy Records) 38.00 EUR. BACK IN STOCK!! In 1977, The Scavengers were one of the best of the first wave of New Zealand punk bands. This compilation captures the best of The Scavengers and The Marching Girls recordings from 1978 to 1980.
UK immigrant Ronnie Recent (Brendan Perry) on bass and lead vocals; Johnny Volume (Ken Cooke) on guitar, and Des Truction (Des Hefner) on drums and backing vocals. With heavy nods to the Pistols and Johnny Thunder & The Heartbreakers, they recorded two of New Zealand’s most well-known punk anthems - Mysterex and True Love.
After a residency at Zwines (Auckland's punk rock mecca at the time), touring the country, making a TV clip for Mysterex and capturing the headlines in all the tabloids, they ended up in Melbourne, Australia in October 1978. Shortly after arriving, they changed their name to the Marching Girls and teamed up with ex Ray Columbus and The Invaders lead-guitarist Dave Russell to record some demos presented here for the first time.
The Scavengers wouldn't see a New Zealand vinyl release until December of the next year on Ripper Records’ AK 79 compilation. They would release the fantastic power pop track First In Line through Au Go Go in 1980.
Brendan would go on to form Dead Can Dance with Lisa Gerrard and move back to the UK in 1982.
SEX VID. Communal Living (Dom America) 11.00 EUR. Eight more songs from this Olympia, Washington hardcore band and the first release featuring the band's second guitarist. Raw, noisy, devastating music.
Killer Lp from one of the best HC/PUNK bands going right now. Dark, twisted, and brutal for sure. You don't want to skip over this one, they've out-done themselves on this lp for sure. From the ultra fast HC Rippers to the slowed down pulverizing jams, this lp is a rock solid monster from start to finish. Great layout and feel to the whole thing. There's a reason this band is loved by almost every HC fan. They rule.
SHARP OBJECTS. S/T (Modern Action) 13.00 EUR. The BRIEFS/BODIES exiles are back with ten killer, Poshboy-esque songs instantly bringing to mind the Adolescents, Social Distortion, Agent Orange, TSOL-era of dark early ‘80s LA punk. Limited to 434 copies on CD and 325 copies on vinyl with a download card.
SHANNON AND THE CLAMS. Sleep Talk (1-2-3-4 Go) 14.00 EUR. SHANNON AND THE CLAMS return with a brand new album that tops everything they’ve done before. Sleep Talk features twelve new songs that Kim Fowley and Lou Christie would have clawed each others eyes out to get a hold of in the early ‘60s. Shannon can belt out fierce and fun like Wanda Jackson and Etta James going head to head in a competition for the last bottle of hooch in a song like "King of the Sea" and then play that heartbroken bad girl tryin’ to do good bit that hasn't been done this well since the Tammys or the Shangri-La's in a song like "Tired of Being Bad." CODY, the bands guitarist and other main song writer/singer comes on like a crooning, hiccuping, lo-fi garage version of the aformentioned Christie. Excercising the economy and aggression of Garage Rock in ways Lou would never have imagined but with a tenderness and vocal register you know he'd appreciate. Ian, the band's drummer, in addition to his skill at his own instrument provides additional back ups that would make Ennio Morricone and a tribe of head hunters equally as proud.
THE SHIVVERS. S/T (Sing Sing Records) 17.50 EUR. BACK IN STOCK!! REMIXED, REMASTERED! In the spirit of Badfinger & Raspberries with a heavy dose of Girl Group soul, get ready for the 3-minute magic of THE SHIVVERS!!
To those that know, saying Milwaukee's punk and new wave scene in the late 70s and early 80s punched well above its weight than larger Midwestern cities is a gross understatement. Though only one half million strong, Milwaukee put together a flurry of such great bands and singles, yet even in this remarkable environment, no band burned brighter or more intensely with white-hot, pure-pop than the arc-light of The Shivvers.
Classic pop in an age of plastic fops, it's taken over thirty years, but 'Now People' around the world may finally be ready for the three-minute magic of The Shivvers.
Jill Kossoris: "This is it! All the songs were written between '79 and '81 and most were intended as singles.
This would have been The Shivvers first album."
(Deluxe packaging! Gatefold LP with extensive liners, printed inner sleeve and foldout poster!)
SHOCKED MINDS. S/T (Hozac) 14.00 EUR. Just when the world thought it was safe from the clutches of the primal punk sneer of the CARBONAS, SHOCKED MINDS have exploded up from the underground as the brand new JOSH MARTIN-fronted (also in EX-HUMANS, TESTORS) vehicle with hooks that kill as well as they drill. And with original lineup Carbonas members DAVE RAHN (also in GENTLEMAN JESSE & HIS MEN) and JEREMY THOMPSON (also in GAMES) rounding out the ranks, it's dead set to stick in your brain like a parasite, just the way you'd expect from these long-admired Atlanta punk figureheads. But don't let that get you distracted, Shocked Minds steer their cantankerous and razored residual noise into concise blasts of exactly what you want, glazed over with refreshing nuances of the Dead Boys, Testors, The Damned and Heartbreakers, and with closer listens, shards of the ‘70s Belgian punk creme de la creme like Mad Virgins, Revenge 88, and Raxola. Songs executed so painfully tight and impeccably produced by Mr. Rahn for pinpoint perfection, you might not even notice that obscure cover by The Eat hiding in there, and it's gonna hit you like a ton of bricks.
SHOES. Bazooka (Numero Group) 16.00 EUR. The second in a series of vinyl reissues from Zion, Illinois power pop heroes THE SHOES. The sophomore album that never was. 1975’s power pop scorcher Bazooka was tracked at home not long after their debut, but was shelved due to a lack of funds. Never available on LP, Bazooka has been remastered from the original analog tapes and molded in 150 gram vinyl for your listening pleasure.
SHOES. Black Vinyl Shoes (Numero Group) 16.00 EUR. The third in a series of vinyl reissues from Zion, Illinois power pop heroes THE SHOES. The gateway LP for power popping mainliners the world over, Black Vinyl Shoes makes its return to the format in elegant fashion. Replica 150 gram reissue retains JOHN MURPHY’ss original 1977 cover art, inserts, and even the t-shirt iron-on. Cut directly from the analog master tapes to disc, this is the definitive Black Vinyl.
SHOES. Present These Demos (Numero Group) 16.00 EUR. The fourth in a series of vinyl reissues from Zion, Illinois power pop heroes THE SHOES. Prior to signing with Elektra in 1979, Shoes were just four guys cutting demos in a Zion, Illinois basement. Compiled here for the first time on vinyl is a track-by track reevaluation of those Zion demos, cut from the original master tapes and molded in 150 gram vinyl.
SHOES THIS HIGH. Straight To Hell (Siltbreeze) 16.00 EUR. BACK IN STOCK!! While Shoes This High’s existence was a mere glint in the eye of Father Time (a year or more, tops), they made every second count, stalking the New Zealand post-punk landscape—both North and South islands—with ravenous abandon. For most fans, their legend and reputation rest solely on the strength of one highly formidable (and collectable) self-released 7-inch EP from 1981. And as anyone with ears who’s had the good fortune to come in contact with its jagged, scabrous genius can attest, the cry invariably rings out afterward: “Mein Gott, is this all there is?” In the 30-plus years since its initial release, the answer has been a most unflinching “yes.” That is, until Siltbreeze tapped into the massive tape library of famed New Zealand underground music archivist Bob Sutton, who had in his possession a white-hot live scorcher of the group, culled from a set that went down at the infamous Billy the Club way back when. Straight to Hell showcases a band at the peak of their menacing powers. Guitarist Kevin Hawkins slashes and rips strings from his ax like a mad butcher; the rhythm section of Jessica Walker and Christopher Plummer is par excellence, while the sneering, contemptuous vocals of singer S. Brent Hayward spit like poison darts above the swagger. Expertly sequenced by Jared Phillips (Times New Viking), Straight to Hell is a most welcome and astonishingly great artifact that delivers in buckets a shivering, toxic rain you always knew had fallen. Vinyl comes with a digital download of the complete album plus the four studio tracks from the original 1981 EP. One-time edition of 500—buy now or cry later.
SHUDDERS. Big Heat (Teen Action) 17.00 EUR. THE SHUDDERS return with a full-length LP of ferocious, raunchy, rock’n’roll. After quickly selling out their debut 3-song CDR on Teen Action a few months back, the girls swept through the US tearing up stage after stage with bands like NOBUNNY, TURBOSLUT, DIGITAL LEATHER and GRAVY TRAIN, earning them a reputation as a unique and energetic force to be reckoned with. Limited to 240 hand-numbered copies.
SIGHTINGS. Terribly Well (Dais) 18.00 EUR. The noise rock parade that defies definition, set out on a mission of pure volume worship that is the post-decade pilgrimage of NY-based SIGHTINGS. After eight instinctive albums, the Sightings guys show no mercy with endless annihilation of their newest material on Terribly Well. All parts destruction measured against their abrasive songwriting. Jagged, collapsing rhythm based mayhem, guitars that can be mistaken as a freight train being ripped for scrap metal, only to be held together with panic stricken bass patterns that keep their voice from the edge of insanity. An accessible album for the unacceptable make this their finest to date. Each song saws through the humanity, taking no hostages with this hectic industrial rock masterpiece. Edition of 500.
SIGHTINGS. Michigan Haters (S-S Records) 14.00 EUR. SIGHTINGS' live shows sure as hell aren't background music for a thrift-store fashion show. They bring the pain but good. Sightings‚ second album (first, Sightings and third, Absolutes are on Load), Michigan Haters captures the sonic abandon that makes their performances such a liberating mindfuck. This Brooklyn by way of Motown trio pounds out an abrasive skronk that at first comes off as a pure denial. The primitivist, lurching rhythms, shuddery basslines and trebly guitar slashes seem conceived to prove that Sightings is more punk than you, and you're just not meant to understand. But then, wait a second. You've been bruised, defeated, and suddenly you're floating in a river of psychedelic scree. Mark M. is yelping out some Lord of the Flies incantations. You can't pogo to it, but you can twitch all night. The violence of Michigan Haters flows in all directions; it destroys itself and the listener to reveal hidden conduits of sound, from the rubberized rumble of "Chili Dog" to the more bleached and angular "Guilty of Wrecking." It's a soundtrack for punching holes in walls and watching them bleed vital fluids. Sightings play noise that hasn't been defused by aesthetic noodling; they're not Sonic Youth and they don't want o be. Think DNA, Big Black, Keiji Haino if you have to think at all. Play it loud and watch the neighbors run for cover. Originally released in 2002 on Psych-O-Path.
SILK FLOWERS. As Above So Below (Captured Tracks) 12.50 EUR. A new six-track EP by this current NYC live staple. Eerie and experimental electronic pop from former members of SOILED MATTRESS & THE SPRINGS and CAR CLUTCH. Recent full-length album released by PPM.
SILLA ELECTRICA. Ritmo Suicida (Sólo Para Punks) 10.00 EUR. BACK IN STOCK!! Después de sus recomendables singles por fin tenemos el debut en larga duración de Silla Eléctrica. Trío afincado en los Mandriles que le dan al punk cavernícola cual chimpancé en celo se tratase. A guitarrazos simples y con batería a piñón se meriendan 18 temacos huracanados que deleitarán a los simples de espíritu, porque de ellos será el reino de la felicidad.
SISTA SEKUNDEN. Åldras Med Sti (P.Trash) 12.50 EUR. Swedish Punk devotees SISTA SEKUNDEN's new big plate is filled to the brim with enthusiasm and joyous anthems that go against time and serve as a brilliant manual to age with style.
Still angry, still pissed-off and still loving the healing powers of punky Hardcore the four midsters keep on delivering a sweeping 13-song swipe on politicians, priests and other pigs who want to tell you what to do, left wing hooligans, hispster bands and their overpriced products, welfare states and police violence. They really took their time to rasp and file some hard edges off their sound and stepped a little off the throttle in favor of more melodic and catchier mid-tempo tunes that let us have a glimpse on personal issues like being the last Punk standing, leaving your boring hometown behind, the never ending love for Punk and Hardcore and growing old in style, just like singer Dempe's grandpa Knut, looking at us proud and sincere from the cover of this album. A man who spend 50 years as a steelworker for a goldwatch and a handshake and to whom the song 'Morfar Knut' is dedicated. For all the professional againsters who refuse to give in to a prefab life and rather keep on keeping on listening to some timeless music; get this record that is bound to become a milestone in Swedish Punkrock for generations ahead to enjoy!
SLEAZE. S/T (Sing Sing Records) 17.00 EUR. BACK IN STOCK!! 1975 pre-Adverts LP from punk legend TV Smith. Originally released in an edition of only 50 copies.
TV Smith says... 14th June, 1975. It was a studio, a proper studio - just like the ones the proper bands recorded in. At least, it was the nearest I’d ever been to one and now my band Sleaze, that had so far had to make do with playing support slots at local clubs and discos - as well as the occasional “headline” gig in local school halls - was about to record some of our songs, just like a proper band.
Torquay in the mid seventies was not the easiest place and time to have a band, particularly a band that performed all its own material. The only group that anyone knew who’d ever made it out of this tourist backwater in the South West of England to any kind of international success was a rock band called Wishbone Ash, and the local audiences wanted to boogie away their evenings to music like that - or live bands playing covers of Status Quo or Free - not us, with our peculiar lengthy songs that sounded like a crossover between glam à la Bowie or Cockney Rebel and prog bands like Genesis or Van Der Graaf Generator. Around these parts, such pretensions were frowned upon.
But here we were, determined to get our music down on record whether anyone was interested or not. The family of our rhythm guitarist owned a large house in nearby Newton Abbot and for the preceding months had tolerated us taking over their music room for regular rehearsals. We were tight, we’d played a few gigs and now it was time to make a record. I’d spotted an advert in the local paper for a recording studio in Torquay being run by an ex-BBC engineer that looked like it could be what we needed. Even better, the studio could be hired for just a short period rather than a whole day, which made it just about affordable. We set up our equipment, the engineer placed the microphones and recorded a few minutes to check the sound, then we put the whole album straight onto tape, song by song, playing live with no overdubs. Two hours recording time, twenty pounds for the lot, plus another half hour for the engineer’s time splicing the tracks together, and the price of the two reels of tape. All in all, the Sleaze album cost the princely sum of £38.88. We went on to press up fifty copies onto vinyl, most of which we gave away to family and friends.
If we’d been a bit more savvy, we might have pressed more copies and tried to sell them at gigs, although as it turned out the band wasn’t to play many more of those. To be honest, we knew that this record was to be more of a swan song than the launch of a career. I’d gone to Torquay Polytechnic at the end of summer 1974, straight out of school, to take a year-long Art Foundation course and had been spending most of my time forming and playing with Sleaze rather than doing the course work, but the fact was that the college year was nearing the end, and soon the individual band members would be going their separate ways. In addition, I’d met a new girlfriend in the art department and not only did she have the same Iggy and New York Dolls records in her collection as I did, she’d shown an interest in learning bass guitar and wanted me to teach her. Within a year we’d moved to London together and started rehearsing a new band, she’d changed her name to Gaye Advert...and the rest is history. I was no longer a solitary musical rebel pushing against a door that refused to budge. I was one of a multitude of rebels who felt the same way I did. This record is the sound of that rebellion trying to find its way, the door creaking against its hinges - a year before punk exploded, the door finally blew open and the music scene changed forever.
SLEAZE. Tektonik Girls & Others Hits 12” (Total Punk) 12.50 EUR. BACK IN STOCK!! "If you’ve been at this record collecting thing for any time now you’ve probably figured out that in this day and age there are two kinds of punk rock. The first type is to vintage late ‘70s and early ‘80s punk what Sha Na Na was to Eddie Cochran—y’know, studied nostalgia for a bygone age that’s never coming back. Then there’s the other kind of punk; the music made by those marked from birth as lifelong mutants and complete fuck ups. Call it TOTAL PUNK if you will. These punks aren’t looking to the past so much as spontaneously acting upon the same maladaptive urges that gave rise to bands like the Electric Eels and the Gizmos. These are exactly the kind of punks we’re talking about when we talk about the SLEAZE. Guaranteed not one Sleaze has ever heard of the initials KBD. As far they’re concerned Bloodstains are just what you get on your clothes after a 3 AM drunken wrestling match. And yet through some miracle of surreptitious retardation these four goofballs managed to blindly stumble upon the primordial essence of punk captured so often on those aforementioned comps. You notice at first in CONOR’s quintessentially snotty voice and MARK’s staccato guitar riffs, but it’s there lurking under the surface in JOE’s repetitive basslines and WILL’s savant-like drumming as well. All eight songs on this 12” twitch and throb with a deviant vitality that will remind you why you got into this punk garbage in the first place without bringing to mind a single band you could cite as an influence. There's always been something off about the Sleaze—what other band besides these guys would think it was a good idea to give some of their best songs impossibly dumb titles like ‘Conor Start’ and ‘Big Azz Butts?’—but the more you listen to this record the more you will realize how their complete disregard of history and accepted ‘good form’ is what makes them so right on. The Sleaze truly don’t give a fuck about anyone or anything other than themselves. Everywhere they go they leave behind a trail of bad decisions, broken promises, unhonored debts, damaged property, innumerable cans of Mountain Crest with shotgun holes punched in the bottom, and—redeeming it all—a bunch of timeless songs that will be cranked out of broken speakers for as long as there are still dirtbags out there making a mess of their lives through punk rock. Tektonik Girls is the Sleaze in all of their damaged glory. Buy this record and it will shatter your soul."—Steve Borchardt.
SLEEPERS. S/T (Superior Viaduct) 8.00 EUR. BACK IN STOCK!! The Sleepers’ debut five-song EP, originally released in 1978, is one of the truly essential records to come out of California in the late ’70s. It is 100% punk in spirit and yet avoids every punk cliché. The band’s original lineup of Ricky Williams, Michael Belfer, Paul Draper and Tim Mooney operates here as a machine—a temperamental one rattling in unison. Opener “Seventh World” trudges through many tempos without repeating a single one, while Williams’s astonishing, Robo-fueled voice douses the microphone with esoteric imagery. Each track creates a new template for psychedelic rock and discards it by the time the next one begins. This record inexplicably transcends the mere sum of its parts.
SLOWMOTIONS. Dial Eleven (Partners In Crime) 11.00 EUR. Japan's THE SLOWMOTIONS make their stateside debut with this eleven-track LP, which contains all five of the band's out of print EPs that were previously released on HG Fact. The music is a poppy, jangly garage punk freakout played by Japanese hardcore veterans.
SLUGFUCKERS. Three Feet Behind Glass/ Instant Classic 12" (Insolito Records) 14.00 EUR. The Slugfuckers were started in the late 1970s in Sydney, Australia by Terry Blake (vocals), John Laidler (guitar) and Graham Forsyth (bass) who were all at the time students or recent graduates of the Department of General Philosophy at Sydney University. Craig Wilcox (keyboard), Gordon Renouf (guitar, sax), Austin Laverty (drumkit) joined soon after.
They released two extremely rare singles in 1979 which are combined on this 12” and an album in 1981. Bridging the nascence of punk, DIY, and industrial, The Slugfuckers took the true intent of punk and carried it to a logical extreme. With shouted vocals, almost rudimentary playing, volume on ten and many obligatory messy interludes they enthralled, engaged and repelled in equal parts.
A raw, underproduced angry attack that bores right into your brain.
It will catch the ears of those who can embrace abstract punk sounds or industrial harshness. To be filed alongside The Homosexuals, The Desperate Bicycles, The Instant Automatons, The Prats, Door and the Window, The Versatile Newts, etc etc. Avant / Post -punk madness that leaves you scratching your skull. Noise historians will wonder over the use of Manson references, Burroughs samples and Anti-art manifestos way before the Industrial boys tried to claim them as their own." - Harbingersound. "
...noisier and more abrasive than most first generation industrial stuff, a hell of a lot more punk than, say, The Lewd and intelligent in a scary, vicious bullying kind of way" - Johan Kugelberg, Ugly Things Magazine.
Limited to 500 copies, it’s on 180 gram vinyl in tip-on jackets with the artwork from the EP and poly lined inner sleeve plus liner notes.
THE SLUTS. 12” Of Sluts (Jeth-Row Records) 16.50 EUR. Originally released in 1982 on Spread-um Records "New Orleans forgotten legends that started around 1979... a classic example of glue sniffin' rancid thug punk... an album like this sloppy 12 inch 45 rpm monster (divided into side fuck and side you) in these days of collegiate elevator musak is an object to cherish as much as the Dead Sea Scrolls." from Black to Comm (Barry Goubler)
SMELLY TONGUES. Slack Heep (Urinal Cake) 17.00 EUR. BACK IN STOCK!! Debut full-length album from Los Angeles' SMELLY TONGUES, featuring members of RED AUNTS, THE PIRANHAS, WHITE SAVAGE, SYZ, STATIC STATIC, DRUID PERFUME, INTELLIGENCE, THE BAPTIST CHURCH, and others. “This new concoction thrusts forth with such a promising post-punk stab in the chest, it's gonna take at least one outfit change and several hospital visits to get yourself straight. It's chock full of those sticky push and pull downer dilemmas that will make you miss work and daydream yourself into a nervous breakdown, sweating and waiting for something that used to scare you as a child, and eagerly staring down the ominous, hideous hooks. 'I can't help it, I'm obsessed, you're the best' has never sounded so perfectly uneffected and deranged, and it's with these razored chops that Smelly Tongues chop rigorously through the lush vegetation of modern primitivism and burst onto the unsuspecting faces of America's broken avant garde with the confidence and swagger of a jackal on a weekend death trip.”—Todd Killings
SMITH WESTERNS. S/T (Hozac) 12.50 EUR. At long last, the debut full-length from Chicago's SMITH WESTERNS has landed and it's going to make this Summer the best ever, for real. With their metamorphosis over the past year from a sloppy teenage punk mess into a full-fledged glam pop explosion, this is one incredible leap of progress. Lovers and haters both will agree, and if you haven't tuned in to their latest recordings, it might cause a jolt of euphoric confusion that you can really warm up to, as you marvel at their fastidious growth while digging through the outer fringes of rock'n roll's vast well of influences. You can either chalk it up to the pristine Fuk Sity production that boggles the mind, or those instant classic songs that stick in your head for weeks, but any way you slice it, The Smith Westerns have officially arrived with this album. Strings and piano? Yep, they've really made those moves, and as they manage to keep each song interesting and unique, fans of true pop will be blown away like nothing else going these days. Straddling the fine line between the misty-eyed feyness of Brett Smiley and Milk'n'Cookies, with the slithering macho grunt of Marc Bolan's silk pajamas tied around Alvin Stardust's throat, it's nothing short of a modern Summer classic power pop album. 800 copies pressed on black vinyl.
SNAP. Maquetas (Discos Regresivos) 12.00 EUR. Discos Regresivos acude al rescate de Snap, banda punk madrileña de los 90 injustamente olvidada. En este LP se rescatan 11 temas de sus tres primeras maquetas entre los años 1988 y 1991, que reflejan su verdadero y nada dulce sonido.
Los 11 temazos fueron remasterizados por Jose Lanot y Fernando Pardo (mil gracias) en los estudios Geek de Madrid.
Va acompañado de un libreto en formato A4 de 12 páginas con fotos y una entrevista realizada por dos Anti Guays (gracias Demi y Vera) a Suso y Pedro el 16 de febrero de 2013.
SNIFFING GLUE. S/T (Search For Fame) 11.00 EUR. SNIFFING GLUE's third lp, great 80's hardcore like BLACK FLAG meets JERRY's KIDS meets CIRCLE JERKS etc. , a musthave for every hc-kid!!!
SNIVELLING SHITS. I Can’t Come (Damaged Goods) Picture LP 16.00 EUR. The third ever release on Damaged Goods was the original vinyl version of this Album. ‘Terminal Stupid’, their one and only single was one of my favourite’s from 1977 and in 1988 I searched out lead singer Giovanni Dadamo and together we put together this great album. It features both sides of their only 7” plus another track they released on the Beggars Banquet compilation ‘Streets’ (Beggars first release) although they had to change their name (to Arthur Comics) as Beggars were worried about the word ‘shits’ on the cover of their album. Anyway we found another 6 or so tracks and put it out, at the time Gio had also unearthed one of the three tracks that he co-wrote and recorded with The Damned, ‘There ‘Aint No Sanity Claus’ is included on the CD and has never been available before. This is a review of the original album from the Trouser Press website....‘The hazard of anyone-can-do-it musical movements is what might get dragged in. Fortunately, the jokey Snivelling Shits - two London rock critics (singer Giovanni Dadomo and guitarist Dave Fudger) and such musician friends as Steve Nicol of the Hot Rods and bassist Steve Lillywhite - were sharply skilled at smuttily satirising the sounds of '77. As anthologised in this archival colored-vinyl document, the band's brief recording career (eight whole tracks, including the viciously irreverent "isgodaman?," originally released on a Beggars Banquet compilation LP under the name Arthur Comics?) included incisive swipes at the Sex Pistols, John Cooper Clarke ("I Wanna Be Your Biro") and the Velvet Underground. That's history for you.’
SOMETHING FIERCE. Don’t Be So Cruel (Dirtnap) 13.50 EUR. The third album and proper Dirtnap debut from Houston, TX upstarts SOMETHING FIERCE. If the group’s There Are No Answers perfected the Marked Men-meets-The-Buzzcocks brand of snappy poppy punk they’d been working on since their inception in 2005, Don't Be So Cruel finds 'em rapidly expanding outwards from that sound. While undeniably influenced by various strands of ‘70s punk, this record is slightly more subtle and sophisticated than mere ‘77-revivalists would have it. Slightly nuanced, almost understated at times, vapid party-punk this is most definitely not. Thoughtful, well written, well played songs that strike a perfect balance between fun and smart.
SONIC AVENUES. S/T (Dead Broke) 16.50 EUR. REISSUED ON VINYL!!! Deluxe edition remastered reissue of their first full length that’s been out of circulation since 2009. Includes two previously unreleased bonus tracks, available only with the LP. Members of several Canadian punk/garage acts such as THE STEVE ADAMYK BAND and more. Vinyl-only release limited to 400 copies.
SONIC AVENUES. Mistakes (Dirtnap) 16.00 EUR. Having delivered the quintessential powerpop/punk album in 2012's Dirtnap released burner Television Youth, Montreal's SONIC AVENUES take it to another level on their third LP Mistakes. Building on their signature melodic style, the Aves return with an evolved and considerably more varied effort that resulted from dropping all preconceived notions of how a "punk" record should sound. The band made a concerted effort to not repeat itself, and it shows. While no doubt teeming with energy and hooks, Mistakes eases off the light speed tempos of previous releases and shows greater sophistication in both songwriting and production. Self-produced by the band in singer MAX’s apartment, Mistakes was written over a period of 7 months and produced in less than three. Mixing together songs dark, bright, short, and long, this release really finds the band coming into its own and claiming a distinct niche within the contemporary pop/punk pantheon. Fans of previous Sonic Avenues efforts will discover treats both familiar ("Waiting For A Change") and completely unexpected ("Better Days To Come") on this album - by far the band's best to date!
SONIDO ALFREDO. S/T 12” (Discos Humenates) 12.00 EUR. En el verano de 2010 vuelven al estudio, repiten en Circo Perrotti y dejan 10 temas, los 10 del segundo largo que ahora editan, de nuevo, en Discos Humeantes, también sin título y en tirada de 500 copias. Esta vez bajo una delirante portadaza de Pedro Vera, dibujante de gran calibre en la línea de pensamiento de estos tres individuos, e incluyendo una suculenta versión de la celebérrima Das Model de Kraftwerk interpretada “à l’alfredo”. En este segundo trabajo avanzan en su conflicto mongol vs. World dejando para la posteridad porciones de simple y contundente rocanrol, en directo, sincero, crudo, sin envase, sin colorantes ni conservantes, pero con mucho picante.
SONIDO ALFREDO. S/T (Discos Humeantes) 12.00 EUR. Primer largo de este trío practicante de un personalísimo ¡Garage, Surf, Punk! Trece temas en menos de media hora a 45rpm que van paseando entre instrumentales desencaja pelvis y auténticos hits cantados en castellano.
SPECTACLES. Re-Spectacled (Rave Up) 13.00 EUR. Finally one of the legends of the early S.Francisco punk music are on vinyl. These amazing tracks were in fact recorded in 1980 but they never saw the light! Now, after 30 years, Rave Up records discovered these pioneers of Art Punk music.
The band was really popular in the Bay Area and opened for many important bands such Black Flag, The Lewd, The Mentors, Los Lobos, Red Hot Chili Peppers ecc... This album is ESSENTIAL for every fan of bands such Devo, Pere Ubu, Screamers, Von Lmo ecc… So, grab this incredible Lp, all recorded in studio right now! No filler! 100% American genius! Art cover designed by Winston Smith!!!!!!
SPELLING MISTAKES. Feels So Good (Real Groovy Records) 38.00 EUR. BACK IN STOCK!! The Spelling Mistakes were one of New Zealand's best, most infamous, yet much-loved second wave punk bands of the late seventies. Taking the sneer and aggression from the first wave and matching it with sixties pop sensibilities, in their short tenure from early 1979 to October 1980 they recorded one and half classic singles with Feels So Good and (The Ballad Of) Reena's Piss Flaps (a split A side) as well as a selection of demos.
This collection brings together, (and mostly on vinyl for the first time) their raw demos from late 79, Reena and Feels So Good singles, a recording from their last ever show and a selection of their best recordings from 1999 when they entered Frisbee studios to revisit unrecorded tracks. The results of these new recordings were excellent and demanded release. This is the first time the Spelling Mistakes 1979 & 1980 recordings have been reissued from the original master tapes.
Brothers Nick and Julian Hanson were on vocals and drums respectively. Nigel Russell on bass, and the incomparable Warwick Hitler on guitar. Banned from many an Auckland venue for their fans over exuberant enthusiasm, plus songs about the then recent Air NZ Erebus disaster, and Warwick performing in his SS uniform did little to take them into the hearts of the mainstream, but for those who witnessed them at the time - their gritty pop songs, Warwick's stun guitar, and Nick's flamboyance as a front man captured the imaginations and hearts of many an Auckland (X) teenager of the time.
SPITS. Kill The Kool – 2xLP (In The Red) 20.00 EUR. The space-age mutant punk rockers known as The Spits have been at it for more than a decade now and are showing no signs of slowing down. Their demented, out-of-control stage act (which often includes blood and fire) has inspired many a mosh pit and near-riot. The band’s five albums (all self-titled) and countless singles are brief blasts of hyperactive aggression with a weirdo, mongoloid electro twist that makes them completely unique. Imagine if some of the creatures from film Mars Attacks got a hold of the first Ramones album, Black Flag’s Damaged, skateboards and some musical instruments and decided to start a band, and one would begin to get an idea of where The Spits are coming from. The Spits and In The Red are happy to announce the proper release of Kill the Kool. Previously pressed in an edition of 500 and sold on tour only, this collection has been re-mastered, expanded to a double LP (which spins at 45 RPM) with extra material, and housed in a beautiful gatefold sleeve featuring artwork by comic book artist Keenan Keller. The 22 tracks are pulled from singles sides, outtakes and demos, yet Kill the Kool plays like one of the most cohesive Spits releases rather than an odds ’n’ sods patchwork. To anyone who has yet to investigate The Spits, Kill the Kool is a perfect introduction. It encapsulates everything the band does best—from creepy, weirdo synth tracks to full-on Killed By Death punk rockers. To anyone already familiar with the band, you know you need this!
SPITS. First Self-Titled Album (Slovenly) 14.00 EUR. BACK IN STOCK!! REISSUED!!! Originally released in 2000 on a shitty/tinny sounding compact disc, this legendary album is fully loaded with all the classics that sent sick-headed kids around the world on quest to throw bottles and bust noses at every SPITS show they could sneak into. From the skatepunk anthem "SK8," to the G.G. Allin-cum- Destroy All Monsters murder threat thump of "Die Die Die," to the thuggish declaration of "I H8 Pussies," this record has a top spot on Slovenly’s "Best Punk Records Ever" list for a reason! Poppunk pussies be damned, this is the essential, disaffected, synth-heavy, big-beat fueled weirdo party you've been denied for far too long. After numerous, hard to acquire bootleg/unauthorized versions, Slovenly has finally made it available for you to add to your growing collection of slimy Spits shingles. Remastered to boot.
SPITS. S/T 5th Album (In The Red) 13.00 EUR. Everyone’s favorite space-age mutant skate punks The Spits are back with their long-awaited fifth album (self-titled, as were the previous four) and these twelve new action-packed songs of apocalyptic, fuzzed-out, over-driven madness do not disappoint. Going strong now for over fifteen years, smashing the windows and tearing down the walls every time they roll through town, these truly vicious visionaries have cooked punk down to its most powerful base form, crawling like Neanderthals through the muck and creating a flaming trail of hits that’ll take quite a fit of dementia to ever forget. A perfect distillation of punk’s original open-ended weirdness and modern music’s serrated salvation, The Spits have proven themselves to be no one to fuck with, over and over again. True headliners, never to be followed and for good reason. One of the only modern bands to have several of their songs covered by their contemporaries, The Spits have already done so much but still have so much more ahead, as they continue to influence anyone with a penchant for irresistible punk music, played like there’s nothing to lose.
SPITS. 2006 European Tour (P.Trash) 15.00 EUR. Now in it's second edition w/green cover! After Pope Benedict paid Germany a visit this year's spring, another highlight is following soon with the European tour of the godly THE SPITS! THE SPITS are well-known for their tilted, yet melodic new wave punk, just like a mixture of the RAMONES and thrashy DEVO. Take this and think of it being spit over the obscure sounds of the late 70's KILLED BY DEATH 7"s and you get quite a good grasp of what to expect from this band. THE SPITS are pure punk rock party! If you've seen them live and didn't freak out, you must be dead! I had that pleasure before - on their last European tour, when even a broken wrist didn't keep the guitarist/keyboarder from turning the whole audience in an old brothel musically upside down. Their crazy stage outfits (Ninja, Taliban, Reagan masks) complete the madness! The a-side (6 songs plus hidden bonus track) fully resembles that "die-hard-party-live-feeling". Catchy tunes such as "Die Die Die", "Drop Out" in a thrashy version, as well as unreleased KBD cover songs from THE KIDS, BLACK EASTER and CRAP DETECTORS will shake you up roughly, so that soon enough you will turn your living room furniture into a mess. The 6 songs on the b-side were being recorded live at the "Dave the Spazz radio show", and there's more SPITS party hits such as "Nuclear Bomb", "Spits Me Out", "Remote Control",... in raw, stripped down versions. All this is being wrapped up in a fabulous "spit on the Pope, and read your result in the Spit-o-meter" screen print cover. Artwork by Jose Menor, screenprinted by Slowboy.
SPRAY PAINT. Clear Blood, Regular Acid (Monofonus Press) 17.50 EUR. Austin’s self-described “No-No Wave/Dub/Scum Rock” band, SPRAY PAINT, grace us with their third full length LP, Clean Blood, Regular Acid. After a heavy year—two albums on Sacramento’s S-S Records and touring with Protomartyr—Spray Paint are taking their psychotic stories, rebellious guitar riffs and punky kraut beats more seriously. Their sound is a bit broken, contemptuous and unhealthy, yet entirely engrossing. At times, it’s as equal parts The Fall as it is Endless Boogie, Eddy Current Suppression Ring or Nikki Sudden.
SPRAY PAINT. S/T (S-S Records) 15.00 EUR. BACK IN STOCK!! S.S. Records is very pleased to announce the debut album of SPRAY PAINT, eleven songs of killer avant punk aggression that measures up with anything stomping around today. A little more than a year ago, CORY from SPRAY PAINT members contacted S.S. and asked if they could send a few songs. Recognizing his name from another band WHEN DINOSAURS RULED THE EARTH, whose psych-punkishness we dug, S.S. said ‘Certainly.’ Four songs came and we were blown away. 2012 saw two stellar 7”s from the Austin trio—energy packed, off-kilter yet tuneful punk rock & roll with a sound that brought to mind 100 Flowers, Saccharine Trust, Wire, and S.S. vets the A Frames. During the summer Spray Paint came west to play S.S. Records second fest in San Francisco and after a few weeks on the road they hit home and started recording this album. We heard most of the songs before Spray Paint’s tour and they were great, but gig after gig of playing them tightened them up and brought in new ideas. When the album was done, what hit our ears is eleven sonic booms: Great songs, ace playing, good ideas, and smart construction. Nothing is too long, nothing too short. Like the best punk rock & roll albums, Spray Paint’s debut is all meat, no fat, a compact punch with angular power. As noted above, we are very pleased. Pressed in an edition of 500 copies, and like the two 7”, the jackets have been painted on front and stamped on the back—no two are the same.
SRASRSRA. Puchao (Discos Humeantes) 13.50 EUR. Los putos señora, es decir Srasrsra, por fin se visten de largo. Para ello sacan a relucir sus mejores galas: irreverencia, obscenidad, humor absurdo y delirio. Discos Humeantes se encarga de editar en vinilo 12" el artefacto en cuestión, quince temas trepidantes y pegadizos en los que Víctor y Zippo van a su bola. Garage Punk Anfetamínico cargado de himnos generacionales como "Comebolsas", "Chica Joven" o "Droga"
SS-20. Secta Suicida Siglo 20 (Secta Suicida) 12.50 EUR. BACK IN STOCK!! SS-20 fue una oscura banda del DF, con una chica, Zapa, al frente, que solo dejó grabado este mini LP en los años 80, pleno de rabia y desesperación. 8 canciones de punk-hardcore furioso bastan, es una bomba. Píllate esto ya.
THE STABS. Dead Wood (Homeless) 22.00 EUR. A limited edition (400 copies only) vinyl pressing of THE STABS’ 2009 album. Originally released as CD only by Spooky Records, Dead Wood sold out extremely quickly. We expect the vinyl release to go quite fast too as there's been a great deal of interest since a vinyl release was first mooted 3-4 years ago. In the tradition of Australian noise punk bands like Lubricated Goat and Venom P Stinger, the Stabs presented an ugly but rockin' excursion into torment and paranoia. Mastered by MIKEY YOUNG. Includes a download.
THE STABS. Dirt (Homeless) 22.00 EUR. A limited edition (400 copies only) vinyl pressing of THE STABS’ 2006 album. Originally released as CD only by Spooky Records, Dirt sold out extremely quickly. We expect the vinyl release to go quite fast too as there's been a great deal of interest since a vinyl release was first mooted 3-4 years ago. In the tradition of Australian noise punk bands like Lubricated Goat and Venom P Stinger, the Stabs presented an ugly but rockin' excursion into torment and paranoia. Mastered by MIKEY YOUNG. Includes a download.
LA STASI. La Última Esperanza De La Locurita (Discos Regresivos) 10.00 EUR. La última esperanza de la locurita es la última esperanza del punk.
Punk 77 mezclado con el garrulismo de los 80 y con unas letras ácidas, irónicas y costumbristas a la par que divertidas.
Después de cuatro años la Stasi sigue demostrando que no hacen falta artificios, ni poses, ni consignas mil veces repetidas para hacer punk.
12 temazos y una locurita que demuestran que tantos años después siguen siendo los más grandes del punk patrio le joda a quien le joda. Todo el arte es por obra y gracia del gran Adso. Edición: 500 copias.
LA STASI. Llamando Al Manzanares (Discos Regresivos) 10.00 EUR. Discos Regresivos se enorgullece en presentar el LP más PUNK del año a ambas orillas del Manzanares. 11 temas nuevos y una versión, aptas sólo para mentes inquietas.
Imagina un día lluvioso. Es tu cumpleaños, lleno de asquerosa gente atravesando ojos con paraguas, en el que te gustaría mandar al de al lado a la mierda, insultar y huir cual cobarde, acabando en un parque con un abuelo bohemio.
Ese día, tu cáncer de nalga no te dejará mantener tu humor guay, ni podrás disfrutar la peli porno cómo te gustaría, pero siempre podrás rendir pleitesía a tu ídolo, Javier Clemente, y pensar en matar enamorados en San Valentín o a algún icono de la movida madrileña.
Ese día es como el LP de la Stasi.....
LOS STEAKS. No Moon Album (Discos Humeantes) 10.00 EUR. Los Steaks se estrenaron el año pasado con un par de vinilos editados en sellos forasteros. Un single recopilatorio con Black Orphan y los Menthols en el sello americano Ufo Dictatator y un 7” para ellos solitos en el sello alemán Milk and Chocolate. "No Moon Album" es su primer disco largo, y menudo disco señores.... Caminan a paso firme con un pie en la playa y otro en cementerio y en el pueden encontrarse referencias a los grandísimos Gories, Beat Happening, Subway Sect o Gun Club por nombrar algunos. Escucha Basement, Shadows, Windy Day... y te darás cuenta de que este es el disco que todo joven de bien necesita para empezar bien el año.
STEVE ADAMYK BAND. Dial Tone (Dirtnap) 16.50 EUR. Ottawa’s STEVE ADAMYK BAND returns with their 4th LP (released barely a year since the last one), Dial Tone, and it’s their best yet! For this release, SAB travelled to Oakland, CA to record with MATTHEW MELTON of Warm Soda/Bare Wires fame. Melton grew up in Memphis and that influence definitely shows on Dial Tone. While still plenty fast and catchy, Dial Tone shows the band dialing (ha!) back a little on the break-neck punk/pop tempos of previous releases, with increasing nods to classic rock n’ roll form. If 2011’s Forever Won’t Wait was their “pop” album, and 2013’s Third was their “punk” album, let’s call this one their “garage” rock masterpiece! Features guest appearances from Matthew Melton and the PRIMITIVE HEARTS DANIELLE AGNEW.
STEVE ADAMYK BAND. Third (Dirtnap) 14.00 EUR. BACK IN STOCK!! BOOM! Canada's Capital City veteran punks THE STEVE ADAMYK are back at it again, unleashing their third album, aptly titled, Third. The last two years have taken SAB on tour in Europe (twice), to SXSW (twice), Awesome Fest, Sled Island and beyond. Late 2011 saw the first line-up change, bringing DAVE FORCIER of PREGNANCY SCARES to the kit, along with SEB GODIN of SONIC AVENUES on bass into the mix, keeping DAVE WILLIAMS active in the band with studio endeavors. The formula is the same as always; bringing a punk edge to classic power-pop, with help from a strong modern garage influence. You could call it aggressive pop-punk, keeping it tight and far from over-produced. The formula is simple - no one is trying to re-invent the wheel. With that said, they're staying clear of cheese and cliches. Third is the band's most solidified recording to date. Don't miss them coming to your town in 2013!
STEVE ADAMYK BAND. Forever Won’t Wait (Dirtnap) 13.50 EUR. THE STEVE ADAMYK BAND are a bunch of obnoxious, rowdy, "kids" from Ottawa, Ontario. While the name would automatically draw comparison to a blues, jazz or rock band given the layout, make no mistake; the Steve Adamyk Band are a punk band. The SAB play trash-pop inspired by seventies punk, the skinny tie bands of the eighties, and nineties garage rock. From the ashes of MILLION DOLLAR MARXISTS (Gearhead Records) and SEDATIVES (Deranged Records), the group was born out of necessity—a whack load of orphan songs with no band to call home. Frustrated playing in bands that would eventually call it quits, Adamyk formed a band that could have an endless timeline, even if the name is outside of the standard band name zone. Releasing two European singles before their first live performance, the SAB would go on to unload 4 seven inch singles and an LP in 2010. The self-titled LP in question sold out its initial pressing in three months and received rave reviews. The following year, the SAB toured Europe, performed at SXSW and recorded their sophomore LP Forever Won't Wait. More touring and releases are currently in the works for 2012, as it doesn't appear to be slowing down anytime soon.
STIFF LITTLE FINGERS. Inflammable Material (4 Men With Beards) 15.00 EUR. BACK IN STOCK!! REISSUED ON VINYL!!! The debut album from Belfast's finest punk band, originally released on the Rough Trade label in 1979. Inflammable Material features two of the greatest songs recorded on the controversy and violence surrounding Northern Ireland, "Suspect Device" and "Alternative Ulster" indict both sides of the conflict, the Royal Ulster Constabulary and the Irish Republican Army, in driving punk rock form. Those tracks, along with "Rough Trade" (which blatantly attacks their own record label), and a Bob Marley cover, "Johnny Was," make up the highlights of one of the greatest albums of the first wave of punk.
THE STILETTOS. Punk Trampoline (Rave Up) 13.00 EUR. The Stillettos were born out of the back room of Max’s Kansas City in the late sixties when, if you could get into the back room, you would be in the company of Andy Warhol and His Superstars, up and coming actors Al Pacino, Sly Stallone and Robert DeNiro, graced by the presence of Jimi Hendrix, Janis Joplin , The Stones and even an occasional night with Dali or Fellini holding court at the round table. Before the Sixties waned artists and freaks clawed their way to be in Warhol movies and some found themselves in Bizarre plays of Jackie Curtis appearing at La Mama Theater which turned out to be the seeds that grew the New York Punk scene. [close] Jackie’s “Femme Fatale or the Three faces of Gloria” brought together Jayne County, Patti Smith, Penny Arcade, The Winbrandt Brothers and Elda Stilletto, to act as the music scene began to explode with the Glitter and Glam of The New York Dolls, Eric Emerson and the Magic Tramps and KISS. In 1971 Elda formed Holly Woodlawn’s Pure Garbage - she sold her Andy Warhol cow to get a loft to live and rehearse in. She brought the show to the stage of New York’s top cabaret club Reno Sweeney’s, In 1973 bent on having a rock band, Elda left Holly to pursue the cabaret she was meant to do and recruited a Max’s Kansas City waitress who said she could sing, Debbie Harry. The Stillettos were one of CBGB’s first premiere acts billed with Television, The Ramones and Patti Smith. The fifteen year career of the Stillettos became a revolving door of some of New York’s most talented musicians: with Elda at the helm. And at any time you could find Sylvain Sylvain, Johnny Thunders, Lenny Kaye, Robert Fripp, Genya Raven, or Rick Danko sitting in for a song. On this album your ears will be candied with the sounds of Cheetah Chrome (Guitarist for the Dead Boys), Walter Lure, Billy Rath, (both of JT’s Heartbreakers) Tish and Snooky, (The Sick F**ks) Rick Derringer, Leon Neon and many others who believed in the talent and writing Elda Stilletto brought to the New York Scene. Limited edition of 400 copies of this grain of punk history!!!!!!!!!!!
THE STING RAYS. Cryptic And Coffee Time (Discos Alehop!) 14.00 EUR. The second and last studio album by this English band, originally released in 1987, contained 14 psych-jangle-fuzz-pop hits with 60s/garage/folk influences which didn’t fit in any music scene at the time. File next to The Dentists, The Count Five, TV Personalities, 13th Floor Elevators, The Monochrome Set… but The Sting-Rays were completely unique.
Alehop reaparece a lo grande con esta reedición de un clásico oscuro. Una joya que ha permanecido escondida en los baúles del más pajero sibarita. Sting-Rays editaron en 1987 su segundo y último lp. 14 melocotonazos de psych-fuzz-pop con influencias garageras y folkis de los 60's. Si lo tuyo son los Dentists, Count Five, Tv Personalities, 13th Floor Elevators, The Monochrome Set no dejes escapara este discal. Edición limitada a 500 copias.
STRAIGHT ARROWS. Rising (Hozac) 15.00 EUR. BACK IN STOCK!! Since releasing It’s Happening in 2010, STRAIGHT ARROWS have been touring the USA, releasing albums in the UK, cassettes in the USA, 7” singles in the USA and Italy, gracing the stages of the Sydney Opera House for Vivid Festival and headlining Sydney Town Hall as part of Sydney Festival. Who said punk isn’t high culture? Amongst all the madness, touring, recording, working, the Straight Arrows were writing their follow up album Rising. The result? Dancing music. Garage Punk nuggets that will get you up out of your dronesome slumber and force some serious rug cutting antics. This is hairy fuzzed out psychedelic garage pop without the patchouli-scented kaftans. Is it reckless? Is it fun? YEAH! Derr....it’s a new Straight Arrows record.
STRANGE ATTRACTOR. S/T (Red Lounge) 11.50 EUR. Killer Garage Dirt from this brand new outfit! Jeff from the STATUES and his buddies are a dirty bunch of NIGHT BANGERS!! Check it out, the LP will be to kill for!!! Important Facts that might just win you a million on TV: 19 Gripping Songs in less the 20 minutes! And no "Diamonds and Rust" or "The Ballad Of Jimmy Hendrix" either!
SUBMARINE RACES. Hard To Look At, Easy To See (In The Red) LP+CD 13.00 EUR. Watching the submarine races" is a euphemism for making out (and more) in a car. It's the kind of thing a cop would say to be funny when he knocks on the fogged-up window of your Chevy parked in back of the Safeway to ask what you're doing there at 1:00 a.m. This Submarine Races is a three-piece from Chicago, Illinois, fronted by Ian Adams, formerly of The Ponys and Happy Supply. The Submarine Races play spiky art pop that displays Adams's love for literate UK post-punk as well as the simple but sublime songs of The Easybeats and '60s girl groups. The group is powered by Adams's serpentine melodies, 12-string Rickenbacker leads, and adenoidal vocals, which blend the elegantly wasted plaints of the Only Ones' Peter Perrett and the nervy quaver of the Violent Femmes' Gordon Gano. Bassist Steve Denekas and drummer Paul John Higgins give a jolt to Adams's originals, which are marked by his lovelorn lyrics.
On Hard To Look At, Easy To See, the band's second album, the Submarine Races deliver thirteen tracks that rock harder and are even more infectious than their debut. Adams's pop chops have never been sharper and his anglophile leanings recall the best tunes of Monochrome Set or Pastels. Denekas chips in with a lacerating garage free-for-all, "Let It Go," and the disc even includes a cover of pipe organ magician Korla Pandit's "Harem Bells."
SUBTLE TURNHIPS. Redhair With Some (Homeless) 19.50 EUR. The French punk-garage-rock scene the past decade has seen some standout acts emerge such as Cheveu, Frustration, The Feeling of Love, Dimi Dero and more. Add the oddly-named SUBTLE TURNHIPS to this pile, as their fifth album—Redhair With Some—is proudly brought to you by Australia’s Homeless Records. The lack of hair on our Homeless head helped our hearing (try saying that rapidly 10 times)—not that we needed an aid to decide whether to release Redhair With Some—we’ve been a fan since hearing Terd Album (Hozac, 2010) and Meal (Pouet! Schallplatten, 2013) and immediately loved the rough cuts we were sent. Recruiting recording ace MIKEY YOUNG to mix the album brought a fresh new set of ears to the Turnhips sound, and another instant fan, hell we even hear some Eddy Current Suppression Ring-style guitar work in “Eileen.” Some have stated they hear Swell Maps or Pink Flag-era Wire in the Subtle Turnhips influences, whilst others have noted The Fall or even the destructionism of Brainbombs. Pressed in an edition of 350 copies in gatefold jackets with download.
SUBTLE TURNHIPS. Terd (Hozac) 12.50 EUR. At long last, the French Cro-Magnon punque masters SUBTLE TURNHIPS have returned from the blackness with their third staggering LP of slobbering soiled savagery, and we couldn't be more pleased to help shovel it down your throats. Finally available to folks outside of their alcove of animosity and thrusting forth a sludgy, refreshing blast of toilet-wave toxicity that never sits well in pleasant situations, these three cave-dwelling cretins have created a modern masterpiece of rudimentary punk damage, never straying far off from each song's well beaten two-chord pummeling. For a band that's been surreptitiously releasing records for over twenty years now, the release of this new Terd LP is cause for rejoicing in that, at the very least, it's accessible to the farther-down-the-food-chain life forms that will embrace it the most. Mining only the most slavish nuances culled from punk's deepest grievances and stewed in an acidic bath of primal lunacy stemming from isolation, desperation, and overall sonic decapitation, it's with great pleasure that we unleash the Subtle Turnhips' latest poisonous blast of primordial perfection, the Terd LP upon your vulnerable and unprepared soul. First pressing of 400 copies.
SUDOR. Ganas De Vomitar (Beat Generation/Sólo Para Punks) 10.00 EUR. Después de un EP y un LP compartido, los de Toledo regresan con un disco grande para demostrar que en la ciudad imperial no solo hay espadas, armaduras y espiritú rancio heredado del Alcazar. Título explícito para un contenido que arrolla en sus diez cortes, una exhalación hecha bilis que se devanea entre la herencia de Discharge y el hardcore ochentero de los paises escandinavos, eso sí, sin perder su toque mas rockero en esos punteos de alumno de primaria. Lapos de bilis, inconformismo, rabia y por supuesto sentido del humor.
SUGAR STEMS. Can’t Wait (Dirtnap) 14.50 EUR. “If you looked up ‘pop’ in the dictionary, I'm pretty sure you'd be referred directly to the SUGAR STEMS. Formed in Milwaukee in 2007, this band has been delighting power pop fans for several years with its shamelessly sweet melodies and upbeat, impossibly catchy songs. And if there's one person on earth who was born to sing hook-driven feelgood pop of this magnitude, it would be the talented BETSy HEIBLER. With ties to both classic power pop and the phenomenal early 2000s Wisconsin punk scene, the Sugar Stems bring plenty of power to go with their dizzying sugar rush of pop. Hear one song, and immediately you'll be wondering: ‘Why is this band not huge?!’ Includes a download.
SWEET MADNESS. Made In Spokane: 1978-1981 (Sweet Madness) 19.00 EUR. Deluxe vinyl release of SWEET MADNESS, the Spokane, WA band that kicked off themutant-garage-punk-art-rock scene of the Eastern portion of the Pacific Northwest. Made In Spokane: 1978-1981 features 16 great-sounding remastered songs, including "We Will Obey," "In On The Outs," "Tired Blood," "Mechanical Things," "INeed Electricity," and "Concrete River." Includes lyric and flyer inserts.
SWINGING NECKBREAKERS. Pop Of The Tops (Telstar) 14.50 EUR. Long awaited new album by the buzz-loving, NJ garage rock icons who pack houses in Norway and rock out in fictional "Soprano" bars! The trio's first slab in about a decade features the band's typical high-energy rock 'n' snot.
TACO LEG. S/T (Fan Death) 14.00 EUR. BACK IN STOCK!! TACO LEG are the best band in the world. No, seriously. The Perth trio of ANDREW MURRAY, SIMON MORRISON and RICHARD INGHAM has been blowing us away since we first came across their Myspace page shortly after starting Fan Death. The currently out of print Freemason's Hall 7" (FDR-004) may initially have confused and irritated listeners from Cottesloe to College Park, but the record itself is an essential document of the recent Australian underground, two trebly tracks about architecture and boredom in Western Australia. Following that, Taco Leg released Painted Gold, a three-song 7" on noted Philadelphia rock label Richie Records/TestosterTunes, and had a US tour in late 2010 that coincided with the release of the McRib. Taco Leg's self-titled LP wastes no time in making its mark, its 12 tracks clocking in at just under 20 minutes. Many of these tracks barely crack the minute mark, but like their Perth punk ancestors from the Victims to Extortion, their songs are direct and lodge in your brain until you find yourself thinking about "Raiders of the Lost Ark". If you're familiar with Taco Leg, the elements are all there—minimal guitar lines and stripped-down, proto-punk drumming, with singer Murray's unforgettable voice intoning cryptic lyrics. This is the record where they've fully honed their sound, and very nearly have learned how to play their instruments. Whether it's on the shambling swagger of "Shut It Down," self-described "Detroit Hardcore" song "Find Me," or the tension of "I Can't Decide" (not a Black Flag cover), Taco Leg perfectly encapsulate the feeling of being young and bored without being boring. Members of Taco Leg also appear in a number of other great bands, all of which are incredible and essential to check out, including: Pauline Manson, Constant Mongrel, Whalehammer, Pond, and Ringham's garage-punk/prank call project Ring.
TALBOT ADAMS. S/T (Spacecase) 15.50 EUR. TALBOT ADAMS has slowly become a solo artist over the last few years. Prior to going solo, Talbot's played in a number of bands: THE ROYAL PENDLETONS, THE DARKEST HOURS, PREACHER’S KIDS, THE JENNY JEANS, DUTCH MASTERS, THE CHECKMATES, and THE BLACK AND WHITES. Talbot has played on recordings for Goner, Norton, Shattered, DMR and Spacecase Records. Adams has been lucky enough to play with members of The Oblivians, The Gories and The Neckbones. Talbot Adams was born and raised in New Orleans. He lived in New York City for five years, where he was lucky enough to intern at Matador Records before returning home and finally settling in Oxford, MS, where he currently lives. Talbot still misses New Orleans, but likes North Mississippi as well. Talbot has been recently performing, at times with just voice and guitar, and at other times with a group of friends that back him up.
TAMARYN. Led Astray Washed Ashore (Troubleman Unlimited) 13.50 EUR. Somber and seductive, brooding and atmospheric, TAMARYN’s debut EP is filled with the kind of shimmering songs that alto chanteuses like NICO and SIOUXSIE SIOUX offered us in years past. Her voice is both a weight against the current of reverb-drenched guitars and a floating ornament atop the driving drums that underpin her songs. The music hovers between dark, tribal minimalism and lush post-punk grandiosity, infusing the familiar with the unexpected. Led Astray, Washed Ashore is an intriguing release to say the least.”--Big Takeover. Includes guest appearances from NICK ZINNER (YEAH YEAH YEAHS) and JALELL BUNTON (TV ON THE RADIO). Edition of 500 copies. Packaged with embossed sleeves.
TEENAGE FILMSTARS. There’s A Cloud Over Liverpool (Munster/Discos Alehop) 15.00 EUR. BACK IN STOCK!! Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: '(There's A) Cloud Over Liverpool' (Clockwork Records), 'The Odd Man Out' (Wessex Records/Blueprint Records) and 'I Helped Patrick McGoohan Escape' (Fab Listening Records).
After self-releasing two records with his band 'O' Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that band's 'The Malcolm EP' (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help Ball released a first single in September 1 979 featuring two songs: the A side is taken by '(There's A) Cloud Over Liverpool' (a tremendous chorus-song) and the B side contained 'Sometimes Good Guys Don't Follow Trends' (a comment on youth culture). The song '(There's A) Cloud Over Liverpool' received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon.
June 1980 saw the release of their second single, titled 'The Odd Man Out', where Teenage Filmstars offer as the lead track a catchy ska-pop number in the vein of Madness. The other side featured 'I Apologise', a beautiful pop melody punctuated by the kind of guitars characteristic of the revival mod bands of the time.
Their last single, from November 1980, included the track from their repertoire with the biggest potential, 'I Helped Patrick McGoohan Escape' (re-recorded in 1982 for Ball's next project, The Times, again along with Dan Treacy), an homage to the actor Patrick Joseph McGoohan, who worked in the late 1960s cult TV series 'The Prisoner'. The single's other side features 'We're Not Sorry', a power pop nugget which links them with bands such as The Jam and Merton Parkas (who were mocked on one of the two sleeves of '(There's A) Cloud Over Liverpool').
This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of 'O' Level: 'He's A Professional' (antimilitary punk-pop) and the folk-punk anthem 'The John Peel March', dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated in November 1980 which produced three tracks ('Storybook Beginnings', 'Dressing Up For The Cameras' and 'The Sun Never Sets') which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times.
Ed Ball's music career would continue into the 1980s and 90s in bands such as Television Personalities (until 1985), The Times (until 1999) and many more projects, including four albums as a solo artist.
TEENAGE HEAD. S/T (Barnyard Records) 16.50 EUR. BACK IN STOCK!! Raised on a heavy dosage of good ol' American rock and roll - of both the 1950s (Eddie Cochran, Gene Vincent, Chuck Berry) and 1970s varieties (The MC5, The Stooges, The Velvets) - these 4 youngsters from working class Hamilton, in Southern Ontario, set their town, and soon after all of Canada, ablaze in the late 1970s with their raucous live act. Drawing their name from The Flamin' Groovies classic 1971 LP, Teenage Head formed in 1975 when all the members were classmates together at Westdale High School. After a few years of honing their chops and legendary live show, this LP, their debut album was released in 1979. A ripping mix of punk attitude and 50s rock riffs, Teenage Head are not interested in politics or philosophy: this is just young, loud, and dumb punk rock - the way it should be. Though their next album would make them stars across Canada with two hit singles, this album is their finest and most urgent recording.
TEENGENERATE. Smash Hits (Estrus) 18.50 EUR. BACK IN PRINT!!! Fifteen doses of revved-up and raw punk fury culled from FINK and company’s unrelenting kamikaze barrage of 7-inch buzz bombs…only the best of the best from Japan’s undisputed garage/punk overlords, TEENGENERATE! This LP is a fast and furious firebomb of feedback & thunder, tailor made for your next dragstrip showdown or house wrecking party. So, give those worn out singles a rest...back over yer radio, redline your tach.
TEENGENERATE. Get Action (Crypt) 13.00 EUR. Super NO-FI frantic full-length smokin' album by these Tokyo garage punk rock wildcats! LP has 2 BONUS CUTS: "I' m Beat" and a cover of the PAGANS' "Six And Change". The other 17 cuts include the utter power-pop ala Real Kids punk genius of "Right Now" and "Radio 55", and a slew of super-brash originals.
TERRIBLE TWOS. Horror Vacui (Urinal Cake) 17.00 EUR. It's been 5 years since Detroit's TERRIBLE TWOS let loose their first album of unhinged, synth-fucked punk furiosity, in the time between then and now they saw the release of a handful of singles, the untimely demise of several vans, a personnel change, and a sharpened delivery of their brand of ape-shit destructo-rock. Along with being a genre of outsider-art, Horror Vacui is defined as "a fear of the empty"—it makes sense that this would be relatable for Terrible Twos as they rarely allow you a moment of silence to collect your thoughts before scattering them back across your dome during the course of these 13 songs.
THUNDERTRAIN. Teenage Suicide (Rockin’ Bones) 10.00 EUR. En los años setenta, antes de que el punk irrumpiera en Inglaterra, estos compañeros de viaje de Dictators o Runaways, le daban al rock and roll cañero y eran muy conocidos en la escena underground tanto de su ciudad (Boston) como de Nueva York. En este álbum, ahora reeditado e incialmente publicado en 1977, nos encontramos con 12 temas, grabados entre los años 75 y 76. En definitiva rock potente en títulos clásicos como "I'm So Excited", "Hot For Teacher!", "Modern Girls", "I Gotta Rock", "Forever & Ever" o "Love The Way".
TIME FLYS. Rebels Of Babylon (Birdman) 13.00 EUR. Oakland, California's enfant-terribles The Time Flys are back with another blast of rock'n'roll rebellion. Performing at the pinnacle of their powers, these guys (and gal) pick up right where their debut, Fly, left off. Together, Sir Eric "The Masher" Von Ravenson, Andy Freeze (aka Andy Jordan of The Cuts), Erin Error and Peter P. Juvenile seamlessly fuse mid '70s glam, late '70s proto-punk, and even later '70s Killed By Death-style punk to create music that, in these stale times, sounds remarkably fresh. The combination of guitar, bass, drums and attitude hasn't sounded this great since the heyday of Sire Records.
Time Flys don't simply rummage the back catalogs of the Velvets or the Voidoids; they dig deep, touching on groups like DMZ, The Real Kids, The Huns and AK-4. Unlike the kid who threw his watch out the window, the Time Flys don't dumb it down like so many balls-out punk retards-- the riffs on Rebels Of Babylon may be tough, but they're also fairly complex. In fact, The Time Flys might be the only group playing original recipe punk at this level in 2007. Doubting thomases who scoff at moderne punk groups might be surprised to discover how much they dig this.
TIMMY’S ORGANISM. Raw Sewage Roq (In The Red) 14.00 EUR. BACK IN STOCK!! Known predominantly for his work as the frontman of Clone Defects and Human Eye, Timmy Vulgar has spent over a decade being the definition of punk rock. He is also a 2010 Kresge Artist Fellow who was awarded for a “creative vision and commitment to excellence within a wide range of artistic disciplines.” For Timmy’s Organism, Vulgar wrangles up a trio of like-minded degenerates and leads them through dismantled punk, space-blues and debris-sodden noise with deft ease. Debut album Rise of the Green Gorillas, released in 2010 on Sacred Bones, was essentially Vulgar solo recordings, but Raw Sewage Roq is the full band pounding the kind of whacked-out, sci-fi-inspired, skuzzy skronk anyone familiar with his oeuvre would expect. Here, Vulgar jettisons most of the avant, jazzy Beefheartian leanings of Human Eye in favor of a direct, straight-ahead approach that owes more to KBD punk, Alice Cooper-style glam and Hawkwind. That said, “straight-ahead” by Vulgar standards is still pretty damned unhinged. You will hate yourself if you sleep on this one! “How can Kurt Vile fans sleep at night knowing that this fucking guy is out there, ruling the universe? Seriously, Timmy Vulgar—punko-futuro from Epileptix, Clone Defects and Human Eye—makes everyone else look like a fucking joke.” —Mitch Cardwell, Maximum Rocknroll.
TNT. Una Naranja Mecánica (VomitoPunkRock Records) 14.00 EUR. Quinta referencia de sello! Esta vez nos vamos al sur, exactamente a Granada con una DEMO realmente indispensable. La DEMO de TNT grabada en Albolote en 1981, con 16 temas, que ademas incluye versiones de Sex Pistols, The Clash etc... "Una naranja mecanica". Son 500 copias. Vinilo negro + fanzine. No te quedes sin esta joya!!!
TOTAL ABUSE. S/T (Deranged) 12.50 EUR. Review From MRR #309: Finally, after much teasing and foreplay, the TOTAL ABUSE full-length is out and totally worth the wait! This album is pure bloody-knuckles-wrapped-around-a-bottle-of-despair music, a soundtrack for modern times. I listen to this shit while running and I want to push people out of my way, stomp on top of shiny, expensive cars, and then run againnst the traffic in the middle of the street. I’m not fucking around here. Imagine the nihilistic hardcore intesity of a band like SEX/VID mixed with everything musically cool about BLACK FLAG and you’re just starting to get the picture. Some songs are driving on the mid-tempo side and make you slip slowly into madness, and others are fast and relentless, perfect for skating top speed down the steepest hills in town. You should already have the two Eps by this point (Sex Pig and the demo 7”), but if you don’t, the CD version has both of ‘em as bonus tracks to catch you up on things. Fantastic!!
TOTAL CONTROL/THEE OH SEES. 2011 Tour Split LP (Castle Face) 15.00 EUR. Hailing from Melbourne, Australia, TOTAL CONTROL destroy with a wicked follow up to their first LP/masterpiece Henge Beat. Four new burners from the unstoppable 5 piece. Hard psych guitar based tracks and floating and dark keyboard centered pieces make this a well rounded feast for your southern hemisphere hungry ears. San Francisco repeat beaters THEE OH SEES return with 4 revised tunes. These are the live, full band versions of four faves that sweaty kids have learned how to writhe to and old chin-scratching music hoarders have proclaimed as "not bad." Producer CHRIS WOODHOUSE is at his peak performance with this recording. It's raw and all speaker-melty—and holy shit, it comes with a free download so you can pour it in your ear at the gym.
TOTAL CONTROL. Typical System (Iron Lung) 15.00 EUR. BACK IN STOCK!! Received an 8.0 rating from Pitchfork. Total Control emerged from Australia’s dynamic punk scene in ’08, releasing a succession of 7”s that developed from an aggressive post-punk band sound to studio forays into electronic forms from minimal wave to house. Their debut LP, Henge Beat, was commended as one of the few records released in 2011 that evaded the ease of classification and competent tribute act status of most modern bands. Subsequently, they have released three very different records: a split 12” with Thee Oh Sees, a 7” single on Sub Pop and a house remix 12”. Typical System develops on the incongruent demands of their debut LP and ensuing releases, a further development on their continually evolving sound.
TOY LOVE. Toy Love - 2xLP (Real Groovy Records) 45.00 EUR. BACK IN STOCK!! The 28-track compilation collects all the A & B sides of the three Toy Love singles, plus the best demos from 1979, a live track and even a radio jingle. All mastered for vinyl, straight from the original analogue tapes, no nasty CDs nor digital sources were used at all.
Housed in a gatefold jacket, a 24 page booklet accompanies the release with photos, ephemera and commentary from Toy Love. While, the back cover features a sketched cartoon of an early Toy Love flyer drawn by Chris Knox.
Evolving from Dunedin band, The Enemy, Toy Love had a brief but bright existence between January 1979 and September 1980. Invoking the ghost of punk and the melody and creativity of 60-70s pop, they were peerless at a time when New Zealand music was still struggling to imprint itself on the national consciousness. They became a model for local musicians around the country and inspired the birth of Flying Nun Records – a label which many from the band went on to work with, including Chris Knox and Alec Bathgate with the Tall Dwarfs and Paul Kean with The Bats. Then, in 2005 Flying Nun released Cuts, a double CD anthology of Toy Love material.
Electrifying and unmissable, Toy Love made an impact on all who saw then, and continue to do so around the world today.
TOY LOVE. Live At The Gluepot 1980 2xLP (Goner) 21.00 EUR. BACK IN STOCK!! Toy Love’s music was in a constant state of formation and reformation throughout the band’s existence—songs would warp and twist with every playing. So, for all its undeniable power, it appeared unstable, almost fragile, threatening to burst out of its own skin, shards and globs all over the place. Every gig was like another attempt to make this strange creature hold together and live. At times, it would only take off at a few unpredictable points, at others it would lift off immediately and roar through the air, an astonishingly compelling and unlikely flying thing full of dark folds and flashes of light. The best stuff was transcendent, and the near-failures were so often funny or had the buzzy pathos of a crash site, one couldn’t look away. This double-album captures the legendary band in September 1980 at The Gluepot in Ponsonby, Auckland—one of their final live performances. The recording was transferred and prepared for vinyl mastering by Steve McGough at Stebbings from a desk tape recorded by the band’s soundman Doug Hood.
TRACAHOMBRES. Rock & Roll Despechado (Tuca Raca) 11.00 EUR. 12 petardazos de fabricación casera, hechos con primitivo rock & roll, punk crudo, blues destilado, cinta americana y mecha rápida. Algunos explotan y otros suspiran, haciendo una traca deliciosa con bastantes baladas de inframundo. Grabado con premura y en directo en el humedo SOTANO de Dani Cardona (una sonrisa Terrible). Ojo, aqui hay sensibilidad, pero también carne cruda!!! Letras existenciales para vagos. Evolución ilógica de su primer Lp. Una cosa está clara, o te gusta o lo odias a muerte. Olvidate de la indiferencia.
TRADITIONAL FOOLS. S/T (In The Red) 15.00 EUR. In The Red is proud to announce the re-release of the self-titled album by The Traditional Fools, a garage-punk-thrash-surf trio consisting of Ty Segall, Andrew Luttrell and David Fox. They recorded and released their lone full-length back in 2008—it sold out quickly and has never been re-pressed until now.
Recorded live in the studio, The Traditional Fools is low on fidelity and high in energy. The band’s sound is a perfect combination of ’60s garage, vintage surf reverb and early LA punk performed with trashy, reckless abandon. Covers by Redd Kross and Thee Headcoats give an idea where these guys were coming from, and songs about bikini babes and shredsticks tell where they were at. Grab a bike, tank top, sunglasses and every beer you can find, and enjoy surf-punk done right.
TRANCE. Maldición (Solo Para Punks) 10.00 EUR. BACK IN STOCK!! Trance se forma en 2011 por Tere (guitarra), Rafita (bajo), Gato (batería) y Rafa (voz). Vienen de bandas de hardcore como Aspirina Infantil, Orden Mundial o los argentinos Fun People. O quizá es la primera vez que tocan en una banda. El caso es que estos tíos se entienden bien, cogen rápido la idea y en 2012 sacan una maketa de 4 temas que posteriormente es reeditada en 7” por varios sellos independientes.
Esto es solo el principio. Trance trabajan duro y parece que los nuevos temas salen con facilidad. Canciones más elaboradas, con más cuerpo, cargadas de energía. La influencia de Ramones sigue siendo esencial, pero una simple escucha al nuevo material basta para saber que no estamos ante otra banda ramoniana de esas que inundan el punk actual. Trance desborda personalidad propia.
Estos chicos han conseguido lo más difícil que se puede hacer hoy en día: Punk-rock, nada más. Drogas, malestar, amor, desamor y otros dolores de cabeza. Algo que se ha hecho siempre en el Punk estatal y que desde hace tiempo no se ha conseguido con tanta honestidad, mierda ya.
THE TRAPS. Boom Pow Awesome Wow (Castle Face) 15.00 EUR. Announcing The Traps’ Boom Pow Awesome Wow: Another grimy bit of gold from the vaults; “home made” music from Providence, RI, to irk your co-workers with. When you hear the word “garage,” does it make you want to leave the room? I can relate. Beaten over the head, we’ve been. The horse that was once merely dead is now paste on the linoleum. Garage songs sell cars. Needless to say, The Traps would be last on the list for ad men’s fancy. Sometimes you see or hear something that is so completely the raw ingredient of what was once great in your life that it stands out…or in this case, hunches over with a thread of saliva from its chin to its knee. This is The Traps:
• From Providence, Rhode Island, circa 2003-2004
• Very, very heavy
• Very, very simple
• Recorded in an unwaveringly carefree manner
• Three young men: Two very mellow dudes playing guitars thru towers of fried amplification, one very loud dude from Illinois playing what sounds like a bass drum and a 40-inch ride cymbal
Coachwhips played with them, then I came home and tried to rip them off, but I wasn’t man enough to fit these balls in the front seat. Castle Face has collected their six tracks from a CDR-only EP as well as four tracks pulled from a dusty box of cassettes by yours truly. Spit-shined in mastering and with all-new original artwork by Dusty Petersen, Boom Pow Awesome Wow is the perfect antidote to the G-word selling more yet meaning less. —John Dwyer
TRASHIES. Teenage Rattlesnakes (1-2-3-4 Go!) 14.00 EUR. BACK IN STOCK!! “A lot goes into the rattle of Teenage Rattlesnakes. In wading through the gunk, you’ll hear psychedelic garage moderne, far enough removed from their domestic contemporaries to be mistaken for Euro gang-chanters conducting a tribal punk séance. But they’re American Men, able to see the art inherent in pink sludge sustenance. Moments of severe stomp and circus tomfoolery recall the frenzied Avant Garde Rock’n’Roll of The Monks, with further irritants injected to make it all the more jarring. A recent inactive period saw members disperse to outfits like TACOCAT, UNNATURAL HELPERS or UZI RASH, producing offerings infinitely more civilized than expected.Perhaps the toxicity so often associated with the band enabled them to grow extra appendages, but the performances captured here move so far past the plod that it’ll no doubt shock those familiar with the band’s early droppings. One can’t help but believe that THE TRASHIES have mutated into (gasp) a band with (gasp!) ideas and (gasp!!) the musical chops to see them through to the fullest. Of course, there are trade-offs: each album comes with a redeemable coupon for one Silkwood-shower.”—Mitch Cardwell. Limited to 500 copies on trash colored vinyl.
TRIN TRAN. Dark Radar (God? Records) 16.00 EUR. A man of indeterminate age stands behind a stack of drums and keyboards, all arrayed within his reach. A guitar hangs down from his neck, occasionally played his hands aren’t split between the keys, tapping out riffs on synth. His feet work a couple of pedals beating out time on snare and floor tom. A drumstick is deployed on the guitar and the keys only. Makes sense. Like a schizoid game of Pong, the whole thing is about exploiting the tempo, and the sounds—these ano/digital shards, iced with minimal/savant lyric shreds and a crazed slavery to the groove(s), could be hailing from Munich in ’77 or Cleveland, SF, LA, NYC or London in the late ‘70s. It could be the soundtrack to Peter Ivers’s “New Wave Theatre” or some weird dark corners of the early ‘80s once the records began to make their way into the world and changing minds…but fuck, it could be today too! Wrong on all accounts. This is some vintage one-man robot punk shit, but it all trails back into the early aughts, when punk kids were unearthing old synths and working them into the noise. Some kids went into full-on dance punk. Remember? Or would you rather not? It’s this robot-punk stuff that still sounds fresh, razorsharp and ready to go, whether it’s going forward into the past or back to the future! The debut release on the God? label—a “TY SEGALL presents” sort of deal. Vinyl-only release.
TRIN TRAN. Far Reaches (Castle Face) 15.00 EUR. Trin Tran: The one-man band without a plan, hurtling through the songiverse without a map or compass. For years now, Trin Tran has been creeping out from deep space (America’s Midwest) and bouncing songs off satellites. These transmissions are a testament to his lovely weirdness. This new EP is an injection of strange-pop—less garage than his recent full-length on Ty Segall’s imprint God? Records and more the bastard child of Duran Duran and Bruce Haack. Riskier vocal delivery, heavier synths. Stronger, swifter, silver-er. Mute Records would have licked their glossy lips over this meal in the early ’80s. Recorded by Eric Landmark of San Francisco scrap-synth alums Numbers and Ricky Reimer of Madison, WI, angularities Transformer Lootbag, mixed and mastered by John Dietrich of Deerhoof, Far Reaches truly harkens from the 6th Dimension. It’s a new era for the mask and its one-man armada.
TRONICS. Say! What’s This? (M’Lady’s) 17.00 EUR. TRONICS, led by ZIRO BABY, who issued records between 1979 and 1983 are a musical rarity as things go. The releases brought Tronics and Ziro Baby, then and since, great acclaim being noted in the music press as “a swamp God”(1), “the essence of Rock n Roll”(2), “arguably, a pre-cursor for English Post Punk and Indie music”(3) and being credited for issuing the first independent cassette album in 1980 that started the cassette music boom that continues today(4). Despite the successes of the Tronics releases, being continually highly sought after and loved by so many, Tronics and ZARJAZ BABY—the name that Ziro works under today with his group FREAKAPUS—remain rare, mysterious and enigmatic underground phenomena. Perhaps it was with this in mind that brought Brett Lyman, co-owner of M’lady’s Records, to remark that the recordings on this album were like finding a hidden room in the back of Tutankhamen’s tomb. M’lady’s Records is very proud to announce that we’ll be issuing Say! What Is This? on September 24th, 2013, in the eternally popular LP and CD formats. Over 90% of this album has never been heard by the public.
TRONICS. What’s The Hubub Bub (M’Lady’s) 17.00 EUR. What’s The Hubub Bub originally appeared in 1980/1981, and was so far ahead in its approach to songwriting, performance, recording, and presentation that we’re just now catching up. Issued at the height of the British post-punk renaissance, on cassette only, it presaged the DIY underground movement in this country by several years, and until now, has been more rumored than heard. Recorded mostly live to cassette, the album has an astonishing breadth, taking in and transmuting savage rock’n’ roll, tender ballads, tape experiments, and in the case of “The Shark Fucks,” bona fide anthems. ZIRO BABY (now known to comrades as ZARJAZ BABY and fronting the incredible group FREAKAPUSS) and his songs have held sway with hundreds of the underground cognoscenti for decades now, cassettes of TRONICS albums being passed around like secret handshakes. It remains a singular example of true self-expression, whilst at the same time rocking harder than (fill in almost any band‘s name here). M’lady’s Records is very proud to be issuing What’s The Hubub Bub for the very first time on LP, remastered and packaged with the original sleeve.
TRUE SONS OF THUNDER. Stop And Smell Your Face (Little Big Chief) 17.00 EUR. BACK IN STOCK!! "Time fer some real talk. If'n the hirsute squad that pillage the junt in Conan had a band, they'd probably sound more like ‘Psychedelic Warlords’ than the first Cathedral record, nah'mean? Well, the barlichood ablutophobes in this TRUE SONS OF THUNDER act done roared over the hills in bout the same way, layin' a strip all round town thick n hot enough to stand out in the most post of apocalypses (i.e. Memphis). Still lampin' on that ‘Buy’ button? Havin' a crusty mitt in a clutch of other ill-reputed bands in those parts (MANATEES, OBLIVIANS, SHARP BALLOONS, FOUR JOHNS...) mightcould give you a sense of what's in store here. Or maybe you chipmunked away their Spoonful of Seedy Dudes LP for a fortnight-and-a-half of beer sweat and pant stains but just ain't got to it? So ya mean to tell me you don't know they got solos that are to Dave Brock and Ron Asheton what Leigh Stevens was to Hendrix? You don't know about the cold-knuckled clubber behind that there kit? For shame, cuz the bedunged heaviness and aboiement that abound all over their discography are herein stretched out and slowed down juuust enough so they can boogie like motherfuckers when they wanna and maybe affix a lil proto to their punk. They've also finally put to vinyl a Duran Duran/Black Oak Arkansas medley they been kickin around for years and boy-howdy! Never did I realize how much both songs sounded like ‘Born to Go.’ THAT and other crumbs is finna get belched out ya brainz quicker than you can say ‘O-Mound’. Gird yer bits all ya like; they're comin' for ya either way.”—Sebastian Morris-White, Buffet of Loathesome/Fuck You Counselor
TUMBA SWING. Sólo Y Mal Acompañado (Discos Calamidad) 10.00 EUR. TUMBA SWING ya tiene disponible su nuevo Lp. Este one man band desde el extrarradio de Mislata nos ofrece 15 pepinazos de rock and roll, blues, trash chatarrero después de un exitoso primer EP.
THE TUNES. Love Uncool (Cheap Rewards Records) 17.00 EUR. BACK IN STOCK!! Hailing from Topeka, Kansas, THE TUNES were a band that embraced the pop side of the power pop genre. They gigged throughout the Midwest between 1979 and 1983, self releasing a 7" EP in 1982 with the goal of scoring a record deal. Sadly, the industry failed to notice the band’s strong songwriting ability and exceptionally catchy pop tunes. After the rejection letters piled up, the band split apart leaving very little to sustain their legacy. Thirty years later, Cheap Rewards Records has unearthed six demos that were previously only heard by club owners and booking agents decades ago. Love Uncool presents these lost gems on vinyl for the very first time along with the four classic songs from their original EP.
THE TURN IT OFFS. Too Much Static (Red Lounge) 12.00 EUR. Another exciting Band from Memphis. Garage R'n'B Action on the Go! If I told you they sound like a mix between the Boston Chinks, Lover! and the Oblivians, would that get you mouth watering? Part of this AAAmazing sound is that Harry from the Turn It Offs is the Guy who recorded the Boston Chinks Tracks for their Goner release,the last 2 LOVER! Lps and The True Sons of Thunder, just for some name checking. Cover art for this lush piece of vinyl by Lindsay Shutt.
TUXEDOMOON. No Tears 12” (Superior Viaduct) 14.00 EUR. BACK IN STOCK!! Founded by Steven Brown and Blaine Reininger in San Francisco, Tuxedomoon are a futuristic alternate reality of delirium and existential dread. Aligned with fellow Bay Area experimentalists The Residents (to whose Ralph Records the group eventually signed) and Robin Crutchfield’s post-DNA project Dark Day, Tuxedomoon developed a unique combination of synthesizer and guitar that placed them at the forefront of the US post-punk movement in the late ’70s and early ’80s. Their 1978 debut EP, No Tears, was recorded with vocalist Winston Tong and sound engineer Tommy Tadlock. Replete with tense synth swells, devastating live drums and a psychotic ode to the “creatures of the night,” the title track is a crucial entry in the synth-punk canon that stacks up next to the best work by Units and The Screamers. Reininger’s electric violin congeals with electronic atmospherics to unnerving ends on the instrumental “Litebulb Overkill.” Few records do justice to the mania and paranoia of a forsaken city; none do it for San Francisco like Tuxedomoon’s No Tears.
TUXEDOMOON. Scream With A View (Superior Viaduct) 14.00 EUR. BACK IN STOCK!! Founded by Steven Brown and Blaine Reininger in San Francisco, Tuxedomoon are a futuristic alternate reality of delirium and existential dread. Aligned with fellow Bay Area experimentalists The Residents (to whose Ralph Records the group eventually signed) and Robin Crutchfield’s post-DNA project Dark Day, Tuxedomoon developed a unique combination of synthesizer and guitar that placed them at the forefront of the US post-punk movement in the late ’70s and early ’80s. Scream With a View, recorded surreptitiously in The Residents’ private studio in 1979, advances brilliant melodic concepts through analog technology for a sound barely comprehensible today. On “Where Interests Lie,” punchy drum machine underlies barbed and eerie leads from guitarist Michael Belfer (The Sleepers). “(Special Treatment for the) Family Man”—a reference to Dan White’s trial for the assassination of San Francisco’s mayor George Moscone and supervisor Harvey Milk in 1978—is an indignant vigil cut with a rare brand of macabre humor. Saxophone, Polymoog, violin, e-bowed guitar, and CB radio interference make Scream With a View the insidious foil to the urgent No Tears EP.
TV GHOST. Disconnect - 2xLP (In The Red) 19.00 EUR. TV Ghost’s third full-length for In The Red, Disconnect is a journey to the center of dreams. The Lafayette, Indiana, band displays a newfound maturity, incorporating churning rhythms and psychedelic drone into a lush torrent of gaseous keys, sprawling guitars and eerie melody. Think Porcupine-era Echo and the Bunnymen and Tago Mago-era Can run through a Cure Pornography blender.
“TV Ghost’s 2009 debut LP, Cold Fish, is a maelstrom—10 hectic songs ripped out in 25 minutes. Stuffed to the seams with wiry guitars, trembling keyboards, crashing beats, and Tim Gick’s mad-man warble, it has the creepy tension of a post-punk haunted house where the Cramps, the Scientists, or Pere Ubu might leap out from the shadows at any moment. The band deftly balances precision and abandon—every moment sounds lunatic and unhinged, yet no track collapses into complete anarchy.
“That abandon has subsided a bit on Mass Dream, which doubles the length of its predecessor despite having only one more track. That’s by design—Gick says that his intent was to “space things out more, let the songs breathe.” And while I miss Cold Fish’s farther-flung moments, the band has countered that loss with songs that are deeper and more open. Now, along with all the post-punk echoes rattling around, unexpected reference points pop up. At times I hear the enervated drama of Echo & the Bunnymen’s Ian McCulloch, or the stridency of Ian Svenonius during his Nation of Ulysses days. And TV Ghost prove as adept at stark dread as they are at fevered bedlam....” — Pitchfork
TV GHOST. TV Ghost (Die Stasi) 10.00 EUR. The worlds sole purveyors of Wabash Wave coming back with the Lubricatedgoatdoomsuicid ealuminumknoteyewolfeyes countryteaserscrampsafra mes (Your words, not mine) mash-up thats all the rage. Thats right, something here for the whole family. Your mommys a junkie you say? Give her a taste of "The Nihilist". Daddys a faggot? Inspire him with the sounds of "Lee is Free". Little sisters a beard punk? Well thats unfortunate, but shell like the record too. 9 songs on this 12" and recorded on Ohio State Fair weekend by Matt Horseshit at Self-Esteem Studio. Relentless! - Die Stasi. Available again in silkscreened/stickered cover.
TV GHOST. Mass Dream (In The Red) 13.00 EUR. Taking their name from the phenomenon of analog television frequency disturbances, Lafayette, Indiana’s TV Ghost conjures an especially sludgy and punishing brand of art-punk. They began making a name for themselves in 2007, when their first 7-inch, Atomic Rain, was released by Die Stasi Records, also home to the noisy likes of Pink Reason and Zola Jesus. TV Ghost’s sinister sound—which echoes the Scientists, Suicide and The Cramps’ ’70s output—and frantic live show won them an underground following; a 12-inch EP on Die Stasi, a single on Columbus Discount Records and their debut album, Cold Fish, followed in 2009 with several rounds of touring the US in support. The band’s trek across Europe in 2010 left a trail of busted gear, annoyed booking agents and new fans behind them. TV Ghost’s sophomore full-length was recorded by Greg Ashley (Gris Gris), and Mass Dream is by far their clearest and most coherent release to date. While sacrificing none of the band’s scuzz-punk dementia, this album is far less dense and impenetrable than its predecessor; Ghost frontman Tim Gick’s lyrics are clearer and his complex song structure a bit easier to get a handle on. That said, this is still blood-boiling, spastic and down right evil music by anyone’s standards. Live, there are few who can match them. Their sets are explosive, destructive and out of control. Gick howls as if his bowels are being extracted through his gluteus, while his eyes roll back in his head and the rest of the band pummels away in noisy ecstasy. Every show they play is psychotic and chaotic perfection. Mass Dream is the first time it’s been captured on wax to perfection.
TY SEGALL. Singles 2 (Drag City) 17.50 EUR. The second collection of singles from the one-and-only TY SEGALL. Features non-album singles and B-sides from the Goodbye Bread, Twins and Sleeper era (2011-2013), including covers of GG Allin, Velvet Underground and The Groundhogs. Includes the songs: “Spiders,” “Hand Glams,” “Cherry Red,” “Falling Hair,” “Children of Paul,” “It’s A Problem,” “Mother Lemonade,” “For Those Who Weep,” “Fucked Up Motherfucker,” “Femme Fatale,” “Music For A Film,” and “Pettin’ The Dog.”.
TY SEGALL & MIKAL CRONIN. Reverse Shark Attack (In The Red) 16.00 EUR. BACK IN STOCK!! TY SEGALL (solo work, SIC ALPS, EPSILONS) and MIKAL CRONIN (OKIE DOKIE, CHARLIE & THE MOONHEARTS) bust out a ten-track delight of psychedelic garage jams that is sure to please the most scrutinizing rocker. Equal parts danceable garage rock and effects-ridden psychedelia, Reverse Shark Attack is a mind-blowing explosion of loud guitars, pounding rhythms and signature vocal harmonies. Ty and Mikal balance perfectly between Soprano and Baritone vocals, making for an outstanding listening experience. The B-side is a single 10-minute Beatles-esque medley that starts off weird, gets mellow and folky, then explodes into a Ventures-induced headache of smashed drums and wildly vibrant surf guitars. Definitely a winner, and nothing like either of their projects have done before. Edition of 1,000 copies.
TY SEGALL. Manipulator 2xLP (Drag City) 23.00 EUR. The Segall has landed. And it’s fully loaded, with everything that TY SEGALL are gonna need in the world to come. Sticking his hand deeper into the machines all around him, Ty is reaching ever further to the outer limits of inner space orbited throughout Twins and Sleeper. And now more than ever, the chunks of the world that came before are like asteroids formed in his image. Still fighting the power with all the energy that a determined mind-patriot can conjure, Ty’s a fighter who loves, a surfer, a spaceman, and yeah, a casualty—like you, he’ll never be free. But unlike you, he knows it—and when he goes down and his head cracks in two, out pour the multi-colored manias that make up Manipulator. Sour-sweet declarations featuring freaks and creeps alike: “The Singer,” “The Faker,” “Mister Main,” “Susie Thumb,” the “Connection Man,” and “The Crawler,” to name but a mutant fistful. To see these peeps, to realize their dreams and visions, Ty kept working, kept writing, laying down more tracks than ever. New musical expressions pop and surprise relentlessly throughout all the knockout tunes of Manipulator with many sounds in the mix — but most of all, SO many guitars! There’s so little time, and a LOT to say. In order to ensure that he got it all out, Ty called a few friends to fill in special parts on certain songs. He got great touches from CHRIS WOODHOUSE (piano, synth & percussion), SEAN PAUL PRESLEY (vocals), BRIT LAUREN MANOR (vocals), STEVE NUTTING (drums), IRENE SALZER (violin), JESSICA IVRY (cello), MATTHIAS MCENTIRE (viola) and the TY SEGALL BAND (MIKAL CRONIN, CHARLES MOOTHEART, EMILY ROSE EPSTEIN). Plus, Mikal arranged the strings—and everyone played awesomely.
TY SEGALL. Lemons (Goner) 15.00 EUR. BACK IN STOCK!! Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man band that was devoured by the local press, Segall has now given up the solo act for a three-piece group that destroys sonic and melodic boundaries with manic glee. This new live setup is a better reflection of his studio work. As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, Lemons is the natural next step after his celebrated self-titled 2008 debut on Castle Face. "Look out Jay Reatard, this Bay Area one-man band has even scuzzier static in his garage." –SPIN
TY SEGALL & MIKAL CRONIN. Reverse Shark Attack (In The Red) 16.00 EUR. BACK IN STOCK!! TY SEGALL (solo work, SIC ALPS, EPSILONS) and MIKAL CRONIN (OKIE DOKIE, CHARLIE & THE MOONHEARTS) bust out a ten-track delight of psychedelic garage jams that is sure to please the most scrutinizing rocker. Equal parts danceable garage rock and effects-ridden psychedelia, Reverse Shark Attack is a mind-blowing explosion of loud guitars, pounding rhythms and signature vocal harmonies. Ty and Mikal balance perfectly between Soprano and Baritone vocals, making for an outstanding listening experience. The B-side is a single 10-minute Beatles-esque medley that starts off weird, gets mellow and folky, then explodes into a Ventures-induced headache of smashed drums and wildly vibrant surf guitars. Definitely a winner, and nothing like either of their projects have done before. Edition of 1,000 copies.
TY SEGALL. Twins (Drag City) 18.50 EUR. BACK IN STOCK!! If there be just one TY SEGALL record to encapsulate this brave ol’ year, Twins is that very one. In fact, Twins just might be the blast that ends it all—or the explosion that launches a brave new evolution? The songs of Twins are haunted by ghosts, shadowed by the other that we’ll never see, struggling to rise above. A fury of rock ensues: songs rigged to explode on a dime, fired from a cannon into the stratosphere. They fuse together into one multivarious projectile, a bullet from a gun marked yin and yan.
TY SEGALL. Sleeper (Drag City) 17.00 EUR. Five short years into the TY SEGALL expedition, we’re farther and farther out with each and every record. And to every record, a tour—or three or four. But enough with the endless noise! Let Ty feel the wind though his hair this year! Time is short and life is precious. It’s already sorted that the boy’s of two minds; they come lightning-bright and thunder-dark. Either way you slice it (his brain), a storm is brewing as the hemispheres clash together and the songs pour forth. For Ty, coming down off the Twins trip was twice as far as it ever had been before, and in the pools of water and light that stood silently after the gale, he was a changed man. Well, the same young man, really—but different too in the days between then and now, naturally, and with more changes and big jumps ahead. A plan quickly evolved: before he checked out of his SF Mission digs and headed down the coast for a new way of life, Ty fired up the machines, hit play and wrung a last helping of blood from his rock, creating a new set of songs to translate his mind-current. Between two minds, between two places, beyond Twins, Sleeper envisions a world of haves and have-nots, but the currency that separates them is psychic. Class is determined by where your head goes—and Ty puffs the pied pipe, leading you back to what you forgot you knew. Sleeper is Ty-fi, for sure, but it’s not that different from this world we live in. It’s a hard-knock existenz, but there’s plenty tenderness to try, and the trip is crafted especially to fit in your ears and sail down the canals deep into your skull. The acoustics expand upon contact, creating new shapes for you to fill inside yourself over the full-length of a true album-length entertainment. With Sleeper, Ty Segall explores your mind, coming through his own head to slip inside with thought sharing. Ty engineered this one from beginning to end, and his ultimate sonics were accessed with a freaky hand and an instinct for what makes something perfect. Sleeper flows more colors than ever before through your mind’s eye, pushing the walls of the universe out just a micron further, making everything heavier and lighter all at once, to allow for one moment that will live forever.
TY SEGALL. Lemons (Goner) 14.00 EUR. BACK IN STOCK!! Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the SF neopsych garage alongside SF compatriots and collaborators Sic Alps and Thee Oh Sees. After shattering the Bay Area underground as a frantic one-man-band that was devoured by the local press, Segall has now given up the solo act for a three piece that destroys sonic and melodic boundaries with manic glee. The new live setup is a better reflection of his studio work-- which generally starts with his one-man-band setup and builds from there.
As an exploration of the space between Cro-Magnon fuzz and atmospheric acoustic psych, Lemons is the natural next step after his celebrated self-titled 2008 debut on Castle Face.
TY SEGALL. Melted (Goner) 14.00 EUR. BACK IN STOCK!! San Francisco psych wunderkind Ty Segall continues a tireless musical assault on ears and minds with his third album, Melted. Segall says it sounds like "cherry cola, Sno-Cones and taffy." Indeed! Over the past two years he's released records more often than most people do laundry, but somehow there is still a heap of anticipation for this new album on Goner packed full of truly psychedelic pop songs with great vocals and exciting arrangements.
On the heels of two critically acclaimed solo albums, Segall holed up in a basement studio in late 2009 to begin recording Melted. Friends occasionally dropped by to hang out and help--including Mike Donovan (Sic Alps), John Dwyer (Thee Oh-Sees) and Eric Bauer (Crack W.A.R.). The result is a carefree yet precise balance of acoustic and electric elements. Distorted echo and thunder mix together with enough clean guitar lines and addictive choruses to deliver an album that recalls the '60s without sounding like anything created during that decade. Time melts away, vision melts away, minds melt away. Get Melted!
TY SEGALL. S/T (Castle Face) 13.50 EUR. BACK IN STOCK!! Fresh from the nostalgically amazing San Francisco punk band, The Traditional Fools, front-man Ty Segall’s self-titled album broadens the horizon of punk, paying deserved homage to the roots of rock and roll, while rejuvenating the music for today. As anticipated, the album holds the classic ‘60s pop-meets-California Surf to a fast tempo that pushes the boundaries of punk. While the lo-fi claustrophobia keeps the undercurrent harsh and real, the upbeat melodies and psychedelic, reverb-laden vocals keep it buoyant and hypnotic. Native to Southern California, Ty Segalls’ solo project began as an attempt to keep his live performances in tune with his recordings. Segall played in Party Fowl, among other popular So-Cal bands, before moving north to San Francisco. Freed of the constraints that multiple members bring to a band, Ty Segall is truly a one-man band: he plays a bass drum with a tambourine duct-taped to the front and a hi hat with his feet, guitar with his hands, and sings simultaneously. The result is a “what you see is what you get” whirlwind of energy, best framed within a house party while under the influence.
TY SEGALL. Singles 2007-2010 2xLP (Goner) 22.00 EUR. BACK IN STOCK!! Jet-packing around the indie / garage cosmos for the last four years, Ty Segall has done too many singles and EPs and split records and shared records and albums and cassettes to count. He’s found himself increasingly in the spotlight, and this year’s Goodbye Bread for Drag City was met with a big wet kiss from the indie media world. But Segall don’t care about that. He ain’t in it for the corporate buck. He’s made it because he’s toured constantly, puts on a great show and genuinely loves what he does. Goner is proud to present a double-album of tracks culled from Segall’s massive out-of-print catalog—plus some stuff that never made it out in the first place. Here ya go: Singles 2007-2010.
TYPHUS. Insect Terrorist (Absolute Power) 11.00 EUR. More archival Japanese punk, this complies the ultra rare flexi from 1981 with two bootleg tapes released in Japan, with a booklet of scans of the covers and insert, flyers, translations of song titles and lyrics, adverts and info on Tam and ADK records, making this an essential item for teh Japanese punk fan. 23 tracks in total.
Typhus are famous in Japanese punk history for being one of the earliest hardcore type bands and for providing members for some of the most famous bands, Tam in The Stalin and running ADK records, Shin forming Gauze and Izumi in Aburadako. The flexi was released on Political, the label run by Michiro Endo of The Stalin.
TYVEK. Fast Metabolism (Water Wing/M’lady’s) 14.00 EUR. At long last, the vinyl debut of this flawless compilation of TYVEK’s early singles. Long out-of-print, and still in high demand, Fast Metabolism was initially issued as a CDR only release, and quickly caught fire around the world. Hailing from Detroit, and behaving as if Wire had been the world's only hardcore band, Tyvek were (and still are) a much needed adrenalin spike through the breast plate. These songs eventually were released as four very hard to find 7-inches between 2006 and 2008. Issued in an edition of 2,000 copies, with deluxe tip-on jackets, and mastered for precision by TIMOTHY STOLLENWERK, with the vinyl lacquers cut by BOB WESTON, this is a co-production between Brooklyn, New York's M'lady's Records and Portland, Oregon's Water Wing Records.
TYVEK. Blunt Instrumental EP 12” (Night People) 14.00 EUR. TYVEK don't need much introduction, Detroit area art punk garage rockers, who have a bunch of killer prior material on labels like Siltbreeze, Subpop, M'Ladys, X, Whats Your Rupture etc. Absolutely killer stuff here on this deluxe arted-out vinyl reissue of a limited tour cassette. Blunt Instrumental isn't all instrumental, but there is a focus on letting the rhythms and noise play out a bit. What’s interesting is that while the sound and instrumentation jam out a bit more, it feels even more raw and stripped down then the recent full-length LP. A sort of step forward into a more groove-oriented, noisy jammy territory while simultaneously returning to the sound of the early singles. A real raw art punk feel like early Swell Maps or The Fall etc. One of the great bands of these times.
ULSERS. Forget Them (Wallaby Beat) 16.50 EUR. A full LP of previously unreleased recordings from the mighty Ulsers!
The Ulsers didn't manage an album during their loose existence from 1978-1983, but luckily for us, wherever they went a cassette recorder was never far away. Salvaged from the bottom of dusty drawers and long-forgotten boxes in the garage, those tapes survived just long enough for the Ulsers to personally cull their 10 favourite tunes.
Recorded in various Adelaide living rooms in 1981 and 1982, Forget Them captures the Ulsers in full-band mode, i.e. electric guitar, bass and drums. Don't let the conventional instrumentation fool you, though; there is nothing conventional about the sound which ranges from a sped up, punked-out take on their ode to Julius Sumner Miller to the 10-minute endurance test of Nerve Gas (think Flipper with chromosome damage tackling LA Blues). Forget Them's songs are more developed, the vocals more manic and the sax blurts even more spastic than on the Remember Them EP. The band states definitively that it's "better", and we won't disagree.
Comes with full-colour inner sleeve packed with more Ulsers photos than you ever thought possible.
ULTIMO RESORTE. Una Causa Sin Fondo (Radikal 77) 12.00 EUR. Editado en 1983 por Flor y Nata supuso su segundo disco para estos barceloneses. Un clasico dentro del punk iberico. Reedicion de 500 copias.
ULTIMO RESORTE. La Larga Sombra Del Punk (La Vida Es Un Mus) 13.50 EUR. BACK IN STOCK!! ULTIMO RESORTE were the bridge between the very first Spanish Punk Generation and the first Spanish Hardcore Wave. During their 5 years of existence (1979-1984) they only managed to record a demo and two impossible to find records. A self-titled 7 track 7" EP and "Una Causa Sin Fondo" a 5 track 12". "La Larga Sombra Del Punk" compiles both those records plus a 16 pages 11"x11" booklet with a long interview with the band and tons of pictures and fanzine clippings.
Musically they lay in between the most aggressive parts of VICE SQUAD, DISCHARGE, ELECTRIC DEADS or even SIOUXSIE AND THE BANSHEES. Fronted by Silvia Resorte her voice became their trademark always backed by an urgent band trying to figure out what hardcore was about and a synth player that created a cold atmosphere over most of their songs. This seminal band hailed from Barcelona and you can tell with the desperate feeling their songs have. Their lyrics have that teenage angst feel that only bands from the early 80's managed to write. Together with RIP, KANGRENA, ANTI-DOGMATIKSS, VULPESS, DESECHABLES or LARSEN this band helped putting Spain in the international punk map back in the day.
ULTIMO RESORTE. Demo 1980 + Directo 1983 (Vomito Punkrock Records) 11.00 EUR. "Ya os lo he dicho, yo no tengo memoria, pero Juanito GRB si que la tiene y cuando escucho la primera de las dos K7, enseguida me escribió diciéndome que se trataba de la primera grabación que nos hizo Carlos Mira, y que la formación de aquella grabación, capturada en enero de 1980, fuimos Jorge Guber (Gabardino) a la guitarra, Patrick Boissel a la bateria, Juan R. Ferrando (Juanito GRB) al bajo y yo, Silvia Escario, a la voz. Según cuenta Juanito GRB, esta primera maqueta se la envió Jorge "Gabardino" a Jesús Ordovás de Radio 3 y que, a partir de ahí, desapareció, sin que el resto del grupo la oyéramos nunca.
Los temas son: 'Cementerio caliente', 'La bruja', 'Me excitas', 'Sinfónico... no gracias', 'Berlín 80', 'Peligro social', 'Año 2000', 'Electroshock', 'Johnny cogió su fusil', 'La quiniela', 'Autodestrucción' y 'Humanoides'.
En cuanto a la segunda cara del disco, sin lugar a dudas, pertenece al concierto que nos organizaron las Vulpess en La Jaula de Bilbao, en abril de 1983, aprovechando que habíamos tocado con ellas y con un montón de grupos mas, el dia anterior en Oñati. La Jaula era una discoteca enrroyada. Tenía una decoración muy industrial, y lo mas impresionante es que el escenario estaba altísimo, y muy bien iluminado. Veía las caras de la gente con expresión absorta, pero allí muy abajo. En aquella ocasión la formación de UR fue una de las mejores que nunca tuvimos... Rosa Artesero (Sheena) al sintetizador, Juan A. Recio (Strong) a la guitarra, Miguel Coll (Mike) exaltando la batería, Juan R. Ferrando (Juanito GRB) al bajo, y yo, Silvia Escario, a las letras y voz."
THE UNCOOL DANCEBAND. Don't Ask Me To Dance (1977 Records) 15.00 EUR. The Uncool Danceband formed in Doncaster, in December 1978. The original members were Wayne Tyas (bass), Steve Maxwell (drums), Geoff Carline (guitar) and Chris Bottrill (vocals). The first gig was in April ‘79’ and from then on the band quickly established a good following in the north of England.
Exciting new wave pop band! 14 previously unreleased studio demo traces and including exclusive track "1968"!! LTD 300. Tracks: 01 Don't Ask Me to Dance 02 Let Me Be Your Boyfriend 03 Second Thought 04 Never Get The Girl 05 My Girl, Shy Girl 06 Silver Screen 07 Same Mistake 08 Until The Next Time 09 You Make Me Fee 10 No Wonder 11 All Too Soon 12 Tip Of My Tongue 13 My Girl Shy Girl (from Logical Steps comp.) 14 No. 17. (from Logical Steps comp.)
UNIVERSE PEOPLE. Are Coming To The Dance (Dragnet) 18.50 EUR. UNIVERSE PEOPLE are a Seattle supergroup trio who began in 2010, making simple angular songs based around sweet but stark girl-vocal harmonies. It’s a combination of primal '60s girl group garage rock with post-punk pop that brings to mind The Fall channeled through Dolly Mixture and the Breeders. Their first LP was released in 2013, titled Go To The Sun. The second LP, (Universe People) Are Coming to the Dance will be released on vinyl by Dragnet Records in September 2014. The members of Universe People have had illustrious careers in music, which include WELCOME, A-FRAMES, INTELLIGENCE, DUCHESS AND THE DUKE. KIMBERLY also plays the occasional FALLOUTS show, and MIN plays bass in DREAMSALON and LE SANG SONG. "Universe People consistently deliver the twisted, post-punky goodness and make fun, witchy dance songs about vampires, druids, bad friends, and calming your nerves with mimosas."—The Stranger Line-out
URINALS. Negative Capability - 2xLP (In The Red) 21.00 EUR. BACK IN STOCK!! In The Red is proud to announce this double-vinyl release of The Urinals’ Negative Capability, originally released by Amphetamine Reptile on CD in 1996. Before changing their name to the less restricting 100 Flowers and becoming one of the most respected underground post-punk-pop acts in the US, Los Angeles’s seminal trio released eleven songs during their 1977-1980 tenure—ten on their three 7-inch singles and one more on a 7-inch compilation, all on their own Happy Squid label (they were about the only Los Angeles band to do that back then). This retrospective triples their output to 31 songs!
Want to hear America’s Wire, only twice as primitive (if that’s possible), with one quarter the sound quality? Even when they are covering the Soft Machine’s “Why Are We Sleeping?” they sound like a three-step primer on minimalism, in scratchy, fast, burping, nutso punk with clipped vocals. You can see why the Minutemen covered “Ack Ack Ack Ack,” but it’s the real solid, melodic stuff—such as the Last-inspired harmonies of the great A-sides “Black Hole” and “Sex,” and “Scholastic Aptitude,” and the instrumental “Surfing With the Shah” (which foreshadows the coming of 100 Flowers and later offshoot Trotsky Icepick)—that makes so many Angelinos remember this goofy but great trio so fondly. Negative Capability has an unrelenting, authoritative intelligence and sense of humor. —Jack Rabid
LA URSS. Sonidos De Un Derrumbe (La Corporación) 10.00 EUR. After an album and a EP immersed in the sound of Dead Kennedys, Andalusian LA URSS come back to their earlier sound, giving it a step forward. The result is a varied, complex album, where I find influences from DK to Crisis, through Parálisis Permanente or TNT. Both artwork and packaging are perfect; "Sonidos de un derrumbe" is without any doubt one of the few outstanding records in Spain for 2012.
USELESS EATERS. Bleeding Moon (Castle Face) 16.00 EUR. Seth Sutton has been ripping the shit out of terse Telecaster-sharp riffs and Devo-indebted angular rhythms with Useless Eaters since dude was 18 years old. A young protégé of Jay Reatard, Sutton’s home-fried concoctions are sharp, corrosive mini-masterpieces that drive you to flick cigarettes and push strangers. Psycho-sexual, serrated vocals; thin, acidic guitars; rubbery bass and hot-to-tape traps lather the whole disc. Sutton delivers a really ripping crew of tunes this time around, kicking off with the supremely heavy “American Cars” and not letting up ’til the side break—these are glass-crunching gems with just the right amount of crud to cut your lip a little. A great alienated vibe flows throughout, along with some really sticky melodies, too. Going out under the neon tonight? Take this with you.
UV RACE/EDDIE CURRENT SUPPRESSION RING. Live At Missing Link 12” (Almost Ready) 17.00 EUR. Vinyl reissue of a cassette originally released in a limited edition of 300 on Stained Circles. The original cassette now fetches collector's prices, and the material is more than good enough to deserve to be on vinyl, so it's great to see this reissue. Both bands' sets are recorded live from the soundboard and sound absolutely great... as for the music, you know (and likely love) the bands already, and they don't disappoint.
VAGINORS. Nuclear Papsmear (No Patience/Hardcore Victim) 17.50 EUR. Mixing the fantastic, idiotic, and downright absurd, this is the debut LP from Australian punk heroes VAGINORS! An explosion of high energy tunes taking influence from both classic 77 punk and early Japanese noise-core. VAGINORS tread the line between obnoxious pop and hardcore rock-n-roll with pounding bass lines, searing guitars, and some of the most insane vocals you will hear outside a CRUCIFUCKS record. For fans of THE DAMMNED, DISORDER, SWANKYS, CHAOS CHANNEL, CONFUSE, and DEVO. 8 tracks of retarded rock-n-roll noise complete with machine guns, crying babies, and RAMMSTEIN samples. Off-the-wall and totally addictive!
VEE DEE. S/T (Blvd Records) 12.50 EUR. Chicago garage underdogs and legendary psych-rockers VEE DEE return with their third, simply self-titled, full-length album. Apt, as this record is a simpler exercise than their expansive 2009 double-LP opus, Public Mental Health System. Vee Dee, led by guitarist/vocalist/songwriter NICK D’VYNE, have slowly stretched all notions of “garage punk” throughout their over-a-decade-long stint together, deconstructing psychedelic rock’n’roll into blues-tinged, jammy dirges complete with stoned-out choruses and scuzzy sonic explorations. The nine songs on this album range from two-minute punk jams to epic burners that recall Rocket From The Tombs’ experimental punk compositions, but with a heavy ‘60s Moby Grape rock drawl. As usual, you get the one-two kick of D’Vyne’s vocals combined with his out-of-this-world-for-garage-punk guitar playing rolled up with wah-wah and layered effects, in addition to bassist DAN LANG’s signature fuzz sound and drummer RYAN MURPHY’s precision stomping. Basically, Vee Dee kicks ass and this record is amazing…don’t sleep! Edition of 1,000 copies, includes a download.
VEE DEE. Public Mental Health 2xLP + CD (Criminal IQ) 17.50 EUR. Heavy times call for a heavy soundtrack, and that’s what Chicago’s VEE DEE has accomplished with their new double album Public Mental Health System. This record blurs the lines between garage, punk and psychedelia; it is the sound of desperate, no-compromise rock ’n’ roll of the past being absorbed and then re-interpreted for NOW. Short fast dark garage punk segues into heavy riffing and guitar freak-outs. Moody folk chords bang up against frantic fuzz turnarounds. Over it all, lyrics of abstract yet direct poetry are hollered and crooned, aided by well-placed backing vocals.
VEGETARIAN CANNIBALS. Before The Fact (Cass Records) 14.00 EUR. FINALLY! Originally released on cassette in 1990 in a micro-pressing of lord knows how few copies. These three teens holed up in Grosse Pointe, MI eeked out one of the most unadulterated, punk statements ever laid to tape. Recorded on a single condenser microphone via boombox, featuring covers of the Beatles "Helter Skelter" and Butthole Surfers "Gary Floyd" and unparalleled original songs attacking MTV, drug testing, conformity and all other sorts of harbingers of teen hate. This was originally slated for release by Cass back in 2004 and we're just now getting it done. LINER NOTES BY JACK WHITE. Before the Fact is one of the most important things Cass has ever had the pleasure of releasing. If there ever need be an approximation for late '80s equivalent to the suburban teen garage phenomenon of Back From the Grave and the 1960s, this is it. Initial pressing of 200 copies.
VEGETATOR’S. S/T (Memoire Neuve) 14.00 EUR. Je devais avoir 15 ou 16 ans, mon oncle avait une entreprise de juke-box à Lisieux. Il m'en a installé un dans ma chambre, c'était un fou de r'n'blues, mon beau-frère avait une guitare, j'ai commencé à suivre la zique sur ce juke-box, c'était le début d'une longue histoire.
1972. Grande année pour moi, viré du lycée et premier album des New-York Dolls. Avec Dominique, premier groupe et premier concert au bahut qui m'avait viré. Premier grand concert, les Who à la fête de l'humanité. Premier boulot aussi et première vraie guitare, une Epiphone rouge comme celle d'Alvin Lee des Ten Years After. J'étais fan de tous ces groupes et je connaissais les morceaux par cœur, Slade, Status Quo, Deep Purple, ZZ Top.
1975. Putain d'armée, mais on y avait monté un groupe de r'n'roll avec des potes. Tellement impressionné, le capitaine nous a autorisés à jouer en civil. En un an j'avais fait des progrès énormes et surtout découvert Doctor Feelgood. Première Télécaster.
1977. Londres avec Daniel. Claque dans la gueule, The Motors au Marquee, et puis plein de groupes, c'était décidé, je voulais faire pareil.
Premier groupe avec Daniel et Hervé mon frère, PHIL AND THE HOT DOGS parce que Eddie and the Hot Rods, premier concert et première radio.
1978. Rencontre d'Alain dans le bar où je travaillais, je jouais dedans avec ma gratte et mon ampli, c'était un vrai bordel ce bar, le patron me laissait seul, situé auprès du carmel à Lisieux, que des descentes de flics. Alain étant bassiste, on monte le groupe, ce sera VEGETATOR'S (Vibrator's). Première répét', ça roulait dur, trio infernal. Ensuite Doudou est arrivé au chant, concert d'enfer, les fringues de grand-père à pas cher, impossible de nous classer !!! Le Golf Drouot, le Rose Bonbon, Best, Rock & Folk, les titres des chansons, Vatican, Ballade pour un curé, J'suis complètement fêlé, le corbillard pour transporter le matériel, les insultes aux babas cool, le départ de Dominique, l'arrivée d'Hervé comme guitariste, les maisons de disques, je me rappelle chez RCA, on a bouffé les plantes vertes parce que ça faisait chier d'attendre, dehors tout le monde... Mais c'était pas grave, tant qu'on jouait, rien à foutre. Mais on avait une bonne cote, le côté pas sérieux, la provoc', ni punk, ni rockeurs, ça intrigue !!!
Cela a duré 3 ans, on n'a pas bouffé grand-chose, par contre on a bu, on s'est éclaté comme des malades, rencontré des gens intéressants. PHIL, DAN, AL, les VEGETATOR'S !!!!!
1981. Dernière formation avec Joël comme bassiste, mais le cœur n'y était pas donc il fallait stopper. Ce sera le début des SAIGNEURS.
VENEREANS. Future Primitive 12” (Discos Humeantes) 10.00 EUR. Grupo formado por comadrejas de Wau y los Arrrgs, Le Jonathan Reilly y un madrileño aficando en levante. Tras un single compartido con Los Plátanos y editado por Tron-U-Sound, presentan al mundo su primer largo, doce temazos cargados de punk breve, pop deforme, guiños a Dead Kennedys, a los Messthetics, al gitano cíclope y a las naranjas. Si lo dejas escapar, tú no eres del ROCK.
VENOM P. STINGER. Waiting Room 12” (Drag City) 15.00 EUR. BACK IN STOCK!! The VENOM P. STINGER retrospective is on! One of the roughest groups of the ‘80s is back in print on vinyl and for the first time ever on CD, and still nice and hard and rough and wild on either format. File under: punk rock/noise rock/free-of-constraints rock. If you think of Venom P. Stinger simply as the proving ground for 2/3rds of the DIRTY THREE first, then you’re seriously missing it, and fuck you. It was the mid-’80s and everything was going fine. The music underground was its own world, not related to the orbit of commercial music that rained bullshit down onto the overground. Nobody down below had any great plans, they were just playing in bands. Melbourne had launched the career of the legendary Birthday Party, but that lot were long gone and there were loads of other interesting and great things going on. Like SICK THINGS for instance. DUGALD MCKENZIE and MICK TURNER were part of that extremely raw and intense band, whose “Committed to Suicide” had changed so many lives. Mick had played as well in THE MOODISTS and was in FUNGUS BRAINS and some others. Also on the scene was JIM WHITE, who was playing in several bands, including PEOPLE WITH CHAIRS UP THEIR NOSES and the FERAL DINOSAURS. It was a small group of people playing in bands like these back in mid-’80s Melbourne and probably only a matter of time before you played in the same band together. And so, they did. Venom P. Stinger attacked in a modified, somewhat streamlined hardcore punk style, with Mick’s burnt-and-twisted guitar tone setting them apart. Also unique was Jim White’s drumming, which appeared to be born of a snare roll that grows and grows until it has eclipsed the entire kit, played with casual aplomb while never sparing the rod to any aimed-for surface. Meanwhile, bassist ALAN SECHER-JENSEN nailed these loosely divergent styles together with nice heavy root notes. Instead of the violent pile-up that occurred in every Sick Things recording, there was instead something more organized, though coming from unique and indeed, singular corners of approach: post-hardcore with a very individual style. Unchanged from Sick Things days, however, was frontman Dugald McKenzie, whose vocalizing was a ferocious, largely apolitical tranference of personal experience, all about conveying the awful qualities of life with throaty sensuousness and dirty glee. This was an unfiltered view of his day-to-day, which involved partying with drink and drugs and other low types drinking and doing drugs and not having responsibility for anything, other than getting more drink and drugs. A band with this kind of errant power fronted by a reprobate like Dugald, it made for madly entertaining shows! And records, as well.
VENOM P. STINGER. Meet My Friend Venon (Drag City) 17.00 EUR. BACK IN STOCK!! The VENOM P. STINGER retrospective is on! One of the roughest groups of the ‘80s is back in print on vinyl and for the first time ever on CD, and still nice and hard and rough and wild on either format. File under: punk rock/noise rock/free-of-constraints rock. If you think of Venom P. Stinger simply as the proving ground for 2/3rds of the DIRTY THREE first, then you’re seriously missing it, and fuck you. It was the mid-’80s and everything was going fine. The music underground was its own world, not related to the orbit of commercial music that rained bullshit down onto the overground. Nobody down below had any great plans, they were just playing in bands. Melbourne had launched the career of the legendary Birthday Party, but that lot were long gone and there were loads of other interesting and great things going on. Like SICK THINGS for instance. DUGALD MCKENZIE and MICK T URNER were part of that extremely raw and intense band, whose “Committed to Suicide” had changed so many lives. Mick had played as well in THE MOODISTS and was in FUNGUS BRAINS and some others. Also on the scene was JIM WHITE, who was playing in several bands, including PEOPLE WITH CHAIRS UP THEIR NOSES and the FERAL DINOSAURS. It was a small group of people playing in bands like these back in mid-’80s Melbourne and probably only a matter of time before you played in the same band together. And so, they did. Venom P. Stinger attacked in a modified, somewhat streamlined hardcore punk style, with Mick’s burnt-and-twisted guitar tone setting them apart. Also unique was Jim White’s drumming, which appeared to be born of a snare roll that grows and grows until it has eclipsed the entire kit, played with casual aplomb while never sparing the rod to any aimed-for surface. Meanwhile, bassist ALAN SECHER-JENSEN nailed these loosely divergent styles together with nice heavy root notes. Instead of the violent pile-up that occurred in every Sick Things recording, there was instead something more organized, though coming from unique and indeed, singular corners of approach: post-hardcore with a very individual style. Unchanged from Sick Things days, however, was frontman Dugald McKenzie, whose vocalizing was a ferocious, largely apolitical tranference of personal experience, all about conveying the awful qualities of life with throaty sensuousness and dirty glee. This was an unfiltered view of his day-to-day, which involved partying with drink and drugs and other low types drinking and doing drugs and not having responsibility for anything, other than getting more drink and drugs. A band with this kind of errant power fronted by a reprobate like Dugald, it made for madly entertaining shows! And records, as well.
VENOM P. STINGER. What’s Yours Is Mine (Drag City) 17.00 EUR. BACK IN STOCK!! The VENOM P. STINGER retrospective is on! One of the roughest groups of the ‘80s is back in print on vinyl and for the first time ever on CD, and still nice and hard and rough and wild on either format. File under: punk rock/noise rock/free-of-constraints rock. If you think of Venom P. Stinger simply as the proving ground for 2/3rds of the DIRTY THREE first, then you’re seriously missing it, and fuck you. It was the mid-’80s and everything was going fine. The music underground was its own world, not related to the orbit of commercial music that rained bullshit down onto the overground. Nobody down below had any great plans, they were just playing in bands. Melbourne had launched the career of the legendary Birthday Party, but that lot were long gone and there were loads of other interesting and great things going on. Like SICK THINGS for instance. DUGALD MCKENZIE and MICK TURNER were part of that extremely raw and intense band, whose “Committed to Suicide” had changed so many lives. Mick had played as well in THE MOODISTS and was in FUNGUS BRAINS and some others. Also on the scene was JIM WHITE, who was playing in several bands, including PEOPLE WITH CHAIRS UP THEIR NOSES and the FERAL DINOSAURS. It was a small group of people playing in bands like these back in mid-’80s Melbourne and probably only a matter of time before you played in the same band together. And so, they did. Venom P. Stinger attacked in a modified, somewhat streamlined hardcore punk style, with Mick’s burnt-and-twisted guitar tone setting them apart. Also unique was Jim White’s drumming, which appeared to be born of a snare roll that grows and grows until it has eclipsed the entire kit, played with casual aplomb while never sparing the rod to any aimed-for surface. Meanwhile, bassist ALAN SECHER-JENSEN nailed these loosely divergent styles together with nice heavy root notes. Instead of the violent pile-up that occurred in every Sick Things recording, there was instead something more organized, though coming from unique and indeed, singular corners of approach: post-hardcore with a very individual style. Unchanged from Sick Things days, however, was frontman Dugald McKenzie, whose vocalizing was a ferocious, largely apolitical tranference of personal experience, all about conveying the awful qualities of life with throaty sensuousness and dirty glee. This was an unfiltered view of his day-to-day, which involved partying with drink and drugs and other low types drinking and doing drugs and not having responsibility for anything, other than getting more drink and drugs. A band with this kind of errant power fronted by a reprobate like Dugald, it made for madly entertaining shows! And records, as well.
VERMILLION SANDS. S/T (Alien Snatch!!) 13.50 EUR. The media attention quicken the interest of US Labels so they had consequently a 45 on FAT POSSUM and a 12" EP on SACRED BONES. They had live radio appearances through the telephone, a european Tour and lately even a show in Bejing, China.
The VERMILLION SANDS are the young-than-your-niece frontgirl Anna Barattin, two MOVIE STAR JUNKIES and Krano on slide guitar. Their debut album is full of Anna's undeniable charming twangy voice and Dorothy Parker inspired lyrics, undercooled americana folk-garage pop mixed up with odd piano & organ and fuzzy synth and southern guitar. Those fellows left the girl-group explosion behind and also it´s right on a wavy subterrenia psycho trail not stopping for harvest festival corn dolly square dances. Is it the bluesy blondie, gothic golightly in the swamped gun club in Insomnia? The self-titled album with eleven originals was recorded by Nene (bs) with loads of pastis & pills in their famous Outside Inside Studios (MOJOMATICS, LOVE BOAT, GOODNIGHT LOVING, MARK SULTAN, LANGHORN SLIM etc). We´re proud to sign another bunch of friends to the label! The CD is in a nice digipack with a short story booklet and the initial press of the LP comes in a silkscreend sleeve, all in animal death party wunderland artwork.
VICTIM. All Our Dreams Are Gone (Rave Up) 13.00 EUR. Formed in Belfast in Mid -1977, Victim soon became familiar faces on the emerging Belfast scene. Following their appearance on the legendary UTV punk documentary 'It Makes You Want Top Spit' and a rapidly increasing live following, Terri Hooley signed the band to his Good Vibrations label in 1978 and released Strange Thing By Night / Mixed Up World 7".
In early 1978, prompted by a lack of venues, Victim made a trip to a local city centre pub because they heard it had a stage! They secured a gig and the legendary Harp Bar was born as a punk venue. In July 1979 they were offered a modest record deal by TJM Records and decided to depart to England, settling in Manchester. Early gigs saw them playing with The Fall and Revillos as well as playing the legendary Factory club to accompany the screening of Shellshock Rock, a film on Irish punk featuring among others Victim. A second release Why Are Fire Engines Red / I Need You on TJM secured good reviews and radio support from John Peel despite its horrendous cover. In November 1979 Victim supported the Damned on an extensive tour. Rat Scabies produced the band's third and in my view best single The Teenage / Junior Criminals / Hang Onto Yourself released in 1980 on Illuminated records. The band continued for several years with line up changes including Mike Joyce (later of The Smiths) and Toni Isaac (the girl leaning against a lamppost on Jilted John's single of the same name!) before deciding to call it a day. This anthology contains a great selection of all their punk material. If you are a fan of Undertones and Stiff Little Fingers, don't miss it!!!!
VICTIMS. Culture Shock – Live At Hernando’s Hideaway (1977 Records) 19.00 EUR. Live At Hernando's Hideaway Perth Australia 5th of Jan 1978.
Yeah Yeah Yeah!!! Great set recorded during their 1978 residency. Some tracks from their singles, some stuff only heard before on the Sleeping Dogs Lie demo session (Charlie!), Stooges n' Sex Pistols covers too! Paper covers as the other Victims release on this label... English / Japanese insert. Decent sound for a rough live album! It's the VICTIMS! Limited edition of 300 copies (200 copies on black vinyl and 100 copies on splatter vinyl).
LOS VIGILANTES. S/T (Slovenly) 13.00 EUR. The debut full-length bruiser from San Juan, Puerto Rico’s LOS VIGILANTES. Fourteen original tracks of juvenile delinquent garage-punk smash. Heavy on the ‘60s side with a healthy dose of droopy /50s doo-wop back-up vocals, rocked with additional organs, tape loops and swagger. Vigilante JORGE MUNDO (aka JOTA) filled in for DAVILA 666’s lead guitarist on ther maiden European tour and played lead guitar on Davila 666’s Tan Bajo LP (In The Red).
VINCAS. Blood Bleeds (Douchemaster) 14.00 EUR. Because only about 60 miles separate Athens and Atlanta, you would think that the same sphere of influence would affect both cities. In the past decade, Atlanta has seen the growth of a creatively sustainable music scene, and we nearly forgot about our neighbors up the road. There is no shortage of great bars, restaurants and clubs in Athens, but it’s been a little while since an Athens band made me want to jump in my car and make the trip. VINCAS have given me that much needed excuse. “Blood Bleeds is a monster of a record. They are playing dark and heavy songs that immediately draw Birthday Party and Gun Club comparisons. I’d bet they have some later Scientists records in their collections, too, as there is a discernible element of swampishness weaving itself throughout the record. It’s sexy in a bitter-dark-chocolate kind of way and has a pounding cohesiveness throughout. Vincas demonstrate total control from start to finish, and it’s pretty clear that they didn’t just stumble into a style of music like this. We truly hope the folks over in Athens realize what they’ve got on their hands.
VIOLENT MINDS. We Are Nothing (Deranged) 11.50 EUR. Twelve new tracks from VIOLENT MINDS compiling their recent We Are Nothing 12-inch and Just Kicked In 7-inch (both on Deranged) on one album. Includes some of the band’s fastest tracks to date, as they rip some straight forward hardcore rocked raw, distorted and deadly. Twelve songs in all. For fans of DISCHARGE and NEGATIVE APPROACH.
VIVIAN GIRLS. Share The Joy (Polyvinyl) 14.50 EUR. On their third album, Share the Joy, Brooklyn’s VIVIAN GIRLS continue to sharpen and refine their transcendent mix of garage thrash, girl-group warmth and infectious pop hooksmanship. The trio’s vibrant blend of guitar noise and melodic sweetness has already made the band one of America’s most celebrated and influential young bands, and has helped to spark a wave of similiarly-inclined female-fronted acts who’ve followed in their wake.
VIVIAN GIRLS. Everything Goes Wrong (In The Red) 11.50 EUR. Brooklyn's Vivian Girls are back with Everything Goes Wrong, released almost exactly a year after In The Red's reissue of their self-titled debut. The band have taken their time with this new album and recorded it in six days--rather than the three their debut took--though many of the songs were still recorded in single takes. Over the last year, the Vivian Girls have toured the US and Europe extensively, received a considerable amount of national and international press, sparked fierce debate as to whether they are a refreshing blast of unselfconscious punk rock energy or a crew of contemptible, incompetent posers and, perhaps most significant of all, become the subject of a question on the Jeopardy game show. Everything Goes Wrong is a darker, moodier album than its predecessor, with a couple tracks clocking in at almost twice the length of anything on their debut. That said, the influences remain the same; Ramones, '60s girl groups, surf, indie pop, etc., etc. This is immediately classic stuff.
VOID. Sessions 1981-1983 (Dischord) 12.50 EUR. Thirty miles north of Washington, there is a town in Maryland called Columbia, one of the first planned-communities built in the US, and in retrospect, the perfect birthplace for a band as completely chaotic as Void. Their DC debut was in 1980 at the first Wilson Center show, a marathon fifteen-band affair largely organized by the Bad Brains. When Void started a song it was as if each member was playing his own parts as fast as humanly possible, but not necessarily together. Unlike most bands, whose performances become predictable, Void shows became increasingly discombobulated and ever more fraught with disaster. The live chaos remained even as they started to embrace a metal image and sound towards the end of their three-year existence. While to some it may have seemed like complete cacophony, to those in the know it was music on a higher level. While organizing their archive, Dischord came across the four-track of Void’s first recording session. It was done with Steve Carr at Hit and Run Studios in November ’81 and never officially released. The tape was remixed by Ian MacKaye and Don Zientara at Inner Ear earlier this year. These embryonic versions of what would become Void classics as well as songs that didn’t make the cut prove just how driven this band was to capture their own sound. Sessions 1981-83 features the entire Hit and Run session along with the first Inner Ear demo (including the Flex Your Head cuts and the songs that ended up on the Condensed Flesh 7-inch), two outtakes from their second Inner Ear session (that spawned their legendary split LP with Faith), and a couple of live recordings including one that is almost certainly the last song they ever played.
VOLT. S/T (In The Red) 13.00 EUR. Review From MRR #290. If the A-FRAMES recruit a lady and work on a John Carpenter soundtrack, the might get sued by VOLT (though the VOLT dude has a better voice). It’s cool that In The Red has the grit to put out this murder disco stuff among its thrashy roster. I dig the one-two of “Couples” and “Alles Neu” especially the latter, which brings the telegraph to the dance floor. Never saw it coming, did you? The sole weak spot on the album is the Viagra reference. Never, never do that again. Wait, I think they just sang, “porno then hovering” – wow, instantly redeemed! Good stuff.
VOMIT SQUAD. Amon Ra Bless America (Psychic Handshake) 12.50 EUR. The debut release from this Canadian punk rock supergroup comprised of KING KHAN, CHOYCE (RED MASS, SEXAREENOS, CPC GANGBANGS), DANNY MARKS (SPACESHITS, CPC Gangbangs), and their childhood friend RICHIE RITALIN on vocals. Six tracks pressed on puke colored wax. “King Khan, Choyce (Red Mass), Danny Marks (Spaceshits/CPC Gangbangs) and outsider singer Rich Ritalin convene to celebrate the life of Jay Reatard, the death of restaurants, and the welcoming of a cannibal age. Bordering on hilarious, this record kicks out six tracks of wild-minded, buttoned-up garage punk, Ritalin’s vocals providing the strangest touches of all. Imagine an accountant with mild manners getting in front of this train and explaining himself. It kinda rules, actually, and I hope they continue to get even more ridiculous with future releases. 1000 copies on vomit marbled vinyl, definitely warrants further investigation.”—(Doug Mosurock - Still Single)
VULPESS. Barbarella ’83 (Punkaway) 12.00 EUR. LP de 180 gms con 12 temas de auténtico punk 1983, incluye todos sus clásicos y Warhead de U.K. Subs. Documento histórico de su concierto en Mallorca del 20 de mayo del 83, con fotos inéditas y muy buen sonido. Edición limitada a 800 copias.
WARM SODA. Young Reckless Hearts (Castle Face) 16.00 EUR. Matthew Melton has done it again! Just when it seemed as though he’d reached the pinnacle of power pop confection with last year’s excellent Someone for You, he surpasses all expectations with his latest masterpiece Young Reckless Hearts. With the unlikely addition of cello serving only to bitter-sweeten their teenage pop fantasias, Warm Soda delivers deviously barbed hooks that instantly lodge themselves in your memory. The wide-screen technicolor production was done by Melton himself at his Fuzz City Studios in Oakland. This is the record to fall in love to (or possibly out of love to) in 2014.
WARSONG. Ancient Times (Go Mongo! Records) 10.00 EUR. Repress con diseño mejorado 100% DIY del primer LP de esta banda, que ha sabido mezclar como nadie, lo más oscuro y melódico de la costa oeste de los EEUU, desde Portland hasta L.A. Un disco original de Punkrock para tiempos de compulsiva repetición de clichés, que han presentado por toda Europa durante 2 extensas giras, y que les llevará el próximo año a una gira por los EEUU.
Repress with improved and 100% DIY design of the first Lp of this band who have mixed like no one has known, the darkest and most melodic of the U.S. west coast, from Portland to Los Angeles, a creative great album of Punkrock for times of compulsive repetition of clichés. Formed by ex-Insomnio and Zorras Adolescentes members.
WATERY LOVE. Decorative Feeding (In The Red) 16.00 EUR. BACK IN STOCK!! “Take it from me, orbitin’ the Earth over ’n’ over ain’t all it’s cracked up to be. When I was asked to hop on board a Soyuz headed to the International Space Station (Assignment: Critical Observation), I reckoned this’d be the trip of a lifetime. Space, the final frontier. And how ’bout that view? But now I feel like I’ve been here that long—a lifetime, that is. You know, the food ain’t much to speak of, plus I gotta constantly make sure I don’t make no crumbs, else they might fuck up our air breathin’ filters. Crumbs! The things one learns. Drinkin’ ain’t no fun neither, ’less you get your jollies sippin’ daquiris from a straw out a plastic bag, like some swishy, doe-eyed Deadhead. And don’t even get me started on hygiene issues! I believe I could take a life for a proper bubble bath right about now (I miss my ducky, too). Which is all just a lumberin’ yet apropos segue to the matter at hand: this debut LP by Watery Love.
“Now, any right-minded corncob south of the Van Allen Belt knows them three precedin’ 7-inches via Richie, Siltbreeze and Negative Guestlist smacked kernels hard, and that smolderin’ ferocity has naturally been carried over here. The glow ’n’ throb what’s got got is as much the byproduct of the eternal bioluminescence of Iron Cross or Third World War as an appreciation for the corroded, fractoluminescence exuded once upon a time by Chain Gang, Slow Death EP-era Leather Nun ’n’ The Gordons. Sure, their environment might seem cold and uncarin’—even downright sociopathic—but behind that facade of David Goodis-like grimness are four sodbusters chompin’ to have a good time. When singer Richie Charles hollers “I’m a skull!” who among the masses would not rush headlong to get a lick off that boney pate? It ain’t about Rofinol, people, it’s about the roof, and how far can Watery Love raise the fucker. Unlike you dickheads, I’m sittin’ pretty in the catbird seat (what part of me bein’ out to space did you miss?) so let me say, keep it comin’! Higher ’n’ higher, nose to the grindstone and all that. Don’t worry, I’ll stop ya when ya get here. And one more thing—don’t forget to bring a six pack. We’ll need it.” —Roland Seward Woodbe
International Space Station, Outer Space
WAVVES. Wavvves (Fat Possum) 14.50 EUR. When not watching Cops or drinking 40s in the park, NATHAN DANIEL WILLIAMS blogs on classic rap and records waves and waves of effortlessly great slack / crust / beach / punk compressed onto four-track cassette in his San Diego bedroom. WAVVES exemplify every pastiche of what anyone in their mid-20s has been through musically and, somehow, some that they have not. How tunes written by a 22-year-old can evoke boyish reverie and reverence of thoughtful nostalgia is anyone's guess, but that's the sound of today's American youth! It's a new day rising and as the Wavves get higher, they gotta converge. You can choose to stay down in the curl, but if you follow the winner, we can meet up on the crest.
WAX IDOLS. No Future (Hozac) 13.50 EUR. The San Francisco Bay area’s most promising breakout, and formidable female-fronted pop wonders are not who you may already believe or expect. Lead by the enigmatically agitated HEATHER FEDEWA (aka HEATHER FORTUNE, ex-HUNX & HIS PUNX, BARE WIRES, and current BLASTED CANYONS), WAX IDOLS straddle the line between ripping tough/tender post-punk/goth-pop, and irresistibly anthemic indie rock hooks, somewhat like Joan Jett would sound like tearing through Best Coast with a chainsaw or if Mary Monday had been a member of Wire. Your curiosity may have already been piqued from their unabashed debut 7-inch “All Too Human,” released on Hozac earlier this year, but it’s hard to imagine anyone being ready for an LP of this caliber, bursting at the seams with hits for all seasons, and effortlessly blurring the lines between viciously beautiful temperance and an unwavering, attitude-soaked attack on your comfort zone. With an arsenal of songs that range from chest-pounding melodic punk screamers, to tense-yet-tumultuous tracks of sadness overcome with bombastic pop precision, No Future is one of the most impressive LPs we’ve had the pleasure of releasing, and one we’re sure will go far. Fedewa’s uniquely surly-yet-sultry voice has such an lasting impact, it seamlessly traces the gamut of human emotions back & forth from the unhinged heights to the inescapable doldrums, all tied up in perfect blasts of modern pop/post-punk subdued simplicity that are as upfront and immediate as any of of their legendary influences.
WAX MUSEUMS. Eye Times (Trouble In Mind) 14.00 EUR. After a 3 year hiatus North Texas’ lovable misfits (who share members with THE BAD SPORTS and MIND SPIDERS) are back with a four-headed thirteen-eyed monster of an album that while still slightly awkward, is undeniably focused and endearing. Eye Times is a musical step forward with moments of glammy art-rockness that proves once and for all these clowns ain’t just one-joke jerks. The charming nerd-o aesthetic that was so prevalent on the early singles and first LP remain, but now with added sexual frustration.
WAX MUSEUMS. Zoo Full Of Ramones (Tic Tac Totally) 13.50 EUR. Billy’s Room, TX. Peering across the floor through beer cans, garbage and vomit-encrusted B-movie clamshells...something moves. You slowly look into a shaking cheeseburger bag...AND THE WAX MUSEUMS EMERGE TO CLAW YOUR NOSE OFF! It lands on a rotting hamburger. You die. They've crafted the sickest spectacle of partying, sharp humor, and Steinberger basses since they crawled out of a VCR in 2006. And if you've had an eyeball (Yes? No?!)...you've seen them. But do not dismay if you've missed any of their out-of-print wax previously issued on Hozac, Douchemaster, Kenrock, Rehab or Fashionable Idiots. Because here's the entire carnivorous monkey-house in one 24-track LP...Zoo Full Of Ramones!
Our scientists at TTT have recreated the very primordial ooze of the band. Returning to print every dose of concentrated hyperactivity, and enhancing them with an extra beaker of UNRELEASED, and rare material, circa 2006-2008 AD.
WAX MUSEUM. S/T (Douchemaster) 13.50 EUR. Apparently there is absolutely nothing to do in Denton, Texas but write songs. Douchemaster Records feels privileged to bring you the first full-length album from the extraordinarily prolific WAX MUSEUMS. You know what to expect at this point and The Wax Museums deliver. Fourteen tracks of killer Educational Punk.
WEAKENDS. S/T (Rob’s House) 12.50 EUR. Bordeaux, France’s WEAKENDS are back with the follow-up to their debut seven-inch. This time it's with a long-player that finds the group still banging away, stillsinging through broken PA's, still rocking and still claiming the title of France's best garage band. Limited to 1000 copies.
WIDOWS. Balls ‘N’ Bollocks (Banbo Records) 16.00 EUR. 1979-1980 Punk-Rock From Finland!
WIPERS. Over The Edge (Jackpot) 18.50 EUR. BACK IN STOCK!! The bleak, hard-driven third LP by THE WIPERS (originally released in 1983) offers GREG SAGE at his most chased and breathless, lashing out with sharp staccato notes as if melody were his only defense. While their debut LP provided the blueprint for grunge, and their second album recast the band as one of America’s premier postpunk bands, it’s Over The Edge that best exemplifies the Wipers’ sound. The jagged, effortless guitar lines, the paranoid lyrics and raw-throated vocals and the taut, unified rhythms that define their sound bleed together most clearly on this LP, and it stands as both the best entry point for new fans and the most prevalent favorite of diehards. Remastered from the original tapes by Greg Sage and pressed on audiophile grade vinyl and packaged in a deluxe, tip-on sleeve.
WIPERS. Out Takes (Jackpot) 17.50 EUR. Featuring thirteen rare and unreleased cuts, Out Takes collects unheard songs, demo recordings, and alternate mixes. Handpicked by GREG SAGE, the songs date from 1979-1983, the same years as their landmark first three LPs. Side one focuses on the era of their debut LP, Is This Real?, a desperate, energetic masterpiece, considered by Kurt Cobain as the blueprint for grunge. Included are raw, sparsely arranged 4-track demos, two unreleased songs from 1979, and the forceful, youthful track “Rebel With A Cause,” which was cut from the LP. The second half of the LP presents a live recording of “Mistaken Identity,” originally intended for THE WIPERS third LP, Over the Edge, a rare B-side, and alternate mixes of songs from Youth of America. Out Takes is an incredible new window into the career of one of the greatest American punk bands.
WOVEN BONES. In And Out And Back Again (Horizontal Action) 10.00 EUR. WOVEN BONES need no announcement to herald their arrival, but as their irresistibly iridescent hazy pop grime drills itself deeper into your soft skull, it's best to just stand back and experience them exploding out of your speakers. Like the eardrum-shattering noise pop icons that came before them, Woven Bones blaze their own trail of lascivious loudness and controlled snarl that's just what the world needs right now, and the perfect soundtrack to your screwed-up summer. The debut album, In and Out and Back Again delivers nine heart-stabbing hits that just keep hitting back, so without further hesitation, we give you the debut album that explodes heads on contact, by your new favorite band, Woven Bones.
WOVEN BONES. Minus Touch (Zoo Music) 13.50 EUR. WOVEN BONES’ ANDREW BURR says, "All of us in the band have spent way too much time with The Velvet Underground, ... (more) Link Wray, and other loud/primitive forms of rock and roll...The simple drum beats behind our songs are definitely inspired by the drumming of Mo Tucker and the primitive beats behind bands like The Shangr-Las and even Neu. I personally have been eternally infected by the music of the above mentioned bands and others like The Troggs, Simplyxs Saucer, Spacemen 3, Les Rallizes Denudes, The Adverts, The Ramones, The Damned, The Gun Club, The Jesus and Mary Chain, and The Vaselines. I know subconsciously those things are always heavy influences on my song writing." Pressed on white vinyl.
X. Spurts (Ugly Pop) 20.00 EUR. Before their legendary debut LP, X recorded a demo session-- ten tracks of incredibly tense, desperate Australian punk then somehow forgotten for the next 35 years. Absolutely essential stuff for fans of the era, coming across like nothing so much as a berserk mix of "Pink Flag", early Black Flag and the toughest early AC/DC, or Gang Of Four as played by belligerent Australian drunks. Black vinyl.
X. Aspirations (Ugly Pop) 30.00 EUR. The Sydney band's 1979 debut is one of the all-time great Australian records, a devastatingly tough yet diverse album featuring 14 tracks of superb punk rock, equal parts wiry tension and savage release. This antipodean classic has fallen out of print again in recent years but should always be available, so Ugly Pop is pleased to announce that we'll be reissuing it with new insert. Pink vinyl.
X-CERTS. Rated XXX (Bristol Archives) 13.50 EUR. As 1978 wore on, we thanked God for the likes of UK Subs and Angelic Upstarts, and here in Brizzle...the mighty X-Certs! With Clive Arnold (vocals and guitar), Simon Justice (guitar), Taf (bass) and Neil Mackie (drums), The X-Certs served up welcome blasts of Clash-style punk anthems. They were politically charged and passionate, friendly and down to earth, and a great live act, but for some reason their recordings were relatively few and far between. One track, Blue Movies, on Hearbeat Records' 4-Alternatives EP, and another called Anthem on the same label's acclaimed Avon Calling compilation album. And that's yer lot with the original line up.
This edition includes a Limited Edition Insert with stories from all four members of the band, Introduction by Shane Baldwin and never seen before pictures.
Artwork completed by the legendary Bristol designer Sam Giles.
X-RAY SPEX. Germfree Adolescents (Earmark) 15.50 EUR. One of the great English punk bands of the late 70s, X-Ray Spex was formed in 1976 by school friends Marion Eliot (Poly Styrene) and Susan Whitby (saxophonist Lora Logic). They exploded onto the punk scene with one of the era’s great singles, the feminist punk rallying cry "Oh Bondage, Up Yours." With Logic’s sax stating the melody semi-tunefully and Jak Airport’s guitar laying down a wash of distorted chords, Styrene’s vocal, especially on the chorus, is a marvel, making this one of punk rock’s great moments.
So, too, was X-Ray Spex’s debut album, Germ Free Adolescents, which was great in spite of "Oh Bondage" not being on it. The songs were guitar-driven punk-pop that combined outrage and aggression with a sense of alienation and disenfranchisement about rampant commerciality and an increasingly sterile and artificial world. And that was it from X-Ray Spex. Like all the best punk bands, they burned brightly but not for long.
X__X (EX BLANK EX). X Sticky Fingers X (Ektro Records) 16.00 EUR. Life's greatest pleasures are often its most fleeting. Witness, for example, the ephemeral run of X__X, a turbulent quartet that tore through Cleveland like a Dadaist cyclone for six months in 1978. Preceding his imminent relocation to NYC, burly, blond brawler John D Morton assembled the project as a tighter, more rocking successor to his storied proto-punk act, the electric eels. An early, practice-room incarnation included that group's inimitable singer, Dave E. McManus, as well as future Psychotronic Encyclopedia of Film author Michael J. Weldon. Shortly thereafter, the cast of characters stabilized to encompass razor-wire guitarist Andrew Klimeyk; CLE magazine editor turned bassist Jim Ellis; and drummer Anton Fier, who went on to fame and fortune with the Feelies, the Lounge Lizards, Pere Ubu, and the Golden Palominos.
Pronounced "ex blank ex," the name also doubled as a mental exercise in which a person could insert random words or phrases between the two letters in the moniker. Hence, Morton's jab at the Rolling Stones' sagging legacy for the title of this hotly-anticipated retrospective: X Sticky Fingers X. Compiling a couple of prized singles with a feast of lo-fi but raging live and rehearsal material, the album boasts radical revisions of several eels classics alongside tunes that would appear drastically altered on a Styrenes LP and on Klimeyk's solo seven-inch. As if that weren't sufficiently tantalizing, underground-culture historian and journalist Jon Savage penned the hepcat liner notes that accompany this "really boss set" of "mean sounds aimed at making your feet move."
But forget that jive. The main lure is Morton's ridiculously potent cocktail of brute force, no-wave squall, and nihilistic art prank. Pissed-off vocals, ass-kicking riffs, a hard-charging rhythm section, and the whirr of onstage circular saws split the air. Yet somehow, tracks such as "A," "Drapery Hooks (of My Love)," and the grammar-flouting "Your Full of Shit" manage to be catchier than syphilis. Moments of genuine confusion abound, too: "Rattler" stops dead before it truly starts, and a snatch of audience vérité purports to be a cover of "I'm So Fucked Up," a "song" by one of Morton's previous "bands" Johnny & the Dicks—in this case, a purely conceptual one that never played music. (Joke's on you, pal.)
Nowadays, X__X's erstwhile leader resides in the hinterlands of New York State, a base from where he paints, sculpts, writes, draws, snaps photos, churns out giclée prints, chops wood, and occasionally travels to perform with the Dunking Swine of Chelsea, Scarcity of Tanks, and the charmingly-christened New Fag Motherfuckers. Despite these numerous pursuits, he still found time to design the package and supervise the production of this definitive anthology. And so, it is with tremendous pride that Ektro Records and I present X Sticky Fingers X in all its unruly splendor. For your pleasure. Unto eternity.
Jordan N. Mamone, New York City
January 12, 2014
XYX. Teatro Negro (Monofonus Press) 17.00 EUR. BACK IN STOCK!! We contacted XYX on a whim. I knew they had broken up. I had read somewhere that there was an already recorded and unreleased LP. I wasn't aware that one member (ANHELO ESCALANTE) had relocated to Austin. We struck up an email conversation beginning in July of 2011. It took a while to recover the audio, and tie up loose ends, but the final product is something we are very proud of. The music sounds incredible, and a bit heavier than their previously released material. I asked Anhelo to describe the record, and to bring us up to date with the band post XYX... “Teatro Negro was conceived in a pesticide warehouse where we had our home studio in MTY, close to the end of the decade (2009). Some of the songs were recorded more than once and in different settings, some others were thought to be lost in the archives of an old hard drive, and in an outdated audio file type. I was—and still am beyond happy to know that someone is willing to edit this material and release it on a vinyl format, even after a year the project disbanded. We had worked very hard on making this happen. Not only I knew I deserved to see this difficult project finally released, but I felt that it was unfair if everyone else had to be deprived of hearing this as well. Most of the songs included in this LP were known, except for maybe one and a half that were created right in between our last weeks together. I am also delighted to include my favorite XYX song ever: ‘S.P.Y.’ I think of this song as my best song of all times, and as a band anthem as well. Editionof 300 copies housed in gatefold hand-printed sleeves with bonus full-color magazine made by the band.
YEAR ZERO. Year One (P.Trash Records) 13.00 EUR. Whatever these Canadians guys secretly mix in their drinks, it seems that it brings out an endless stream of brilliant and catchy, yet distinctive songs in each of their bands SEDATIVES, STEVE ADAMYK BAND, LAST COMMUNION and MOTHER'S CHILDREN.
So here's their new combo YEAR ZERO with a debut LP that actually consists of two parts; ''Bottle Artillery'' with 7 songs recorded in 2010 and the 9 tracks session ''No Tongue for Eros'', recorded a year earlier. Packed together, they called it ''Year One'' and it sounds fierce yet grounded, relentless but positive, and so effortlessly unwavering to the very end. It is both excitingly familiar and so fresh in skill and maturity that you are unlikely to hear anything like it elsewhere currently. Pulling from the classic Power Pop leanings of the BUZZCOCKS in songs like ''Pros & Cons'', to the ragged and rapid REPLACEMENTS and mostly HÜSKER DÜ tones in the majority of the songs, right down to the influences of fellow Canadians the DOUGHBOYS or PUNCHBUGGY, this record is a tight, fuzzy underground treasure in the waiting.
YOLKS. S/T (Bachelor/Randy) 12.50 EUR. It would be a profound understatement to say that we are really happy to have this record out! The self-proclaimed “Kings of Awesome” from Chicago, Illinois, recorded 11 Songs and after quite some time for mastering and artwork, preparing every single detail - we just received some boxes with records back from the pressing plant just to find out that this album turned out to be exactly like planned! The awesomeness of this record is kinda hard to describe, it just sounds like a bunch of well written 60ties styled pop songs, stored in a vintage suitcase, left alone at the porch where sun and rain left some marks on it, before opened up again and accidentally sprinkled with honey. This surely tastes good! Believe me. Last weekend, at the five year anniversary of our PMK KLUB, one of the premier rock and roll venues in Austria, we did a secret test audition and well, the kids went crazy, they ordered massive amounts of beverages just to cool down their feet. Every single one had at least two blisters, but also a very satisfied smile on the face! Well, that’s what this album is all about: soulful rock n roll for sophisticated ass shaking!
YOUNG GUV AND THE SCUZZ. A Love Too Strong (Southpaw) 14.50 EUR. YOUNG GOVERNOR began as a solo outlet for FUCKED UP guitarist BEN COOK. Since 2009 Cook has released 11 singles along with two EPs, (a prolific side project for a guy who is already in a full time band). While each release has varied in style and sound they all carried that same intensity and pop sensibility. On Young Guv’s new LP on Oakland, CA label Southpaw, Cook enters a legit studio for the first time and brought with him some of the best musicians Toronto has to offer. Recorded and mixed by STEVE CHAHLEY, Canada's hidden gem engineer and mixer and "nicest man on planet earth" according to Cook. The intention was to make a high fidelity pop record with heavy influences from Guided By Voices, Tom Petty, and The Replacements. After one spin, no one could argue, Cook has unleashed his pop masterpiece onto the world.
YOUNG LIONS. From The Vaults LP+7” (Schizophrenic) 15.00 EUR. Schizophrenic is pleased to release the first LP in an archival series focusing on the early days of the Toronto hardcore scene. From 1980 to 1984 The YOUNG LIONS were at the forefront of the hardcore punk scene. From the Vault compiles tracks from the Young Lions numerous demos, T.O.H.C. 83 cassette, unreleased and recently unearthed gems, and more. For the uninitiated The band was an absolutely killer early Toronto hardcore band that played raw, catchy hardcore punk in the vein of Subhumans, Toxic Reasons, early DOA and Stiff Little Fingers. The first pressing of the From the Vault LP includes a 12”x24” double-sided color insert with liner notes, flyers and memorabilia, and a bonus three-song 7-inch.
YOUNG FRESH FELLOWS. I Don’t Think This Is… (Munster) 12.00 EUR. Seattle most-loved rockers and the reverends of the irreverent, YOUNG FRESH FELLOWS, are back with I Don't Think This Is... Young Fresh Fellows, their first full album since 2001, and 25 years after the release of their groundbreaking first LP, The Fabulous Sounds Of The Pacific Northwest. It doesn't matter that Fellow #1 SCOTT McCAUGHEY is on permanent duty with REM since 1994, THE BASEBALL PROJECT (since last year) and also leading his solo project THE MINUS 5, with famous guests such as Peter Buck (REM), Ken Stringfellow and Jon Auer (The Posies), Bill Rieflin (REM), Chris Ballew (Presidents of the USA), his good buddies from Wilco, etc. For some die-hard fans Scott will always be 1/4 of Young Fresh Fellows, the greatest rock & roll band on the planet, and the most important export from the Pacific Northwest since The Sonics. The remaining three quarters of this explosive cocktail are TAD HUTCHINSON, KURT BLOCH (FASTBACKS), and JIM SANGSTER.
ZERO BOYS. History Of Zero Boys (Fans Club) 13.00 EUR. From 1979 into '83, the Indianapolis based ZERO BOYS were the finest hardcore blitz in the Midwest if not all the lower 48 states. Proof is Vicious Circle and the two decades since of copyists, bootleggers, practitioners and reunion concert pogoers. Though before and after that LP's 1982 release they recorded the Livin' in the ‘80s 7-inch, songs for three comps and released the post-mortem History Of... cassette revealing their transformation into a toured band warming to the metaphysical and their demise while still waving torches of rock 'n' roll panache. When the Ramones lost it, the Zero Boys found it; adding a slam brigade fist to the Blitzkrieg Beat. The Zero Boys managed to come with one of the best early ‘80s punk records, or one of the best records ever, period. Between Vicious Circle and History Of, the entire recorded output of this legendary Midwest punk band's original line up is, finally, collected.
ZIG ZAGS. S/T (In The Red) 16.00 EUR. BACK IN STOCK!! In the year 2014, in the ruins of the city once known as Los Angeles, three underworld dwellers with one job, one hot tub and one unkillable riff between them knew they had to make a ripping record—or die trying. This is their story.
Guitarist Jed, bassist Patrick and drummer Bobby started in a room lit by a single green light, which changed them from humans to Zig Zags in the summer of 2010. Within the next four years, they’d record a song with Iggy Pop and an album with Ty Segall and go from playing house parties for pizza to staring off the stage at the Fillmore West. Before them had come giants—bands like Kiss and Sabbath whose names were carved into desks in detention for decades. Before them had come mutants, heavy metal and punk bands like the Dictators and Pentagram that spun into the void of history after failed orbital rendezvous with the fame they’d deserved. And before them had come freaks, one-known-copy private-press insanities like J.T. IV, White Boy and the Average Rat Band—the bands that happened when someone with a guitar thought fuck it loud enough for the tape to pick up. Those were visionaries, each of them, even if most of them paid—or never got paid—for it.
And Zig Zags had a vision, too. It was a dark and weird one, the kind of thing you see flickering on the monitor when your stolen spaceship wakes you up from cryo-sleep, or the kind of thing that flashes across the inside of your forehead when you wake up hungover from sleeping in your van. Theirs was the nightmare of the insane and the all-too-normal, the Bermuda Triangle between sci-fi and lo-fi and no-budget, the Twilight Zone twist ending where it turns out everyone else was an alien the whole time.
When Cliff Burton wore that Misfits shirt—Zig Zags. When the Emergency Broadcast System interrupts that John Carpenter movie—Zig Zags. When a soggy pile of Thrasher mags and Jack Kirby comics spill out of a dumpster behind the Sunday School—Zig Zags. When the Ramones were scared of the basement and the Angry Samoans couldn’t find the right side of their mind—Zig Zags. When a kid breaks his elbow copying a WWF heel’s piledriver and starts laughing instead of crying—Zig Zags. And when the electricity goes off forever and torchlight reflects off chrome—Zig Zags.
All of this and more becomes real on the Zig Zags’ self-titled debut LP, recorded and produced by Ty Segall for In The Red. In twelve songs, they chainsaw through weirdo film and caveman rock and space noise and make smart sound so dumb it turns inside-out and becomes brilliant. Their very first 7-inch had a song called “Scavenger” cuz that’s what Zig Zags do—dig through garbage to find genius. In 2014, it turns out they did make their ripping record. But it’s up to you to figure out the twist ending.
ZORRAS ADOLESCENTES. AulloLunaSolo (Collector’s Series/Botella Records/Bazofia Records/Go Mongo Records/Discos Regresivos) 10.00 EUR. Por fin un LP de las zorras mañas, 5 años después de sacarles un single, Discos Regresivos tiene el honor de sacar este LP (junto con Bazofia,Go Mongo y Collectors Series) a estos punkis verdaderos. Discazo!!
PUNK!!!! Edición: 500 copias.
ZOLA JESUS. Stridulum (Sacred Bones) 13.00 EUR. ”Since her debut lp for Sacred Bones last summer, Zola Jesus’s profile has grown exponentially. Her video for “Clay Bodies” debuted on The Fader and her likeness was plastered all over the Internet. The Spoils made dozens of year-end lists including The Wire, Pitchfork, The Fader, and Dusted, and fans and critics alike now seem rabid for new material. So without further ado, we present Stridulum, the new, far less lo-fi 6-song ep from Nika Roza Danilova. Recording her vocals for the first time with professional instruments, Nika’s voice is brought to the powerful forefront of the mix unleashing the full range of emotions that had previously only been hinted at in her previous work. It’s a siren song for the apocalypse, which manages to come across immensely nurturing at the same time.” Received an 8.1 rating from Pitchfork.
ZOLA JESUS. Spoils (Sacred Bones) 14.50 EUR. Sacred Bones is proud to present The Spoils from ZOLA JESUS. Hailing from the unsuspecting locale of Madison, Wisconsin, Zola Jesus--the alter ego of NIKA ROZA DANILOVA--occupies a sphere of sparse industrial rhythms, no-fi drones, and ethereal femme vocals. Those who have seen her handful of live shows, heard her WFMU set, or caught any of the acclaimed, sought after, and now mostly out of print releases on Die Stasi or Troubleman Unlimited already know. For those uninitiated, The Spoils may be the most fully realized representation of her sound. Zola Jesus has two previous releases on Sacred Bones, the “Souer Sewer” single and a limited CD of a live performance from WNYU.
ZOLA JESUS. Tsar Bomba (Troubleman Unlimited) 13.50 EUR. On Zola Jesus’ upcoming EP Tsar Bomba, the local project’s bleak pop sensibility stays afloat on a lake polluted with white noise, dirty industrial rhythms, and hissing synthesizers. The spooky vibrato of Madison vocalist NIKA DANILOVA effectively throws the dreamy hooks of Ronnie Spector down an empty well. In live sets, DEAD LUKE’s sonically haunting synthesizers crawl over the minimalist rhythm section of bassist LINDSAY MIKKOLA and tom-tom player MAX ELLIOT to provide an adequate backdrop for Danilova’s heaving vibrato and sinister shrieking.”--Madison Decider. Edition of 500 copies.
VV.AA. A Day In My Mind's Mind: The Kiwi Pyschedelic Scene - 2xLP (Real Groovy) 50.00 EUR. After four volumes in the CD series, A DAY IN MY MIND’S MIND finally makes its vinyl debut with this stunning 2 LP collection to help celebrate Real Groovy’s 33 1/3 Birthday.
Lovingly packaged and remastered for vinyl, A DAY IN MY MIND’S MIND showcases the burgeoning NZ Pop/Psych music scene from 1967 through 1972 by featuring landmark recordings and unreleased treasures.
A staggering 26 of the 28 tracks are local compositions, highlighting our growing maturity as a musical nation. Limited to 500 copies.
VV.AA. Charred Remains - 2xLP (Radio Raheem) 25.00 EUR. In the annals of early ‘80s American Hardcore, no compilation holds more seminal weight than Charred Remains. Initially released in 1982 on cassette through BOB MOORE’s Version Sound label and available in limited supply, the release served the world the first earfuls of such groundbreaking and legendary bands such as HUSKER DU, DIE KREUZEN, VOID, VIOLENT APATHY, TOXIC REASONS, ARTICLES OF FAITH, REBEL TRUTH, PERSONALITY CRISIS and SIN 34. Besides the actual sounds contained on the tape, Charred Remains was a testament to that primary quake of DIY ethics that empowered many a short haired youngster to start bands, record labels and fanzines and forge the underground to where it is today. To find an original copy of this compilation and not have to give up a kidney in exchange would be quite a feat, but now Radio Raheem waves their magic wand and Charred Remains is something for everyone to enjoy in the vinyl format. Re-mastered from the original master tapes with liner notes from Bob Moore and Die Kreuzen vocalist DAN KUBINSKI, Charred Remains is rescued from the collector ghetto and plopped right down into your lap to behold.
VV.AA. Viva La Punk - Vol. 1 (Chingatumadre) 15.00 EUR. Edición limitada hecha en Mejico que recopila lo mejor del punk ibérico. A1. Kaka de Luxe - Viva el metro (2:40) A2. La Polla Records - Salve (3:06) A3. La Uvi - Ley y orden (1:53) A4. Cicatriz - Escupe (2:29) A5. La Broma de Ssatan - Baila pogo sobre un nazi (1:56) A6. Código Neurótico - Las Malvinas (1:42) A7. Las Vulpess - Inkisición (2:21) B1. Eskorbuto - Mi degeneración (2:20) B2. KGB - Maroto (1:59) B3. Interterror - Felices días en Auschwitz (2:32) B4. Farmacia de Guardia - A Johnny le gusta el punk (1:44) B5. Siniestro Total - Purdey (2:23) B6. Urgente - Radio alicante muerta (3:11) B7. M.C.D. - Jodete (1:56) B8. Espasmódicos - Soy cruel (1:42)
VV.AA. Bay Area Retrograde Vol. 2 (Dark Entries) 20.00 EUR. Bay Area Retrograde (BART) Volume 2 is Dark Entries’ second compilation of underground music from San Francisco (and the greater Bay Area) made between 1978-1983. Towards the end of the 70s, San Francisco’s experimental music scene clashed with the aftermath of punk and gave birth to a vibrant underground. By the early to mid 80s the DIY music scene of the Bay Area was a hotbed for experimental and quirky new wave, post punk, and synthpop, quite similar to New York’s No Wave scene and Berlin’s Neue Deutsche Welle. This compilation connects the (transit) lines between these varied musical offerings and tells the secret story of eleven forgotten Bay Area bands. BART Volume 2 features slow, dystopian horror from pioneering industrial group Factrix; crushing, motorik noise from acid punks Chrome; amphetamine-driven synth punk from Red Asphalt; an early demo, never released on vinyl, from legendary post punk band Tuxedoomon; chilling atmospheric drone from Ki Di Me; leftfield new wave from Indoor Life featuring Patrick Cowley on synths; Los Microwaves more sinister side project Baby Buddha; gay drag icon Timmy Spence delivering an unknown camp classic, a pure instrumental electro-pop workout from Human Being Men; TR-808 fueled synth pop from Menlo Park duo Wonders of Science, and a poetic yet somber and haunting song from the mysterious Zru Vogue. All tracks have been carefully remastered by George Horn at Fantasy Studios in Berkeley. Each LP is housed in a large 6-panel, 2-sided fold out poster designed by Eloise Leigh, featuring original photos and fliers from each band’s personal archive plus a 36”x24” print of a photograph by Ruby Ray from1978. BART is the acronym for Bay Area Rapid Transit, the main rail transportation system for the San Francisco Bay Area. This LP is by no means a definitive compilation but merely opens the tunnel to the underground of the Bay!
VV.AA. Great Complotto Di Pordedone (Spittle) 15.00 EUR. BACK IN STOCK!! Finally reissued on vinyl by Spittle, the seminal compilation of the post-punk undercurrents of northern Italy. Great Complotto is been an amazing story, one you would like to live yourself, even more than 30 years later. A typical story of suburban Italy, based in Pordenone, when creativity was on top and the shortage of technical resources didn’t keep the dream from coming true. That was the driving force of the often underestimated Italian punk scene.
At the end of the seventies a bunch of musicians from Pordenone joined the punk wave spreading all over the UK, making their way to London for a bizarre pirate live event. HitlerSS and Tampax played under the Aklam Bridge in Portobello Road. That was 1979. The performance was soon after known as the “Cartoon Concert” – because the members of the band played fake cardboard instruments. That was a shocking happening that could only be matched by the absurdist Spaghetti Performance that Skiantos played @ Bologna Rock in 1979. The Great Complotto was the cure, the vital alternative to the western standard way of life. This sought-after record was released in 1980 and soon after was welcomed as the Pordenone manifesto, an incredible and extremely innovative musical scene, not only aware of the British revolution but even tuned into the more eclectic US form of art and post punk (think early Devo, Residents and – why not ? – New York no wave). On this compilation you’ll get an idea of the raucous genius of : HitlerSS/Tampax, Mess, Fhedolts, Sexy Angels, Andy Warhol Banana Technicolor, Mind Invaders, 00101100110011, Musique Mecanique, W.K.W., Little Chemist and Waalt Diisneey Prod. Enjoy.
VV.AA. Sound The Alarms!! – 2xLP (Maximum R’n’R) 19.50 EUR. This double 12" gathers 32 bands from 14 countries, capturing the current sounds of punk from around the world, featuring MÜLLTÜTE, SILLA ELÉCTRICA, SYNTHETIC ID, TOTAL WAR, NO STATIK, DICTADURA, PERMANENT RUIN, VIVISEKTIO, GIFFORDS TREATMENT, QUESTION, THE FIGHT, LOTUS FUCKER, RUIDOSA INMUNDICIA, ANTI YOU, VERRUGAS, ORDEN MUNDIAL, KUUDES SILMÄ, NUCLEAR SPRING, GUTTER, ENTRE REJAS, ESTAMPIDO, SIETOKYKY, HONDARTZAKO HONDAKINAK, I.R.A., ãà?ë?MIà (PANDEMIA), DHK, KVOTERINGEN, KONTATTO, LEI DO CAO, CÜLO, MAAILMANLOPPU, and OBEDIENCIA. And of course it comes with a newsprint, magazine-sized insert with a page from each band, including pictures, lyrics, graphics and more!
VV.AA. The Dunedin Double – 2x12” (Flying Nun) 39.00 EUR. In 1982, four bands from that southern outpost - The Chills, Sneaky Feelings, the Stones and the Verlaines - each recorded a side for a double 12" EP pack that, which actually untitled, was referred to as the Dunedin Double. Now for Record Store Day (April 19), Flying Nun re-issue this set that went on to kick start the label.
Not only was it ‘untitled’, it was an unusual format, with no set order and containing two 45rpm 12" discs. Re-mastered, the Dunedin Double is being re-issued again in its original format and limited to 2000 copies.
Recorded over two weekends in damp New Zealand, South Island flats (on portable 4-track by Chris Knox and Doug Hood), it was distinctly lo-fi and in tune with the’ do it yourself’ ethic at the heart of the label. Furthermore it brought the world’s attention to The Chills, Verlaines, The Stones and Sneaky Feelings and established the notion of the ‘Dunedin Sound’, a phrase coined for the young bands that followed in the wake of The Clean and an influence, which carries on to indie-pop bands around the world today.
VV.AA. Radio Ready: Wisconsin - Lost Power Pop Hits 1979-1982 (Cheap Rewards) 18.50 EUR. The second installment of the Radio Ready regional power pop compilation series takes us to Wisconsin, a land more known for football, cheese and beer than infectious pop tunes, yet the 14 tracks contained within the grooves of this LP showcase groups from Milwaukee, Madison, Green Bay and Kenosha during a period of immense creativity when stardom seemed within reach. Sadly the talent of these bands was never appreciated by major labels and few made it beyond local recognition. The fact is, nearly half the songs documented in this collection didn’t even see a vinyl release in their day, while the rest were independently released in small runs for a regional market. Thirty years on, the music bolsters a youthful energy, an undying spirit and a plentiful supply of catchy hooks that should have earned them all national attention. Cheap Rewards Records has diligently remastered all the songs from a myriad of original sound sources to bring a coherent collection of pop tunes ripe for a new audience. The record comes in a vibrant gatefold sleeve with photo collages and liner notes by Dave Luhrssen, co-founder of Milwaukee’s largest and longest running alternative newspaper, the Shepherd Express.
VV.AA. Avon Calling (Radiation) 14.50 EUR. BACK IN STOCK!! Originally released on the Heartbeat label in 1979, and featuring the likes of Glaxo Babies, X-Certs, Vice Squad, Private Dicks, and The Stingrays, Avon Calling was the statement of intent of the late 70s Bristol post-punk scene. Though Bristol is certainly not the first city that comes to mind when the term "British post-punk" is mentioned, the music scene there during the late 70s was stylistically diverse and boundary pushing. Theres no better example of the fruits of that scene than Avon Calling; from straight punk to pub rock, art-punk to dubbed out jams, this comp has it all. A truly unique collection from Englands most underrated post-punk metropolis. "Avon Calling is a veritable riot of stunning pop." - NME Side 1: 1. Glaxo Babies - It's Irrational 2. Europeans - On The Continent 3. Private Dicks - Green Is In The Red 4. Moskow - Too Much Commotion 5. Essential Bop - Chronicle 6. Directors - What You've Got 7. Various Artists - Own Up Side 2: 1. Sneak Preview - Slugweird 2. Stingrays, The - Sound 3. X-Certs, The - Anthem 4. Apartment - The Alternative 5. Numbers, The - Cross-Slide 6. Vice Squad - Nothing 7. Stereo Models - Move Fast - Stay Ahead 8. Double Vision - My Dead Mother.
VV.AA. Division Avanzada Independiente (Atemporal Records) 18.00 EUR. BACK IN STOCK!! División Avanzada Independiente (D.A.I.) was a collective of musicians that was formed in the early 1980s in Valencia and could compare with similar movements such as the B.E.F. (British Electric Foundation) , its Member initial were Jose Luis Macias (Glamour, Tomates Electricos, Europa and Ultima Emación), Miguel F.Jim (Proceso Inverso, Psiko Psiko and Radio Klara), Fco.Jose Galán (Tomates Electricos, Fanzine and Fuegos Fatuos & Notre Dame) and Lino Oviano (Europa, Ultima Emoción and Fuegos Fatuos & Notre Dame).
The DAI was formed by groups concentrated in construction of sounds with electronic gadgets, drum machines, sequencers and synthesizers, the D.A.I. edit during the early 80's several cassettes impossible to find today, we have selected and remastered the best tracks of that movement, presented in a limited pressing of 320 copies.
A1. A.M.F.M. - CITA EN TOKIO (1982) // A2. TOMATES ELECTRICOS - HISTERICO (1981) // A3. ESTRUCTURA MOVIL - ENIGMA DEL FUTURO (1984) // A4. FUEGOS FATUOS & NOTRE DAME - PSICOSIS (1983) // A5. PROCESO INVERSO - MUSICA PARA ANDROIDES MUTANTES NIÑOS Y PERROS (1982) // A6. PSIKO PSIKO - SICOS (1982) // A7. THE ART - SINTONIA 86 (1986)
B1. D.A.I. - PRIMERA IMPRESION (1982) // B2. FANZINE - NO QUEDA NADIE (1981) // B3. DIAGONAL - HOLLYWOOD (1983) // B4. A.D.N. - EL ASESINO DE RUZAFA (1982) // B5. NICARAGUA NIMANAGUA - MARCELO (1983) // B6. REPLICANTES - ADMINISTRADORES DEL OCIO (1983).
VV.AA. Que Pagui Pujol – 2xLP (VomitoPunkRock) 18.50 EUR. Doble lp de color que recopila parte de la historia punk de Barcelona de los 80 basado en el libro del mismo nombre que hizo Joni Destruye. Gran seleccion de bandas del momento. Casi todos los temas son ineditos, de ensayos o directos e incluso maquetas. 500 copias, 300 a color y 200 en B/N, además lleva un fanzine y un poster.
1. A1 - ALMEN TNT - Ya nadie cree en la revolucion info 2. A2 - PARABELLUM - El jefe 3. A3 - DECIBELIOS - Putrefacto 4. A4 - DESECHABLES - Fuera de la ley 01:30 5. A5 - CODIGO NEUROTICO - Quiero una isla 6. A6 - KANGRENA - Kangrena 7. A7 - FRENOPATICSS - Religion 8. A8 - ATTAK - Anarkia en el sistema 01:13 9. A9 - ULTIMO RESORTE - Violencia 10. B1 - EPIDEMIA - Epidemia 11. B2 - MARIPOSAS VIOLADORAS - Odio los transportes publicos 02:45 12. B3 - SINDROME TOXICO - El gordo del boton 13. B4 - NAPALM - Alambradas 14. B5 - JONI DESTRUYE Y LOS REPUGNANTES - Soy un animal 15. B6 - LODI SOCIAL - Odio obedecer 01:49 16. B7 - SHIT S.A. - Abortos 17. B8 - RESIDUOS NUKLEARES - 38 aos 18. B9 - ANTI/DOGMATIKSS - Fuego en la moncloa 19. C1 - SUBTERRANEAN KIDS - A quien quereis engaar 02:23 20. C2 - SKATALA - Bolingas 21. C3 - PISANDO FUERTE - Sta. Koloma 1 Reich 22. C4 - SENTIDO COMUN - Religion (El oso goloso) 23. C5 - ANARKOTIKS - Una grande y libre 24. C6 - KAOSS URBANO - Vecino 02:34 25. C7 - PIORREAH - La papela 26. C8 - EL NUEVO SALTO DE LA DANZA SALVAJE - La nueva 27. D1 - CRISTIAN DIOS - El 28. D2 - LA CHUSMA - Hacia las aguas del mar 29. D3 - MONSTRUACION - A muerte 02:56 30. D4 - JUANITO PIQUETE Y LOS MATAESQUIROLES _ Fuego 31. D5 - DRAPS BRUTS - Maniaco 32. D6 - WOM! A2 - Justicia en las calles 01:21 33. D7 - ULTIMOS DE CUBA - Yo, tu, tantos
VV.AA. Sombras. Spanish Post-Punk And Dark Pop 1981-1986. 4xLP Box Set (Munster) 60.00 EUR. Sombras' is the first compilation to survey in depth the darker side of the fledgling, vibrant music scene of early 80s Spain. Both formats include booklets with an essay in Spanish and English by journalist Jesus Rodriguez Lenin and contributions by Beatriz Alonso Aranzabal (Los Monaguillosh) and Carlos Entrena (Decima Victima), plus many artist photos and memorabilia. It features cuts from Decima Victima, Paralisis permanente, Neon Provos, Ultratruita, Camara, New Buildings, V2 Berlin, Pasajeros, Furnish Time, Seres Vacios and more.
VV.AA. Paink (French Punk Anthems) (Born Bad) 16.00 EUR. BACK IN STOCK!! The first French incarnations of “Le Punk” (pronounced “paink” in numerous locales) were not carbon copies of their foreign exemplars.
Babbling, swarming, morphing, genuinely disorganized anarchy, bad intentions transformed into good ones: that’s how punk rock (or at least a close approximation) was initially adapted to fit our peculiar French perspective. There was not the slightest network to distribute records or organize concert tours. Older generations were hostile (or worse, compassionate or even paternalistic). There was nothing and no one to forge a connection between the handful of small, isolated groups, fundamentally motivated by a passion for what they deemed true rock ‘n’ roll (the desire to terrorize the neighborhood arrived soon afterward), each in their own little world, trying to provoke their backwater village or their lame metropolis, and meeting, of course, with total indifference.
It was not a movement of any kind, contrary to what was said later in slipshod articles and books. For a certain few, it was a sincere attempt – necessarily doomed to failure in a country such as ours (be it under Giscard or Mitterrand, it was all the same to us) – to combine wicked guitar noise, a limitless disgust with everything and temperamental boredom that simultaneously undermined and nourished the everyday world of the adolescent (or, for the slightly older ones, post-adolescent).
It happened in Marmande, Reims, Lyon, Paris and elsewhere. But even when we believed ourselves to be in the eye of one of these hurricanes (in my case, a small “cutting edge” record shop in Normandy where I was a salesclerk), we were completely – or practically – ignorant of what was going on in parallel elsewhere. We were more in touch with the latest 45s released in London by Stiff or Chiswick than ones put out in Bordeaux by Strychnine or in Lyon by Sexe à Pile.
Nevertheless, in a self-centered way, we did not particularly care, since we were already content with what we had within the eye of our private hurricane: Little Bob Story in Le Havre (the first group to bring rock ‘n’ roll to the remote areas that most needed it), Les Dogs in Rouen, followed by groups with far more assertive personal involvement, such as Les Olivensteins, Gloires Locales or Nouveaux Riches. In addition, the Clash gave their first French concert here in April 77, and that same springtime the Stranglers and Ramones played in the area. We had plenty to be content about without the need for long trips. The area had already been an important musical hub for some time. Back in the simpler era of Pub Rock, Dr. Feelgood (not yet widely known), Eddie and the Hot Rods and even the Snakes (later to become Wire) played here. People here were excited, and this naturally led to countless new groups being formed.
Discovering what went on elsewhere, all around our sadly rigid country (because, although we sang by default “inthe mother tongue,” we repudiated almost everything that could be related to it, whether Gainsbourg, Ferré or Lavilliers: all old farts, all alike…) is obviously a primary merit of this compilation of French PunkAnthems covering the years 1977 (Dogs, Gasoline) to 1982 (Coronados, Soggy). This was the only truly exhilarating period, before the bands toiling in their rehearsal spaces sought to associate themselves with a perfectly-defined trend, like alternative rock,classic punk or garage 60s revival. The early bands were just doing their own thing: free to choose, their desires specific but limitless as their imagination, clumsy (yet they would never have asked others for advice), sure of their intentions, their knowledge, their superiority over the mediocre majority, but also their appearance, which said it all. Some in their perfectos (already scraped up), some in pointy boots with elastic side gussets, and the richest ones in zippered duds from Kings Road. Common denominators: tight trousers, badges, with everything in near-obligatory black. And, like Electrochoc, a group from Marmande so symptomatic of that time (1978), a musical repertoire with no room for syrupy love songs.
To see the veritable, original Paink style, just look at the photos of the audience at the two European Punk festivals (1976/1977) in Mont-de-Marsan (where Strychnine played nearby, under the blazing sun). In the photos, we do not see Johnny Rotten’s cousins, but rather an unlikely, haphazard and disorganized bunch, with Parisians in the minority, some with long hair, some who had cut it during the trip, dropouts wearing huge badges and leather jackets, more reminiscent of Renaud than the Clash. Obviously, the music played by those in that small crowd went along with their appearance. There was a vestige of boogie, and the idea that for rock to be violent it had to have a certain hard edge (which explains the success of Sean Tyla, formerly Ducks Deluxe, at the second Mont-de-Marsan festival, absolutely not punk, but mighty greasy).
A heavy, “suburban public housing project” sound that FRENCH PUNK ANTHEMS 1977-1982 has not forgotten: Soggy, from Reims (some of its members had previously played in Antichrist and Hardfuckers, whose names already summarize the concept) is the perfect archetype of the genre: Marshall amps, covering “I Wanna be your Dog” for an encore, constant tribulations, an article in Best, which delighted the group and its friends but was otherwise pointless.
The regions outside Paris spawned tons of bands like this, local flash-in-the-pan groups that, despite their ardent desire to stand out, never went very far, yet spent the money they earned playing local youth centers on a self-produced 45, never exported, but endearing because of its fluky feel and amateur recording. Even though Punk didn’t significantly influence its era, many of them would still have existed: They had such a strong impulse to perform that they would have still tried to play every night, until the day their tour van would break down for the last time on some remote country road. But, since they had also just discovered the first Ramones album, their resentment exploded even more.
Les Dogs were one of those bands, even if they came from a relatively comfy environment, and not one of those loathsome factory towns. Sincere, elegant and strident, their influences were the Kinks and the Pretty Things, and, like almost everyone at the time, the Stooges and the New York Dolls. They were among the first to put out a self-produced record, on a label created for the occasion by their local record store in Rouen. Later, that town became a hotbed of bands. Les Olivensteins, Gloires Locales and Nouveaux Riches emerged from the same bubbling cauldron. They were all rather different, but their common point was not to be too strict in following current trends (“Je ne veux pas de catalogues, de trucs usés de trucs en vogue (Idon’t want catalogs, used stuff, trendy stuff)” as Les Gloires Locales sang). Instead, they sought to make the best of their original features (a synthesizer and sax in Les Nouveaux Riches, an excellent singer – Gilles Tandy – in the other two). Basically, they always tried to offend with irony that people, including their fans, didn’t always understand.
They had a cultural awareness developed through many hours spent at the local record store, listening to everything from old sixties garage bands to the latest Rough Trade find, recorded in a toilet. They were simply doing what they did, instinctive though rich in (sometimes bizarre) influences (from Bob Dylan to Television, the Count Five, the Fall and Louis Ferdinand Céline). Les Olivensteins, while known for their songs “Euthanasie” and “Fier de ne rien faire” (reissued in 2011 by Born Bad), had other ambitions than to be confined to rudimentary punk rock, with its sing-along choruses reminiscent of football chants that widely polluted the genre starting in the early 80s.
Back then, the Parisian scene was also agitated by several strong forces. Most bands were born, and died, not far from the Gibus Club. Despite what was most commonly conjured up in the media and at chic parties, it was no big deal. Asphalt Jungle and Metal Urbain, among others – but, finally, not too many others – were active in their respective circles. Bands that considered themselves Stooges fans (such as the Guilty Razors) actually sounded more like the Buzzcocks on SpiralScratch. Ruth Elyeri, the side project of a musician versed in experimental tinkering (Thierry Muller) became known via a track on the first French punk compilation, “125 grammes de 33t.” Les Warm Gun, in a more traditional rock vein, but still great, made an EP that deserved success; it met with injust indifference. There was also Gasoline and its hard-liner records (resembling the rage of the Sex Pistols adapted to Parisian reality), built around Alain Kan, an underground figure who had previously attempted to express himself via cabaret and glam rock. The compilation you have in your hand is a big hodge-podge, as lively as it is diverse. JB Born Bad was right to add “Déréglée” by Marie-France, another extraordinary personality in Parisian nightlife. A minimalist track with brilliant, amusing words by Jacques Duval, who was also getting his start.
Les Coronados are the latecomers (1982) on this compilation. A logical and rather emblematic choice, since with their profoundly garagey sound, their stylish looks and their wide-ranging influences (which included the Sonics, Kevin Ayers and Les Dogs as well as Captain Beefheart), they summed up, perfectly and by themselves, the intensity, turmoil and diversity of the five years that had just elapsed in that marginal universe. Of course, none of the groups on this compilation ever had any significant success -- Eric Tandy
VV.AA. Land of Nod (Scavenger of Death) 18.00 EUR. Review From Terminal Boredom E-Zine: An Atlanta Punk and Hardcore Omnibus. There are a few locales deserving of the regional comp treatment these days, and ATL is certainly one of them, a city that has given us some of the brightest lights of modern times (Black Lips, Carbonas, Gentleman Jesse, and hey, remember The Lids? I do!) and one that certainly has an identifiable "sound" in the the frantic and hook-laden punk and hardcore that emerged both pre-and-post Carbonas. To track the member overlap between bands would take up too many words, but let's just say there's quite a few common players throughout this 13 band (19 songs) comp, documenting bands that are already dead and gone, some that are current, two from Athens and some side projects and quite a few different genres as well. Bukkake Boys lead off, and for some reason I never gave them too much play (I think it was the name), but both tracks here are top notch violent punkers (one exclusive to this comp and one reprised from their demo/first 7"). You also get two apiece from Predator (both of which are incredible and serve as a great tease for their upcoming long-in-making second LP), Manic (who really steal this one, and will make you realize how awesome their 7" really was) and GG King, most of them exclusive and all of them top notch. Two new tracks from Cops (Jesse, GG and Ryan Dino), both of which are surprisingly ballsy (one even sounds like The Cramps), and as bonus balls you get a super tough Gentleman Jesse cut as well ("Fence Yourself In"). The Vincas track is quite heavy in a Comets on Fire style. I'm glad to see a Ralph track on this (and it's another highlight, just perfect sounding 80s core with incredible guitar tone), and Wymyns Prysyn's "Booze Void" is one of the best cuts on this (total Dwarves-ism). Into the unknown: Shaved Christ are haphazard hardcore with a dark streak, Acid Freaks sound a bit Japcore inspired to me and are pretty hot shit (and have most of Predator in their line-up), GHB come off like a dumber Predator (in a real good way, and they share members as well) and God's Balls are not a Tad cover band, but a grindcore band (and the only thing on this that really isn't gold). A perfect example of the regional comp done extremely well: a good cross-section of bands, documentation of some tracks that would've probably never appeared if not for this chance, and comes with the mandatory zine accompanying it where each band gets a page for art/lyrics/credits. I shouldn't need to tell you to buy this, one of the first absolutely necessary purchases of the year. (RK)
VV.AA. Buttons Starter Pack 2xLP (Numero Group) 22.00 EUR. BACK IN STOCK!! Numero’s entry-level power pop compilation features 20 songs from the original NUM 004 (released on CD as the Yellow Pills compilation), plus two bonus cuts, new liners, tons of sleeve scans, photos, and ephemera, all housed in a spot varnished, brick-thick gatefold sleeve. Artists include New Jersey’s TOMS; Kennet, MO’s TREND; NYC’s COLORS, TREBLE BOYS, and SPONSORS; Hollywood’s RANDY WINBURN and TOMMY ROCK; Des Moines, IA’s LUXURY; San Antonio’s KIDS; Connecticut’s BATS (featuring a young JON BRION); and Boston’s TWEEDS.
VV.AA. Buttons: From Champaign To Chicago (Numero Group) 22.00 EUR. BACK IN STOCK!! An homage to the prairie state Numero calls home, From Champaign To Chicago is a 19-track survey of Illinois’ Cheapest Tricks. Reaching back to 1973 and Peoria outliers THE JETS and ending in 1987 with Romeoville’s JULIAN LEAL and his Dick Clark approved “Get Away,” From Champaign to Chicago connects, via map, pins, and string, the various scenes that pockmarked the face of the Land of Lincoln. Chicago’s PRETTYBOYS, TOM ORSI, ALL-NIGHT NEWBOYS, KEVIN LEE & HEARTBEAT, BAND JOCKS, NORTHSHORE, PAUL, THE KIND and LOOSE LIPS are tethered to Rockford’s THE NAMES; Champaign’s VERTEBRATS, CONTRA-BAND and THE NINES; LaSalle’s THE JERKS; Joliet’s LAY-Z; and Zion’s SHOES by the clubs, booking agents, weekly newspapers, and regional radio stations they were all fighting to be seen, and more importantly, heard in.
VV.AA. Two Much! Never Enough Rock N’ Roll’s Smoothest Party Monsters (Why Me? Records) 12.50 EUR. A wild collection of power pop, garage and punk from top acts from the West Coast and Canada. You get it good from MEAN JEANS, MIDNIGHT SNAXXX, PERSONAL AND THE PIZZAS, WHITE WIRES, THE FLAKES, MOTHER’S CHILDREN, CITY DELUXE, PEACH KELLI POP, STEVE ADAMYK BAND, and URAINIUM COMEBACK. Packaged with art by DIRTY DONNY GILLIES. Edition of 500 copies. Includes a download, liner notes and a special “Why Me?” Tortex gutiar pick made special for this project by Dunlap.
VV.AA. Galician Bizarre Vol. 2 (Self Released) 10.00 EUR. Ya está aquí el segundo volumen de esta gran serie que recopila lo más granado del efervescente underground gallego. Como ya sabréis los que conozcáis el primer volumen, y si no os lo cuento yo, se trata de una reunión de bandas con una cierta inclinación hacia el sonido garage-punk/lo-fi, si bien en esta segunda parte se ha abrazado algo más el tema lo-fi así como, en algunos temas concretos, el post-punk y la nueva ola. Temas: SR. ANIDO - Buraco Negro; TRAJANO! – Mono; CARRERO BLANCO - Horse Cum; WILD BALBINA - Spit Your Love; FANTASMAGE - Cambia De Ciudad; LOBISHOME - La Muerte; MANO DE OBRA - El Ogro; MULLET – Laioso; TORA! TORA! TORA! – Crematorio; QVEK - Tella, Me Enamoré De Ella; LOS TELEVISORES - Mona Lisa; ALARIDO MONGOLICO - El Ataque De Los Belenes Vivientes; TERBUTALINA – Hostias; LOS THYSSEN - La Bola; TETRA & FREAK - Frota Vaginas; PASTILLAS MAMUT - Fiesta De Mierda.
VV.AA. Busted At Oz (Permanent) 16.00 EUR. Finally! After 30 long years since it's original release, THE DEFINITIVE CHICAGO PUNK DOCUMENT IS AVAILABLE AGAIN ON VINYL! Busted At Oz was originally released in 1981 on Autumn Records. It has been long out-of-print and regularly fetches collector prices in stores and online. It contains some of the earliest recordings from well-known Chicago punk acts such as NAKED RAYGUN and EFFIGIES, as well as more obscure Chicago punk groups such as STRIKE UNDER, SUBVERTS, SILVER ABUSE, and one of Chicago's first mostly-female post-punk groups, DA. The tip-on jackets for this 30th Anniversary limited edition vinyl-only reissue were reproduced by Stoughton to look exactly like the original by using the actual vintage print left over from the original pressing! The original master was expertly remastered for vinyl by COOPER CRAIN (CAVE). Additionally, the original printed inner sleeve has been reprinted. Also included are retrospective liner notes from original members of some of the bands. The best part... all proceeds will be donated to the Chicago Coalition for the Homeless. Edition of 500 copies.
VV.AA. Es Chaos Is Die Botschaft Volumen II (Luziprak Recs) 14.50 EUR. This second compilation contains some Austrian Proto Punk and Punk Rock from the first generation, including some rare & some unreleased Punk influenced Powerpop, Trash Rock, New Wave and No Wave stuff! Lim. 1000 copies.
Side A: SCOOTER - Crazy Police (Wr.Neustadt, 1982); WILLI WARMA - Ich sprenge alle Ketten (Linz, 1981); TOM PETTINGS HERTZATTACKEN - I Found Out (Lienz/Wien, 1980); NULL KOMA NICHTS - Der Weisse Rum (Feldkirch, 1982); RPB - Tenebrae (Wien, 1981); HOTEL MORPHILA ORCHESTER - Sex in der Stadt (Wien, 1982); COMMERCIALS - Mein Kampf (Wien, 1981); KILLROY - Robert Damiens (Wien, 1984)
Side B: INTIMSPRAY - One Million Barrels (Innsbruck, 1980/81); FRONTAL - Keine Ahnung (Wels, 1983); EXCALIBUR - Sweet Little Girl (Wien 1982); DIRT SHIT - Der letzte Dreck von Wien (Wien, 1978/79); CADILLAC - Cold Love (Wien, 1976/79); ÖMÖ - Pumperl geht... (Graz, 1982); BLACK VEIL - Take Me As I Am (Wien, 1982); X-BELIEBIG - Fang an (Wr.Neustadt, 1980).
VV.AA. Fm-bx Society Tape Vol. 1 (S-s Records) 13.50 EUR. “S.S. Records is pleased to present the first vinyl edition of the FM-BX Society Tape Vol. 1. Originally released in 1981 on only cassette, with a limited run of 200, FM-BX V1 was the first in a series of compilation tapes released by the staff of a radio station in Brussels, Belgium. Needless to say, not many tapes made it around, and very few survive today. I’d say that is a shame but with this vinyl release, the word will get out about the bands on this tape, albeit a few decades after its initial release! FM-BX V1 features three bands, two from Belgium, one from Scotland. The Belgium bands are ISOLATION WARD and UNIT 4. Isolation Ward are known in underground synth collector circles, as they had a bit of a run after their debut on this release. Bleak and futuristic, Isolation Ward fuse post punk with early 80s synth sounds and a DIY approach. The stars of FM-BX are the all-woman foursome Unit 4. Little is known about the band or their current whereabouts. No problem because their music is all you need to tell you that they had something special going. By their sound, the influences are obvious: Kleenex, Delta 5, and the Raincoats all reverberate here though less ‘slick’ than any of those bands. Unit 4’s aesthetics are more akin to the Petticoats and, at times, the Shaggs. This is truly wonderful punk rock. From Scotland comes the TOPPLERS. If the name sounds familiar, it is doubtful that it is because of the band. One of the Topplers is a guy named ALLAN HENRY, who runs the excellent DIY label Topplers Records. In fact, it is Allan who turned me on to FM-BX to begin with. His band The Topplers? Great stuff. Teens with an ear towards the TV Personalities, The Times, and Subway Sect. They only existed for a couple years but wound up on this tape and, as a result, with an opening slot for Golden Earing! These are the only recordings that exist. Had they come out at the time on a 7”s, I have no doubt DIY collectors would be fighting over copies. 500 pressed, housed in a sleeve cobbled together from the original cassette release. Brief liner notes by The Topplers’ Allan Henry.”—S.S.
VV.AA. 6 x 2 x 12” (Volar) 12.50 EUR. This long-in-development compilation is finally seeing the light of day. Featuring three of Canada’s best post-punk acts coupled with three of San Diego’s, this 12-inch highlights the common ground that acts in both countries share. DEFEKTORS deliver a blast of punk energy with “Not the One”; O VOIDS contribute their lurching “Crawling Machine”; hot off their HoZac and Mammoth Cave Records 7-inch, SHARP ENDS debuts their best track yet, “Whiteout,” a scorching, noisy post-punk anthem. On the US side, San Diego’s ALE MANIA follow up their Volar Records and Hell Yes! Records 7-inches with the great, chaotic “Fawkus”; BEATERS offer up the pulsating “They Don’t Really Care About Us”; and SPIRIT PHOTOGRAPHY turn in their first new track since their Sacred Bones 7-inch, “Where is the Light”. 45 RPM, all handmade covers.
VV.AA. Hookup Klub Round One (Hozac) 13.00 EUR. Yes, its finally here, all on one handly format for accessing the hottest cuts from the first Round of the HoZac singles club, along with two previously unreleased BONUS TRACKS by TEEPEE and IDLE TIMES. This compilation spans the first ten elusive subscription-only 7-inch records released from 2009-2010, featuring rare tracks by DUM DUM GIRLS, WOVEN BONES, BOX ELDERS, FLIGHT, WHITE MYSTERY, TEEPEE, IDLE TIMES, MOTHER OF TEARS, ART THIEVES, and TEETH (the elusive Blank Dogs/Spider side project), and is not to be missed.
VV.AA. Party Platter (Florida’s Dying) 14.50 EUR. ”Two and a half years in the making Florida’s Dying’s Party Platter is finally done. Thirteen tracks from thirteen party bands across the US, and each song is about a brand new dance. This is the party record of the year and just in time for the summer. Now you and your friends can do "The Cuddle Up", "Huckle Buck", and who doesnt love to "Wiggle It Around". Features jams from JOHNNY AND THE LIMELITES, NOBUNNY, HUNX & HIS PUNX, COCONUT COOLOUTS, RANTOULS, SWEET SIXTEENS, SEXCAPADES, GARBOS DAUGHTER, SLIPPERY SLOPES, BRIANS, DIRTY BUSINESS, PERSONAL AND THE PIZZAS, THE PUDDIN’ POPS, and THE YOLKS.
VV.AA. Worlds Lousy With Ideas 8 (Almost Ready Records) 14.50 EUR. "The eighth installment in the Worlds Lousy compilation series abandons the 7" format in favor of the full twelve. Pretty much everyone worth talking about in 09 is on here, as the LP collects exclusive tracks by Blank Dogs, Vivian Girls, Tyvek, Oh Sees, Sic Alps, Times New Viking, Intelligence, Pink Reason and Guinea Worms. Beautiful, silkscreened covers with art by Cassie of the Vivian Girls." There are nine different screened covers, one by each band.
VV.AA. Bloodstains Across Sweden (RedRum) 14.00 EUR. 13 essential punk rock blasts! Featuring Watabout, Kriminella Gitarrer, Bugs, Rude Kids, Glo, Usch, Brulbajz, Mizz Nobody, Butter Utter, Vicuous Visions, Liket Lever, Blodarna. Booklet features liner notes with info on all bands and covers of their 45s.
VV.AA. Bloodstains Across The Midwest (Fan Club) 14.00 EUR. Third record in the Bloodstains series. This, along with Texas and California were the originals of this series. The information given about the bands/records is as often fiction as it is fact. The Gynecologists, for example, were definitely not from Hogfuck, Indiana. I should know--that's my hometown! Actually, next time you are in Indiana, go to Bloomington, head to the corner of Kirkwood and Walnut, right on the town square. You'll see a video store called Plan 9 Video. It's downstairs, under a book store. Ask for Kerry Scott. He's none other than Tommy Afterbirth! Then you can go take a shit on John Mellencamp's front porch. Like Texas and California, this is one of the best in the series! However, being from the Midwest, this one has a special place in my heart.
VV.AA. Neighbors Annoyer (Fan Club) 14.00 EUR. Comp KBD from USA, Scotland, UK, Ireland (Cramp, 00.3 Minutes, Screaming Dead, 48 Chairs, Pink Section, The Toys, Joe Cool & The Killers, Eddie Fiction, VDU`s, The Scabs, Visitors, Voice Of Puppets, Vital Disorder, Puncture, K9`s,The Dazzlers) [16-songs] 500 made. Rare original 1977-1982 punkrock from the vaults.
VV.AA. Shiftless Decay – New Sounds Of Detroit (X! Records) 12.50 EUR. A collection of scathing tracks from the current Detroit underground. You get unreleased tracks from TERRIBLE TWOS, LITTLE CLAW, FRUSTRATIONS, TENTACLE LIZARDO, HEROES & VILLAINS, JOHNNY III BAND, MAHONIES, FONTANA, THTX (MATT SMITH OF OUTRAGEOUS CHERRY/VOLEBEATS), ODD CLOUDS, along with a pre-released track from HUMAN EYE and a TYVEK song that only appeared on the super-limited Flowers tour CDR.
VV.AA. Killed By Death #5 (RedRum) 14.00 EUR. The first of 2 (along with #6) volumes done in Australia. Until a reissue in 1998 both of them were tough to find. A really good LP, with a little more of an international focus than previous volumes. Great tracks from the Neo Punkz, Nubs, Cracked Actor, Maggots, Dieter Meier among other. Rating: 8.5.
VV.AA. Killed By Death #6 (RedRum) 14.00 EUR. The second Australian volume, reissued in 1998. The most international volume so far. Fewer classic tracks here though most are still above average. The Funeral Dress track is actually from 1987, though the label of the record is misleading. Goodies from The Kids, Dirt Shit, Next, Hitler SS and Tampax. Rating: 7.5.
VV.AA. Killed By Death #7 (RedRum) 14.00 EUR. Done as a joke, featuring records that were on the want list of the person who did #5 y 6. They even went so far as to put his address on the back of the jacket. An excellent volume, with the Village Pistols, Chain Gang, Guilty Razors, Absentees, Fresh Color and Maids being the standout tracks. No crap tracks here. This one was getting tough to find until it was reissued in 1998. Rating: 9.
VV.AA. Killed By Death #8.5 (RedRum) 14.00 EUR. The first of 4 volumes of “All American Punk, No Foreign Junk”. Excellent volume, bringing to light some previously unknown (and ridiculously expensive) records. The cover of this one (an S&M theme, from the Public Disturbance sleeve) caused my copy to be temporarily seized by the fucking morons at Canaduh Customs due to the nature of the subject matter. Move into the 20th century assholes. Two pressing, I don’t know what the difference are. It’s damn bootleg, who cares! Rating: 8.5.
VV.AA. Killed By Death #9 (RedRum) 14.00 EUR. Still more obscurities and even more ridiculously priced records than Volume 8.5. Tapeworm is way over-rated. All of the tracks are winners, with Tapeworm probably being my least favourite tracks on the LP. Two pressings as for #8.5. Rating: 9.
VV.AA. Killed By Death #10 (RedRum) 14.00 EUR. Still more US (and a few Canadian) obscurities for the 3rd “All American” volume. Quite a good record, similar in quality to #8.5, not quite as good as #9. Ratin: 8.5.
VV.AA. Killed By Death #12 (RedRum) 14.00 EUR. The final volume of the “All American Punk” series. More real obscurities, not that many killer tracks but consistent throughout. Ebenezer & The Bludgeons, Lubricants, Rejects (the second track), Meaty Buys, Nubs and Teenage PhDs are the winners here, with most everything else a close second. Rating: 8.5.
VV/AA. Killed By 7inch #1…#5 (RedRum) 14.00 EUR. A compilation of the first 5 Killed By 7 Inch EPs. Most of those were released only in editions of 300 copies and they quickly disappeared. If you missed out on those now you have another chance. An average collection of tracks. Rating: 7