Your recently viewed items and featured recommendations. View or edit your browsing history. Get to Know Us. English Choose a language for shopping. Not Enabled Word Wise: Not Enabled Screen Reader: Enabled Amazon Best Sellers Rank: Would you like to report this content as inappropriate? Do you believe that this item violates a copyright? Amazon Music Stream millions of songs. Amazon Drive Cloud storage from Amazon. Alexa Actionable Analytics for the Web. AmazonGlobal Ship Orders Internationally. Amazon Inspire Digital Educational Resources. There were a lot of roadblocks in making that record, and so it was great that we were able to overcome and complete it.
It was a lot of ftin to make music with those guys. Ritchie Blackmore, because at the time I was newer to fame and notoriety. Ritchie is a superb musician with really high standards and to lx: I think when Ritchie started that project, he was really scared it was going to fail, and so to be a part of what made it a success meant a lot. I think it speaks volumes about your impact on the metal scene and the music world in general. They all were pretty amazing to me, but I think that all that it speaks of is my work ethic, and how great I want the albums to be for the aiidience, to connect with them.
With such a huge catalog of songs to choose from, how do you compose a set list? What are some of your favorite tracks to perform live? Ot course, we listen to what fans tell us they want to hear, and we do our best to accommodate their requests. So I love playing those. Off the top of my head, those are the tracks 1 think of first.
I was very pleased. It was created by a woman named Dr. We were looking for a charity to give our time and money to. Lee went to bus and train stations and other areas where runaways, sexually abused teens and the like ate commonplace, often coming to Los Angeles with dreams of stardom, and ending up in the hands of a pimp who immediately puts them into a world of drug use, disease and prostitution.
Some of these kids are just 14, and already are addicted to drugs, have AIDS and are out working the streets and Children of The Night seeks to put a stop to that. Lee, who often put her own life at risk, by going up against pimps and drug lords, to save these kids. We hope to have that out this summer, but nothing is for sure right now. For more info on the Children of the Night charity, go to www. Well right now, we are just writing and recording demos of the tracks. Along current music lines, what bands are you into, and what do you think of the resurgence in the popularity of heavy metal?
I like A Perfect Circle and Evanescence. The privatization of former nationalized industries in England lias largely been disastrous, and has cost human lives in such areas as railway maintenance where the race for profits led to bad track maintenance and horrific rail Crashes. Do you really expect profit' hungry companies to put the welfare of the Social Security recipient first and foremost? Election Day, we discussed the political situation of the Bush administration.
What are your thoughts? I heard his first speech after he was sworn back into office, and there he is talking about trimming back Social Security even more. Tltat really gets on my neryes. I am well, busy hut well Although I have really bad problems with electricity here in our house at the moment, so - click! Last time we talked in Nov. How did the rest of that tour go? I remember we chatted while you were in AZ when your van broke down. I hope there were no further vehicle problems.
How did this tour compare to your hist US venture? Any plans to return to American shores soon? Funnily enough, we did have more problems - to the point where we were almost stuck in a coach yard through the thanksgiving holiday, which would in turn make us miss bur plane back to England, l was really enjoying the tour, bur that whole affair was just plain miserable. Overall the tour was cool though - easily as cool as the one we did last time around. It seemed like people were hungry to see us because they know we totally go for it live - more so than most.h2.hp.ctrader.com/kiv-idrossiclorochina-solfato.php
We were aiming to come back fairly soon to the U. Hopefully it will in September and with a different kind of tour line-up. Watch this space, I guess As a gerontologist, I can tell you that Social Security definitely needs to be changed. During our previous conversation, which was on r The Bush thing' definitely doesn't help him. I used to he a Labour Parry member, but the thought of him cosying up to Bush makes me feel sick. Traditionally minded people within the Labour party are really pissed off. There are these real sinister new laws being squeezed through parliament right now - kind of similar to U S.
I think, beyond the feelings of left-leaning people like myself, people find him a bit of a cover-up merchant and arrogant. I still remember what their bullshit did to my family and the jobs within the city I live in. I read somewhere about a possible tour with Melvins. Might this still happen? At some point for sure, but not this year, ir depends how much time Buzz spends on making wacky home improvements.
How did that go? Did you end up working with anyone else? Jeff lives near to that studio anyway, and Jamey was on tour with Slayer and Slipknot, so l just picked him up on his day off. Did we work with anyone else? Just the small matter of someone called Jello Biafra, who sang in a little-known beat combo called the Dead Kennedys Of course, Napalm Death plays a huge role in this story, l would even go so far as to say that a majority of the book is about your band and its ups and downs. What was it like being part of this project, and how did you enjoy being able to relive the good times and vent about the had?
Did it help to give you a great perspective about the impact of Napalm Death on the world? Long Live The Code. How do you feel it compares to previous Napalm efforts? If concerns the whole. Wiat the title is saying is that from the perspective of authority the code should always he red i. Trie Human right to resist oppressive measures is such a precious thing, whatever politicians might tell you. Compared to previous Napalm efforts, we approached l read on some message hoards and news sites that Napalm fans were pissed about Jamey Jasta doing a collaboration with Napalm.
Can you offer up any insight iri regard to this reasoning or better put, a lack thereof? Hatebreed supported us on a couple of those very shows. But we Closing words? First Rate Recording, gorgeous gothic layout, and enough chops to fill a butcher shop make this a must have. Unearth fame does a good job with the recording, though there are some hollow sounding spots here and there. The layout works but is nothing too write home about and I could get things stay a little more towards the spirit of bullet belts and spiked gauntlets than dunks rind Fred Perry jackets. The occasional falling prey to present trends is forgivable when compared to their more positive traits, and hopefully the latter is where Trivium Ascendancy Road runner Records Wow.
Over remains on skin shredding solos and chunky thrash riffs which compete with double bass mayhem, hell spawned low end and vocals that alternate between demonic rasps and earth shaking bellows. Producer Ken Susi of the course ot an hour, in twelve fractions; this Florida four piece absolutely demolishes the competition, be it established vets their allegiance will remain when it comes to the follow up.
Invocation of Nehek have great potential; 1 hope they continue to utilize and expand upon it. The production is good and a huge part of what makes this record great. If this had been of weaker sound quality, it would have sincerely hindered my enjoyment. As I said earlier, the tunes are quite long, but that fact does come to the bands aid, since you have a lot to choose from.
Corpse Relapse Records paint covered Skinless is a band of many faces: Frontman Matt Heafy is definitely a man to watch in the future of extreme music, as this masterpiece was crafted in his teenage years, l feel fans have much to look forward to from his later output. Think early Marduk meets late Emperor, sans keyboards. Lots of great harmonies emerge in the midst of all the brutality, with plenty of fast blast beats and screeching vocals. Nothing too incredible, and the formula can get repetitive, especially since the songs are so long, but Urgehal occasionally will step off the beaten path, and engage in well done breaks and some shows, gifted pranksters, storytellers and naturally gifted entertainers.
Whether you are a long time fan or just discovered the joy of Skinless, this DVD is a mandatory purchase for the gut wrenching sounds and abundance of laughs it produces. R AMP 35 urn rr Ground www. As the genre increasingly moves under the radar of mainstream influence, however, the lack of true topical banter has become all the more apparent. There are exceptions to this trend, though. Cipher, a New York based five-piece, being one of the main anomalies. Forged under the idea that communication and social critique is of the utmost importance, Cipher has spent the past several years attempting to rekindle the flames of debate and compassion which once fanned so bright in the hardcore scene.
Armed with a nuclear powered assault of intelligent lyrics and awe- inspiring musicianship, Cipher has continued to expand its ever-devoted fan base through word of mouth based on its passionate performances and ability to inspire discussion in nearly every venue or basement from the Pacific to the Atlantic. Rather than mimic a pre-fabricated sound, though, Cipher harnesses its influences, while taking note of other musical fabrics to weave a tepid tapestry of crunching sonic storms, which offer the listener a chance to open their minds as easily as bobbing their heads.
Mitchell is a very serious. Why did you guys choose the name Cipher for your band? What is the significance to the name? We started out when we were pretty young. Before we were known as Cipher we did this spoken word thing. One of the pieces I read was called "Ciphers of Influence. Also, we liked Cipher because it has so many meanings. It means "circle or circuit. You guys have spent several years building up a strong, grass-roots following on your own before inking your deal with Uprising, which allows for a larger distribution of your music.
Can you describe the path you guys have taken to get to where you are now? I think our story is different than a lot of other bands. We grew up together. Danny and Krys have known each other for more than twenty years. We wrote music together in middle school and high school. Sometime in all that we found the hardcore scene. So, we started off on our own and we later found the hardcore scene.
As we matured, our music took on a more and more serious tone. As we grew more politicized, so did our music. Our popularity would come in ebbs and flows. After our U S. Later, we recognized the need for better distribution, which found us at Uprising. We needed to make sure everything was in place for us to make this thing sustainable. We were grateful to see how patient our fans were. Now that we resumed playing with tons of new material our former fan are still coming out. How did you get hooked up with Uprising Records? What made you decide to work with them in terms of getting your music and message out there to folks?
Sean from Uprising got our record, Antidote, while we were on tour. When we came back we saw emails and voicemails from him. He was sold when he read a Frantz Fanon quote in the liner notes.
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He wanted to release more political records, but at the time everybody was more interested in talking about killing their girlfriends, [laughs] So, he was excited to see a band that was doing something different. He wanted to release more political records, but at the time everybody was more interested in talking about killing their girlfriends. Our fans were not able to get our music and it was becoming an issue.
We simply could no longer run a completely DIY operation. Our politics are so intense and our music is different. It took a label that shares our political vision to understand exactly what we were trying to do. What changes have you specifically noticed in hardcore over the past few years?
How has Cipher tried to challenge or combat the corporate influences in hardcore? We try to stay consistent. So, when people see us at basement shows or other D. We discuss these issues during our sets. We pay special attention to the misogyny in hardcore. A product of the corporate influence is a shrinking of the critical space. What would you say is the overall message you are trying to get across to people with this band?
How well do you think your message has been received in the hardcore scene during such a predominantly apolitical time for this style of music? People are tired of the clichbd metal-core stuff. They are tired of the misogyny. So, this apolitical scene has allowed our work to contrast heavily from everything else out there. What we do is merge this message with music that is also cutting edge. Some political bands are musically mediocre.
People are only into them because of their message. We wanted to create brilliant music as an appropriate complement for an involved message. Can you describe the process you went through in creating the new album? How did you come up with the overall theme for the record? We critiqued our politics, our process, and our music in a holistic way. The concept and title of the album had existed in a skeleton version earlier. We usually plan two records ahead. But, in order to really put together what the record was going to be we had to be deliberate. So, we worked out the amount of tracks we wanted and we immediately began writing the new material.
Since we were writing a concept album where each track is interdependent we wanted it to feel like that to the listener, instead of some random accumulation of songs. As we jammed on the music, I began to write sketches of each song. So, before we even finished writing all the tracks we had the conceptual landscape in place. Song titles, order, meanings, etc. As we began to finalize things, we allowed room for growth and change. And as events in the world changed, we were also changed. September 1 1th, the war on terror, the war on Iraq, the elections As news came out, the tone of the record evolved.
So, up until we reached the studio we were changing songs, concepts, and the song order. Once we got in the studio we realized that we were taking a lot since the album would be clocking in at more than an hour. We embraced our guts and tried to ignore convention and be as free musically as we had the resources to be.
We wanted this record to be a radical message in a very apolitical environment politically. I think this record is by far our most daring, radical, and consistent offering. What were your main influences in terms of the sound you came up with on the new record? No hardcore, no hip-hop. I do this so my lyrics can be influenced in fresh ways as I write.
Maybe it's a vocal rhythm or a word that slips in to your subconscious. We made a concerted effort to write stuff we wanted to hear. And we wanted to challenge metal and hardcore cliques. Our influences should color our music gently. We work that into our process. How has this growth developed Into the sound of your new record? We are becoming more and more confidant as individuals and artists as we develop. You can hear it on our recordings. I think politically, this record is much more direct than our other recordings.
We do a lot of experimentation with sounds and song structures on this album. We set out to write an album, a whole program. This album was a huge undertaking. We put a lot of care into crafting it. We wanted it to be the heaviest thing out there yet have musical nuance. We wanted to develop a concept from ground up. Every song is unique and important to us. We incorporated everything we wanted to. We even have a verse by MF Doom on this record. What is the meaning of the title of your new album. The way he explains it, a people's experience of oppression illuminates them.
They come out on the other side sublimely positioned to destroy the very system of oppression they experienced. If this is true, the world needs to listen to the voices of the most oppressed people. We believe the most oppressed people are usually women, non-American, non-white, and poor. Obviously, the election of Bush seems to be a set back for a lot of progressive people. What is your take on how the election went down?
Honestly, I was disappointed. I wanted Bush to lose. Everything that happened during the actual election as far as irregularities was to be expected. There was the usual disenfranchisement of black people; the typical fear tactics— all that stuff was there. The lying and the abuse of official government agencies for electioneering. People have this naive belief that the U.
So, a lot of this stuff does come to a shock to many of us. I hope that one development from this loss would be recognition from the traditional left that their methods are not working. If the project is some egalitarian justice, things are not working out. I believe the second Bush administration will force traditional liberals to take on more radical and militant organizing in the face of this fascism. What do you think is the best thing for people to do that want to get involved with political change from here on out? Grassroots, local, autonomous organizing in your own community.
This is the future of social change. What are your feeling on the corporatizing of the world that seems to be going on? For instance, there are McDonalds and blue jeans popping up in seemingly all areas of the world. How and why is this happening and what do you think needs to be done about it? Until we build autonomous alternatives to McDonalds, there wiil always be McDonalds.
The fight cannot simply be against globalization. The fight can not be simply for a more humane capitalism. The problem is capitalism. So, we need to look to examples like the Zapatista movement in Chiapas, Mexico, where they reject everything form the state and build their own reality. In their reality McDonalds cannot exist. What do you hope people come away with after checking out the new record or seeing you guys play a show this year? If they could come away with new questions in their mind about themselves and their environment we'd be happy.
Where do you see the band moving from here on out? We want to be a catalyzing force that inspires more people to tell their stories. We want to inspire others to, in the face of so much state sponsored fear, to tell the truth. And we want to merge political action and grassroots organizing with art. I think its time that people heard unapologetic, authentic responses to the machine. You will notice that Jack makes refer- ences to The Big Takeover several times in this column.
If you are not familiar with The Big Takeover ; it is an independent underground music magazine that Jack publishes. We at AMP Magazine regard it as one of the most intellectual and well done celebrations of music in print , and if it has some how eluded you to this point in your life , it is well worth searching out and dis- covering. The Cancer Strikes Again: I've been buying your magazine at such and such store. Glad you like it. But if you really want to support us, if that's your fondest intention, the best thing you could do for us is to subscribe instead.
Only a third or less of the money from a store sale filters back to us. And that's if we actually get paid at all. The "and that's if we actually get paid at all" line is not a cynical one, either- that's one borne of experience. And sadly that ignominious experience has reared its repulsive head. Unlike the bad-enough scenario posed to Mr. X, for a large chunk of magazines we sold these last 12 months in stores, we were paid exactly zero. Of course we had to pay to make them and to truck them in the first place-yet we got nothing in return. So in that sense, compared to a sub- scription where each copy represents a pre-paid sale in our pockets, these sold copies ended up netting us negative 30 percent or thereabouts!
Nobody could stay in business long that way! You may have noticed that the price of The Big Takeover magazine has gone up a buck, and that's with extreme regret. In truth, we've been fighting such an increase for some years, as regular rises in our costs for printing, paper, and shipping have been nibbling away. That's just the natural influence of inflation. But there's also a more immediate, insidious reason for the increase.
It affects not only The Big Takeover magazine, but also dozens of others like us. It is the bankruptcy of one of the biggest distributors we and our peers have dealt with for years, Desert Moon out of New Mexico. Until issue 54, Desert Moon was the biggest distributor for Big Takeover for well over a decade, not only because of the copies they moved for us to their client network of independent small-chain newsstands, coffee shops, and little book stores, but because they regularly also put for us into the Borders chain.
There is no way to sugarcoat this, so we'll just state the fetid financial facts: That's a lot of pain and misery out there. Desert Moon went out of business late last year as we went to press with issue A couple of its employees then claimed they had bought the busi- ness, but under terms they maintained meant that they didn't assume the for- mer owner's debts-which went into receivership.
This "arrangement" as stated smelled pretty bad, and not surprisingly, former suppliers were reluctant to con- tinue to send still more magazines, office staples, or services to the "new" Desert Moon that magically didn't owe-at least in their view-for the previous unpaid invoices. Borders themselves patently refused to deal with Desert Moon any further, thus removing the bulk of their trade. So starting with these obvious twin detriments, the new "owners" proved as inefficient or corrupt, or both, in the few months they were in operation as their former "boss" had been, and were forced to shut their doors permanently in late March.
All this meant is that they'd extended a bad farce one more magazine cycle for anyone who contin- ued doing even diminished, non-Borders business with them. And in the end they turned out to be as patently dishonest as their "former boss" or the rest. As always seems to happen, one mag I know received assurances less than a week before the closing that the company was still there and making a go of it, all the while being implored to send his new issue.
A few days later, both their phone number and line produced automated disconnected messages. And in behaving so disreputably to the end, insisting that their continued viability 42 AMP was assured, both daddy and Jr. Desert Moon were just the latest in a long line of shysters. We last addressed this topic in The Big Takeover pages seven years ago in issue 42, the last time there was a hit this big across the industry. That was back when our biggest distributor then, Fine Print in Texas, as well as our third-biggest Canadian distributor, Cargo Canada who also distributed indie records, not just mags , both pulled the same disappear- ing act-now you're owed money, now you're not!
Two other CD distributors that we didn't deal with, Alliance and Feedback, also went out of business at that time. Extrapolate that across the board, and you see the kind of financial stress such continual bankruptcies cause your favorite mags and indie labels. That year, , indie labels and mags folded in droves, or drastically curtailed oper- ations.
And it was around then, I recall, that former indie giant SST seemed to disappear. If you're familiar with bankruptcy, you know what will happen now with Desert Moon. After Chapter 7 is filed, the company's few liquid assets will be sold off at auction, but these usually don't amount to much. At the court's direction, the bankruptcy trustees can sell the firm's office furniture, computers, copy machines, and telephones, and in rare cases the building itself if the space wasn't rented.
But that won't get you far. Typically the liquidation of such assets will only net around 10 or 20 percent or less of the outstanding debt left behind to creditors. And even this fraction will never end up in the pockets of the people who supplied their products, services, or inventories. It will go instead to the banks that lent money to the struggling firm, however risky that was! Banks are "secured" creditors, which means they insisted on and are enti- tled to such collateral as part of their loan agreements. So what you get, if you're not a bank yourself, is roughly a dozen official-looking statements in the mail over several years from the judge presiding over the liquidation.
But what you'll never get is a check, not even for 20 cents.
What a waste of postage. But the people who formerly owned the companies usually do pretty well for themselves, anyway, as we've seen not only in the lives of former distributor crooks, but in the more widely publicized mega-corporate failures. See the edi- torial following this one. Since a corporation is a fictitious entity, it goes out of business, but the owner's individual assets bought with the company's pro- ceeds while it was being run into the ground are largely protected-even houses, vacation homes, fancy cars, boats, and jewelry.
And start a new business soon thereafter? There's no legal recourse to stop you, and your creditors are prevented by your filing Chapter 7 from suing! How neat and tidy! You might ask, how many times have these distributor bankruptcies hap- pened in the nearly 25 years we've been publishing? The answer is dozens. Here's just a small tip of the iceberg roll call of some who have left labels and publishers holding the bag: Faulty Products, Systematic, Cargo U. You may ask, how does this happen, and keep happening? Are we, and other mags and labels, stupid?
Do we keep falling for the same parlor trick? The trou- ble is that we have no ability to change an entrenched, rotten system. As I said to a colleague recently, the problem is that no one has explained to me how we can distribute very far without distributors! Of course, whenever possible, we do try to deal directly with stores, cutting out this needless middleman and the extra costs for both their cut, and the inefficiency and waste of a second round of UPS shipping.
And if you're a store reading this, we hope you'll consider doing that now with at least your favorite regular publishers and labels if you haven't previously. The trouble is that most such stores are reluctant to have so many invoices and have to deal with so many different people. For the same COLUMNS reason that the average Joe or Jill goes to one supermarket and fills up their cart there, rather than the old days of going to the butchers, the cheese shop, the dairy, the liquor store, the bakery, the deli, the seafood store, and the drug store, book stores and record stores prefer to order all their books, mags, and CDs from one place; to get one box from the truck, pay one invoice, and make returns all to the same place.
When you consider there're more than a thousand such small labels and publishers, you can see why they'd prefer that. Also, when trying to decide on how much if any to order, it's much easier to take one call from a distributor's salesperson, and have them pitch the latest wares com- ing out on the market, than it is to take a few hundred such calls for sales then later payment.
So labels and mags soon learn that if you want your product in the stores, particularly the bigger ones, distributors are the only way you're going to get into most of them. And that's a shame. Our best stores are not surprisingly the ones we deal directly vyjth, even big chains like Tower Records and Newbury Comics.
Buying direct not only saves them and us money, but also makes them more attentive and attuned to the products they sell. How I wish that Barnes and Noble, Borders, Schinders, Books a Million, and B Dalton's would come up with a simi- lar enlightened strategy, and have us similarly ship to them directly. Like Tower and Newbury Comics, the dispensing of the middleman means they pay less and we get more.
But uptil such a day, if you want to get into these chains, as well as all the non-chain stores that use distributors, we are stuck with the unreliable, here- today gone-tomorrow companies between us and them. And we can merely hold our breath and hope that these distributors will remain competent, honest, and well-run that they don't expand too quickly and get stuck with the sort of debt that leaves them at risk of foreclosure , and that they continue to pay us- however late, and however pocked the check becomes with fees, charges, or returns based on affidavits we can only take in trust as opposed to the evi- dence of ripped covers.
As for the poor terms we're stuck with from these same distributors, we have so far been unable to change such take-it-or-leave-it consignment policies. For at least these last 25 years, all magazines and records from independent con- cerns like ours have been taken purely on consignment, on minimum day terms-first to the distributor, and then from there, similar terms are extended by the distributor to the CD, book, and magazine stores. So if such stores default first, even an honest distributor has trouble paying you. Nothing, it seems, is paid up front, to anyone.
The terms can be different from distributor to distribu- tor, but the bigger the outfit-i. For example, Desert Moon's terms meant that they paid you for an issue 60 days after the arrival of your next issue in their warehouse. So if we shipped them issue 54 in May of , we were not due to be paid for any of its sales until February , two months after they received issue 55 in December The rationale behind this is that since the stores they sell to also pay on a con- signment basis, that means that stores end up taking credits for unsold months and months down the line when they finally purge them from their shelves.
For mags in particular, the arrival of a new issue on the shelves typically sparks mass returns of the previous one still lying next to it, un-bought. So that's the rationale for this great delay in payments of distributors to publishers, to two months after the next issue. For labels' CDs, it's more typically net 90 terms. That's better but also pretty damn slow. From this sad scenario, it's easy to see four things: One, all the risk accrues to the label or publisher, as they have to pay to press their mags or CDs upfront to meet the standing orders of the distributors, and yet there is no guarantee that your products will sell once they get to the stores-and you get nothing if they don't.
Returns from distributors are largely unhelpful to CD labels catalog that has now stopped selling in stores usually doesn't draw new orders -Worse for magazines, the "returns" are just plain destroyed, so you cant even sell them as back issues. Two, these massive lags in payments are hell on the cash flow of labels and publishers, who sit and wait for long, long periods to get their money back for actual sales-most of which in fact occurred in the first couple of weeks. They find it hard to finance new issues or recordings when they can't get paid for the last round for so long, and they don't even know how much they are going to be paid for such a long time.
Three, and worst of all, should distributors fold and thus not pay anything, as demonstrated, you have no recourse to get any of the money for whatever product that did sell. And four, for magazines, if you can't get paid from even a solvent distributor for an issue until they have received a second one, it means you are perpetually at risk of not getting paid for two issues you've printed and shipped to a distributor and that the stores have sold. So every time you ship that second issue to your 25 distributors before you've been paid for the first, you pray you'll at least get paid for the first one two months later when it comes due, so that if they do go under before it comes time for you to send the third, you'll only be owed for one issue instead of two!
To change this consignment structure would take a concerted, across-the- board effort on the part of labels and publishers. But aside from the usual diffi- culty of arranging any kind of collective action by so many disparate people, and who have no established trade organization, there's the problem of how to convert the risk. Aside from the current precarious state of the stores them- selves, which makes it difficult for even honest and efficient distributors to col- lect ask any of these stores that have somehow remained in business, in this era of the endangered mom and pop retail: Most labels and publishers are pretty small concerns like us, and have to buy in to the consignment system to get stores to stock less-established products.
It's their way or the highway. So is there a better way? Perhaps Desert Moon's debacle will inspire publishers and labels to start banding together at last and demand bet- ter terms as an association, hard as that would be to achieve and sustain. But would such demands be met even if they were made? The thinking here is that labels and mags need the distributors more than they need us, in such an entrenched oligopoly, and in an industry so rife with bankruptcy at all levels.
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So nothing is going to change, unless you decide to give up selling to these chains and kissing goodbye to a massive chunk of your sales. So what can be done on your end, dear reader, where it comes to mags like this? The first single from L. Two short blast of sinister razor sharp punk covered in a eerie haze of ambient noise and low end thud.
From the ashes of the Slippery Slopes comes the Golden Pelicans. While the Slippery Slopes wanted to play your party, The Golden Pelicans are more interested in ruining it. Ugly, middle aged, and overwhelmingly disliked as people The Golden Pelicans are here to ruin your good times.
Generally regarded as crotchety old men by the local young punks, disgusting buffoons by the "weird beer" sect, and intellectually stunted by the community at large, the Pelicans are giving you the chance to join this highly esteemed club. Two tough edged punk rippers with Link Wray riffs abound and a punk growler King G front and center screaming about death trips, Florida life, and thick skulls. Totally apt for the middle of July, dudes. Seems the years of death threats, prank calls, hate mail, and general harassment were worth it cause I finally convinced Camaro Werewolf to get the band back together and write one last single.
Two more tracks of the sing-a-long no-fi garbage can Jabbers punk you have come to love Live Fast Die for. Originally appearing on the "Public Service" comp from , these three songs were a lot of punks' introduction to Bad Religion. Two song 7" from this great Hakodate Japanese hardcore punk group. Nice, multi-color, fold over sleeve with lyrics and English translation. How the time flies, this band has been releasing music for over 12 years.
Sam Coffey and the Iron Lungs' All To Myself combines a fuzzed-out sonic backdrop but lays jangle and bubblegum on top of it in a near perfect display of consonance and dissonance. As a die-hard fan and collector, it is such a thrill to be able to re press release like this and see my label logo at the bottom. I bought this record when it came out in I was 15 and I have been crazy about it ever since. Varukers and Discharge were the two most raging and intense of the UK bands to ratchet punk up to hardcore speed and power in the early 80's. This LP sees Varukers delivering top notch hardcore punk, the guitar tone and riffage are savage, the vocals raw and powerful.
The guitar has a bit of the metallic crunch that would permeate hardcore in the future, but still remains grounded in punk. Several members of this line up Varukers went on to form Sacrilege taking the heavy riffs in a more metal direction. When Thatcher and Brezhnev had their fingers on the button to destroy mankind, you needed this kind of hardcore to stay sane. As you might expect, this is some rough and nasty hardcore. The label calls it Rollins-era 'Flag worship, but it's a lot more punk than that description would lead you to believe. Basically, this is rough and mean hardcore with some inventive bass playing and some unexpected riffing.
Of the "members of" bands it certainly reminds me the most of Vacant State, but without the ultra-stripped-down sound that is was? At the end of the day, though, this is mean as hell and super catchy, which is exactly what I want from my hardcore. Limited to only copies, so don't expect this to stick around forever. Up there along with Discharge's Hear Nothing.
Inventors of the 'raw punk' approach, a hyper-distorted version of the classic '82 Britpunk formula, they ended influencing a whole plethora of latter European hardcore bands like Extreme Noise Terror or Doom, and the whole 90's 'crust' scene. This discography LP features tracks from the 'Nuclear Addicts' 7" from , the 'Contempt The Authority And Take Off The Lie' 7" from , the 'Spending Loud Night' 7" recorded in , their tracks from the 'Sexual Confuse' compilation released in , and the 'Stupid Life' 12" from , where they evolved into a more melodic, 70's rock inspired style of music, right before disbanding and mysteriously disappearing.
It is the last stages of grief and its repercussions, a hopeful awakening somewhere on the other side, caught on tape. They're here, more beer, get used to it.
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They combine the ferocity of early Black Flag with the snottiness of Wimpy era Queers. The record includes printed inner sleeves with track by track liner notes written by the band, pictures, and flyers. Short-lived side project of Tomas Jonsson from Anti Cimex, Shitlickers is, according to most, the quintessence of raw scandinavian hardcore punk: Featuring both their self-financed singles "GBG " and "Cracked Cop Skulls" this long-awaited 8 tracker gives a little justice to this obscure all-swedish legend in distorted 80s hardcore.
Living in Darkness is the debut album by the punk rock band Agent Orange, released on Posh Boy Records in and showcasing the band's mixture of punk with metal and surf influences. A side features 8 songs recorded by one of NY's first wave hardcore bands - Antidote - in Live set and bonus full on apocalyptic interview rounds out to about 40 mins. Posted October 5, Well look at this - a webstore update two weeks in a row!
You know, I hate to be bothering you all so frequently, but the new records just keep pouring in! I know your time is valuable, so I'm going to spare you label news this week, I hope to have a full label update for you in a week or so so stay tuned for that. Today is strictly distro talk only Some great new releases and a solid amount of reissues in this update; I'm always trying to keep the classics and reissues in stock and available - everything from brand new reissues to obscure vault finds to staple titles that never went away, in the hopes that you'll stumble across a long forgotten gem or revisit an old favorite!
This update has some killer reissues I've been meaning to get for a while now, as well as restocked on a bunch of titles I've had for a bit so hopefully you find something that sparks your interest! Anyways, let's start with the new releases for now. On the reissue front, stocked up on some more copies of the classic DICKS "Hate the Police" 7" we've had a fanclub version before, but this one is official! Boston based group with its long belated track debut of regional traditionalism. Thematically influenced by science fiction and boasting a rich analog recording worthy of their sound, Field II finds NWOTHC veterans Wiccans indulging in their most occult proclivities and traversing into unknown, psychedelic territory.
This EP was previously only available from Sweden's De: Nihil Records in a limited amount that sold out within a matter of days, but is now available once again from Beach Impediment for those who missed out the first time around. Each record comes in a glue pocket sleeve with a slightly different layout and color scheme than the original pressing. First press limited to copies. Two songs of dream pop perfection from the women that have brought you the likes of Ampere, Libyans, and Confines.
Siamese Twins follow their acclaimed self-released demo with a vinyl debut reminiscent of the early 4AD and Slumberland catalogs. Fans of the Cocteau Twins, The Cure, and sad songs, take note. Five hundred copies on black. Sleeves and inserts on specialty, uncoated stock. Given that connection and the artwork, you can safely assume that these folks are associated with the whole Crazy Spirit camp, though Deformity have a bit of a different sound than those bands.
The core is lose, wild hardcore punk that reminds me of early Husker Du or maybe even Articles of Faith's early stuff, but Deformity aren't afraid to go on different tangents, like the blistering guitar freak-out in the a-side, "Shards. The first legitimate issue in 32 years! Originally on the band's own Radical Records, this has been out of print since its initial pressing.
Hugely influential to folks as far apart as Mudhoney and Limp Wrist. Unapologetically communist, gay and pissed off. Faithful reproduction of the cover and insert included. Four songs of hyperactive 60s girl-pop flailing in an undertow of magnetic hisses, squalls and squeals. Brainchild of Home Blitz guitarist Theresa Smith. Three hundred copies pressed on custom-mixed opaque yellow vinyl. Full color glued sleeves and inserts on Speckletone stock.
A quick one from Mammoth Grinder. On the flip is a rendition of Venom's classic cut, "Welcome To Hell", taken from a radio set earlier this year. To coincide with the release of the new LP by the reigning kings of psychedelic skate punk, Slovenly Recordings is proud to present four additional brand new tracks from THE SPITS on a 45 that rivals any of their long players for pure chaos and stupidity. It's been awhile since they last recorded, but The Spits, as always, deliver a quick and trippy Atari on crack ass-whooping that'll leave you with a double dose of black eye!
Lesser bands have tried in the past to cover this song, but only The Spits give it the weirdness it deserves. Of course Pain lost the battle in that episode, but we all know who the real losers are! The Urinals are a punk rock band from Southern California. Known for their minimalist approach to songwriting and recording--their lyrics have been called "punk haiku"--the band influenced other punk rockers of the 's and 's including the Minutemen. Repro of these southern California punks 2nd single.
Shambles were led by ex-Mandrake Paddle Steamer singer Brian Engel and their only single is made up of two absolute corkers. More than inspired by That's Alright Mama, Spellbound features 2 blistering lead guitar breaks that will strip your walls bare. Both tracks are wonderfully loud and bright thanks to the great Roy Thomas Baker production.
Initial bassist, Keith Bacon, was replaced early in by Nigel Russell. Fowler had acquired the habit of wearing a Nazi SS uniform on stage, which combined with the quartet's pre-existing "boot boy" following resulted in a total ban from the Auckland club scene. Even so, the record reached number 29 in New Zealand and probably could of sold more but the label lacked funding. They were even approached by Phonogram and asked to contribute to a 'solid gold' type album however when Phonogram heard the song they immediately asked for their compilation advance cheque back.
This lone single from New Jersey's Ambulance sits in the top tier of power pop 45s and is usually only afforded by serious collectors but now its here for mass consumption! Consisting of Steve William gtr , Johnny C. The single, recorded in , and originally issued in an edition of copies, was well recieved at the time and got decent airplay.
Heavily influenced by Venom, Motorhead, early Slayer and a dash of punk, their initial releases — a three-song demo tape and a self-released four-song 12" EP — were a crude, no-fi bash fest that dealt with only the most uncompromising subject matter, such as killing enemies and smashing your fucking face. This limited edition LP contains Blacktask's ultra rare eponymous 12" ep from , backed with their Spikes To The Wall demo tape, 9 songs total. Includes a repro of the original lyric sheet and a 12x24" poster collecting various original write ups, reviews and rare photos.
Previously only known to the most die hard of underground tape traders, Curriculum Mortis' debut demo, Sentencia de Muerte, is a raw and ferocious mix of hardcore and thrash metal that South American bands mastered in the late s. Seven songs over the course of 30 minutes, for the first time ever on vinyl. Hailing from Lima, Peru, this is a must for any fan of raw South American punk and metal! As with everything Title Fight does, has done, and will continue to do, Floral Green is an exercise in earnestness, of playing music and singing words that express, with absolute pinpoint precision, what is felt, and doing so in unguarded, unmediated, and un-ironic terms.
They reveal the frightening-to-plumb depths of resentment, self-doubt, cowardice, and duplicity that we all know are somewhere inside us. Ultimately, Floral Green is a leading-by-example repudiation of cynicism and narcissism. It amounts to a persuasive argument in favor of presenting yourself exactly as you are. This one has spent years as my favorite Weasel album only to be crowned and then uncrowned many times by their mighty epic My Brain Hurts. Either way, both albums have stood the test of time. It happens very rarely like a couple of times over the course of releases that we here at Dirtnap get a random CD-R demo in the mail, pop it in, listen to it a couple of times, and then slap our fist down on the counter and say "fuck it, we'll put that out!
Unsolicited demos are largely a lousy way to round up new bands for the label, but once in a blue moon you get one that's just THAT good. Musically, the apple that is Legendary Wings doesn't fall TOO far from the tree that is Dirtnap Records, think caffeiniated, raw, fast pop , but they are also unmistakably, instantly identifiable as originating from the Midwest.
Potential Johns meets Gaunt? Scared Of Chaka if they were from Minneapolis? Their mix of caffeinated instrumentation, and overly sensitive lyrics will make you melt if the mood is right. Fake Punk can be some of the best punk! Raw, snotty, and jammed up with hooks and attitude. What came out is some of the realest fake punk you'll ever here. The album has been bootlegged many times since it's release over 30 years ago and is finally being treated to a legitimate reissue sourced from the original tapes!
Limited run so grab it while you can. That same year they were featured on the legendary NME compilation, C86, the name of which is now commonly used to refer to a specific type of influential jangle-pop that Shop Assistants traffic in. Another in the long line of great Swedish punk bands coming out now! Melodic, urgent and at times meloncholic. Very limited US pressing of the album in anticipation of the band touring here in Only a few hundred copies are available in the US. In fact, the Mr.
Nice Guy routine landed him in bed for a month after being mugged and beaten with a table leg while he was trying to help two strangers change a tire. When the economy tanked, violent crime in Atlanta exploded, making the city a dreary place to live for a while. In addition, several tragedies hit the Atlanta music scene and the Douchemaster Records family close to home.
It was a bad time and Jesse took it very personally. He was close to throwing in the towel and retiring to a dark room with cheap beer and YouTube videos. To cope with the reality of living in a place that was going straight to hell, Jesse went down to the basement of his house and wrote twenty songs that would become Leaving Atlanta. What could have easily become a bummer record ended up being nothing short of inspiring.
Stylistically, Jesse never strays from his bread and butter: Leaving Atlanta is Jesse hitting his personal and musical stride. The rare and unheard material ranges from captivating kitchen recordings and acoustic takes to fully realized studio tracks. A great collection from a great band and a couple of great songwriters—maestros of tension without release—Lost Lost will appeal to everyone from garage and punk fanatics to Numanoids and metalheads.
First released on Helen of Oi! Thanks to renowned NYHC imprint Broken Rekids, this classic platter is once again available on vinyl, now featuring a deluxe, old-style tip-on jacket, digital download coupon and one bonus track not on the original version! Comprised of Johnny Takeaway vocals, guitar , Fat Bob bass, vocals and Nosher drums, vocals , Hard Skin have toured every corner of the globe, performing their unique brand of brickwall oi! The take-no-crap attitude, gruff songwriting, and British accents are still present, but somehow these guys manage to outdo The Streets of San Francisco -- they've progressed as a band and even have acoustic guitars and accordions incorporated into their tunes.
It's easy to say that this is what Stiff Little Fingers should have sounded like after Nobody's Heroes. Originally released on Harvest in , Pink Flag is perhaps the most original debut album to come out of the first wave of British punk. Exhibiting severe art school damage, Wire careens at breakneck speed through 21 songs in 36 minutes to create an album that has influenced bands for nearly thirty years. This Vancouver foursome was already a band to be reckoned with on their first three singles and debut, Something Better Change, but they went for the jugular on Hardcore '81, producing a rare and astonishing moment for the ages, a direct precursor to the Replacements' first LP torch job later that year.
With the greatest drummer in punk history in Chuck Biscuits and an equally smokin' bassist in Randy Rampage, D. With chops that actually bettered their primary influence, the Clash, and a take-on-all-comers attitude, these guys rocked -- and they knew it. With the exception of the much different, faster, more thrash Bad Brains debut, nothing else in the then-new hardcore genre came close to this wild LP. But what you can't forget are the machine-gun Biscuits fills, triggered by the merest hint of any looming chord change yet totally anchored on Rampage's booming bass.
Or Gregg and Keithley's hot riffs that are so thick and yet slippery that they threaten to explode. Or Keithley's likable bear-growl vocals, as full of bonhomie good-guy spirit and wicked humor as they are with his sweat and vigor. Or songs so catchy, you want to sing them as loud as your lungs will take you. But like the '60s Who, '70s Clash, and '70s Buzzcocks other bands of this same rank , they just don't come around often.
Good thing they made Hardcore '81 before they left us. After the Descendents' lead singer Milo Aukerman left the band in , the remaining members chose to continue playing together under a different name and with a new vocalist, former Dag Nasty frontman Dave Smalley. This is the first material they released after forming. Somery is a compilation album a "greatest hits" of sorts by the Los Angeles-based punk rock band the Descendents, released in through SST Records. Somery was released in , compiling tracks from the Descendents' past studio releases.
Stevenson created the cover art for the compilation while Egerton did the graphics. It was their first album with guitarist Stephen Egerton and bassist Karl Alvarez, and their final studio album before singer Milo Aukerman left the band to pursue a career in biochemistry. Based on the goals of achieving "the total extent" and "to not settle for some, to always go for All", the philosophy was the subject of the one-second title track, the two-second "No, All!
Pebbles, Volume 4 is a compilation album in the Pebbles series. Unlike other volumes in the series — which compile obscure garage rock and psychedelic rock music — Volume 4 collects rare examples of surf rock. This is full blown, mind-pulverizing, acid-drenched rock 'n' roll dementia.
The result is a collection of songs that combine the raw joy of standard 60s garage rock with the weirdness of avant guard artists of the era, such as the Velvet Underground. Think that these songs were more produced more than 40 years ago!!!! The opening number, "Makin' Deals" by the Satans, is a mid-tempo rocker featuring a vocalist who snarled "Can you guess my name?!? Sons of Adam do a respectable cover version of Arthur Lee's "Feathered Fish"; this is followed by an extra track, a '60s commercial in which the Electric Prunes endorse the Vox wah-wah pedal. The Choir, one of the better obscure '60s bands and the progenitor of the Raspberries , do the Merseybeat-influenced "It's Cold Outside" which can be found on the Nuggets box set.
Culled almost entirely from two important, early-'80s So-Cal punk compilations, this CD is red hot a decade later. Though it's likely an issue of rights to the material for re-release, it would have been better to reissue the two LPs as was, rather than stripping them of nine tracks to replace them with six songs albeit equally good ones from later BYO releases. From Head Kicked In, the two old, pre-first LP demos by the Adolescents are vital, great-sounding punk history, plus the Social Distortion's otherwise unknown masher "Mass Hysteria," a couple of the finest Youth Brigade songs -- including "Look in the Mirror," which should have made one of the two versions of its debut LP Sound and Fury the next year.
The two tracks by the Joneses the L. Dolls' rock, not the later crap Joneses are fun, Aggression still rocks, and Battallion of Saints shreds. From Something, there's no arguing with Channel 3's proud punk-pop "Indian Summer," which came just before the bandmembers became alcoholics and got into the Alarm.
And best of all, the Nils' stunning "Scratches and Needles," one of the defining moments by Montreal's best band ever, is so good it was the opening track on that LP despite the band's obscurity they should've used the original version from the stupidly limited-edition, print Now EP cassette, which is even more awesome. Youth Brigade again and Personality Crisis are terrific. If you care at all about U. This band rules, and the song is killer! Raging new raw-beat-hcpunkmetal from RVA Amazing HC, great recording, absolutely brutal songs. Posted September 28, Another Friday is upon us and we are officially into Fall and I couldn't be happier!
For now, what better way to start your weekend than with some fresh new records?! As always, I've got a ton of great new stuff in the webstore so take a look and order some records! A pretty good haul this week, let's start with LPs! Always trying to keep great records in stock for you Well, that's all for now, as always thanks for everyone's continued support and thanks for reading! Picking up where their LP on Inimical left off, Arctic Flowers returns with more gloomy anarcho-goth punk songs full of moody hooks, catchy riffs and haunting female vocals.
Recorded at Howl Studios and mastered at Mammoth Sound. Arctic Flowers just returned from an East Coast tour. Lyrics dealing with their status as illegal immigrants in Canada as well as the horrors of modern society, all sung in Spanish. Recorded analog in Quebec Canada with vocals added digitally later in Germany. This 5 song LP is limited to copies which are all hand numbered. Lecherous Gaze had these made to sell at shows, but we got the extras.
Your wettest dreams come true, if their subject is pure melodic hardcore-punk in classic 80s style. The more often you play this record the bigger it grows Red Dons at their most straightforward, melodic, and powerful.
The A side in particular might be their best song yet. Look for a west coast tour with The Estranged in September All copies come with download code. Heavy, high-velocity, rampaging hardcore punk from Atlanta. Features members of Ralph but takes a more violent tack, and the vocals are barbaric and unhinged. This, their debut 7", contains six barrelling tracks and clocks in at around eight and a half minutes.
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Fans of those bands definitely won't be disappointed, as Goosebumps definitely have a similar thing going on Essential for followers of the Toxic State scene, and like all of those releases this one also features top-notch artwork. The brand new 7" from Edmonton's No Problem comes hot off the heals of their rager of an LP that came out on Deranged last summer. Contains 3 brand new songs that perfectly meld the raw-as-fuck hardcore of the LP with the catchy-as-fuck punk rock found on their earlier 7"s.
Basically what I'm trying to say is you need this. Great artwork and lyrics too. Well worth checking out. If you're already a fan you know what to expect: Lyrically, these two songs address what Hygiene know best: On their second record their first was a split LP with Oiltanker on Profane Existence Records , Wilmington, North Carolina's No Tomorrow move away from the straightforward, brutal crust that they mastered early on and toward something much more interesting.
These two songs retain the big production and brutal vocals of their earlier work, but add in some brilliant melodic lead guitar that immediately brings to mind the almighty Death Side. If you like searing leads, huge guitars, and gutteral vocals you're going to flip for these two songs. The packaging on this one is also gorgeous, featuring two-color screened jackets printed by Sorry State and hand-stamped labels.
Limited to hand-numbered copies. After a short hiatus and line-up change Ripper return with the long awaited follow up to their into oblivion LP and return they have! Once the needle hits on the first song you can feel the galloping of the death rider as it drives itself through thunderous drum fills and heavy metal guitar riffs all seamlessly brought together with raging guitar solos and driving bass lines!
This record is guaranteed to leave you wanting more! Hard Skin need money. Johnny Takeaway's fruit and veg stall is fucked. His kids need feeding and the missus is going mental.
So over 10 pints and a bag of pork scratchings they came up with the idea of starting their own label. So here is record number one on JT Classics which does what is says on the tin. Has Johnny Takeaway on it and is Classic. The geezer who did the artwork got the dates wrong and it was too fucking late to change.
In case you haven't heard Hard Skin. You are missing out!! They are fucking brilliant. Ploddy, angry, basic and anthemic. The LP doesn't come with a download because real Skinheads don't use computers. Libyans come from Boston, MA and play snotty and melodic hardcore punk with female vocals. Their music is raw and poppy at the same time while not leaning too much toward either side.
Iron Cross' debut 7" is once again available on vinyl courtesy of TKO Records, with four tracks of some of the first oi to come out of America including the now-classic song "Crucified For Your Sins" that was made famous by bands like Madball and Agnostic Front. Etched, single sided 7"! Cover art by Chris D.! They are the most prominent of the bands which have showcased the compositions and singing of their founder, punk poet Chris Desjardins, known as Chris D.
While Desjardins is the group's only continual member, the Flesh Eaters' lineup has drawn from some of the most famous bands of the L. The band's greatest success was in the early s. Though a part of that era's productive punk rock scene, their music was distinctive for its morbid lyricism and often for its sophisticated arrangements, as heard, for example, on 's A Minute to Pray, A Second To Die. Desjardins's poetry has been described as "wonderful bleeding collages of B-movie dementia, street crime, Mexican Catholicism and Dionysian punk spurt poetics.
HOAX delivers bad news yet again. Capturing the intensity of their over-the-top live performances is certainly no small feat, yet on vinyl they convey an unparalleled aural assault of massive proportion, wreaking destruction on all fronts with songs that demolish everything in their horizon.
Phony chains of command, social indebtedness to false truths, a world crumbling to pieces - games of a bogus system that rely on your habitual passivity. HOAX propel you to retaliate! This EP features elaborate die-cut five-panel fold-out sleeves, pressed on thick black vinyl. This is the band at their most prolific, expanding their sound into a jarring implosion of balance and tension.
This is a hideous rotting beast, one drowned in contempt over the fallacies of rational thought. This EP features high-gloss custom pocket sleeves on extra thick board, black dust jackets, and black vinyl. After a three-year interment these six new anthems seep to the surface and pick right up where their forebears died off. This deluxe re-release of their self-titled EP comes showcased in a custom foldout double-sided envelope sleeve, with a sixteen-page booklet featuring marvelous artwork by Will Boone, and pressed to red vinyl in black dust sleeves.
Known for their spirited live performances, they quickly rose to the top of the London pub rock circuit. This classic 45 is beautifully reproduced in a full color glued sleeve featuring the highly scarce French picture sleeve artwork. Exact repro of this Australian punk classic. Two tracks of tough edged catchy punk. This faithful reproduction reissue features the original unique hand painted artwork originally done by the band printed on a high quality two-color die cut glued board sleeve with two-color custom printed labels.
Includes a reproduction of the original lyric insert along with informative liner notes. Limited edition pressing of copies. Their best record to date. Okay, time to rewind and tell you something about this little beauty. Low Culture includes a pair of Shang-a-Langs, one of whom also happens to currently be in the Marked Men. However, despite the quality of output offered by those two bands, it would be wrong to think of this as just another offshoot band or an attempt to cash in on the Shang-a-Lang name. This is crude, sweaty, speaker cracklin' trash that has Budget Rock smeared all over it.
If the above mention bands mean anything to ya, this one is pretty much essential. Rad lookin' cover art by Ben Lyon. Originally released on Thorp records in as a cd now 10 years later here is the vinyl re-issue that we are very honored to be releasing. Very influential band in the Richmond area do yourself a favor and pick this up. Dark and atomospheric anarcho-punk.
This shit sounds like Joy Division and The Mob all at the same time. Add to it an amazing b side silkscreen by our patron saint of silkscreening Adam. It's hard to think of a musical style that's more quintessentially American than surf music. Springing up along the California coast in the early s, the surf sound—characterized by "wet"-sounding guitar reverb that echoed the sound of the sea and pummeling rhythms that emulated the ocean's currents—was originally inspired and nurtured by the culture that surrounded the sport.
Despite its provincial origins, the surf genre captured the imagination of teenagers around the world, and spawned a remarkably large body of highly original music, with an emphasis on innovative guitar instrumentals that would influence rock axemen for decades to come. Much of that vintage surf music was originally released on small regional labels, and many of the acts that created some of the greatest surf music never released more than a handful of singles.
Those factors resulted in many original surf classics remaining difficult to obtain in recent years. Sundazed Music, a longstanding champion of vintage surf music, went a long way towards remedying that situation with the release of its CD series Lost Legends of Surf Guitar. Now, the landmark series moves into second gear, progressing into the vinyl format with a pair of double-LP collections, each of which features 28 below-the-radar vintage surf killers.
There's also a rarely-heard track by legendary Minnesota surf-garage kings the Trashmen, the out-there "Devil Surfer" by Scott Engel who would soon go on to pop stardom and cult acclaim as Scott Walker and scarce versions of such surf anthems as "Jack the Ripper," "Point Panic" and "Moondawg. This essential collection, meticulously mastered from rare vintage tapes and pressed on high-quality vinyl, is the perfect collection for gremmie and ho-dad alike, so grab this wave and jump head-first into the surf!!!
With influence ranging from obscure European punk to South American HC, Kurraka still manage to keep it fresh and original. Even though the music is hardcore and the vocals are ferocious at times, they still maintain a melodic undertone. Catchy riffs, noisey guitars, and urgent, yet melodic vocals is what to be expected. Mastered by Enormous Door. As for the sound they're after, not much is new - melodic and anthemic punk rock with an occasional rock 'n' roll touch.
If you're into name-dropping, here's some: This tape edition of Warsong's album has been professionally duplicated and is limited to copies. Get it while you still can. This limited tape was out last year on Doomtown Records. That half includes my personal favorite parts of Pollution, Elsner's manic, hyperactive drumming and Sean's truly transcendental guitar. Seriously, if you've ever seen Shoxx or Pollution live, you've probably been transfixed on watching his fingers run around the fretboard, constantly wondering to yourself "how does he DO THAT?
It has all of the power and weirdness, but something about the way everything fits together just makes more sense At any rate, this demo gets my highest recommendation, and if things go as planned hopefully you'll be seeing some vinyl from these guys on Sorry State in Plain, mean, dirty hardcore for the hardcore!
Limited to copies with re-designed cover art on pro duplicated red cassettes, with printed sticker labels. Blurring the rawness and velocity of their self-titled debut with the slightly more developed songwriting "chops" of the last two, the Marked Men have truly delivered the best of both worlds. You can pop the needle on "Ghosts" for five seconds and instantly be left without a doubt as to whom you are listening.
It ain't KBD or '77 style punk. At this point, the Marked Men sound like absolutely no one but themselves. Originally released by Rip Off Records in early , this record has been unavailable since Since then The Marked Men have been steadily gaining in popularity each year. But as word about them spreads, many of their newer fans don't even know this one exists, much less have ever heard it. A little faster, leaner, and less polished than their most recent stuff, this album serves as the missing link between the choppy, KBD-style inclinations of their previous incarnation as The Reds.
Yes, no peace for the wicked! So yet another spooky edition of MRR has come to a close, October , issue An exciting issue, packed with great punk from around the world! Plus, as always, we have an array of columns, news, and the most extensive review section in punk rock print! Posted September 25, Posted September 14, A huge thanks to everyone who has picked up a copy of either record extra thanks to those who picked up both! These new releases should be popping up in all of your favorite stores and distros shortly. If you run a distro or store and would like to grab copies of these releases or any Grave Mistake releases, please feel free to drop me an email and I'll get you taken care of!
Any labels looking to trade, I've cut down just a little on trading but am down to entertain most trades so send me a list and hopefully we can work something out! Finally, any bloggers, zinesters, web reviewers, etc etc that want to check out GM releases for review, please don't hesitate to get in touch! Contact info is below. So it's looking like we are either going to be ending with a bang, or starting with a bang! Either way, get excited.
This update is sort of an odd one considering there are no new LPs in the mix! Luckily there are plenty of 7"s, demos, and zines in this to make it awesome still. I'll try and make this brief as always I'm pretty sure the first pressing of this EP won't last too long so grab it while you can also because it fucking RIPS. I've got full info on each of these bands below, so definitely check em out because reissues rule! Following a promising demo last year, Liverpool's Violent Reaction finally release their debut 7" ep. Six tracks of undiluted hardcore punk that are more influenced by Discharge, Poison Idea, Out Cold and Blitz than the likes of Youth Of Today, VR is for those who like their straight edge hardcore a little more antisocial.
The record comes in an A3 wraparound sleeve and handstamped coloured innersleeves. First press is limited to copies on black vinyl and is a split release with Quality Control HQ. Raw and visceral Cleveland meets Boston style hardcore punk music played by tough-skinned Aussie cunts. They take no bullshit and give no quarter to those of a weaker stock.
SJN have been laying low for a while but have finally decided to unleash these three cuts for public consumption. In short, this is a mean record for mean people. Scare yourself with darker possibilities. Stressors' debut wax after a slurry of cassette releases Eight tracks of Paranoia, isolation, ousted faith in humanity, and demented rejection interpreted by four young Bay Area mongos, that take you through a neck-snapping, brain-bruising car-jacking of dynamic hardcore and internal rage.
With an album on Katorga Works under their belts, Rational Animals provided these two tracks for the Cowabunga Records limited Sick Club 7" series, with a style of punk rock that's slow and dirgy, perhaps akin to slower and later Black Flag and Flipper. This 7" contains this Atlanta Hardcore band's demo on the A side and their songs from the written off split on the B side. While the demo encapsulated a raw, late-'80s youth-crew style hardcore, "Just Us" is musically and lyrically a major step up from the demo. Recorded at the Out Crowd headquarters and produced by the almighty Nick Jett, get ready to dive, skank and stomp with "Just Us.
Extremely well-done bootleg of Confuse's most well-known 7". This one has solid, punchy sound and perfectly replicates the original artwork, right down to the center labels.
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