Baltimore's KNUB return with their first full length offering, "Crub", after several years of perfecting their low-end heavy rock Baltimore's KNUB return with their first full length offering, 'Crub', after several years of perfecting their low-end heavy rock through a demo EP and a split LP with Ohio's Brain Cave. What KNUB have done since their formation remains- focusing on raw power, hooks, catchy melodies, and tones so heavy you need a forklift to move them. In the same vein as 90's powerhouses like 'Aftertaste'-era Helmet, Stompbox, Handsome, and Quicksand, as well as more current contemporaries like Whores., Wrong, and Torche the sound of KNUB melds blunt force riffs with a vocalist who can actually sing and adds a layer of melody to counteract the bulldozing music. They are a live fixture throughout the mid-Atlantic and Midwest, jaunting around frequently to prove that the sound on record matches the live experience. 'Crub' was recorded in two sessions, initially envisioned as a pair of EPs, but collected as one album instead.

Dance Myth, aka Dan Smith's musical journey, began in 2002 when Dan wrote a series of songs about a traveling knife salesman struggling with life's hardships. Dan's training as a talk therapist allowed him to write songs that could also be applied to his own life. Initially launched as a hip hop/poetry project, he quickly turned to more traditional folk/rock music as a stylistic device. It was precisely this combination with radical poetry that created a genre Dan dubbed "talk music." Dan's good friend Chris Nelson helped him put his music into practice in front of an audience, and thus, Listener—Dan's first band—was born. Armed with their raw songs about life and a vision to share this music with everyone, Smith and Nelson began touring and growing as a duo. They played gigs every night and everywhere they could, and concertgoers watched Smith scream and sweat his way through the songs. The duo became accustomed to being on the road together every day and evolved from musical partners in crime to best friends. Their music became more experimental and diverse. 2008-2009 was essentially one continuous tour, so they began writing and recording the next Listener album, "Wooden Heart," while on the road. Smith had recited some of the lyrics of "Wooden Heart" as spoken word poetry, but the lyrics were quickly adapted into songs. The album quickly became a fan favorite and created a worldwide following. This album marked the beginning of expanding touring activities worldwide and also their first contact with Sounds of Subterrania. As with so many artists, the coronavirus pandemic brought a sharp disruption to the band. Dan focused on the beginning of his career and began working on a solo album. His experience as a talk therapist, all his experiences as a touring artist, social upheaval, and, of course, the changed perspective that comes with aging, led him to rediscover his poetry and use music as a supporting element. Of course, he finds himself in the great American singer/songwriter tradition here, only enriched in a much more modern interpretation.

Germany's iconic deep funk collective digs into a new soundscape: “A Higher Frequency” was recorded with a nine-piece live to tape at legendary MPS studio in the Black Forest, adding an airy, jazzy flavour to their trademark raw and breaks-heavy funk. Ten tracks full of spiritual grooves, soulful themes, loose funkiness and organic interplay, captured with state-of-the-art 1960s gear in a super-vibey room - but the title A Higher Frequency is not just about the pristine analogue sound quality of the recording, it is also a reference to a trancendant wavelength where minds meet and music connects. Together with long-time friends and collaborators Daniel Kimaz on flute and Guillame Métenier, who worked his magic on the studio's historic Bösendörfer grand piano and Hammond organ, the group spent a week in the Black Forest, with full focus on the mission to capture the live energy and togetherness of the ensemble. The result is an album bursting with positive energy and power, rooted in a universal funk groove with excursions into many colourful branches like outernational, cinematic, soulful jazz, psychedelic & disco. The common thread is a propulsive, driving-forward feel: “Open The Gate” welcomes us with hard-hitting breakbeats and dramatic crime brass, followed by the cool groovin' piano-led soul jazz of “Get Loose”, while “Spinning” takes us on a ride through cinematic horn choruses and folky-psych flute and guitars. “Back And Better” is Nichola Richards' time to shine, laying her sweet vocals over the sparse hiphop-infused soul beat to tell a comeback story. “Sweet Company” is a lighthearted uptempo tune inspired by TV and library themes of the 1960s. The swampy groove of “Sparks Of Joy” best reflects the fun of the band playing together and “Phantom Power” combines a trademark Mocambo breakin' theme with an unusual instrument, an electric phin from Thailand – a nod to the many so-called “world music jazz” recordings that the MPS studio gave birth to. On “Can't Stop This Fire”, soul singer Carlton Jumel Smith from New York City takes over the mic as a special guest and brings the house down with a heavy funk delivery. “When We Roll” builds another highlight where bouncy drums play off disco-jazz horn themes and finally, the gospel-flavoured cine-soul epic “Homebound” drives it all home.

With his first full-length album „Ruinenkampf“, to be released via Hamburg based label Bureau B, Das Kinn embarks on a musical tour de force through the ruins of our time. An electronic armada and kickbox phonetics lead us through haunting soundscapes somewhere between DAF, Kosmische Kuriere and Frankfurt Bahnhofsviertel. Beats on full blast. Bones rattle. Warm synthlines played by cold hands. A saxophone ponders the after. Hymns for the demolition. Sonic meditations on decay. Music for the solemn decline. Toben Piel likes to visit cemeteries. In those places of peace and idyll he finds the distance to contemplate transience and consider the hereafter as a concrete location. His debut album „Ruinenkampf“ comes from the same mindset – distancing himself just enough to get straight to the point with a running start. It certainly doesn't sound anything like peace and idyll. It has more to do with the cassette scene, the 1980s, with staccato vocals, and synths somewhere between DAF and Kosmische Kuriere. Underground aesthetics. Torrents of melody, sophistication, constantly oscillating between anthem and demolition. And the crass power of that voice! These are eight pieces of intensive listening, always right on the mark. So how does it work? How can anybody create something like that? Well, this man in his forties from Frankfurt, still young at heart and ever hungry, has substantial experience: first with Antitainment (2005-2010), then together with the magnificent Charlotte Simon in Les Trucs, through his cassette label MMODEMM, and also as a musician on various theatre stages. Yet with DAS KINN he feels that he has now finally created music with a true sense of self-liberation. Maybe it's simply down to age? Where perhaps he once used to think too much, to control things and strangle ideas in the pursuit of perfectionism, this time he has devised a broader concept as an antidote. Speed. Focus. Conclusion. Not to devalue his previous work – but here there is a presence of mind that allows all that prior experience to prevail without being overly aware of it. Jaamis-vu, the first track, is well chosen in its opening position: the only cover, originally by the band Teurer denn je, from East Berlin’s avant-garde in the late 1980s, before the wall came down, and sounding like Kurt Weill going for a walk with Einstürzende Neubauten. It serves as a prelude, rising directly to the highest heights: hymnal, deliberate, right at the peak of Piel's craft. And even though the words are not Toben Piel's own, they already seem self-descriptive, proclaiming in German: I am a mannequin / Who doesn't like shop windows. That is the aesthetic tension in which we first find ourselves. Oneironaut sei wachsam then takes off with Piel's staccato voice, his surreal artificial language already fully developed. It works exceedingly well. Ruinenkampf follows from there, gives the artificial word a hectic space, takes you into the fallow wastelands through which Das Kinn moves. The fierce Alle rüsten auf, which in its aggression somehow evokes associations with Frankfurt street rap, addresses the contradiction between the self-optimization and world destruction that we find ourselves exposed to, or expose ourselves to: What is it you are preparing for? The last days? Souterrain, in the middle of the album, brings a welcome moment of respite. But it is more than just an interlude. Das Kinn walks us through a wide hollow. The drones and fighter jets up in the sky are far away and harmless. We have a moment for tender reflection. Even if we soon have to climb out of that hollow, back into the conscious ruins, here we feel detached, as if floating above the clouds. It is a beautiful moment, especially in contrast to the violence of the seven other pieces: instrumental, without a beat, but with a saxophone in the mood of a bluesy neo-noir. Back above ground, we encounter Die Ratten, expressive and aggressive: The rats seek their captor / They seek and find salvation in the Volksempfänger. This swan-song can also be read politically, about the current idiocy that spews from everything, unfathomable in its boundless stupidity. Tempel des Todes dramatically sets us up for the grand finale and manages the balancing act of powerfully dragging itself onwards. Reflection takes place: I, a human being in all this madness, am a body, a temple. I will disintegrate within it over time. That's pretty heavy. Then almost conciliatory at the very end is Nichts, with its pseudo-therapeutic speech samples, offering self-help for the performative life on the brink. Yet Das Kinn responds with cynicism. No matter what is raised in these observations of everyday life, Toben Piel throws his Nichts at every phrase. It is existentialism to the point of despair, artfully captured in the sardonic lecture: You are right here and you feel nothing / It's okay. Music is the only artform that can simultaneously tear down AND build. We find ourselves present at this event of simultaneity. When the dust finally clears from the jagged debris, standing amidst the ruins is Das Kinn: prophet, witness, mercenary. In a basement studio, bunker-like beneath the filthy sidewalks of Frankfurt, completely shielded from the outside world, a captivating narrative has emerged with these eight pieces. An album that drives and absorbs, setting escapism to music and focusing on the present. „Ruinenkampf“ raises a question that even Toben Piel does not answer, does not need to answer: Is this the story of a post-apocalypse – or are we in an echo chamber of the present? We all know that this boundary has now become blurred – and that can be heard here. In the musical battle amongst the ruins, the horror, the absurd, the mockery and the rage all come together through Piel's stony gaze, forcefully sung in his kickboxer phonetics. Yet he retains a sense of beauty in the accompanying brutality. There is something very positive to be found in this music. It is all the more compelling because the concession to pathos and dramaturgy, which are abundant here, is inherently life-affirming. In the ruins of civilization, something is being fought for that should endure. The fact is, anyone who tells a story with such vehemence wants it to continue. So no need to be glum. Chin up, and on we go in a crazy goose-step over the ruins of our times. These days, Don Quixote comes from Frankfurt and sings in Dada! He is well prepared. ?– Hendrik Otremba

Behold! Seattle’s immortal IRON LUNG have bestowed upon us their fourth studio full-length, Adapting // Crawling. This, their first album since 2013, is as fierce and uncompromising as we’ve come to expect from the duo of Jensen Ward and Jon Kortland, who originally bonded over a shared fascination of punishing hardcore and arcane medical barbarism. On this new LP, it’s not a funhouse mirror they’re holding up - society has devolved into this misshapen, ugly and distorted form, and IRON LUNG take no pleasure in pulling back its curtain. As truth-tellers in this breakneck and unrelenting hardcore tradition, duty commands IRON LUNG to ram their bulldozers, Hanatarash-style, through the tidal waves of horseshit. Extreme hardcore is not a new phenomenon, yet Adapting // Crawling is undoubtedly a vital new fork in its socket. Hearkening back to forebears Despise You and Crossed Out, these eighteen tracks offer distinctly original pathways to obliteration, from the ominous opening blows of “Adapting” to the inspired decision to sandwich the distressing “Virus” between two halves of “Purgatory Dust”, a rare piece of art that accurately conjures the monotonous terror of surviving an active pandemic. Their blasts of hardcore/agit-prop are savage and unrelenting, but IRON LUNG somehow manage to imbue the negative space between blasts with an oxygen-destroying heaviness as well, perhaps the defining trademark of this group who once saw their reflection in a full-body pressurized metal chamber and decided to turn it into music. -Matt Korvette

Gentle Leader XIV (jen-tul lee-der ex-ivy) is a post-punk synth-pop band from the ends of Ohio. The Cincinnati/Cleveland trio is comprised of long-time scene vets Jeffrey Tucholski (Running), Matt Hallaran (Glass Traps), and Maria Jenkins (Hollows). The band originated in 2016 out of what would become the ashes of the Chicago music scene in the “Teens”. Their first album, Channels, was released on Moniker Records in 2018 to critical acclaim by one French outlet. Serving in a support capacity for acts such as Fuzz, Exploded View, Tropical F*ckstorm, The Serfs, Cloud Nothings, Ryley Walker, Timmy’s Organism and EXEK; Gentle Leader XIV is a chameleon, a band’s-band that may change color but never loses its shape. Joke in the Shadow sees the band shift from their Julee Cruise / Cocteau Twins inspired brand of ethereal dream pop towards a darker, bleaker, more industrial bend in the burning river of their collective consciousness. This record has the vibe of a lost Depeche Mode acetate found at an Ohio flea market, repackaged and resold to play as background for a yet to be made Lynchian remake of Terminator VIII. Recorded in Louisville, KY, co-produced with Ryan Patterson (Fotocrime/Coliseum) at his studio, the House of Foto, Joke in the Shadow spans an array of sonic textures while sticking to a core, omnipresent tension between despair and possibility. Jenkins’ bellowing vocal is both sobering and captivating, careful not to crowd space while lyrically reflecting a deep poetic sophistication. Her key leads, accompanied by Hallaran’s low end and dynamic synth work create a mercurial melodic vibe present throughout the album. Tucholski’s searing guitar, at times percussive, at times beguiling, is delivered with care and a cutting killer instinct. Drums composed collectively set the backbone for minimal moody jams and up-tempo kraut and industrial bangers. In Joke in the Shadow, Gentle Leader XIV have made a damaged 21st century pop record that consistently brings the heat and the hooks. It’s full of grim reality with just a fleeting dash of hope draining through the hourglass.

Bordeaux's BOMBARDEMENT are on for the fifth issue of the Kick Rock Live Series ! After 10 years of adult oriented D-Beat as they like to label themselves, and 3 albums, it was time to release a live LP !!! Black vinyl, silkscreened sleeve, limited to 200 copies. Recorded during a gig in Saint Etienne (France) with Nightfeeder and Deletär, this is a multitrack recording !! Recorded by Olivier Tran-Huu, mixed by Stéphane Miollan and mastered by Ben Jones.

Seattle's own NIGHTFEEDER on the forth issue of the Kick Rock Live Series ! As you may expect, they deliver some of the best D-rock rocking hardcore EVER !!!!! Black vinyl, silkscreened sleeve by HP Trocherie at Galactica workshop, limited to 200 copies. Recorded during a gig in Saint Etienne (France) with Bombardement and Deletär, this is a multitrack recording !! Recorded by Olivier Tran-Huu, mixed by Will Killingsworth and mastered by Fabrice Drevet.

New 7" single from Copenhagen punks, Big Mess! A cover of Kirsty MacColl’s classic of the same name and two brand new chartbusters on the flipside. 60’s pop, 70’s junkshop glam and the best of catchy punk from Ramones to Jay Reatard come together in one irresistible power pop package. “Hangin’ Out” and “Sticker Song” both deal with some of the most basic aspects of the rockers' everyday life: standing around on corners, listening to Sheena on the radio, playing pinball and crate digging while avoiding local enemies. Hooks for days and absolutely relentless playing make sure this lands firmly in the thrilling-rather-than-tired camp for anyone who has ever loved catchy fast music. In this light “Terry” is an obvious choice for a more DIY-oriented makeover that fully retains the originals sense of up-yours fun while upping the tempo and infusing it with vocal harmonies that are more New York Dolls than high gloss and giving the guitar solo a punked-up Thin Lizzy treatment.

-For one brief year from 1995-1996 there was a short lived band called Orwell. While all the members had other musical projects going on (Gainer, Braid, The Sky Corvair, Hubcap), college, and were running record labels (Divot Records & Actionboy Records). They somehow found time to take on one more project. Though Orwell only lasted a year, they managed to record 8 songs, and play a handful of shows. 3 of those song managed to get released, 4242 on the “Emo Schmeemo” 7”, Angular Momentum on the Polyvinyl “Direction comp” (but only the CD version), and Bandsaw Architecture on the Divot/Actionboy “Ground Rule Double comp”. The other 5 songs had never been released. -Orwell were a five-piece post-hardcore/emo band from Chicago, Illinois. For many years, they were really known as being another project Bob Nanna (Braid, Hey Mercedes) was involved in, as their official releases were limited to sporadic compilation tracks and a handful of unreleased bootleg recordings circulating the internet. Finally, in 2020 an official discography was released, including all recorded material, as well as some live tracks and demos. The result was Orwell 1995, which is titled as such since everything on it was recorded that year. It sold out immediately! So, we now present a re-press celebrating 30 years since this music was written and recorded. Sonically, fans of Nanna's other work will dig this, though it does have a more raw, aggressive sound in comparison to the usually melodic works of Braid. Members of Braid, Hey Mercedes, Friction, The Sky Corvair, Lifted Bells, Punjab, Guttersnipe, Gainer, Gila Bend, Hubcap, Traitors, Haymarket Riot, Cougars, Big'n etc.

Born January 9, 1941 in Three River, Texas. Died September 21, 2020 in Porter, Texas. He was the 'white' James Brown. He was an amazing dancer, performer and one of the Texas blue eyed soul singers of the 1960s. He was also the man that bit Elvis Presley on his ankle. "I met Roy for the first time in early 1984 in Houston, Texas. He was one of the nicest and funniest people I had met in the music business. A record label I was working for, Challenge Records was interested in signing him. I instantly remembered Deniz Tek and Radio Birdman doing a version of his seminal hit, TREAT HER RIGHT, when I saw them and then worked for them in the mid to late 1970's in Australia. I began writing the book HOUSE OF HITS about the legendary SugarHill Recording Studios in 2002. My co-writer, Roger Wood and I had gotten a deal for the book with the University of Texas Press. We asked Deniz to write the forward to the book. Close to release time we came up with the idea of having a CD to go along with the book. What eventually became a double CD was called HITS FROM THE HILL. The idea was to have different bands that were currently recording at the studio do versions of the many hits. I decided that since Roy and the original bass player/author, Gene Kurtz lived in Houston, we should do a new version. I then asked my dear friend Deniz Tek from the legendary band Radio Birdman to come and join us. The new version complete with Deniz on guitar, Sonny Boy Terry on blues harp, and Grady Gaines on sax turned out to be perhaps the best version since the original. This version was licensed by Sony for the Tarantino movie, "Once Upon a Time in Hollywood". It is included on this album. Six months before Roy died in November of 2022, he and I talked about doing one last recording. He called it "Last Time Around". I had talked with Deniz about being involved but Roy passed while waiting on the necessary funding to arrive. A few years earlier he had given me some tracks recorded at his drummer's house. I was able to save five of those songs. Luckily, they included his son, Sundance Head on some guitar and backing vocals. The work to finish this album was a labor of love for all of us. I took those five and asked Deniz Tek, Tim Hudgins, Bert Wills and Paul English to help bring them to life. To those five we added "Treat Her Right", two songs co-written by Deniz and two songs Roy recorded for his attorney/songwriter, Sam Lee. Overdubs were done at Deniz's house in Hawaii, Paul's house, and at Tim's home studio in Houston. I did all the mixing at my home studio in Houston and checked them carefully at Wire Road Studios. James Kelley, owner of Wire Road Studios, mastered the album in Studio A. This is the room we would have recorded Roy's last album with Paul English on keyboards. As it is he played on 8 of the 10 songs on this record. What started in 2006 with Deniz and Roy on "Treat He Right" concludes with the two of them, "Last Time Around". "Andy Bradley"

LOINS is a three-piece noise-rock-post-punk-whatever band from Helsinki, Finland. While still a relatively new band with only one self-titled EP under their belt, rest assured, the members are already pros and have been doing this for 20+ years in various bands (including the fantastic Baxter Stockman). While the first release was more of an introduction to things to come, on AFTERGLOW the band is really finding its true identity. The overall tone may feel bleak at first, but there is much more hope underneath than might catch the ear at first listen. It might sound complex, but it is really just plain rock and roll for shits and giggles. Complexity comes easy, darkness is natural, and it takes an effort to ignore it. So, chin up, don’t overthink it, and enjoy this blast from LOINS. For fans of NoMeansNo, Baxter Stockman, and the deep dish Chicago style Albini flavored Jesus Lizard /Touch & Go school of rock.

“For Progress…” serves as a mirror to a failing world. Continued environmental devastation, genocide, fascism, decaying civil liberties, algorithmic surveillance, new and ever-evolving weapons of the War Machine. And for what? Progress? Progress in their hands is a death sentence. Nine songs of hardcore punk in its most primal, stripped down and rawest form; channeling the ferocity and focused chaos of forbearers such as Discharge, Varukers, Disclose, et al; a stark reminder that straightforward, earsplitting cries of frustration and dissent remain vital as ever in this era of despair, as there are more reasons than ever to fight back.

Way back in the early 2000s Real Losers were right at the top of the heap of best punk bands going on this planet. In fact the 'Go Nutzoid' and 'Don't Leave Me Now' 7"s were amongst the first I distributed. When I started Total Punk I was sad to have missed my opportunity to work with The Real Losers because they were the archetype of what a Total Punk band should be. Well come to find out the 'Go Nutzoid' and "Don't Leave Me Now' 7"s were originally recorded a long with a bunch more tracks with the intention of being their second LP. However at the time a bunch of offers were coming in so those recordings were split up over a series of 7"s and comp tracks with some never seeing the light of day (it's tough being popular). Last year the band found the original tapes and the songs were remixed and slid into my inbox. These sessions find the band at the peak of their game. The perfect combo of Stooges riffage and budget slop now with the addition of some serious pop hooks. Twenty years late to the game but I am happy to announce that REAL LOSERS- 'Good Clean Fun' will finally be released as the band intended and TOTAL PUNK finally gets to put out a Real Losers record. LONG LIVE THE LOSERS!!! Trashed, smashed, and 100% TOTAL PUNK!!!!

Official reissue, 1st press since 1989, sealed, remastered

his is Narcoleptic Youth's 13th release in their 18 year career and they've nailed it! Simply put this is classic sounding Southern California PuNk RoCk plain and simple. Produced by the legendary Paul Minor, Narcoleptic Youth have toured with The Adicts and Agent Orange and have opened for all the greats; TSOL, Agent Orange, Shattered Faith, Dead Kennedys, CH3, Dickies, The Skulls, Subhumans and many many others.

Kraut synth funk explosion from the sci-fi, library & soundtrack specialists. DIY funksters break into museum, steal modular moog and record proto-electro-punk with dusty live drums, wild percussion and out-of-control analog synth sequencing onto Tascam 8-track tape. Following their debut 'Space Voyage' for Warner Chappell's music library and the outernational soundtrack LP 'Occhio Occhio', the U.K. based trio return with a darker, heavier edge on their new full-length 'Synchronization'. The soundtrack to a strange and mysterious dystopian future Immersed in the sounds of arpeggiated vintage synths, full fat drum breaks and fuzz guitars. At times the album is reminiscent of post punk with hints of boom bap hip hop and as the album progresses the listener is transported to the dance floors of Berlin's underground raves. In an age that sees AI increasingly omnipresent, Eleven76 take control of the technology, creating a hybrid, genre spanning, production style that could only come from their hive mind. The trio surrounded themselves with an enviable array of vintage synths and modern classic studio toys, with Paul Elliott and Anthony Donje at the helm of patching, connecting and bringing these analog beasts to life, while Timmy Rickard continued to lay down the grooves as the heart of the rhythm section. The result is SYNCHRONIZATION, of synth and drums, pictures and sounds, man and machine – and of your heart and brain if you're ready to get synchronized.

Despite what some oldhead on Facebook might try to tell you, there are still people making hardcore punk like their lives depend on it. Unaffected by commercialisation or trends, people will always be blasting tapes in their rooms and wanting to capture their anger and vision in an ugly and pure way. TOTAL CON, the solo project from Bobby Cole (THE ANNIHILATED, Brainrotter Records) makes its vinyl debut with eight new songs and an unlikely cover crammed onto this 7” EP. With zero pretence, fast food sponsorship aspirations or fuss, this is pure hardcore punk full of energy and passion that while cynical still has hope for the future. FFO: White Cross, the finer moments of the Kangaroo Records catalogue, ‘A Compilation Dedicated to Tim Yohannan’ LP.

25 killer library music cuts by the German film music maestro on audiophile pressing in deluxe 2x10" set. Uberrare and never released before material from 1968-1976, sourced from Peter Thomas' personal reel-to-reel tape archive. Limited edition of 500 pieces. From brassy big band funk, space jazz, krauty synth experiments to proto-hiphop, cosmic schlagers, heavy easy listening, soulful soundtrack moods and absurdly dreamy LSD ballads, this compilation encompasses the composer's most obscure and yet most transcendent work. Peter Thomas is widely acknowledged as Germany's most inventive film music composer of the 1960s and 1970, best known for his iconic soundtrack work. He scored over 600 films and episodes, from the crime blockbusters of Jerry Cotton and Edgar Wallace to indie arthouse films like Playgirl, Bruce Lee's The Big Boss and the extraterrestrial Space Patrol and Chariot of the Gods. His recordings for music libraries often provided an even more leftfield approach. Their visionary 'dope beats' appeal provoked a keen interest from vinyl aficionados, beatmakers and rare groove DJs alike. Unavailable for the public, the original "for professional usage only" albums are now sought-after collector's items that fetch astronomic prices on the 2ndhand market. This double 10" album is the definite selection of Thomas' best library cues from the Golden Ring Records, KPM and DeWolfe catalogues, many of them available publicly for the first time - plus four recently unearthed "lost" tracks from Warner Chappell's CPM Archive series that have never been released on vinyl before. All music was carefully transferred from Peter Thomas' private master tapes and cut in full dynamics, housed in a beautiful fold-out cover with liner notes and private pictures. The compilation was realised in cooperation with Peter Thomas' son Philip who takes care of the Peter Thomas Sound Orchester catalogue after his father's death in 2020.

Rapid Dye. You know why people have been waiting for this record, why Cool Death and 11PM are coming together to bring it to the world and why it’s a 12” that needs next to nothing said to get you getting down with it. It’s been a long time coming. If you know them you already understand why they’re held in high esteem everywhere they’ve played. Rapid Dye encapsulate hardcore for hardcore so well that you could boot up any fond cliche descriptor and they wouldn’t be wrong. It’s records like this that keep people reaching for the tried and true adjectives (savage, raging, pummelling etc.) But you doubtlessly understand that words rarely capture the energy of listening to a classic hardcore recording and this is just that.

Once, long ago, there was hardcore, and it was good. Since then, we’ve largely had to settle for pale imitation. But at occasional intervals, in different places around the world, small groups of attentive, motivated people have come together and made music that does justice to hardcore as it was when it mattered. Grand Scheme out of Washington, DC, is the real deal. You take the breakneck speed of The Abused and the general aural violence of Negative Approach, and you add plainspoken lyrics that express genuine anger and alienation with nuance and humor. Sounds simple. It’s not. Listen to the competition from the past couple of decades. It’s terrible. But in early 2025, at last, we have a good one. Grand Scheme isn’t aiming for posterity or eminence; the band members don’t need plaudits or acclaim. But they deserve to be heard for being the rarest thing: a real hardcore band — driven with real urgency and by real emotion — that exists today, right now, when we need it. Listen to the new record and go see them live, while you can.

The Bad Plug, a Milan-based synth-punk band, doesn't just make noise-they tear it apart, reassemble it poorly, and throw it in your face until you don't know whether you hate it or find it hilarious. Their songs speak of monsters, obsessions, and a Milan falling apart, all laced with dark irony. Sharp-edged, provocative, and relentless, The Bad Plug will haunt you with their abrasive sound. Macho Man is The Bad Plug's vinyl debut, a sonic journey through the most unsettling and ironic sides of everyday life. It kicks off with Old Bastard, giving voice to the frustration of a caregiver trapped in a suffocating job. Then comes a wild deconstruction of Macho Man by the Village People, twisting the celebration of masculinity. Gravedigger then follows the story of a greedy and ruthless gravedigger who finds his only life aspiration in his work. Side B opens with Moonflower Fields, evoking a dreamlike yet unsettling landscapea field of flowers hiding a psychotic world beneath its surface. The record closes with Hot Bald Gold, a broken blues celebrating sensuality even when you feel like a monster. Macho Man is a sonic experience that plays with the body, self-perception, and cynicism, blending the grotesque and the sublime into an explosion of energy. For Fans of: The Cramps, The osees, Bee Bee Sea

Second full lenght from Baltimores finest. 10 new Hard stompin' Street Rock'n'Roll songs.

After entertaining young and young at heart alike for nearly one-thirtieth of a century, the beloved Whimsyland resort is proud to announce a brand new land full of swashbuckling adventure and intrigue! Hop into a bumpy barge and set sail for BOUNTY BAY, a beautiful and perilous tropical island teeming with exciting shows, attractions, and snacking opportunities! All your favorite Whimsyland characters have planted their flags in Bounty Bay’s fertile soil, along with a merry crew of new recruits (who you might know from their work in The Ergs, The Steinways, Top Bunk, Jabber, Lipstick Homicide, Kid Dynamite, SUCIDIE, Ruth’s Hat, Avem, Short Attention and more)! Whether you’re a lifetime season pass holder or a first-time visitor, Bounty Bay is sure to delight the little child who lives inside of your pulsating heart!