[engl] Both broadening and defying the sounds of their first two 7” releases, Delivery continue their claim for the title of hardest and fastest working band in town on their debut full length LP ‘Forever Giving Handshakes’. Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’, ‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to. Marking the beginning of a victory lap for Delivery, the album rounds out a sprint of unrelenting live shows, impressive support slots and two stellar 7”s, all within a tidy 18 months. ‘Forever Giving Handshakes’ is a statement from Delivery and one of the strongest Australian punk debut albums of the past decade.

[engl] Following on from the release of the Yes We Do 7”, Delivery are back with ‘Personal Effects/The Topic’, a double single release that continues to expand on the group’s razor-sharp blend of garage, post-punk and new-wave pop. While the four tracks on Yes We Do were developed around the sound of the project’s initial home demos, ‘Personal Effects/The Topic’ capture the five-piece working in full collaboration for the first time. Across these tracks, programmed beats and synths make way for heaving live drums, relentless guitar interplay and left-of-centre saxophone bursts, while the band’s triune vocals (split between Rebecca Allan, Lisa Rashleigh and James Lynch) are more dynamic and incisive than ever.

[engl] Pro-duplicated cassette release compiling the "Yes We Do" and "Personal Effects" 7" releases. 6 tracks as a repeat program on yellow shell cassettes w/ white imprint.

[engl] Los Angeles punks DIRTY & HIS FISTS deliver a knockout four song EP on their vinyl debut, following a standout demo cassette. For the uninitiated, DIRTY & HIS FISTS have quickly become one of the best American punk bands alive, and one of the few to match powerful writing and performance with some of the best studio production out there. The Fists easily eclipse their demo with this new EP, incorporating a crunchy layer of synth, pounding rhythm section (featuring new drummer Sam Bosson), and ace production from guitarist/vocalist Mike Kriebel, who you may recognize as producer of recent Beat Sessions for Uranium Club, Urochromes, and P22. An undeniably great and memorable American punk record. Packaged in a reverse board pocket sleeve with an 7"x11" lyric insert and digital download.

[engl] From the minds of Haley Himiko (Pleasure Leftists), Noah Anthony (Profligate) and Christopher Brown (Cloud Nothings), Disintegration's Time Moves for Me EP transcends the post-punk and synth pop sounds of the past into something entirely new and futuristic. The Cleveland group recorded these four songs in summer 2022 and self-released them on cassette shortly after. Himiko's soaring vocal range carries the EP forward atop a mix of sounds that draw from the worlds of minimal synth, programmed percussion, noise rock guitar, and pure pop melody to create an incredible seventeen minute debut. Feel It is proud to present Time Moves for Me on a vibrant 45 RPM 12" and cannot wait to hear what Disintegration does next!

[engl] Fashion Pimps And The Glamazons. A new Cleveland rock group, cut from the same musical DNA that has spawned wonders like Folded Shirt, Cloud Nothings, Donkey Bugs, and countless others. It's fashion. Angular. Punk. Richard Glamazon's tortured, warbly guitar refuses to talk in power chords, stringing notes around high powered synth blasts from Noah A (Profligate). Steve Chainsaw anchors the low end while espousing freaky plans and twisted dreams through hypnotic, layered vocals. Jayson G lays into the drums like only a true Fashion Pimp ©an. The Glamazons prove to be immaculately tight, driving their amplified Rust Belt experience into the ether. Jazz 4 Johnny holds court with Ubus and X_Xs past, yet the sound isn't quite Terminal, Drome, or even Mustard...it's the future, baby! Have you met Fashion Pimps And The Glamazons yet? Jazz 4 Johnny comes packaged in a full color gatefold jacket designed by Professor B. Gaff, with a tiny download code hiding inside.

[engl] In yet another beer-fueled entry to Cleveland's storied rock'n'roll lineage, Flea Collar step up to the plate and smash home nine hits on their self-titled debut album. The Rustbelt gang of four (affectionately known as Spot, Sparky, Cookie, and Blitz) have spent the past decade'n'change honing their collective chops in groups like Bad Noids, Brown Sugar, Spike Pit, and Woodstock '99. Anywho, since their inception as Flea Collar with 2021's 'A Hole Is A Hole' on Tetryon Tapes, the gang landed at Rumpus Room Recording with Poopy Necröpondé (Sockeye) engineering their full length effort. Whether your opinion of Cleveland leans more towards r'n'r mecca or mistake on the lake, there's clearly something in the water supply and BOY, is it baked into what Flea Collar have created across these twenty-six odd minutes. Taking cues from the Non-Commercial side of CLE punk, British heavy metal, Japanese hardcore insanity, and good old fashioned Midwest rock'n'roll - Flea Collar have turned in an epic debut that lands somewhere between tongue-in-cheek & the impending dog bite illustrated on the front cover. Where this album fits into the utterly confounding cesspool of twenty-twenties culture is a coin toss, but the true heads out there may just GET IT. Flea Collar fucking rules!

[engl] A new beginning with familiar roots. No matter how you slice it, Permanent Present Tense is a high test trek to the forefront of rock'n'roll's boundless canvas. The Follies have spent a collective lifetime in dark, amplified dives (see: Vanity, Vexx, Ajax, Twisted Thing for more) but their approach here is different, and firmly rooted in the present. Sure, these ten tracks have that compact, New-York-Fuckin'-City drive that's innate to the five boroughs, but let's talk about the sheer quality songwriting and arrangement on display here. Permanent Present Tense has both the roots and the refinement that transcend the usual debut album. Fashion and genre are thrown down the fire escape in favor of memorable hooks and words that have immense replay value. Think Love and Arthur Lee, or even the Kinks' own Arthur. Brit pop & pub rock shouldered up to the shimmering guitar jangle of Haight-Ashbury, but arranged by Punks. Perhaps you'll remember this album differently, but the one sticking point to the Follies is their collective ability to synthesize the past into the present throughout ten utterly bulletproof tracks.

[engl] How much longer can we (LIVE)…if we’re only an (IMAGE)? That’s the question Freak Genes (FG) pose in their new album Hologram. Put down your electric scriber. Answers on wax only. Discover the difference between manifest and (MIRAGE), solid and (SHAPELESS), real and (INFORMATION_REDACTED). But here is what we actually know: Freak Genes are Charlie Murphy (LIFE_FORMS, GAMMA, FRESH_SPECIMEN, ISOLATION) and Andrew Anderson (PROTO_IDIOT, KAKE?). Hologram is their (FIFTH) album. The (LABEL) is Feel It Records. The playing length is (INFORMATION_REDACTED). There are (THIRTEEN) tracks.

[engl] Freak Genes continue their descent into angular electronics with Power Station. Musicians are replaced by machines, natural sounds are swapped for noises. The result is synthetic pop for problem times. Charlie Murphy (Internal Credit / Isolation) and Andrew Anderson (Proto Idiot / KAKE?) orchestrate affairs, wrangling synths, drum machines, guitars and found sounds. Think 154-era Wire but with a reduced budget, or DAF minus the disco. The album was recorded in bedrooms and borrowed spaces from 2018 to 2020. It was mixed and mastered by Mikey Young. Formed in 2016, Freak Genes previous albums are Playtime, Qwak Qwak and III. They’ve performed in both shitty and swanky venues across Europe. They’ll be on stage again in 2021, pandemics and other global catastrophes depending.

[engl] After four self-released cassettes, Montréal's premier art-punk/neo-proto-punk band Protruders makes its vinyl debut with a 25-minute 12-inch of very groovy sounds. The sound is a bit clearer and maybe a little beefier—some of the noise gives way to a more relaxed and expansive approach. The psych quotient is higher. But the heart of the band is still beating for the sort of raw open-minded non-generic punk that once came from the likes of Rocket From The Tombs, Swell Maps, Dead Moon, Dancing Cigarettes, etc. “Fruit Hang” has a perfect mid-70s style garage feel—like a Boston pre-punk band tearin’ it up at the Rat! This could be the hit, kidz! Skronky sax gives “Hydrophytol” a kinda Hawkwind/no-wave feel. And dig “No Stone”—a slower one, catchy as hell—I swear it could pass for an outtake from the Saints circa 1978. Solid—another hit! At five minutes, the title track stretches things out a bit. This one has a definite Ubu/Voidoids vibe—nasty angular spazz-punk with a little more sax blat added. Very nice guitar stuff happening here. We get some weirdo HC action on “Stabilizer” and more hot guitar squiggles. “Tax 101” is maybe a “typical” Protruders song—that means good! “Wrong Way Sign,” pushes things over the six-minute mark, with a strong psych-punk feel (Wipers?) and some totally swell rock-jam stuff at the end. Wow. This record is a significant step for the band and an impressive way to start their vinyl career as they gain the higher visibility they deserve. Most excellent! -Eddie Flowers (Vulcher Magazine/The Gizmos)

[engl] On not-so-distant horizons, when we've all heard everything, what aesthetic flavors will prevail? The era of good taste is upon us everyone. Your play-acting rendition of that Brazilian d-beat demo or British long-haired mace-wielders or Midwestern pocket-protector-perverts does not impress me, as I too have an internet connection and as a matter of fact my little sister uploaded all that to Youtube upon her 12th birthday. I swiftly gave them all a thumbs down. Gen Pop, on the other hand, gets a thumbs up. This band sounds like they've been raised exclusively on the synth/female-oriented KBD cuts, but with the confidence of those mid-00's Scandinavians who came over to our big trailer park knowing exactly how good they looked and sounded. It has some in vogue Australian elements, but luckily Olympia does not swelter to the point of their guitarists simply walking a clean telecaster around like a tenured poet at community college, butterfly kisses, pulling your knob switch foot. Catchy, snotty old-world flavors served up cold in the fusion restaurant that is our futureless American paradigm. Wonderful!"" - Brandon Gaffney

[engl] The Generics were a group shrouded in the darkest corners of punk rock obscurity. Only 200 copies of their lone 7" single, 'The Bitt' b/w 'Cost Cutter' were pressed in 1983 - with the majority of copies being pre-sold and distributed to...get this - their Junior High School classmates! It wasn't until 2019 that a collector turned up a copy of the 7", eventually locating a band member that had the foresight to copyright the record back in '83. A grip of stock copies from the band began to circulate, blowing away even the most seasoned punk rock collectors. "How the hell has this never been comped on a volume of Killed By Death?!" was a thought surely echoed among those that were hipped to the record. The story behind the band is just as great. The Generics formed in Cross Lanes, West Virginia - a small town surrounding Lake Chaweva, just outside the state capital of Charleston. It was a tight-knit scene of bored kids growing up in the early years of Reagan-era America. Early skateboard culture - and it's close ties to punk rock - became a major influence on the three 12 year olds who would form The Generics, their first band. They bummed money at school and cut grass to buy gear, playing to their classmates in the Junior High gym, at parties, half pipe jams - wherever and whenever they could. With the help of a couple older siblings, the band booked one day at Barnhill's Recording, just over the state line in Ashland, Kentucky. They recorded seven tracks total - picking 'The Bitt', written about a classmate's deranged mother who bred Shih Tzus and the harder rocking 'Cost Cutter' for the single. After pre-selling enough 7"s, the band returned to Barnhill's who pressed up 200 copies on their studio label. Shortly after the release, guitarist Steve Sadler's family picked up and moved out of state, putting an end to the group. However, The Generics left behind a few tracks from the Barnhill's session, the best two of which have been rescued from tape and included on this expanded reissue EP for the first time ever. The "Cost Cutter" 7" EP is packaged in a hand-stamped picture sleeve featuring an insert with photos and band history given by all three original members, plus a download code.

[engl] First pressing of 300. The all-encompassing bid to mid-thirties singledom, sung from that lonesome, soulful heart of Good Looking Son is here to awaken 2023. Following 2021's debut 'Fantasy Weekend' EP - the Cincinnati project anchored by Keith Harman (the Cowboys) on vocals + piano returns in roaring fashion with ten new originals, finished off with a nostalgic rendition of a Bee Gees classic. Jerome Westerkamp's Checkered Flag Studios are once again the perfect basement analog backdrop for a caterwauling trip into blurry sixties-esque melodies, baroque tongue-in-cheek pop dashes, and liquored flurries of vocal brilliance that blossom across 'Confirmed Bachelor'. The musicianship of the Queen City shines through with Westerkamp, joined by fellow Vacation (and Tweens) member John Clooney, and Andrew Jody (Barrence Whitfield & the Savages, Long Gones) contributing to the dynamism of tracks like "Long Form Girlfriend" and "Kathy's Coming". There's a certain twisted middle-American pop thing that Good Looking Son clearly bend towards the future. The next level...who knows? But enough to at least nod that discerning ear forward while jangling keys drive the shot clock past double zero, that's for sure. GLS leave this thing covered in glitter and great songwriting - castaways afloat in a vessel navigating one boozy mess of dirty water and sunshine pop.

[engl] While a stunning debut - the introduction to Good Looking Son feels more like a timely reacquaintance with an old friend. "Fantasy Weekend" is the latest from Keith Harman, whose lead vocals and songwriting abilities have long anchored The Cowboys and their prolific run that spans more than 70 original songs over five albums and change. There's a certain familiar, but ever-so-finessed element to Harman's songwriting that really hits the bullseye across this six track EP. "Fantasy Weekend" gazes into the dark, heavily glazed garage-pop of the late 60's/early 70's as Keith's calm, cool cadence balances between baritone sentimentality and ghostly thrum. A release both far from predictable and electrifying as the tempo cranks up along quirky keyboard lines that segue into classic powerpop territory. Whatever Midwestern time warp these songs crept out of is truly serene. Created in Cincinnati with Jerri Queen (Vacation) both producing and playing alongside Cowboys drummer Jordan Tarantino and longtime Queen City rocker Andrew Jody on bass, wrapped up with a vibrant mastering job courtesy of Caufield Schnug (Sweeping Promises). "Fantasy Weekend" is as immediate as it is entrancing - a rare one that can hold court at both first and last call.

[engl] “In Poor Taste” is the debut EP from Grazia - written and recorded by Heather Dunlop and Lindsay Corstorphine. Often referential - In Poor Taste pulls inspiration from the high and low brow, but mostly the low. Grazia pays homage to everything from The Fall to cheap lingerie brands in a campy pastiche of 80’s new wave and pop. In Poor Taste is all about having a lot of fun while delving into your worst, core self.

[engl] The dark and dreamy halftoned realism of Green/Blue comes into near-perfect focus across 'Paper Thin'. Ever the prolific recording duo, Jim Blaha and Annie Sparrows are back with their third album in as many years, following previous releases on HoZac and Slovenly. Their Minneapolis basement studio has yet again translated to tape what many in the post-punk realm often fail to realize - a certain icy-cool confidence. Chilling vocal harmonies resonate atop melodic guitar leads and a razor-sharp rhythm section as the album stretches to just under twenty-five minutes. Green/Blue evoke a certain somber and honest set of sonics, distilling the now and pondering the future as these ten tracks spin vibrantly at 45 RPM.

[engl] Limited pressing of 300 with riso sleeve. "In the spirit of Dead Moon before them, Green/Blue have wrangled the simplicity of “Worry” and “Gimme Hell” to write some of their best songs to date, punk anthems that’ll have you shouting in no time. While they’ve upped the jangle and loosened the density, the duel vocal approach on “Worry” is plenty epic, a big nasty punk song with pop splendor and self-awareness. The vocals pair Sparrows and Blaha together for a riotous gang effect, giving it a sort of last-call at the seedy bar kind of energy. Which is to say, it’s pretty much perfect, a song about the struggle that feels downright triumphant. “Gimme Hell” follows suit, a down but never out call to rise up and fight. The skeletal guitars and punchy rhythm keep it firmly in the garage spit-and-jangle mode with vocals that pretty much demand to be shouted en masse. Whether it’s a new direction for the band or just a fun one-off from the studio sessions, Green/Blue sound absolutely super-charged." -Dan Goldin / Post-Trash

[engl] "Groundbreaking bands typically don't function as stars hanging in the night sky for all to gaze upon. Rare talent functions more accurately like tectonic plates, mutating their surroundings deep underground by bulldozing the pre existing turf. These kinds of musicians who regenerate and evolve our world by forging new creative languages that future artists will liberally borrow from and build upon. Richmond, Virginia may seem like a surprising location for seismic catalysts, but Hard Copy now joins an elite list of RVA bands moving sound in unexpected and earth shaking directions. Destruction! Invention! Rebirth! Once upon a time there was Honor Role who deconstructed midwest hardcore and carved out a path for what eventually would become mathrock. Combining empathy wrapped in anger, a following generation would use this template to birth post-hardcore and a 2nd wave emotional music. A bit later came Labradford who were atmospheric scientists creating pulsating soundscapes bathed in drone. Their music was so devastatingly unique that Kranky willed themselves into existence to release their debut for which this historic label was built upon and continues to lead the way in experimental music. I can't help but to include Hard Copy among this kind of revelatory innovation. They are subtle shapeshifters of synth driven post-punk. At their core, we find unorthodox art rock for which Talking Heads and Pere Ubu belong, but it is stretched taut like taffy into trance-inducing, long form motorik musings. Singular vocals act as a secondary percussion. Bass lines double as a metronome heartbeat. Guitars zigzag inside a monochromatic prism. Linnear drums hammer the band's abstract narrative into a carefully crafted double-helix staircase spiraling up into ambitious avant-garde territory. Cantankerous poetry minus the Mancunian snarl of Mark E Smith behaves as a modern day deadbeat descendant making good. In short, making very very good. RIYL the kind of bands who have no interest in grabbing a spotlight and are more likely to kick out the bulb to avoid it completely." -Tracy Wilson (Courtesy Desk)

[engl] Bloomington, Indiana's HEAVY MOTHER are back with a new EP to kick off 2023. Three new originals follow up nicely on their debut album, 'This Time Around', that came out late last year - a stripped down, r'n'r garage punk extravaganza. Heavy Mother also treat us to dynamite renditions of "The Other Side of This Life" (Fred Neil), "Boogaloo!" (Don Gardner), and the Velvet Underground's "Foggy Notion" featuring a special guest appearance from Craig Bell (Rocket From The Tombs, Mirrors, Saucers). 'Comical Uncertainty' is one heck of a twenty-six minute ride from Indiana's finest rock'n'roll band around!

[engl] Hey kidz, this is yer Uncle Big Dad talkin’ at ya. The staff over at Feel It Records asked if I’d say something about this debut elpee from Heavy Mother. Damn! I remember rumors of a band by that name way back when I was still alive—roamin’ the Deep South and Lower Midwest. This current crop looks a little young to be the same group, if they even existed back then. But I do remember the singer Eddie Flowers when he was a shut-in Alabama weirdo writing for fanzines as a kid in the 70s. So maybe he knew the supposed original Heavy Mother? I dunno. I do know that he went on to make some records with the original proto-punk Gizmos in Bloomington, Indiana. That was like 1976/77, if I remember correctly. And then he had a psychodelik noise improv thing in L.A. called Crawlspace that went on for more decades than I survived. But these other whipper-snappers? They ain’t that old. The guitar player Mark McWhirter and bassist Zack Worcel (aka Chode) were in a long-running Bloomington R&R band called the Cowboys. They even did some stuff for Feel It Records. Mark was also in ABC Gum for a couple years there. And Chode had his own punky trio called the Chud (don’t think they were named after the classic C.H.U.D. flick). On the skins, or drums as you squares call ’em, is Mr. Clarke Joyner. He was in the original Bloomington lineup of Circuit Des Yeux (which I hope translates as Circus Of Y’all) and once blew some sax with Thee Open Sex. Are you bored yet? My coffin’s gettin’ cold—doctor told me to take it easy after I passed away in 1994. This here Heavy Mother debut album—you can only call it “a vinyl” if yer under 30 or mentally deficient—is called THIS TIME AROUND. Does that mean there’s a next time around? Too many questions I can’t answer in my decomposing state. They got some good’uns on here like “I Know There’s No Answer” (not a Beach Boys song) and “Eenie Meenie” (many of their songs seem to be based on nursery rhymes) and “Government Phone” (for all you po’ folks who still got yer Obamaphones). They got a song that pokes fun at billionaire space programs (“Dicks in Space!”) and another about the pandemic lifestyle (“Monkeys and Goats”). Not to mention some real classics like “Louie Louie” and Eddie Holland’s “Leaving Here.” I like ’em all. There are 15 songs—so you got a lot to choose from. These boys got a bunch of influences. The obvious ones are like the Stooges, the Velvet Underground, and the Sonics. But they also dig Gary Stewart’s honky tonk, Mrs. Miller’s classical 60s recordings, and everything Sun Ra ever recorded. Y’know, it’s GOOD! Better than anything I’ve heard since Schoolly D in the 80s. And they smoke some kill, just like he did. You should buy MULTIPLE copies of this Feel It Records release. Then maybe they’ll tour if they can get their guitarist Mark to come back from Mexico. Like the possibly original Heavy Mother from that mythical year of 1972, these Heavy Mothers were legends before they even wrote a song. And like me, they can’t be killed. Now I’m gonna take another toke and go back to sleep. Would you kindly throw some dirt clods on my grave and keep on rockin’? Peace, ya mofos!

[engl] Enigmatic four piece It Thing return with a new 7" single, their first release since 2021's 'Syrup' LP. Offering two tracks, "Constant State" and "P.C.H.", It Thing deliver on the visceral, raw energy that they left us wanting for. On this occasion, Marthouse Records (AU) team up with Feel It Records (US) for a broader release. Formed in Nipaluna/Hobart's beloved Brisbane Hotel beer garden in early 2019 over a thirst for classic punk rock - and without much else to do, It Thing's 'Syrup' LP saw the then-Tasmanian band explode onto the worldwide underground like a shot in the dark. Emerging from small town obscurity, they delivered a record packed with power pop/proto-punk gold. Gimmie Zine put it best: "Bold, loud, with hook ramming into hook, It Thing deliver 9 tracks that zip by at the speed of light with an inspired cleverness and simplicity." As It Thing hammer through their latest single, the endearing simplicity and rawness almost places the listener in the room with the band - or the basement, as it were. Recorded in the basement of the house the songs were written in, frontperson Charlotte Gigi calls it, "A last hurrah for the old It Thing headquarters before the defection." The band have since succumbed to the gravitational pull of Naarm/Melbourne to link up with label mates Dr. Sure's Unusual Practice, Gut Health, Bench Press, et al.

[engl] Kaleidoscope are a rare group, having continually evolved and expanded in form since their inception. Volume 3 marks the first Kaleidoscope release of 2017, a masterfully crafted follow-up to several cassette releases on their own D4MT Labs imprint and a 7” EP on Katorga Works. Since then, the three members of Kaleidoscope have taken up residency in a shared Brooklyn apartment and basement studio. In doing so, their collective spirit of creativity and resourcefulness has risen to an all-time high. The six tracks on Volume 3 serve as a testament to the group's unique and unwavering commitment to an original sound – one that is undoubtedly crafted with a well-refined taste for international punk and hardcore, but also embraces experimentation. Engineered entirely in the group's home studio and layered with original samples, overdubs, and guest instrumentation from an ensemble of friends. The end result is simple – a highly impressive production that commands repeat listening. Volume 3 is presented with the recognizable aesthetic of previous Kaleidoscope releases, directed by guitarist/vocalist Information Man [SHDK], though truly a cohesive group effort. Packaged with a Risographed lyric booklet that serves as a proper companion piece to each transmission.

[engl] Long before it began sprouting Americana bands on every corner, the sleepy college town of Charlottesville, VA boasted a punk rock scene whose ferocity belied its small size. The Landlords, along with Lackey Die and the Beef People, stood at the epicenter of the action. After releasing the highly regarded Hey! It's A Teenage House Party! LP in 1984, The Landlords returned to the legendary Inner Ear Studios over the next few years to record their second album, Fitzgerald's Paris. Restored from the original master tapes and released after almost 30 years, Fitzgerald’s Paris offers seventeen tracks of pure rock and roll mayhem. Fusing musical influences as varied as Black Flag, Chuck Berry, and Motörhead, side A’s avalanche of epigrammatic money-tunes showcases The Landlords at their peak. Side B’s plunge into the jungle of noise builds on the intense dissonance of Scratch Acid, Live Skull, and The Landlords’ own infamous spinoff duo, Happy Flowers, all the while remaining rooted in hardcore punk. No matter the style, all the tunes on Fitzgerald’s Paris are destined to delight America’s next generation of alienated youth, while infuriating school boards, police departments, and town councils everywhere. Packaging includes an 11"x22" insert containing lyrics, flyers, and unpublished photos plus a free MP3 download of bonus studio material and a live set recorded off the board at CBGB's in September 1985.