[engl] Old Wives return with their new album Mega Low Maniac! 13 new songs that push the boundaries of the band’s previous efforts. Although the band hasn’t forgotten the sound that brought them to the dance in the first place. Returning to helm the record was engineer/producer Greg Wright (who the band worked with on Three) and added to the fold was engineer/producer Cody Blakely. Recorded between studios in Edmonton, the band worked hard to maintain a sense of fluidity to the record with the help of mastering engineer Stu Mckillop at Rain City Records (Vancouver). The band formed such a relationship with engineer/producer Cody Blakely that he was later added to the bands lineup to fill out the guitar sound. Since joining, Cody has enabled the Old Wives to take the next step in their sound and push the boundaries of what before wasn’t possible as a three piece.

[engl] Comes with the insert, limited edition of 250 copies.

[engl] Oog Bogo is a Los Angeles based outfit oozing from the deviant mind of songwriter Kevin Boog. Boog, along with a cohort of co-conspirators, dissolve a myriad of influences from rock and punk’s outer fringe into a sodium bicarbonate solution. Heat is applied to the mixture until it congeals into a highly potent and smokable material whose idiosyncratic vocal harmonies and manic, unhinged guitar work push and pull against an unrelentingly in-the-pocket rhythm section. This tape, the 12th edition of Shout Recordings’ nefarious Beat Sessions, closely replicates the band’s live dynamic. Tracked at Golden Beat Studios in Los Angeles by Mike Kriebel and Ty Segall, the release features a collection of songs reimagined and reverse engineered from the perverse home recordings of Boog featured on the band’s previous three releases. Recorded immediately after a tour of America’s West Coast and featuring Shelby Jacobson (gtr), Kriebel (gtr), and Marley Jones (dr), the arrangements are refined in a way that only the road can and these 11 songs erupt from the speaker. The performances here are focused, sharp, and completely disturbing.

[engl] “Porque Las Drogas Son Veneno” is a limited 7” released on time for ORDEN MUNDIAL USA/Colombia Tour including some of the songs that will be in their next LP. Their EP recorded analog in Berlin with Tobias Lilli displays the chaos and sonic venom that this Mallorca outfit have us accustomed to. Four existentialist tracks of distorted hardcore tracks joined together which bring to mind the most out of control parts of UNITED MUTATIONS or VOID with the in unapologetic attitude of WRETCHED or SHOTGUN SOLUTION. Look in the mirror, what you see is what you hate.

[engl] Drunk punks Organized Chaos release their first ever album compiling 18 tracks from two demos from 1981 and 1982 plus the compilation tracks from Wessex 82 7” and the Riotous Assembly Compilation LP. Organized Chaos were masters of driving UK82 punk with tin pot drums, buzzsaw guitars and snarling vocals. If the band had released an album at the time they could have easily been as influential as Chaos UK or Disorder. How this band didn’t have a Riot City release is anyone’s guess. Simple meat and potatoes UK82 punk for those who still hate Thatcher, are worried about a nuclear war and despise the system.

[engl] After narrowly escaping their respective dementia units, Shapland and Nichols rendezvoused with co conspirator Mike Brannon at an abandoned bunker in Bremen, Germany during the autumn of 2013. The equipment and instruments used for the session were stolen while members evaded the authorities. Although Shapland and Nichols had been detained in separate hospitals, most of the songs were constructed telepathically prior to the session. Why Orghast (Nichols claims the name was revealed to him in a dream whilst under the influence of DMT) came together is anyones guess. The trio had been publicly slandering each other for years, having crossed paths while touring with reviled underground music pariahs Cross Stitched Eyes/Zygote/Defekt Defekt (Shapland), Hanson Brothers/Fang/Plainfield (Brannon), and Hammers Of Misfortune/Jello Biafra & The Guantanamo School Of Medicine/Christ On Parade (Nichols). Shapland mixed the 5 tracks on the run, breaking in to facilities across the EU after hours. His misplaced efforts culminated with the release of ‘Every Seashell Sings of Failure’ at the end of 2020. A mysterious backer had the recordings pressed to vinyl with unknown—and undoubtably unscrupulous—intent. Disgraced punk historian Duchess Von Shelby describes the EP as “pretentious, phantasmagorical post-punk nonsense” and actively petitioned to suppress its release. (Orhast)

[engl] Recording the most luminous and conquering music there is, in order to conjure up melancholic depths. This could be the definition of the pop music made during the golden age, during which the The Beach Boys and The Left Banke allowed themselves to be as orchestral as they could be, to transcend the vital energy of what it meant to be a young, whilst Pink Floyd and The Soft Machine were breaking down the doors of perception. The music that Orval Carlos Sibelius returns to, almost to a default position. “I try to go off on tangents, but I always end up on the same road,” he admits. In a world of joyful amnesia, artists can be recognised via their consistency. Obsessions betray authors. When you’ve inherited a gift for luxurious melodies and psychedelic heights, why look for other ways to feel alive? You can believe Orval Carlos Sibelius when he says that his music would be the same if no one had the inclination to listen to it. And he would’ve carried on this way until his last breath if his album Super Forma hadn’t been met with some success in 2013. Three years after this exploit, with the Ascension LP, Orval Carlos Sibelius took the risk of making an instrumental escape, a streamlined sidestep made to fit with the images from an almost impossible-to-find documentary, « The Devil’s Blast » by Haroun Tazieff. But when Orval Carlos Sibelius veers from his usual path, he soon returns to the fray. In this case, it’s a real Ride of the Walkyries that’s to be discovered behind a title that’s as heroic as it is ironic: Ordre et Progrès (Order and Progress). Something like an intimate superproduction, an existential peplum. His most uninhibited album, and also the hardest, as if Led Zeppelin and Shellac had turned up to help reinforce the flamboyant melodies. Now that this baroque art is set in wax, Orval Carlos Sibelius can now return towards further intimate adventures. After the studio-based storm, back to the calmness of his bedroom where his music regenerates. “What I prefer in life is to dream about the track I’m working on, while it’s not set in stone. A bit like a love story that’s just begun, when everything still seems possible.” While we wait for the next step of the perpetual pop romance, let’s be knocked down by the epic maestria of Ordre et Progrès.

[engl] Outdate are a fresh Band based in Dresden East Germany. Members are active in ntheir local scene and played alongside a numerous amount of bands and still do. Rough and dirty 80s style HC-Punk/Streetpunk with Oi! influences. 12 Songs.

[engl] Back in May 2019, Vancouver trio Corner Boys released their sole album… and promptly split a few months later. In retrospect, they couldn’t have known that the album’s title (‘Waiting For 2020’) would soon seem grimly ironic - and we all know why, right? No reason to go over all that shit again. But while the past two years have at least seen drummer/songwriter Patrick McEachnie staying active across two essential records with hardcore heroes Chain Whip, lockdown saw him switching roles. Basically, he bought a guitar and made an excellent record all on his lonesome, and as followers of his other projects will have come to expect, it’s fucking excellent. ‘Glad To Be Forgotten’ is the debut album by Pack Rat - in some ways you can see some level of crossover with Corner Boys in its manic energy and dedication to hooks (cuts like ‘Next Time Hit Me’ and ‘My Own Reality’ are so damn catchy, you could be forgiven for thinking you’ve already been listening to ‘em on repeat for the past 20 years). Familiar reference points show up (the melodies of the Pointed Sticks; the garage-slanted rifferama of Rudi or The Undertones) while a tinny budget synth keeps things ticking along nicely, just to remind you that this is a homespun DIY project. But honestly, this has the feel of a fully fleshed-out project and leaves you desperate for another fix of its sweet’n’sour tang. For anyone who loves the collision point between ‘New Rose’, powerpop sunshine and sheer rock’n’roll exuberance, this is essential. For everyone else, this is surely the gateway to all of that good stuff. You want to hear the tunes that’ll star on future generations’ equivalents to the Killed By Death comps? That’ll set your pulse soaring and your pogo muscles into overdrive? That’ll remind you of why this punk rock business still feels worth dedicating your life to, even after all this time?

[engl] Hear angel trumpets and devil trombones on the first instalment of the long awaited ‘Plastic Legacy pt II’ from transcontinental punk trash band Pale Angels. The album boasts soaring melodies and tortured guitar tones anchored by a fuzz bass guitar that sings uniquely yet thumps rhythmically. ‘Plastic Legacy pt II’ sees Pale Angels’ Jamie Morrison and Michael Santostefano joined by Jerome Westerkamp (songwriter for Cincinnati, Ohio’s Vacation) on drums. Returning after 6 years to longtime friend and producer Benjamin Greenberg (uniform, Christfucker, danny elfman) to create a masterpiece of gut wrenching sinceri

[engl] Pale Kids are four queer-punks from Durham, and no they’re not the same band as Martha, although they did record one of their EP’s in their house. High on pop give you their latest opus and it's a total banger. A wise person once said that they sound like a mix of The Undertones (if Fergal Sharkey dropped acid instead of drinking Tizer), Slade and Protex, It's the sound of a party that you were never invited to. Discussing the record, the band suggest it’s about, “being sick, distracted, heartbroken, obsessed, inattentive and the guilt we feel for all these things.

[engl] Paranoid Visions are Dublin’s longest surviving punk band, formed in the Irish capital in 1981. Their latest release is in four parts 'FORTY' 'YEARS' 'AND' 'STILL NOT TAME' and this red vinyl 12" is a split release with Blowtorch Records comprising the FORTY element (part 1). The vinyl contains a new track, '40 YEARS IN 45 MINUTES' on side A (45rpm). The other side (33rpm) holds new 2022 recordings of tracks from the 80s, 90s, 00s and 10s along with audio inserts chronicling some of each decade's pivotal news stories. Influenced by UK anarcho-punks like Crass and Flux of Pink Indians PV operate outside the mainstream music industry, releasing music under their own label FOAD (Fuck Off And Die).

[engl] 19 track round up of demos from The Partisans who formed in Bridgend, South Wales in 1978 and ended up being one of the cream of the UK82 punk movement. The first side of the LP has 10 tracks recorded in April 1980 in one day and like bands in their early years – it features mainly covers. It includes songs from the Sex Pistols, Stiff Little Fingers, UK Subs, Buzzcocks, UK Subs, Cockney Rejects and yes even more UK Subs. It also has primitive and raw versions of future Partisans classics No Time and I Don’t Give a Fuck. This demo has never been heard or released in any form. Less than a year later, February 1981 with Savage leaving and Louise joining on bass, the band have their most well know line up and are in full flow with a 6 track demo that was sent to No Future Records. It’s not surprising the label snapped them up straight away as the recordings are high energy and full of anthemic gems. The label released Police Story and Killing Machine as the debut 7” direct from these recordings. The other four tracks from this demo have never been released on vinyl. The last three tracks on the LP are the demos from 1982 recorded for No Future for the 17 Years of Hell Single. Rawer and more punk than the actual well know versions. All members of the bands helped in this release and shared original masters from which everything was remastered plus archive from their own personal collections including photos galore, handouts, ticket stubs, interviews etc which are included in the 28 Page Booklet.