Review: The 11th full-length from California pop-punk royalty The Offspring comes three years on from 2021's Let The Bad Times Roll, and shall serve as their first project to feature bassist Todd Morse as an official member as well as multi-instrumentalist Jonah Nimoy and drummer Brandon Pertzborn (who has previously toured with Black Flag, Marilyn Manson and Suicidal Tendencies), while drumming duties were split with the legendary Josh Freese (Nine Inch Nails, A Perfect Circle). 10 tracks, spread out just over a half hour, Supercharged looks set to live up to its title following the band's road break and creative pandemic-enforced respite, with a succinct in-anthem-out mantra.
Review: The ultimate sleeper hit, All We Know Is Falling was the great almost for Paramore, the Tennessee emo outfit who would go on to huge things, just not as an immediate result of this album. Having recorded the emotionally charged guitar anthems that make up the record in Florida, the group were advised to allow word of mouth do its thing and slowly build a cult following.
In some ways it was shrewd - they now have a lot of loyal disciples - from other perspectives it wasn't, with this outing failing to enter the Billboard 200 chart when it was released in 2005. Skip forward to 2014, though, and thanks to the success Paramore became, and the blessing of fans looking into their back catalogue, All We Know Is Falling was certified gold in the US having already achieved that coveted status in the UK a few years earlier. Which makes perfect sense given this is benchmark setting stuff for the genre.
Review: Parkway Drive are huge metal stars from Aus and this is the band's 20th anniversary. Winston McCall (vocals), Luke Kilpatrick (guitar), Jeff Ling(guitar), Jia O'Connor (bass), and Ben Gordon (drums) are marking the occasion by making their Don't Close Your Eyes album available for the first time ever on vinyl. The eight original tunes re included as well as some bonus cuts from their split record with I Killed The Prom Queen and compilation albums What We've Built and True Til Death, Volume 1. Several versions of this one are out there and this is a limited edition gatefold with translucent gold vinyl so is not to be sniffed at for fans old or new.
Review: Back in 1999, four years before the release of what many perceive to be the self-titled debut full-length from Canadian post-hardcore heroes Billy Talent, the band first released Watoosh! under their original moniker of Pezz (which they subsequently changed after running into legal trouble). Whilst receiving a CD re-release in 2005 via Atlantic Records, the album has never been made available on vinyl until now. Remastered by Harry Hess at HBomb Mastering and distributed by longstanding Canadian punk label Dine Alone (home to the likes of Alexisonfire and City & Colour), the newly revitalised tracks bear all the trademarks of the band's eccentric yet gnarly approach to punk with a notably less reliant focus on instantaneous hooks prevalent in their major label latter days. While the multiple blank tracks of silence have naturally been omitted for the wax pressing, the one instrumental piece "Track 13" remains as the re-titled 'Organ Interlude' before closing with the blistering cover of The Tragically Hip's 'New Orleans Is Sinking'.
Review: Pinhead Gunpowder started out as a recording project only back in the 90s. Bt the band soon realised they had a fully formed sound that translated well, as evidenced by this 1997 album Goodbye Ellston Avenue. It's a record that takes cues from brands like The Big Cats and Green Day but with their own fresh influences. It originally came on Lookout Records and for this one has been recut at 45rpm on limited edition and coloured vinyl. This is the first part on a multi-phase and ongoing reissue project across 2022 so fans should keep their eyes peeled for more.
Review: Returning with their first new music in 16 years, Unt is the latest (comeback?) album from lesser-known true punk lifers Pinhead Gunpowder. Often perceived as the side-project of Green Day frontman Billie Joe Armstrong, real ones will be quick to let you know that the first incarnation of the band back in the early 90s didn't even feature the songsmith, who would join during their second reformation, as they were never truly a band with a direct mission statement or cohesive through-line. In other words, they were about as punk as you can get in terms of ethos, camaraderie and disorganisation before even touching on the music. Having last performed live together at a benefit show at 924 Gilman Street in Berkeley, California on February 12, 2010, while more than a full decade would pass until all of their previous albums were reissued on vinyl in 2021, all of these moving pieces (many of which took shape during the COVID lockdowns) have seemingly been in service of their true return with Unt. As Armstrong confessed in a recent interview - "We haven't really made any plans outside of making an album - except for some fantasies about maybe doing some touring", it appears the pinheads haven't lost one iota of lackadaisical uncertainty, while this half-hour of frenetic punk-popcore reassures they haven't missed a sonic (d)beat either.
Review: Aussie metalcore crew Polaris dropped their influential debut album The Mortal Coil back in 2017 and seven years on it has aged well and is still regarded as a classic with fans. As such it gets a reissue via Sharptone on limited clear white & blue splattered vinyl and includes an insert. It is a wild and visceral ride through some thrash metal chords, intense drums and guttural vocals that raise utter hell and come at you in waves of larger-than-life sound. Essentially it is as good as metalcore gets with catchy melodic choruses and heavy riffs and screams.
Something Needs To Die But Maybe It's Not You (4:19)
Review: Returning from a near-decade long hiatus with their first album in eight years, At Peace marks the eighth full-length from Manitoba punk heroes Propagandhi, serving as their follow up to 2017's Victory Lap. Channelling an anti-fascist ethos of skate punk meets thrashcore since 1986, their latest effort showcases a band doing their utmost to come to terms with the despondency they've been warning about since their inception. Recorded shortly before the re-election of Donald Trump and his assertion that the band's home country of Canada become the U.S.'s 51st State, the messaging here is as earnest and vital as ever, yet admittedly more worn out and exhausted following three decades of the same oppressive system, with vocalist Chris Hannah somewhat accepting defeat and altering what we can about our outlook - "Now it's the existential dread of eking out a life worth living in this completely failed society."
Review: Hailing from The Gret White North's Toronto, PUP (Pathetic Use of Potential) are your favourite current punk band's favourite current punk band. Originally formed in 2010, the past decade and a half has seen the group deliver one consistent album of bangers after the next, with their new fifth full-length Who Will Look After The Dogs? arriving three years on from 2022's The Unraveling Of PUPTheBand, proving that prior titular statement to be mistaken information. Expanding their sonics as far as their musical palettes, the LP showcases the debaucherous yet earnest Canadian troubadours pulling simultaneously from both more radio-centric college rock as well as more intense hardcore this time around, while modern punk legend (and once Bomb The Music Industry lynchpin) Jeff Rosenstock makes a standout appearance on the latest single 'Get Dumber'. Gritty, melodic, and sincere, all within the same breath (or verse), it's a tough year for any punk band to compete whenever PUP rear their grimy head.
Review: Toronto's PUP are your favourite modern punk band's favourite modern punk band. Over the past decade, they've delivered one consistent album of bangers after the next, and now they return three years on from 2022's The Unraveling Of PUPTheBand to prove that title as mistaken information. Who Will Look After The Dogs? serves as the fifth full-length from the debaucherous yet heartfelt Canadians, stretching their sonics as far as their palettes, pulling from both more radio-centric college rock and simultaneously much heavier hardcore this time around, while once Bomb The Music Industry lynchpin and nowadays punk rock troubadour legend Jeff Rosenstock makes an appearance on latest single 'Get Dumber'. Not so much the "Pathetic Use of Potential" that PUP still claim to be.
Putin Will Teach You To Love The Motherland (2:23)
Kill The Sexist (2:01)
Like In A Red Prison (3:25)
Kropotkin Vodka (1:34)
Free The Paving Stones (1:54)
Putin Pissed His Pants (1:49)
Review: Originally released in 2017, In Riot We Trust is the second of two studio albums so far released by feminist protest group Pussy Riot, whose provocative punk regularly takes potshots at Russian leader Vladimir Putin and his regime. Since 2011, the Moscow band founded by then-22-year-old Nadya Tolokonnikova has had the membership of 11 women, who are arguably most well known for their guerrilla gigs and stunts, often in sites of national, cultural, or religious significance. Despite the real focus of the group being on speaking out against issues such as Russia's ingrained sexism, homophobia, and racism, totalitarian rule and oppression of rights, and the limelight falling on their IRL actions, this is more than enough evidence that their rage and talent can be distilled onto record to some degree. Potent to say the least.
Review: This Ramones album - one of their very, very many - is packed with relentless guitar energy and a proud punk ethos. Originally released in 1987, it captures their raw spirit and is packed with gritty rock licks and infectious melodies. Featuring standout tracks like the opener 'I Wanna Live' and the guttural vocal bite of 'Garden of Serenity' it showcases the band's evolution while staying true to their signature sound, during what was a pivotal moment in the US punks' lengthy career, a decade or so on from their explosive arrival.
Review: Are The Ramones now best known for being on t-shirts worn by people who have never heard the band? Maybe. But either way, Too Tough To Die, which was released 40 years ago, is often seen as a return to form. Really, it deserves a more radical categorisation. Released in the mid-1980s, the album felt out of step with the era, not in a negative way, but in how it captured the contradictions of its time. Made without a clear direction, its incongruity became its defining feature. As Joey Ramone noted in a 1988 interview, "Around '84, the world was changing drastically... Things were getting scary. So, our songs started changing." This shift in tone marked a new chapter in their musical evolution.
Review: Coming off of the back of 1983's Subterranean Jungle, which saw a return to their punk rock roots, the brothers Ramone opted to stay the course for their 1984 follow up Too Tough To Die. Enlisting drummer Richie Ramone for his first project, the collective creative intention was to further stray from the lukewarm reception bestowed upon their more pop-centric End of the Century (1980) and Pleasant Dreams (1981), and rediscover the harder edges that built their initial success. With this unifying vision in mind, the band opted to record as live and raw as possible in order to capture that punk rock ethos, with this compilation providing a bevvy of demos, B-sides and alternate takes from these sessions, many of which feature Richie on lead vocals. A true gem for devout followers of the real Fab 4 as well as a curious bridging point between the aforementioned Subterranean Jungle and the fully realised product of Too Tough To Die.
Rockaway Beach (Old Waldorf, San Francisco, CA January 31st 1978 KSAN-FM)
Teenage Lobotomy
Blitzkreig Bop
I Wanna Be Well
Glad To See You Go
Gimme, Gimme Shock Treatment
You're Gonna Kill That Girl
I Don't Care
Sheena Is A Punk Rocker
Havana Affair
Commando
Here Today, Gone Tomorrow
Surfin' Bird
Cretin Hop
Listen To My Heart
California Sun
I Don't Wanna Walk Around With You
Pinhead
Crowd/Radio Announcers
Do You Wanna Dance?
Oh, Oh I Love Hear So
Today Your Love, Tomorrow The World
Crowd/Radio Announcers
We're A Happy Family
Suzy Is A Headbanger
Let's Dance
Rockaway Beach (Stage One, Williamsville,buffalo, NY February 8th 1979 WBUF-FM)
Teenage Lobotomy
Blitzkrieg Bop
I Don't Want You
Gimme Gimme Shock Treatment
Rock'n'roll High School
I Wanna Be Sedated
I Just Wanna Have Something To Do
Bad Brain
I'm Against It
Sheena Is A Punk Rocker
Havana Affair
Commando
Surfin' Bird
Cretin Hop
Listen To My Heart
California Sun
I Don't Wanna Walk Around With You
Today Your Love, Tomorrow The World
Pinhead
Do You Wanna Dance?
Suzy Is A Headbanger
Let's Dance
Review: A coast-to-coast double live helping of leather-jacket clad Ramones punk mayhem unlike any other, this double CD collection features the band's performances at San Francisco's The Old Waldorf on 31st January 1978 as part of a KSAN-FM broadcast, whilst the second disc offers an East Coast counterpart performance at Stage One, Buffalo, New York on 8th February 1978 where this WBUF-FM broadcast features Marky Ramone taking over the drums from Tommy. Chock to the brim full of essential bangers such as 'Blitzkreig Bop', 'Sheena Is A Punk Rocker', 'Rock N' Roll High School' and 'I Wanna Be Sedated', to name but a smattering few, this is the Ramones at the height of their initial punk rock glory before their tumultuous 80s era would bring about both their best and worst material and eccentricities.
It's A Long Way Back To Germany (UK B-side 1978) (2:15)
Come Back, She Cried AKA I Walk Out (demo 1978) (2:18)
Yea, Yea (demo 1978) (2:02)
Please Don't Leave (demo 1980) (2:20)
New Girl In Town (1983) (3:24)
Bumming Along (demo 1983) (2:15)
Unhappy Girl (demo 1983) (2:21)
No One To Blame (demo 1983) (2:23)
Roots Of Hatred (demo 1983) (3:30)
My-My Kind Of Girl (acoustic demo 1983) (3:00)
Street Fighting Man (Walter Lure vocals 1984) (2:51)
I'm Not An Answer (Dee Dee vocals demo 1984) (2:14)
Planet Earth 1988 (Dee Dee vocals demo 1984) (2:55)
Review: The first volume of a two-part collection, this impressive compilation chronicles the lesser-known recordings from the black leather jacket-clad kings of punk and (more importantly) New York. The two volumes of Rare Ramones present a selection of B-sides, demos and previously undiscovered rarities, with entry numero uno covering the beginnings of the band, starting with the mythical Slug demo recorded in 1977 and finishing in 1984 with early sessions of material that would eventually appear on the latter-day catalogue staple Too Tough To Die. An absolute treat and essential grab for any Pinhead worth their salt.
Everytime I Eat Vegetables It Makes Me Think Of You (3:10)
Review: Originally released in 1983, Subterranean Jungle would serve as the seventh full-length LP from the brothers Ramone, whilst marking their return to the well of punk rock bangers following the new wave and pop experiments of their two preceding albums End Of The Century (1980) and Pleasant Dreams (1981). Written and recorded during a severely tumultuous time in the band's tenure with both Joey and Marky battling alcohol addiction while Dee Dee was undergoing treatment for his cocaine habit, the resulting tension and resentment to the previously overbearing control of Joey on their previous output, led to a paired down vision with focus solely placed on prioritising grade A punk rock like only the Ramones know how. Their first album to not singularly feature Joey on lead vocals with Dee Dee taking centre stage on 'Timebomb' whilst also handling the bridge on 'Outsider', the more collaborative ethos of the project would, yet again, nearly implode the band with Marky being ousted before recording had even ceased (not playing drums on a Ramones record again until 1989's Brain Drain).
Review: Originally released in 1978, Road To Ruin would serve as the fourth full-length from leather jacket-clad punk pioneers The Ramones. While a rejected, mitigated flop upon release due to the band's swing for the radio fences (or airwaves) complete with sonic elements at the time alien to the punkosphere such as acoustic guitars, lead guitar solos and 60s pop ballads, in the near five decades since release, the project has been reevaluated as a bold successor to 1977's iconic Rocket To Russia (although that album did place 50 places ahead on the Billboard 200 at the time of release). Marking (no pun intended) their first effort to feature drummer Marky Ramone, who replaced Tommy Ramone after his departure due to the inability to keep up with the rigors of touring and lack of residuals from their previous record; the album's glossy, clean production has slowly morphed from malaise to praise over the ensuing decades, while offering up some of their most timeless and essential bangers including 'Needles & Pins' and 'I Wanna Be Sedated' (which if Spotify metrics are anything to go by, is the band's most popular song after, of course, 'Blitzkrieg Bop').
Review: Captured at Parque O'Higgins in Santiago, Chile, on April 1st 2017, just two months before the release of their ninth full-length studio album Trouble Maker (though the set features no early sneak peek cuts), El Punk No Ha Muerto offers up a fly-on-the-wall earful from California punk lifers Rancid, deep into their seasoned veteran status. Boasting a catalogue spanning greatest hits set featuring classics such as 'Maxwell Murder' and 'Ruby Soho', this live LP is Rancid as they were always meant to be heard. Messy, chaotic, gruff yet underpinned with a poignant precision and internal understanding of live dynamics and audience appeal, this is as close as you can get to the intense camaraderie of one of their incomparable shows without paying the price of admission (for a ticket anyway, no freebies).
Review: The first ever US pressing of the recordings from infamous short-lived homegrown London punks Raped (before their new wave rebranding as Cuddly Toys). Deemed unsignable during their brief tenure and maligned by even their peers within the scene due to their envelope pushing subject matter boasting EP titles such as Pretty Paedophiles, and, Cheap Night Out, released in 1977/1978 respectively, it's a relatively known unknown as to why the band were perceived as too much for even the burgeoning UK punk movement. Distributing their releases through their manager's label, good sales and a cult following couldn't compete with the endless vitriol their mission statement absorbed, ultimately leading to their reformation as the New Romantic scene evoking Cuddly Toys in 1980; a name likely stemming from being the utter antithesis of their previous moniker. The Escalator Hater compilation also completes the entirety of their 77-78 recorded output with the Philes & Smiles Demos Sessions 7", making for an uncompromised batch of snot-nosed, snarling glam-tinted blueprint punk.
Review: While Baltimore, Maryland might be best known for the popular HBO crime drama The Wire, whereas musically the city is regarded as one of the pinnacle breeding grounds for modern hardcore punk thanks to the likes of Trapped Under Ice, Turnstile and End It, one outfit far more intrigued by the bluesy garage rock origins of the punk genre are Ravagers. Returning just a year on from 2024's acclaimed sophomore effort Too Raw For The Law, the band's third full-length On The Loose continues their cementing as true punk n' roll revivalists with fuzzed out grooves and lush melodies coalesced into one bombastic boogie that's as immediate as it is timeless.
Review: Decades in the making, Volume 3 serves as the first new full-length from Queens, New York hardcore punk pioneers Reagan Youth since 1990. While their classic 1984 debut EP Youth Anthems For The New Order would later be reissued as Volume 1 complete with additional bonus tracks, Volume 2 would be distributed following the band's initial break up. Crafted and completed by founding guitarist Paul Bakija, before his tragic passing in 2024 following a battle with cancer, Volume 3 is a tribute and testament to the tumultuous life and times of original frontman Dave Rubinstein (better known as Dave Insurgent), who sadly took his own life in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani, at which time the couple dealt with severe heroin addiction. Poured over with care from Bakija and led by the feral delivery of new vocalist Madame St. Beatrice, the project delivers breakneck paced, snarling accounts, combining anger and deep concern to a work that ultimately would only see the light of day after none of the original members integral to its make up could live to see it released.
Review: Literally decades long overdue, Volume 3 marks the first new album from Queens, New York hardcore punk heroes Reagan Youth since 1990, following on from their iconic 1984 debut EP Youth Anthems For The New Order, later re-released as Volume 1 with additional bonus tracks, whilst the second volume would be distributed upon the band's initial break up. Inspired by the tumultuous life and crafted as tribute to original vocalist Dave Rubinstein (better known as Dave Insurgent), who tragically committed suicide in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani whilst the pair battled severe heroin addiction, the material is further shrouded in misfortune due to the recent death in 2024 of founding guitarist Paul Bakija, who served as primary songwriter working tirelessly on the album for years. Hard-hitting, breakneck paced tracks with zero sign of aging or slowing down, new vocalist Madame St. Beatrice delivers snarling accounts combining rage and earnest concern to a project that many thought would never see the light of day and sadly, literally wouldn't until all original members involved had shifted off this mortal coil.
Review: To commemorate the 30-year anniversary of the Canadian Celtic folk-punks The Real McKenzies' inception, 'Float Me Boat' offers a 23-track retrospective look at the band's three-decade tenure, compiled by none other than Fat Mike of NOFX's punkcentric label, Fat Wreck Chords. If you like your punk with plenty of kilt-spinning, bagpipes and anthemic hooks, or you've never ventured further than the Dropkick Murphy's corner of the scene, then there's never been a more ample opportunity to engage in a Celtic crash course.
Review: Rocket From The Crypt mastermind Speedo aka The Swami aka John Reis is a punk lifer troubadour unlike any other, who seemingly refuses to slow down with age. Returning with his second solo sull-length in just 8 months, following on from 2024's All Of This Awaits You, this time he casts a back-line including Jason Sinclair (Hot Snakes), Joey Guevara (Swami & The Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman's Water), to help concoct these 11 tracks of chaotic, hard-edged punk rock bangers delivered at a breakneck pace with fist-pumping hooks and a sincerely rebellious attitude to boot (stomp). Chock full of bangers like the feral 'Fed To The Dogs', at 55 years young, Reis is in no way content to rest on his laurels for long, always making Time To Let You Down.
Review: Following on from the reissue of Rival Schools' first record, Run For Cover turns its attention to the band's landmark 2011 studio LP, which took two years to be released after the original recording sessions finished and a staggering ten years after the inaugural long player, United By Fate, had landed. Rooted in emo, pop rock, and post-hardcore, the main difference between episodes one and two was the comparatively lighter moods on the second, and an absence of distortion. In many ways, a more commercially-minded outing, at the time critics lauded Pedals for its comparative maturity, with many trumpeting the return as being slicker, more self-assured and altogether more grown up. Nevertheless, the tracks still tear from the blocks with the energy of youth and there's no denying these songs are the result of musicians with a real ear for writing infectious hooks.
Review: Skate-punk, crossover thrash, or best described as "Nardcore" (being part of the formative West Coast hardcore scene located near Oxnard, California), Rich Kids On LSD or often referred to as RKL, are widely considered to be one of the most important yet simultaneously overlooked acts of the formative 80s punk world. Their 1985 debut full-length Keep Laughing introduced the masses to their Beanie Boy mascot, but more importantly, their chaotic fusion of snot-nosed hardcore meets angsty skate punk, while later material would flex thrash metal riffage, marrying humour with elements of a genre already guilty of taking itself too seriously, leading them to become THAT punk band for Slayer and Metallica diehards who couldn't admit too freely to vibing on anything outside of metal. While later projects would see these metallic elements brought further to the forefront, the classic cuts boasted by this first effort such as 'Think Positive' (or 'Drink Positive' when played live), 'Ded Teds', and 'Pothead' are some of the most quintessential skate-punk anthems of all time. Easter Egg - Actor Josh Brolin claims to have been an early member before the band had even decided upon a moniker, which actually came in the form of a criticism lobbed at them during their early days.
Review: Formed in the heart of Belfast in 1975, Rudi were the Northern Irish punk band that time forgot, eclipsed by the success of their peers in Stiff Little Fingers and The Undertones who would both go on to have major label success in the UK while sadly, apart from a few early singles released via Good Vibrations, the band would sign to The Jam's own personal record label not long before Paul Weller would call it quits, leaving Brian Young and his cohorts deflated and eventually disbanding in 1982. Captured live at the McMordie Hall, Belfast on Jan 26th 1978, this live collection showcases their New York Dolls/Johnny Thunders glam-punk inspired vision in its rawest form while coming complete with an A4 12-page booklet featuring unseen articles, photos and detailed liner notes.
American Anglophile In The World Turned Upside-Down (1:25)
Memento Mori (0:40)
Better Not Born (1:35)
Arkham Hearse (1:17)
The Old Man Is Not So Terribly Misanthropic (0:52)
Gentlemen Prefer Blood (2:26)
Sonia (1:12)
The Day The Universe Ceased (March 15th 1937) (0:33)
The Crime Of The Century (1:27)
Musick In Diabola (2:03)
Shard (1:59)
Black On Gold (0:45)
Review: A lot of bands have mystery and mythology surrounding them. Few can command the same level of interest as Rudimentary Peni. The British anarcho-punks have been going since 1980, and in that time put out just four albums and a handful of EPs. Oh, and a live recording from a gig in Derby, England, in 1993, released 12 years later by Sheffield Tape Archive.
All of which is besides the point when you realise how hard it is to find any photos of any band member, and how little they've courted press or anything tied to the music industry at any point in the past 40 years. Cacophony is their second LP, landing in 1988, and straddles nosebleed metal, tough garage rock, mind-melting punk, and some stuff we can't really think of words for. Frantic, fun, and more than a little mad.
We're Gonna Destroy Life The World Gets Higher & Higher (3:53)
Pills, Popes & Potions (4:04)
Ireland Sun (3:44)
Regicide Chaz (III) (3:46)
Iron Lung (2:39)
Review: Recorded in 1992 but not officially released until 1995, Pope Adrian 37th Psychristiatric would serve as the third full-length album from London anarcho-punk underground legends Rudimentary Peni, and their first since 1988's acclaimed and unhinged Cacophony. With the majority of the material penned by primary songwriter/vocalist/guitarist Nick Blinko while sectioned in a psychiatric hospital under the Mental Health Act 1983, much of the lyrical subject matter details Blinko's delusions including the idea that he was "Pope Adrian 37th" - a reference to Pope Adrian IV. Pushing their chaotic abrasion even further leftfield than ever before with art-punk experiments into trance-inducing use of unsettling repetitions including the pseudo-Latinised phrase "Papas Adrianus" (Pope Adrian) looped continuously throughout the runtime, this macabre masterpiece has become a holy grail of outsider art and avant-punk, whilst being out of print for years. Remastered from the original tapes by Arthur Rizk and reissued by the committed souls at Sealed Records, who slowly appear to be repressing the entire RP back catalogue, make no mistake that with evident eagerness and hype within the core fanbase, these twisted beauties won't stay around long.
This Perfect Day (LP3: singles & live 1977) (2:09)
LIES (2:39)
Do The Robot (1:54)
Lipstick On Your Collar (2:38)
One Way Street (2:46)
Demolition Girl (1:55)
River Deep Mountain High (3:48)
This Perfect Day (live) (2:10)
Run Down (live) (2:42)
Erotic Neurotic (live) (3:04)
Demolition Girl (live) (4:56)
Nights In Venice (live) (4:05)
Introduction (LP4: live At The Hope & Anchor, London 26/11/1977) (2:20)
Do The Robot (3:44)
Lost & Found (2:53)
Lipstick On Your Collar (0:57)
River Deep Mountain High (3:20)
Untitled (Second version) (2:56)
Run Down (2:47)
This Perfect Day (2:33)
Messin' With The Kids (4:17)
Orstralia (2:23)
Nights In Venice (5:20)
(I'm) Stranded (3:15)
Demolition Girl (3:42)
One Way Street (2:44)
Review: Originally released in 1977 (the year of punk's simultaneous birth and more notably, death), (I'm) Stranded has gone on to become, not only one of the most vital pieces of OG Aussie punk, but commonly considered as one of the quintessential early blueprints for an entire generation of artists. Staying on course and not even wading into the creative differences that would soon loom large over each subsequent follow up, this box set arrives as a joint collaboration between L.A. garage rock label In The Red, Universal Music Australia and spearheaded by Feel Presents and The Saints founder Ed Kuepper (later Laughing Clowns), who collectively deliver the original LP remastered for the time in four decades, along with never-before-pressed-to-wax bonus discs of a five-song live performance from Paddington Town Hall in Sydney in 1977, the band's full set from the Hope & Anchor Front Row Festival, London November 1977, all three tracks from the 1977 This Perfect Day 12" and all four tracks from 1977's 1-2-3-4 double 7" single, as well as the previously unreleased 1976 demo mix of the (I'm) Stranded LP. Also boasting a 28 page 12" x 12" photo essay of the band covering their origins from 1973 through the end of '77, authorised band history, an 8" x 10" 1976 promo photo, and sticker, this is fan service and an album celebratory box set done right.
Review: Following Glenn Danzig's departure from Misfits, but before re-branding/re-establishing all musical endeavours under the name of Danzig, the enigmatic, often controversial frontman would form Samhain, generally mis-pronounced as Sam Hane. With an increased focus on the macabre, occult and a less whimsical, cartoonish flare than his previous horror-punk troupe, their short-lived tenure only covered two full-lengths and an EP, while many regard this live compilation made of two separate performances from Danceteria, New York in 1985, and the Cabaret, Metro Chicago,
Review: Over two decades since its initial release, the third full-length from emo veterans, Saves The Day, is still heralded as a high watermark for the pop-punk/post-hardcore scene of the 21st century. Switching out acclaimed producer, Steve Evetts, who manned the desks of their first two albums, Elliot Smith collaborator Rob Schnapf was enlisted to help the band channel their dynamic influences and conflicting emotions into an exceptional work of alternative, melancholic beauty. 'Stay What You Are', is often regarded as one of the focal points of the emo movement arriving on more accessible shores, and you'd be hard-pressed to find any self-respecting list of genre essentials that omits the project. Influencing a myriad of today's most prevalent and dynamic acts, this scene staple belongs on the shelf of any self-proclaimed, unashamed lover of emo.
Review: This 1988 classic is the second full-length album from Chicago pop-punk pioneers Screeching Weasel. The album's quirky title references a phrase coined by friend Matt Carlson, who also inspired the band's name. Marking their first release on the Roadkill label which the band helped establish itself, the record is credited with shaping the future of pop-punk and skate-punk and for blending sharp humour with a melodic edge. This limited edition includes one black LP and one green LP featuring a bonus Live 88 set, an eight-page booklet with an in-depth interview with Ben Weasel, all packaged in a striking gold gatefold sleeve.
Review: A well recorded, fascinating glimpse into the earlier days of the most notorious punk band of all time, captured at a show at the rarely acknowledged 76 Club in Burton-on-Trent. It's a suitable setting, of course, as British punk was the voice of the suburbs and the small towns around the UK that, ironically, all so often banned them from visiting. The material that would form their only studio album - surely one of the most seminal LPs of all time - Never Mind The Bollocks... was still taking shape at this point, with 'New York' and 'Seventeen' present but nestling under working titles alongside non-album original 'I Wanna Be Me'. There are also outings for a selection of cover versions that show the influences that shaped the revolutionary sound about to turn music on its head, from The Stooges' 'No Fun' and The Who's 'Substitute' to the Dave Berry 1964 single flip track 'Don't Gimme No Lip Child' and The Monkees' '(I'm Not Your) Steppin' Stone'. Top chaos for cash fun.
Review: Seminal; containing or contributing to the seeds of later development: creative, original. Or at least that's one definition of a word that rarely feels more appropriate than when used in conjunction with Sex Pistols. Quite where we're supposed to begin writing about The Filth & The Fury is anyone's guess. A retrospective compilation encapsulating some of the punk pioneers' most cherished moments, alongside a slew of material that many less-informed fans may have previously been unaware of, let's start by simply saying 'it bangs'. Understatement of the century, despite their back catalogue of just one LP, Sex Pistols actually had an extraordinary output in terms of volume in the run up to debut (and sole) album, Never Mind The Bollocks, Here's the Sex Pistols. This is a chance to get more closely acquainted, and we compel you to seize it and hold on tight.
Review: The infamous, ill-fated jaunt the Sex Pistols took across the US in January of 1978 has become the stuff of punk legend due to a myriad of factors. Under poor management, signed to a label unfamiliar with how to market such an outlier on their roster, performing to more curious patrons than genuine fans, all circumstances culminated in a burning out in real time, captured via these live performances. For the first time, several of these shows have now been properly sequenced to reflect the debaucherous live sets in full with this pressing capturing a chaotic, unhinged, vital and feral set at the South East Music Hall in Atlanta, Georgia. Boasting timeless anthems from the snarling opening rendition of 'God Save The Queen' all the way up to the one-two punch finale of 'Pretty Vacant' and 'Anarchy In The UK', behind the energy is the sound of a group of misfits left to fend for themselves in a strange environment and lashing out the best (and only) way they knew how.
Review: Infamous, ill-fated and iconic all in equal measure, the Sex Pistols US tour of January 1978 has gone down in the annals of punk history as a chaotic state of affairs. Mismanaged by their team, stuck on a label only interested in their prowess for generating headlines and performing night after night to crowds more curious than engaged, the resulting jaunt would eventually lead to the band's total implosion. After years of these live recordings being distributed in piece-meal form, the recordings from this tour have finally been accurately sourced, re-sequenced and now delivered as individual live LPs with this pressing coming from their show at the Longhorns Ballroom in Dallas, Texas. The sheer exhaustion, frustration and oncoming burnout are evident through these feral performances, almost as if hearing the once youthful pioneers imploding in real time. Currently undertaking a costly world tour accompanied by former Gallows vocalist, Mr. Frank Carter & The Rattlesnakes himself standing in for the now MAGA touting John Lydon, it's the closest fans will likely ever get to experiencing the Never Mind The Bollocks era, with these authentic real thing recordings coming in at a close second, delivered from the familiar comfort of your turntable.
Review: The ill-fated Sex Pistols US tour of January 1978 has become as infamous and discussed as the band themselves, as it came at a time of rife turmoil between members whilst it was potentially beginning to dawn on them how out of place they were on their label, how inconsiderate and mismanaged they were being treated and how much more of a travelling circus show those in attendance were paying to see rather than genuinely caring for the music or message in the same manner of their homegrown fanbase. This exhaustion, frustration and evident burnout was all captured during these live performances, which after several semi-coherent releases have finally been isolated, properly sequenced and finally deliver the closest fly-on-the-wall experience to these implosive shows yet. Taken from their set at the Winterland Ballroom in San Francisco, this is peak pissed off Pistols on the cusp of their ultimate breaking point. While the band are currently enjoying a celebratory jaunt with former Gallows vocalist Frank Carter replacing the MAGA man John Lydon, delivering the closest experience to the Never Mind The Bollocks era yet, those who'd rather not spend more than 100 quid on a ticket can now experience the authentic real thing from the comfort of their turntable.
When I Was Born, I Was Bored (feat Billy Corgan) (2:40)
Appalachian Lullaby (feat Nina Persson) (1:34)
Airfield Dream (3:28)
Automatic Soup (feat Robin Zander) (3:56)
Lonesome Dove (1:42)
Speed Of Love (feat John Doe) (2:36)
Day Ditty (feat Angela McCluskey) (3:55)
The Wedding Is Over (feat Lena Karlsson) (3:34)
Jelly On The Table (feat Matt Johnson) (2:24)
Just Really Wanna See You (feat Mimi Parker & Alan Sparhawk) (3:34)
I Want Someone Badly (2:36)
Final Dream (0:50)
Review: This Record Store Day 2025 exclusive marks the vinyl debut of First Love, Last Rites-the 1997 indie film soundtrack composed by D.C. alt-rock band Shudder To Think. The album features collaborations with Jeff Buckley, Liz Phair, Billy Corgan, John Doe and Robin Zander among more. Notably, Buckley's rendition of 'I Want Someone Badly' stands out as one of his final recordings and finds him delivering an emotionally charged performance. The soundtrack's blend of indie rock and poignant lyrics in fine vocals captures the film's introspective tone and now this limited edition release makes this '90s classic available on vinyl for the first time.
Review: Side By Side could definitely have made a bigger impact. Spawned from the already well-established and frighteningly fertile New York hardcore punk scene of the late-1980s, they would only offer up a couple of releases, both of entitled 'You're Only Young Once', coming in the form of an original EP, and subsequent expanded edition taking the number of tracks up to 22, landing almost a decade later.
Both arrived on Revelation Records, an imprint that was particularly revered at the time and credited with creating, or at least providing a platform for, the 'youth crew' hardcore movement. Which is exactly where you'd place Side By Side. Right place at the right moment, then, running through the songs here there's no denying the talent at play, either, from the raw, gnarling rhythm of 'The Time Is Now' to sublime guitar chaos on 'You're Only Young Once'.
Review: Sihir's Ular Akan Patuk is a debut LP that delivers fifteen minutes of intense hardcore reminiscent of a burning police station. The album features razor-sharp feedback and industrial sounds intertwined with traditional music to create a euphoric yet brutal experience. This collaboration of punk musicians from Colombia, Nusantara, Spain, and Sweden presents raw punk with crashing intent all driven by phased percussion. The striking artwork by Javanese artist Enka Komariah illustrates a supernatural narrative that enhances the album's thematic depth. With lyrics in Bahasa Melayu addressing issues from imperialism to women's rights, this one is a powerful, euphoric protest.
Review: Still going strong since their 2016 reformation, even dropping their latest full-length Destination Dusseldorf in 2023, Dunfermline's sons Skids originally formed in 1977. Within six months of their inception, the band had dropped the Charles EP which would lead them to the attention of legendary BBC radio DJ John Peel, with whom they would record five separate sessions over the next two years while working on their first three LPs released during that period - Scared To Dance (1979), Days In Europa (1979) and The Absolute Game (1980). This 2xLP collection collates all of these sessions and boasts choice from some of the aforementioned albums such as 'Six Times', 'Masquerade', and the highly popularised once covered by U2 and Green Day 'The Saints Are Coming', while also offering never officially released cuts like 'Hang On To The Shadows' as well as their frenetic cover of Lou Reed's 'Walk On The Wild Side'.
Review: Originally formed in London in 1976, The Slits made major waves with the frenetic post-punk energy of their acclaimed 1979 debut LP Cut, whilst their 1981 sophomore follow up (aka "difficult second album") Return of the Giant Slits would arrive mere months before the group's initial disbandment. Highlighting the internal creative differences occurring at the time of recording, the material showcases a major expansion of sound, pulling from rhythmic afro-pop and dub, conjuring a unique "world music" approach to post-punk before the likes of Vampire Weekend were even a twinkle in their father's eyes. The album would also serve as their last output until their return with the 2006 Revenge of the Killer Slits EP followed by 2009's third full-length Trapped Animal.
Review: Drunkenly steamrolling their way out of Indianapolis, Indiana in 1984, punk shithead extraordinaries Sloppy Seconds committed themselves to their "junk rock band" ethos with a bevvy of chaotic, catchy, and most importantly provocative bangers that made light of everything from pornography to homophobia to obesity to drug addiction. Musically indebted to The Ramones (only if they mainlined crack into their eyeballs), and bizarrely inspired by 1976's KISS album Destroyer, the members would begin crafting what would eventually mutate into 1989's Destroyed with zero label interest or backing. That was until Toxic Shock (yes, that is the name of the original label) feasted their ears on some early demos before decreeing that the entire worldwide punk community needed to be this offended. Boasting snarky anthems that have aged like old milk such as the quintessential 'I Don't Wanna Be A Homosexual', as well as the ode to underage pornographic actress Traci Lords on 'Come Back, Traci', few punk classics set the bar as low as Sloppy Seconds, and ain't that the point?
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