Back catalogue: All genres

Review: This marks a first ever reissue of this cult-status punk-funk, no wave electro post-punk fusion 45 from 1979. It's by post-Wayne County Electric Chairs and has been produced by David Cunningam and now expanded to 12". The first tune 'So Many Ways' has Val Haller on lead vocals and sounded at the time very different from anything else the band had done. A hypnotic, sure charged groove that still sounds years ahead of its time. 'J'attends Les Marines' is a rework of 'Waiting For The Marines' from the Things Your Mother album but with some added dub and experimental flourishes. Two versions of 'So Many Ways' then close out this fine curio.

Review: The Ex's 45th anniversary is this year and this new 7" 'Great!' helps celebrate it. This record shows their continued defiance and creative evolution. This Dutch band remains as adventurous and challenging as ever. Both tracks, pulled from their current live set, are brimming with energyiurgent, willful, and joyfully obstinate. 'Great!' pulses with raw punk intensity, while 'The Evidence' is a gritty, adventurous exploration of rhythm and melody. Refusing to be nostalgic, The Ex pushes forward, blending genres like jazz, noise and world music with their anarcho-punk roots. It's a thrilling reminder of their enduring vitality.

Review: Japanese post-hardcore auteurs Envy return with their highly anticipated follow up to 2020's The Fallen Crimson. Marking their eighth full-length LP, Eunoia proves testament to the sextet's enduring legacy with its dexterous marrying of cathartic screamo and post-rock serenity. Throat-shredding howls are subdued under mercurial waves of ethereal crescendos, pulling from cavernous quiet to utter bombast, whilst melodious intricacies weave a hypnotic tapestry of aquatic, abyssal despair. Boasting a tenure spanning multiple decades, the collective's latest endeavour serves as yet another accomplishment that consistently places them in their own lane, admired from afar by the countless acts they continue to influence yet simultaneously eclipse.

Review: Originating in 1979 from the squatting movements of Amsterdam and Wormer, The Ex are one of the most dynamic, experimental and longest serving punk acts of the original Dutch scene, known for their anarcho-punk ethos, seamlessly blending elements of noise-rock, jazz, noise, no wave, free improv and traditionalist folk stretching from Hungary to Turkey, Ethiopia, Congo, and Eritrea. With over 20 full-length LPs to their succinct moniker thus far, If Your Mirror Breaks is the first album from the collective since 2018's 27 Passports, continuing their fearless sonic expansion with a ten-part series of surrealist daydreams, calls to action, ominous warnings and bursts of vitality tapped into the pulse of time.

Review: Another year, another vital repress of Scotland's greatest punk export The Exploited's adored yet overlooked fourth full-length Horror Epics. Originally released in 1985 and arriving two years after the career high-point that was Let's Start A War... (Said Maggie One Day), fan appreciation for the project has only ballooned in the decades since, with a myriad of 7" singles and compilations often boasting at least one of the album's essential cuts such as 'No More Idols' or 'Treat You Like Shit'. For both seasoned heads and newcomers alike, who aren't bothered by the piecemeal approach, take advantage of Radiation Records' tireless efforts to constantly keep such punk classics in circulation in their intended form.

Review: With the arrival of 1987's Death Before Dishonour, Edinburgh punk legends The Exploited began to distance themselves from their pre-established oi/street punk demeanour, and move towards a far heavier, speed metal-inflected crossover thrash style of hardcore punk; a direction they would continue to pursue throughout the 90s. Following a six-year gap after 1990's The Massacre, 1996 would see the group return with easily the best LP from their latter-day output, Beat The Bastards. Packed to the brim with seething, feral bangers such as 'Law Tor The Rich', 'System Fucked Up', and 'Massacre Of Innocents', this new splattered vinyl double LP pressing comes courtesy of the wonderful folks over at Nuclear Blast who've worked to beautifully restore and reissue the band's heaviest final three albums ever since signing them back in 2021.

Review: Since signing The Exploited in 2021, iconic metal/punk label Nuclear Blast have gone to lengths to reissue the three latest albums from the legendary Edinburgh oi-punks, who by the arrival of 1987's Death Before Dishonour, had moved towards an even more aggressive form of crossover thrash hardcore. This direction would continue to be pursued throughout their 90s output, with The Massacre in 1990, Beat The Bastards in 1996 and most recently (although 21 years and counting currently) 2003's vicious statement of latter-day intent Fuck The System. Coming seven years after its predecessor as well as marking the band's seventh overall full-length, it's the only album to date to feature guitarist Robbie Davidson and bassist Mikie Jacobs, while the project and its subsequent tour cycle would be marred in controversy due to the band being refused entry into Montreal, Canada in October 2003. This led to the cancellation of the show and a full scale riot of 500 fans smashing windows and destroying cars, ultimately leading to their Mexico City date also being cancelled for safety reasons. Is it really shocking to imagine that's how The Exploited's fans would react when they felt that burned? Juno don't condone, we're just not that surprised.

Review: Sludge-inflected noise-rock trio Eye Flys may have whittled themselves down following the departure of second guitarist/founding member Spencer Hazzard (Full Of Hell), but that seemingly hasn't diluted their sonic hubris by one single iota. Following on from their 2020 debut full-length Tub Of Lard and 2021's Exigent Circumstance EP, this self-titled sophomore effort continues their pummelling examination of a broken world and systemic prejudices through grinding, buzzsaw riffs and barrages of fuzzed out grooves that echo the likes of Melvins only if fed through a rusted woodchipper. Ugly music for ugly times.