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12"
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BURN 023LP
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The year is 1986 and The Apostles are in full flow with three albums -- Punk Obituary on Mortarhate Records, The Lives and Times of the Apostles on Children of the Revolution Records, and How Much Longer? on Acid Stings, plus a split 7" with Joy of Living on Fight Back Records -- but the one that no one could find was the split 7" with Anathema, again on Fight Back Records. That's because it never came out. Test pressings were made and given to the bands to approve but it just never happened. Nothing sinister and no reason -- it just sat there and never made it over the line. 33 years later, Inflammable Material finally release the six-track EP on a 12" with a fanzine. And Anathema from New Malden, Surrey finally get their first release on vinyl. Anathema deliver two tracks of tuneful anarcho punk with some tight guitar work including some screeching solos and passionate vocals whilst on the flip The Apostles offer four tracks of their usual primal and chaotic work including the fantastic track "Punk Squat" which is just drums and vocals and some of the best lyrics of the era. Comes with a 60cmx60cm poster-pullout with all the original artwork that the bands could salvage, plus a special collaborative 32-page fanzine from the makers of Negative Insight and Defiant Pose that talks to the myriad bands who had releases planned on Mortarhate/Fight Back Records which never came to fruition. Interviews with/pieces on Another Destructive System, Anathema/The Apostles, Antisect, Arch Criminals, Avskum, Chaos, City Indians, Class War, Cyanide Scenario, Eat Shit, Varukers, and Virus. 350gsm reverse board sleeve; A4 sheet; stickered poly bag, band logos drawn by Nicky Rat.
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7"
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BURN 031EP
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Following up their well-received The Gallows (2017), New York City's anarcho-deathrock hybrid Pawns return with three new tracks. Against the landscape drawn up by '80s-influenced post-punk, Pawns exchange full-on punk rage for a gloomy animosity by exploring dark and desperate melodies. Bass-heavy rhythms and choral guitar tones are topped off by vocalist Gage Allison's ominous baritone vocals in a rich maelstrom of bleak gothic punk. 300 gram card sleeve with spine and lyric insert.
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7"
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BURN 028EP
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Reissue of this three-track EP that was originally released by the Shapes' Sofa Records back in 1980 and has been extremely scarce ever since. Catchy punk with female vocals from Leamington Spa, one of those great local one-off EPs that would get a spin on John Peel back in the day, brimming with an endearing and infectious energy that characterized the era. Comes with a four-page insert that includes an old fanzine interview plus original live photos. Edition of 300.
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7"
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BURN 026EP
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Vancouver BC's Flowers & Fire play sleek, powerful and brooding goth-tinged post-punk with nods to the Chameleons/Death Cult. Driving Rickenbacker basslines, solid drums, angular guitars, and a moody, soaring, and ethereal frontwoman in Izzi Kearns combine for a pair of killer, unashamedly melodic, tunes. Silk varnish sleeve; Edition of 300.
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LP
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BURN 025LP
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Fanny Kaplan are a female trio who formed in Moscow in 2012. The follow-up to 2014's Plastilin LP, this self-titled six-tracker of spikey two-to-three minute songs hones their previous experimentations into a post-punk/no wave/krautrock mix, all underpinned with a punk urgency. Killer basslines that range from Rema-Rema style brutalism to a throbbing Metal Box-era Wobble metronome anchored with innovative, unorthodox drumming, and topped off with bitter melodies and arcane, otherworldly synth lines. Self-confessed post-riot grrls in attitude rather than musical style, this is a unique, darkly subversive record.
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12"
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BURN 021EP
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2019 repress on black vinyl. "Entry" is the last remaining track from the late 1979 recordings at Pathway Studios that produced the 4AD 12" Wheel In The Roses the following year. At six minutes, too long for the studio side of that release, the track has been transferred from the original master tapes, cleaned up and is accompanied here with an instrumental version. Tightly-wound, with the typical Rema-Rema elements of Moe Tucker-style pounding (cymbal-free) drums, relentless basslines and Marco Pirroni's feedback-laden guitar, this song probably hinted more at Rema-Rema's future path, with its intricate dual vocals, delicate synth motif and a melodic potential. Lyric/photo insert.
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