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viewing 1 To 25 of 78 items
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LP
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MUS 309LP
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$32.00
PREORDER
RELEASE DATE: 12/13/2024
Second Death debut with a nine-track LP. Following the steps of London bands NO and Permission from which the band shares half its members with additions from local bands Subdued and Last Affront. Pulling similar musical threads as their previous groups, their distinctive dissonant brand of hardcore is dense and claustrophobic, like there are too many notes crammed into too small a space, riffs poking out at odd, uncomfortable angles like the corners of a hand-me-down bureau in a cramped London bedsit. Second Death's manic rhythms are littered with unexpected accents that disrupt any slide into safety, comfort, or convention, and while moments in "Sycophant" or "Caving" threaten to break into a mosh, there's invariably an oddly timed accent that derails the choreography like a feral tweaker wandering into the pit. Ben from Last Affront handles vocals, and his voice and lyrics reflect the music's sense of tortured isolation: short, clipped lines from a nerve rubbed raw, torn between fighting and fleeing, sparks of anguish flying in the direction of everyone and no one in particular. Life isn't easy, and neither is Second Death's music, but there's poetry to how these nine tracks charge fitfully toward a resolution that never comes, a resonant echo of life's self-perpetuating, ever-escalating cycles of anxiety and torment.
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MUS 306LP
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$32.00
PREORDER
RELEASE DATE: 12/6/2024
NYC duo Straw Man Army return with their third LP, Earthworks, to complete a trilogy of records begun with 2020's Age of Exile, and 2022's SOS. Whereas Age of Exile dealt with the haunted landscapes of colonial history in the Americas, and SOS gave voice to a crisis of the present moment, like a prayer in bewildering times, 2024's Earthworks signals the band's attempt to close this trilogy by turning their gaze towards the future, where paradox, complexity and contradiction spiral in ascendance to an agonizing pitch. While continuing to develop their own style of anarcho-punk, Earthworks finds the band pulling once again from jazz and ambient influences, expanded Krautrock rhythms, and post-rock experiments, with a stronger emphasis on melodic vocals and varied song structures than on previous offerings. Taking cues from the wistful anti-war harmonies of The Byrds and the angry melodies of Zounds, tracks like "Turn the Wheel" and "Second Nature" mark new territory for a group whose messages and methods of experimentation have merged to form a singular sound equally at home on All the Madmen Records or in the spiritual legacy of ESP-Disk'. "Earthworks" is an album that holds and subverts many contradictions -- juggling the weight of melancholy, grief, guilt, impunity, and the yearning for clarity against the backdrop of boiling wrath; the wrath of nature, the occupied, the dispossessed, and of the mind against itself. To quote the track "Spiral" -- "Is this all that's left for us these days? / Apathy and rage?" -- Straw Man Army offers this record as a companion to our frustration, our sickness, our despair, and a lifeline for our fugitive attention in the struggle for peace. Gatefold sleeve with a double-sided A2 poster.
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7"
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MUS 305EP
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RIXE is back with a four track EP, their most French material to date. Directly influenced by the drum machine punk which has been a standard of French punk since its first inception. RIXE trademark sound is still there but this unlike twist has expanded the band's sound beyond what any Herbert would expect. Keeping one boot firmly in the Camera Silens/Warrior Kids camp while the other one dances around Metal Urbain, Karnage, Butcher or even D-Stop and Mopo Mogo, creating an unlike threesome of fuckwave, OI! And pop music as infectious as their previous four EPs.
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MUS 296LP
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Lullaby for the Debris is the second album from Moses Brown of Institute's solo project Peace de Résistance. Those who loved Peace de Résistance's 2022 debut, Bits and Pieces, will be pleased to hear that much of what made that album so memorable -- the glam-infused art rock sound, the gritty yet richly textured production, and Moses's bluntly class-conscious lyrics -- carries over into Lullaby for the Debris. Yet Lullaby for the Debris also sounds more refined, more timeless than its predecessor, with "40 Times the Rent," "Coddle the Rich," and "Ain't What It Used to Be" all built around chooglin' Lou Reed-style riffs beamed in from the great rock and roll beyond. Elsewhere on the record, Moses's arty side shines through, with "The Funny Man" and "Pay Us More" full of uncanny sounds that invite the listener to bathe in their rich sonic textures. "I Am" and "You Are Absurd" move into a new territory Brown calls "despondent funk," their rubbery bass sounds and eerily progressive soundscapes evoking Station to Station-era Bowie, while the title track closes the album on a pensive note, landing somewhere between '70s minimalist composition and the mellower moments from Eno's solo albums. The real strength of this record, though, is Brown's ever-developing songwriting skills, which meld wry social observation and Crass-style confrontational politics to melodies you'll sing along with for the rest of your life.
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7"
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MUS 299EP
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The debut six-track 7" from Fulmine -- an international skinhead masterclass from some global drinking buddies. The five-piece band featuring Luca, Sarny, Alex, Chubby Charles, and Joe went into Fuzzbrain studio and cranked out six tracks in as many hours without a single rehearsal. The sound is very basic, rough and intense with lyrics that are very incendiary. This is proper old school mid paced Italian Oi! with the crunching bass and a vocalist who chews glass for that authentic gravel tone.
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7"
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MUS 298EP
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Brux are back with four tracks of their trademark sound. Four flanged out hard-hitting anthems, mixing the sharpest possible post punk with the roughest street rock'n'roll vocals. They keep their boots firmly pressed between two styles which seem polar opposites, resulting in new sounds made up of old formulas. Too angular for boot boys yet too crude for post punkers. Blending both blitz eras with death rock and current punk wave, and resulting on a fully formed band not afraid of displaying all their influences at once. Originally released by the band's label on a 100-run cassette at the end of 2023, this recording was simply too good not to exist on vinyl.
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LP
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MUS 042LP
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2010 release. The new wave of brutality and hardcore massacre has arrived. Tokyo punks Kriegshög are back with their first full length. After three lovable 7"s at LVEUM, they finally went for the album. Thirteen tracks of extremely bass-driven hardcore destruction. The recording is relentless, full of energy, and distorted. Yet, moving from the ultra blown-out recording of their earlier output. This is the band's most dynamic recording so far and in our humble opinion is destined to be a classic and genre-defining album. Second press of Kriegshög LP which La Vida Es Un Mus released back in 2010. Released in time for Static Shock Weekend 16 where Kriegshög will played their first ever European show. This time around the LP comes housed in a heavy-duty, paste-on board sleeve with heavy weight inner sleeve. Overall a top-quality packaging for a top-quality record.
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MUS 300LP
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Kriegshög is back. Five years after their last single and 14 since their debut album, the Tokyo Hardcore band finally delivers a new release. Love and Revenge is a record of consummate savagery and monster riffs. Picking up where the Paint It Black 7" left, and moving forward as a heavy toned hardcore record that finds the band in its own realm. While following the Japanese tradition of long running bands operating at their own pace and mastering their sound along the way. The band leave behind their speedier sound, moving now at a slower tempo but still pummeling their riffing sound. The incorporation of a new drummer, adds much more than a steady beat, amplifying the Kriegshög sonic experience. Their sound is still very bass driven, to the point of becoming nearly hypnotic -- quasi psychedelic at times, the guitar tone is crunchy and nasty and the vocal delivery has only got more brutal, with a glass eating demon on the mic conjuring the darkest side of your soul. Perfect for night rides into the abyss. Their influences are still there. With Kuro, Zouo, or The Clay shaking hands with the darkest '70s hard rock via Jerusalem and modern stoner rock via Kyuss or Sleep.
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MUS 290LP
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A decade after the international boom of the Iberian Hardcore scene and its subsequent decline, some members of the bands Orden Mundial and Barcelona, scattered around Europe, got together to form Lame, with Morreadoras' bassist on vocal duties. These seven songs were written in Mallorca during four days and recorded in pieces between Mallorca and Berlin shortly after. An instantaneous and fleeting project, quick and concise, with no time for regrets. A journey through the generalized madness that affects us from far and near; a mixture of reflections and blind head-butts against the padded walls of understanding. The loss of control, the loss of time, the loss of oneself and the loss of dear departed all meet at once. Resignation is death indeed. What does it sound like? Unabashed hardcore with a broad spectrum of current and classic influences. Serrated guitar riffs, mechanical deep bass lines and hypnotic drumming backing an extremely sharp and vile vocal delivery. It can remind you at times of Chain Reaction and GRB, of Rudimentary Peni and Nog Watt. All passed through a Mediterranean filter.
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MUS 273LP
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La Vida Es Un Mus first fell in love with Antwerp's Brorlab with an urgently abrasive EP which from 2020. Fast forward to 2023 and they are back with a totally out of control 12" of modern fuckwave. The A side is seven new songs of their trademark dadaist electronic punk, full of fuzz guitars and sharp nasty beats, with a vocalist that fits perfectly the Honey Bane-Chitose vocal range and smart attitude. The B side brings bang back to life the eight tracks from their criminally obscure debut EP, which will make any lover of ear-damaging noise smile with pleasure. All-in-all an aberrant slice of psychedelic gabber infused punk for the end of time.
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MUS 287LP
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Ragdoll Dance is the fourth album by New York-via Texas punks Institute. Most underground punk bands don't make four albums, but it makes sense for Institute. Even on their earliest releases, Institute's sound teemed with possibility, drawing from a long history of anarcho-punk, post-punk, and hardcore, and fusing those aesthetics with great, classic-sounding songwriting. Ragdoll Dance finds Institute back with their original lineup (including Albert from Nosferatu and Altar of Eden on drums) and returning to a DIY approach to recording, working both at home (using the same setup as singer Moses Brown's solo project, Peace de Résistance) and with Joe and Owen of D4MT Labs, whose gritty yet vital recordings have documented some of DIY punk's best contemporary bands. Institute also chose to work within the hardcore community to release the record. While Ragdoll Dance is culturally embedded in the world of DIY hardcore punk, musically it tends to move back toward the more eclectic sound of Salt and Catharsis. The album's title is a nod to Siouxsie and the Banshees, and Brown also cites arty post-punks Magazine as an influence on the record, which shows on tracks like "City" and "Where's It Go," energetic, left-of-center pop songs that challenge but also gratify. If you're looking for the savage young Institute, though, "Uncle Sam's Hate" and "Plateau of Self" crackle with raw rock and roll energy that few groups can summon, particularly groups with Institute's inimitable style, musical chops, and lyrical weight. While so many punk bands peak early, Institute has continued to refine these qualities, and Ragdoll Dance's assured tone makes it as vital as anything they've recorded so far.
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MUS 288LP
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Crashing dirty carnage somewhere between Neuroot, Ripcord, and Sacrilege comes Stingray's debut LP. Tin Savage barks his brutish textural east London drawl on top of unrefined metal-tinged hardcore punk veering between scandi wallop, jacked up amphetamine hardcore, and jaw snapping mosh lusciously and confidently. Recorded by Jonah Falco at Fuzzbrain Studios and mixed and mastered by Chris Corry in the Paincave, Fortress Britain is a ruthless and unrelenting blunt instrument.
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MUS 279LP
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Tube Alloys have made a type of record that is in short supply these days. A record that is untethered to prevailing musical trends, punk or otherwise, in either their native Los Angeles or further afield. It's in keeping with a tradition, sure, one pioneered by bands like Wire, Swell Maps, and This Heat, who sought to combine the vitality of punk music with an omnivorous ear for the avant-garde. But Tube Alloys honor this tradition with their disinterest in nostalgia and their ability to cast an irreverent eye towards our present and -- crucially -- our future, rather than endlessly rehashing our past. In short, Tube Alloys are adventurous where many of their contemporaries are content to play it safe. In doing so they tick a lot of boxes for those with open minds and open ears, while simultaneously making sense of the innate contradictions found in any great work of art. Their songs are muscular without being boneheaded, clever without being nerdy. A dry Australian humor is barked with an American sense of self-assuredness. Songs end before you've had a chance to digest their brilliance, or they explode right when you think they've already peaked. And just when you think you're comfortably along for the ride, the songs disappear altogether, and the record's centerpiece abruptly takes shape as an oblique spoken riff on "Time." And time it is, for something a little different.
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7"
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MUS 281EP
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JJ & the A's release their debut six-track EP and it's a barrage of punk nuggets that explode out of the speaker. The treble is on full and the bass down low as the Danish/Barcelona power-punk band unleash hell and fury. This is punk from the golden eras of the late '70s and early '80s and even a bit of early '90s from people who have been involved in hardcore scene for all of their adult lives. It's relentless and is an absolute fireball of speed and energy. Think a mix of Gorilla Angreb, Screamers, Spits, Rip Off Records, and those classic Killed by Death 7"s that now are worth thousands. Get your dancing shoes on and enjoy every last second of this gem that came out of nowhere.
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MUS 277LP
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Bursting through the door with a raw martial snap, Spirits Di Lupo blast out snarling anarcho-hardcore anthems inspired by the raspy maniacal sounds of the '80s Italian punk greats and the sloganeering/passionate-rant lyrical delivery style of the UK's legendary anarcho punk scene. A riveting combination that doesn't pull any punches and serves to highlight the beauty of the world rather than dwell in the brooding fodder that usually haunts those genres. Catchy, rudimentary and ecstatic music of the highest order.
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MUS 249LP
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Barrera follows up the Nuevo Sonido Balear path started by Orden Mundial, Pou and Pena Máxima with a debut release filled to the rim with lust, sex, power, and distortion. Their songs are slow and acidic, with a tortured tone that would make Gloom or Brainbombs cry. The seven songs on Visiones Nocturnas are themed around the death of romantic love and are not afraid to look at the darkest side of life with a nihilistic conviction. Musically the record follows the path laid by Stickmen With Rayguns or Flipper but are firmly rooted in Spanish punk with Desechables as a clear point of reference, both aesthetically and sonically. Although Barrera occupy their own space with a sound that is clearly their own nightmare. Recorded and mixed by Chano Morales at Impala Uno Studio, Mallorca. Mastered by Shigenori Kobayashi at Noise Room, Tokyo. Artwork by Barrera.
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MUS 253LP
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"Hurtling out of Lesser Poland full of indignant rage and armed with defiant conviction come Lublin's OHYDA with a third LP that puts Kaczyński and his PiS cronies to shame. The legacy of Polish forefathers Dezerter lurks behind razor-sharp riffs and tightly-wound drums, but this record is no mere exercise in homage paying. Where other efforts may hide behind prescriptive cacophony, OHYDA leap out from the dark with a sound that is both cleaner and more considered while somehow remaining belligerently heavy and grotesque. Such is the catchiness that loiters beneath the swell of this tortured LP you might even pick up glimmers of TZN Xenna's 1985 7" Dzieci z Brudnej Ulicy. Right-wing populists and pro-lifers are amongst the victims who are dressed down with both fury and absurdity. There's also an entire tune that goes after Kaja Godek, which deserves a round of applause in itself. The band's best work to date." --Christopher Dodd (Bad Breeding). Pan Bóg Spełni Wszystkie Pragnienia Lewaków... I Dojdzie Do Katastrofy! was recorded at the local Culture Center (CK Lublin) by Dariusz Kociński and mastered by Jack Control at Enormous Door Studios. Sleeve art by Dziki, mincing the head of Kaja Godek, a prolife/anti LGBTQ+ activist, with lettering help from guitarist Mike Champagne.
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7"
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MUS 270EP
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SIAL returns with six tracks of back-to-back pure hardcore assault. Repetitive riffs and unrelenting screams will have you under a spell and bound for a very dark place. This record takes influence from all their previous releases, holding true to the classic sound of raw punk and made it their own- just the way it's meant to be. Behind the harsh energy of SIAL lies a deep-rooted resistance towards a state system that only benefits the rich and the majority race. "Sangkar" means "Cage" in English -- a place full of anxiety and violence. Home is Nowhere. No one is safe. Recorded in October 2022 at Project 416, Singapore. Recorded and mixed by Izzad Radzali Shah. Artwork and layout by Izzad and Hafiz. Mastered by Will Killingsworth (Dead Air Studios).
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MUS 259LP
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Following up their 2020 EP Barcelona, Irreal delivers eight troglodyte anthems of radikal hardcore punk. Borrowing heavily from the Hear Nothing era Discharge and echoing equally Suomi classics Destruktions/Mellakka and AOQ demo era Cro-Mags, Irreal creates a maelstrom of hypnotic feedback. Era Electrónica Catalan and Spanish anarchist lyrics bind the bands primitive sonic assault, delivering a modern hardcore punk record without an ounce of modern attitude. Punk as it is meant to be; nasty, aggressive, political and uncompromising. Recorded, mixed and mastered by Markus at No Master's Voice in Copenhagen. Cover art by Arturo PS.
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MUS 254LP
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Chicago's Mock Execution return with nine tracks of unadulterated sonic aggression. Their debut LP Killed By Mock Execution takes cues from the dirtier sides of both Finish and Japanese hardcore while keeping their engineer boots firmly set on the traditional UK crust sound of yesteryear. Executing a magnificent hybrid of Doom and Gloom, Gai, Kaaos, and the entire early 2000's Crust War catalog, Mock Execution tear through flanger solos, huge crash cymbals, burly driven bass and No Security split era intros and that's only part way to the band's sound. Recorded by the band on an 8-track tape recorder at their tiny practice space, during the height of global pandemic and civil unrest in the USA between 2020 and 2021, and graced with artwork by the inimitable Monykaos.
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MUS 208LP
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Debut seven-track album from half-Melbourne, half-NYC Soakie. It's total no nonsense blistering, fast, and energetic hardcore with a vocalist that sounds like she has been chewing on glass every day since birth. She has a real rasp and anger that is part Nick Blinko (Rudimentary Peni) and part Vi Subversa (Poison Girls) but the music is totally pummeling and would sit perfectly for those that love pogo punk, Teddy And the Frat Girls, The Feederz, and Good Throb in equal measures. "Boys On Stage" is a real standout with the lyric "There're too many fucking boys on stage" sticking in your head from one listen. Soakie was recorded by James Rumsey and mixed by Ian Teeple who also took care of the artwork. Includes A3 lyric insert.
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MUS 252LP
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New York's Straw Man Army return with SOS, the follow-up to their 2020 debut LP, Age of Exile (DM4T 001LP). Emerging from the D4MT Labs group that also includes Kaleidoscope and Tower 7, Straw Man Army's delicate musical touch, embrace of melody, and rapid-fire, clearly articulated vocals separate them from the louder and noisier end of New York's fertile punk scene. While Age of Exile examined the legacy of colonialism through the musical milieu of melodic anarcho-punk, SOS turns its attention to the increasingly bleak prospects for the human race and planet Earth. While Straw Man Army's lyrical approach remains dense and thought provoking on SOS, their musical scope grows wider, encompassing Age of Exile's melodic take on anarcho, bleak and brooding post-punk, psychedelic instrumental excursions, and even the wistful pop of album highlight "Beware". SOS is everything Straw Man Army's fans could have hoped for in a follow-up and so much more, cementing the band's status as one of the most original, exciting, and important groups in the contemporary punk underground.
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Cassette
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MUS 247CS
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Cassette version. It's going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of "Unlawful Execution", the tone is firmly set by a song that addresses the brutality of the Met Police. "Come See Me" is a ferocious ode to camaraderie in the face of mouthy boneheads and bell ends. "Shit Life Syndrome" is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse. It's one of many songs influenced by singer Cal's experiences of growing up in the working-class town of Blackpool. With tunes like these The Chisel show that they'll never pull any punches. However, beyond the fury and the swagger there's another side that plays to an additional strength; the ability to write a memorable hook. Songs like "Retaliation", "Tooth & Nail" and "Not The Only One" could be described as modern day anthems (the latter has become a fan favorite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Retaliation is 14 tracks of dance floor-stomping-working class Chisel-music. Here and now, The Year of The Chisel. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021. Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.
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CD
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MUS 247CD
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It's going off and The Chisel are back to cause a bit of bovver. Following a trio of explosive singles, the band finally bring us their debut full-length album, Retaliation, on the London-based punk institution La Vida Es Un Mus. Having formed in early 2020 and featuring a crew of members with long-term associations to the London punk scene, The Chisel quickly secured a reputation as one of the most exciting bands from a pool of contemporaries that includes Chubby & The Gang, Stingray and Big Cheese. Their sound is rooted firmly in punk but with influences that run across the board to create a distinctive blend of Oi!, anarcho, UK-82 and hardcore. Retaliation is an unmistakably British record that draws a line from 1982 up to the present day, pushing its way into your collection and torching your stereo. Opening with the agitated force of "Unlawful Execution", the tone is firmly set by a song that addresses the brutality of the Met Police. "Come See Me" is a ferocious ode to camaraderie in the face of mouthy boneheads and bell ends. "Shit Life Syndrome" is a poisoned reference to the same cynical phrase used by physicians to describe the effects of people living under poverty and in the grips of substance abuse. It's one of many songs influenced by singer Cal's experiences of growing up in the working-class town of Blackpool. With tunes like these The Chisel show that they'll never pull any punches. However, beyond the fury and the swagger there's another side that plays to an additional strength; the ability to write a memorable hook. Songs like "Retaliation", "Tooth & Nail" and "Not The Only One" could be described as modern day anthems (the latter has become a fan favorite since the arrival of their first live shows) and cement their identity as a band not to be defined by their influences. Retaliation is 14 tracks of dance floor-stomping-working class Chisel-music. Here and now, The Year of The Chisel. Recorded by Jonah Falco at Total Refreshment Centre, London, March 2021. Mixed by James Atkinson at the Stationhouse in Leeds. Mastered by Daniel Husayn at North London Bomb Factory. Cover painting by Tara Atefi.
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MUS 244LP
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"Charlottefield put you on alert -- ears pricking, pupils dilating, fur-on-end -- like all the good stuff does. It happened every time I saw them. Fizzing and spitting like power lines in fog, tendons bulging through your skin, moments of calm, rip currents of color. Sometimes you think you're staring into the heart of the machine. Then panels shift, cogs twist and you're facing in the opposite direction. Some kind of elastic relationship between guitars, drums and voice, desperately pulling away and snapping back to the center. Disorientating and beautiful. I wish I could see Charlottefield again. Once more." --M Edward Cole White vinyl.
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