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viewing 1 To 25 of 39 items
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LP
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MUS 231LP
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$25.50
PREORDER
RELEASE DATE: 4/23/2021
It's a stark and baron land out there right now. What everyone needs is some fucking loud, fast, uncompromising raw punk to drown out the constant bullshit being broadcasted as 2021 develops. Both following up storming debut LP's with five new tracks plus a local cover each, Nervous SS and Rat Cage clash head-to-head on this 12-song barrage of hell for leather punk rock. The Nervous SS side (Skopje) undoubtedly wears a Totalitär influence on its sleeve, but combine that sweet sound with a complete powerhouse vocal bombardment that sets Nervous SS a cut above the rest. Flip to the Rat Cage side (Sheffield) for a rapid attack of Scandi riffs with the relentless urgency everyone has grown to know and love from the band. The side ends with a U.K. Subs cover, clearly displaying Rat Cage's classic British punk influence. With Master dials set firmly to "destroy mode", this record will be your savior in these dark times. Crank it.
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MUS 077LP
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2020 repress, originally released in 2013. Barcelona's Belgrado return with their second album Siglo XXI and first for La Vida Es Un Mus. The 11-track album melds dark and dreamy goth and post punk with a stunning and clear production. The bass leads and drives each track into the batcave whilst the vocals yearn and ache on top. This record has a clear '80s English influence (Killing Joke, Vex, A Touch of Hysteria, Blood and Roses, etc.) but it also very modern-day Barcelona with the reverb as important as an instrument and totally DIY. 2011's excellent self-titled LP has been bettered in sound, production and song. The LP comes in a thick black and white sleeve with artwork from drummer Jonathan Sirit. Also includes a 30x30 insert, an extra lyric sheet and a 40x55 poster.
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7"
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MUS 221EP
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Nekra's ripping and long awaited follow up to their demo blisters and pummels through five tracks of punishing punk. Tight tempo changes bracket blasted, buzzing guitars, rumbling bass, reckless drumming, and powerful vocals. Five tracks and no mercy!
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MUS 224LP
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It's not surprising that Hekátē chose their name after the ancient Greek goddess Hekate, the deity of the underworld, witchcraft, nighttime and crossroads. Hekátē are four women coming from different paths, all of which converged in the Spring of 2018, and met at the great crossroad of Athens' eternal night. Their music is multi-referential, an explosive mix of their magic potions. The heavy, melodic bass establishes the base of their post-punk sound. The drums derail it where necessary. The synths, more electric than electronic, can be heard distinctly, at times leaning towards a smarter new wave but also giving a wink at garage rock. The vocals sound like an enraged, rhythmic recital tight-roping along the melody. As a result, their eight tracks move along a scale, starting with melancholic, urban hymns and ending in anxious, frenzied chases, all tied together with a ceremonial atmosphere. The record title, Μέρες Οργής (Days of Wrath), is a translation of the Medieval hymn "Dies Irae," which warns of God's wrath, which will come down on the people during the second coming. Through their lyrics, Hekátē turn their wrath towards God, the people who created Him and the constricting world those people sustain. It starts out like a cry for help and climaxes into a war cry. Hekátē's war cry is the voice of a generation of emancipated women in motion. With few similar examples across the Greek scene, it comes as the result of their own liberation and of the many who came before them, paving the way. As political beings, Hekátē cannot but reflect their own gender identity in their music. An identity that -- whether on stage or on record, or out there in the high-speed jungle of Greek society -- expresses emotions from discomfort to aggression, as it is by definition obstructed by outdated and invisible privileges. For those who don't wish to understand, they explain it, cut and dry, with their track-manifesto "Soapbox," reminding them: "You think you see me? Well, you see shit!" However, do not be disheartened. Days of Wrath is not some wooden, incomprehensible declaration of ideas. It is a deeply poetic, atmospheric record, doused in cloudy melodies that know when to hit the gas to carry the listener to the other side.
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7"
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MUS 206EP
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"Over three years ago the band Barcelona entered the studio to record what was originally planned as a double LP. As the genius that they are, they managed to record around 25 minutes of their trademark 'extremo Nihilismo' sound. A high concept sonic vomit somewhere between Cro Magnon, Iskra, No Trend, and Petra De Fenetra. Comfortably sitting on the crossing between hi-brow conceptual art and low-brow delinquency. In the intersection where the Exploited meet the Incus catalogue as if Tony Oxley and Ian Brighton were jamming with Wattie and Big John. The recording was eventually (and conceptually it seems) split into two records. The first one being Un Último Ultrasonido Nació Y Murió En Barcelona (MUS 138EP, 2017) and the second one Residuos Del Ultrasonido released now a mere three years later. Loads could be written about the painful process between both records but let's just focus on the recording and be clear: Residuos pisses all over its predecessor. The songs are full of spite and power with the level of vileness reaching new levels on this eight-track 7" EP. Listen to 'Higiene' or 'Salvajes' and tell me they are not some of the best Barcelona songs ever. As always, artwork taken care by Oriol Roca, a person I look forward to never hearing from again." --Paco Mus
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MUS 222LP
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$22.00
PREORDER
RELEASE DATE: 9/18/2020
Subdued unleash their crushing debut album and not a moment too soon. In these dark and bleak days of 2020, they deliver a perfect album of classic anarcho punk with gothic tinges. Impassioned vocals, raging guitar work that ranges from straight ahead to every-so tinted flanged sounds mix with a locked in, energetic and relentless rhythm section. There are moments of quiet and calm, spoken-word vocals and metallic edges that just add to the tension and intensity. If someone told you that this was released in 1986 on Mortarhate, you wouldn't be surprised. This album, along with Bad Breeding (2016) are setting the bar for a new golden age of anarcho punk in the UK. This album deserves a place in your collection next to Icons Of Filth, Anti Sect, Vex, and Exit Stance. Includes 16-page lyric booklet with art by Nicky Rat and Jack Sabbat.
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MUS 210LP
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Absolutely reckless and compressed hardcore punk rock, full of jumps in register and micro-shifts in timing. Based in Barcelona, and powering through ten songs in their mother tongue of Catalan, this livid and catchy record is like Motorhead at 78rpm with the vocal phrasing of the Peggio Punx or Indigesti. Sounds like the bass is made of wiggly melted down Gitoni players, and the guitars have Big Muff pedals wedged in the amplifier cones. Punk at this level of disheveled velocity and excitement is a rare art.
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MUS 213LP
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Bogotá's Muro and Mallorca's Orden Mundial have been flattening audiences all over the world with their unrelenting passion and energy. Now, one of the mightiest of all possible pairings in today's already delectable world of hardcore/punk is available for the worldwide community of underground music. Recorded in Berlin in the icy grips of winter 2017, Orden Mundial devastate the A-side with a uniquely southern Spanish take on some classic American HC tropes like the buzzsaw sensibility of Boston Not LA era Jerry's Kids, part noisecore a la Confuse, all blended with a dirge-y desperation that "Side B" era Blag Flag would leap upon with utter enthusiasm. Muro follow with an equally massive grip of songs in their uniquely "Muro" style. This is punk music only they could have made. Bursting with aggression and sadness, this is manic and dynamic hardcore at its best eight-page booklet by Bernat Mundial.
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MUS 211LP
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The latest record from London's Permission perfects their thin savage sound that they've been refining for three records now. Restless manic hardcore, squirming with fury. While some hardcore attacks with sheer force or repetitive brutality, Permission's riffs whip back and forth like loose firehose, and though there may be some spiritual ancestors in the likes of weirder, more discomfiting ends of '80s hardcore like Die Kreuzen or Mecht Mensch, Permission's angle of attack, their style of itchy marshalled chaos, unpredictable yet never disjointed, is very much their own.Organised People Suffer sleeve and poster designed by guitarist Ralph Simmonds with a lyric insert designed by drummer Lloyd Harris.
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7"
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MUS 209EP
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Algara's first communiqué vomits in the face of moderate leftism; encouraging class war and insurrection, and wanting the total annihilation of police forces. Home recorded in a Barcelona Squat, the production of their debut four-track EP is minimal. Algara deal in stark and sparse sounding post-punk that hints at Crisis, early Decima Victima and Joy Division in equal measures. The lead guitar is brittle and skeletal, and sits perfectly on the driving rhythm section, made up of a primitive drum machine, creating a sonic background for their message to be heard. Algara has expanded into a four-member band since this recording and is currently performing live while working on an upcoming LP.
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MUS 199LP
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Sophomore release by Lublin's Ohyda. Picking up where their self-titled LP left in 2016 their new 12" ups the feedback, aggression, and psychedelic-infused hardcore of their previous release to new levels. Sonically Ohyda are dark and anthemic, with a ferocious guitar tone and delay vocals backed up by an extremely solid rhythm section. Not afraid of riffs or creating atmospheric passages leading to explosions of noise full of nightmarish visions of the current world. Imagine Abaddon meeting Hawkwind at Jarocin Festival then using Cress's gear to write an album of distorted, quasi industrial hardcore. If the class of 1984 Polish hardcore had dreamed of what the future would sound, it will be close to Koszmar.
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7"
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MUS 207EP
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On the A side the Madrid power trio puts music to a poem of José María Gabriel y Galán (1870-1905) turning its melancholic prose into a mid-tempo punk beauty with surf guitars and deep bass tones. A chance meeting of Spanish Costumbrismo and kitsch as seen on the song's video. The flip side "Problemas, No" brings back to life Video's minor hit from 1983 updating the synth pop of the original to a sharp upbeat punk jam which will have you dancing your shoes off. Includes a lyric insert.
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MUS 205LP
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So much to sink into on this debut long haul with the elusive NYC skirmishers. Lean, concise, often juxtaposed songs and interludes are deftly thatched together to make up the majority of Side A, with dense, drowning-world electronics on tracks like "Heavy Weather" clearing the skies for jovial anthems like "New Country" (which totally rings the same joyous bells as Yuzo Iwata's "Gigolo") and the grittier, barnacled basement ethereality of "Sleep The Trees". The restrained fury in the opening minutes of Side B at first recalls the slow-stirring storm clouds on that shadow-cast Blodarna 7", the thought of seeking shelter only arising as proceedings are adrenalized and escalated into what feels more akin to listening to Amon Düül perform kali ma on the guys from Pelt in some subterranean death church. The closing trio of "So", "Far", and "Down" tunnels on and takes place as some sorta on-acid-and-caught-in-earthquake rite, that sees the volcanic pounding intensify and whatever THAT sound is (bass guitar?? some demonic synthesiser??!) begin to envelop everything like the swelling of oblivion -- any brief interval between tracks serving only as a moment to observe your own mind try to scramble its way out of the slowly opening sinkhole. Bonkers. Slender channels the same wild and earthy desire for experimentation as such un-pinable, sleeping giants as Cro-Magnon, Blumen Des Exotischen Eises, The Fates, or Moolah. Cover art by Emil Bognar Nasdor. Eight-page booklet by Eugene Terry; A2 poster designed by Keegan Dakkar.
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MUS 203LP
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Athen's Chain Cult return with their first full length following a great Demo (MUS 169LP) and 7" (MUS 175EP) from 2018. Shallow Grave shows the progression of a band who have played non-stop for two years, covering pretty much all of Europe. Chain Cult's post punk is anthemic, militant and idealistic, putting music to a very dark and bleak time and place. You can hear echoes of early The Cure, The Sound, Second Empire Justice-era Blitz, or Wipers in their music but also the passion and conviction of locals Metro Decay, Stress, or Anti... Very much a perfect reflection of what springs to mind thinking about the current Athens scene.
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7"
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MUS 204EP
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Barcelona's Lux returns with a new four-track EP and it's pogo thrills the whole way. It's raw, tight, and primal. It perfectly captures the sound of a classic and much loved UK82 release with a basic production and foot to the floor energy. Standouts include "Action" which sits next to the first two singles by Vice Squad and The Expelled. "Mañana", which is more up-tempo, shows a love of Action Pact and all things Riot City Records. Simplicity done well is a hard thing to do but Lux do it without any problems. Comes in a colorful sleeve designed by guitarist Nico; includes lyric insert.
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MUS 198LP
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After two albums and an EP on Southern Lord and Svart Records, Finland's Kohti Tuhoa unleash their 12-track LP Ihmisen Kasvot on La Vida Es Un Mus. Ihmisen Kasvot presents killer songwriting with influences ranging from powerful Killing Joke -- like tom-tom beats to fast-paced hardcore punk á la Impalers -- with several nods to classic Finnish hardcore punk bands, such as Varaus. The 12 tracks paint a picture of an overpopulated dystopian world that's being slowly destroyed by self-centered human behavior, delivered with Helena's piercing yet versatile vocal work. Recorded at VR Studio in Turku, Finland. Mastered by Jack Control (Enormous Door). Comes in a sleeve painted by artist Jaakko Karjula.
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7"
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MUS 197EP
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Formed in Madrid in 1979. Influenced equally by Dadaism and Futurist ideas as by the contemporary sounds of bands such as Devo, Throbbing Gristle, or Cabaret Voltaire, they started creating their own brand of electronic music. Soon after the band won the third prize of a local Battle of The Bands show and were given a record deal as a prize that resulted in La Chica De Plexiglás 7" (Movieplay, 1980) and La Vision 7" (Movieplay, 1981) both of which were recorded at the same session with a third 7" recorded but not released at the time. Faced with the total lack of interest showed by the label and feeling alienated in a music world which wasn't the one they dreamed of, they decided to do what dozens of their peers were doing worldwide; They started their own label, Discos Radioactivos Organizados (DRO) following the steps of Factory or Industrial Records. Faced with the exit of three members who left the band to form a more radical band (Esplendor Geometrico), Aviador Dro entered Doublewtronix studios to record Nuclear, Sí, marking the birth of the independent music industry in Spain. The four tracks on the EP became instant classics with "Nuclear, Sí" being the absolute standout track, while "Varsovia en Llamas", "Sintonia Del Refugio Atomico", and "Godzilla" were perfect nuggets of synth-punk who remain amongst the greatest Spanish pop songs ever. Originally hand-assembled, hand-colored, self-released, and distributed in the total DIY spirit, the first release of DRO remains a perfect example of what a bunch of teenagers can achieve armed with just their youthful energy and idealism. Nuclear, Si, was repressed three times and has been out of print since the early '80s. This reissue of 500 radioactive green vinyl comes out in the year that Aviador Dro celebrates its 40th anniversary.
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MUS 202LP
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20 years ago, Disclose released their response to the greatest hardcore 12" ever released: Discharge's Why (1981). At the time the band was at the peak of their Discharge era and had perfectly crafted a trademark sound, which shows through on the recording. The chainsaw-sounding double-toned guitar, Kawakami's unmistakable vocals, and a rhythm section firmly based on the Stoke-On-Trent's beat melded together to create a repetitive mantra-like noise chant. Recorded at Grove Cargo and mastered at Studio D-Takt by Jan Jutila, the production is a perfect example of noise not music pressed into vinyl, with both high and low frequencies cutting through the mix without losing any power. Lyrically, Nightmare Or Reality focuses on the tragic sights of war while aurally the record is a full-blown attack on all senses. D-beat, raw punk at its best. 20 years on and many times imitated but never duplicated. Originally released by MCR Company, this 20-year anniversary official reissue comes in a printed inner sleeve and heavy board outer sleeve.
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MUS 201LP
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2019 saw Irreal face guitar player changes. With a new line-up they entered studio with Dani Frutos to record the nine songs on Fi Del Mon. Nine tracks or urgent hardcore punk continuing the tradition of modern Barcelona hardcore while keeping an eye in Finnish hardcore and which are not afraid to turn the speed down to a pace that could bring to mind mid-paced Discharge or Cro-Mags. The riffs are thick and crunchy, full of feedback and distortion, backed by a solid rhythm section and an assertive Catalan voice.
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MUS 200LP
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Official reissue of No Side, the debut from seminal Japanese hardcore band The Comes. Originally released in 1983 on Dogma Records, a newly created City Rocker's side label to release hardcore/hard punk, No Side remains a milestone of first wave Japanese hardcore. A vital document to understand the days when the Tokyo hardcore scene was small and unknown with G.I.S.M., Execute, Gauze, and The Comes as main runners. Bands who shared stages, record labels and who grew to be one of the most varied, influential and enigmatic punk scenes of the planet. The Comes' music is frantic and sharp punk, bass-driven and manic sounding with vocalist Chitose's aggressive vocals punctuating every syllable and dominating the tunes. Like most first wave hardcore acts, they own their own sound. And although many times imitated, it has never been matched. Comes in an old-school, paste-on board sleeve with a faithfully replicated insert.
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MUS 194LP
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"Kaleidoscope's new LP swells unsteadily into existence, with the tinkle of half-jazzy drums filtering through an industrial gloom. It's a sign that what is to come isn't your standard down-the-line hardcore offering. Title track 'After The Futures ...', for instance, opens with a languorous guitar stab that wouldn't be out of a place on a drone or noise record, a brooding rumble like a distant closing door in an warehouse, before the song tumbles into gear, Shiva enunciating the lyrics with a sharp-tongued Jerry A-like clarity. From the chomp of 'Sigint --> E.K.I.A.', the deathrock swells swooping out from the itchy insistent guitar line of 'Crocodile Tears' to deep thrum of 'Soft Cage', After The Futures ... is full of moments of punk broken and reconstituted, familiar structures and beats rearranged in the uncomfortable clamor into something wilder and weirder. It's about sustained tension before a riff kicks in, a solo looking like it's about to soar before being broken sharply off into a thorny keening. A punk record fractured and sliced-through, twisted into fresh shape and shining with a razor's gleam." --Joe Briggs
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12"
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MUS 195EP
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Obsessió's debut is a blast of crude hardcore. Formed during the extremely dark times of August of 2018 and based between Athens and Barcelona the band first statement is an eight-track 12" at 45rpm which knocks you down with the first chord. Kindly indebted to the living legacy of Totalitär, Crudity, and other Nordic Beat greats while keeping an unmistakably modern swagger. Breakneck pace and musical manufacture care of three Greeks who have set the stage for Angela's no doubt bleak summary of the world in a distinctively intimidating and minimal powerhouse voice.
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7"
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MUS 192EP
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Tokyo powerhouse Kriegshög returns with a two-track 7" of distorted hardcore punk perfection. Facing a line-up change the band sound was altered slightly after the previous guitarist quit. The new line-up may have taken the guitar fuzziness a notch down in favor of a crunchier guitar tone but amped-up the songwriting to the next level with an overdose of riffs, attacking each note with their ferocious venom. These two tracks display both sides of Kriegshög perfectly, a mid-tempo bass driven four-minute banger backed up by a classic destructive sonic jam with the gnarliest punk vocals out there.
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MUS 196LP
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Texas's Nosferatu unleash their first full-length of hardcore ramped-up into its highest echelons of breakneck propulsiveness, whizzed-up and faultily-wired, a tumbledown chaos of Siege-like flurries, whipping about with Die Kreuzen sharpness, or the more modern uncompromising flailings of Permission and No. Ugly barks, murky blurs of riffs slammed into you with the force of a bomb-blast. Barely room for breath, most of the tracks snapping off with little ceremony, apart from on the "Under The Sun" which drags that grimy noise out into a grubby itchy monster three times the length of most of the other tracks on the album, and on the apocalyptic stomp of the closer "Solution Absolute".
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MUS 189LP
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Oakland's KHIIS, on Bezoar, their first full-length record, unleash a torrent of killer riffs, building songs of purpose and power, absent of the chaos and noise that engulfs many modern hardcore records. While such noise obviously has its place in the canon of punk and its raw machinations, KHIIS know they don't need the obscurant balm of feedback, they stand clear and robust, simply put: they've just got the fuckin riffs. Similarly, the vocals are declamatory and forthright, not wild ghosts of delay and reverb, determined attacks, stark in their fury. KHIIS charge mightily through nine striking tracks of thick, full-blooded hardcore punk, taking no prisoners. Jacket design by Ji Hwan; Includes 11X11 insert and A2 poster by KHIIS' guitarist Austin M. Recorded and mixed by Greg Wilkinson at Earhammer Studios. Mastered by Will Killingsworth at Dead Air Studios.
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