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MR 479LP
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$28.50
PREORDER
RELEASE DATE: 11/14/2025
Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Tougher Than the Rest is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events would be like. "The Cigs, The Light, The Coffee and Crying," the LP's first single, features a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Dharmacide's sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. Their sound is influenced by today's bands like Diiv, Warpaint, or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds, and Tom Waits.
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MR 484LP
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$28.50
PREORDER
RELEASE DATE: 7/18/2025
Electròccid àccid alquimístic xoc marks a shift in Pau Riba's sound -- now electrified and fully embracing rock under the influence of artists like Lou Reed, Ray Davies, and Kevin Ayers. Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. First vinyl reissue in over four decades! The magical "Dioptria" had been left behind. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied Riba a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. The core of Electròccid is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie -- fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom -- and vice versa.
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7"
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MR 7391EP
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$15.50
PREORDER
RELEASE DATE: 7/18/2025
This is one of the most obscure singles ever released in Venezuela in the '60s. The outstanding The Pets' original "El entierro de un hombre rico que murió de hambre" is one of the finest garage tunes to emerge from Latin America. Their stunning take on The Door's "Hello, I Love You" takes the B side. A garage DJs favorite! First time 45 reissue, audios remastered from the original tapes. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, and Paul Revere & The Riders.
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5x7" BOX
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MR 7388EP
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$83.50
PREORDER
RELEASE DATE: 6/13/2025
Décima Víctima were a Spanish band that, during their short-lived career, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This box set comprises all the singles released by the band throughout their career, from 1982 to 1984, now reissued for the first time in their original format. The artwork has been updated by the band members themselves, and the set also includes a 12-page booklet. Limited edition of 700 copies. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. The story of Décima Víctima started in 1981, with Carlos Entrena, rehearsing with Lars and Per Mertanen, and a drum machine, in the cellar of the Mertanens' house in Madrid. A few months later they made their first studio recording, a demo recorded on a 4-track. And shortly after, with their friends from the band Esclarecidos, they started the independent label Grabaciones Accidentales (GASA) and were able to start releasing their own records. Their first single was released in 1982, featuring Lars on drums. Shortly after, Esclarecidos introduced Jose Brena to them and he joined Décima Víctima as drummer.
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MR 483LP
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$27.00
PREORDER
RELEASE DATE: 6/13/2025
Gusano mecánico has become a coveted collector's item, highly valued by music lovers worldwide. It has been included in 5001 Record Collector Dreams by Hans Pokora, receiving the highest rarity rating and hailed as a musical masterpiece. It was released in 1974 by the legendary Bolivian rock band Climax and was a big leap from their early recordings, where they paid tribute to their musical heroes. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country. Gusano mecánico explores themes such as the loss of personal essence and the vindication of indigenous peoples. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Álvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. They quite literally brought psychedelic and prog rock to Bolivia by carrying new, experimental vinyl records in their luggage, at a time when rock music (and music in general) had very limited exposure due to the scarcity of media resources. Their musical project reflected their influences and laid down the first traces of what would later be called heavy rock, a genre that never achieved widespread popularity in Bolivia. Climax embarked on a prog rock journey, exploring themes such as the loss of personal essence and the vindication of indigenous peoples. Their rebellious discourse opposed the mechanization of humankind brought about by past decades of industrial exploitation in which they resist being absorbed by the system. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country.
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MR 476LP
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$27.00
PREORDER
RELEASE DATE: 5/9/2025
Siniestro Total were a Spanish punk band formed in Vigo in 1981. Their debut LP ¿Cuándo se come aquí? is regarded as one of the best Spanish albums from that era. Acto Fundacional is the recording of their first ever gig in December 1981. It comprises original songs and versions that would also become the band's live repertoire in their early years. Four songs played that night never made it into any of Siniestro Total's LPs. A big commercial success accompanied the band for over a decade, until the mid-late '90s, when the popularity of the groups from the so-called "movida madrileña" and other similar scenes from other parts of Spain such as Galicia, where Siniestro Total were formed, faded away. While Julián Hernández would remain as the front man of Siniestro Total, the other members of the original line-up of the band would later take part in other well-known musical projects such as Golpes Bajos, Os Resentidos, and Aerolíneas Federales. Many of their best and most popular songs, reflecting the punk and fun essence of the band, were written in the early days of Siniestro Total. The show on this album took place at Vigo's Cine Salesianos in December 1981, as part of a festival called Nadal Rock, in front of a small but enthusiastic crowd. Four songs played that night never made it into any of the band's LPs: the instrumental intro, "Bomba atómica en Policarpo Sanz" -- a cover of the Jam's "A-Bomb on Wardour St." ? "Isla Tropical," and "¡Un, dos!" -- the Specials' "Little Bitch." But the most outstanding revelation that night was maybe Germán Coppini proving himself to be a talented frontman, sporting a stunning voice and a sarcastic and cruel attitude on stage. Right at the end of the show the band was asked to play the irreverent "Ayatolah!" again and, although not crazy about the idea, agreed to do it as a treat to the small crowd, made up mainly of friends. At that very moment the band realized they had a big tune there. "Ayatolah!" would become one of Siniestro Total's anthems from that night on.
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MR 477LP
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Discover the groundbreaking sound of Los Texao, a legendary Peruvian rock band that helped shape the music scene in the 1970s. Their music fused the energy of psychedelic rock with Latin American influences, captivating audiences across their native Peru. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. This release comprises their complete recordings, including all their singles and also covers of some of the most influential rock bands of the era, most of them previously unavailable on vinyl. Born in the culturally rich city of Arequipa, Los Texao's journey to stardom was paved with innovation, passion, and an undeniable connection to their roots. Formed in 1969, the band took their name from Arequipa's emblematic flower, the nasturtium, and made an immediate impact with their debut at a local band contest. Soon after, they recorded their first 45 RPM single, which included covers of tracks by Chilean group Los Beat 4. But it was in the early '70s when Los Texao truly found their voice. With a dynamic lineup, including the talented Fernando "Feño" Humbser and Juan Núñez on guitar, Víctor Dibán on vocals and bass, and Edgar "Chito" Manrique on drums, their musical evolution began to take shape. The addition of Julio Torres, a keyboardist and guitarist from the iconic bands Los Beatniks and Los Dig It, further elevated their sound. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. They embraced the emerging trend of playing rock in English, despite the language barrier, and incorporated cutting-edge gear. With the help of the legendary Peruvian jazz musician Jaime Delgado Aparicio, they created hypnotic tracks like "Algún día" and "Nunca cambias," capturing the essence of '70s rock with swirling textures and atmospheric vibes. Los Texao quickly became a sensation in Peru, performing in cities like Puno, Moquegua, and Arica (Chile), and sharing stages with iconic bands like Los Shain's, Traffic Sound, and Telegraph Avenue. The band's wild live shows became the stuff of legend, with fans packing into intimate venues to experience the raw energy of their loud, unapologetic rock. In addition to their 45s, Los Texao also recorded covers of some of the most influential rock bands of the era, including Cream, Steppenwolf, and The Guess Who, showcasing their versatility and love for classic rock. Unfortunately, this session remained lost for years and some of these covers have never been available on vinyl before.
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7"
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MR 7387EP
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Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, this early recording by Mercenárias is more punk than their albums, but still super catchy. It has been remastered from the original tape and includes an insert with previously unseen photos and a short text by Edgard Scandurra. This is a collaboration release with the Brazilian label Nada Nada Discos. Born in the vibrant alternative scene of 1980s São Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, and experimental elements. Their debut album, Cadê as Armas? (1986), is considered one of the most important records in Brazilian music history. Three years earlier, they recorded their first demo tape at the studio of the funk/pop band Placa Luminosa. The recording turned out great, it's the best you can wait from a Brazilian punk record: raw, aggressive, yet catchy, well-played and produced.
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7"
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MR 7390EP
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This 45 comprises two killer pop dancers with plenty of psych fuzz guitars, punchy horns and funky beats: the in-demand Christie Laume's mod anthem "Rouge-Rouge" and Marta Kubisova's "Tak Dej Se K Nám A Projdem Svět," a glorious LP-only song that has never available on a 45 before. Sister-in-law of Edith Piaf (who introduced her to the music business), Christie Laume became a ye-ye style singer in '60s France. Her mod anthem "Rouge, Rouge" (1967) is a great song that never fails in making the dance floor shake, taken from a very rare and in-demand EP. On the flipside comes Marta Kubi?ová, one of the most popular singers in the Czech Republic in the '60s. Her "Tak Dej Se K Nám A Projdem Svět" is a glorious LP-only song from 1969 that has never available on a 45 before. Expect heavy basslines, punchy horns and fuzzy guitars.
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MR 472LP
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Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. This is a compilation of rare tracks from 1983 to 1987, including ten amazing songs that didn't make it onto their two albums; there's also a great early live recording, as well as a "lost" studio session. It has been remastered from the original tapes and includes an insert with previously unseen photos and a short text by Edgard Scandurra. This is a collaboration release with the Brazilian label Nada Nada Discos. Born in the vibrant alternative scene of 1980s São Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed in 1982 by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. Their debut album, Cadê as Armas? (1986), is considered one of the most important records in Brazilian music history.
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MR 475LP
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Aguaturbia's second LP Volumen 2 (1970) is an essential album to understand the construction of what is known today as Chilean rock. The album is as raw and dynamic as their debut LP, featuring even heavier rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Comparisons with the Grateful Dead, Country Joe and the Fish and Led Zeppelin can be drawn. Splendid heavy psych and proto-stoner tracks make this album a pioneer recording in the history of South American rock. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late '60s and early '70s. In July that same year the band recorded this Volumen 2 that delivers even heavier intensity than their debut LP. The LP showcases breathtaking moments, like the psych-blues "Heartbreaker" or "I Wonder Who" where guitarist Carlos Corales shines. When he played solos at the gigs, the effect on the audience was silence and euphoria at the same time. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. Controversy accompanies the release of the album once again. In this case the cover artwork, a tribute to Salvador Dalí, scandalizes the most conservative sector of Chilean society.
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7"
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MR 7389EP
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Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. Reissued on a 45 for the first time. French actress, model, dancer and singer Rita Cadillac, local star at well-known Parisian cabarets like Crazy Horse or Folies Bergère, recorded several 45s in the 1960s. In 1969, and most likely following the success of the Welsh band Man, released this song that could have easily worked as the perfect soundtrack for a sexploitation movie. Rita's sensual voice is wrapped in a piece of background music that could have been taken from a classic library record from the KPM, Chappell or Montparnasse 2000 catalogues. Hammond-driven prog jazzy passages, subtle fuzzy guitar solos and a contagious bassline all delivered by some anonymous studio band accompanied by Rita's provocative whispers and moans. What better than another song in a similar vein and identical title, "Erotica" by Chilean rock pioneers Aguaturbia, to complete this single? Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar loaded with fuzz and wah wah effects, building up a progressive and hypnotic musical journey. This song was included in their much sought-after debut LP and it is presented here again as the perfect accompaniment to the sensual Rita. Both songs are reissued on a 45 for the first time.
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MR 468LP
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After the poor sales of their debut album, Faust's So Far (1972) presents the more commercial and accessible side of the legendary German krautrock band without giving up their advanced and experimental personality. It is a perfect album to begin exploring the group's discography, featuring one of their most well-known songs, "It's a Rainy Day, Sunshine Girl," and is considered a striking work on par with Neu!'s first album or Can's "Tago Mago." Preceding other artists like Throbbing Gristle and Nurse with Wound, Faust were pioneers in creating industrial and futuristic atmospheres using processed rhythms. An essential krautrock masterpiece. Remastered from the original tapes. 180g vinyl. Booklet included. Their approach to rock includes elements of electronic music and improvisation, drones and dissonance, becoming one of the main groups in the kosmische musik movement also known as krautrock. Their debut album was innovative and received critical acclaim but did not sell well. Unavailable on vinyl for quite some time, here is a much-awaited reissue of an essential krautrock masterpiece.
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MR 467LP
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La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early '70s. Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Credence Clearwater Revival or the Who but also adding their own style featuring an original and stunning guitar sound. Remastered from the original tapes. Includes poster. 180g vinyl. Their fantastic "Nasty Sex," along with other songs like "If You Want It" or "Melynda" boosted their first album at the top of the sales charts worldwide. Sadly, Mexican record labels lost interest in local rock bands due to the repression of La Onda movement by the Mexican Government, resulting in rock bands being banned. This, in addition to internal disagreements between members of the group, eventually led to the end of their relationship with Polydor in 1973. La Revolución de Emiliano Zapata entered a new artistic phase in their career, focusing on ballads and adopting different new musical trends over the years.
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MR 454C-LP
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Spatter vinyl version. Shelly y Nueva Generación was a cult Spanish soul and garage band that left an indelible mark on the late 1960s music scene. Their rare 45s, now classic DJ spins in the mod/psych '60s scene, boast a funky Le Beat Bespoke style freakbeat sound. Three singles were released on Philips between 1968-69, including their stunning take on Nonato Buzar's "Vesti Azul" and the outstanding original "I'm Just a Fool", as featured on Ivan Zulueta's cult film Un, Dos, Tres, Al Escondite Inglés. This collection not only encapsulates the entirety of their known discography but also unveils many previously unreleased recordings, providing a treasure trove of sonic gems that now see the light of day for the first time. These recordings were made for a TV show and consisted of international hits of the moment performed by Shelly, mainly soul songs brought to fame by the likes of Stevie Wonder, Aretha Franklin, The Temptations, and The Four Tops. This compilation stands as both a celebration of the band's legacy and a rediscovery of the timeless allure that made Shelly y Nueva Generación an enduring force in the annals of Spanish music history. Includes eight-page booklet with extensive notes and rare photos of the artists.
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MR 471LP
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El Álamo was a cult Peruvian psychedelic rock band that, as other groups in Lima such as Laghonia, Traffic Sound, and Telegraph Avenue did, sung in English aiming to reach the international market. Their only LP was released in 1971 and was recorded under the influence of Hendrix, Santana, and The Allman Brothers. Unavailable for almost two decades, Munster now reissues Malos Pensamientos in its full glory, with gatefold jacket, two bonus tracks taken from their rare 45, and an insert with liner notes. Released in December 1971, Malos Pensamientos is a psychedelia and Latin rock album on the Peruvian Decibel record label. The local rock market appealed to the label, in spite of Santana's expulsion that same month by the nationalist military dictatorship to appease radical university students who protested vociferously that rock was imperialist. The origins of El Álamo can be found in Los Youngers, a group from Huacho, a city 140 km north of Lima, which was sponsored by the local priest to encourage younger parishioners to attend the go-go-style masses churches were celebrating across Peru by 1967. After recording a 45, the guitarist and bassist, Tino Pow Sang and Arturo Montenegro, moved to the Lima district of Maranga and revamped the band with Luis Iturry and Ricardo Allison from Los Shoes Makers joining the line-up. The average age of the group was 20 when they began laying down the instrumental track at a five-hour session at El Virrey studio. The album stand-out tracks include "Malos Pensamientos," a progressive rock song inspired by a Jimi Hendrix riff, accompanied by the atmospheric sounds of the organ; the rock ballad "Good Night," a must at parties with psychedelic lights and blacklights; "Candy," an abridged version of "Suite: Judy Blue Eyes" (Crosby, Stills & Nash); and the psychedelic mantra "Can You See Me."
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MR 470LP
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Seminal and highly influential album in the history of Venezuelan rock. Ladies W.C. (1968) is innovative in many aspects: from its stunning psychedelic guitars, loaded with fuzz and wah-wah effects, to its repertoire -- made up of original songs -- or even the graphics featured on the cover of the album. As in the case of "Love Depression," this album has become one of the most sought-after and collectible recordings of Venezuelan rock. Munster's reissue includes remastered sound from the original tapes, 180g vinyl and liner notes. Adib founded Ladies W.C. with his friends Jose Maria Arria "Chema" (bass, vocals), Wolfgang Vivas (lead vocals), and Frank Rojas (drums). Their sound was so innovative that it was not conducive to getting many bookings and they barely managed to play a single concert. As a result, all the original line-up, except Adib, upped and left. Soon after, Stephen Scott and Mario and Jaime Seijas replaced them, seamlessly complementing Adib's playing and his growing interest in blues and psychedelic hard rock. The group's first and only album, released by the Venezuelan label Souvenir, was recorded at Continente Studios in just 10 days. Ricardo Landaeta acted as technician, while Adib and Stephen worked out all the structures and arrangements of the songs, as well as the lyrics. They were very intense recording sessions in which they spent full days locked inside the studio. Hector Fuenmayor is the only guest musician on the recording. All the songs are their own compositions, which was unusual on the Venezuelan scene, as groups' repertoires tended to be cover versions of international hits. The sleeve art, displaying a striking illustration instead of the classic covers showing a photo of the band, was also a novel ingredient in Venezuela, as was the distorted sound of the guitars which made great use of the wah-wah pedal, the extensive harmonica playing, and creative use of sound effects, all of which gave the album a unified conceptual feel. The band were only active for only a couple of years from 1968 to 1969.
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MR 466LP
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This record -- produced by Bomp's Greg Shaw -- is the result of pure teenage exuberance. Garage punk at its best that transports you back to either 1984 or 1966! All Black and Hairy was originally released in 1984 on his label Bomp!, the only LP ever recorded by The Gravedigger V in their short career. Unavailable for over a decade, Munster now reissues this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Includes a booklet with notes by band member John Hanrattie and rare photos. It's been more than 40 years since the Gravedigger V entered Silvery Moon Studios and recorded All Black and Hairy. They had only been a functioning group for about ten months when they entered the studio and had only played a handful of gigs. In March of 1984 the Gravediggers found themselves opening for punk legends the Dickies at The Music Machine in West Hollywood when Greg Shaw showed up early enough to see their concert. A few months on and Shaw call them and say he had booked studio time for the Gravediggers starting the following afternoon for the purpose of making an album. That same year All Black and Hairy, the only LP ever recorded by the band in their short career, was released on Bomp! There are five original compositions on the album, including the great "Tomorrow is Yesterday," "She's A Cur," and "She's Gone." And there are some versions too, like the Omens' "Searching." The album was recorded over the course of two days, and almost all of it was done live in the studio.
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MR 465LP
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Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in Munster's past release MR 305 (2010) as part of a limited-edition boxset, this is the first time their second album Un Hombre Solo (1984) gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's ideas. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. In 1981, brothers Lars and Per Mertanen formed the instrumental band Clausula Tenebrosa. After a show they started talking about the possibility of rehearsing with Carlos, a friend at the time and ex-singer of the recently split Ejecutivos Agresivos. That's how the story of Décima Víctima started, rehearsing with a drum machine in the cellar of the Mertanens' house in Madrid. Despite commercial success evaded them, their first LP (1982) was acclaimed by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. A second album would follow two years later. It was called Un Hombre Solo (1984) and was released on Grabaciones Accidentales (GASA). Unavailable for years and always in high demand, it now gets an official reissue in its original single LP format.
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MR 463LP
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Que no cunda el orden comprises the first demos recorded by this iconic Spanish punk band in January 1982, seven original songs and two versions that would also become the band's live repertoire in their early years. Among these songs is the only studio version of "Emilio Cao" and the previously unreleased "No me gusta bailar." The sound of the original tape has been mixed and mastered for this very special edition. Siniestro Total were a Spanish punk band formed in Vigo in 1981. A big commercial success accompanied the band for over a decade, until the mid-late '90s, when the popularity of the groups from the so-called "movida madrileña" and other similar scenes from other parts of Spain such as Galicia, where Siniestro Total were formed, faded away. Many of their best and most popular songs, reflecting the punk and fun essence of the band, were written and recorded in the early days of Siniestro Total. This album comprises their very first recording sessions, unearthed here for the first time, when the early demo versions of some of those songs were captured. The band's lack of studio experience was balanced with tons of fun and laughter. This demo was sent to a radio DJ and all the songs were aired on his show at the most popular music station in Spain, Radio 3. In fact, the demo was awarded demo of the year (Maqueta de Oro del Diario Pop 1982). Four decades later, the sound of the original tape has been mixed and mastered for this very special release that Munster Records are honored to bring to fruition.
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LP
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MR 464LP
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Aguaturbia (1970) is an essential album to understand the construction of Chilean rock. This very influential album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. It comprises original compositions and electrifying renditions of songs brought to fame by the likes of Tommy James & The Shondells, The Beatles, and, of course, Jefferson Airplane elevating these classics to new heights of intensity and rhythmic allure. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late '60s and early '70s. Their influence in their native Chile -- and beyond -- was groundbreaking. It was played live in 1969 on three tracks, and it became an icon of transgression due to its unbridled musical aesthetics and cover art that -- for the time of its irruption -- meant a clear defiance of the conservative logics lived in Chile, which saw in the nudity of the cover a challenge to morality and good manners. The album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Guitarist Carlos Corales shines and when he played solos at the gigs, the effect on the audience was silence and euphoria at the same time, they couldn't believe what they heard. Everything was done with a professional attitude. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. The LP showcases breathtaking moments, like Willy Cavada's masterful drum solo in "Ah Ah Ah Ay" captured flawlessly in a single take. Dive into the sensual psychedelic journey of "Erotica," where Denise's alluring vocals dance harmoniously with Carlos' electrifying guitar. Plus, don't miss their thrilling renditions of "Somebody to Love" and "Crimson and Clover" -- each track elevating classics to new heights of intensity and rhythmic allure. This album is more than music; it's an invitation to experience sheer auditory bliss!
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7"
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MR 7372EP
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Historical rescue of the only existing recording of Antihéroes, yet another mystery of the Argentine musical underground scene of the '80s, now available on vinyl for the first time. This obscure post punk band show their harshness and darkness in these only two songs they recorded, back in 1985, and which were distributed on a cassette that has today achieved cult status. This release is the result of the collaborative work between Twistin' Bones (Costa Rica) and Munster Records. Antihéroes is yet another mystery of the Argentine musical underground scene of the 80s. Back in the '70s, Valentín Alsina, Buenos Aires province. Jurek and Marcelo, children of Polish immigrants, meet at a religious school. Fast forward a few years and Marcelo is given a keyboard and meets Wojtek, another Polish boy with hunger for rock and Siekiera and Brigada Krysys records. They then decide to start a dark wave band. Jurek playing a single drum and a cymbal with an umbrella as stand, Marcelo on keyboards and Wojtek on bass, it's all set to go! Julio Torres became the guitarist and, answering an ad on a magazine, a singer turned up: the charismatic teenage poet Mónica Vidal. After three rehearsal sessions at a metal workshop, they made their first public appearance in 1984, at the basement of the Manzana de las Luces, an almost completely abandoned old 17th century convent in the San Telmo neighborhood. A young and experienced guitarist, Beto Morales, was in the audience and he'd later join the band after Julio quit. They recorded these songs in 1985. Their only existing recording, at the peak of their career, is this single that is finally released forty years after its recording thanks to the collaborative work between Twistin' Bones and Munster Records. The songs keep all their magic and spell intact beyond the passing of time and unfair oblivion.
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MR 461LP
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This 1986 album by The Primates remains as the only recording ever released by these four '60s R&B and garage fans. Combining great originals and versions, We Are The Primates remains as a wild, raw, party album that every fan of garage music should own. Originally published on Greg Shaw's very own Voxx and produced by Shaw himself, this valuable musical document portraits the essence of the L.A. '80s garage scene. This issue includes a booklet with liner notes and rare photos and ephemera. The Primates were formed in 1984 and cut their teeth at L.A. spots such as the Cavern Club, as part of a growing scene of devoted Nuggets/Pebbles fans, fascinated with 1960s garage punk classics. The core of the band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm as front man, with different drummers, mostly Brian Corrigan but then also Eric from Threw the Looking Glass and Gene from The Miracle Workers. The opener "I Ain't Like You," "Bad Luck," or the fun cover of Neil Sedaka's "I Go Ape" reflect the wild, party-driven mood of the entire album, making you wonder how crazy their shows were in the golden era of the L.A. '80s garage scene. Combining originals and versions. Munster are thrilled to reissue this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary.
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MR 462LP
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Restocked. The Zeros are a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days. This release compiles all their early singles, some rare tracks (including the previously unreleased "Left to Right") and songs taken from a 1978 live show. Munster are thrilled to reissue this essential '80s power pop gem as part of a series of releases celebrating Bomp! 50th anniversary. Their debut single was released in 1977 on Greg Shaw's very own Bomp! Records. It included "Don't Push Me Around" and "Wimp," two of the greatest punk rock songs of all time, both written by Javier Escovedo. It was followed by another single in 1978, "Wild Weekend" and a third one in 1980, "They Say That (Everything's Alright)." The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days.
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LP
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MR 458LP
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Sold out; repressed spring 2025... Décima Víctima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in Munster's past release MR 305 (2010) as part of a limited-edition boxset, this is the first time their debut album gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's original idea. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. In 1981, brothers Lars and Per Mertanen formed the instrumental band Clausula Tenebrosa. After a show they started talking about the possibility of rehearsing with Carlos, a friend at the time and ex-singer of the recently split Ejecutivos Agresivos. That's how the story of Décima Víctima started, rehearsing with a drum machine in the cellar of the Mertanens' house in Madrid. The first single came out in 1982, with Lars playing drums on it. Soon after, Los Esclarecidos introduced them to Jose Brena and he joined Décima Víctima as drummer. The second single was also recorded in 1982. A few months later they went to Vigo for a week to try out their repertoire live, in order to see which tracks the audience liked best and choose 12 for the record. The studio sessions were no short of joy and experimentation. Paco Trinidad, the producer, understood what the band wanted and managed to achieve it technically. Despite commercial success evaded them, their first LP was acclaimed by the press, especially by El Pais, one of the biggest-selling newspapers in Spain. Unavailable for years and always in high demand, this is the first time their debut album gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's original idea.
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