[engl] Little Rocket Records are very proud to have worked on these historical recordings, which are licensed by the BBC. As always, Little Rocket Records ensure that we do our very best to compliment such a band. Leatherface hailing from Sunderland, UK, formed in 1988 and many would say the best band Sunderland has ever produced, have left their mark in the Punk Rock halls of fame. Leatherface has an extensive catalogue of undeniable quality, leaving many to only wish they could have the same and influencing many a band across the globe since their formation. The album captures Leatherface recording three sessions in the 90’s for none other than the great John Peel which, spans parts of their early career, hurtling you through the heady days of Radio and the privileged few who have ever walked the BBC Maida Vale recording studios, at the request of Mr Peel himself. Those fortunate enough to be Invited to record their music by John, would have it chiselled in musical stone, for the great man himself, leaving a timeless raw sound that only the BBC Maida Vale Studios could produce. The front cover of the album itself defines one of their greatest periods, with a photograph taken by the famed Photographer and Musician Steve Gullick, who has taken many a shooting session with the likes of Nirvana, Pearl Jam, PJ Harvey, Nick Cave, Neil Young, The Prodigy and many more. Without doubt Steve’s Photographic genius sets the tone for what has been captured and now Little Rocket Records brings these sessions to you. 1000x black 1000x marble 250x yellow ( Little Rocket & Sounds of Subterrania exclusive) 250x red ( Little Rocket & Sounds of Subterrania exclusive) 250x white ( Little Rocket & Sounds of Subterrania exclusive) 250x crystal ( Little Rocket & Sounds of Subterrania exclusive)

[engl] 'Standing Where It All Began- Singles and B-Sides 2012-2025' is a collection of twenty deep cuts and rarities by beloved North East power-pop quartet Martha. The band had the following to say about the release: "It's been cool going back to these recordings and reflecting on the journey we've had together as a band. There are simply loads of songs on this record- our first double LP, including old favourites from the early days, various b-sides, and other stuff too (including a previously unreleased Lemonheads cover). It's almost all material that is out of print on vinyl, as well as a couple of songs that have never been released on vinyl before. The collection has been lovingly re-mastered by the brilliant Dave Williams (Eight Floors Above, Ottawa, Canada). We felt it would be fitting to use the remastered version of the first song we ever recorded and released, '1978, Smiling Politely' as the de-facto 'single' to promote this collection. It's a song inspired by Audre Lorde, that we still love, but it's one that has never been available on streaming platforms before. We hope these recordings offer something interesting for the newer marthaheads to get stuck into, and will be an enjoyable trip down memory lane for the people who were there standing with us when it all began". & Fresh.

[engl] Building on 2024’s Hopscotch Fever, Cincinnati’s Artificial Go return with ten more tracks of existential post-punk chamber pop. Recorded at Lambda Research and the haunted attic of the band’s house, the core trio of Angie Willcutt, Micah Wu, and Cole Gilfilen have traded the sparse jangle of their debut for a broader, fuller sound this time around. Musical Chairs deftly meshes the angular excitability of Hopscotch Fever with a spectral warmth and expensiveness able to encompass acoustic guitars, Wu’s almost metaphysical funk bass lines, tape loops and blips and bleeps, a guest spot by Eric Dietrich (of The Drin and Sorry Eric) on saxophone, and Gilfilen’s hip moving boom-bap drumming add to the excitement. What’s more, the band’s comfort with each other (they live together for chrissake) and growing confidence in their collaborative creative process is evident throughout. From the live-take “Red Convertible” (with its layered recursive structure - the musical equivalent of a kid laughing and spinning in circles just for fun) to the lunch-break-composed and after-work-recorded “Circles.” On Musical Chairs Artificial Go expands their stylistic palate while retaining the New / No / Whatever Wave weirdness that charmed listeners on their debut —a group effort to be sure, but spearheaded by Angie Willcutt’s singular voice and clever, adroit lyrics. In Willcutt’s hands, the struggles, and at times terrors, of our current age are playfully subverted with agile world play and dynamic vocalization that moves from sweet and dreamy to cartoonishly exaggerated as she charts an emotional course through such topics as the difficulties of playing the role of “woman” in a misogynist world (“Playing Puppet”) or the injustice of anthropocentric hierarchy (“Tightrope Walker”). Musical Chairs is serious music not meant to be taken too seriously, a playful act of resistance, a meditation on the good and bad of this world, and ultimately a remarkable statement on the continuing growth of Artificial Go. -Ben Michaelis

[engl] Based in Cincinnati, Ohio, Lung consists of Kate Wakefield, a classically trained opera singer and cellist, and former Foxy Shazam bassist Daisy Caplan on drums. Fierce, ethereal, and heavy as hell, Lung plays with the intensity of early grunge layered with sinister undertones. Described as "loud, dissonant, innovative, and fearless" (Fair Shakes and Just Dessert), Wakefield runs her cello through distortion pedals and big amps, while Caplan pounds out earthquaking beats on epic horn-shaped vintage drums. A relentless touring machine since 2016, Lung has played over 800 shows across North America and Europe, sharing bills with The Jesus Lizard, Dead Bob (ex NoMeansNo), Brainiac, Sleepytime Gorilla Museum, Guided By Voices, Screaming Females, Big Business, Chat Pile and so many more. The band’s fourth studio album, The Swankeeper, sees them continue to develop and expand their genre defying sound.

[engl] Based in Cincinnati, Ohio, Lung consists of Kate Wakefield, a classically trained opera singer and cellist, and former Foxy Shazam bassist Daisy Caplan on drums. Fierce, ethereal, and heavy as hell, Lung plays with the intensity of early grunge layered with sinister undertones. Described as "loud, dissonant, innovative, and fearless" (Fair Shakes and Just Dessert), Wakefield runs her cello through distortion pedals and big amps, while Caplan pounds out earthquaking beats on epic horn-shaped vintage drums. A relentless touring machine since 2016, Lung has played over 800 shows across North America and Europe, sharing bills with The Jesus Lizard, Dead Bob (ex NoMeansNo), Brainiac, Sleepytime Gorilla Museum, Guided By Voices, Screaming Females, Big Business, Chat Pile and so many more. The band’s fourth studio album, The Swankeeper, sees them continue to develop and expand their genre defying sound.

[engl] L.A.'s Neverland Ranch Davidians return with the long-awaited follow-up to their critically acclaimed, self-titled debut album from 2023. "Shout It On The Mountain" contains 13 songs, including 10 new band originals and covers of Eddie Floyd, Skip James, and obscure 60's Chicago garage-punkers Half Pint and The Fifths. In the last two years, Davidians Tex Mosley, Will Bentley and Max Hagen have played dozens of incendiary shows across California and beyond, wowing audiences with their potent mix of garage rock, blues, cowpunk, Stax soul, and greasy R&B (played with just two guitars and drums). Having received rave reviews for their debut from critics and fans alike (Iggy Pop being one of the latter), the Davidians aren't ones to rest on their laurels. "Shout It On The Mountain" finds them honing their songcraft and expanding their sound, adding more soul and R&B to the mix. While the trio plays live without a bass player, Greg "Smog" Boaz (Mavis Staples, Dave Alvin and the Guilty Men, Tex & the Horseheads) played bass on all of the new album's tracks.

[engl] The Handsomest Man in Rock'n'Roll is back! Handsome DIck Manitoba, one of the godfathers of punk rock and former singer of New York legends THE DICTATORS, returns with a brand-new four-song e.p. on a smokin' slab of 7" wax! The record features two new studio tracks ("Back on Broadway" and "DeLuise Nation") that'll surely please fans of his earlier band. In fact, these tunes would've fit in beautifully on the "D.F.F.D." album! Those new tunes are complemented by two recent live tracks, with his new band ripping through two classics from HDM's past: The Dictators' "Savage Beat" + "The Party Starts Now!" by Manitoba's WIld Kingdom.

[engl] Pittsburgh's The Cheats have been cranking out high-octane punk'n'roll for over 20 years, and we're proud to welcome them to the Heavy Med family with the European release of their long-awaited new album "Old Rats On A New Ship", on red-orange galaxy effect vinyl! Toss the Dead Boys and Motorhead into a blender with a pinch of the tunefulness of '77 punk, and you'll get a taste of the unrelenting rock'n'roll riot forged by these Steel City sleazoids. "Old Rats On A New Ship" packs 10 catchy new originals and a cover of Anti-Nowhere League's "For You" into a fiery, 30-minute adrenaline assault. (The CD contains two bonus tracks.) This is cheap beer-soaked, chain-smoked, whiskey-choked, lost-hoped, van-broked, raw and unadulterated rock'n'roll, the way the good Lord intended it, and The Cheats are just doing His dirty work.

[engl] In 2022, Rum Bar Records released "All The Covers ( And More)", a sprawling, star-studded, two-CD compilation of every cover recorded by The Streetwalkin' Cheetahs over the course of their 25+ year career. Now, in 2025, three of Europe's best rock & roll labels (Heavy Medication, Ghost Highway and Take The City) combine forces to bring you a single disc, 17 track, limited edition vinyl version. Featuring guest appearances by such rock & roll luminaries as Sylvain Sylvain, Wayne Kramer, Cherie Currie, Jeff Dahl, Jimmy Zero, Bryan Small of The Hangmen, and others, our "Best of All the Covers (and More)" compilation also adds a previously unreleased cover of GG Allin ("Occupation") which was recorded after the original CD release. For a full tracklist, click on the vinyl version - there's a shot of the back cover with track listing there. Each label is offering a different color variant of outer sleeve artwork (pink, green or blue), with Heavy Med's edition sporting a pink cover and pink vinyl! (The other two versions are classic black vinyl.)

[engl] D-BEAT RAW FUKKING NOIZE PUNK ASSAULT.

[engl] The idea of PHYSIQUE and ELECTRIC CHAIR doing a split record was a spontaneous idea that got thrown out when a handful of members from each band went swimming together a few summers ago. The thought that they were two very different sounding and well celebrated bands, from the same small town made it very appealing. Of course, the driving idea was that it was a symbol of friendship between members of the bands. Since their respective inceptions, the two bands have been closely intertwined. Riley lived with a few members of ELECTRIC CHAIR for many years. Trae is a former member of PHYSIQUE - and Riley has even filled in on drums for EC. The two bands love one other and have been long time friends and supporters of each other’s music. The record celebrates a period of time in OLYMPIA’s rich punk history that all involved are very proud of.

[engl] “Pure Savage Rock'n'Roll” made in Paris: The LIPSTICK VIBRATORS from the Seine have been around since 2006 (with gaps) and definitely have a huge dose of “Savage" in their blood, their third longplayer is full to the brim with the needed ingredients. Early SAINTS, FUN THINGS, DEAD BOYS & Co. are the coordinates, aggressive'n'wild the measured temperature. Guaranteed: Perfect “partners in crime” for every “two fisted drinker”. Face the facts: 12 furiously neurotic amphetamine rockers, sung in English, in 35 explosive minutes.

[engl] pure punkrock!

[engl] After two excellent LPs, Isolationsgemeinschaft from Berlin are hitting it big on their third album: 'Start. Stop. Zurück.' Deadpan observations of life under too-late capitalism are set to pulsating, bubbling analogue synth tracks - sometimes elegiac, often danceable, occasionally sliding into EBM ('Schwelle') or even Italo ('Zufall') territory, at other times intercut by sharp krautfunk guitars ('Funklöcher'). 'Start. Stop. Zurück.' is as sparse as it is varied, steeped in early continental electronic post punk but never falling into the retro trap. This is maximum minimal wave forged in the crucible of D.I.Y. punk and hardcore, and it shows. Guaranteed to haunt dancefloors from your grubby squat basements to your glam goth discos for years to come. (Tomi / Plague Pits)

[engl] Berlin-based Splizz presents four new songs that take things to the next level in every respect. As soon as the needle drops into the groove, the room temperature cools noticeably, and the first notes are like wrapping you in that cozy, dark cloak that the self-titled tape already envelops. The clear, cold, "stripped to the bone" and light-weight sound aesthetic is juxtaposed with deeply personal lyrics, revealing a band that seems to straddle the line between two stools, masterfully quoting while remaining unrealistically unique.

[engl] Killer french punk band who build his reputation stage , one of the most active band in the EU with around 250 shows per year - 2024 was the best with the second album's release - the live in Liepzig such an awesome live performance with a really great sound that we could not keep this o n the computer for ourself only .. Edited on black vinyl.

[engl]  a synth-wave/post-punk duo from paris with guitar player from Lion's Law (80's influenced, sounds like early Rendez-Vous)

[engl] (the side project of Frustration bass player), electro-punk ala Suicide or Metal Urbain. "Picks grass to eat at night; eats garbage." This is how Séraphine Louis, a painter, is described in her medical file after being admitted to a psychiatric hospital in the Oise department. "Chronic psychosis," they said. Amid general indifference and utter destitution, she died there of breast cancer. From hunger, too. Grass and garbage. We grew up in that Oise department, with three asylums in our midst, the HP (psychiatric hospital), as they called it. No more than 6 kilometers separated them. Friends, family, acquaintances, we've lost count of the number of people we've encountered who worked or frequented these facilities, even today. It feeds stomachs, sometimes saves lives, and often breaks bodies. It leaves traces that oblivion, condescension, or contempt will never erase. Personal development, esotericism, new-age spirituality, we just have to: miracle solutions abound when it comes to mental health. Let's stay positive and things will get better. A lazy mantra that only sweeps the essentials under the rug: why have so-called mental health problems been steadily increasing for years? Why are healthcare conditions worsening? Why can't an individual solution address a COLLECTIVE issue? Health is definitely everyone's business. Whether we like it or not. Health is, above all, POLITICAL. We need to take stock of the situation. Through our experiences and those of our loved ones, SOUS CONTENTION attempts, through six tracks, to recount situations when we are confronted with psychiatry. What is it like to work there? To be unwell? To be addicted? To be locked up with pills, in an isolation room? No pretense of having all the answers; we're already trying to understand what's going on, by describing. By writing, by composing. Rather than starting to eat grass and garbage ourselves.

[engl] Baltimore's KNUB return with their first full length offering, "Crub", after several years of perfecting their low-end heavy rock Baltimore's KNUB return with their first full length offering, 'Crub', after several years of perfecting their low-end heavy rock through a demo EP and a split LP with Ohio's Brain Cave. What KNUB have done since their formation remains- focusing on raw power, hooks, catchy melodies, and tones so heavy you need a forklift to move them. In the same vein as 90's powerhouses like 'Aftertaste'-era Helmet, Stompbox, Handsome, and Quicksand, as well as more current contemporaries like Whores., Wrong, and Torche the sound of KNUB melds blunt force riffs with a vocalist who can actually sing and adds a layer of melody to counteract the bulldozing music. They are a live fixture throughout the mid-Atlantic and Midwest, jaunting around frequently to prove that the sound on record matches the live experience. 'Crub' was recorded in two sessions, initially envisioned as a pair of EPs, but collected as one album instead.

[engl] Between the quays, the docks, the cranes and the Brest arsenal, it’s been almost 10 years since Syndrome 81 got down to the heavy task of bringing 80's punk rock up to date. In just a few EPs, the band has become one of the best representatives of a new French scene internationally. Syndrome 81 manages the perfect blend of various influences of the second punk wave, from the american hardcore of Negative Approach to the french punk-rock of Camera Silens by way of the cold english punk of Blitz. Like an endless wandering in a drifting society, Syndrome 81’s music and lyrics are rough and cold. With Prisons Imaginaires, the songs become even more effective, and we can already imagine the next shows where the public will sing along to the brilliantly formulated refrains. Syndrome 81 describes the spleen of everyday life and the boredom of life in Brest, far from everything, like no other. Syndrome 81's first full length was long overdue but this time was used wisely to deliver a perfect album.

[engl] Only 50 copies for the european market!! For Dan art and music is what it’s always been: a journey, making rougher ideas smoother, something to look at, sit with, and a place to hold emotion and thought. Making music started early for him in the 90s, in the Ozark mountains of the US, when he began to make his brand of ‘lo-fi emo hip-hop’ using the name Listener. Dan went on to record eight albums in the hip hop duo Labklik and three albums in the hip hop group Deepspace5 as ‘Listener’. In 2002 he started touring full time as a solo artist under the name, and has since played thousands of shows in over 30 countries zig zagging across the globe. In 2007 and 2008 Listener became a band with Dan as the vocalist, bass guitar, and horn player. This non-stop touring period in Listener transitioned their music into what it is today with their unique musical voice coupled with Dan’s vocal brand and channeled poetry. He calls the music “Talk Music”. Dan is stepping out on his own once again and has created one of the most personal and connected albums of his career in “The Shapes We Make”. Dan continues to strive to combine all the loves of his life with a balance of time at home, building art, playing shows, creating music solo and in the band Listener, through his work as a painter, and as a mental health therapist at his practice in Kansas City. An idea/mantra he has used since his early days in making art has been: “Making the music that you are going to need, but you just don’t know it yet.”

[engl] You’ve heard the phrase “The inmates are running the asylum” and that cannot be more true unless it is to say the INMATES have gone beyond simply running things and taken on the role of God. The Gods of Hardcore. Ha, hyperbole perhaps but your attention is got. A ten year asylum stay would help to explain the band’s absence from releasing a new album over the last decade but that is another story for another time. Today we focus on our collective luck that the world is graced with not only a new full length but the absolute best INMATES material ever concocted. Crazed and muscular. No holds barred and no bars can hold them. The grime and the gold. Cleveland’s most notorious are revered for their explosive and hilariously violent live performances. Legendary at this point. The real feat Role Of God achieves is taking that ferocious, dysfunctional energy and successfully translating it to tape. Finally! Twelve tracks of masterful hardcore that channels G.I.S.M.’s depravity, Agnostic Front’s urgent shocks, Death Side’s metallic roguery and a cult-like appeal to playful darkness. This is album is a hardcore triumph.

[engl] Rather than interviewing the unsuspecting general public about their initial reactions to RETIREMENT’s music, which was an extreme entertainment for us and people in the know about their 1st LP Buyer’s Remorse, we decided to take it straight to the band on this new one for their perspective. To us, Attention Economy is a blistering indictment of a petty, distracted world and all its related jingle jangle nonsense. When asked about the new album, here is what they had to say: “As days blur into weeks, weeks into months, months into years, you can’t help but wonder where did all the time go? As each new apex of brutality and consumerism surpasses itself, it’s quickly replaced by an even darker future than we could ever imagine. We see this album as our cathartic release, the accumulation of the stress and the anxiety that boils at the surface of “contemporary living”. As our screens dangle privilege and unattainable potential, we crouch forward to the next thing, the next big distraction. Mouths agape and ready for the drop. What does humanity have to show for itself, aside from tik-tok dancing to the images of beheaded children?” Once you, lovely listener, connect these images to the absolute bludgeoning sound contained herein, you start to realize just how uncomfortable and absolutely necessary RETIREMENT’s world really is. Come on in…

[engl] Montréal has always had an active music scene, but it seems hard for bands to break out and reach wider audiences outside Canada. However, when a band is able to break out, they become the archetype for their respective sounds, creating something entirely unique from familiar riffs and structures.Take VOIVOID’s sci-fi thrash and speed metal mutation from the 80s, INEPSY’s motör-charged wasteland punk ‘n’ roll from the early 2000’s and now…BÉTON ARMÉ’s uplifting blend of Oi!, punk and hardcore. While it seems most people are learning about the band through their recent tours—hitting cities in Europe, USA, Australia and Japan—they have been active since 2018, meticulously dialing in their sound. Initially influenced by the skinhead scenes of France and Italy, their new LP “Renaissance” borrows from sounds outside the subculture, orchestrating harmonies to unite the punks, skins and moshers. The comparison to L’INFANTERIE SAUVAGE is undeniable (they even cover “Les poings levés mais les poings liés”!) with odd song structures switching from slow melodies to fast punchy pogo beats. The Italian influence also still remains, tapping into bands showcased on the “QUELLI CHE URLANO ANCHORA…” compilation (BASTA, NABAT, ROUGH, etc…). However on this LP, there is a subtle influence of early American hardcore bands, adding more stomping rhythms and upping the pace of the songs. Renaissance is an excellent example of how a band can evolve their sound without losing the aspects that define them: razor sharps riffs, unexpected disco drum syncopations and, of course, orchestral “Ohhhhhhs”. Every song verges on an anthem that will get stuck in your head for days. This record truly is a “Renaissance”, hopefully ushering in a new era of scene unity and positivity, making you believe that together anything is possible. L’Union Fait La Force! – Matt Smith