[engl] an All-Girl Foot-Stompin' Bovver Rock Compilation!

[engl] Sharpies were the terror teen cast of a Richard Allen novel that never was. Although largely synonymous with the early-to-mid 1970s, reports of their violent clashes with rival gangs of Mods are documented as early as 1966. Bored, working-class, suburban kids, their teenage rampage began in Melbourne, Australia, but soon there were Sharpie gangs forming in Sydney, Perth and beyond. For a while they were the untouchables, ruling dances, discos and public transport with their fists. Sharpies were fiercely territorial and divided into different chapters according to location. They would often wage aggressive wars within their tightly delineated sub-gangs, although Mods always remained their arch-enemy. Sharpies were the scourge of the railways. Although they would seldom attack members of the general public, if you gave them a second look you’d be lucky to escape with your wallet intact. Violence was their world, but always with a strict moral code. Sharpie boys and girls wore similar uniforms: a slim-fitting, ribbed and collared cardigan called a Conny, T-shirts, tight jeans (Lee or Levis) and big platform shoes. Girls’ shoes had 100% cork heels. Boys’ shoes were often two-coloured. Hair was worn short or shaved with long wisps at the back, influenced by the British ska, mod and skinhead subcultures. Sharpie girls had their hair slightly longer and often with coloured streaks - Bowie-red was their colour of choice. Boys often bleached their hair. Tattoos were popular, although many were homemade and poorly executed. Their diet was anthemic glam-rock (Slade, Sweet, T.Rex, Bowie, Gary Glitter) kung-fu movies and A Clockwork Orange. The music of local heroes like Lobby Loyde and The Coloured Balls, AC/DC, Skyhooks and Hush provided their daily soundtrack. They even had their own tribal dance, a rhythmic sway with knees bent and fists clenched and pumping upwards across their chests. As the 1970s drew to a close, and new styles like punk and disco began to emerge, Sharpies started to fade. By 1979 they were all-but gone. Today they are recognised as an important part of Australian youth culture and social history. Enjoy their music...

[engl] Teenage Terrified is the debut E.P. by Hamburger, a Bristol band formed over a chance meeting at a vegan fast food joint. Consisting of six friends, Hamburger have mixed the raw, immediate feeling of home/bedroom recording with the poppier sound of studio recordings with Dom Mitchison of Humm Studios. Teenage Terrified takes in a range of flavours, from the sing-songy, slacker pop of Zebulon, to the more ethereal, dreamy and melodic Seafood, to the intensely personal, stripped back and introspective Agatha. Every time you try to define Hamburger’s sound, they will surprise you and take you somewhere a little different. Having said that…one can definitely hear the sonic influence of Elliott Smith, Alex G, Sparklehorse and Built to Spill. Pink vinyl 12" limited to 300 copies

[engl] NO DREAM is the 4th studio record from the Death Rosenstock band full of chords, words, beats and more! Tracked live in a big room for that classic "is that a mistake?" sound by Grammy-nominated recorded "Grammy Jack" Shirley, you are GUARANTEED to have not heard this record before you've listened to it! We hope it makes you feel good, but if it doesn't, that's on you sorry.

[engl] LIMITED TO 500 HAND–NUMBERED COPIES! NOT TO BE REPRESSED! Martin Weaver, Wicked Lady’s main man and proto–doom / psychedelic hard rock pioneer, has chosen his favorite tracks from the two Wicked Lady albums, Axeman Cometh (1969–1972) and Psychotic Overkill (1972), presented here in a cool picture disc. Including the classics "Run The Night" (pure fuzz–wah hell, sounding like a mix between Black Sabbath and The Stooges!) and "I’m A Freak" (a proto–Motörhead hard–rock bomb!) plus the cool "Out Of The Dark" and the 21 minute epic suite "Ship Of Fools", where Martin pushes his guitar to the limit!

[engl] Arriving to the world for the first time, really–beyond the ears of the deep–digging few–Dale Jenkins’ Undesirable Elements, issued privately in the Washington, D.C. area circa 1985, is a homespun effort deserving of the audience and attention it never received upon initial release. Undesirable Elements–here expanded as Undesirable Element with appended bonus tracks–is a desolate and deconstructed album which touches on the subtleties and extremes of the human condition, and the nuances in between, across gnarled bits of proto–punk via abrasive, fuzzed guitars, and refracted mutant strains of British post–punk through a distinctly American underbelly sensibility. Drum–led and in–the–red, Undesirable Elements is a loose concept album of sorts, from the sympathetic pen of an innately skilled commentator. The album displays polemical disdain for the behavior of humans, insular views, and blindly moving forward on simple suggestion, while carrying a keen eye into the many textures of the mindscape of man. While you may hear occasional tears at aiming at the trends of the times, Jenkins’ direct, intensely personal and lyrically sophisticated material, combined with his charged attack, is in a realm all its own. Jenkins’ lyrics are nearly cinematic, like bite–sized scripts, or character vignettes, filled with wizened, introspective and radicalized perspective. The self–contained home–recording maverick was searching, sensitive, subversive, topical, yet several steps from the soapbox. Got Kinda Lost Records is over the moon to allow this unique, outsider singer–songwriter/psych–punk album another turn at its time in the shine...

[engl] SLANT are back with 17 minutes of pure bristling rage. Corrosive hardcore music for the pit AND the pendulum recalling the stomping catchy vibes of recent luminaries like BOSTON STRANGLER or VIOLENT REACTION but channeling back to previous 80s hitters in the YOUTH OF TODAY/MINOR THREAT vein too. All with an absolutely visceral feminine, ahem... slant to it. Ha, I couldn't resist that one. This band is a shining light in the South Korean scene and is anxious to get out in the world once the world happens again. We can't wait for you to see that.

[engl] When Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew that the two bands were collaborating with the intention of doing a one-time performance especially for us which is a beautiful thing on it's own and a true testament to that group of people being 10 steps ahead of most bands anyway. We knew it would be intense but holy shit... to say that GAS CHAMBER and BLACK IRON PRISON are merely "intense" is a gross understatement. They are relentlessly and deeply immersed in their own musical world of mental, spiritual and physical annihilation. This would prove to be GAS CHAMBER's final performance. 500 copies on black 150gr vinyl housed in a 24pt jacket with download card included. Recorded live at The Vera Project in Seattle WA. The record is an exact representation of the set without edits (except for a fade out/in for the side break) for time or tuning or any of that other shit that lesser bands do.

[engl] Finally on vinyl! This great set illustrates the (re)construction process of the wildest, freest identity in rock`n`roll history. Here are all Richard?s first recordings from the early fifties with the Johnny Otis and Billy Wright bands, the Deuces of Rhythm and the Tempo Toppers. All his pre-Specialty, pre-Tutti Frutti waxings: his four RCA singles and all the 45s he recorded for Peacock Records. Gatefold sleeve with extensive liners, label shots, dozens of pictures, vintage press clipping and reviews.

[engl] Chicago Power Poppers 'The Fur Coats are back with this 4 track EP to coincide with their UK tour. Short-Brain is the latest 7? by The Fur Coats, the musical vehicle of Chicagoan (recently Brooklynite) Marc Ruvolo. Marc has enjoyed a long and storied career as a musician and promoter, from booking his first DIY punk show in 1984, to fronting a number of long-running bands (No Empathy, Traitors, The Atari Star, Das Kapital), to running the Johann’s Face Records label (since 1989 – recently passed the one-hundred-release mark!). Wanting to tour more frequently, but finding the original members of the Coats unavailable, Ruvolo has now opted for a revolving cast of characters in terms of live and studio rhythm sections. Joining him for the four songs on Short-Brain are John Polydoros (Off With Their Heads, Vacation Bible School) along with Chris Mattern on bass, with Kyle Manning (Tens/Costanza), handling drum duties. The 7? also features cover art by the UK’s scribblin’ wunderkind, Wolfmask. The four songs on Short-Brain fall into the realm of pop-punk/power-pop, and showcase Ruvolo’s love for melody, while still throwing in an odd lyrical turn or two. Recorded in Chicago, if you listen closely you can hear the influences of some of his favorite favorite bands: Naked Raygun, The Smoking Popes, and the Buzzcocks.

[engl] Besides being an excellent boogie pianist and guitarist supremo, Ike Turner shone as a top-notch composer, producer and talent scout. It's a fact that Ike was at the same professional level as some of the biggest names of the day, whom he worked with on a number of occasions. This new 45?s compilation shines light on this little-known aspect of his artistic career as the genius-behind-the-curtains in several recordings by other artists. Included are R&B essentials such as ?My Real Gone Rocket? or ?I Ain?t Drunk? by the legendary Jackie Brenston and Lonnie the Cat, as well as obscure numbers ?never re-issued till now

[engl] Marvelous Mark is the moniker of Mark Fosco, formerly of the band Marvelous Darlings, which also included Matt Delong from No Warning and Ben Cook who plays guitar in Fucked Up. Essentially they were a Toronto punk supergroup "before they were famous", but their limited catalogue - a string of seven-inches - stuck like staples within a cult fanbase long after they called it quits. Now Mark has a solo project. With the title track previously released on Ben Cook's own label Bad Actors, Bite Me is made up of three succinct tracks so infectious they should come with their own NHS advice leaflet. We’re talking power-pop with punk roots. It's every bit as brilliant as you'd expect from a guy who uses "Marvelous" as a prelude to his actual name. Sound of your summer.

[engl]  All girl Volume, with Linernotes and 45 sleeves (black and white) on the back.

[engl] Wonk Unit were formed several years ago by Alex Johnson, formerly of The Flying Medallions, I’m told they began as a performance art project, essentially a vehicle for vocalist Alex. Alex Johnson is a one off. He provokes reaction. Poet, songwriter, performer, "tourtured soul", there isn't much that life hasn't already thrown at him. Wonk Unit have released several albums on CD and become one of the hardest working bands in the UK, playing countless gigs (I mean, they even have their own festival, Wonk Fest!). An obvious reference point would be Snuff (hell, Duncan Redmonds even plays on some songs and occasionally drums for them live), with the perfect UK pop- punk sound, organ and horns. Wonk Unit are much more than that though, with songs that are fun, energetic, heartfelt, thought provoking, angry, hilarious, exciting and catchy as fuck. Never afraid to push boundaries, whilst having a sound born out of Snuff/ Wat Tyler/ China Drum, they still have an originality that makes them unique. With songs chosen by the band, Johanns Face and Drunken Sailor and taken from the albums 'Trolleys, Muffy, Nervous Racehorse and a couple of exclusive songs, we think it is the perfect introduction to one of the best UK bands.

[engl] More obscure Glam Rock that never made it.

[engl] “New 12 song, 30 minuted LP. 3 years in the making. Dissonance and melody. Superchunk and hardcore,” guitarist and co-vocalist Daryl Gussin explains. Joined by drummer Adrian Tenney, the pair formed out of God Equals Genocide to create some lo-fi brilliance. Arriving about three years after the release of their debut 12? EP We Move, Gone, Gone, Gone is a jam-packed collection of swiftly delivered raucous-pretty hits, a sun-drenched living room window before & after being broken. The duo is comprised of drummer/vocalist Adrian Tenney (also of Badlands) and guitarist/vocalist Daryl Gussin, whose voices mesh sweetly & perfectly, layered over ferocious whirlwinds of guitar and drums. This one’s dying for you to play it loud and often. Angry, visceral and urgent. Essential.

[engl] If ever a band were to wear their influences firmly on their sleeves, in bright glowing colours that could be seen from miles away regardless of the weather conditions, then it would be the Young Leaves. It doesn't take long to ascertain what those influences are, either by listening to their music or by visiting their Facebook page, which unashamedly name-checks the bands that come to mind having placed the needle on this LP. Some people are firmly against the revisiting of any sort of sound from the past as they constantly seek something new to listen to, and I occasionally hear something that has me bemoaning the idea that “This has been done before and by so many bands, so please move on.” On the other hand, though, you will sometimes listen to a band who are paying homage to a sound, a band or a genre and think, “Yes, this is a job well done.” I guess the problem is, it’s hard for the band to get that balance right and to make music that can sound as if it’s got something fresh to offer. The Young Leaves, a trio from Massachusetts, get the job well done by sounding as if they really should have been playing alongside bands such as Dinosaur Jr., Buffalo Tom and Jawbreaker, as well as all of the other indie rock bands that were popular way back in the mid-to-late 1980s. I liked a lot of that stuff back then but haven’t listened to many of the bands in a few years, so hearing Life Underneath is a really enjoyable experience. The one "modern" band that comes to mind when playing this is Dan Webb and the Spiders, and on looking at the Young Leaves’ Facebook page it’s no surprise to see these two bands playing together in the near future. The songs have hooks aplenty, with the guitars based around that slightly fuzzed sound of yesteryear (I’m no guitar tech, so the myriad of guitar pedals that could possibly have been used here are beyond me) that has a warming quality to it—almost like someone wrapping their arms around you and immediately creating a glow inside that heats your body from the inside. Vocally, it’s really got a deep kind of J Mascis quality going on—again, one of the key elements that is able to warm the cockles of your heart when listening to this. The quality is constant throughout and the band do a grand job of recreating and creating music like that many of us grew up listening to and that influenced many who heard it to take up arms themselves. Hats off to the Young Leaves and also to Drunken Sailor Records for releasing this fine piece of work (which features great cover art, too).

[engl] A year after the release of Bleakness first album « Functionally Extinct » december 2020 will see the release of another Bleakness record entitled « A world To Rebuild ». Rather than a continuation of the album, this records must be considered as an extension since it features tracks recorded in May 2019 at Swan Sound Studio during the same session as the full lenght. This 6 songs EP includes the two very last songs written before the band entered Swan Sound Studio : « A World To Rebuild » and « Revenge », some may see in these an indicator of the direction that the next recordings will take. This record also includes re-recorded and slightly different versions of Discarded Tales and Remedy The Unease, this one was previously released as an instrumental on the Disquietude 2018 demo. And to give even more consistency to this 12 », long time friends Jacky Cadiou (from Syndrome 81) and Ryan Pattersion (known as Fotocrime) have worked on remixes of « The Closing Door » and « Over and Over ». The result is both varied and coherent, this limited 12” is a collection of dark and bleak melodies played in different forms. Depending on their mood, the listener can enjoy these sad Bleakness hymns in a raging post-punk or almost cold wave and terribly dancing way.

[engl] With the usual delay, comes the long-awaited second volume dedicated to rescuing unreleased recordings by this classic, killer band from Boston. After the demos and singles on Rat, included in the fantastic Volume 1, get ready for the fabulous sequel which includes mostly live material never before released. But Eaterville Vol. 2 is not a compilation of low-fi recordings, rehearsals, etc., but a collection of material taken from radio broadcasts or recorded directly from the soundboard of the clubs where they used to appear almost weekly between 1976 and 1979. Here you will find more potential hits that never materialized ("Someone Else In Your Arms","Necessities") along with alternate versions of their classics ("Hot Steel And Acid", "Red On White") and completely over the top live versions of their most explosive material ("Just Head","Degenerate") All with remastered sound, Paul McGuire liner notes, previously unreleased photos and vintage press-clippings.