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)

Body Maintenance return with their second full length 'Far From Here. Following on from 2023's 'Beside You', 8 new songs of Dark Post Punk. Hailing from Melbourne via 1980 Manchester, Body Maintenance write songs that are isolating yet inspiring, aggressive yet intricate, their music is the perfect soundtrack to the dark world that we exist in. While taking inspiration from the likes of Sisters of Mercy, The Sound and Echo and the Bunnymen, their sound is unique and unlike any other bands in the realm. Swirling beautiful guitars, soaring vocals and the most hypnotising songs. This record will keep coming back to you. With nods to The Chameleons and Second Empire Justice era Blitz, these songs are evocative of the anxiously bleak yet anthemic sounds of early 80’s Manchester, delivered in a contemporary Australian context. Essential.

The official reissue of Tokyo’s DEATH SIDE non-LP output. 40 tracks collecting Satisfy The Instinct 7” (1988), The Will Never Die 7” (1994) and All Is Here Now 7” (1994). Their compilation tracks from Smashing Odds Ness!! 8” (1987), Eye of The Thrash Guerrilla LP (1988), Hang the Sucker Vol.2 LP (1989), Game of Death LP (1989) and Starving Dog Eats Master LP (1991) as well as their tracks on the CHAOS UK split CD (1993) Starting up in the mid-80’s DEATH SIDE, together with LIP CREAM, bridged the first and third wave of Japanese hardcore punk. Bringing to the stage new influences, and the brooding Japanese hardcore sound. By making something totally fresh, they forged the trademark sound most people think of when thinking of traditional Japanese hardcore. Their extremely fierce aesthetic, sound and attitude gained them a nearly mythical status. Following the Japanese tradition of bands organising their own gig nights, DEATH SIDE together with friends, created the legendary Burning Spirits concerts and tours, which saw every classic band of the era play, from LIP CREAM, CRÜCK or BASTARD to SYSTEMATIC DEATH, ??? or NIGHTMARE. This gig night gave their style a new name, which has been used broadly to describe contemporary Japanese Hardcore. By playing relentlessly all over the country they inspired a new generation of maniacs that ended up starting bands all over Japan. The band came to an end in 1995, and spurred another batch of classic bands like PAINTBOX, FORWARD or JUDGMENT. But that’s a different story.

Pyrex’s post-apocalyptic punk slithers out of the melting pot that is New York City, nodding to influences ranging from early thrash to Crass Records post-punk and the city’s own storied hardcore lineage. Rooted in the classic acid-damaged sound of Chrome, Pyrex takes notes from disparate influences like Poison Idea, Needles and Crazy Spirit, delivering a rolling boil of punk nihilism with hints of psychedelia simmering beneath. Their latest, Slugman, is four tracks of irate punk fury packed into a taut eight minutes—all toxic sludge and raw nerve spilling in abundance. It’s nasty, unhinged and volatile but won’t leave your turntable for a long while. Approach with caution. (Fred Pessaro)

Maxime Smadja has held many positions of note in some of the more exceptional French underground groups of recent years. For instance, you might know him as the beastly beat keeper behind Paris Oi band RIXE or the song writer behind the ever so catchy BOSS but for those who have yet to be initiated this is CONDOR - a one man band and love letter of sorts to his homeland and the particular strain of Oi / Punk music that it started yielding well over three decades ago. Previously only available on a pair of scarcely pressed and circulated cassingles, Beach Impediment Records is ecstatic to further the circulation of these six songs on the vinyl format. Channeling the brightest moments of the classic compilation series "Chaos En France" (and really, anything else on the Chaos Productions label that's worth a damn) combined with an execution so precise and well crafted that it carries that undeniable trademark of Smadja's many other contributions to the genre of punk over his time in it due to it's attention to detail and adoration of quality. And as a special bonus this slab features an additional track that is exclusive to this release - a cover of "Vengeance" by the 80's Parisian Oi outfit D.E.M. Each record comes in a jacket featuring the stellar art of Beau Richie depicting what I'd assume must be a typical day in one of the abundant alleyways that weave through out the City of Lights, plus a killer 18" x 24" fold out poster insert.

LAME is back with their sophomore record. Ten tracks of direct, pummelling and tortured Hardcore-Punk. While the musicianship on this record is superb, with every instrument being upfront, it is really the vocals and lyrics what push the songs to the edge. Sally’s singing is manic, with very introspective lyrics, with a constant sense of hopelessness permeating through the entire record. Bringing to mind the almighty G.R.B. on the vocal and lyrical approach. Musically LAME is part CHAIN REACTION part the first D.I.R.T. EP, with hints of Midwest HC and Mediterranean Modern Punk. With a very driven bass, chainsaw guitar heavy on the fuzz tone and a very imaginative drummer. Without shadow of a doubt, this record fits right in with other Nuevo Sonido Balear greats.

Reissue of the debut RIPCORD flexi The Damage Is Done, that was originally released on their own Raging Records in 1986 for just 50p. This was there right at the start of mid 80’s UK hardcore along with HERESY, CHAOS UK and EXTREME NOISE TERROR. Spread over nine tracks, RIPCORD absolute rage with a mix of US hardcore and dirty UK82 style punk. The cardboard box drum sound gives the recording a timeless feel, as the band rip, pull and thrash. It’s raw, loose and unhinged UK hardcore at its finest. On the Side 1 you get the entire Flexi plus an unreleased version of Blind Eye which was recorded for a compilation that never happened and Single Ticket To Hell from the Manic Ears and Children of the Revolution Records DIGGING IN THE WATER compilation from 1987. Side 2 features a mixing desk live set recorded at the Captains Cabin, Weston Super Mare, 3rd May 1986. Originally released as part of their VHS on MCR-UK. The record comes with a 16 page booklet.

Passion Killers were from Barnsley, South Yorkshire and featured Dave Lentil, Daz White and Boffo. All three members were later, heavily involved in Chumbawamba but at the time of this demo Boff was already only on loan from Chumbawamba. This 1983 Demo was recorded in one day at Lion Studios, Leeds and features 11 melodic, simple, anarchist pop songs. The Band had already shared a split tape with Chumbawamba on Sky and Trees but this demo is the jewel in the crown of the Passion Killers recorded work. It features ‘Start Again’ which was released by Crass on ‘Bullshit Detector 2’. The LP comes with a 16 page 11”x11” booklet featuring photos, lyrics, handouts, clippings and other stuff.

Scintillating 6 minute thrillride delivering booming flying acid guitars, illegibly distorted bass, unrelenting drums, and brutal borderline death metal vocals. Some of the minds who brought you Arms Race and The Flex bring you this music coming from the same filth at the earths core which defined the UK’s great contribution to exceptional ear damage across four decades — touching on Scandinavian speed a la Totalitär and Mob 47, the aching chaos of Disorder, the psychedelic noise bath of ENT, and the clean cut legacy annihilation of NWOBHC. Heavy and relevant political lyrics top this masterstroke of “no metal no melody no problem” (Jonah Falco)

Forced Communal Existence binds five 7"s and a couple of comp tracks onto a 23 track LP, with the front and back cover art to suit. Fans of rare 60's and 70's garage and punk 7" single compilations rejoice! Kicking off this long player is an EP that was recorded by Billy from Anti Fade in his childhood bedroom in July 2017. The songs came to fruition while AUSMUTEANTS were on tour in Japan 2016. There was a lot of ‘WALLABY BEAT’ / ‘MURDER PUNK’ being played in the background while seeing the sites of Mount Fuji and ‘Bar Fuck Yeah’. In between shows Jake was organising the release of DANNY GRAHAM and PLASTIC AND THE EP’S records on the label he co-ran XEROX MUSIC. Both artists played parts in the sound and ethos of the PANEL BEAT EP. The goal was to make the songs sound unapologetically Australian without pretending to be something they’re not. There’s no fake accents or songs about VB and mullets. Instead, there’s songs about every day struggles, like dealing with fickle fashion followers, having too many fucking records, playing PlayStation, resentment and manipulation. 500 copies were pressed and self released, with a photo slipped inside each copy at random. Next is THE DEATH OF THE VINYL BOOM which was self recorded in a shed in November 2017. This is the only Alien Nosejob release (besides this comp, smartarse) to feature a cover - Flyblown by Adelaidean arty weirdo band JACKSON ZUMDISH. The idea behind this EP was to incorporate the simplicity and scrappiness of the late 70’s DIY Australian sound, but give them the complicated structures of prog songs. Scum stats - 500 copies, self released. Several copies were smeared with Jake’s blood and had smashed pieces of vinyl glued to the front cover. Now we have a cover of the DEAD KENNEDYS. The conspiracy theorist wet dream Government Flu. Recorded September 2020 during lockdown in one-man-band with a tape recorder fashion for a 20 minute unedited ‘live set’ video where all instruments were played one by one, sung and mixed in the space of a couple of hours. The HC45 7” was recorded at the same time as a disco 12” maxi, which I hear were originally meant to come out on the same day. Shit happens I guess? This EP came out in Feb 2020 and sounds somewhere between early GANG GREEN, DIE KREUZEN and the BEASTIE BOYS old bullshit. Self recorded on a 4 track with a broken pinch roller. Lyrically this thing is cynical and choc-a-bloc full of satire and hate. A year later a sequel was recorded the same way, on the same machine. No fucking disco this time though. Cold Bare Facts is the most recent recording on this comp. Self recorded in Jake‘s bedroom 2022 It has the same mid paced tempo as DYS or SSD when they’re at their slowest (pre-Boston Curse, of course!). Both songs take a stinky shit on the Australian state police. 300 copies. Finishing the record is a cover by THE AINTS. Originally written by ED KUEPPER for THE SAINTS Eternally Yours album, but it sounded too similar to Lost and Found. Originally released on ‘ALTA’ cassette compilation during the lockdown.

London’s power pop heroes The Speedways are back with a new killer 7”. 'Visiting Hours' is a piano-driven mid tempo number with an ultra catchy chorus. Or as one review put it: The best song Elvis Costello never wrote! On the B side we’ll find an exclusive (available only on this 7") called 'Now That I Know How’; a great Tom Petty-style 3 chord pop rocker that makes you wanna go wild on the dance floor.

The Wrestling Boot Band, also known as The Wrestling Boot Traveling Band, was a musical group fronted by Hulk Hogan, which also included "The Mouth of the South" Jimmy Hart, Hogan's then-wife, and John "J.J." Maguire.

DEAD MOON’S CALLING was originally released in 2005. Here is the official 2025 vinyl repress on REBELLION limited to 500 copies.

SURVIVAL OF THE SICKEST was originally released in 2002. Here is the official 2025 vinyl repress on REBELLION limited to 500 copies.

REBEL 4 LIFE was originally released in 1996. Here is the official deluxe 2025 vinyl repress on REBELLION limited to 500 copies. Comes in a gatefold sleeve with tons of old, never seen pictures and a double sided insert including old flyers and lyrics. Including 4 bonus tracks from the “WHO TOLD YOU LIFE IS EASY EP (1995)/ Issued with courtesy and help of LOST AND FOUND RECORDS and BACKFIRE

BLUETALITY was originally released in 2002. Here is the official 2025 vinyl repress on REBELLION limited to 500 copies.

FIVE DEADLY VENOMS was originally released in 1999. Here is the official 2025 vinyl repress on REBELLION limited to 500 copies.

2025 deluxe repress With the band being fully active again on the live (and recording) front, Cosmic Key Creations is making a big part of the bands discography available on limited and deluxe vinyl editions. This is the IN TIMES BEFORE THE LIGHT debut album but in a different version than the original 1997 record. In 2002 it was completely remixed and partly re-recorded to fit better with the new musical direction of the band. It’s a very interesting and rare piece of work and now available again ina deluxe and very limited edition

'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.

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.

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.

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