By 2016 a teenage Drew Owen had put himself on everyone's radar releasing a whopping 19 records (and that was just under the Sick Thought moniker) on pretty much every punk label that mattered over a span of three years. At the time I thought of him as a teenage novelty, an endearing sometimes pesky younger punk sibling who I kept telling "NO YOU PUT OUT WAY TOO MUCH STUFF." However in 2016 Drew sent me what became the "18 & Free" single and had me eating my words, eagerly releasing a single for the kid I kept telling never. Now its 2022 and SICK THOUGHTS are back on TOTAL PUNK with a brand new LP. Drew has proven himself far more than a novelty and here I am eagerly footing the bill again. The shitty attitude is still intact and the songs are still about breaking stuff but the ramshackle production and rough edged tunes of early Sick Thoughts are gone. 13 scorching riff heavy tracks that run the gambit from Stiv fueled Power Pop to ‘Cherie Love Affair’ style Sleaze Rock all masterfully recorded by Drew and Michael Hohan with Drew playing all the instruments. Great music for licking knives or lighting your wallet on fire. Nasty, catchy as fuck, and 100% TOTAL PUNK!!!

Compiling all E.P.'s by Bootlicker, "Lick The Boot, Lose Your Teeth" presents 24 tracks originally released over four 7"s dating back to 2017. From the earliest incarnation of the band and the start of their signature production and sound to where they are now. With the overblown martial drumming, completely pinned clean guitar attack, Bootlicker has been a fresh take on D-Beat tradition with a handful of Oi/UK82 and American Hardcore influence on the side. Each 7" is compiled here and represents a different phase of the band. The completely broken speaker aggression of "Who Do You Serve", the slight Rock 'n' Roll influenced "Nuclear Family" and bare bones approach of the "Six Track E.P." all paved the way to a more realized sound in "How To Live Life". Instead of tracking down each out of print, individual E.P. Here they are for the taking.

"Web of Lies / Death Won’t Even Satisfy is the vinyl debut from this hardcore band from New Jersey, and it is a full-bore scorcher. Ammo plays ferocious US-style hardcore with a lunging, unhinged style that reminds me of groups like early Agnostic Front, Void, and Eye for an Eye-era Corrosion of Conformity… not so much in style, but in the way Ammo sounds like they’re maniacs who might materialize out of your home speakers in order to slash your throat. It’s a rare enough feat to capture this sort of wild energy on tape, but Ammo fuses this crazy energy with memorable songwriting, with tracks like “Black Site,” “Slam Slam Slam,” and “Ethnostate” hitting even harder because they’re so damn catchy. Sounding fast and crazy is Ammo’s forte, but their secret weapon is their ability to play at mid tempo, like on the crushing NYHC-style mosh part in “Known Unknown” and the singalong during the breakdown to the epic “All You Do (Is Want Me to Die).” I love music that expands hardcore’s boundaries, but Ammo isn’t that… they distill hardcore its essence, their sound ground down to the sharpness of a knife’s edge. This is not a record to sleep on."

By 2016 a teenage Drew Owen had put himself on everyone's radar releasing a whopping 19 records (and that was just under the Sick Thought moniker) on pretty much every punk label that mattered over a span of three years. At the time I thought of him as a teenage novelty, an endearing sometimes pesky younger punk sibling who I kept telling "NO YOU PUT OUT WAY TOO MUCH STUFF." However in 2016 Drew sent me what became the "18 & Free" single and had me eating my words, eagerly releasing a single for the kid I kept telling never. Now its 2022 and SICK THOUGHTS are back on TOTAL PUNK with a brand new LP. Drew has proven himself far more than a novelty and here I am eagerly footing the bill again. The shitty attitude is still intact and the songs are still about breaking stuff but the ramshackle production and rough edged tunes of early Sick Thoughts are gone. 13 scorching riff heavy tracks that run the gambit from Stiv fueled Power Pop to ‘Cherie Love Affair’ style Sleaze Rock all masterfully recorded by Drew and Michael Hohan with Drew playing all the instruments. Great music for licking knives or lighting your wallet on fire. Nasty, catchy as fuck, and 100% TOTAL PUNK!!!

Hot on the heels of 2021's excellent debut, "Demolition Strictly", Luke Sick and DJ Eons packed a brand new bowl of drowsed out West Bay hip-hop. This time around though they decided to do it the OG way by making all the beats with a PT01 plugged directly into a SP-404 (all beats sequenced in the SP-404 too). Damn! and guess what? *ahem*, the result blows all expectations straight out the tunnel. GI is unstoppable. Limited to 200 pro-printed red shelled cassettes housed in a J-card sleeve inside a clear Norelco box. Recorded and mixed at The Invincible Lab and The Rooftops of Monte Vista by DJ Eons One. Mastered by Dan Randall. Art by Luke Sick, Dan Lactose and L-Wood Media.

Long time no hear: after an extended hiatus and just the occasional gig, Robocop Kraus have rewired and reunited. They’re back in the game. Almost a quarter of a century has passed since the band was formed, a period which saw them release on labels like L’Age D’Or, Epitaph, and Anti. Now they have put together a compilation featuring all of the tracks which, for one reason or another, were not available on their regular albums, with an intriguing number of rarities and previously unreleased material. Founded in the late 1990s by members of former (secondary modern and grammar) school bands in the small Middle Franconian town of Hersbruck, endowed with the most rudimentary technical skills on their respective instruments (the deal was that every band member would play an instrument he had yet to master) and unafraid of hammering out songs from blatantly pilfered or well-worn musical ideas, the band was, to all intents and purposes, set up to fail. Nevertheless, Robocop Kraus became the love of our lives: 5 albums between the years of 1999 and 2007, the first on the band’s own label Swing Deluxe, the last on the internationally renowned Epitaph label. Hundreds of shows across Europe, the USA, Russia and Japan. Encounters and friendships with people and bands, adventures and events in squats, bars and clubs. Enough answers? Things quietened down in 2010, a lengthy break with just the odd show here and there. But last year, 2021, we had to concede that Robocop Kraus really are the love of our lives: a concert request was spontaneously accepted – surprising even the promoter, not to mention ourselves. Back to the rehearsal room. Now we are six and we have more instruments too. We had to listen back to the old songs so we could practise, and as we rummaged through the archives we happened upon the 28 songs now gathered here together for you. They range from our very first recordings to songs for (and in) 2022. EPs, compilation tracks, a few all-time faves like Poor Soul Relax (on vinyl for the first time) and previously unreleased songs or alternative versions. This ist he first ever Robocop Kraus double vinyl (check), with superb artwork by Lorenzo Zimmermann and meticulously detailed liner notes courtesy of the band, divulging no end of anecdotes or secrets true and false.

In und für eine Zeit in der alles bedrückt, aber kaum etwas beeindruckt - die neue „es war mord“ Langspielplatte. Infolge totaler Leere, Ideen aus der Ideenlosigkeit, über den Umgang mit dem Zustand, in unveränderter Lautstärke, mittendrin eine verzweifelte Stimme, der ganz normale Wahnsinn. Lieder über die groben Abläufe unliebsamer Situationen, wie der harte Aufschlag aus einer ungeraden Rechnung, genau richtig für den zu kurzen Keller, ohne übliche Vorhersehen etwas zu gewinnen. ausser den richtigen Wörtern vielleicht, die keinerlei Anspruch haben das richtige sagen zu müssen. das Konzept scheitern, die Utopie der Kosmonauten. Warum nach der Revolution erschossen werden? bleiben sie neugierig. Die Utopie der Kosmonauten

Much loved, relentless rocker, Jake Robertson is back yet again with the next instalment of his ridiculously productive solo project, Alien Nosejob. Jake’s got a brand-new bag of tricks and I ain’t gonna beat around the bush; it sounds like AC/DC! Stained Glass may be his finest and most stylistically suited work to date. Ironically, and to quote his own sarcastic lyrics from the album’s second track, he definitely fits this shoe. Not only does Jake have the high-pitched pipes while many others don’t (obviously a vital part in this sound), but the guitar chops to pull off the sweet, sustained lead breaks of this particular style. And he does so in great fashion as you’ll be made immediately aware from the scorching solo on album opener, “Beatles vs, Stones”. Trust Jake to write a song with that title! But alas! it’s not all Bon Scott’s and Angus Young’s. Some Rikk Agnew guitar lines shine through on album closer, "Mouldy Dough". "Shuffle Boogie" marks Jake’s first ever stab at the shuffle backbeat - which he says is him knicking from Rose Tattoo what they knicked from AC/DC - but it also kinda sounds like a sped up Jean Genie or some lost Bowie boog. "RNR Rubbish Bin" stomps its way through five minutes of electrified solo’s and witty lyrics. Even Brian Johnston makes an appearance on the Ausmuteants sequel, “Coastal Living 2”; about growing up on the NSW Central Coast. The bulk (backing tracks) of Stained Glass were recorded by Mix Master Mikey (Young), over a Friday / Saturday in October last year - but by the sounds of it they spent just as much time eating Guzmen y Gomez, talking shit and hanging out as they did recording. Jake took the beds for the eight tracks home, tucked their sheets in tightly and the record was complete before years end.

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.

As the Decline of Western Civilization comes into full focus, our ears turn once again to Los Angeles. The first proper full length from Smirk could very well be the soundtrack to a Decline pt. IV, with tracks like "Living in Hell" and "Hopeless" delivered for a whole new generation of latchkey kids. 'Material' follows 2021's 100% TOTAL PUNK 'EP' and 2020's 'LP', which collected the first two cassettes-de-quarantine that began Nick Vicario's run as Smirk. If you've worn out your copies of those releases, then 'Material' needs no further explanation. But if you're wondering where the magic is - let's start with pure, quality songwriting. Vicario and his revolving cast of Smirk players have really done it this time. It's punk, California, paranoia, guitars, rhythm, and a sense of humor-slash-purpose joining forces to combat reality in the truest sense. Smirk have produced an impressive punk encapsulation of the times across the web of sound on 'Material'.

Talk about a band...WHY BOTHER? are not only doing it themselves, but doing it for themselves. With zero interest in performing live or promoting their music online - the Mason City, Iowa four piece have been back in the basement writing and recording highly original punk music faster than it can be pressed to vinyl in this day and age. Their earliest material was collected on 'A Year of Mutations' and issued on LP by Feel It in 2021 - since then, the band has been building towards their first full length, and hot damn does it deliver! Speck's guitar sound is cut straight from the ultra-trebly Killed By Death sound as Terry's vocals and '73 Univox 100 synth cut over top of the wildly dexterous rhythm section of Pamela and Paul. It's a sound both classic and futuristic from a group of Midwestern weirdos living outside the tech bubble, spinning their own web of sound straight from 8-track tape. So if you need a dose of true original punk rock in 2022 and beyond, WHY BOTHER? can give you that fix.

"Sometimes sultry, sometimes fiery, sometimes rocking, sometimes rapping and sometimes she sounds like one of the old soul divas. It's amazing what this woman can get out of her throat. She seems to be able to do almost anything. Strange guys, those Greeks. A beautiful album indeed". OOR, Alex van der Hulst. Produced by Blend Mishkin.

Without a doubt, To Rococo Rot are an exception within the German music landscape. From 1995 until they broke up in 2014, the group around Robert Lippok, Ronald Lippok and Stefan Schneider researched a unique sound between electronic music, ambient, post-melancholy and the further development of a new, free music like krautrock. Pitchfork described their sound as "unmistakably digital, yet 100% human". With releases on labels such as Kitty-Yo, City Slang and Mute Records as well as concerts worldwide, the band has built a remarkable reputation. The trio was invited three times by John Peel to record radio sessions in the BBC studios. Bureau B is pleased to make the recordings from these three sessions from the years 1997 and 1999 available on record for the first time, which, in addition to the live versions of selected album tracks, also contains exclusive, unreleased songs.

The Berlin project Sprung Aus Den Wolken was part of the "Geniale Dilletanten" movement in the early 1980s, along with Einstürzende Neubauten and Mechanik Destrüktiw Komandöh. The band first re- leased an EP on ZickZack in 1981, followed by further releases on the band's own record label Faux Pas in 1982 and 1983, then on the French outlet Les Disques Du Soleil Et De L'Acier until 1991. The track Pas Attendre was part of the soundtrack of Wim Wender’s movie Der Himmel über Berlin and thus became an underground hit. Founder of the band Kiddy Citny is also a painter. His paintings of the Berlin Wall have been exhibited around the world and are now in private collections in the US, France and Japan. Bureau B is pleased to finally make the long out-of-print, self-titled album from 1982 available again. Carefully remastered, with reconstructed original artwork, numerous photos and liner notes by Alexander Hacke.

Italy has never had a shortage of ripping hardcore bands and SLOI is no exception. Featuring members of IMPULSO, TUONO and ASTIO, SLOI execute furious D-beat hardcore punk, channeling the clamorous spirit of legends past, such as WRETCHED, NEGAZIONE, INDIGESTI and STIGMATHE. They don’t let their influences overshadow their own work, however, which is firmly rooted in the eternal state of horrifying affairs. Hailing from Trento, SLOI take their name from a lead factory that poisoned the area over 40 years ago, called Società Lavorazioni Organiche Inorganiche. Many of its workers died of lead poisoning, while others took their own life in the Pergine Asylum, where they were being treated as mentally ill. SLOI vocalize seven nightmarish tracks in their native tongue, arguably one of the finest languages for spiting out hardcore punk, and each one will have you gripping the edge of your seat in white-knuckled fury. Swaying between full-blow D-beat assaults, complete with wall-of-noise fuzz, and pit-and-pogo ready bangers to satisfy your knuckle-dragging urges, they possess a razor-sharp production that is satisfyingly noisy and reverbed. In turn, each track assembles some of the finest features of the genre, hitting hard with nail-biting intensity: the drums crash on you like a pound of bricks, the guitars manically pace between savage riffs and crunchy chords you can sink your teeth into, and the bass is laid down throbbing and thick, pounding at your chest like an shock wave from a lead factory that’s just collapsed in a fire. Atop the wreckage stand SLOI, along with a cohort of peers currently flying the black flag of Italian hardcore resistance.

Under the name AREU AREU, the two CAMOUFLAGE musicians Heiko Maile and Marcus Meyn released a 5-track EP in 1992, which is now being re-released in an extended version and for the first time on vinyl. In 1991, a friend and companion of Heiko Maile and Marcus Meyn, the photographer Reiner Pfisterer, celebrated his 24th birthday. Instead of records or books, the two CAMOUFLAGE founders planned to present the birthday child with a performance by a band formed especially for the occasion and launched AREU AREU. After CAMOUFLAGE had just released their rather acoustic sounding album "Meanwhile", Maile and Meyn were more in the mood for purely electronic music, so this side project was just what they needed to play around with the electronic gear they had accumulated in their studio in the centre of the small town of Bietigheim in southern Germany. The result were cover versions of songs that had always strongly influenced Maile and Meyn: We hear "Day Tripper" (BEATLES), "Cold" (THE CURE), FAD GADGET's "Ricky's Hand" and a two-song medley of "I'm Your Money" (HEAVEN 17) and the DEPECHE MODE classic "Tora! Tora! Tora!". In addition, several versions of their legendary German-language song "Mr. X" were worked out. A few weeks after the party, Maile and Meyn told their A&R manager about the project, and in 1992 a small number of tracks were released in a small edition on CD. On the occasion of the 30th anniversary of this release, the complete work of AREU AREU now appears on an album for the first time and we can state: AREU AREU created the perfect soundtrack for a party in the hot summer of 91: AREU AREU are danceable, unpolished and wild.

Following up a demo as raging as Lexicon's was is a tough thing to do for most but holy shit Devoid Of Light powerstomps that thing to radioactive dust! KJ's deathly anger/despair ridden vocals are some of the most intense in modern history. The USHC infused noise-crust riffs fit perfectly into a tensely driven percussion grenade of anxious drums and bleary, life-questioning rage. Do we need to say "explosive"? Because that is exactly what the hell it is. Get fucked up, turn the fuzz to 11 and get as strong as humanly possible. Life can be a real piece of shit sometimes, let this be the soundtrack when it is. 400 copies on black and 200 copies on "Rainier" yellow 140gr vinyl housed in a 24pt reverse board jacket with lyric insert, giant poster and download card included.

Louis Philippe is living the big dream: He's a famous football journalist AND a pop star. He writes, arranges, sings and plays the most elegant pop songs on our side of the Atlantic, he released on the legendary label él Records and his influence on the great Japanese Shibuya sound cannot be underestimated. So we are very pleased to present a long overdue compilation of some of the greatest Louis Philippe songs from the years 1994- 2007. Many of these songs are from albums that have been out of print for a long time, and some of them are being released on vinyl for the first time The album was expertly compiled by Louis Philippe's friend and sometime musical partner Sean O'Hagan (The High Llamas), who also wrote the liner notes. In them O'Hagan writes and recommends: „Lose yourself in this record and let me warn you. You ?ll be humming the tunes and reliving the chorus ?s and key changes for an age, and if you ?re a songwriter you will probably be lifting the melodies without realising is. That ?s the sign of a timeless classic.“ Anyone who knows the works of Louis Philippe will immediately agree with O'Hagan. Those who do not yet know Louis Philippe will agree with O'Hagan at the latest after listening to this album for the first time. They say that when Smokey Robinson sings, you hear violins. And when the great Louis Philippe sings, the sun rises, even on 21 December at midnight.

Beyond the clearly scorching and well executed Disbones/crasher/d-beat/crust whatever you wanna call it bombastic hardcore that Eteraz has crafted on Villain, what strikes this listener most is that the whole thing is belted out in Persian. And it sounds fucking perfect. The harsh throat scraping sounds of the language add an extra layer of immediacy and power to an already flawless Discharge style delivery. Add that to a wall of tasteful distortion, acidic riffage and a drum battery that would detonate any unexploded ordinance within a 10 mile radius and you're starting to get the picture. 350 on black and 150 on trans green 140gr vinyl housed in a 24pt reverse board jacket with printed inner sleeve, foldout poster and download card.

In today's music landscape its so easy to intellectualize "noise" since there isn't much for the average listener to grab on to. You are made to feel stupid if you don't get all the nonsensical bleeps and scrapes that every mediocre can swilling table stander can belch out. And then there are the reasons that noise music, yes I'll call it music because that's what the fuck it is, took hold in the first place, the real standouts, the people and bands that have made something wholly original and visceral and against conformity that you must take notice. Intensive Care falls firmly in that realm. Coming from roots within the hardcore, metal and powerviolence scenes these cage rattlers employ a myriad of instruments including but nit limited to drums, bass, vocals, tape loops, junk, electronics and more to craft a stunning array of beat driven harsh noise and metallic industrial sounds that you can - if you're not already destroying your surroundings - almost dance to.

Brain damaged skate thrash at it's lo-finest all the way from the eastern wilds of Halifax, NS. So raw that even the freshest catch calls it cannibal fodder. 14 filthy filthies come blasting at you in a mere 16 minutes, just long enough to back lip that crusty ledge, bail and pick the gravel out of your freshly opened road rash. 500 copies black 140 gr black vinyl housed in a 24pt jacket with the premier issue of Concrete Flower skate zine included.

In yet another beer-fueled entry to Cleveland's storied rock'n'roll lineage, Flea Collar step up to the plate and smash home nine hits on their self-titled debut album. The Rustbelt gang of four (affectionately known as Spot, Sparky, Cookie, and Blitz) have spent the past decade'n'change honing their collective chops in groups like Bad Noids, Brown Sugar, Spike Pit, and Woodstock '99. Anywho, since their inception as Flea Collar with 2021's 'A Hole Is A Hole' on Tetryon Tapes, the gang landed at Rumpus Room Recording with Poopy Necröpondé (Sockeye) engineering their full length effort. Whether your opinion of Cleveland leans more towards r'n'r mecca or mistake on the lake, there's clearly something in the water supply and BOY, is it baked into what Flea Collar have created across these twenty-six odd minutes. Taking cues from the Non-Commercial side of CLE punk, British heavy metal, Japanese hardcore insanity, and good old fashioned Midwest rock'n'roll - Flea Collar have turned in an epic debut that lands somewhere between tongue-in-cheek & the impending dog bite illustrated on the front cover. Where this album fits into the utterly confounding cesspool of twenty-twenties culture is a coin toss, but the true heads out there may just GET IT. Flea Collar fucking rules!

Grimy, depressive post-punk from the City of Flowers and Sunshine executed by the masterminds behind SMUT and SMIRK. "Killing Life" resonates with a monotonous yet melodic cruz through the bleak underworld of human nature and party fallout. A mouthful of bad LSD and worm dirt. Perfect for pandemic summer.

How much longer can we (LIVE)…if we’re only an (IMAGE)? That’s the question Freak Genes (FG) pose in their new album Hologram. Put down your electric scriber. Answers on wax only. Discover the difference between manifest and (MIRAGE), solid and (SHAPELESS), real and (INFORMATION_REDACTED). But here is what we actually know: Freak Genes are Charlie Murphy (LIFE_FORMS, GAMMA, FRESH_SPECIMEN, ISOLATION) and Andrew Anderson (PROTO_IDIOT, KAKE?). Hologram is their (FIFTH) album. The (LABEL) is Feel It Records. The playing length is (INFORMATION_REDACTED). There are (THIRTEEN) tracks.