A love affair between Australia and Spain - one for the real rockers out there. Those lovers truly can't cease to amaze. Highly enjoyable one-of-a-kind sounding stuff from these masterminds. Demento synth noise from the creepy depths of a dark basement. The energy, hooks, and rawness elevate this above also-ran status, so if you’re a fan of this sound, you have to love it. A wave of skrunky, Adderall-eyed eggpunk-worship. This Split EP is an impressive collection of tunes, and I’m looking forward to seeing what this rockers come up with next. Wrap your favorite body parts in tin foil, dye your eyebrows blue, and get ready to sweat out chemicals when you listen to this one.

Dead Finks is the musical output of New Zealand-born duo Joseph Thomas and Erin Violet. Formed in Sydney sometime in the late '10s, it's current incarnation is a four-piece rock band based in Berlin. On The Death & Resurrection Of Jonathon Cowboy the band showcase an incredible knack for writing catchy and unique melodies. They play punk music in the tradition of Wire, Sonic Youth and The Fall (whose "Frightened" is covered here, recorded the night of Mark E. Smith's death) and take cues from contemporaries like Parquet Courts and Iceage in their efforts to manipulate and expand upon what it means to be a punk group in 2021. Written and recorded in Sydney, late 2018 (shortly before the duo moved to Berlin) the LP serves as a strange prediction of the horrible state of the world today. Songs about war, plagues, pissing, police, David Cronenberg’s Videodrome and the climate burning. Its a sea of wiry guitars and thumping bass that plants itself inside your inner ear and doesn’t leave. Thomas’ smart-ass delivery and literary style with odd references abounding, sees a return to something similarly touched upon in his previous group Trust Punks. However, on this LP Dead Finks feel more straight-forward in the best kind of way. Stripped down rock music that knows what it is and smashes you over the head. Vocal harmonies and lush organ sounds. It sounds really good. Divorcing somewhat on this release from the harsh underground sounds of previous iterations of the band. An extremely strange synchronicity. Some will try and say it was planned. It wasn’t. This is art working in mysterious ways. Hopefully for some of you it will help. Personally, these songs transcend this horrible situation we are collectively going through. But they cannot be exempt from being looked at through the gaze of a world stricken by plague. It’s the Death… & RESURRECTION of Johnathon Cowboy; you, me & everyone else.

Leopardo started as a solo project with debut album "Di Caprio" in 2018. It then became a band, with musicians from Fribourg and Tessin's underground music scene (Switzerland). Together they released a second album, "Is It An Easy Life ?" in 2019. Although the project started with optimistic and romantic love songs (which they sometimes still write), time came for the band to explore other aspects of life and love, mostly on the bad sides, which can be heard in their latest record "Malcantone". Drawing inspiration from the pessimistic school of philosophers and paying tribute to Robert Walser and his love for unhappiness and mountains, this new atmosphere naturally impacted Leopardo's music, adding to the "Velvet Underground-kinda-sound” a dissonant country/post-punk crooner aesthetic, sprinkled with nonchalance. Almost all members of Leopardo were living together at Spazio Morel in Lugano, and late at night they sure listened to a lot of Country Teasers, Lou Reed and Michael Hurley. This new album is released on SDZ Records (Europe), Le Pop Club (Suisse) and Feel It records (USA/Canada). "Somewhere in the elastic universe of speculative ontology a troupe of well-mannered Euros saw the June 1st, 1974 concert in London, took this sole germ back to the serene Swiss Alps (birthplace of LSD) and fecundated it with honesty - like some lifelong lysergic therapy session - until they emerged saturated with colors no one knows the name of, dripping of colors that sound like motions known solely to them. And now they've invited the rest of the world to hear. Upon first listen I was reminded of how exciting those Jeffrey Novak solo albums were - delicate pop music accessible to us, uh... malcontents. Providing the mids between Eno's highs and Ayers' lows, it's a stunning display of both art and artisanship, and like a kid who aces his test without studying, it seamlessly incorporates the crisp aural aesthetic of Chrome and layered nonchalance of Velvet Underground without stepping into the gated communities of those bands' wannabees. Echoes of Morton, Cale, Barrett... a madcap laughing, white heat from warm jets in the eyeball of hell... And yet, it sounds only like Leopardo. Make sure you listen to it seven times in a row like I did." -Brandon Gaffney

I could tell you about the beginnings, about this email from Keith from the late Scratch record store that allowed, very concretely, to launch everything. But I really don't know where to start to talk about the 20 years - sorry 21 years - of the label. It's a joyful jumble of fanzines, concerts, meetings and a total absence of plans. There is simply a desire, parallel to that of trying to write about music - something that always seemed impossible to me - to push some bands or artists that move me. The idea is not to make each release a surprise nuclear inspection but to contribute, on a small scale, to prolong the existence of initiatives that come more from the guts than from the symbols, more from the basement of a bar than from the official places carried by a music industry that should have died a long time ago as it doesn't support the artists anymore. The guiding thread, if there is one, is to find density in lightness, to tirelessly dig into any form of curiosity, to listen again and again and to try to open new horizons for the bands I defend. I dream of a label with bright red flashes, melting in a thick layer of milky golden clouds or running in the middle of the cold night in an old industrial area where nature has regained its rights. Cultivating dilettantism, savoring latencies, provoking coincidences, tracking down melodies from the depths of the bones, pushing the sublime fins hidden in the ashes of passion....yes, I know it's a lot, but there's a little bit of all that. And a lot of laughs too. Each record...is potentially a life base. After "Flottante tension d'éclipse" for the 10th anniversary, there was the desire to mark the occasion with a new compilation, this time entitled "Spasmes du hasard". We find there ten rare or unreleased tracks. It's a punchy piece of Pierre & Bastien that opens the record followed by a psychedelic flight signed by the valiant Vince Posadzki, present since the beginnings of the label and who makes his return here with his Lost Delegation. Then follows the equally twisted and captivating "Anna Karina" by the newcomers Leopardo - who just released their third album on SDZ - and the fascinating Australians of EXEK and their experimental post-punk/dub. Let's not forget the very strong "Drill Homage" from The Rebel, also a long time companion. On the B side, Rose Mercie unveils the heady and too rare "Marie-Toi-De-Moi" - classic of their live set - immediately followed by the newcomers of Marie Mathématique with the charming "Holopherne" and our favorite troubadour, Nathan Roche, with the track "Opium". Finally, out of the ranking for ever, the brilliant Èlg and his friend Mim and then the super-talented Ricardo Dias Gomes who closes the record. I hope you will enjoy listening to this compilation as much as I did preparing it! Max Dembo

From Melbourne Australia, EXEK are proud to unveil their third album, “Some Beautiful Species Left”. It has been released on SDZ (Europe), Digital Regress (USA), and Anti-Fade (Aus). Like their previous releases, SBSL is the cultivation of numerous edits and overdubs, where once again EXEK subscribe to Brian Eno’s philosophy of the studio as an instrument. This MO allows the songwriting process to develop simultaneously alongside the recording process, whilst privileging greater sonic control. Post punk is perhaps the easiest way to categorise the music. Firstly, because they’re post modern, and secondly because their music contains the defiance inherent within punk. But EXEK's music also contain elements of dub production, Classical arrangements, hip hop and krautrock rhythms, and the use of kitchen appliances as instruments. The result is a record that is difficult to pigeon hole...somewhere between Swell Maps, This Heat and ESG.

A respected innovator on the Rio de Janeiro music scene since the mid 90s, Gomes is best known for his work on the trio of critically-acclaimed albums Caetano Veloso released in the late 00s: Cê (2006), Zii and Zie (2009) and Abraçaço (2012). Playing bass on these modern milestones in post-Tropicalia, and subsequently touring the world with Veloso, inspired Gomes to record his debut album -11, released in 2015. On -11 Gomes played all the instruments himself and relied solely on his instincts in terms of the direction to take: The Wire praised the album saying it “recalls other rough and ready highly personal solo debut albums by Laetitia Sadier and Money Mark” whilst the Chicago Reader fell for it’s “weirdly hermetic sound world, alternating between tender, introspective ballads, rude electronic grooves, and dissonant ambience”. Ricardo now lives in Lisbon and this new mini-album is called "Aa" features, among others, Arto Lindsay and is released via SDZ records in Europe and Kill Shaman in North America.

Back in April 2010, a few months after the release of their debut single ("No Sex" / "Crise boursière"), SDZ included Pierre & Bastien's "RMI" on its 10-year anniversary compilation. Later on, other songs from the band ("Démocratie" and "Déglingo") were featured on other compilations released by the label. As much as we like compilations - a genre that is not a genre and that no one seems to fully appreciate - we decided to go one step further in our support of Pierre & Bastien and to actually release an album by them. This third studio album shows the band at its best with a well-constructed set of songs. Paul Jimenes' lyrics hold nothing back but simulateneously juggle brilliantly between private and social subjects hence creating several possible levels of understanding. Dark or menacing moods chase the light and brighter ones. Once again this fight of the soul puts us, without any preciosity, at the heart of the band's life. Musically, the band is more powerful and intense as ever: guitarist Baptiste Nollet is particularly dazzling and Frédéric Trux pounds sometimes a nearly industrial rhythm to the songs. One could see in their sound derivations from bands like Wire, Wipers, Dogs, Metal Urbain or Reich Orgasm. To the sheer brutality or depraved psychedelics of some tracks respond pop-like vocal harmonies of some other ones. From the minimalist and destructive opener "Sympa" to the dark and disturbing closer "A nu", from the striking "Secret" to the light "Musique grecque", Pierre & Bastien has crafted a dense, varied and more-complex-than-it-seems album. It's now yours to discover!

Once again, at the crossroads of our wanderings there is a dark, bottomless well. From this the true horrors of the world arises over and over. It is also the source of our fantasies, either dreams or nightmares, and the world of imagination in which we all grew up. That darkness reveals our common humanity, that speaks of our very creation and finitude. Today, tenderness is our only guide through the unfamiliar night now thick with multiple states of unconsciousness that extend beyond our vital need and into the unknown. Thus we are all insiders and investigators to understand what is reality and what is beyond us. In line with its previous compilations - but this time on vinyl - the Crudités label, affiliated with SDZ Records, today presents "Tendres Ténèbres", fifteen variations on the themes of lullabies and sleep.Within a song, complex landscapes are built in the shadows of our waking life. The songs are sometimes delicate (Gabrielle Maes of Shake Shake Bolino, Charlene Repetition of Rose Mercie, Renka of Kartei or Space Blue and Mulan Serrico whose albums were released on Crudités), sometimes cosmic explosions (Jolie Boue, a new band formed by Èlg & Catherine Hershey, Hess of Feeling of Love), sometimes intense nocturnal insights (Ray Yours & The F, new project of 11ieme étage; Kaput) sometimes displays of furious insomnia (Nicolalala, ex Bobpopkillers, Maria Violenza ex Capputtini I Lignu) or deep tranced melancholic meditations (Elatu Nessa, Discombobulatrix). The listener enters a world inspired by lullabies and formulates the visual dreams that would usually follow. In doing so, they gain a new perspective and experience carrying them back into the real world. "the sleeping man, his regard extinguished, dead to himself, seizes the light in the night" (Heraclitus)

Formed in the mid-1950s, Kiko Kids Jazz created a stunningly unique sound amidst an explosion of Tanzanian guitar bands in the years leading up to the country’s independence. Defined by Salim Zahoro’s warm voice and the heavy tremolo of his electric mandolin, Kiko Kids Jazz incorporated their love of early acoustic Cuban Son, rhythms from their home town of Tabora, the exciting and competitive scene of acoustic/electric dance bands in Dar Es Salaam and Nairobi, the poetic strains of Taarab and Arabic music, and the tranquility of Tanzania. The results are both comforting and intriguing: expressive, strung out melodies on Salim’s mandolin and subtly complex percussion lock into deep grooves of thumping acoustic bass, jerky rhythm guitars, and Cuban-style trumpet breaks. The kind of sounds that can be approached from several rhythmic angles, until it all gels in the mind and soul. Despite being one of the most beloved and innovative bands of their time, this is the first Kiko Kids Jazz LP ever released, consisting of our favorite songs from 1962 and 1965, all beautifully remastered from original tapes and pressings. We were fortunate to work with bandleader Salim Zahoro before his passing at age 85, shortly before the completion of this record. Recommended for fans of Cuban Marimba Band, the Zanzibara and Ethiopiques series, Lipa Kodi Ya City Council, Original Music, etc. Produced in collaboration with Salim Zahoro (1936-2021), Werner Graebner (Jahazi Media) and Hamisi Delgado. Licensed from Mzuri Records. Restoration and mastering by Michael Kieffer.

German punk provocateurs Heavy Metal are back with a brand new LP and first for Total Punk. Over the last four years Heavy Metal has put out four absolutely essential albums and we are proud as pudding to have them back on the TOTAL PUNK train. Heavy Metal isn't a heavy metal band, Live at the Gas Station isn't a live album (they refuse to even play live), and opener Motorhead has nothing to do with Lemmy or his mole. Such is the audacious and absurd world of Heavy Metal. Leading off with the reverb blanketed JAMC vibing 'Motorhead.' For a band that embraces putting their filthy lint covered stamp on any and all musical genres the soft dreamy touches of the album opener leaves us asking "Has Heavy Metal cut it's hair?" Before you have time to answer, the boys fill the tank, drop the clutch, and kick into the HUBBLIN BUBBLIN 'Motorbike' and rarely let up for the remainder of the LP. Occasionally wandering into the weird and warbled on tracks like 'No Air', 'I Am Something', and the hypnotic lurch of 'Centipede Venom.' However 'V:Live at the Gas Station Fighting the Devil' spends most of its time daring us to herk, jerk, spazz out, and let loose. Party music for party mutants. 100% TOTAL PUNK

This is a Pre-Order. Releasedate is the 22.june 2021. The 2009 debut album from the chain gang led by Ian Svenonius (Nation of Ulysses, The Make-Up, Weird War) is a masterpiece of primitivism. From dazzling set pieces of R&B and rock'n'roll, the band forms highly melodic songs full of call-and-response chants ("What Is A Dollar"), or invites you to take a walk through the cemetery ("Cemetry Map"), which sounds so spooky as if voodoo master Dr. John had thought it up. Sometimes Svenonius just grabs a wooden guitar to make fun of conspiracy theories like in "Deathbed Confessions": "I faked the moon landing, I saved Hitler's brain. Yeah, it's in Argentina but it controls the USA." Calvin Johnson produced the album at his Dub Narcotic studio and also did a bit of background vocals. The beat lurches and sways as confidently and surely as an old sea dog's gait in a breeze of doppelkorn. The somewhat odd album title is explained by the always conceptually thinking singer as follows: "Everywhere freedom goes, it leaves a path of destruction. Fast food, bad architecture, materialism, unbridled greed, destroyed environment, imperial conquests, class struggle; combined, these phenomena are seemingly synonymous with freedom." When big words often hide only capitalist greed and imperialist war, Svenonius & Co. prefer to slip into the role of dissidents. "Ian Svenonius is an inadvertent pioneer. His career has been a studied attempt to advance the history of punk rock, using influences as tools to build with rather than styles to flaunt and discard." - The Wire

Originally released as a double CD in 2010, Wallahi Le Zein! has persisted as a cult classic, a collection of a rarely heard and utterly unique underground music scene, raw and unfiltered. The LP, cassette & digital version we now present is intended as an immersive entry into this music: gnarled and virtuosic electric guitars weave hypnotically throughout melismatic sung poetry and exclamations, pulsing hand drums, party chatter, buzzing rigged desert sound systems, and all manner of the ambient sounds of Nouakchott wedded to oversaturated cassette in all its swirling, breathing, psychedelic glory. Operating entirely outside of any local recording industry, these songs were collected from bootleg tape stalls, wedding souveniers, and networks of musicians, expertly curated, researched and produced by Matthew Lavoie. Drawing from the deep well of Mauritanian classical music, the gamut of musical modes and the tidinitt lute repertoire are transposed to the electric guitar - often with frets removed or additional frets installed, “heavy metal” distortion pedals and phasers built into guitar bodies, blurring the lines between Haratine and Beydane musical cultures, the ancient and the futuristic. At times transcendent and transfixing, and conversely a furious and cascading intensity that commands jaw-dropping attention. 160 gram black vinyl LP comes packaged in 2 color, reverse-board jacket with 8 page booklet with extensive notes on the musicians and songs, as well as a history of Mauritanian guitar music.

Sávila is a medicinal plant that grows wild in tropical climates all over the world as well as the name of cumbia/latin/world/r&b inspired music and visual art project by guitarist Fabiola Reyna, vocalist Brisa Gonzalez and percussionist extraordinaire Papi Fimbres. MAYAHUEL is the follow up to their self-titled debut LP and further explores Sávila's singular melding of cumbia, dream-pop, spirited vocals, hallucinatory riffing and driving percussion. “MAYAHUEL is based on time spent before the pandemic immersed in the music, traditions, people and environment of that beautiful place. Lots of these songs are integrated with field recordings from musicians we met along the way, incorporating pre-hispanic percussion elements and field recordings taken from the streets during our time there. Meant more as a reflection on what we encountered though some songs evolved into something more elaborate as we explore the genre of ancestral club. Music for our ancestors made for the club.” - Sávila

500 copies on black vinyl. Includes pocket sleeve and a die-cut sticker.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world. The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals. The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation. The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Total Punk is keeping things in Atlanta, following up GG KING's- 'Remain Intact' with PREDATOR's new album 'Spiral Unfolds.' The two bands share members including Ryan Bell who masterfully recorded both albums. Atlanta has the the best punk scene going and Predator are one of its longest running practitioners. Despite the seven years since their last full length, and vocalist Brannon Greene splitting time between Predator and his other projects, Hospice and Nag (both of which just dropped new albums), 'Spiral Unfolds' shows the band still rules the void. The wiry punk minimalism of their previous outings still intact but complemented with a bit more muscle courtesy of the interplay between the two buzzsaw guitars. Brannon's android tinged vocals occasionally giving off a Tubeway Army gone hardcore vibe. 'Spiral Unfolds' is Predator at it's peak. Hypnotic, driving, and 100% TOTAL PUNK.

The flourishing Eastern European post-punk scene has given way to a boom of dark, rhythmic, and powerful new activity. One of the most original and captivating artists to recently emerge from this scene is Kiev, Ukraine's Morwan. The solo project of Alex Ashtaui, Morwan evolved from an earlier post-punk project, 563 (Pyat'shest'tri). Searching for a new direction, Ashtaui circled back to his half-Ukrainian, half-Arab roots, arriving at the perfect crossroads - a sonic aesthetic informed by both ethic tradition and the familiar territory of dark, driving post-punk. Ashtaui cites additional influence from contemporary Russian groups Utro and Shortparis, as well as the industrial/experimental sounds of Swans. Zola-Zemlya, Morwan's second release, is an exceptionally original piece of work. It is an album that reaches to the furthest corners of post-punk, further revealing a deep connection to the ethnic sounds of both Arabic and Slavic tradition. There is a profound reverence for nature in Morwan's lyrics - as Ashtaui best explains, "The nature in songs acts as a fundamental force, a given from which you cannot escape. With the help of metaphors associated specifically with nature I tell about some of my personal experiences and stories." Zola-Zemlya is equal parts primitive and contemporary, as traditional Middle Eastern instrumentation and structures are woven through driving, modern post-punk rhythms. Morwan's genius shines across all five tracks, a sound both genre-expansive and futuristic.

Die Geschichte des Rock’n’Roll ist auch eine Geschichte der Missverständnisse. Eine dieser falschen Auslegungen betrifft das Wort Sex (verewigt in der beru?hmtesten aller Phrasen). Ich bin der festen U?berzeugung, daß im Rock’n’Roll Hauptanziehungsgrund und Attraktivität nicht die Vorstellung an die schno?de Vereinigung korpulierender Körper, sondern vielmehr die sinnliche Ausstrahlung der Kunst und seiner Interpreten an sich ausmachen. Ein in diesem Zusammenhang meiner Meinung nach oft bewußt falsch eingesetztes Argument ist die überbordende Maskulinität. Bei genauer Betrachtung sind Muskelmänner allerdings eher die Ausnahme. Warum ich diese Einleitung wähle? Vor 25 Jahren, zum Beginn der Hochzeit des skandinavischen Rocks, gründet sich in Stockholm eine Band, deren Musik und Songs ich bis heute ohne zu Zögern mit den Worten sexy, lustvoll, anziehend, verführerisch oder auch erotisch bezeichnen würde. Diese Band, gestartet von vier schma?chtigen Jungs, machte all das, was für mich diese Großartigkeit dieses Genres verkörperte. Der Rock, den ich mag, war immer der Rock der Straße und nicht der Stadien, der Rock der Underdogs und nicht der cleveren Unternehmer. Es war der Rock, der seine Funktionalita?t eben nicht aus meterhohen Verstärkertürmen, sondern eben aus der Sexyness der souligen Songs zog. Die Rede ist von Sons of Cyrus, vielleicht eine der am meisten unterbewertetsten Bands dieser Gattung. Gegru?ndet 1996 von Erik, Love, Mackie und Topi, spa?ter dann, nachdem Erik die Band verließ, weitergefu?hrt mit Max und Torgny an der Harmonika, spielen sie 3 Alben und 7 Singles ein. Alle Songs zeichnet eine wohltuende Schnoddrigkeit aus, sie wirken wie die durch die Zahnlücke gedrückten Pfiffe einer Bande Straßenjungs. Frech, anmaßend und unverschämt. Sie wollen nicht wissen, was die Welt kostet, denn diese gehört ihnen bereits. Diese DoppelLP vereint verschiedenen Singles und Samplerbeiträge und ist für mich ein Dankeschön an all die tollen Erinnerungen, die ich mit ihnen und durch sie hatte und für dich eine nette Gelegenheit, endlich mal wieder toll geilen Garagenpunk zu kaufen.

After a well received demo, ZIG ZAG has been making waves at shows around America as well as their home ground of South Florida. Playing punk hardcore that is as akin to Germs and Blatz on "Gets Worse", Zig Zag showcases their sassy, sardonic take on the genre. Ranging from short and speedy hardcore bursts to mid tempo punk masterpieces, their newest release has all in store. All songs are dedicated to the loving memory of their deceased guitarist, Austin, whose final recordings are on this release. 500 seven inches pressed

"To call ‘Remain Intact’ the work of an auteur might not be the proper usage of the term, but I can think of nothing else to call a piece of art expressing a singular vision with such perfection. GG King is a band first and foremost, but this LP is Greg King’s mind cracked open like a melon for all of us to peer into, from the music, to the lyrics, to the carefully constructed artwork. He’s assembled a crack unit of ATL’s finest players to help him articulate this vision, and under the peerless guidance of Ryan (Dinosaur) Bell they have created a record that will appeal to any rocker with a soul, heart and/or mind. Heshers, punkers, hardcores, powerpoppers, garage turkeys, everyone is welcome and should find something to love here. 13 tracks clocking in at around some of the most rewarding 40 minutes of music you’re going to listen to this year, with a companion cassette filled with bonus material that most bands would be releasing as their masterpiece LP. It’s difficult to find a punk record invested with any sort of real personality or emotional heft these days, but King somehow does just that without sacrificing any rock’n’roll power. The title track is slice of upbeat power-pop with a hard punk edge and a King-sized hook. “God’s Chalk” makes me stumble for a description, and instead just blurt out punk-death-rock-metal like some kind of boob. “Golden Horde Rising” is straight garage thrash. Heavy stuff. Visceral thrills aside, it’s songs like “Cul de Sac” that really get your mind cranking – lyrical subtleties about pride in your home and neighborhood and their defense against the spectre of evil we are all too familiar with these days played out aside a dirgey doom-rock background. “Epoch Rock” encapsulates the current American mindspace in a 5-minute garage-punk song. It’s themes like this where the record truly excels – for as much of a rocking affair it is, it also provides plenty to think about – it’s a record indirectly about him, and therefore us – about the fears of growing old and obsolete, the creeping darkness that looms around the current American landscape and seeks to poke its tendrils into our daily lives, the feeling when you realize that your life is probably made up of more memories than it is remaining living moments. Listen to “Timesick (Doom and Gloom Part 3)” and think hard about what you’ve been doing with your own time. And even as though those darker themes recur, there’s also a warmth to the whole proceeding – memories are wonderful things to hold, and I imagine it’s by no mistake the second to last song is a Carbonas tune Greg wrote twenty years ago with his now departed friend BJ Womack, here given a wonderful reprise. And look no further than the insert picture of the band and their families laying together in what I like to the think is the same cul de sac referred to earlier. That’s what this record is really about – no matter what tidal wave of shit is barreling down at all of us these days, don’t let it wash away your life, your soul, what you live for, who you live for – remain intact against it all. REMAIN INTACT. It’s not very often I leave my cave these days and let the sun touch my decrepit form, but crawling to the mailbox to retrieve this LP was a rewarding experience, and trust me, it will be for you as well."- Rich Kroneiss

This is a Pre-Order. Releasedate is the 13.july 2021. Released in 2011, Chain & The Gang's second album, like its predecessor, was once again produced by Calvin Johnson at Dub Narcotic Studio. The lineup is also mostly the same, with the small difference that there are now five background singers who answer (in different songs) the calls of Ian Svenonius: Tara Jane O'Neil, Veronica Ortuño, Susanna Patten, Sarah Pedal and Katy Davidson. "Why Not" challenges everyday common sense and the established rules to an energetic blues shuffle. "Detroit Music" sounds like dirty jabs and the Dirtbombs, "Detroit Music II" plays the ball on, towards a heavy monster jam. Brilliant! The title track is then again in a class of its own: to psychedelic laments familiar from the Stooges' "We Will Fail," Svenonius mocks the tastes of the naïve "I actually listen to everything" consumer: "I know you wanna share. But don't!" he spits contemptuously at their feet. In the era of Spotify & Co., Svenonius accepts the accusation of snobbery: "Does a moth know a flame, just because it's drawn to it? "Svenonius sells it all with conviction and a devilish twinkle in his eye. He means what he says, and also knows how absurd it all is. These 12 tracks serve as a bombastic backdrop for Svenonius' treatises on living the life of an anti-capitalist svengali; they're a guerrilla garage rock manifesto imbued with fever, fervour and soul." - The Quietus

As the dust finally settles on their debut 7 inch on EDGER records, REEK MINDS returns with a record that is equally punishing as it is breakneck. With speed clocking in over 120 MPH, "Rabid"holds the current land speed record for Portland, if not the rest of the west coast, with little competition in their way. With influences such as Siege, Poison Idea, No Comment and early Die Kruzen; Reek Minds takes traditional 80's USHC influences and combines them with west-coast power violence influences. Hotter-than-hot, these seven tracks usher in 2021 with fire and fury that only this band can. Limited to 500 records.

In August of 1978, the young and burgeoning scene of Richmond, VA was rocked to it's very core by the untimely and tragic death of Ralph Harper - the frontman for one of the area's earliest punk bands known as RICKY AND THE WHITE BOYS. The city mourned the loss of their 23 year old comrade. Once the grief had subsided enough, Ricky along with a couple of the other members of the White Boys ultimately decided to form a new outfit to pick up where they'd left off. After a slew of auditions with hopeful candidates, they found their new band leader in the form of a Jersey transplant named Christine Gibson who's voice and personality were like none other they'd ever encountered. Earning their band name (which was in honor of the prominent beaks of the majority of the band) via the popular vote of the crowd at their first live gig in December of that same year, what followed was a blur of gigs throughout the Mid-Atlantic region and the creation of catchy and timeless punk songs that went hand in hand with Gibson's inability to even remotely suffer anyone's bullshit - be it from a smart ass in the crowd or within the ranks of her own band. While the latter would lead to some lineup changes in these formative years, little did all involved know that it was the beginning of a rock and roll odyssey that carries on to this very day. This record compiles the band's first couple studio sessions that yielded a pair of classic early American punk singles: 1979's " (My Heart Goes) Beat Beat b/w He Obliterates Me" on Wasp Records and 1982's "Butch b/w Empty House" on the great Zero Degree Records along with unreleased tracks from each session that have been lovingly remixed and remastered by Chris Corry. Each record comes in a stunning gatefold jacket featuring never before seen photographs, flyers and other imagery from four decades ago along with liner notes by founding guitarist Richard "Ricky" Buchanan, all of which give those who are curious a glimpse into the formative years of the mighty BEEX.

This 12" brandishes 9 tracks of absolutely driving hardcore punk rock with the unmistakable bullhorn vocals of Martin Sorrondeguy, steering this careening blur in and out of tightly written musical corners. Featuring members of Sin Orden as well, there is a lot of Chicago punk rock DNA in here manifesting itself as aggression draped in burning, melancholic guitar leads and an unpredictable hazy melodic wash. Like Greg Sage ghost writing a Naked Raygun track while vacationing in Southern California! Recorded by guitarist Scott Plant and mastered by Jonah Falco, each record comes in a UV Gloss jacket adorned with art by Martin.