[engl] The Buildings come from Cáceres - Spain -, they are noise, beer, love, 3-minute-songs and 12-hour-nights. Strange beings in perpetual motion, imperceptible to the human eye but deafening to the hearing. After a successful 45 released in 2013 that took them to a tour all around Spain and to radio stations from all over the world, these young punks are back with an album wisely produced by Alex Pis (Ídolos del Extrarradio) of stunning brilliance. Self-penned compositions from rabid punk shots to noise litanies and dreamy pop, all wrapped in a killer artwork by Carlos González.

[engl] For fans of 80's hardcore punk, Dag Nasty, Embrace and Husker Dü!

[engl] DIVORCE is the fourth album from The Conformists, a St. Louis, MO rock band in its 20th year on this planet. It was lovingly recorded at Electrical Audio in November 2015 by Steve Albini, and thereafter mastered at Chicago Mastering Service by Matthew Barnhart. Offered to you as physical media in the fine options of vinyl (with digital download) or cassette, The Conformists truly hope you enjoy their new musical album.

[engl] Best Before 1984 is a compilation of Crass' singles and other tracks, released in 1986, including lyrics and a booklet ("...In Which Crass Voluntarily 'Blow Their Own'") which details the history of the band in their own words.The record brings together together controversial tracks like 'Reality Asylum' (in an alternate, extended version to the original album edition), 'Sheep Farming In The Falklands' and offering up both the 7" release of 'Do They Owe Us A Living?' and its last ever performance at the band's last ever gig in 1984 at a Miners' benefit concert in Wales. The album was named in reference to the notion that 1984 was the band's "sell by date", the year that they had often publicly stated that they would split up. Indeed, the band ceased gigging and recording in that year. This vinyl re-pressing features the original artwork and printed insert. The two black records are contained within black inner-bags.

[engl] Stations of the Crass is the second album by Crass, released in 1979. The record, originally released as a double 12", includes live tracks from a gig recorded at the Pied Bull pub in Islington, London, on August 7, 1979. The first three sides contain the studio tracks and play at 45 rpm, while the final side comprises the live material and plays at 33 rpm. The album's title is not only a pun on the Catholic rite of the Stations of the Cross (such jibes against the religious establishment were typical of Crass), but is also a reference to the graffiti campaign that the band had been conducting around London's underground railway system, the cover artwork depicting a wall at Bond Street tube station that had allegedly been 'decorated' by them. Although the album met mixed critical reception at first, it managed to sell at least 20,000 copies within two weeks.

[engl] Ten Notes on a Summer's Day was Crass's final album under the Crass name. It was released in 1986 and consists of a vocal and instrumental version of the same tracks in an avant-garde musical style. Recorded at Southern Studios in the Winter of 1984 / Summer 1985. Penny Rimbaud says in the liner notes: "Just as throughout our seven years' existence as a punk band we had made concerted efforts to avoid specific political pigeonholing ('left-wing, right-wing, you can stuff the lot'), so, musically, we attempted to push the barriers, always avoiding the obvious. In one respect alone we were absolutely consistent; our inconsistency. If the essentially rowdy Feeding of the Five Thousand and Stations Of The Crass had established us as the thinking man's bovver band, so Penis Envy broke the mould as an almost lyrical, yet still very angry piece of rock'n'roll feminism. And just as at the very time that the BBC thought us safe enough to be given airplay, so we ploughed in with Christ, The Album, an uncompromisingly avant-garde noise album which in its own way went a long way in redefining rock'n'roll's limited parameters. Then, in much the same way as our fifth album, Yes Sir, I Will, owed more to free jazz than to rock, so Ten Notes On A Summer's Day nudged itself towards modern European atonality, and us completely out of the rock'n'roll arena (as testified to by dramatically reduced record sales). In this sense, Ten Notes On A Summer's Day truly was a swansong." The vinyl edition comes in a single sleeve with printed inner - bag/ insert.

[engl] Yes Sir, I Will was the fifth and penultimate album released in March 1983 by the anarcho-punk band, Crass. The album was essentially a bitter and virulent attack on then prime minister, Margaret Thatcher, and her government in the aftermath of the Falklands War and was set nearly wholly over a raging and an almost free-form improvised backing provided by the group's musicians. Many of the lyrics from this album are extracted from Penny Rimbaud's extended poem 'Rocky Eyed'. The original vinyl release contained no banding between songs, thus presenting the contents as one long piece split over both sides, making it the longest punk song ever recorded (the CD release was tracked by individual song). Rimbaud summarised the album in an interview to Radio Free France: "The boundaries increasingly ceased to have any relevance - prior to the Falklands War, one naively believed that there were separations between 'this' and 'that' and that if you dealt with 'this' then you could do 'that'... like songs - each song had its own little separate thing to deal with and Yes Sir, I Will is a statement about the fact that there isn't any separation - that it's all one and the same thing, that there is no single cause or single idea - there's no-one else to blame but yourself. That you can't say, "Well let's now concentrate on the Northern Ireland problem", "let's now concentrate on the problem of sexual relationships"... you can't do that - everything now is one major problem and that problem stems from yourself." Both the CD and Vinyl editions feature a fold-out poster sleeve that is identical to the original pressings.