[engl] The legends of Irish punk ! Politically charged punk, originally released in 1983. This limited release features 2 bonus tracks, including "Brutality" their anthem against police violence during the Irish conflict.

[engl] Both broadening and defying the sounds of their first two 7” releases, Delivery continue their claim for the title of hardest and fastest working band in town on their debut full length LP ‘Forever Giving Handshakes’. Collecting songs written over the Melbourne five-piece’s two year lifespan and following on from the band’s bedroom project origins of ‘Yes We Do’ and the expanded one-two punch of ‘Personal Effects/The Topic’, ‘Forever Giving Handshakes’ captures Delivery at full force for the first time, leaning into the fully-realised live sound they’ve been quite actively working on since their first show in March 2021. Here the band collate a 12-track garage-punk opus, their five distinct voices simultaneously pulling songs in different directions while an undeniable chemistry reveals a combined hive mind ascending on a clear group mission… to rock. If you didn’t have the Delivery phenomenon yet, you’re about to. Marking the beginning of a victory lap for Delivery, the album rounds out a sprint of unrelenting live shows, impressive support slots and two stellar 7”s, all within a tidy 18 months. ‘Forever Giving Handshakes’ is a statement from Delivery and one of the strongest Australian punk debut albums of the past decade.

[engl] Some bands make you feel like testing out a new pair of slippers in the local library. Other bands, maybe you’ll throw a beer down your throat before skating down a ravine. But the best type of bands make you wanna tear off your own ears and clamp ‘em to the heads of everyone you hold dear, while you scream ‘YOU CAN HEAR WHAT I’M HEARING, RIGHT?’ Denim & Leather are the latter type. They mainly sound like Pissed Jeans flipping over a cement mixer while Kira-era Black Flag stand in a circle around ‘em, throwing firecrackers. Except for when they don’t – then they sound like the wooziest buncha too-cool-for-you guitar-slingers around, with lips curled to implausible angles. Sacred Autism is their debut album and you owe it to yourself to go deaf to it at the earliest opportunity. Wanna hear what pure euphoria feels like? Cathedral Gardens is all punk energy and corrosive fury, the reason you got into this whole mess. Hatchlings is The Stooges starting a brickfight, then smirkingly denying all involvement. Ancient Cowboy Burial Ground, meanwhile, is serious business. Think you can knock a band who share a name with a Saxon album? Just try it. Denim & Leather just made the best hardcore album you’ll hear this year, leaving everyone else with the unenviable task of attempting to follow it. Buy it, catch ‘em live, then steal a cop car and see if it’ll run on cheap lager. It’s a logical progression, trust me.

[engl] Devils Hole Gang were formed around 1975 from a bunch of Ilford, Essex musicians. The first incarnation featured Chris Elliott (guitar/vocs), Steve Riley (bass/vocs), Richard Ashman (guitar/vocs), John Kennett (vocs) and Nik Sands (percussion). Richard Ashman left leaving the core of Chris, Steve, John and Nik. Eventually John was kicked out and they continued as a three piece. Nik left the band's drumming seat and concentrated on the 'backroom scene'…..roadie, sound engineer, general dogsbody….and Kev Stevenson took over. It was Kev who played drums on the single here….unfortunately. A fourth band member Kev Beaumont joined on lead guitar/b vocs but it wasn't to last. After a few gigs with the last line-up we decided to call it a day around 1980. This single - as the only release know, and listed for over 300 bucks on discogs - is their only output, it was released in 1979. Being number 61 on Johan Kugelberg's famed „Top 100 Punk Singles“ and described as „an amazing thug / DIY mix - two ace cuts and one reggae song“ We'd simply like to add that the reggae tune is straight anarchistic politics and two out of these three guys look the straightest grungers you will ever see - in 1979. If „Something to look forward to“ doesn't get your crowd dancing n playing air guitar...kill you crowd!!!

[engl] Raleigh, North Carolina's Devour were born from the ashes of Cross Laws, but rather than simply picking up where that band left off, the remaining members expanded to a 5-piece and followed the long southern tradition of adding traces of metal into our hardcore. What emerged was a record that is remarkably dense and complex, recalling the very best of the mid-80s trend of hardcore bands "going metal;" think Corrosion of Conformity's Animosity LP, Final Conflict's Ashes to Ashes and Septic Death's Need So Much Attention. There's also a heavy Japanese influence; people who have seen Devour live have compared them to Judgment, Lip Cream and Bastard, a connection only made clearer by this record's astonishingly heavy and powerful recording. In a scene where so many bands simply want to replicate something that has already happened, Devour sound remarkably fresh and progressive, and without losing a single thing you loved about hardcore in the first place.

[engl] The debut 5 track vinyl release from Istanbul’s Die in Vain, that follows their excellent demo ‘Desperate to Piss’ on General Speech. Die in Vain live and breath the UK82 era where classic singles were released every week. The world was fucked and you played music to kick against the system. 40+ years later nothing has changed. Nothing at all. The band are locked in and tight with the drummer dealing in simplistic thuggery and the vocals spat out with venom and hatred. If Beat the System Records or Riot City Records still existed, Die in Vain would without doubt be snapped up by either label. It’s basic, hard hitting and relentless UK82 punk rock.

[engl] Die Öwan’s final cassette release, 1983’s Mikawa Ken-Ichi, shows the band at their most focused, crafting a full on album’s worth of music in their trademark style of DIY experimental punk, bursting with their typical wide range of influences which focus heavily on the sounds of punk, experimental and industrial groups like Crass, Metal Urbain, Wire, Cabaret Voltaire, Throbbing Gristle, and countless others, while simultaneously sounding little like any of them. With a heavy dose of Ramones “It’s Alive” style “1-2-3-4!’s”, once again Die Öwan transports the listener back to what it would have been like to be a teenager experiencing the diverse musical evolution of the 70s and early 80s, and feeling compelled to continue pushing that evolution forward with music that not only pushed the envelope, but broke convention so much, that it’s taken almost 40 years for people to understand how groundbreaking this band could have been, and for it be made available for most people to hear for the first time. The audio has been remastered from the band’s tapes specifically for vinyl, and the LP comes with a 16 page booklet which reproduces the band’s own “Change 2500 Yen” fanzine, and includes a Japanese language chronology, photos, and more.

[engl] A cult teenage Japanese punk group which existed from 1979-1983, and during that time managed to release the rarest punk record in Japan, operate their own cassette label, organize house shows, help launch the career of popular Japanese punk band Shonen Knife, and fascinate and inspire with their music, which is truly like any other. Over 40 years later, Die Öwan has the incredible ability to act as one of the most pure time machines capable of transporting the listener into a place where you can get a sense of what it must have been like to have been listening to and inspired by the evolution of underground music in the late 70s in real time. The concurrent explosion of punk, post punk, new wave, industrial, experimental, and avant garde music in the UK, Krautrock in Germany, Dub and Roots Reggae in Jamaica and the UK, was unlike any other. To Die Öwan, enjoying Crass, The Damned, Adverts, Wire, Metal Urbain, Cabaret Voltaire, Throbbing Gristle, Neu!, Brian Eno, and Burning Spear was not only not unusual, it probably seemed obvious, as they were all pushing music forward. Armed with this mentality and limitless gallons of inspiration, in an almost Desperate Bicycles-esque non-commercial mindset of making and releasing music with any amount of resources one had available, set out to make a limitless amount of songs with that inspiration. The music, which is sonically punk at its core, is a web of entangled, urgent, fast bursts of teen angst made with a guitar, bass, early Roland drum machines, and synth, and tape manipulation. Öwannibalism compiles the best of their early releases “Die Station Für Die Öwan”, "Die Feeding Of Die Öwan", and "Öwan 81", as well as compilation tracks, and completely unreleased and unheard early tracks. The audio has been remastered from the band’s tapes specifically for vinyl, and the LP comes with a 6 page booklet featuring an interview with the band covering their history, their cassette label XA Record, early DIY music and influences in the Kansai region of Japan, with discussion of Kansai bands and labels like Aunt Sally, Hijokaidan, Unbalance Records, Vanity Records, etc, and early photos and flyers.

[engl] "one of the very first bands of the first wave of american punk rock, along with the screamers, the avengers, the weirdos… this record compiles all studio songs, the first demo as well as their three singles ! b-side features extra live recordings : 7 songs that never got recorded in studio featuring the california all-time classic punk rock record single «i hate the rich » includes liner notes from the band very own chip kinman : ""we wrote songs. wrote them on guitars and played them really, really loud…"" "

[engl] Melbourne’s Diploid fuse elements of screamo, black metal, noise rock, and powerviolence to create caustic new forms of sonic violence. Their experimental approach sears the psyche with bursts of swirling blackened noise, crackling feedback, and distorted screams. Heavy stuff!

[engl] Los Angeles punks DIRTY & HIS FISTS deliver a knockout four song EP on their vinyl debut, following a standout demo cassette. For the uninitiated, DIRTY & HIS FISTS have quickly become one of the best American punk bands alive, and one of the few to match powerful writing and performance with some of the best studio production out there. The Fists easily eclipse their demo with this new EP, incorporating a crunchy layer of synth, pounding rhythm section (featuring new drummer Sam Bosson), and ace production from guitarist/vocalist Mike Kriebel, who you may recognize as producer of recent Beat Sessions for Uranium Club, Urochromes, and P22. An undeniably great and memorable American punk record. Packaged in a reverse board pocket sleeve with an 7"x11" lyric insert and digital download.

[engl] "Since Austrian Punkrock outfit ASTPAI decided to call it a day in 2020, the remaining members Marco, Bernie and Zock, together with Jess, Roman and Martin, began working on songs for a new project, the direct successor to ASTPAI. Musically, earlier influences were left behind and the new formation focused on a more straight forward sound: Dirty Talons play heavy riff rock with three guitars, musically influenced by bands like Sheer Mag, Kvelertak, Thin Lizzy, Van Halen, as well as Boston and Judas Priest, while Jess‘ highly energetic, yet clean sounding vocals are more reminiscent of 80s pop & rock. Lyrically, the songs deal with subjects such as inner conflicts and self-doubt, narcissism and manipulation by others, but also self-empowerment and determination."

[engl] Originally released in 1991 War Cry was one of the first purely DISCHARGE influenced bands to span what later become popularly known as D-Beat. Hailing from Halifax, they were part of a new wave of raging UK bands with worshiped “Why” as the finest piece on non-music ever recorded. DISASTER faded into obscurity shortly after releasing their MLP and War Cry became a cult record among raw hardcore fans worldwide counting visionaries as Kawakami from DISCLOSE as one of their biggest fans. Finally reissued on CD in Japan in 2006 with extra live sets and unreleased songs LVEUM decide to bring this record back to life on its original format. This reissue comes with an extra Flexi Disc including two Discharge cover songs ( “Mania from Conquest” off the V/A Discharged CD and the unreleased “Fight Back” from the War Cry MLP session) as well as “Death Race” from the “A nightmare on Albion Street” compilation LP. It also comes with a 12 pages 11?x11? booklet containing flyers, pictures, interview and other memorabilia.