[engl] John Brannon and crew’s second fierce dispatch from Motor City, Friends of Rock and Roll. Preserving all the necessary grit and grime, the legendary Jim Diamond at Ghetto Recorders masterfully captures Easy Action’s underbelly crawl through the Detroit rock landscape, formed as much by the fury and frustration of Brannon’s Negative Approach and Laughing Hyenas, as by the "nothing to lose" groove of the Stooges and Alice Cooper Band. "When punk pummels metal and a man with a growl that could scare paint off the wall get together, you'd best be in attendance. Easy Action is one of the most intensely pleasurable guitar-rock experiences you're likely to come upon in these days of wuss-pop." -Chris Handyside, Detroit Metro Times

[engl] Canada has a long and storied history of New Wave. We had some of the best records of the varying styles from Pointed Sticks to Viletones and DOA to Neos. Even our own KBD monsters like Dry Heaves and Siggy Magic. Powerpop wasn't just the previously mentioned Pointed Sticks though. In Victoria BC Canada there was a band that released two strong singles in 1980 on Richards Records and broke up 2 years later. Active for only 3 years, these singles were quickly forgotten and overshadowed by the blistering hardcore of the cities 2nd wave. The band was called Easy Money. Fast Forward a 2 or 3 decades. Piecing together Canada's involvement in punk and new wave has been a hobby of mine for years. Finding the obscurities, the mistakes, the forgotten and the outright terrible has been fun and frustrating. Talking to old rockers, punks, promoters and fans, probing the local fanzines and looking for the things no one has heard before presents a whole slough of different emotions. It also presents a pretty stand-out record collection. To think that there were demo quality recordings of Easy Money - enough to make an LP - lying around un-comped and unheard with exceptional sound quality was truly dumbfounding. Solid songs, excellent playing, infectious, live off the floor, 2 track jamspace demos. They had to be heard. And now they can. Hosehead Records and Neon Taste Records in conjunction with the band are co-releasing Easy Money's demo LP with both singles for your listening pleasure and we guarantee you it is worth the price of admission. Compiling the original two 1980 singles and 9, two-track demos featuring Easy Money at their very best for the first time. A mandatory archival release for Canadian diy music and any fan of Powerpop/Mod-Revival. Not your average, terrible quality, bad sounding 'why-bother' collections. This is a true hidden gem of Northwest Rock n Roll.

[engl] This is a rare studio session recorded in 1979 after the band parted ways with Island records. This shows how a rock band sounds when its members have decided take things to the limit. Most of these songs have been re-recorded later and featured on following albums but for many fans they are not as good and energetic as they are on this session !

[engl] "The Sauce spans seven decades of songwriting and showcases Spaghetti's impeccable song choices and uncanny ability to sing the drinking songs for drinkers who like to drink the drinks." In 2003, Motherfuckers Be Trippin' revived the Supersuckers nameplate. Issued through their own Mid Fi imprint, it riffed and smirked with renewed zing and estimable sleaze. That air of lovable gracelessness carries over to Suckers' main man Eddie Spaghetti's first solo effort, a messy and grinning bucket of covers called Sauce. In his liner notes, Spaghetti trashes the whole idea of solo records, especially those that consist solely of covers. But in typical fashion, that doesn't stop him from doing his own. Sauce features quick and easy, largely acoustic versions of outlaw country faves from Kris Kristofferson ("Best of all Possible Worlds") and Willie Nelson (the mirthful and giddy "Gotta Get Drunk"). There's also a run through "Cocaine Blues," but his isn't underpinned with terror like Johnny Cash's. Instead, Spaghetti cranks it out steely and fast, like it was the last song of the middle set in a Tuesday night dive bar gig. He gets a tad serious -- or at least heartfelt -- with Steve Earle's "I Don't Want to Lose You Yet," but it's back to a bleary-eyed cross of honky tonkin' and low culture slummin' for "Peace in the Valley" (originally by A3): "Well I got ecstasy/But I need some company." That sentiment continues for "Killer Weed," the better of Spaghetti's two originals here. As he does throughout Sauce, Eddie adopts a sort of deadpan Lee Hazlewood persona for the track -- he might as well perch a raglan horse head on the lip of a six-foot bong. Sauce isn't country, and it doesn't rock like his day job. But from end to end, it drips with the same dastardly good-time juice that defines the best Supersuckers stuff.

[engl] Originally released in 2005 as a limited picture disc, now on regular LP for the first time!! Supersuckers frontman Eddie Spaghetti has given us his second solo album in as many years with 2005's Old No. 2. Like his previous solo disc (Extra) Sauce, Old No. 2 is dominated by covers, though Eddie wrote a whopping four new songs for this set (double his output for Sauce), and since this album boasts a significantly lower goofiness quotient than his previous go-round, he offers us some solid and literate country-rock tunes, including the ode to touring "Here We Go" and a rueful look back at a busted romance, "Some People Say." Old No. 2 is in the tradition of the Supersuckers' periodic visits to the land of twang, with even the AC/DC and Coasters covers boasting a semi-acoustic sawdust-on-the-floor vibe, and his band (anchored by guitarist Jordan Shapiro) kicks up a satisfying amount of dust, even with the amps turned down. While Eddie unwittingly reveals how narrow his vocal range can be on a couple of tunes, he makes with the attitude when he needs to and sounds like he means it when he wants to, and his versions of Bob Dylan's "Tonight I'll Be Staying Here with You" and Willie Nelson's "Everywhere I Go" show the guy is a better interpretive singer than one might expect. Oh, and if you were looking for a straight-up joke, check out the Aerosmith revision on track 11. Old No. 2 is hardly revelatory, but it sounds like Eddie and his pals enjoyed their four days in the studio, and the good vibe is infectious -- lots of guys have tried a whole lot harder without coming up with a record half as enjoyable as this.

[engl] 8 songs of amazing garage-death-punk written (mostly) by the talented Charles Rowell from the San Diego based band Crocodiles while he was living in Lyon, with Flo, Antoine and Lester from the Horsebites as a dream backing band. What a great team, you know they can do no wrong ! Fans of the Wipers or The Estranged, you’ll love those dark and haunting set of songs exploring punk, garage and death rock influences. To tell you the truth, I wasn’t supposed to release this but when Flo played me the recordings, I just fell in love with those songs instantly and insist to release them on a 12’’. And here you go ! With an amazing arwtork by Jonathan Florez and a beautiful transparent red vinyl. Only 200 copies are pressed so don’t sleep on it !!

[engl] Legendary blackened Sludge/Crust from the underground of Chile.

[engl] In the 80s the first German bands began to orient themselves on the Ami-Hardcore. SPERMBIRDS, SKEEZICKS, JINGO DE LUNCH, H.O.A., UNWANTED YOUTH, S.O.S., ... In the mid 80's there were rumors about a new band from Hamburg. Did SLIME possibly fit behind the EMILS? If you read the band name from the back to the front, then these rumors of course get food. And also the spelling of the band writing was very similar to SLIME. But in the end, of course, that was nonsense. The EMILS crossed on their debut album Punk with Hardcore and also with Metal. D.R.I. had just invented the crossover. And the influences from the states were quite big on the local scene. The EMILS quickly became popular. Because they had German texts that were also very critical and direct and did not mince words. They were directed, for example, against the church, neo-Nazis, nuclear power (Chernobyl was just then exploded), conformity and also against the stupidity in their own scene, which was expressed in the song "Dumb Punk". "Fight together for ..." was her first and best LP in 1987. Here you will find the hits "Too Slow", "Church No", "Stupid Punk", "Beautiful Life" and some other good songs.

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[engl] The 3rd output of this Catalan band is on its way!! 5 new songs of their trademark Somber Punk with high doses of catchiness, emotive and bleak, melodic and dark, a very unique and personal musical point where Punk, Post-Punk and even Death-Rock meet.

[engl] 6 tracks of Vancouver, BC hardcore. Chain Whip formed in 2018 with the sole intention of playing their favorite blend of hardcore punk. Part KBD, part California beach, part grimy Vancouver. This 12" E.P. finds the band in a faster, more furious mode with five original tracks written and recorded in the height of the 2020 Pandemic. 3 tracks are re-recorded and polished versions from their 2020 Demo (being pressed on LP RIGHT NOW by No Spirit in Germany) while the others are brand new Chain Whip recordings. The final track, Death Was Too Kind was written by Brian Goble and recorded by the Subhumans.

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[engl] Second release on the ESCROTO DE RATA series. More snoty punk which will fit right in between LARSEN and KGB had it been released back in 1983. ESCROTO DE RATA paint depraved pictures of rural mayhem and existentialist doubt while playing catchy demented punk tunes which will hook you up. Gatefold sleeve.

[engl] Excessive Cruelty is a new band featuring key players from the Bay Area’s Strung Up, who were simultaneously one of the best-regarded and most underrated bands of the explosion of early 80s-style US hardcore in the early 2000s. If you’re smart enough to be familiar with Strung Up’s catalog (and if you’re not… do your homework!), you’ll be pleased to know that the blisteringly fast rhythms, complex riffing, gruff vocals and literate, socially aware lyrics are still very much present in Excessive Cruelty’s sound. You can also hear a touch of thrash and crossover influence here—which makes sense given that guitarist Dan Randall spent many of the intervening years since Strung Up disbanded playing in Ghoul—but like Dealing with It-era DRI or American Paranoia-era Attitude Adjustment, this is hardcore with metallic elements and not the other way around. Any way you slice it, though, this 12” delivers 6 blistering dispatches of pure rage and energy.

[engl] Sometimes the stones that remain unturned are the ones that are the least assuming. There is a kind of humour to the idea that music which sounds like rocks being thrown around in an oil drum being next to the name EXOTICA, but what else can we say for the gesture of learning how to turn real noise into real music? It’s exotic, it’s outside the expectation of what things are supposed to do. Getting to bark out your problems could soon be not much more than the memory of a luxury, so swim in it. This music sounds live, like EXOTICA could have trickled off of the back half of an abandoned CÓLERA riff on a lost practice tape, or if your favourite ARROGANTA AGITATORER ep dub melted in the sun on the roof of your apartment and fused with whoever was practicing piano on the floor underneath you. Gone are the attempts to reclaim the clean lines and false distress of industry for domesticity. Here is a tiny pair of legs walking through a disgusting dirty world, gathering dust. The sun may set, but the moon also rises.

[engl] Exotica returns with Musique Exotíque #03, their third and best release to date. It's business as usual but the intensity has been ramped up and their chaotic nature more out of control. It's still pogo friendly, destructive to the ears and totally explosive, with special care on song writing. This is a band who have worn out their copy of the Xcentric Noise tape Raw War (The World Of Punk) from 1983 as it takes bits from UK82 - especially Perdition era Disorder, classic 80's Brazilian Punk and Finnish hardcore, creating a kaleidoscope of the greatest punk era, keeping the attitude of what made international Hardcore Punk once so exciting but looking ahead instead of been another carbon copy punk band.