[engl] Punks Not Dead is THE legendary PUNK album from 1981 ! THE EXPLOITED formed in 1979 in Edinburgh, Scotland ; While influenced by early punk band such as the Sex Pistols, their sound is way rougher and their music full of speed and aggression. This is their first album, it includes 15 songs and a fierce hatred towards the system. THE EXPLOITED is one of the most iconic bands of the UK 82 punk movement along with Charged GBH and Discharge.

[engl] Originally released in 1982, Troops of Tomorrow is EXPLOITED first genuine classic album, this is the perfect definition of UK82 punk sound. That LP compile all the best elements of EXPLOITED universe : from the fast songs that would help forge the thrash metal guitar riffing style to the tribal songs that would influence post punk bands. This is a major UK punk album and a keystone for the whole punk and metal music history. A definitely must have.

[engl] Fashion Pimps And The Glamazons. A new Cleveland rock group, cut from the same musical DNA that has spawned wonders like Folded Shirt, Cloud Nothings, Donkey Bugs, and countless others. It's fashion. Angular. Punk. Richard Glamazon's tortured, warbly guitar refuses to talk in power chords, stringing notes around high powered synth blasts from Noah A (Profligate). Steve Chainsaw anchors the low end while espousing freaky plans and twisted dreams through hypnotic, layered vocals. Jayson G lays into the drums like only a true Fashion Pimp ©an. The Glamazons prove to be immaculately tight, driving their amplified Rust Belt experience into the ether. Jazz 4 Johnny holds court with Ubus and X_Xs past, yet the sound isn't quite Terminal, Drome, or even Mustard...it's the future, baby! Have you met Fashion Pimps And The Glamazons yet? Jazz 4 Johnny comes packaged in a full color gatefold jacket designed by Professor B. Gaff, with a tiny download code hiding inside.

[engl] Field Day / ex-Dag Nasty band, continue to push their message of melodic hardcore and punk rock with a new collection, "ACQUISITION." During the past three years we were treated to the news that two of the core members of Dag Nasty were not just playing together again as Field Day, but were also writing new songs. They first released the "2.0" 7" then "Opposite Land" EP followed up with a third 7" "WHY?" at a breakneck pace. Each release sold out very quickly and remained in the charts of German distributors Core Tex for over 10 weeks or more. The strength of each release reignited a spark that captured the spirit of the original Dag Nasty sound. The initial calling card fulfilled its promise – and the line-up consisted of Peter Cortner on vocals, Doug Carrion on bass, Shay Mehrdad on guitars and Kevin Avery on drums to continue to deliver the goods. Now comes “ACQUISITION.” A 13-song collection of previously released material plus 2 brand new unreleased tracks on one 12" vinyl record. Within seconds of the needle hitting the groove, any doubts or fears are laid to rest. You have all the hallmarks of the sounds these guys pioneered, done with a vibrancy that is relevant today. Galloping drums and a driving bassline provide the backdrop to layered guitars that offer melody and texture. Then you have Peter Cortner’s vocals, both the filling that holds it together, and the icing on the cake that really finishes it off. There are and have been a million and one bands playing the melodic hardcore sound, but when it comes to the roots, you have to look back to names such as Dag Nasty, 7 Seconds or Bad Religion. Well, these guys were actually there, and so their influences couldn’t possibly be more genuine. In line-ups of the older generation, musicians were hopping from one band to another, and so influences came together and helped define those trailblazing sounds. The closing track on here, “Tell Me Now”, features a tribute to old peers 7 Seconds with the woah-oh intro and uplifting guitar melodies.

[engl] I’ve been throwing jelly and ice cream at the walls throughout the duration of this record. I’m wearing sunglasses indoors and dreaming of a world where The Barracudas became not just a tongue-in-cheek footnote in the great powerpop textbook, but the most universally adored band in the world. Where The Archies started wearing skinny ties and pouring cheap lager into their amps just to see what happens. Where Teenage Fanclub start and end every day rubbing a little dab of speed on their gums. Where Ohio Express are made to play Yummy Yummy Yummy in the middle of a drag race. Look, it’s just really good fun, ok? First Base are from Toronto and this second album sees them picking up where their 2013 debut LP left off: pop as hell and punk as fuck. Not That Bad is the sound of a band stretching out and bettering itself without losing sight of what was so fucking great about ‘em in the first place. A worthy sequel, a damn fine introduction, whatever. It just rules. Now excuse me, I have walls to clean before flipping the vinyl again and dropping the needle back at the start… Aww, who am I kidding? The walls can wait.

[engl] Fix blew me away with their debut single a couple years ago – not from the music, but from the fact that they just called themselves “Fix”, blatantly swiping the name of one of the greatest American hardcore pioneers for their basement-y sounding weird-punk band. This time around, it appears Fix is an actual live band, and with that came a stylistic shift. Rather than blasting out some direct-to-laptop egg-punk full of neon farts and irritating-on-purpose motifs, they’ve transitioned to a sinewy hardcore-punk outfit, no contrivance needed. On More Is More, they come across like Germany’s answer to Hank Wood & The Hammerheads. The drumming has that same swing (and lots of cowbell!), and the vocalist delivers his shouts in short staccato bursts, much in the Hank Wood manner. Can’t say with certainty that Fix are intentionally aping Hank Wood this time around, but the similarities are certainly glaring, and Hank Wood are one of the most popular underground punk bands, or at least were a year or two ago, so it wouldn’t be a total shock. Thankfully, Fix do well with that same set of sonic characteristics, and the lack of singalong hooks might be more due to my lack of fluent German than their lack of catchiness. Now then, if some other band from Leipzig starts calling themselves The Necros and sounds eerily like Chubby & The Gang, my tolerance will truly be put to the test. - Yellow Green Red

[engl] That’s right, legendary Detroit hardcore pioneers The Fix are back with a brand new EP. Wait a minute! This is actually some new German weird-punk group who don’t care about recycling a band name. They open with a sparse spoken-word track, like some funky and coherent moment one might find on an early Nurse With Wound album, before getting down to the nitty gritty of lo-fi, presumably-somewhat-synthetic punk rock. It’s such an in-the-red mess that the instruments are nearly unintelligible, except for the snare (is that a real drum kit?), the guitars when they hit a high note and the vocals (although just barely). Reminds me of Factorymen at their most traditionally punk, a live Crazy Spirit tape, the Pillow Talk 7? played on 33 instead of 45, or a particularly rough mix-down of one of the many current Neck Chop Records punk bands hailing from Nova Scotia or Fort Wayne or something. Personally, I enjoy it, particularly cuts like “Basement Life” and “The Goof Life”, whose main riffs overcome the sonic hurdles set forth by Fix’s production standards, although it remains to be seen exactly how many repeat listens Fix will bear. I’m gonna go out on a limb and answer my own question with “less listens than The Fix, more listens than The Fixx”. - Yellow Green Red

[engl] Razorcake Review: I’m just gonna come out and say it. Louise Hanman from Flamingo 50 is my favorite singer in the whole world. Her adolescent-boyish shout, and thick Liverpool accent spread smoothly over her band’s noisy-guitar, Superchunky power pop to make this perfect little nugget, like Oliver Twist just after he eats a paper cone of French fries with mayonnaise. Seriously though, this album is awesome. It’s a little more polished than their last full length; not sonically, but from a songwriting perspective. The record is awash in layered guitars, Beach Boys-inspired backing vocals, and an incredible warmth that only some magic mixing board wizard knows how to attain. This CD is in ultra-heavy rotation in my player. I sure hope they fucking tour the states. –ben

[engl] FLASH’S debut album is an unassuming hi-energy primitive punk breath of fresh air. Hailing from all over the Gipuzkoan coast their debut LP is far from being the members first rodeo, with too many bands and activities to bore you with. FLASH comes at you as a fully formed band who know what they want and know how to get it. Sonically FLASH takes equally from their local legends LA PERRERA, fuckwave visionary MOPO MOGO, the pop-edge hardcore of ZERO BOYS, and the weird punk to come out of the Midwest in the last few years to create a truly magic record without a second of filler. With lyrics sung in both Spanish and their basque fishing hometown slang their attitude comes across loud and clear. Monotony, authority, armies of has-beens, and conformist punks get a pounding, while self-doubt, anxiety, and an ode to our dear punk also get a lyric share. All-in-all eleven tracks of radical, critical, wild and humble timeless punk rock which will leave you wanting more with each play.

[engl] 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!

[engl] Absolutely reckless and compressed hardcore punk rock, full of jumps in register and micro-shifts in timing. Based in Barcelona, and powering through 10 songs in their mother tongue of Catalan, this livid and catchy record is like MOTORHEAD at 78rpm with the vocal phrasing of the PEGGIO PUNX or INDIGESTI. Sounds like the bass is made of wiggly melted down Gitoni players, and the guitars have Big Muff pedals wedged in the amplifier cones. Punk at this level of disheveled velocity and excitement is a rare art.

[engl] A new beginning with familiar roots. No matter how you slice it, Permanent Present Tense is a high test trek to the forefront of rock'n'roll's boundless canvas. The Follies have spent a collective lifetime in dark, amplified dives (see: Vanity, Vexx, Ajax, Twisted Thing for more) but their approach here is different, and firmly rooted in the present. Sure, these ten tracks have that compact, New-York-Fuckin'-City drive that's innate to the five boroughs, but let's talk about the sheer quality songwriting and arrangement on display here. Permanent Present Tense has both the roots and the refinement that transcend the usual debut album. Fashion and genre are thrown down the fire escape in favor of memorable hooks and words that have immense replay value. Think Love and Arthur Lee, or even the Kinks' own Arthur. Brit pop & pub rock shouldered up to the shimmering guitar jangle of Haight-Ashbury, but arranged by Punks. Perhaps you'll remember this album differently, but the one sticking point to the Follies is their collective ability to synthesize the past into the present throughout ten utterly bulletproof tracks.

[engl] New York’s Foster Care is back with a brand new LP for Total Punk, and the first since adding Allison Busch (Awesome Colors, Call Of The Wild) on drums. El Abuso finds Foster Care at their most realized. It’s tight wound, ferocious, dark and dare I say smart. Has Foster Care grown up? Have they left their foster parents for the half way house? An 11 song nineteen minute punk maelstrom. This isn't a collection of songs it's a heaving beast. An absolutely relentless wall of pounding drums, vicious guitar, and gnarly bass rumble with Chris Teenager biting the air above it all. They even finds some moments to get weird and reflective between the throbbing outburst and violent spasms. Mean, loud, and 100% TOTAL PUNK!

[engl] Berlin based anarcho wave/synth-punk, with good influence of early 70´s female fronted occult rock. Strong lmtd 3-Song 7“ EP. One side on 45 r/pm, other side on 33 r/pm. First 100 on white vinyl, incl Poster (Die Hard Edition).

[engl] anarcho wave/electro-punk from the dirty basements (Köpi Squat) of berlin city. in tradition of early 80´s german wave bands like NEONBABIES or NICHTS mixed with old Synthie Punk like THE CROWDS and new stuff like EPOXIES, KOMPLIKATIONS and Co. 2nd Press on white Vinyl (complete), incl a big Poster (1st edition was without posters). again lmtd to 500 copies.

[engl] Frankie Stubbs, singer songwriter of Leatherface release’s a four song 7” EP on Little Rocket Records. It features three new songs and a version of shipyards, all acoustically. Recorded at The Bunker Sunderland at Little Rocket studios by Graeme Philliskirk (Bassist in Leatherface / Medication), who also plays additional acoustic guitar.

[engl] ‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

[engl] Fortysomething years after it crawled oozing and spitting out of the social turmoil of the mid-70s, punk has mutated in countless ways, sonically, aesthetically, politically, but on Fried E/M’s Modern World they drag it back into place as brute expression of ugly feelings crammed into short catchy punk bursts, sneering at conciliatory ideals on Peace and Love with the same energy as the Clash singing Hate and War, squealing with the nihilistic urge for oblivion on Lobotomy just as the Ramones did. Four decades later, we’re still struggling with ourselves, with society, and still ready to revel in the nihilistic teenage id that splays itself out on these eleven tracks of disaffected snot. Punk as its fundamental core, panicked snaps of self-loathing and anti-social rage blasted out raw and unfiltered, bricks and voids and violence, no second thoughts, no tricky questions, sounding like the point where the initial wave of punk was being ramped up into the inchoate hardcore of Circle Jerks’s Gorup Sex, The Middle Class, or like the Ramones did an entire album of songs like Warthog. (Joe Briggs)

[engl] Featuring Sir Henry Fiat under his new name Paul Fashion. This new incarnation of the band with synths added is heavily influenced by Devo and German krautrock.