[engl] Like a steel girder to the forehead, incomes SCREAMS FROM THE CAGE. 19 minutes of brutally up front and relentlessly rowdy hardcore punk, that slams a firm British stamp on the classic Swedish Hardcore blueprint. This wrecking ball sits somewhere between the 80’s Hudiksvall sounds of MISSBRUKARNA, the damaged NO FUTURE confessions of THE PARTISANS and the sheer rock and roll audacity of the SKITKIDS. Back to back riffs that’ll stick to your brain like the glue at the bottom of your bag and steaming drums blasts that’ll plough through your skull like a juggernaut driven by a maniac high on amphetamine. Mylo Oxlo provides the artwork once again, perfectly capturing the claustrophobic animosity of the Rat’s latest 12 song romp and rampage. Fittingly dropping on the year of the Rat while the Tory’s take a strangle hold of the U.K for another 4 years. Hold onto your seat, feel the burn and don’t you dare turn this fucker down.

[engl] RATA NEGRA are back with two tracks of what at this point has become their trademark sound. A mixture of perfectly balanced vocal harmonies, bouncy punk, surf guitars and melancholic vibes which is highly addictive from the first note. A side Ella Está En Fiestas takes GIRLS AT OUR BEST and RIK AGNEW on a all night party that borrows a BAUHAUS title, while the hypnotic flip Bien Triste takes us in a downspiral trip emanating the spirit of GOLPES BAJOS, THE RONETTES and even late 70’s BOWIE.

[engl] One year after their “Justicia Cósmica” LP RATA NEGRA are back with a two song single of dark pop perfection. On the A side the Madrid power trio puts music to a poem of José María Gabriel y Galán (1870-1905) turning its melancholic prose into a mid tempo punk beauty with surf guitars and deep bass tones bringing to mind the almighty GOLPES BAJOS on speed. A chance meeting of Spanish Costumbrism and kitsch as seen on the song’s video. The flip side “Problemas, No” brings back to life VIDEO’s minor hit from 1983 updating the Synth Pop of the original to a sharp upbeat punk jam which will have you dancing your shoes off.

[engl] RATA NEGRA from Madrid deliver twelve songs of dark, crude and moody punk on their debut LP. Formed of members from JUANITA Y LOS FEOS and LA URSS this power trio have distilled the negativity and uncertainly of the young Spanish generation and transformed it into perfectly crafted punk songs. Sharply turning snaps of daily life into melodic anthems for a doomed generation, musically RATA NEGRA fence between dark melodic OC punk a la RIKK AGNEW solo debut album and Spanish Punk ’83 via KGB/ VULPESS. Imagine the non keyboard tracks of Yugoslavian KAOS mixed with LA’S X melody, add to it a layer of distortion and a dose of vital desperation and you get close to RATA NEGRA’s sound. Oído Absoluto comes housed in a reverse board sleeve with printed inner. Both designed by guitarist Fa of Croke Studio and it is released as a collaboration between Beat Generation in Madrid and La Vida Es Un Mus Discos in Hackney. .

[engl] Rata Negra return with "Una Vida Vulgar" their third and best album. A truly pop infused punk record with an incredible production. The album harks back to their previous work in Juanita Y Los Feos but with more pop elements and a bigger and better production. Each of the ten tracks are so good, that they could be released as a single.The Rhythm Section is locked in and the guitars buzz but it’s the vocals that take this to pop heaven. The first side of the album starts with Venid A Ver and doesn’t let up until the Phil Spector esque Cuando Me Muera. Flip over and it’s straight back to the upbeat gems, which just keep coming until the final track Romance De Lobos which ends the album in a more reflective album. Una Vida Vulgar is pure perfection and for fans of X, Blondie and Rik Agnew. (Sean Forbes)

[engl] When it comes to timeless and catchy early 80s US punk sound in these fast and modern times of ours, Rats Rest from Kansas City could take a big part of the cake. If you like the old-school hardcore punk, melodic with a raspy fucked up voice, expressive vocals, mid paced drum-hitting going fast, heavy bass lines, catchy guitar works with a hard-rock attitude / playing, alongside lyric themes about depression, drugs and death, written with a personal view, then this is your new favourite band. I’m reminded of a depressed Marked Men, a bouncy No Hope For The Kids, or a street-punk-infused Leatherface as I spin these tunes. They get it pretty much right, from the well-sung vocals to the guitar solos that occurs over some moody, incessant bass-lines, its always super catchy! So put your sticky fingers on a copy of this and enjoy it!

[engl] "Hard stompin' Street Rock'n'Roll" (self-definition) made in Filth City aka Baltimore! The 10-song debut album (previously there was already a 7" and two 12 "s) of the four manic leather rockers celebrates a half-hour drive-by shooting through the badlands of R'n'R: Kick Ass NYC Sleaze/Proto Punk (HEARTBREAKERS, DICTATORS, DOLLS etc.) fraternizes with rich Motor City/MC 5 beat, heavy 70's ROCK and interspersed MOTÖRHEAD riffs ("Sick house" reminds you damn much of "Ace of spades"). TURBONEGRO once had a similar explosive mixture in the tank-dangerous and melodic-the RAVAGERS now usher in another merciless plunder with their hot'n'nasty sound. Unsafe at any speed!

[engl] REAKSI from Melbourne Australia are three immigrant punks from Malaysia, Indonesia and Singapore. The band delivers direct, hard and pungent lyrical protest in their native language Bahasa. The songs attack political issues that every Asian punk knows too well, the rights of and the struggles of immigrants (Tidak Ada Manusia Ilegal, Tidak Menyerah), police brutality (Awas) and songs of struggle and freedom (Punk Asia) that is highly relevant to the Myanmar’s people current uprising against military coup junta. “Esok Hari Kepunyaan Kita” translated “Tomorrow belongs to us" was recorded last year during harsh COVID lockdowns in Melbourne, this debut five track E.P combines the solid attack of UK 82 of THE PARTISANS, CHAOS U.K, the anthemic Oi! sound of THE 4SKINS, BLITZ and also drawing influence from traditional archipelagic hymns. Featuring members of ENZYME, KROMOSOM, PISSCHRIST AND INTRUSION. At first listen/ glance, the sound production and art of this record could easily be mistaken as a record off the NO FUTURE catalogue. Featuring art collaboration by Nicky Rat and Hafiz (SIAL), sound production by Joshua Wells (PRIORS), Maxime Smadja (RIXE, CONDOR) and Yeap. REAKSI “ESOK HARI KEPUNYAAN KITA E.P” is a love letter and a call to arms for Asian punks everywhere. (Fahmi Reza)

[engl] Their FAKE MEETS FAILURE LP got some critical acclaim last year and this 7" develops their unique style even further. 2 new songs recorded on their last US tour in Chicago. Housed in a beautiful screenprinted sleeve, finally available! 1000 copies pressed on black wax. 200 have blank hand stamped and handnumbered center labels and slightly different sleeves available from the band and the TBSR mailorder only. Co-release with NEW DARK AGES.

[engl] Spanning a recording career of way over a decade, RED DONS are finally ripe to be compiled. EAST / WEST collects choice cuts from out of print 7"s, compilation tracks and other curiosities. Popular favorite "Ausländer" from their Dirtnap released single of the same name is now finally available again on this LP to be spun into dust.

[engl] RED DONS return with their first record since their 2017 GENOCIDE 7". 4 new songs of their trademark moody PDX melodic punk greatness. Cuing a "The Cast Of Thousands“ era Adverts feel, they continue their path of more matured songwriting in our post pandemic, late stage capitalist nuthouse of a society.

[engl] Five years after their seminal “Fake Meets Failure” LP, Red Dons return with their junior album “The Dead Hand of Tradition.

[engl] Quiet achievers Red Gaze from Austria return with their second 12“ vinyl release. One can clearly tell they have been around for a while and know their trade. Less (post-)punk anthem flavor, more anger, snot and eagerness to experiment, still taking cues from anarcho punk, Institute and maybe adding a bit of Arnold Schönberg? Maybe not, I don't know, but it would be coherent considering the potential origin of their band name. Be that as it may, what one gets here are great marching beats, mean riffs, subtle bass lines, and a singer calmly but still angrily philosophizing about the current state of affairs combined with dissonant sounds that may remind you of that former friend of yours who is now marching in the streets together with fascists or that online meeting you couldn't attend because you wouldn't update to that pro account. (Marian, Constant Cold War)

[engl] After countless hours of data driven market research it was determined that the wild success of the first Retail Simps album , “Reverberant Scratch” was 82.6% due to the cheeky and iconic album cover, as such the group was faced with a dilemma. Using focus groups funded by the Center for Odd Human Behaviour (COHB), the group surmised that the man pictured on said cover, none other than Montreal born chanteur Joe Chamandi, reminded the typical unsophisticated commoner of their ner’e do well uncle, and it is this sense of uncanny familiarity that drove people to purchase the record. Upon first needle drop it was revealed to house an abhorrent and obfuscatingly decrepit take on roots rock. Armed with this keen analytical knowledge, the band and their creative team harnessed the boundless marketability of the Trashmen, Dancing Cigarettes and 2 Live Crew to adorn their new disc with an equally palatable and deceptive frontal armour, provoking the straight laced garage rocker of yore to pay the price of entry. Once the branding and visual identity of this little package invited potential listeners in, they were met with incorrigible confusion. You see, after being pigeonholed by the punk paparazzi as a lowly party band, the Simps were tasked with driving home their knack for fervent versatility. This new record captures a group, in the clutches of maturity, boasting their emotional depth, triumphant chops and humble servitude to the trade of rock n roll clowning. Recalling the double speak of VU’s murder mystery, the soul bent lament of Fred Cole and the bastardized funk of Minutemen, the Simps have thusly widened their sonic palate and created yet another masterpiece of the modern age. This is the southern soul of Memphian tradesmen flipped on it’s snowy head, conjuring an impure regionalism that was largely thought to be dead and gone. An alternate kind of Northern Soul with a frosty Arctic sheen. More spazzed out guitar, more howling lunacy, more heat of the moment, turnt poetry and outside the box-isms. “The Simpies have done it again!” Proclaim the industrial-indie-music-complex! Bolstered by the angelic croon of theee Simpettes and the honking heart-wrench of theee Horny Boys, Theee Retail Simpletones bring you this 82.5 % Total Punk din!

[engl] What if the Velvet Underground had written ‘Wooly Bully’ and Sam The Sham ‘Sister Ray?' If Ron House picked up some bongos and joined CCR or If Half Japanese and Hasil Adkins started a Meters cover band? This is the scrap yard of the Retail Simp's mind. Gang activity started when moldy Joe (Celluloid Lunch, Itchy Self...) enlisted fellow rhythm bro, Tom tha Moleanderthal (Feeling figures, Hélène Barbier band...) to make a perfect record in the Ides of corona March. A million Doll hairs and several rock bottoms later, the idea was to make something that would easily fall apart, this was executed with Montreal's best and brightest in the wings, lending a foot (all in the name of bogtime[sic] exposure). Bathroom-stall-wart and Barstool-smart Chrispy Burns (Terminal Sunglasses, American Devices…) was brought in to add his patented 'racket roll' guit-o-rama. James "Gogo" Goddard (SkinTone, Egyptian Cotton Arkestra...) skronked his reliable sax machine and the ticket was printed. Short on practice and high on ideas, thee Retail Simple Tones were born, well traveled and unraveled individuals, bound by a musical adventure. Now to show for it, Reverberant Scratch is a 9 track ruckus of tinny guitar sketching, horn-honking deliberations, keyboardarific doodles, and whatever else one can summon in a basement to bang on. It's a ramshackle party stabber.

[engl] They’re loud, they’re fast and they’re dangerous! Its The Ricky C Quartet, bringing a style of classic punk rock infused with a heaping dose of attitude! Delivering a snarling energy with pissed-off lyrics and red-hot guitar leads The Ricky C Quartent bring 2 new 77 punk rock killers from london. This time out the lead track is 'I Miss You' and it is sung by Jimmy Jones and is possibly the band’s best song to date. Part Clash sing-along and part good time rock and roll with great backing vocals and lead guitar. Recorded by Los Pepes front man Ben Perrier.