[engl] Seven scratchy punk gems channeling a thing in which disaffected youth and energetic misfits alike can rally against the snow-soaked blandness of the Illinoian city they inhabit. Running the gamut from the proto-punk mayhem of DV8 to the early hardcore toughness of The Effigies and from the sinister outsider art of The Tyrades to the comparatively sophisticated Plasmatics. A thrilling statement of middle-finger intensity and rule smashing iconoclasm. Consensus Madness skirts the edges of chaos and good taste, holding a mirror up to society’s ugly underbelly. “They’re good, bratty fun.” - Paul R.

[engl] Back in 1979, Pinned Records dropped a pretty smart compilation record called Vancouver Complication – a natty compilation of punk, new wave and power pop from the Canadian city. Some might say ‘seminal’, but only rock critics use words like that and they’re the worst people (I should know). Judging by The Corner Boys’ debut 7”, the kids in 2017 just love it. Surely it’s not a new record, though. It’s a great lost cut from that era, right? Or we’ve somehow fallen through a portal to that time and place, and uncovered an essential set of three obscure classics. This is punk as it’s supposed to be done: alla the hooks, alla the time, and played like they just got caught shoving firecrackers into the exhaust pipe of their dad’s new car. It’s frantic and sassy and riotous and righteous and unpolished and perfect. My tip? Empty your head a little in preparation; this stuff is gonna be living in there for a long, long while.

[engl] From the depths of Cleveland, THE COWBOY return with their third album! Whether you've been a believer since the trio's debut long player on Fashionable Idiots, or are just now tuning in - you've arrived at something great. THE COWBOY have found a formula that truly works and excel at pushing it forward in new and exciting ways. For the uninitiated, it's a sound steeped in 70s/80s punk and some of the noise rock that's followed. A style both razor sharp and played with a breeze-like efficiency. 13 brilliantly simple and bright bursts of Ohio r'n'r, most clocking in around the 90-second mark. It's almost entrancing how great THE COWBOY are on this masterful thirdalbum. "Riddles from the Universe" is packaged in a gatefold jacket designed by Professor B. Gaffney which folds open to reveal an entire galaxy of imagery and lyrics that tie everything together on this cosmic vinyl album.

[engl] "What do you get when you add 2/3 of Homostupids to 1/2 of Pleasure Leftists? You get Cleveland's most explosive new act, THE COWBOY! Do the math, it checks out. These three gringos are confident enough in their chops to make the bold move of having their debut not just be twelve inches long but also twelve tracks long. Only seasoned veterans such as the gentlemen of THE COWBOY could pull off such a daring feat. Every one of these dozen songs is Grade A rock guitar beef Americano style, with that homegrown flavor Clev-O is so famous for. Grab your knife and fork a dig in for two sides of prime cuts. Now that the title of America's Greatest Rock'n'Roll Band seems to be up for grabs again, these fellas are throwing their hats in the ring and it's certainly not their first rodeo. So saddle up, Sally, and LET'S GO!" -Richie K/Terminal Boredom ex Homostupids.

[engl] Called by Germanies VISIONS Magazine "Todays best German Garage Punk Band", this band will give you a reason to get back into modern music. In their early days compared to bands like Gluezifer and Hellacopters, this band has evolved into something so much more than this. Centered around a driving organ and lyrics that go way beyond you usual "yeah-action-yeah-hell-rock" gibberisch, the Crime Kaisers have release a masterpiece that will withstand the test of time. The CD features 5 bonus tracks as well as a Video. Included is their ÜBERHIT "Kaiserstyle". But why take my word for it..take a listen for yourself! enjoy the wild wild world of the Crime Kaisers!!!! The CD features unseen Photos as well as 5 bonus tracks.

[engl] Hot off the heels of their debut LP entitled "Sliding Through the Halls of Fate" on Don Giovanni Records, Crow Bait returns. The band is from New York featuring three guys that you probably know from past and current projects such as Sister Kisser, and Iron Chic. But if you're checking this out on the basis of those bands, expecting to hear another "Not Like This" or "Vipers" - two very good records – prepare to be left scratching your head. Crow Bait, while clearly looking forward, is also clearly trying to create something that resembles the music they grew up on - Goo Goo Dolls, Buffalo Tom, The Replacements, etc. And they do a damn good job. If you're like me, and you never change the dial when a good 90's alt-rock song comes on the radio, this record is right up your alley.

[engl] Official reissue, 1st press since 1989, sealed, remastered

[engl] Cruelster are made up of members of Knowso, Perverts Again, and a plethora of other Ohio noiseniks. If it seems like you’ve seen that name before, it’s highly probable - they released a demo back in 2012 and have been sporadically dropping bundles of rough-edged sonic snot ever since, thanks to labels like Lumpy (whose own Dumpers are at the very least sonically adjacent) and Turbine Piss. This singles collection compiles all the non-album tracks they’ve released since that early demo to make a thrillingly ‘orrible racket. Twelve years’ worth of punk rottenness and general stupidity contained in 29 tracks and 40 noisy minutes. It is, of course, fucking brilliant. From the gleefully melodic dumbness (and Booji Boy-flavoured additions) of ‘My Embarrassment’ to the malevolent rumble of ‘Double Trouble’, not to mention a fabulously energised cover of Icona Pop’s dance-pop smash ‘I Love It’, every track here is a winner. It’s the perfect tonic for your rage and the perfect foil to a cruel world where everyone else’s disdain seems more pronounced than your own. You owe it to yourself to complete your record shelves with this instantly classic comp - it’s punk rock par excellence. And as for that ‘hating all music thing’... ah, who cares, this is all gold. Listen immediately, you’ll be causing chaos to its raucous brilliance before you know it.

[engl] "“Never Trust A PunK”, the title-track videclip shot in 1998, is a photograph on the Italian scene of the 90s, featuring 100 musicians and friends. Crummy Stuff sold over 3000 copies of “Punk’s Not Sad”, their first record, and “Never Trust A Punk” followed it as their best record at the time, earning success with both fans and critics. For its 25° anniversary, the band, with the help of StripedMusicCom, is releasing a limited edition of 300 copies, 180g LP, with refreshed artwork by Sergio Perrone and a new mix/master by Carlo Altobelli (Toxic Basement Studio)."

[engl] More Echoes Of A Question Never Answered... Why? 12” is the posthumous release of Rosie Davis's solo project. On it the Nova Scotia artist poured all her soul into four very special songs, which were not fully completed by the time of her passing. The DIY recording is crude and rudimentary, and obviously influenced by the golden era of British anarcho punk but with nods to so many colourful elements. Mixing CRASS, FLUX OF PINK INDIANS, HONEY BANE and SAD LOVERS AND GIANTS to create a very personal drum machine fuelled punk record. With very personal lyrics giving the recording a layer of intimacy and creating a record clearly of its time. The sleeve artwork was designed by Rosie herself with a back cover pieced together with some artwork the family had. The record comes with an 8-page lyric booklet in a 300 press and the proceeds for its sale will be donated to Rosie’s family.

[engl] Gutternsipe and Cuntroaches are two collectives operating on the slimy, rotten edge of the world. After a European tour, both bands decided to go into studios in their respetive home towns - Berlin for Cuntroaches and Leeds for Guttersnipe - and document where they were. Across 4 tracks they individually map out the end of the world and the forging in fire and dirt of a new one. Cuntroaches have been festering in Germany's Baccalian capital Berlin for a few years now, blurring the lines between an evil, masticated version of black metal and breakneck-speed punk. It's dirty as hell, punishing and thrilling. Cuntroaches taketh life and then they give it back in forms you don't know. A 3-piece, the group detour the conventional rock muzik line up into a blurred, vile, masticated, squat-grown language. Drummer Claire Panthere's pogo-ready rendition of primitive BM power-drilling deep into the frontal lobe while the instrumentation provided by bassist David Hantelius'and Martina Schoene-Radunski is twisted beyond sane recognition. I Can Tell Your Scum feels like an Ildjarn cut played by early Flux Of Pink Indians, Schoene-Radunski's vocals obliterated by ever rising delay. Brutality decimated by a dub approach. Inside Me launches further out, faster and more aggressive, with a crunched bass borrowing like a massive parasite into the track. Cuntroaches' fucked approach to punk takes into the basest, most disgusting form of high art. Gutternsipe follow their debut My Mother The Vent for Upset The Rhythm with two tracks of blown out, deeply scary and alienating abstraction. It's a completely different approach sounding like Smegma or Hanatarash throwing rock instruments around a burning junkyard. It feels like freedom, wonderful, freedom. Tipula Confusa's approach to percussion is ecstatic, harnessing the approach of improvised music and No Wave into a Dadist abomonation. Urocerus Gigas is an octpodial Kraken, wretching and wrangling guitar forms and vocal screams from some unimaginable deep. You probably know the score with Guttersnipe, but on these tracks they go further. Poppyseed Pudendum feels like every Load Records release played simultaneously yet still manages to revel in space. A five minute blast that launches after incidental prelude, it's noise as ascension, as transmogrification. Return To The Cyanobacterial Slime is an 11 minute surrealist cut up played in real time by these undescribable entities. Way more spacious, here the group have been torn apart, broadcasting from a lonely place deep in enemy territory. Held hostage by aleatory percussion, Gigas's wordless pleas reach up, up before being confined to their own misery. When the duo break through into some fire music jamming, the freedom is complete. Will we ever want to go back?