[engl] Mr. Node returns with 2 timely songs about quarantine and vaccination. Originally fronting Montreal’s Thee Nodes (2011-2014), Mr. Node goes solo with his “Killed By Death” inspired brand of outsider punk

[engl] Brain damaged skate thrash at it's lo-finest all the way from the eastern wilds of Halifax, NS. So raw that even the freshest catch calls it cannibal fodder. 14 filthy filthies come blasting at you in a mere 16 minutes, just long enough to back lip that crusty ledge, bail and pick the gravel out of your freshly opened road rash. 500 copies black 140 gr black vinyl housed in a 24pt jacket with the premier issue of Concrete Flower skate zine included.

[engl] NAILBITER came out of nowhere in the beginning of the 2000's in a London where bad punk, terrible USA inspired hardcore and worse Euro Crust were the norm. They were foreign squaters obsessed with ANTI-CIMEX, Japanese Hardcore and Worldwide punk in a time when the internet hadn't made all those scenes commodities a google away from you. They played as much as they could to audiences who thought of them boring, dirty or un-hip. They managed to release a handful of records before their career stopped when the drummer was deported back to Brazil. Fast forward a few years ahead and NAILBITER are back in action. Touring Europe as often as they can and writing new material. Unfortunately they are not allowed to play live in UK due to the drummer's status but they have been unleashing their nihilistic hybrid of late era ANTI-CIMEX and Burning Sensation Japanese hardcore for a couple of years now.

[engl] NAILED IN is a four piece from Zagreb that formed in 2014. They play fast and pissed off hardcore punk with strong DIY ethics and a firm political message. Their s/t EP was released through the Vienna-based label Hardcore for the Losers. After a couple of european tours and numerous shows around the region the band went back into the studio in 2020 to record their debut LP 'Shovel'. Recorded, mixed and mastered by Ivan Jaki?, 'Shovel' brings 10 songs of short and angry hardcore that delve into subjects like self-criticism, local hardcore scene, religion, homophobia, corporate and social hypocrisy.

[engl] Santa Ana, CA's NASA Space Universe have spent the last decade or so careening wildly through space, both inner and outer, to bring us undeserving scumfucks the most intense, unorthodox hardcore this side of the solar system. Alas, the mighty starship NSU has gone the way of the Challenger Space Shuttle, exploding gloriously upon this, their final launch. What remains, culled from the wreckage, are the ten songs that make up 70 AD, their final EP. Ten scorched, sweat-drenched paeans to paranoia, bad trips, and brute force, an unholy amalgamation of all the disparate strands of punk/hardcore that you dig (be it Japanese/Swedish hardcore, early SST, later SST when everyone was smoking dope and listening to Deep Purple, fringe shit like No Trend, you name it) filtered through the manic mindsets of four literate, completely reprehensible dudes who could give a fuck what you dig. 70 AD eschews the studio sheen of some of their past releases for what could serve as a perfect encapsulation of the NSU live experience, minus the potential for missing teeth and bloodied beaks. Essential listening that serves as both a fitting send off and a stern rebuke to those who slept on this mighty, mighty band of reprobates.

[engl] 1 song for the upcoming album + 1 song exclusively for this 7".

[engl] Full throtle Japanese Hardcore. First released 1990 on legendary Selfish Records this Japanese hardcore classic is available on vinyl again 30 years later.

[engl] NIGHTSLUG's demo-tape has been remastered at the Tonmeisterei and is now available on vinyl for the 1st time. The 3 tracks are simple, heavy, raw, primitive, dark and gloomy, but at the same time, unique, powerful and atmospheric. These adjectives are not seen together very often, and that shows how special those tracks are. The disgustingly gloomy and ultra-low guitar riffs that dominate the songs are perfect throughout - so very crushing in its delivery. NIGHTSLUG's music is ecstatically powerful - thanks to their dynamic rhythm section in their drumming - sounds really bombastic. The bass is down-tuned, offering a slow and mourning, lurking riffing. Really important is the factor 'groove', and NIGHTSLUG definitely have this groove that bands like CELTIC FROST, HELLHAMMER and WINTER invented. Even the vocals have a nasty demon CELTIC FROST- touch. Deep grunts are the vocals that adorn the musical journey of this band. NIGHTSLUG, however, made a demo that isn't just angrily downtempo and muddily downtuned - it swings, and has a punk spirit. If you like anything even tangentially related to doom or sludge it is a mandatory purchase. There is none heavier!!! The one-sided, limited (315) LP comes with a screenprinted b-side and cover, black innersleeve and includes a digital download card.

[engl] Second LP from Slumb Party, Nottinghams finest Post Punkers. First LP is long gone, don't sleep. Everyone’s favourite herky-jerky Nottingham noiseniks Slumb Party return to blow minds once more. Maybe it’s time you polished all the hard surfaces in your house and strapped on your dancing shoes, cuz once this one lands on your stereo you’re gonna be pulling shapes and bouncing from the floor to the walls and back again. Last time round their influences were clear: James Chance, Minutemen and Gang Of Four rose to the surface in a heady concoction of skronking, sax-drenched post-punk and addictively wonky hooks. This time they’re no less deliciously addictive, but the pop factor rides higher in the mix, at the cost of precisely none of their aching smarts or visceral thrill. A wheezing synth powers opener Go To Work, with nods to the same heroes as before, but also a sense of Attractions-style powerpop appeal – if XTC had ever attempted to refract pub rock through their angular prism while shouting ‘CAN YOU BUY ME A PINT’, it might have felt something like this. Sound good? Of course it fucking does, and it sets the tone for the rest of the album. While their 2017 debut (and if you slept on that masterpiece, then what are you waiting for, dummy?) dealt with working a day job and dealing with getting older, here the world weighs even more heavily on their shoulders. The snarling fury that characterised those songs is transposed to an exhausted rage that’s no less bilious or righteous – being skint, the overwhelming vacuum of ‘creative’ culture, and the general nature of just existing in 2019 all come under the microscope. No spoilers, but turns out all those things are bad; luckily they’re soundtracked and documented by a band that’s (whisper it) maturing (nah, fuck it, shout it: MATURING) into something far greater than the sum of their influences, that simply explodes from the speakers and demands your time. Like Molotov cocktails and lit matches, this is gonna seem daunting to swallow in one go, but the resultant explosion is messy and spectacular. Slumb Party describe this record as their ‘new/no wavey post punk power pop effort’, and that’s a pretty accurate summary: certainly, there’s a Stiff Records/Marked Men undercurrent to all those geometrical puzzles that make up their songs. Leave it to us, though, and we’ll just call it ‘one of the most essential records to emerge from the UK underground this year’. Or order you to drop everything and listen right now. ‘Spending Money’ is a keeper, alright. Will Fitzpatrick.

[engl] 40 plus years after Out of Vogue and Pay to Cum came, USA HC punk has died many deaths. Only to be brought back to life wave after wave. Perhaps only to be sold again as a cleaner version of itself. However there seem to always be a bunch of miscreats that spit on HC grave and enjoy making dirty and aggressive fast music as if their lifes were on it. NOSFERATU is one of them. What we have here is the long promised vinyl version of their last year cassette tape. On it you’ll find 11 songs of boom box sounding hardcore PUNK. Fast and raging, without an ounce of metal or cuteness on it. Think of YDI or E-13 but also WRETCHED or SYSTEMATIC DEATH. Short songs as burst of energy with an attention to detail to their craft the way only someone who has worn out their HEREJIA or ANTI-DOGMATIKSS tapes can create. In so many words, NOSFERATU sounds, in my mind, as the missing hidden track on Killed By Hardcore vol. 2. This version of Society’s Bastard comes as a double A side 12” with the same program repeating on both sides, why not? Packed in a beautiful sleeve designed Albert, who also designed the insert and wrote all the songs.

[engl] Texas's Nosferatu unleash their first full-length of hardcore ramped-up into its highest echelons of breakneck propulsiveness, whizzed-up and faultily-wired, a tumbledown chaos of Siege-like flurries, whipping about with Die Kreuzen sharpness, or the more modern uncompromising flailings of Permission and No. Ugly barks, murky blurs of riffs slammed into you with the force of a bomb-blast. Barely room for breath, most of the tracks snapping off with little ceremony, apart from on the Under The Sun which drags that grimy noise out into a grubby itchy monster three times the length of most of the other tracks on the album, and on the apocalyptic stomp of the closer Solution Absolute.