[engl] “Doldrey make a murky, gnarled, cranked-up form of music that splits the difference between old-school death metal, classic black metal and feral D-beat. They’re one of those bands where lo-fi recording is a true asset, since it makes them sound even more like cave-dwelling berserkers.” -Tom Breihan After a couple season sets worth of gestation, Doldrey has returned with “Celestial Deconstruction”, a proper full length that is decidedly more metal that their previous efforts. Make no mistake, this is still punk as hell but this time with more of a violent stenchcore feel (sans the ridiculous "epic" intros) mixed with Slayer breakdowns and evidence of early Celtic Frost played through the HM-2. Altogether a sound that is pure thrashing nastiness. 350 copies on black and 150 on silver 150gr vinyl housed in a 24pt reverse board jacket with poster, lyric insert and download card included. Recorded by Izzad Radzali Shah.

[engl] After a scorching demo in 2018, Singapore's DOLDREY have seen fit to unleash a hellish alchemical concoction of scraping hardcore and HM2 death metal riffs over a whiplash of pogoed out D-beats. Imagine CARNAGE covering S.H.I.T./ZOUO songs with the creepy crawl parts from HOAX or DARKTHRONE's slower tunes. Suffice it to say that it is hard punk for metalers AND street tough metal for punks. Classic styles combined to make modern sounds. Sick. 500 copies on black vinyl with an etched B-side housed in a 24pt reverse board jacket with insert and download card included. Recorded by Izzad Radzali Shah. Mastered at Mammoth Sound. Art by Necrofrost.

[engl]  Notes on the theme of YÚ: Combining the English you and Spanish tú, YÚ symbolizes the experience of being stuck between two cultures, struggling to find a sense of legitimacy. It navigates this space and the tension of being pulled in opposite directions – the binary of life: past/future, optimism/pessimism, acceptance/denial, confusion/clarity.

[engl] Sheer sonic agony in the form of a meticulously arranged and self-recorded drone/HNW/power-electronics album delivers a central theme of ongoing colonial violence perpetrated by the Canadian Government and Catholic Church against the Indigenous Peoples of Turtle Island. Haunting and poignant samples of living survivors of the Grouard Indian Residential School as well as contributions from other Indigenous kin are featured throughout the EP. Echthros’ storytelling delivers anguish, vengeance, determination, and celebration through a wall of harsh drone balanced with the calm uneasiness of what is to come next. When asked about the specific meaning of the title Echthros’ sole member, Jesse Decay, had this to say: "God is love" is a title based on dualities I'd say. To explain the overall meaning involves some family history: I'm an indigenous person from Alberta Canada, my family is Cree from Fort McKay, and my grandmother was taken to residential school when she was five. I started writing this album around the time that the graves of hundreds of children were being discovered around the old residential schools about a year and a half ago. In a film my mom made about my granny's experience she said "for the longest time I feared god, but once I got out of there I realized that god is love". I named the album after that because it's so interesting to me how much grace and forgiveness she feels about the entire experience, whereas I have a great deal of anger and antipathy towards the Catholic Church for what they did and feel that god is anything but love based on what they did to our people. So “God Is Love” is about residential school, indigenous resilience, and colonialism in Canada in general.”

[engl] There was a time when the fear of nuclear destruction was so thick you could feel it in the your lungs and walked the streets. Like at any moment some ICBM would rain fire on your town and the troops would be thrust into action. Only they wouldn’t be defending the town they would use the melee as an excuse to rid their little podunk heaven of the “punker plague”. Those freaky weirdos with pins in their ear and stains on their gear. The ones that spray paint “Ronald Reagan SUCKS a big one” on the hoods of cars. The ones that don’t fit and don’t wanna… Friends and enemies, introducing ELECTRIC CHAIR!

[engl] Picking up right where "Performative Justice" left off with ELECTRIC CHAIR cranking out their pitch perfect hyper active USHC filled to the brim with snarl and style. These manglers have sharpened their sticks and aimed them square at the hackneyed garbage parade that is modern society, just jabbing away at it until all thats left is a bloodied lump and maybe a tooth or something. Listen and bear witness to one of the best punk bands of our generation doing what needs to be done. 1000 copies of Discharge black 70gr vinyl housed inside a stunning silver foiled glue pocket sleeve with 14x14 poster and download card included. Recorded by Detto. Mastered by Jack Control. Art by Collin Buhr with photographs by Dave Hoekje and type/design by Leoff Spennit.

[engl] Though famous for other things (including doing the synths on GARY NUMAN’s iconic “Pleasure Principal” album and co-writing VISAGE’s massive hit, “Fade To Grey”), Chris Payne brought THE ELECTRONIC CIRCUS to life in 1981. At the time, poised to become his next major project, the initial single “Direct Lines” gained little traction and quickly found its way to quiet obscurity. There it remained until some genius made a video using footage from Swedish film “Summer With Monika” that so perfectly fit the surging melancholy of youth’s temporary romances that the song garnered a million views and a new cult of rabid fans (me included! -Jensen). Once this synth-pop perfection enters you it will find permanent purchase and continue to be a joyous wellspring for years to come, truly a gift that keeps giving. This fully licensed official reissue comes on 150 on red and 350 on black 75gr vinyl housed in a reverse board custom die-cut glue pocket sleeve. Originally recorded in 1981 at Pebble Beach Studios in Sussex UK (also where THE ADVERTS recorded the excellent "Gary Gilmore's Eyes/Bored Teenagers single!) by Tony Harris. Remastered in 2021 by John Golden. Art and packaging based on the original 1981 design.

[engl] Just when you thought it was safe to come out of the bomb shelter, Eteraz returns, crustier and more metallic than ever… Rabid with violence in their veins and the sonic arsenal to carry out full scale warfare on the senses. Starting in the ear and drilling its way to what’s left of your sorry excuse for a brain. There will be nothing left. Bombastic buzzsaw guitars, relentless pummeling bass, chaoticly vicious drum battery and a wildly sinister vocals make for an unholy alchemy of evil fucking hardcore. Not to be taken lightly.

[engl] Beyond the clearly scorching and well executed Disbones/crasher/d-beat/crust whatever you wanna call it bombastic hardcore that Eteraz has crafted on Villain, what strikes this listener most is that the whole thing is belted out in Persian. And it sounds fucking perfect. The harsh throat scraping sounds of the language add an extra layer of immediacy and power to an already flawless Discharge style delivery. Add that to a wall of tasteful distortion, acidic riffage and a drum battery that would detonate any unexploded ordinance within a 10 mile radius and you're starting to get the picture. 350 on black and 150 on trans green 140gr vinyl housed in a 24pt reverse board jacket with printed inner sleeve, foldout poster and download card.

[engl] Coming from the underlands of scorched minds and poisonous everything, FACELESS BURIAL have arrived to ruin you with 34 minutes of blast-surging, malformed death metal mayhem. Hyper-menacing. Grinding. Dirty. Death. Members of Agents Of Abhorrence, White Walls and Internal Rot if you're keeping score. 666 copies on shrouded in mystery colored vinyl housed in a heavy duty reverse board jacket adorned with art by Xavier Irvine. Recorded by Finn Keane, Xavier Irvine. Mastered by Mikey Young.

[engl]  Slow cooked gloomy post punk from the outer realms of the midwestern United States. Nine shuffling stabs of icy bleakness about the fog of existence, psychic waste and drifting aimless in the vein of DIÄT or some of the more brooding TOTAL CONTROL stuff carefully assembled over the last 4 years. We are pleased to welcome FALSE BROTHER to the only format that matters. 300 copies of 150gr black vinyl housed in a heavy duty 24pt jacket with hand made zine, poster and download card included. Recorded and mastered by False Brother. All art by False Brother. Dedicated to Mark Fisher - long live KPunk.

[engl] Smoking Saves, Smoking Kills. Or in other words, what kills you is the same thing that gets you through another day. This is the thesis of “Smoking Kills”, the newest flexi disc by Seattle’s Fashion Change. Beginning as the pandemic basement project of Ryan Mathews, Fashion Change is captured here in its most realized form yet, both in terms of added members and sonic expansion. While the troglodytic rhythms and chainsaw guitars of Kyushu punk (see Confuse, Gai) are undoubtedly present, the music and message also borrows from the lighthearted nihilism of UK DIY and brutal indignation of No Trend. In the end, we have 320 seconds of psychoactive hardcore that is greater than the sum of its parts. This is New Music for a New World that none of us asked to be in. 500 black, foil-stamped 7” flexis housed in a linen weave foldover jacket. All songs written, performed, recorded and mixed by Fashion Change. Mastered by Will Killingsworth. Art by Rael Callaci.

[engl]  "It’s not often that fuzzed-out C86 jangle and brash queercore find common musical ground, Flesh World's inception focused less on their other bands (Limp Wrist, Needles and Brilliant Colors), and more on their mutual love for drag shows and punk gigs, as their vision took form in the under dwellings of San Francisco’s DIY scene." -Max Mohenu/Pitchfork. The Wild Animals In My Life is the first full album and second 12" sized record for this incredible reverb swarm. Knowing and growing from the past unto now, power is the underlying draw here. Lulled by the fist/pummeled by the euphoria. Hearty black vinyl in a heavyweight full color jacket with a poster insert even.

[engl] You ever wondered what it sounds like inside the heads of people when they're fist-fighting? The sharp thuds and painful cracks, the internalized grunts and high pitched squeal of a ringing ear that just won't go away. You ever been hit in the jaw with your mouth open? It's about as unpleasant as a feeling can be. FRISK's "Stalker" strikes us the same way. Hard and gnarly, an unrelenting misanthropic pummel of the highest order culling influence from equal parts Integrity, Brainbombs and Negative Approach. Leeds is the most dangerous city in West Yorkshire.

[engl] If music that feels like a massage with broken glass, then this is the rub for you! We know, we’ve withstood the pain for you but now it's finally time to share. Short, fast and raging hardcore from both of these UK bruisers. Meant to be a promo tape for Frisk’s "Stalker" LP, which as you know is already out, and meant to coincide with their jaunt around the Empire late last year but, of course, Iron Lung Records got it done just in time for the day after, haha. As chance would have it, Last Affront is coming over to the states to do a tour so now this tape is their tour promo thing. Life is a stab in the dark at best so turn the lights off and start waving your knives in the air.

[engl]  A masterful amalgamation of sinister tape loops and unsettling industrial clangs makes 'Denigration Rapture' a hypnotic conflagration replete with pulsing Kraut drones, sampled vocal/musical textures and crunchy power electronics. You can feel the unnatural barbs of the dark forces sinking in while they slowly lull you down to depths and hold you there forever. Drown in this glory. Like the other singles in series 3, there are 300 copies on black vinyl with hand stamped labels housed in a hand stamped j-card sleeve. A one-time pressing.

[engl] From humble beginnings as a do-everything-yourself-because-people-aren't-ready-for-your-vision-yet basement rapper in "The Biggest Little City" (the underground of the underground) comes the rarified and clarified aural juggernaut known as FRKSE. Using a combination of tape loops, power electronics, sampled sounds, synths and some other stress inducing mysteries, FRKSE has found a unique place in the universe. A turbulent plane nestled somewhere between chattering industrial clamor and automatous world meditation. "Desecration Anxiety II" further projects visions of a tormented nirvana beyond the light of consciousness, an uncertain stillness. 300 copies of 150gr black vinyl housed in a 24pt reverse board jacket with insert and download card (though there are vinyl only tracks that are not included in the download). Artwork based on "Desecration Anxiety I" created by DAS/Auris Apothecary. Photography by Reid Haithcock. Mastered by April Golden.

[engl] Your favorite mid-tempo manglers are back and you should hold on to your fucking shit because this noisy hardcore punk outfit will make you want to fight someone. GAG is from Olympia WA and bring deranged, distorted and noisy hardcore with strength and anger. This record is a continuous attack on your senses. And I mean that in the best possible way! Ferocious dissonant hardcore focused in intensity and all-out rage. Experimental hardcore, an album of feedback and reverb drenched punk. A storming sea full of noise, with delayed waves! Our friends at sorry state said: I've loved this band pretty much from the beginning, but "Locker Room" just blows away their previous records with heavy, spot-on production and a complete sense of recklessness that very, very few bands are capable of capturing on record. Much like Gay Kiss and Avon Ladies, Gag at their best have this way of combining the meathead brutality of Hoax with something more dissonant, uncomfortable and exciting. Basically, what that means is that the bass player is playing a total pit-clearing riff while the guitar player(s?) just wail out with sheets of noise over the top. A simple formula, perhaps, but one that is executed to perfection here. This is the type of band you expect to see people emerging from the pit bruised and bloody after watching them. Their earlier releases perhaps left a bit to be desired fidelity-wise, but this 12" hits with maximum impact. The sound is raw, fucked, and wild hardcore with a heavy delay on the vocals and weird changes throughout. If you like bands like GISM, Church Whip, or United Mutation not just for their aggression but also for their weirdness as well, you'll flip for GAG. You want any references? I don't have a clear one! Listen to this beast and judge for yourself! The only thing I can say, the flagship of the NEW WAVE OF INDUSTRIAL HARDCORE IS BACK! This is music for freaks! Play it loud, get weird and spread the noise with the upside down smile!

[engl] Have you longed, hoped...nay, prayed for the paradisical utopia where the availability of all GAG's yesteryear classics were at your beck and call? Well, long no longer... "Killing For Both Realities 3 '92", is the answer to your prayers! It's a collection of selections from the early EPs including hits like "Don't Like", "Intro", "No Cops", "Haunted Truck Bed", "Clown Farm", "I'm A Punk", "Locker Room", "Chains And Barbwire", "HAHAHA", "Steel Shank", "Chains And Barbed Wire", "Raw Meat", "Squeeze", "Meth Lab", "No Hope, No Change", "Warm Milk" and "Warm Milk", sure to delight every listener's leathery lobes into sheer bliss. 500 copies on black 150gr vinyl housed in a 24pt gatefold sleeve with spot high gloss UV finish with insert and download card included. Art by Shane Donaldson, Reuben Sawyer, Cain Cox, Adam Barnes and Scott Young. Recorded by Capt. Tripps. Mastered by John Golden.

[engl] Following up 2016's "America's Greatest Hits", GAG are back with 12 certified fresh bangers that will leave you breathless and sweaty. All the mid-tempo thump, crisp searing riffs and maniacal vocal pepper you've come to love are there in full steel but the crew has turned up a couple surprises for you here as well. I won't spoil it by writing more about it, you'll just have to check it out for yourself. Trust GAG, trust Iron Lung Records and, most importantly, go trust yourself. 150gr vinyl housed in a 24pt jacket with insert and download card included. Art by Jose Mora, Peter Maria and Adam Barnes. Recorded by Cameron Heck. Mixed and mastered by Arthur Rizk.

[engl] Grimy, depressive post-punk from the City of Flowers and Sunshine executed by the masterminds behind SMUT and SMIRK. "Killing Life" resonates with a monotonous yet melodic cruz through the bleak underworld of human nature and party fallout. A mouthful of bad LSD and worm dirt. Perfect for pandemic summer.

[engl] When Iron Lung Records hosted a weekend of shows to celebrate our 10 years of being a label we secretly recorded a bunch of the sets hoping to catch some magic. We knew that the two bands were collaborating with the intention of doing a one-time performance especially for us which is a beautiful thing on it's own and a true testament to that group of people being 10 steps ahead of most bands anyway. We knew it would be intense but holy shit... to say that GAS CHAMBER and BLACK IRON PRISON are merely "intense" is a gross understatement. They are relentlessly and deeply immersed in their own musical world of mental, spiritual and physical annihilation. This would prove to be GAS CHAMBER's final performance. 500 copies on black 150gr vinyl housed in a 24pt jacket with download card included. Recorded live at The Vera Project in Seattle WA. The record is an exact representation of the set without edits (except for a fade out/in for the side break) for time or tuning or any of that other shit that lesser bands do.

[engl] Formed on the West Coast in 1993, Gehenna quickly became a name synonymous with violence, hatred and fear. Their sound blends the genres of Death, Black and Thrash Metal, adding the unrelenting barbarism of Hardcore with the “Fuck Off” attitude of classic Punk. Gehenna have been independent & will always stay independent. The music of Gehenna is the sound of the unending battles of life and death. Negative Hardcore was recorded in the smoke filled caverns of The Crampton Crystal Compound in the first days of July 2015 and mastered in 2021 by Dan Lowndes. It was engineered by Robert Orr overseen by Jimmy Short and directed by the watchful eyes, attentive ears and controlling hands of Drugs and Alcohol.

[engl] The dynamic duo of Luke Sick (SACRED HOOP, ON TILT, RIME FORCE MOST ILLIN' + million more) and DJ Eons (DANK GOBLINS, SHED DWELLAZ, SPAZZ) are back with the real, the unstoppable, the undefeatable West-Bay-all-day rap album of the year! Fresh for 2020 with a genuine 90's feel. Perfect production by the inimitable DJ Eons here. Some of his finest work. Luke has been rapping his ass off lately and while this year has been a shit heap for most, this dude has managed to make it one of his most prolific and best yet. We are in awe and, more importantly, honored to be a part of the West Bay Coalition's superior musical onslaught. 300 on black vinyl housed in a 24pt reverse board jacket with insert and download card included. Artwork by Dan Lactose and Luke Sick with layout by L-Wood Media. Produced by DJ Eons. Mastered by Dan Randall. Cut by John Golden.