Suicidal Tendencies were formed in Venice, California as a punk/hardcore band and virtually came to define the phrase "skate-punk." Vocalist/bandleader Mike Muir has earned a reputation for addressing various political and personal topics with focused rage and thoughtfulness, and also for his keen sense of humour, which helps set the band apart from its competition. During the '80s, the group was frequently banned in the Los Angeles area, as their gigs often turned into out-of-control melees. Over the years, the band has mixed speed metal, more relaxed alternative rock, and touches of funk into its sound.
S/T R 110.00
Fast, furious, and funny, Suicidal Tendencies' self-titled debut on Frontier Records owed much more to hardcore punk than to the later hardcore/heavy metal hybrid they would become known for, but it's still their best album. Mike Muir proves himself an articulate lyricist and commentator, delving into subjects like alienation, depression, and nonconformist politics with intelligence and humour. The band behind him is aggressive and speedy, but never sinks into an overly fast sonic blur. Contains the classic rant "Institutionalized".
Still Cyco R 100.00
Upset about the fact that his band's seminal 1983 debut had long been out of print with no scheduled CD release in sight, Suicidal Tendencies leader Mike Muir decided to take matters into his own hands by re-recording the entire affair from scratch.
Suicidal For Life R 100.00
From the song titles alone-"Don't Give A Fuck!," "No Fuck'n Problem," "Suicyco Muthafucka," "No Bullshit"-it's painfully obvious that ST is going straight for the throat and demanding your undivided attention. All 13 tunes have a potent punch of fast guitar and attitude, mixed with heavy hardcore, breakneck thrash and grinding funk. ST takes you on a wild, turbulent trip through the warped mind of a psychopath on Suicidal For Life.
Freedumb R 110.00
Equal parts skate-punk, frantic guitar riffing, and bursts of funky bass (which no doubt paved the way for bands like the Red Hot Chili Peppers) Suicidal Tendencies were blurring the edges of metal long before bands like Korn and Limp Bizkit came along -- and with a good deal more humour. Freedumb can either be seen as a refreshing punk album that deftly evades cliche or simply an attempt by Suicidal to regain their former glory. Displaying the same schizophrenic qualities of earlier material, it nonetheless falls short of the classic status of their self-titled 1983 debut. But then, as a band whose formation predates an entire generation of punk fans, their latest offering serves as a more than adequate introduction for the uninitiated.
In many ways, Black Flag were the definitive Los Angeles hardcore punk band. Although their music flirted with heavy metal and experimental noise and jazz more than that of most hardcore bands, they defined the image and the aesthetic. Through their ceaseless touring, the band cultivated the American underground punk scene - every year, Black Flag played in every area of the U.S., influencing countless numbers of bands. Although their recording career was hampered by a draining lawsuit, which was followed by a seemingly endless stream of independently released records, the band was unquestionably one of the most influential American punk bands.
The First Four Years R 110.00
The best collection of pre-Rollins era Black Flag. Much of The First Four Years finds the band in developmental mode, but the sonic anarchy and political vituperation met head-on more than once, creating a ferociously good time. Not simply for completists, this is an important recording of the then-burgeoning L.A. hardcore scene.
Damaged R 110.00
Perhaps the best album to emerge from the quagmire that was early-'80s California hardcore punk, the visceral, intensely physical presence of this record has yet to be equaled, although many bands have tried. Although Black Flag had been recording for three years prior to this release, the fact that Henry Rollins was now their lead singer made all the difference. His furious bellow and barely contained ferocity was the missing piece the band needed to become great. Also, guitarist/mastermind Greg Ginn wrote a slew of great songs for this record that, while suffused with the usual punk conceits (alienation, boredom, disenfranchisement), were capable of making one laugh out loud, especially the proto-slacker satire "TV Party." Extremely controversial when it was released, Damaged endured the slings and arrows of outrageous criticism (some reacted as though this record alone would cause the fall of America's youth) to become and remain an important document of its time.
D.O.A. The Dawning Of a New Error R 110.00
Since 1978, D.O.A. has been a vehicle for the political rants and good-time philosophy of vocalist/guitarist Joe Keighley, better known to fans as Joey Shithead. A series of live and studio EPs and albums helped D.O.A. acquire a reputation as arguably Canada's finest punk and hardcore band; they have changed or compromised their sound little over the years.
The enduring L.A. punk band Social Distortion has overcome numerous personnel shifts, the demise of the Los Angeles hardcore scene that spawned them, and the heroin addiction of singer/guitarist/bandleader Mike Ness to achieve a measure of mainstream acceptance for their rootsy, hard-hitting punk without compromise. Their music was often described as a punk version of the Rolling Stones.
White Light, White Heat, White Trash R 100.00
It's the punk rock ethos that still drives Orange County, California quartet Social Distortion after 17 years and six albums. Guitarist/vocalist and songwriter Mike Ness and second guitarist Denis Danell (who've been joined after the release of this CD by another hardcore veteran, drummer Chuck Biscuits) are solidly committed to three-chord, crunchy, tuneful rock with a message. Though their last two albums were rockabilly excursions, White Light, White Heat, White Trash finds them returning to their roots. The result is some of the most aggressively melodic, lyrically intelligent punk.
Minor Threat was the definitive Washington, D.C. hardcore punk band, setting the style for the straight-edge punk movement of the early '80s. Led by vocalist Ian MacKaye, the band was staunchly independent and fiercely sober. Through their songs, the group rejected drugs and alcohol, espoused anti-establishment politics and led a call for self-awareness. Every song was fast, sharp, and lethal, often clocking in at just around a minute. Their speed and fury often hid their fairly catchy melodies, but the band's main function was to vent rage. Over the course of three years, Minor Threat released two EPs, one album and several singles, all of which were quite popular in the American punk underground. Following the disbandment of Minor Threat, MacKaye formed Fugazi.
Complete Discography R 120.00
Complete Discography compiles Minor Threat's entire body of recordings on a single compact disc.
The Meatmen We're the Meatmen
And You Still Suck R 100.00
Originally from Michigan, Touch & Go punks the Meatmen have often been described as puerile, offensive, juvenile, and occasionally hilarious. Frontman Tesco Vee's song titles often revolve around things that he thinks suck (crippled children, etc.) which makes for wonderfully irreverent punk rock/stomp. Defenitely not for the PC squad.
The Germs Germicide R 110.00
Living fast and dying young is one of rock's great cliches, but no phrase better describes the reasons for the demise of L.A. punkers the Germs. Capable of creating a firestorm of noisy, confrontational music, they were ultimately undone by their perversely charismatic lead singer, a madman named Paul Beahm, better known to the world at large first as Bobby Pyn, later and more famously, as Darby Crash who died Sid Vicious-style out on the mainline at age 22. Taking musical cues from the Sex Pistols (and English punk in general), as well as the CBGB's scene, adding the theatricality of Bowie, Iggy and Lou Reed, Crash was the perfect frontman for the Germs. Backed by guitarist Pat Smear (most recently of Nirvana and the Foo Fighters), bassist Lorna Doom, and drummer Don Bolles, the Germs kicked up a hellacious racket that strayed from fast/loud punk into art-damage and garage grunge.
V/A A Small Circle of Friends: A Tribute to the Germs R 80.00
Out of all of the Southern Californian hardcore punk bands of the early '80s, Bad Religion stayed around the longest. For over a decade, they retained their underground credibility without turning out a series of indistinguishable records that all sound the same. Instead, the band refined their attack, adding inflections of psychedelia, heavy metal, and hard rock along the way, as well as a considerable dose of melody. Between their 1982 debut and their first major-label record, 1993's Recipe for Hate, Bad Religion stayed vital in the hardcore community by tightening their musical execution and keeping their lyrics complex and righteously angry. Bad Religion formed in the northern suburbs of Los Angeles in 1980, comprising guitarist Brett Gurewitz, vocalist Greg Graffin, bassist Jay Bentley, and drummer Jay Ziskrout. Gurewitz established his own record company, Epitaph, to release the band's records.
80 - 85 R 110.00
A tremendous collection of early Bad Religion that covers most of their hardcore and early post-hardcore period, including their debut record, How Could Hell Be Any Worse. Graffin's snarl is prominently displayed, and the band rages through this anthology's 28 tracks, which includes three takes of their signature theme "Bad Religion." Lots of tracks are suffused with a quasi-liberal, populist message (e.g., "Politics," "World War III," and "Oligarchy") and are more lyrically sophisticated than one might assume. An excellent introduction.
Suffer R 110.00
Featuring a reunited version of the original band, Suffer is a fast, stripped-down, blazing record that relentlessly tears through its songs. In terms of sheer sonic intensity, Suffer is their best record yet, even if it is lacking in musical diversity.
No Control R 110.00
No Control is even more uncompromising than Suffer, except that this time, Bad Religion concentrated more on songwriting and melody, making the album their most impressive straight hardcore effort.
Recipe For Hate R 110.00
Although it doesn't sound all that different from what X was doing ten years ago (and fairly close to the music they were making, too), the seminal L.A. punk rockers gained a larger audience with Recipe for Hate. Featuring guest spots from Eddie Vedder and Johnette Napolitano from Concrete Blonde, Recipe for Hate features a smoother version of punk. All of the trademark anger and guitars are still present, but some of the melodies, harmonies and riffs lean toward mainstream rock & roll. Fortunately, this all works in Bad Religion's favour- their music is more accessible, but it doesn't lack integrity.
Stranger Than Fiction R 110.00
Paced by the terrific single "21st Century Digital Boy", Bad Religion's biggest selling record to date comes a decade and a half after they decided to enter the rock & roll sweepstakes. Few bands sound this good this far into a career and it's a tribute to the talent of this quintet that they sound this good this far on. As expected, the production values have increased considerably since the days of How Could Hell... and this record comfortably fits in both hard-rock and alternative rock formats, but that's not a knock against Bad Religion.
The Gray Race R 110.00
Under the direction of producer Ric Ocasek, Bad Religion continues to smooth out the rough edges in its sound, replacing tension with clean, powerful bombast. Gray Race is a more melodic effort than the previous Stranger Than Fiction and, in the process, it initially sounds more commercial. But beneath that melody is a typically confrontational, prickly set of songs that proudly flaunt the band's punk roots. With their radio-ready production and heavy guitars, Bad Religion may not sound much like a hardcore band anymore, but they haven't lost their edge and that is what makes Gray Race a fine set of punk-influenced, alternative hard rock.
No Substance R 110.00
Kind of like Henry Rollins calling one of his albums "Nothing To Say".
The Dead Kennedys merged revolutionary politics with hardcore punk music and, in the process, became one of the defining hardcore bands. Often, they were more notable for their politics than their music, but that was part of their impact. The Kennedys were more inspired by British punk and the fiery, revolutionary-implied politics of the Sex Pistols than the artier tendencies of New York punk rockers. Under the direction of lead vocalist Jello Biafra, the Dead Kennedys became the most political and - to the eyes of many observers, including Christians and right-wing politicians - the most dangerous band in hardcore. By the mid-'80s, the band had become notorious enough to open themselves up to a prosecution for obscenity (concerning a poster inserted into their 1985 Frankenchrist album), and the ensuing court battle sped the band toward a breakup, but they left behind a legacy that influenced countless punk bands that followed.
Fresh Fruit For rotting Vegetables R 110.00
A hyper-speed blast of ultra-polemical, left-wing hardcore punk and bitingly funny sarcasm, Fresh Fruit for Rotting Vegetables stands as the Dead Kennedys' signature statement. As one of the first hardcore albums, it was a galvanizing influence on the musical and attitudinal development of the genre, also helping to kickstart the fertile California scene. The record's tactics are not subtle in the least; Jello Biafra's odd warble and spat-out lyrics leave no doubt as to what he thinks, baiting his targets of conservatism, violence, overbearing authority, and capitalist greed with a viciously satirical sarcasm that keeps his unflinchingly political outlook from becoming too didactic.
Bedtime For Democracy R 110.00
The Dead Kennedys go out in a blaze of snarling, defiant glory in their final studio release. They drub a bushel basket's worth of entrenched interests, including scientists, the military, the power hungry, macho attitudes, classicism, lie detectors, Reagan and his economic policies, the press, the entertainment industry, and the commercialization of rock and revolutionary attitudes.
Plastic Surgery Disasters/In God We Trust Inc. R 110.00
This reissue compiles the Dead Kennedys' follow-ups to the hardcore classic Fresh Fruit for Rotting Vegetables: the eight-song EP In God We Trust and the full-length Plastic Surgery Disasters. If neither record is quite on the same level as Fresh Fruit, they frequently come close; the Kennedys' hyperspeed aggression and Jello Biafra's righteously snotty rants haven't been toned down a bit. The two-for-one reissue is an excellent way to dig deeper into the band's catalog.
VIDEO: Dead Kennedys Live R 120.00
Jello Biafra & Mojo Nixon Prairie Home Invasion R 100.00
Them Boys Ain't From Around Heahr! Imagine two 18 wheelers colliding head-on, at speeds no sober southern sheriff would ever approve of. Imagine that one of these semis was carrying a full load of The Nashville Sound. Imagine the other was loaded beyond what the truck scales will accept with punk lyrics. You've pretty much imagined this CD! The liner notes alone are worth the price of the CD. They're sprinkled with odds & ends of quotes & photos in a marvelous non-sequiter. "Let's Go Burn Ole Nashville Down."
Jello Biafra with No Means No The Sky Is Falling And I Want My Mommy R 100.00
This is a brilliant album that sprung out of the Terminal City Ricochet soundtrack. In case you are unaware, NoMeansNo are one of the most technically talented bands in the punk world. If you're looking for hardcore, look somewhere else, look for the Jello/DOA collaboration. Like Frankenchrist, the songs are longer. However, NMN are more talented and able to write longer songs without losing their intensity. Some songs can't be written in 2-3 minutes. Many of these are 4-8 minutes long.
LARD The Last Temptation of Reid R 100.00
A hardcore/industrial fusion supergroup, Lard was a side project for Ministry's Al Jourgensen (guitar) and Paul Barker (bass) and ex-Dead Kennedys frontman Jello Biafra; the group also included onetime Revolting Cocks drummer Jeff Ward.
Genuinely shocking or tasteless, campy fun? It was sometimes hard to tell which way the Misfits wanted to be taken, and the immense cult following that has grown up in the years after their actual existence (1977-1983) seems divided in its own assessment. It certainly wasn't the Misfits' musicianship - which was as crude as the recording quality of most of their oeuvre - that endeared them to so many, although Glenn Danzig possessed one of the most distinctive and tuneful bellows in hardcore punk. Rather, it was Danzig's penchant for catchy, anthemic melodies, often delivered at warp speed, and his lyrical obsession with B-grade horror films and splatter imagery that helped the Misfits build a rabid posthumous following.
Misfits R 110.00
Purists may disagree, but for the benighted, this is the best place to start - a 20-track anthology that gives you the most Misfits for your money. Everything that made the Misfits great is here, including the odd remix, alternate take and re-edited version.
Collection II R 110.00
Collection II picks up where the Misfits collection left off, making widely available for the first time many of the band's legendary early tracks, including "Attitude," "Last Caress," "We Are 138," and several other non-LP singles. There are also a selection of tracks from Walk Among Us not covered by the first compilation, as well as the remainder of the Earth A.D. album.
Famous Monsters R 110.00
American Psycho R 110.00
Though some would say that the Misfits just aren't the Misfits without the fiendish Glenn Danzig fronting them, Famous Monsters and American Psycho seems to indicate otherwise. If you're expecting the new Misfits, with Michael Graves taking over for Danzig, to pick up where they left off when Danzig split to form his own band in the early '80s, you don't exactly get that either. The core of the band remains in tact, and consequently so does the Misfits' distinctive gothic punk-pop sound, but it has been beefed up with heavier, more metallic guitars and a booming production that makes old Misfits records sound positively primitive (which, of course, was part of their appeal). But the songs, those hypercatchy tales of twisted lunacy, are still as horror-fixated, infectious, and fun as ever. And though the Misfits' image--the ghoulish face paint and "devil's lock" haircuts--and gothic stage show first brought them notoriety, it's their Halloween-inspired anthems that remain their true calling card.
V/A Violent World: A Tribute to the Misfits R 110.00
Featuring: NOFX, Pennywise, Bouncing Souls, Earth Crisis, Farside, Sick Of It All, Goldfinger, 108, Dead Guy, Shades Apart and more.
In a universe where the top quark remains elusive, where suburbanites crucify rats on their front lawns, and where supermarket bar codes tell bible-thumping farm boys to blow up the White House, tens of thousands find enlightenment in the butt-grinding grooves, multi-layered images and eclectic structures of Alice Donut's music.
Mule R 100.00
NYC's finest return with a triumphant, discordant crash! This, their third full-length has been hailed as their most catchy, yet most demented release.
The Untidy Suicides of Our Degenerate Youth R 100.00
What we like to look at as their Dark Side of the Moon album. Twisted tales for a degenerate generation. This, their fifth full-length studio output, comes with a 36-page booklet filled with obscurities befitting their quirky, insane headfuck lyrics. With songs like The Son of a Disgruntled X-Postal Worker Reflects on his Life While Getting Stoned in the Parking Lot of a Winn Dixie and Listening to Metallica and She Loves You She Wants You Its Amazing How Much Head Wounds Bleed, how can you go wrong?
Pure Acid Park R 100.00
Alice Donut surged to new levels of artistry and mayhem with its final album, Pure Acid Park. Always a tour de force of melodies and rhythms more infectious than an ebola virus, wildly unexpected arrangements and instrumentation (banjos, wash boards - you name 'em, they got 'em!) and singer Tom Antona's fiercely unique lyrical style reminiscent of Heironymous Bosch after a day of too much T.V. and junk food, the Donut is sure to go down in history alongside their namesake staple of the American diet.
D.I. Horse Bites Dog Cries R 110.00
D.I. are typical of '80s Orange County, California punk - aggressive and fast, yet melodic, with a sneering, sarcastic attitude permeating nearly all their material. Along with Social D.'s Mommy's Little Monster and the debut from Suicidal Tendencies, HBDC is a punk milestone. CD remixed by Rikk Agnew.
Les Thugs As Happy As Possible R 100.00
This melodic-hardcore band from France was signed to Sub Pop in 1993. As Happy As Possible packs as many straightforward punk moves as all of Les Thugs many releases - and overall, it falls into the same melodic, powerful rock vein that the band has perfected over many recordings - but one could point to it as one of the more melodic, accessible points in the group's catalog. As with the majority of the band's work, it's solid and appealing (if not inventive) - Les Thugs are great at this sort of thing, and show no signs of straying from what they're good at.
Proudly and self-consciously abrasive, Big Black's music is polarizing; either you think that Steve Albini's relentlessly thin, metallic, emotionless guitar grind and distorted vocals are an uncompromising work of art or you think they're self-indulgent crap. The band's clinical noise and grotesque, often misogynist, lyrics easily made them the most extreme, nihilistic band in the American underground in the mid-'80s. Although Big Black's lifespan was short, Albini's influence on the American independent music scene of the late '80s and '90s has been substantial. Many young bands of the '90s embraced his signature guitar grind, as well as his strident punk rock ethics, as a reaction to alternative music's move into the mainstream.
Songs About Fucking R 110.00
Ever notice how rock bands tend to keep things interesting for themselves by pointlessly dragging out their songs and introducing awkward conceptual threads? Also, how many bands veil their subject matter in euphemisms to avoid being taken literally, to stay safe, or - better yet - to be "mysterious?" Big Black's final LP does the diametric opposite of both. Not only do the 14 songs here whip by with only one exceeding the three-minute mark, but each one is incisive enough to render a razor as effective as a butter knife. And, how could a title be more direct? Songs About Fucking brought about a definite sharpening of the band's sound. Steve Albini's mangled screaming is at its most bileful, his and Santiago Durango's guitars don't meander, and the rhythm section of Dave Riley and Roland is more taut than prior. [The CD version adds the B-side of The Model, a swell cover of Cheap Trick's He's a Whore.]
PigPile R 100.00
Recorded at a London date on the band's final tour and released five years after the fact, the set list of Pigpile draws on the band's entire career and as such, provides a good equivalent to a greatest-hits set played live.
Minutemen Post-Mersh, Vol. 3 R 110.00
More than any other hardcore band, the Minutemen epitomized the free-thinking independent ideals that formed the core of punk music. Wildly eclectic and politically revolutionary, the Minutemen never stayed in one place too long - they moved from punk to free jazz to funk to folk at a blinding speed. And they toured and recorded at blinding speed. The third and final volume of Post-Mersh crams an extraordinary amount of music on one-disc, compiling the EPs Paranoid Time (1980), Bean-Spill (1982) and Tour-Spiel (1985), the 1981 "Joy" single, and the 1984 rarities and outtakes collection The Politics of Time.
Jawbreaker Dear You R 100.00
In the wave of punk-pop bands that followed Green Day and the Offspring to major labels and MTV airplay, Jawbreaker is one of the few to retain their street credibility in the punk community for their unwavering hard work and anti-commercial ethics. Their sound is a hybrid of Nirvana and Green Day, however, Jawbreaker isn't as melodic as either group, although they make up for it by sheer power.
If history is kind to Fugazi, their records won't be overshadowed by their reputation and methods of operation. Instead of being known for their community activism, five-dollar shows, ten-dollar CDs, resistance to mainstream outlets, and the laughably fictitious folklore surrounding their lifestyle, they will instead be identified as setting a high bar for artistic excellence that is frequently aimed for but seldom achieved. During their existence, the four-piece created some of the most intelligent, invigorating, and undeniably musical post-hardcore rock & roll. Along with their stridently underground ethics - which were more out of pragmatism and modesty than anything else - they gained an extremely loyal and numerous global following. More than anything, Fugazi inspired; they showed that art can prevail over commerce.
Steady Diet Of Nothing R 110.00
From the opening swarms that open "Exit Only," you can tell Steady Diet of Nothing will differ from Fugazi's earlier records. Repeater's excellence can't be denied, but the band stood in danger of stagnating its sound. To its benefit, Fugazi made some changes, employing more herk-a-jerk rhythms and dub influences, and changing up the lyrical focus. With Steady Diet, Fugazi gets more economical and less forceful. Though not nearly as neck-gnawing as Repeater, Steady Diet still packs a sizable wallop, but with slower tempos and less deliberate instrumentation. As always, a poison-tipped dart is pointed at the government, media, and major entertainment outlets.
In On The Kill Taker R 110.00
In on the Kill Taker is like scrubbing your face with steel wool. It finds the band relying on rusty guitar shards that scrape, seethe, and hiss, further removing itself from the sound of 13 Songs and Repeater. Harsh and grating, Fugazi surprisingly produces sheer noise at times. Joe Lally's bass and Brendan Canty's drums are relegated to acting as a guide; they're pushed - but not squashed - down in the mix, allowing for Ian MacKaye and Guy Picciotto's guitars to take control, corrosively so. It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible.
Nation Of Ulysses 13 Point Program To Destroy America R 110.00
A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 14-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. "A Kid Who Tells on Another Kid Is a Dead Kid" and "Cool Senior High School (Fight Song)" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like "Look Out! Soul Is Back" and "Today I Met the Girl I'm Going to Marry." The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.
No Means No Sex Mad/You Kill Me R 110.00
Often bizarre punk band from Victoria, British Columbia, featuring brothers Rob (bass, guitar, vocals) and John Wright (vocals, drums, keyboards). The group's punk hybrid also encompasses touches of jazz, funk, and metal, with special emphasis laid on jarring, hard-to-follow rhythms. Their lyrics are often self-consciously weird, but the group is frequently original and challenging. Two albums for the price of one.
Flipper American Grafishy R 100.00
Flipper emerged from the fractious muck of the California hardcore punk scene with a crushingly loud, slowed-down sound that resembled the Stooges at their most drug addled. Flipper didn't care if you loved or loathed them (most everyone loathed them), they simply played until you couldn't stand it anymore. There was something wonderfully uncomplicated about this attitude, which is probably the reason that Flipper, despite being seen as a one-shot band, had a career that lasted longer than 15 minutes.
Poison Idea Kings of Punk R 110.00
Nihilistic Portland, OR hardcore outfit Poison Idea was formed in 1980. The group debuted three years later with the EP Pick Your King, cramming 13 songs into a 16-minute time frame; the Record Collectors Are Pretentious Assholes EP followed in 1985, fine-tuning the band's blistering sound and fatalistic worldview. Thanks to their notoriously insatiable diet of drugs, alcohol and junk food, the members of Poison Idea all ballooned past the 300-pound mark by the time of the 1986 full-length Kings of Punk, with guitarist Tom Roberts- who now tipped the scales at an impressive 450 pounds - rechristening himself Pig Champion in honour of the occasion.
Snuff Numb Nuts R 110.00
Unhappy with what they were hearing on the BBC radio, Snuff got together in 1986 for the intentions of "taking the piss out of" mainstream music and to have a little fun. With a combination of thrash metal, pop-punk and mod influences to top their wacky brand of humor Snuff became underground heroes. Numb Nuts features the Snuff tradition of galloping punk, perfect vocal harmonies and trombone solos.
V/A SST Acoustic R 60.00
14 Accoustic tracks from SST Records artists - including: Last, Angst, Minutemen, Husker Du, Negativland, Firehose, Dinosaur Jr., Saccharine Trust and more.
Huntingtons Get Lost R 80.00
Having grown up in Baltimore, Maryland, Mikey (bass/vocals) and Cliffy (guitar) Huntington found out that they had something else in common aside from their identical last names: the Ramones and the Good Book. With those inspirations, the Huntingtons started out playing a brand of what they considered "bad garage rock" a la the Ramones. Both loves have been combined in their music - so much so that the distinction between Joey Ramone and J.C. gets a little blurred at times. As can be expected, their sound is less than original but if you run out of Ramones albums to buy, the Huntingtons serve as a more than adequate substitute. The band recently received raves from Rolling Stone for resurrecting rock 'n roll.
The Deadliners The Death & Life Of
If you think the concept of horror-punk a la the Misfits and the Groovy Ghoulies mixed with the Bible sounds like something from an Ed Wood movie, you'd be right. But you'd also be missing out if you let that put you off, the Deadlines are far from B-grade. Infectious from the get-go, they're as much fun as all three Evil Dead movies put together. As an interesting side-note: their violent stage-shows have resulted in many Christian venues refusing to allow the band to play.
Jawbox Grippe R 100.00
In their eight-year existence, Jawbox released four studio albums of increasingly skillful post-punk, not necessarily carrying the torch of their Washington, D.C., elders (Minor Threat, Embrace, Rites of Spring), but instead building on the tradition of Chicago's thriving early-'80s scene (Big Black, Naked Raygun, Effigies). , Grippe is an enjoyable, albeit introspectively brutal record. Musically it's their least distinct, marrying the earlier crunchy side of Joy Division with Throb Throb-era Naked Raygun. It's a pretty convincing synthesis, and a great debut album on Dischord Records.
At The Drive-In Relationship Of Command R 100.00
Welcome to the breath-robbing, heart-pounding Relationship of Command, an album many have been waiting for with red-faced anticipation since their last EP, the brilliant Vaya. On this 11-track masterpiece, so full of adrenaline and swarming moods, ATDI has created one of the most infecting and mind-blowing rock albums in a long time. While most of the tracks are of the more aggressive edge, this is undeniably the band's most focused and well put together and, therefore, best all-around album yet. "Quarantined" and "Sleepwalk Capsules" alone make this album worth purchasing: This music is seamless and inspiring. Electronic movements meshed into "Enfilade" stretch the texture of the album further, into the uniqe backup vocals of Iggy Pop on "Rolodex Propaganda." Amidst all the rock, there is the undeniably unique edge about ATDI's sound, something that has permeated through their music from the Hell Paso 7". Beautiful vocals bursting passion in quirky, abstract, and often thrilling lyrics, youthful energy, driving melodies, and a sense of beyond the moment urgency. Moving from Relentless to Grand Royal, as well as to the notorious and mostly infamous producer Ross Robinson, has not killed the band's spirit or sound, as many loyal fans feared it would in the pattern of Jawbreaker, Jawbox, among others. If anything, it has allowed the band to push themselves to new limits, to fulfill what they have been working for relentlessly for so long. This is not a band that could ever be insincere, you can see it in their eyes and feel it in their music and work ethic. ATDI is one of the saviors of true emotional straight-up rock!
AFI The Art of Drowning R 110.00
Hardcore punk revivalists A.F.I., exude another powerful disposition on their fifth album. Issued on Dexter Holland's Nitro Records, AFI's quick and haughty, spiraling guitar riffs and crashing percussion make for another mishmash for single-fisted anthems for punk revivalists and enigmatic pop kids raging against the machine.
Nerf Herder S/T R 100.00
The self-proclaimed nerd-rock band Nerf Herder was formed in 1994, taking their name from an epithet in one of the many spats between Princess Leia and Han Solo in The Empire Strikes Back. Based in Santa Barbara, CA, the trio specialized in post-grunge punk-pop full of geeky humor, similar to Weezer crossed with the nervy edge of the Descendents and the snarky pop-culture obsession of the Dead Milkmen. The band caught a break when a demo of their song "Sorry" fell into the hands of Lagwagon singer Joey Cape, who was looking for bands to sign to his small, independent My Records label. Initially approached only about including "Sorry" on a various-artists compilation, Nerf Herder ended up recording a ten-song eponymous debut for the label, with Cape co-producing.
Schlong Punk Side Story R 110.00
Three words: genius, pure genius. Schlong basically got together with a whole bunch of their friends and decided to record a drunken, spastic version of West Side Story in its entirety. The results are just hysterical, with not one stone left unturned. Schlong and company retell this modern day Romeo and Juliet story, only with more of an absurd twist. Everything from their sloppy rendition of the "Jet Song" to the male/female dual screaming of "Tonight" to "I Feel Pretty," which is led by an off key baritone and screechy vocals, can all be found here. But the highlight is "Dance at the Gym," which jumps from sloppy speed metal to danceable ska to country to a slow-dance love ballad. Even if Schlong go out of their way to completely butcher this entire soundtrack, it's their way of introducing one of the last great musicals to a whole new generation of...punks.
Formed in Berkeley in 1983 and relocating to Los Angeles not long afterwards, NOFX has steered clear of major labels and commercial exposure over the course of their career, recording an impressive number of full-lengths albums plus an assortment of EPs and singles. Tongue-in-cheek, politcally-incorrect forays into America's pan-cultural society. A SoCal punk band which recalls both the eclecticism and attitude of Camper Van Beethoven, NOFX rips through much more than standard-issue thrash.
Liberal Animation R 110.00
S & M Airlines R 110.00
Punk In Drublic R 110.00
Heavy Petting Zoo R 110.00
Pump Up the Valuum R 110.00
Mucky Pup Can't You Take A Joke R 100.00
Mucky Pup's biggest claim to fame is that two members left to form Dog Eat Dog, but if you think about that you'll realize that they must have come from a good band in the first place. Can't You Take A Joke was released in 1987: a wonderful, energetic mishmash of hardcore punk, thrash metal and a sense of humour. Dog Eat Dog suck; Mucky Pup were the real thing.
Bigwig Stay Asleep R 110.00
Having gotten their start in 1996, Bigwig bring out an aggressive dose of sarcasm to their East Coast shores of New Jersey. Under the influence of Rich Kids on LSD and Propaghandi - minus the anarcho politics - Bigwig didn't waste anytime with the releases. Stay Asleep came out on the Vandals label - Kung Fu Records. Bigwig are an extremely technically proficient band (a bit of an oxymoron for a punk band) with lots of attitude-laden sarcasm.
Consumed Hit For Six R 100.00
Consumed formed in 1994, in the mining community of Nottinghamshire, England - on the edge of Sherwood Forest. Their blistering style of punk rock gained them a spot on the skate/surf/snowboard festival circuit. The band also put in its time touring the British Isles with NOFX, Snuff, Shelter, and other hardcore bands. In 1998, the members of Snuff brought a Consumed demo tape to the folks at Fat Wreck Chords in San Francisco; the band was almost immediately signed and Fat Wreck Chords put out their first full-length release, Hit for Six in 1999.
Anti-Flag Underground Network R 110.00
As WTO has proven, the revolution will indeed be televised, and judging by Underground Network, Anti-Flag's anthemic songs will be wafting across the frontlines. From their earliest days, the group have worn their politics proudly on their sleeve, a shared belief which has seen them through lineup changes and expansion from trio to a quartet. Some things have changed over time, however, both sonically and lyrically. After several label moves, Anti-Flag are now happily denizened at Fat Wreck Chords, a melodic punk home far removed from their early purer hardcore sound. The sea change in style was evident on A New Kind of Army, and now crests in an ocean of powerful pop-punk melodies, which bind them firmly to the Southern Californian sounds of their labelmates. That said, Underground Network contains more than enough pugilistic hardcore to keep their old fans loyal, as well as enough echoes of punk's past to capture old-school geezers' hearts. It's this solidifying meld of styles past and present into a unique sound of their own that is making Anti-Flag such a force to be reckoned with in the punk scene.
Astute perusers of the video component of the Ramones live video/CD box set could probably not help but see the, prominently affixed to a wall, Nobodys sticker behind the head of drummer Marky Ramone during a segment portraying the band in an unplugged backstage rehearsal. Needless to say, this modest adhesive triumph trumpets to one and all that the Nobody's are now, officially, The Biggest Band In Punk Rock Today.
Greatasstits R 110.00
52 Songs, 74 Minutes of 7", compilation, rare and unreleased tracks
Generation XXX R 110.00
Fourth full-length. 25 New songs about tits, sex, ejaculation, fat hookers, jerks, blow jobs, rejection, and other stupid things.
The Smell Of Victory R 110.00
Second full length from the kings of Colorado porno punk, produced by Warren Fitzgerald of the Vandals.
Short Songs For Short Attention Spans R 110.00
The debut release. Piss driven punk produced by Joe Queer. 21 songs of straight ahead punk rock.
Gas Huffer The Inhuman Ordeal of Special Agent
As befitting their Seattle origins, the band plays rootsy punk rock with equal nods to Neil Young and the Cramps. Gas Huffer's fourth album means more Gas Huffer hijinks The various song titles - a reliable indicator of the enjoyable craziness on any Gas Huffer release - once again come through: "Money 1, Fun 0," "Carolina Hot Foot," "Numbnuts Cold," and the stupidly genius "Double-O-Bum." The whole spy thing is actually at the heart of the artwork and design of the disc, with the four dressed as ninja/commando types with appropriate poses and responsibilities. Gas Huffer - the tonic one needs in a world of humorless fools who can't rock.
Lag Wagon "Duh" R 90.00
Though Lagwagon have been performing the same brand of melodic punk that bands such as the Offspring have built their success on for years, an appreciation of their efforts seems lacking. This album boasts solid tracks, each worthy of airplay though they may need the jump to a major label in order to have their material heard. Then again, mass appeal may not be their objective. This album has a more Southernfried metal element to it than later albums - replete with a cover of Bad Moon Rising. An indie favorite with good reason.
All Allroy Sez
After the Descendents' lead singer Milo Aukerman left the band in 1987, drummer Bill Stevenson formed All with bassist Karl Alvarez, guitarist Stephen Egerton, and ex-Dag Nasty vocalist Dave Smalley. Taking their name from The Descendents' last album, All recorded their first album of caffeine-driven punk, Allroy Sez..., in 1988. The reigning Kings of Goofcore.
Spudgun S/T R 80.00
Messy old school punk that combines thuggish vocals with the Word. Album features some surprisingly pissed-off lyrics for a Christian band (just because the lead singer's found the Lord, does not mean he is a happy camper).
Dogwood More Than Conquerors R 80.00
Snarling punk rock. One of the biggest bands on the Christian punk scene at the moment, Dogwood combine emotional lyrics with snarling guitars and supremely catchy vocal harmonies a la Bad Religion. If you have not heard them yet, get ready to be converted.
Blah S/T R 80.00
Punk as God intended it to be played. Seventeen songs delivered with frantic pace but considerable diversity - surf, ska and even country get thrown into the mix. Lead singer Alex Rosas isn't afraid to mix politics with his religion and his lyrics, which are often satirical, contain sharp insights into a corrupt society (can you imagine a Christian Jello Biafra?).
The Blamed Frail R 80.00
Christian punk band doing the heavy old school thing. The Blamed blend punk with faster-than-Creationism hardcore metal and their lyrics are far from prissy, taking on atheists, hypocritical Christians, tele-evangelists and the Pope alike. Forget MxPx; the Blamed were the best thing to ever come from Tooth & Nail. Real Christian punk rock legends.
Ramones Mania R 110.00
The Ramones are arguably the first punk rock band. Other bands, such as the Stooges and the New York Dolls, came before them and set the stage and aesthetic for punk, and bands that immediately followed, such as the Sex Pistols, made the latent violence of the music more explicit, but the Ramones crystallized the musical ideals of the genre. By cutting rock & roll down to its bare essentials - four chords, a simple, catchy melody, and irresistibly inane lyrics - and speeding up the tempo considerably, the Ramones created something that was rooted in early '60s, pre-Beatles rock & roll and pop but sounded revolutionary. Since their breakthrough was theoretical as well as musical, they comfortably became the leaders of the emerging New York punk rock scene. Ramonesmania is a relentless collection of 30 tracks from the Ramones' first ten albums, ranging from the classic Ramones to the less-than-classic Halfway to Sanity. Although not all of great '70s songs are included, it boils down the highlights from the inconsistent '80s albums quite effectively, making it a useful summation of their peak period, even if the sequencing is not chronological.
1000 Mona Lisas New Disease R 90.00
The lineup for L.A.'s 1000 Mona Lisas coalesced in 1993 around vocalist/guitarist Armando Prado, bassist Gianni Neiviller and drummer Rocco Bidlovski; Bidlovski had previously played with the South American band Tokyo before coming to the U.S. The group's California punk/hardcore attitude and style is laced with melodic power-pop. Their debut album New Disease is produced by Geza X (Black Flag, Dead Kennedys).
The Humpers Live Forever Or Die Trying R 90.00
The Humpers were first revered not in the group's native California but, oddly, in Yugoslavia, where its first and extremely rare LP My Machine was released. Whereas the Suicide Kings' sound borrowed heavily from the 1970s (Heartbreakers, Rolling Stones, New York Dolls, Ramones), the Humpers punked the mix up a bit with a more direct and sonic edge reminiscent of Cleveland groups the Dead Boys and the Pagans. Live Forever Or Die Trying gloriously hearkens back to the classic days of the late-'70s New York CBGB's punk scene. The Humpers give us a powerful dose of back alley grime surrounded by tight Chuck Berry guitar riffs and jerking rhythmic progressions.
Down By Law Blue R 90.00
Following his departure from All after the group's first two albums under that name, vocalist/guitarist Dave Smalley (also formerly of Dag Nasty) put together Down By Law in 1991 with ex-Clawhammer guitarist Chris Bagarozzi and the former Chemical People rhythm section of Ed Urlik (bass) and Dave Nazworthy (drums). This lineup remained together only for Down By Law's debut album, 1992's Blue.
As one of Fat Wreck Chord's very first bands, Propagandhi has long been going against the grain of not just society, but even its own record label. Ideally, the band would have loved to skirt the entire capitalist process of selling and marketing music, but made compromises in order to get its pro-gay, pro-feminist, pro-civil liberties, anti-fascism message out. Screeching over fast, catchy punk music, the group moved easily from humorous to profound to blunt.
How To Clean Everything R 110.00
A bunch of hardcore anarchists on Fat Wreck Chords? You mean they've expanded beyond the realm of signing bands that sing primarily about girls, beer and partying? Propaghandi have "smash the state" written all over them and they want to be taken seriously rather than branded as another generic NOFX-wannabe band. How to Clean Everything accomplishes more than escaping the carbon-copy labeling - it also puts their message on a high pedestal so it can be heard loud and clear. And in the mitts of all the "throwing the monkey wrench in the system" rants, they still have a little fun at the expense of all the bubble gum pop-punk bands that flood the market and even their own label. With How to Clean Everything representing Anarchy 101 to a mass audience, Propaghandi aren't afraid to show the world that a government coup can be fun and educational at the same time.
Today's Empires, Tomorrows Ashes R 110.00
It's been five long years since Propagandhi last released an album. In the interim, much to no one's surprise, the world has not become a better place; thus, the return of this trio to action comes as welcome relief for those in need of a shot of political rejuvenation. During Propagandhi's hiatus, bassist/vocalist John departed, replaced by the rather more verbosely monikered Tae-Bo Todd the Rod Kowalski. But what hasn't changed is the group's attitude: They're still raging...oops, one is tempted to say anarcho-punks, a tag the band members loudly disclaim, so let's say agit-rockers. Certainly rock is a sturdy enough genre to hold the trio's predilection for slamming hardcore into speed metal, then thrashing it to death with a good old punk rock beat. And while they may not be as melodic as many of their fellow Fat bands, they aren't beyond writing a damn catchy chorus. Beyond the high-energy, fists-in-the-air music, Today's Empire, Tomorrow's Ashes delivers up vituperative lyrics on a variety of hard-hitting subjects. Like most next door neighbors, the members of the Canadian trio are well aware of America's foibles, and are more than happy to make their opinions known. Previously, however, there was enough irony and wit to the lyrics to suggest that deep down, they'd forgive the US, if they'd straighten up and stop bringing the whole block into disrepute. But it's apparent that Propagandhi are losing faith in America's ability to change, and the battle is beginning to wear the band down. There's much less humor here than in the past, the frustration is obvious, the anger rawer, and a dispiriting depression seems to be setting in. Yet hope may still conquer all, and the group has enough faith in its fans to believe that the fight is not over yet.
F.Y.P. Come Home Smelly E.P. R 60.00
Wonderfully juvenile gutterpunk from these been-around-forever cretins of the underground American punk scene.
New Bomb Turks Information Highway Revisited R 100.00
Four guys holding English degrees from Ohio State University, the New Bomb Turks have been declared as leaders in the recent punk-rock revolution by spiked-haired, hardcore punkers everywhere. Not pop-punk, but ferociously aggressive and fast, borrowing from the Pagans, Dead Boys, and so on. The band's name comes from Robert Wuhl's character in an early-'80s B-movie, The Hollywood Nights, which also marked the film debuts of Tony Danza and Michelle Pfeiffer. The New Bomb Turks' debut album, Destroy-Oh-Boy!, made clear they were the Midwest's great new hope for old-school punk rock, and on their follow-up, Information Highway Revisited, they didn't change their tune much - they just got better at it. Recorded on a lavish four-day schedule, Information Highway Revisited sounds marginally more polished than Destroy-Oh-Boy!, but it's more a matter of cleaner engineering than any attempt to impose a slick production on this band; the higher-quality audio allows one to hear more of the band's nooks and crannies, and it turns out they're worth hearing. The songs show the Turks can pack a lot of variety into their supercharged three-chord ravers, with undercurrents of Rolling Stones-style R&B and Sonics-esque garage thunder lurking clearly beneath the surface. The New Bomb Turks were one of the very best punk bands to emerge in the 1990s (they were certainly among the most entertaining), and Information Highway Revisited caught them on plastic at the top of their form. Play it loud (as if you had a choice!).
Sloppy Seconds Knock Yer Block Off R 90.00
As punk rock fans might suspect upon hearing the name for the first time, Sloppy Seconds plays simple, melodic Ramones-derived music with a snotty, smartass sense of humor and an obsession with pop culture, especially B-movies.
The Vandals Look What I Almost Stepped In
The Vandals toiled in California's hardcore punk scene throughout the 1980s and '90s, proving their longevity without the support of major-label promotion. Obviously, a punk band active for over 15 years had to deal with personnel changes, but the Vandals proved surprisingly stable. Still damn funny after all these years, Orange County's finest the Vandals have been consistently clever throughout their existence and Look What I Almost Stepped In (their 10th album) is another smart, goofball record to be enjoyed by all. The Vandals' songs are high concept, big, silly jokes covering every sort of theme from a gleeful, smartass punk's perspective.
Sometimes they are mistaken for a queercore band like labelmates Pansy Division, but one listen to the Queers' adolescent-boy-who-never-grew-up lyrics ("she got no tit," "I'm really goo-goo over you/I'm mentally retarded too," "she's my Burger King Queen," etc.) will dispel that misconception. While some of their songs border on sexism and homophobia, they are simply too goofy and good-natured to mean any harm with their left-back-four-grades, dumb-ass shtick.
A Day Late And A Dollar Short R 110.00
This collects thirty-some songs culled from old singles, EPs and compilation tracks. A Day Late and a Dollar Short is good for completists, but maddening to listen to because the recording and songwriting quality veers all over the place. Joe Queer said of the compilation: "It's really cool that all the old Queers songs have finally been compiled onto one release cause it's always been the way I hoped it would be. Of course that was back in '83, but things always did take a little longer than expected when the Queers were involved."
Punk Rock Confidential R 110.00
Joe Queer abducts a couple of teens who are probably young enough to be his grand kids, and gets his buddy Ben Weasel to co-write many of the songs for this 1998 release on Hopeless Records.
Chicago's Screeching Weasel generally has a polarizing effect on most punk fans - either you love their amateurish, tuneful Ramones imitation and singer/guitarist Ben Weasel's smartass-suburbanite, often pop culture-oriented lyrics, or you hate them. Over the course of the band's career, which has lasted for more than a decade and seen several breakups and numerous personnel changes, Weasel has (in spite of occasional nitpicking from critics) remained true to his staunch D.I.Y. ethics, as befits a former columnist for the defiantly punk 'zine Maximumrocknroll.
BoogadaBoogadaBoogada R 110.00
The easiest way to describe the style of Boogda X3 would be skate-punk with a brain and a sense of humor. True, there are some elements of that, but there are also some hints of pop-punk that would eventually mature into the sound of Screeching Weasel that everyone's familiar with. The silliness is still there with songs such as "I Hate Led Zeppelin," which has an angst ridden Ben Weasel shouting: "'Stairway to Heaven' makes me see red/Bonzo's buried, only three more left." Then there's "I Wanna Be Naked," where after the second chorus the band breaks into the Ramones' "I Wanna Be Sedated" only with an obvious lyrical change. Overall, Boogda X3 is a pretty fun album that has an ultimate party feel to it; perfect for any circle pit or any Thrasher skate video.
Wiggle R 110.00
It would be virtually impossible for any band to follow up and outdo an album as good as My Brain Hurts, but Screeching Weasel try their hardest with their fourth album, Wiggle. The snot factor in their sound is still at an all-time high with an attitude still present, but in comparison to their previous album, the production isn't as shiny, nor are there any keyboards. With that going for them, Wiggle has a rougher edge to it, giving songs like "Crying in My Beer" and "Joanie Loves Johnny" an aggressive presence.
Anthem For A New tomorrow R 110.00
It seems that Ben Weasel and company have matured a great deal upon the release of Anthems for a New Tomorrow. Now playing as a four-piece, Screeching Weasel aren't slowing down with their continual aggravations toward everyday life and all-around stupid people. Songs like "I'm Gonna Strangle You" and "Rubber Room" continue in that tradition, but what's different are the callings for a social change on "A New Tomorrow" and the lack of individuality in American culture with "I, Robot." Not as raw and punchy as their previous album, Wiggle, but with the slick production and ability to jam keyboards in the mix without sounding "artsy," Screeching Weasel remain one step ahead of the game.
Pennywise was one of the key bands of the punk-revival of the '90s. Using Californian hardcore as a foundation, the group incorporated funk-metal and skate-punk into their sound, developing a sound that functioned as edgy, post-punk frat rock - it was speedy and occasionally stupidly catchy, with heavy, propulsive rhythms and positive, optimistic lyrics that stood in pointed contrast to their grunge-addled peers. Through constant touring and recording, as well as appearances on surfing and snowboarding concerts and videos, Pennywise developed a dedicated following among post-hardcore punk audiences, and were positioned to follow Bad Religion, Green Day and the Offspring into the modern rock mainstream, but internal problems, culminating in the 1996 suicide of founding bassist Jason Thirsk, prevented the band from being anything larger than a popular cult band in the vein of NOFX.
S/T R 100.00
Full Circle R 100.00
About Time R 100.00
Straight Ahead R 100.00
Slayer Undisputed Attitude R 100.00
Covers of early Punk classics. Slayer covers bands like Verbal Abuse, GBH, DI, TSOL, Minor Threat, DRI and Iggy & The Stooges.
The Buzzcocks Modern R 100.00
Although their first single- the brash, bratty and irresistible "Boredom"- served as an effective anthem for the disaffected youth of Great Britain during the 70s punk rock revolution, the Buzzcocks never really wanted to overthrow the government. All they wanted was a steady date. Combining the angst of punk with the sound of pop at its most beautiful, the Buzzcocks sang songs of love and loss with guitar hooks that were catchier than herpes. Pete Shelley and Steve Diggle were the Lennon and McCartney of English punk. In short, they were the band boys and girls with matching mohawks made out to and their influence can be heard in The Smiths and the dark pop/punk of Jawbreaker. "Modern" is the new album, produced twenty years after the band's heyday. By all rights, the album shouldn't work- everyone knows rock stars should retire gracefully and never speak the dreaded word "reunion" or die violently in their prime-but instead it's like unexpectedly running into your favourite old girlfriend and realizing how little the time has changed her and how terrific she still is.
V/A BYO/Big Daddy Records: Sample This R 60.00
22 Songs. Featuring: Bouncing Souls, Terrorgruppe, Pinhead Circus, Youth Brigade, John Cougar Concentration Camp, Four Letter Word, Screw 32, Aggression, 7 Seconds, Jugheads Revenge, Hepcat, Royal Crown Revue, and more.
V/A Go-Kart Records: Punk Uprisings Vol.2 R 110.00
39 Songs. Featuring: Against All Authority, Anti-Flag, Anti-Heros, The Boils, The Bruisers, Dissucks, In/Humanity, Kill Your Idols, The Neurotiks, Plan A Project, The Skabs, Snapcase, Submachine, Time Bomb 77 and many more.
V/A Go Kart Records: Versus the Corporate Giant R 60.00
28 Songs. Featuring: Candy Snatchers, Trick Babys, The Meatmen, Berserk, Buttsteak, The Templars, Sweet Diesel, Les Stitches, Weston, Sea Monkeys, Doc Hopper, Stress Magnets and more.
V/A Recess Records: Hot Curly Weenie R 60.00
25 Songs. Starring: Propagandhi, The Dwarves, F.Y.P, Pud, Berzerk, I Spy, The Crumbs, Second Hand, Les Turds, Chickenhead, Quincy Punx, The Criminals, Bored To Death, and Sheep Squeeze.
V/A Recess Records: Hot Curly Weenie Vol. 2 R 60.00
31 Songs. Starring: Quincy Punx, Furious George, F.Y.P, The Grumpies, Sex Offenders, Dwarves, Jag Offs, Berzerk, Pud, Hidden Resentments, Stun Guns, Kankersores, J.C.C.C, The Criminals, The Crumbs, The Four Letter Words, and Les Turds.
V/A Honest Don's: Welcome Wagon R 50.00
Cheap comp featuring: Riverdales, Chixdiggit, Me First and the Gimme Gimmes, Diesel Boy, J Church, Dance Hall Crashers, The Other, Teen Idols, The Submissives, Limp, and Mad Caddies.
V/A Honest Don's: Greatest Shits R 50.00
Cheap comp featuring: Diesel Boy, Teen Idols, Mad Caddies, Limp, Anti-Flag, Fluf, Chixdiggit, Hagfish, Dance Hall Crashers, j Church, Riverdales, and Limp.
V/A Kung Fu Records: The "Gone With the Wind" of Punk Rock
Samplers R 60.00
19 Songs. Featuring: The Ataris, The Vandals, Josh Freese, Apocalypse Hoboken, Bigwig, Assorted Jelly Beans, MxPx, Useless I.D, and Antifreeze.
V/A Kung Fu Records: No Stars Just Talent R 60.00
20 Songs. Featuring: The Ataris, The Vandals, Longfellow, Bigwig, Blink 182, Apocalypse Hoboken, Assorted Jelly Beans, and Flat Bowl.
V/A Asian Man Records: Mailorder Is Fun R 55.00
29 Songs. Featuring: Less Than Jake, Slapstick, Link 80, Unsteady, MU330, Potshot, Let's Go Bowling, Bruce Lee Band, Blue Meanies, Alkaline Trio, The Schleptones, The Supaflies, J Church, Ann Beretta, and many more.
V/A Asian Man Records: Mailorder Is Still Fun R 55.00
29 Songs. Featuring: Less Than Jake, Slapstick, Link 80, Unsteady, MU330, Potshot, The Wunder Years, Bruce Lee Band, Blue Meanies, Alkaline Trio, Big D and the Kids Table, The Muggs, Luckie Strike, Knowledge, and many more.
V/A Asian Man Records: Plea For Peace R 60.00
30 Song Benefit for the Plea For Peace Foundation featuring: Honor System, Blue Meanies, Polysics, Link 80, Alkaline Trio, Smoking Popes, Trust Foundation, King Apparatus, Skankin Pickle, Space Giants, Pushover, and many more.
V/A Alternative Tentacles: Not So Quiet On The Western Front R 110.00
47 Song CD reissue of the original double LP featuring: Dead Kennedys, 7 Seconds, Intensified Chaos, Social Unrest, Killjoy, Fang, Capitol Punishment, Crucifix, Pariah, Lennonburger, Millions of Dead Cops, and many, many more.
V/A Thick Records: Magnetic Curses R 60.00
26 Songs. Featuring: Bitchy, Alkaline Trio, Blue Meanies, Mary Tyler Morphine, The Tossers, Apocalypse Hoboken, The Nerves, Deals Gone Bad, Gaza Strippers, Lynyrd's Innards, Tom Daily, Sidekick Kato, and many more.
V/A Side 1 Dummy Records: Music To Kill For R 60.00
21 Songs. Featuring: Custom Made Scare, 22 Jacks, Bad Religion, Swingin' Utters, Odd Numbers, Bouncing Souls, No Use For A Name, Blazing Haley, The Pilfers, Screw 32, Murphy's Law, and more.
V/A Nitro Records: Deep Thoughts R 55.00
22 Songs by: The Vandals, AFI, Guttermouth, TSOL, Jughead's Revenge, One Hit Wonder, Sloppy Seconds and The Offspring.
V/A Skunk Records: Long Beach Blvd. R 50.00
20 Songs. 4 Each by: Secret Hate, Corn Doggy Dog, Das Klown, Juice Bros, and Pivot Foots
V/A Sub City Records: H.E.A.R. This R 80.00
28 Songs. Featuring: Scared of Chaka, Jon Cougar Concentration Camp, The Avengers, Motorchrist, White Trash Debutantes, Shonen Knife, The Climatics, The VKTMS, Piss Ant, Texas Terri and the Stiff Ones, Mary Monday and Her Bitches, and many more.
V/A Fearless Records: The Fearless Flush Sampler R 55.00
24 Songs. Featuring: Strung Out, Straight Faced, 30 Foot Fall, Drunk In Public, Blount, Bigwig, White Kaps, Glue Gun, Dead Lazlo's, and Grabbers.
V/A Lookout! Records: Heide Sez R 60.00
26 Songs. Featuring: The Smugglers, The Queers, Go Sailor, Crumbs, Avail, Fifteen, Pansy Division, The Mr. T Experience, Phantom Surfers, Wynona Riders, The Groovie Ghoulies, and many more.
V/A Lookout! Records: Forward Till Death R 60.00
23 Songs. Featuring: Avail, The Crumbs, The Donnas, Sqirtgun, The Mopes, Gas Huffer, Boris The Sprinkler, Servotron, Citizen Fish, Young Pioneers, Crimpshrine, The Criminals, and more.
V/A Lookout! Records: Lookout! Freakout R 60.00
24 Songs. Featuring: Common Rider, Ann Beretta, The Lillingtons, The Avengers, American Steel, Enemy You, Screeching Weasel, Moral Crux, Dr. Frank, Cleveland Bound Death Sentence, and more.
V/A Hopeless Records: Hopelessly Devoted To You R 50.00
15 Song Sampler featuring: Guttermouth 88 Fingers Louie, Digger, Falling Sickness, Funeral Oration, Nobodys, White Kaps, The Bollweevils, and Schlong.
V/A Hopeless Records: Hopelessly Devoted To You Too R 60.00
21 Songs. Featuring: Against All Authority, Dillinger Four, Falling sickness, Mustard Plug, The Queers, Nobodys, 88 Fingers Louie, Digger, Heckle, and Funeral Oration.
V/A Hopeless Records: Hopelessly Devoted To You Vol. 3 R 60.00
23 Songs. Featuring: Dillinger Four, The Weakerthans, Samiam, Against All Authority, The Queers, Fifteen, Mustard Plug, JJ Nobody and the Regulars, Selby Tigers, Scared of Chaka, Falling Sickness, Funeral Oration, Heckle, 88 Fingers Louie, and Digger.
V/A Fat Wreck Chords: Fat Music For Fat People R 60.00
14 Songs. Featuring: Propagandhi, Lagwagon, Strung Out, Guns 'n' Wankers, No Use For A Name, Bracket, Tilt, Face To Face, Good Riddance, 88 Fingers Louie, Rancid, and NOFX.
V/A Fat Wreck Chords: Survival Of The Fattest R 60.00
17 Songs. Featuring: Hi-Standard, No Use For A Name, Snuff, Propagandhi, Lag wagon, Diesel Boy, Good riddance, Tilt, Wizo, Strung Out, NOFX, Frenzal Rhomb, Bracket and Me First and the Gimme Gimmes.
V/A Fat Wreck Chords: Physical Fatness - Fat Music Vol. 3 R 60.00
18 Songs. Featuring: NOFX, Good Riddance, Snuff, Goober Patrol, Hi-Standard, Screeching Weasel, Lagwagon, Bracket, Swingin' Utters, No Use For A Name, Dickies, Screw 32, Propagandhi, Tilt, 88 Fingers Louie, and Me First and the Gimme Gimmes.
V/A Fat Wreck Chords: Life In The Fat Lane - Fat Music Vol. 4 R 60.00
18 Songs. Featuring: Lagwagon, Mad Caddies, No Use For A Name, Sick Of It All, Consumed, Swingin' Utters, Good Riddance, Frenzal Rhomb, Strung Out, Avail, The Ataris, Tilt, Goober Patrol, NOFX, Snuff, Screeching Weasel, Wizo, and Me First and the Gimme Gimmes.
V/A Fat Wreck Chords: Live Fat, Die Young - Fat Music Vol. 5 R 60.00
20 Songs. Featuring: Zero Down, No Use For A Name, Ant-Flag, Good Riddance, Fabulous Disaster, Sick Of It All, Mad Caddies, Consumed, Strung Out, Bracket, Frenzal Rhomb, NOFX, Rise Against, Lagwagon, Wizo, Propagandhi, Tilt, Snuff, Swigin Utters, and Me First and the Gimme Gimmes.
V/A Epitaph Records: More Songs About Anger, Fear, Sex, and Death R
26 Songs by: Bad Religion, NOFX, Pennywise, Coffin Break, Dag Nasty, L7, Down By Law, Little Kings, and Instead.
V/A Epitaph Records: Punk-O-Rama Vol. 2 R 60.00
17 Songs. Featuring: Bad Religion, Down By Law, Millencolin, Poison Idea, Pennywise, Descendents, The Humpers, New Bomb Turks, Pulley, TSOL, Me First and the Gimme Gimmes, Voodoo Glow Skulls, The Joykiller, NOFX, Rancid and SNFU.
V/A Epitaph Records: Punk-O-Rama Vol. 3 R 60.00
25 Songs. Featuring: NOFX, Dwarves, All, The Bouncing Souls, Voodoo Glow Skulls, H2O, Straight Faced, Zeke, Union 13, Agnostic Front, New Bomb Turks, The Cramps, Rancid, The Humpers, Wayne Kramer, Gas Huffer, Red Aunts, Down By Law, Osker, Ten Foot Pole, Millencolin, Bad Religion, I Against I, Pulley, and Pennywise.
V/A Epitaph Records: Punk-O-Rama Vol. 4 R 60.00
25 Songs. Featuring: Pennywise, Pulley, H2O, Rancid, Bombshell Rocks, The Bouncing Souls, Ten Foot Pole, All, New Bomb Turks, Bad Religion, Dwarves, Straight Faced, Agnostic Front, 59 Times The Pain, Refused, Voodoo Glow Skulls, Zeke, Gas Huffer, Tom Waits, Gentleman Jack Grisham, Union 13, 98 Mute, Osker, Millencolin, and NOFX.
V/A Epitaph Records: Punk-O-Rama Vol. 5 R 60.00
28 Songs. Featuring: NOFX, All, The International Noise Conspiracy, Vision, Rancid, Guttermouth, Osker, Dwarves, 98 Mute, The Beatsteaks, H2O, Madball, Straight Faced, Refused, Death By Stereo, Bombshell Rocks, Dropkick Murphys, Bouncing Souls, Satanic Surfers, Pennywise, Pulley, Union 13, Voodoo Glow Skulls, The Hives, New Bomb Turks, Zeke, and Agnostic Front.
V/A Epitaph Records: Punk-O-Rama Vol. 6 R 60.00
23 Songs. Featuring: Guttermouth, Deviates, NOFX, Millencolin, Hot Water Music, The Bouncing Souls, Pennywise with Exene, Osker, Rancid, Death By Stereo, Dropkick Murphys, Descendents, Pulley, All, Raised Fist, Downset, Beatsteaks, Union 13, Bad Religion, T(I)NC, Voodoo Glow Skulls, Bombshell Rocks, and The Business.
V/A Vagrant Records: Five Years On The Streets R 60.00
21 Songs. Featuring: Face To Face, Blink 182, No Motiv, Boxer, Automatic 7, The Hippos, Unwriiten Law, Far, Gotohells, Nuclear Saturday, Down By Law, MxPx, and J Church.