Suicidal Tendencies
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.
Black Flag
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.
Social Distortion
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
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
Bad Religion
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".
Dead Kennedys
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.
The Misfits
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.
Alice Donut
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.
Big Black
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.
Fugazi
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 … R 80.00
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.
NOFX
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.
Nobodys
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… R 90.00
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… R 80.00
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.
Propagandhi
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… R 110.00
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.
The Queers
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.
Screeching Weasel
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
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
60.00
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.