|
|
|
|
viewing 1 To 25 of 363 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
14x7" BOX
|
|
MR 7394EP
|
$200.00
PREORDER
RELEASE DATE: 1/23/2026
Golpes brings together some of the holy grails of Spanish post-punk in 7" format -- records that helped define the sound of the early '80s. This box set is a collection of rarities, but above all, a celebration of monumental songs that have become timeless anthems, transcending darkwave, la movida, and new wave alike. Just look at the lineup: "Autosuficiencia," "El Hospital," "Nacidos para dominar," "Cómo perdimos Berlín," "Quiero ser santa," "Los Celos se apoderan de mí," and, of course, "Golpes." You'll find names like Alaska y los Pegamoides and Gabinete Caligari, who went on to achieve massive popularity and commercial success, alongside legendary artists such as Desechables and Parálisis Permanente -- arguably Spain's most iconic post-punk band -- and cult favorites beloved by the most dedicated fans, like Agrimensor K and El Último Sueño. This box set comprises impossible-to-find singles, genre classics, and rarities like the 12"s by Seres Vacíos or the mythical flexi by Alaska y los Pegamoides, now appearing for the first time ever on 7" vinyl. In total, 14 seven-inch records, each with its original artwork and inserts. Also included is a 24-page booklet featuring flyers, posters, ads, quotes, and fanzine clippings from the era, plus a text by Borja Prieto, and the ultra-rare Alaska y los Pegamoides poster that originally came with the first pressing of their single "Horror en el hipermercado." Golpes is a deep dive into the darker side of Spain's vibrant 1980s music scene. An absolute must-have.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 492LP
|
$28.50
PREORDER
RELEASE DATE: 12/12/2025
Just as the hippie era came to an end in America, a second '60s began. In what is now Zimbabwe, young people created a rock and roll counterculture that drew inspiration from hippie ideals and the sounds of Hendrix and Deep Purple. The kids in the scene called their music "heavy," because they could feel its impact, and it resonated from Zambia to Nigeria. At its peak in the mid-'70s, the heavy rock scene united tens of thousands of young progressives of all racial and social backgrounds. The country was called Rhodesia then, one of the last bastions of white rule in Africa, and heavy rockers defied segregation laws and secret police to make a stand for democratic change. Wells Fargo was at the forefront of the scene, and the title track of this album, "Watch Out," was the anthem of the counterculture. Following previous collaborations with Now-Again Records, Munster are thrilled to reissue now Wells Fargo's Watch Out!, a curated collection of songs intertwining rock and funk with Zimbabwean folkloric melodies, taken from the band 45s discography, never available outside of Zimbabwe at the time the singles were originally released.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 491LP
|
$28.50
PREORDER
RELEASE DATE: 12/12/2025
European edition with exclusive Ed Colver photo-poster, width 60 cm x height 30 cm. Few records from the American punk underground have echoed as far and wide -- or as enduringly -- as the Adolescents' self-titled debut, first released by Frontier Records in 1981. Known to fans simply as "The Blue Album," this landmark release captured the raw pulse of Southern California's teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk's first wave. Formed in Fullerton, California, Adolescents brought together members of earlier OC punk outfits like Social Distortion and Agent Orange, fusing their varied influences into something uniquely their own. With songs like "Amoeba," "Kids of the Black Hole," and "No Way," the album offered more than just speed and volume -- it spoke directly to suburban alienation, youthful frustration, and the search for identity in a world that felt increasingly hostile and conformist. This new edition offers longtime listeners and new fans alike a chance to revisit -- or discover -- an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, Adolescents remains a vital listen, as relevant today as it was over four decades ago. It's an album that didn't just reflect its moment -- it shaped what punk could be: loud, smart, emotional, and unflinchingly real. Reissued with care and respect for its original spirit, "The Blue Album" stands not only as a milestone in punk history, but as a testament to the enduring power of youth in revolt.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 479LP
|
$28.50
PREORDER
RELEASE DATE: 12/12/2025
Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Tougher Than the Rest is their awaited second album. They take a step forward with a darker sound with gloomy riffs and ethereal voices in which they describe perfectly how the sound of a night full of random events would be like. "The Cigs, The Light, The Coffee and Crying," the LP's first single, features a powerful reverb-laden riff with a solo vocal melody in the middle of the chaos until breaking into a powerful chorus. Dharmacide's sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages, performing at renowned venues and festivals, including iconic spots in their home country as well as internationally, earning praise for their high-energy performances and thoughtful compositions. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. Their sound is influenced by today's bands like Diiv, Warpaint, or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds, and Tom Waits.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
MR 485CD
|
$12.50
PREORDER
RELEASE DATE: 11/21/2025
1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things. When it came to recording Anti Todo, Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and it begs the question: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song "Tamara" was practically composed on the spot in the studio in less than two recording days, as was much of "Ha llegado el momento." The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. Listeners can once again enjoy the urgency, simplicity, and rage of this refreshed Anti Todo, a true classic in musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 478LP
|
The release prior to Fin seemed to hint at a more acoustic version of Spanish band Exnovios -- more interested in the studio as an instrument, more electronic, and more subtle. The new dozen songs that make up their fourth LP happily confirm that impression: to the usual unbeatable formula of this Pamplona-based quartet are added new and fascinating layers -- at once fresh yet entirely logical in the evolution of such a unique band within the local scene. Exnovios' new collection of songs wasn't created in a rehearsal space or recorded in a single week in the studio. Rather, it was composed and rehearsed slowly in bedrooms and living rooms -- songs that were later brought into the studio with the idea of finishing building them there. Over the course of nearly a year, the band approached each song one by one, in a handcrafted manner, alongside their trusted ally, producer Guillermo Mutiloa. The result is a treasure trove of songs, perhaps more psych-folk than ever, as acoustic pieces abound -- full of exquisite melodies without abandoning the consciousness-expanding journeys that have made Exnovios a cult favorite: These are often drumless tracks, perhaps with some light percussion, always featuring detailed and exquisite arrangements of guitar, electronics, percussion, and even touches of strings. And despite the reduced presence of drums, fans of the band's legendary fuzz-guitar reverbcore sound won't be disappointed: there's the psychedelic "Viaje Alucinante," full of their classic riffs; their brutal cover of Psychic TV's "Godstar" (drenched in echo and eccentric vocal effects); and the perfectly crafted "Naves Misteriosas," which pulls off the impossible feat of sounding like "Cerca de las Estrellas"-era Los Pekenikes in the verses, Phil Spector in the chorus, and the Ramones in the post-chorus. Fin reveals more sides and nuances of Exnovios than ever before -- a festival of eclectic styles that all remain true to the musical vision that has defined them over the past decade, with their melodic powers at the peak of their talent.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 488LP
|
Unlike other Spanish bands of the time, Los Z-66 enjoyed unique conditions that allowed their sound to stand out as one of the most advanced on the local scene in the late 1960s. As was the case with many other groups, their repertoire for entertaining discotheques had to include the hits of the moment and was not always open to the songs of the most daring international bands, which was the sound that most stimulated the musicians. In the case of Los Z-66, being based in Mallorca meant they had privileged access to hard to-find records, imported by foreign tourists, and to a much more modern atmosphere than in other parts of the country. Songs in Italian and French soon gave way to English hits by the Animals, the Stones, and the Beatles. But it was the offer received from Mike Jeffries, manager of Jimi Hendrix, the Animals, and others, to serve as the house band at the newly opened club Sgt. Pepper's that allowed the group to raise their live performances to a level rarely seen in these parts. They even soon incorporated the distorted sound of fuzz into their guitar when they received a fuzz face pedal as a gift from Jimi Hendrix himself, who was invited to play at the club's opening! Their excellent blend of stunning soul, psychedelia, and pop became their hallmark, not only in the band's concerts but also in the handful of singles and EPs they released on the Regal label. Their songs reflected the influence of bands such as The Move, Vanilla Fudge, and Blood, Sweat & Tears, showcasing a solid, modern, and powerful sound. Munster are now re-releasing for the first time their only full-length album, originally published in 1969, which is actually a compilation of songs previously released in 45 rpm format, complete with two bonus tracks not included on the original LP. This reissue, which includes a booklet with liner notes and rare photos, is a joint project between Munster and Runaway Records.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7392EP
|
Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself -- led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt -- but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, "Copa, raya, paliza" and "Es un buen día" are guaranteed party-starters no garage DJ should be without. Pressed on neon pink vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7393EP
|
Dharmacide is a Spanish band known for their eclectic fusion of genres, blending elements of shoegaze and dreampop music. Their sound is marked by intricate guitar riffs, powerful drumming, and deep, emotive vocals that create a unique atmosphere under the influence of today's bands like Diiv, Warpaint, or Beach House but also by classic artists like Cocteau Twins, Nick Cave and the Bad Seeds or Tom Waits. The band, with members of Alcalá Norte and Depresión Sonora, has made a huge impact on various stages. Their latest singles have been produced, mixed and mastered by Mark Gardener from Ride. "The Cigs, The Light, The Coffee and Crying" is the first single taken from their awaited second album.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Book
|
|
MRBK 001BK
|
Punk was one of the first photobooks that came out about the punk movement not just in Spain but in Europe. Originally published in late 1977, the book achieved a significant international projection, acquiring a pseudo-mythical status as it disappeared from the catalogue. Almost half a century later the book is now available again. This updated edition includes unpublished photos from Salvador Costa's own archives, preserved by his wife and children after his passing on 30 October 2008, and also short texts and comments by members of Gen X, Eater, The Models, and more. Salvador Costa's black and white photos show his awareness that monochrome is the best way to portray individual punk spirit as well as the atmosphere of beer, music, and sex at the clubs in London, April '77. This book contains an insider vision depicting the city of London and the inclusive ambience at these venues; shot close-up and with a naturalness that shows there were no barriers between players and crowds. Scattered among the public, kids, smoke, and shadows, you will be able to find faces of the Sex Pistols, Chelsea, the Nips, the Slits, Eater, and many more, encapsulated in the space-time of a golden age of youth empowerment where everything was possible and nothing was impossible. The book was originally published in Spain in late 1977 by Star Magazine. It was one of the first books that came out about the punk movement in Europe. His images resembled those of a war correspondent, he was like a photojournalist in the improvised trenches of the early days of the London punk assault. Faces, attitudes and looks that tell as much about the time they lived in as any song or book. Punk achieved a significant international projection, selling out continuously at central London stockists as prestigious as the Photographers Gallery and the avant-garde bookstore Compendium Books. In Spain, it would also sell out, acquiring a pseudo-mythical status as it disappeared from the catalogue.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 286LP
|
Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself -- led by one of the wildest frontmen around, Juanito Wau. After many years unavailable, Munster now reissues their second album ¡¡¡Viven!!! (2009) featuring new artwork by Mik Baro. It includes their classic originals "Copa, raya, paliza" and "Viva Link Wray!!!" as well as a bunch of wild cover versions of Los Mockers, The Lyrics, The Troyes, The Hatfields, Jonah & The Whales, and more. Yes, there's garage rock here, no doubt -- but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf. The album was produced by Jorge Explosion (Dr. Explosion) and Mike Mariconda (Raunch Hands, Devil Dogs), and recorded at the celebrated Circo Perrotti Studios in Gijón.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 490LP
|
Punk pioneer/Eater main-man, Andy Blade's seventh solo album and follow up to 2024's critically acclaimed and heavily rotated Being Alive Is Fun. Featuring Quick Romance's Matilda Scotland, Dinosaur Jr collaborator Tiffany Anders, Generation X guitarist Bob Derwood Andrews, Madness' brass section Smith & Elms, PseudoPomp's Katerina Sharkova, Myura Amara, and more. It is imbued with the usual left-of-center Blade-ism's and themes: star maps, UFO's and a slightly twisted nod to tragic '70s heroine Karen Carpenter. You get what you deserve with Blade, and with Tiny Specks you are rewarded with a rich code to decipher at your leisure. Most of all, however, it is all about the quality of his songwriting. Opening track "Karen Is The Drummer" (featuring Blade's regular singing collaborator -- PseudoPomp's Katerina Sharkova) seems unsettlingly self-explanatory, but all does not seem well in the Carpenter M.O.R world. Occasional Dinosaur Jr vocalist Tiffany Anders gives "I'm Not Myself" a poppy but eerie nuance. PollyPikPocketz's Myura Amara pops up on the short but very sweet "About That." Matilda Scotland, Quick Romance's uber-cool punky-chanteuse adds her Gen Z aura to the summery "I Like It When You're Happy." Former Generation X guitarist Bob 'Derwood' Andrews, with whom Blade has worked with consistently of late, once again features heavily on "Tiny Specks." Like with Katerina Sharkova's voice, Derwood guitar lines interweave with Blade's honeyed vocal as though they made for each other. "This Place" is another key track, capturing the claustrophobic-genocidal mood of the events in Gaza/Palestine.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 474LP
|
Paloma Mensajera (featuring members of New Juggler Sound/Laghonia) shows the shift that was taking place within Peruvian rock away from psych and hard rock which had predominated during the early '70s. The style adopted by Grupo Amigos (and other bands and artists during this period) highlights the influence of soft rock, UK, US and Latin American folk rock and, above all, the desire to keep the melodic greatness of The Beatles alive. The positive reception albums by artists such as We All Together, Telegraph Avenue, and Zulu garnered between 1972 and 1975, marked a change of paradigm and in preferences within the Peruvian rock scene. Eclecticism gained new ground, to the detriment of the sectarian and orthodox, while melody grew more present and visible, moving away from the progressive experimentation that typified underground Peruvian rock up to the beginning of the '70s. For their first single on MAG, included on this reissue, the band adopted a formula in which Beatles harmonies converged symmetrically with folk motifs. "Dirty Girl" was a hit on the radio. A full album followed but only a fairly small number of copies of the album were pressed, which seems to have been the main reason for omitting it from the historical accounts of Peruvian rock music from the late '90s onwards. In Paloma Mensajera all compositions were penned by the group, after several years during which cover versions were a staple. Some of the musical resources that the band had at their disposal in terms of composition and arrangements are striking and even surprising, considering that they were a debut band, whose members were under the age of 20. The arrangements included the clever use of a Moog synthesizer which had just arrived at the MAG studio. The success achieved by the Beatles tribute performances played by the members of Grupo Amigos for decades have eclipsed the songs that Edmundo, Andrés Da Ros, and Simón Ames composed with youthful enthusiasm and energy between 1972 and 1973 to the point where they have almost been forgotten. This re-release of Paloma Mensajera should help rectify this major injustice. It includes bonus tracks and extensive liner notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 487LP
|
Welcome to a kaleidoscopic picnic where you can feast on a music scene that was rich, sparkling, multi-colored, ground-breaking and it'll blow your mind. A prodigious soundscape that blends the Caribbean and the Amazon sophistication and flavors; raw yet delicate textures. Joropop: Psych Pop & Folk in Venezuela, 1968-1976 features infectious Latin rock rhythms and timeless folk melodies across 15 ultra-rare tracks -- most of which have never been reissued until now. The golden age of Caracas pop started in 1965. It replaced the wave of cloyingly romantic song writing as fresh talents leant into richer and more complex styles: folk-rock, psychedelia, soul, hard blues, symphonic pop, Latin rock etc. Singer-songwriters, experimental electric guitars and jam sessions all appeared on the scene, creating music that became increasingly refined and free. The industry took a while to catch on to this new trend and leave behind the teen idols and dream lifestyles. By the late '60s, there was a long list of new bands in the capital city. Young people finally found their voice. Featuring El Zigui Y Una Luz, Grupo Espiga, Grupo Syma, La Fe Perdida, Ladies W.C., Los Fabricantes De Muñecas, Los Memphis, La Cuarta Calle, Grupo C.I.M., Grupo Pan, Los Rangers, Los Chicos Malos, Ciruela, The Four Blues, and La Cuarta Calle.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 486LP
|
Sold out, awaiting repress. Released exclusively in Germany in March 1966, Black Monk Time by The Monks has become a cult classic -- praised as a groundbreaking forerunner to punk and krautrock. From the explosive opener "Monk Time" to the fierce "Complication," Black Monk Time rejected flower power for something more urgent -- anger, humor, and innovation developing a confrontational, rhythm heavy sound. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim. The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men -- Walther Niemann and Karl Remy -- who became their managers and helped reinvent their identity. Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history -- loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the '60s. The band never sparked the revolution they hinted at, but decades later, Black Monk Time still resonates. This is your chance to experience the album that dared to be different -- don't miss it. Remastered sound from the tapes, pressed on 180g vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 485LP
|
1985 was a landmark year for punk rock in the Basque country, and possibly for the whole of Spain. Punk merged with the Basque Radical Rock (Rock Radikal Vasco or RRV) movement, although this was not necessarily always the case. For instance, Eskorbuto invariably kept their distance from the movement and everything related to it. Hardship was part and parcel of Eskorbuto's life and musical career. All their albums were recorded in the shortest time imaginable, partly due to tight budgets (studios were expensive, labels were close-fisted), and partly because Josu and Jualma needed to spend the money on other things. When it came to recording Anti Todo, Eskorbuto stuck to what they did best: hitting the studio with as much raw energy, provocation, inspiration, and natural talent as possible. It was their best record and the question is: what would Eskorbuto have been capable of if they had more time, a bigger budget, and tighter control? The song "Tamara" was practically composed on the spot in the studio in less than two recording days, as was much of "Ha llegado el momento." The experienced sound technician did an outstanding job, but a new remastering for this rerelease has given the album the richer, more vibrant sound it always deserved. Listeners can once again enjoy the urgency, simplicity, and rage of this refreshed Anti Todo, a true classic in musical history, originally released in 1985 at Eskorbuto's peak of their creativity and energy. This edition of the album includes a large poster and insert with notes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7391EP
|
This is one of the most obscure singles ever released in Venezuela in the '60s. The outstanding The Pets' original "El entierro de un hombre rico que murió de hambre" is one of the finest garage tunes to emerge from Latin America. Their stunning take on The Door's "Hello, I Love You" takes the B side. A garage DJs favorite! First time 45 reissue, audios remastered from the original tapes. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. The band's only album, released in 1967, shows perfectly what the influences of the Venezuelan nueva ola (new wave) scene were at the time, including versions of The Doors, Beatles, Rolling Stones, and Paul Revere & The Riders.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 484LP
|
Electròccid àccid alquimístic xoc marks a shift in Pau Riba's sound -- now electrified and fully embracing rock under the influence of artists like Lou Reed, Ray Davies, and Kevin Ayers. Once again, Riba left everyone bewildered with a work that, on its own, gave early substance to what would eventually be known as roc català, of which Riba may well have been its most authentic representative. First vinyl reissue in over four decades! The magical "Dioptria" had been left behind. The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied Riba a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort's group. The core of Electròccid is defined by Riba's own authorship. With lyrics that veer from poetic to absurdly ironic, Riba explores themes like the moon, the stars, death, love, women, the devil, and the bourgeoisie -- fueling the originality that made him such a unique artist. It's striking how naturally and effortlessly Riba incorporated the Catalan language into the rock idiom -- and vice versa.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
5x7" BOX
|
|
MR 7388EP
|
Décima Víctima were a Spanish band that, during their short-lived career, developed a very personal sound reminiscent of Joy Division, The Cure, and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This box set comprises all the singles released by the band throughout their career, from 1982 to 1984, now reissued for the first time in their original format. The artwork has been updated by the band members themselves, and the set also includes a 12-page booklet. Limited edition of 700 copies. Despite only being active for under three years, Décima Víctima left a long-lasting legacy, and their influence would later be heard in Spanish bands such as Family, Los Planetas, and Sr Chinarro. The story of Décima Víctima started in 1981, with Carlos Entrena, rehearsing with Lars and Per Mertanen, and a drum machine, in the cellar of the Mertanens' house in Madrid. A few months later they made their first studio recording, a demo recorded on a 4-track. And shortly after, with their friends from the band Esclarecidos, they started the independent label Grabaciones Accidentales (GASA) and were able to start releasing their own records. Their first single was released in 1982, featuring Lars on drums. Shortly after, Esclarecidos introduced Jose Brena to them and he joined Décima Víctima as drummer.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 476LP
|
Siniestro Total were a Spanish punk band formed in Vigo in 1981. Their debut LP ¿Cuándo se come aquí? is regarded as one of the best Spanish albums from that era. Acto Fundacional is the recording of their first ever gig in December 1981. It comprises original songs and versions that would also become the band's live repertoire in their early years. Four songs played that night never made it into any of Siniestro Total's LPs. A big commercial success accompanied the band for over a decade, until the mid-late '90s, when the popularity of the groups from the so-called "movida madrileña" and other similar scenes from other parts of Spain such as Galicia, where Siniestro Total were formed, faded away. While Julián Hernández would remain as the front man of Siniestro Total, the other members of the original line-up of the band would later take part in other well-known musical projects such as Golpes Bajos, Os Resentidos, and Aerolíneas Federales. Many of their best and most popular songs, reflecting the punk and fun essence of the band, were written in the early days of Siniestro Total. The show on this album took place at Vigo's Cine Salesianos in December 1981, as part of a festival called Nadal Rock, in front of a small but enthusiastic crowd. Four songs played that night never made it into any of the band's LPs: the instrumental intro, "Bomba atómica en Policarpo Sanz" -- a cover of the Jam's "A-Bomb on Wardour St." ? "Isla Tropical," and "¡Un, dos!" -- the Specials' "Little Bitch." But the most outstanding revelation that night was maybe Germán Coppini proving himself to be a talented frontman, sporting a stunning voice and a sarcastic and cruel attitude on stage. Right at the end of the show the band was asked to play the irreverent "Ayatolah!" again and, although not crazy about the idea, agreed to do it as a treat to the small crowd, made up mainly of friends. At that very moment the band realized they had a big tune there. "Ayatolah!" would become one of Siniestro Total's anthems from that night on.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 483LP
|
Gusano mecánico has become a coveted collector's item, highly valued by music lovers worldwide. It has been included in 5001 Record Collector Dreams by Hans Pokora, receiving the highest rarity rating and hailed as a musical masterpiece. It was released in 1974 by the legendary Bolivian rock band Climax and was a big leap from their early recordings, where they paid tribute to their musical heroes. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country. Gusano mecánico explores themes such as the loss of personal essence and the vindication of indigenous peoples. Founded in 1968 from the remnants of the disbanded Los Black Byrds and the unrealized project The Turtles, Climax was formed by guitarist José "Pepe" Eguino and bassist Javier Saldías, who developed a strong bond with drummer Álvaro Córdova, cemented by their shared passion for rock. Together, they embarked on a journey of self-discovery, spending several months in the United States during a crucial period straddling the end of the Summer of Love and the lead-up to Woodstock. This period, perhaps the most significant of the 1960s countercultural movement, saw an explosion of artistic expression driven by dissatisfaction with the society that the youth had inherited from their parents. Within this context, the influence of iconic bands such as The Jimi Hendrix Experience, Cream, Blue Cheer, and Emerson played a pivotal role in their decision to return to Bolivia and form the country's first 'power trio'. They quite literally brought psychedelic and prog rock to Bolivia by carrying new, experimental vinyl records in their luggage, at a time when rock music (and music in general) had very limited exposure due to the scarcity of media resources. Their musical project reflected their influences and laid down the first traces of what would later be called heavy rock, a genre that never achieved widespread popularity in Bolivia. Climax embarked on a prog rock journey, exploring themes such as the loss of personal essence and the vindication of indigenous peoples. Their rebellious discourse opposed the mechanization of humankind brought about by past decades of industrial exploitation in which they resist being absorbed by the system. It became a landmark of prog rock in Bolivia and one of the few conceptual albums produced in the country.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 477LP
|
Discover the groundbreaking sound of Los Texao, a legendary Peruvian rock band that helped shape the music scene in the 1970s. Their music fused the energy of psychedelic rock with Latin American influences, captivating audiences across their native Peru. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. This release comprises their complete recordings, including all their singles and also covers of some of the most influential rock bands of the era, most of them previously unavailable on vinyl. Born in the culturally rich city of Arequipa, Los Texao's journey to stardom was paved with innovation, passion, and an undeniable connection to their roots. Formed in 1969, the band took their name from Arequipa's emblematic flower, the nasturtium, and made an immediate impact with their debut at a local band contest. Soon after, they recorded their first 45 RPM single, which included covers of tracks by Chilean group Los Beat 4. But it was in the early '70s when Los Texao truly found their voice. With a dynamic lineup, including the talented Fernando "Feño" Humbser and Juan Núñez on guitar, Víctor Dibán on vocals and bass, and Edgar "Chito" Manrique on drums, their musical evolution began to take shape. The addition of Julio Torres, a keyboardist and guitarist from the iconic bands Los Beatniks and Los Dig It, further elevated their sound. Los Texao's psychedelic phase was marked by experimentation with new sounds and instruments. They embraced the emerging trend of playing rock in English, despite the language barrier, and incorporated cutting-edge gear. With the help of the legendary Peruvian jazz musician Jaime Delgado Aparicio, they created hypnotic tracks like "Algún día" and "Nunca cambias," capturing the essence of '70s rock with swirling textures and atmospheric vibes. Los Texao quickly became a sensation in Peru, performing in cities like Puno, Moquegua, and Arica (Chile), and sharing stages with iconic bands like Los Shain's, Traffic Sound, and Telegraph Avenue. The band's wild live shows became the stuff of legend, with fans packing into intimate venues to experience the raw energy of their loud, unapologetic rock. In addition to their 45s, Los Texao also recorded covers of some of the most influential rock bands of the era, including Cream, Steppenwolf, and The Guess Who, showcasing their versatility and love for classic rock. Unfortunately, this session remained lost for years and some of these covers have never been available on vinyl before.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7387EP
|
Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, this early recording by Mercenárias is more punk than their albums, but still super catchy. It has been remastered from the original tape and includes an insert with previously unseen photos and a short text by Edgard Scandurra. This is a collaboration release with the Brazilian label Nada Nada Discos. Born in the vibrant alternative scene of 1980s São Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, and experimental elements. Their debut album, Cadê as Armas? (1986), is considered one of the most important records in Brazilian music history. Three years earlier, they recorded their first demo tape at the studio of the funk/pop band Placa Luminosa. The recording turned out great, it's the best you can wait from a Brazilian punk record: raw, aggressive, yet catchy, well-played and produced.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MR 472LP
|
Mercenárias is an iconic band in the history of Brazilian punk and post-punk. They gained global recognition after being included in several compilations outside Brazil. Recommended for fans of The Slits, DNA, Malaria!, Kleenex, and Minutemen, the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. This is a compilation of rare tracks from 1983 to 1987, including ten amazing songs that didn't make it onto their two albums; there's also a great early live recording, as well as a "lost" studio session. It has been remastered from the original tapes and includes an insert with previously unseen photos and a short text by Edgard Scandurra. This is a collaboration release with the Brazilian label Nada Nada Discos. Born in the vibrant alternative scene of 1980s São Paulo, Mercenárias is an iconic band in the history of Brazilian punk and post-punk. Formed in 1982 by Sandra Coutinho (bass and vocals), Rosália Munhoz (vocals), Ana Machado (guitar), and Edgard Scandurra (drums), the group stood out for their rebellious attitude, incisive lyrics, and raw sound that blended punk, post-punk, no wave and experimental elements. Their debut album, Cadê as Armas? (1986), is considered one of the most important records in Brazilian music history.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
MR 7390EP
|
This 45 comprises two killer pop dancers with plenty of psych fuzz guitars, punchy horns and funky beats: the in-demand Christie Laume's mod anthem "Rouge-Rouge" and Marta Kubisova's "Tak Dej Se K Nám A Projdem Svět," a glorious LP-only song that has never available on a 45 before. Sister-in-law of Edith Piaf (who introduced her to the music business), Christie Laume became a ye-ye style singer in '60s France. Her mod anthem "Rouge, Rouge" (1967) is a great song that never fails in making the dance floor shake, taken from a very rare and in-demand EP. On the flipside comes Marta Kubi?ová, one of the most popular singers in the Czech Republic in the '60s. Her "Tak Dej Se K Nám A Projdem Svět" is a glorious LP-only song from 1969 that has never available on a 45 before. Expect heavy basslines, punchy horns and fuzzy guitars.
|
viewing 1 To 25 of 363 items
Next >>
|
|