|
|
|
|
|
|
|
|
|
|
|
2LP
|
|
RRS 239LP
|
$29.50
PREORDER
RELEASE DATE: 6/7/2024
A manic clash of guitars, bass and drums beating each other's brains out in the same sonic bullring? Check. Despite already (if a little unbeknownst) being considered crust pioneers, by 1988, Hellbastard had firmly inserted themselves, even proudly so, in between a series of bifurcated genre schisms well-protected by those scene's respected guardians. Their official debut, Heading For Internal Darkness no less perfectly exemplifies that schism. With Wendy V Gill's haunted-cosmos monologues injecting some transcendental light into the neck otherwise being mercilessly ripped to pieces by Scruff and Scotty's spaced-out vocal grunts, opener "We Had Evidence" to the equally arresting elevator-shaft-with-a-mind-of-its-own "Death Camp" to "The Pylons" whip up seriously dark whirlwinds into atmospheric dances of rapid energy and relentless spasms of spellcasting drama. Never mind metal, too punk for anything.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RRS 239CV-LP
|
$35.50
PREORDER
RELEASE DATE: 6/7/2024
Red color vinyl version. A manic clash of guitars, bass and drums beating each other's brains out in the same sonic bullring? Check. Despite already (if a little unbeknownst) being considered crust pioneers, by 1988, Hellbastard had firmly inserted themselves, even proudly so, in between a series of bifurcated genre schisms well-protected by those scene's respected guardians. Their official debut, Heading For Internal Darkness no less perfectly exemplifies that schism. With Wendy V Gill's haunted-cosmos monologues injecting some transcendental light into the neck otherwise being mercilessly ripped to pieces by Scruff and Scotty's spaced-out vocal grunts, opener "We Had Evidence" to the equally arresting elevator-shaft-with-a-mind-of-its-own "Death Camp" to "The Pylons" whip up seriously dark whirlwinds into atmospheric dances of rapid energy and relentless spasms of spellcasting drama. Never mind metal, too punk for anything.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7038CS
|
$12.50
PREORDER
RELEASE DATE: 5/10/2024
First time ever cassette edition for Nikki & the Corvettes' self-titled debut album originally released on Bomp Records in 1980. Led by Nikki Corvette, the group brought a fresh burst of energy to the punk and power pop scene of the late '70s and early '80s. Fueled by catchy melodies, infectious hooks, and Nikki's charismatic vocals, the album delivers a rollicking ride through a blend of punk, rock, and retro pop influences. Tracks like "Back Seat Love" and "Let's Go" capture the carefree spirit of youth and rebellion, making this LP a cult favorite among fans of vintage punk and power pop. With its raw energy and unabashed fun, Nikki & the Corvettes remains a timeless gem in the annals of underground rock and roll.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 190LP
|
$22.50
PREORDER
RELEASE DATE: 5/10/2024
Tongue-in-cheek punk act Toy Dolls came together in the northeast formerly industrial town of Sunderland, England in 1979 with working-class humor at the forefront of everything and frontman Olga breaking up the Oi singalongs with searing guitar assaults. Issued on the independent Volume label as usual, third album Idle Gossip continued in the same mold as their first two LPs with "Geordie's Gone To Jail," "Keith's A Thief," "Silly Billy," and the title track all cracking numbers built on Olga and company's irresistible charm; "I'll Get Even With Steven" even gives a po-faced punk nod to Elvis. Another great Toy Dolls LP! Includes unpublished exclusive photo by Vive le Rock photographer Per-Ake Warn in a folded 40x60cm poster.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 190CV-LP
|
$26.00
PREORDER
RELEASE DATE: 5/10/2024
Color vinyl version. Tongue-in-cheek punk act Toy Dolls came together in the northeast formerly industrial town of Sunderland, England in 1979 with working-class humor at the forefront of everything and frontman Olga breaking up the Oi singalongs with searing guitar assaults. Issued on the independent Volume label as usual, third album Idle Gossip continued in the same mold as their first two LPs with "Geordie's Gone To Jail," "Keith's A Thief," "Silly Billy," and the title track all cracking numbers built on Olga and company's irresistible charm; "I'll Get Even With Steven" even gives a po-faced punk nod to Elvis. Another great Toy Dolls LP! Includes unpublished exclusive photo by Vive le Rock photographer Per-Ake Warn in a folded 40x60cm poster.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7035CS
|
$12.50
PREORDER
RELEASE DATE: 5/10/2024
The Damned's debut album, Damned Damned Damned, released in 1977, captured the raw energy of punk. With its frenetic pace and rebellious spirit, this cassette edition allows fans to experience the brilliance of tracks like "Neat Neat Neat" and "New Rose" on the go. An iconic punk record, a cherished relic.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7036CS
|
$12.50
PREORDER
RELEASE DATE: 5/10/2024
Music for Pleasure by The Damned, released in 1977, showcases a unique evolution in the band's sound. The album, often overshadowed by its predecessor, offers a blend of punk and experimental elements. Tracks like "Problem Child" and "Don't Cry Wolf" reveal a dynamic range, highlighting The Damned's willingness to push musical boundaries. Music for Pleasure remains a gem for those exploring the band's diverse discography.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7034CS
|
$12.50
PREORDER
RELEASE DATE: 5/10/2024
Modern Lovers' self-titled debut album, released in 1976, is a timeless exploration of proto-punk and alternative rock. Led by Jonathan Richman, the album captures a minimalist and lo-fi charm, with tracks like "Roadrunner" becoming anthems of the emerging punk scene. Richman's witty lyrics and stripped-down sound make Modern Lovers a seminal work, influencing generations of indie and punk musicians. The album stands as a testament to the band's pioneering role in shaping the landscape of alternative music.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RAD 8004CV-LP
|
Formed in London in 1977 by Mark Perry and Alex Fergusson, then editors of the punk fanzine Sniffin' Glue, Alternative TV was a post-punk group known for incorporating reggae rhythms and pushing the boundaries of the definition of punk toward the experimental and avant-garde. Their first album, The Image Has Cracked, came out originally in 1978 and is a wholly unique piece of British post-punk. Beloved by John Peel, and close confidantes of Throbbing Gristle, Alternative TV is one of the most original and beguiling groups of the era. Printed on red color vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 159B-LP
|
Black vinyl version. In the history of punk, the Sex Pistols reign supreme; the anarchic quartet changed the history of popular culture forever with their caustic rupture of rock, a mixture of shock and awe that gave two fingers to the establishment, kick-starting a musical revolution. Released a few months before their Never Mind The Bollocks debut, Spunk is a revelation, raw demos cut in late '76 and early '77 by producer Dave Goodman, with Glen Matlock's bass far more melodic than what Sid Vicious cut on Bollocks; this edition has bonus demos of "Anarchy" and "Pretty Vacant" cut at Denmark Street, as well as an unedited "No Fun."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 244LP
|
Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favored football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins' The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of "One Law for Them," dropped in amongst the Radio and blistering Bumper Sessions with "Evil" sitting squarely in its unpolished center is the ska-inflected gallop of "Seems To Me," an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 244CV-LP
|
Red color vinyl version. Containing the hits that were only deemed misses by the critics that condemned Oi! as some kind of subcultural fad that favored football and violence way above the bloody good tunes that should by rights occupy the higher rank, 4 Skins' The Unreleased Radio & Studio Sessions encapsulates that energy at its finest. From formidable swarms of police brutality and political injustice, the underlying (and unyielding) socio-political messages experienced from the streets that resonated with every estranged clockwork skinhead of the day are bound to be ticked on every track. After the atmospheric crash of "One Law for Them," dropped in amongst the Radio and blistering Bumper Sessions with "Evil" sitting squarely in its unpolished center is the ska-inflected gallop of "Seems To Me," an unreleased tune reinforcing the notion that there was more to Oi! than meets the laces.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 155B-LP
|
Despite strong followings in Holland and Norway, where keyboardist Casino Steel hailed from, London power-pop pioneers the Boys never achieved the British breakthrough they were due, and after three albums failed to chart, Steel quit, making more space for the twin-guitar attack of Matt Dangerfield and frontman Honest John Plain. Final album Boys Only held echoes of the Ronettes' riveting harmonies, the rock excess of Johnny Thunders, and punky pop of the Ramones, "Miss You" a country punk salute to John Wayne and "Weekend" belatedly acknowledged as an edgy pop masterpiece. In short, a great Boys swansong!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RRS 238LP
|
Either intentionally or unwittingly this is a band experimenting with extremes. Formed in 1985 when Thatcherism swooped over England and scalped the North East, Hellbastard admit to being "too metal for punk, too punk for metal," instead coining the term "crust" as a way to feel at peace within themselves whilst simultaneously starting a sonic war that shocked the nerves into spools of frayed tape. With Malcolm "Scruff" Lewty on guitar and vocals, Ian "Scotty" Scott on bass and vocals and Phil Laidlow on drums, it was all captured with their classic Ripper Demo debut release in 86'. But really, it's all encapsulated right here with this reissue, also containing the follow-up demolition from '87 -- Hate Militia. Both are perfect ways to establish the nightmarish worlds, of death camps and dark sides, that wildly writhe within his group's menacing worldview.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
RRS 238CV-LP
|
Color vinyl version. Either intentionally or unwittingly this is a band experimenting with extremes. Formed in 1985 when Thatcherism swooped over England and scalped the North East, Hellbastard admit to being "too metal for punk, too punk for metal," instead coining the term "crust" as a way to feel at peace within themselves whilst simultaneously starting a sonic war that shocked the nerves into spools of frayed tape. With Malcolm "Scruff" Lewty on guitar and vocals, Ian "Scotty" Scott on bass and vocals and Phil Laidlow on drums, it was all captured with their classic Ripper Demo debut release in 86'. But really, it's all encapsulated right here with this reissue, also containing the follow-up demolition from '87 -- Hate Militia. Both are perfect ways to establish the nightmarish worlds, of death camps and dark sides, that wildly writhe within his group's menacing worldview.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 219LP
|
Anarcho-punks and animal rights activists Exit-Stance emerged from the anonymous new town of Milton Keynes, coming together in 1982 from the ashes of hardcore act Fuck Authority. Early gigs which featured disturbing anti-religious images displayed behind the group saw them banned from many a venue, but once Colin Jerwood of Conflict got in touch, they decamped to the studio to cut the blistering EP While Backs Are Turned..., speaking out against animal testing and the perils of meat market slaughterhouses, as well as negative aspects of Christian domination. A unique slice of early '80s UK punk anarchy -- get it now!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 219CV-LP
|
White color vinyl. Anarcho-punks and animal rights activists Exit-Stance emerged from the anonymous new town of Milton Keynes, coming together in 1982 from the ashes of hardcore act Fuck Authority. Early gigs which featured disturbing anti-religious images displayed behind the group saw them banned from many a venue, but once Colin Jerwood of Conflict got in touch, they decamped to the studio to cut the blistering EP While Backs Are Turned..., speaking out against animal testing and the perils of meat market slaughterhouses, as well as negative aspects of Christian domination. A unique slice of early '80s UK punk anarchy -- get it now!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 018CV-LP
|
Color Vinyl LP. e-editor and label-manager whose role in the skinhead scene over the past 25 years has been somewhat crucial. Influenced by early reggae and '82-era UK Oi! and punk, but following in the tracks of Italian skinhead pioneers NABAT and Rough (90% of their songs are typically sung in Italian), Klasse Kriminale's career has been long and scattered with success. Originally released on the New Rose sublabel "Division Nada" (run by Berurier Noir's singer Francois), and long out of print, it was about time that their classic Faccia A Faccia from 1991 was available on vinyl again, with its original and extremely distinctive Alteau artwork and 3 bonus tracks! Printed inner sleeve. Poster included.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 001CV-LP
|
Released 20 years ago yet still retaining much of its Oi! impact intact, the debut album and last before a split that would last a number of years by No Future luminaries, Sunderland's Red Alert is a lesser-known classic in punk history. The locomotive chug and chant of unification in "We've Got The Power," the metallic burn of "Crisis," the acoustic-driven, kitchen-sink bristle of "Industrial Slide" or the caustic, hypnotic stomp of "Rebels in Society" exploding with fierce, powder keg intensity. With that in mind, and now pressed on color vinyl, as a prescient feature of not just English culture, but a culture that cuts deep, that stretches far, the art of brutality still lingers loud and clear. Double-sided lyrics insert included.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 138LP
|
Reissue, originally released in 1989. Full "UK-82"-styled live action from The Exploited. Recorded at the peak of their power between 1981 and 1985 in Leeds, Glasgow, Hamburg, Liubliana, and New York City. New, revised artwork featuring an exclusive photo by Alison Braun. Original liner notes by Gary Fielding.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7032CS
|
Visionary no wave legend Teenage Jesus and The Jerks created a confrontational sound, with a shifting line-up as a platform for Lydia Lunch's shouted vocal shocks, accompanied by her jagged guitar noise, non-melodic bass, and minimalist drums. This must-have live anthology is culled from six performances undertaken during their heyday, these atonal, in-your-face blasts somehow even more caustic than their studio work, rendering an aural assault not for the fainthearted. Benefitting from the presence of James Chance on select numbers, this uncompromising collection of staccato eruptions will get right up your nose -- a must for all Jerks fans.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7031CS
|
During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch's shouted lyrics matched by her non-conventional use of electric guitar. The group's self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it's an awesome disc that rebuffs punk's easy cliches and refuses to be categorized. This reissue also includes the "Pre" EP and the tracks from the legendary No New York compilation. Essential!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 216B-LP
|
During the late 1970s, after No Wave pioneer Lydia Lunch met saxophonist James Chance, she began setting her angry and disjointed poetry to anti-music, founding her ground-breaking band Teenage Jesus and The Jerks with Lunch's shouted lyrics matched by her non-conventional use of electric guitar. The group's self-titled debut EP is a fast and furious affair, produced by Robert Quine of the Voidoids/Lou Reed, with future Nick Cave drummer Jim Sclavunos on bass and Bradley Field on minimalist percussion; steeped in aggression and audacity, it's an awesome disc that rebuffs punk's easy cliches and refuses to be categorized. This black vinyl reissue also includes the Pre EP and the tracks from the legendary No New York compilation. Essential!
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RRS 245LP
|
Hailing from Adelaide, South Australia in 1985, the "debut" full-length by Where's the Pope? established the band as a bridge between greasy, hardcore punk thrills and manic thrash attacks. After a hiatus and a slight line-up change, Sunday Afternoon BBQs diverts from the typified, aural reference points in critical UK punk icons such as Disorder and Discharge but sees the band refined as they carve out a passage soaked entirely in their own electric stink. This is a record rejoicing in the lore of beery adolescents on the edge of the city streets with the dark, frenetic menace of "Geek Attack," or the tumultuous sludge of "Tourist Dream" insurmountably evidential in just how profoundly important the band was to the Australian circuit.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
Cassette
|
|
RADK 7033CS
|
After the demise of Teenage Jesus and the Jerks, Lydia Lunch launched her solo career with Queen Of Siam, arguably her greatest LP. In true no wave style, the album is a mishmash of irritants, but her palette is far broader here, lurching from slow dirges, excessive feminist exhortations, and raucous personal purges to a touch of disco and lounge music exoticism, as conjured by Voidoids/Lou Reed guitarist Robert Quine, Contortions bassist Jack Ruby, and John Cale's drummer, Douglas Browne. Spirited, surprisingly broad and defiantly dissonant, Queen Of Siam's dense layers were designed to provoke and inflame; listen closely to fully decode.
|