This Weeks New Arrivals – April 9th


We have gotten in a ton of great records recently.  Heres a few were extra excited about!!!


BLAZING EYE – Brain/Lonely Corpse 7″
LA’s BLAZING EYE return with two new tracks of devilish hardcore punk in the vein of MOBS or ZOUO.  The Japanese hardcore influence is prevalent on “Brain”  which has an infectious guitar riff- vocal scream dynamic punctuated by a perfect Bristol Beat which will have you screaming like a bloody mess without you even noticing. “Lonely Corpse” on the flip has a stomp dirgy beat perfect to dance like a worm on a devastated city ran by cyborgs. A perfect punk single with two really catchy and memorable songs which show BLAZING EYE at the top of their game.  (La Vida Es Un Mus #114)


Hank Wood and the Hammerheads, their third LP, finds the NYC band entering new territory, harnessing the innate grooves that runs through their songs and drawing them kicking and screaming into a whole cacophonous symphony. A more dynamic catchiness is at work on this album, utilizing tense moments of softness and sorrow to build up into their most  powerful work yet.Recorded by Ben Greenberg and mastered by Josh Bonati. All artwork done by Sam Ryser and hand screen printed in NYC.  (Toxic State Records #30)


URANIUM CLUB – Live at Arci Taun LP

“Nothing like a carb-load Italian pre-show feast and table wine to grease the gears of some live action in Fidenza, Italy. A land-locked classico right where you would pinch to hike up the boot. A club packed tight with handsome men and women abused by sonic marauders. “Have you seen Uranium Club live? No? Drop everything. They are complete-package slayers. Watch-works drummer power, shred-haired bass magic (glasses flying), ripped twin guitar flexing on nerd beach, vocals poured through the skylight into your e-holes and over your thought center, sunglasses all around: fucking hypno-wheel. “Tough, smart, and wiry, midwest exploded all over the globe. Minneapolis, a city known for producing the best, has taken no nap on these young men: the driest tone, the snappiest hooks. They are simply great and this recording captures a particularly good night. They shred ‘til everyone’s dead, including a nine-minute jam, god help us. “Here’s something to make you feel good about the world, to know that we have extended a strong art-handshake to our brothers and sisters in Italy. Vivia l’italia! Ciao, bella.” —John Dwyer

TOTEN – Dreary Proximity LP
In 1987, following a brief stint in the nascent death metal band Revenant, Paul Ledney founded Toten, a band whose two recordings count among the very first examples of black metal to have originated in the United States. Mostly overlooked in favor of Profanatica, the notorious cult that later arose from its predecessor’s ashes and also bears Ledney’s cursed birthmark, Toten’s “Misery” (1987) and “Macabre” (1988) demos arguably follow only Goatlord’s “Demo ‘87” as the earliest U.S. black metal releases. In order to highlight the importance of Toten’s role in shaping the eventual development of the most blasphemous forms of black metal, NWN! is pleased to now offer both demos in their own right on twelve-inch vinyl format under the collective title “Dreary Proximity.”  (Nuclear War Now Records #375)


Repress for this absolute masterpiece of blackened thick tar droning Sludge cvlt.  Re-mastered from the original 1995 tapes.  Pressed at 45rpm for maximum power.  Artwork composed with original war photographies from Masahiko “Solmania” Ohno.  Housed in a laminated gatefold sleeve, including a fold-out A2 poster.  With this debut recording, Corrupted expanded both sound/tuning and timing to the extreme. Often imitated, few times matched.  Sludge / Doom / Drone. Limited to 400 copies

worldwide.  (Throne Records #76)

PMS 84 – Easy Way LP  (Scene Support version)
Debut LP by Portland, OR punks PMS 84.  Formed in early 2014, featuring members of Vivid Sekt, MoraL, Lifeform, Koward, Petite etc.  Eight tracks of Oi! and UK82 influenced hardcore punk with nods to bands like the Partisans, Ultra Violent, and early Blitz. With super catchy guitar leads, bass breaks, and squealing guitar feedback this is a perfectly-executed punk full-length by a band with some of the most airtight songwriting you’ll find.  This album is hard hitting, it combines hardcore and Oi! and it takes no prisoners.  The absolute best UK82 going right now.  Scene Support version on colored vinyl with an additional, limited Scene Support version screened cover over the original.  (Black Water Records #68)


SNOB – s/t LP
SNOB has snarled around the local London scene since 2014, leaving a trail of two self-released 7 inches and adulation in their wake. It’s now the year 2018, and SNOB finally bring us their fully fledged follow up of tense hardcore punk that’s characterised by frantic snotty dictation, agitated guitar lines and pummelling rhythms. The ten songs on the self-titled 12” are filled with disparities – sneering hi-energy, sentient meat and potato, adroit silliness, agitated apathy – creating a bleak and angry sonic force. The whip-smart whip-short lyrics are almost a poetry-to-arms that rails against all of the absurdities of modern living. To these ears, SNOB is like if you left YouTube tabs of ICONS OF FILTH, PENI, NOG WATT and JETSET/ BLOEBAD all playing at once, and it somehow sounded wonderful.  The LP comes in a heavy board sleeve designed by the exiled Ben Fordree while on the run in Australia and includes a lyric sheet to help you sing along to modern classics like Doctor Dildo, Lycra Daddy or Punisher.  (La Vida Es Un Mus #160)


CAVEMEN – Nuke Earth LP

New Zealand’s THE CAVEMEN are back, ready to drink, fight, fuck and play some goddamn rock and roll! Nuke Earth is their third footlong rekkid and it’s pure, primitive motherfuckin’ GARAGE PUNK like you lust after every night when you’re licking your sexiest leather record jackets, or ‘77 punk steeped in a moldy stack of bootleg Motörhead outtake LPs. The ‘Men have gone batshit crazy, and they’re in full-on attack mode here with 13 tracks of panty dropping chaos guaranteed to land you in jail faster than you can crack one off in a grindhouse showing an “Ilsa” film. Rock’n’roll is here to stay, and it’ll always be for the crazy kids… like it or lump it!



If your knowledge of hard-rockin’, all-female bands from the late ‘70s is limited to The Runaways, friend, it is time to broaden your horizons and cast your eyes across the pond to the British rock institution that is GIRLSCHOOL. Closely associated with fellow New Wave of British Heavy Metal legends Motörhead (with whom they shared the hit single “Please Don’t Touch” found here), Girlschool is still kickin’ out the jams 40 years later with three (KIM MCAULIFFE, ENID WILLIAMS and DENISE DUFORT) of the four original members of the band. And here, collected all their classic early singles, including their first one, “Take It All Away,” for the City Records label, followed by all those fantastic Bronze-label sides featuring hits like “Race with the Devil,” “Hit and Run,” “C’Mon Let’s Go,” and “Wildlife.” Pressed on orange vinyl in an edition of 700 copies and housed in gatefold jackets with liner notes by MARK “CAPTAIN OI” BRENNAN.



In 2018, Guided By Voices will release precisely one new album, Space Gun. Once you hear it, you will know why. With a renowned work ethic and a daily pot of coffee, Robert Pollard continues to outclass younger generations of come-and-go rock bands. After 20+ years, 100+ albums, 2000+ songs, Pollard still can’t really explain (or doesn’t want to explain) his secret: “The songs just come to me.” In 2017, the new GBV line-up (veterans Doug Gillard and Kevin March and newcomers Mark Shue and Bobby Bare Jr) blew audiences away and toured behind the ambitious and sprawling multi-vocalist double album August By Cake, followed just months later by the concise punchy and catchy How Do You Spell Heaven. Pollard has acknowledged that this line-up’s adroit talents pushes him to more daring and dizzying heights. The band will be touring throughout 2018. And now, here it comes: Space Gun, the fullest realization yet of Pollard’s song talents, with the band firing on all cylinders. There’s humor and whimsical childlike musings, cinematic grace and elegance, heavy duty propulsion, dark futuristic undercurrents, twists and turns and kinetic magic. This is a band that turns on a dime, rips it up, psychs it out and can radically shape-shift to realize a three-act rock opera in 2 minutes and 48 seconds. Robert Pollard is a lyrical master; not a word out of place, every line bristling with surprise, telling a story that’s both irresistible and impossible. Invention and imagination remain the undiminished life-forces of a Guided By Voices record and this one absolutely crackles with this energy: this band is on fire.


LAWRENCE ARMS – We Are the Champions of the World LP

Culled From the band’s entire discography, which includes their releases on Asian Man Records, Epitaph Records, and FAT, We Are The Champions Of The World serves as both a retrospective and an introduction to the Chicago institution. The track list was handpicked by the band bassist / vocalist BRENDAN KELLY, guitarist / vocalist CHRIS MCCAUGHAN, and drummer NEIL HENNESSY in order to show how these three friends went from making gritty, lo-fi records to becoming some of the sharpest songwriters in all of punk. In addition to the monumental track list, all the liner notes were written by Kelly and McCaughan. They both reflect on how each song came to be, sharing anecdotes about what inspired them to put pen to paper, without explicitly detailing what the songs are about. The result is a fun glimpse into the band’s creative process, that preserves the mythology built up by fans over the years. Finally, the track list boasts a little something new for even the most seasoned fans of THE LAWRENCE ARMS, with 5 previously unreleased and super rare songs. In all, We Are The Champions Of The World serves as the perfect collection for newcomers and longtime fanatics alike.



For the first time on vinyl, here it is this astonishing performance from 1993 where LYDIA LUNCH and ROWLAND S. HOWARD exposed the intensity and most extreme sound as well as their perfect harmony and fraternity. The band includes JIM SCLAVUNOS (SONIC YOUTH, THE CRAMPS, NICK CAVE AND THE BAD SEEDS, et al.) and HARRY HOWARD (THESE IMMORTAL SOULS). An absolutely necessary recording for all fans of these magnificent artists. Released under license from WidowSpeak Productions. Edition of 500.


NO BABIES – Someone to Watch Over LP

Someone to Watch Over Me follows on from the NO BABIES’ debut LP of 2011 and its successive fleet of empowering/imploding 7″s and EPs. VICTORIA M. RUIZ (DOWNTOWN BOYS) provides backup vocals on “The Weight” and “Internalized,” whilst “Hazia” features a quote from Ursula K. Le Guin’s The Farthest Shore (1972). 180-gram, blue/red marbled vinyl; Reverse board sleeve; Includes lyric insert and download card; Edition of 500.  “Oakland, CA’s No Babies return with their second LP, another furiously ecstatic exploration of the overlapping margins of punk, hardcore, and no wave. The pieces we’ve come to expect are all here: Jasmine Watson’s invectives against capitalism, binaries, police; Ricky Martyr’s inimitable and always surprising stop-start guitar; horns of all stripes breaking through the noise (Misha Poleschuck on tenor sax, clarinet); a nimble and powerful jazz-influenced rhythm section (Laura DeVeber on bass, Sean Nieveson drums). Their particular brand of composed/improvised noise/music has never been chaos at all (they’ve always known exactly what they’re doing), and this time around the band seems more at one than ever, aided by the crispness and brightness of Jack Shirley’s able production. These are walls of sound, something like a runaway train, or a writhing sea serpent, and we are along for the ride. This is music that feels necessary. These are songs that sound vital to survival. We must play them or we will explode. We must play them in order to explode. California in 2018 is a place that feels difficult to survive in. Our friends and neighbors are murdered by the state and its negligence; our homes could crumble or be stolen from us at a moment’s notice; capital is bearing down in new and even more unimaginably cruel ways. The land itself is telling us that we shouldn’t be here: fire, mudslides, earthquakes. Someone to Watch Over Me is a reminder of the twin powers of sorrow and strength, noise and melody, anger and joy. ‘Joy/ Joy/ Joy/ Joy/ Joy/ Joy/ Joy/ Joy’ Watson screams at the end of the album-closing titular song. Joy may be the only way out of this fresh hell — No Babies make joyful noise and for that we should all be grateful.”—Grace Ambrose


PHYSIQUE – Punk Life is Shit LP

By now people know that most of the music coming out of Olympia WA is important in some way, be it artistically or politically. PHYSIQUE manages to hit both points by channeling the classic Discharge / Kawakami (RIP) model of poetic, simplistic sloganeering and carefully crafted, noise fueled D-Beat punk music. Punk Life Is Shit exists to fight the nightmarish reality of inept politicians, capitalism, colonialism, gender struggles, Jesus useless Christ and impending nuclear war that we all live in. Eight songs pressed on 500 copies of 140-gram black vinyl with an etched B-side, 22×22 double-sided poster and digital download card all housed in a 24-pt reverse board jacket.


WONDER YEARS – Sister Cities LP

Philadelphia natives The Wonder Years return with their new studio album Sister Cities, a collection of testimonials on love, loss, and finding commonalities in the human experience despite cultural differences. Produced by Joe Chiccarelli (Manchester Orchestra, Morrissey, The Strokes), the album expands on the band’s unique brand of emotional rock that has gained them a massive cult following since their start in 2007.