Back catalogue:

Review: Before the release of their highly anticipated new full-length, 'Please Don't Take Me Back'; set to drop this October, Durham City's favourite emo/pop-punk outfit, Martha, offer a taster of what's to come with this 7" single, featuring the upcoming LP's opening cut, 'Beat, Perpetual'. While a sonically light-hearted yet earnest ode to the road and world of touring, the lyrics weigh up the isolated nature of the past two years that completely changed the core members working dynamic and livelihoods, while the b-side boasts a rapturous cover of 'Dreaming Out Loud', by Wisconsin indie group Tenement. A short sweet single to wet beaks and fan anticipation before the real deal arrives come autumn.

Review: In January 1983, Minor Threat went into Inner Ear Studio for the first time as a five-piece (Brian Baker had moved from bass to second guitar and Steve Hansgen was now playing bass). They had six new songs that would end up being the centerpiece of what became the 'Out Of Step' 12" EP. The band had also decided to re-record the song 'Out Of Step' with some extra language to try to clarify the lyrics, as well as 'Cashing In', a tongue-in-cheek song about the DC punk scene which they had only played live once. After much debate, 'Cashing In' was added as a hidden track on the original vinyl release, though not listed on the cover or label. There was still blank tape on the reel, so they decided to record an instrumental with the working title, 'Addams Family' and then recorded new versions of 'In My Eyes' and 'Filler' to hear what they sounded like with two guitars. 'Addams Family' ended up being used as a coda to 'Cashing In', but the other two songs were never mixed and largely forgotten for over 35 years until the multitrack tapes were taken into the studio to be digitised in 2021. Surprised by the discovery, Ian and Don Zientara mixed the two songs along with the complete take of 'Addams Family'. These outtakes are now released on a 7" to mark the 40th anniversary of the release of 'Out Of Step'.

Review: Founded in 1977 in New Jersey, The Misfits are regularly cited as progenitors of horror punk. Whether you have examples of bands that set the tone for that sub-genre earlier is, of course, another point entirely. Nevertheless, the outfit, which are still going today, laid down a blueprint for a take on punk that was at once rowdy and gnarly, but also conceptual and artistic.

Not that you really need to focus on those aspects when listening to the raucous and frenetic 'Horror Business'. If you prefer, it's just as easy to centre on the shout-y chorus and relentless riff that carry the track to its cacophonous conclusion. Also included here is the runaway train-ride of 'Teenagers From Mars', and equally uncompromising 'Children in Heat'. A masterclass of why louder is often better.

Review: Originally released at the dawn of the new millennium in the 2000th year of our Lord, The 'Miracle Of Shame' was an EP from Berkley, California 80s pop-punk legends The Mr T Experience. Their only project to feature bassist Gabe Meline as an official member following his studio contributions to the preceding years' full-length Alcatraz (their final work with Joel Reader handling bass duties), the credits also cite Erik Noyes on Hammond organ as an official member, as he'd previously recorded with the band on 1997's Revenge Is Sweet & So Are You as well as Alcatraz but had never been considered an official member. Reissued on a 1-sided etched green vinyl 12" (like any true punk EP should be), the material gives the almost guaranteed nod to The Ramones they've become known for (on 'Mr. Ramones'), while the beautifully titled closer 'I Don't Know Where Dan Treacy Lives' is easily one of the greatest punk song titles of the 21st century. No, we will not back that up.

Review: Rock dynamo Machine Gun Kelly has been busy of late. After a well received album in 2020 he is now back with another one, Mainstream Sellout, which is his sixth in all and is full of just as many big riffs. As always these are short put potent tunes and this is the second collaborative record he has made with drummer and producer Travis Barker. The record has plenty of pent up angst that fans old and new will feed off and plenty of entertainig lyrics.

Review: Philadelphia based emo-tinged indie-punk outfit Mannequin Pussy return with their highly anticipated fourth full-length I Got Heaven. Following on from 2019's critically acclaimed Will Yip-produced Patience, and the 2021 Perfect companion EP, the band have linked up with The Paper Chase's John Congleton (Future Islands, This Will Destroy You, Thrice) to craft their most sonically sprawling yet definitive statement to date. Leaning further than ever into their dream-pop meanderings and shoegazing machinations, whilst simultaneously increasing the fuzz, levelling up the gain and distorting their aggressive edges to nigh-on noise-pop-punk territory, the LP appears set to cement Mannequin Pussy as one of the quintessential voices of the modern emo/indie/alt rock wave.

Review: The duo of Therese Lanz and Casey Rogers, better known as Mares Of Thrace, deal in a ferocious, bruising blend of sludge-laden crusty noise-rock and hardcore punk. Their latest EP/mini-LP/opus, 'The Exile', limps a barefoot trudge over broken glass with violent, cacophonous results. Take the thunderous malevolence of 'Mortal Quarry' or the doomgazing of catastrophic closer, 'The Thread That Will Unravel You', as punishing examples of the unkempt vehement potential seeping its way out of the true north (that's what the Canadians like to call it).

Review: Cardiff noise-rock legends Mclusky make their long-awaited return with the highly anticipated The World Is Still Here & So Are We. Serving as their fourth full-length and first since 2004's The Difference Between Me & You Is That I'm Not On Fire, the album comes following numerous sparse reunion shows and tours since their initial disbandment two decades prior. First revealed through the release of the Unpopular Parts Of A Pig EP during the latter half of 2023, which would mark their first newly recorded output in 19 years, both the title-track as well as 'The Digger You Deep' were said to be the first tastes of their fourth LP, now making good on that promise with a release set for distribution via Ipecac Recordings, the label of musical absurdist Mike Patton (Faith No More, Mr. Bungle). Having worked in the past with the late, great Steve Albini, even opening for Shellac one fateful evening in London's Scala, the iconic noise-merchants seemingly haven't lost an iota of their bite or shitheaded cynicism during their time away, evidenced as such as in the blistering lead single 'Way Of The Exploding Dickhead'.

Review: Welsh noise-rock royalty Mclusky make their decrepit return on their majorly anticipated fourth album The World Is Still Here & So Are We, marking their first full-length in over two decades, following on from 2004's The Difference Between Me & You Is That I'm Not On Fire. While the Cardiff legends have reformed for brief reunion runs in the past, this time they seriously mean it, revealing their first taste of new material in 19 years through their 2023 EP Unpopular Parts Of A Pig, with the title-track and 'The Digger You Deep' both announced to be featured on their (at the time) as-of-yet unannounced comeback record. Arriving courtesy of Ipecac Recordings, the outsider-rock label ran by vocal absurdist Mike Patton (Faith No More, Tomahawk, Mr. Bungle) and working in the past with the late, great Steve Albini, with the band even supporting for Shellac one fateful night in London's Scala, the chaotic noise-merchants haven't lost one tooth of their bite or snarky cynicism during their long respite, made abundantly clear on blistering lead single 'Way Of The Exploding Dickhead'.

Review: Punk rock absurdist cover-band supergroup Me First & The Gimme Gimmes have gone through a myriad of contributors during their tenure, with the current iteration featuring members of Lagwagon, Swingin' Utters, RKL and at times Fat Mike himself of NOFX, though his input can be infrequent and sporadic. While not as prolific or committed to the bit as they were in their late 90s/early 00s heyday, the band are still known to regroup under typically oddball circumstances when the world requires they do so. Following on from their last live album being recorded at a bar mitzvah, fan speculation was rife when little details emerged in summer of 2023 of the collective performing at a QuinceaNera in Las Vegas, and for good reason as almost a full year later, Me First & The Gimme Gimmes Blow it ... At Madison's QuinceaNera was finally announced. Boasting a ludicrously banging rendition of Abba's 'Dancing Queen' to reintroduce themselves, grab your Hawaiian shirt or equally colourful garb, and get ready to boogie on down to another batch of pop anthems reimagined by some of the greatest punk veterans in the scene...at a QuinceaNera!?!

Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***


Beginning life in the late 70s as a Leeds based art collective, The Mekons have gone on to become one of the longest-running, most prolific and sonically diverse acts to be considered part of the first wave of British punk. Spanning numerous decades, projects and literal continents, the sprawling array of visionary contributors return with the succinctly titled Horror; a work written towards the end of 2022 that showcases their expansive yet solely unique approach, drawing on elements of dub, country, harsh noise, rock & roll, electronica, punk, music hall, polka and even waltz. Myriad vocalists lead differing sonic journeys such as the Jon Langford-led 'Mudcrawlers' telling the story of the Irish famine and subsequent refugees traversing to Wales, whereas Rico Bell leads the charge on the harrowing folk-horror climate change breakdown 'Fallen Leaves', with swelling violins painting an aural tapestry akin to Rolling Thunder era Dylan sitting on a dimly lit rolling green hill accompanied by The Pogues. Ranking somewhere between the collective's 23rd to 25th album (depending on which member of the fanbase or artists themselves you ask), Horror marks their first work for Fire Records.

Review: The long-awaited ninth full-length from legendary Japanese noise-rock duo Melt-Banana comes over a full decade on from 2013's exceptionally bizarre Fetch, marking their longest gap between albums yet. Known for combining the yelping, yapping, unhinged yet endearing vocals of Yasuko Onuki and the cybergrind guitar manipulations of the virtuosic Ichiro Agata, the pair expertly craft a schizoid car crash of genres, styles and sounds that would simply refuse to coalesce in lesser artists hands. Sugary bubblegum pop-punk is dropkicked by grindcore powerviolence, while industrial harsh noise engulfs hyperpop hooks before suffocating the debris in death metal malevolence. If this sounds horrible, impossible and bewildering, it only means two things: 1. You are sane. 2. You need to get some Melt-Banana into you. What better way to make sense of the chaos than by starting with the highly anticipated 3+5, then working backwards?

Review: Proto-grunge/sludge metal band Melvins laid down six compelling songs on their fourth album. Lice-All was a cohesive, tightly woven trip made up of three original tunes and three fine covers. Two of them were originally written by the man, the legend, Alice Cooper, and one is by nose rock gang Flipper. The record is said to have influenced bands such as Sunn O))) and Sleep over the years because of the way it layer sup heavy, droning guitars. First release back in 1992 and something of a cult classics, this reissue comes on red wax. Back then, the album was known as a set titled LP, but also under the name Lysol.

Review: Jazz and punk's best legacies fuse together with this latest collaborative release between The Messthetics and James Brandon. Brandon is a jazz saxophonist and contemporary virtuoso from New York; meanwhile, the Messthetics consist of former Fugazi members - bassist Joe Lally and drummer Brendan Canty with guitarist Anthony Pirog. Continuing the latter's pegging as a 'jazz punk jam', the focus here is on Brandon's novel sax playing, lent to the Messthetics' cathartic, ultimate punk-riffing focus. All is instrumental, as signalled on the lead single 'Emergence', which finds pure enjoyment in variation around a singular four-by-four bass loop. In the saxophonist's own words: "The Messthetics are friends at this point and collaborating with them over the years has now brought us to another high point of musical bonding and purely unapologetic energy!"

Review: The Minneapolis Uranium Club Band's Infants Under The Bulb album is an engaging journey through unbridled punk creativity and raw guitar energy. Released amidst their hometown's vibrant underground scene, the album defies categorisation in the way it blends elements of punk, post-punk and experimental rock. With relentless rhythms, angular guitar riffs and cryptic lyrics, each track unfolds in heavy and arresting fashion and the band's unconventional approach and uncompromising attitude challenge listeners to embrace the unconventional throughout this most visceral of albums.

Review: One of the most vital hardcore punk releases ever committed to record, the self-titled Minor Threat compilation took the band's first two EPs, the original self-titled and 'In My Eyes', released in June and December of 1981, respectively, and collated them into a visceral work that has only grown more essential with time. Before expanding his sonic palette and abilities with Fugazi, a younger, more disillusioned Ian MacKaye led a cathartic barrage of hyper-intense, exceptionally brief pieces that reimagined punk at its most direct and extreme values. With the iconic cover of younger, exhausted MacKaye brother Alec (now of Hammered Hulls, formerly Untouchables, The Faith), hunched over despondently, and recreated by everyone from the likes of Rancid to even Nike (yes, that Nike), it goes without saying that the name Minor Threat, the singular image, and even the inadvertent push of the straight edge message due to the track of the same moniker, are all integral, historic pieces of the hardcore punk blueprint and subsequent memorabilia.

Review: Originally Glenn Danzig and co’s horror-themed punk band, the Misfits, reissue their second record, Earth A.D. / Wolfs Blood. First released in December 1983, this howling punk nocturne was actually the last to feature Danzig on vocals, who issued the record on his Plan 9 label only two months after his last concert with the band, meaning this record would’ve coincided with his ultimate split from them. With just nine tracks of tearout harcore horror punk, including ‘Queen Wasp’, ‘Devilock’, ‘Demonomania’, ‘We Bite’ and - wait for it - ‘Bloodfeast’ (but sadly lacking the former cassette exclusive 'Mommy, Can I Go Out And Kill Tonight?’) this original label reissue stays true to the vinyl version’s tracklist while delivering us one raised heck of a fright.

Review: In 1993, as grunge dominated the airwaves, the Muffs emerged as a refreshing alternative. Formed by Kim Shattuck and Melanie Vammen, both formerly of the Pandoras, along with Ronnie Barnett and Criss Crass, the Muffs brought a lively energy that contrasted sharply with the era's grunge monotony. Shattuck's vocals, oscillating between sweetness and a snarling, almost wolf-like howl, became the band's defining feature. Their debut album, produced by Rob Cavallo - later known for Green Day's success - delivered a crisp, beefy sound perfect for their pop-punk style. From the opening chords of 'Lucky Guy,' it was evident that Cavallo had nailed the production, emphasising the right amount of treble in the guitars. Drawing inspiration from the Ramones but infusing it with their unique twist, the Muffs crafted an array of catchy, acerbic songs. Shattuck's biting lyrics and dynamic voice paired seamlessly with the pop-punk melodies. Tracks like 'Big Mouth' and the joint vocal piece 'Stupid Jerk' highlighted their knack for direct, memorable music. The album also featured diverse influences, from the Beatles-esque 'Another Day' to the garage-tinged 'I Need You.' The reissue of this album includes a bonus disc of demos and unreleased tracks, making it a special treat for fans. Thirty years on, the Muffs' debut remains vibrant and fun.

Review: The Irish music scene has rarely been in such rude and varied health. From Galway to Dublin in the South, up to Belfast and Derry in the North, Great Britain's smaller and - arguably - greener little sibling is making a lot of interesting noises right now. Each seems to be as captivating as the next, although few tear out of the starting blocks with anything like the intensity and energy, anger and tumultuous emotion as The Murder Capital. Blindness is album number three, following on from a debut that hit number two in the Irish charts and 18 in the UK, and a second - Gigi's Recovery - that achieved the number one spot in the group's homeland and 16 in the UK. We'd be shocked if part tres didn't do better. Always immediate and packed with personality, we finally hear the culmination of those preceding years. From post punk chug distorted through the fizz and crackle of humanity, though quieter moments deliver even more devastating blows, shades of everyone from The Killers (at their creative peak) to The Watchmen, Pixies, PJ Harvey, Savages and Idles ring crystal clear.

Review: The Murder Capital sit at the forefront of a new wave of indie that's sprung up out of the Dublin scene after Gilla Band smashed the door down. The band are no longer Dublin-based, but spread out across Ireland, London and Berlin. They grouped together, though, for the recording of their third album in LA, steered by wise Grammy-winning producer John Congleton. The album has this frenetic sensibility running through it and it's what makes them such a powerhouse live act. 'The Fall' is guttural, raw, widescreen and teeming with ambition; 'Words Lost Meaning' is dirtier and wouldn't be amiss in The Kills' set with its sulky, fuzz-laden bass riff offering plenty of swagger. While 'Can't Pretend To Know' is more Nine Inch Nails with noisy tremolo picking on the guitar offering a grandiose backdrop for the charismatic lead vocal. They've leant into their mainstream aspirations here and sound ready to take on the world.

Review: The second album by Murphy's Law, the amusingly entitled Back With A Bong, was originally released in 1989 and is a pivotal work in the New York Hardcore scene. Founded in Astoria, Queens in 1983, Murphy's Law played a crucial role in shaping the sound and ethos of the city's hardcore scene not least with their early albums in the '80s which were instrumental in defining the genre. They have remained dedicated to their hardcore roots and fans throughout their career and lead singer Jimmy G has consistently stayed true to the scene, which has earned the band a place as one of NYHC's all-time favourites. This reissue of their greatest album only confirms that.

Review: Originally released in 2004 as their sophomore full-length, Three Cheers For Sweet Revenge would change both the career trajectory of New Jersey goth-punks My Chemical Romance whilst simultaneously turning the genre on its head with its unique fusion of macabre Misfits and Alkaline Trio worship married to the stadium-sized hooks and melodies of Blink-182 and Green Day. While it would be 2006's follow up The Black Parade that would turn the band to alt rock giants, it all started here with the iconic pop-punk banger and hit single 'I'm Not Okay (I Promise)', whilst later singles 'Helena' and 'The Ghost Of You' highlighted their expansive melding of emo, post-hardcore and punk rock, elevated by vocalist/lyricist/graphic novel illustrator Gerard Way's uniquely grim vision and Billy Borgan-esque vocal cadences. Certified Platinum less than a year after initial release, and selling 3 million copies in the US alone, this new deluxe edition features an entirely new remix plus four previously unreleased live recordings.