Back catalogue: Punk/Hardcore

Review: The second part of a series of essential early records by Texas's Butthole Surfers features three of their most unhinged releases: 1985's Cream Corn from the Socket of Davis, 1987's Locust Abortion Technician, and 1988's Hairway to Steven. These records capture the Butthole Surfers' evolution from Texan misfits to renowned provocateurs of the American underground scene. In 1985, they were the darlings of hallucinogen-fueled punk enthusiasts. By 1988, they had toured Europe, gained international recognition, and established a base in Driftwood, Texas. Cream Corn from the Socket of Davis offers a tantalizing glimpse into the Butthole Surfers' chaotic genius. Featuring two tracks from Rembrandt and two new recordings from their home studio in Winterville, Georgia, the EP showcases the band's unique blend of precision and madness. 'Moving to Florida' stands out as a surreal, Beefheart-esque trip, while the other tracks are equally mind-blowing. This EP serves as a perfect, bite-sized introduction to the delirious brilliance that the band would continue to unleash in their subsequent releases. These albums are remastered by Golden himself adding to the importance of these.

Review: Originally distributed through SST Records in 1986, I Against I served as the seminal third full-length from Washington D.C. hardcore punk legends Bad Brains and is still the band's highest selling album to date. Noted for branching far beyond the already expanded parameters of reggae-infused punk, and embracing elements of soul, funk and alternative metal, the album was a shock at the time to the devout fans who were spoiled by the refinement of their sound on Rock For Light, yet in the decades since, the LP has been cited as an integral influence by members of Cro-Mags, Sepultura, The Dillinger Escape Plan and Rage Against The Machine to name a small handful, while artists such as Machine Head, Jeff Buckley and Lamb Of God have even covered the iconic title-track. Newly remastered with updated artwork, this Punk Note edition is a vital collection piece for both newcomers and fanboys who've already spun their OG copy to death.

Review: The highest selling album from reggae-tinged hardcore punk pioneers Bad Brains arrived courtesy of SST Records in 1986, and marked the band's further decimation of genre parameters. Following on from the major success of their refined sophomore endeavour Rock For Light, which cherry-picked some of their preceding self-titled debut LP's strongest cuts to re-record under the tutelage of The Cars' late, great Ric Ocasek, by the time it came to enter the studio to lay down what would grow into the iconic I Against I, the band had begun to embrace more outsider influences from the realms of soul, r&b and even funk metal; all genres that would inform the sonic makeup of their third full-length. With the title-track covered from everyone from Jeff Buckley to Lamb Of God to Denzel Curry, the utter sonic fearlessness exuded throughout scoffed in the face of hardcore purists who lambasted the effort upon release, while its insidious influence can still be heard today from Rage Against The Machine all the way up to hardcore's modern day flag flyers Turnstile.

Review: Following the major success of 1983's seminal sophomore effort Rock For Light, in which reggae-hardcore heroes Bad Brains would work studiously under The Cars' Ric Ocasek, and even re-record some of their self-titled debut LP's strongest cuts such as 'Sailin' On' and 'Banned In D.C.'; the hard left turn of their now acclaimed third full-length I Against I initially shocked many a hardcore purists upon its initial 1986 release. Arriving courtesy of SST Records, the album showcased an even further disregard for genre or scene parameters than the band had exuded up to that point, absorbing elements of funk, soul, r&b and, most notably, alternative metal, with the material falling somewhere in line with the likes of Living Colour, yet a far scuzzier version. While early reception was somewhat maligned and controversial, with the band even back-peddling on 1989's Quickness, there's no denying the sprawling influence the record has had in the decades since, with covers of the title-track coming from Jeff Buckley to Denzel Curry, while its sonic presence can be heard all the way up to modern hardcore stalwarts such as Turnstile. Not to mention the iconic lore behind the vocals to 'Sacred Love' being recorded by H.R. over the phone from prison while serving time on a marijuana distribution charge. How can you get any more hardcore punk reggae than that?

Review: Bad Omens expand their sonic universe with this ambitious triple LP, an experimental companion to 'The Death of Peace of Mind'. Featuring reimagined tracks, interludes, and collaborations with artists like ERRA, Poppy, and HEALTH, this release ventures into bold new territory. 'C:\Projects\CJOST\BEATDEATH' sets an ominous tone, while 'V.A.N (feat. Poppy)' injects a dose of dark pop energy. The band explores their heavier side with 'Anything > Human (feat. ERRA)', and 'Nervous System (feat. iRis.EXE)' delves into electronic textures. Live versions of fan favourites and collaborations with the likes of Let's Eat Grandma add further depth to this expansive project. This is Bad Omens at their most ambitious and experimental, pushing the boundaries of their sound and captivating listeners with a truly immersive experience.

Review: Ill Communication, the Beastie Boys' fourth studio album, remains a hallmark of their creative versatility. Released in 1994, this groundbreaking record merges hip-hop with punk rock, jazz, and funk, marking a significant shift towards live instrumentationia progression from their previous album, Check Your Head. Co-produced by the Beasties and Mario C, the album showcases their talent for genre-blending, featuring iconic tracks like the explosive 'Sabotage,' the funky 'Get It Together' with Q-Tip, and the raw 'Do It' with Biz Markie. The album also includes jazzy breakbeat grooves such as 'Root Down' and 'The Scoop,' along with instrumental jazz-funk tracks like 'Ricky's Theme' and 'Sabrosa,' and even nods to their punk roots with 'Heart Attack Man.' With further contributions from Money Mark, Eric Bobo, and Amery 'AWOL' Smith, Ill Communication is a testament to the Beastie Boys' ability to innovate. Now available on cassette for the first time ever, it continues to resonate as one of the band's most diverse and celebrated works.

Review: Beastie Boys' classic 1994 album, Ill Communication, is getting a special deluxe edition reissue on vinyl to celebrate its 30th anniversary. The remastered 3xLP set resurrects a rare version initially released as a limited run in 2009 that includes 12 bonus tracks - rarities, a live version of Check Your Head's 'The Maestro,' B-sides, and remixes - all adding to what is already a spectacularly varied and wonderfully sprawling album. Ill Communication was the fourth studio album by the New York-based hip-hop ensemble, featuring hit singles like 'Sabotage' and 'Get It Together.' This reissue follows recent re-releases of other Beastie Boys' albums, including Hello, Nasty and Check Your Head and further highlights the group's 'giants of the 90s' status.

Review: From the fast-rising Midlands duo that sit somewhere in-between The Sleaford Mods, Idles or even the soulful tones of Rag 'n' Bone man, this is a debut album that provides coherent, emotional and sometimes intimate moments that will give the listener goosebumps and the temptation play on repeat until the sun goes down.
Heartfelt subject matter provided by Joe Hicklin with beats and samples provided by Callum Maloney are the basic ingredients that make this 15-track album many peoples favourite release of 2024 and one that complements their live shows that many have been fortunate to witness in the buildup to this release.
Switching between spoken word, angry outbursts of shouting and soulful vocals, backed by some smooth bass lines and big pounding beats the journey the listener travels through during this album is an emotional one that's at times light-hearted yet its thought-provoking approach makes it an enjoyable listen. Serious subject matter is covered here such as mental health and being stuck in a job you may hate and cannot escape from. Butchers Bin is about class awareness, lives being trivialised like pieces of meat in a shop window. Shithouse boasts one of the best opening couple of lines any song could ask for and is brutal in its delivery. Dig is an anthem to end the album that is joyous, contains various degrees of tension and by the time this is over one realises that it sits perfectly with every other album you may have purchased over the past decade.

Review: Following on from last year's triumphant return to pop-punk glory that was Blink-182's ninth overall full-length One More Time (yet seventh with original vocalist/guitarist Tom DeLonge and first since 2011's Neighbourhoods), the band return to remind fans that the extensive good will they've been awarded by their devout followers on this comeback is very much reciprocated. Too early to drop another full-length, yet clearly rejuvenated to the point that new material keeps rearing its head during their continuing global tour, the trio opt to meet themselves in the middle with One More Time Part 2, which is essentially a mega deluxe version complete with ten bonus tracks, adding an additional half hour of new material (a new album in pop-punk terms). Boasting refined anthems such as 'No Fun' and 'All In My Head', while making room for darker synth-laden moments such as 'Can't Go Back' and even more Box Car Racer indebted buzzsaw post-hardcore in the form of 'Everyone Everywhere', this definitive collection offers far more than a forgettable batch of cutting room floor B-sides, and provides a comforting notion that this (one more) time around, Blink are back for themselves and the creative reward as much as for the fans and the payday.

Review: To mark the 25th anniversary of Hooray for Boobies, the Bloodhound Gang have reissued their infamous third album on splatter-coloured 180g vinyl, giving fans another chance to dive into its wild mix of genres and humour. Originally released in 1999, this album catapulted the band to worldwide success, selling over four million copies and topping charts everywhere. Musically, it's a collision of rap-rock, punk, and electronic beats, packed with cheeky, often absurd lyrics that have become the band's signature. 'The Bad Touch', the album's standout hit, is driven by a playful, catchy synth line that pairs perfectly with its notorious lyrics. Elsewhere, 'The Ballad of Chasey Lain' blends rock energy with humorous storytelling, while 'Mope' is an eclectic mix of samples, pulling from sources as diverse as Metallica and Pac-Man. This reissue also features three rare remixes, including a hyperactive Eiffel 65 version of 'The Bad Touch', a sultry take on 'The Ballad of Chasey Lain' and Pet Shop Boys' extended remix of 'Mope'.

Review: Calling on major chords for their riffs, emotional angst for lyrical delivery and motoring juggernauts for basslines, the driving rhythms of Boilermaker were hard to ignore once you found them back in the 1990s. Emerging from the San Diego guitar scene at a time when Gen X was obsessed with post-hardcore, the trio - Terrin Durfey, Tim Semple, and Richard Sanderson - described their counterpoint as 'Leucadia-core'. If you need a lesson in what that means, Not Enough Time To Get Anything Halfway Done is probably the best place to begin. Three albums, a stack of singles and rarities. In total, 41 tracks spread over a sprawling four LP box set with a 24 page book to read while immersing yourself. And yes, there's a test at the end to check you actually paid attention. (Juno legal disclaimer: there is no test).

Review: Olympia, Washington's Bratmobile's sophomore album puts Allison Wolfe's sharp, singsong delivery front and centre with her barbed lyrics capturing attention and delivering hard truths. Now reissued for fans everywhere, this cult rocked which is often dubbed warm-up material for a messy night out features Molly Neuman's relentless drumming and Erin Smith's razor-sharp riffs, both of which drive the band's unapologetic sound forwards throughout. It was a powerful return at the time with a no holds barred approach that was ahead of its time and helped to make this essential feminist punk at its finest.

Review: In the midst of the 90s math-rock/shoegazing scenes marrying themselves to the progressive Midwest emo movement that had stemmed from hardcore and grunge, one short-lived act too pissed off to play ball was The Brides. Referred to in the underground circles as "Chicago's Best Band of the 1990s", their approach was simplistic and singular: jagged edged, lo-fi cutthroat punk rock too fuzzy to be called garage yet refusing to recognise the hardcore aggression of latter days. Suburban Vermin 1996-98 catalogues the entirety of the band's brief discography, including their eight previously unreleased 1997 legendary demo tracks, blistering 7" cuts as well as previously unheard alternates and live demo takes. Nasty, arrogant - and better than every band you listen to - The Brides were the last stop off the cliff of ballsy punk n' roll, and this studious compilation is sure to wet the beak of any fans of the likes of Crime, Viletones, Pagans, Weirdos, or Heartbreakers.

Review: Bring Me The Horizon were once known as Nottingham's emo-fringed MySpace deathcore scene kids, but the near two decades since have seen them balloon into the latest gateway mainstream metal outfit, taking the reins from the likes of 30 Seconds To Mars and Linkin Park before them. Returning with the highly anticipated sequel to their 2020 nu-metal-centric 'Post Human: Survival Horror' EP, their seventh album (and first proper full-length since 2018's Amo) Post Human: Nex Gen does its utmost to level up on every front just like a true sequel should. Condensing practically every sonic well the group have previously toe-dipped into one noxious bucket of hallucinogenic fluidity, the material here might make numerous nods to their metalcore and post-hardcore beginnings, but that's only to calm the trip with familiarity before being utterly doused in swathes of everything from pop-punk to trap, hyperpop, nightcore and even Anime music. Best described as "ADHD maximalism", the band and project make no qualms over its self-professed over-stuffed, chaotic, messy, obnoxious, overwhelming nature, though it's nearly impossible not to be impressed by the effortless fusions on display at every sonic turn. Their final work with longtime keyboardist/programmer/producer Jordan Fish, while offering a bevvy of dichotomous features from the likes of Aurora, Lil Uzi Vert, Underoath and Daryl Palumbo of Glassjaw and Head Automatica, the Post Human saga continues to rage through the mainstream and underground metal and punk circles like a coked-up unicorn, simply too farcical to be fucked with. Where the trip takes us on Part 3 is, for now, anyone's absurd guess.

Review: The founding members of Orchid are the musical talents behind Bicket Full of Teeth, a group that came together in 2001 "through a shared love of the foundations of Power Violence" Members Will Killingsworth, Brad Wallace and drummer Matt Wilga of Cancer Kids fame have since cooked up their own rather brutal signature sound that mixes up the so-called sounds of grindcore and Power Violence and heads int all new territories for heavy metal music. All of their work to date is now collect tied together on via Iodine who present this yellow splattered and red splattered vinyl double album.

Review: Seven years after Bullet For My Valentine first formed under the name Jeff Killed John, they finally dropped a debut album. Gone were the Nirvana and Metallica covers that had defined the band's first incarnation, and in was a more melodic and poppier take on thrash and heavy metal. Going on to sell in excess of 1.6million copies between its initial release in 2005 and 2018, it remains BFMV's most commercially successful outing, earning them gold certification by the US RIAA and UK BPI, and platinum in the eyes of Germany's BVMI. If all this is news to you, perhaps we should start with some references. One for fans of Funeral For A Friend, Alexisonfire and more glossy emo-hued metal groups, it doesn't take long to realise why praise was heaped on The Poison, and the musicians, for their powerhouse riffs and unapologetically loud aesthetic.

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


The debut studio album from Brigend crew Bullet for My Valentine emerged in 2005 on Visible Noise Records and catapulted the Welsh band to success, going on to sell more than two million copies worldwide. Here it is again, celebrating (almost) two decades of life in a flurry of hard, jagged riffs and distinctively screamo-flavoured vocals courtesy of Matthew Tuck. The band reputedly formed to cover Metallica and Nirvana songs and while their sound doesn't ape either of them, they all share a cunning knack for combining memorable hooks and sonic brutality. Choose your Poison.

Review: The debut studio album from Brigend crew Bullet for My Valentine emerged in 2005 on Visible Noise Records and catapulted the Welsh band to success, going on to sell more than two million copies worldwide. Here it is again, celebrating (almost) two decades of life in a flurry of hard, jagged riffs and distinctively screamo-flavoured vocals courtesy of Matthew Tuck. The band reputedly formed to cover Metallica and Nirvana songs and while their sound doesn't ape either of them, they all share a cunning knack for combining memorable hooks and sonic brutality. Choose your Poison.

Review: The Butthole Surfers' final album on indie label Touch & Go bridges their anarchic early days with a more polished approach from their major label ventures. Following the seminal "anti" album Locust Abortion Technician, Hairway to Steven represents their peak accessibility before subsequent attempts at mainstream success. Known for their avant-garde indie roots, the band eschews traditional song titles, instead opting for individual doodles that later gained names through bootlegs and live releases. Gibby Haynes showcases his trademark "Gibbytronics," utilizing studio wizardry with multi-tap delays and pitch-shifters, moving beyond megaphone screams to intricate vocal manipulations. Guitarist Paul Leary remains a focal point, crafting distinctive riffs and experimental harmonies that blend intentional sloppiness with accomplished precision. Hairway to Steven marks a departure with cohesive compositions and soulful moments like 'I Saw an X-Ray of a Girl Passing Gas' and the double drum-driven jams of 'Rocky' and 'Backass.' It's a transitional album that balances irreverent juvenility with thoughtful songwriting, offering a gateway from their earlier raw sound to deeper exploration. For fans new to their legacy, this vinyl reissue serves as an ideal introduction to their influential, defiant musical ethos.

Review: The second part of Matador's reissues of the essential early records by Texas's Butthole Surfers continues with three of their most insane slabs -- 1985's Cream Corn from the Socket of Davis, 1987's Locust Abortion Technician and 1988's Hairway to Steven. The second of these three, Locust Abortion Technician marked the meso-morphosis of the band's transmutation from Texan outcasts to global sensations. Compared to the still somewhat demo-qual feel of Cream Corn, Locust Abortion Technician was also their most rapacious outing yet, bringing their trademark scuzzy guitars and gassy, so-called 'Gibbytronix' vocal effects units - an invention of the band's own Gibby Haynes - to fuller prominence.

Review: Following a near-decade of inactivity, Buzzcocks made their glorious return in 1989 majorly making up for lost time with new material and numerous tour dates, with their now iconic performance at L'Arapho Club in Paris on April 12th 1995 often regarded as a prime example of the group at their slightly seasoned peak. Immortalised on the live album known simply as French, this captured performance only featured the first 20 songs of that night's initial setlist, with the remaining ten cuts from their three encores later released in 1999 as the originally fan club-only Encore Du Pain, where old school fan favourites such as 'I Don't Know What to Do With My Life,' 'Orgasm Addict' and 'Ever Fallen in Love?' would appear. Though the pair would ultimately be compiled into the French et Encore Du Pain double live collection, this singular LP is all about the encores of that evening, clearing up any doubts about Buzzcocks delivering a lazy, cash-grabbing 10-song set of 3-minute cuts to an avid, paying fanbase. Think of this as more arriving late to a legendary set just in time to catch all of the most highly anticipated golden oldies of the night.

Review: With Buzzcocks reforming in 1989 after a near-decade of inactivity, they would get to work on new material with their fourteen year gap follow up to 1979's A Different Kind Of Tension with 1993's Trade Test Transmissions, while touring in abundance to make up for lost time. The peak of this resurgent reformation era is highlighted as such in their cult status live album French; captured at L'Arapho Club in Paris on April 12th 1995. Boasting a 20-song set made up of classic fan favourites such as 'I Don't Mind' and 'Get On Your Own', as well as latter-day bangers including 'Isolation' and 'Energy', the collection notably omits the ten tracks from the band's three subsequent encores of the night, released separately in 1999 as originally the fan club-only available Encore Du Pain. While the two have been previously paired together on the French et Encore Du Pain double live CD compilation, this single LP reissue is of the initial French setlist, while the same label has repressed Encore Du Pain in tandem for completionists to hoard the entire epic two part set on wax.

Review: When Buzzcocks returned in 1989 following almost a decade of inactivity, they made up for lost time with new material and plenty of touring, with their performance at L'Arapho Club in Paris on April 12th 1995 serving as one of the prime examples of the band at their slightly seasoned peak. Captured and immortalised as the French live album, this release only featured the first 20 songs of their initial set, while the remaining ten cuts from the three encores of the night would be released in 1999 as the originally fan club-only Encore Du Pain, with this set boasting old school fan favourites including 'I Don't Know What to Do With My Life,' 'Orgasm Addict' and 'Ever Fallen in Love?' While the pair would eventually be compiled as the French et Encore Du Pain double live album, this singular LP is all about the encores and clears up any doubts pertaining to Buzzcocks being the type of lazy cashgrabbers that would only churn a 10-song set of 3-minute cuts to a paying audience.

Review: Following their reformation in 1989 after a near decade-long hiatus, Buzzcocks enjoyed a welcomed resurgence throughout the 90s, never illustrated better than on the French live album captured during their performance at L'Arapho Club in Paris on April 12th 1995. While only the initial 20-song set would be featured, in 1999 the band would release the (at-the-time fan club only) Encore Du Pain, offering up the 10 final tracks from their three encores at the very same show, featuring fan favourites such as 'I Don't Know What to Do With My Life,' 'Orgasm Addict' and 'Ever Fallen in Love?' The pair of releases would eventually be collated into the French et Encore Du Pain double live album, but this single LP restores the Encore Du Pain tracks to their singular nightcap greatness. It also clarifies that Buzzcocks weren't the type of cheap bastards to only deliver a ten-song performance to a paying, sold out crowd.

Review: Following the Buzzcocks 1989 reformation, the band would make up for nearly a decade of inactivity with extensive touring as well as finally delivering a follow up to 1979's A Different Kind Of Tension 14 years after the fact with 1993's Trade Test Transmissions. The pinnacle of their initial resurgence era is no better illustrated than on their cult classic French live LP; recorded at Paris' L'Arapho Club on April 12, 1995, that sees the band offering up a hefty 20-track set packed to the brim with iconic fan favourites such as 'I Don't Mind' and 'Get On Your Own', whilst also making room for later bangers including 'Isolation' and 'Energy'. While the collection notably eschews the ten final songs from the evening's three subsequent encores, these would eventually be released separately as 1999's (originally fan club-only available) Encore Du Pain. Although the two have been previously combined to make up the French et Encore Du Pain double CD compilation, this singular LP is a reissue of the initial French setlist, while the beautiful people at Reissued Sounds have also repressed Encore Du Pain in tandem, making both sets available on wax for completionists.