PUNK

Artist: Warren Zevon Label: Music on CD

Artist: VARIOUS ARTISTS Label: Cherry Red

Artist: DOWN TO NOTHING Label: Revelation

Artist: Frenzal Rhomb Label: Fat Wreck Chords

Artist: White Buffalo Label: Earache Records

Artist: Escape Hatch; Artist: Julian Arguelles Label: Whirlwind Recordings

Flatspot Records takes pride in their scene by releasing the biannual The Extermination Compilation titles, the series showcasing some of the new blood in the hardcore/punk world, along with established bands that have been proudly carrying to the torch. Past editions have featured bands such as TURNSTILE, ANGEL DU$T, POWER TRIP, BACKTRACK, and KING NINE among many others. This series is an homage to classic hardcore compilations such as Where The Wild Things Are, The Way It Is, Free For All, and others, where listeners discovered influential bands that still have an impact on our scene today. The third installment in this ongoing series bears another intense collection of new tracks from some of the leading acts of the current scene. The Extermination Compilation Vol. 3 features nine brand-new tracks entirely exclusive to this compilation. Represented on the collection are four bands from the US West Coast, including TERROR, TAKE OFFENSE, PIECE BY PIECE, and DISGRACE, East Coast acts FRIEND OR FOE, MANIPULATE, COUNTDOWN, and D.C. DISORDER, as well as a song from UK-based HIGHER POWER. Record Label: Flatspot Style: Punk / Hardcore

Formed in 1978, Soggy started with covers of Alice Cooper, Black Sabbath, MC5 and the Stooges but quickly began writing their own songs and developed a unique style, mixing hard rock and punk rock in a Stooges vein. In April of ’81 the Waiting for the War 7” was released and a video was shot for French TV. After more than 100 concerts the band split in July of 1982 but their cult status has only grown over the years. The French label Memoire Neuve released their record in an edition of just 500 copies and it is now long out of print. Original copies of that LP and the single are now in hot demand in collector circles, with original copies of the single selling for over $200. This release from Outer Battery is the full LP, including the tracks from the Waiting for the War single! Record Label: Outer Battery Style: Rock/Punk

Exclusive new edition in overworked design and packaging: deluxe digi-sleeve with printed postcards as booklet. Record Label: Uncle M Style: Punk/Hardcore

Punk classic reissued on limited edition coloured 7"! First ever reissue of The Unwanted's second and final single on Raw Records. Originally released in late 1977. Formed in March 1977 in London they played under their original name, SMAK, for the first two months, including the recording of the Live at the Roxy LP, before settling on the name of The Unwanted and playing at many of London's Punk hotspots, The Man In The Moon, Marquee Club, the Roxy and the Vortex. Although a highly entertaining live act, consistent line up changes resulted in a stop-start career. Members came and went including bassist Dave Postman from Flowers Of Romance, drummer Robbie from Peroxide Romance and those who went on to greater things, Robin Wills (later to the Barracudas) and Vince Ely (to the Psychedelic Furs). Their debut single 'Withdrawal' (on Raw records) was a superb slice of ramalamadolequeue, but the album they craved, and deserved, would never happen.The rest of the year was spent sporadically touring, before a second single, and a complete image overhaul, occurred at the start of 1978. 'Secret Police' (again on Raw) was a loping sub-reggae single and most fans felt short changed after their original full on punk attack. The band continued on for a few months more supporting their long time friends Siouxsie and the Banshees and X-Ray Spex whenever the opportunity arose. However in May, Ollie's past caught up with him as he was given a six month prison sentence for stealing a union jack flag from a flag pole in Bromley the previous June. The Unwanted were no more. OLLIE WISDOM - VOCALS MARK CURZON - GUITAR PAUL GARDNER - BASS DANNY DESTROY - DRUMS Record Label: Damaged Goods Style: Punk

Punk classic reissued on limited edition colour 7"! First ever reissue of Lockjaw's debut single. Originally released in late 1977. Lockjaw began life in Crawley Sussex, first as The Guernsey Flowers and then The Amazing Doctor Octopuss. This is the first of two singles they recorded for Cambridge-based Raw Records. A second 7" - 'Journalist Jive', followed in 1978. Their continued claim to fame is that Simon Gallup was later in the band before going on to join The Cure, and it was his older brother Dave who wrote 'Radio Call Sign'. Bo Zo - vocals Micky Morbid - guitar Andy Septic - bass Oddy Ordish - drums Record Label: Damaged Goods Style: Punk

Four years after the inenarrable "Cerf, Biche et Faon", Julien Gasc ( Aquaserge, Stereolab) deliver us "Kiss me, you fool!" leads us far far away, into swarms of sound and sentimental, twisted tales, on a quest for illumination that traverses the rich palette of human passions. The title was taken from a graffiti discovered in the ladies' toilets of a London pub. It is through this peephole that we consider, like a voyeur, the paradoxical complexity of this album: At once witty, noble and degenerate, Julien struts his way through it with all the nonchalance of a night-owl dandy. A troubadour of modern times, he sings of unresolved love, self-mockery, the trivialities of daily life and the search for the Absolute. The fruit of an exceptional artistic collaboration (including Laëtitia Sadier (Stereolab), John Linger (Neils Children), Cathy Lucas (The Oscillation, Vanishing Twin), and Joe Watson), this contrasting, emotional and heterogenous album nonetheless forms a whole. Here, mirror plays, surrealistic songs and decadent poems unfold elegantly, seductive in their effortlessness. Countering the current norms, "Kiss me, you fool!" cultivates its powerful identity far from today's musical cliques and fads. Record Label: Born Bad Style: Punk

2xCD+Book. The image the term “Dutch punk” conjures up for many is that of the pitched battles during the squat clearances and the coronation of Queen Beatrix, in 1980. This is a shame as the equally tough, committed music that the Dutch punks made tends to get overlooked. Prey to many socio and economic forces, and often having to rely on its own ingenuity, Dutch punk was one of the most resilient and flexible of musical movements, spawning bands as brilliant as Ivy Green, Rondos, and as durable as Mecano Ltd and The Ex. Luckily Pseudonym Records have released I Don’t Care, a comprehensive collection brimful of brilliant, spiky and often innovative music. Exclusively restored, courtesy of dynamic 24 bit remastering from the original master tapes, this CD compilation is a real “must-have” for collectors. The 66 tracks on I Don’t Care both highlight key players, and give a comprehensive overview of Dutch punk’s finest and most interesting moments. This double CD also boasts 6 previously unreleased tracks and versions, an entertaining overview of the musical history of Dutch punk, and a wealth of obscure photos and related memorabilia. Compiled more or less in release order, and spanning the years 1977 to 1983, it also serves as a brilliant starting point for the curious, or those punk historians who may have overlooked the music that these turbulent years in the Netherlands unleashed. The compilation comes in a luxury digipak, whilst the cover is drawn by legendary “punk” illustrator Joost Swarte, who designed a number of classic punk covers. Record Label: Pseudonym Style: Punk / Hardcore

Four years after the inenarrable "Cerf, Biche et Faon", Julien Gasc ( Aquaserge, Stereolab) deliver us "Kiss me, you fool!" leads us far far away, into swarms of sound and sentimental, twisted tales, on a quest for illumination that traverses the rich palette of human passions. The title was taken from a graffiti discovered in the ladies' toilets of a London pub. It is through this peephole that we consider, like a voyeur, the paradoxical complexity of this album: At once witty, noble and degenerate, Julien struts his way through it with all the nonchalance of a night-owl dandy. A troubadour of modern times, he sings of unresolved love, self-mockery, the trivialities of daily life and the search for the Absolute. The fruit of an exceptional artistic collaboration (including Laëtitia Sadier (Stereolab), John Linger (Neils Children), Cathy Lucas (The Oscillation, Vanishing Twin), and Joe Watson), this contrasting, emotional and heterogenous album nonetheless forms a whole. Here, mirror plays, surrealistic songs and decadent poems unfold elegantly, seductive in their effortlessness. Countering the current norms, "Kiss me, you fool!" cultivates its powerful identity far from today's musical cliques and fads. Record Label: Born Bad Style: Punk

Record Label: Schamoni Style: Electro/Ambient

Introducing them for the umpteenth time would be disrespectful. But reminding everyone of why they’re essential can’t hurt. They’re closely intertwined with Born Bad’s rise to fame, being their first ever release, they’re seen as the caring big brothers of the French indie scene. Their pathway in itself is symbolic: hailing from the garage closed circuit from the 90s, they gave up the tattoos and brilliantine rock to try something different –at the crossroads of punk and cold wave, of Métal Urbain, Killing Joke and Joy Division, while we were all rediscovering France’s synth-wave heritage with the BIPPP andDes Jeunes gens mödernes compilations. And five fellows not particularly renowned for their technical skills found themselves invested with a peculiar grace, becoming avant-gardist just as they were entering their forties, and showing the way to a whole generation of bands that suddenly became aware that it was possible, even here, in our star-crossed France. Critical acclaim, high sells, delighted crowd: the rest is history. Ever since, nostalgia has kind of lost its appeal. We grew fed up of reading in the rock museum press that nothing valuable had been recorded since 1967, and we figured out that all things considered, we probably had better things to do than picking the patterns on our wallpapers or our Italian ties. It was time to get back into the pit, not looking back, and getting numb on something that is ours. The excitement of listening to the latest garage hit boys has well faded (the next band trying to emulate Thee Oh See’s repertory can already consider itself dismissed), but it is intact when it comes to lend an ear to Empire of Shames, the third album by Frustration. It is “only” their third album in over 15 years of existence, the defining sign of bands that don’t ride any wave but would rather dig their very own hole in the wall of legends, and hang there their plaque of best craftsmen in the industry. They crushed mountain chains on Relax (2008), uncovered new continents and rainforests withUncivilised (2012), so it’s only logical they now project to terraform Mars planet with this album that celebrates their return to a cold hostility that echoes the one of punks going by the name of a Polish capital city. “Dreams, Law, Rights and Duties”, “Just Wanna Hide” and “Excess” are punches in the knees as signs of welcome from Fabrice, whose voice wanders from a Curtis-like spleen to a cockney spit. If “Arrows Of Love” sounds like the album’s break, this mesmerising Smiths-like ballad that turns into a proletarian anthem is one of the peak in the album. “Mother Earth in Rags” will undoubtedly be a hit, given its harangue as baroque and dramatic as a speech from Lenin you would hear in an opera about communism; “Cause You Runaway” shows that our lads have also listened to James Murphy; and “No Place” (a last minute addition) is a synth-punk-noise gem that will generate one hell of a pogo at the end of their next concert. Frustration is now this fully grown-up lion that has no intention of ending up as a bedside rug. The grouches that you only hear when the press hands them a megaphone, and that would be disarmed if their MacBook were taken away from them are still talking about the good old days. The king of the jungle is back to restore its order, reminding tourists that coming here as a casual observer is not an option, because this is no ordinary regional park. The great history of rock can take a hike because our softened nerves are yearning to be tense one last time, our voices get lost, and we want more of those poor attempts at stagediving if only we can see Frustration one more electrify a crowd like they did at the latest Villette Sonique, with their social-class comrades of Sleaford Mods. And this, is the only reason why we agree to give in to music, this intrusive thing that never asks for our advice. The rest is just a background noise of conceited babbling saturating the feed of our souls. Bollocks, basically. Record Label: Born Bad Style: Punk

DELUXE VINYL EDITION!!! "The Captain's Birthday Party" is a live recording by The Damned. It was recorded in November 1977 at The Roundhouse, in London and originally released in June 1986. It is now available again through Let Them Eat Vinyl and for the first time on deluxe gatefold vinyl format. Record Label: Let Them Eat Vinyl Style: Punk Rock

Soul Jazz Records' new Punk 45 release documents the first radical underground punk bands to come out of France including Metal Urbain (the first group ever to be signed to Rough Trade Records), Marie et Les Garçons, Asphalt Jungle, through to the earliest experimental cold wave/minimal wave electronic groups such as Kas Product, Charles de Goal and A3 Dans le WC who emerged at the start of the 1980s. The accompanying large 50-page outsize booklet shows how punk in France emerged out of the country's history of rebellion and revolution (from Serge Gainsbourg to the Paris '68 riots) as well as a love for American punk and protobands like The New York Dolls and The Stooges, and was kick-started by witnessing the first UK punk bands (including the Sex Pistols who played in Paris in Sep 1976). It also explains how French revolutionary, artistic and intellectual ideas influenced the birth of punk in both New York (Dadaism and Surrealism, Rimbaud and Voltaire) and in Britain (Situationism), how Paris based art collective Bazooka influenced the work of Jamie Reed and The Sex Pistols, and more besides. The large booklet features extensive text, exclusive photography as well as interviews with key French figures in the movement including Marc Zermati (Skydog Records), Patrick Eudeline (Asphalt Jungle), Michel Esteban (Ze Records) and Eric Debris (Metal Urbain). Soul Jazz Records' new Punk 45 album comes as a heavyweight double vinyl LP with gatefold sleeve, inserts, full sleeve notes + download code and also as a deluxe CD pack + 50-page outsize booklet and as a digital album. Record Label: Soul Jazz Style: Punk

Record Label: I.V. Media Style: Punk Rock

Introducing them for the umpteenth time would be disrespectful. But reminding everyone of why they’re essential can’t hurt. They’re closely intertwined with Born Bad’s rise to fame, being their first ever release, they’re seen as the caring big brothers of the French indie scene. Their pathway in itself is symbolic: hailing from the garage closed circuit from the 90s, they gave up the tattoos and brilliantine rock to try something different –at the crossroads of punk and cold wave, of Métal Urbain, Killing Joke and Joy Division, while we were all rediscovering France’s synth-wave heritage with the BIPPP andDes Jeunes gens mödernes compilations. And five fellows not particularly renowned for their technical skills found themselves invested with a peculiar grace, becoming avant-gardist just as they were entering their forties, and showing the way to a whole generation of bands that suddenly became aware that it was possible, even here, in our star-crossed France. Critical acclaim, high sells, delighted crowd: the rest is history. Ever since, nostalgia has kind of lost its appeal. We grew fed up of reading in the rock museum press that nothing valuable had been recorded since 1967, and we figured out that all things considered, we probably had better things to do than picking the patterns on our wallpapers or our Italian ties. It was time to get back into the pit, not looking back, and getting numb on something that is ours. The excitement of listening to the latest garage hit boys has well faded (the next band trying to emulate Thee Oh See’s repertory can already consider itself dismissed), but it is intact when it comes to lend an ear to Empire of Shames, the third album by Frustration. It is “only” their third album in over 15 years of existence, the defining sign of bands that don’t ride any wave but would rather dig their very own hole in the wall of legends, and hang there their plaque of best craftsmen in the industry. They crushed mountain chains on Relax (2008), uncovered new continents and rainforests withUncivilised (2012), so it’s only logical they now project to terraform Mars planet with this album that celebrates their return to a cold hostility that echoes the one of punks going by the name of a Polish capital city. “Dreams, Law, Rights and Duties”, “Just Wanna Hide” and “Excess” are punches in the knees as signs of welcome from Fabrice, whose voice wanders from a Curtis-like spleen to a cockney spit. If “Arrows Of Love” sounds like the album’s break, this mesmerising Smiths-like ballad that turns into a proletarian anthem is one of the peak in the album. “Mother Earth in Rags” will undoubtedly be a hit, given its harangue as baroque and dramatic as a speech from Lenin you would hear in an opera about communism; “Cause You Runaway” shows that our lads have also listened to James Murphy; and “No Place” (a last minute addition) is a synth-punk-noise gem that will generate one hell of a pogo at the end of their next concert. Frustration is now this fully grown-up lion that has no intention of ending up as a bedside rug. The grouches that you only hear when the press hands them a megaphone, and that would be disarmed if their MacBook were taken away from them are still talking about the good old days. The king of the jungle is back to restore its order, reminding tourists that coming here as a casual observer is not an option, because this is no ordinary regional park. The great history of rock can take a hike because our softened nerves are yearning to be tense one last time, our voices get lost, and we want more of those poor attempts at stagediving if only we can see Frustration one more electrify a crowd like they did at the latest Villette Sonique, with their social-class comrades of Sleaford Mods. And this, is the only reason why we agree to give in to music, this intrusive thing that never asks for our advice. The rest is just a background noise of conceited babbling saturating the feed of our souls. Bollocks, basically. Record Label: Born Bad Style: Punk