LES ELECTRODES - No Flag EP 1983

Les Electrodes was a French four piece from Paris and founded 1980 by Romain (vocals), Jean-Paul (guitars), Jean-Claude (bass), Martial (drums). At the end of 1982, Jean-Claude left them and he was replaced by Roland and with this line-up they released their debut 7Inch on Panic Productions with four powerful goodies, an unreleased track appeared on the eight-track Compilation Collection Privée (released by the Poison Noir label). Regarding live performances, they played lots of gigs and the band eventually split up due to internal conflicts in 1984. It is worth noting that the Electrodes was truly a pillar of French Punkrock, both in terms of its brilliant sound and the musicians involved. This piece is an absolutely solid record and they appeared on numerous Compilations. Give it a listen!

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V/A - Virus 100 1992

I might be a bit late with this post, but what’s in it remains essential. Virus 100 is a awesome Compilation which features cover songs of the Dead Kennedys performed by various artists, the album celebrates the record label's 100th release and its 10th anniversary. Wanting to do something special for such a momentous occasion, they decided to release a tribute album of fifteen DK songs by sixteen different (mostly in-house) bands. This tribute is an essential listening for Dead Kennedys friends, documenting once again the band's commanding presence and significant influence on the underground scene of California's early Punk movement. It proves that this sound isn't a rigid three-chord formula, but an attitude that works just as well in metal, hip-hop, and noise. The result is no perfunctory tribute, but a wild, genre spanning ride that demonstrates the timelessness and influence of the band's songwriting. A monument of a long gone era of beautiful Punkrock and a brilliant tribute to one of the greatest bands of all time.

1.Police Truck - DIDJITS

2.Too Drunk To Fuck - EVAN JOHNS & HIS H-BOMBS

3.Halloween - ALICE DONUT

4.Let's Lynch The Landlord - FAITH NO MORE

5.Nazi Punks Fuck Off - NAPALM DEATH

6.Forward To Death - NOMEANSNO

7.Chemical Warfare - STEEL POLE BATH TUB

8.Saturday Night Holocaust - NEUROSIS

9.Moon Over Marin - LES THUGS

10.Ill In The Head - VICTIMS FAMILY

11.California Uber Alles - DISPOSABLE HEROES OF HIPHOPRISY

12.Winnebago Warrior - MOJO NIXON & THE TOADLIQUORS

13.Drug Me - SEPULTURA

14.Insight - KRAMER

15.Let's Lynch The Landlord - L7

16.Holiday In Cambodia - SISTER DOUBLE HAPPINESS

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MURDER MURDER SUICIDE - Christians 12'' 1986

Here I am again, back from vacation (photos follow), all the outstanding re-upps are finished, and now it's back to the daily grind. Since I'm home today and have already ripped a fantastic Compilation, things are moving forward here with some Aussie stuff. Murder Murder Suicide were an Australian AnarchoPunk band which was founded 1983 in Melbourne. Their style was characterized by a dark post-punk sound and aggressive, often anti-Christian lyrics. They released a five track tape in 1983 and two were also offered for the rare 'Eat Your Head' (coming soon) double 12" Compilation. The Christians 12Inch is the band's sole vinyl effort and probably last release. The songs have a strong British Anarcho-Sound with gloomy PostPunk feel. A Review: An anti-Christian rage here, sort of like the first Crass 7″ but set to a more Post-Punk mood. Nevertheless, it’s as biting and pointed. Both male and female vocals, nice harmonies on the flipside, though the dance beat on one cut and the “prettiness” on another make them difficult to handle until the guitar and drums kick in. (Tim Yohannan, MRR #52 • September 1987) I don't have any further information, but the three songs are solid and do a great job of representing the genre, one I’ve always had a bit of trouble with.

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EATER - Get Your Yo Yo's Out (Live) EP 1978

The recordings for this fucking piece of shit were made on April 24, 1978, at a concert in the legendary London club Dingwalls. At this point, Eater was in a crucial transitional phase: this was their first live release following their only studio album, The Album in November 1977. Furthermore, these recordings featured their new drummer, Phil Rowland, who had replaced the then thirteen year old Dee Generate in May 1977. Just a few months after the release of this EP which came out in four different picture sleeves, the band broke up. The record captures the band's unpolished energy and the production is awesome for this time. As a teenage band, they played the songs at a notoriously breakneck pace, a "Light-Speed Beat", perfectly documenting the frenetic live atmosphere of the Dingwalls club. Critics and fans of the first wave of British Punk primarily regard this beauty as a charming historical document of splendid '77 Punk. While the EP enjoys an excellent reputation among collectors, opinions on the music itself are more nuanced. The live recordings were produced by Dave Goodman (known for his work with the Sex Pistols), are praised for their unpolished, highly dynamic sound. The songs are fast-paced and aggressive ad the sound quality is damn brilliant. Someone's emphasize that this is "Eater At Their Best", uncompromising, loud and angry. Critics at the time often didn't take Eater entirely seriously due to their youth.

"Thinking Of The USA," in particular, is considered the undisputed crown jewel; it was originally released in June 1977 as their second single. Live, the song is even more relentless, delivered in its rawest, most extreme form. The renowned music magazine Mojo even officially listed the track as one of the best Punkrock singles of all time. While the studio version was already fast, live Eater blast the song through the speakers at an almost absurd, adrenaline fueled, high-speed tempo, and that applies to more than just this track.In retrospect, however, the EP is valued precisely for that reason: it proves the band was more than just a "gimmick" and delivered authentic, credible music. In modern reviews by vinyl enthusiasts, the focus is frequently on visual appeal. Since the EP was released in various sleeve colors (red, blue, green, orange) and on white vinyl, it is reviewed less as an audiophile masterpiece and more as an "essential collectible" of early UK Punk.

Casual listeners might find the slab an acquired taste due to its extreme lo-fi live sound. For fans of classic UK Punk, it is an absolutely essential document proving that Eater were far more than just a youthful PR gimmick. I Love This Stuff!

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KE SE MUERAN - s/t EP 2010

Well, dear friends, it will be loud and we're coming to an exotic post. The baby is called Ke Se Mueran and it's the first goodie from this country and I'll give you some background I was able to find: Four piece from Honduras, comprising Coyopol (vocals), Zanate (guitars), Charancaco (bass) and Chunte (drums), they stand out for its extremely raw, politically charged HardcorePunk. While a better known bachata song of the same name dominated the charts, this band operates within the deepest musical underground of Central America. Bands in Honduras generally face an uphill battle due to deeply traditional social structures and high rates of everyday crime, leading them to often adopt a tried-and-tested DIY approach. The band distributed its EP via platforms such as YouTube and various underground outlets; their four excellent tracks are short, aggressive, and full of vitriol, rarely exceeding one or two minutes in length. They gained international attention within the Latin American Punk scene when their song "Ke Se Mueran" appeared on the renowned Compilation Somos Latinoamerica, a collection that pays tribute to the roots and legacy of raw Punk in Latin America. They have even received on prestigious international Punk outlets, such as California’s Maximum Rocknroll Radio (MRR). You can't listen to it all the time, but it always fits. I'm looking forward to your comments, let me know if you like it.

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ROLLERBALL – Savage Eyes 7'' 1977

Rollerball was a short-lived British studio project consisting of Alan (vocals), Mike (guitars), Alex (bass) and Pascal (drums), who shortly thereafter gained fame with the band Elton Motello and the classic track "Jet Boy, Jet Girl." They recorded this incendiary in December 1976 in Brussels and this rare piece was only released in Holland on CNR Records in January 1977. According to a later quote from guitarist Mike, the band had an extremely minimalist setup: "Rollerball was just a one off thing, with me on guitar, Alan on vocals, and two studio assistants, Alex on bass and his brother Pascal on drums." Only two songs were finalized during the 1976 session for this 7Inch. The recordings blend the stomping rhythm and raw guitar sound of late glam rock with the aggressive, fast paced energy of early Punk.

Since the original record was pressed in very limited quantities and received hardly any airplay, it is considered an absolute "Holy Grail" among collectors of Killed By Death rarities. The US label Sing Sing Records released an official reissue in 2010, but even that pressing has long been out of print and commands high prices. The band never played a gig and they even't got many radio plays. Enjoy!

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V/A - Current Affairs 2026

A few weeks ago, I mentioned a compilation that really packs a punch, this mix hits hard right from the very first songs. It features crunchy tight, incredibly gritty rhythms, enormous stylistic diversity and the kind of tasty treats you’d want on your plate. Considering I only knew two bands, it is always a delight for me to discover new ones and be captivated by them. Current Affairs is a damn beauty and limited to 500 copies featuring seventeen awesome Punk tracks from ten awesome Punk bands, hailing from England as well as the Netherlands. Presented with a full-colour gatefold digisleeve and including liner notes by Ferry Kortenbeek (Lower Than Low Punk zine). The actual label name is Subunderground C.A. - The C.A. part gets filled in differently with each release. If you’re looking for burning uncompromising Punkrock, you can't pass this record. 100%

1.Wake Up Song - OLD AGE SPIES

2.¡No Pasarán! - MOUSER

3.Catch 22 - GEEZAPUNX

4.Asteroids (Ft. Kev Ellis) - SCOUNDRELS

5.We Pretend To Work Because They Pretend To Pay Us - ABRAZOS

6.Learn The Lesson - KRUSTY WORTHY

7.Are Aliens Real? - BRIOCHE

8.Ondergang - STRESSSYSTEEM

9.Why Are We Here And Who Are You? (Part 1) - FORD'S FUZZ INFERNO

10.Mr.Greed - MOUSER

11.Get Off The Stage - ABRAZOS

12.Holler - GEEZAPUNX

13.Ups And Downs - WASTE

14.De Wereld Op Z'n Kop - STRESSSYSTEEM

15.Strange - BRIOCHE

16.You Can't Run - KRUSTY WORTHY

17.Zombie Zombie - OLD AGE SPIES

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THE TYROS - Parasites 7'' 1978

There is little information available about this mysterious band known as The Tyros but I give you everything I have. Their only recorded output is the Parasites 7Inch, an extremely rare, privately pressed record from the San Francisco Bay Area. Aside from artwork by Rosalie Smith (who wasn't an active member of the group), the sleeve lists no personnel credits. Released on Widget Records, the single bears all the hallmarks of a "vanity pressing", a self-released record where the label was created solely for this specific release. No other records were ever issued by Widget Records. What is fact, the band's sound is surprising precision, instead of classic, aggressive three chord trash, the Tyros play a more nervous, intellectual brand of New Wave Punk, characterized by a frenetic, high tension energy. The lyrics to "Parasites" are exemplary that could be described as an "Anti-Idol Song", a reckoning with the false role models found in the music industry or our deranged fucked up society. Musically, the 7Inch reveals a palpable, nervous restlessness and sense of unease through solid, minimalist songwriting, featuring precise, staccato rhythms in the band's signature style. It isn't wildly frenetic, but rather maintains a fitting mid-tempo pace. It serves as an excellent tone document of the San Francisco Bay Area scene from that era. There were also a few Compilation appearances, all unofficial. The Tyros remain a phantom of early California Punk. To this day, there are no known identities for the musicians on bass, guitar, vocals, or drums.

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RAINER ZUFALL - Modemann 7'' 1981

Behind the band name Rainer Zufall lies a fascinating piece of Austrian music history. It is not a conventional, permanent band, but rather a parody and studio project by the well-known Austrian singer, composer, and actor Günter "Mo" Mokesch from Vienna. Mo is a familiar face in the Austrian music and cultural scene; he was a singer with the legendary Viennese pop-theater group Hallucination Company and later achieved major pop success with his band Mo & The Gangsters in Love. For this unique project, he simply adopted the name Rainer Zufall and handled all the vocals himself. Mokesch specifically created it as a parody of Joachim Witt. The song 'Modemann' parodied that very specific, minimalist, and slightly arrogant NewWave vocal style, and the fact that the single was released on the Schallter label was a perfect fit.

Founded by Wilfried Scheutz, the label was the premier platform for the Viennese avant-garde, New Wave, and PostPunk scenes at the time. The cover art is simple, evoking the cool, detached gloom typical of German NewWave. Yet, behind that seemingly dead-serious expression lies one of the most charming and incisive parodies of its era. It features a minimalist, pulsating synth-bass, a drum machine with mechanical precision, and that signature angular, almost arrogantly monotonous spoken word vocal style. The lyrics gleefully skewer the emerging, superficial New Wave yuppie culture and the excessive fashion obsession of the early 80s.

The genius of it all is that Mokesch doesn't parody the genre by making it look ridiculous, but rather by imitating it to perfection. It was produced with punchy energy and could easily be played in clubs without anyone realizing it was a parody; only upon closer listening does the subtle Austrian wit (*Schmäh*) reveal itself. The B-side features an instrumental track that consistently carries on the electronic experiment but ventures in an even more experimental direction. Choppy rhythms and playful synth effects dominate here. It is a quintessential B-side track of the era: bold, slightly offbeat, and perfect for underground DJs in the Vienna scene.

Modemann is a prime example of the versatility of "Austro Wave." While bands like Minisex or Blümchen Blau adopted the sound earnestly, the Rainer Zufall project demonstrated that the Viennese scene could also think and laugh outside the box (and at their German neighbors). A rare, wonderfully aged time capsule that belongs in any well-curated record collection.

- Great Thx to Reinhard -

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STUNT KITES - The Action 5 EP 2018

Now original recordings from 1979 which were made in Sheffield and we meet there the Stunt Kites, a four piece formed around 1978; while there were still some line-up changes during the very early phase (1977/78), a solid, classic core quickly emerged: John (vocals), Nigel (guitars/piano), Andrew (bass), and Tony (drums). Musically, Stunt Kites began with a wild dirty Punk sound which you can here on this little dittie, but they evolved extremely quickly into a solid dynamic PostPunk sound with dark, gothic undertones. Contemporaries describe their early live shows in Sheffield as a "Steamroller" of concentrated energy. Although they never achieved a major commercial breakthrough, they held an almost legendary status in their hometown. Their records were primarily released via small independent labels or self-published; today, they are extremely rare and highly sought-after by collectors. In 1980, they released their first demo, packed with raw, brilliant songs. A year later, their first vinyl release on Pax Records followed, marking their shift toward a classic, atmospherically dark sound. Two years after that came the final 7Inch of their active period, released on Criminal Damage Records, which stands as another collector's item, shining with a typically driving bassline and cutting guitars. The Action EP is a legacy project and a labor for collectors; it was issued (1000 copies via Do It Thissen Records) as a fanzine insert accompanying the premiere edition of the relaunched magazine Safety Pin, which features a major historical article on the origins of Sheffield’s subculture scene, written by Martin X Russian, a legendary figure in the British music press and the former editor of the renowned late seventies music publication NMX (New Musickal Excess). That's the background info. So this wonderful EP features five songs from the band's very first creative phase and shines with an aggressive '77 sound. You're going to like it.

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