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 Critics and fans of the first wave of British Punk primarily regard this beauty as a charming historical document of splendid '77 Punk.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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A.P.B. - Shoot You Down 7'' 1981

Right now, I’m looking for suitable songs for a new compilation, and the vast ocean known as World Wide Web washed the following band my way: A.P.B. - Formed in 1979 in the small rural town of Ellon, near Aberdeen, as a trio comprising Iain (vocals/bass), Glenn (guitar) and George (drums), they had no interest in the local music scene. Instead, they embraced the DIY spirit, and the local independent label Oily Records discovered them through their live performances and their first 7Inch Chain Reaction was released. A two and a half minute nugget with fuzzy distorted guitar and Scottish inflected vocals. A change in their sound first became evident with their second single Shoot You Down and the record did well and was quick sold out its first pressing. Numerous singles followed, plus two albums and drained by constant touring and the pressure of the music industry, the band parted ways temporarily in 1989. 2006, the three reunited, released the album Three, and once again played occasional concerts. In Great Britain, their music was something of a well-kept secret. In the US especially in the alternative clubs of New York, New Jersey &d Long Island, they became a favourite act of the underground scene. US radio stations played their songs constantly. So this beauty features two essential PostPunkies with funky rhythms. Side A stands out with its distinctive, driving bassline, and the funky guitar makes the track perfect for moving your hips & the flip is the one which will be on the next Compi, I hope, it will be finished in autumn.

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NOBODYS - Politically Incorrect EP 1995

The second revelation today is a real blast and let me tell you, I only had to hear one song to know I had to buy this record. Convinced?... let's dig deeper: the Nobodys formed in Colorado Springs in 1994, and their musical formula was simple yet effective: they blended a fast, three-chord sound with humorous, deliberately provocative, and often absurdly realistic lyrics. From the very beginning, J.J. Nobody was the foundation and driving force behind the band. The lineup changed frequently over the years; the founding members were J.J. Nobody (vocals/bass), the only constant member, Rodney (guitar), and Justin "Lurch" Disease (drums), who later also served as a touring drummer for the Queers. The Nobodys and The Queers maintained an extremely close partnership; the musicians often helped each other out and would even play instruments for the other band while on tour. Released in 1995 via Just Add Water Records, the Politically Incorrect EP is their second one and is a prime example of raw, aggressive, and brash Punkrock which was typical in the 1980s; the record could easily have originated in that era. Originally pressed as a limited edition, it features seven refreshing songs that deliver a full-on blast in under ten minutes at 33 RPM, letting you know you’re hearing, and living the right kind of music and attitude. It is high energy and embodies exactly the kind of brash, gritty music I love; I’d almost call it a highlight of the Nineties. Shortly after this EP, the band signed with Hopeless Records. Much of the experience gained there, along with the raw sound of the Politically Incorrect era, fed directly into their well known 1996 debut album, Short Songs For Short Attention Spans. And then came five more albums, the last released in 2016, and numerous 7Inches. Featured on numerous Compilations, and that means they are loved. Final words: a fantastic record you’ll want to play over & over again!

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KRAMP - YF 7'' 1982

Let’s turn to a rare 7Inch by the Swedish band Kramp, a quartet hailing from Hallstahammar/Västerås comprising Fredrik (vocals/keyboards), Leif (guitar), Pelle (bass), and Örjan (drums), which was self-released in 1982. The record is considered a quirky cult item among collectors (known as "Skrattlåten," or the "Laughing Song"), while the B-side features a truly punky scorcher. Since the band didn't release any records at the time, only private rehearsal recordings remained for a long period. In 1978, the band recorded some jams using a simple, small cassette recorder, and these raw gems have stood the test of time. The Swedish record label Subliminal Sounds, known for unearthing psychedelic rarities, officially released these historic rehearsals on vinyl and via streaming services, thereby making Kramp’s music accessible to a wider audience for the first time. You can find them on the ultra-rare Killed By Death #50 Compilation, which I can, of course, highly recommend. And a fwe others. Kramp are unusual, experimental, and humorous. Give them your ears!

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SLUTS'N - Teddybär EP 1995

In early 1980, three guys and a girl from Braunschweig banded together, deciding to make some noise, marking the birth of Sluts. The original line-up featured Schlampe (vocals), Pelle (guitar), Kat (bass) & Peter (drums). Over the next two years, the band performed frequently in and around Braunschweig and released one great album via AGR, but the end came quickly. Sluts disbanded in 1982. In 1983, Schlampe & Peter joined Aktive Notwehr (coming soon), a band that was being reactivated in Braunschweig at the time. Pelle moved to Heidelberg and reformed Sluts in 1986. To distinguish the group from the original band, an "N" (for "neu"/"new") was added to the name. Since then, the name has been Sluts'n. This second line-up featured Tille (vocals), Ali & Pelle (guitars), Dirk (bass) and Jogi (drums). While the style of the old Sluts leaned more towards classic mid-tempo German Punk, the sound of Sluts'n evolved further, yet retained that characteristic, brash attitude. Several years of line-up changes followed; only Pelle remained a constant presence. Vocalists changed particularly often, though Klaus held the position for many years. Ali left in 1988, and Martin took over on drums. In 1991, Jürgen stepped in on bass, replacing Dirk; the band played as a trio until 1994, with Pelle handling vocals during that period. In 1994, Diesel joined as the vocalist; at just sixteen years old, she was the youngest member of the band. They continued making noise as a quartet for eight years until Jürgen left in 2002. Diesel then took over bass duties as well, and the trio line-up remains in place to this day. Teddybär is their latest release to date; issued on Impact Records in two versions, it marks a stylistic shift away from raw, minimalist '82-style PogoPunk toward a sound that is more melodic yet still aggressive. This EP delivers five highly catchy, dynamic, and hate-filled tracks, complete with humorous, sarcastic broadsides and three-chord structures without sacrificing that signature Punk grit; it is a raw In-Your-Face experience, delivered with significantly more punch and clarity. For fans of classic Nineties German Punk and collectors of rare 7Inch records, this EP is a real find. It captures an exciting transitional phase of the band before things went quiet for them in the years that followed.

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DREAM 6 - s/t 12'' 1983

Today is one of those days that I don't really need, and I don’t want to burden you with details. Everyone knows what happened on August 6th, 86 years ago, but that is merely a footnote, but typical of today. I won’t go into specifics; suffice it to say: death comes when it chooses to come (a really shitty intro), but anyone who knows me knows I’m an emotional Fuckhead, hence this fucking prolog. I presumably also chose the record that follows now. I first heard Dream 6 in a movie called The Party Animal from 1984, an absolute must watch. A classic Eighties film with an excellent Soundtrack and I recommend you watch this beauty; you'll have a lot of FUN! The band was formed in 1982 by Johnette (vocals/bass), Jim (guitars), Michael (drums) within the vibrant Los Angeles scene and they released only this 12'' on Happy Hermit Co. before later changing their name to Concrete Blonde. The driving forces behind the band were Johnette & James an they were both very active on the fringes of the L.A. Punk scene. They initially called themselves the Dreamers (later L.A. Dreamers) and contributed a song to a Compilation (don't know which) in 1982. One year later they booked the legendary Gold Star Studios in Los Angeles and together with Michael, they recorded a few songs. Since the final work comprised exactly six awesome goodies, the trio promptly renamed themselves Dream 6. Their musical style ranks between as a blend of PostPunk, Alternative & New Wave. Compared to the later, more polished sound of Concrete Blonde, the music here was significantly rawer and edgier. The sound is driven by a no-frills, propulsive guitar and a dominant bassline. Critics describe the work as a "pretty cool and dark" affair. The lyrics often reflect the melancholy, frustration, and gritty atmosphere of that era. Even in these early recordings, Johnette’s powerful vocal prowess shines through; her voice shifts effortlessly between emotional vulnerability and an aggressive rock roar, a captivating experience. 'Rain' is the absolute standout track (from the soundtrack), and I don't know how many times I rewound and replayed it... and believe me, back then, it wasn't easy to get hold of the record. Get ready for a raw, emotional sound and an uncut gem you’ll want to listen to again and again, featuring one of the most distinctive and emotive vocalists of her generation.

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MOUSER - ¡No Pasarán! EP 2025

I first heard the following band on the Current Affairs Compilation and was immediately captivated by their powerful sound and I’m sure, you’ll like them too. From Delft comes the Punk combo Mouser. The idea for the name came from guitarist Bas. He saw a sketch of a mouse wearing Dr. Hannibal Lecter’s iconic face mask and promptly named the character "Mouser." In English, the word is an official term for cats used to hunt mice, like the famous Chief Mouser to the Cabinet Office at 10 Downing Street. At the same time, it sounds phonetically similar to the well-known Mauser pistol brand. The band features a classic four piece configuration: Léon (vocals/guitar), Bas (guitar), Sander (bass) and Marcel (drums), their first drummer Frank unfortunately died after the first gig from heart failure. They call their music “Old School Punk”. They say they write fast, to the point, catchy, sharp, sometimes very short songs, with uncompromising lyrics which expose our derailed society.

They embodies the true D.I.Y. spirit and in their early years, the band rehearsed in a squat in Delft. After the building was cleared by authorities, they found a new home at SPOD, a well-known alternative music and cultural center in Delft that provides rehearsal spaces for local underground bands. For their recordings, the band headed in April 2025 to the renowned Studio 195 in the Netherlands, a facility with a legendary reputation in the European Punk & Hardcore scene for its raw, analog sound. Mouser recorded there during two major sessions: January 2024 (recording six songs) and August 2025 (recording five additional songs). The debut EP was released by their own and features four punchy, fast, old-school tracks. They say they write fast, to the point, catchy, sharp, sometimes very short songs, with uncompromising lyrics which expose our derailed society.

Final words: Mouser waste no time on their EP; ¡No Pasarán! is a fast-paced, gritty punch to the gut that breathes the raw energy of 80s HardcorePunk. Unpolished and boundlessly energetic. A quick look at the tracks: the title track is an angry, anti-fascist anthem featuring razor sharp riffs, a perfect opener that instantly invites to Pogo. "Smartphone Zombie" is a biting, tongue-in-cheek takedown of modern digital isolation; "Shadows Over Disneyland" is a darkly sarcastic number that tears down the facade of the slick consumerist world; and finally, "Hail Hail Hail!" shines with a furious finale that floors the gas pedal, bringing the EP to a furious close after barely eight minutes. Mouser deliver exactly what the label promises: fresh fast, high octane Punkrock that demands repeated listening.

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THE SIMONS - Stink With Pleasure EP 1992

After a long hiatus, I'm back, and the first post I’m doing today is fulfilling a request. Let's get know the Simons, a band whom surely no one know unless you lived in their region. The Simons came from Sindelfingen and this four piece consisted of Bob (vocals), Mirco (guitars), Olli (bass), Carsten (drums) and they were active in the Nineties and relaesed two EP's and a Cassette. Due to their niche status at the time, there are few documented details about the band, but the key facts can be reconstructed from their releases: "Stink With Pleasure" is their debut EP, released via Bellaforte Records with five solid dirty numbers. The band adhered closely to the traditional Punk sound: three chords, high speed, and maximum energy. It was evident that they were not concerned with highly complex musical structures or technical perfection, but rather with directly conveying the raw joy of playing. The EP was aptly summarized at the time via the Punk fanzine Trust: the band underscored its motto, "Stink With Pleasure," with "tried-and-tested Punkrock," and one could simply hear that they "enjoyed playing." Raw, gritty guitar sound which were heavily distorted, sounding tinny and unpolished. Minimalist drumming, the rhythm section drove the songs forward uncompromisingly, free of unnecessary flourishes or breaks. The vocals were brash, direct, and often characterized by a palpable "We Don't Give A Damn" attitude, far removed from slick, professional studio productions. Instead of melancholic, crushing riffs, they played fast, humorous music designed for partying. This is also evident in titles like their later demo release Punkrock Party, which underscores the carefree, party-loving nature of their style. In short, they can be described as "snot-nosed" Punk with a feel-good factor, music that eschewed political preaching in favor of capturing the raw energy of small, sweaty club shows on vinyl. They can boast a surprisingly large number of invitations to appear on Compilations, which shows that they were in demand. So if anyone has their second record, please come in touch. Enjoy!

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84 FLESH - Salted City 7'' 1978

Let’s wrap up June with raw, gritty, and uncompromising Punkrock and unfortunately only two are immortalized on this little jewel. The protagonists from Paris was originally formed under the name 1984 and consisted of Henri (vocals), Michel & Pierre (guitars), Luis (bass), Frederik (drums) and later changed it to 84 Flesh. They were part of the first wave of French Punkrock in the late Seventies. Despite a very brief existence of barely a year, their only 7Inch was released via Skydog and is highly sought after by collectors nowadays. Both songs are featured on relevant Compilations, which shows how great the tracks are... an honorable gesture. After a quick break-up, the musicians regrouped as Suicide Roméo which leans more towards New Wave. An excellent record or a defining, ultra-short bolt of lightning.

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PQ ROCKERS - The Lost Generation EP 1985

The PQ Rockers, Filip (vocals/guitars), Häck (bass), Magnus (drums), were a trio from Varberg on the west coast. Known for their raw sound, they recorded their only EP in the mid Eighties at the studios of the legendary Punk band Asta Kask and was released via Street Rock'n'Roll Records. Four solid songs, aggressive and anthemic vocals, raw, gritty guitar work with strong solos, and driving bass and drums. Since the songs are sung in Swedish, the music makes its impact primarily through melody and energy. The whole package is a real pleasure. On the back cover, the band cheekily thanks their manager Lasse McLaren and jokingly announces a fictional single titled "Kalle Kanin," which has not yet been released. I rather doubt that the 7Inch is a sought after collector's item nowadays, aside from a contribution to a tape Compilation, the band didn't really make any further mark, but for fans of the Scandinavian 80s sound, it is certainly a fitting choice.

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V/A - Liga Dos Últimos EP 2012

This beautiful dittie features four energetic tracks by four Portuguese combos. The release serves as a tribute to the raw spirit of football and the term "Liga Dos Últimos" is widely recognized in Portugal for celebrating the humorous, grassroots, and passionate side of football, inspired by the RTP (Rádio e Televisão de Portugal) magazine show that followed lower-tier and amateur local matches. Kick off with Acromaníacos from Bobadela; formed in the mid-nineties, they have released a ton of material to date. Their song "Descontrolado" (Out Of Control) reflects the wild, unfiltered energy often found in the lower tiers of the stadium. #2 is hailing from Lisbon, Facção Opposta celebrate top notch Oi!, known for their aggressive sound and socially critical lyrics; their discography includes several vinyl releases, and the track "Carne Para Canhão", translates to Cannon Fodder, delivering a raw, anthemic critique. The second half begins with Albert Fish (named after an American murderer and cannibal), also from Lisbon and active since 1995 with a substantial back catalog, whose contribution "Hell" stands out to the band's signature of loud guitars, nice tempo and clear vocal style. Just before the final whistle, Canhões De Guerra, who previously lacked a vinyl release, wrap up the match with an explosive killer track titled "O Coiso" (The Thing); there is no extra time here. The title reflects a humorous, laid back tone and perfectly captures the spirit of the mentioned above TV show. All tracks embody a subculture that mirrors the chaotic, passionate, and uncompromisingly independent vibe of local Portuguese amateur football leagues. Hand numbered to 300 copies on purple clear vinyl and fitted with a lovely insert that is well worth seeing. TOP!

1.Descontrolado - ACROMANÍACOS

2.Carne Para Canhão - FACÇÃO OPPOSTA

3.Hell - ALBERT FISH

4.O Coiso - CANHÕES DE GUERRA

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GRAPHIC SHADOWS - She Turns Her Eyes Away EP 1981

Graphic Shadows' first vinyl is an obscure, rare four track EP released on Explicit Records; the quartet consisted of Greg (vocals/keys), Kenny (guitars), Franz (bass), and Marc (drums). They were active in the Washington, D.C. music scene during the early Eighties and also released an album in 1984 before eventually calling it quits. When the band released their record in 1981, the independent music scene in Washington, D.C. was still in its infancy. Although the city would soon become world renowned for its raw Dischord Hardcore sound, this 7Inch presents a fascinating, alternative musical portrait of the region: the transition from edgy GaragePunk to dark New Wave and early goth rock. The EP is a prime example of the DIY ethos, featuring a sound that is highly dynamic, raw, and unpolished. The bass often takes center stage, driving the songs forward, while the guitars utilize heavy chorus and reverb effects, lending the record a cool, atmospheric depth. The vocals are detached, slightly monotonous and melancholic, yet they erupt with furious energy during faster passages. The title track is clear the highlight with its driving, melancholic midtempo gem. It is followed by a fast and aggressive number, which showcases the band's brash attitude; it reveals the group's Punk roots. "SBS" is a more experimental, rhythm driven one that radiates a sense of nervous agitation. The final nugget closes with a dense flair, once again employing walls of noisy guitar. Overall, it is an unpolished diamond in the rough, an absolute must-buy for historians of the D.C. scene, provided one is lucky enough to snag a copy, but for simply listening to, the digital route suffices.

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YOUR FUNERAL - I Want To Be You 7'' 1982

"I Want To Be You" is a rare and seminal PostPunk song by the all female band Your Funeral from Denver and consisted of Jeri Rossi (vocals/guitars), Karen Sheridan (bass/vocals) and Cleo Tilde (percussion) and the track was originally released in 1982 on a limited 7Inch and later gained wider recognition through Compilations such as Sacred Bones Records' Killed By Deathrock Vol.1 and is the band’s only official release. These two songs offer a condensed lesson in atmosphere and sonic claustrophobia; their minimalist aesthetic breaks with almost every convention of the classic, stadium ready rock of the early 80s. Instead of opulence, the absolute minimum reigns supreme. Driven by a stoic, almost mechanical drumbeat, the tracks pulse like the unstoppable heartbeat of a fixation. The bass pumps deep, muffled, and hypnotic in the foreground, providing the melodic structure while the guitar deliberately disrupts it. Jeri’s guitar work defines the texture; eschewing warm chords, she employs cutting, cold, flanger-distorted riffs. The notes sound sharp almost like the scraping of metal lending the songs their unmistakable deathrock edge. Her vocals, too, are far from polished or smooth; they possess a raw, almost lethargic urgency, reminiscent at times of early Lydia Lunch, that peers deep into the abyss of the human psyche. The subject matter is not romantic love, but destructive envy and a total fixation on another person. The desire to slip into someone else’s skin to completely erase one’s own identity in order to become someone else becomes oppressively palpable through the song's repetitive structure. It is a psychological portrait of a loss of control. There is no reverb to artificially inflate the sound, nor are there any smoothing effects; everything sounds dry and direct, creating an atmosphere of extreme intimacy. "I Want To Be You" is a great example of how one need not rely on complex song structures or virtuosic solos to create a musical work of art. Your Funeral required nothing more than a bassline, a cutting riff, and an obsessive idea to craft one of the most atmospheric 7Inches of the entire PostPunk era. There remains the fascinating tragedy of a band that, after just two songs, virtually vanished from the scene. But with this rare beauty, they have immortalized themselves.

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MAGIC SPLATTERS - Blamage EP 1994

I think, this is the debut EP by the Magic Splatters, a Frankfurt based quartet who was active in the Rhine-Main region during the nineties, who back then had a reputation as a notorious, hard partying band. Released on the French label Adrénaline Records, the EP comes in a simple foldout sleeve made of thick cardstock available in five different cover colors; it is hand numbered (500 copies) and includes a small insert and is a classic, lovingly DIY production. The four track EP delivers raw, unvarnished '77 Punk: fast, aggressive melodies and snarly vocals paired with simple, driving three chord riffs. The lyrics are typical of the Frankfurt scene: direct, slightly self-deprecating, and free of politically correct frills. It charges relentlessly forward, leaving no time to catch one’s breath. It is a perfect document of the Nineties Frankfurt underground: unpolished, high energy, and recorded with a wink. It strikes a perfect balance between angry Punk and nice catchy sounds. A cynical reckoning with societal constraints & philistinism. You will love it.

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