XS ENERGY - Eighteen EP 1978

Today is one of those November days that I really don’t like, just gray, gray, and more gray. It’s a bit melancholic, so let’s transport ourselves back to 1978 and take a look at the debut EP from XS Energy, a short fine band from Lincoln and they producing two 7Inches on World/Dead Good Records. On this jewel we listen to three decent Nuggets and the second is from 1979 shines with two. The latter is the pick… midtempo Punk riffery with catchy chorus. Pop punkish with sung, as opposed to shouted or sneered, vocals. Worth getting. Collectors get ready to cream yourself – Eighteen came in three different coloured photocopied sleeves (pink paper, green paper, yellow paper) on the World Records first pressing, folded ‘National Crisis Souvenir Issue’ sleeve on ‘Dead Good Records’ second pressing and a plain white die-cut rubber-stamped sleeve for the third pressing. I think, this is a little bit of sunshine for now, and if you happen to find any today, enjoy every damn beam.

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7 SECONDS - New Wind 1986

Third album by 7 Seconds and this represents a significant shift from raw Hardcore to a more developed, melodic, and emotional rock sound. Released again via BYO and full with thirteen good vibes. There is much Info in the file and I spare any further words at this point. Head into the weekend on an even keel, and let’s see what it has in store. Cheers!

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RIOT SQUAD - No Potential Threat 1984

Now to a band that is always a welcome sight at this theater; their first full-length is essentially a Compilation of their first two 7Inches. Early copies included a free copy of the There's No Solution single. It was released on the band's own label, Rot Records. Short Bio: Riot Squad formed 1981 in Mansfield and released a series of aggressive and politically volatile EPs with an initial line-up of Duncan "Dunk" Mason (vocals), Nigel "Nello" Nelson (guitar), and Paul "Pommi" Palmer (drums), Nelson the only one of the three with any musical experience. I won’t bore you any further with words; there is plenty of information in the file and also on the web. Just this: the band broke up in 1984, reformed in 2004, and their last sign of life was a CD-R titled No Escape from that same year. Check out more of the band’s music, it’s worth. A quick note regarding the re-upp requests, I’ll get those asap.

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V/A - Killed By Hardcore #5 2026

Whether or not you’ll be surprised by the following piece of plastic remains to be seen, I certainly was when I discovered this beauty. And, naturally, I didn’t hesitate for a second to buy it once I saw the label name Redrum Records (which, incidentally, is "Murder Records" spelled backwards): The fifth installment of the acclaimed Killed By Hardcore series. This volume dives deep into the global underground of early HardcorePunk, collecting thirty-five raw and obscure tracks from 1981-1988. Featuring rare cuts from legendary and cult bands across the world, this goodies captures the speed, aggression and DIY spirit that defined Hardcore's formative years and some of the most uncompromising records ever committed to vinyl. Not an album for hi-fi enthusiasts, but an absolute gem for collectors of international Eighties Hardcore. Wild and unpolished, as the tracks were sourced from rare original records and tapes. Interestingly, it is quite difficult to get hold of such slabs, but if you look online, you will discover that many commercial shops offer them. Anyway, that’s a good thing and rumors say 300 copies were pressed. Enjoy!

1.Adult Life - NO RESPECT

2.Psychic Hours - NEGATIVE GAIN

3.5 Dias En Egipto - COCADICTOS

4.Lover - SHARKY'S MACHINE

5.Atomowe Zabawki - INSEKTY NA JAJACH

6.New Pride - VIOLENT CHILDREN

7.It's Time Of Violence - BLACK REBELS

8.Final Solution - UNITED MUTATION

9.Allemaal Dood - C.K.N.

10.Falsa Liberdade - OLHO SECO

11.Religione, No Grazie - UART PUNK

12.Reality Of A Nightmare - SKULLDIGGERS

13.Are We Not Jerry's Kids - PREVARICATORS

14.We Don't Play The Game - CLITBOYS

15.Heartbreak - MINK OIL

16.Violent Charge - REIG

17.I Don't Wanna Work For You - BODIES

18.Sreca - SOLUNSKI FRONT

19.Merciless Game - CONFUSE

20.Pronto Sera El Fin - DANBA

21.We Stand United - ARM THE INSANE

22.Broken Lineage - GEORGE IMBECILE & THE IDIOTS

23.Redneck Snobs - M.I.S.

24.Reagisci - MENTI ALTERNATIVE

25.Spit It Out - F

26.Raquel Welch Har Tagit Min Damväska - AB HJÄRNTVÄTT

27.Decide Or Die - POWER OF THE SPOKEN WORD

28.American Bigotry - NO ONES ALLIE

29.Death Warmed Over - AGITATED

30.Youth Crusaderz - PUBLIC ENEMY

31.Spilt Milk - A CHILD'S TRUST IN GOD

32.You Will All Die - GOTEFIX

33.Deathtrap - HALF LIFE

34.Lazy Resistance - CRAPPING DOGS

35.Systemets Redskap - BANNLYST

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V/A - Metallic Storm 1982

ATTENTION HEAVY METAL FANS!! This fucking cool Compilation from Ebony Records, a Hardrock/Heavy Metal label that released many of the smaller, less well-known acts of the mid Eighties UK Metal Scene and they most well known for the two albums by Grim Reaper and also for the first ever vinyl release by Mercyful Fate on the this fucking record. It showcases European Heavy/Hardrock combos, with reviews highlighting its raw, garage-era sound, teen angst vibes, catchy moments and a notable bad track, making it a cult item for Hardcore fans of early Eighties Metal, though its overall appeal beyond niche collectors is debatable due to inconsistent quality and production. The Sound is raw, unpolished, energic and Garage feel and features great vocal harmonies and melancholic guitars. Metallic Storm is the second Compi devoted entirely to the promotion of unknown bands by Ebony Records and features bands from all parts of Britain & the Continent. All protagonists performing their own individual material and the result is a nice piece of wax. Nowadays a highly coveted collector’s item for die-hardies.

1.Black Funeral - MERCYFUL FATE

2.You Won't Live Forever - TANTRUM

3.That's The Way I Want It - SCIMITAR

4.The Fool - TAROT SUTRA

5.Gods & Devils - MEAN MACHINE

6.Secrets - CONFESSOR

7.Don't Go - JURY

8.Hellride - WELLS FARGO

9.Not The Time - MERCINARY

10.Super Rocker - WIKKYD VIKKER

11.Breakout - PENTAPUS

12.USA Lights - DETROIT

13.Can't Have My Body Tonight - MOBY DICK

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NEONBABIES - Nervös EP 1980

Now a Highlight from the Wanted-List: The Nervös EP is the second release by the Berlin based combo Neonbabies, dating from 1980. Limited to 1000 copies, the pressing sold out within ten days and is now a sought-after collector's item. During the creation of this EP, founding member Annette Humpe formed the band Ideal and subsequently left the Neonbabies; she was replaced by Petra Mikolajczuk (Miko). This EP is frequently confused with the very first Neonbabies EP, their debut was released in March 1980 titled I Don't Want To Lose You, which featured the original, early version of the song Blaue Augen long before Annette made it world famous with Ideal. "Nervös" followed as its direct successor later that same year. The cover came in a stitched together clear plastic sleeve featuring screen printed artwork, and the record was cut and pressed at the renowned TELDEC studio in Hamburg. As there was no record label involved (self-released), the labels bore the notation "Resco" (Reserved Copyright). The Berlin scene hailed the EP as a "cult" classic. Music magazines and scene regulars praised its refreshing sound, which stood apart from the prevailing gloomy Post-Punk. The music is an invigorating cocktail of early German Punk & New Wave, a defining feature being Reinhard’s nimble saxophone playing, which charmingly weaves jazz-inflected phrasing into the aggression; a style later described, in the context of their debut album, as "carefree yet skillful." Adding to this, the charmingly brash vocal interplay and backing vocals from the Humpe sisters lend the whole record an early, dynamic lightness, all without sacrificing its raw, underground energy. Excellent Record!!

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B.KLOPPT - Deutschland EP 1995

The roots of B.Kloppt lie in Göttingen, a city known at the time for its highly politicized, autonomous scene, where the band formed in the early Nineties. The line-up consisted of Patrick (vocals), Martin (guitars), Yvonne & Nille (bass), and Benne (drums); their only four track EP was released by Endzeit/Sabotage Records, pressed on blue vinyl in a limited run of 500 copies. In terms of both music and lyrics, their stylistic footprint falls squarely within the realm of classic, raw German Punk, aggressive, direct, and featuring explicitly political or socially critical lyrics that oppose nationalism and violence (as evidenced by song titles like "Deutschland" and "Vergewaltiger"). After the mid-nineties, the trail of B.Kloppt goes cold. As was common for many underground projects of that era, the band likely disbanded after only a few years, or its members went on to join other local Punk bands. The record is certainly not a groundbreaking innovation, but every track possesses the uncompromising hardness that it ought to have. Despite their short existence, B.Kloppt can also be found on a few Compilations (mostly on cassette).

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THE REMEDIALS - Four Song EP 1981

The Remedials were a five-piece from Montreal, consisting of Ted (vocals), Gordie & Guy (guitars), Joan (bass), and Jerry (drums) and this is their only EP with four nice goodies on Basic Records. The band is one of the groups from the early Canadian underground, and their sound sits at the stylistic intersection of PowerPop and Classic Punk, a blend of breezy energy paired with the melodic hooks of the early Eighties. In the same year, the band was featured with the exclusive song “Sweet Leather” on the Compilations Playboy Street Rock and CHOM L'esprit '81, and later also on Canada's Pissed Vol.3. Although the Remedials had only a very brief active period, they played shows within Montreal’s local club scene. A significant milestone in the band’s history occurred on August 29, 1981, when they served as the opening act for the legendary British band The Cure at a show in Montreal presented by CKGM. Because very few copies of the original pressing existed, the EP became a sought-after collector’s item over the decades. In 2015, Meanbean Records, a label specializing in rare vinyl gems, took an interest in the band and officially released the Four Song EP on vinyl, making the tracks accessible to a wider audience and music historians. Today, the songs frequently appear on radio playlists dedicated to the music history of Montreal and Canadian Underground Rock. The EP is a nice "Must-Have" for which the re-press was definitely worth it.

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Impressions XXXVI

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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 Punk 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 style with gloomy feelings. 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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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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