All Things to All People Vol 24 / Featured Release Roundup for December 9, 2017
I have to admit up front that I don’t think that I’m good at partying. I am fundamentally uptight, introverted, and have a habit of living inside my own head, so I do not naturally take to the idea of partying. That’s not to say I haven’t enjoyed myself now and again, but I just want to establish up front that I am not an expert on partying. However, in thinking about the concept of partying I started to realize that there are several different, distinct usages of the term “party,” so I thought I’d use songs to explore several different meanings of the term.
1. A friendly social gathering; or, as a verb, to attend such a gathering
The word “party” in its most common usage refers to a social gathering. These are the types of social situations that I tend to have anxiety about, but I do have my fair share of experience with them.
Jeff noted in his blog post that someone else had called dibs on the song “Partytime” by 45 Grave so he couldn’t write about it… that person was me, and I feel kind of bad about it because the reason I wanted to write about it is fairly superficial. Whenever I’m heading to a party—specifically when I’m getting dressed and ready and/or driving to the party’s location—I tend to sing the chorus to “Partytime” in my head. I have a lot of weird little mental tics like that… in case you’re wondering, just about every time I bathe I sing to myself, to the tune of “Jump in the Fire” by Metallica, “jump in the show-WAH!”
When I think of the best parties I’ve ever attended, my mind immediately drifts to the mid-00s and the various Richmond apartments and houses where Brandon and Lauren from No Way Records lived. Mostly these places would be the site of after-parties after various gigs around town, but often I’d make the 3-hour drive up to Richmond just to hang out. My favorite nights were when there would be fairly small groups of people—maybe 10 or so—crammed into a little room with a turntable and Brandon’s killer record collection. There were a few staples that always came out when the party was peaking--Spermbirds’ Something to Prove album was a big favorite—but you knew things were really raging when someone threw on the first Adolescents album, at which point everyone would immediately be huddled around the turntable, beers in the air, singing along.
If we’re talking about parties I can’t ignore the numerous wild times we had when Logic Problem and Shitty Limits toured the US together in one big 15-passenger van pulling a trailer with all of our equipment, merch, and luggage. Tim from Shitty Limits had made a couple of epic mix tapes for the tour and whenever one of those got thrown on you knew everyone was ready to get wide open. One of the tapes started with “Television Addict” by the Victims, and to this day whenever I hear that opening riff it releases some kind of primal spirit of partying from deep inside me.
Another song that has an almost Pavlovian association with partying for me is “Warm Leatherette” by the Normal. I’ve heard “Warm Leatherette” fall flat when played at the wrong time or in the wrong context, but when it’s like 12:30AM, everyone is on exactly the right mix of substances, no one is getting tired and grumpy yet and everyone just wants to dance there is simply no track greater than this one to throw on.
2. To do illegal drugs
I’ve noticed that the word “party,” when used as a verb, can also mean “to do drugs,” specifically cocaine. I’ve never done cocaine (I told you, I’m a square) so I can’t really give you a song that perfectly encapsulates that experience. I don’t really tend to do drugs because something has changed in either my value system or my body chemistry to where the downsides of such activities tend to outweigh the positives. So here are a couple of songs that get at that my current attitude toward this kind of “partying:”
One of the things that I love about this song (in addition to its obvious musical merits) is the way that it gets at the reasons why people do drugs. In particular, I think the first verse when Dick points out the sense of youthful transgression and mischief that attracts people to drugs and drug culture is really astute. Of course it wouldn’t be the Subhumans if they didn’t come down hard on a particular side of the issue, and even if Dick & co. are a little dismissive of drugs as a childish obsession I think they got at something really interesting here that not many people realize or acknowledge.
I’m not sure precisely why, but I’ve always thought that this song perfectly captures what’s bad about doing drugs. The grinding, slower-than-it-should-be tempo feels like the musical articulation of a difficult comedown, and when it’s combined with the existential horror of the lyrical concept you have one of the greatest (anti-?) drug songs ever recorded.
3. A formal political group
Obviously the word “party” can also refer to political parties, which are things that suck. Maybe it’s because I’ve read too much 18th century philosophy and political theory, but seriously fuck political parties in all shapes and forms. The world would be a better place if they were simply wiped from our collective memory.
This song popped into my head as an example of a dumb political hardcore song, but now that I look at the lyrics I actually find them kind of profound:
Now you are screaming in pain
They are striking you on your face
Their bombs, money and power
They are stepping over you
The dreams of the crowd
Are used to make them strong
“The dreams of the crowd are used to make them strong.” Fuck, have you heard a better explanation of how Republicans and their ilk are able to garner so much support?
The universe of party politics is one of big, aggregate numbers. It’s the reason that so many of us feel powerless… we’re frustrated by how little our one vote counts against the larger tide of public opinion. And since the masses don’t tend to appreciate the subtleties of rational argument, they end up rallying around slogans and symbols. So, in this track Doc Dart proposes a grand symbolic gesture for opponents of the Christian right: “I wanna take the president, chop off his head, And mail it to them in a garbage bag.”
4. A body of people united in opposition to others
So, when I started to write about partying for this post, one of the first things my inner English professor prompted me to do was look up the word “party” in the Oxford English Dictionary (as I told you, I’m a square). I found that the word derives from a Middle English term meaning “a body of people united in opposition to others.” What a great image! I love how the etymology reveals this hidden assumption at the heart of the very concept of a party… sure, we go to a party to listen to records and/or drink and/or dance or whatever, but one of the things that gives the gathering meaning is its sense of opposition to what is outside the party. Of course, this oppositional sense of the word “party” is more apparent in the political usage above (it always seems like it’s a “them” consolidating their power in political parties against the best interests of “us”), but I think this meaning is somewhere deep inside the conventional usage as well. In other words, there’s a subtle “fuck you” at the very heart of the concept of partying, so here are a few of my favorite “us versus them” songs:
This song is pretty much defiance personified.
Sometimes in order to keep the party’s vibe right you have to kick out some shitheads who wandered in.
5. The very nature of partying is to provide a life-saving release from the constant pressure to “take things seriously.” Seriousness … is precisely why things like partying are crucial to our mental and spiritual health. I take joy very seriously, and partying is the formal pursuit and celebration of joy itself. I’m having a party to celebrate life. I’m having a party to celebrate partying itself. (link)
The most interesting definition of partying I’ve found has only emerged in the past few years. Honestly, I’m surprised that no one has mentioned Andrew WK yet, because even though his cultural relevance is a long way from its peak in the early 00s I feel like his name is still almost synonymous with the concept of partying. What you may or may not know is that Andrew WK is actually a fairly serious thinker who has developed a sort of philosophical definition of the concept of partying. As summarized in the above quotation, for Andrew WK partying is a kind of meditative flow state where you free yourself from self-consciousness (the very kind that makes me “a square” and “bad at partying”), put your ego aside and experience joy in its purest and most direct form. The concept is kind of new-age-y and sounds like something that a yoga teacher might say, but instead of listening to Enya you get to listen to heavy rock, so I’m down. Anyway, here are a couple of songs that release me from the oppression of my self-consciousness and allow me to experience something like what Andrew WK is describing:
Few musicians’ work transports me to that magical place of total immersion as efficiently as that of Scorpions guitarist Uli Jon Roth. Something about his guitar playing makes me feel like I’m weightless, and a hot Scorps track like “Sails of Charon” blasted at full volume is basically an admission ticket to Andrew WK’s metaphysical party.
The Fall is not a band I would be likely to put on at an actual party (unless, of course, there was a very specific group of record nerds in attendance), but something about the chord progression to this song just takes me to that place. It’s one of those songs that I can’t not pay attention to, and when I’m paying attention to it I forget about myself and everything else around me. And as much as partying involves the presence of other people, isn’t that what it’s all about at the end of the day?
Bib: Moshpit 7” (Pop Wig) Latest 7” from Bib, which finds them moving (rather unexpectedly) to Pop Wig Records, which I know primarily as the home of the band Angel Du$t. Is the title of this record, Moshpit, a backhanded reference to their new sub-scene affiliation? Who really knows, as Bib were and are a pretty inscrutable bunch. Anyway, scene politics aside Moshpit is a fucking killer record. Seth nailed it when he said that it sounds like a record comprised solely of intros, and while that might sound like a bad thing, really what it means is that Bib have cut all of the fluff and filler out of these songs and reduced them to the parts that people want to hear. That, and the echo-drenched vocals, remind me quite a lot of the latest S.H.I.T. EP, to the point where I feel like Bib must have been inspired by that record… but, suffice to say, both bands do it very well and if you like one of the two records you should make it a point to check out the other. Another reason why these songs kind of sound like intros is that Bib really seem to be taking advantage of the potential for dynamics offered by their three(!)-guitar lineup. It’s easy to see how three guitarists and a bassist all bashing away at even a mildly complex riff would immediately sound like mud, so Bib keep things simple and open. Speaking of the three-guitar setup, I think my favorite track here is “Hypnotized,” which features all three guitarists scraping their picks against the strings, which adds up to this completely magical, psychedelic swirl of sound (which is accentuated by some really cool effects on the vocals). Comparisons to S.H.I.T. aside, Moshpit is a strikingly original record, and the full realization of Bib’s voice imbues this record with a completely infectious confidence and swagger. I really can’t recommend this one highly enough.
Μάτι: demo cassette (self-released) Demo cassette from this new hardcore punk band out of New York. In a lot of ways this recording reminds me of the glory days of the Toxic State / NYC scene (which seems to have died down over the past couple of years), but as with most of the recordings that came out of that scene this definitely has its own voice. In particular, Μάτι have a chugging, quasi-thrash metal element to their sound, with the guitarist doing a lot of speed picking and palm muting while the vocalist rants with the bile of your nastiest hardcore band. I’m reminded a lot of mid-80s metallic hardcore classics like Christ on Parade’s Sounds of Nature or Final Conflict’s Ashes to Ashes, or maybe even a much rawer, punker Cro-Mags at times. Definitely one of the more metallic things I’ve heard come out of New York in the past few years, but it’s no less killer for it.
Wash: demo cassette (Scavenger of Death) I guess that this cassette is a solo project from Chris Van Etten, who you may know as the bass player for numerous Atlanta bands like Carbonas, Bukkake Boys, GG King, and many, many others I’m sure. Van Etten has always seemed like a reliable side man, but this is the first time I’m aware of that he’s taken center stage, and my only question is why didn’t it happen any sooner? This tape is, without a doubt, one of the most unique and coolest things I’ve heard in some time. I’m really struggling to find points of comparison because it’s so totally unique. It’s thoroughly melodic, but it’s also really tough, but not in a way that’s pop-punk, post-punk, or any other currently fashionable punk subgenre. The closest thing I could compare it to would be late 80s bands who maybe started out as hardcore bands but tried to follow Husker Du’s lead toward music that’s a little more melodic and song-oriented… I’m thinking of bands like Squirrel Bait, later (i.e. self-titled LP-era) Government Issue, or HDQ… though honestly those aren’t great points of comparison because this is much more aggressive than any of those, and also much more angular and jagged. Maybe Husker Du’s Everything Falls Apart LP has kind of a similar vibe and approach? I don’t know man, this tape is a real head-scratcher, but 1. it’s really good and 2. I really love head-scratchers, so if any of this rambling appeals to you I’d highly recommend checking this out.
Machine Gun: S/T 7” (Double Man) Debut EP from this ripping hardcore band out of Philadelphia. After a bit of a drought it seems like ripping fast USHC is back in style (at least among some people), and Machine Gun are right up there with Nosferatu, Dagger, and Alienation as one of the best bands currently doing it. If you’re looking for something weird or different this probably isn’t for you, because this is about as pure as early 80s US-style hardcore gets. The singer sounds like Springa and the music is blisteringly fast and tight, with the quick and complex changes of bands like Koro, Neon Christ, Jerry’s Kids or early Gang Green. There is not a note on this record that I don’t love, and if the records mentioned above are as close to your heart as they are to mine you absolutely need this. Seriously, this is as top shelf as hardcore gets in the year 2017… highest possible recommendation!
Louder / Beat Generation: Split 7” (Ra-Ma) Four-song split EP from these two Japanese garage-punk bands, and I’m pretty sure that Sorry State is the only US distro to get copies, so if you want one don’t sleep! You may remember Louder from their excellent 12” on Sorry State a few years ago, and they’re still at it, playing a slightly less manic and more refined version of the classic Japanese garage-punk style that will forever be associated with Teengenerate and the Registrators. Their two tracks here are real corkers, and they also have one of my favorite song titles I’ve heard in a while in “Frantic Stuffs Are Never Ever Let Me Down.” As for Beat Generation, they’re very much along the same lines and just as good, so if you follow this particular strain of Japanese punk you know you need this one.
No Sister: The Second Floor 12” (self-released) Seth set himself the challenge of writing about this new No Sister album without mentioning the words “Sonic Youth.” Well, as for me, I don’t live by your rules, maaaaaan! I’ll make the most obvious comparisons I can and I won’t worry about it! Seriously, though, as I noted with their last LP, No Sister does seem to have discovered the secret sauce behind records like Daydream Nation, and they’re pounding out track after track like a restaurant called McDouglas’s cranking out bootleg Big Macs. The thing is, though, that No Sister not only sound a lot like vintage Sonic Youth, but they actually have a lot of the same qualities that I like about those records. In particular, there’s a kind of a tension between melody and dissonance that’s really striking… actually, at times it’s more that they have a tendency to take really melodic guitar riffs and overlay a dissonant, eerie-sounding harmony over top of them. If you checked out their previous record and liked it I’d highly recommend this one as well as it continues along the same lines but is just a little more focused and fully realized in terms of its execution.
Deletär: S/T 7” (Kick Rock) Debut 7” from this French band… are they going to be the first in a wave of Totalitär-inspired bands to signal their allegiance in much the same way bands like Disclose, Discard, Disaster, et al adopted their heroes’ prefix? Only time will tell. Anyway, there are basically two reasons that one would want to listen to a genre exercise like this: 1. you simply want to hear more songs in this style because there aren’t enough bands / records out there to sate your appetite or 2. the band does something conceptually or in execution that improves or elaborates upon the original (as Disclose explored every nook and cranny of Discharge’s aesthetic across their much larger discography). At least at this point, I’d put Deletär in the first category, so what you really need to know is, “how well is this executed?” The answer is quite well. They really nail the classic Totalitär guitar tone here, the singer sounds a lot like Poffen without doing an outright impersonation, the riffs themselves are totally ripping, and the recording leaps out of your speakers and punches you right in the face. If you’re really splitting hairs, I’d say that Deletär sound more like the relentless riff-barrage of Vi Är Eliten than the denser, more in-the-pocket Sin Egen Motståndare, but I’m not sure how nerdy you need to get about it. If the idea of a new band that sounds just like Totalitär doesn’t excite you I can totally appreciate that position, but if you’re in the market for this kind of thing I’d be hard-pressed to name a band that does it better than Deletär.
Negazione: Tutti Pazzi 7” (No Plan) Official reissue of this absolute classic of Italian hardcore, with a faithful reproduction of the original fold-out poster sleeve no less! Make no mistake, Tutti Pazzi is one of the greatest hardcore records of all time. If you’re not familiar with early 80s Italian hardcore, the records from that time and place tend to be marked by an approach to hardcore that is both raw and wild, sort of like they took the sonic parameters of the early Discharge singles and tried to funnel them through the unhinged sensibility of the wildest free jazz. There are a lot of great records from the period, but Tutti Pazzi is in a league with a very few (along with Cheetah Chrome Motherfuckers’ 400 Fascists, the Wretched / Indigesti split, and at most a couple of others) that qualify as the wildest, loosest, and most fully realized records of the period. I wouldn’t even know where to begin trying to figure out how to cover one of these songs (but then again, I’m no Mike Patton) because the riffs are unlike anything I’ve ever learned to play and the song structures are so fluid as to be virtually transparent. Listening to Tutti Pazzi is like walking through a well-executed haunted house where you have no idea what is going to come next, but you do know it’s going to be totally intense. If you like your punk rock chaotic and wild this is a record you simply must hear, as it’s rarely, if ever, been done better before or since.
Andy Human & the Reptoids: Kill the Comma 7” (Emotional Response) The Andy Human records have been arriving fast and furious lately, and I wouldn’t dare complain about that, but I have noticed a pattern wherein I tend to sift through these releases for the big choruses (like the monster for “Refrigerator,” for instance), anoint these tracks my favorites, and then never really digest what doesn’t fall into that category. Well, Kill the Comma breaks that pattern by not really giving us any of those catchy choruses, and paying attention to the more drone-y aspects of Andy Human’s sound is making me appreciate that side of the band a lot more. The aesthetic here is less ’77 and more ’79 to my ears, recalling Rough Trade Records classics like Swell Maps, Subway Sect, Essential Logic, and Cabaret Voltaire in the way that it incorporates the dense layering of psychedelic music into the nervy excitement of first-wave punk. These tracks strike me as being for people who like both the Lurkers and Can, a group in which I very much fall into, and consequently I like this EP quite a bit.
The Repos: S/T 12” (Youth Attack) Lavish reissue of the debut full-length by this Chicago hardcore band. In the years since this record came out (“bought it new,” as the old folks say) the Repos have become one of my favorite hardcore bands of the past decade or more, but listening back to this record for the first time in a while it’s interesting how little of what I came to love about the band is apparent here. For instance, the band who popularized the trend of releasing ultra-raw, limited run rehearsal tapes gives us an extremely clear recording and a tight performance here. I don’t think I ever would have said so at the time, but nowadays this honestly sounds to me quite a bit like Direct Control’s You’re Controlled LP, which was recorded around the same time… both records have a clear, powerful sound, an avowedly 80s aesthetic (the Repos even cover “Straitjacket” by Jerry’s Kids here), and riffing that sounds like a slightly more metallic take on the classic 80s USHC formula. Don’t get me wrong, it’s an absolute ripper of a record and time has not diminished its power, but it’s also strange how different this document is from the later ones that the Repos / Ropes would produce. Oh, and I should also mention the crazy packaging. There’s a larger outer sleeve which houses a regular LP sleeve that is a pretty much a faithful reproduction of the original sleeve, and then there’s an additional inner sleeve inside that. So there are three layers of paper between you and the record, but it all looks pretty boss and it’s kind of cool that the reissue comes with some stuff that the original didn’t.
The Repos: Hearts and Heads Explode 12” (Youth Attack) Reissue of the second Repos full-length, wherein they truly became the band that I love. The Repos’ first record (which has been reissued concurrently with this one) is a really good hardcore record, but Hearts and Heads Explode is a different beast entirely, and as such it’s the first truly great Repos record. From the very first second you can tell it’s a different beast… the locked-in rhythms of the first record have been replaced with a sound that is loose and unhinged, and the clarity of the S/T recording has been revised as something denser, rawer, and meaner. The Repos’ unique songwriting approach also fully takes shape here. Part of what’s so unique about this band is that they seem to be simultaneously deconstructing hardcore songwriting while also taking a more baroque (at times even psychedelic) approach. The normal fast part / mosh part dynamic that most hardcore songs rely on disintegrates here, with the songs moving from part to part with more of an intuitive, organic feel that keeps you guessing as to what might be coming next without ever seeming “wacky” or like weirdness for its own sake. And many of the songs also feature crazy guitar overdubs that sound like a really talented thrash metal guitarist heard the song once, recorded a lead overdub, and gave exactly zero fucks about how well they played it. Throughout, the Repos sound like a smart, musically adept band trying their best to play dumb and only partially succeeding. I suppose it’s a matter of taste as to whether you think that the Repos have topped Hearts and Heads Explode on any of their later records (though I’d argue that, at the very least, they’ve given it some serious competition), but I dare say that history’s long view will anoint this one of the greatest hardcore records of all time. The fortuitous timing of this reissue should help as it arrives at a moment when a lot of bands are picking up the Repos’ decade-old project of divesting hardcore of its cliches without losing any of its trademark intensity or aggression.
Combat Force: Demo 7” (Youth Attack) More Denver-area hardcore from Youth Attack Records, this time from Combat Force, a very Iron Cross-esque oi!/hardcore hybrid. I can’t help but notice the disjunction here between the recording quality and Youth Attack’s typically lavish packaging. The recording is incredibly raw, with audible tape hiss throughout, yet it’s packaged in this gatefold matte jacket and pressed on heavyweight (whatever the 7” equivalent of 180-gram is) white vinyl. I’m not saying that Combat Force don’t deserve it or anything, but there does seem to be quite a disconnect between the visual and auditory presentation here. As for the actual music, Combat Force play it pretty much by the book here, and if you’re into oi!-inspired hardcore like the aforementioned Iron Cross or perhaps more recent UK stuff like Violent Reaction or Arms Race this will probably hit the sweet spot for you, particularly since it’s quite raw and the analog recording, for all of the “faults” I mentioned above, is rich with texture. If you’re looking for something that’s going to reinvent the wheel, though, I would look elsewhere, as it doesn’t seem like Combat Force are particularly worried about interrogating or deconstructing the conventions (cliches?) of oi! music. In particular, lines like “we’re the working class / the spine of this land” not only strike me as kind of trite, but also point to the uncomfortable way that anglophilic US oi! bands struggle to adapt the conventions and talking points of British oi! music to American culture… the term “working class” means something quite different in the US than it does in the UK. If none of that bothers you then this is a pretty good record, but if you’re prone to overthinking you may well convince yourself not to like this one.
Fuerza Bruta: Verdugo 12” (Foreign Legion) Man, the label’s description of this record is pretty intense, drawing a line in the sand and calling out all of the new jack skinheads that have made oi! one of the hottest punk fashion movements of the mid-2010s. I mean, it’s hard to deny that it’s a trend, but what separates Fuerza Bruta from the pack? Have they been around the scene longer? Do they have a deeper knowledge of the genre and the culture’s history? What is more authentic about them? Honestly, I have no idea… I don’t know anything about the members of this band, but I do know that in Verdugo they have written an excellent oi! album. I will say that whereas a lot of modern oi! seems to be rather one-dimensional in the sphere of influences that it draws from, Verdugo feels like a mature synthesis of a lot of oi!’s sub-sub-genres. The label’s description mentions that this is inspired by Brazilian hardcore and Japanese oi! (I know a bit about the former and all but nothing about the latter), but I’m inclined to hear all of the connections to the skin sounds of yore… not only is there the primitive chug of brutal classics like Nabat or Red Alert, but there’s also a lot of pop in the mix too… nothing quite as overt as, say, Cock Sparrer, but there’s a lot of the melodic, beefy guitar riffs of American oi! bands from the Templars to the Beltones or even UK pop-oi! classics like the Business’s “National Insurance Blacklist.” At the end of the day, to me this is just a beefy, muscular, and melodic punk record, so I’d say forget the scene divisions… whether Verdugo is the 3rd oi! record you’ve heard of the 300th I think you’ll enjoy it quite a bit.
Various: Soul Christmas 12" (Run Out Groove)
45 Grave: Sleep in Safety 12" (Real Gone Music)
Throbbing Gristle: The Second Annual Report 12" (Mute Records)
Throbbing Gristle: 20 Jazz Funk Greats 12" (Mute Records)
Throbbing Gristle: The Taste of TG 12" (Mute Records)
Wu-Tang: The Saga Continues 12" (36 Chambers LLC)
Sufjan Stevens: Carrie & Lowell Live 12" (Asthmatic Kitty Records)
Jason Molina: The Black Sabbath Covers 12" (Secretly Canadian)
Iron Maiden: Book of Souls: The Live Chapter 12" (Parlophone)
Ed Sheeran: Live at the Bedford 12" (Atlantic Records)
Ed Sheeran: Loose Change 12" (Atlantic Records)
Ed Sheeran: No. 5 Collaborations 12" (Atlantic Records)
Ed Sheeran: Songs I Wrote with Amy 12" (Atlantic Records)
Ed Sheeran: You Need Me 12" (Atlantic Records)
Morrissey: Low in High School 12" (BMG Records)
Bib: Moshpit 7" (Pop Wig Records)
Tankard: Chemical Invasion 12" (Noise Records)
Tankard: Zombie Attack 12" (Noise Records)
Andy Human & the Reptoids: Kill the Comma b/w Do the Mole 7" (Emotional Response Records)
Razz: Time Frames 12" (Emotional Response Records)
Sob Stories: S/T 12" (Emotional Response Records)
American Hate: Our Love Is Real 12" (Not Normal)
No Sister: The Second Floor 12" (self-released)
Bombarder: Speed Kill 12" (Nuclear War Now!)
Ajattara: Lupaus 12" (Svart Records)
The Obsessed: S/T 12" (Relapse Records)
Various: Brown Acid: The Fifth Trip 12" (Riding Easy)
July: S/T 12" (Guerssen Records)
Witch: Lazy Bones 12" (Now Again Records)
Mooner: Tabiat 12" (Outer Battery Records)
Sun Ra: Space Is the Place 12" (Jackpot Records)
Silver Apples: Contact 12" (Jackpot Records)
Mouthpiece: Can't Kill What's Inside 12" (Revelation Records)
Templars: Deus Vult 12" (Pirate's Press)
Satanic Warmaster: Nova Ordo Ater 12" (Werewolf Records)
Fireburn: Don't Stop the Youth 12" (Closed Casket Records)
Goatpenis: Anesthetic Vapor 12" (Nuclear War Now!)
The Cravats: Dustbin of Sound 12" (Overground Records)
Sadist: Shadow of the Swastika 12" (Regurgitated Semen Records)
Midnight: Sweet Death and Ecstasy 12" (Hells Headbangers)
Evil: Rites of Evil 12" (Nuclear War Now!)
Backtrack: Bad to My World 12" (Bridge 9 Records)
Short Fast & Loud #30 zine w/ Deathgrave / Violation Wound 7" (Short Fast & Loud)
Various: 80s Underground Cassette Culture Vol 1 12" (Contort Yourself)
The Shaggs: Philosophy of the World 12" (Light in the Attic Records)
Gudon: 1984 12" (Fan Club)
The Uglies: We Are the Uglies cassette(No Patience Records)
Sistema en Decadencia: demo cassette (No Patience Records)
Skizophrenia: Live in Tsuyama cassette (No Patience Records)
Belgrado: Live in Australia cassette (No Patience Records)
PTSD: If You See Something, Say Something cassette (No Patience Records)
TALC: S/T 7" ((No Patience Records))
Death Church: Black Books 12" ((No Patience Records))
The Uglies: Keeping Up with the Uglies 12" ((No Patience Records))
Louder / Beat Generation: Split 7" (Ra-Ma)
Blink 182: Neighborhoods 12" (SRC Records)
Blind Idiot God: Undertow 12" (Invisible Music)
Kohti Tuhoa: Pelon Neljas Valtaku 12" (Southern Lord)
Watain: Lawless Darkness 12" (Season Of Mist)
Watain: Sworn to the Dark 12" (Season Of Mist)
Butthole Surfers: Locust Abortion Technician 12" (5 Music)
Bjork: Utopia 12" (One Little Indian)
Sun Ra Arkestra: Brother the Wind 12" (Cosmic Myth Records)
Chemotherapy: S/T 7" (Time Change Records)
Brian Eno: Before and After Science 12" (Astralwerks Records)
Brian Eno: Taking Tiger Mountain (By Strategy) 12" (Astralwerks Records)
Electric Wizard: Wizard Bloody Wizard 12" (Witchfinder Records)
Pharoah Sanders: Tauhid 12" (Anthology Records)
Lubricants: Activated Energy 7" (Rerun Records)
Vom: Live at Surf City 7" (Rerun Records)
Captain 9’s and the Knickbocker Trio: Starting A Rock n’ Roll Grease Fire 12" (Rerun Records)
Executives: S/T 7" (Rerun Records)
Plastic Idols: IUD 7" (Rerun Records)
Plastic Idols: Einstein Experience 7" (Rerun Records)
Versing: Nirvana cassette (Help Yourself Records)
Feed: FEED cassette (Help Yourself Records)
Unholy: The Second Ring of Power 12" (Peaceville Records)
Isotope: Wake Up Screaming cassette (self-released)
Death of Lovers: The Acrobat 12" (Death Wish Records)
Drab Majesty: The Demonstration 12" (Dais Records)
Dakhma: Suna Kulto 12" (IFB Records)
Break Away: Cross My Heart 12" (React! Records)
Insist: Here and Now 7" (React! Records)
Saetia: Collected 2x12" (Secret Voice)
All Pigs Must Die: A Caustic Vision 12" (Nonbeliever Records)
Combat Force: Demo 7" (Youth Attack)
The Repos: S/T 12" (Youth Attack)
The Repos: Hearts and Heads Explode 12" (Youth Attack)
Marduk: Opus Nocturne 12" (Osmose Productions)
Immortal: At the Heart of Winter 12" (Osmose Productions)
Immortal: Battles in the North 12" (Osmose Productions)
Immortal: Diabolical Fullmoon 12" (Osmose Productions)
Immortal: Pure Holocaust 12" (Osmose Productions)
Result of Choice: Through My Eyes cassette (IOU Records)
Field Agent: The Voice of a Few cassette(IOU Records)
Big Mack: demo cassette(IOU Records)
Machine Gun: S/T 7" (Double Man Records)
KBO!: Perspektiva 1982-1989 12" (No Plan Records)
Negazione: Tutti Pazzi 7" (No Plan Records)
Misanthropic Charity: S/T 7" (No Plan Records)
Newtown Neurotics: Pissed as a Newt 12" (No Plan Records)
Haram: When You Have Won, You Have Lost 12" (Toxic State)
Liquids: Heart Beats True 7" (Digital Regress)
Liquids: Hot Liqs 12" (Not Normal)
Silver Apples: S/T 12" (Jackpot Records)
Mustafa Ozkent: Genclik Ile Elele 12" (Jackpot Records)
Howlin' Wolf: His Greatest Sides 12" (Jackpot Records)
The West Coast Pop Art Experimental Band: Part One 12" (Jackpot Records)
Wipers: Over the Edge 12" (Jackpot Records)
Wipers: Is This Real? 12" (Jackpot Records)
Wipers: Youth of America 12" (Jackpot Records)
Cock Sparrer: Running Riot in 84 / Live and Loud! 12" (Pirate's Press Records)
Beyond: Dew It! / Live Crucial Chaos WNYU 12" (Revelation Records)
Burn: S/T 7" (Revelation Records)
Chain of Strength: The One Thing that Still Holds True 12" (Revelation Records)
Gorilla Biscuits: S/T 7" (Revelation Records)
Judge: Bringin' It Down 12" (Revelation Records)
Judge: What It Meant: The Complete Discography 12" (Revelation Records)
Texas Is the Reason: Do You Know Who You Are? 12" (Revelation Records)
Various: New York City Hardcore: The Way It Is 12" (Revelation Records)
Warzone: Don't Forget the Struggle, Don't Forget the Streets 12" (Revelation Records)
Youth of Today: Break Down the Walls 12" (Revelation Records)
Youth of Today: Can't Close My Eyes 12" (Revelation Records)
Impalers: Cellar Dweller 12" (540 Records)
The Mob: Let the Tribe Increase 12" (Overground Records)
Career Suicide: Machine Response 12" (Deranged Records)
Limp Wrist: Facades 12" (Lengua Armada Records)
Lebendent Toten: Mind Parasites 12" (Overthrow Records)
Neanderthal: A History of Violence 12" (Deep Six Records)
Kyra: Here I Am, I Always Am 12" (M'Lady's Records)
This Heat: S/T 12" (Modern Classics Recordings)
The Louvin Brothers: Satan Is Real 12" (Capitol Records)
Public Image Ltd: First Issue 12" (Light in the Attic Records)
Roky Erickson: The Evil One 12" (Light in the Attic Records)
Piece War: Apathy 12" (Square One Again)
Cause for Alarm: S/T 7" (Victory Records)
Modest Mouse: The Lonesome Crowded West 12" (Glacial Pace)
Nirvana: Nevermind 12" (DGC Records)
Pearl Jam: Ten 12" (Sony Music)
Modern Warfare: Complete Recordings and More 12" (Rerun Records)
Firewalker: S/T 12" (Pop Wig Records)
Boston Strangler: Outcast 12" (Boston Strangler Records)
Touche Amore: Is Survived by 12" (Death Wish Records)
Deafheaven: Sunbather 12" (Death Wish Records)
Converge: Jane Doe 12" (Death Wish Records)
Death: Human 12" (Relapse Records)
Death: Leprosy 12" (Relapse Records)
Death: Scream Bloody Gore 12" (Relapse Records)
Geto Boys: S/T 12" (Rap A Lot Records)
Geto Boys: We Can't Be Stopped 12" (Rap A Lot Records)
Joey Bada$$: All-Amerikkkan Bada$$ 12" (Cinematic Records)
Mayhem: Live in Leipzig 12" (Peaceville Records)
NOFX: The Decline 12" (Fat Wreck Chords)
Parquet Courts: Light Up Gold 12" (What's Your Rupture? Records)
Parquet Courts: Tally All the Things You Broke 12" (What's Your Rupture? Records)
Power Trip: Nightmare Logic 12" (Southern Lord)
Pretty Things: SF Sorrow 12" (Madfish Music)
Run the Jewels: S/T 12" (Mass Appeal)
Run the Jewels: RTJ 2 12" (Mass Appeal)
Run the Jewels: RTJ 3 12" (Mass Appeal)
Slayer: Show No Mercy 12" (Metal Blade Records)