The original Not About To Die was an illegal bootleg, released in the early 1980s, by the dubiously named Amnesia Records. The album comprised selections of demos recorded by Wire for Chairs Missing and 154. These demos had been recorded for EMI, with cassette copies circulated amongst record company employees. However, they were never intended for release.

Hologram is the first release from New York Post-Punk legends A Place To Bury Strangers on their own newly formed label, Dedstrange. Hologram is the follow up to their highly regarded fifth album, Pinned, and is a sonic return to A Place To Bury Strangers' rawest, most unhinged sound. With songs addressing the decay of connections, friendships lost, and the trials and tribulations of these troubled times, Hologram serves as an abstract mirror to the moment we live in. Written and recorded during the on-going global pandemic and in the midst of the decline of civilization, Hologram is a sonic vaccine to the horrors of modern life.

The tragedy of the Gun Club's third album, The Las Vegas Story, is that it was largely ignored by both critics and fans due to the mixing and mastering disaster that marred its predecessor, Miami – an album that was full of great songs and performances but was so marred by poor sound that it sounded lifeless…

“I live too fast to die young, it ain’t nothing when your head’s screwed on,” roars the Crown Prince of exciting, electric frontmen Michael Monroe on his second album for Silver Lining Music, I Live Too Fast to Die Young (the follow-up to 2019’s critically acclaimed One Man Gang) and these 11 proclamations prove he is so right. Not even a pandemic could stop Monroe and his band from throwing down the tightest, leanest, meanest and most goddamn fun rock ‘n’ roll music of the year, and the likes of “Young Drunks & Old Alcoholics”, “All Fighter” and the punky “Murder the Summer of Love” show the crisp electricity of CBGB-style punk with glitter-crusted melodies wrapped around the riffs.

Death Church from the incomparable Rudimentary Peni is a landmark release from the anarchist leftist wing of punk rock…

Originally released in May 1982, Combat Rock is the final album from The Clash of Joe Strummer, Mick Jones, Paul Simonon and Topper Headon. Featuring two of the bands most well-known songs, 'Should I Stay Or Should I Go' and 'Rock The Casbah'. Now re-released as a double remaster-edition, with an additional 12-tracks compiled by The Clash.

The Japanese quartet returns louder, faster, and fiercer, tearing through 18 hilarious and ferocious songs in 20 minutes…

Back in 2019, when Devil Master spread their caped wings beyond Philadelphia's borders, it heralded the second wave of extreme music vampires hailing from the city of Brotherly Love — the first being the late, great Ink & Dagger. They hit an unsuspecting scene and emerged with unexpected popularity that many took an affront to…

A product of generations of underground music in L.A. and beyond, The Linda Lindas’ debut, Growing Up, channels classic punk, post punk, power pop, new wave, and other surprises into timelessly catchy and cool songs sung by all four members—each with her own style and energy.

The sum total of their 2022 opus is a straight upgrade to SOUL GLO’s already brilliant back catalog, bursting with scorching new takes on old ideas and enough spirit and passion to set the entire scene ablaze…

The Real McKenzies do for Scottish folk music what the Pogues did for the traditional music of Ireland. They rev it up to a speed and power that approximate punk rock, but still maintain the melodic sense of the original sound, and sometimes use bagpipes and acoustic guitars to give it a taste of folkie authenticity, while the lyrics deal with the joys and tragedies of Scottish history, as well as the group's well-documented love of booze.

In the winter of 2019, Bob Mould bucked the era’s despair with his most melodic, upbeat album in ages, Sunshine Rock. Cut to spring of 2020, and he has this to say: “We’re really in deep now.”

The Replacements’ 1981 Twin/Tone Records debut, Sorry Ma, Forgot To Take Out The Trash, heralded the Minneapolis-based band’s competing tendencies toward indelible genius and reckless abandon. With now classic songs including 'Takin' A Ride,' 'Shiftless When Idle,' 'Customer' and 'Johnny's Gonna Die,' the 'Mats' legendary founding line-up of lead singer/songwriter and guitarist Paul Westerberg, Chris Mars (drums) and brothers Bob and Tommy Stinson (lead guitar and bass, respectively) unleashed a shambling, dynamic sound.