{"title":"Punk and Hardcore Vinyl","description":"","products":[{"product_id":"bikini-kill-self-titled-12-black-vinyl-lp","title":"Bikini Kill • Self-Titled | 12\" Black Vinyl LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003eReceived a Best New Reissue 8.7 rating from Pitchfork.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eThis is the 20th anniversary reissue of BIKINI KILL’s debut 12\" EP. Originally released in the fall of 1992, Bikini Kill comprises four songs recorded by IAN MACKAYE at Inner Ear Studios; one song from the band's 1991 demo cassette, recorded by PAT MALEY (Yo-Yo Studios); and one song recorded during Bikini Kill's live performance April 4th, 1992, at Washington, D.C.'s Sanctuary Theater. The vinyl reissue includes a new fanzine in the form of a 34\"x21\" poster featuring interviews with Ian MacKaye and MOLLY NEUMAN (BRATMOBILE), liner notes by LAYLA GIBBON (Skinned Teen, MRR), excerpts from the band’s zines (Bikini Kill #1 and #2, Jigsaw #4), and photos from the band members' personal archives.  \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eBikini Kill was a feminist punk band that was based in Olympia, WA and Washington, DC, forming in 1990 and breaking up in 1997. KATHLEEN HANNA sang, TOBI VAIL played drums, BILLY KARREN (aka BILLY BOREDOM) played guitar and KATHI WILCOX played bass. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines, and confrontational live performances. \u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714765426976,"sku":null,"price":21.49,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/8516470042920_main.jpg?v=1758231116"},{"product_id":"off-free-lsd-electric-blue-vinyl-12-lp","title":"OFF! • Free LSD | Electric Blue Vinyl 12\" LP","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThe long-awaited 4th album from hardcore supergroup OFF! \"A heavy punk industrial free jazz soundtrack recording.\" \u003cstrong\u003eDeluxe glow-in-the-dark gatefold edition with blotter paper lyric sheet and translucent electric blue vinyl\u003c\/strong\u003e.\u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714772111648,"sku":null,"price":37.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/144875_main.jpg?v=1758231527"},{"product_id":"die-spitz-something-to-consume-12-black-vinyl-lp","title":"Die Spitz • Something To Consume | 12' Black Vinyl LP","description":"\u003cp\u003eWhen the Venn diagram of passion, friendship, identity, and artistry collide, it can feel as if fighting words are spitting from your veins. And as postmodern society crumbles, Die Spitz giddily bounce between a dozen different ways to push back. If the world of rock music were an ice cream shop, the Austin quartet have sampled each flavor, flipped the freezer over, and started dancing with the employees they helped unionize.\u003c\/p\u003e\n\u003cp\u003eOn their debut album, Something to Consume, Ava Schrobilgen, Chloe De St. Aubin, Ellie Livingston, and Kate Halter fight against the inescapable consumption that surrounds life. “There’s a political side to it, but addiction and love can also be all-consuming,” Livingston says. And as the foursome trade off instruments, swapping songwriting and vocal duties, and generating powerful songwriting in concussive bursts, Die Spitz have created their own little pocket of the world where we can all stand on the edge together.\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714774995232,"sku":null,"price":34.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/148918_main.jpg?v=1758231722"},{"product_id":"the-cramps-stay-sick-blue-vinyl-12-lp","title":"The Cramps • Stay Sick! | Blue Vinyl 12\" LP","description":"\u003cp\u003e\u003cstrong\u003eLimited pressing on blue vinyl!\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eSex-classic Stay Sick! was originally released in 1990 and features more of the dark side of rockabilly in a jugular vein. The opener, a hopped-up cover of obscure Sun Records tune “Bop Pills,” proves that rumors of amphetamine usage by the original Memphis rockabilly cats was not exaggerated, and sets the pace for the rest of the album.\u003c\/p\u003e\n\u003cp\u003eHog-wild covers of “Shortninʼ Bread” and “Muleskinner Blues” probably have the original writers dancing on their graves, and The Cramps’ version of the perverse rarity “Her Love Rubbed Off” shines a lurid spotlight on the only song that Carl Perkins was admittedly ashamed of writing. Plus, Stay Sick! delivers loads of action-packed originals celebrating kamikaze thrill-seeking and scary sexy she-creatures. This is pure jungle music—one half hillbilly and one half punk. If you canʼt dig this then you must have “Daisys Up Your Butterfly”! Still a favorite among rock ʼnʼ roll sickos worldwide.\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714803011872,"sku":null,"price":26.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/6550351672200_main.jpg?v=1758232418"},{"product_id":"upchuck-sense-yourself-blood-splatter-vinyl-12-lp","title":"Upchuck • Sense Yourself | Blood Splatter Vinyl 12\" LP","description":"\u003cp\u003eUpchuck are experiencing a moment. The Atlanta punk collective just came off multiple tour runs with their good friend Faye Webster. Their Ty Segall-produced second album Bite The Hand That Feeds, with all its buzzsaw guitars and high-speed rippers and headbanging sludge, arrived in October. Later this year, they’ll make appearances at multiple festivals including Coachella. In the midst of relentlessly barreling ahead, the band and their label Famous Class are taking a beat to revisit how they got here.\u003c\/p\u003e\n\u003cp\u003eAfter working with Segall on Bite the Hand That Feeds, the band floated the notion that they wished they could hear what their collaborator could do with the songs on their 2022 debut album Sense Yourself. Holed up in his studio over Christmas with COVID and nothing else to do, Ty Segall began toying with Sense Yourself, sifting through folders of unlabeled stems to find the best guitar parts, emboldening the drum sound, and bringing greater clarity to KT’s vocals, all while bolstering the urgency of the band’s overall attack. With Segall’s new mix, Upchuck’s intense and righteous debut now impossibly overflows with even more fuzz and fury.\u003c\/p\u003e\n\u003cp\u003eDespite all their recent success, Upchuck would like to disavow you of the notion that they’ve reached a new echelon. “I’m still poor every day of my life,” says frontperson KT. “I'm still working at a club and barely making it—like not eating out, barely being able to support myself financially, but I’m also having people come up to me at work being like ‘You're playing Coachella, right?’” They’re still grinding every day while their friends’ houses get raided by cops. The brick on the exterior of their mold-riddled practice space was painted white; they’re still in disbelief that such a nasty house sold for a mint. Some songs from Sense Yourself have been part of their live shows for six years now, and even as the band have gained more visibility and a larger audience, they don’t see these songs as coming from a different era of their lives. This shit is still happening right now.\u003c\/p\u003e\n\u003cp\u003eKT shouts “see my kind\/we’re not safe” while detailing a depressing daily cycle of unchecked violence on “Upchuck,” a scuzzy dirge that picks up speed and aggression as they cement how there are no consequences for literally murdering marginalized people. The five members of this band wield their collective power, an appropriately tumultuous setting for KT’s screams about not being able to make a living wage, living under the thumb of yuppie fucks, and the horror of unexpected loss. This is a band that lost friends and family, have lived through so much fucked up stuff, and are currently seeing their friends get raided and labeled extremists while living in the Cop City era of Atlanta. “Even in high school, like Trayvon, it's still the same shit—shit’s not switching up,” KT says. Their collective power at shows is riveting for audiences, but for Upchuck, it’s a space to circle up with this community they’ve created.\u003c\/p\u003e\n\u003cp\u003eIn Segall, they found a kindred spirit whose studio approach made sense for just how hard they wanted this music to hit. “When we first went to record with Ty for Bite the Hand That Feeds, Mikey and I walked into the guitar room and Ty said, ‘Don’t touch the EQs.’ We looked at the amp and everything was on 10 except the master volume,” Hoff said. Previously, the band had been encouraged to capture the unvarnished sound of the studio. They’d toured with Segall’s band Fuzz, so everybody had the same goal while recording together: Capture the electricity of their intense live set.\u003c\/p\u003e\n\u003cp\u003e(STREET DATE - 5\/31\/2024)\u003c\/p\u003e\n\u003cp\u003eThe band’s shows have a reputation for coming unglued, and there’s no greater document of that than Sense Yourself’s iconic album artwork. With no text, it’s a candid photo of a moment from a show shot on film without editing: blood streaked across KT’s face as they shout into the mic. In the middle of their EP release show, KT was in the pit as a fan started crowd surfing inside a shopping cart. A loose piece of metal near a wheel caught the singer right near the eyebrow and blood was everywhere, an instant piece of iconography snapped by probably every camera phone in the room.\u003c\/p\u003e\n\u003cp\u003eIt’s not the gnarliest photo in existence of KT’s condition at the show. The singer didn’t realize how bad it looked when they got back onstage and kept performing as their bandmates and friends checked in. “Our fans are just built different, like no way you’re carrying a shopping cart with this skater who’s like six feet tall, built as hell, and they’re passing him around? That don’t make sense,” KT recalls. “But they did it somehow, and then they beat the fuck out of the shopping cart!”\u003c\/p\u003e\n\u003cp\u003eWhen Hoff revisits the message of this first album and Upchuck’s first songs, he thinks back to the year before the band even started when he and KT were hanging out. “We were sitting around talking for eight hours like ‘fuck, that's fucked up, that's fucked up.’” Upchuck became a vehicle for these five people to process how fucked up everything it is—to digest these formative hours-long conversations and put them to bludgeoning, intense rock music. The music is also fun as hell, and that’s part of the point. “There's a lot we need to do as people and a lot of things we need to fix in society but also like come on man like have your fun, wild out, have your drink,” KT says. “But be on your shit at the same time. Check your folk.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eNewly remixed by Ty Segall\u003c\/p\u003e\n\u003cp\u003ePressed on blood splatter vinyl.\u003c\/p\u003e\n\u003cp\u003ePackaged with an Obi Strip.\u003c\/p\u003e","brand":"Ice Cream","offers":[{"title":"Default Title","offer_id":50714830405920,"sku":null,"price":27.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/147421_main.jpg?v=1758232625"},{"product_id":"descendents-milo-goes-to-college-black-vinyl-12-lp","title":"Descendents • Milo Goes To College | Grey Matter Vinyl 12\" LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eOne of the seminal works from the genre to become known as pop punk, the Descendents’ \u003c\/span\u003e\u003cem\u003eMilo Goes to College\u003c\/em\u003e\u003cspan\u003e arrived in the year 1982 as most of the members of the band were just finishing high school. 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Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves.Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next.Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. 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Newly inspired by electronic music, the rhythm of “Worldwide” is unrelenting and mechanistic — capturing the frenzied pace at which Snooper’s lives were moving, but allowing for release in Tramel’s yelps and Connor Cummins’ scuzzy guitar breaks. “Worldwide” introduces us to the next chapter of Snooper — more personal, more cathartic, sharper, bolder, catchier. “There’s a sweet spot,” Tramel says of the evolution that came out of Snooper’s whirlwind experience these last few years. “For a moment, push and pull create this beautiful dance.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Third Man Records","offers":[{"title":"Default Title","offer_id":50808087281952,"sku":"810074425001","price":24.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/TMR1095C1.jpg?v=1760640899"},{"product_id":"upchuck-im-nice-now-black-vinyl-12-lp","title":"Upchuck • I'm Nice Now |  Black Vinyl 12\" LP","description":"","brand":"Domino Record Co.","offers":[{"title":"Default Title","offer_id":50819296297248,"sku":null,"price":31.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/Upchuck_ImNiceNow.jpg?v=1760986942"},{"product_id":"wet-leg-moisturizer-cd","title":"Wet Leg • Moisturizer | CD","description":"","brand":"Domino Record Co.","offers":[{"title":"Default Title","offer_id":50820318691616,"sku":null,"price":17.49,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/WetLeg_Moisturizer.jpg?v=1760994940"},{"product_id":"mannequin-pussy-i-got-heaven-black-vinyl-12-lp","title":"Mannequin Pussy • I Got Heaven | Black Vinyl 12\" LP","description":"","brand":"Epitaph","offers":[{"title":"Default Title","offer_id":50820393369888,"sku":null,"price":29.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/mannequinpussy_igotheaven.jpg?v=1760995719"},{"product_id":"radioactivity-time-wont-bring-me-down-black-vinyl-12-lp","title":"Radioactivity • Time Won't Bring Me Down | Black Vinyl 12\" LP","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e*ORDERS SHIP ON OR BEFORE 10\/31*\u003c\/strong\u003e\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003eJeff Burke and Radioactivity are back! Recorded over a long period of time and released ten full years (!) after their last album (Silent Kill, 2015), here is the eagerly awaited third!\u003c\/p\u003e\n\u003cp\u003eNobody was really worried about Radioactivity dropping the ball after all this time. Jeff Burke’s track record (The Marked Men, The Reds, The Potential Johns, Lost Balloons, etc etc) speaks for itself, and has for over twenty-five years at this point. It’s no exaggeration at all to say that Burke’s songwriting voice is one of the most distinctive, unique, and dare we say best of the 21st century so far. Still, Time Don’t Bring Me Down doesn’t just hold its own—it rips. With Mark Ryan (Marked Men, Mind Spiders, O-D-EX) and Daniel Fried + Gregory Rutherford (Bad Sports) in the lineup, these guys burn through eleven tracks in half an hour and leave nothing standing.\u003c\/p\u003e\n\u003cp\u003eThe first two albums sounded like what one would expect from a Burke project—tight, fast, and pure Denton adrenaline. Time Won’t Bring Me Down still has that DNA, but this isn’t just nostalgia. Radioactivity’s got their own thing now: Burke’s hooks still bite, but there’s more space, more mood, and the band’s locked-in chemistry means every hit lands harder. One gets straight-up burners like “Time Won’t Bring Me Down” and “Why” that’ll knock the coffee out of one’s hand, but also heart-twisters like “Analog Ways,” “Ignorance Is Bliss,” and “Shell” that slow the pace down considerably, and represent real progress and evolution in style and songwriting. Time Won’t Bring Me Down sees Radioactivity take their core sound and expand it outwards in all directions. 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It’s take-no-prisoners. It makes you yearn to see the mayhem that surely occurs when Amyl \u0026amp; the Sniffers take the stage in some basement dive. 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The album was recorded after vocalist Milo Aukerman returned from college, and is the first of two Descendents releases to feature guitarist Ray Cooper. It found the band leaning even harder into their penchant for irresistible melodies, often with a much brighter sound than what could be found on Milo Goes To College. 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Recorded with producer Mike Elizondo and co-produced by the band’s Brendan Yates,\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGlow On\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003efollows Turnstile’s 2018 breakthrough album\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eTime and Space\u003c\/em\u003e, which saw the Baltimore band charting new ground for hardcore, expanding stylistic boundaries, and celebrating new possibilities.\u003c\/p\u003e\n\u003cp\u003eWith\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eGlow On\u003c\/em\u003e, that utopic vision is fully realized; 15 tracks devoid of borders, boundaries, or entry obstacles, only abundant imagination, heart, and grooves plucked from all corners of the musical spectrum. A guest feature comes from Blood Orange on \"\u003cem\u003eAlien Love Call\u003c\/em\u003e\".\u003c\/p\u003e","brand":"Roadrunner","offers":[{"title":"Default Title","offer_id":51163798634784,"sku":null,"price":31.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0954\/1081\/5264\/files\/turnstile_glowon.jpg?v=1769635508"},{"product_id":"spiritual-cramp-rude-blue-marble-vinyl-12-lp","title":"Spiritual Cramp • Rude | Blue Marble Vinyl 12\" LP","description":"\u003cp\u003ean Francisco punks Spiritual Cramp release their sophomore album Rude via Blue Grape Music. Produced by Grammy Award-winning John Congleton, mixed by Carlos de la Garza, and featuring a duet with Sharon Van Etten, the album feels like a massive level up or the band. 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This time, I thought, I would allow myself years to revise the songs until I got them just right; I would rely on other guitarists to play the things in my head that my own fingers couldn’t quite do; and I would not rest until I found a studio that could allow me the lifelong goal of making a truly great-sounding recording.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: rgb(230, 230, 230);\"\u003e\u003cem\u003eSongs for the Worried is a dream achieved for me, a Holy Grail of sorts, something my skinny arms have been reaching out for since I first picked up a guitar at age fourteen. I do believe that musically, this is the best I can and will ever do.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: rgb(230, 230, 230);\"\u003e\u003cem\u003eThe songs are full of anxiety, despair, hope, and literary allusions—as one might expect from a high school literature teacher. The music was brought to life with help from a wonderfully strange combination of performers: the guys from the Mullets whom I played music with as a teenager; our life-long friends in the brothers Glick; and heavy-metal-playing identical twins that once sat in my classroom. The ideal producer was found in Mike Bridavsky at Russian Recordings in Bloomington, who exceeded my expectations.\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: rgb(230, 230, 230);\"\u003e\u003cem\u003eIn the end, the “band” that I call Unsureway took four years total to complete this record. I don’t know if I’ve ever been more pleased with a finished product.\"\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: rgb(230, 230, 230);\"\u003e\u003cstrong\u003e\u003cem\u003e-Joey Goebel\u003c\/em\u003e\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003eJoey and I have been friends for decades, so I was thrilled when he asked if I would play on his record. I was even \u003cem\u003emore\u003c\/em\u003e thrilled when he agreed to let it serve as Ice Cream's first physical release, as we dip our toes into the world of record label-dom. 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