{"title":"Dischord Records","description":"Dischord Records","products":[{"product_id":"scream-still-screaming-lp","title":"Scream – Still Screaming LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1492252861\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eScream – Still Screaming LP\u003c\/p\u003e\n\u003cp\u003e\"This is bound to be one of the best releases of ’83. Dischord has really got their production down—it’s the best in punk. An unrelentless record, musically and lyrically, containing powerhouse thrash with great hooks, choruses, and vicious guitars. I don’t care much for the few reggae-ish cuts, but otherwise I can’t say enough good about this one.\" - Tim Yohannan \/ MRR\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48169485599012,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/scream.jpg?v=1709226042"},{"product_id":"minor-threat-out-of-step-12-record","title":"Minor Threat – Out Of Step 12\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2276761933\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMinor Threat – Out Of Step 12\" record\u003c\/p\u003e\n\u003cp\u003e\"Even though it was released less than three years after their formation, Out of Step found Minor Threat as a much more wizened, world weary band than their previous EPs suggested. Recorded after the band’s first break up, Out of Step finds the band reacting to a movement that they basically singlehandedly created.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eGone were the “simplistic,” single-riff chargers like “Filler” and “Small Man, Big Mouth.” In their place where multi-parted, sometimes purposefully unevenly gaited mini-epics like “Betray” and “Look Back and Laugh.” Minor Threat certainly had a substantial hand in creating hardcore during its nascent stage, but already by their first proper album were they creating what would become post-hardcore. See “It Follows” which is more based in a low, rumbling clack than a speed-up rock riff, which also has a brief spoken word section and ends with whistling. That’s not to mention that whereas Ian MacKaye used to ride the riff for maximum fist pounding power, here he was deliberately singing against the music in order to create a more difficult, and more multifaceted contrast.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eIn part, this may have been the addition of Steve Hansgen on bass, giving the band more room, and more tools to create their wall of sound. Depending on who you ask, this was either the band’s next logical step of their eventual undoing. None of the tracks here are quite as catchy as their first two eps, but that may have been the point. Where the earlier works seemed to pull from gut and heart, Out of Step seemed aimed to stimulate the brain and conjure contemplation instead of youthful impulse.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eBut, where the music was evolving, the lyrics were keeping up or more. A lesser spoken Minor Threat tidbit is how often the band fought and how fractured they were. Minor Threat is often spoken as this singular, monumental force that changed an entire scene. While that is true, the band’s affect likely wasn’t due to team consensus, but rather, a combination of philosophy contrast and pure luck. That is to say, these guys fought. That’s plainly evident in the lyrics. On “Look Back and Laugh,” MacKaye muses that things that seem so important now might not hold the same weight in the far future. “Betray” tells you all you need to know by the title alone.\" - John Gentile \/ Punk News\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48211246252324,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/mtoos.jpg?v=1709828406"},{"product_id":"dag-nasty-can-i-say-lp","title":"Dag Nasty – Can I Say LP","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=778599965\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eDag Nasty – Can I Say LP\u003c\/p\u003e\n\u003cp\u003e\"The only actual album released with vocalist Dave Smalley up front until Four on the Floor years later, Can I Say helps mark a turning point between hardcore's straight-ahead origins and a more accessible approach that would eventually prime the way for punk's breakthrough in the mid-'90s. Baker's roots in Minor Threat are clear throughout, but at the same time, the production, assisted by Ian Mackaye, is actually stronger and crisper than much of that band's work. Chalk it up to time or better facilities, but Dag Nasty rocks in a full, smack-out-of-the-speakers way with unbridled energy. Smalley, meanwhile, has a vocal delivery halfway between strident pronouncement and anguished reflection -- it's not emo in the original sense of the term (or alternately the late-90s watering down of same), but it's a careful balance just the same. He's not a great vocalist per se, but he does make a commanding frontman, while his lyrics grapple with personal politics in a winning, thoughtful way. The sentiments may not be original, but he phrases them well, never losing sight of the fact that he's singing them and not reciting modern poetry or the like. When the band as a whole just cranks the amps and runs straight ahead with the usual crunch, things are energetic enough without being distinguished. But when Baker tries for something more honestly anthemic, the rhythm section follows along well while Smalley matches the rise perfectly. Check out \"Circles,\" which starts normally enough before shifting into more affecting musical gears a minute in, or the fine \"Never Go Back.\" There's some good if rough call-and-response vocals on \"What Now?,\" the rhythm section in general does the needed job throughout the album, and in the end it, all succeeds pretty damn well.\" - Ned Raggett \/ All Music\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48261632033060,"sku":"","price":17.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/dn.jpg?v=1710434672"},{"product_id":"embrace-s-t-lp","title":"Embrace s\/t LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=806601765\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eEmbrace s\/t LP\u003c\/p\u003e\n\u003cp\u003e\"Embrace was made up of Ian MacKaye (who was previously the bassist of the Teen Idles, the singer of Minor Threat and Skewbald\/Grand Union, did side projects in Egg Hunt and Pailhead and now plays guitar and sings half the songs in Fugazi and also co-owns Dischord Records) and three of the five members of Faith: Michael Hampton (previously of SOA, Faith and Skewbald\/Grand Union and later of One Last Wish) on guitar, Ivor Hanson (previously of Faith) on drums and Chris Bald (previously of Faith and later of Ignition) on bass. Faith was another of those early Dischord hardcore bands and featured Alec MacKaye (Ian's brother) on vocals, who is, contrary to popular belief, the guy on the cover of Minor Threat's complete discography. They called in quits in '83 and Ian recruited three of the members to form Embrace in '85. Embrace only lasted a year, but they recorded this excellent album before they fell apart, which was not actually released until '87 and was recently remastered and re-issued with two bonus tracks. I've never heard the original issue, so I don't know if it sounds any better, but the bonus tracks are cool, even if they're just alternate version of songs already on here.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eI'm a tad biased towards anything Ian does, seeing as how he single handedly changed the way I view music, but that's a story for another time. The point here is that this album is fabulous. If you're expecting fast and furious old school hardcore ala Minor Threat or more abstract post-hardcore ala Fugazi, you're going to be disappointed. What we have here is some mid-tempo punkish rock, but with a twist. Michael Hampton's guitar work really gives this album a unique sound. Refusing to stick to simple power chords, he instead concentrates of coming with much more unorthodox and much more creative melodies. The only down side to this is that you tend to not really notice them at first, due to the fact that they're somewhat low in the mix and sometimes you don't even notice that they're there. But if you listen closely, you'll find some really interesting stuff going on. The drums move along nicely enough with some cool fills and the bass work is a lot more complicated and interesting than you're going to hear in the average punk\/hardcore record and it never falls into the easy trap of just playing the same thing as the guitar. The song here are incredibly catchy, but not in the typical way. The hooks aren't incredibly obvious, they're far more subtle and so you don't hear them at first. But after a few listens, you become addicted and realize just how clever and catchy the songs are. Not to mention just how fun it is to sing along to.\" - Hamish \/ Punknews.org\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48317167796516,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/embracelp.jpg?v=1711050529"},{"product_id":"dag-nasty-wig-out-at-denkos-lp","title":"Dag Nasty – Wig Out At Denkos LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2535134558\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDag Nasty – Wig Out At Denkos LP\u003c\/p\u003e\n\u003cp\u003e\"One album later and literally half the band had changed. Doug Carrion took over on bass, being just as competent though not otherwise as distinguished as his predecessor, Roger Marbury, while Dave Smalley was also gone, to be replaced by the lyrically similar-minded Peter Cortner. The latter's singing is rather more ragged than Smalley's sometimes blunter work, but the fact that he's not trying to simply ape Smalley actually helps make him much more distinct as a result. Both use speaking as part of their delivery, and Cortner's thinner voice actually suits the fragility of his lyrics quite well, arguably being just that much more effective than Smalley's approach, which sometimes sounded challenging even while pondering personal issues. Baker's still doing a good job all around on guitar, and if anything, stretching himself further at creating true anthems for the disaffected, feeling big and heroic while still embracing punk's simplicity, as the fantastic title track shows. There's even more in the way of soloing, which usually ends up serving each song's drive rather than being a showcase for wanking around. Not that once or twice he indulges in some fret-bending flash that uncomfortably signals where he'd end up with the horrible Junkyard, but happily that approach doesn't dominate. The opening cut, \"The Godfather,\" is a perfect pairing of his talent and Cortner's, with a chorus that rises just enough as the latter wonders how he can truly get in touch with the one he loves. Then there's \"When I Move,\" which completely goes against the grain by only having Cortner and Baker on the track -- the latter simply performing acoustic guitar! Colin Sears keeps up the steady drumming work from the first album, while the production, though at points a touch less crisp than that on Can I Say, still lets everything come through nice and strong.\" - Ned Raggett \/ All Music \u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48362805723428,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/a1782775065_65.jpg?v=1711642299"},{"product_id":"fugazi-margin-walker-12-record","title":"Fugazi – Margin Walker 12\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3604415803\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi – Margin Walker 12\" record - the last six songs on 13 songs are on this 12\". \u003c\/p\u003e\n\u003cp\u003e\"In June of 1989, following the release of their self-titled EP the previous November, Fugazi set out to record and release their full length album. Unfortunately, since they were disappointed with a lot of the songs on the full-length, it got chopped down into a six song EP called Margin Walker. Margin Walker is primarily available today as part of 13 Songs, a compilation album that packages together Margin Walker and the self-titled EP as one album. While 13 Songs is Fugazi’s highest selling record of their career, whenever people talk about the album, they tend to focus on the Fugazi EP half over the Margin Walker half, mainly because of the presence of “Waiting Room” and “Suggestion” on that part of the album. The only thing drawing any attention to the Margin Walker side over Fugazi was that Margin Walker was technically the first Fugazi release to feature any guitar from Guy Picciotto, who had only contributed vocals on Fugazi. So let’s take a moment to look at the oft overlooked Margin Walker.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003eWhat I love about this early era of Fugazi is that you start to see Ian MacKaye’s songwriting absolutely transform. Five years passed between the break-up of Minor Threat and the release of the first Fugazi recording, and in that time MacKaye took part in Embrace, more or less the second band to ever be referred to as “emocore,” and a very short-lived side act called Egg Hunt that only released two songs. In Minor Threat, MacKaye’s songwriting had been very straightforward and lacked much in the way of poetry. As great as his songs in Minor Threat were, they involved MacKaye mostly just shouting political opinions exactly as they came to him. Embrace gave him the chance to begin to grow his style a little bit more, but it wasn’t until he reached Fugazi that we saw songwriting so transformative, it felt like it came from a different man. Part of it was probably that Fugazi paired MacKaye with co-frontman Guy Picciotto, former lead singer of Rites of Spring, the first band to be referred to as “emocore,” who started to rub off on MacKaye.\" - Julie River \/ Punk News\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48481407533348,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugmw.jpg?v=1712250444"},{"product_id":"nation-of-ulysses-13-point-program-to-destroy-america-lp","title":"Nation Of Ulysses – 13-Point Program To Destroy America LP","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1592618173\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eNation Of Ulysses – 13-Point Program To Destroy America LP\u003c\/p\u003e\n\u003cp\u003e\"A raging collection of songs preaching an ideology of insomnia, teenage rebellion, and sharp dressing, the Nation of Ulysses' 13-Point Program to Destroy America comes across as a blueprint for the complete overthrow of adult society in favor of one ruled entirely by the cool kids. Nearly every track on the album is played at breakneck speed, and the overall message is one of uprising. \"A Kid Who Tells on Another Kid Is a Dead Kid\" and \"Cool Senior High School (Fight Song)\" extol the virtues of kids sticking together to exclude those not fit for the glorious new society, namely grown-ups and squares. All the songs are punk gems, and after a couple of listens the revolutionary rhetoric starts to sounds pretty damn exciting, maybe because it's not entirely clear whether or not the Nation of Ulysses is serious or just playing a joke on all the indie rock hipsters. Either way, it's hard for anyone to not enjoy songs like \"Look Out! Soul Is Back\" and \"Today I Met the Girl I'm Going to Marry.\" The revolution might not be here quite yet, but when it comes, be sure to have this album as proof to your worthiness.\" - Brandon Gentry \/ All Music\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48577327071524,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/R-5140618-1672358869-1998.jpg?v=1712849894"},{"product_id":"lungfish-talking-songs-for-walking-lp","title":"Lungfish – Talking Songs For Walking LP","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2783314641\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eLungfish – Talking Songs For Walking LP\u003c\/p\u003e\n\n\u003cp\u003e\"A great album of its time, showing off commendable restraint as well as emotional intensity, perhaps distancing it from some of its peers. Higgs is gifted with a superb voice, shifting from rock n roll poetic preaching transcendent vibes, to a blazing scream whenever he needs to hit the button. This is a raging album, where their later outings became much more contemplative-sounding and mantra-like, however the template of repetition and subtlly-shifting feel is there.\" - James Parker\u003c\/p\u003e\n\nThe Necklace Of Heads ep songs are NOT present on this lp. ","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48681725198628,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungtalking.jpg?v=1713469798"},{"product_id":"minor-threat-s-t-12","title":"Minor Threat - First Two 7\"s 12\"","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2978592199\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMinor Threat - First Two 7\"s12\"\u003c\/p\u003e\n\u003cp\u003e\"The self-titled debut from Washington, D.C.'s quintessential exponents of hardcore appeared on the (then) tiny Dischord label run by the young and energetic Ian MacKaye, who as vocalist for the band uttered some of its most incisive lyrics, not to mention athletic and exuberant performances. Minor Threat are comparable only to their fellow D.C. innovators, Bad Brains, possibly the next most influential group in American underground music during the '80s and '90s. Not only did Minor Threat define the hardcore ethic, they unwittingly coined the genre term straight-edge, which would resonate through post-punk music and beyond, from garages in southern California to the rest of the Western world. Regardless of the multiple incarnations the hardcore genre has weathered, fans will always return to Minor Threat as the godfathers of American punk. The CD reissue, which compiles the complete collection -- including singles and EPs -- is available on CD and is easier to come by than the 12\" vinyl version. That said, if an acquaintance, sibling, or progeny doesn't have a copy of this album lying around, well, that would be tantamount to having never witnessed Pink Floyd's The Wall or the Sex Pistols' Never Mind the Bollocks. While many consider Minor Threat a great influence on Limp Bizkit, on hearing this it doesn't really seem fair to hold them responsible.\" - Skip Jansen\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48767261868324,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/mtst12.jpg?v=1714072805"},{"product_id":"fugazi-seven-songs-12-record","title":"Fugazi - Seven Songs 12\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3604415803\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi - Seven Songs 12\" record - The first 7 songs on 13 songs are on this 12\". \u003c\/p\u003e\n\u003cp\u003e\"Fugazi’s self-titled EP was the actually the first thing I ever heard by the now iconic Washington DC quartet. Of course, I didn’t know it at the time. To me it was just the first half of their 13 Songs LP, which was released a year later. I only knew that Fugazi was a new band with Ian from Minor Threat. That still meant a hell of a lot in the late 80’s. Those seven tracks are still some of my very favorite Fugazi songs. Ian MacKaye wrote everything on Fugazi, while later releases would be true band efforts. This EP represents the bare essence and primitive roots of a group that would never really stop evolving.\u003c\/p\u003e\n\u003cp\u003eOpener “Waiting Room” has to be their best known song. Even people not really into Fugazi know “Waiting Room”. That’s probably why some of their hardcore fans (pretend to?) dislike it. They shouldn’t. It really was that good. It was also a template for so many great songs that would follow. Plus, we can’t forget that bass intro and the amazing drop at the 22 second mark. Fugazi was the band’s only release on which Guy Picciotto sang but didn’t play guitar. I’ve always been drawn more toward Ian MacKaye’s vocals, but Picciotto had an undeniable, raspy appeal. “Bulldog Front” was a prime example.\u003c\/p\u003e\n\u003cp\u003e“Bad Mouth” was another undisputed classic. It delivered a message without being preachy, and even had a beat you can dance to. “Burning” and “Give Me the Cure” again featured Picciotto on lead vocals and were fairly straightforward rock songs, at least by Fugazi standards. Two adventurous songs wrapped up the EP, and gave us a glimpse into the future. “Suggestion” has become a bit of a feminist anthem. The anti rape song delved deep into the idea of toxic masculinity, long before any of us had ever heard the term. “Suggestion” quickly became the noisy, anti drug “Glue Man”, suggesting a single musical movement.\u003c\/p\u003e\n\u003cp\u003eEarly on, Fugazi was described as an attempt to meld dub and reggae with punk and hardcore. That is more apparent on this EP than anything that came after. It was definitely something that hadn’t been done before. (And hasn’t been done nearly as well since.) Later, the band would become more experimental and move deeper into art rock territory. There were signs of that here too. Ultimately, Fugazi become whatever they wanted to be. Or maybe it was whatever they were supposed to be. Either way, it all started here.\" - Tom Trauma \/ Punk News\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48829443965220,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugaziseven.jpg?v=1714675341"},{"product_id":"fugazi-repeater-lp","title":"Fugazi – Repeater LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1160542541\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e The last three songs on this Bandcamp release are NOT present on the LP version.\u003c\/p\u003e\n\u003cp\u003eFugazi – Repeater LP\u003c\/p\u003e\n\u003cp\u003e\"With its righteous disdain for capitalism and the almighty dollar, Repeater sounds like an angrier American update of Gang of Four's Solid Gold, which had been made ten years earlier. Lines\/slogans like \"When I need something\/I reach out and grab it,\" \"You are not what you own,\" \"I was caught with my hand in the till,\" and \"Everything is greed\" bear this out. Though not lacking any sense of conviction, Repeater honestly gets a little stifling. It's not too difficult to see why the band was allegedly lacking a sense of humor at this stage. They could have been yelling about filing their taxes; the yelling begins to fade into a din after a while. The title makes sense, if only by mistake. But -- and that's a big but -- Repeater nearly matches the Fugazi and Margin Walker EPs with its musical invention and skill, spewing out another group of completely invigorating songs, which makes the subject matter and finger-pointing a little easier to swallow. Few rhythm sections of the time had the great interplay of Joe Lally and Brendan Canty. Likewise, the guitar playing and interaction of Ian MacKaye and Guy Picciotto almost always get overlooked, thanks to all the other subjects brought up when the band is talked about. A guitar magazine even rated Repeater as one of the best guitar records of the '90s, and rightfully so. Anemic revs spiked by pig squeals (or is it a screeching train?) highlight the title track, one of the band's finest moments. (Don't miss MacKaye's vicious double-tracked vocals, either.) As always, MacKaye and Picciotto's noise-terrorism-as-guitar-joust avoids flashiness, used as much as rhythm as punctuation device. Sharp, angular, jagged, and precise. Other gnarling highlights include the preachy \"Styrofoam,\" the late-breaking \"Sieve-Fisted Find,\" and the somewhat ironic \"Merchandise,\" which skewers Mr. Business Owner by asking, \"What could a businessman ever want more\/Than to have us sucking in his store?\" Plenty of fans had to suck in someone's store to get this record, after all.\" - Andy Kellman \/ All Music\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48885924888868,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugrep.jpg?v=1715272747"},{"product_id":"jawbox-novelty-lp","title":"Jawbox ‎– Novelty LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1981580376\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eJawbox ‎– Novelty LP\u003c\/p\u003e\n\u003cp\u003e\"Novelty ushered in second guitarist and vocalist Bill Barbot, immediately bolstering Jawbox's might. Differing from the debut, the guitars are sharper and the riffs are more concise. Less straight-ahead, the record is also more dynamic, benefiting from more varied material. The only negative aspect is Iain Burgess' murky production. Normally an outstanding producer, Burgess gives Novelty a bizarre din that frustrates in places. Adam Wade's drums sound a bit canned, and J. Robbins' vocals sound too \"from the depths\" on occasion. It's still a marked improvement over Grippe, with Wade and bassist Kim Coletta sounding more in tune with each other; Barbot immediately proves to be the perfect foil for Robbins, engaging in some excellent guitar joust throughout.\u003c\/p\u003e\n\u003cp\u003eLyrically, Robbins gets more abstract. (He also screams a bit more, but in a well-controlled manner.) Less introspective perhaps, songs like the excellent \"Static\" (one of the band's finest moments) seem to tackle one-on-one issues. Otherwise, who knows exactly what Robbins is addressing? Definitely not cut and dry, the songs certainly leave themselves open to any form of interpretation, but how do you decode lines like \"I've got this syllable sickness called the six second blues\/No doubt quixotic talk has been subsumed\"? Sounds neat, so go with it.\u003c\/p\u003e\n\u003cp\u003eNovelty is transformed from a good record to a great one with the addition of the \"Tongues\" single. Full of dense swirls of swooping guitars, only to be ejected by a thick riff (the intro almost sounds like the Smiths' \"How Soon Is Now\"), the song separates the band from their D.C.\/Chicago roots while clinging to them at the same time. Call it My Bloody Minor Raygun.\" - Andy Kellman \/ All Music\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48932635836708,"sku":"","price":17.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/jawboxnov.jpg?v=1715886437"},{"product_id":"fugazi-in-on-the-kill-taker-lp","title":"Fugazi – In On The Kill Taker LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=624257142\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi – In On The Kill Taker LP\u003c\/p\u003e\n\u003cp\u003e\"In on the Kill Taker is like scrubbing your face with steel wool. It finds the band relying on rusty guitar shards that scrape, seethe, and hiss, further removing itself from the sound of 13 Songs and Repeater. Harsh and grating, Fugazi surprisingly produces sheer noise at times, best witnessed in the lengthy closing of \"23 Beats Off\" and the unintentional Gremlins homage that opens \"Walken's Syndrome.\" Joe Lally's bass and Brendan Canty's drums are relegated to acting as a guide; they're pushed -- but not squashed -- down in the mix, allowing for Ian MacKaye and Guy Picciotto's guitars to take control, corrosively so. It's probably Fugazi's least digestible record from front to back, but each track has its own attractive qualities, even if not immediately perceptible. \"Facet Squared\" and \"Public Witness Program\" open the record furiously, but the majority of the following \"Return the Screw\" is hardly audible, aside from occasional vocal tantrums. A good amount of time is spent alternating between low-key guitar noodling and intrusive bursts of aggression. They're smart with their sequencing, placing the gentle instrumental \"Sweet and Low\" (the only track where Lally plays a prominent role) after the exhaustive cacophony of \"23 Beats Off,\" and generally piecing together a set of rather diverse tracks that flows well. Picciotto's anti-Hollywood rant on the properly titled \"Cassavetes\" is a classic Fugazi moment, as is his similarly name-dropping \"Walken's Syndrome.\" Buried at the end of the record are two excellent lurchers, MacKaye's \"Instrument\" and Picciotto's \"Last Chance for a Slow Dance.\" Not Fugazi's finest hour, but one of its most daring and rewarding.\" - Andy Kellman \/ All Music\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":48996250353956,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugaziiothk.jpg?v=1716490008"},{"product_id":"lungfish-rainbows-from-atoms-lp","title":"Lungfish – Rainbows From Atoms LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=499628035\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLungfish – Rainbows From Atoms LP\u003c\/p\u003e\n\u003cp\u003e\"While it can’t be regarded as the finest album in their extensive catalogue – that honour may, in hindsight, go to 1999’s ferocious The Unanimous Hour – second LP Rainbows From Atoms nevertheless marked the moment when Baltimore’s Lungfish reached out and touched a good many more hearts and minds. The year of its original release – 1993 – tied in perfectly with the boom enjoyed by American punk and grunge; British ears were desperate for new sounds, and although they’d been an operational unit since 1988, the Daniel Higgs-fronted four-piece would only now enjoy the attentions of individuals well beyond their peer and scene groups.\u003c\/p\u003e\n\u003cp\u003eBeing signed to Dischord didn’t harm the band’s relative fortunes any. Outsiders on a DC-dominated label, they were marked out as exceptions to a rule never truly enforced, but the stuff of myth nonetheless; thus, a certain mystique hung over them, and this indefinable aurora of uniqueness was bolstered by Higgs finding his conceptual feet quite brilliantly. ‘Creation Story’, falling in the middle of proceedings here, is a song that comprises a solid foundation for the frontman’s reputation as a lyrical force of nature. Lungfish came to a community from outside of it, their stuttering guitar lines in perfect synch with what Ian MacKaye and company were hearing in the capital. Listening now, Rainbows From Atoms is predictably dated in terms of production, but its spirit hasn’t dulled any – this is the sound of a band shaking off the shackles of reservation, and confronting their ability head on.\u003c\/p\u003e\n\u003cp\u003eThe best songs are still the quick-fixes - ‘Axiomatic’, 'You Might Ask Me What' and ‘Mother Made Me’, for example. Hearing them again, you can trace a line from this album right through to the comparatively modern day writhing – raw, but focussed – of Lovvers, Wives, Wires On Fire, Ten Grand et cetera, post-millennium bands that’ve been and gone, or continue to be, who quite evidently take (or borrowed) a cue or two from these masters of power-through-restraint tension building, whose work was left to explode at instances unpredictable. But there’s not a bad song on Rainbows From Atoms, really; granted it’s not the match of the band’s third, Pass \u0026amp; Stow, or their aforementioned (and unexpected at the time) zenith, but outside of the context of such fine company this is an album that, even so long after its initial release, buzzes with life, ambition, heart.\" - Mike Diver \/ Drowned In Sound\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49075592659236,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungfishrfa.jpg?v=1717098685"},{"product_id":"hoover-the-lurid-traversal-of-route-7-lp","title":"Hoover – The Lurid Traversal Of Route 7 LP","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=49998807\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eHoover – The Lurid Traversal Of Route 7 LP\u003c\/p\u003e\n\u003cp\u003e\"Call Hoover's sole Dischord album emo if one wants -- because that would be right, but not in the washed-out whine sense of the late '90s. Much like the similarly fierce Drive Like Jehu from San Diego, when Lurid Traversal totally and completely fires up, Hoover are out for blood and sound it: musical aggression amped up high, lyrics clipped, and vocals screamed in usually very high pitches. The Jehu comparison also holds with the sense of obsessive, repetitive structure mixed with occasional time changes in a number of the songs -- if Hoover isn't quite as astoundingly epic as the West Coast quartet, the band's work is still far more than mere crash and bash. The group's secret weapon is that the foursome can be quiet when they want to be -- even tender, as the cricket-chirping then slow, slightly dreamy music that makes up the instrumental \"Route 7\" itself shows. Other songs like \"Regulator Waits\" and \"Shut\" place the emphasis on tension rather than explosion -- the singing and lyrics are still pained-sounding and to the point, but the music takes its time to subtly chug and chime along. The concluding \"Cuts Like Drugs\" is a perfectly balanced monster, some guitar scraping away in the distance like Daniel Ash in Bauhaus days while a suffused air of threat hangs over the whole performance (credit should be given to drummer Christopher Farral here and elsewhere). When the group openly bridges the step between quiet and loud, notably and almost jarringly on the fantastic \"Father,\" the shift carries that much more impact from having started from a calmer point.\" - Ned Raggett\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49136021111076,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/hoover.jpg?v=1717697399"},{"product_id":"fugazi-red-medicine-lp","title":"Fugazi – Red Medicine LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4086095165\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi – Red Medicine LP\u003c\/p\u003e\n\u003cp\u003e\"Retreating from the skinned-knee production values of In on the Kill Taker, Red Medicine packs more rhythmic punch and shows more range. With more drive and playful goings-on, the arrangements sound much looser than on Kill Taker, while remaining just as gut-kicking and brainy. The experimentation, which adds liveliness, doesn't sound measured. Even Joe Lally is allowed to sing, and it just happens to be one of the best songs on the record. Running against the theory that Fugazi is a pack of killjoys, numerous instances pop up where the band's twisted sense of humor is apparent. The sinister ha-has that open \"Birthday Pony,\" the android sample in the pleasant (!) instrumental \"Combination Lock,\" and random piano plinks all manage to find a welcome place. But the most uncharacteristic track is the \"Blade Runner in Kingston\" slo-mo instrumental \"Version,\" featuring clarinet skronks, dubwise rhythm, incidental zaps, and -- get this -- no guitars. Picciotto declares in the immediately following \"Target\" that he hates the sound of guitars. What gives? It's clearly a rumination against corporate America's capitalization\/bastardization of \"punk\" aesthetics. If anyone had the right to comment, it was Fugazi. \"Back to Base\" and \"Downed City\" (another dubby intro here) return to more standard issue, hardcore roots Fugazi, full of the soaring guitars that the band is most known for. Closing out the nearly flawless second side is yet another contemplative exit track, \"Long Distance Runner.\" Acting as a daily affirmation of sorts to combat lethargy, MacKaye opines, \"If I stop to catch my breath\/I might catch a piece of death.\" - Andy Kellman\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49202015404324,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugrm.jpg?v=1718304029"},{"product_id":"lungfish-pass-and-stow-lp","title":"Lungfish - Pass And Stow lp","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2212195367\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLungfish - Pass And Stow lp\u003c\/p\u003e\n\u003cp\u003e\"It took several recordings, but Lungfish finally establish musical equilibrium on their third Dischord release, Pass and Stow. For the first time, the vocal work of Daniel Higgs doesn't dominate the band's mix. Asa Osborne's guitars finally get the sonic boost necessary to compete, and this 1994 offering makes great strides because of it. There are plenty of repetitive dirges and abstract lyrics, but Pass \u0026amp; Stow retains the hardcore energy that defines Lungfish's early, less-experimental work. There is some post-rock foreshadowing of the group's Indivisible transition, but the buzz-saw guitar sounds are staunchly metallic and traditional by extension. The Eastern drones of \"Astronaut's Prayer\" are a nice touch up that's reflected many times in the Lungfish discography without novelty or excessiveness. Other highlights include the epic \"Computer\" and the restrained spookiness of \"In Praise of Amoral Phenomena.\" With its many artistic and sonic developments, Pass \u0026amp; Stow signifies the creative emergence of Lungfish, one of America's most interesting '90s art\/punk practitioners.\" - Jason Anderson \/ All Music\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49458814189860,"sku":"","price":17.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungfishpas.jpg?v=1718902704"},{"product_id":"q-and-not-u-no-kill-no-beep-beep-lp","title":"Q And Not U – No Kill No Beep Beep LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1266000574\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eQ And Not U – No Kill No Beep Beep LP\u003c\/p\u003e\n\u003cp\u003e\"In the psychological search for the roots of behavior, the simplified final verdict comes down to environment versus genetics. If music can be brought into the study, chromosomes might as well throw in the towel, since environment seems to have behavior in a headlock when you put D.C. under the scope. The first five seconds of \"Fever Sleeves\" project more D.C. landmarks than the Mall. Taking a quick survey of the city, we find ghettos reaching into suburbia and suburbs reaching into ghettopia. Georgetown gentrification rubs against white government blocks as other sectors rot under boarded windows. So, it's not surprising that pop bands from D.C. can carry nasty faces and ragged edges, while hardcore bands may spice their spikes with coats of glucose.\u003c\/p\u003e\n\u003cp\u003eQ and Not U roll out of the mold of the Capitol dome in the stereotypical D.C. form and find an ideal home in the roster of D.C. archivists, Dischord Records. For Dischord's 20th Anniversary, No Kill No Beep Beep serves as suitable a summation as the label's upcoming box set. Beeping guitars flutter, thrash and crash like wuxia. Drummer John Davis leads the listener through the herky-jerky chaos like an acrobatic fullback. At times, the rhythms and changes rumbling from his kit hog too much spotlight, and songwriting takes a backseat to cluttered post-hardcore aerobics. Q and Not U pummel through their disc in piecemeal haste. Duel guitars stutter to spit out all they learned from Fugazi and Circus Lupus. This is punk rock filibustering. Loopy finger-tappings and harsh pick-hammerings take precedence over the chordal strumming of those other cities.\" - Brent DiCrescenzo\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49499103363364,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/qandnotu.jpg?v=1719449886"},{"product_id":"q-and-not-u-different-damage-lp","title":"Q And Not U – Different Damage LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=918703563\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eQ And Not U – Different Damage LP\u003c\/p\u003e\n\u003cp\u003e\"Maybe it's because I play bass, but whenever I hear about a band losing their bassist and moving on without him, I get worried: who's gonna guard the low-end with two guitarists dominating the proceedings? Will they start to sound like The Doors? I mean, I like The Doors and all (Jim Morrison's, um, \"poetry\" aside), but we don't need another Doors. These are the questions that shot through my head when I heard that Q and Not U had decided not to replace Matthew Bourlique on four-string when he left the band after their debut full-length, 2000's No Kill No Beep Beep.\u003c\/p\u003e\n\u003cp\u003eOn that album, Q and Not U sounded like they were on their way; there were some great songs at the front end of the album, even if the rest was somewhat less inspired. Ideas were in abundance, but the sinew to hold them together was lacking, which made it more of a fun and promising release than a full-blown success. I fretted that their losing a member might kill the potential completely, so it was with a cautious ear that I put on Different Damage, their first album without Bourlique.\u003c\/p\u003e\n\u003cp\u003eAnd I'll tell you, I have got to stop worrying about stuff like this. Q and Not U aren't on their way anywhere anymore-- they've arrived. There are subtle changes here; the band's fundamental D.C.-ness is still firmly intact, all post-punk rhythms and obtuse politicking with the occasional riotous post-hardcore shout, though some electronics have found their way into the depths Bourlique used to inhabit. And the big shocker: guitarist\/vocalist Chris Richards makes a mean bassist.\u003c\/p\u003e\n\u003cp\u003eThe songwriting has tightened up considerably since No Kill No Beep Beep. If most of the songs on their debut were shotgun blasts, these are laser beams: no less destructive, and far more precise. \"Soft Pyramids\" opens with the band spelling out the song title and several randomly chosen words from the lyrics over dissonant guitars and gauze-wrapped synths. John Davis, already a great drummer on No Kill No, has improved here, pushing everything along octopus-style, with frenetic percussion and rock-steady beats. Each of these songs nicely highlight his sharp command of rhythm.\" - Joe Tangari\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49553114300708,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/qandnotudd.jpg?v=1720118456"},{"product_id":"lungfish-love-is-love-lp","title":"Lungfish ‎– Love Is Love LP","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2506955906\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eLungfish ‎– Love Is Love LP\u003c\/p\u003e\n\u003cp\u003e\"For much of my life as a fan of punk, hardcore, and emo music, I have come to trust Dischord Records almost implicitly. The Ian MacKaye-founded DC label has released many of my favorite bands of the 80s and 90s, including Rites of Spring, Jawbox, Minor Threat, and of course, Fugazi. Their roster is filled with bands that practically defined post-hardcore and emo without ever falling into cliche.\u003c\/p\u003e\n\u003cp\u003eAnd so it’s strange to me that it took me until this year to hear of Lungfish. Even among the Dischord catalog, the Baltimore art rock band sounds alien and a little unsettling—yet strangely beautiful at the same time, like a moment of spiritual transcendence.\u003c\/p\u003e\n\u003cp\u003eThe way it was first described to me by my friend Adam (singer in my remote band Bares His Teeth), Love Is Love could have been either incredibly boring or transcendent. Cyclical riffs circled patiently around meditative lyrics, introducing minor variations through each repeat until the songs came to an end. I’m certainly not averse to stretched out song structures (see: the immense post rock section of my collection), and Adam seems to be a man of discerning taste, having previously introduced me to June of 44, so I took a chance and bought it blind, deciding to have my first listen when the vinyl copy arrived.\u003c\/p\u003e\n\u003cp\u003eAnd certainly, nothing I was told about the music was false. Guitars weave through arpeggiated chords, the drums and bass (played by June of 44 bandleader Sean Meadows) softly holding down the rhythm. It certainly sounds like post-hardcore, but if you stripped out the fiery catharsis and just played the softer verses. The closest it comes to bombast is distorted, shouty closer “Child of Chaos,” which bursts with all the pent up tension of the entire album before it.\u003c\/p\u003e\n\u003cp\u003eOver this meandering soundscape, Daniel Higgs making almost religious declarations in a voice that sounds like Jeremy Enigk doing an impression of Ian MacKaye (or vice versa). You can almost see him standing at a pulpit with outstretched arms as he spouts out lines like, “Love is love, in the shape things take” or “Christ Beast bear your message \/ About a God-form that’s formless \/ And forming in your baby, in your mind.”\u003c\/p\u003e\n\u003cp\u003eThe combination of the simple arrangements and esoteric lyrics creates a listening experience that is initially disorienting, but settles into an almost cultlike state of spiritual euphoria. The title track opens the album like a thesis statement, drums beating the toms alongside overdriven, eighth-note guitar. “This World” jangles with clean guitar and a slow drum rhythm underpinning a madman vocal performance. “Fearfully and Wonderfully” sounds practically jubilant and anthemic in comparison, though just as unsettling as anything else on the disc. “Nation Saving Song” plays like a frantic prayer for the soul of their people.\u003c\/p\u003e\n\u003cp\u003eBut as strange as the album sounds with each song pulled out of context, in the midst of it, it sounds practically sublime, as if singing in tongues in a fit of spiritual ecstasy. It makes no sense to anyone outside of it, but there in the moment, it is as if Heaven itself has opened up to you, transcending all perception. That might be giving Lungfish too much credit, but I’m not sure how else to explain how Love Is Love affects me.\" - Nathaniel Fitzgerald \/ A Year Of Vinyl\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49583757984036,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungfishloveislove.jpg?v=1720727183"},{"product_id":"faraquet-anthology-97-98-lp","title":"Faraquet - Anthology 97-98 LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1009959920\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFaraquet - Anthology 97-98 LP\u003c\/p\u003e\n\u003cp\u003eFaraquet began as a side project featuring Smart Went Crazy members Devin Ocampo and Jeff Boswell along with Chad Molter. When SWC fell apart, Faraquet stepped up as a full-time band and started playing more shows. The band recorded with J. Robbins at Inner Ear Studio and released \"The View from This Tower\" in November of 2000. After a few more tours, Faraquet decided to call it quits in 2001. \u003c\/p\u003e\n\u003cp\u003eThis is a collection of songs that were not released on \"The View From This Tower\". \u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49623131029796,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/faraquet.jpg?v=1721322270"},{"product_id":"dag-nasty-dag-with-shawn-lp","title":"Dag Nasty – Dag With Shawn LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2269508956\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eDag Nasty – Dag With Shawn LP\u003c\/p\u003e\n\u003cp\u003e\"A little context: Twenty-six years after its recording, 25 years after its subsequent re-recording with Dave Smalley, and nine years after the remaster of the re-recording was released, Shawn Brown fronting Dag Nasty is officially available for your enjoyment. That's a pretty long time for an album to sit on the shelf, and almost an eternity when considering the lifespan of so many hardcore bands. Considering that these songs first saw the light of day on 1986's Can I Say, a record which is considered by many (myself included) to be a cornerstone of melodic hardcore, usurping Dave's singing\/yelping approach with Shawn's more aggressive barking delivery might be considered redundant to some. But, let's face it, the lyrics of Can I Say are crucial no matter who is on the mic, and the songs are still fast, catchy, and inspirational. It's just really, really hard to listen to Dag with Shawn without Dag with Dave lingering in your thoughts. As the ancient proverb goes, \"If your auntie had balls, she'd be your uncle.\"\u003c\/p\u003e\n\u003cp\u003eSo what's good? The band absolutely tears through \"One to Two\", which is the last out of the nine songs and made me lose my shit the first time I heard it. The production is missing some of the high end clarity from Can I Say and this is definitely a plus point on this particular song. The vocals are frantic and strained, but the song remains uplifting despite the critical self-analysis of the lyrics. It's all Shawn, no harmonies or gang parts, and the stripped-down feel of the song adds to the overall power. It's a great ender, and a big reason why I usually listen through a few times in one session. That and the songs fly by in around 20 minutes.\u003c\/p\u003e\n\u003cp\u003eNot so good? \"Circles\", being a slower melody-driven song on its Can I Say incarnation, loses out by not having more guitar tracks or the amazing backup vocals of the original. It's still a great song, but the pop sensibilities and crafty \"whoa-oh\"s of the Can I Say version are conspicuous by their absence. It's kind of interesting that the Swiz song \"Sorry\", which borrows the chorus hook from \"Circles\", adds in some classy background vocal melodies as well. Punks are smart and their songs are short, so of course they are going to add to and improve them. In the case of Dag, dropping a little hook in here or there was never going to be some kind of blasphemy, considering they were creeping towards writing songs for the radio. Unfortunately, there is bugger all information about the song \"Sorry\" on the Swiz discography CD inlay.\u003c\/p\u003e\n\u003cp\u003eIt seems pretty obvious that the arrival of Dave brought a more melodic consideration to Dag Nasty, both vocally and musically. Dag with Shawn is quality hardcore punk in its own right, but maybe Dag wouldn't be so revered as melodic hardcore pioneers if this was the album that was released in '86. That is the nature of this beast: different vocalist, stripped-down production, but essentially the same songs a bunch of people (like me) have been in love with for a quarter of a century. As a curious stepping-stone on the path to a classic punk album, or a stand-alone new-arsehole-tearing hardcore typhoon, it's well worth your money.\" - Aarko \/ Punk News\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49659435024676,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/dagnwshawn.jpg?v=1721927773"},{"product_id":"void-sessions-1981-83-lp","title":"Void – Sessions 1981-83 LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3317480969\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eVoid – Sessions 1981-83 LP\u003c\/p\u003e\n\u003cp\u003e\"Here’s another reason to love honorary Mayor of Washington DC (and Fugazi\/Minor Threat guy), the Pope of Punk himself: Mr. Ian MacKaye, He’s dug through three decades-plus of the archives to unearth these grimy masters and given ‘em a Dischord Records “Legacy” treatment. Now if you haven’t heard of ‘em, we can put Void up there with the likes of Siege, Repulsion and a reference or two worthy of a crusty black and white patch or at the very least a Napalm Death cover.\u003c\/p\u003e\n\u003cp\u003eVoid weren’t merely one of those great dawns of the Reagan era (that’s the early ’80s for most of you who were still swishing ‘round yer daddies ball-bags). They were a mighty “WHAT THE FUCK!!!” whose up-til-now officially released musical output was under 20 minutes on the flipside of their mighty split LP with long-defunct Washington DC hardcore titans Faith. Oh, Void, how do I describe thee? They were hardcore without cliché. The sound of music being played with such fury that it falls apart only to put itself back together on the next song some 30 seconds later. They even take basic teenage screeds like “Authority” and surround ‘em with brilliant swells of feedback to make ‘em sound like the very, very retarded offspring of Black Sabbath (hence, the name from ‘Into The Void’) and Black Flag.\u003c\/p\u003e\n\u003cp\u003eLike many of their DC homies — Void were actually from the ‘burbs: Columbia, Maryland – they were down to lash out at their surroundings: parents, cops and even Phys Ed Coaches (“Organized Sports”) – but unlike Dischord labelmates Minor Threat or Government Issue they seemed a lot less focused and dare I say ‘articulate’ in their rage.\u003c\/p\u003e\n\u003cp\u003eThis 34 track opus is comprised largely of 20 songs recorded in 1980, the full Void recordings from the 1983 Faith\/Void split LP (most who have that record have one very worn Void side with a pretty pristine slab of great recordings from DC’s The Faith).\u003c\/p\u003e\n\u003cp\u003eWhat’s even more compelling is what isn’t included. In 1983 Void recorded a follow-up titled Potions for Bad Dreams. It was not what their then new label Touch \u0026amp; Go expected. Or what they particularly wanted. The closest comparison I can make is the very earliest, antediluvian shamble-groove of White Zombie when they first crawled out of NYC sewers. In fact, the Zombies will freely admit to swiping their circa ’86 scuzz to a copy of Potions For Bad Dreams. You can find a zipped-up file of this lost artifact by poking around online – and it all has been uploaded to You Tube anyway. Apparently, guitarist Bubba Dupree (who also appeared on the Probot track “Exit Babylon”) has been denying hungry labels its release for some time now.\u003c\/p\u003e\n\u003cp\u003eSadly enough, there will never be a Void reunion. Drummer Sean Finnegan died from a heart attack a couple years ago while working on the set of a CSI episode in his native Maryland. With that, Void’s place in history became sealed, as the band would never have to justify itself to anyone, let alone hardcore history.\" - The Gitter \/ Metal Sucks\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49690031489316,"sku":"","price":18.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/voidsessions.jpg?v=1722527368"},{"product_id":"faith-subject-to-change-plus-first-demo-lp","title":"Faith – Subject To Change Plus First Demo LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2468942168\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFaith – Subject To Change Plus First Demo LP\u003c\/p\u003e\n\u003cp\u003e\"In attempting to figure out what a bunch of songs from the early Eighties mean in 2011, allow me to start by quoting a statistic from 1997 or thereabouts. At this time, the Minor Threat discography on CD sold between ninety and a hundred copies on an average day, or upwards of 30,000 each year – according to Ian MacKaye, who sang on each of its songs and founded Dischord Records, who released it. This was at a time when Dischord were investing in new, or at least contemporary, bands on the reg; since the beginning of 2010, they’ve released precisely two non-archive albums. Even in the golden age of the compact disc, only the label’s heritage kept them ticking over, so it’s hardly surprising that almost all their energies now go into excavating their foundations, of which Faith are a sturdy and significant piece.\u003c\/p\u003e\n\u003cp\u003eAlthough the vast majority of hardcore bands past, present or future would bite your hand off for a legacy as respectable as Faith’s, in the context of the early Eighties Washington DC scene few give them top billing. Minor Threat are the standard-bearers, token hardcore album in thousands of collections worldwide; Rites Of Spring are the Dead Sea Scrolls of emo; Void, who shared a split LP with Faith in 1982, are weirder and creepier and liable to be lionised by those who came to hardcore from the avant-garde or chaotically crusty side of town. Subject To Change, eight songs in 14 minutes and the focal point of this release (the other 11 tracks feature their first demo, recorded in 1981), wasn’t the fastest or hardest or most militant missive bearing the Dischord logo when it came out in late ’83. However, this wasn’t a disadvantage per se – indeed, it chimed with a scene that was fast leaving behind the hyperspeed barking and pre-emptive fistfights of its collective teens.\u003c\/p\u003e\n\u003cp\u003eUnfortunately, by the time it was on shelves Faith had split up – like nearly all the Dischord roster until Fugazi, their M.O. seemed to be to throw body and soul into the band for a couple of years, until it snapped under the intensity. You’d be a contrarian to deem this EP insincere, or holding anything back. Alec MacKaye, Ian’s younger brother, is keen to point a stringent finger at himself, his peers and society in roughly equal proportion: “From time to time my ideals change \/ The thoughts I’m thinking rearrange” (‘Subject To Change’); “Inspiration’s thin these days \/ With everyone going their separate ways” (‘Slowdown’); “What kind of world is this \/ When I have to fight to be” (‘No Choice’). Less obviously keen to bundle a subculture into his lyrical outlook than his sibling, the Faith vocalist appears to be edging towards a ‘the personal is the political’ kinda stance here, although he’s not exactly a giant of verbosity.\u003c\/p\u003e\n\u003cp\u003eMusically, the difference between the band on the ’81 demo and Void split (most songs on the former were rerecorded for the latter) is the addition of a second guitarist, Eddie Janney. This spurred them into exploring melody, and while Janney and Michael Hampton are still clashing and staccato, Subject To Change deserves to be thought of as one of the first melodic hardcore records, as significant to the form as Bad Religion or the Descendents. Dag Nasty’s Can I Say would sound markedly different without this precursor, as would the first three (at least) Fugazi records. Rites Of Spring and Embrace, too, but as they formed from Faith’s dissolution that’s hardly knowledge dropped. In short, there are probably a few dozen Eighties hardcore albums you ‘need’ to own before Subject…, but even if it necessitates the long haul, at some point you should arrive here.\u003c\/p\u003e\n\u003cp\u003eThe demo, meanwhile, is the sound of a high school-age band who were still, essentially, making a genre up as they went: the quartet featured two members each of SOA and the Untouchables, both among the first DC hardcore outfits. MacKaye’s vocals are deeper and raspier, as if overcompensating; Ivor Hanson’s drumming rarely deviates from a sped-up polka beat and ‘Don’t Tell Me’ isn’t a cover of Minor Threat’s ‘I Don’t Wanna Hear It’, but might as well be. That said, the slow, menacing parts of ‘Confusion’ suggests Black Flag’s Damaged had found the band’s ears that year; as hardcore pioneers, Faith might be in Flag’s slipstream at best, but they did a lot of important stuff before other folks came along and became more famous off the back of it. Their dues: give them.\" - Noel Gardner\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49723945386276,"sku":"","price":17.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/faithsub.jpg?v=1723149734"},{"product_id":"lungfish-a-c-r-1999-lp","title":"Lungfish – A.C.R. 1999 LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2802208072\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLungfish – A.C.R. 1999 LP\u003c\/p\u003e\n\u003cp\u003e\"Lungfish are a band who never really fit into any kind of “scene”. Locking into their sensuous repeato grooves with pagan psych vibes over which Dan Higgs would recite his wizardy rants, they always seemed kind of out of place on Dischord with all those spiky, exuberant punk kids, but they kept on plugging away at it, putting out mind-expanding album after album for over a decade to establish a unique and powerful aesthetic which is still influential today.This LP was recorded in 1999 but shelved at the time while the band developed new material that would become their 'Necrophones' LP (of which early versions of six tracks appear here), and as far as their material goes it's more on the rocky side of things, with some real heavy stoner vibes when they get going, but that's tempered by intuitive, chiming melodic guitar lines from Asa Osborne which still boggle my mind with their expressive, perfect simplicity. Hawkwind-esque finale 'Shapes In Space' providing an unreservedly galloping sucker-punch to round off the experience.The chemistry between the four players is wonderful and the grooves are so natural, this is far from a fans-only release. In fact if you've not heard Lungfish before then this would be a pretty easy way in, since it's one of the more rock-flavoured examples of their particular inimitable brand of outsider hypno weirdness.\" - Mike \/ Norman Records\u003c\/p\u003e\n\u003c!----\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49752049942820,"sku":"","price":17.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungfish.jpg?v=1723741725"},{"product_id":"rites-of-spring-six-song-demo-10-record","title":"Rites Of Spring – Six Song Demo 10\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1681078030\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eRites Of Spring – Six Song Demo 10\" record\u003c\/p\u003e\n\u003cp\u003e\"By nature, a demo tape is only ever a look at the beginnings of the band, a way of seeing what year zero was like, a historical document. Adding another piece to the (admittedly already well documented) puzzle that is Washington DC hardcore, Six Song Demo casts a light on the development of both Rites Of Spring and the Dischord ‘sound’. Recorded in April 1984, Six Song Demo predates both of Rites Of Spring’s official releases and, despite their then youth as band, they sound almost fully formed. Most of what Rites Of Spring are known for is present here. As frantic sounding as ever, they come across as angry and impassioned. The guitars are less jangly and Guy Picciotto’s voice is hoarser and less developed, but aside from that, everything is as it is on the non-demo records.\u003c\/p\u003e\n\u003cp\u003eWithout wanting to go too far into a possibly revisionist take on the history of DC hardcore in the Eighties, there was a schism building within the city, and what amounts to a scene within a scene developed. Often dubbed Revolution Summer, it was the sound of punks turning their backs on the outright aggression of hardcore, and trying to expand their musical horizons. Whether or not the name was serious, a cursory look at the Dischord back catalogue reveals the way things played. Early records (S.O.A, Teen Idles) were brief bursts of adolescent aggression – as the groups disbanded and re-grouped into new line-ups, there was a change in approach. Faith’s Subject To Change LP was an obvious spark to Rites Of Spring’s beginnings. You could even look at Salad Days as a precursor to Rites Of Spring’s more emotional take on punk. The aggression is still there but it’s more inward. It’s unfortunate that the idea of emotional punk is much maligned. I’ve actively tried to avoid using the word, but it’s quite hard to not describe Rites Of Spring in that sense. Compare “It’s more than love\/It’s less than love\/It’s what I gave to you” (from ‘It’s All There Is’) to something like ‘Out Of Step’s drill sergeant bark of “Don’t drink\/Don’t smoke\/Don’t fuck” – there’s very much a heart on the sleeve element to Rites Of Spring. They’re more personal, less dogmatic than your typical hardcore band.\u003c\/p\u003e\n\u003cp\u003eThe songs on Six Song Demo appear pretty much as they are on later releases. The recordings are much rawer, and very rough around the edges. On ‘Hain’s Point’, for example, Guy’s scream of “I can’t explain” sounds like it ripped his vocal chords. ‘End On End’ is still as ferocious as ever, but it had yet to morph into the seven-minute noise-punk epic it would become on End On End. It sounds like they’re playing these songs for the very last time. Which, despite being a music cliché, is actually true here. After recording Six Song Demo, bassist Mike Fellows left DC for the LA, hence the “Mike Fellows is dead” joke\/reference at the end (it’s also the name that this demo was bootlegged under, fact fans).\u003c\/p\u003e\n\u003cp\u003eAfter recording this demo, Rites Of Spring would go on to develop their sound more, taking as much from their fellow punks as British post-punk, particularly early Eighties U2, who seem to have a surprising large influence on the Dischord roster. They’d become more melodic, janglier, slightly more rounded in their song writing. It may not a vital addition to your record collection, but Six Song Demo is an interesting and enjoyable release from one of the best bands and labels in hardcore. It may not for the casual fan, but it’s certainly one for the collector, which is pretty much every single hardcore fan ever.\" - David Pott-Negrine \/ Drowned In Sound\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49782124740900,"sku":"","price":17.25,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/rosdemo.jpg?v=1724342953"},{"product_id":"the-messthetics-s-t-lp","title":"The Messthetics s\/t lp","description":"\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1426853841\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" seamless\u003e\u003c\/iframe\u003e\n\n\u003cp\u003eThe Messthetics s\/t lp\u003c\/p\u003e\n\u003cp\u003eThe Messthetics are an instrumental trio featuring Brendan Canty (drums), Joe Lally (bass), and Anthony Pirog (guitar).\u003c\/p\u003e\n\u003cp\u003eBrendan Canty and Joe Lally were the rhythm section of the band Fugazi from its inception in 1987 to its period of hiatus in 2002. This is the first band they’ve had together since then. Anthony Pirog is a jazz and experimental guitarist based in Washington, D.C. One half of the duo Janel \u0026amp; Anthony, he has emerged as a primary figure in the city’s out-music community.\u003c\/p\u003e\n\u003cp\u003eThe trio’s debut includes nine songs recorded at Canty’s practice space throughout 2017, live and mostly without overdubs. It’s a snapshot of a band dedicated to the live ideal, where structure gives birth to improvisation.\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49809382375716,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/tmess.jpg?v=1724950510"},{"product_id":"coriky-s-t-lp","title":"Coriky s\/t lp","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1279688172\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eCoriky s\/t lp\u003c\/p\u003e\n\u003cp\u003e\"All of us have those musicians that we will follow for the rest of our listening lives. As long as they continue to put out music we’ll be there. Having those voices that have been in our lives for a long time continue to say new things and speak to us through their music is a comforting listen. Even more so during uneven, uncertain times when the voices of our so called leaders is just so much white noise.\u003c\/p\u003e\n\u003cp\u003eIt feels like most of this will be preaching to the choir as most readers of Post-Trash are no doubt familiar with the musical biography of the members of Coriky but to summarize, as The Evens, Ian MacKaye and Amy Farina put out three albums (and a 7”) of stripped down tunes composed of baritone guitar and drums. Their shows were often seated, sing-along affairs. Coriky is The Evens with the addition of Joe Lally on bass and MacKaye switching back to guitar. The vibe is still very similar but there’s the interplay of the trio that makes it its own unique band. It’s a little louder, a little looser feeling. It has a lived in feel that comes from three musicians that are very used to playing together. A lot of the joy that comes from listening to the album is hearing how each part fits together with the other. The band is tight and locked in as they say.\u003c\/p\u003e\n\u003cp\u003e“Oh, the terrible things she’d seen on her screen.”\u003c\/p\u003e\n\u003cp\u003eThe album opens with “Clean Kill,” a track that makes you feel instantly at home. One that lets you know what to expect over the next forty minutes. The lyrics bring to mind the story of a drone operator, but you can apply that message more broadly. The distancing we’ve implemented in our lives that allow us to sleep at night while horrible things are carried out. Tweet based activism in an effort to keep our hands clean. The music is catchy and light. Farina’s snare rim hits accenting the guitar stabs. \u003c\/p\u003e\n\u003cp\u003e“The last thing we ever wanted was a war.” \u003c\/p\u003e\n\u003cp\u003e“Last Thing” may be the strongest song on the album. A signature bass line from Lally dominates the music while Farina rolls around on the full kit. The guitar almost seems to get out of the way, only showing itself on the chorus as all three sing in harmony. It shows how well the trio work together, each part working independent and with the others. Lyrically it seems to be talking about a system that is designed to keep people busy and unable to tear free to realize how wrong it all is. “There’s no time for dissent, We sold it off to pay the rent.” A timely line as the powers that be find sustained protests being done by people who no longer have their jobs, furloughed due to their incompetent leadership. \u003c\/p\u003e\n\u003cp\u003e“What’s surprising is the expectation that we ever had a say.” \u003c\/p\u003e\n\u003cp\u003eThe next to last song on the album “Inauguration Day” is another standout. A driving song that feels closest to MacKaye and Lally’s previous band, Fugazi. A straight ahead charger of a song, one that might be commenting on the fact that those who get the most votes don’t always win. A feeling of damned if you do and damned if you don’t. It’s all a smokescreen. \u003c\/p\u003e\n\u003cp\u003eHighlights abound across the whole album. MacKaye’s guitar work on “Say Yes”. The mood and vibe along with the distinct chorus of “Have a Cup of Tea”. The ending jam of “Shedileebop”. Coriky is a strong album that sits well with all the members previous work. It’s one that will have lasting effect and will likely grow with each listen. It’s an album that feels like having people that might not know all the answers but at least know how to get the conversation going. A shining highlight in this dark year.\" - Jonathan Bannister \/ Post-Trash\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49835646681380,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/coriky.jpg?v=1725554774"},{"product_id":"soulside-a-brief-moment-in-the-sun-lp","title":"Soulside - A Brief Moment In The Sun LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2033950574\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSoulside - A Brief Moment In The Sun LP\u003c\/p\u003e\n\u003cp\u003e\"Soulside are a post-hardcore band from D.C. that are releasing their first full-length album since 1989. They play with a pearl of elderly wisdom, opening their arms for the bands that followed in their footsteps. They are the guides and this will be a playbook for others to follow for years to come.\u003c\/p\u003e\n\u003cp\u003eSoulside play with a confident calm. It is clear that they aren’t in any rush. This gives the music a lot of room to breathe. They lay down grooves and let everything flow flawlessly. The band sound like they’re having a lot of fun, which shows in each song.\u003c\/p\u003e\n\u003cp\u003eAs strong as the riffs are (more on that in a bit), it’s the drumming of Alexis Fleisig that truly drives the band. He plays with an intense passion. He lays back when he has to or pushes things forward when the song calls for it. He is creative with his drumbeats. His fills are good and don’t become a distraction. Each fill is well-thought-out.\u003c\/p\u003e\n\u003cp\u003eFleisig and bassist Johnny Temple work well together. Temple’s bass lines garner attention but work incredibly well with the riffs of Scott McCloud. He is a rhythmic guitar player who is a lot of fun to listen to. He doesn’t “shred,” but he doesn’t need to (see first paragraph). He plays with a mature style that is a refreshing listen.\u003c\/p\u003e\n\u003cp\u003eSinger Bobby Sullivan’s vocal style fits astoundingly well with the music of Soulside. His smooth voice almost sounds like another musical instrument instead of vocal cords. His vocal phrasing is catchy and good to sing along with.\u003c\/p\u003e\n\u003cp\u003eThe first sentence of this review will give everyone a good idea of what Soulside sound like if they haven’t heard them before. They haven’t changed all that much from their earlier days. They sound older, but that’s a positive. They have life experience, which comes across loud and clear on A Brief Moment in the Sun.\" - Bobby Forand \/ New Noise Magazine\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49867989713188,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/soulside.jpg?v=1726159071"},{"product_id":"hammered-hulls-careening-lp","title":"Hammered Hulls – Careening LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=674817292\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eHammered Hulls – Careening LP\u003c\/p\u003e\n\u003cp\u003e\"In 2017, outside a Des Demonas\/Heavy Breathing gig at Black Cat, I was talking to Mark Cisneros about his work with DD, and about another dozen bands. Mark said then that he had recently been playing with Alec MacKaye (The Untouchables, The Faith, The Warmers, Ignition) and Mary Timony (Autoclave, Helium, Wild Flag, Ex Hex) and that he hoped it would lead to something. Well, it certainly did.\u003c\/p\u003e\n\u003cp\u003eHammered Hulls, the band featuring those three plus Chris Wilson (Ted Leo \u0026amp; The Pharmacists, Titus Andronicus), made its debut at the Black Cat 25th anniversary show in late 2018. An EP came out pre-COVID, and now, finally, the first full-length is here. Careening, out on Dischord on Friday, reveals just how much spark is still left in a distinctly D.C.-style of post-punk, even as track after track surprises a listener by how much the sound upends expectations.\u003c\/p\u003e\n\u003cp\u003eWith MacKaye on vocals, Timony on bass, Wilson on drums, and Cisneros on guitars, the band is primed for an attack, yet this isn't pure punk. No, what's here on Careening pulls in elements of garage rock, art rock, and metal to whip up a righteous fury. \"Hardest Road\" and \"Bog People\" have a familiar harDCore feel, I suppose, but Hammered Hulls compel when they go in other directions. \"Pilot Light\" is angular and abrasive, while \"Not Gone\" catches fire very nearly like something from Raw Power-era Iggy \u0026amp; The Stooges. \"Rights and Reproduction\", a barbed-wire blast, seems exactly like what fans can reliably expect from Alec MacKaye, even as \"Needlepoint Tiger\" goes along another path. With Timony's bass working up a bounce that's like Peter Hook playing reggae, the song coils up and then explodes. That one and the brash \"Staggering Genius\" may be my fave tracks here on Careening.\u003c\/p\u003e\n\u003cp\u003eIan MacKaye's production gives this whole thing a clean, natural sound. Fans of the genre, and those who grew up on the output of Dischord, will certainly find the majority of this record the stylisic culimnation of what bands like Fire Party, The Faith, and others did earlier. For me, what's so impressive about Careening is how much of this approaches punk from unexpected angles. MacKaye's vocals jump from a Bon Scott-like sneer on one song to an Osterberg moan on another, while Cisneros conjures sheets of sound (\"Abstract City\") or even a slightly gentle melodicism (\"Mission Statement\"). Timony's bass gives the whole thing heft, anchoring the tracks with a heaviness and force that's pure harDCore, as is the drumming by Wilson.\u003c\/p\u003e\n\u003cp\u003eCareening is not only what you hoped these four would produce, it's more. The tracks have power and a jagged honesty that lets this sit next to the best material any of these players released in earlier bands. And, wisely, the four musicians here have used Hammered Hulls and Careening to reveal the new shapes the punk form can fill. The record thrills as it serves up spindly, yet emotive music with a conciseness that's a bit staggering.\" - A Pessimist Is Never Disappointed\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49894490636580,"sku":"","price":17.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/hh.jpg?v=1726760360"},{"product_id":"scream-dc-special-lp","title":"Scream – DC Special LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2762801947\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eScream – DC Special LP \u003c\/p\u003e\n\u003cp\u003e\"You might know Scream as prominent figures of the ’80’s DC hardcore scene, the band whose debut record (1983’s Ian MacKay-produced Still Screaming) was the first full-length out on Dischord Records, the band that four albums into their career featured a teenage Dave Grohl on drums before he joined Nirvana.\u003c\/p\u003e\n\u003cp\u003eNow, 30 years on from their last full-length studio album (1993’s Fumble), the original four-piece of brothers Peter and Franz Stahl, bassist Enoch “Skeeter” Thompson, and (sadly, now recently deceased) drummer Kent Stax, unveil DC Special—a tribute to both the city they made a name for themselves in and the bands they’ve been inspired by. Quite possibly the best thing they’ve ever done, it’s undoubtedly the richest and most varied.   \u003c\/p\u003e\n\u003cp\u003eWow. Where did this come from? \u003c\/p\u003e\n\u003cp\u003eComing full circle, DC Special—just like the band’s debut 40 years earlier—was recorded by Don Zientara at his Inner Ear studio. It would turn out to be the final recording before the studio was evicted from its long-time location. All this was back in 2021. Mixing of the album had to be pushed back, but now, at the end of 2023, it finally sees the light of day and it’s more than worth the wait. \u003c\/p\u003e\n\u003cp\u003eFeaturing contributions by such long-time friends and collaborators as Amy Pickering (Fire Party), Grohl, MacKaye, Joe Lally (Fugazi) and Bob Berberich (whose ’60’s rock n roll group had been managed by Stahl senior), it’s the core of the Stahls, Thompson, and Stax that really make this record, with each one of them at the top of their game. \u003c\/p\u003e\n\u003cp\u003eAlready a wonderful testament to the then and now of DC, the subsequent untimely passing of Stax adds an extra level of poignancy. Listening to DC Special, it’s hard to imagine a more fitting tribute to the late drummer. \u003c\/p\u003e\n\u003cp\u003eOk, so there’s no shortage of lore and history, but what about the songs? What has DC Special got that makes it so … special? \u003c\/p\u003e\n\u003cp\u003eIt’s got catchy hooks, top-level performances, energizing choruses, great, versatile vocals, lyricism, crisp production, celebratory, fist-pumping fire, authentic tales of DC life and a treasure trove of easter eggs tucked away in audio snippets of conversations and found sounds. \u003c\/p\u003e\n\u003cp\u003eThen there’s the musical variety. DC Special makes labelling Scream as hardcore or post-hardcore look silly. The album is like going to an all-day music festival where each band ups the ante, and you think, “The next one can’t be as good,” but they are (each in their own unique way). It’s also like a greatest hits collection of DC (except with songs you’ve never heard before). Rock ‘n’ roll without limitations. \u003c\/p\u003e\n\u003cp\u003eSo you can have the full-tilt Bad Brains evoking hardcore of “Hel Nah” and the on-the-corner preaching of “Represent” wrapped around the chilled reggae of “Tum Tum” and it flows just fine. Those three tracks themselves are bookended by the thrilling, Fugazi-groove-infused, melodic rock of “Somebody Love” (featuring great guitar work by Franz Stahl) and the energized, off-kilter riffing of “Dead Cities” (itself featuring some stand-out guitar playing from guest Clint Walsh, and a chorus that demands you get to your feet). \u003c\/p\u003e\n\u003cp\u003eThere’s the touching, stripped-back, acoustic campfire rock n roll of “Last of the Soft” and the anthemic stomp of “Vanishing Commissars.” Maybe even best of all, there’s the (sort of) closer “Lifeline,” with its emotive guitar lines and one of Peter Stahl’s standout vocal performances (not to mention some neat harmonica playing). \u003c\/p\u003e\n\u003cp\u003eIt’s the kind of song that you want to hear again, and you do, because then you get six bonus tracks (all of them notable and bringing more musical twists), one of which is an alternate “Lifeline.” It turns out that Peter and Franz couldn’t agree on how they wanted the track to sound, so they included both versions. Which is better? It’s hard to say, but that’s kind of like picking a favorite song on the album, there’s no shortage of worthy contenders.  \u003c\/p\u003e\n\u003cp\u003eOn what other album this year could you hear (real or imagined) musical nods to everything from Jane’s Addiction, to Hüsker Du, to Neil Young, to Masters of Reality, to the Rolling Stones, to Tom Petty and to the Damned? If it’s out there, it’s definitely something special.\u003c\/p\u003e\n\u003cp\u003eHyperbole is a seductive little trap for any writer. This might not be your record of the year, but it could well be mine. \u003c\/p\u003e\n\u003cp\u003e“Night Steals the light away \/ We were born to lose \/ Life’s too short to say goodbye \/ A D.C. special.”\u003c\/p\u003e\n\u003cp\u003eAmen.\" - Tom Osman\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":49919833604388,"sku":"","price":18.25,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/screamdcspecial.jpg?v=1727381811"},{"product_id":"j-robbins-basilisk-lp","title":"J. Robbins - Basilisk LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=214324079\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eJ. Robbins - Basilisk LP\u003c\/p\u003e\n\u003cp\u003e\"At this point, J. Robbins has nothing left to prove to anyone. As a musician, his resume includes Jawbox, one of the most acclaimed and admired bands of the 1990s. After Jawbox disbanded, his subsequent projects, Burning Airlines, Channels, and Office of Future Plans, all maintained high levels of quality while sometimes venturing outside the signature Jawbox sound.\u003c\/p\u003e\n\u003cp\u003eAs a producer, he has been behind the boards of some of the most heralded emo and indie rock records in the genres, including the Promise Ring, Texas Is the Reason, Jets to Brazil, the Dismemberment Plan, and Shiner. To do all of this while maintaining such high-quality control is an achievement; his name in the credits is a near guarantee of quality.\u003c\/p\u003e\n\u003cp\u003eAnother calling card is Robbins’, at times, willfully inscrutable lyrics, something he has acknowledged. Particularly in Jawbox, he specialized in compelling imagery with an air of menace, drawing from literature and films for inspiration. However, he seems increasingly less interested in maintaining the mystery. On recent Jawbox reunion shows, he has been changing the lyrics to make them more direct. On his first proper solo release, 2019’s Un-becoming, he aired his vitriol about the state of the nation with little room for interpretation on songs like “Citizen”, “Your Majesty”, and the title track. Musically, Un-Becoming didn’t fall far from the tree. Fans of Robbins’ discography found plenty to like in the trademark noisy guitars and bitter, resigned lyrics.\u003c\/p\u003e\n\u003cp\u003eThis brings us to Basilisk, his second solo album, which is a surprise on two fronts. This is probably the least aggressive-sounding record of his career and features some of the most direct and vulnerable lyrics he’s shared.\u003c\/p\u003e\n\u003cp\u003e“Automaticity” begins the record with synthesizers rather than discordant guitars before turning into another J. Robbins banger of a piece with his previous work. “Gasoline Rainbows” is straight-up pop, with a big hook and synthesizers sanding off the rougher edges heard on other tracks. “Not the End” and “Sonder” are more serene tracks, downright pretty. Make no mistake, though; there is plenty here that longtime fans have come for. “Exquisite Corpse”, “Open Mind”, and “Last War” have an air of the best type of familiarity for longtime fans.  \u003c\/p\u003e\n\u003cp\u003eThe centerpiece, “Old Soul”, is dedicated to Robbins’ son Callum, who was born with spinal muscular atrophy, an incurable nerve disorder that ended his life. It is the most vulnerable Robbins has ever been on a song, and it is heartrending to hear him sing about his son as “Precious cargo in a box of brittle bones” and the matter-of-fact devastation of the line “Old soul \/ Severed from the fold.” This is a powerful, unexpected song from Robbins, a wrenching tribute to a child gone too soon.\u003c\/p\u003e\n\u003cp\u003eCloser “Dead-Eyed God” is a remarkably unsettling song critiquing faith-driven extremism. Driven by synths instead of guitars, save a solo, and populated by lines like “Boys so proud to make the most \/ Of your abusive father’s ghost \/ With dreams of knife-fight sacrifice \/ To feed a dead-eyed god,” it brings the record to an uneasy close.\u003c\/p\u003e\n\u003cp\u003eRobbins’ place in punk and indie rock history is secure, but he still makes relevant, powerful music for his faithful. He can also be depended on to make another excellent record a few years from now. But as many of us have discovered along the way, there is a satisfaction in connection that supersedes being unknowable. Rather than taking pleasure in requiring decoding, he is more interested in being known on Basilisk, and that vulnerability suits him.\" - Brian Stout \/ Pop Matters\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":49943208722724,"sku":"","price":17.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/jrobbins.jpg?v=1727985869"},{"product_id":"bed-maker-s-t-lp","title":"Bed Maker s\/t LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1686367487\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eBed Maker s\/t LP\u003c\/p\u003e\n\u003cp\u003eBed Maker's origins date back to summer 2019, when bassist Arthur Noll (Light Beams, Kid Congo Powers) and drummer Vin Novara (The Crownhate Ruin, 1.6 Band), each having played in Alarms \u0026amp; Controls, invited guitarist Jeff Barsky (Insect Factory, Time Is Fire) to collaborate and see what might happen. By autumn, they invited Amanda MacKaye (Desiderata, Routineers) to join them, and the chemistry was immediate. In February 2020 at DC's Rhizome, Bed Maker played their first show and then paused their activities the following month, as did most people.\u003cbr\u003e \u003cbr\u003eDue to the state of the world in 2020 and 2021, they continued writing music through sharing recordings. Mike Schleibaum assisted by assembling home recordings of their individual parts into working demos. This allowed them to keep momentum, and by the time in-person rehearsals resumed, a handful of songs and new ideas were close to fruition. Bed Maker resumed playing shows in November 2022.\u003cbr\u003e \u003cbr\u003eFollowing a self-released digital single (\"Miss Dickens\") and an EP (Three on the Tree) -- each recorded with Schleibaum and Matt Michel at Viva Studios -- Bed Maker began work on their self-titled LP in May 2023 with Ian MacKaye and Don Zientara at the original Inner Ear Studio in his basement in Arlington, VA, and with Mike Schleibaum at his home studio in Maryland. \u003cbr\u003e \u003cbr\u003eThat their debut LP even exists is only possible thanks to the support of family and many friends, and also serves as an act of defiance to the horrors of the last four-plus years.  \u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":49969305780516,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/bmlp.jpg?v=1728580309"},{"product_id":"rites-of-spring-s-t-end-on-end-lp","title":"Rites Of Spring s\/t (End On End) lp","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2921604311\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eRites Of Spring s\/t (End On End) lp\u003c\/p\u003e\n\u003cp\u003e\"There are few revolutionary bands out there, but there is never a shortage of people out there ready to toss out words like innovative or influential or genre defying or a number of other meaningless words. So I downloaded End on End with a grain of salt. How could this album live up to all the hype?\u003c\/p\u003e\n\u003cp\u003eStretchy, all encompassing genres aside, End on End is blanketed with emotion and chock full of lyrical and musical value.\u003c\/p\u003e\n\u003cp\u003eThe first track, aptly named “Spring,” jumps right in and rips into you with Guy Picciotto’s relatively restrained but obviously pained voice. This song is the exemplification of Rites of Spring’s earlier material. It makes excellent use of the guitar with alternating highs and lows punching in rapid fire succession and a booming bass line that ties together and often pushes to the forefront. The chorus also showcases Guy’s cleverness. “Caught at a distance from myself,” he screams, “and there was there one there to know \/ what could I do?”\u003c\/p\u003e\n\u003cp\u003eAnother highlight is the track “For Want Of,” an angst ridden song about an old flame. “I woke up this morning \/ with a piece of past caught in my throat \/ and then I choked,” he sings. The droning and artistically monotonous guitar chugs out the same bittersweet major riff as the bass player alternates between two beautifully selected high note and Guy poignantly wails the verse.\u003c\/p\u003e\n\u003cp\u003eThe album continues on for two more songs until it reaches the best song, “Drink Deep.” It’s the slowest and longest song on the album, and that makes it sound epic. Guy expresses a self-loathing in this song not just through his lyrics but his bitterly scratchy screeches and moaning made him sound like a man having his last orgasm before leaving his best girl for war.\u003c\/p\u003e\n\u003cp\u003eThe genius of the first part of the album is in the pacing and the foiling of musical parts. Guy’s voice is pained all through-out the album, and thus the guitars are almost upbeat, and the bass line sounds like something to dance to. “All There Is,” a song about how much he loves a girl and the closest thing to a classic love song on there, is immediately followed by “Drink Deep,” easily one of the most angst-ridden songs on the album, which is directly followed by a quick song with a happy guitar riff. It keeps the music from sounding stale and from being too much.\u003c\/p\u003e\n\u003cp\u003e“End On End,” the title track and a previously unreleased song, is sort of a stepping stone from their older material to their newer material. The guitars are less distorted than their earlier stuff, and there is also more of a focus the melody of the guitar. The end is reminiscent of the interlude in “Drink Deep,” but without Guy’s moans. It’s just the bass line with some artsy noise over it.\u003c\/p\u003e\n\u003cp\u003eThe All Through a Life EP at the end is every bit as good as the first part of the album, but taken in a completely direction. Instead of playing the same guitar parts, the guitars play off of each other to be melodic and mellow, and there are some cool drum breakdowns. If there is any criticism I have of this part of the album, it’s that Guy Picciotto’s voice can sometimes be more aggressive than is appropriate for a backing band that sounds so mellow. But fear not, the album ends long before the dynamic gets old.\u003c\/p\u003e\n\u003cp\u003eHearing this album makes me mournful. The evolution of Rites of Spring’s material is like a good ending to a movie: unexpected and inevitable. Unfortunately, as is the curse of most of DC Hardcore (barring Fugazi), Rites of Spring lasted only 2 years. But in those two years of songs contained on End on End is some of the most potent and arguably important music to date. If you have ever been interested in hardcore punk, get your hands on this album.\" - Gaber01 \/ Sputnik Music\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50049709867300,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/ros.jpg?v=1730392160"},{"product_id":"fugazi-steady-diet-of-nothing-lp","title":"Fugazi – Steady Diet Of Nothing lp","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2882488782\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi – Steady Diet Of Nothing lp\u003c\/p\u003e\n\u003cp\u003e\"From the opening swarms of \"Exit Only,\" you can tell Steady Diet of Nothing will differ from Fugazi's earlier records. Repeater's excellence can't be denied, but the band stood in danger of stagnating its sound. To its benefit, Fugazi made some changes, employing more herk-a-jerk rhythms and dub influences, and changing up the lyrical focus. Actually, the lyrics get a bit vague -- bordering on equivocality at times -- which has its advantages and disadvantages. With Steady Diet, Fugazi get more economical and less forceful. Though not nearly as neck-gnawing as Repeater, Steady Diet still packs a sizable wallop, but with slower tempos and less deliberate instrumentation. As always, a poison-tipped dart is pointed at the government, media, and major entertainment outlets. Ian MacKaye's \"destroy your television\" rant on \"Polish\" is one of the more direct and simple songs. His \"KYEO\" comes straight from the rice paddy or homefront, depending on interpretation. It urges the listener to always remain aware, whether awaiting the enemy's next battle move or remaining blissfully unaware of how people can be taken advantage of by others. As with the rest of the band's catalog, lyrics are provided in the booklet. This makes things much easier on the intent listener, as both Picciotto and MacKaye have weird voices that become unintelligible when howled over their instrumental din. The lyric sheet is most useful on Picciotto's \"Latin Roots.\" He's not warning you that \"it's time to meet Jamaicans,\" as it sounds, but rather \"it's time to meet your makers.\" Not quite lending itself to \"Purple Haze\"-like levels of butchery, but important to point out nonetheless.\" - Andy Kellman \/ All Musiic \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50070543794468,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugazisteady.jpg?v=1731024570"},{"product_id":"slant-6-soda-pop-rip-off-lp","title":"Slant 6 – Soda Pop ＊ Rip Off LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3353917542\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSlant 6 – Soda Pop ＊ Rip Off LP\u003c\/p\u003e\n\u003cp\u003e\"Some bands and some albums hit a bunch of my musical sweet spots at once.\u003c\/p\u003e\n\u003cp\u003e1990s punk rock that’s a balance of aggressive and melodic (with a nice little dusting of grunge): check. Compelling female vocals (in this case an all female lineup that includes Myra Power, Christina Billotte, and Marge Marshall): check. A sound that feels a little bit Elastica, a little bit Veruca Salt, with a little Distillers-y twist, perhaps?\u003c\/p\u003e\n\u003cp\u003eCheck, check, check-ety out Slant 6’s Soda Pop * Rip Off. Also, as aside: great album title.\u003c\/p\u003e\n\u003cp\u003eSoda Pop * Rip Off is the kind of album that’s remarkably consistent and just about any track will give a very quick and very good audio example of what Slant 6 is capable of throwing down.\u003c\/p\u003e\n\u003cp\u003eI get more into “Love Shock” every time I listen to it. There’s a little Bleach-era Nirvana in the grunge-y opening bass line, before guitar (which has a tone to it that always makes me think of Elastica) and vocal harmonies (that always make me think of Veruca Salt). It’s purposely restrained with a perfectly sludge-y tone that all works well together.\" - Eric Berlin \/ Pop Thruster\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":50098236326180,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/slant6soda.jpg?v=1731597841"},{"product_id":"fugazi-end-hits-lp","title":"Fugazi – End Hits LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=877702547\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFugazi – End Hits LP\u003c\/p\u003e\n\u003cp\u003e\"Fugazi’s 1998 full-length End Hits was a record that didn’t seem to be as appreciated for its experimentation in the hardcore and post-hardcore realms and hard-hitting anthems that Fugazi was famous for. Looking back through the band’s discography it looked as if it was overshadowed by their earlier albums that had more notoriety like Repeater and Red Medicine. Regardless of that, End Hits was yet another wonderful addition to Fugazi’s catalogue for its contribution to the progress of the post-hardcore sub-genre that was blossoming during the later years of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eFugazi pushed the limits of their music quite a bit in End Hits. Anytime you listen to any of Fugazi’s records you were bound to come across some of their avant garde material. On this album you got tracks like “Break” and “Arpeggiator.” “Break” relied heavily on the palm-muting of guitar notes which mixed with an almost jazz-like drumming. Later on, a haunting piano and crawling bass riff would join in. Soft vocals came in much later aside from one of the vocalists that would shout, “Break!” “Arpeggiator” was a purely instrumental track. Lead by heavily reparative guitar picking, the song sort of gave you the feeling that it should be a soundtrack to some sort of professional race. Higher-pitched guitar work did break up the main riff through out the song as the bass took over the main riff, too.\u003c\/p\u003e\n\u003cp\u003eThough there was quite a bit of experimentation on this album, Fugazi did include a good number of more straight-forward, but stellar hardcore tracks such as “Five Corporations” and “Caustic Acrostic.” What made “Five Corporations” such a fantastic track was its usage of sliding and palm-muting in the intro and its hypnotic main guitar riff. When the gang vocals meshed during the highly repetitive chorus they form what seemed to be like an impenetrable and formidable front. Following “Five Corporations” is “Caustic Acrostic.” While Ian Mackaye took on the lead vocals in “Five Corporation,” Guy Picciotto took over for “Caustic Acrostic.” After a brief guitar intro, Guy’s vocals blasted right in. The bright riff in the intro dominated a good portion what he yelled over through out the song. The chorus had this great build up that follows his vocals which led into a brief instrumental bridge that eventually exploded into a faster and more “in-your-face” and rowdy outro.\u003c\/p\u003e\n\u003cp\u003eEnd Hits was an album that didn’t get the appreciation that it deserved. It really did belong “up there” with what were considered Fugazi’s classic albums. They touched upon some really weird and cool experimentation and really pushed their sound in some songs, while others were some awesome and hard-hitting hardcore anthems. It's even arguable that it is one of the best records to come out in the late 90’s.\" - Ricky Frankel \/ Punk News\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50120916566308,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/fugazieh.jpg?v=1732211740"},{"product_id":"faraquet-the-view-from-this-tower-lp","title":"Faraquet – The View From This Tower LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2304881640\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eFaraquet – The View From This Tower LP\u003c\/p\u003e\n\u003cp\u003e\"Fusing together the musical complication and ingenuity of King Crimson with the ferocity and D.C.-sound of Fugazi, Faraquet have created an album of technical, churning, and passionate frenzies collapsed into melodically pleasing atrophy. After several smaller releases of 7\" singles and four songs on a split single with the choppy, quirk-filled Akarso, the band moved to Dischord for the release of their first full-length, The View From This Tower. May be considered one of the best debut releases of 2000.\" - Blake Butler\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50143714476324,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/faraquetviw.jpg?v=1732821413"},{"product_id":"minor-threat-salad-days-7-record","title":"Minor Threat – Salad Days 7\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3090771904\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMinor Threat – Salad Days 7\" record\u003c\/p\u003e\n\u003cp\u003e\"The year was 1983 and things were looking great for American hardcore; a distinct sound was being carved out, straight edge was becoming a thing and interesting bands full of youthful enthusiasm were constantly emerging. The passage of time, however, is brutally relentless and not everyone is always on the same page when it comes to change.\u003c\/p\u003e\n\u003cp\u003eThe driving force behind Minor Threat, Ian MacKaye, was dissatisfied with the reality of the hardcore scene and felt (in part) responsible to the violence and closed-mindedness began to entrench themselves. After eventually deciding to call it quits, Minor Threat reverted to their classic four-piece arrangement and recorded their final release in December 1983, a few months after their last show. This EP came out a couple years later and stands out for a notable musical shift and an overarching theme of progression.\u003c\/p\u003e\n\u003cp\u003eWhile the fast punk rock for which they became known for is not entirely absent, the writing and performances are more intricate, thought out and inventive. The use of acoustic guitars and chimes on “Salad Days”, for example, may sound somewhat out of place, but it still packs the familiar Minor Threat punch. Lyrically MacKaye is a blunt as ever in articulating his disdain for nostalgia and sense of detachment with the scene that he helped build. The message is clear: You will grow up, so move on.\u003c\/p\u003e\n\u003cp\u003eThis thematic is repeated on “Stumped”, which while coming off as a bit of a filler song, perfectly highlights the message of dissatisfaction. MacKaye is said to have written his lyrics during the recording sessions, rather than prepare them beforehand, which really shows here. The music starts off promising, but it never quite reaches the levels of confidence on their earlier material and sort of fizzles out. The song ends with Ian noting how that take was “good enough”.\u003c\/p\u003e\n\u003cp\u003eFor their final song, Minor Threat covered “Good Guys Don’t Wear White” by 1960s garage band The Standells. Rather than punk it up though, like they did with their covers of “12XU” and “Stepping Stone”, they simply sped it up a bit and went for an acoustic folk rock sound. If this doesn’t hammer in the idea that they have moved on, I don’t know what will. Don’t forget, this was 1983, when acoustic side projects were not the norm for punk bands.\u003c\/p\u003e\n\u003cp\u003eAlthough many hardcore bands eventually tire of the genre’s limitations and move on to other sounds and ideas, few have managed to do so as seamlessly and satisfactory as Minor Threat have with their final release. Given the greatness that was to come with Fugazi, the Salad Days EP serves as a sincere, bitter-sweet goodbye by one of the scene’s finest and most influential bands.\" - Fox82 \/ Punknews.org\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":50161062510884,"sku":"","price":7.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/mtsd.jpg?v=1733418774"},{"product_id":"make-up-in-mass-mind-lp","title":"Make-Up - In Mass Mind LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2625914879\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMake-Up - In Mass Mind LP\u003c\/p\u003e\n\u003cp\u003e\"For 1998's In Mass Mind, their second studio album and fourth long-player overall, the Make-Up recruited Adam \u0026amp; Eve -- a.k.a. Royal Trux's Neil Hagerty and Jennifer Herrema -- for production duties. As evidenced by the album's warm, detailed sound, the collaboration is a perfect fit, bringing just enough polish and focus to the Make-Up's music to make it even more powerful. \"Black Wire Pt. 1,\" \"Drop the Needle,\" and \"The Joy of Sound\" show off the group's dynamic, theatrical side, while \"Earth Worm,\" \"Do You Like Gospel Music,\" \"Time Machine,\" and \"Caught Up in the Rapture\" are atmospheric and soulful, further explorations into the band's widening sonic territory.\" - Heather Phares \/ All Music\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50180903338276,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/makeup.jpg?v=1734026517"},{"product_id":"minor-threat-first-demo-tape-7-record","title":"Minor Threat – First Demo Tape 7\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2178922853\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMinor Threat – First Demo Tape 7\" record\u003c\/p\u003e\n\u003cp\u003e\"Is there a more definitive hardcore band then Minor Threat? Possibly, one could argue the influence of the Bad Brains,Black Flag, Cro-Mags or Youth of Today but, when it comes down to it the band that seems to have provided the groundwork for hardcore’s sound is Minor Threat. So back in ’81 a young Ian Mackaye and his cohorts entered a studio to record their first demo. It was scrapped and un-released until 2003, so what does the listener get when they listen to Minor Threat’s first demo?\u003c\/p\u003e\n\u003cp\u003eWell for starters the most obvious element is the lo-fi production. The sound quality is rather muddy and one may see this as a downside but the production assists in creating an atmosphere that captures the essence of DIY punk. In terms of guitar and bass work the EP is solid, although it lacks technicality the song writing holds the EP together.\u003cbr\u003eThe drumming similarly is average but overall the EP is tight and stops the lack of innovation from affecting the overall sound. Similarly Ian Mackaye’s vocals are not particularly pretty, however they provide a somewhat anthemic feel to them which again captures the essence of the scene the band helped create.\u003c\/p\u003e\n\u003cp\u003eThe EP features some interesting and well constructed hardcore songs, however, the EPis relatively. No song is above 2 minutes in length and only 3 songs breach the 1 minute mark. This can be considered a downside, however with the impressive structure of each song the listener may be able to overlook the shortness and to be honest it could be said that many songs would not work as well if they were longer.\u003c\/p\u003e\n\u003cp\u003eLyrically the EP provides a somewhat personal look at Ian Mackaye’s life and opinion on American culture at the time. “Guilty of being White” is a song that criticises the idea of reverse-racism making a statement that members of minority races are unfair in their treatment of white people years after oppression had ended. “Straight Edge” is a song responsible for the existence of an entire sub-culture and at the same time a harsh attack on the popular sex, drugs and rock lifestyle portrayed by the media at the time.\u003c\/p\u003e\n\u003cp\u003eWhilst the EP provides an interesting introduction and look at the early 80’s DC hardcore scene there are several factors that may not appeal, for one the songs are not as fast as later Minor Threat releases and in fact this was one of the reasons it was originally scrapped, also as previously stated many people may find the lo-fi production discomforting and Mackaye’s vocals can be abrasive to some. Some listeners may also take offense to the lyrics of “Guilty of being White”, whether or not the song is racist has been debated for years. In fact the somewhat simple yet personal lyrics may not appeal to everyone. Although these issues may affect some listener’s ability to enjoy the music, the EP is still impressive.\u003c\/p\u003e\n\u003cp\u003eOverall Minor Threat’s First Demo provide a look at one of hardcore’s most definitive and important bands, while it may prove to be of lower quality than the band’s later works, those who enjoy Minor Threat and hardcore in general may find this to be a historically important and interesting release and for those trying to get into hardcore the EP is a perfect stepping stone into the genre providing a good look at the “core” sound of the genre.\" - The Palace Of Wisdom \/ Sputnik Music\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50199942365476,"sku":"","price":7.5,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/mtfdt.jpg?v=1734628830"},{"product_id":"artificial-peace-complete-session-november-81-lp","title":"Artificial Peace – Complete Session November 81 LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2568974917\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eArtificial Peace – Complete Session November 81 LP\u003c\/p\u003e\n\u003cp\u003eIan MacKaye: \"Artificial Peace lasted barely a year, but in that short time managed to become a leading band in the early DC hardcore punk scene. Pete Murray had played in the short-lived Red C while Mike Manos, Rob Moss and Steve Polcari were in a band called Assault \u0026amp; Battery.\u003c\/p\u003e\n\u003cp\u003e\"Towards the end of 1981 they formed A.P. and began playing around town. They were tight, fast, and aggressive, prerequisites for most of the DC bands of the time, but also had a unique sound and surprisingly catchy songs. I loved the band and offered to record them at Inner Ear Studios.\u003c\/p\u003e\n\u003cp\u003e\"A.P. knocked out their 17 songs in almost no time. I think we recorded, mixed, and sequenced the tape in two or three days and were very happy with the results. Flex Your Head was a compilation documenting the DC punk scene and since A.P were one of the great young bands coming up at that time, we included three songs from their session on the LP.\u003c\/p\u003e\n\u003cp\u003e\"There never was an opportunity to do anything with the other 14 songs as Dischord was poor and, like many of the bands in DC at that time, A.P. was not long for this world. After A.P. disbanded, Pete, Steve, and Mike started playing with Kenny Inouye and Andre Lee to form Marginal Man.\u003c\/p\u003e\n\u003cp\u003e\"While working on the Dischord Archives, we came across the Artificial Peace November '81 session and decided that the tape should be finally and properly released in its entirety. Artificial Peace may well be an obscure band, but their effect on the DC scene was significant and played a sure role in the evolution of the music.”\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50222153367844,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/apcomplete.jpg?v=1735427232"},{"product_id":"sensor-ghost-irritation-on-demand-lp","title":"Sensor Ghost - Irritation On Demand LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4212639125\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSensor Ghost - Irritation On Demand LP\u003c\/p\u003e\n\u003cp\u003eSensor Ghost is a no-wave art-punk trio from Washington, DC, featuring Mike Andre (bass\/vocals), Amanda Huron (guitar), and Sam Lavine (drums). The band’s spiky songs have been known to leave listeners in a discombobulated trance. Former\/current projects include Puff Pieces, Antelope, Weed Tree, Light Beams, Vertebrates, and Stigmatics. Like the aforementioned groups, Sensor Ghost owes a debt to the freaked-out sonics and iconoclastic creativity of the storied DC punk scene. The band’s first LP, “Irritation on Demand,” was recorded with Ian MacKaye and Don Zientara at Inner Ear Studios over a few feverish days in March of 2024.\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50512007397668,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/sgirritation.jpg?v=1743092106"},{"product_id":"lungfish-10-east-7-record","title":"Lungfish – 10 East 7\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3823813681\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eLungfish – 10 East 7\" record\u003c\/p\u003e\n\u003cp\u003e\"Like many of their records, Lungfish released this 7\" EP on Dischord in 1995. But unlike their other material, 10 East features a percussive egg on the title track, showing their heavier, lengthier post-hardcore and slender art rock. The EP included formative members like Daniel Higgs and John Chriest.\" - RN\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":50532639637796,"sku":"","price":8.75,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/lungfish10east.jpg?v=1743707616"},{"product_id":"skewbald-grand-union-two-songs-7-record","title":"Skewbald \/ Grand Union - Two songs 7\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=807384026\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eSkewbald \/ Grand Union - Two songs 7\" record\u003c\/p\u003e\n\u003cp\u003e\"A short-lived project formed during Minor Threat's initial (and ultimately temporary) breakup, Skewbald\/Grand Union kept singer Ian MacKaye and drummer Jeff Nelson together, with their curious compound name deriving from their differing opinions of what to call the band. MacKaye and Nelson first worked together in the Teen Idles before forming the seminal Minor Threat, which went on hiatus in September 1981 when guitarist Lyle Preslar left for college. MacKaye and Nelson got together with guitarist Eddie Janney -- formerly of the Untouchables -- and bassist John Falls. They recorded two songs for a self-titled single in November, but the next month, MacKaye decided to go on tour as a roadie for Black Flag. Skewbald\/Grand Union fell by the wayside without ever having played a live gig, and its demise was ensured when Preslar returned and Minor Threat re-formed in April 1982. MacKaye would later go on to front Embrace and Fugazi, while Janney played in the Faith and the seminal emo band Rites of Spring, as well as the shorter-lived One Last Wish and Happy Go Licky. Nelson, for his part, moved on to gigs with Egg Hunt (again with MacKaye), 3, and the High Back Chairs. In 1992, Dischord released Skewbald\/Grand Union's extremely scant recorded output as a self-titled, 7\" vinyl single, and reissued it as a CD single in 1997.\" - Steve Huey \/ All Music\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50557510025508,"sku":"","price":9.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/skewbald.jpg?v=1744308245"},{"product_id":"minor-threat-s-t-7-record","title":"Minor Threat s\/t 7\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3939730841\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eMinor Threat s\/t 7\" record\u003c\/p\u003e\n\u003cp\u003e\"The self-titled debut from Washington, D.C.'s quintessential exponents of hardcore appeared on the (then) tiny Dischord label run by the young and energetic Ian MacKaye, who as vocalist for the band uttered some of its most incisive lyrics, not to mention athletic and exuberant performances. Minor Threat are comparable only to their fellow D.C. innovators, Bad Brains, possibly the next most influential group in American underground music during the '80s and '90s. Not only did Minor Threat define the hardcore ethic, they unwittingly coined the genre term straight-edge, which would resonate through post-punk music and beyond, from garages in southern California to the rest of the Western world. Regardless of the multiple incarnations the hardcore genre has weathered, fans will always return to Minor Threat as the godfathers of American punk.\" - Skip Jansen \/ All Music\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50576229597476,"sku":"","price":9.5,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/mtfirst.jpg?v=1744911859"},{"product_id":"various-flex-your-head-compilation-lp","title":"Various – Flex Your Head compilation LP","description":"\u003cp\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-94wGpOWYDY?si=G9iP6VsKp_jxfH4q\" title=\"YouTube video player\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eVarious – Flex Your Head compilation LP\u003c\/p\u003e\n\u003cp\u003e\"Although this album contains a lot of non-essential hardcore, it does get props for so thoroughly documenting the early-'80s D.C. hardcore scene. For some of the groups (Red C, Iron Cross), this compilation was the extent of their exposure. For others (Minor Threat, Government Issue, Youth Brigade), this compilation was just the starting point for exposure and recognition. As for the music itself, all of the songs are fast and furious hardcore. While all brutally fast and confrontational, some groups are more melodic (Teen Idles, Red C), and some are about as atonal as a group can sound (Void). Whether the music is a light or heavy assault on the ears, this music is important. There isn't a more complete summary of early D.C. hardcore out there.\" - Zach Curd \/ All Music\u003c\/p\u003e\n\u003cp\u003eTrack listing:\u003c\/p\u003e\n\u003cp\u003eA1. Teen Idles – I Drink Milk\u003cbr\u003eA2. Teen Idles – Commie Song\u003cbr\u003eA3. Teen Idles – No Fun\u003cbr\u003eA4. Untouchables – Rat Patrol\u003cbr\u003eA5. Untouchables – Nic Fit\u003cbr\u003eA6. Untouchables – I Hate You\u003cbr\u003eA7. State Of Alert – I Hate The Kids\u003cbr\u003eA8. State Of Alert – Disease\u003cbr\u003eA9. State Of Alert – Stepping Stone Party\u003cbr\u003eA10. Minor Threat – Stand Up\u003cbr\u003eA11. Minor Threat – 12XU\u003cbr\u003eA12. Government Issue –    Hey Ronnie\u003cbr\u003eA13. Government Issue –    Lie, Cheat \u0026amp; Steal\u003cbr\u003eA14. Youth Brigade – Moral Majority\u003cbr\u003eA15. Youth Brigade – Waste Of Time\u003cbr\u003eA16. Youth Brigade – Last Word\u003cbr\u003eB1. Red C – Jimi 45\u003cbr\u003eB2. Red C – Pressure's On\u003cbr\u003eB3. Red C – Six O'Clock News\u003cbr\u003eB4. Red C – Assassin\u003cbr\u003eB5. Void – Dehumanized\u003cbr\u003eB6. Void – Authority\u003cbr\u003eB7. Void – My Rules\u003cbr\u003eB8. Iron Cross – Wargames\u003cbr\u003eB9. Iron Cross – New Breed\u003cbr\u003eB10. Iron Cross – Live For Now\u003cbr\u003eB11. Artificial Peace – Artificial Peace\u003cbr\u003eB12. Artificial Peace – Outside Looking In\u003cbr\u003eB13. Artificial Peace – Suburban Wasteland\u003cbr\u003eB14. Deadline – Stolen Youth\u003cbr\u003eB15. Deadline – Hear The Cry\u003cbr\u003eB16. Deadline – Aftermath\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":50591543460132,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/flex.jpg?v=1745520857"},{"product_id":"government-issue-boycott-stabb-complete-session-lp","title":"Government Issue – Boycott Stabb Complete Session LP","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3119203995\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eGovernment Issue – Boycott Stabb Complete Session LP\u003c\/p\u003e\n\u003cp\u003eWhen the group entered the studio in 1982 they tracked 21 songs but only 11 would come out on the original Dischord\/Fountain Of Youth split release. Thanks to Ian MacKaye those short, sharp bursts of raw hardcore energy are unleashed like polaroid action shots of an adrenaline fueled session, keeping everything as fierce yet efficient as possible and capturing the essence of something truly visceral in the process, right down to the cheeky banter in between tracks.\u003c\/p\u003e","brand":"Dischord Records","offers":[{"title":"Default Title","offer_id":50605687013668,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/gicomplete.jpg?v=1746120906"},{"product_id":"black-eyes-hostile-design-12-record","title":"Black Eyes - Hostile Design 12\" record","description":"\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1197270568\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eBlack Eyes - Hostile Design 12\" record\u003c\/p\u003e\n\u003cp\u003e\"\u003c!--StartFragment --\u003e\u003cspan class=\"cf0\"\u003eOn “Hostile Design,” the band resumes their work as musical chiropractors for the American psyche. Across its six songs, and in less than a half hour, Black Eyes offers percussive tit-for-tat, bounding between dub grooves and in-the-soil rhythms. Bass lines pulse, synthesizers wash, saxophones squeal. And McElroy and Martin-McCormick perform lyrical counterpoint, trading images, idioms, symbols and scripture \u003c\/span\u003e\u003cspan class=\"cf1\"\u003e— sometimes overlapping like dueling street preachers.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003eThe pair conjure images of D.C. Metro lines and holes drilled into heads; consider the sacred and profane; and nod to medieval poems and fragments of traditional songs from Greece, Gaza and Haiti. During the writing process, the pair found the shape of the vocals and filled them with lyrics. Sometimes words bubbled up during practice and could be hard to shake — a source of frustration and inspiration.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003e“It’s a cool clue, because they point to an interpretation, but also lead you into an interpretive headspace, like a clue into what I want to sing about,” Martin-McCormick says. “It’s always something that’s resonant, but it’s finding out what that resonance is pointing toward.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003eOn “Hostile Design,” those lyrics — like the ones on the band’s first two albums — match music that is anxious, urgent, meditative and insistent. The words offer oblique takes on observations and experiences that offer dynamic lyricism, not didactic lectures about geopolitical realities. But Black Eyes was born and resuscitated in D.C., a place to which the band is inextricably linked, in the same way that “Hostile Design” — which was recorded the weekend after the 2024 presidential election — is tied to this moment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf1\"\u003e“Being back involved in this community of music is for me, personally, incredibly empowering. It broadens the love for all that I have and, and I think, maybe naively, is partially how we’re all going to get through this bulls---,” McElroy says.\" - Chris Kelly\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c!--EndFragment --\u003e\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":51162933362980,"sku":null,"price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/be_6205d2f6-2b73-40c7-b24c-3505f9c80bd7.jpg?v=1760021723"},{"product_id":"various-state-of-the-union-compilation-lp","title":"Various - State Of The Union compilation lp","description":"\u003cp\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=154103729\/size=small\/bgcol=ffffff\/linkcol=0687f5\/transparent=true\/\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003eVarious - State Of The Union compilation lp\u003c\/p\u003e\n\u003cp\u003e\u003c!--StartFragment --\u003e\u003cspan class=\"cf0\"\u003eState of the Union: D.C. Benefit Compilation is a compilation album, compiled by Mark Andersen, that was released on Dischord Records. It catalogued the DC sounds of the late 1980s, and was created for the American Civil Liberties Union and Community for Creative Non-Violence. All proceeds from the sales of the album were given to these two groups.\u003c\/span\u003e\u003c!--EndFragment --\u003e\u003c\/p\u003e\n\u003cp\u003eTrack listing:\u003c\/p\u003e\n\u003cp\u003e\u003c!--StartFragment --\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eA1 Scream - Ameri-Dub \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"cf0\"\u003eA2 Ignition - Anger Means \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA3 Soulside - Name in Mind\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA4 Broken Siren - No You Cannot Go \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA5 Christ on a Crutch - Off Target \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA6 King Face - Dirty Wings \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA7 Rain - Worlds At War \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eA8 3 - Swann Street (Version) \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB1 Marginal Man - Stones Of A Wall \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB2 One Last Wish - Burning In The Undertow \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB3 Fugazi - In Defense Of Humans \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB4 Thorns - Responsibility \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB5 Fire Party - Pilate \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB6 Fidelity Jones - Blood Stone Burn \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB7 Red Emma - Candle \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"pf1\"\u003e\u003cspan class=\"cf0\"\u003eB8 Shudder to Think - Let It Ring\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c!--EndFragment --\u003e\u003c\/p\u003e","brand":"Dischord","offers":[{"title":"Default Title","offer_id":51162940473636,"sku":null,"price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/files\/sotu.jpg?v=1760022090"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/2606\/0952\/collections\/dischord.jpg?v=1709225832","url":"https:\/\/www.stickfiguremailorder.com\/collections\/dischord-recordings.oembed?page=8","provider":"Stickfigure Mailorder","version":"1.0","type":"link"}