Blitzrecords specialize in Japanese hardcore/punk vinyl and CD's also limited edition imports from the USA / Sweden / Italy / Malaysia / Czech Republic / Canada / Australia.
Friday 28 February 2014
Tuesday 25 February 2014
Man Is The Bastard – Thoughtless - LP colour vinyl
Remastered Reissue on coloured vinyl - Gravity Records - contains two A3 inserts with credits and lyrics + one two-sided "Wacky Packages" poster.
Gravity is very happy to announce the re-issue of the long out of print lp originally recorded in 1995. The quintessential powerviolence pioneers and originators, who have been cemented into cult status since their break up in 1997. Their sound was a brutal mix of complicated technical riffing and straight-up hardcore made by dual basses, noise boxes, and hardcore/prog drum beats. Making things even more interesting were the band member's interests in the burgeoning noise scene, something that affected their music greatly. Man Is The Bastard's brutal deconstruction of politically-minded punk, hardcore and electronics bent minds all over the globe. While similar affiliated acts like Bastard Noise, Neanderthal, and Spazz were all in the same ballpark, MITB were in their own universe. There isn't anything out there that sounds quite like this. Newly remastered in 2012 and on limited colored vinyl.
A1 Puppy Mill
A2 The Kosher Grimace
A3 Unweened Infant Orphan
A4 Tyke
B1 The Great Ebola
Prepared Hammond
B2.a Interplanetary Intrusion
B2.b Galactic Insect Swarm
B2.c Lunar Landing
B3 Forced Alien Confinement
B4 Short Trek To The Cauldron
Friday 21 February 2014
Weekend Nachos – Worthless - LP white vinyl
IN STOCK NOW
Deep Six Records – #157 -- limited white vinyl
http://weekendnachos.bandcamp.com/album/worthless
The most vitriolic hardcore album of the new millenium. Weekend Nachos are here to punish and destroy!
Weekend Nachos is all about their catchiness, their awesome groove parts, and their harsh vocals. There's no arguing with their unique blend of powerviolence, grindcore, and hardcore.
Hoffmann is able to masterfully twist his quick-fire vocal attacks into a twisted and frustrated viewpoint of agonizing bliss for the listener.
The guitar distortion tone works excellently throughout the album to produce a truly vicious tone and generates the desolating feedback in the album’s self-titled instrumental track. The riffing throughout the album is very consistent in being able to switch, very quickly. Take for instance the blasting intro of ‘Old Friends Don’t Mean Shit’, stopped for just a moment ten seconds in to a series of well structured chords carried along by the drums.
Bass stays somewhat hidden for some songs, as the guitar does its fair part of clouding it throughout the album – particularly with the break-neck drum speed. But give the album a few plays through and you’ll know that a great level the bass truly gives to the guitar work – adding a significant layer to the musical assault. The tone it carries reminds me of true grind, a very rough and edged sound that goes very well with the music. In the particularly dissonant moments of this album; the grooving riffs of ‘Jock Powerviolence’ or entirely throughout the instrumental ‘Worthless’; the bass acts as a clear guide for the rest of the instruments.
All the while, the drums pick up a great, ‘run around and mosh’ pace to accompany the other instruments. Variations of fast paced d-beats and incredibly well timed snare blasts make the metal influence evident on the drums. The drums really do carry a large part of this album; cymbal speed is fantastic and all incredibly well timed and his ability to switch styles is also incredibly impressive (as shown in ‘For Life’ by the ambient to two-step beat transition). The drums give a significantly frantic feel to the songs by supplying what literally feels like anger, mirrored by John Hoffman’s vocals.
Whether or not you like Powerviolence or have even heard of it, pick up a copy of Worthless. From the explosive opening chords of ‘Hometown Hero’ like a pack of C4 exploding to the utter desolation in the final and completely crushing ending of ‘Future’; this album is one hell of a ride, and a completely acceptable form of anger management. - thanx to http://www.metal-archives.com/reviews/Weekend_Nachos/Worthless/307190/
A1 Hometown Hero,A2 Obituary,A3 For Life,A4 Old Friends Don't Mean Shit,A5 Frostbitten,A6 The Meeting,A7 Worthless
,B1 Friendship,B2 Jock Powerviolence,B3 The Fine Art Of Bullshit,B4 Dubviolence,B5 You Could Exist Tomorrow,B6 Future.
https://blitzrecords.bigcartel.com
https://blitzrecords.bigcartel.com
Wednesday 19 February 2014
Discharge-Decontrol/Fight Back/Never Again/Realities Of War/State Violence-7" white vinyl
Set of 5 x Discharge 7" on white vinyl from Havoc records with promo poster - 2 sets where sent to me by Felix in 2011 and I'm keeping a set, so this is one is up for grabs.
DECONTROL - - Classic three song rager from 1980. Less than a year removed from "realities of war" the sound is already faster and more aggressive, leaving 70's punk behind and blazing into pure hardcore raw punk. This record has three of Discharge's best songs which are just pure blasts of raw anger and urgency. Hardcore punk at it's best - Decontrol, No TV Sketch, Tomorrow Belongs to Us.
FIGHT BACK - - Five song blast of pure anger and energy, Dishcarge is at their finest here. Pure be beat raw punk against which all the successors can be measured. This hard driving music is the perfect vehicle for the outrage at war and oppression conveyed by the harsh lyrics and graphics - Fight Back, War's No Fairytale, Always Restrictions, You Take Part In Creating the System, Religion Instigates.
NEVER AGAIN - - It's 1981, the cold war rages, threatening to turn hot at any moment as Reagan, Thatcher and Brezhnev seem poised to destroy the world in a descent to nuclear madness. Using cover art appropriated from 1930's anti fascist agit-prop Discharge links the bleak reality of Thatcher's Britain with the descent to totalitarian oppression and war of an earlier generation. A bit more polished than the first three EPs and the Why? 12", Never Again delivers three blasts of hardcore punk. The bass playing in "Two Monstrous Nuclear Stockpiles" is probably my favorite on any hardcore record ever - Never Again, Death Dealers, Two Monstrous Nuclear Stockpiles.
REALITIES OF WAR - The Classic first 7" from Discharge circa 1980. A monumental record that helped jumpstart the hardcore movement around the world. This is one of a handful of records from 1980 that pushed 70's punk into the bleak era of the 1980's hardcore scene. Discharge set the standard with their raw and uncompromising visual style and unbridled hardcore punk music - Realities of War, They Declare it, But After the Gig, Society's Victim.
STATE VIOLENCE, STATE CONTROL - Discharge's fifth 7", from 1982. The sound is a bit less raw and there is a tiny bit of the metal influence starting to show. The energy and power of Hear Nothing See Nothing Say Nothing are starting to manifest on these tracks - Doomsday, State Violence State Control.
Integrity/Rot In Hell- Split - 2 X 7" black/blue/green vinyl
Integrity/Rot In Hell- Split - 2 X 7" black/blue/green vinyl + booket
one of a kind packaging mistake - has 1 x black 7" and 1 x blue/green 7"
The ongoing nationwide campaign of Holy Terror is set to escalate beyond your feeble comprehension with this landmark document. This forthcoming collaboration between notorious global agitators Integrity and zeitgeist grabbing facilitators Rot In Hell features new and exclusive recordings unique to this release.
Packaged within a hardback book of endtime fairytales, collated & illustrated by the infamous Dwid Hellion, this double 7" pack features two new recordings from each unit. Dovetailing this genre defining work, an additional 7" on coloured vinyl, containing a caustic narrative of the book by Dwid himself
SIDE A
INTEGRITY “VVaiting For The Sun To Burn Out My Eyes”
INTEGRITY “Black Heksen Rise”
SIDE B
ROT IN HELL “Erebus”
ROT IN HELL “Life Becomes A Desert Around You”
SIDE A
Dwid Hellion “VVhere Does The Fire Come From?”
SIDE B
INTEGRITY “VVaiting For The Sun To Burn Out My Eyes”
(acoustic narration version)
Dwid Hellion “Process of Prayer”
Monday 17 February 2014
The Outcasts - Self Conscious Over You - 7"
Good Vibrations Records – GOT 17 - - 1979 - - fold-out cover
The Outcasts were formed in June 1977 in Belfast by the three Cowan brothers, Greg Cowan (vocals / bass), Martin Cowan (guitar/vocals), Colin Cowan (drums) and their friend Colin ‘Getty’ Getgood (guitar), playing their first gig two months later. ‘You’re A Disease’ / ‘Don’t Want To Be No Adult’ / ‘Frustration’ (It, 1978) is easily the roughest sounding early Outcasts single, ‘You’re A Disease’ stands out as the best track. ‘Frustration’ was later re-recorded for the 1982 LP ‘Blood & Thunder’. ‘Just Another Teenage Rebel’ / ‘Love Is For Sops’ (Good Vibrations, 1978) captures the Outcasts at their best, punk rock with a pop edge, both tracks are classics. Came in the trademark Good Vibes foldout poster sleeve in several different colours, a 2nd pressing was issued in early 1979 with a different cover. ‘The Cops Are Comin’ (Good Vibrations, 1979) was released as part of a double single package ‘Battle Of The Bands’ featuring three other local bands, namely Rudi, Spider and the Idiots. A nasty little tale about killing your girlfriend and having sex with her corpse.
Sunday 16 February 2014
Protex – Don't Ring Me Up - 7" promo cover
Good Vibrations Records – GOT6 - 1978 - FIRST ISSUE TELEPHONE FOLD-OUT COVER WITH PROMO INFORMATION INSIDE.
In 1977, four schoolfriends formed the Incredibly Boring Band and did a few gigs playing covers of Thin Lizzy and Dr Feelgood songs. However, they were soon smitten by the punk bug and decided that they wanted to play energic pop like the Buzzcocks and the Ramones. So they started to write their own songs and then decided to change the band name to Protex Blue(the name coming from the title of a song of the Clash). The band - Aidan Murtagh(guitar/vocals), David McMaster(guitar/vocals), Paul Maxwell(bass/vocals) and Owen McFadden(drums) - played their 1st gig under the new name on 4.7.78 at Knock Methodist Church Hall.
They went on to play at various venues around Belfast and soon earned the reputation of being an excellent live band, and somewhere along the lines at this time they shortened the band name to just PROTEX. Shortly after recording a session for Downtown Radio, they were watched by Terri Hooley, performing at the Glenmachan Hotel and it wasn’t long before Hooley had them in the studio recording their debut single for the Good Vibrations label. They went on to record a session for The Kid Jensen Show on BBC Radio and shortly afterwards, A&R men from London came over to see them play live with the X-Dreamysts in Portrush. At this stage the band were still in sixth form at school, studying for their A-Levels.
Both PROTEX and the X-Dreamysts were signed to Polydor Records and during the Easter holidays in ‘79, PROTEX went to London to record “Ican’t cope” as the first single for their new label. By thistime, the A-Levels had started to take a bit of a back seat and by the summer of ‘79 they had uprooted and moved to London. They toured with The Boomtown Rats and this was followed by various club tours and two tours of the USA. During a tour of the States in 1980, the band were filmed live in concert at New York’s Hurrah Club on St. Patricks Day, by John T.Davis of “Shell Shock Rock” fame. This film was given the title “Sham rock”!
PROTEX went on to release two singles for Polydor. They also recorded an album “Strange Obsessions”
(Side A: Strange things-T’ll never stop-A place in your heart-Nigh of action-You don’t know me-Look out Johnny)
(Side B: I can only dream-Forever-Don’t ring me up-Smile and say goodbye-Private lives-Strange obsessions)
which was produced by Chas Chandler. Unfortunately the album was never releasedas nobody was particularly happy with the end result! They also contributed tracks to various compilation albums in both the UK and the USA.
Protex – Don't Ring Me Up - 7"
Good Vibrations Records – GOT6 - 1978 - BLUE FOLD-OUT COVER
In 1977, four schoolfriends formed the Incredibly Boring Band and did a few gigs playing covers of Thin Lizzy and Dr Feelgood songs. However, they were soon smitten by the punk bug and decided that they wanted to play energic pop like the Buzzcocks and the Ramones. So they started to write their own songs and then decided to change the band name to Protex Blue(the name coming from the title of a song of the Clash). The band - Aidan Murtagh(guitar/vocals), David McMaster(guitar/vocals), Paul Maxwell(bass/vocals) and Owen McFadden(drums) - played their 1st gig under the new name on 4.7.78 at Knock Methodist Church Hall.
They went on to play at various venues around Belfast and soon earned the reputation of being an excellent live band, and somewhere along the lines at this time they shortened the band name to just PROTEX. Shortly after recording a session for Downtown Radio, they were watched by Terri Hooley, performing at the Glenmachan Hotel and it wasn’t long before Hooley had them in the studio recording their debut single for the Good Vibrations label. They went on to record a session for The Kid Jensen Show on BBC Radio and shortly afterwards, A&R men from London came over to see them play live with the X-Dreamysts in Portrush. At this stage the band were still in sixth form at school, studying for their A-Levels.
Both PROTEX and the X-Dreamysts were signed to Polydor Records and during the Easter holidays in ‘79, PROTEX went to London to record “Ican’t cope” as the first single for their new label. By thistime, the A-Levels had started to take a bit of a back seat and by the summer of ‘79 they had uprooted and moved to London. They toured with The Boomtown Rats and this was followed by various club tours and two tours of the USA. During a tour of the States in 1980, the band were filmed live in concert at New York’s Hurrah Club on St. Patricks Day, by John T.Davis of “Shell Shock Rock” fame. This film was given the title “Sham rock”!
PROTEX went on to release two singles for Polydor. They also recorded an album “Strange Obsessions”
(Side A: Strange things-T’ll never stop-A place in your heart-Nigh of action-You don’t know me-Look out Johnny)
(Side B: I can only dream-Forever-Don’t ring me up-Smile and say goodbye-Private lives-Strange obsessions)
which was produced by Chas Chandler. Unfortunately the album was never releasedas nobody was particularly happy with the end result! They also contributed tracks to various compilation albums in both the UK and the USA.
Protex – I Can Only Dream - 7"
Polydor – 2059 167 - 1979
In 1977, four schoolfriends formed the Incredibly Boring Band and did a few gigs playing covers of Thin Lizzy and Dr Feelgood songs. However, they were soon smitten by the punk bug and decided that they wanted to play energic pop like the Buzzcocks and the Ramones. So they started to write their own songs and then decided to change the band name to Protex Blue(the name coming from the title of a song of the Clash). The band - Aidan Murtagh(guitar/vocals), David McMaster(guitar/vocals), Paul Maxwell(bass/vocals) and Owen McFadden(drums) - played their 1st gig under the new name on 4.7.78 at Knock Methodist Church Hall.
They went on to play at various venues around Belfast and soon earned the reputation of being an excellent live band, and somewhere along the lines at this time they shortened the band name to just PROTEX. Shortly after recording a session for Downtown Radio, they were watched by Terri Hooley, performing at the Glenmachan Hotel and it wasn’t long before Hooley had them in the studio recording their debut single for the Good Vibrations label. They went on to record a session for The Kid Jensen Show on BBC Radio and shortly afterwards, A&R men from London came over to see them play live with the X-Dreamysts in Portrush. At this stage the band were still in sixth form at school, studying for their A-Levels.
Both PROTEX and the X-Dreamysts were signed to Polydor Records and during the Easter holidays in ‘79, PROTEX went to London to record “Ican’t cope” as the first single for their new label. By thistime, the A-Levels had started to take a bit of a back seat and by the summer of ‘79 they had uprooted and moved to London. They toured with The Boomtown Rats and this was followed by various club tours and two tours of the USA. During a tour of the States in 1980, the band were filmed live in concert at New York’s Hurrah Club on St. Patricks Day, by John T.Davis of “Shell Shock Rock” fame. This film was given the title “Sham rock”!
PROTEX went on to release two singles for Polydor. They also recorded an album “Strange Obsessions”
(Side A: Strange things-T’ll never stop-A place in your heart-Nigh of action-You don’t know me-Look out Johnny)
(Side B: I can only dream-Forever-Don’t ring me up-Smile and say goodbye-Private lives-Strange obsessions)
which was produced by Chas Chandler. Unfortunately the album was never releasedas nobody was particularly happy with the end result! They also contributed tracks to various compilation albums in both the UK and the USA.
Friday 14 February 2014
Weekend Nachos - Still - LP yellow vinyl
IN STOCK NOW - IF YOU MISSED OUT ON THE CLEAR VINYL GRAB A COPY NOW
Weekend Nachos "Still" LP - limited to 100 mailorder only on yellow wax - Deep Six Records #207
http://youtu.be/gHmSot5xSlA
Crushing, downtuned power violence and brick wall leveling sludge…. So fucking good!
Weekend Nachos, the band you either love or hate, return with their 4th full-length album. On the "STILL" LP we see the band get even heavier while still finding ways to blend new influences into their unique mix of brutal hardcore. There is truly something for everything on this album. 12 new tracks of hatred that are sure to prove why Weekend Nachos haven't stopped antagonizing the hardcore scene.
A1 Sickened No More
A2 No Idols And No Heroes
A3 S.C.A.B.
A4 Satan Sucker
A5 Late Night Walks
A6 Watch You Suffer
B1 Wolves
B2 You're Not Punk
B3 Ignore
B4 Yes Way
B5 Broken Mirror
Thursday 13 February 2014
The Zeros – Hungry / Radio Fun - 7"
Small Wonder Records – small two - 1977
A Hungry
B Radio Fun
The Zeros, a UK punk band from Walthamstow were active between 1977/1979. The members were: Steve Godfrey bass - Phil Gaylor drums,voc - Steve Cotton guitar,voc.
They released a excellent single through Small Wonder Records called Hungry/Radio Fun, and the a split single by ROK records with ACTION REPLAY before split.
The Ejected – Noise For The Boys EP - 7"
Riot City Records – RIOT 19 - 1982
A Fast 'N' Loud
B1 I Don't Care
B2 What Happened In Brighton?
The Ejected were an English punk rock/oi! band from Dagenham, Essex, active between 1981 and 1983
The band was formed by ex-Dawn Patrol members Big Jim Brooks (vocals, guitar) and Gary Sandford (bass, vocals) (later replaced by Paul Quain), and drummer Mick ‘Sticks’ Robinson (later replaced by Paul Griffiths). They cited UK Subs, Cockney Rejects, Angelic Upstarts and The Clash as major influences. [2] Signing to the Riot City label, their first release was a contribution to the various artists compilation Carry On Oi. 1982 saw the release of the band’s debut EP Have You Got 10p, a song which once saw the band answered by a shower of 10p coins throughout their set. The EP reached number 8 in the UK Indie Chart, and saw the band receive a lot of press coverage, including an interview by Garry Bushell in Sounds. This was followed in 1983 by the Noise For The Boys EP, and debut album A Touch Of Class, which were less well received, the latter described by Punk Lives as “completely empty of any real substance”. The band’s Jim Brooks put their failure to achieve a large following down to their live performances, saying “We were awful!”. The band’s perceived right-wing nationalist tendencies saw them ignored by the majority of the music press.
A-Heads – Forgotten Hero - 7"
Bluurg Records – Fish 3 - 1983
A Forgotten Hero
B1 Isolated
B2 Love Or Pain
Part of the 1980's Wiltshire punk scene that are closely associated with the likes of The Pagans, Culture Shock, The Subhumans, & Citizen Fish.
1980's:
Mel: Vocals
Jock: Guitar Vocals
Nigel: Bass
Wally: Bass/Drums
Lester Carpenter: Bass
Bruce: Drums Vocals
Andy Gale: Drums
Wednesday 12 February 2014
Disco Zombies – The Invisible E.P. - 7"
Uptown Records – Wizzo Records – WIZZO 1 - 1979
Top Of The Pops
Time Will Tell
Punk-A-Go-Go
Disco Zombies
Disco Zombies was a British punk rock band. In 1979 they released two 7 inches. First was The Invisible E.P. and then Drums Over London. Their third and final release was Here Come The Buts 7” in 1980. “Here Come The Buts” was featured on British Underground - The Best of the UK Punk New Wave, 1977 - 1982 - Vol.2 from Chaos Wreckords.
The Scabs - Amory Buiding EP - 7"
Amory Building/Leave Me Alone/Don't Just Sit There/ U.R.E
Clubland Records – SJP 799 - fold-out cover with both inserts
James Young-Vocals, John Salmons-Guitar/Organ, Patrick Cunningham-Drums, Steve Pardoe-Bass, Simon Grant-Saxophone.
Exeter university students sole EP from 1979 containing all the ingredients needed to make a minor punk classic; tinny guitars, cheap keyboards and over the top sneering vocals. The songs are fast and fun and have been constantly bootlegged over the years on various Killed By Death style punk compilations. Two pressings of a thousand each. The first in a blue sleeve, the second in red.
After they split, a couple of members moved onto the more new wave orientated M5s. Drummer Patrick Cunningham remained active on the Exeter punk scene, promoting shows throughout the 80's before becoming a partner in Exeter live venue The Cavern Club.
Superb mint condition - slight browning on back of cover folds - WILL BE SHIPPED BY REGISTERED POST
https://blitzrecords.bigcartel.com
The Tights - Howard Hughes - 7"
Cherry Red – CHERRY 2 - 1978
The Tights were formed in 1977, and hail from Worcestershire in the UK. The current line up is : Malcolm Orgee - vocals; Rob Banks - Guitar & Vocals; Barry Island - Bass , Keyboards & vocals; Hodge - drums & vocals
They were the first ever band to be signed to the now legendary punk rock label
Cherry Red Records.
Their 2 singles ‘Bad Hearts’ and ‘Howard Hughes’ released in 1978 reached
number 4 and 6 respectively in the UK indie charts at the time.
Review : Radio & Record News : Bad Hearts : 1978
“Lay down a raucous rhythm guitar in the background , bring in clear foreground
vocals, and finally make the sound complete with the bass and drums combining
as one unit, and you have a superb modern pop record.”
When the 80’s arrived and put pay to punk… the band split, but still remained good friends.
After nearly a 27yr break, the band reformed in 2004 believing there were songs
that were left unsung.
2 new EP’s by the band have been released on Cherry Red Records the first ’ 7707 ’ which is a eulogy to the dead and near dead punks from the days of the late ‘70’s and ‘Blood & Flowers’ they are both available on download.
Antisocial – Official Hooligan E.P. - 7"
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Antisocial – Official Hooligan E.P.
Beat The System !!–B.T.S. SOCIAL 2, Lightbeat Records–SOCIAL 2-1983
Antisocial were a punk band from Livingston, Scotland. They formed in 1979. Band members were AlaN “Scottie” Scott; vocals, Gary “Hainy” Hain; drums, Cameron Stevens; guitar & Gordon “Gogs” Balfour; bass. They Split up in 1982. Scottie & Gogs went on to form Bayonet Babies. Gogs later joined The Exploited and now currently plays with oi! band Bakers Dozen.
A Battle Scarred Skinheads
AA1 Official Hooligan
AA2 Sewer Rat
Mau Maus – No Concern - 7"
Pax Records – PAX 8 - 1982
No Concern/Clampdown/Why Do We Suffer
Named after the 1950's secret political action from Kenya, and inspired by a U.S. Hardcore act 0f the same name, Sheffield's Mau Maus formed after leaving school in late '79. They possessed no equipment and had nowhere to rehearse. In line tradition of the times, enthusiasm overpowered these problems and within months the band saw themselves playing a dire set of cover versions and poor original compositions at local youth clubs. The band slowly progressed to the small Pubs' circuit and by early 1981, had gained a regular following. They were soon to meet Marcus Featherby (founder of Pax Records and local gig promoter) who was to invite them to support The Angelic Upstarts at Sheffield's Marples club - on the condition that they did not play their "horrendous" cover of The Upstart's "Liddle Towers". Overwhelmed by the reaction received at gigs, the band soon found that their egos were growing a lot faster than their musical capabilities, and found it quite disturbing when Featherby told them they were crap! Undeterred, they took to the rehearsal studios for the remaining part of 1981 until they left confident enough to invite Featherby to a session. Impressed by their determination he offered them a deal for a single with Pax, and gave them many support slots at the Marples Club with the likes of The Wall and The Enemy...
April '82 saw the band's first visit to a recording studio, where they recorded 8 songs which were recorded and mixed within 5 hours - for £5O! "The Kill" - taken from this session - appeared on the highly successful "Wargasm" compilation album and gave great exposure ta the band leading up to the release of the "Society's Rejects" EP, which spent 1O weeks in the Independent chart, peaking at No. 22. On the back of this the band were offered their first London gigs, where they played the legendary Skunx Club and the 100 Club, supporting The Angelic Upstarts and Charlie Harper's Urban Dogs. A fantastic night, but for the fact that the band didn't get paid! September 1982 saw the Mau Maus back in the studio for a new EP. With Lee Wilson of Infa Riot producing, 4 tracks were recorded at London's Matrix Studios - costing ten times as much as Ihe first single! From this session come the "No Concern" EP and then the track "Give Us A future" (plus "Clampdown" from the EP) which featured on the compilation "Punk's Dead? Nah Mate.." album. Released in November 1982, the EP spent 10 weeks in the newly compiled Punk chart in 'Sounds', peaking at No. 10, just behind G.B.H. and The Anti Nowhere League - with the compilation album reaching No. 2! Gigs with Infa Riot and The Dead Kennedys spread the word that bit further and the Mau Maus were now becoming a highly sought after ad, receiving well over 100 letters a week and being featured in all the UK's bigger fanzines. Yet not strangely in 'Sounds'. Nothing to do with Sounds' Garry Bushell haling Pax boss Marcus Featherby I suppose.... Maturing both musically and lyrically, the band stormed Manchester's Revolution Studio to record their critically acclaimed "Facts Of War" EP in May 1983. featuring the Oil-esque anti-unemployment anthem "Just Another Day", the blatantly antiwar title track and the show slopping, trendy conscientious, 'Running With The Pack', this single peaked at No. 6 in the U.K. Punk chart, and spent 17 weeks there.
The Mau Maus were then to achieve some of their finest moments: 3 Tracks on the "Bollox to the Gonads" compilation album, which reached No.1 in the Punk chart and No. 6 in the Independent chart, (and which floated there abouts' for 24 weeks!!) and, as support band to The Exploited an their "Let's Start A War" U.K. tour, at the tail end of 1983. To say things were looking good for the band would be understatement of the year! ~ Tragedy struck on the last date of The Exploited tour at Feltham Football cIub when Bass player, 'Bunny' collapsed, was rushed to hospital and was diagnosed as having cancer. In respect, the band had a lengthy lay off until Bunny was diagnosed, 'in remission', and then had to recruit a stand in bass player, Alf, from a local Punk band. Just as the band were prepared to go and give their all, the inevitable disaster happened! The 1984 U.K. Miners' Strike, Leaving virtually everybody in Yorkshire without a wage, as well as leaving women and children without food! This didn't help the band at all,as half the band were miners! And the other half unemployed! When this strike collapsed, the miners' were just 2 months away from a total exhaustion of coal supplies in the United Kingdom and just weeks away from seeing the complete collapse of the British Government - not something many U.K. Punk bands can claim to be an adive part of! And not a weil known fad!! Again ironically, during this time Pax Records released the band's debut album, "Live At The ,Marples", recorded in September '83, which showed the band in their finest form - Live! Reaching No. 3 in the Independent chart, (slopped only by The Smiths and Billy Bragg!!!) the band had their finest chance for success. But, without Bunny, things took time. In this short space and happily cashing in, Featherby didn't waste any time compiling and releasing the Mau Maus' compilation Lp, "Running With The Pack", which features all the singles, radio plugs and an edit of the Live album.
By mid 1984, the band felt confident enough to venture back into the studio. Still without Bunny, and without a label after deciding the deal with Pax had run it's course, (again in line 80's tradition, Featherby had run off with all the money!) the band opted to start their own record label, Rebellion Records. The first release for them come in the form of the "Tear Down The Walls" EP. Produced by Simon Hinkier, (who went on to become 'The Mission' guitarist) at Fairview Studios, this 7" hit the lower ends of the Indie charts, but effectively, was the end of the band as a serious recording ad. Live however, it was a different matter. The word had spread. They replaced Conflict on a tour of Germany and Holland with The Varukers, (thanks to new manager, Tony Perrin) and upon their return to the UK played many successful shows with the likes of The Fits, who by the time were a happening band. Although now being reviewed in the National press, things didn't look good! The band recorded their second album (first & only studio LP) "Fear No Evil" - which despite containing studio versions of live favourites such as "Be My Baby" and "Rebellion", was poorly received and effectively the end of the band. A U.K. tour with The English Dogs (who had now gone into their 'Metal' phase) and The Varukers (who were also playing more Thrash than Punk) didn't do much for the band's popularity - neither did changing the chorus to tracks such as "Running With The Pack"! As a last gasp attempt to keep the band going, they recorded the "Nowhere To Run" 12" EP. With the pressures of the times', they also added second guitarist, Richard Hall. With Bunny back on bass, and Hinkler again at the helm of control, the band's most melodic plotter failed to inspire and after a further year's touring - the band called it a day. Chris bailed out first, as he felt his vocals - which were abrasive an the best of days - couldn't keep up wilh the direction that the band were going!
Where are they now? I hear you ask: Chris is a welder. Lev a van driver. Podge, a steel worker.
Alf, owns a gardening firm, and Bunny's still on the dole! (And Richard? He's gone missing!) -
Written by Stuart Newman - Control! Fanzine 1996.
Mau Maus – Facts Of War EP - 7"
Pax Records – PAX 12 - -1983
Named after the 1950's secret political action from Kenya, and inspired by a U.S. Hardcore act 0f the same name, Sheffield's Mau Maus formed after leaving school in late '79. They possessed no equipment and had nowhere to rehearse. In line tradition of the times, enthusiasm overpowered these problems and within months the band saw themselves playing a dire set of cover versions and poor original compositions at local youth clubs. The band slowly progressed to the small Pubs' circuit and by early 1981, had gained a regular following. They were soon to meet Marcus Featherby (founder of Pax Records and local gig promoter) who was to invite them to support The Angelic Upstarts at Sheffield's Marples club - on the condition that they did not play their "horrendous" cover of The Upstart's "Liddle Towers". Overwhelmed by the reaction received at gigs, the band soon found that their egos were growing a lot faster than their musical capabilities, and found it quite disturbing when Featherby told them they were crap! Undeterred, they took to the rehearsal studios for the remaining part of 1981 until they left confident enough to invite Featherby to a session. Impressed by their determination he offered them a deal for a single with Pax, and gave them many support slots at the Marples Club with the likes of The Wall and The Enemy...
April '82 saw the band's first visit to a recording studio, where they recorded 8 songs which were recorded and mixed within 5 hours - for £5O! "The Kill" - taken from this session - appeared on the highly successful "Wargasm" compilation album and gave great exposure ta the band leading up to the release of the "Society's Rejects" EP, which spent 1O weeks in the Independent chart, peaking at No. 22. On the back of this the band were offered their first London gigs, where they played the legendary Skunx Club and the 100 Club, supporting The Angelic Upstarts and Charlie Harper's Urban Dogs. A fantastic night, but for the fact that the band didn't get paid! September 1982 saw the Mau Maus back in the studio for a new EP. With Lee Wilson of Infa Riot producing, 4 tracks were recorded at London's Matrix Studios - costing ten times as much as Ihe first single! From this session come the "No Concern" EP and then the track "Give Us A future" (plus "Clampdown" from the EP) which featured on the compilation "Punk's Dead? Nah Mate.." album. Released in November 1982, the EP spent 10 weeks in the newly compiled Punk chart in 'Sounds', peaking at No. 10, just behind G.B.H. and The Anti Nowhere League - with the compilation album reaching No. 2! Gigs with Infa Riot and The Dead Kennedys spread the word that bit further and the Mau Maus were now becoming a highly sought after ad, receiving well over 100 letters a week and being featured in all the UK's bigger fanzines. Yet not strangely in 'Sounds'. Nothing to do with Sounds' Garry Bushell haling Pax boss Marcus Featherby I suppose.... Maturing both musically and lyrically, the band stormed Manchester's Revolution Studio to record their critically acclaimed "Facts Of War" EP in May 1983. featuring the Oil-esque anti-unemployment anthem "Just Another Day", the blatantly antiwar title track and the show slopping, trendy conscientious, 'Running With The Pack', this single peaked at No. 6 in the U.K. Punk chart, and spent 17 weeks there.
The Mau Maus were then to achieve some of their finest moments: 3 Tracks on the "Bollox to the Gonads" compilation album, which reached No.1 in the Punk chart and No. 6 in the Independent chart, (and which floated there abouts' for 24 weeks!!) and, as support band to The Exploited an their "Let's Start A War" U.K. tour, at the tail end of 1983. To say things were looking good for the band would be understatement of the year! ~ Tragedy struck on the last date of The Exploited tour at Feltham Football cIub when Bass player, 'Bunny' collapsed, was rushed to hospital and was diagnosed as having cancer. In respect, the band had a lengthy lay off until Bunny was diagnosed, 'in remission', and then had to recruit a stand in bass player, Alf, from a local Punk band. Just as the band were prepared to go and give their all, the inevitable disaster happened! The 1984 U.K. Miners' Strike, Leaving virtually everybody in Yorkshire without a wage, as well as leaving women and children without food! This didn't help the band at all,as half the band were miners! And the other half unemployed! When this strike collapsed, the miners' were just 2 months away from a total exhaustion of coal supplies in the United Kingdom and just weeks away from seeing the complete collapse of the British Government - not something many U.K. Punk bands can claim to be an adive part of! And not a weil known fad!! Again ironically, during this time Pax Records released the band's debut album, "Live At The ,Marples", recorded in September '83, which showed the band in their finest form - Live! Reaching No. 3 in the Independent chart, (slopped only by The Smiths and Billy Bragg!!!) the band had their finest chance for success. But, without Bunny, things took time. In this short space and happily cashing in, Featherby didn't waste any time compiling and releasing the Mau Maus' compilation Lp, "Running With The Pack", which features all the singles, radio plugs and an edit of the Live album.
By mid 1984, the band felt confident enough to venture back into the studio. Still without Bunny, and without a label after deciding the deal with Pax had run it's course, (again in line 80's tradition, Featherby had run off with all the money!) the band opted to start their own record label, Rebellion Records. The first release for them come in the form of the "Tear Down The Walls" EP. Produced by Simon Hinkier, (who went on to become 'The Mission' guitarist) at Fairview Studios, this 7" hit the lower ends of the Indie charts, but effectively, was the end of the band as a serious recording ad. Live however, it was a different matter. The word had spread. They replaced Conflict on a tour of Germany and Holland with The Varukers, (thanks to new manager, Tony Perrin) and upon their return to the UK played many successful shows with the likes of The Fits, who by the time were a happening band. Although now being reviewed in the National press, things didn't look good! The band recorded their second album (first & only studio LP) "Fear No Evil" - which despite containing studio versions of live favourites such as "Be My Baby" and "Rebellion", was poorly received and effectively the end of the band. A U.K. tour with The English Dogs (who had now gone into their 'Metal' phase) and The Varukers (who were also playing more Thrash than Punk) didn't do much for the band's popularity - neither did changing the chorus to tracks such as "Running With The Pack"! As a last gasp attempt to keep the band going, they recorded the "Nowhere To Run" 12" EP. With the pressures of the times', they also added second guitarist, Richard Hall. With Bunny back on bass, and Hinkler again at the helm of control, the band's most melodic plotter failed to inspire and after a further year's touring - the band called it a day. Chris bailed out first, as he felt his vocals - which were abrasive an the best of days - couldn't keep up wilh the direction that the band were going!
Where are they now? I hear you ask: Chris is a welder. Lev a van driver. Podge, a steel worker.
Alf, owns a gardening firm, and Bunny's still on the dole! (And Richard? He's gone missing!) -
Written by Stuart Newman - Control! Fanzine 1996.
superb near mint condition
Destructors – Religion! There Is No Religion!
Destructors – Religion! There Is No Religion! - Illuminated Records – Kill 2 - -1982 - includes lyric sheet insert.
A1 Religion
A2 Soldier Boy
B1 Agent Orange
B2 Corpse Gas
The Destructors (aka The Blanks, Destructors V) are a punk rock band from Peterborough, England, formed in 1977 and active with a varying lie-up until 1984. They re-formed as Destructors 666 in 2006.
The band was formed by former 6ck 6ck 6ck members Allen Adams (vocals), Phil Atterson (guitar), and Dip (Paul Wicks) (bass), along with a varying line-up including Andy Butler (drums). They changed their name to The Blanks before their controversial debut 1979 single, “The Northern Ripper” (released at the time that The Yorkshire Ripper was on the loose). The Destructors name was resurrected by Adams and Jackson with a new line-up of Neil Singleton (vocals), Andy McDonald (drums), and ‘Dave’ (lead guitar), with Jackson and Dave replaced by Dave Ithermee (rhythm guitar) and Graham “Gizz” Butt (lead guitar, formerly of The System, among other bands) before their next release, 1982’s Senseless Violence EP. Butt took on the job of writing about half of the band’s music, with Adams writing the lyrics. Singleton remembered the songs: “They could be very complicated and a right bastard to remember. He also seemed to have a fixation with serial killers!”. A series of EPs and two albums followed before 1984’s final album Bomb Hanoi, Bomb Saigon, Bomb Disneyland. The band split shortly after Bomb Hanoi, their records never living up to their live shows, and the band members falling out. According to Singleton: “I don’t think we ever made a really good record! They never ever lived up to our live shows; We were so much better on stage”. Of the frictions within the band, Butt said: “Neil couldn’t get on with Alan, and me and Dave didn’t want Andy on drums any more. We weren’t happy with Alan organising everything and neglecting his bass-playing role”. Adams immediately formed a new band, Five Go Mad In Europe, and resurrected the band name as Destructors V in 1984. Singleton went on to front Trench Fever. Butt went on to form The Desecrators, joined English Dogs, and later formed Janus Stark, also playing guitar with The Prodigy.
The band name was resurrected again in 2006 as Destructors 666, with former members Adams, Dave Colton, and Steve Rolls joined by a (largely) new group of musicians. They released a series of EPs from 2006 onwards and continue to perform live.
Tuesday 11 February 2014
Destructors – Senseless Violence EP - 7"
DESTRUCTORS - SENSELESS VIOLENCE EP
CARNAGE RECORDS - BOOK 2 - 1882
Includes lyric sheet insert
A1 AK 47
A2 Meaningless Names
B1 Police State
B2 Dachäu
B3 Death Squad
The Destructors (aka The Blanks, Destructors V) are a punk rock band from Peterborough, England, formed in 1977 and active with a varying lie-up until 1984. They re-formed as Destructors 666 in 2006.
The band was formed by former 6ck 6ck 6ck members Allen Adams (vocals), Phil Atterson (guitar), and Dip (Paul Wicks) (bass), along with a varying line-up including Andy Butler (drums). They changed their name to The Blanks before their controversial debut 1979 single, “The Northern Ripper” (released at the time that The Yorkshire Ripper was on the loose). The Destructors name was resurrected by Adams and Jackson with a new line-up of Neil Singleton (vocals), Andy McDonald (drums), and ‘Dave’ (lead guitar), with Jackson and Dave replaced by Dave Ithermee (rhythm guitar) and Graham “Gizz” Butt (lead guitar, formerly of The System, among other bands) before their next release, 1982’s Senseless Violence EP. Butt took on the job of writing about half of the band’s music, with Adams writing the lyrics. Singleton remembered the songs: “They could be very complicated and a right bastard to remember. He also seemed to have a fixation with serial killers!”. A series of EPs and two albums followed before 1984’s final album Bomb Hanoi, Bomb Saigon, Bomb Disneyland. The band split shortly after Bomb Hanoi, their records never living up to their live shows, and the band members falling out. According to Singleton: “I don’t think we ever made a really good record! They never ever lived up to our live shows; We were so much better on stage”. Of the frictions within the band, Butt said: “Neil couldn’t get on with Alan, and me and Dave didn’t want Andy on drums any more. We weren’t happy with Alan organising everything and neglecting his bass-playing role”. Adams immediately formed a new band, Five Go Mad In Europe, and resurrected the band name as Destructors V in 1984. Singleton went on to front Trench Fever. Butt went on to form The Desecrators, joined English Dogs, and later formed Janus Stark, also playing guitar with The Prodigy.
The band name was resurrected again in 2006 as Destructors 666, with former members Adams, Dave Colton, and Steve Rolls joined by a (largely) new group of musicians. They released a series of EPs from 2006 onwards and continue to perform live.
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