Back catalogue: All genres

Review: Following on from last year's excellent statement of intent, 'Nowhere Generation', Chicago natives and melodic hardcore heroes Rise Against return with the companion, sister EP, 'Nowhere Generation II'. Composed of 5 new cuts originally written/recorded during the album process, the band opted to split the 16 full songs into separate volumes, in order to give listeners an opportunity to fully digest the overarching themes of alienation and everlasting political corruption that have become ceaselessly commonplace. Anthemic, ferocious, emotive and cathartic in equal measure, this follow-up continues the momentous energy of its predecessor while putting a definitive full stop on the 'Nowhere Generation' era. Lead single, 'Last Man Standing', is also one of the most vital contributions to their own expansive canon the group have dropped in well over a decade.

Review: Originally released in 1983, Subterranean Jungle would serve as the seventh full-length LP from the brothers Ramone, whilst marking their return to the well of punk rock bangers following the new wave and pop experiments of their two preceding albums End Of The Century (1980) and Pleasant Dreams (1981). Written and recorded during a severely tumultuous time in the band's tenure with both Joey and Marky battling alcohol addiction while Dee Dee was undergoing treatment for his cocaine habit, the resulting tension and resentment to the previously overbearing control of Joey on their previous output, led to a paired down vision with focus solely placed on prioritising grade A punk rock like only the Ramones know how. Their first album to not singularly feature Joey on lead vocals with Dee Dee taking centre stage on 'Timebomb' whilst also handling the bridge on 'Outsider', the more collaborative ethos of the project would, yet again, nearly implode the band with Marky being ousted before recording had even ceased (not playing drums on a Ramones record again until 1989's Brain Drain).

Review: This Ramones album - one of their very, very many - is packed with relentless guitar energy and a proud punk ethos. Originally released in 1987, it captures their raw spirit and is packed with gritty rock licks and infectious melodies. Featuring standout tracks like the opener 'I Wanna Live' and the guttural vocal bite of 'Garden of Serenity' it showcases the band's evolution while staying true to their signature sound, during what was a pivotal moment in the US punks' lengthy career, a decade or so on from their explosive arrival.

Review: Coming off of the back of 1983's Subterranean Jungle, which saw a return to their punk rock roots, the brothers Ramone opted to stay the course for their 1984 follow up Too Tough To Die. Enlisting drummer Richie Ramone for his first project, the collective creative intention was to further stray from the lukewarm reception bestowed upon their more pop-centric End of the Century (1980) and Pleasant Dreams (1981), and rediscover the harder edges that built their initial success. With this unifying vision in mind, the band opted to record as live and raw as possible in order to capture that punk rock ethos, with this compilation providing a bevvy of demos, B-sides and alternate takes from these sessions, many of which feature Richie on lead vocals. A true gem for devout followers of the real Fab 4 as well as a curious bridging point between the aforementioned Subterranean Jungle and the fully realised product of Too Tough To Die.

Review: Known for being one of the most tumultuous projects of the entire Ramones catalogue, 1986's Animal Boy came at an all-time low in terms of camaraderie and communication within the band. Following on from the well-received back to basics approach of Too Tough To Die, the internal bickering and uncertainty as to where to chart their next sonic course would ultimately lead to disinterested and detached contributions from their most vocal of writers with neither Joey Ramone nor guitarist Johnny able to creatively agree on even a single track. Picking up the slack was bassist Dee Dee and drummer Richie, who took it upon themselves to salvage the sessions, leading to a somewhat sporadic concoction that was lambasted upon initial release due to the clear lack of a cohesive direction. With time salving all wounds, however, the record now garners its own fond reappraisal for its synth-laden new wave experimentations, while lyrically delving into some of their most personal and political subjects to date, even sometimes simultaneously such as on the standout cut, 'My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)', which takes central aim at one Ronald Reagan, and caused disagreement within the band due to individual stances on the subject matter. An often misunderstood ninth entry, Animal Boy deserves all the flowers it has been rewarded in retrospect.

Review: Originally released in 1981, the recording of the sixth full-length Ramones' album was anything but Pleasant Dreams (get it?) as their label Sire opted to push producer Graham Gouldman into their sessions in order to garner hype from a big name. With the brothers Ramone unhappy with this decision as well as their own internal strife due to alcohol and drug dependency, as well as Johnny starting a relationship with Joey's girlfriend, conflict poured over into the material with a creative stalemate as to whether to pursue a more pop-punk direction with an increased prioritisation on melody, or to 180 into feral hard rock, and with this being the Ramones, of course no agreement or compromise was reached, with the tracklist veering wildly between these two frenetic approaches constantly. Boasting some of the highest production values of any album in the Ramones canon as well as one of their best singles in 'The KKK Took My Baby Away', while offering up very un-punk yet undeniable anthems such as the aptly titled, 'We Want the Airwaves', and, 'She's A Sensation', Pleasant Dreams may have somewhat flopped upon initial release, but has grown to become an unlikely fan favourite in the decades since.

Review: Are The Ramones now best known for being on t-shirts worn by people who have never heard the band? Maybe. But either way, Too Tough To Die, which was released 40 years ago, is often seen as a return to form. Really, it deserves a more radical categorisation. Released in the mid-1980s, the album felt out of step with the era, not in a negative way, but in how it captured the contradictions of its time. Made without a clear direction, its incongruity became its defining feature. As Joey Ramone noted in a 1988 interview, "Around '84, the world was changing drastically... Things were getting scary. So, our songs started changing." This shift in tone marked a new chapter in their musical evolution.

Review: Originally released in 1978, Road To Ruin would serve as the fourth full-length from leather jacket-clad punk pioneers The Ramones. While a rejected, mitigated flop upon release due to the band's swing for the radio fences (or airwaves) complete with sonic elements at the time alien to the punkosphere such as acoustic guitars, lead guitar solos and 60s pop ballads, in the near five decades since release, the project has been reevaluated as a bold successor to 1977's iconic Rocket To Russia (although that album did place 50 places ahead on the Billboard 200 at the time of release). Marking (no pun intended) their first effort to feature drummer Marky Ramone, who replaced Tommy Ramone after his departure due to the inability to keep up with the rigors of touring and lack of residuals from their previous record; the album's glossy, clean production has slowly morphed from malaise to praise over the ensuing decades, while offering up some of their most timeless and essential bangers including 'Needles & Pins' and 'I Wanna Be Sedated' (which if Spotify metrics are anything to go by, is the band's most popular song after, of course, 'Blitzkrieg Bop').

Review: A coast-to-coast double live helping of leather-jacket clad Ramones punk mayhem unlike any other, this double CD collection features the band's performances at San Francisco's The Old Waldorf on 31st January 1978 as part of a KSAN-FM broadcast, whilst the second disc offers an East Coast counterpart performance at Stage One, Buffalo, New York on 8th February 1978 where this WBUF-FM broadcast features Marky Ramone taking over the drums from Tommy. Chock to the brim full of essential bangers such as 'Blitzkreig Bop', 'Sheena Is A Punk Rocker', 'Rock N' Roll High School' and 'I Wanna Be Sedated', to name but a smattering few, this is the Ramones at the height of their initial punk rock glory before their tumultuous 80s era would bring about both their best and worst material and eccentricities.

Review: The first volume of a two-part collection, this impressive compilation chronicles the lesser-known recordings from the black leather jacket-clad kings of punk and (more importantly) New York. The two volumes of Rare Ramones present a selection of B-sides, demos and previously undiscovered rarities, with entry numero uno covering the beginnings of the band, starting with the mythical Slug demo recorded in 1977 and finishing in 1984 with early sessions of material that would eventually appear on the latter-day catalogue staple Too Tough To Die. An absolute treat and essential grab for any Pinhead worth their salt.

Review: Captured at Parque O'Higgins in Santiago, Chile, on April 1st 2017, just two months before the release of their ninth full-length studio album Trouble Maker (though the set features no early sneak peek cuts), El Punk No Ha Muerto offers up a fly-on-the-wall earful from California punk lifers Rancid, deep into their seasoned veteran status. Boasting a catalogue spanning greatest hits set featuring classics such as 'Maxwell Murder' and 'Ruby Soho', this live LP is Rancid as they were always meant to be heard. Messy, chaotic, gruff yet underpinned with a poignant precision and internal understanding of live dynamics and audience appeal, this is as close as you can get to the intense camaraderie of one of their incomparable shows without paying the price of admission (for a ticket anyway, no freebies).

Review: The first ever US pressing of the recordings from infamous short-lived homegrown London punks Raped (before their new wave rebranding as Cuddly Toys). Deemed unsignable during their brief tenure and maligned by even their peers within the scene due to their envelope pushing subject matter boasting EP titles such as Pretty Paedophiles, and, Cheap Night Out, released in 1977/1978 respectively, it's a relatively known unknown as to why the band were perceived as too much for even the burgeoning UK punk movement. Distributing their releases through their manager's label, good sales and a cult following couldn't compete with the endless vitriol their mission statement absorbed, ultimately leading to their reformation as the New Romantic scene evoking Cuddly Toys in 1980; a name likely stemming from being the utter antithesis of their previous moniker. The Escalator Hater compilation also completes the entirety of their 77-78 recorded output with the Philes & Smiles Demos Sessions 7", making for an uncompromised batch of snot-nosed, snarling glam-tinted blueprint punk.

Review: While Baltimore, Maryland might be best known for the popular HBO crime drama The Wire, whereas musically the city is regarded as one of the pinnacle breeding grounds for modern hardcore punk thanks to the likes of Trapped Under Ice, Turnstile and End It, one outfit far more intrigued by the bluesy garage rock origins of the punk genre are Ravagers. Returning just a year on from 2024's acclaimed sophomore effort Too Raw For The Law, the band's third full-length On The Loose continues their cementing as true punk n' roll revivalists with fuzzed out grooves and lush melodies coalesced into one bombastic boogie that's as immediate as it is timeless.

Review: Decades in the making, Volume 3 serves as the first new full-length from Queens, New York hardcore punk pioneers Reagan Youth since 1990. While their classic 1984 debut EP Youth Anthems For The New Order would later be reissued as Volume 1 complete with additional bonus tracks, Volume 2 would be distributed following the band's initial break up. Crafted and completed by founding guitarist Paul Bakija, before his tragic passing in 2024 following a battle with cancer, Volume 3 is a tribute and testament to the tumultuous life and times of original frontman Dave Rubinstein (better known as Dave Insurgent), who sadly took his own life in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani, at which time the couple dealt with severe heroin addiction. Poured over with care from Bakija and led by the feral delivery of new vocalist Madame St. Beatrice, the project delivers breakneck paced, snarling accounts, combining anger and deep concern to a work that ultimately would only see the light of day after none of the original members integral to its make up could live to see it released.

Review: Literally decades long overdue, Volume 3 marks the first new album from Queens, New York hardcore punk heroes Reagan Youth since 1990, following on from their iconic 1984 debut EP Youth Anthems For The New Order, later re-released as Volume 1 with additional bonus tracks, whilst the second volume would be distributed upon the band's initial break up. Inspired by the tumultuous life and crafted as tribute to original vocalist Dave Rubinstein (better known as Dave Insurgent), who tragically committed suicide in 1993 following the death of his mother and murder of his girlfriend Tiffany Bresciani whilst the pair battled severe heroin addiction, the material is further shrouded in misfortune due to the recent death in 2024 of founding guitarist Paul Bakija, who served as primary songwriter working tirelessly on the album for years. Hard-hitting, breakneck paced tracks with zero sign of aging or slowing down, new vocalist Madame St. Beatrice delivers snarling accounts combining rage and earnest concern to a project that many thought would never see the light of day and sadly, literally wouldn't until all original members involved had shifted off this mortal coil.

Review: To commemorate the 30-year anniversary of the Canadian Celtic folk-punks The Real McKenzies' inception, 'Float Me Boat' offers a 23-track retrospective look at the band's three-decade tenure, compiled by none other than Fat Mike of NOFX's punkcentric label, Fat Wreck Chords. If you like your punk with plenty of kilt-spinning, bagpipes and anthemic hooks, or you've never ventured further than the Dropkick Murphy's corner of the scene, then there's never been a more ample opportunity to engage in a Celtic crash course.

Review: Rocket From The Crypt mastermind Speedo aka The Swami aka John Reis is a punk lifer troubadour unlike any other, who seemingly refuses to slow down with age. Returning with his second solo sull-length in just 8 months, following on from 2024's All Of This Awaits You, this time he casts a back-line including Jason Sinclair (Hot Snakes), Joey Guevara (Swami & The Bed Of Nails), Jacob Turnbloom (Mrs. Magician) and Glen Galloway (Truman's Water), to help concoct these 11 tracks of chaotic, hard-edged punk rock bangers delivered at a breakneck pace with fist-pumping hooks and a sincerely rebellious attitude to boot (stomp). Chock full of bangers like the feral 'Fed To The Dogs', at 55 years young, Reis is in no way content to rest on his laurels for long, always making Time To Let You Down.

Review: Following on from the reissue of Rival Schools' first record, Run For Cover turns its attention to the band's landmark 2011 studio LP, which took two years to be released after the original recording sessions finished and a staggering ten years after the inaugural long player, United By Fate, had landed. Rooted in emo, pop rock, and post-hardcore, the main difference between episodes one and two was the comparatively lighter moods on the second, and an absence of distortion. In many ways, a more commercially-minded outing, at the time critics lauded Pedals for its comparative maturity, with many trumpeting the return as being slicker, more self-assured and altogether more grown up. Nevertheless, the tracks still tear from the blocks with the energy of youth and there's no denying these songs are the result of musicians with a real ear for writing infectious hooks.

Review: Skate-punk, crossover thrash, or best described as "Nardcore" (being part of the formative West Coast hardcore scene located near Oxnard, California), Rich Kids On LSD or often referred to as RKL, are widely considered to be one of the most important yet simultaneously overlooked acts of the formative 80s punk world. Their 1985 debut full-length Keep Laughing introduced the masses to their Beanie Boy mascot, but more importantly, their chaotic fusion of snot-nosed hardcore meets angsty skate punk, while later material would flex thrash metal riffage, marrying humour with elements of a genre already guilty of taking itself too seriously, leading them to become THAT punk band for Slayer and Metallica diehards who couldn't admit too freely to vibing on anything outside of metal. While later projects would see these metallic elements brought further to the forefront, the classic cuts boasted by this first effort such as 'Think Positive' (or 'Drink Positive' when played live), 'Ded Teds', and 'Pothead' are some of the most quintessential skate-punk anthems of all time. Easter Egg - Actor Josh Brolin claims to have been an early member before the band had even decided upon a moniker, which actually came in the form of a criticism lobbed at them during their early days.

Review: Recorded at Off Beat Studios in Leeds in 1987 and later released that same year, Life Time would serve as the debut album from ex-Black Flag frontman Henry Rollins and clarify beyond a shadow of a doubt that the unhinged punk poet didn't need to rely on the compositional machinations of one Greg Ginn to succeed. Produced by childhood friend, Dischord Records founder and Minor Threat/Fugazi/Embrace mastermind Ian MacKaye, and crafted with the first iteration of the Rollins' Band which featured Chris Haskett on guitar, Andrew Weiss on bass and Sim Cain on drums, the material operates as somewhat of a bridging point between the hardcore fury of early Black Flag and the more intense jazz-centric experimentation Rollins was becoming increasingly obsessed with, as many have gone on to refer to the work as post-hardcore meets funk metal. While more in line with 80s hardcore than future albums and lineups from the ever-shifting collective, the album is quintessential in not only mapping out Rollins successful solo endeavours across the following decades, but also cementing his legacy as a fearless innovator with little regard for genre parameters.

Review: Formed in the heart of Belfast in 1975, Rudi were the Northern Irish punk band that time forgot, eclipsed by the success of their peers in Stiff Little Fingers and The Undertones who would both go on to have major label success in the UK while sadly, apart from a few early singles released via Good Vibrations, the band would sign to The Jam's own personal record label not long before Paul Weller would call it quits, leaving Brian Young and his cohorts deflated and eventually disbanding in 1982. Captured live at the McMordie Hall, Belfast on Jan 26th 1978, this live collection showcases their New York Dolls/Johnny Thunders glam-punk inspired vision in its rawest form while coming complete with an A4 12-page booklet featuring unseen articles, photos and detailed liner notes.

Review: A lot of bands have mystery and mythology surrounding them. Few can command the same level of interest as Rudimentary Peni. The British anarcho-punks have been going since 1980, and in that time put out just four albums and a handful of EPs. Oh, and a live recording from a gig in Derby, England, in 1993, released 12 years later by Sheffield Tape Archive.

All of which is besides the point when you realise how hard it is to find any photos of any band member, and how little they've courted press or anything tied to the music industry at any point in the past 40 years. Cacophony is their second LP, landing in 1988, and straddles nosebleed metal, tough garage rock, mind-melting punk, and some stuff we can't really think of words for. Frantic, fun, and more than a little mad.

Review: Recorded in 1992 but not officially released until 1995, Pope Adrian 37th Psychristiatric would serve as the third full-length album from London anarcho-punk underground legends Rudimentary Peni, and their first since 1988's acclaimed and unhinged Cacophony. With the majority of the material penned by primary songwriter/vocalist/guitarist Nick Blinko while sectioned in a psychiatric hospital under the Mental Health Act 1983, much of the lyrical subject matter details Blinko's delusions including the idea that he was "Pope Adrian 37th" - a reference to Pope Adrian IV. Pushing their chaotic abrasion even further leftfield than ever before with art-punk experiments into trance-inducing use of unsettling repetitions including the pseudo-Latinised phrase "Papas Adrianus" (Pope Adrian) looped continuously throughout the runtime, this macabre masterpiece has become a holy grail of outsider art and avant-punk, whilst being out of print for years. Remastered from the original tapes by Arthur Rizk and reissued by the committed souls at Sealed Records, who slowly appear to be repressing the entire RP back catalogue, make no mistake that with evident eagerness and hype within the core fanbase, these twisted beauties won't stay around long.