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For every pockmarked tenderfoot flying the flag for some fuzzed-out alterna-rocker’s harmony-drenched new single, there’s a grizzled veteran insisting that there’s not enough jangle, not enough hook, not enough oomph on display (‘I hear the pop, but where’s the power?’). Basically, if you thought ‘what is punk’ was a granular debate, trust me: you ain’t seen nothing yet. Anyway, sidestepping the fact that I clearly am one of their kind, let’s just say a quick ‘fuck those nerds’. This is where Class come in. Class are a four-piece from Tucson, AZ, who are most assuredly all the power, all the pop, all the time. They’ve served time in a bunch of bands you already know and love - most notably everyone’s favourite ‘delinquent slobs’ Rik And The Pigs - and Matt Rendon of their citymates The Resonars is the guy behind the mixing desk, so you know whatever comes out is gonna be good. ‘2-4-1’ compiles the two cassettes they’ve released on Cincinnati's Feel It Records (which also released their debut LP proper, ‘Epoca De Las Vaqueros’) and it’s absolutely rammed with new pop classics. ‘Steady Hands’, ‘Wrong Side Of Town’, ‘Inspect The Receipt’, ‘Left In The Sink’... get learning these titles now, ‘cause you’re gonna get very well acquainted when you spin ‘em until your needle’s worn down to a flattened-out nub. Sound-wise, it’s pop music as envisioned by the punks - straight to the point, no fucking about. \u003c\/p\u003e\u003cp\u003eSome of these songs feel like Alex Chilton playing ‘September Gurls’ on a curious cocktail of cheap speed and wayyy too much sugar; others are kinda like the aforementioned Resonars if they ditched their British Invasion records and got obsessed with a heady mixture of The #1s and Richard Lloyd’s ‘Alchemy’. Sometimes it just sounds like a forgotten late 70s punk classic, so I think we’re all in the right place here. It’s scuzzy and scuffed up in all the right places, with blazing guitar solos and crashing drum fills designed to get you where you need to go, with a minimum of fuss. ‘Class’ is an apt name. As you’d expect from a band with three vocalists, there’s more than one style at play here, meaning this record pulls from enough varying strands to keep things interesting without sounding unfocused. There’s no time to get bored, unlike when reading my drivel. What the fuck are you waiting for? This is power pop at its best, punk at its funnest, a whale of a time in less than 30 minutes. Let the nerds wage war on each other - clearly, I’ll be reading it - and claim your own victory by playing this one to death. This band are in a class of their own, and if I’ve not laid it out explicitly enough, you need to start listening.\u003c\/p\u003e","brand":"Drunken Sailor","offers":[{"title":"Black LP","offer_id":50383126004043,"sku":"2030006","price":22.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/Class-_2-4-1_c00cec23_thumbnail_4096.jpg?v=1726263838"},{"product_id":"unfun","title":"Unfun","description":"\u003cp\u003e\u003ci\u003eUnfun\u003c\/i\u003e is the debut studio album by Jawbreaker. 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Fast forward 35 years, and \"Fake is Forever\" resurrects The Wreckery's signature sound, featuring Charles Todd's baritone sax, Hugo Race's poignant lyrics, and Clayton-Jones' angular guitars. With Nick Barker and Frank Trobbiani providing a solid rhythm, this iconic band delivers an album that ranges from sarcastic and provocative tracks like \"Smack Me Down\" to romantic melodrama in \"The Devil in You,\" all with a quieter yet equally menacing and intoxicating presence compared to their '80s brashness\u003c\/p\u003e","brand":"Golden Robot Records","offers":[{"title":"Black LP","offer_id":50383222047051,"sku":"2143992","price":24.99,"currency_code":"GBP","in_stock":false},{"title":"CD","offer_id":50383221719371,"sku":"2143985","price":10.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"minor-threat","title":"Minor Threat","description":"\u003cp\u003eThe first two 7\"s on a 12\", also known as the Minor Threat LP, was a combination of Minor Threat's first two eps,\u003ci\u003e Minor Threat \u003c\/i\u003e(originally released june 1981) and \u003ci\u003eIn My Eyes \u003c\/i\u003e(originally released December 1981). 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For more than a decade, the band has released music with a rich history of focused scathing attacks on world politics yet this time around they decided to look more inwardly. Concentrating on the broad influences that each of the five members (Scott Picking - Vocals, Jimbo Aglony - Guitar and Vocals, Jordan Mann - Guitar and Vocals, Ben Maz - Bass, Matt Verrell - Drums, keys and Vocals) bring to the band, they allow these to breathe and lend to an album full of collaboration and brotherhood. By letting their individual inputs dictate the music, Platinum Statue explodes at break-neck speed into an innovative force of an album that tackles mental health, how to cope and the UK music scene. \u003c\/p\u003e\u003cp\u003eThe first taste of this was their caustic and brutal single \"My Name\", an anthem dug from the dirt of the underground, dedicated to the music industry and every snake within it. Elsewhere \"How I Feel\" is about carrying on a party way after the party has stopped - both literally and metaphorically - and the anxieties that come with the hangover of a good time but wanting to keep it going, for better or worse. \"Giving Up\" tackles those moments of hopelessness and addressing depression when it comes in its waves. Throughout the entire record there's an outburst of intricate guitars, breakdowns and relentless rhythm sections reaching new heights that all detonate with punk energy, cathartic hooks and sharp vocals.Having  toured  extensively  across  the  UK,  Europe  and  America,  the  band  is  renowned  for  their  relentless  energy  which is made concrete on Platinum Statue. 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The brand-new band release their debut album, \u003ci\u003ePast Lives \u003c\/i\u003eon via Fantasy Records. Unshackled from the expectations and aesthetics of their already successful careers, L.S. Dunes super-charge their heavy anthems with punk energy into a sound unlike anything that has come before it. From the gripping, theatrical opener \"2022,\" and the crunchy, frenetic earworm \"Like Forever,\" to the pummeling, expansive \"Permanent Rebellion,” and the disarming album closer, \"Sleep Cult,\" \u003ci\u003ePast Lives\u003c\/i\u003e is an electrifying and emotional ride. \u003ci\u003ePast Lives\u003c\/i\u003e was produced by Will Yip (Turnstile, Circa Survive, Quicksand) and recorded at his Studio 4 Recording in Philadelphia, PA. 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Sonically clashing the golden years of Spanish or Italian hardcore with early NYHC and even Midwest hardcore while lyrically carrying the torch of anarchist Barcelona bands.\u003c\/p\u003e","brand":"La Vida Es Un Mus","offers":[{"title":"7\" - 1000061","offer_id":50383555101003,"sku":"1000061","price":8.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/b8bfdec1-f70b-4229-a062-2e23f22db362_thumbnail_4096.jpg?v=1726272496"},{"product_id":"lust-for-life-2","title":"Lust For Life","description":"\u003cp\u003eback in stock. iggy and bowie at the height of their respective powers presented a formidable artistic engine, and 'lust for life' sees them working up a full head of steam. two songs will need little introduction - 'lust for life' and 'the passenger' are as intrinsic to the tapestry of 70s rock music as sundry beatles efforts were to the previous decade (their influence on 90s film soundtracks is a testament to their durability). those monolithic jukebox favourites aside, listeners may also find space in their hearts for the swaggering 'neighbourhood threat' (shades of the stooges, without the musical clatter) and the disquieting 'turn blue', written from the viewpoint of an overdosing junkie.\u003c\/p\u003e","brand":"No Label","offers":[{"title":"CD.","offer_id":50383564996939,"sku":"287050","price":6.99,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/5c1b1341-e0ab-4e83-9a0e-ec7a0272f3f0_thumbnail_4096.jpg?v=1726272860"},{"product_id":"murder-junkies","title":"Murder Junkies","description":"\u003cp\u003e\u003ci\u003eMurder Junkies \u003c\/i\u003eis the seventh studio album by GG Allin and featuring Antiseen as band. This is GG Allin's final studio album to be released during his lifetime. Jeff Clayton, lead singer of Antiseen, has described this album as a mixed blessing. Although he is very happy with the way it turned out, he thinks that a lot of people got the impression that they are nothing more than a backing band for GG Allin. \u003c\/p\u003e\u003cp\u003eClayton has stated that GG Allin was very professional during the recording of the album, and he wonders how much of GG Allin's stage act was real and how much of it was \"For The Marks\". Now this album is being released for the first time as it was originally conceived, and it has been remastered in order to deliver the aggressive sound which with it was recorded.\u003c\/p\u003e","brand":"Bang!","offers":[{"title":"LP","offer_id":50383644819787,"sku":"1154927","price":27.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0867\/1120\/6219\/files\/7dd1d189-f346-4c3a-b957-4ec4c454a543_thumbnail_4096.jpg?v=1726274751"},{"product_id":"rocket-to-russia","title":"Rocket To Russia","description":"\u003cp\u003e\u003cstrong\u003eThe Ramones\u003c\/strong\u003e released its second album of the calendar year (and third overall) on November 4, 1977, capping off one of the biggest years in the history of punk with \u003cem\u003eRocket To Russia\u003c\/em\u003e. Among the band’s best-loved albums, it features classics like \"\u003cem\u003eSheena Is A Punk Rocker\u003c\/em\u003e\" and \"\u003cem\u003eRockaway Beach\u003c\/em\u003e\" along with their signature covers of \"\u003cem\u003eDo You Wanna Dance?\u003c\/em\u003e\" and \"\u003cem\u003eSurfin’ Bird\u003c\/em\u003e\". It’s also the last album ever recorded by all four founding members, as drummer Tommy Ramone left soon after to focus on writing and producing.\u003c\/p\u003e\n\n\u003cp\u003eCD - Remastered Standard CD: 3CD \/ 1 LP - The first disc of the Deluxe Edition features a remastered version of the original stereo mix for \u003cem\u003eRocket To Russia\u003c\/em\u003e, plus the 2017 40th Anniversary Tracking Mix created by Stasium, which provides a back-to-basics version of the album, and a different track listing from the 1977 original. The 2017 40th Anniversary Tracking Mix is also featured on the LP that accompanies the Deluxe Edition. Two dozen rare and unreleased recordings are found on the second disc, including rough mixes from sessions at Mediasound and The Power Station. There’s also an early version of \"\u003cem\u003eNeedles And Pins\u003c\/em\u003e\" with Tommy on drums, the B-side single mix of \"\u003cem\u003eBabysitter\u003c\/em\u003e\", an alternate version of \"\u003cem\u003eIt’s A Long Way Back To Germany\u003c\/em\u003e\" with Dee Dee on vocals, an original radio promo with Joey Ramone, and more.\u003c\/p\u003e\n\n\u003cp\u003eA highlight of this Deluxe Edition is the complete unreleased concert included on the third disc. This never-before-heard multi-track recording of the band’s December 19, 1977 show at the Apollo Centre in Glasgow, Scotland captures the Ramones just a few days before the group recorded the classic live album \u003cem\u003eIt’s Alive\u003c\/em\u003e, and mixed for this 40th Anniversary edition by Ed Stasium. 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I had managed to arrange a\nmeeting with Miles Copeland (manager of The Police), and he wanted us to bring a demo tape. We didn’t have much money, but I\nfound a very cheap studio in Hayes in Middlesex, which we booked for two hours. At that point I didn’t have my own amp but the man\nat the studio said not to worry because he had a great Fender amp which was all set up and ready to go. The studio was a very small,\nconverted building in a back garden, it was a tight fit, and the Fender amp was actually a miniscule combo amp, with a very clean\nsound. It was a million miles from the overdriven noise I was looking for. Also, there was no proper headphone mix and I had to play\nguitar in the tiny \"control room\" to avoid sound spillage. This meant I could only vaguely hear the rest of the band. We quickly ran\nthrough our three songs. The man thought we were playing so fast because we were nervous, he wasn’t aware of punk rock yet. I told\nhim it was meant to be like that. 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