Chemical People - So Sexist!
Parabellum - L'integrale Vol. 1 
Os Estudantes - Album
Crispus Attucks - Red Black Blood Attack
Social Distortion - Live in Orange County
Crispus Attucks - Destroy The Teacher
Wire - Pink Flag 
the STUCK-UPS - The Stuck Ups
SPERMBIRDS - Demo Tape
Death - For the Whole World to See (LP real Vinyl ripping)
New Model Army - Radio Sessions 83-84
the Guttersnipes - The Poor Dress Up 
Lemonheads - Lick (.FLAC)
Infa-Riot - Still Out Of Order (.FLAC)
Horace Pinker - Power Tools (.FLAC)
Buzzcocks - Buzzcocks (.FLAC)
''We never really thought about it; we just got up and did it,''. KIM MCAULIFFE of Girlschool says when she's asked to reflect on her band's impact on rock 'n' roll -- and particularly the hard rock and heavy metal scenes.
cLaSsIc PuNk!!
cLaSsIc PuNk!!
pOp PuNk!!
hArDcOrE!!
Where Superchunk's self-titled debut otherwise failed to live up to the brilliance of its anti-anthem centerpiece "Slack Motherfucker," the follow-up No Pocky for Kitty is a complete and fully realized statement of purpose -- opening with the dizzying "Skip Steps 1 & 3," the disc never lets up for a second, crackling with an energy and breathless abandon that underlines the sheer exuberance at the heart of even Mac McCaughan's most superficially bitter songs. Although No Pocky for Kitty successfully channels the sound and spirit of punk's heyday, for all their whiplash guitars and spitfire rhythms Superchunk's songs derive their power not from nihilism and ennui but from optimism and passion -- implicit in McCaughan's lyrics is a belief in creation over destruction, hope over cynicism, and love over hate. Credit too Steve Albini's no-frills recording for the live-wire snap and crackle of standouts like "Seed Toss," "Punch Me Harder," and "Throwing Things" -- for all its earthy simplicity and everyman conviction, No Pocky for Kitty positively soars. -- by Jason Ankeny
tRaCkS
The Stranglers formed as the Guildford Stranglers in the southern England village of Chiddington (near Guildford) in 1974, plowing a heavily Doors-influenced furrow through the local pub rock scene -- such as it was. Of the four founding members, only Hugh Cornwell had any kind of recognizable historical pedigree, having played alongside Richard Thompson in the schoolboy band Emil & the Detectives. According to Thompson, their repertoire stretched from "Smokestack Lightning" and the blues, through to "old Kiki Dee B-sides," while their gigging was largely confined to the Hornsey School of Art, where Thompson's sister was Social Secretary. -- by Dave Thompson
Vocalist Beki Bondage was a British punker's Marilyn Monroe dressed in leather. Unlike Monroe, Bondage presented herself as an intelligent woman who could kick butt when she wanted to. Throughout most of this CD, Bondage struts her stuff, taunting the listener to stop looking at the cover photos and actually listen to what she has to say. Imagine a clear-headed Siouxsie Sioux backed by a straightforward tight punk band. Though Vice Squad doesn't offer much more than your average early-'80s British punk band, the group certainly did possess a spiked charm and a knack for writing pure anthemic punk rock. Vice Squad's debut single, "Last Rockers," was a fabulous call to arms, instantly showcasing what this band was all about. "Stand Strong Stand Proud" toughens up the attack with beefier production and more confident musicianship. "Rock & Roll Massacre" is an instant singalong, although it's lyrics are a bit trite and silly. Bondage continues to raise the stakes on the first 16 tracks, leaving the last eight tracks here sung by her replacement, Lia, who is not as distinct as Bondage, but certainly doesn't embarrass herself in the slightest (just listen to "What's Going On?," "High Spirits," and "The Pledge" for proof of that). Though the casual listener may think it all sounds the same, fans of good ol' punk rock will be happy with this "vice." -- by Steve "Spaz" Schnee
The breakout success of "Save Yourself" in 2002 was due neither to fluke nor bandwagoneering. Even as far back as 1994's Killed for Less, Sense Field showed the ability to sprinkle its punk and hardcore influences with crocodile tears, so the issuing of a three-minute soundtrack to an emo kid make-out party wasn't very far-fetched. Living Outside is as conscious a follow-up record as there can be, but it's likely also the record Sense Field would've made anyway, even without the band's mainstream ascendancy. Outside was written principally by guitarist Chris Evenson and vocalist Jon Bunch, and they've looked to new wave and 1980s guitar pop to define the album's sound. Synths and processed loops turn up throughout, in part replacing the contributions of guitarist Rodney Sellars, who opted out of Sense Field to focus on family issues. The whirring, fuzzy electronics plop "No Medicine," "Take What You Want," and "Haunted" somewhere between Depeche Mode and Garbage. But a completely unpretentious Cure cover is a winking reminder that the guys in Sense Field are old enough to draw their '80s influences from their high-school music collections, instead of a bag of studio tricks. Meanwhile, the broad melodies and fervent vocals (from the always reliably ardent Bunch) of "On Your Own" and "Feel What You Feel" approach the grandeur of the band's breakthrough ballad without brazenly rewriting it. The production presence of Brad Wood on four of Outside's tracks refines the sound a bit too much, occasionally suggesting the populist supermarket alt.rock of Collective Soul. But though it's been sanded smooth over the years, Sense Field can still stump from the punk rock platform, as "Running Behind" and "Burn" attest. For the latter, Wood layered strings into the mix, and tries to rely on the space created from a skittering piano break to build tension. But it's in one-on-one lines like "No I don't want to meet you to talk/So stop coming by my work" where "Burn"'s urgency actually lies. Moments like this leave Living Outside's surface a bit rough, and help it exist as the next Sense Field album, and not simply the next Sense Field album since "Save Yourself."-- by Johnny Loftus
