Industrial noise terrorists LARD, the legendary collision of Jello Biafra and Ministry masterminds Al Jourgensen and Paul Barker, return with the long-awaited repress of their 1990 full-length masterpiece, 'The Last Temptation of Reid'.

A vicious fusion of industrial metal, punk rock, political outrage, and black humor, The Last Temptation of Reid remains as relevant, confrontational, and sonically devastating today as it was when it first detonated over three decades ago. From the opening assault of 'Forkboy' (later featured on the Natural Born Killers soundtrack) to the twisted brilliance of 'Pineapple Face', 'Drug Raid at 4 AM', and their unhinged reinvention of 'They’re Coming to Take Me Away', (originally performed by Napoleon XIV), LARD created a collection of songs that still sounds unlike anything before or since.

This new edition has been worth the wait. After production setbacks and multiple rounds of test pressings, Jello Biafra personally halted the project to completely remaster the album, ensuring it finally received the sonic treatment it deserved. The result is the best-sounding vinyl edition of 'The Last Temptation of Reid' ever released. As a special bonus, this edition now includes bonus one sided 12” vinyl of 'I Am Your Clock'. Originally a UK exclusive 12”, it’s never been repressed until now.

Originally released on Alternative Tentacles in 1990, 'The Last Temptation of Reid' captured the paranoia, hypocrisy, corruption, and media madness of its era with razor-sharp wit and a patented wall of noise and sonic wizardry. The unsettling truth is that it may hit even harder today.

TRACK LISTING

1. Forkboy
2. Pineapple Face
3. Mate Spawn And Die
4. Drug Raid At 4am
5. Can God Fill Teeth?
6. Bozo Skeleton
7. Sylvestre Matuschka
8. They're Coming to Take Me Away
9. I Am Your Clock

Things moved at some pace in the early years of UK punk and not much moved faster than Mark Perry, founder of Sniffin’ Glue, the fanzine that would inspire a thousand others and lasted for only 12 issues from July 1976 to August 1977.

SG12 came with a free flexi of the first track from Perry’s group Alternative TV. ‘Love Lies Limp’ was a reggae-grounded lament for impotence – or at least for lost desire – that was as far from a stereotypical punk track as you could get. It was a statement: ATV were going to break the moulds quicker than the mould factory could make them.

Most punk groups hit a spot and stood on it, either embroidering their style or echoing themselves. Perry’s ever-changing combo were restive, forever eyeing the next zone. Whatever they tried, you always got the feeling they were going somewhere – and would probably get there. Where they ended up each time tended to be a step further away from commercial success or easy categorisation.

Their trajectory from providers of thinking fan’s Can, reggae and even Zappainfluenced punk to arguably the first avant-garde outfit to emerge from the new wave is encapsulated in their two sessions for the John Peel show, released here on vinyl for the first time, in Sniffin’ Glue’s 50th anniversary year.

On the first session there’s an Auntie-protects-sensitive-ears version of ‘Love Lies Limp’, censored by a comic car horn, and ‘Action Time Vision’ – as close to a signature tune and trad punk as they got. ‘Still Life’ is a hard, slow driver from the first LP, ‘The Image Has Cracked’ (one of the essential debuts of the era, whose variations suprised fans and telegraphed the group’s intent). Perry considers the take on ‘Life After Life’ here, with “wonky” guitar solo, better than the single release.

Session two looked back a bit and forward a lot, with ‘The Good Missionary’ and ‘Release The Natives’ at the core – lenghty, improvised signposts on the road to the second LP, ‘Vibing Up The Senile Man (Part One)’. Creative repetition, droning guitars and the spirit of free jazz had arrived and ATV were spinning off in a direction musical miles from that of their peers. The session is completed by live favourite ‘Going Round In Circles’ and a sultry ‘Nasty Little Lonely’.

Perry has propelled ATV through the decades accompanied by a cast of dozens, switching sounds and styles, and active up to this day. These sessions, released in a limited edition of 350 with sleeve notes by Perry and vintage images including an Alternative TV family tree, catch his group in the raw at a crucial early junction on their long journey.

TRACK LISTING

1. Love Lies Limp
2. Action Time Vision
3. Still Life
4. Life After Life
5. The Good Missionary
6. Release The Natives
7. Going Round In Circles
8. Nasty Little Lonely

First recordings by the fledgling Motörhead from 1975-76, featuring Lemmy,

Phil Taylor, Larry Wallis and Lucas Fox. Alternative mixes by Richard Digby Smith appearing on vinyl for the first time. Features the classics 'Motorhead' and 'Iron Horse – Born To Lose'.

TRACK LISTING

1. Motorhead (Take 5)
2. On Parole (Instrumental Take 1)
3. Vibrator (Album Take - with vibrator)
4. Iron Horse - Born To Lose (Take 4 - Vocal Take 2)
5. City Kids (Take 1)
6. Fools (Take 1 - Demo Version
7. The Watcher (Album Take)
8. Leaving Here (Instrumental Take 1)
9. Lost Johnny (Album Take)

Grammy Award-winning producer Dahi is one of the defining sonic architects of modern hip-hop and R&B, shaping landmark records for Kendrick Lamar, SZA, Travis Scott, and more.

Now stepping into his own as a solo artist, Dahi expands his genre-defying vision with 'Black Boy (Alternative)', a new body of work that blends hip- hop, alternative, and experimental music through a collaborative, deeply personal lens.

TRACK LISTING

1. Who Are You (ft. Vince Staples, Channel Tres, French Anthony)
2. Find Me (ft. Moses Sumney, Mez) 
3. How To Pray (ft. Kendrick Lamar, Amber Mark)
4. Running (ft. Childish Gambino) 
5. Love Me (ft. Obongjayar) 
6. They Don't Know Me (ft. Mez)
7. The Night (ft. Kurtis Wells) 
8. Rest of Your Life 
9. Stand For Something (ft. Jesse Boykins III, Baby Rose, Ant Clemons) 
10. Square Up (ft. Fousheé)
11. Drowning (ft. Elmiene, Ravyn Lenae)

A reclamation of rock'n'roll for the Black artists who tore up and re-wrote its rules, by musician, arts and culture journalist and die-hard alternative music superfan, Stephanie Phillips. We Were Here promises to rip up our received history of rock 'n' roll and alternative music and repopulate it with the extraordinary Black artists and influential figures who truly steered its course from the 1930s to the present day, including vital figures Sister Rosetta Tharpe, Little Richard, Jimi Hendrix, Tina Turner, Betty Davis, Poly Styrene, Bad Brains and beyond. As well as reflecting on why Black people have continued to be drawn to alternative music despite their ongoing ostracization from it by the white mainstream industry, Phillips argues that there would be no alternative music without Black artists, and that its future lies in the hands of Gen Z Black musicians experimenting with the boundaries of what punk, metal, hardcore and indie could be.

Two heavy funk cuts pulled straight from Millie Jackson's It Hurts So Good sessions (Spring Records, 1973), issued on 45 for the very first time.

Side A brings "Now That You Got It", finally available on a 7-inch format. Millie in full early-'70s fire, tight groove and attitude to spare.

Flip it over for "Hypocrisy (Alternate Version)", making its first appearance on vinyl. A gritty, soulful variation on the LP classic, cut with the unmistakable Spring Records edge.

Essential early Millie! Raw, funky, and made for the turntable.

TRACK LISTING

1. Now That You Got It
2. Hypocrisy (Alternative Version)

In the annals of punk, few albums hit with the seismic force of NOMEANSNO’s 'Sex Mad'. Released in 1986, this was more than a record, it was a detonation. Amid the Cold War and the Reagan era’s cultural tension, 'Sex Mad' erupted as a raw, furious, and utterly fearless statement that redefined what punk could be.

From the opening blast of 'Dad', NOMEANSNO made it clear they weren’t following anyone’s blueprint. The Wright brothers Rob and John, alongside guitarist Andy Kerr, forged a sound that fused hardcore intensity with the precision of jazz, the elasticity of funk, and the cerebral bite of art rock. The result was unlike anything else emerging from the scene at the time.

Lyrically, 'Sex Mad' dove headlong into alienation, addiction, and societal rot. These are subjects punk had tackled before, but rarely with such intelligence and emotional gravity. Rob Wright’s snarling vocals and razor-edged bass lines delivered every word with conviction. Even the controversial cover art, an original painting by Andy Kerr was censored by some retailers,. This just underscored the band’s willingness to confront discomfort and provoke dialogue.

Recorded at Profile Studios in Vancouver with producer Cecil English (D.O.A., Subhumans), 'Sex Mad' captured the raw electricity of NOMEANSNO’s live shows while revealing the intricate musicianship that set them apart from their peers. Though critics at the time didn’t always know what to make of it, 'Sex Mad' has since become a cornerstone of experimental punk. A record that influenced everyone from the Melvins and Primus to Faith No More and System of a Down (and that’s just to name a few). Its daring blend of aggression, intelligence, and innovation continues to inspire new generations of musicians and fans.

Nearly four decades later, 'Sex Mad' remains a masterclass in musical defiance. It remains challenging, exhilarating, and utterly timeless. Alternative Tentacles Records couldn’t be more proud to finally bring this incredible release back home at last.

TRACK LISTING

1. Sex Mad
2. Dad
3. Obsessed
4. No Fgcnuik
5. Love Thang
6. Dead Bob
7. Self Pity
8. Long Days
9. Metronome
10. Revenge

“Jello Biafra and Ministry teamed up for this slab of wax. The title track is great. Imagine Ministry playing thrash, that’s what it is. ‘Hellfudge’ sounds like Flipper meets Jerry Lee Lewis, the lyrics take a nice roundhouse power swing at Jimmy Swaggart. ‘Time To Melt’ is a cool dirge / death rock type of song, but it’s too fucking long (almost twenty-five minutes). Overall this record is really good and Biafra fans won’t be disappointed.” —Thrashead, Flipside (Summer 1989).

“Jello’s first musical vinyl since the DKs, and you can surely tell it’s him on the title track. He uses his inimitable vocal / lyrical style to good advantage, teaming up with Ministry’s rhythm section to produce a Pailhead type rave like Ian did on their first release. ‘Hellfudge’ takes a ‘Sex Bomb’ riff and basic rock and roll approach, and makes it work, again with Biafra’s commentary. ‘Time To Melt’ takes up the whole side (1/2 hour) and is a painfully slow, atmospheric John Cale-type piece.” TY, MRR (March, 1989).

TRACK LISTING

A1 The Power Of Lard
A2 Hellfudge
B1 Time To Melt

Alternative were a Scottish anarcho-punk band of the early 80s that often drew comparison to Crass for their black attires, logos, firm political beliefs, as well as having their own open house, “The Pad”, where like-minded radicals would join and discuss ideas surrounding pacifism and anti-nuclear armament. The ‘In Nomine Patri’ EP is dark, furious, and articulate.

Penny continues; “Largely through their fierce commitment to ‘changing the world’, Alternative were often referred to as the Scottish Crass. Knowing that talking the talk could only be a half of it, Alternative resolutely walked the walk. Based in Dunfermline, they set up The Pad, an autonomy centre where, over tea and buns, revolutionary visions of peace and love could fester and grow. Theirs was a studied and often poetic form of anarchy which concentrated on people not power. Their interest was not in themselves, but in others. They knew all too well that the only way forward was to do it yourself, and that’s precisely what they did, a’plenty. After all these years, give ‘em your ears.”

Penny finally notes that “Our (Crass’) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference – rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”

In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, “There is no authority but yourself”, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it – “get out of your own way, we’re all in this together”.

Imagine you've made it. You and your friends have hit the big time in music and you're going to be a star. But then, quite suddenly, it's over.

Your best friends don't want you anymore, and you're on the outside. Perhaps they're tired of your bad habits, they think you're not good enough, or they sense you just don't want it as much as they do. Whatever the cause, you're a reject.

So, what do you do next?Featuring a player rejected by both Nirvana and Soundgarden who became a decorated special forces soldier, Britpoppers who spiralled into addiction before becoming novelists and missionaries, the terrifying story of Guns N' Roses' first drummer, super-rejecting band leaders, self-destroying rappers, troubled hard rock bassists and girl-band burnouts, The Rejects takes an intimate, thoughtful look at people who've been kicked out of bands, what they experienced and what came afterwards. Coming from a writer with twenty years' music industry experience, The Rejects is a sympathetic study of some of music's most fascinating characters, and what happens when the dream comes crashing to an end. The result is a compelling alternative history of popular music.

The Lovely Eggs are one of the most unique, innovative and genuine bands on the British Underground music scene. Heavier and more in-your-face than anything they’ve done previously, Holly Ross (guitar/vocals) and David Blackwell (drums) bring together a fierce DIY ethos, surreal sense of humour and kitchen-sink realism. Working with a producer for the very first time, Dave Fridmann (Mercury Rev, The Flaming Lips) lends his magic dust to bring out the best of The Lovely Eggs’ explosive blend of motorik krautrock, 60s psychedelia and punk rock attitude. They create their own world and invite us to join them in Eggland. The album title is a cheeky nod to Shane Meadows’ series, This Is England. It is a comment on the current state of modern Britain. The album is about being an outsider and doing things differently, eschewing society’s conventions as they have done. The band have built up a cult following, selling out gigs across the UK, as well as gaining support from 6 Music and Radio One. This Is Eggland is a giant leap forward in their wild-ride of a career. The album is like listening in on The Lovely Eggs’ own secret world, with philosophical songs about the mysteries of the universe (“Hello I Am Your Sun”), to abandoning “ the grass is always greener” mentality (“Wiggy Giggy”), to being on the wrong side of society or the music industry (“I’m With You”) and several inspired by local witchcraft. Unashamed to be themselves and have fun while they’re at it, The Lovely Eggs weave an intoxicatingly magnetic magic spell and we’re helplessly and willingly falling under it. 

TRACK LISTING

Hello I Am Your Sun
Wiggy Giggy
Dickhead
I Shouldn't Have Said That
Return Of Witchcraft
I'm With You
Repeat It
Witchcraft
Big Sea
Let Me Observe
Would You Fuck

Substrata was the third studio album by the Norwegian electronic artist Biosphere, released 25 years ago by All Saints Records in London.
In 2016, Pitchfork ranked it at number 38 on its list of the 50 Best Ambient Albums of All Time.
Here are ten alternative versions picked from the Substrata recordings sessions that took place between 1995 and 1996.

David Stubbs´review of the original album in Melody Maker ,July 12th 1997.

Biosphere, aka Norwegian Geir Jenssen, is transmitting from a cold, polar outpost of the imagination. "Substrata"
is the best ambient album I've heard in an ice age, an album of terrifying, desolate and all-enveloping beauty, the
music of a man who's stared too long and too hard at the Northern lights, a music of distant rumbles, tremors
underfoot, stray radio signals, yawning chasms and indistinct, grainy images in the half-light when the mind begins to play tricks. "Poa Alpina" reminds me of recent, frightening TV footage of vast chunks of iceberg cracking and falling away into the sea under the duress of global warming. As for "The Things I Tell You", imagine what Oasis would have sounded like had they been born Eskimos. "Sphere Of No Form" is shot through with a frantic peal like the Mayday song of the world's last whale and, best of all, "Kobresia" looms with a vast, mournful, symphonic motif, like the ghost of the Titanic. Chill out has never been this chilling.

TRACK LISTING

1. Poa Alpina (Allternative Version)
2. Chukhung (Alternative Version)
3. The Things I Tell You (Alternative Version)
4. Times When I Know You´ll Be Sad (Alternative Version)
5. Hyperborea (Alternative Version)
6. Kobresia (Alternative Version)
7. Antennaria (Alternative Version)
8. Uva-Ursi (Alternative Version)
9. Sphere Of No-Form (Alternative Version)
10. Silene (Alternative Version)

Sixth spoken word album from former Dead Kennedys front man, Jello Biafra. Three CDs featuring recordings of his work taken from his performances in 2000. Back in stock.

Their first US release on Alternative Tentacles, is a compilation of tracks from their UK releases.