'Golpes' brings together some of the holy grails of Spanish post-punk in 7” format — records that helped define the sound of the early ’80s. This box set is a collection of rarities, but above all, a celebration of monumental songs that have become timeless anthems, transcending darkwave, la movida, and new wave alike. Just look at the lineup: ‘Autosuficiencia,’ ‘El Hospital,’ ‘Nacidos para dominar,’ ‘Cómo perdimos Berlín,’ ‘Quiero ser santa,’ ‘Los Celos se apoderan de mí,’ and, of course, ‘Golpes.’

You’ll find names like Alaska y los Pegamoides and Gabinete Caligari, who went on to achieve massive popularity and commercial success, alongside legendary artists such as Desechables and Parálisis Permanente—arguably Spain’s most iconic post-punk band—and cult favorites beloved by the most dedicated fans, like Agrimensor K and El Último Sueño.

This box set comprises impossible-to-find singles, genre classics, and rarities like the 12”s by Seres Vacíos or the mythical flexi by Alaska y los Pegamoides, now appearing for the first time ever on 7” vinyl. In total, 14 seven-inch records, each with its original artwork and inserts.

Also included is a 24-page booklet featuring flyers, posters, ads, quotes, and fanzine clippings from the era, plus a text by Borja Prieto, and the ultra-rare Alaska y los Pegamoides poster that originally came with the first pressing of their single 'Horror en el hipermercado'.

'Golpes' is a deep dive into the darker side of Spain’s vibrant 1980s music scene. An absolute must-have.

TRACK LISTING

PARÁLISIS PERMANENTE (MR 7373):
1. UNIDOS
2. YO NO
3. QUIERO SER SANTA
4. UN DÍA EN TEXAS

EL ÚLTIMO SUEÑO (MR 7374):
1. PERDIDO EN EL TÚNEL DEL TIEMPO
1. NO DEBISTE ASUSTARME
3. EL RELOJ SE HA PARADO (O LAS ESPADAS ESTÁN EN ALTO)

ALASKA Y LOS PEGAMOIDES (MR 7375):
1. EL JARDIN
2. VOLAR

AGRIMENSOR K (MR 7376):
1. ¿JUEGAS AL ESCONDITE?
2. LA PIRA

LOS SERES VACÍOS (MR 7377):
1. LOS CELOS SE APODERAN DE MI
2. LA CASA DE LA IMPERFECCIÓN

PARÁLISIS PERMANENTE (MR 7378):
1. NACIDOS PARA DOMINAR
2. SANGRE

ALASKA Y LOS PEGAMOIDES (MR 7379):
1. HORROR EN EL HIPERMERCADO
2. EL HOSPITAL
3. ODIO

EL ÚLTIMO SUEÑO (MR 7380):
1. EL SILENCIO DE LOS CISNES
2. LOS MUEBLES ESTÁN VOLANDO

LOS SERES VACÍOS (MR 7381):
1. LUNA NUEVA
2. MAS

AGRIMENSOR K (MR 7382):
1. PRINCIPIO Y FIN
2. EL CASTILLO

PARÁLISIS PERMANENTE/GABINETE CALIGARI (MR 7383):
1. AUTOSUFICIENCIA
2. TENGO UN PASAJERO
3. GOLPES
4. SOMBRAS NEGRAS

GABINETE CALIGARI (MR 7384):
1. OBEDIENCIA Y NADA MÁS
2. LA VIDA ES CRUEL
3. GOLGOTA

GABINETE CALIGARI (MR 7385):
1. OLOR A CARNE QUEMADA
2. COMO PERDIMOS BERLÍN

DESECHABLES (MR 7386):
1. LA ORACIÓN
2. DESTRUYE Y MATA
3. EL PEOR DIOS 

Adolescents’ self-titled debut album captured the raw pulse of Southern California’s teenage rebellion at a time when hardcore was beginning to take shape yet still holding onto the infectious urgency of punk’s first wave.

This reissue offers longtime listeners and new fans alike a chance to revisit—or discover—an album that helped define the West Coast punk sound. From its striking blue cover to its mix of melody, defiance, and urgency, “Adolescents” remains a vital listen. It includes a repro of the original insert and poster.

Valencia-based band Wau y Los Arrrghs!!! is made up of five punk rock hooligans as raw and real as chaos itself - led by one of the wildest frontmen around, Juanito Wau. Yes, there's garage rock here, no doubt - but you'll also find blasts of punk, rock 'n' roll, pop, and even a splash of surf.

This joint release with Slovenly Records brings back two anthemic tracks from Spain's undisputed kings of garage punk! Originally produced by Jorge Explosion over a decade ago, 'Copa, Raya, Paliza' and 'Es Un Buen Día' are guaranteed party-starters no garage DJ should be without.

TRACK LISTING

1. Copa, Raya, Paliza
2. Es Un Buen Día

Released exclusively in Germany in March 1966, “Black Monk Time” by The Monks has become a cult classic – praised as a groundbreaking forerunner to punk and krautrock. Though the album was overlooked at the time, its bold sound and sharp lyrics have earned it lasting influence and critical acclaim.

The Monks were five American G.I.s stationed near Heidelberg, West Germany. Originally performing as a typical beat group under the name the 5 Torquays, they evolved into something far more radical. After discovering guitar feedback by accident and embracing a raw, percussive approach, they caught the attention of two German ad men—Walther Niemann and Karl Remy—who became their managers and helped reinvent their identity.

Dressed in monks' robes with tonsured hair and noose neckties, the band developed a confrontational, rhythm heavy sound. Nowhere is this clearer than in the album’s opening track, ‘Monk Time,’ which captures their entire aesthetic in under three minutes. A pounding, repetitive groove of bass and drums anchors the track, layered with distorted guitar bursts, percussive electric banjo, chaotic organ stabs, and unrestrained, shouted vocals. It’s a declaration of intent—urgent, jarring, and unforgettable.

Their sole studio album, produced by Jimmy Bowien and recorded in Cologne in late 1965, defied musical norms. From the explosive opener ‘Monk Time’ to the fierce ‘Complication,’ “Black Monk Time” rejected flower power for something more urgent—anger, humor, and innovation.

At the time, Polydor Records deemed the music too radical for American audiences, delaying its U.S. release. Despite its initial commercial failure, the album is now seen as a pivotal moment in rock history—loud, strange, and unapologetically ahead of its time. The Monks' story is as unlikely as their sound: five ex-soldiers and two ad executives creating one of the most daring records of the ‘60s. The band never sparked the revolution they hinted at, but decades later, “Black Monk Time” still resonates. This is your chance to experience the album that dared to be different - don’t miss it.

Remastered sound from the tapes, pressed on 180g vinyl.

TRACK LISTING

Side A
1. MONK TIME
2. SHUT UP
3. BOYS ARE BOYS AND GIRLS ARE CHOICE
4. HIGGLE-DY PIGGLE-DY
5. I HATE YOU
6. OH, HOW TO DO NOW

Side B
1. COMPLICATION
2. WE DO WIE DU
3. DRUNKEN MARIA
4. LOVE CAME TUMBLIN’ DOWN
5. BLAST OFF!
6. THAT’S MY GIRL

The album was recorded in the winter of 1975 with the help of the same group of musicians who had accompanied him a few months earlier at a concert at Zeleste to debut new songs: a mix of Valencian musicians from bands like Paranoia Dea and guitarist Eduardo Bort’s group. There are nods to Lou Reed, Ray Davies, and Kevin Ayers, but the core of "Electròccid…" is defined by Riba’s own authorship. With lyrics that veer from poetic to absurdly ironic.

This is one of the most obscure singles ever released in Venezuela in the 60s. It followed the global triumph of The Beatles that made the wave of beat groups get bigger and bigger and lots of new bands emerged, some of which would last while others would definitively go into oblivion, and a small number of them would leave at least one recording that today is considered a highly valuable collector's item. This is the case of The Pets. Their stunning take on The Doors’ ‘Hello, I Love You’ takes the B side of this mega scarce 45. A garage DJs favorite! First time 45 reissue, audios remastered from the original master tapes.

La Revolución de Emiliano Zapata was the Mexican psychedelic rock band that achieved the most commercial success internationally in the early 70s.

Their self-titled and much sought-after debut LP (1971) is considered one of the best acid rock albums in Mexico, recorded under the influence of groups like Creedence Clearwater Revival or The Who but also adding their own style featuring an original and stunning guitar sound.

Remastered from the original tapes.

Two killer tracks of erotic psychedelia with a jazzy twist and touches of acid rock by the French cabaret star Rita and Chilean rock pioneers Aguaturbia. A perfect soundtrack to an imaginary sexploitation film, half-way between the classic sound of library records and a progressive and hypnotic musical journey driven by fuzzy guitars. Reissued on a 45 for the first time.

Faust’s “So Far” (1972) presents the more commercial and accessible side of the legendary German krautrock band without giving up their advanced and experimental personality. It is a perfect album to begin exploring the group's discography, featuring one of their most well-known songs, ‘It's a Rainy Day, Sunshine Girl,’ and is considered a striking work on par with Neu!'s first album or Can's “Tago Mago”. Preceding other artists like Throbbing Gristle and Nurse with Wound, Faust were pioneers in creating industrial and futuristic atmospheres using processed rhythms, as on the track ‘Mamie is Blue.’ An essential krautrock masterpiece.

Remastered from the original tapes.

“Blow My Mind!” is the natural sequel to the recent, well-received collection “Lost Innocence” and is an essential purchase for the dedicated garage head. It collects together the best of the quirkier imprints from Hollywood’s heyday in the mid-1960s (the record labels Doré, Era and Mira) in a power-packed set comprising many outstanding garage and proto-psych 45s that today are sought-after collectors’ items.

Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

Three of the quirkier imprints from Hollywood’s heyday in the mid-1960s were the record labels Doré, Era and Mira. Like most seasoned indie producers in that epoch, their owners Lew Bedell, Herb Newman and Randy Wood struggled to get to grips with the onslaught of rock’n’roll activity that followed in the wake of the British Invasion. But amongst each company’s catalogue of R&B, pop schlock and novelty discs were a number of outstanding garage and proto-psych 45s that today are sought-after collectors’ items.

“Blow My Mind!: The Doré-Era-Mira Punk & Psych Legacy” collects together the best of this venerated repertoire in a power-packed set that also constitutes the first official reissue for many oft-bootlegged titles. Cuts like ‘The Thief’, ‘Slander’ and ‘I’ll Blow My Mind’ would be expensive to acquire in their original, minutely-pressed incarnation. Here, with top-notch sound and extensive annotation, these totemic garage rock items shine brighter than ever. There is the expected quota of attitude-laden classics such as ‘My Baby’s Barefoot’, ‘Just Wanna Be Myself’ and the incredibly snotty ‘So What!!’, along with less heralded gems by bands such as South Hampton Story, the Puddin’ Heads, Yesterday’s Tomorrow and the Search. An unexpected bonus is a superb unreleased cut by ‘Hey Joe’ hitmakers the Leaves, along with off-beat garage- psych titles by Simon T Stokes, the Outlaw Blues and the Wrench.

“Blow My Mind!” is the natural sequel to the recent, well-received collection “Lost Innocence” and is an essential purchase for the dedicated garage head. Compiled by genre expert Alec Palao and originally released by Big Beat/ACE on CD only a few years back, it is now available on vinyl for the first time.

TRACK LISTING

Side A
1. My Babys Barefoot – The Syndicate
2. Do Me A Favor – The Leaves
3. Gotta Hold On – The No-Nâ-Mee’s
4. The Thief – The Motion
5. So What!! – The Lyrics
6. Leave Me Behind – South Hampton Story
Side B
1. Big City Blues – Simon T Stokes
2. The Other Half – Yesterday’s Tomorrow
3. Worryin’ Kid – The Regents
4. She Touched My Soul – John Winfield Jr.
5. Slander – Ty Wagner
6. Now You Say We’re Through – The Puddin’ Heads
Side C
1. They Can’t Hurt Me – The Lyrics
2. I’ll Blow My Mind – Spencer’s Van Dykes
3. I’m Gonna Dance – The Decades
4. The Day Is Hard – The Wrench
5. Climate – The Search
6. Just Wanna Be Myself – The No-Nâ-Mee’s
Side D
1. Non-Stop Blues – The Outlaw Blues
2. Shame – The Front Page & Her
3. Forget Me Girl – The Bees
4. She’s Gone – The Tormentors
5. It’s No Use – Basil & The Baroques
6. To Make A Lie – Unknown Artist

"Diré a mi gente" is a 1969 Colombian pop classic with one foot in protest song and the other in acid rock, harsh sounding but also current and sincere. The rawness of the lyrics, the simple and dynamic electrified instrumentation and the contrast with the sweetness and innocence of the adolescent vocals make it reminiscent of Nadaism via Pablus Gallinazo, the bittersweet tenderness of Elia y Elizabeth and the post Los Yetis duet of Norman y Darío.

Volume 1 of Munster's in-depth survey of synth music created in Spain during the 1980s. From chart-friendly techno pop to obscure experimental acts, these 20 tracks reflect a fast-moving decade and music scene. TodoTodo, Oviformia SCI, Ultima Emocion, WAQ, Justine, Septimo Sello, Laneas Aereas, MD, Lavabos Iturriaga, Vocoder, Metal y Ca, La Mode, Aviador Dro, Kalashnikov, Tomates Electricos, Metropakt, El Humano Mecano, Disero Corbusier, Los Iniciados, Bola/Banda Electronica. 

THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

RSD 2014 exclusive.

First vinyl reissue of the recordings of Teenage Filmstars, one of the early bands of maverick pop artisan Ed Ball, also a member of 'O' Level, Television Personalities and The Times.

Munster Records presents, in a co-release with Discos Alehop!, the three official singles of the British band Teenage Film Stars reissued on vinyl for the first time: '(There's A) Cloud Over Liverpool' (Clockwork Records), 'The Odd Man Out' (Wessex Records/Blueprint Records) and 'I Helped Patrick McGoohan Escape' (Fab Listening Records). After self-releasing two records with his band 'O' Level, in 1979 Ed Ball continued the path of 60s-influenced new wave pop already present in that band's 'The Malcolm EP' (1978), now under the name Teenage Filmstars. In this new adventure he was accompanied by his school friends Dan Treacy and Joe Foster (both members of Television Personalities). With their help Ball released a first single inSeptember 1979 featuring two songs: the A side is taken by '(There's A) Cloud Over Liverpool' (a tremendous chorus-song ) and the B side contained 'Sometimes Good Guys Don't Follow Trends' (a comment on youth culture). The song '(There's A) Cloud Over Liverpool' received support by John Peel and reached certain fame in the UK and the United States, where it was interpreted as an homage to John Lennon.

This compilation also includes two tracks never released on vinyl until now which were recorded in April 1979, in the style of 'O' Level: 'He's A Professional' (antimilitary punk-pop) and the folk-punk anthem 'The John Peel March', dedicated to the legendary BBC radio host and great supporter of new bands. This retrospective is completed with a recording session dated in November 1980 which produced three tracks ('Storybook Beginnings', 'Dressing Up For The Cameras' and 'The Sun Never Sets') which further explore the power pop-mod sound that Ed Ball would develop in his next band The Times.

Five years after its completion, Munster is very proud to present the third and final full length by Danny & The Nightmares, described by Daniel Johnston as his "best album ever!"

It had been close to a year since they had gotten together to play music. The Nightmares set up in Danny's garage and pressed record. Danny had a couple of ideas for songs. After those were played through, a few more songs came forth. When the music was over and they listened to play-back, they realized they had recorded a core of songs to constitute a new album. Never knowing which end of the compass they might bend in any particular night of playing, Danny and the Nightmares recorded everything. Over the years they recorded on micro-cassettes, reel to reel, boom boxes, and a four track recorder. This time they had recorded on a digital machine. Over those years they had kept it close. They played and recorded at the Haunted House, or in Danny's garage. With snickers and grins, they knew they had a strong enough set of songs to elaborate on what they had recorded. They toted the machine to a string quartet. As they stood outside, they smiled while listening to the strings layering the songs.

Danny and the Nightmares then returned to a couple of unfinished songs that weren't sitting still in the balance when they had submitted what was to become "Freak Brain". With the capacities of the new machine, they also decided to rework a couple of songs that had already been released, and struck in the excitement, recorded a couple more new numbers. In more spells of revelry came another album, the "Death of Satan".

It has been five years since the album was completed. Daniel has mentioned it in interviews while promoting his solo career, stoking the curiosity of some his fans. The distracters claim that Danny and the Nightmares are not good for Daniel's image. Conversely, some fans have claimed that what he does with Danny and the Nightmares is like an 'alter ego' to his other work. It is tough to argue with his lyrics, "My friends really are the best in me." That is pretty much what it is, three friends that Rock 'N' Rolled when they could. If the album is good enough for them, well, they are obliged to share it. Danny and the Nightmares is "dead". The Death of Satan is their third and final full length album

Reissue of the legendary and unbeatable first Gun Club LP, originally released on Ruby Records in 1981.

Jeffrey Lee Pierce - reggae enthusiast, heroin addict, and former president of the Blondie fan club - suffered a lonely, depressing death on March 31st, 1996 of a brain hemorrhage, after untold years of drug use and alcoholism. Why this event mattered much to anyone lay in a fantastic record by his band. The Gun Club recorded 16 years earlier, the masterful "Fire Of Love". A visionary and fierce moment in time when The Gun Club took the raw, dripping meat of shopworn delta blues and infused it with the energy and fire of the LA punk rock scene.

Inspired by bands like X, Television, the Cramps, he met Kid Congo Powers (who will later play with Nick Cave and Cramps) and they formed the Creeping Ritual in 1979, soon to be renamed The Gun Club. Pierce was already a notorious drunk, exhibitionist, poet and fanboy. The Gun Club were quickly a dangerous new spoke on the spinning wheel of dynamic LA alt-culture. By 1980, Jeffrey Lee had moved into a deep reverence for Mississippi delta blues. The Gun Club paid more than passing homage: they wholeheartedly swiped complete riffs, words and attitude from the masters. Pierce participated in the great blues singer tradition by cobbling together distinct lines from other people's songs to create new ones. Snatches of Blind Willie Johnson, Blind Lemon Jefferson and Robert Johnson can be heard throughout this debut LP –released in 1981 on Slash’s Ruby Records.

What makes "Fire Of Love" such a brilliant listen long after its time is that this blatant homage to the blues was amplified, energized and kicked into overdrive - in a new style that combined the ghostliness of the original model with a FAST, unwound and supremely energetic beat. The engineering feats of Pat Burnette contributed to that sound: he wielded his Quad-Teck studios like a weapon, and mastered some of the greatest sides in LA music history (such as Germs’ “GI”). Pure fullness of sound and the raw hot throb of records that were made to stand the test of time.

From the immensely dark and aggressive sexuality of "Sex Beat", Gun Club's most recognizable number, to the fetishistic salute to fellow traveler Poison Ivy of The Cramps in “For The Love Of Ivy”, including the hellfire classic “She’s Like Heroin To Me”, a 2:33 masterpiece in which everything comes together; “Fire Of Love” is pure perfection. They would never reach this level again. No one would, either. "Fire of Love " stands among the greatest classics of Rock history, and shows the genius of the great Jeffrey, whose haunted singing has never been replaced. It proved out to be one of
the most influential records of the 80’s, with countless musicians declaring their love for the Club. Can’t be recomended enough, this album is a real classic that has been criminally underrated. The beginning of a legend. Let's give the devil his due for this one, and ask him to take real good care of Jeffrey.

220 gram vinyl!! Garage punk authority from the late 70’s. This is the legendary group’s first album. Originally unearthed and released as a cassette only by ROIR label in 1982. Now licensed by the superb Munster label to highlight the very early years of this kick-ass NY band!