Here Comes Trouble is the 1990 debut album by thrash metal/hardcore band Scatterbrain. This was released by In-Effect and is the European pressing, distributed by CBS Music.

Deluxe, redux reissue of the Dwarves' 2004 magnum opus, The Dwarves Must Die. Originally released on Sympathy for the Record Industry and long out of print, this reissue compiles the whole album plus two awesome bonus tracks. Full bore punk rock meets noise and garage rock and all the sleaze you fit on a 5 inch piece of shiny plastic. Features guest spots from Dexter Holland from The Offspring, Nash Kato from Urge Overkill, desert rock icon Nick Oliveri, Josh Freese from The Vandals, Spike from Me First and the Gimme Gimmes and more.

Come Clean is a fairly radical departure for the Dwarves, combining catchy, garagey punk-pop tunes with jackhammer electronic beats that recall industrial-metal bands like Ministry, or the hardcore techno of Atari Teenage Riot. It's an odd, striking fusion, and parts of it actually work surprisingly well; plus, it's an interesting listen even when the juxtaposition seems a little forced. But just as importantly, the Dwarves have written songs that feature a batch of pretty memorable hooks, which helps make Come Clean one of their most intriguing albums.

Kyoto's Otoboke Beaver return with a new album offering! "ITEKOMA HITS" released on orange splatter effect vinyl and CD by Damnably Records. Consisting of 8 newly recorded tracks with new member Kahokiss who officially joined late August in 2018, taking over drumming duties from former drummer Pop.

"Nick the Knife" is a 1982 album by Nick Lowe. The album was Lowe's third solo LP, and his first since the 1981 breakup of his band Rockpile. However, the record still has several Rockpile ties, as Lowe's former bandmates Billy Bremner and Terry Williams play on the album. In addition, Lowe does a slowed-down remake of the Rockpile song "Heart"; the original version can be found on the band's album Seconds of Pleasure sung by Bremner. "Nick the Knife" reached #50 on the Billboard 200, and #99 on the UK album charts. No singles from the album made the US or UK charts, although in Canada "Stick It Where The Sun Don't Shine" hit the top 40.

Dwarves are real! Back around 1983 or so, when hardcore had become a completely mindless "punk by numbers" style of music, (though nowhere near as stale as the nineties variety, new skool, cash crop variety) bands that were cool had to rediscover just what the hell made rock 'n' roll exciting in the first place. Most discovered the glory that is the Stooges, and then went back in time from there– MC5, Velvets, Elevators, Watchband, Sonics, Chuck Berry and earlier…

The Dwarves' hardcore, attack-the-audience, bloody-nose days were nearly over with the release of Are Young and Good Looking, but the band, now soberer and with a stronger lineup, put out their most satisfying record. At least three songs here are among the heaviest and fiercest tunes they've written, "We Must Have Blood," which absolutely rips, "Throw That World Away," changed from an earlier version where it was called "Throw That Girl Away," and "You Gotta Burn."

Chicago-based Garage-Rock/Punk-Rock band, known for its outrageous, often disgusting, live escapades. CD only release, tracks from the "Toolin' for a warm teabag" 12" and "Lucifer's crank" EP + demos (live versions of the "Sex and violence…live session?).

The Dwarves are gods and Blag Dahlia is a genius! There is really no other way to describe this transient mob who, year after year, release classic album after another. 'Sugarfix' is one of the Dwarves older releases, and is definitely rawer, and more stripped down than some of their recent efforts. The Dwarves are 100% punk rock and while they may not always sound like it, it's a spirit and it permeates all their releases. I love that their records are short and convey the most in the least. They may not be as supercharged as Zeke, but their approach is different, though I'd argue if you find merit in one, you should also in the other. I'm a big fan of Blag's sinister and depraved lyrics and they way they bubble over the saccharine sweet arrangements that many of their songs possess.

Thank Heaven For Little Girls reins in the disgust of Blood Guts & Pussy, as the Dwarves kick back for a celebration of pure evil. "Satan was a friend of mine," screams Blag Jesus in "Satan." This record is more musically adept, as the Dwarves add some guitar solos and '50s rockabilly swagger, but again, the band is most enjoyable when recklessly delving into their favorite subject – sex – on ditties like "Fuck 'Em All," "Dairy Queen," and "Lucky Tonight."

With a title like Blood Guts & Pussy, an album cover which features three nude models drenched in animal blood, and song titles like "Let's Fuck," "Fuck You Up and Get High," "Motherfucker," and "Fuckhead," the Dwarves had obviously redirected their style since Horror Stories. Gone is the subtle suggestiveness of that album, replaced by explicit exploitation and genuinely disgusting humor. Of course, most won't find the Dwarves very humorous; it takes a sick mind to appreciate the Dwarves' celebration of statutory rape on "Let's Fuck" or vocalist Blag Jesus' anger at a girl afraid of AIDS on "SFVD." Thirteen songs full of general punk sloppiness and distortion performed in 14 minutes. (Note: Many pressings of the CD are missing the track "Fuckhead" and the bonus untitled "Bitch" track, although all versions of the CD have "Fuckhead" on the track list.)

The Dwarves began in Chicago as a teen garage-rock Sonics-style outfit called The Suburban Nightmare, a sound that was partially carried over into the first Dwarves release, Horror Stories. After the first album, The Dwarves blazoned across the country for seven more years, leaving a trail of blood from their own self-inflicted gashes, drug stories unparalleled since Keith Richards' heroin heyday, bizarre stage-show sex acts, and numerous 15-minute-long live shows.

Wilko Johnson, legendary guitarist with Dr Feelgood, and Roger Daltrey, lead singer of rock giants The Who are to release a joint album GOING BACK HOME on the world famous Chess label which has been resurrected specifically for this record. The album features 11 tracks, ten of which are Wilko originals from both his Dr Feelgood days and solo years, whilst the sole cover on the album is a version of Bob Dylan's HIGHWAY 61 REVISITED classic 'Can You Please Crawl Out Your Window'. The album also includes the track 'Turned 21' which has never been properly released or performed live. A deluxe edition of Going Back Home was released at the end of 2014. The bonus disc contains five studio outtakes: three are Wilko-fronted versions of album cuts, there's a radio edit of the title track, then the unreleased "Muskrat." Then, there are six live cuts from the Wilko Johnson Band from February 2014, then another seven live cuts with Daltrey and Johnson, all dating from early 2014, all proving what a dynamic pairing this duo was.

Flamin' Groovies is an American rock music band that started in San Francisco in 1965, led by Roy Loney and Cyril Jordan. After the Groovies released three albums, Loney left the band in 1971. He was replaced as co-leader by Chris Wilson, and the band's emphasis shifted more toward British Invasion power pop

The legendary Cold Chisel release their new studio album! Titled 'The Perfect Crime', and featuring songs drawn from recording sessions across 2014 and 2015, the album will be kick-started by the single "Lost!" With 'The Perfect Crime,' there's a real sense among the band that they might just have pulled off the most definitive musical statement in the band's unparalleled four-decade career. Cold Chisel are the classic Australian pub rock band, playing a tough breed of rock and blues inspired by '70s bands like Free, Deep Purple, and Led Zeppelin, but characterized by the storytelling skills of their main songwriter, Don Walker, whose personal influences came from Bob Dylan. Between 1978 and 1983, Cold Chisel ruled as Australia's most popular band on record and on-stage. They sold over six million records in Australia alone, most of that number after their 1983 breakup and 1998 reunion.