Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

Conflict – ‘There Must Be Another Way’ (singles 2LP) (Jungle Records/Mortarhate)

All of Conflict’s studio singles from 1982-2003 on a limited blue double vinyl 2LP, released for Record Store Day 2026.  The gatefold sleeve includes lyrics to all 24 tracks (which is 4 extra tracks than the CD version).  In tribute to Conflict frontman Colin Jerwood.

Sadly, main-man Colin Jerwood died in May 2025, shortly after the release of their first album in 20 years, ‘This Much Remains’. Conflict are one of the world’s foremost activist anarchist punk bands, who were first heard on their mentors Crass’s label. Their ‘To a Nation of Animal Lovers’ EP inspired anti-vivisection and anti-hunt campaigns, laying down the band’s stance in no uncertain terms. It was the perfect union, Crass and Conflict.

Espousing direct action and numerous political causes, on their own Mortarhate label (through Jungle) they dominated the top of the singles and albums indie charts through the eighties. Gigs turned into full-scale riots, with hundreds arrested, leading to national outrage headlines. Police banned them from performing in the UK, so they went underground and abroad. The music is as uncompromising as their lyrics espoused, and with Jerwood leading the charge, they had a vocal that walked the walk.

They kept touring; a resurgence of interest in the punk movement reactivated them in the 21st century. Following Colin’s death, they continued to gig in tribute to Colin’s legacy. With this, the perfect double album of singles spread over two blue records, it’s an ungovernable force and shows why the band always sat at the top table of crust punk, hacking and slashing their way to people’s consciences, forcing their ideologies and direct action approach from the pure hardcore of ‘To Whom It May Concern’ through the skanking of ‘Climbing The Stairs’. Conflict were a thorn in the side of the powers that be and the industries they campaigned against, and had the soundtrack to accompany it.

It’s mad to think that Conflict can hit over a million plays on the streaming platform Spotify for ‘The Serenade Is Dead’, but it’s the more extreme tracks that I remember, like the incredible ‘Berkshire Cunt’ that always struck me even as a youngster, being impressed that they would be so blunt about their lyrics and who they had targeted with their fury and ire. Saying that it’s not all crash bang wallop mind ‘Meat Means Murder’ is much more restrained as is the intro for ‘Whichever Way You Want It’ before kicking off with some proper punk drumming.

‘These Colours Don’t Run’ is a brutal thump from the opening slash to the chorus that got a subtle melody buried beneath the chaos and noise all around it. ‘Statement’ sounds like it could have beern written by The New Model Army if instrumentals were their thing (Crustpunk royalty going instrumental who’d have thought that?). ‘Conflict’ by Conflict is what I would play someone if they wanted to really know what Crust punks sounded like and its a purely British thing like Fish and chips or Coronation Street this style or band couldn’t have come from anywhere else and conflict were the masters of their craft. Its great that labels like Jungle put out records like this becuase where else are you going to draw in 24 tracks that made up their singles if you tried to track em down then good luck and how scratched would that collection be? ‘There Must Be Another Way’ is the perfect tribute to the life of Colin Jerwood a true believer and a man with a passion and platform that he used to great effect now pick up a copy and preserve the music of Conflict long into the 21st Century – punk as fuck! Buy it!

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Author: Dom Daley

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Onlooker – ‘Cleveland’ (Serial Bowl Records)

Cleveland was recorded, mixed, and shaped entirely by the band in studios, lockups, and living rooms, with only the final mastering handed to Graham Thompson at Soundschitty. The fact that it’s on Serial Bowl is something of a badge of honour, and these guys fit in perfectly with Diaz Brothers and Dealing With The Damage. It’s a post-punk landscape mixed with a caustic garage rock thump. It’s got a thick Bass sound that fits right in with that abrasive, slashing guitar that sounds like a low-slung, battered Telecaster being given no respect. Think Hot Snakes, Minor Threat mixed with the New Wave CBGB scene, early Talking Heads, and that alt punk scene the Americans do oh so well, but the Brits have caught up and, to be fair, are delivering it in spades with a twist of originality.

‘Cleveland’ is packed with songs that move between anxiety, joy, protest, and how to make a cup of tea and some disco biscuits to dunk in to said tea, no doubt. The bottom line is it’s brimming with energy and well-constructed songs of everyday life, bristling with raw energy.

I can imagine a sweaty room with ‘Peaceful Protest thumping through a workhorse PA coming on like a cross between Fugazi and Jane’s Addiction is something special. It’s not all one pace or style either because the northern ‘Wishing Wellaye’ is taking on Hot Snakes and winning with its muscular thump, complete with some excellent screams. I’d even say something like ‘Carpool’ is influenced by the sparse bleakness of Joy Division in full flow.

Every song is a twist to the left or right. This record isn’t at all one-dimensional or bland, it packs a hefty punch and creates some mega colours with its brutal soundscape and smooth lows to complement those soaring highs. With most songs being served in your rapid, perfect couple of minutes, there is one curveball in the shape of the epic six-plus minutes of ‘Suburban Dreams’ with its lengthy intro before breaking out into a garage rock fever dream that Australia has captured the market of. Lurching one way then the other its a bit of a sleeper – stick with it, you shall be rewarded in spades.

Fast-paced, edgy, and frantic, Cleveland is an album full of twists and turns and doesn’t disappoint at all. Hit the link and get involved, this is one smart as fuck album full of top tunes.

Buy Here

Author: Dom Daley

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

The Future Shape Of Sound – ‘Heavy Load’ (Gypsy Hotel Records)

From the nighttime, neon city wastelands of East London, there came a group, a collective of soul divas and rock n’ roll musicians led by the mysterious and enigmatic guitarist/producer Alex McGowan (aka Captain Future). This man without a tan has worked with the likes of Primal Scream, Jah Wobble, The Urban Voodoo Machine and Jim Jones. His band The Future Shape Of Sound could be the perfect festival band and over the years have been seen plying their trade at the likes of Red Rooster, Womad, Boomtown and even the Glastonbury festival. You can catch them occasionally, where society rejects frequent, dark, seedy bars and the occasional hometown Gypsy Hotel gig. They follow up their 2018 album ‘Shakedown Gospel’ with the long-awaited ‘Heavy Load’.

Keeping with tradition, ‘Heavy Load’ features several lead vocalists over the 10-track album, but predominantly it’s James Brown’s widow, Tomirae Brown, who not only takes the lead but also co-wrote most of the material with Alex.

Opener ‘I Want A Little Slow Blues’ is a low-key affair, a mid-paced groover featuring former Jim Jones Revue man Henri Herbert tinkling the ivories, backed by The Future Sisters gospel trio. This leads nicely into killer single ‘I’d Rather Be Alone’, where the band fully hit their groove. Tomirae adds raunchy Tina Turner vibes to the foot-stompin’ rock n’ roll party anthem. Co-written by The Urban Voodoo Machine mouthpiece Paul-Ronney Angel, it’s a surefire album highlight.

Claire Allen of The Guerilla Street gospel choir takes us to church on ‘Ain’t Standing By’ and Geraldine ‘Gee Gee’ Reid of The Divettes takes over for a couple of numbers too; the rhythmic gospel laced blues of ‘Ride’ sounds like an old forgotten traditional song and the more funky jam ‘You Can Change Your Mind’ showcases the tight and groovy rhythm section of bassist Duncan DeMorgan and drummer Doc Johnson.

Elsewhere, you’ll find a couple of beauties that encapsulate The Future Shape Of Sound vibe; the funk rock explosion of ‘Take The Money’ is trashy in a good way, it fits the Tomirae vocal delivery nicely, and the wah-wah guitars give added cool factor.  Tomirae & The Future Sisters return for the swampy blues anthem ‘Oh Mama’, and there is no surprise that it was a single. The slide guitar, the harmonica and the soulful backing vocals give depth to the catchy melody and footstompin’ vibes. You’ll add it to your playlist if you’re that way inclined. Me? I’ll just buy the record and play the whole damn thing the way the artist intended.  

Recorded at Alex’s own Space Eko East studio in East London, ‘Heavy Load’ captures the soulful rock n’ roll blues of a band that thrives in a live environment. With his congregation of multi-national and multi-talented musicians and singers, he takes the sounds of the streets and the dives of old London town, turns it into a celebration and takes us to pray at the church of rock n’ roll once again. It’s good to have them back. Now, where’s that vinyl pre-order button?

Buy Here

Author: Ben Hughes

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

THRASHERS THORNS ARE ‘READY TO STRIKE’ THE UK IN JULY

OHIO THRASHERS THORNS HIT THE UK IN JULY – TOUR DATES CONFIRMED INCLUDING AN APPEARANCE AT 2000 TREES FESTIVAL

NEW EP ‘READY TO STRIKE’ TO BE RELEASED 26TH AUGUST VIA THESE GO TO ELEVEN RECORDS

US thrash upstarts Thorns have erupted out of an Ohio basement and into the global metal conversation, becoming one of the fastest-rising new forces in heavy music. Armed with the same uncompromising DIY spirit that fuelled Black Flag and D.O.A., they skipped the industry queue entirely — building their own studio, self-recording and self-releasing two albums and multiple singles and rallying a worldwide following in under a year.

Tapping into the same high-velocity energy surge that spawned the first wave of 80s thrash metal with the likes of Exodus, Nuclear Assault, Anthrax and early Metallica etc, Thorns are a much needed, turbo charged, heads down, head banging assault to the senses. Their new four song EP ‘Ready To Strike’ is set for release August 26th via These Go To Eleven Records and Thorns have come straight out the traps with new single ‘Bad Business’. Coming in at just under two and a half minutes, ‘Bad Business’ is short and fast and lean and mean!

“It’s the standout track from our original demo, but we re-recorded it to fit the vision we originally had. Faster, tighter, and heavier than before… ‘Bad Business’ is the definition of Thrash,” state the band.

“As a band, we’re looking to bring back elements of Metal that we feel have been forgotten over time. Not just heavy riffs but catchy hooks, meaningful lyrics, impressive solos, and the old school energy of it all. We want to put our music in front of as many people as possible.”

That relentless work ethic has paid off: 3.5+ million streams, a rapidly growing international fanbase, and a reputation for resurrecting the ferocity of peak-’80s thrash with a modern edge. Their new EP ‘Ready to Strike’ drops across four monthly singles from May to August, setting the stage for a breakout summer. July sees the band hit the UK for a full run of shows, culminating in their festival debut at 2000 Trees.

Catch Thorns on tour in the UK at the following dates in July:

3rd       Green Door, Brighton

4th       Ifor Bach, Cardiff

5th       1865, Southampton

7th       Basement, Tunbridge Wells

9th       Chinnerys, Southend

11th     2000 Trees Festival, Cheltenham

15th     Blach Heart, London

16th     The Horn, St. Albans

17th     The Parish, Huddersfield

18th     Satan’s Hollow, Manchester

Find Thorns online HERE

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

Ultrabomb – ‘The Bridges That We Burn’ (Virgin Music Group) 

A couple of years ago I was introduced to Ultrabomb for the first time by being recommended their album Dying to Smile “Chris this is right up your alley, you will love it” and oh how DD was right, turns out that it ended up being one of my albums of the year, roll on a couple of years and Ultrabomb are back with album number three the absolute banger “The Bridges That We Burn” 

Legendary Hüsker Dü bassist Greg Norton has been on fire now for the last few years with three fantastic albums. This time, however, the supergroup has had a few lineup changes, now on lead vocals and guitar is Ryan Smith (Soul Asylum) and the man with the sticks, Derek O’Brien (Social Distortion, Adolescents). For any fan of the alternative punk scene, there is no chance this was going to disappoint and that, my friends, it does not. 

Opening the album, we have a mega riff and thundering bassline into the extremely catchy “Darwin Awards” I’ll be amazed if there’s a better opening song on an album this year. 

Straight away, I know that even though the line-up has changed, the quality hasn’t at all, the production here is very clean and loud, and the band are on fire. “Divert/Deflect” is a pounding beast that will have fists pumping during the chorus. 

Next album is the first single off the album and one of the many album highlights, “Artificial Stars”. This could be taken right out of a Soul Asylum classic, the Melodies are everywhere throughout, it’s nearly impossible to get the guitar licks out of your head on this one. 

My favourite song on the album is just around the corner with the excellent “No Cap” with verses that Dave Pirner would be proud of before exploding into a prime Supersuckers-like chorus at breakneck speed. This will have audiences jumping around like lunatics, no doubt about it. 

With a resume from these three musicians it should be no surprise that this album is so good but yet somehow it does, Greg had been away from the music business for so long to have come back this strongly is no joke, his songwriting here is on top top form, Ryan really shines here as well as his voice is so infectious with guitar harmonies all over the place and Derek keeps everything so tight, fantastic stuff. 

We’re on the flip side of the album now and we get another few album highlights the absolute brilliant “Checked Out” which boasts a anthemic chorus followed with a stunning guitar solo and then we go straight into a pounding bassline from Greg in the equally fantastic “Look Forward In Anger” another one that will get fans off their feet around venues (hopefully in the UK as well please).

We’re coming close to the end now, and we are given the smile-raising “BSS” which stands for Bull Shit Song, which had me grinning from ear to ear, and to close out the album, we have the brutal “Mosquito Crucifixion” which is a monster of a song with a huge riff throughout to end a brilliant album on a massive high note!!!

There we have it, Ultrabomb album #3 ‘The Bridges That We Burn’ in the bag, it’s safe to say it will be high up on my end of year list, give it a listen and make sure to buy it!!! 

Buy Here

Author: Christian Davies  

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills – ‘Singled Out’ (Damaged Goods Records)

Cyanide Pills could be the greatest punk band in the world; they’re surely the greatest punk band to drag their arses outta Leeds. A self-proclaimed “gang of cunts from a desolate land” consisting of Phil Privilage on vocals, Sy Pinkeye on guitar, Alex Arson on another guitar, Alarick on bass and Chris Wrist beating the drums. These lively lads from Leeds have been exciting audiences across Europe and beyond for the past 17 years, and with 5 albums under their studded belts and a whole bunch of single releases, it’s about time they released a greatest (s)hits record, right?

Well, here you go, you lucky fuckers! Here’s a tasty treat courtesy of Damaged Goods for ya. ‘Singled Out’ is all their 7” releases and the corresponding B sides (plus a couple of new unreleased singles) on double vinyl and shiny CD. That’s 33 tracks to devour. Are you excited yet?

You should be, just check out that track list. The A sides are worth the entry price alone. Spikey, power pop-infused punky goodness with buzzsaw guitars and choruses to die for, that is the signature Cyanide Pills sound, and they’ve got the songs in spades. From The Clash meets The Toy Dolls sound of debut single ‘Break It Up’ to the pogoing power pop of newbies ‘Amalia’ and ‘Second Best’, it’s a wild and melodic ride.

You’ll laugh along at the tongue-in-cheek lyricism, from the tale of forbidden love that is ‘Suicide Bomber’ to the political diatribe of ‘Government’, the band remain confidently relevant and humorous in equal measures. You may even ponder if Johnny Thunders did actually live in Leeds.

Highlights include the killer earworm ‘Conquer The World’, the ridiculously catchy ‘Big Mistake’ and recent single ‘Hope You’re Having Fun’. Songs that prove this band ages like a fine red wine.

Then we get to the really tasty stuff. If you’re a fan, but like me don’t collect 7” records, disc 2 is the place to begin. ‘Mail Order Bride’ and ‘Stick Em Up’ were on the flip side of the debut single, and to be fair, either of them could have been the chosen A side. High energy punk n’ roll with distorted riffs and choruses that most bands would die for. Elsewhere, the standouts are plentiful. For me, the ska-infused ‘Lock Me Up’, the Green Day-esque ‘Hooked On You’, and the 70’s glitter stomp of ‘I’m Celebrating’ are winners. These songs go a long way to show Cyanide Pills B-sides stand tall against the A-sides. And just wait until you hear ‘My Mind’s On Strike’, the flip side of the upcoming new single ‘Amalia’. With a verse that pummels the senses and a killer gang vocal chorus, it’s up there with their best.

It is said that true music fans don’t buy ‘best of’ albums, but this collection is a great starting point if you are new to the band, and is essential if you are a fan but don’t collect 7” records. Sequenced in release order, it’s an album that flows well and shows the progression of a band who get stronger song by song. ‘Singled Out’ is a worthy addition to any music lover’s collection from a homegrown band who are up there, standing tall against their contemporaries.

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Website

Author: Ben Hughes

Mr Dinkles – ‘R.I.P.T’ (futureless)

Mr Dinkles – ‘R.I.P.T’ (futureless)

LA and Seattle’s Mr Dinkles is a power pop punk duo made up of Mac Rettig on vocals and guitar and Rocco Ramos on drums. And they waste no time getting straight to the point with their no-frills power-punk songs.

The R.I.P.T EP is the upcoming release that collects their last two singles, along with their latest ‘Letter to Elon’ and two more tracks, for a 5-track wallop of a musical statement.

Ripping straight into the sublime ‘Socialism Ditty’, and the duo instantly set out their mission statement with a two and a half minutes lyrical and sonic attack that delivers on all accounts!

Wasting no time, the duo kick straight into ‘Eat Chips and Talk Shit’. Setting the scene from the perspective of a twenty-something in today’s world.

The latest single ‘Letter to Elon’, immediately sees Weezer come to mind, with the laidback slacker riff melody, which is never a bad thing, especially to these ears anyway. The song takes aim at the world’s wealthiest man and pokes at the world and his disconnection with how the world actually works.

The lo-fi garage vibe of the EP is a welcome sound in today’s oversaturated, mechanical sound. While the sound is clearly top-notch, it’s more the slacker vibe that shines through, especially on ‘Grinding My Teeth’.

The final song on the EP is the previous single ‘I Don’t Really Wanna’, which is also abbreviated to IDRW. The track is a catchy melodic slab of garage rock that quietly sneaks into your conscience and will become the earworm that will bug and delight you in equal measures.

Thanks to this EP, I will be checking out the duo’s back catalogue straight away

Buy Here

Author: Dave Prince

MICAH AND THE MIRRORS – ‘Liar’s Chair’ (Spaghetty Town / Beluga)

MICAH AND THE MIRRORS – ‘Liar’s Chair’ (Spaghetty Town / Beluga)

Denver, Colorado — In a sense, this record has been overdue for a long time, ” shares MICAH AND THE MIRRORS frontman Micah Morris, who might be familiar around here because his former day job was fronting Fast Eddy, but alas, his world got turned upside down after ending his marriage, losing his job, and his band breaking up.

The day after Fast Eddy broke up, He played the last show in Tokyo alone on a Friday night. He called Dan Dixon the next day and booked studio time for this record. What is it they say about clouds and silver linings?

Micah recounted that when he got home, though, he hit an all-time low and felt like he could see myself burning alive on a chair that people had propped up for me. He spent many late nights alone, looking out his window towards the radio towers in the foothills of the Rocky Mountains, staring into a void. He played piano and guitar until the bright hours of the morning, and at times did nothing but sit there and think.

Friends and family came through, and with their support, he regained his mojo and found the strength to start over and not give up on my lifetime of work with music.

Less than a year since Fast Eddy broke up,’ I’m now sitting on ‘Liar’s Chair’ is out in the wild, and with the speakers turned up, it’s time to walk the walk. You’re eased in with the sound of the wilds as an acoustic guitar is picked gently, as ‘Opus’ sets the mood. ‘You’ll See’ follows with Micah’s voice and a strummed acoustic guitar before the bass and drums ease in and the slower, measured intro builds. The song weaves a thoughtful melody, less bombast and dare I say it, more mature and reflective Micah.

The title track is again a dusty morning on the porch with acoustic guitar strumming towards the chorus. Not a million miles from Ashcroft post Verve in style and feel. ‘Condolences’ is more uptempo with the electric guitar sitting proudly in the centre of the mix. A midtempo slice of modern rock n roll with a lot going on from the horns to the rolling tempo, it’s a top tune and melody with excellent vocals that lift the track out of the darkness.

The single off the album ‘Yokohama Mama’ is like the Kinks meets Roxy Music in vibe, late 70s early 80s groove racing off on a great tempo to be followed out of the traps by the jarring punchy ‘Lady Blue Eyes’ before the barroom rocker ‘Hungry Hungry Heart’ is fired off like a swinging boxer who fancies his chances windmilling and dancing feet its got a hint of prime time Hives for good measure.

‘They Might Say’ is a sidestep with the piano stabs like a late-night, early-morning walk of shame, wondering where you got that feather boa from, but hey, this mellow slice of 70s glam is very welcome, adding another texture to an already most excellent record. Before the album signs off, we walk on the wild side with the bass-heavy rhythmic ‘Tortilla Chip’ coming on like a late 80s Jagger Richards thumper breaking out on the chorus.

We sign off with some ” Oh La La “, “After I Die’ which was only missing the honkin new orleans marching band for the last verse. Welcome back, Mr Morris. With a record this good, I can only see brighter days ahead. Go check it out, you won’t be disappointed.

Buy Beluga (Europe)

Buy Spaghetty Town (USA)

Author: Dom Daley

CJ Wildheart – ‘DEViL’ (self release)

CJ Wildheart – ‘DEViL’ (self release)

You could say ex-Wildhearts six-string shouter CJ is more prolific than main Wildhearts mouthpiece Ginger right now. Since stepping away from the band, CJ has kept himself busy and upped the ante with his own solo career. Recent tours with Michael Monroe and Ricky Warwick now lead to the release of his 8th solo album ‘DEViL’, an album that was apparently a true labour of love and could well be his musical swan song.

CJ is a true DIY artist in every sense of the word. On ‘DEViL’ he has recorded and played all the instruments himself, bar drums, which are more than ably handled by long-time compadre Jason Bowld, and mixing duties are once again by go-to-guy Dave Draper. If it ain’t broke, don’t fix it!

Lead single ‘One Of The Boys’ is a great starting point. Lyrically, it’s introspective and tackles the doubts and questions of an uncertain future. Musically, it aims for the stadiums with a chorus so uplifting that the ensuing goosebumps will contradict the lyrical message. It’s up there with his best work.

‘DEViL’ follows the blueprint of CJ’s solo career to date, in-yer-face powerful punk ‘n roll, dripping with memorable hooks and killer choruses, no slow songs and no acoustic guitars. Opener ‘Nein Nein Nein’ is a punchy assault to the senses, a wall of urgent beats and distorted guitars leads the way for gnarly vocals. The following, ‘The Art Of Being Free’, is a glorious and instant earworm with a euphoric refrain that is just what the doctor ordered. Mark my words, you’ll be singing along from the opening chorus, and it’s a song that demands the replay button.

But don’t hit that button just yet, as there is more great ear candy to devour. You could say some artists mellow with age, and some bellow with rage, CJ is firmly in the latter camp. He has perfected that vocal sneer over the years, and ‘SOB’ sees our man firing on all cylinders with a track that could be a Wildhearts B-side from 20 years ago (and we all know how good those are, right?). Elsewhere, the regimental rifforama of ‘No More’ bridges the gap between punk and metal nicely, leaving those pop melodies by the wayside, it’s the perfect conduit for a punk vocal delivery. Yet it is bookended by ‘Rotten’ and ‘Twenty Two’, a pair of ridiculously catchy tunes that walk a familiar, catchy and more commercial path. Album closer ‘Fade’ then sees our man in an introspective mood again as he soul-searches one last time.

As it becomes increasingly difficult for artists of all levels to tour and release music, you can forgive CJ for feeling it’s time to step away from the music business and move on to other things. And with the recent sad loss of former Wildhearts bassist Scott Sorry and Ginger’s recent health diagnosis, it feels like we are coming to the end of an era for fans of all things Wildhearts.

But don’t feel sad just yet, Wildhearts fans, as CJ has given us a winner with ‘Devil’, and if it is his musical swansong, then so be it, it’s a fine way to bow out in style.

Now, go pre-order the thing and maybe bag some Devilspit hot sauce for your bacon butty while you’re at it.

Buy Here

Author: Ben Hughes

Descendents Reclaim ‘Enjoy!’

Descendents Reclaim ‘Enjoy!’

ORG MUSIC RELEASES THE THIRD INSTALLMENT IN LANDMARK REISSUE CAMPAIGN; 

OUT NOW Here

Available in multiple formats, exclusive color variants, and a special “Punk Note” edition with artwork by John Yates inspired by Blue Note jazz classics.

“This classic album has it all. Punk riffs, catchy hooks, and even scatological humor. One could say it is the perfect album.”- The Hard Times

“When it’s at its best, it’s absolutely f*cking brilliant.”– Punknews

Org Music continues its comprehensive Descendents reissue series with Enjoy!, the third installment in the campaign celebrating the band’s foundational catalog and the latest release since the group reclaimed ownership of their master recordings. Originally released in 1986, Enjoy! captures Descendents pushing fully into their instincts, doubling down on short, fast, melody-driven songs that balance juvenile humor with sharpened songwriting and unmistakable urgency.

While the band had already helped define what would become pop punk, Enjoy! finds them expanding the formula without losing intensity. Tracks like “Hürtin’ Crüe” and “Get the Time” channel irreverence through speed, melody, and tension, while subtle new wave and pop touches—including a punked-up take on The Beach Boys’ “Wendy”—broaden the band’s sound without dulling its edge. Forty years on, Enjoy! remains a defining entry in the Descendents catalog and a crucial document of the band’s restless evolution.

This new edition is out now on LP, CD, and cassette, with multiple color-vinyl variants. Produced in close collaboration with the band, the reissue brings Enjoy! back into print across formats with careful attention to presentation and detail.

Among the vinyl offerings is a limited “Punk Note” edition featuring alternate packaging by John Yates (Stealworks), inspired by the iconic jazz designs of Reid Miles and Francis Wolff, whose work helped define the Blue Note label. This visual reimagining of punk classics continues the aesthetic series that began with Org Music’s Bad Brains reissues. Each “Punk Note” title includes new liner notes by BrooklynVegan senior editor Andrew Sacher and is housed in a deluxe case-wrapped jacket.

The Enjoy! reissue follows Org Music’s widely praised reissues of Milo Goes to College and I Don’t Want to Grow Up, forming the third chapter in an ongoing archival series dedicated to keeping Descendents’ core albums in print across formats for longtime fans and new listeners alike.

FORMATS

Widely Available

  • Black LP
  • “Wild Cherry” LP
  • Punk Note Edition (black vinyl)
  • CD
  • Cassette (Pink)

Limited / Exclusive Variants

  • Punk Note Edition (magenta vinyl) — Org Music exclusive
  • “Green Green” LP — Descendents exclusive
  • “Sour Grapes” LP — Zia Records & Org Music exclusive
  • “Bubblegum” LP — Amoeba Records & BrooklynVegan exclusive
  • Black LP with Exclusive Obi Strip — Celebrated Summer Records
  • Cassette (Red) — Tapehead City exclusive

ORDER HERE:

Descendents

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