The Reckless Records Blog – Static Shock Special!

Hello from Reckless!

We hope you’ve all had as good a week as we have. This Blog was written to the sounds of…

Incredibly busy week here, with lots of buying and an awful lot of selling. It’s becoming really hard to keep certain titles in the racks for an hour never mind a day. But at the same time you always want certain Beatles, Fleetwood Mac and Pink Floyd records out there. Luckily we keep buying great collections with these sorts of titles in.

1) Huge Classic Rock Collection; lots of original US presses in varying condition. I think there are close to 500 pieces and there are all the classic albums from artists like Tom Waits, Grateful Dead, Pink Floyd, Jefferson Airplane, The Beatles, Joni Mitchell, Captain Beefheart, Soft Machine, Caravan, Fairport Convention, Miles Davis, Dire Straits, Fleetwood Mac, Blondie, The Rolling Stones, Neil Young, XTC, The Walker Brothers, Osibisa, Quicksilver, Led Zeppelin, Dr John, The Allman Brothers, Small Faces, Sandy Denny, Kate Bush, Bruce Springsteen, New Order, Talk Talk, David Bowie, The Velvet Underground, King Crimson, Lou Reed, The Cure, The Police etc. So as you can see it is a pretty exhaustive collection! We’ve managed to get about a third of it out already and believe me, they won’t last long!

2) Duncan had a family drop off a small but incredible Jazz collection at his house. From rare Improv to UK Impulse originals; it is the business. The rarest title is a John Taylor LP on Turtle that even Duncan hadn’t seen in real life before. We played it, and I could really understand why it goes for so much money, it is brilliant. There were also a few Alan Skidmore LPs, John Surman LPs, The Trio LPs, Archie Shepp, John Coltrane, Miles Davis, Mike Osbourne. All UK originals. The collection also had about 40 Jazz eps, including several very collectible titles. I priced up most of the UK titles on Monday.

3) An excellent Grime, Drum & Bass and Dubstep bag came in the other day. It was about 30 12″s and featured people like Wiley, the Grime Rephlex comps, Spooky, Zomby, Andy C.

4) Another similar pile of Jazz, Funk, Disco, House and Rap came in on the same day. Titles from James Brown, Kerri Chandler, Francois K, Larry Levan, Ray Munnings etc.

5) Sean was out at a collection yesterday; an extremely Classic Rock collection! 600 LPs from The Beatles, Groundhogs, Jimi Hendrix, David Bowie, The Beach Boys, Devo, Elvis Costello, Buzzcocks, The Byrds etc. There were also 300 singles and 400 CDs.

6) A few interesting Reggae 45s and 12″s came in this week too from Desi Roots, Johnny Osbourne, Niney etc.

7) Yesterday was CD day with hundreds and hundreds of CDs being sold in – it looked pretty “Classic” but there were some interesting titles int here too from heavy Prog to 90s Techno.


This weekend is the legendary Static Shock Festival that Tom organises. If you don’t know it its an international Punk and Hardcore festival with this year having Warthog, Arms Race, Uranium Club, The Number Ones, Career Suicide etc. It’s always one of the highlights of the year for me so I asked Jonah from Fucked Up, Game, Career Suicide et and Joe Briggs of Scrap Brain etc to do me a Static Shock themed Top Ten.

Jonah Falco

Static Shock top ten

1 – Warthog and their putrid new ep. One of the most electrifying performances of static shock’s recent history has been bifurcated in my memory between drummer Ryan Naideau’s intimidating drum fills during that one song that sounds like the Melvins taking a holiday in an early 80s finnish hc themed holiday camp, and walking into the “electro room” at New River during Chris Bress’ set to see every last person moving and then instantly spotting Naideau speed skanking, only for him to spot me, stop, give the wink and gun and continue dancing. Breakneck to say the least.

2 – Diat “Positive Disintegration” LP
Notably absent from any modern gathering of the faithful surrounding punk, including this weekend, but an unforgettable and perfectly crafted “post punk” band. They have Whodini’d their way out of he chains of faux disco and the emanations of a deflating bagpipe and instead blasted out a second LP of magic drab. Drummer Iffy’s record shop in Berlin – “Static Shock” – has surely provided better living for record collections across Europe.

3 – Ibuprofen – don’t leave home without it.

4 – Heavy Sentence
A perhaps undervalued band from Sheffield who have cracked one of the many codes of playing great heavy metal, which is to have a perfect punk drummer. The kind of thick pneumatics of Motorhead over the cooly shaded histrionics of guitars freely moving in space. The sound of smelling good while looking rough. Sturdy, crunchy, a sea of axes.

5 – Beaconsfield Hotel and The Happy Man
Both more or less inconveniently out of walking distance from the gigs without having to miss an act, but both a place for a swift sip of down time. The former a poetically neglected Victorian interior with drunken postal staff and local pool sharks haunting he premises, skunky pints, and high ceilings yet still worth your time. The latter a diamond in the diamonds.

6 – The Annihilated
Vaulted secret musical project of Reckless staff member Tom Ellis. Blink and you’ll miss it. Rumour has it the only existing physical record of his sole current musical output is on a dub plate in NE London somewhere with the words “Songs for a Shropshire Christening” stencilled on the sleeve so no one will ever listen it. Sunday Night’s performance by “Boss” will also debut the soon to be classic tribute song to Tom, “Mad Mad Ellis.”

7 – Sial s/t LP

A masterstroke of contemporary punk, full stop. Singapore’s Sial are a seamless melding of form, content, intent, and execution. The music is relentless hc punk but should be especially noted for upgrading the pseudo standoff of punk versus the mainstream via the language they sing in, Bahasa Melayu (Malay), which is the language of Singapore’s indigenous minority. This seemingly small challenge of communication speaks volumes to the gestures of importance and meaning that can be foundationally present in an ever diluting notion like punk. They blast off on Saturday evening.

8 – Snatch “All I Want”
Judy Nylon’s perfect punk single from 1978. Not only is she credited with more or less providing the context in which “ambient music” was born (a questionable pursuit but a big one), but she’s also crafted some significantly perfect punk rock. There are two versions of this single and song, much like other important decisions you’ll know you’ve made the right one when you hear it. Nothing to do with this weekend but enjoy yourselves anyway.

9 – Nekra
Four of the most solid musicians on the London punk scene creating a crushing off the rails shove on the chest to all in their presence. LP en route with velvety steely guitar and pummelling vocals. Not only that, but the four women who make up the band are the human crossroads of much of London’s brilliant contemporary punk output, their junction forking outward to the thundering and polynational Forra, the uplifting melodic pogo of Pesadilla, the exhilerating electric depressant of Sarcasm, and the constructivist slam dance of Child’s Pose. The banks of the Thames are alive with Music.

10 – I’m playing five sets and doing a dj set so shout out to myself for intruding on everyone’s cool bands and good time. See you for a Bloody Mary on Monday.

Joe Briggs

Top 10 Records by bands that have played or are playing at Static Shock Weekend:

Static Shock Weekend has provided me some of the most memorable times of my life. Some of the best bands I’ve ever seen. And also some of the biggest mad ones I’ve ever experienced. In 2015 I got so cXnted I forgot how to speak. This year I am looking forward once again to seeing mates from around the world and meeting a bunch of sick punx. I’m also incredibly excited for my band to play it for the first time (Scrap Brain: 3:50 Friday matinee at New River before Chain Cult), and I’m also very excited for Geld, Warthog, Boss, Sial, Heavy Sentence and many many other banging bands, and of course the traditional Friday night Bad Boy Bress DJ set. See you in the pit.

Hank Wood and the Hammerheads – Go Home

21st century New York’s answer to the Mummies released their third album in 2018 and it rips, but their 2012 debut remains special. While garage-punk as a term tends to conjure up images of identikit Burger Records bands chugging through mediocre riffs, Hank Wood’s approach revels in the grot and grime and the weirdness of punk, realising that more interesting than aping the Ramones riffs, is digging into their oddball city urchin mentality, the pain and the mental pressure. Repetitive lyrics of frustration and fury. Most of the tracks have simple refrains that build and twist in on themselves, growling and snapping at you, twitching inwards and out with raw raw firehose power, like the song My House which consists almost entirely of the line “HEY YOU! GET OUT OF MY HOUSE!” like that point of utter dissolution in an argument that ends a party or relationship when you just hang on to one phrase repeating it with machine-malfunction rhythm again and again and a-fucking-gain to the slippery point of semantic satiation because it’s that now-or-never separation you need right now, not any sort of showdown, not any sort of explication of issues and history you just need the lonesomeness and you can’t see anywhere, think of anything, but that repitition and the respite it seems to shape. This album is about those wormy twin feelings of city living, where you despise the alienation and industrial numbness of these human-factory farms (“I don’t belong here.” broods Snide…Petty…Fools) but also revel in the badass ice-eyed streetwise fearless cynosure cXnt you cut yourself into in order to survive. This whole record, from the clanking sewer-noise of its untitled track, to the redneck rumblings at the start of Bad Things which quickly devolving into another growling stompy scratching-at-the-seams mess, is a jittery uncomfortable grumble on urban rot and the Mega-City Dredd attitude it cultivates inside us that boots up against our smarts and dreams and failing stars and tussles there til we drown it with alcohol or cyborg drugs or abandon the fight, the blame and the corruption, for the quieter apocalypses of suburbia.

Playing in 2014, the Hammerheads, live are a writhing insistent mass of panicked guttural twitchings, those isolated breakdowns become roaring shoutalongs, flung about in deadly release.

Dawn of Humans – Slurping at the Cosmic Spine

The apogee of 2010s freakpunk. Scuzzy guitar dragged over pogothump rhythms runs Slurping at the Cosmos Spine, strapped up equally ready for an imbecilic slamdance or fresh aperture gouged into your third-eye. The vocals are the most divergent instrument here, snapping lizardbrain warbling and strained whinnies, inane whirling ditties with the cadence of playground taunts, deep dogbitten threats, panicked jolts and spasms. There’s the tapewhine and flickering spitshake of Possibility Box, the rattling of Secretion, the fleshy vellication of Painful Mountain, the restless clamor of Dug Hole, the pumpfake slobbering dronedrawl of Horseblind, slipping down into dark. All the way through to the pressing freakstamp of Foundation, Dawn of Humans snatched songs from fragments and shards. Gnomic visions of a world in flux, half-glimpsed through a mucal veil. Oblique gerunds trailing off, “As we stand on firm ground, we sink in, callousing” on Horseblind, Fixation’s repetitive sneer of “Always bending”, Dug Hole “Creeping, seeping, crawling”, Possibility Box “Knowing, not knowing”. This album tricks out the scribbly essence of thought, coalescing and tearing, tumbling off into the ether. It’s a world of traps and terrors, fears lurking beyond or within, their clammy tendrils brushing against up against you as you surge bodily and stumblemosh in the gloom. Jump-up music for aborted seances, busted headcult punks in primordial movement, dancemoves and directions sucked greedily straight from the collective unconsciousness of the puerile choir immaterial.

They played in 2014 with Emil adorned in a homemade armour made of a broken mirror, bungee cords and duct-tape, partway through their set he leapt into the pit and opened up his hat to take out bits of paper which he passed out exhorting the wildly pogoing punks to CHANGE or GROW. A mate of my received one of these after smashing his first gary and I think his head hasn’t been the same since. Meanwhile, I went home with the mirror that was hanging off Emil’s cock and it’s still on my wall.

Good Throb – The Queen Sucks Nazi Cock

Watching a band grow is one of the greatest joys, while Good Throb were already a great band when I first saw them in Power Lunches supporting White Lung a good five or six years ago, over the course of their lifespan into one of the best punk bands in the world. Their final (for now) record, features their timeless mix of scalpel sharp lyrics, sneering soul-snatching vocals, clattering drums, intricate spiky guitar, pumping bass. Best British punk band since Crass.

They played a bunch of times, but from being a fairly early Friday night band in 2014 when half the people are still hungover to one of the Saturday night main events in 2017, where people back the gigroom 30 minutes before and the air pulses with anticipation, as more and more people got caught up in the Throb, this band have never failed to kill it live.

S.H.I.T. – What Do You Stand For?

Consistently making some of the best hardcore punk in the world since they got together almost a decade ago, their first LP is rushes and reaps, ready to rearrange face and brains, fit for blowing up rooms. Vocals dragged roughly out of the depth the throat, but imbued with less echo and blunt purpose than their earlier EPs, retching over the collision of body and society, mind and matters, writhing and snatching clumsily in flat bursts of alienation. Pressing onwards, crashing forwards. They played two sets in 2014, an absolutely terrifying Friday night one which destroyed one of the speakers and ripped off the top half of Colin from Disguise’s ear, and a slightly less insane but maybe more joyous Saturday night.

Game – Who Will Play?

Though they’ve only been going a couple years, Game’s collective members who’ve played in bands like Fucked Up, Violent Reaction, Career Suicide, Arms Race and many more, have probably got a good couple thousand gigs under their collective belt. While there is an incredible joy in seeing a rough and ready bunch of kids working out their way around their instruments with simple, there’s an equally special feeling when a bunch of hardcore/punk lifers take their experience and talent and commitment and pool it into a complete hardcore statement like Game do. Actually calling to mind true greats like Gauze and other bands that people claim their band sounds like while missing by a mile, Gauze. Astonishing riffs, bloodied vocals, perfect hardcore. They played the last one and they’re tour-tight and on the main stage at this one.

Una Bestia Incontrolable – Observant Com el Món es Destrueix

It’s rare to find a hardcore band with so few direct forebears, Una Bestia Incontrolable’s shares little in common with most adherents of the genre, maybe only in the percussive seductive weirdness of Hungary’s Vágtázó Halottkémek can you find such a melding of danceable rhythms and scratchy uncomfortable noise. Also, while most hardcore bands, like Hank Wood, focus on the urban, UBI often draw on the deep terror, the choking awe of nature’s darkness, to infuse their songs, the childhood fear of the woods run through rumbling hardcore punk, dirt-infected guitar tones. Pernicious smirking forest knifepucks, or a deadfaced stalker, unseen, always pacing behind you with the rustle of brushes, the whip and crack of branches and twigs. An endless evil in the woods, deeper than the roots of the biggest fuck-off trees. Fuck the communion with nature, fuck the Growth of the Soil, don’t trust the earth. This album is the sound of cold streams, mini-eschatons, phobias of the dark that stretch back further than childhood, stretch back right into some deeper human dread, primal terror, shadowy places that have existed for a long-ass time. It’s an album of fire, winds and flamewhips. Echoes. Shit. Crepitations. Threat. Pounding rocks, nasty fucknoise built into looming boulders and packed into mud since the coalescence of the earth. Violence until now. Let us in. Let us out. We were right to be afraid.

UBI played their first gig ever at Static Shock 2012 and returning as headliners in 2015, a set I actually didn’t enjoy because I was absolutely off my tits and 5 minutes before they played Tom Ellis informed me I was going to go on stage and talk to 500 people immediately after their set so I spent the entire set completely freaking my nut out. Thanks for that, Tom.

Kriegshog – s/t

For my money, the best album released by La Vida Es Un Mus, the greatest punk label in the world. In the myriad forms of Japanese hardcore, from the sweeping solos of Death Side, the whipcrack fury of Gauze, the monomaniacal d-beat of Disclose, Kriegshog mine the particular of the likes of Crow and their crusty thunderous take on Motorheadesque rock and roll. Burn in particular is one of the best hardcore songs of the last 25 years. A hypnotic propulsive fury, pulling you into the murk. They headlined in 2016 and tore up both the Dome and the Unicorn. I remember most of both sets.

The Number Ones – Another Side of the Number Ones

Four songs of absolutely timeless power-pop, feeling less like they were written but plucked fresh and complete from some ineffable romantic ether, but that’s how it goes with perfect pop songs, golden tunes, wry lyrics, melodies smooth as a white lie, if everyone could write songs this good, they would. The effort and talent that goes into crafting these tunes as good as anything on any Powerpearls comp is elided by the finished product, and its irresistible charm. The Number Ones have played SSW multiple times. From their Saturday afternoon in 2014, where it genuinely looked like Cian was gonna puke for half the set, to the 2015 aftershow, which I have absolutely no recollection of despite there being documentary evidence of me being there (apparently my trousers fell down in the pit) the lads seem to be able to dig deep within themselves and conjure up those sweet melodies and harmonies and despite the fact that they are invariably either absolutely on it or struggling through a thick fug of a hangover. This year they close out the festival on the Sunday evening. Good luck, lads.

Uranium Club – All of Them Naturals

Meticulously-crafted post-punk dispatches from a strange alien world of workplace paranoia, a fully-realised conceptual approach to the surreal despair inherent in the corporate psychological landscape of late American capitalism, like Devo covering David Foster Wallace’s The Pale King. They smashed it up in 2016 and will be doing it again this year on Friday night.

Bib – Moshpit

Plaintive piano into what is basically the Leeway intro, absolutely massive fuckin hardcore, riffs that sound they were played with a brick, songs constructed purely to stomp your head in. Pure mosh tempting even the most retired old-punk back into the pit. They played 2017 and it was almost too hot to breathe. The closest I’ve felt to death during a punk gig. Incredible stuff.

See you next week if we’re still alive!