Shopping Cart -

Your cart is currently empty.
Upgrade to today
for only an extra Cxx.xx

You get:

plus This issue of xxxxxxxxxxx.
plus Instant access to the latest issue of 350+ of our top selling titles.
plus Unlimited access to 30000+ back issues
plus No contract or commitment. If you decide that PocketmagsPlus is not for you, you can cancel your monthly subscription online at any time. Auto-renews at $14.99 per month, unless cancelled.
Upgrade for $1.48
Then just $14.99 / month. Cancel anytime.
Learn more
Pocketmags Digital Magazines
Pocketmags Digital Magazines
   You are currently viewing the Australia version of the site.
Would you like to switch to your local site?
Read anywhere Read anywhere
Ways to pay Pocketmags Payment Types
Trusted site
At Pocketmags you get
Secure Billing
Great Offers
Web & App Reader
Gifting Options
Loyalty Points


Felix Rowe meets four DIY punk labels to discover the keys to success and the pivotal role that vinyl plays on the scene


In late October 1976, the world changed. UK punk marked its arrival with The Damned’s New Rose. Released on Stiff Records, it preceded records by the Sex Pistols and The Clash. Just a few months later, something even more sensational happened. Buzzcocks put out Spiral Scratch on their own label, New Hormones. A shade over 10 minutes long, it packed a mighty punch into those four fleeting tracks.

But what really cemented its place in history is was what it represented. It took releases out of the hands of the traditional gatekeepers, showing that anything was possible, a regional two fingers up to the London execs. In the well-chosen words of Simon Reynolds in his excellent book Rip It Up And Start Again: “People were buying Spiral Scratch for the sheer fact of its existence, as a cultural landmark and portent of revolution.”

From the off, punk was intent on tearing down barriers, challenging the old order and sending up pretension. If picking up a guitar and shouting into a mic was the first step, then putting out your own record was the natural extension. Today, thousands of independent labels follow this very spirit. The scene is the embodiment of a grass-roots phenomenon, typically small operations run on a shoestring budget (oft en out of a spare bedroom), successfully catering for a niche, yet extremely dedicated, audience.

Created by fans for fans, these labels are founded on collaboration, keeping prices down to ensure the music remains accessible. So, how do they do it? We catch up with four labels, Lockjaw, Disconnect Disconnect, Pumpkin and Bombed Out, to find out.

Primetime Failure’s youngest fan


For John Allen, founder of Disconnect Disconnect Records, his journey began in his teens during the 90s, captivated by the incoming wave of skate and pop-punk bands from across the pond. “I found a sense of fun and freedom in punk rock,” John tells us. In turn, his obsession over these US exports opened him up to the UK underground scene. Before long, he was promoting gigs and writing his own zine. The next logical step was helping to put out their records.

Purchase options below
Find the complete article and many more in this issue of Long Live Vinyl - Mar 2019
If you own the issue, Login to read the full article now.