Covid-19 update

Monorail Music is continuing to follow Scottish Government advice with regard to Covid-19. The shop remains closed until further notice. We are able to offer a limited online service which now includes bi-weekly ship outs. This is mainly being operated by one member of staff so please be patient when ordering and communicating with us. Thanks for all your support so far from everyone at Monorail Music.

The Deadbeats

Kill The Hippies

Dangerhouse / Munster

Released: 10th May 2016



How much more perfect can it get? From a period that saw the transition between punk and hardcore, the shambolic production mired in fuzz and breakneck playing produce one of the true anthems of U.S. punk. Kill, kill hippies! On the B-Side the group take on a more avant sax-fuelled madness, cruising the genius/moron divide with chaotic panache. "The musicianship of the young men who comprised the Deadbeats was a joy to behold. Scott Guerin and his brother Shaun played as extensions of the same self, and the band also served to unleash Geza X and Pat Delaney on the world. Their stage act musically and visually confounded every cliche and preconception about what 'punk rock' meant. Their unique, driving sound consisted of treated sax and fuzz guitar layered over flawlessly executed intricate rhythm patterns." --David Brown

Munster have teamed up with Dangerhouse to replicate a whole slew of American punk, power pop and hardcore holy grails!

Once upon a time (197?) in a magical kingdom called LA, there was a defect in the space/time continuum known as "punk rock". Only in such a depraved environment could Dangerhouse have existed. Dangerhouse, created by the triumvirate of yours truly, Pat "Rand" Garrett and Black Randy, was a highly naive attempt to create a politically and artistically correct playground for the unique, nihilistic talents of the LA punk "scene". It was clear something needed to be done.

In the beginning there was a lot of musical talent that was going to unrecorded waste. Whereas the English musicians had been set upon by some of the top producers in the business, the very lack of commercialism implicit in LA punk seemed to drive away potential resources. Those were culturally weird times, "Saturday Night Fever" and burned-out super group remnants filled the airwaves. Clearly SOMETHING was better than nothing. The early groups (like the Screamers, Germs, Weirdos, Black Randy) were very good at manipulating the local venue owners and press, and were able to almost immediately fill clubs and halls with folks who were just plain bored and curious.