Isolated: The Skinhead scene in Sardinia – part 1

First part of the special feature on the skinhead scene in Sardinia from the 1980s to the mid-2010s

It’s 1985. C.A.S. Records, the historic Nabat label, releases the compilation “Quelli che urlano ancora…”. In the LP’s tracklist, which over the years will become a real cult piece for kids all over Italy, there’s a name: “SS20”. For the first time on a record, the flag with the 4 Moors is put on the map in the Skinhead scene.

To find out what and who the SS20s were, however, we have to go back a few years, to Cagliari at the end of the 70s.

1980s – From SS20 to Claptrap

The Internet was not even a distant mirage, magazines like Rockerilla or Mucchio Selvaggio were just about to be born, and their mass circulation will take a few more years.

In order to listen to new music, different from  mainstream radio, one had to travel, or blindly order records by mail, from catalogs that were exchanged between young people. There were no low cost flights or streaming. Everything that could be recovered was thrown away on cassettes that immediately became small treasures.

“If I had to indicate a fundamental tool of that period it would certainly be the photocopier. Fanzines gave us the opportunity to discover and dig deeper in many other realities ignored by the big media but, above all, they brought back on the same level of direct communication those who played and those who listened.” Marco Rocca (Claptrap)

If Italy in those years struggled to incorporate the new sound of punk that came as a slap from Great Britain, Sardinia travelled at an even lower speed. The result was that when punk culture began to spread across the island in the early 1980s, the UK’s first wave was already pretty much over. The young Sardinian punks found themselves traveling backwards, to rediscover what were the roots, aesthetics and culture of the movement. Everything is to be rediscovered, everything is yet to be created.

“Someone who had come back from New York told us about Ramones and Television’s live shows in a small club born for country music and which instead become a temple of punk. It was the legendary CBGB, but we didn’t know that then. (…) and then Minor Threat, promoters of DIY and straight edge ethics: it was their shaved heads that reconnected us to the British Oi! / skinhead movement that we had already discovered with fanzines and records. 4 Skins, Cockney Rejects, Cock Sparrer, Partisans, Infa Riot, Business and many others.” Marco Rocca

The SS20s were born from this rediscovery in ‘82. The name represented the US / NATO classification with which the RSD10s (i.e. Soviet ballistic missiles aimed at the western block) were called. In a Cagliari made up of group and folk dances, places to play were hard to find. While Milan’s “Virus” started the season of occupations that would have affected a large part of the Italian punk scene, in Cagliari they tried to play in the most disparate environments: from student assemblies, to pre-evenings at the disco, up to the salons parish of some church. Despite this, and despite continuous lineup changes,  SS20 manage to build a name for themselves in the island’s alternative musical environment, up to somehow conquering the Boot (tn: Italy’s peninsula) as well, coming to play (with a very young Joe Perrino on vocals) at the well-known OI! rally of Certaldo in 1983.

“Our rehearsals were becoming a point of reference for those who really were the“ rejects ”, not Cockney, but Cagliaritan. Some people just needed to cut their hair but  needed help. Until we got an electric one, the razor was a hellish thing that tore your hair out. I remember some girl who even dared the Chelsea cut. But even if not everyone wore the “perfect” skinhead uniform, we shared the music and above all the social unease: what had been the original spirit of the movement before it split into extremes of a political matrix.” Marco Rocca

The Casteddu of the early eighties began with great difficulty in absorbing what was the new spirit deriving from the Northern European sub-cultures. Piazza Repubblica represents the first landing place for those young people who didn’t recognize themselves in the masses and who needed a meeting point of their own. Fanzines were now widespread, contacts were becoming closer, some live music venues were born on the island and the first reviews for bands from the most disparate genres began to spread.

At this juncture comes the contact with Steno. The participation in a compilation such as “Quelli che urlano ancora…” is an opportunity to discuss and to broaden the circle of contacts. Although SS20 already sang exclusively in English at the time, they decided to rework the text of their “Take one decision” and propose an Italian version, in order to be able to address the kids in the peninsula more directly. “Non staremo più a sentire” is the only studio testimony that SS20s produce, as well as a demo recorded which is now impossible to find. That participation also marks the band’s last act as SS20. With yet another line-up change, and the reworking of the band’s sound, it was decided to give the group a change and to rename it “The Claptrap”.

Claptrap was the spokesperson for a voiceless class that, like us, experienced the same situations in every part of the world. For this reason the lyrics were in English: an international language for international problems … I remember the long theoretical discussions at the end of the concert on independence with Renzo Saporito, who later in 1989 founded the Kenze Neke. He supported the idea of ​​solidarity between minorities fighting for independence. In my opinion, however, the problems were upstream and it was therefore in a broader context that solidarity was sought.” Marco Rocca.

With Claptrap the sound changes. In addition to punk and OI !, the American Hard Core influences and ska / rocksteady sound of skinhead origins join in. Talking about a punk scene in Sardinia is still premature, and the comparison remains that of the island’s mixed rock stages. In this context, the development of self-production and the many independent labels that were born in those years will be able to create a network of contacts that will allow the band to broaden their horizons outside the island.

In the wake of these developments, the group decided that the time was ripe to make the leap in quality and produce an album. Scalded by the bad study experience in Sardinia, and with a shaky lineup, Claptrap left for Rome and recorded what will be classified as the first self-produced LP in Sardinia, “This is the Italian sound”.

In full DIY style, the “Crossed Hammers” brand was created for the production of the record, while the distribution in Italy was entrusted to Turin’s Toast Records.

“I no longer know how many letters have been sent everywhere to many labels that may have disappeared or had changed address in the meantime. Every day I was terrified of finding in the mailbox the envelope with the stamp depicting a pointing hand, and the words “back to sender”. With others we managed to establish contacts and some of these have also become important production or distribution companies such as WeBiteRecords and Rock_o_Rama in Germany, Roadrunner in Holland, Oi! / SkaRecords in the UK, Mordam Records and Dischord but above all Alternative Tentacles in the US. I still remember the autographed letter of appreciation for our record by Jello Biafra himself who, in addition to sending me the list of all the distributors they used to rely on in the USA and Canada, also sent me, to return my sending, some t-shirts of Dead Kennedys and Alternative Tentacles which I still keep as relics. “ Marco Rocca

The following years swung Claptrap and that small nucleus of Sardinian Skins between joys and sorrows. If on one hand the release of the album allowed the band to embark on a tour that crossed northern Italy, then marking stops in Switzerland, Germany and the Netherlands, on the other hand the ambiguity within the skinhead movement and the media attention on the phenomenon of some “nazi-skins” also created rifts within the island environments.

Since the early years provocations by the band had attracted criticism and inferences, and that in Cagliari and Sardinia there were skins with strong right wing tendencies was no secret. But if at the beginning of the 80s the word skinhead remained unknown to most on the island, and having a shaved head and Dr. Martens could make us think of belonging to an armed body rather than a youth subculture, a few years later they were the same fanzines to point the finger at the Nazi-skin threat and the “apolitical”. Some contacts were lost, the band was kicked out of the self-managed rehearsal room in which it had been playing for years. To this day, rumors are still widespread that they would see the SS20 / Claptrap route as that of a far-right reality.

“Although we have an affinity with the skinhead culture, we have always considered ourselves to be mavericks. Being now even assimilated to the Nazis was really intolerable. We had also prepared, and circulated in fanzines and newspapers, a flyer in which we explicitly distanced ourselves from all of this. But it was of little use. (…) twenty years later in 2000, I found by chance on Discogs, the photo of a self-styled interview, in a disarming macaronic English, which would have been given to our group by an unidentified fanzine. You don’t have to be Sherlock Holmes to understand that it’s a crude fake in which a series of idiotic questions are written in function of a series of equally idiotic answers. ” Marco Rocca

All this inexorably lead the band to a drastic departure from the scene, and to undertake an individual path that will still bear good results. “This is the Italian sound” was a great success. Several trade magazines write enthusiastic reviews, the band begins a dense live activity that will last until the end of the 80’s. However, in 1989 something breaks. Two of the three elements leave the group which disbands and disperses. It’s the end of the first and only island skinhead band of the 1980s.

Here you can watch Claptrap live

The 90’s scene

“I was lucky to have older brothers. They played garage-revival, so I found myself in the midst of music since I was a child. Then, when I was 11, I saw the Sex Pistols’ movie and I went mad. I started listening to punk, I was very influenced by the Ramones, my style was that one, complete with a hair bob and striped shirt. With my first band, Nitro Somones, we covered Cockney Rejects or Stiff little fingers. I didn’t see a real difference between punk and Oi !. Then Tiziano Ansaldi died. Nabat organized a reunion concert together with Klasse Kriminale and Ghetto 84. Me and 2 other friends decide to embark for Bologna and go there. I was blown away by that show. I saw a scene that was what punk really meant to me. So on my return I made my barber happy, and I shaved off my hair bob. “ Alessandro Rizzu (Non Idonei)

The political split that overwhelmed the Skinhead movement almost everywhere left a scorched earth in Sardinia. Many were those who definitively distanced themselves from the culture, sometimes denying the same path taken between those rows. Between the late 80s and early 90s, especially in Cagliari, the rows of the island’s Skins were almost entirely occupied by right-wing elements, also because of the new pact with the soccer world with the now dissolved “Bunker Skins” ultras group.

The new generations of punks who turned their gaze to OI !, found themselves having to unravel a tangle of misunderstandings and confusions in times when the usability of the means of communication was still light years away from today’s style.

To make things easier, many skins had stepped aside, others had taken bad paths.  There was a lack of continuity.

“I moved to Cagliari in 1990 to study, and from there I started playing grindcore and then death metal. At that time, Piazza Repubblica was divided into two semi-squares, one for metalheads, the other for punks. I was going back and forth from one side to the other, so I met a few people of the scene. Then, after leaving Hell Church, I found myself in the rehearsing room with a few friends who were starting a new band, and they asked me to play the guitar. That’s how I approached the skin / punk world, and we formed “Non Idonei”. “ Fabrizio Tedde (Ciurma Skins/Antiruggine/Generacion Rebelde/New Blood)

In this context, if on the one hand the new generation found themselves orphans of concrete island references and already well-established structures, on the other hand there was plenty of space to build a whole new scene, free from paternalism or ideological cages.

“There were people of a certain age who maybe listened to punk, but in clothing they were very casual. It was difficult to understand the differences between Oi! and the rest. Sometimes it could be an article in some magazine, sometimes a song, you saw photos and slowly understood, you bought yourself boots and so on. In any case it was a fairly gradual transition, we mixed a lot. “ Daniele Diana (Ciurma Skins/New Blood)

From the island’s musical turmoil of those years, in the skinhead context, “Non Idonei” were born in Cagliari in 1994, and not even a year later “Adunata” were formed in Sassari.

Isolation, marginality and abandonment to oneself are the themes that emerged most clearly from the lyrics of Sardinian children. Songs like “Stessi volti” or “Figli di nessuno” tell an everyday life made of monotony and abuse, faced however hard-nosed, without any surrender.

The newly born Casteddu / Tàttari axis, from ‘95 onwards will be the living core of an entire punk experience that will animate Sardinia until the end of the 10s of 2000.

“We started with black metal. Very hard sounds and long hair almost down to the ass. At the time I was already doing seasonal jobs in the Arzachena area. When I returned I called Mauro, our guitarist, so we could organize and go rehearse. Once I got to the rehearse  room, I found Daniele shaved. He told me that with two of his friends, with whom he later founded “Adunata”, that summer they had discovered SHARP” Tonino Piras (Rolla Call)

Despite some precedents, punk in Sardinia had never really managed to take root in the island’s musical circuit. Combat boots and a shaved head were a further obstacle. Rehearsal rooms, venues, contacts. It was all to be invented.

If in Cagliari there were already places like the “Temple of the pharaohs” or the “Jazzino” which gave the possibility to all young musicians to play or book concerts, Sassari lived a more countryside reality.

“We played in bars and clubs. The problem is that out of 30 people maybe 20 were cutthroats, the worst scum in the city. When they saw you with instruments they asked you if you could play Sassari folk. It was very easy for “the skinhead effect” to start and everything would end up in chaos” Tonino Piras

The prejudice towards the skinhead movement was also a real cross to be dragged into every day life situations.

“When we founded SHARP Sardinia we were very few. It all started with a friend of mine who lived in Perugia. He hanged out in the former “Cim” environment: Five boots, and all of those guys. I had often started traveling for concerts, and seeing that world I had thought of bringing the SHARP experience to Sardinia too. But we were very few, and some because of work, some because of studying, we were often each one on our own. Sometimes I happened to go out alone with my girlfriend and still be framed. Several times I risked getting myself killed” – Alessandro Rizzu

Despite this, the island’s kids begin to make contacts and organize concerts, mainly between Sassari and Cagliari. Postal correspondence, cards for telephone booths, collections: once again, thanks to the DIY spirit of those years, Sardinia began to become a destination for OI !, HC bands and punks from Italy and Europe. From the experience of those years, an iconic 7 inch split Adunata / Non idonei will come out from 1999, published by  a label that will have a short life: “Krikk’e Kasteddu records“. This Ep, however, will mark the end of the Cagliari band.

The late 90’s and early 2000’s mark a positive turning point within the punk / skin community. Over the years a network of consolidated contacts and acquaintances had been built, places for concerts are expanding, as is the number of fans of the genre. New bands are born: in 1998 Generacion Rebelde are formed in Cagliari, and the following year in Carbonia a group of local skins gives life to Antiruggine.

However, at the dawn of the new millennium, it will be Sassari to experience a new liveliness of its scene. Skins, mods and rude boys of the north coast of Sardinia, from 3-4 initial elements, will come to be numbered by the dozen, children of a scene born from nothing in a city that in those years “looked like a war film”. There will be several bands that will form and dissolve in that environment.

“We all played with everyone, there was always someone ready to pick up the bass or guitar instead of another” Tonino Piras

The widening of the scene will also involve the first overseas experiences for the Sardinian bands. Genoa, Bologna, Reggio Emilia, Rome. The contacts made during the concerts in Italian cities, the Sardinian emigrated skins and the shows’ exchange, are the nodes that will allow the Sardinian scene to create a continuous exchange with bands, crews and labels of the peninsula.

They are also years of important productions. After a first demo in 1999, Generation Rebelde’s first album “Condannati” was released in 2001, followed two years later by a split CD published by KOB records with the Vampires. Also in 2003, Antiruggine presented their demo “Ci siamo anche n’OI!”, partially resumed in the split released the following year together with Adunata, produced by Anfibio records. This work, “Da costa a costa” represents one of the cult records for the scene of the time.

Once again the Sassari crew releases  the demo “Isolati” online in 2003, a deadly photograph on the heads of the north Sardinian coast. On the other hand, in 2002, the Sezione Ribalta, the first band of the genre to sing entirely in Sardinian limba, enter the scene and will publish their first demo “Di po di” (day by day) in 2005.

These were years of spontaneity, of concerts with friends, drinks and fights. The acronym RASH Sardegna begins to appear on self-productions, in concerts and in some rallies.

Even if the number of shaved heads remains limited, the environment is large and lively:

“We weren’t many, but the concerts were popular. People came to see us even if they didn’t know anything about OI !, and so did we at  other concerts. Today, if you organize a Hard Core concert, you will find only those who listen to hard core, of that particular type. ” Fabrizio Tedde

2005/06 – The second phase

The new international flare of punk and its sub-genres of the 2000s, partly caused by the entry of the much-hated “pop punk” into the mainstream , brought a new generation of very young people to approach street punk in a totally autonomous way. If on the one hand in Sardinia the 90s scene took large steps towards the consolidation of a more than positive experience, from the geographical breakdown of Sardinia, many small realities were born, in some cases relegated to very small villages, which however managed to produce material and enter in contact with old school bands.

“We were Lagwagon and Pennywise fans. We used to associate skinheads as kids with the classic Nazi shaved skin. Ivo, on the other hand, was a more English bootboy, with his hair back and a slightly more particular style. It is him who introduced us to that world ”Fabrizio Pilloni (Sezione Ribalta)

In the most dispersed and isolated villages, small punk bands were born, in which there were some skins or, in any case, fans of OI!, which, also thanks to the advent of digital, will be able to leave testimony of their first experiences.

Among the most iconic works of those years, certainly worth mentioning is “Radio Sardigna” by Keret Korria. Siniscolese not really a new school band, led by the historic boot boy Skakallo, who at the beginning of 2000 will release their first and only album with strong Clash influences.

In Cagliari Controllo a distanza were born, a very tight street punk band that produced in 2006 their first studio work “Il disagio non è un reato”.

In the province of Oristano “Rebels actions” were formed, which produce their first demo in 2007 “Politicante” and C4, which came out in 2009 with the first demo, later resumed in the album ” “Congestione mentale”.

In addition, realities that remained more in the shadows or did not last very long will be born, such as the Combat boots of the Maddalena, or the Disagio urbano of Oristano.

However, the aforementioned Casteddu-Tàttari axis remained the driving force, a well-established reality and a symbol of this counterculture on the island. Next to it, the excitement is growing in a new center, San Sperate, where the aforementioned Sezione Ribalta and the Kattive Maniere records label, will be able to build a real active pole for the Sardinian punk scene.

“In 2001 I met Bad Manners and I lost my mind. I started writing KattiveManiere with a K everywhere, I was a kid, I was punk. I already had Rudy Medea’s “Vacation House” catalog from which we ordered CDs with friends, and then I got in touch with Carlo from Brutus records. So I started making my own catalog and creating the KM distro ”Fabrizio Pilloni

In those years, a new live music venue, the Titty Twister, also opened in Selargius, in the Cagliari hinterland. A place that will play a pivotal role for the Sardinian underground, and which will be the main home of the island’s punk and HC subcultures.

Right at the Titty twister, in 2007  Sez. Ribalta will present their first studio album, “Fai su ki deppis fai” (do what you have to), a deadly street rock n’roll album: lyrics totally in Campidanese Sardinian with street flavors and fresh riffs with a continuous reference to the old school . Sezione Ribalta tell stories of the country and of unease, without the fear of appearing provincial or repetitive.

Thanks to this album they will start an intense live activity inside and outside Sardinia.

“The demo and the first record came out completely in the DIY spirit. Kattive Maniere and Shardana records, which was Ivo’s label, were more than the brands we used to symbolize, as if to say “Hey, here we are here too, this place is alive too”,  with that stadium mentality that has always accompanied us. But in the end, the money always came out on the same side. ” Fabrizio Pilloni

Another feature that differentiates this new wave is the step of continuity. The relationships between new and old recruits are welded immediately with collaborations and exchanges.

“Carbonia has always been a place that I have considered home, since the first few times I went there. As soon as we met, Antiruggine organized a concert for us at Vertigo, and from there on it was a continuation. We were ended up almost commuting. We called a group in San Sperate, and had the second show in  Sulcis ensured, and vice versa ”Fabrizio Pilloni.

In the same period, an evolution in the environment and in the island scene, lead to new developments.

“We found ourselves with the main bands of the movement on stop: Antiruggine split up, 4 moors split, Adunata parked. At that time a new wind from the right was coming in Sardinia, and we had to figure out how to manage it ”Tonino Piras

It was immediately decided that the counter-offensive should have not been a purely anti-fascist maneuver, but a real contribution to the scene, a step forward, which would have acted as an aggregator and which would have allowed the creation of a strong and structured movement.

Thus a new debate was born, which lead to the creation of the “Hammers of Sardinia” label. The new label was the task of uniting skins from the north to the south of Sardinia, and was proposed as a connection center for the punk realities of the island.

The first production arrived already in 2007, and came out in collaboration with a German label. From the ashes of Antiruggine came Ciurma Skins, which debuted with their first self titled album.

Classic but never lame sound, very bad riffs and sing along choruses, the album is a record made by Skinheads for Skinheads. Few frills and real anthems, like “Siamo della stessa Classe” or the homonymous “Ciurma Skins”.

The Hammers of Sardinia became the structure that was missing from a scene made up of small crews.

The productions will involve not only bands of the scene, such as the section limelight themselves, which will come out in 2009 with a split with the Portuguese Violent Cops right under the HOS, but also bands of the island’s HC scene such as “K’e-k’e-m” or “To Ed Gein”.

“We were able to create a network that passed through Sassari, Carbonia, Cagliari and Olbia, and that allowed the bands that were in our scene to be able to tour between these cities and in the neighboring areas, and to be able to produce and carry their own music around” Tonino Piras

Also in 2009 the HOS released another album destined to remain imprinted in the ears of Sardinian skins. The old Sassari glories give life to the Roll Call project, and publish the album “Sotto il suo cielo”.

Disillusionment and anger, but also a boundless love for one’s land and city. The Sassari keep the level very high and churn out a raw and true record, in which they tell a gray and boring everyday life, which they can oppose with clenched teeth and a high guard.

From this period probably the most mature and incisive productions on the scene come out, and which will mark a new golden phase for the movement.

The Sardinian Skins had built a lively reality, capable of comparing itself even with the large Italian and European centers. Tours, distributions and show exchanges  now pass through easy channels, even if the logistical problem of the sea always poses a problem of costs and timing.

“Not for presumption or what, but I think the Sardinian bands of those years were really OI! in the purest sense of the word. We were pissed off, hungry. The stuff of being a skinhead wasn’t so much having a shaved head and boots as it was about making a gang and saving us from a place forgotten and abandoned by all. ” Fabrizio Pilloni

This well oiled machine will work until the early 10’s of the 2000s. The advancement of age and the evolution of the musical environment will lead to a slowdown in that ferment that had animated the clubs and bars of half the island.

“Nothing broke and we didn’t argue with anyone. We had simply given what there was to give. Some places closed, others lost interest. Furthermore, the arrival of streaming made it necessary to catch up with digital, and we did not have the slightest desire to do so” Tonino Piras

The Hammers of Sardinia stopped its publications. The Crew Skins, the Roll Calls and Sezione Ribalta  dissolved. The main actors who had animated the scene up to this point essentially stepped aside:

“We have never stopped playing, first with the old bands, now with New Blood, but we can say that for some years we have stepped down. We gave what we had ”Fabrizio Tedde

The rest is known history, or in any case easily reconstructed on social networks. This article aimed to reconstruct the pieces of a story that was in danger of being lost, confused among independent productions impossible to put together, between stories from bars distorted by a thousand word of mouth, between rumors and partisan narratives. Although reduced to the bone, and certainly not without errors or forgetfulness, this is the story of a scene born from nothing, with its mistakes and its troubles, its battles won and lost, and the thousand nights of glory imprinted in the memory of the many who passed above and below the stages of those concerts.

Today realities such as Kattive Maniere still hold on, organize, struggle and continue in that path traced years ago. Bands with old and new skins and punks continue to produce and play, such as Coru & Figau, New Blood, C4, Malepeggio. New recruits have come and will come, true to the old cry:

OI! will never die! OI! It will never die!*

Thanks for the enormous contribution: Marco Rocca, Fabrizio Tedde, Daniele Diana, Alessandro Rizzu, Tonino Piras, Fabrizio Pilloni.

*translation from Nabat’s song “Lunga vita ai ribelli! Oi!”

Article by Roberto Lai

Street punk / Oi! Releases from Sardinia:

4 Moors – Sassari

• Isolati 

Adunata – Sassari

• Demo – 1996 
• Split Adunata/Non Idonei – 1999 
• Da costa a costa – split/Antiruggine 2004

Antiruggine – Carbonia

• Ci siamo anche noi – demo 2003
• Da costa a costa – split/Adunata 2004

Astio notturno – Cagliari 

• De sa ruga, po sa ruga – 2019

Band of brothers – Villarios

• Colabrothers??? – 2005

C4 – Silì

• Demo – 2009
• Congestione Mentale – 2012
• Odio – EP 2018
• Disterru e catenas – 2019
• La provincia odia – 2021

Ciurma Skins – Carbonia/Cagliari

• Ciurma Skins – 2007 

Combat boots – La Maddalena

• Split Combat Boots/Skatenio – 2004

Controllo a distanza – Cagliari

• Il disagio non è un reato – 2006
• Inediti – 2008

Coru&figau – Cagliari

• Benvenuti nel mondo reale – 2016
• From Sardinna to Bologna/Contus de maris e montis – 2017

Disagio urbano – Oristano

• Demo – 2007

Generacion Rebelde – Cagliari 

• Resistenza umana – demo 1999
• Condannati – 2001
• Skins & punx new generetion – split/Vampires 2003
• Fino a quando – EP 2005

Keret Korria – Siniscola

• Radio Sardigna

Malepeggio – Cagliari

• Di male… in peggio – 2016
• Randagi bastardi – 2017

New blood – Carbonia

• As sand in the wind – 2015
• Split New blood/Dead end street – 2016

Non Idonei – Cagliari

• Demo ’97 – 1997
• split 1999 Adunata/Non Idonei – 1999

Roll Call – Sassari

• Sotto il suo cielo – 2009

Sezione Ribalta – San Sperate

• Di po di – demo 2005
• Fai su chi deppis fai – 2007
• Street rock band – split/Violent cops 2009

SS 20 – Cagliari

• Disillusion not solution – demo 1984
• Non staremo più a sentire – singolo/compil 1985

The Claptrap

• This is the Italian sound – 1986

Various

• We Don’t Like You (con 4 Moors e Adunata) – 2004