[engl] Fast Freight is the new album from Deniz Tek with Art and Steve Godoy. Art and Steve are internationally known skateboard stars, tattooists and punk rockers. They have been in Deniz' solo band for more than 20 years. The first album they appeared on with Deniz was Glass Eye World, billed as Deniz Tek and the Golden Breed . Deniz, originally from Ann Arbor, Michigan, is known as a founding member of the Australian based band Radio Birdman. He has maintained a prolific career in both live performance and recording. His work spans multiple decades. He has toured extensively in Australia, North America, Europe, and Asia. He is an inductee in the Australian Music Hall of Fame and was voted number 7 of the top 100 Australian guitarists of all time by Australian Guitar Magazine. Fast Freight is basic, no-frills electric guitar rock and roll with a punk edge, recorded and mixed entirely on vintage analog equipment. Following the recent all-instrumental Lost For Words, and the rock album Mean Old Twister, replete with keyboard and horn arrangements, Fast Freight is a return to basic roots.

[engl] Deniz Tek is best known as a founding member of the influential Australian 70's independent rock band Radio Birdman. Originally from Ann Arbor, Michigan, the guitarist / singer / songwriter has long been based in Australia, maintaining an active and prolific solo career as well as spearheading Radio Birdman's ongoing revival. He has also toured and recorded with many of the iconic figures of Detroit rock's greats: MC5, The Stooges, The Rationals and Sonics Rendezvous Band. Mean Old Twister is the follow-up to 2013’s acclaimed "Detroit", and will features the same band – bassist Bob Brown and sometime ATOMIC ROOSTER and SPINAL TAP drummer, Ric Parnell. Mixing of the album was supervised by noted producer and Birdman frontman Rob Younger Standout tracks include the straight ahead, high-powered guitar rockers; Burned Black and Prison Mouse; Comanche, a shimmering surf instrumental; the Stonesy ballad Table For One; and Free At Last, an all-acoustic diversion from the electric guitar attack. European version of the album features a different cutting of the master, a new layout and a digital download code.

[engl] The six-song EP features the band's take on cover tunes by Patsy Cline, Jimmy Reed, Wanda Jackson, Gram Parsons, and Glen Glenn, as well as one original (a fresh new arrangement of the Keith-penned "Meet Me on the Corner", which first appeared on Motel Mirrors' 2013 debut). Recorded and mixed entirely on analog tape at Memphis' Electraphonic Recording, Gotta Lotta Rhythm will be available as a limited-edition one-sided 12" vinyl record in Europe, with music on one side and screen-printed artwork on the other, as well as digitally.

[engl] Jeff Burke has been a solid but yet humble dark pop genius for well over a decade now. Be it with the Marked Men, the Potential Johns, or now Radioactivity and Lost Balloons, he has been penning poppy garage hits at a rate of which most songwriters can only dream on. These two new songs are the long-awaited follow-up to their 2015’ Silent Kill album, but yet they were written way before any other Radioactivity release “I think Sleep was the first song I wrote after the big earthquake in 2011, when I was living in Japan. An aftershock woke me up in the middle of the night” Jeff commented. “The song is is about dealing with the fear of death. First verse is the fear of dying suddenly, too early in life and the second verse is about the fear of dying slowly in old age” Two mid-tempo songs, that he believes somehow didn’t fit the mood of those two previous albums “The negative lyrics of Infected, in particular. I guess it’s about a relationship that was too one-sided to succeed… These two songs always felt like a set to me. I didn't want to use them on albums because I thought they sounded better as a single” And finally here they are! You can call it Punk-Rock, you can call it Garage-Punk: this is Burke’s songwriting to the top, combining grinding guitars, a lo-fi yet vibrant sound, and a unique and distinctive bittersweet singing. It’s no wonder this is one of the best and most loved bands going on right now.

[engl] Finally, these are the first RADIOACTIVITY recordings after their 2015 acclaimed SILENT KILL album. "Erased was actually written just after we finished recording that record" Jeff Burke reveals. The song sounds like an evolution of that sound, with a driven riff following the classic Burke's melanchonic melodies. Th B-side, FEAR, goes back into the dark tone of the tough and radioactive Japanese days "It was written in 2011 when I was living there, but only got recorded properly in 2018".

[engl] The wait is over, years in the making, you’re frothing at the mouth, screaming in anticipation, its got 60’s girl group sounds, a Phil Spector wall of sound, foot-stomping backbeats, jangling guitars, piano, tambourine, killer songwriting, and a top-notch, worldclass punk rock n’ roll band... The Peawees are back! Over the past 20 years The Peawees from La Spezia, Italy became a household name in the European rock ‘n’ roll scene, with 5 albums and multiple 45’s under their belt. The Peawees are today recognized as one of the strongest bands in the European rock ‘n’ roll scene. Active for over 20 years they have never ceased making their own sound; a mix of Rock ‘n’ Roll, Garage Rock, R&B, Punk, and Soul Music. Touring Europe, UK and the US, they have shared the stage with iconic punk and rock legends such as The Damned, The Sonics, The Dictators, Radio Birdman, The Dwarves, and many others. Let your ears and soul feast on songs like ‘As Long As You Can Sleep’, ‘Walking Through My Hell’, “Justify” and the lead ‘Stranger’, go on, feel it, embrace it, love it, live it... we sure do. The dirty rock n’ roll swagger, the energy that you’ve come to know and love, it’s all there. Rock n’ roll has returned, rock n’ roll has a name, rock n’ roll is The Peawees and Moving Target is the album.

[engl] ‘Son Of The Dust’ it's maybe Movie Star Junkies most acclaimed record. The sound is pretty far from the chaotic vehemence of their early works, it has more in common with the intense, touching, dark atmospheres of songwriters like Nick Cave, Neil Young and Leonard Cohenwith a little twist of frisky rhythm n blues. A long tale in William Faulkner‘s style told in ten songs, a long journey where ancestral rites and religious superstitions take place, around three main characters: a stranger, a priest and a farmer. ‘Son Of The Dust’ is a man trying to defeat the drought, in the landscape of a country village, surrounded by ancient legends and traditions, opposing pagan rites to the fear of divine punishment. Records like this are musical movies of the mind, records the listener must decipher and make his own. The Movie Star Junkies’ ‘Son Of The Dust’ is no more and no less than a musical continuation of William Faulkner’s quest of transcendental bliss in a world made of bone.

[engl] Ten guitar led instrumentals Music for imagined films... Action, Western, Surf and Spy. Burn The Breeze and It Shall Be Life ride the high desert with Morricone, while Lies And Bullets is lost in the intrigue of a John Barry spy thriller. Boneyard takes matters out into the mean streets, locked in a deep Memphis soul groove. In The Barrens, The Man With No Name rides off into the badlands, while the iron church bell tolls for the dead. Challenging the wild surf, Eddie Would Go and Song For Dave take us for that one last ride. Vanished, an unreleased Radio Birdman song, is presented in the original arrangement. An instrumental version of Zeno Beach, title track from the 2006 Radio Birdman album, and a new version of Deniz’s John Wayne tribute Hondo’s Dog round out the track list.

[engl] Shantih Shantih is a four-piece band founded in Atlanta, GA. Combining rock ‘n roll with dreamy harmonies over twanging guitars, the group consists of Italian native Anna Barattin on vocals and rhythm guitar, Julia Furgiuele on vocals and drums, Anna Kramer on lead guitar, and Nikki Speake on bass.

[engl] Patti – punk mom's name AND the name of your new favorite new band. Immediately catchy coneheads-core punk goofy enough to disguise what the members of Patti truly are: shredders. Because it jumps, has a sense of urgency and more than a little humor. PATTI are three people from Oakland, California who write rambunctious dance music with a post punk tool kit and an insightful yet short attention span. Their songs typically clock in around two minutes long and are a wild head-rush and another addition to our "DEVO-CORE" rooster here at ETT. (Ok, our "egg punk" rooster.) The EP has the same tightly wound, Devo-esque energy and razor sharp songwriting as their tapes before. There are a lot of great moments on this EP that only come around once, and you just have to listen to the record again if you want to hear it again, which I must admit is hardly a chore. This is the type of band that makes you angry they're so good. Bouncing between dissonant punk, inept proto hardcore and psycho noise-pop whilst dealing with issues as relevant as having fun, what a debut EP.

[engl] When you hear Omaha, Nebraska, you might think of steak, Warren Buffet, or Saddle Creek Records. But you probably don’t think of hardcore. In comes BIB. Noisey, blown out hardcore from the middle of nowhere. Following the “everything louder than everything else approach” to their demo, Bibs already colossal riffs sound like an avalanche when the bottom drops. Squirmy effected vocals veer their sound from huge to weird. Live, sometimes seen with 3 guitar players, Bib takes their wall of sound to a whole new level that will leave your eardrums vibrating. BIB presents POP. Their follow up release to their 2015 Demo. POP takes you on a panicked journey through a wormhole of anxiety and isolation. BIB's brooding sound is steeped in mutant destruction and caustic anger—a mid-tempo hardcore foundation with thick, chainshaw guitars and gruff grunts, pummeling towards metal. The band is self-loathing but not self-sabotaging. Placing headphones blaring BIB into your eardrums has the empowering effect of plugging a phone charger into an outlet; you’re struck with a visceral surge of energy that is possibly dangerous. Play BIB while walking down the street in your hood, and no one is going to fuck with you. BIB continues their wall of noise style production on this release, with delayed vocals that sound like they're being tossed off of a mountain. BIB mixes quick, full chord riffs with crushing breakdowns. Vocals weave between child like shrill barks, primordial grunts, and pressure reducing singing. The final track, P. M. F. ends the record with a chaotic blast of organ that perfectly captures BIB's pop and hardcore sound. The straight ahead, downstroke pounding demo has been compared to the likes of Hoax mixed with Pissed Jeans, this EP is one step over! This band slays harder than riot police at a G8 summit.

[engl] If you are looking for a new and outstanding band from Europe, here you got it. My mind was blown after the first time of listening to these songs that are so depressive, cold, pissed and snotty. One thing was sure: I just had to repress this EP because 200 copies are far too little for this killer 7“. What you get is pure Danish unrelenting punk rock damage! Take the smarmy music oft The Urinals, speed it up to 150 % and crank the volume up to the max and you hear what the Happy Hookers For Jesus are all about. This 7“ is a little bastard of punk that‘s stuck in your head with the first listen. A nihilistic feedback orgy in four acts, packed with merciless insanity, screeching guitars, distorted echo-voice and a totally wasted I-don't-give-a-flying-fuck-attitude, all thrown together in a stinky garage. So, get it or get lost!

[engl] Hailing from dystopian Sydney, the punk rock trio known as ARSE arrived at the end of 2017 with their acerbic debut Primitive Species on a cassette tape, sounding like the bastard lineage of Feedtime and Black Flag with an uber-modern spin. Equal parts dumb, terrifying and fitting for the times, Species copped the full vinyl treatment six months later courtesy of German punk label Erste Theke Tontraeger. By years end it had crash-landed on The Quietus’ best of 2018 punk round-up alongside Hank Wood and The Hammerheads, Geld and Amyl and The Sniffers. Never content, as their music attests, ARSE have since opened for Cosmic Psychos (AU), No Age (US) and released a split seven-inch record with Sydney noise-assassins Party Dozen. The forthcoming Safe Word EP, a stop-gap on the road to long player glory, is four tracks of future-fried punk the world truly deserves. I like bands that fall on the dividing line between noise rock and hardcore, and Arse are right in that pocket, using pogo beats, wild and noisy guitar solos, and a nihilistic vocal bark that will appeal to fans of Geld, Gay Kiss, Walls, and other bands that trace their lineage back to Black Flag’s My War. Far from just a copycat band, though, Arse strike me as more artsy and ambitious than any of the aforementioned groups. I hear this in the guitar solos (which are particularly unhinged, like Ginn and Hendrix on a bunch of bad drugs), but even more on the two songs that end each side of the EP. These aren’t so much songs as abstract noise / electronic pieces that flesh out the world hinted at in those guitar leads into a full-on post-apocalyptic soundscape. Far beyond your typical “dude stringing together a bunch of guitar pedals and hitting them at random,” these intricately composed pieces scratch the same itch as Klaus Schulze or Tangerine Dream.

[engl] I am fucking psyched to bring you this 12" banger all the way from Australia. In a time the world has become a melting pot of hate, absurdity and on the brink of destruction ARSE have made a record that sums up these dark, dense and claustrophobic times. The relentless rhythm section drives the sound with guitar work that is squealing and immense alongside vocals that spit bile and razor-sharp lyrics. PRIMITIVE SPECIES is the pinnacle sound of a band that has been crafting, honing and re-imagining the way punk music should be played, with so much raw atmosphere and energy that it will probably rip you apart. Be careful. It has energy, heart and that special something you can’t put your finger on. Built on a relentless sinister thrum, a taut propulsive clatter, ARSE explode with scalding fury in the screaming guitars and tortured barks and roars echoing out of the radioactive slurry. This is ferocious hardcore/post punk, worked til its end. Noisy and incessant, but it's hella melodic all the same, so hurry up and snag this bad boy. Primitive Species just sent me three steps back on the evolutionary chain. And I am thankful for this reset!

[engl] Blotter is everything you want from a modern day hardcore punk band. Over the past few years, Austin, TX has seen a resurgence in young, quality punk bands. Blotter is one of the top tier groups of this new school of Texas hardcore and Under Armour '77, their debut vinyl effort, stands as some of the best work this scene has produced. Primordial ooze USHC at its finest. Blotter is yet another new hardcore punk featuring members of Wiccans, Glue, Impalers and Creamers. Blotter delivers just brutal, stomping stuff with a perfect, early 80s-sounding 8-track production. This five piece band rages through five songs in a little over five minutes. Fast precise hard hitting drums, loud distorted guitar that flirts with chaotic, noisy feedback, compliment dynamic and aggressive vocals that have just the right amount of snot and grit. Their sound touches on classic 80’s hardcore, whilst paying no tribute to any other HC band I’ve listened to in the last few years. This is unique, this is weird, fucked up and awesome! No filler on this EP – it’s all legit. No nonsense Hardcore in 2014, go and get your copy. Fuck.

[engl] Debut LP from this band out of Oakland now based in New York, though I'd forgive you for thinking they’re from Minneapolis as they sound strikingly similar to Uranium Club. Like society as a whole, punk rock seems to go through eras of conservatism and progressivism, and despite (or maybe because of?) the fact that the right-wingers seem to be ascendant in the United States’ and Europes' wilder culture, we seem to be experiencing a moment in the punk scene when nothing is cooler than letting your freak flag fly. Rhythmically, Patti have more of a Minutemen / Suburban Lawns-type white funk swing to them, but the deadpan vocals and Krautrock-ish way of riding simple, repetitive riffs will do any Uranium Club fan right. The bass lines, guitar lines, and vocal patterns are uniformly interesting, but one place Patti excel is in writing cool bridge parts. Most of the songs on Good Big have a middle section about 3/4 of the way through where the song goes to some strange, unexpected place. The transitions are fluid, so you find yourself thinking, “wait, is this the same song?” until they drop back into one of the familiar parts from earlier in the song. Having that sense of movement and development to the song takes what would have been an interesting collection of riffs and makes them into something more than that, a set of musical stories that unfold in front of you. This is top-notch egg punk, so even if you only mess with the hits like Uranium Club and Coneheads this is worth checking out.

[engl] Dark Web: a Philadelphian post-punk group that I’m surprised to have not heard of sooner. Given, it’s not like I was keeping a close eye on the place to begin with, but I seriously should’ve been gushing about this band’s stuff a long time ago, especially since the EP itself was released by Suicide Bong Tapes in mid-2016. Everything about the band is seemingly tailored to my liking, and for the most part, falls into a section of my library that rarely sees the likes of Dark Web; with such engrossing, goth-tinged post-punk sounds such as these, that’s pretty fuckin’ unfortunate. Sharing members with Throbbing Chakra, Key Bumpz, Cool Piss, and Beth Israel, Dark Web is sure to impose a rich, powerful presence the moment the EP pivots from the opening rhythm into a dirge of squealing guitars and wholesome bellows, effectively combining elements of both gothic rock and punk alike, while also dispersing a hearty dosage of spacey, vibes into the mix in order to further obscure the band into territory I can only describe as “tastefully erratic”. The first track, “Alien Vacation”, immediately sold me on the group, demanding that I get back to a member of the group and let them know that I’d be all-for sharing their material. I mean, it’d be difficult for me to turn a band like this down. That lead’s got SERIOUS pipes, to an extent that I originally mistook the influxes of similarly-alienlike backup vocals as some form of vocal processing – which is still oftentimes present, unsurprisingly, as to further bolster the weird, eccentric influence beyond the resonating harmonies that the vocals and guitars bring forth to the forefront. Weave in some scathing solos and extremely memorable melodies, and maybe you can see why I’m kinda disappointed in myself for not catching wind of this four-piece anytime sooner. But what do *I*, Jimmy, personally think about Dark Web? I think they’re fuckin’ aliens, duh. Ain’t it obvious?

[engl] Space Punk! VAASKA, IMPALERS, WICCANS, INSTITUTE, BLOTTER and countless other bands fame. We have Texas at it's best... That's what my boy DANIEL LUPTON from SORRY STATE has to say about em! "Mirror from Austin, Texas issue their debut vinyl, and this blistering EP clearly establishes them, along with Impalers, Vaaska, Glue, Strutter, Kurraka, et al, as one of the very best current punk bands populating that fertile scene. Like Strutter, there’s a psychedelic element to Mirror’s pogo- and noise-punk-infused sound; while the rhythm section smashes and bashes with the best of them, the guitars swirl around over top of the chaos, creating a woozy, hallucinogenic effect that is uniquely Mirror’s own. If you’re into S.H.I.T., Blazing Eye, Strutter, or Dawn of Humans it’s a fair bet that you’ll love this Mirror EP, not because it sounds just like any of those, but rather because you have exactly the kind of adventurous ear for hardcore that this band is likely to catch.

[engl] The Real Energy are a serial killer blues band and they come up with a potent combination of garage squeal and feedback, don't-give-a-shit vocals and a sense of melody that borrows from '60s girl groups and psychedelic pop. The whole thing has a wonderful and natural devil-may-care attitude that can be severely lacking in today's bloated, pretentious and often histrionic rock world. I thought punk was supposed to kill all that? The Real Energy are quite unique at what they do and they are everything but yet another generic and predictable rocknroll band. First of all, most of the songs on The Real Energy's third record are more than three minutes long… The song structures are repetitive but always fueled with sonic and riff-heavy garage punk rock parts which are written intelligently (and I'm not saying that in a pretentious way). Repetitive riffs are always accompanied with background noise and feedback, killer solos and melodies which reflect the psychedelic side of the 60's and 70's garage + glam rock, and you can even hear some glam rock influences. You just get everything you love in let‘s call it rocknroll.