• 01. New Boys
    02. Cuffed & Collared
    03. Bogan Pride
    04. My Only Friend
    05. Hiding To Nothing
    06. Naden
    07. Hume
    08. Dumb Ideas
    09. Ghost Gums
    10. Paradise
    11. Blood In My Eyes
    12. Sacred Ground


    Dogs At Bay

    EAN 4260016922444
  • 01. Johnny Irony
    02. Mob Rule
    03. Blood Love
    04. Gutful
    05. By My Side
    06. Pagan Rage
    07. 1000 Miles Away
    08. Feeling Remains
    09. Nice Guy
    10. Make You Love Me
    11. Million Times Alone



    EAN 4260016922451
  • 01. Chills
    02. Hoping For
    03. Home Life
    04. Caroline
    05. Tomorrow Mountain
    06. Too Old



    EAN 4260016922468
  • 01. Morning Rain
    02. Piss Christ
    03. Sonny
    04. Double Dreaming
    05. Harry's Station
    06. Cannonball
    07. Salad
    08. Sally's Place
    09. Low Life
    10. Northern
    11. Younger
    12. Gallows


    Doomsday Ballet

    EAN 4260016922475
  • 01. Slug
    02. Celebreation
    03. Elephant In The Room
    04. Escalator Man
    05. Keeps Ya Head Up
    06. Kerosene
    07. Never Enough
    08. Realest
    09. Last Guy At The Disco
    10. All Good Ends Must Come To A Thing


    Total Reality

    [engl] Total Reality is the sound of a group in constant forward motion, finding new sounds and new ways to express their joy and catharsis in making music together. On album opener 'Slug' the band sing ‘I’m feeling like a slug so I gotta visit the doctor’, and though reliably tongue-in-cheek you get the feeling they mean it - the members using Dr Sure’s Unusual Practice as a vessel to lift each other up while unpacking the collective fatigue of life in late-capitalist society. “A mood like that, you're apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating." - Philip K Dick On their third LP Total Reality - a title ripped from the classic sci-fi novel ‘Do Androids Dream of Electric Sheep?’ - Dr Sure's Unusual Practice tackle lofty issues through a hopeful lense, avoiding the often cynical pastiche of modern punk music. Total Reality touches on varied influences - proto-punk to post-punk, new wave to no wave, krautrock to trip-hop - to concieve something fresh and inspired. Beginning in 2018 as a solo project, here Dougal Shaw is joined by an ever-expanding collective. In addition to a core band (Jake Suriano, Miranda Holt, Tali Harding-Hone, Mathias Dowle) the new record features contributions from Jack McCullagh (Cracodile), Stu Patterson (The Empty Threats/Placement), Alannah Sawyer (Babyccino/Mouseatouille), as well as Shaw’s partner Alivia Lester, and baby Blue - who also adorns the album cover. An almost polar approach to the band’s acclaimed second LP ‘Remember The Future? Vol. 2 & 1’, which was tracked live in a recording studio, Shaw refers to Total Reality as a ‘collage album’. There are pieces of pandemic-era demo’s; drum machines coexisting with a live-tracked rhythm section; fresh collaborations; layers of guitars, synths, horns and percussion; collected field recordings and samples - all cut and glued in Shaw’s home studio to realise an expansive and colourful record.
  • 01. Hello (It's Me Are You There)
    02. Water It
    03. Fly High
    04. Oh Sister
    05. Lullaby
    06. Kampala Traffic (Skit)
    07. Tambuula
    08. Miracle
    09. Kalangala (Skit)
    10. My Life
    11. Perfect World
    12. Zola's Dance
    13. All In
    14. Don't Fuss


    Fly High

    [engl] Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.
    LP lim
  • 01. Natty Dread
    02. Pink Drunken Elephant
    03. Moonshine
    04. Kokoo Girl
    05. Land Of The Free
    06. Take It Or Leave It
    07. Take A Walk With Me
    08. Take The Train
    09. Voodoo Elephant
    10. Letter To Samson
    11. The Day B4 Last
    12. Healing Waters


    Kokoo Girl

    LP lim
  • 01. Hero (Intro)
    02. Yes I Am
    03. Does He Love Me
    04. Dance
    05. Drop Of Water
    06. Smile
    07. Take A Stand
    08. Muziki
    09. Docta Martens
    10. Bad Mind
    11. A Mighty Good Time


    Yes I Am

    [engl] Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.
    LP lim
  • 01. Come on
    02. Woman In Love
    03. Mr. Nkwagaala
    04. Freedom
    05. Holding me (Who Jah Bless)
    06. Goodlife
    07. Tribal ( ft. Jahringo )
    08. Kingdom man ( ft. Petit Solo Diabaté )



    [engl] Love, Love, Love, Love will make you walk a thousandcmiles to be with her. She is the wisdomcyou long to have, the courage you nevercthought you had. Love is peace, she is patient, she is Kind. Love will heal that infected wound that you long gave up on to heal, more powerful than any weapon of mass destruction. Cuddled up in her grasp, her tears will roll down your face. She’s the real deal. She will fight for you, she will carry the sword for you, She will walk a thousand miles for you. She is sweet, very sweet. Welcome to Jaqee 6th and final album, a closure of a chapter in my artistry so far. This is not the end, it’s just a crossroad that is proudly and lovingly directing me into an unpredictable future. I felt a strong need for healing on this album, so I made way for Vulnerability. I have opened doors that are to be obediently followed as I dig deeper in the understanding of the one thing that we humans yearn so much for. Love is King.
    LP lim
    EAN 4260016922437
  • 01. Switch
    02. Hollywood Smile
    03. What’s New
    04. Worms
    05. Salaryman
    06. Government Whore
    07. Somewhere
    08. The Bitter Pill
    09. Parking Lot
    10. Complexe


    Hollywood Smile

    [engl] Gimme, Gimme, Gimme Desire, an everlasting grip of that youthful energy, that fire and fury you felt playing a style of music that gives you a lifelong addiction and appreciation. If you’ve once been part of that certain something, that became part of your identity, it never lets you go. Drummer Sascha, bassist Jan, guitarists Philipp and Tobias know how it is getting older but still feeling the fire. The four friends shook up the scenes out of Frankfurt in the 90s and 00s. They played in different bands, they toured Europe and the US of A, they were mods, punks, hardcore kids. And they never lost their connection and love for their music. That’s why they got together some years back, rehearsing and writing songs just for the heck of it. Out of pure desperation the four of them were thinking about staying a goddamn instrumental band, maybe working with projections and shit to fog the fact that there was something initial missing: a singer. The road was calling their names, and they wanted to play shows and let you and you and you know what they got... So, they gave it one last try to find somebody to fill the void behind the mic. What helped was a platform – basically Tinder for musicians – to find that certain somebody. They kept it simple and only dropped one thing: #blackflag. On the other side of the screen there is Sam, a mystical, ghostly punkrock fairy. Sam shares that same hashtag, and she wants to sing. So, why not give it a try? Sam takes the offer, shows up in the rehearsal space, and the rest is history. Sam owns it. Sam is prepared. Sam can sing, scream, kick ass and has the lyrics to back it all up! On different occasions they now set stages on fire. They played a sweaty show in a packed Molotow cellar at Reeperbahn Festival, they joined the “Female Fronted Is Not A Genre” festival at legendary SO36 in Berlin and took the place by storm. They are ready. They were born ready. And they have that record to prove it. As any classic hardcore/punk LP it’s almost over before it started. Ten songs in twenty minutes. That’s the way. I Am A God sets the tone: “You think that I’m a girl?”, Sam asks, “Let me tell you I am a god/ And you know that I’m heaven sent.” What else would Sam be? The legendary hashtagged Californian hardcore icons drip out of every note here. This is old-school knowledge, played today. Fast, furious, and packed with energy. But it’s way more than just a bland tribute. It’s a middle-finger that finds its own direction. Salary Man allows itself a certain amount of melody – also carried by Sam who obviously can do more than bellow. Or Somewhere that shows that The Pill is a more dimensional band that can even Hüsker Dü things up if they are willing to. The Bitter Pill presents itself surprisingly angular and kind of melancholic. And What’s New almost makes its way into post-hardcore territory. Inbetween Switch and Off give you all the Greg Ginn vs. Dez Cadena your damaged souls were desperately striving for.
    EAN 4260016922314
  • 01. Anatolian Soul
    02. Mavi


    Anatolian Soul II

    [engl] Second part of this small series. More funky turkish tunes. limited on 250 copies.
    7" lim
    EAN 4260016922376
  • 01. Astronautin
    02. Das Drama
    03. Oury Jalloh
    04. Prieros
    05. Der Motor
    06. Plastiktüte
    07. Lichter
    08. Kummerkumpels
    09. Motardstraße
    10. Der Laufende Motor
    11. Schranke



    Jeder Musikhörer, der eine Spur von Punk-Sozialisation in sich trägt, hat Tom Schwoll bereits Gitarre spielen hören. Der gebürtige Berliner ist - der Begriff ist etwas abgekaut, aber hier trifft er einfach - ein Urgestein der Punkszene in der Hauptstadt. Ob mit seinen frühen Bands wie Zerstörte Jugend und Manson Youth, für die er damals sogar die Schule abbrach, über seine Zeit als Gründungsmitglied von Jingo de Lunch und als Teilzeit-Gitarrist bei Extrabreit, weiter über die rund 25 Jahre als kompositorische Triebfeder bei Die Skeptiker - bis hin zu seiner aktuellen Punkband Es war Mord: Tom Schwoll ist eine impulsgebende Figur im (meist) deutschsprachigen Punk, seit jener damals in Berlin mit brachialer Kraft einschlug. „All die Bands, in denen ich bislang gespielt habe, waren sehr wichtig für mich, denn sie sind alle Teil meiner persönlichen Entwicklung auf musikalischer Ebene. All diese Bands und Erfahrungen gehören zusammen, all die Menschen, mit denen ich gespielt habe, haben einen Einfluss darauf genommen, als was für ein Musiker ich mich heute verstehe. Nicht alles davon hat zwingend immer auch meinem persönlichen musikalischen Horizont entsprochen, aber auch das kann ja eine wichtige Erfahrung sein.“ Obendrein betrieb er viele Jahre gemeinsam mit Smail, einem weiteren weitreichenden Pfeiler der Berliner Punk- und Hardcore-Szene, das primär auf analoge Live-Recordings spezialisierte Schaltraum Tonstudio - „mit dem Geruch und der Atmosphäre der 50er-Jahre“, wie die beiden selber auf der Homepage des Studios schrieben. Kunden waren unter anderem die Beatsteaks, die Toten Hosen, Mad Sin, Stereo Total, Selig oder Walter Schreifels, die hier eine oder auch mehrere Produktionen durchführten. Betrachtet man Schwolls musikalische Vergangenheit, so besitzt sein erstes Soloprojekt Fleur de Malheur eine zunächst überraschende stilistische Ausprägung. Die Musik darauf ist - im weiteren Sinne - eine amerikanisch geprägte Singer-/Songwriter-Schule, versehen mit einem dunklen Twist. Ein Country mit Ecken, Kanten und manchmal auch einem betont süßen Schlenker. Ein mit Tradition aufgeladener Indie- und Folksound, der zwischen leichtfüßig und schwermütig hin und her wechselt, als sei es das Leichteste auf der Welt. Die Idee von Fleur de Malheur war für Tom aber nun nicht, seine ganz eigene Version von US-Country zu formulieren, also einfach etwas zu adaptieren und im Geiste eines bestimmten Genres zu arbeiten. Im Ergebnis wirken die Songs gleichzeitig unbehauen, aber zu Ende gedacht. Minimalistisch, aber ausgereift. Sehr nah an ihm und trotzdem raumgreifend. Einnehmend, aber in Momenten auch bewusst brüskierend. So entstanden nicht nur die vorliegenden Kompositionen, sondern auch viele der Texte. Texte, die mit dem Hörer etwas machen - sei es nun ein schönes, warmes oder auch mal ein dunkles, bedrohliches Gefühl. Texte, die bewusst auf Deutsch gesungen sind, damit man sich auf direktem Weg mit ihnen auseinandersetzen kann. Und Texte, die von einer Stimme gesungen werden, von der es angesichts ihrer hohen Qualität und eindrücklichen Stimmlage rückblickend schade ist, dass Tom so lange brauchte, um ihr Gehör zu verleihen.
  • 01. Asia Turca
    02. Oribori


    Anatolian Soul I

    [engl] A new 7inch from this Anatolian Soul Combo. More funky turkish tunes. limited on 250 copies.
    7" lim
    EAN 4260016922369
  • 01. Blackie And The Moonlight Serenader - Elton Two Step
    02. Shirley & Alphee Bergeron & The Veteran Playboys - Fais Do Do
    03. The Cajun Trio Plus One - La Bonne Cord, Mauvais Yo Yo
    04. Alphee Bergeron - Lover's Blues
    05. Lawrence Walker - Lena Mae
    06. Lee Sonnier And His Acadian All Stars - Along The River
    07. Lawrence Walker - The Unlucky Waltz
    08. Louisiana Lannis - Muscadine Eyes
    09. Lawrence Walker & His Wandering Aces - Keep your Hand Off It
    10. Vin Bruce - Big Texas
    11. The Cajun Trio - La Cravate
    12. Jay Stutes - Mariez Vous Donc Jamais
    13. Shirley & Alphee Bergeron & The Veteran Playboys - Quel Etoile
    14. Blackie And The Moonlight Serenaders - La Robe Barre



    [engl] The long awaited Cajun Stomps Volume 2 is now available! Houserocking collection of cajun party killers from the 50s & 60s.
  • 01. Paraiso
    02. Milky Way
    03. Enveloped Love
    04. Mawaru
    05. Sari No Shitaku
    06. Tohiko
    07. Jeopardy
    08. Mekakushi
    09. VOID
    10. Tojikome Ta



  • 01. Not The End
    02. All I Want (Is A Little Love From You)
    03. Sympathy For The Losers
    04. Get Out Of My Head!
    05. Take A Hammer, Consuela!
    06. Tied Up To The Thread You're Weaving Around Me
    07. Run The City
    08. Boredom As A Game
    09. Nothing Personal
    10. Love Is A Shed


    Smile Until It Hurts

  • 01. Theme Of 50rpm
    02. Mabui Anoko
    03. Thank You For RAMONES
    04. Nukegara Rock
    05. The Ballad Of Iron Eyes Cody
    06. Smoke Song
    07. Omaenoseidaze
    08. Tennouji Eregy
    09. Shounenin No Sonata
    10. Homeless Song
    11. Yumenaraiioni
    12. Ataigawaruinosa
    13. Saturday Night


    No Gyaaa!!

    [engl] Re-release of the first album by the Japanese garage punk gods originally released in 2005. First time on vinyl.
    EAN 4260016922334
  • 01. Man of wild said
    02. Money!Money!
    03. Drunkin march
    04. bay blues
    05. Teenage Shock
    06. Dekasegi March
    07. We are the Kids
    08. Daily Worker Blues
    09. After School Rock'n'Roll
    10. Let me Rock
    11. War and Politician
    12. Youngers On The Road


    No Biribiri!!

    [engl] Re-release of the second album by the Japanese garage punk gods originally released in 2005. First time on vinyl.
    EAN 4260016922343
  • 01. Triple Dragon
    02. Friends
    03. Break
    04. Ice Summit
    05. 10th Dimension Advertisement Apocalypse
    06. Teacher Part II
    07. Circuit Breaker
    08. My Girl
    09. Phantom Mantis
    10. Checkers



    [engl] ETT is honored to bring another mindblowing debut LP on your turntable. All the way from Naarm (Melbourne, Australia) we have a unique debut album. Jordan from Pinch Points, Miranda from Dr Sure's Unusual Practice, Tom from Gonzo and Dragnet, Amada from Carpet Burn, Gutter Girls plus Chris and Erik from Hobsons Bay Coast Guard. What do you get when you put these people in one practice room? Yes - CHECKPOINT! This is a no-filler record; every song feels as though it’s been crafted carefully, and explored fully. There is so much to explore here and every listen will make you piece this puzzle even better. It’s pretty damn catchy, and old spiky punks might find themselves nodding along as they grumble. Front to back, DRIFT is like shotgunning a Red Bull. It never slows down, it has some solid punk grit and the speed and style works in the album’s favor. Each track has just enough variation to keep you hungry and the song topics at times will have you questioning if the world will make it! It’s always good to see this loose coalition of bands keep the spirit of 00's garage punk alive and supercharged into the now. I won’t throw around the usual references, but this is the type of attitude that first turned my ear to this style and it’s just getting better. It’s exhilarating, and already leaves me breathless for the next release. It’s music you can’t help but enjoy. I think you are under the impression that this is an album by the amazing band Checkpoint. After purchasing the record and enjoying it, you will be pleasantly surprised to learn that you were correct and you would do it again.
  • 01. Vinyl Change The World
    02. Hambarger Hill
    03. Hoshininatuta Futari
    04. Sinsekai Blues
    05. Crazy Jijii
    06. Cinpira Kaidou
    07. Hotel Kasba
    08. David Bowie Wo Kidotte
    09. Eleven Hours Fifty Five Minutes
    10. Juniyougakuenn Ichinennsei
    11. Anohino Sorakara
    12. Matilda To Tabio



    [engl] If you think carefully about why Turbonegro, Guitar Wolf, The Dirtbombs, or even the entire Crypt Band catalog are of such authoritative relevance, it can all be traced back to two simple facts. Fact one. They understood their style of playing rock’n’roll. This realization sounds succinct at first, after all, any band would claim this. Only in reality most of them fail miserably. First copying others and then copying themselves is no innovation and just adds another copy to the meter records, no “most authentic” or original equipment helps, because it fails because of the songs. Fact two, and maybe this is the most underestimated factor, is the lack of humor. Without humor, you can’t play good rock’n’roll. Why am I writing this? I have seen the light, THE 50 KAITENZ from Osaka play 60s Punk as I wish it and that in a perfection that makes me dizzy. Alone the transitions from the chorus to the verse are so cleverly placed that you slap your thighs with joy, without being able to speak a single word of Japanese, you catch yourself intoning the songs loudly at an inappropriate room volume and even start to play the obligatory air guitar with pleasure. THE 50 KAITENZ, of course, don’t play pure 60s punk. Similar to Turbonegro, they have devoured 70 years of rock’n’roll history and, not to use the more appropriate word, use it shamelessly for their purposes. Punk, country, garage or beat – everything is scrutinized, distilled, stirred, shaken and stirred again to be unleashed on your auditory canals in irreverent perfection. I’m thrilled by all the tongue-in-cheek quotes, because what comes out of it is probably the most independent thing I’ve heard in the last few years in this hard-working field.
    EAN 4260016922093
  • 01. The Black
    02. Cry Me
    03. Workin In A War
    04. Shame on You
    05. Going Down
    06. All The Children
    07. Get Ya
    08. All By Myself
    09. Policeman
    10. Mommy
    11. Someday


    Slow Gems

    [engl] It's still out there, the spirit of the working class. Maybe not necessarily where Marx had placed him. Today, the saturated middle class with their own home, double garage and annual vacation in Thailand stands on the assembly lines of Ford or BMW. The new working class delivers food under precarious conditions in the service of turbo-capitalism, drives bus night shifts, does the dirty work of a professor on a temporary assistant contract or wipes the butts of dementia sufferers for a little applause from the balconies of the higher earners. So new times, which of course are still the same as they always were. There are “those up there”. And there are the people who keep the store running, who straighten their backs and grit their teeth. And who urgently need a beer in the evening. Because the best place is still at the bar. Somewhere between Birth, School, Work, Death there are blues, sweat and beer. Fits pub rock. Pubrock is the grassroots movement of rock'n'roll. Born in the late 1960s and early 1970s, it brought music back from the oversized stages to the basement clubs and pubs, especially in the English industrial districts, where “workers” were actually still crowding around. Where people drank, laughed and argued. Where the motto was “pub fights, pub gets along” and huge keyboard towers, Mussorgsky adaptations and delicately blown fairy hair were laughed at in never politically correct expressions. Against the then omnipresent mantra of higher!, more complex!, more delicate! Pub rockers used the simplicity of the blues, gut feeling rhythm rumbling, cleaver riffs, brutally fast hooklines and clenched fists raised in the air. If you want, you can interpret pub rock as the anti-thesis to capitalism. Because although essentially “apolitical”, the lack of ambition for “bigger things” alone means the refusal of permanent growth. And what was forced by the oil crisis in the 1970s - the practical end of the suddenly unaffordable touring throughout the country - also meant, conversely, a return to one's own strengths and resources. “Act local” also meant “in the local pub in your neighborhood”. (A rogue who draws parallels to the current crisis of rock musicians, who are losing their tours in droves and who can hardly call themselves professionals anymore, because that would mean that they could somehow make a living from their music.) Back then, pub rock triggered the reboot of rock music, was the necessary initial spark and the stepping stone for punk and everything that came after. Sometimes later eaten by one's own children or swept under the carpet of history and largely forgotten - Kursaal Flyers, Dr. Feelgood, Eddie & The Hotrods, Brinsley Schwarz - but sometimes also matured into a central actor or mentor - Nick Lowe, Joe Strummer, Ian Dury, Elvis Costello. And despite the limited resources, pub rock was anything but provincial, it unhesitatingly usurped and "appropriated" what works in every pub in the world, whether in Connewitz/Saxony or Bozeman/Montana: country casualness, heavy rock depth , tinkling honky-tonk pianos, the fearless musical freedom of a Wurlitzer speaker. Since then, the only thing that has been important is that it has to work. And the people there, on this mini stage with their mini equipment, have to fit. To dirty toilets full of stickers and stupid graffiti, to puddles of beer, unwashed hair, worn out clothes. Even with Schneckenkönich everything seems a bit dirty and greasy; Hair, denim jackets, and anyway the music, which revolves around a few blues patterns and would inevitably be denounced as "authentic", "honest" and "handmade" in the three-part announcements that might be left in the local press. A friend of the band once called it “the finest working-class hippie shit” and that pretty much says it all. The rest is available at the counter in the evening.
  • 01. West Bank
    02. Room 322
    03. A Thief's Journal
    04. Pariah
    05. Independent
    06. Everyday Distraction
    07. Cold Hearted
    08. Ausländer
    09. Mauvaise Foi
    10. A Vote For The Unknown
    11. This City
    12. Genocide
    13. Letters
    14. In A Bind


    East / West Collection

    [engl] Spanning a recording career of way over a decade, RED DONS are finally ripe to be compiled. EAST / WEST collects choice cuts from out of print 7"s, compilation tracks and other curiosities. Popular favorite "Ausländer" from their Dirtnap released single of the same name is now finally available again on this LP to be spun into dust.
  • 01. Loops
    02. Dead Sounds
    03. Testify
    04. Hard Feelings



    [engl] RED DONS return with their first record since their 2017 GENOCIDE 7". 4 new songs of their trademark moody PDX melodic punk greatness. Cuing a "The Cast Of Thousands“ era Adverts feel, they continue their path of more matured songwriting in our post pandemic, late stage capitalist nuthouse of a society.
  • 01. Addis Airlines
    02. Afrobot
    03. Light
    04. Mixotropica


    Addis Airlines

    [engl] The AddisababaBand is a 13 piece orchestra from Aarhus that has been rocking dance floors for over a decade with their mix of afrobeat, funk, jazz, a little psychedelic rock and fusion. Of course, they take inspiration from African masters like Ebo Taylor, Fela Kuti and Mulatu Astatke, but as improvisation is the driving force behind the band, they create a whole new world of Ethio jazz. limited on 150 copies.
    LP lim