• 01. MINI-YOUR DRESS IS TOO SHORT / Madame Nellie Robinson
    02. THE BATTLE OF JERICHO / The Pilgrim Travelers
    03. I CAN SEE SO MUCH / Reverend Cleophus Robinson
    04. SOMETHING / Mighty Golden Bells feat William Sanders
    05. GODS GOT IT / Rev. Charlie Jackson the gospel guitar and singer of Baton Rouge Louisiana
    06. YOU CANT MAKE ME DOUBT / The Gospelaires
    07. TAKE ME BY MY HAND / Ray Crume and the Zion Tones
    08. WHO ROLLED THE STONE AWAY / Marie Knight
    09. IM ON MY WAY / Mahalia Jackson
    10. IM GETTING RICHER / The Famous Ward Singers
    11. GLORY IS COMING / Sunset Travelers
    12. ITS BEEN A CHANGE / The Staple Singers
    13. GOD IS COMING / C B S Trumpeteers
    14. MORNING TRAIN / Rev. Charlie Jackson the gospel guitar and singer of Baton Rouge Louisiana


    La Noire Vol. 4, Glory Is Coming

    [engl] C. S. Lewis once said that he believed in a God as he believed that the Sun had risen. Not only because he had seen the literal light, but because of it, he was able to see everything else. Seeing is believing, and so is hearing, “Glory is Coming!” Brothers and Sisters no matter what your faith or belief is, Dog House and Bone Records in France has issued another rare LP pressing of original 45rpm records from the vast archives of Bayourod. Chicago again plays a prominent role in musical history, as the foundation of organized gospel music is born here under the tutelage of Thomas Andrew Dorsey. Dorsey is widely known as the Father of gospel music, as he composed and performed many of our most celebrated gospel songs including, “(There’ll be) Peace in the Valley (for me).” Arriving in Chicago in 1919, in the midst of the great migration of Southern Blacks, Dorsey coined the phrase “gospel songs” in the early 1920’s. He assembled the first gospel choir at Ebenezer Baptist Church on South Indiana Ave in 1931 which still stands to this day. Bo Diddley and many others learned music here. Again, Black Americans give us a uniquely American style of religious song, with its roots in the tradition of Folk music and early blues and jazz. So many of our great singers started in the Church before turning to secular music, learning to play and sing beautifully in the only venue that mattered to so many; the house of God. For those of you who may not have had experienced the absolute harmony and joy of a full gospel Church, you may walk out with your faith and or belief in a God somewhere- regardless of how you walked in. Believe me, you will be moved to tears by a choir of voices like you may never hear at any professional concert. You will hear multiple instrumentalists on piano, Hammond B3, organ and drums. You will hear joy. You will hear love. You will be told by a stranger that, yes, everything will be alright. By the grace of the other worshipers you will be hugged and feel the joy of being with your fellow man. You will brush away pain, sorrow and doubt in this moment. You will indeed believe that love and music really is the answer. In this instant you will not worry about anything. You will not worry about anyone. You are free with body and soul. You are free to thank Jesus. You are free to believe. Music heals broken hearts. Hearing it can make you want to live. Whatever it is, God’s got it. Two of the sides on this uplifting compilation come from the Reverend Charlie Jackson. Born in McComb, Mississippi Jackson preached his brand of guitar evangelism, a genre born in the late 1920’s. Others spreading the Lords word with the guitar at the time were Arkansas born Sister Rosetta Tharpe and New Orleans own Elder Utah Smith. Smith’s style of preaching, singing, and guitar playing is widely influential and incredibly moving. Reverend Jackson was a protégé of Smiths. Smiths’ spectacle of playing and preaching was so influential in fact, that young players like Guitar Slim and Ernie K-Doe emulated it. Both those amazing pioneers of the blues and rock and roll saw Smith perform in tent revivals across the South. Smith inspired Reverend Jackson to “sit down on the guitar,” playing it above his head and with his teeth at times. They frequently traveled, preached, and performed together giving sermons in rural churches, many with no electricity having to power the voice of God, their guitars, with a portable generator. Also, in addition to sides by the Sunset Travelers formed on the streets of Memphis in 1950 featuring O.V. Right, and the Gospelaires from Dayton, Ohio who preached the word with rollicking harmonies, we present a side by what may be Chicago’s most famous and “God’s greatest hit makers,” the Staple Singers. This record was recorded for Epic records in 1967, “It’s Been a Change,” features Pops Staples profound guitar playing on this “protest” record. The Staple Singers cut a slew of these kinds of message songs in the late 1960’s. Pops Staples was born in 1915 in Winona, Mississippi and was playing the blues at an early age. By 1937 he was featured in the spiritual group the Golden Trumpets. In 1941 Pops and his wife moved to Chicago, started a family and by 1953 cut their first side, “These are They,” for his own Royal Record Company. Another single led to a recording contract with Vee-Jay records which lasted from 1956 to 1962. “Uncloudy Day,” released on Vee-Jay would be the Staple Singers breakthrough. Mavis Staples is still very much a force as a singer and is still performing live. Gospel music and this collection can be best summed up by Pops Staples himself who said, “This music was born from soulful voices, social activism, religious conviction and carries a message that moves you.”
  • 01. Staple Singers - Brand New Day
    02. George Soule - Get Involved
    03. Grady Tate - Be Black
    04. Derrick Harriott - Message From A Black Man
    05. Marvin Gaye - You're The Man
    06. Segments Of Time - Song To The System
    07. Cannonball Adderley - Walk Tall
    08. Last Poets - Black Wish
    09. Nancy Dupree With Group Of Rochester, NY Youngsters - James Brown
    10. Curtis Mayfield - Ghetto Child
    11. Melvin Van Peebles - Sweet Sweetback's Baadass Song (Won't Bleed Me)
    12. Syl Johnson - I'm Talkin' Bout Freedom
    13. Gil Scott-Heron - Who'll Pay Reparations On My Soul?
    14. Earl Sixteen - Malcolm X
    15. Cipher Jewels - 2000 Years
    16. S.O.U.L. - Tell It Like It Is
    17. The Main Ingredient - Black Seeds
    18. Derrick Harriott - Brown Baby
    19. Wendell Harrison & Phillip Ranelin - What We Need
    20. Walter Heath - You Know You're Wrong Brother
    21. Last Poets - Down To Now


    Black & Proud – The Soul Of the Black Panther Era

    [engl] „A really wonderful compilation of some of the hardest, most pounding a righteous soul ever recorded, geared to be a sort of unofficial soundtrack to the Black Panther movement of the late 60s and early 70s! It’s a proud mix of both longstanding hard soul and funk favorites and more obscure cuts alike, including “The Revolution Will Not Be Televised” by Gil Scott-Heron, “Heritage Of A Black Man” by Sam Dees, “Panther” by the Last Poets, “Right On” by Sons Of Slum, “Be Black” by Grady Tate, “You’re The Man” by Marvin Gaye, “Ghetto Reality” by James Brown, “Ghetto Child” by Curtis Mayfield, “Won’t Bleed Me” by Melvin Van Peebles, “Do You Remember Malcolm” by Miriam Makeeba” and lots more. 19 cuts in all — with a really nice booklet of photos, notes, an essay, biographical details and more, complete in both English and German. A really hard, really tight batch of great songs — and a huge treat to have rounded up on one set!“
  • 01. Blonda Yirini
    02. Didadi
    03. Ndiagneko
    04. Djougoh
    05. Hine
    06. Kanawa
    07. Adjorobena
    08. Foliwilen



    [engl] The meaning of “Kanawa” is so simple. We see our children trying to cross the ocean all the time. I said that many of our children die in the ocean and some of them while crossing the Sahara. Some climb over the wires across the borders and they have gotten shot. We have asked them not to leave and instead stay home. But I ask them why do they leave their country? Why do they decide to go? They said that they leave because of the family situation or problems, poverty, and unemployment. We told them if ever they are to leave, they should privilege legal ways. They should abide by laws vigorously when they are to emigrate. That’s better than hiding in boats or adopting other illegal means. I ask them to stay and work in their country. So that we can help each other find a solution to this problem. I call on the UN and African leaders so that we can coordinate our efforts to find a solution, to create jobs for them so that young people stop leaving. This song is about that message and I chose it as the title of my album because I like it. My choice is because it is very meaningful and it is something we see on a daily basis. I chose it in order to alert and sensitize everybody about this question of illegal immigration. To sensitize our brothers and sisters. It is a message. That’s why I chose it as the title of my album so that everybody can learn from it and also so that there is a reduction in the number of people emigrating. To sensitize them so that some can stay home and grow the land. Leaving is not the only solution. That’s my message.
    EAN 0843563131954
  • 01. Kourouni
    02. Tou Dibile
    03. Tjefouroule
    04. Djankonia
    05. Nianimanjougou
    06. Sokono Woulouni


    La Grande Cantatrice Malienne Vol 1

    [engl] Nahawa Doumbia is one of Mali's defining vocalists of the last four decades. Her work journeys through progressive stages of musical evolution and sonic vogues, making it hard to summarize or even comprehend. She's played a part in popular music since the late ‘70s, as her version of Wassoulou music developed from vocals-and-guitar duo into full-scale touring bands packing a bombastic, electrified punch. As Doumbia puts it, "My music has changed multiple times to this day…The more I progressed in my musical career, the more instruments I have had accompany my songs." ?La Grande Cantatrice Malienne Vol 1 looks back to the beginning of Doumbia’s long career, when her voice was remarkably strong yet still developing. This was before she added bass and percussion, and finally the electric guitar and synths for which she became known in recent years.? She'd been singing traditional music since her early teens in Bougouni. Doumbia performed with cultural troupes throughout her youth and gained the notice of Radio Mali officials who entered her in a Radio France International contest, Découverte 81 á Dakar, which she won. Whether she knew it or not, as a young lady from a town many hours from Mali’s capital Bamako, she was destined for a worldwide touring career at the vanguard of Malian popular music. ?Released in 1981 by the excellent Côte d’Ivoire-based AS Records, the singer was barely 20 years old when it was recorded. She was accompanied by her future husband N’Gou Bagayoko on acoustic guitar, whose style echoes the nimble runs of traditional kamele n’goni players. The stark simplicity of this highly intimate recording—the audible room acoustics, the occasionally in-the-red vocals—do not obscure the mature strength of her voice. On Vol 1 Doumbia performs her songs with the tenacity and hunger of a young artist on the cusp. "When I think about it, first, I am reminded of how long ago it was. It's one of the albums that I love most because it reminds me of my youth. I was so young and my voice was light and joyful. I still listen to some of those songs today. I am really proud of that first album because that’s where it all began. It shows me how far I’ve come in my personal and artistic life; it gives me the courage I need to keep going forward, and makes me appreciate all the years of dedication and hard work I put into my musical career. "?These early songs are rhythmically built around Bagayoko's sensitive guitar, as his fingers brush the fretboard and gently outline the melodies. Although this record predates the singer’s use of percussion, the driving skeletal didadi rhythm is apparent in the songs. Later albums like Vol 3 further prioritize her hometown didadi beat and the result made her famous.
    EAN 0843563115534
  • 01. Two Timer
    02. Regenerate
    03. Do You Know?
    04. Time
    05. Thinking About You
    06. Don't Give Up
    07. Out To Get You
    08. Two Timer (Instrumental)
    09. Regenerate (Instrumental)
    10. Do You Know? (Instrumental)
    11. Thinking About You (Instrumental)
    12. Don't Give Up (Instrumental)


    Big Crown Vaults Vol. 1

    [engl] We are always sitting on a handful of unreleased songs that didn’t make their way to albums. Listening back to these gems we decided to launch a new series entitled Big Crown Vaults and the first volume features the music of Lee Fields & the Expressions. These tunes were cut during the Special Night & It Rains Love sessions. When you hear these tracks you can imagine how difficult some of these decisions were in the first place to leave them off the albums. An absolute standout is “Regenerate,” a song that finds Lee in the country soul realm, a style that Mr Fields, a North Carolina native, flourishes in. A drum break starts the song and then drops into a chorus where El Michels, Paul & Big Bill Schalda belt out the earworm chorus. Lee sings an encouraging tune about finding your way out of a low point in a relationship while The Expressions lay down an airtight groove. “Thinking About You” takes it back to the dance floors with what will surely be a hit at Soul parties around the globe. An uptempo drum break opens the song and Lee launches into a tale about the unbreakable bond with his significant other and how they keep each strong through moments of hardship and pain. People who have seen Lee perform live in the last decade might have been lucky enough to hear his rendition of Little Carl Carlton’s “Two Timer”. For those of you who haven’t heard it, Big Crown Vaults has got you covered. A faithful version of the song showcases Lee’s gorgeous voice and the Expression's unwavering groove. Another treat on here is the fuzzed out funk banger “Do You Know” where Fields uses his platform to address some of our societal woes in a “Make The World” style. A deeper from the vaults number is “Out To Get You”, an instrumental that Lee never laid down vocals to. Even as just a rhythm track it stands as a testament to The Expressions musical prowess, the band that created 5 studio albums with Lee Fields which will go down in history as stone classics.
    EAN 0349223010411
  • 01. Cocaine Spy Tower
    02. Reagan's Fantasy Weekend
    03. Mr. Wonderful
    04. Psychic Jacuzzi
    05. The Neighbor Girl
    06. She's so Nice


    Fantasy Weekend

    [engl] While a stunning debut - the introduction to Good Looking Son feels more like a timely reacquaintance with an old friend. "Fantasy Weekend" is the latest from Keith Harman, whose lead vocals and songwriting abilities have long anchored The Cowboys and their prolific run that spans more than 70 original songs over five albums and change. There's a certain familiar, but ever-so-finessed element to Harman's songwriting that really hits the bullseye across this six track EP. "Fantasy Weekend" gazes into the dark, heavily glazed garage-pop of the late 60's/early 70's as Keith's calm, cool cadence balances between baritone sentimentality and ghostly thrum. A release both far from predictable and electrifying as the tempo cranks up along quirky keyboard lines that segue into classic powerpop territory. Whatever Midwestern time warp these songs crept out of is truly serene. Created in Cincinnati with Jerri Queen (Vacation) both producing and playing alongside Cowboys drummer Jordan Tarantino and longtime Queen City rocker Andrew Jody on bass, wrapped up with a vibrant mastering job courtesy of Caufield Schnug (Sweeping Promises). "Fantasy Weekend" is as immediate as it is entrancing - a rare one that can hold court at both first and last call.
  • 01. gimme germs
    02. smell my tongue
    03. carpool Lane
    04. dead
    05. stranger to me
    06. blasphemy
    07. yellow snow drink
    08. electro bike asshole
    09. get drunk on you
    10. i love you
    11. devil baby
    12. my down is your up
    13. dead (mortem batkovic)


    You're Class, I'm Trash

    [engl] It's all over town. In 2021 it's time again for a new The Monsters (official) album and thus also for a new Sounds of Subterrania Special Edition. It's time to rewrite the history of the record cover. 2021 is about nothing more and nothing less than giving back Punk the Do It Yourself. Are you ready for the greatest adventure of your life? Are you ready to face the most difficult task of your record collecting life and to turn a phrase into a creed, stitch by stitch? Your set consists "You're Class, I'm Trash" as an English and a Swiss version, canvas, 5,500 cm of thread and a needle. Everything is wrapped in an XL poster with a velvet sleeve and peppered with the irrefutable certainty that you will have to fight this battle alone. It's up to you to bring the artwork to perfection and to prove what only a true fan is capable of. The sets (Janosh, Swan-Lee or the Beat-Man himself) are strictly limited and only available directly from Sounds of Subterrania.
    DoLP Beat-Man
    DoLP Janosh
    DoLP Swan-Lee
  • 01. Tired Of This Time
    02. Nobody But Me
    03. Monkey Business
    04. Down Town
    05. Sons Of Cyrus
    06. The Fast Can't Lose
    07. Going Down
    08. Didn't Know
    09. The Warriors
    10. Sonic Riot
    11. I Need You Baby
    12. Street Fighting Man
    13. A Lonesome Boy
    14. Devil With A Blue Dress On / Good Golly Miss Molly
    15. Zardoz
    16. Nothing Matters Anymore
    17. What To Do
    18. Begging Me For More
    19. Switzerland
    20. Fate


    Can you Dig It

    Die Geschichte des Rock’n’Roll ist auch eine Geschichte der Missverständnisse. Eine dieser falschen Auslegungen betrifft das Wort Sex (verewigt in der beru?hmtesten aller Phrasen). Ich bin der festen U?berzeugung, daß im Rock’n’Roll Hauptanziehungsgrund und Attraktivität nicht die Vorstellung an die schno?de Vereinigung korpulierender Körper, sondern vielmehr die sinnliche Ausstrahlung der Kunst und seiner Interpreten an sich ausmachen. Ein in diesem Zusammenhang meiner Meinung nach oft bewußt falsch eingesetztes Argument ist die überbordende Maskulinität. Bei genauer Betrachtung sind Muskelmänner allerdings eher die Ausnahme. Warum ich diese Einleitung wähle? Vor 25 Jahren, zum Beginn der Hochzeit des skandinavischen Rocks, gründet sich in Stockholm eine Band, deren Musik und Songs ich bis heute ohne zu Zögern mit den Worten sexy, lustvoll, anziehend, verführerisch oder auch erotisch bezeichnen würde. Diese Band, gestartet von vier schma?chtigen Jungs, machte all das, was für mich diese Großartigkeit dieses Genres verkörperte. Der Rock, den ich mag, war immer der Rock der Straße und nicht der Stadien, der Rock der Underdogs und nicht der cleveren Unternehmer. Es war der Rock, der seine Funktionalita?t eben nicht aus meterhohen Verstärkertürmen, sondern eben aus der Sexyness der souligen Songs zog. Die Rede ist von Sons of Cyrus, vielleicht eine der am meisten unterbewertetsten Bands dieser Gattung. Gegru?ndet 1996 von Erik, Love, Mackie und Topi, spa?ter dann, nachdem Erik die Band verließ, weitergefu?hrt mit Max und Torgny an der Harmonika, spielen sie 3 Alben und 7 Singles ein. Alle Songs zeichnet eine wohltuende Schnoddrigkeit aus, sie wirken wie die durch die Zahnlücke gedrückten Pfiffe einer Bande Straßenjungs. Frech, anmaßend und unverschämt. Sie wollen nicht wissen, was die Welt kostet, denn diese gehört ihnen bereits. Diese DoppelLP vereint verschiedenen Singles und Samplerbeiträge und ist für mich ein Dankeschön an all die tollen Erinnerungen, die ich mit ihnen und durch sie hatte und für dich eine nette Gelegenheit, endlich mal wieder toll geilen Garagenpunk zu kaufen.
  • 01. Hunting For Love
    02. Certain Kinds Of Trash
    03. Free Will
    04. 'Nuff Said
    05. Surprise Party
    06. I'm Not Interested (In Being Interested) Pt. I
    07. I'm Not Interested (In Being Interested) Pt. II
    08. Where Does All The Time Go?
    09. (Living In The) Panther's Cage
    10. Heavy Breathing
    11. You Better Find Something To Do
    12. If I Only Had A Brain
    13. In Cool Blood


    In Cool Blood

    Das dritte, 2012 erschienene Album von Chain & The Gang besitzt einen attraktiven Joker: Katie Alice Greer – die charismatische Sängerin der Priests übernimmt in allen Songs die zweite Stimme. Und egal ob sie nur ein spitzes „Yeah!“ herausstößt, oder wie in „Free Will“ den Song komplett übernimmt – ihre Präsenz steht spürbar im Raum. „In Cool Blood“ ist so eine Art Bonnie-&-Clyde-, oder Nancy-&-Lee-Album geworden: abenteuerlich, sexy und ziemlich von sich selbst überzeugt. Die Balance zwischen den beiden unterschiedlichen Stimmen ist perfekt austariert, die Songs sind lässig, aber auf den Punkt. Es geht diesmal weniger gegen den Kapitalismus und mehr um das Ausleben persönlicher Freiheit. „Heavy Breathing“, feiert die Freuden des nächtlichen Telefon-Sex; „Free Will“ singt Greer so rotzig selbstbewusst, als habe sie einem übergriffigen Typen soeben einen schmerzhaften Tritt in die Weichteile verpasst: „I don‘t believe in free will. I just do what I feel, that is the deal, I don‘t believe in free will“. Kenner hören da sicher auch Anklänge an die Delmonas oder Holly Golightly. Es ist schwer, diese Mischung aus lauerndem Garagen-Rock und ironischen Posen und Bekenntnissen nicht zu mögen. Chain & The Gang haben sich hiermit ihre eigene Welt erschaffen, eine heftig brodelnde Petrischale voller Songs und Storys, die Vergangenheit und Zukunft des Rock‘n‘Roll zusammenführt. "Not for the weak of heart or the slow of brain, „In Cool Blood“ is for the hot of blood, the quick of temper, and the hard of sleeping. Recorded in a spontaneous, ad lib session of dream led automatic writing/rocking, „In Cool Blood“ was made at a Surrealist stomp session in the bowls of Olympia." – CHAIN & THE GANG manager Johnny Sincere
  • 01. Ay Adam
    02. Afro Turko
    03. Nese
    04. Atim Arap
    05. Mustang
    06. Temir Aga
    07. Ayvaz
    08. Yildiz
    09. Fidayda


    Tropical Anatolia

    Ipek Yolu ist der türkische Name für die Seidenstraße, die Asien und mit Europa verbindet. Die Karawane Ipek Yolu beschäftigt sich nun nicht mit dem Transport von Seide, sondern sammelt vielmehr die Aromen, Düfte und Klänge aus den unterschiedlichsten Teilen der Welt und verbindet sie. Sie vereint basslastige Electro-Cumbia-Grooves, Saz-Riffs und Surfgitarren zu einem multikulturellen Schmelztiegel aus südamerikanischen Rhythmen, anatolischer Volksmusik und psychedelischem Rock der 60er Jahre. Es entsteht ein einzigartiges Klanguniversum, eine kaleidoskopischen Mischung aus Musik, die den tropischen Dschungel und die staubigen Wüsten verbindet. Ipek Yolu hat 2020 genutzt, um ihr Debütalbum Tropical Anatolia zu schreiben und sind mehr als bereit, die Bühnen der Clubs und Festivals zu besuchen. Die Mitglieder von Ipek Yolu trafen sich zum ersten Mal während des Aarhus Roots & Hybrid Festivals im Jahr 2018 zu einer improvisierten Jam-Session. Die Show war als einmaliger Auftritt von Mitgliedern der Bands Hudna und Junglelyd geplant. Die Chemie stimmte und angefeuert durch das Publikum dauerte das Konzert fast drei Stunden. Schnell stand fest, etwas Besonders war entstanden - die Essenz aus zwei Bands, die für groovende Partys bekannt sind und zu der sich musikalische Neugier und Improvisation gesellt. Die drei Mitglieder von Ipek Yolu sind seit mehreren Jahren Teil der dänischen Musikszene. Bandleader Orhan Özgür Turan ist ein bekannter und angesehener Saz-Spieler nicht nur in Dänemark und hat wegweisend den Sound der anatolischen Folk-Band Hudna geprägt. 2018 gewann er bei den Danish World Music Awards die Auszeichnung als Global Roots Artist des Jahres. Olaf Brinch und Lasse Aagaard spielen seit vielen Jahren in den unterschiedlichsten Bands zusammen und sind ständig auf der Suche nach dem unterschiedlichen Tönen dieser Welt. Und so entwickelten sie ausgehend vom Cumbia bei Junglelyd über den Afrobeat bei African Connection ihren eigenen Sound. Beide tourten durch Ghana, spielten und lernten von CC Yoyo, dem ehemaligen Schlagzeuger von Fela Kuti und sind noch an unzähligen weiteren Projekten beteiligt. Alle diese Erfahrungen wurden nun vereint, um mit Ipek Yolu den weiten Genre der Weltmusic den Bereich Tropical Anatolia hinzuzufügen.
    EAN 4260016922055
    EAN 4260016922062
  • 01. Why Not?
    02. Not Good Enough
    03. For Practical Purposes (I Love You)
    04. Livin' Rough
    05. It's A Hard, Hard Job (Keeping Everybody High)
    06. Detroit Music
    07. Detroit Music Pt II
    08. Music's Not For Everyone
    09. Can't Get Away
    10. (I've Got) Privilege
    11. Youth Is Wasted On The Young
    12. Not Good Enough (Dub)
    13. Bill For The Use Of A Body
    14. Why Not? Pt III


    Music's Not For Everyone

    [engl] Released in 2011, Chain & The Gang's second album, like its predecessor, was once again produced by Calvin Johnson at Dub Narcotic Studio. The lineup is also mostly the same, with the small difference that there are now five background singers who answer (in different songs) the calls of Ian Svenonius: Tara Jane O'Neil, Veronica Ortuño, Susanna Patten, Sarah Pedal and Katy Davidson. "Why Not" challenges everyday common sense and the established rules to an energetic blues shuffle. "Detroit Music" sounds like dirty jabs and the Dirtbombs, "Detroit Music II" plays the ball on, towards a heavy monster jam. Brilliant! The title track is then again in a class of its own: to psychedelic laments familiar from the Stooges' "We Will Fail," Svenonius mocks the tastes of the naïve "I actually listen to everything" consumer: "I know you wanna share. But don't!" he spits contemptuously at their feet. In the era of Spotify & Co., Svenonius accepts the accusation of snobbery: "Does a moth know a flame, just because it's drawn to it? "Svenonius sells it all with conviction and a devilish twinkle in his eye. He means what he says, and also knows how absurd it all is. These 12 tracks serve as a bombastic backdrop for Svenonius' treatises on living the life of an anti-capitalist svengali; they're a guerrilla garage rock manifesto imbued with fever, fervour and soul." - The Quietus
  • 01. Chain Gang Theme (I See Progress)
    02. Cemetery Map
    03. Trash Talk
    04. Reparations
    05. What Is A Dollar?
    06. Interview With The Chain Gang
    07. Deathbed Confession
    08. Room 19
    09. (Lookin' For A) Cave Girl
    10. Unpronounceable Name


    Down With Liberty... Up With Chains!

    [engl] The 2009 debut album from the chain gang led by Ian Svenonius (Nation of Ulysses, The Make-Up, Weird War) is a masterpiece of primitivism. From dazzling set pieces of R&B and rock'n'roll, the band forms highly melodic songs full of call-and-response chants ("What Is A Dollar"), or invites you to take a walk through the cemetery ("Cemetry Map"), which sounds so spooky as if voodoo master Dr. John had thought it up. Sometimes Svenonius just grabs a wooden guitar to make fun of conspiracy theories like in "Deathbed Confessions": "I faked the moon landing, I saved Hitler's brain. Yeah, it's in Argentina but it controls the USA." Calvin Johnson produced the album at his Dub Narcotic studio and also did a bit of background vocals. The beat lurches and sways as confidently and surely as an old sea dog's gait in a breeze of doppelkorn. The somewhat odd album title is explained by the always conceptually thinking singer as follows: "Everywhere freedom goes, it leaves a path of destruction. Fast food, bad architecture, materialism, unbridled greed, destroyed environment, imperial conquests, class struggle; combined, these phenomena are seemingly synonymous with freedom." When big words often hide only capitalist greed and imperialist war, Svenonius & Co. prefer to slip into the role of dissidents. "Ian Svenonius is an inadvertent pioneer. His career has been a studied attempt to advance the history of punk rock, using influences as tools to build with rather than styles to flaunt and discard." - The Wire
    EAN 4260016922000
  • 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


    [engl] all 3 records for a special price. Anyone who has already pre-ordered a record can also fall back on the offer. Just send an email.
  • 01. Glasfaser
    02. Mischmaschine
    03. Hochzeit
    04. Ku?hltransporter
    05. Lebenslauf
    06. No Money / Car Song B2
    07. 100 Grad
    08. Uhr Kaputt
    09. Forgotten Keys



    [engl] Debut record of this post punk band from Vienna, Austria. Tracks taken from the self-released tape, recorded on 4-track, mastered to perfection by Eric Brady. Limited to 500 copies. Post-Punk to dance to, touching the body at the very right places, mostly german lyrics you will know by heart soon even if you are from…
    LP lim
  • 01. All Made Up
    02. Every time I


    All Made Up

    [engl] Los Angeles, CA based PowerPop combo with two new cuts on 45rpm. This double A side banger is another testament of their unique upbeat Undertones & Buzzcocks tinged teenage frustration rock n roll in 2 and a half minutes. More exciting news from the Reflectors will follow soon…. day by day, week by week… stay tuned!
    7" lim
  • 01. Waves of sleep
    02. Missile Youth
    03. Don't Pray For Mojo or The Ability To Feel
    04. Whirlwind
    05. Death To The Salesmen
    06. Fuck Death!
    07. Dying Daze
    08. Flood
    09. Sour Lies
    10. Somatotropin Blues
    11. Wild Animals
    12. Kalt


    Fuck Death

    [engl] From the first few riffs of “Fuck Death!”, you can tell that you are in for a special treat. This is not your typical 3-chord punk rock wasteland - this is a very well written post hardcore/punk album. And it took those 4 guys only 6 years to record it... These 12 songs show that When There Is None perfected their sound & songwriting over the past years. The album has more melodies than power chords and more sing-alongs than boredom. Sounding like a hybrid somewhere between the Sainte Catherines, Leatherface and Hot Water Music - this album keeps on growing with every spin. Also, finally a concept we all can agree on. Fuck Death!
    EAN 3481575414763
  • 01. Maniac
    02. Blouson Noir
    03. Gagoule Rose
    04. Schlag
    05. Cut Cut
    06. Skilfek
    07. Immature
    08. Luxure Objectif
    09. Degage
    10. Les Restes de la Veille
    11. Ton Cuir Noire de Merde (La Flingue)



    [engl] After "Demo Demo Demo" and "Single Single", this is finally the first full length album by one-man-wonder Doug out of Lorient. You may know the man behind the mask from his other exquisite projects SORDID SHIP or COUPE GORGE, in which, above all, he extensively expresses his preference for Oi! On the debut LP, as on the previous singles, he rather shows his passion for synthpunk and then simply combines both preferences into a pretty great and awesome style of Punk. Super melodic synth parts mix with angry Oi Punk and Roll sound. Voilà: CUIR. This LP comes on beautiful rose marbled vinyl!
    EAN 3481575466229
  • 01. Parents + FBI = Cahoots
    02. Fuck It, We’re Gonna Get Paid
    03. I Think the Sirens are Coming for Me
    04. I’ve Gone Savage
    05. Transfixed by a Zombie
    06. Get Us Out of Here!
    07. The Situation is Grim
    08. Just Shoot Me When You’re Ready
    09. A Feral Clone’s Revenge
    10. Dialogue Between a Vampire & Bloodless Aliens
    11. * Hidden Bonus Track!


    Parents + FBI = Cahoots!

    [engl] With the debut album "Parents + FBI = Cahoots", Shrinkwrap Killers out of Oakland bring a load of paranoia and conspiracies to the picnic table. The sun may be shining, but the melodies in the guise of 80s Dark Wave / Synth Punk are eerily beautiful enough to darken the sky. Yes, you can dance to this, cry, drink and smash the goddamn State to this. All at the same time. A perfect mixture of The Spits, Wipers & Brat Farrar. "Just because you're paranoid doesn't mean they're not after you!"
    EAN 3481575415326

    Collectors box

    Indigenious Hiphop Sound aus Uganda vom Nilotika Cultural Ensemble! Die Nilotika Collectors Box kombiniert feinsten Sound und handgefertigte Kunst zu Gunsten eines sozialen Projekts. Und zwar nicht irgendeinem: Wir supporten das Nilotika Cultural Ensemble aus Uganda! Die Crew um Jajja Kalanda organisiert Sozial- und Kulturarbeit in den benachteiligten Vierteln in Kampala. Sie geben Anleitung in Workshops; bringen den Jugendlichen Schneidern und die Technik des traditionellen Niyabingi-Drumming bei. Power! Das Kollektiv ist auch selber musikalisch aktiv und hat einen Song zum Release beigesteuert. Der Track verbindet traditionelle Niyabingi Percussion mit melodischen Rap-Vocals von Spyda MC. Gerappt wird sowohl auf Englisch als auch auf Luganda, der Landessprache. Die Kölner Produzenten Ancient Astronauts haben für die B-Seite einen Remix von diesem Track abgeliefert, der stark in die Hüfte geht. Die Ancient Astronauts sind seit mehr als 20 Jahren am Musik produzieren und haben schon mit den Jungle Brothers, The Pharcyde, Shawn Lee oder Azeem zusammen gearbeitet. Neben der 7“ Vinyl-Scheibe enthält die Sammlerbox einen exklusiven, signierten Druck der Münchener Graffiti Legende Loomit, der sich für die gute Sache eine Wand geschnappt hat. Und damit noch nicht genug! Wir haben einen Kunstdruck von Patrick Thomas – Professor an der ABK-Stuttgart, weltbekannt für seine Siebdruckposter und Workshops, mit reingepackt! Ein Sammlerstück mit Tiefgang, signiert und rar, wat willste mehr? Außerdem gibt es ein handgenähtes Afro Bag vom Nilotika Culture Ensemble selbst. Unsere nigelnagelneue Box ist wieder auf 100 Stück limitiert. Das aufwändig illustrierte Gatefold-Cover wurde von Julian Rentzsch gestaltet. Und das Beste an der ganzen Nummer: Die Erlöse aus dem Verkauf der Box fließen in den direkten Support des Nilotika Kollektivs.
    7" lim
  • 01. Vi ska vara kejsaren
    02. På trottoarer


    Vi ska vara kejsaren

    Killer Garagepunk aus Schweden ala Dead Moon! limitiert auf 130 Stück!!!
    7" lim
  • 01. The Art of EMCEE
    02. Keep My Name Out Your Mouth
    03. Respect the Vinyl (Skit)
    04. Dutch (You All Caught Up)
    05. All On Me
    06. Take Your Lumps
    07. Changing Culture with Revolvers
    08. Once Again
    09. Forefathers (I Owe It to You)
    10. That Ol' One-Two
    11. Just a Mess
    12. A Friendly Reminder
    13. No Admission
    14. Barely At My Peak


    Changing Culture with Revolvers

    [engl] IconAclass is a passion project from MC/producer Will Brooks. Best known as MC dälek, the front person and co-producer in experimental Hip Hop group Dälek. He has explored the left of center/ wall of noise world ala My Bloody Valentine meets Public Enemy on 8 studio albums and numerous collaborations. Their sophomore full length album Changing Culture with Revolvers features MC dälek back on production and Emcee duties, and recruits long time deadverse massive & Labteksmember, Dev-One on vocals as well. The contrast in voice and rhyme style provides the album with a brand new take on hard hitting gritty East Coast Hip Hop. As always, cuts are provided by Mixmaster Motiv. Changing Culture with Revolvers is poised to open eyes and in?ltrate eardrums. Pure hip-hop, hypnotic, heavy beats serve as more than just a backdrop. They focus a spotlight squarely on the lyrics, and iconAclass has a lot on their mind! 12 tracks with a heady blend of lyrics and grimy East Coast Boom-Bap beats skewed through the Deadverse prism.
  • 01. NINA MARTIN - I'm aggressive (Germany 1976)
    02. NORAH - The Battle For My Love (Spain 1974)
    03. PHILADELPHIA - School's back (USA?? 1977)
    04. PAULA LINCOLN - It's the monster again (Netherlands 1975)
    05. VERMILION - I Like Motorcycles (UK 1979)
    06. BOBBIE McGEE - Upside down (UK 1974)
    07. NQB - Long long weekend (Sweden 1973)
    08. THE ALISON MARKLEW BAND - Midnight rider (UK 1975)
    09. LORENZA JOHNSON - Mr. Teaser (UK 1973)
    10. RADAR - Nobody knows (Netherlands 1977)
    11. ROCK FOLLIES - Good Behaviour (UK 1976)
    12. THE (NEW) SETTLERS - Lifelight (UK 1974)
    13. PUNCHIN' JUDY - Settle down (UK 1974)
    14. JUDITH CROWNE - Steam hammer (UK 1973)


    Knuckle Girls Vol. 2 (14 pugilistic platters from the only glitter girls that matter )

    [engl] An extract from the novel “Bovver Birds Rool” (…continued) “That must hurt”, said Dave. He hovered over Sue as she shakily tried to return to her feet. “Well help me, then”, barked Sue with a pained expression, “don’t just flippin’ stand there”. “I think this fell off”, said Dave as he handed Sue back her bloodied Marc Bolan rosette. “Great”, snapped Sue, “Steve’s only just given me that… Which way did they go?” “Don’t be daft”, said Dave, “you’re in no fit state.” At Tuesday night’s Stall Street Disco, Dawn and Jane were busy victory dancing to their anthem, Hector’s “Wired Up”, darting hard-faced Knuckle Girl glares at any boy daring enough to comment on their togetherness with an ill-advised wink and a nudge to his immediate neighbour. Meanwhile, Sue had invested her last 2p in a phone call to her best mate “Sand”, short for Sandra. “Sand” was the self-elected leader of the Bovver Birds, the female contingent of The Larkhall Legion, who were beginning to assemble around the entrance to the disco. “Tired of living?” were the last words Dawn heard as her face hit the floor. “You cow!,” Dawn screamed, as she pulled out the remnants of her own front tooth and threw it in the face her towering tormentor. “The Knuckle Girls buckle and the Bovver Birds win. Again!,” announced Sand in a loud but deadpan voice over the continuing Hector music. “We’ll leave you alone now to bury your dead. … “Birds” is still the word, and you’ve should been shat on from a great height. Next time, bitches!” A bow-tied bouncer strong-armed “Sand” from the hall, dragging her by the arms as she still tried to pitch a globule of carefully-harvested spittle over her agitator. “And there’s a greeny for you,” she shrieked with delight as it landed successfully. (to be continued…)
  • 01. Outside Over There
    02. Wir sind die Roboter


    Dual Visions

    [engl] Somewhere in a remote place called Hawkfield, not far from the city of Stockholm, Sweden, music, dreams, visions, goblins & robots, come to life. There are stories to tell, signs and paths to follow, towards the horizon and beyond. Beyond Louie (Love Jonasson) is a singer and an artist who creates tunes and melodies on synths and guitars. On this recording he’s joined by Frank E. Male (Henry Fiats Open Sore), guitar and bass, Staffan Zeroboy Fagerberg (Vidro), drums and Li Jonasson, backing vocals, the daughter of the artist. Beyond Louie has been an active musician since the 90s as a singer in the Stockholm based garage band Sons of Cyrus, the Berlin band Ray Omega and different music projects like Last Crusade. Beyond Louie is the artists new solo project. This single is the first release, two songs that show two sides of music.
    7" lim
    EAN 4260016922048