[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

[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.

[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…

[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!

[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!

[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!

[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!"

[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.

[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…)

[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.

[engl] Can you smell what The Whiffs are cookin? Hint: it’s not Phish, Meatloaf or a String Cheese Incident. Nope – Kansas City’s prodigal sons of power pop are sticking to what they know on Another Whiff, their debut full-length for Dig! Records. Since 2017’s Take A Whiff EP, the band has been busy allowing their auditory aromas to ripen with the addition of Joey Rubbish (of The Rubs) for a fuller, more robust sonic bouquet. While the band can still get it up for Stiff Records – their pop-centric punk remains in full force – the album takes detours down lonelier roads in broken-hearted ballads from the heartland. No rocks left unturned on a journey forged by pioneers like Chilton and later Westerberg, the looming legacy of Petty and the cosmic country harmonies of The Byrds before them. In a year’s span, The Whiffs took their time recording, on and off, in their makeshift basement practice space: Electric Babyland. This pace and environs allowed the new lineup to coalesce, and get tour-tight on the road with La Luz, Bad Sports and Patsy’s Rats. The result is a unique album that is at once sprawling in direction and precise in execution, with all the sonic stank you’d expect from sweaty beer plied basement sessions. Out of the gate, “Shakin All Over” will register to all of the senses, like you’re squatting in the corner of the basement, imbibing with the band and absorbing every hit from Jake’s C&C kit (note the frivolous plug for Jake’s drum company). After untold nights into the wee hours of the morning, 14 tracks emerged as Another Whiff. Expertly recorded by Joey, mixed by Vince Lawhon and mastered by Jordan Richardson; the final package sounds like the sum of its parts, and all the beers in between. Another Whiff shirks a sell-by date and trends de jour, in favor of honest guitar driven, vocally infectious love songs for the ages. Timeless tunes and the triple-threat of Rory, Zach and Joey’s vocals set The Whiffs apart from their peers. Three distinct songwriters with their own personal flavors, delivering three-part harmonies for a unique rotation of upbeat punk belters (“Now I Know”), achy ballads (“She”) and triumphant tearjerkers (“How Could You”) that our troubled troubadours dispense like a Greatest Hits Factory for the last half-century of all of our all-time favorites.

[engl] Haters be damned, and punishers beware; Dancer don’t suffer no fools! Here with an anthemic scorcher of an A-Side: “I’m Not Giving Up”, channels equal parts Cheap Trick & Thin Lizzy, delivering the ROCK GOD goods so convincingly its time to THROW your Kiss records out! Flip it over for “Teenage Punk”, a swirling synth punk slice of misfit solace with words to live by (“all our friends, we don’t have friends”). Six singles in, and Dancer proves there are sick new moves comin’ from the crew responsible for Apache, Glitz, and Slick! Recorded by Greg Ashley in a one and done press featuring awesome album art by the Human Lawnmower’s inimitable Avi Spivak.

[engl] Clyde and the Nightswingers came together to record the Theme song for a 1967 “Art Film.” If LSD ingested during a gathering of members of the U.S. Air Force and delinquent girls is your idea of an Art Film, then the only way to see it is to close your eyes and let The Enormous Midnight seep into your brain. The film is lost, but Nightswinger sounds are found on this Arcania International LP. Sounds kind of psychedelic, yes. But there’s more to the story and indeed a story it is. For the most part we hear a Garage band that seems to have been dropped into a vat of acid, then coming out as if totally Psyched! So – experimentation! That adds to a lost, M.I.A. quality, with a folkie (Clyde) trying his best to conjure up “lyrics as art” while singing/screaming them across this entire album. Yes, this tells a story, but despite death wish words and a long night of the soul, it ends happily. Because it’s just a (fuzzy/feedback/explosive/electrical) dream. But not music to go to sleep to.

[engl] fast finger piano-punk from germany. all lyrics in german. no crust,d-beat,grind,hc-punk !! this is the new wave of punk ! a wild and fantastic mix of german anarcho classics like TonSteineScherben,Quetschenpauer with dirty garage/77-style punk like The Shocks,Zack Zack, Spits and so on. lp comes in full-colour gatefold cover, incl booklet. lmtd to 500 copies.

[engl] Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented ""single mic technique"" just before quarantine, ""Hunger for a Way Out"", is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises' sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on ""Hunger for a Way Out"".

[engl] an All-Girl Foot-Stompin' Bovver Rock Compilation!

[engl] Sharpies were the terror teen cast of a Richard Allen novel that never was. Although largely synonymous with the early-to-mid 1970s, reports of their violent clashes with rival gangs of Mods are documented as early as 1966. Bored, working-class, suburban kids, their teenage rampage began in Melbourne, Australia, but soon there were Sharpie gangs forming in Sydney, Perth and beyond. For a while they were the untouchables, ruling dances, discos and public transport with their fists. Sharpies were fiercely territorial and divided into different chapters according to location. They would often wage aggressive wars within their tightly delineated sub-gangs, although Mods always remained their arch-enemy. Sharpies were the scourge of the railways. Although they would seldom attack members of the general public, if you gave them a second look you’d be lucky to escape with your wallet intact. Violence was their world, but always with a strict moral code. Sharpie boys and girls wore similar uniforms: a slim-fitting, ribbed and collared cardigan called a Conny, T-shirts, tight jeans (Lee or Levis) and big platform shoes. Girls’ shoes had 100% cork heels. Boys’ shoes were often two-coloured. Hair was worn short or shaved with long wisps at the back, influenced by the British ska, mod and skinhead subcultures. Sharpie girls had their hair slightly longer and often with coloured streaks - Bowie-red was their colour of choice. Boys often bleached their hair. Tattoos were popular, although many were homemade and poorly executed. Their diet was anthemic glam-rock (Slade, Sweet, T.Rex, Bowie, Gary Glitter) kung-fu movies and A Clockwork Orange. The music of local heroes like Lobby Loyde and The Coloured Balls, AC/DC, Skyhooks and Hush provided their daily soundtrack. They even had their own tribal dance, a rhythmic sway with knees bent and fists clenched and pumping upwards across their chests. As the 1970s drew to a close, and new styles like punk and disco began to emerge, Sharpies started to fade. By 1979 they were all-but gone. Today they are recognised as an important part of Australian youth culture and social history. Enjoy their music...

[engl]  All girl Volume, with Linernotes and 45 sleeves (black and white) on the back.

[engl] More obscure Glam Rock that never made it.

[engl] Freak Genes continue their descent into angular electronics with Power Station. Musicians are replaced by machines, natural sounds are swapped for noises. The result is synthetic pop for problem times. Charlie Murphy (Internal Credit / Isolation) and Andrew Anderson (Proto Idiot / KAKE?) orchestrate affairs, wrangling synths, drum machines, guitars and found sounds. Think 154-era Wire but with a reduced budget, or DAF minus the disco. The album was recorded in bedrooms and borrowed spaces from 2018 to 2020. It was mixed and mastered by Mikey Young. Formed in 2016, Freak Genes previous albums are Playtime, Qwak Qwak and III. They’ve performed in both shitty and swanky venues across Europe. They’ll be on stage again in 2021, pandemics and other global catastrophes depending.