• 01. J'attends la bombe
    02. Dernier homme
    03. #1
    04. Venera 16
    05. La jungle
    06. The Pleasure Principle
    07. Mariposa
    08. A l'ombre du Coolangata géant
    09. #2
    10. The Fur
    11. Videolife
    12. Les Adieux au plaisir
    13. The Drowning (Bonus)



    [engl] I’m going to say “I” because I think I can’t write about my music other than in the first person. I’ve been playing drums since I was fifteen years old and I’ve always had bands since. Even if I always contribute artistically, to different degrees, my latitude of action, from a creative point of view, has always been limited by the fact that I am a drummer. Like many people, I learned to play very approximately the guitar and keyboard, and I spent years going over obsessions and recurring patterns, in my room and in my head, without doing any of that, and knowing that even though I was and still am extremely involved in my past and present bands (Skategang, La Secte du Futur, Marietta to a lesser extent, and ), the music we were making was only partially representative of me. I’ve always listened to a lot of reggae, dancehall, music from Ghana, Nigeria, Congo, and overall music that is based more on repetition and intention than composition, and that’s something I could never really develop in there. In 2015 my brother and friend Benjamin Dupont, the human behind Bryan’s Magic Tears, moved into my flat share / Noah’s Ark at 35 rue Clignancourt, in the 18th arrondissement, and it was him who unlocked everything by showing me how to record music by myself ; and one September morning, lying on my back, I saw the light. It’s really a new world that’s opened up to me, I started recording at a pretty intensive pace, just letting myself be carried away by what I’ve had in my head and fingers for years; I’ve accumulated a lot of material, including a lot of unfinished pieces, and I’ve tried – I’m still trying – to understand for myself what my point really is and to learn how to systematize and channel my obsessions to make it something personal. Recording a lot, without any constraints of format, group or expectations, by letting myself be totally carried away by what was coming out in the moment, it allowed me to give myself a certain insight into myself; I am not one of the people who compose music by having an idea of where they want to go, but by repeating the exercise, something coherent ends up taking shape. I would say that it oscillates, for the music, between synthetic krautrock, dancehall lo-fi, Manchester sound recorded with toys, rock à la Velvet and Memphis rap for children; and between Les Négresses Vertes and Julien Gracq for the texts. I still write the basis of my lyrics without music, and I attach a lot of importance to it; French has become obvious because I want to say something true and I would not be able to do it otherwise – even if the text of “The Fur” is in English, but it was to seduce a girl (it didn’t work), and it won’t happen again. This is my friend Paula from J.C. Satan and Succhiamo, who sings on “Mariposa” and “Venera 16”, because I had no idea what to do about it; I sent her the songs and she sang on her phone, it was great so we recorded it. This first album is a kind of best-of from 2015 to 2018, the songs that held up best, the ones I had lyrics on, the best finished drafts, basically. I owe its existence to my friends at the Megattera micro-label who, after hearing my songs at home at night, decided to release them confidentially on tape first; without them, they would still be on my hard drive. Under the spell, Born Bad Records then entrusted Olivier Demeaux de Cheveu/ Heimat with the mission of mixing the “best” tracks to give them the lustre they deserve and make these few crazy and scattered tracks a full-fledged album. I asked Adam Karakos, from Villejuif Underground, Guillaume Rottier, from Rendez-Vous, Nikolaj Boursniev, from Quetzal Snakes, and Milia Colombani, who plays in half the bands in Paris, to play live with me. Pleasure Principle is located somewhere within a triangle formed by Francis Bebey, Add (n) To X and Ludwig Von 88; it is a solitary race to the outside, an ode to the forward flight, a way to escape in the peaceful expectation of the great liberating flash. I often find myself dancing like a monkey who forgets the world when I record at night in my room, and I hope to provoke the same reaction in people. Paul Speedy Ramon
    EAN 3521381557985
    EAN 3521383457979
  • 01. Yogasvin
    02. Introgovertz
    03. Sterling No. 1
    04. Cold Hawaii
    05. Cinematic
    06. Druid
    07. Synthetic Beach
    08. Bomygre
    09. Mass Confusion



    Killer Worldmusic Jazz Funk aus Aarhus Dänemark! Unbedingt antesten.
    EAN 4260016924332
  • 01. Safe Word
    02. Who Comes Next
    03. Ill Nature
    04. Pressure Test


    Safe Word

    [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.
  • 01. Rubber
    02. Color Kill
    03. Look At My List
    04. Apple T
    05. American HD
    06. Fully Foam Ending
    07. Unlike (ft. Jazz Adam)
    08. Vestido!
    09. Love Today
    10. In Some Ways Yes
    11. Actor Is
    12. Is Ours Not Yes
    13. Being Where It Shouldn't Be
    14. Canada
    15. Dr. Squeamish
    16. Maxine


    Good Big

    [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.
  • 01. Fast Trash
    02. New York's Alright (If You Like Sex & Phones)
    03. Wasted On Youth-Melted Candle
    04. To & Fromme
    05. Wimpy Garcia (Brotherfucker)
    06. Ipso Facto (It's All Happening)
    07. New Dress (Debutante)
    08. Jenna Rations
    09. Affection
    10. Secs Tape


    Poor People Are Revolting

    [engl] The Gotobeds' members come from Pittsburgh, Penn., a place notorious for keeping great local bands to itself. But the racket these guys kick up on their first album, Poor People Are Revolting, might be too strong for the city to contain. Guitarists Eli Kasan and Tom Payne spent the last few years as part of the local hardcore band Kim Phuc. Joined by bassist Gavin Jensen and drummer Cary Belbeck, they bring that energy to The Gotobeds, a rowdy, ramshackle party house of a band, built on the intersecting bedrock of post-punk and indie rock. On Poor People Are Revolting, there's something crazy going on in every room, the front porch and the backyard: a party that never dies down or seems to stop, even as the neighbors complain and the cops drive past. Working from the spirit and fundamentals of a small handful of influences — the design sense and intellectual rowdiness of The Fall; the constant evolution and masterful poker faces of Wire, from whose drummer these guys borrowed their name; the sturdy, heroic melodic sense and layered tape-loop production of Mission of Burma — The Gotobeds' members paint a dirty, driven, vulgar portrait of Rust Belt restlessness. Poor People rockets out of the gate with "Fast Trash," a great intro to The Gotobeds' boundless energy. Two-parter "Wasted on Youth/Melted Candle" starts out with a tuneful riff that ratchets past pandemonium. Every song here is an honest-to-goodness anthem, ready to sweep you up in the throttling, last-call anxiety that permeates the band's work — even through all 10 minutes of the single repetitive riff that makes up "Secs Tape." Were these guys from New York City, they'd probably be too tired and broke to play with this level of fevered, feral inspiration. With no fear of being priced out, they launch one of the greatest arguments against Big Apple living with their single "NY's Alright." Like the album's title, the song is a double-edged sword, couching the relative excitement of New York (and hearing all about it from everyone who's moved there) against the reality of people staring into their cellphones on crowded sidewalks, constantly trying to maintain a standard of living that The Gotobeds can enjoy for next to nothing. The sentiment is hammered home in the video for the track, as the band drops a Parquet Courts LP out of its sleeve, only to see it shatter on the floor. One of the strongest American rock debuts in years, Poor People Are Revolting is an obscene gesture hoisted toward anyone who'd claim that the genre is dead.
    EAN 4260016924387
  • 01. Von der Freunde am Fahren
    02. Kalle (komm aus'm Arsch)
    03. Roboti
    04. Eingeplant
    05. Alles klar im Wurstbasar
    06. Kettenfett
    07. Krampfstern Neurotica
    08. Eiertanz im Sackbahnhof
    09. Der Fensterputzer
    10. Preußisches Blut


    Raumpatrouille Kettenfett

    Seit 3 Jahren hat sich das Duo Kettenfett mit ausschweifenden Konzerttouren einen Namen gemacht. Jetzt endlich erscheint mit dem programmatischen Titel „Raumpatrouille Kettenfett“ auf dem noch jungen Label Rockers Records ihr Debüt-Album mit 10 mächtigen Songs, die mit viel Wut im Bauch losballern und im Gedächtnis bleiben. Musikalisch schaffen es Kettenfett, die Karten noch einmal komplett neu zu mischen. Wer hätte gedacht, dass sturer fast schon stoisch zu nennender Stoner Rock gepaart mit einem Schuss kühler 80er Attitüde und einer ordentlichen Kelle aggressiven Deutschpunks eine derartig explosive Mischung ergeben würde? Hier wird geackert und geprügelt, dass die Schwarte kracht. Trotzdem verbreiten Songs wie „Kalle“ eine schwingende Leichtigkeit, die dem Hörer ein Lächeln ins Gesicht zaubert. Auch textlich wird hier kein Einheitsbrei aus Parolen, Selbstmitleid, Kalendersprüchen oder anderem folkloristischen Kitsch serviert. Kettenfett klingt bissig und ist dabei wohltuend ironisch und bösartig.
    LP + CD
    EAN 4270000705601
    EAN 4270000705625
    LP yellow
    EAN 4270000705618
  • 01. Like Ashes, Like Millions
    02. Manoeuvres
    03. Numb Boys
    04. Anticipation
    05. Damaged
    06. Such Verve
    07. Rival Trial
    08. Just Pornography
    09. Dull Miles


    Exit Decades

    [engl] Sweden's Cut City turns a respectful eye towards the gods of '80s post-punk on its debut album. Official reissue limited to 500 copies
  • 01. Black Cat
    02. Boo Song


    Black Cat

    [engl] Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag. Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with ?rfan Sumer, O?uz Durukan and U?ur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing. In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Bar?? Manço and Mo?ollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Karda?lar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda. Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervi?an – Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973). Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later… The cat’s got the cream.
    EAN 5060099507137
  • 01. A cocas
    02. I midi wall


    A cocas / I midi wall

    [engl] Tour Only Special Mini Album with 2 unreleased and new extralarge songs. Limited on 289 copies
  • 01. Insane
    02. Pulse
    03. Slave Markets feat Jason Williamson
    04. When does a banknote starts to burn
    05. Brume
    06. Some friends
    07. Lil' white sister
    08. Pepper spray
    09. Le grand soir


    So cold streams

    [engl] During the 1990s, wherever you lived in France, you could see certain groups between 5 and 10 times a year - sometimes even without really wanting to. Guys who played so much, all the time, everywhere, that it was impossible to spend more than three months without being at one of their concerts. Right down to the depths of the Var or Jura, they pushed tons of kids to start their own band or fanzine, to access something different. It was more than just music. It was a spirit, an idea. A way of looking at the world. Rules are no longer the same. Music no longer has the same weight, the bands we come across between 5 and 10 times a year - sometimes even without really wanting to - are rarely the right ones, and the kids from the far reaches of the Var or the Jura have something else to do than formig bands or fanzines. But the spirit and the idea are still there. And in the last 10 years, in France, no group has played them better than Frustration. Like all these groups, Frustration we have seen them 5, 10, 100 times - sometimes without really wanting to. And because we're not quite the same either - more informed, more busy, more jaded, less easily impressionable - we always said to ourselves that we've gone around it, that their whole comedy is getting old. But with each new concert, each new record, we go back to the roots. Because the fire is still burning, because the passion is still intact, because they are not trying to pass for what they are not. Because somewhere in the heart of the Var or Jura, some kids still need to see the world differently. However, we were not expecting a record like So Cold Streams. At this stage of the championship, Frustration could have been satisfied with releasing a record that was essentially identical to the previous one, intense, abrasive, honest but without risk, and could have continued to fill the rooms without anyone having to complain about it by slowly moving towards an exit as dignified as it was inevitable. But from the first bars of "Insane", an insane electro-punk pounding that you'd think you'd just come out of a 1988 EBM EP, you realize that the scenario isn't going to go as planned. Instead of setting up a comfortable routine, Frustration recorded his fifth album as if it were the first, like a band formed 6 months ago that would have nothing to lose and a serious desire to fight it. If the post-punk cavalry is still present (martial drums, elastic bass, hit-and-run guitars), So Cold Streams surprises with its energy, the virulence of certain lyrics and the many risk-taking, "Brume", a nightmare with industrial sounds screamed in French, to the very pop "Lil' White Sister" which looks surprisingly at the Smiths and Echo & The Bunnymen, as well as the sinuous and melancholic "Slave Markets" on which the band invited Jason Williamson, the singer of Sleaford Mods - a band that played a lot in Frustration's new youth. "Sleaford Mods is a band that, musically and humanly, gave us a real boost," explains Fabrice Gilbert (vocals). It gave us a real sense of freedom, it allowed me to really say everything I wanted to say in my words, to talk about extremely intimate subjects as well as much more general things, whether it be political or social. So Cold Streams is, paradoxically perhaps, our most disillusioned, energetic and free record. This observation is perfectly summarized by the cover of the disc, signed like all the others by the painter Baldo, and which represents a machine tarring a road through a field of wheat. A painting made more than 15 years ago and which was originally intended to be the cover of Full Of Sorrow, Frustration's first album. For such a renaissance, the best choice could not be better. Especially since the image alone contains the whole disc: space, strength, light, rage and disgust too. The desire to destroy everything. To make a clean slate. To propose something different. A little more than music. A spirit, an idea. A way of looking at the world.
    EAN 3521381557749
    EAN 3521383457733
  • 01. Unbroken Hearts
    02. Monroe County Nights
    03. Four Wheels
    04. Let Me In
    05. Somebody Loves You
    06. Immortal Americans
    07. Ain’t We Free
    08. Gift and a Gamble
    09. Thunder Rail
    10. Alone in Memphis


    No One Is Immortal

    Am 18. Oktober kommt "No One is Immortal!" Von Austin Lucas & the Bold Party in den Handel. Erhältlich auf Vinyl und als CD/DVD Kombo Paket, kann man die Aufnahme gut und gerne als Herzensprojekt bezeichnen. Gefilmt wurde in der Stammkneipe und Lieblingsbar von Austin Lucas, The Blockhouse Bar, in Bloomington, Indiana, ein Heimspiel quasi. Neue und alte Songs vereint in einer einzigartigen live Performance, zur Perfektion gereift während der monatelangen Touren kreuz und quer durch die USA, näher an ein Live Erlebnis kommt wohl nichts heran.
    EAN 769498675861
    CD + DVD
    EAN 769498675878
  • 01. Silver Machine
    02. Was Warst Du
    03. Baby Alone In Babylone/Japanese Double Suicide
    04. Delirium



    [engl] Abstract Nympho is a dream-noise outfit from Berlin consisting of Rahel Preisser (Vocals/Trumpet/Noise-interventions) and Ghazi Barakat aka Pharoah Chromium (Rauschpfeif /Electric Wind Instrument). Abstract Nympho was formed spontaneously on the occasion of a Pharoah Chromium gig at the Haperende Mens festival in Rotterdam in January 2018. At first using a poem by the Berlin poet Scardanelli (who also happens to be Rahel’s father) over improvised layers of noise and psychedelia, the pair’s sound quickly evolved into unusual live interpretations of songs by Jane Birkin and Hawkwind and free form improvisations on electronics, trumpet, rauschpfeife and vocals. After playing a series of shows in small underground venues in Berlin and a legendary performance in Jean Tinguely’s Cyclop sculpture in the woods of Milly-la-Forêt they decided to shape and record their live performances into a more structured song format. The result was heard by Christian Iffland, owner of the record store Static Record and its adjacent label Static Age, who offered to release the four tracks as an EP. Using wind instruments, synths, feedbacks, an electronic tempura and the skills of Gordon W. on tablas to achieve their vision of an almost beat-free, at times dreamy, at others somber mixture of experimental pop and spoken word.
  • 01. manifest   
    02. jetzt
    03. dr. s
    04. stehaufmännchen
    05. reflection
    06. lass los
    07. backdoor boogie
    08. new life
    09. der letzte kuss
    10. again
    11. r.i.t.a.l.i.n.
    12. the end
    13. vielen dank & auf wiedersehn


    the truth about dr.s & mr.p one man synthony in E-minor

    spielt Synth & Guitar & Drums & eine 80s Beatmachine & singt durch ein abgefucktes Megafon...GLEICHZEITIG! „Dr.S & Mr.P" - a One Man Electro Trash Synthony in E minor Das erste One Man Band Konzept Album der Musikgeschichte?! Geburt - Schmerz – Pubertät – Lust – Verführung – Hoffnung – Hass - Leidenschaft - Versuchung – Vergebung – Exzess – Laster - Frustration - Wut – Abstinenz – Widerstand - Resignation – Liebe – Tod Hier ist die Geschichte: Mr. P(rimitive), hyperaktiv, apathisch, egomanisch, Sex- und Drogenabhängig wird von seiner inneren Stimme Dr. S(ensitive) in den Tod getrieben. Natürlich ist Mrs. L(ove) involviert in Mr. P's Höllenritt ins Verderben.Urban Junior ist zurück mit seinem zweiten Voodoo Rhythm Release.. Dr.S & Mr.P...13 Songs, ein Mann, eine Geschichte, eine Botschaft...EINE OFFENBARUNG!! „What if what you see is not what you'll get, what if what you'll get is not what you want?" Urban Junior ist ein irrwitziger Entertainner, der seine verschiedenen Persönlichkeiten auf die Bühne bringt. Sensationell! Verwegen! Überraschend! Der Mix ist einzigartig und 111% Ohrenkrebs! The Screamers meets Hasil Adkins! THEE Minimal Electro Trash Garage Boogie Death Disco Synth Punk One Man Band!
    LP + CD
    EAN 764014890470
  • 01. black moose
    02. there's always someone that you owe
    03. dark night
    04. good luck
    05. i'm so lonesome i could cry
    06. black train
    07. st dymphna
    08. la mauvaise réputation
    09. heart of stone
    10. femme fatale
    11. so wars, so ists und so wirds bleiben
    12. ship of fools
    13. appenzeller tanz


    Black Moose

    Nach der Gründung 1989 und dem Kommerziellen Durchbruch mit 'WUNDERKAMMER' (2006) und der Neuerfindung ihres Seins (5th SIN-PHONIE) 2010 zusammen mit dem wohl Dunkelsten und Tödlichstem Streicher Orchester die Welt je gesehen hat, versammelten sich die Toten Brüder um den Meister Des Chaos und Nr1 Schweiz-Armenischem Enfant Terrible Alain Croubalian und machen einen erneuten Grossen Schritt in Eine Exotisch von Dunkler Country Musik Blues und Schweizer Folklore mit Dudelsack und Rock'n'roll geprägter Musik in Richtung Niemands Land wo der BLACK MOOSE ( Schwarzer Elch) haust, einer mysischen Figur die noch vor Morgengrauen der menschheit da war, die der zusammenbruch der zivilisation mit erlebt hat und sich in den dunkelsten Winkel des menschlichen bewusstsein aufhält. Das Album Black Moose ist ein Romantisches Album, Romantisch im Dunkelstem Sinne des Wortes mit einem Tödlichen Ende es Verbindet den Amerikanischen mit dem Afrikanischen Blues lässt Schweizer Volksmusik zusammen mit Dudelsäcken in tiefste Ambründe Stürzen und bringt dich dort hin wo sich Friedrich Nietzsche mit den Revolutionären Führern der Central Amerikanern Revolution in einer Hafen Bar zu einem Pisco Sour mit Kerosin an einem Tisch mit dem Teufel trifft.
    EAN 7640148980449
  • 01. Guter Junge / Böser Junge
    02. So soll es sein
    03. Verheimlichung
    04. Tier
    05. Pawlow
    06. Szene Einer Ehe
    07. Limiter
    08. Kein Mensch
    09. Pandora
    10. So geht die Geschichte
    11. Wir sind sicher



    Compilation mit allen Songs! Streng limitiert!
  • 01. El Aguajal
    02. Tu Boda
    03. Esperanza De Amor
    04. Volveras Mi Niño
    05. Mal Amigo
    06. En La Selva
    07. Borrachito Borrachon
    08. Mi Tallercito
    09. Angelita
    10. Como Un Errante
    11. Si No Regresa
    12. Perdidos


    Los Auténticos Shapis

    [engl] Los Shapis, a legendary group of tropical Peruvian music, will be relaunching their first LP ’Los auténticos’ (1981) on the 23rd of December. The revival of this album, which was one of the pioneers of Andean Cumbia, will commemorate the 36th anniversary of the band led by Julio Simeón ("Chapulín el Dulce") and Jaime Moreyra and will include emblematic songs such as ’El Aguajal’ and ’Como un errante’. The relaunching of ’Los auténticos’ forms part of a project to rescue and revive Discos Horóscopo, a record label founded 40 years ago by Juan Campos Muñoz, and which boasts one of the most important catalogues of chicha music from the 70s and 80s. The label was created and can be recognized as the main driving force of Andean cumbia in Lima, as it took on producing albums of artists that gambled on not only creating a new sound, but also molding a new type of aesthetic, led by Chacalón y La Nueva Crema, Los Shapis, Pintura Roja and Los Ovnis. Formed in the city of Huancayo on February 14, 1981, Los Shapis – whose name was inspired by a traditional dance, "Los Shapis de Chupaca" – were hailed as ambassadors of chicha when they toured throughout different countries, which gave birth to the internationalization of Peruvian cumbia in the early 1980s By 1983, the band was based out of Lima. Its members composed iconic songs about the provincial and profound identity of Peru, in a time marked by racism and classism from the most privileged sectors. A rhythmic tradition that would accompany the two most conflictive phenomena of the era: terrorism and economic debacle, reasons that motivated the massive migration from the countryside to the city. "It is a culture that alludes to disorder and popular excess, drunkenness and chaos, but also a way of appropriating while simultaneously mocking the west, " says researcher Alfredo Villar, collaborator of the project to revalorize Peruvian cumbia.
  • 01. Roman
    02. Vamos Farrear
    03. Todo Pasa - Para Chachita
    04. Rulers Style
    05. Rumpelstillskin
    06. Black Dragon
    07. Big Chief
    08. Stack-A-Lee
    09. Dark Eyes
    10. Mussieu O Tet A Poisson La
    11. Jet - Jet Biguine
    12. Smiling
    13. PlayaBandera



    [engl] Okawa 78 is a skilled saxophonist also knows as one of a very few DJs specialised in 1920-50’s world roots music who only plays out on 78 RPM records. Under his wing a whole bunch of Japanese musicians gathered to form The Rulers, experimenting with the authentic music from Africa, South America and blending into ska and soul funk creating a new groove of their own. Musicians include members from The Netandars, Sly Mongoose, Oi-Skall Mates, Rub-A-Dub Market, The 69 Yobsters, and Soil & Pimp Sessions.
  • 01. I Like Woman
    02. Afro Super-Feelings In Disco


    I like woman

    [engl] Soul Patrol Records present a reissue of I Like Woman. This is an album comprised of two super-rare Afro-beat disco/funk tracks from Lagos by the band Afro Super-Feelings, led the by artist/musician Segun Okeji. Segun Okeji was the tenor sax player in Fela Kuti's Koola Lobitos band in Nigeria in the late 1960s before changing their name to Africa 70, and this record, originally released in the late 1970s, uses that first-hand experience and influence to maximum effect with a pair of devastating sidelong saxophone-led jams. Up-tempo, chugging drums and a crack horn section, bass, guitar, organ, and backing vocals coordinate to achieve the hypnotic call/refrain/chant crescendo that was Fela's hallmark in his peak years. Players include Tunde Daudu on drums (The Benders), E. Ngomalloh on organ (Fela Kuti), Tutu Shoronmu on guitar (Fela Kuti), and others that played on releases by the C.S. Crew, Sonny Okosun, Orlando Julius, and Tony Allen. Edition of 500.
  • 01. Graveyard
    02. D.O.A.
    03. The Way It Is
    04. These Times With You
    05. Over The Edge
    06. Fire In The Western World
    07. Out In The Blue
    08. It's O.K.
    09. Day After Day
    10. Black September
    11. A Miss Of You
    12. Jane
    13. Dagger Moon
    14. Down The Road
    15. Dead Moon Night
    16. Clouds Of Dawn
    17. I'm Out Nine
    18. Running Out Of Time
    19. Walking On My Grave
    20. Cast Will Change
    21. Claim To Fame
    22. Don't Burn The Fires
    23. Can't Do That
    24. Demona
    26. Johnny's Got A Gun
    27. 54/40 Or Fight
    28. Somewhere Far Away
    29. Unknown Passage


    Dead Moon - the book

    [engl] Dead Moon were a DIY band, active for 19 years. Singer and guitarist Fred Cole was playing music since the early 1960's , beginning his career as Deep Soul Cole the white Stevie Wonder?, then joining the psychedelic garage rock band the Lollipop Shoppe / The Weeds. In the 70#s and early 80#s Fred and Toody Cole played in various punk, country and hard rock bands. In the late 1980#s, they formed Dead Moon with Andrew Loomis. This band went on to become mythic and legendary. They lived by a DIY code built around superstitions and avoidance of conventional music industry pitfalls. Their story is completely unique amongst the pantheon on rock bands a group who never sold out, never gave in and built a legacy of art and community piece by piece in a sustainable way almost unheard of. The book is a tribute to their unique aesthetic, unbelievable twisted path of a story, and roll as pioneers of the Portland music scene. The book tells the entire Dead Moon saga in the words of the band itself. Just the voices of Fred, Toody and Andrew. It includes a complete illustrated discography of everything Fred, Toody and Andrew have released, song lyrics, and TONS of band photos, flyers, and weird ephemeral stuff. Lots of it has never been seen by the greater public. The package also includes 2 LP's of the best of Dead Moon lovingly remastered from the original tapes. Double LP plus book. This is the second pressing (1500 copies) now in standard glossy book covers!
    DoLP + Book
  • 01. Der Unbekannte
    02. Telefonlied
    03. Dreizehn
    04. Haarschnitt
    05. Dauerlauf
    06. Licht Und Dunkelheit
    07. Mitternacht
    08. Gib Mir Den Tod
    09. Farblich Gesehen
    10. Heute
    11. Vergesslichkeit
    12. Flucht
    13. Unmodern
    14. 30 Grad - 30 Grad +
    15. Das Disco-Lied


    80 Tage auf See

    1980 erschien das klassische Debut-Album der hannoverschen Punk/Post Punk/New Wave-Band „Der Moderne Man“ auf No Fun Records. John Peel spielte den Song „Gib mir den Tod“ von der ersten Single in neun (!) aufeinanderfolgenden Sendungen, die lokale und nationale Presse begeisterte sich für die Band. Eine gewisse musikalische Nähe zu Joy Division und Gang Of Four ist hörbar, trotzdem ist der Moderne Man mit den deutschen Texten und dem eigenwilligen Gesangsstil von Ziggy XY absolut eigenständig – Der Moderne Man klingt auch heute noch modern. Anlässlich des 40-jährigen Bandjubiläums wird die LP nun in Hannover von Rockers Records wiederveröffentlicht, die Songs der ersten Single „Umsturz im Kinderzimmer“ sind als Bonus-Tracks mit enthalten.
    EAN 4260016924257
    LP red
  • 01. Keep It To Yourself
    02. Football Needs Politics
    03. Next One
    04. Tell Me What You Know
    05. Take Me Away
    06. No Chance
    07. Don't You See
    08. Save Your Streets
    09. Right And Wrong
    10. Far Away
    11. Spartanic Sound


    … It Sounds Spartanic

    Eine Zeit voller Wut, Angst und Dummheit. Eine Zeit, in der einem klar wird, dass die Gesellschaft nach rechts rutscht und rassistische, homophobe, sexistische und islamophobe Äußerungen zum „guten Ton“ gehören. In dieser Zeit ist es umso wichtiger, keine halben oder verschwommen Geschichten zu erzählen, sondern die Dinge auf den Punkt zu bringen. Genau das tun die drei Leipziger Skins. Die musikalischen Einflüsse liegen in der 77er Punk-Ära sowie im klassischen Oi!.
  • 01. RASH
    02. Bootboys
    03. No Time
    04. Sexpol
    05. Police Stomp
    06. Pervert
    07. Oi! Of The Tiger
    08. Red Flag
    09. Weekend



    Klassischer Oi! der Achtziger mit klarer R.A.S.H.-Kante gegen Rechtsoffenheit, Homophobie und Polizeigewalt - neun Singalong-Hymnen, die nicht mehr aus dem Ohr gehen. Das Debut-Album der hannoverschen Band (dabei ehemalige Franz Wittich- und Teenagefrust-Mitglieder) kommt auf rotem Vinyl, mit Textblatt und dem kompletten Album auf Bonus-CD.
  • 01. One Of Us
    02. Making History
    03. A.F.A. Skinhead Crew
    04. Traitor
    05. Fire On The Streets


    One Of Us

    Single mit fünf unveröffentlichten Songs der hannoverschen RASH-Oi!-Band. Der Titeltrack ist den vielen Opfern der faschistischen Übergriffe der letzten Jahre gewidmet, dazu kommen die Antifascist Action-Hymne "A.F.A. Skinhead Crew" sowie "Making History", "Traitor" und "Fire In The Streets". Musikalisch wird weiterhin harter klassischer Oi! zum Mitsingen gespielt. Auf 500 Stück limitierte Erstauflage in orangem Vinyl.
  • 01. Win And Go
    02. She's Dynamite
    03. If Boogie Is A Sin, You Gotta Sell Your Soul
    04. Sorcery
    05. River Mud
    06. Sweet Whiskey
    07. Heavy Load
    08. Red River


    The Big Swamp

    Der Südosten der Vereinigten Staaten. Wiege des Blues. Man trägt Trucker Hats, karierte Flanellhemden und verschlissene Boots mit Stolz, die moskitogeschwängerte Luft flirrt. Genau diese Luft atmet The Big Swamp. Slide-Gitarre, Blues-Harp, Bass schaffen einen unverwechselbaren Stil. Delta Blues. Southern Rock. Swamp Rock. Erdig, pulsierend, ursprünglich. Ehrlich und authentisch.