[engl] With their unpredictable live performances and songs such as ‘Zurück zum Beton’ and ‘Industriemädchen’, S.Y.P.H. caused a ruckus at the end of the 70s - as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles (re-issued on Tapete Records in December 2024), the band produced two more albums - Pst and S.Y.P.H. (album 4) - together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities - Punkraut 1978-1981. Peter Braatz (Harry Rag), Jojo Wolter, Ulli Putsch and myself in 1980 in Can's so-called Innerspace Studio in Weilerswist: what a happening! I probably still don't have the words to describe how I felt. Were we excited? Of course we were - and then some. It was a non-stop flight to the centre of the universe, to the Holy of Holies, way beyond our musical imagination. After all, except for the first LP "Monster Movie", this is where all the wonderful masterpieces of the very best international German band that we all love so dearly were created. Pure magic was at work here. Future Days had already been a promise for me when I was still a student - and now the four of us were right at the centre of our musical dreams. We could suddenly play whatever we wanted. Okay, on the first day we were all still pretty tense. But Holger Czukay kept encouraging us and quickly managed to loosen us all up a little. And then the thing took off. […] So there was always an urgent desire within us to create intuitive music without making agreements up front, where everyone was listening to their inner self and at the same time to their fellow musicians – that’s what the “Pst”, i.e. “Shh” is about! –, creating music together in the moment. A free, direct way of composing. The spatial atmosphere of the Innerspace Studio contributed significantly to us being able to realise this wish. The studio as a living musical universe. A large, truly infinite space without barriers, where all four of us were in our element. (Uwe Jahnke, S.Y.P.H.)

[engl]  With their unpredictable live performances and songs such as “Zurück zum Beton” and “Industriemädchen”, S.Y.P.H. caused a ruckus at the end of the 70s - as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles (re-issued on Tapete Records in December 2024), the band produced two more albums - Pst and S.Y.P.H. (album 4) - together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities - Punkraut 1978-1981. This compilation contains rare and previously unreleased recordings from the first three years of the band's history: The songs “Blech” and “Mondpogo”, performed live at S.Y.P.H.'s first concert in Düsseldorf's Carsch-Haus in 1978 and five recordings made in nearby Solingen between 1978 and 1979. There are also three studio recordings from the Hamburg Container Studios in December 1981 - recordings from a time when ‘the band had finally abandoned punk as a musical genre as well as the influence of interim producer Holger Czukay and had found a style all of their own. ?(Kurt Dahlke, DAF)

[engl] This is a collection of the band's early singles: four tracks - including ‘Industriemädchen’ and ‘Europa’ - were originally released in 1979 on the EP ‘Viel Feind, viel Ehr’. Thirteen further tracks - including ‘Falsche Freunde’ and ‘Knudelblues II’ - were released in 1982 as ‘Der Bauer im Parkdeck’. Three further songs are unreleased.

[engl] With their unpredictable live performances and songs such as ‘Zurück zum Beton’ and ‘Industriemädchen’, S.Y.P.H. caused a ruckus at the end of the 70s - as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. Now, a reissue sheds light on S.Y.P.H.'s first creative phase from 1977 to 1982. On December 6th 2024, Tapete Records releases the „Pure Freude Singles“ including previously unreleased songs and the self-titled album „S.Y.P.H.“ (including ‚Zurück zum Beton‘). Three further re-releases, two of them produced by CAN's Holger Czukay, will follow in 2025. S.Y.P.H. formed in 1977 in Solingen and began playing concerts in nearby Düsseldorf. Initially clearly based on punk, the band's sound quickly developed and became increasingly difficult to categorise. In the intensive years that followed, S.Y.P.H.’s productions often featured guests from the Düsseldorf scene around Ratinger Hof or CAN’s Holger Czukay. While around 1980, punk and Neue Deutsche Welle (German New Wave) were solidifying as supposedly clear-cut concepts, S.Y.P.H.'s music testified to the blurriness of genre boundaries: already on the first, self-titled LP, the band belts out short punky songs like “Zurück zum Beton” and “Lachleute und Nettmenschen”, while the B-side surprises with more than ten-minute long Kraut-inspired pieces.

[engl] With their unpredictable live performances and songs such as ‘Zurück zum Beton’ and ‘Industriemädchen’, S.Y.P.H. caused a ruckus at the end of the 70s - as one of the bands that began to write lyrics in German around Düsseldorf's Ratinger Hof. Right from the start, the band broke with genre-conformist expectations and borrowed from rock, punk and kraut just as much as from Dadaism and the reality of everyday life. After the first album and several singles (re-issued on Tapete Records in December 2024), the band produced two more albums - Pst and S.Y.P.H. (album 4) - together with CAN's Holger Czukay. Tapete Records is now releasing both albums and a collection of previously unreleased rarities - Punkraut 1978-1981. In the mid-seventies, Uwe Jahnke and Harry Rag had probably founded the first CAN fan club in Germany and, among other things, conducted an interview with Holger Czukay for Harry Rag's school newspaper in 1976. Four years later, fandom made way for collaboration when the band asked the legendary CAN multi-instrumentalist whether he’d be willing to produce the next S.Y.P.H. album. To their astonishment, he accepted. Thus it came about that in 1980, S.Y.P.H. was recording with Czukay in the fabled Innerspace Studio in Weilerswist, where the iconic CAN albums had been created years earlier. Czukay also performed on several tracks, for instance horn, percussion, bass and harmonica on ‘Do the Fleischwurst’. These sessions resulted in the two albums Pst and the untitled 4th album. We stumbled into the ‘Innerspace’, a raucous and shrill punk band in CAN's private recording room. We wanted to develop our musical style, change it, discover new territory, improvise. We wanted to move away from the punk belters and towards something new. Jojo on bass, Uli on drums, Uwe on guitar - and myself on whatever we could find. Holger would send the signals through the loudspeakers distributed around the room and recorded a lot with several room mics. Most of the recordings were therefore live, only a few overdubs were recorded separately. We probably didn't know exactly what we were doing at the time. After 5 days, the studio days were over and we went home. (Harry Rag, S.Y.P.H.)

[engl] "Wanderlust and Hardships" is Saturday's Heroes’ fourth and most ambitious album yet, with each song taking the listener on a journey through the highs and lows of life. The album features 10 hard-hitting tracks of high-energy melodic punk rock that explore a range of themes such as emigration, addiction, love and loss. Tied together it creates the perfect representation of a band making an album where all bets are off.

[engl] Debut 7? by what i’d say is the best current punkband from germany:SAUFKNAST out of Hamburg/Kiel playing rawish Hardcore/Punk with a touch of NDW vibes. The band is quite new but blew everyone’s mind who had the chance to see them.

[engl] Geez. Do you remember the skateboard legend Tony Alva? Or that bald dude from Bad Religion and Circle Jerks (to be fair, Greg Hetson used to have hair back in the day)? Do you know what that singer from Dead Fucking Last, Crazy Tom, has been up to lately?

[engl] Over the last five years, there’s been no shortage of TOTAL CONTROL-type bands on the international scene. I’m here to tell you that SCHIACH is one of the finer such units. Maybe that’s because their influences stretch all the way back to the original German post-punk scene and they utilize drum machines as effectively as they use guitars. In accordance with the genre, 2 is packed full of paranoia. All manner of clanking sounds ricochet around the agitated vocals, often sounding like a parody of industrial-influenced club music; a lo-tech MY LIFE WITH THE THRILL KILL KULT, perhaps. But instead of sending up Christianity and hard rock, SCHIACH seems to be mocking modern surveillance culture, and that’s something this reviewer can get behind. - MRR

[engl] The Scientists’ pre-“Swampland” days in Perth are brilliantly encapsulated on this collection of mostly unreleased live material from ’78 and ‘79. These were the days when former Victims and future Hoodoo Gurus drummer James Baker led the band alongside guitarist/singer Kim Salmon, and when their poster read "Rock’n’Roll in the tradition of The Groovies and The Heartbreakers". The Perth-based line-ups of The Scientists recorded the brilliant "Frantic Romantic" single and self-titled EP highlighted by "Last Night." They also recorded a posthumously released LP - the 'pink album' - which came as a massive disappointment due to bad production and a reduced line-up. “Not For Sale: Live’ 78/79” is a collection of live and rehearsal tracks that captures the band making the same noises as on those 45's, and presents live versions of the fan faves and vastly superior versions of most of the LP tracks as well as coughing up a bunch of hitherto unreleased originals and covers to boot. This is "The Legendary Scientists" - as they were dubbing themselves within months of forming - as they should be heard. The main set comes from late 1979; a live-to-air broadcast from Melbourne’s 3RRR. "Frantic Romantic" was in the shops and the EP was in the can. If you only know tracks like "It’ll Never Happen Again," "That Girl. "Making a Scene" and, "She Said She Loves Me" from the limp pink album versions you’ll be knocked sideways by the raucous and rocking versions here. Covers of The New York Dolls, the Groovies ("Slow Death" and their version of "Have You Seen My Baby") and The Undertones' "Teenage Kicks" are a bit throwaway but show where their heads were at. And yes, a couple of these appeared back on the 'fan club' cassette "Rubber Never Sleeps" back in '82 and have since appeared on other collections, but those were third or fourth generation cassette dupes. What we have here is the whole set, taken directly from 3RRR's master reels. The same line-up is also present on a handful of primitive live recordings, made by a friend at one of the group's regular haunts, the Governor Broome Hotel in ‘79. What they lack in clarity they make up by letting us hear some otherwise lost original tunes. Play this really loud and it sounds like you're right there in the pub - shitty PA and all. The original "Kinda Girl" is maybe the pick here; it's James and Kim channelling their beloved Troggs. Also included, for the first time anywhere, is a Scientists’ version of "Drop Out", a Baker/Salmon song that its writers later made famous with The Beasts of Bourbon. The 2LP edition also includes some covers from this show: The Velvet Underground’s "There She Goes Again", The Searchers’ "When You Walk In the Room", and the early '70s Masters Apprentices rocker “Turn Up Your Radio”. First 1000 copies pressed on PINK VINYL The band's short-lived original line-up, featuring Roddy Radalj on rhythm guitar and Boris Sujdovic on bass, also finally gets proper representation here in the last bracket of songs, which presents, for the first time (minus a couple of tracks on the CD), the complete 'Loft Sessions.' This was the name informally given later to a 1978 tape recorded live - in a loft. The undoubted jewel here is the lengthy "Baby You’re Not For Sale," an ambitious Velvet Underground-inspired piece that namechecks the Groovies and gathers momentum to end more than 10 minutes after it starts, in a beautiful racket. Again, a couple of these recordings have appeared on other Scientists collections, but not “Baby You’re Not for Sale”. Packaged with rare and unseen images, an original 1979 Roadrunner magazine feature by Kim Williams (of the Summer Suns, and co-writer of “Swampland”) and additional notes by Grown Up Wrong!’s Dave Laing. “Not For Sale: Live ‘78/’79” provides a thrilling glimpse into what an album by the "Legendary" Scientists might've sounded like if it had been recorded in 1979. With the current incarnation of the band touring the US again and performing the likes of "Last Night" and "Frantic Romantic”, this collection is an essential listen for all Scientists fans, no matter which line-up they prefer.

[engl] Screaming at Traffic, a punk rock band from Winnipeg, Mb, are made up of Jacques Richer, Duncan Murta, Paul Colman, and Stefan St. Godard. Their no frills emo-punk riffing add to the group's frenzied live performance and raw yet melodic songwriting. After forming in May of 2017, Screaming at Traffic premiered their debut EP "S.A.T." via Idioteq.com, a Polish based zine. The song "Monstrosity" off the group's debut EP was featured in a Spotify playlist curated by the Montreal based website Punkanormal Activity. The EP also began charting on Earshot in October, reaching number 2 in Edmonton, and ranked 9th on the national loud charts. The band, who have gigged gig relentlessly since their debut have become notorious for their energetic live shows. They were quickly asked to share the stage with acts such as Greg Rekus, Mobina Galore, The Penske File, Prince Daddy & The Hyena, and Single Mothers. Upon returning from tour, Screaming at Traffic teamed up with Jordan Voth (Comeback Kid, Bleed American, Elder Abuse) to record and produce their debut full length. While recording the band caught the attention of Little Rocket Records (Leatherface, Daggermouth, Elder Abuse, etc.) and I Don’t Like Sports is the winning result.

[engl] After Lookout! Records, Asian Man, Recess… it’s Striped Records’ time to shine, re-releasing Screeching Weasel’s second album “Boogadaboogadaboogada!”. We like to think of this 1988 classic as “the hardcore album that started pop punk”. Its influence on the punk scene is undeniable, linking the 80s to the 90s and being featured in every list of essential pop punk records. We thought a simple repress was not enough, so we introduce the “Legacy Edition” to you music collectors and Weasel superfans, a double LP in a gold color gatefold containing: - LP 1: “Boogadaboogadaboogada!” (2020 remaster) colored vinyl - LP 2: “Live ‘88” (for the first time on vinyl, same lineup as the album) black vinyl - 8 pages, 30x30cm booklet with a new, exclusive Ben Weasel interview by Andrea Manges, memories by Fish, art by Manuel Cossu.

[engl] "30° Anniversary reissue of this 90s punk rock classic, remixed by Mike Kennerty and remastered by Justin Perkins. Mike Dirnt from Green Day on bass. LP + folded A3 poster. YELLOW VINYL"

[engl] "Striped Records is proud to announce a Euro print of the latest SW album, ""Some Freaks Of Atavism"". SW are one of our favorite bands and SFOA is one of their best records full of soon-to-be Weasel classics, so you can guess we are very excited about this release."