[engl] We love 1-800-MIKEY the lo-fi bedroom garage punk project of Eora/Sydney musician MICHAEL BARKER, who also plays in the live line-ups of R.M.F.C. and GEE TEE. The latest album Digital Pet is 'for all the cuties', sunny, full of infectious hooks. If you want an album to make you smile and brighten your day—this is it! Attention all pop aficionados and rock enthusiasts! The wait is over—1-800 Mikey is back with his electrifying new album, Digital Pet, and it's about to blow your mind! Packed with irresistible hooks and infectious melodies, this LP proves that the best pop is still crafted by rockers who know how to deliver a punch. From high-energy anthems to heart-stirring ballads, Digital Pet is a masterclass in the art of crafting pop that rocks. Dive into a sonic experience where every track is a hit waiting to happen. Whether you’re hitting the road or just chilling at home, Digital Pet promises to be your new favorite soundtrack. Don’t miss out on the album that’s setting the bar high for pop-rock perfection. Get your copy of Digital Pet and discover why 1-800 Mikey is redefining the genre with every beat. Stream it now and let the hooks take over!

[engl] Garage lo-fi bedroom punk homework is done. Another banger from Down Under! Very Jay, is there something better? Catchy af - love it. This whole album is super charming, lovely. ETT has never been shy about showing the love for well done pop-garage sounds. Shit, it's impossible not to, considering just how nice 1-800-Mikey is and how sweet he sounds. With a crisp power pop punk sound and riffs as sharp and concise as the legend Jay, 1-800-Mikey is the perfect answer to anyone looking for songs with the astute hooks of memphis finest, perfect songwriting and the punk formula of 2022. All of these songs are filled with distorted voices, noisy synthesizer sounds, robotic beats and modern monotony. Brilliant. The songs are top notch and the recording is raw in all the right ways. A furiously raucous blast of pure go-for-it hard-crunching dynamic rock'n'roll powerpop garage, done with a stirring sense of sheer fun and aggressive vitality that's impossible to either resist or dislike. It's all kills and thrills, fired by a furious pace and hooks galore. Oh, I wanna go to a house party!

[engl] Re-release of the second album by the Japanese garage punk gods originally released in 2005. First time on vinyl.

[engl] Re-release of the first album by the Japanese garage punk gods originally released in 2005. First time on vinyl.

[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.

[engl] 7inch Hit Single!

[engl] Amazing split 7" which brings together Japans 'A Page Of Punk and Stoke-On-Trents 'Werewolves On Motorcycles 500 released on colour vinyl, each label has a different coloured cover.

[engl] Originally released in Sweden in 1998, Back in the late 90s in Scandinavia the action rock bomb exploded, The Hellacopters, Gluecifer, Turbonegro, and The A-Bombs. The A-bombs blew the roof of the clubs but sadly was very short lived. The album "And Just Constantly Rotating" was only released on CD. Today we bring it to life again on vinyl. this is super cool, a fantastic part of the music scene in Stockholm 1998.

[engl] A union of five idiots with many gripes, Aborted Tortoise began as a "dumb high school band that soon grew to be a dumb mid-20s band". Alex (drums), Tom (guitar) and Charles (guitar) played their first gig at Tom’s sister’s 21st where they played "Kids in America" by Kim Wilde, twice. They soon recruited John (bass) and Connor (vocals) and continued to churn out songs about bees, the Goosebumps book series, Coles Minis, getting blasted into the sun and being born.They continued to effortlessly stumble their way into good luck, scoring support slots with credible bands such as King Gizzard and the Lizard Wizard, The Growlers and Ausmuteants. In 2018, they flew to Europe for some shows where they played in an abandoned basement, stayed in the worst hotel in Berlin and Connor almost lost his passport about 20 times.With four releases already under their belt, Aborted Tortoise will continue to dominate the front end of your alphabetised record collections with their 2nd LP, A Album. With the power of nepotism, they’ve swindled their way onto the eponymous label, Bargain Bin Records, a comfy place for them to call home and continue to make ‘stupid music for stupid people’.

[engl] ABORTED TORTOISE’s debut album, An Beach, is just about everything you’d hope for from a Western Australian punk record: 15 tracks, half-hour run time, lots of sun-struck goon-flecked thrashing and a salty scintilla of uncynical surf rock. ... With the lo-fi immediacy of The Sonics, the faux-dumbass sensibilities of the Ramones and the sly musical inventiveness of Dead Kennedys, Aborted Tortoise definitely recall a lot of crucial punk touchstones. Meanwhile I’m also reminded of Melbourne brat-boys Ausmuteants, and more specifically, ‘90s Perth band The Feends - bonkers treble-heavy riffing with post-Ventures noodling and snotty sandgroper vocals. Plus, tongues balanced delicately in cheeks.... Aborted Tortoise might make most sense in the live setting: the visceral impact of a band going ballistic is most logically received there-and-then, with the sweat beads landing in your eyeballs. But like that recent winning album from Boat Show, An Beach does a stellar job of bottling the mayhem. Take it home, uncork it, let it breathe and then scull it like the filthy little demon you are.

[engl] The Act-Ups were born in 2001 - A monster made up of one volt of Iggy, one hambone of Pickett, one shot of Hank, two injections of Jeffrey Lee and a case of bourbon. Their first record "I Bet You Love Us Too", released in 2003, was the perfect record for your late night garage party, filled with soul-punk anthems and rockin' rave-ups. "The Marriage of Heavenand Hell", their second disc, saw the light of the day (and hid in the cloak of night) in 2006, fired up by more whiskey than ever before and the demons that came with it. The record you now hold in your hands rests atop three pillars of pure fury: the two records that preceded it and the live energy this combo unleash upon unsuspecting pilgrims all across this land. Behold the Play The Old Psychedelic Sounds of Today!

[engl] Here we have the final entry into our Live In San Francisco series: an intimate evening with Alex and his indispensable sax man, Roy Molloy (beard in briefcase) performing at the Swedish American Hall in San Francisco, a very classy and lovingly maintained venue originally built in 1907 on Market Street, just a pube or two into the Castro District. I was first introduced to Alex Cameron by Adam Beris, a real swell fellow who’s been drawing Castle Faces for us for years. He asked if I had heard of this “Suicide meets sad Springsteen” act and showed me the mysterious Geocities-style website (complete with shady porn ads). I was immediately hooked on the skeletal throb, the stark portraits of hard luck losers, the ego-maniacal squares, and the swagger on this prosthetically wrinkled Australian song & dance man. On a paid website, as he reminds us. Both sharp witted and steeped in thespian courage, this is exactly what the world needed in this hungry, hungry time we live in. We got in touch, things led to other things, and when Alex was opening for Oh Sees at the Chapel in San Francisco we hatched a plan to make a live record, over white wine spritzers (as all the best deals are inked). Al and Roy are the real deal, folks…and this wasn’t to be just any old show. I was determined to do something a little special, and I got the idea from working on John’s book of poster art (Exploded Globes) to bill it as a semi-formal, encourage people to “get dressed up and messed up” as John puts it, and do it in a classy sort of hall, make it muy romantico. We got flowers from the Mission De Flores (who have sadly joined the ghost ranks of SF small businesses past), one of which made it to the cover, the champagne and fine wines flowed, and I like to think we helped San Francisco get a little luckier that night. There’s flower petals all over the mix here; Roy’s sax slinks sultrily, Al is in fine form, adding the occasional barb on the stem, sounding well oiled and comfortably bantering between tunes, and Justin Nijssen hangs back and window-dresses the whole thing with some well placed guitar and a few backups. These are professionals, need I remind you, hard workin’ road dogs with deep thoughts that inspire deep respect, and they put some dancing sweat on all the hits from Jumping The Shark as well as “Candy May” from Forced Witness, which at the time wasn’t yet out. We couldn’t be prouder of our final “Live In SF" disc, and it’s out on Castle Face Records in partnership with Secretly Canadian April 19th. - Matt Jones

[engl] It has been three and a half long years since Parisian four piece Alvilda released the Negatif 7” on Alien Snatch. They have been playing gigs but there has been no sign of recorded material. Now they finally return with their debut album for Static Shock Records and without doubt it’s a stonewall classic. Every minute, every inch and every song is lean, locked in and upbeat with a tight and bright production. If you love 60’s girl pop but with a late 70’s power pop edge or Indie pop that has been raised on a diet of tuneful punk rock, then Alvilda will be your new favourite band, just like Dolly Mixture were, just like Chin Chin were and just like Les Calamités were. The album is just under 30 minutes and it never lets up with quality and tunes that get stuck in your head. Not being able to speak a word of French is not a hindrance, as all the songs are instant and catchy. Alvilda are here to stay, and it's time already.

[engl] ALVILDA are Nina, Eva, Sandra and Melanie and is the best power pop inconnue! Four ALIEN SNATCH! pandemic pop pearls parisiennes! Seems the four gals starring the SHANGRI LAS on "Leader of the Pack", but are the ones riding Lambretta motor scooters picking up the DOGS. The are the french version of Belfasts' PROTEX, their four-song debut 45rpm has the trademark lofi-mod to power pop drive and add some yé-yés of their idols, LES CALAMITÉS and some ice-melting RONETTES surf harmonies and back ups. Fans of NUMBER ONES, WHIFFS, BARRACUDAS, TV CRIME and PROTOKIDS put a heart-shaped cardboard file next to your A´s- After Last Night 45 until release date. Record comes in two double sided printed cover cards in super clear sleeves.This is ALVILDAS first recordings from December 2020 at Château Vergogne Studio. We´re in love toutes le nuits already!

[engl] "Look up the Canadian city of Charlottetown and you’ll learn a decent chunk of its musical history. Big bands, opera... even fiddle music, thanks to early Scottish settlers in the province of Prince Edward Island. What the guide books won’t tell you, for some unfathomable reason, is that the place is also home to one of the most blazing weirdo hardcore punk bands on the planet. Meet Antibodies: Ben, Teajay, Ryan and Brett make a thoroughly scuzzy, blink-and-you’ll-have-missed-half-the-album racket that shares a lax attitude to studio fidelity with their countrymen the Booji Boys. So far they’ve racked up one mighty impressive demo tape and two intensely enjoyable albums, the helpfully titled ‘LP 2018’ and ‘LP 2019’. It’s the latter two releases we’re talking about today, since they’ve been compiled together onto one unmissable slab of wax (equally helpfully titled ‘LP 2019 + LP 2018’). With each side ten tracks long and wobbling around the 11-minute mark, it’s clear they’re aiming for brevity, concision and a speedy approach that’s gonna see ‘em ram as many full-pelt ragers through your ears in as short a time as possible. Yes, on first listen it’s a blur of furious energy and brutal power chords, with barely enough time to pause and take it all in. But of course, by the tenth listen you’ll have declared them your favourite band and written them a dictionary’s worth of love letters, begging them to come play your town. This ain’t music to savour subtly, or to spin in the background while reclining gently on a chaise-longue while sampling the finest wines and most befuddling of gourmandises. This is punk rock in its purest form. It sounds like Thee Oh Sees, shorn of the krautrock groove and 60s sprinklings, firing themselves from a cannon straight into a brick wall. It’s relentless, not that you’ll want it to stop. It’s Black Flag if they’d only stuck with Keith and realised their songs could all be edited down to something even more potent. It’s two records from last year and the year before, juxtaposed to form your favourite album of 2020. Play it once, play it twice, play it over and over again, forever; Antibodies are the product of and cure for boredom - and boy, do you ever need ‘em in your life."

[engl] DIG! The Ar-Kaics’ latest offering, Live in the Shit—an unrelenting assault recorded live in 2020 in Richmond, Virginia during the waning days of normalcy. This set combines familiar tunes, old and new, along with their first live performance of the unreleased protest song, “Outsider”. Songs run together at a Ramones It's Alive pace—“Sick & Tired” into “You’ll Be Mine” into “No Vacancy” and “Some People"—that propels the set towards a crescendo of damaged-psych oblivion via “Distemper”, “Easy” and “Long Way Down”. For all the out-of-tune guitars, fried vintage gear, and bum notes, the performance is tighter than 10 pounds of shit in a 5 pound bag—you can hear the ‘Kaics bustin’ out! Live in the Shit is a comprehensive demonstration of both where The Ar-Kaics have been and where they’re heading...just as soon as they can!