[engl] Still sad because THE FEELERS stopped playing about two years ago? Well, here’s a serious contender, the GUT REACTIONS from Milwaukee, Wisconsin! This three songs will hit you like a derailed steam loco, so damaged and spectacular, straight but still out of control. Just like THE MISTREATERS. Watch out for more releases of this band later this year, but first, get yourself this firecracker of a 45! This makes you slash your teachers tire’s AND dance stupid at the same time

[engl] This four-piece punk dynamo from Rhode Island, is everything you want in a punk band: brutal, unrefined, and absolutely thrashing. They are exactly how you’d expect them to be offstage; upbeat, hilarious, New England punks who’d like nothing more than to goof off and make music with their friends. However that impression partially collapses when they mount the stage, strap into their instruments, and reveal their sludge-coated surf riffs and drums that sound both wildly anarchic and assertively tight.

[engl] Hi cavemen, here we are, announcing the 3rd single of our Classic Singles Collection. This time we bring you one of the most incredible European garage bands, The Hangee V. After releasing their new LP few months ago, on For Monster Records, we decided to invite them to release two exclusive tracks for Groovie Records. Don’t miss this ultra limited edition, half of them in coloured vinyl wax... The Hangee V play a terryfic mix of obscure instrumental surf and garage punk in the Diggin Out and Back from the Grave style. Recommended if you’re into bands such as Finks,Mummies, Satans Pilgrims, Witch Doctors,Gruesomes…

[engl] If you are looking for a new and outstanding band from Europe, here you got it. My mind was blown after the first time of listening to these songs that are so depressive, cold, pissed and snotty. One thing was sure: I just had to repress this EP because 200 copies are far too little for this killer 7“. What you get is pure Danish unrelenting punk rock damage! Take the smarmy music oft The Urinals, speed it up to 150 % and crank the volume up to the max and you hear what the Happy Hookers For Jesus are all about. This 7“ is a little bastard of punk that‘s stuck in your head with the first listen. A nihilistic feedback orgy in four acts, packed with merciless insanity, screeching guitars, distorted echo-voice and a totally wasted I-don't-give-a-flying-fuck-attitude, all thrown together in a stinky garage. So, get it or get lost!

[engl] KAWUM! The legend are back. Cologne 60's Kraut with a touch of explosive mix of 60s Northwest Garage. 19 years after their first release, the five-piece from Cologne presents three new songs on a strong limited 7”. The sleeves are dirty handstamped. The vinyl is black like the bottom of your soul. The music wilder than ever. Last thing to say: Come on and say Yeah and grab one of the 213 copies!

[engl] Once the intro to opener “Human” gives way to its fully-realized sonic purpose, it’s obvious that Harlan T. Bobo’s fourth proper album, A History of Violence, is quite different from his previous body of work. The classic historical emotional heft of a songwriter trying to make sense of life’s chaos, think mid-70s Lou Reed, especially Coney Island Baby, is a thread that can be heard running through the album’s mid-tempo tracks like “Human” and the miniature literary tragedy that is “Nadine”. The punchier tracks on the album, like “Spiders”, might conjure very early Green On Red, what X’s mid-80s output could have been, or even the roots-rock tendencies of overlooked genius, Cass McCombs. A History of Violence still highlights Bobo’s whiskey-and-cigarette-informed vocal style, and on the more intimate tracks, it’s a distorted ear candy that warbles into increasingly sunken, uncomfortable places, like that of the songwriter with which comparisons have followed Bobo throughout his career: the late Leonard Cohen. But there is a richer canvas on which to work this time out, not to mention a decidedly heavier and darker one. The album was recorded in Memphis with Doug Easley, who has previously worked with Cat Power, Pavement, Wilco, Sonic Youth, Jon Spencer, and Jeff Buckley. Bobo also brought in Steve Selvidge (The Hold Steady, Bash & Pop) on bass and Jeff “Bunny” Dutton (Action Family) on guitar, along with regular contributors Jeff Bouck (Polyphonic Spree) and Brendan Spangler (Viva l’American Death Ray). The result is a naturally dynamic album that seems equally at home with howling guitars and heavy bass lines as it does with haunting piano and humble pleas. A History of Violence is Bobo’s most complex -- and complete -- album to date.

[engl] Too enigmatic, too laconic, and too careless about the music biz to gain fame outside of his adopted homes in Tennessee and France, Harlan T Bobo is a rare bird – a soulful, comedic, yet vicious and wholly underrated singer-songwriter, a divorced single father who seems happiest when he’s most dissolute. Porch Songs, the long-awaited next chapter in Bobo’s discography, will be released on Goner Records on August 5, 2022. Everything, and nothing, has changed: Bobo’s painfully sharp lyrics and graveled delivery are omnipresent. He still deals in unvarnished, uncomfortable truths about love. His wearied worldview, revered by his listeners, has further ossified on Porch Songs, which abounds with sad titles, worn out lyrics, and tunes about departed friends, such as “Fan,” which unravels Bobo’s memories of the late Shawn Cripps. Despite the sparse melancholy that clouds most of the album’s 13 tracks, Porch Songs is no downer. Instead, it bristles with energy, sounding like a beyond-the-grave gift bestowed on Bobo from the ghosts of Waylon Jennings, Lou Reed, and Leonard Cohen. Bobo laughs when offered the comparison. “They may be mildly derivative of those people, but they’re not that good.” Listeners will disagree. Take “Worry,” the opening song: it unwinds like Jennings’ early outlaw country tune “The Taker,” with a similar wry sentimentality that underwrites the folly of failed love. Bobo’s commiseration on the song sounds close-up and confidential, as if he’s telling his story to the stranger on the next barstool. “Satisfaction,” “Prey,” and “Fan,” on the other hand, evoke the celestial melodies that comprise Cohen’s Songs of Love and Hate–with every lyric, it seems, Bobo addresses his muse from the point-of-view of a rearview mirror. Unlike Reed, Bobo will never have his “Perfect Day.” As he croons on the final verse of “Satisfaction,” “what a shame.” “I recorded these songs just to get them out of my head,” says Bobo. He cut 11 of the tracks that ultimately wound up on Porch Songs in a single day onto eight-track tape at Watt House, a rehearsal space in Perpignan, France. Perpignan has been home for more than a decade now, after rambling from Ohio to San Francisco to Memphis, with myriad layovers in between. And while they may have, as Bobo claims, “languished under his bed for years” – these 13 songs rank among the best he’s written. It’s also worth taking a cinematic approach to Porch Songs. Not counting Bobo’s holiday album, Merry Christmas Spaceman, Porch Songs is his fifth full-length record, following Too Much Love, I’m Your Man, Sucker, and A History of Violence. Taken as an entirety, the album sequence is similar to François Truffaut’s semi-autobiographical Antoine Doinel Cycle, which began with The 400 Blows and ended with Love on the Run. On Porch Songs, Bobo may be, like Doinel, bloodied and bowed, but, as he sings on “Desert,” he has finally “made a home in the desert sun.” Then the raucous “Rock Star” turns back to Jennings’ outlaw story-song style, as does “Tom” and the singalong “Must Be in Memphis,” which portrays the nightlife Bobo left behind in the Bluff City. “I’m feeling my best and acting my worst/I must be in Memphis tonight,” he sings, describing decadent pool parties, late night gay bars, and the general detritis of a musician’s life. For “Let Mama Sleep,” Bobo downshifts into a merciless lullaby, then closes with a full band (guitarist Valentin Estel, drummer Sébastian Girard, and bassist Phil Argeles) on “Free,” a sunnier song that harkens back to the lovesick emotions that pervaded Too Much Love and I’m Your Man. “There are silly songs on the album,” Bobo acknowledges, “but the heaviest hitters are about the dissolution of a relationship. None of the music I’m listening to myself is this confessional. Artists I like can keep my interest going without talking about their own lives, but I can’t seem to do that. Whenever I sit down by myself, with a guitar, I’m consoling myself. I write to console myself. When I’m happy, I’ve got better things to do.”

[engl] In reality, there's a split personality involved in this man's music: there's Blowfly, the outrageously garbed creator of trash classics such as "Shittin' on the Dock of the Bay" and "Porno Freak," and then there's Clarence Reid, who has recorded more than a dozen "clean" albums over the years and penned songs for the likes of K.C. and the Sunshine Band, Gwen McRae, Betty Wright, and Sam and Dave. Many people cite Blowfly as being the first rapper with his 1965 "Rap Dirty" record, which was re-recorded for disco giants T.K. Records after the smash success of Sugar Hill Gang's "Rapper's Delight." Blowfly himself credits the "soul talking" Southern radio DJs of the '50s and '60s as the pioneers of rap, but he is without dispute the first rapper to have a song banned, after an Alabama record store was busted for peddling "Porno Freak." Blowfly was also sued by the President of ASCAP for his "What a Difference a Lay Makes." (The music publishing honcho also happened to be the composer of the popular "What a Difference a Day Makes.") Blowfly's sounds are a staple of modern-day hip hop. His music has been sampled by many rappers, including The Jurassic 5, (whose hit "Quality Control" is backed by the outro from Weird World Of Blowfly) Ice Cube, Atmosphere and Puff Daddy. 

[engl] Originally on a 10" comp on Hard On Records. Finally on a format they deserve!