[engl] compilation by the rio de janeiro musitian - lê almeida, several bands from rio de janeiro. you will find here the best indie rock, punk and garage artists that are making the rio de janeiro scene these days.

[engl] French heavy-garage-synth- band with unbridled screamo singing and high energy rhythms. Early Fidlar material inspiration.

[engl] LE VILLEJUIF UNDERGROUND are back, with a 2-song single out on the only home that will have them, Born Bad Records LISTENERS: THIS IS VILLEJUIF IN SURROUND SOUND HIGH DEFINITION! “Ghost Of The Water” , is a hallucination of alcoholism, from different shaky view points and sounds like a sci-fi space/opera Lee Hazlewood western if soundtracked by a collaboration between The UV Race/The Strokes 2001: Space Odyssey “Les Huitres a Cancale”, is a Kenneth Koch-like animal call to stalkers, and strangers out there on the lose in the “moi aussi” generation and rolls like an ageing Gainsbourg slow dancing on codeine, a druggy ballad for the tranquillised. And just when you thought the world of music had ended, Le Villejuif Underground is BACK from retirement!

[engl] bass player looking like the main character of a surf movie shot in Chernobyl. A guitar player who’ll take french rap or thaï music over the Stooges, anytime. A keyboard player invited at reharsal by mistake who got the job cause he felt asleep on his synth. An australian poet-singer lost in France with no papers, sleeping in a cabin in the backyard of the Villejuif house where the whole band lives, sets up shows and records the most vital, exciting and enthralling records heard in France for a long, long time. PRs & managers would kill for such a story - this one is 100 % accurate and happened just like any great story : by chance. Just like the music of the Villejuif Underground, the result of happy accidents and unholy alliances, something that was never meant to be but became an astonishing fandango of sorts. Think Fat White Family covering Oingo Boingo with Beat Happening’s gear. Think Beck’s One Foot In The Grave remixed by Daniel Johnston and Brian Wilson. Think Ausmuteants, the Spits, the Feeling Of Love or A Frames when they really nailed it. Actually, you shouldn’t think about any of this cause whatever you do, you’ll still be far from reality. Way too far. Especially now with the release of When Will The Flies In Deauville Drop?, their second album and the first one on Born Bad Records. 11 tracks in a bit less than 40 minutes. 11 clumsy love letters to heavy backpacks, haunted castles, sleepy parisian districts and tours in China - which happened by total chance, thanks to some girl found asleep on their couch on new years eve. 11 reasons to think there’s a way out of 2019 - already. Your stormy love story with the Villejuif Underground starts here. Be sure to enjoy it. To the max.

[engl] It was a muddy afternoon at Gonerfest when a bunch of mac-job-purveors entered the stage and it looked like it was to many to mow the lawn...There was a short calm before the storm that started to build on stage... choir-like singing (vienna style) when suddenly conversations stopped and heads started to turn and the crowd started to realize... the Beach Boys finally found their long lost chicano brother and decided to make a psychedelic flavored comeback album that was void of radiofriendly hits! He had gotten stuck on a backyard party with some pretty girls missing the Beach Boys tour bus back across the border. He traded fame n fortune for some weed and BBQ and made these dreamy psychede-la-poppy sounds. Breaking down the walls of "song" as we know it, expanding the frame of the word "band" to brotherhood and familly... ever growing... with people coming in and out of the room we call stage and leaving at their own speed to get back to that backyard BBQ.

[engl] Finally a new single of these punk rock and rollers from Montpellier / France, and its quite a change to their previous output, not only musically, now they sing in french! Ouh-la-la! The recording of the new album - which will be out on SLOVENLY RECORDS again - and this single started in November 2021 at Château Vergogne, with Maxime Smadja (Rixe, BOSS, Condor, Digital Octopus...) who brought all his savoir-faire to the band’s sound. Cream of the crop stuff. Those records are sure to provide a much-needed rock’n’roll slap in your face. Les Lullies didn’t want to repeat the same record as the first ones, and with the pandemic, being stuck at home without touring, they took time to write, record and produce.

[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] As Young 13 year old Beat-Man (born. Beat Zeller) he started experimenting with his 4 Track machine, first under the Name Taeb Zerfall (1985) , then in 1992 after a Longer US Trip and inspired by Mexican Wretling in Los Angeles under the Name Lightning Beat-Man, back then the main theme was: "I FIGHT ON STAGE AGAINST ME AND MY GUITAR AND BEAT THE SHIT OUT OF IT AND WIN EVERY NIGHT" the Rawness and Directness of the Recordings are Unbeatable for the Time it came out, it Was the time when Techno and DJ's totally took over everything and there was absolutely no Space for Trash at all.. when the Record came out it didn't sell lot and the critics where very bad in the beginning also for the Live shows (the theme of the live shows where, play as Bad ,Fucked Up and Drunk as possible) but after a while came Touring in Europe and Shows together with the Ramones, Dick Dale , Prince, Fireworks Dead Moon and many more (almost 250 shows a year) and his Own Little Show on VIVA and MTV where he travels Around the US with a Wrestling Mask and interviewing People and Visiting Graveyards of Dead Rock'n'roll Artists, and the 2nd Album (Apartment Wrestling Rock'n'Roll- voodoo rhythm) who came on the Marked like a Atomic Explosion and as well made this 1st Album as a Collectors item, so we thought to give it to the People again together with 3 Outstanding Noisy Trashed out Bonus Tracks, and yea the Whole Album and Recordings are as Fresh as they would be made today.. the only problem is a Ground Noise that the Tascam Tape Deck had while recording.. but that's how it is if you Record in a LOW BUDGET WAY

[engl] Well, look who’s back! There was a time not so long ago when Liquids’ Mat Williams seemed like the most prolific lo-fi maverick this side of Robert Pollard, as the Indiana collective pumped out two albums (one a double) and a whole mess of tapes and 7” EPs between 2015-18. With a line-up that’s best described as ‘fluid’ (no pun, my babe, no pun), although it once included Mark Winter of fellow weirdos Coneheads on drums, Liquids burned brightly in a haze of creativity, grinding hardcore, Ramonescore pop, Devo-inspired weirdness, new wave and more into their own rough-edged concoction. It was addictive, it was fucked up, it was quite possibly genius (seriously, if you’ve not heard 2016’s ‘Hot Liqs’ LP, go right that wrong immediately). Then… nothing. Until last year, that is. Liquids re-appeared in 2021 with a brand new album that dropped online out of nowhere. Who’s in the band? Fuck knows. Williams, you’d presume - they’re not known for giving much away. The surprise offering picked up where they’d left off, with sneering melody turned all the way up and fidelity right down, except this time they’d come armed with country balladry, an unexpected dip into doo-wop and a full-throttle smash’n’grab raid on Meat Loaf’s overblown anthem Bat Out Of Hell. Yep, really. It’s titled ‘Life Is Pain Idiot’ and it might just be the best thing they’ve done thus far. So here’s some more good news: Drunken Sailor are now bringing this mighty collection to vinyl, so you can treasure it just as much as ‘Hot Liqs’ or the ‘Live At Mat’s House’ tape or ‘Heart Beats True EP’. Put it on your turntable, put it in your ears, just put it somewhere and accept that you will love it. This is inevitable. Liquids have got a lot of things right, but here’s two more for starters: life truly is pain, and we are indeed all idiots. This album goes some way to redressing the balance when it comes to the former, and as for idiocy… well, you ain’t getting any smarter by not listening to it, dummy. Get involved.

[engl] Long Hours is a solo project by Julian Medor. Long hours has been coined as being lofi, nowave, synth punk croon-core, gothdoowop with a relentless live show inspired by frontmen such as David Yow (the Jesus lizard) JG Thirlwell (Foetus) Alan Vega (Suicide). Long Hours has performed up & down the east coast of Australia countless times and has toured japan twice. He has also released 27 albums in the space of 3 years. "Never Enough" is his first LP available on Beast Records.

[engl] Lord Diabolik's third album is here, and once again our favorite frañoles give us a great garage rock album full of grit, energy and fun. Franky and Nene do not fail, they are a sure value, each new album released by the atomic duo raises a little more the bar of compositional excellence within the European garage scene, and with "Plus Cool Que Toi" they hit the bull's eye again and propose us a wild, elegant and danceable succession of addictive musical hits created for the enjoyment of the whole world family of rock & roll. 10 shots 10 hits, French, Spanish, English... Garage, R&B, Beat, Surf, Rock & Roll? there is nothing that resists them and of course there is no other group like them, these masters of rock & roll garage sixties have created an infallible and irresistible formula made in Perpignan that is still unbeatable today. Recorded in Canohes by Tony Bender at "La Chambre" studio. Mastered by the great Marc Hacquet at Speed Records studios in Valencia. The fantastic artwork is again the work of the great graphic artist Fer Rayos X.