[engl] Reverend Beat-Man & The Church of Herpes, is a project of two completely different styles of music who has nothing to do with each other in the normal circus of the Music Industry but they did it they mix up Gospel RocknRoll with Industrial Analog Craut Electro. and the Result is Craut influenced Gospel from hell mixed up with Analogue electro trash. Reverend Beat-Man him self a Primitive RocknRoll Preaching One Man Band was always good Friends with the Herpes-oe-Deluxe Industrial Pioneers outa Bern,Switzerland, meeting each other in the early 80's on Test Department and Whitehouse gigs or the Monsters and Guitar Wolf so they decided to put this together in one music Style and started recording in 1999, in between they did 2 Live Shows, the gigs where over when everybody left the club and that was very quick and so they decided that this must be a good thing to do and they where continuing this Project This is Music for people who have the Blues and who want it even worse , Music to beat yourself with your Fist to the head till you bleed, music to make situations you are in even worse. this record is all Totally Wrong and leads you on the wrong track of live. so we warn you here on voodoo rhythm records. if you are already a person with complicating problems such as drug abusing or strange girl or boyfriends then better leave this record in the record shop and by a stead the new green day album!

[engl] Death of a Gringo was recorded in a week live to tape: vocals, guitar, drums and bass all recorded live. Rhyece O'Neill taught Rick (bass) the songs a couple of weeks prior though Danny (drums) had never heard any of them until the day of the session. Once they had the right sound and were ready to go Rhyece would teach Danny and Rick the songs in the studio kitchen with an acoustic guitar. After a beer they were ready. They would go in and Nell (Engineer) would roll the tape. They never did more than three takes. Once a song was done they would go back to the kitchen, have another beer and learn another song. They recorded fifteen songs this way.

[engl] The Richmond Sluts may hail from San Francisco, but their hearts are far off in New York City, and their heads are stuck in other decades entirely. It would be easy to laud the quartet as the best glam trash band since the New York Dolls, but that's merely a convenient launch pad from which the Richmond Sluts set off into their long awaited 2nd album. Since categorization is a necessity in this age of overspecification, punk rock will do nicely, but doesn't begin to encompass just how cleverly the group churns other genres through its blender. The Sluts connect the dots between '60s garage punk and old school '70s style, then toss just a dash of new school into the mix. Variations on this recipe reverberate across the album, and answer a slew of niggling questions along the way. Ever wonder what the Dolls would sound like covered by a psychedelic band? Kept up at night trying to imagine a cross between the Cramps and the Velvet Underground? Curious what the result would be if a time warp sent Richard Hell circa 1978 a decade into the past? And what if Eddie & the Hotrods were really the Ramones with English accents? The Richmond Sluts answer all these brain teasers and more you've yet to even imagine, and they do it without an ounce of pretentiousness or braggadocio. In fact, the Sluts lay down their songs with such insouciance that one's tempted to believe they are totally unaware of their own genius. And if this is the level of their debut, what treats await us next?

[engl] Rik and his Pigs return! Three tracks recorded this past summer in Portland at the tail end of the Pigs' West coast tour finds the current six piece lineup tight and ruling as ever. "Blue Jean Queen" kicks thing off in fine fashion with a rocking, Dictators-esque stomp brimming with snarled vocals and crunchy guitar hooks. The Pigs work up a new sax-washed version of "TV Bloopers" to finish off side A, which is backed with the brooding, bass-driven "Off/On". Yet another excellent batch of tracks from your favorite gang of Olympia punks, and a fine companion piece to the upcoming LP on Total Punk. 500 copies housed in a full color textured pocket sleeve with lyric insert.

[engl] The second 7” from RIK AND THE PIGS is finally here, a smoking follow-up to 2015's "Pig Sweat" single on Total Punk. “Life's A Bust” features three new tracks recorded between Rik's time in Portland and his new home base of Olympia, WA. Side A boasts two cuts of completely savage and hook-filled punk – exactly the kind of snot and filth that you'd expect from Rik & Co. On the flip, “Life's A Bust” is a completely different animal, a loose and driving five minute tune featuring incredible guitar work and drumming from Michael Liebman and Corey Rose of Olympia's VEXX. Cut loud at 45RPM by Josh Bonati and housed in a full color glue pocket sleeve, this just might be the ultimate Pigs release to date.

[engl] RCM is a band from New Orleans featuring Rik Slave (Man Scouts of America) on vocals and Sean Yseult (White Zombie) on bass. They combine the best of the New York Dolls, Dead Boys, 70ies Arena-Rock with a joint love of dead things, nocturnal living, monster movies and NYC punk rock. The album was produced by Ramones-producer Daniel Rey.

[engl] After the great, and almost sold out, instrumental album. The Routes present here 4 original tracks, this time with vocals, back to their primary style. But this 4 tracks are fuzz embeded. Less R&B style, more garage punk. With a style of their own, The Routes makes the diference from almost al l of the bands around. This one is limited edition, we have 100 copies available with a poster (50X30 CM). Art of the poster by Mr Daren Merrinuk himself. Two diferent coloured artwork to. This one is killer, limited to 500 copies, 250 YELOW SLEEVE, and 250 GREEN SLEEVE.

[engl] The Routes always seem to be do something different stylistically on every record they release; from their largely R&B influenced debut album “Left My Mind”, to the playful US garage drenched “Alligator”, to the Strummin’ Mental madness of the “Instrumentals” album, right up until “Skeletons” in 2016 which saw them on more of a modern garage punk trip. It doesn’t seem to matter what they do, and who plays in the band; it still unmistakably sounds like The Routes. “In This Perfect Hell”, the fifth album by The Routes, brings you ten original songs. No filler and no covers. From the start, you can tell it’s not going to be your stereotypical garage album. This time The Routes seemed have strayed far from your average garage bands comfort zone. They have stripped everything right down in the playing department, with leader Chris Jack playing pretty much everything apart from the drums. The stripping down seems to have the opposite effect, of creating a huge, thick, heavy wall of sound. The nasty Japanese fuzz pedals, and very simple guitar leads stab through the wall, and stick into your brain. It’s not exactly your typical garage, it’s not exactly psych; it’s not exactly any one thing in particular. Is it a huge mass of perhaps everything Chris Jack listens to? One wonders if he opened the floodgates on his musical tastes and just let it all come through? The brain penetrating heavy fuzz, and Maureen Tucker-esque rhythm of opening track “Thousand Forgotten Dreams”, instantly tells you we are again on a new, different tangent. The hypnotic guitars are actually not unreminiscent of early Spacemen 3 or Jesus and Mary Chain. “Worry” sounds like it could be the cover of a long lost Tamrons acetate, being played by The Fall. You have catchy up-tempo lyrically playful numbers like “Peeling Face” and “Housework In My Head”, sounding like The Kinks meet The Modern Lovers, meet Guided By Voices; “Something Slipped Through My Window” and “Oblivious”, again see the band in fine songwriting form, with The Routes Acetone organ resurrected. The Routes take a heavy trip to Gonn land with “Make You Hate Me More”, yep they always have one “Fuck You” anthem without fail (without actually swearing in the song of course, because the lyrics have more than enough hate in them already). One wonders how many flashbacks were channeled to create the acid tinged freakout that is “No Permanence”? Is this garage punk meets Can’s Mother Sky? You could imagine The Lemon Drops singing “In Years Gone By”, before being having their minds blown away by the trip that is “Perfect Hell”. Are you doing well living in this Perfect Hell? Reading what I’ve written you’d think “That’s ridiculous, how could all that go together, and sound like one band, or one album?”. The answer is; it’s so well done, and so subtle. That my friends is the genius of The Routes. Everything they do sounds like The Routes, and they sound AMAZING!

[engl] That is one of those bands I would love to release myself on VOODOO RHYTHM RECORDS, just to make that clear... I met CHRIS JACK back in Japan when I was touring with my band, THE MONSTERS. The gig in general was amazing and wild. We had naked men and almost naked girls at the show... and a rock’n’roll scene that I dream to have in Switzelrand, with lots of girl's bands. I was super impressed, then Chris told me he had a band. He gave me his recordings and I heard that like 20 times a day... It was something like 10 years after I met The Sonics. FUCKING KILLER. Anyway, time went by and we kept contact all these years... Now THE ROUTES released an album on the fantastic GROOVIE RECORDS, from Portugal. A full INSTRUMENTAL album, a super fox on bass and a animal on drums, with the new Jeff Beck on guitars. That is RAW WILD and OUT OF CONTROL guitar instrumentals with sometimes an EXOTIC touch as in "Bossa Hossa Nova", in "Shove-it" or in the beautiful "Yeti Spaghetti" and SURF instrumentals like "Luck Of The Devil" or the SMASHER "Hang Eleven". This album is a super INSTRO KILLER! If you like The Shadows only, it may not be your cup of tea... but if you live in the gutter and drink booze instead of water, this album will be the HOLY GRAIL FOR ALL YOU SURF PUNKS OUT THERE! (Beat-Man)

[engl] The Routes will always hold a special place in my twisted heart ‘cuz they were the first band to give me a shot at doing their album cover. That was back in 2011 for their second LP, Alligator. That ain’t the reason why I’m trying to sell you the band though. The reason I’m trying to sell you the band is far more simple; the Routes are one of, if not THE best garage outfit out there today, and their new album SKELETONS just confirms it. So forget about the bands hiding their inadequacies behind tons of effects and divert your attention with their flashy costumes. Forget about the bands who claim to be a garage band, but play a wimpy mix of shoegaze and light pop. You can even forget about the multitude of garage bands who got the right idea and gear but fail to deliver. This is the real deal! Eleven songs that only rely on raw talent, raw power, and raw production (and the scuzziest fuzz guitar sound you’ve ever heard) to deliver some of the best garage punk tunes this side of ’66. Yet, unlike many of their 60s counterparts, the Routes managed more than a one hit wonder, as you’ll rapidly realise listening to Skeletons. The album is simply full of memorable tunes, bursting with pissed-off energy and earworm melodies (and the scuzziest fuzz guitar sound you’ve ever heard), and the Routes’ highly distinguishable sound. So play that record already, and get ready to blow the cobwebs off your speakers with the stompin’, grindin’ sound (and the scuzziest fuzz guitar sound you’ve ever heard) of the Routes!

[engl] The Classic singles collection stills goes on, this time nothing less than the wild and garagers THE ROUTES.Taking influence from amongst many others Link Wray, The Yardbirds, The Animals, The Sonics, The Wailers, The Downliners Sect and Hound Dog Taylor, The Routes distinctive sound featuring Chris' sublime guitar playing is a must-have for any Garage fan. This amazing japanese band, have now two nice cuts at Groovie, for those who like to dance at the sounds of 60's wild garage, this is for you...

[engl] Super Killer Debut Album Re-Issue from Switzerland’s most Notorious Psychedelic Punk Band, Strictly Home Recorded on Smokey Sundays and hangover Mondays between 1995 and 1996 in their Teens they admired Spacemen3 and these days they are produced by Spiritualized Deren Tony „Doggen“ Foster, but this here is a RE-RELEASE from their 1st 10“ Vinyl release on Voodoo Rhythm records back in 1996, 1 year before their Debut Album, Roy and The DMC was the 1st not Beat-Man band on the Label and they continue releasing for the label since then. You have to notice, back then in 1996 it the peak of TECHNO/TRANCE MUSIC and MTV Mainstream Music, there was no place for music like that, and we think today that album fits much better, its a weird time we live in and it needs weird music and It’s an album full of teenage weirdness optimistic mood power forced by the Punk Power of the MID 70’S and spaced out sounds of the 1969 BRITISH PSYCHEDELIC AREA... Recorded by the band itself, at the Roy Home Studios on real tape to tape, to another tape and to another tape, than true a telephone and to another tape, then blasting everything up .. that’s what made the bands music famous worldwide... these amazing recordings, stuff you can’t do with a computer today, truly handmade, music from the beginning to the end, so please welcome one of the 3 Swiss Mountain Brothers and the Drummer Roy and the Devil’s Motorcycle

[engl] Three guitars, one drum set, three voices, a daredevil ride into the Kingdom of Wild Animals, Recorded in Nottingham by Tony "Doggen" Foster (Spiritualized) including their gorgeous evergreen "Learn to Lose" and Janis Joplin’s "Ain't Got a Worry" A new album from Roy & the Devil's Motorcycle – it’s their first in six years. And what a title! "Im Reich der Wilden Tiere (No Milk, No Sugar)". “In the Kingdom of Wild Animals” was a television programme for children, explains Markus Stähli, the youngest of the three brothers who make up the band alongside the drummer, Elias Raschle. "It was presented by some stiff colonial type gentleman. He was sitting in his office, talking about wild animals. Why is this a fitting title for the album? Because it's zeitgeist." Eight years ago, Roy & the Devil's Motorcycle supported post-psychedelic superstars Spiritualized on a European tour. Their guitarist Tony "Doggen" Foster was so impressed by their uncompromising dedication to the power of massed guitars and the mood of the moment that he invited them to his studio in Nottingham for some recording sessions. During the following few years the Roys returned to the "Mouse House" again and again. Always supportive and enthusiastic, Doggen never tried to interfere with their vision. "We played live with the same raw energy we used to play at our shows, guided by emotional chaos and excess.” The seven songs were mixed by Markus Stähli at home in Basel's Happy Home Studio. Hardly any overdubs, lots of feedback, and a very real pneumatic drill thrown in for good measure. "Pounding away right in front of the studio in Nottingham, it was part of the ambience. Gives you an idea of the sensibility at play, I guess." Three guitars, one drum set, three voices. As it says on the album cover: "Not a comfortable sound, nothing landscapish, no distance to a wide stereo spectrum, no ready-made room you can go in. Confrontation - talking to you. No milk no sugar." Four songs were written by the band, including their gorgeous evergreen "Learn to Lose". Driven by a hypnotic xylophone riff from the keyboard, the minimalist "Mo Rice" shows the Roys from a new side. A sign of things to come? Their cover of John Jacobs Niles's "Look Down That Lonesome Road" sounds hardly any less spooky than the original but clearly tells the story in a language of their own. The same applies to covers of the Little Anthony hit "Tears on My Pillow" and Janis Joplin’s "Ain't Got a Worry". Give thanks to Roy & the Devil’s Motorcycle! Theirs is a daredevil ride into a land of animal power and beautiful mystery.

[engl] Australia's runaway success ROYAL HEADACHE are responsible for records that have resonated worldwide, and what more proof of this than a SITAR INSTRUMENTAL TRIBUTE to two of their biggest hits, ELOISE and DISTANT AND VAGUE? All performed by an anonymous, masked, groovin' Australian combo! Agitated managed to track these Sitar slingers down, and could not put their groove down. A 500 copy 7” release was brokered…and here ya haves it folks. You'd be a complete IGNORAMUS to be able to sit still throughout the revolutions of this white-hot double hit platter.