[engl] This animal has a diverse, revved up, no reins, 60´s gumball punk show, takin' tricks from ramshackle Krautheim, Atlanta, Harlem, Coal Mines and Burger City and of their hometowns' own KING KHAN and the SHRINES folk. Regular Vanilla is stacking hook on top of the hook, surrounded by a loose 70´s schmuddelfilm organ, wry doo-wop, flavored with all the psychotropics of the sackerl. They rushed thru the recordings like stags and you can hear their nonpolarised jukebox rock'n'roll, pure joy is dropping on all sides of the platter. This is a giraffe ride from the empty swiming pool stand-up singing, straighthru a covered with curtaind of scissors new wave ballroom to a high noon khanish psych garage snake pit ritual. Jungle backups by the master himself, lovely guest singing by his daughter SABA LOU. Produced by KING BAMA LAMA KHAN. Recorded by NENE at Porc. Artwork by Isabelle Rutz. Mastered by A-Hule-Hule w./ Analog Life Of Satisfaction Expectancy Ratio! Music journalists, here is your migraine!

[engl] Cathedrale are a four piece garage pop band from Toulouse, in the south-west of France. In the ten tracks of this second album entitled ‘Facing Death », they mix punk, pop and garage, in a formula made of very tight drumming, edgy riffs, and a pop-infused melodies. The album was recorded in Toulouse at Swamp Land analog studio by Lo Spider and is illustrated by French artist Matthieu Freak City!

[engl] ‘Bide My Time Until I Die' features the Toronto duo slammin’ out 10 new bangers that capture both the simplicity, and the energy of their live shows. Recorded over 3 different sessions, one in Memphis and two in Toronto, CATL. wanted to make a record that allowed each engineer to interpret the songs in their own way. Adam Hill at Sam Phillips Studio, Jeff McMurrich at Sonology, and Walter Sobczak at Revolution Recording had no idea what the other engineer was up to and were left alone to do their thing. Garage Rock legend Jim Diamond (of the now defunct Ghetto Recorders studio in Detroit) brought it all together in the mastering process, somewhere in France.

[engl] So this is it, the last release of the CAVE WEDDINGS ever… sad thing, yeah, but I am glad that we managed to get them to release it on our imprint. These two songs are sugar coated but still not too sweet, they are kinda lo-fi-ish but in a good way, and like most BACHELOR releases it has the right amount of melody in it, like that magic abra cadabra formula that made 60ties pop songs into nationwide hit singles! The CAVE WEDDINGS were Eric, Erin and Nathan, these songs were recorded in the summer of 2009, mastered by Justin Perkins, Bass and Backing Vocals by Logan, Matt and Chris of the MIDWEST BEAT, Sleeve Art by Chris Capelle. Print Run: 400 black vinyl, 100 green vinyl.

[engl] Who would have believed the medway garage sound had made it so far east!! These rabble-rousers do the sound justice with some great crunchy guitar playing and undeniably groovy organ lines- The youtube footage they have posted reveals them to be raw and powerful, the crowds having what looks like a communal epiphany at just how good musiccan be.

[engl] Prepare to enter the world of glam and glitz as you take a walk down the redd karpet with The Celebrities. An international collaboration between Joe Sussman (Nancy, Dangus Tarkus,Muff Divers) and Kel Mason (Gee Tee) with a cameo by Ishka Edmeades (Tee Vee Repairman, Satanic Togas, Set Top Box...) on "Crackin Under Pressure". I hope this is the last time I ever have to say 'covid project' in my life, but this one's a winner. The snot of early Red Cross, hooks like The Dickies, and pure pop sensibility of 60's bubble gum. A not stop hit factory from top to bottom. Clocking in at 12 minutes this is a multiple flipper for sure. Loud, proud, and standing out in the crowd. 100% Total Punk!!

[engl] Part Two of the Cellophane Suckers’ 45 RPM session series, 9 Tracks! WHITE VINYL running on 45RPM!

[engl] Philly’s own Chained Bliss set tongues a-waggin’ back in 2019 with their Stained Red cassette EP, gathering more than a few comparisons to the Wipers’ early racket in the process. Well, now they’re back with a debut album that seems to have skipped right ahead from Is This Real? to Over The Edge: this self-titled LP has all the gut-punching ramalama, knockabout guts’n’glory of that first tape, with added layers. Melodic guitar lines come perilously close to jangling over crunching power chords, while furiously yelped choruses give way to sumptuously put-together breakdown sections that catch you off guard and kick you in the shins before legging it down the street. Chained Bliss clearly love scrappy, skatey garage rock (echoes of Agent Orange’s Living In Darkness abound) as much as they love pushing that raucous clatter into something spacious - the meditative sections that flow effortlessly into absolute ripper Pillars Of Abuse are as unexpected as the thoughtful but head-spinningly energetic sections that bring Creative Seizure so thrillingly to life. Other times they’re just as happy to keep you careening towards the pit with two-minute bangers, but that’s the beauty of this record: it’s never smarter than when it’s playing dumb, and the rest of the time it’s just pretty damn smart. Here’s a challenge: can you listen to Ominous Life’s gnarly pop without raising those fists of yours skywards and landing a firm thump on the air? Or Drifter’s swaggering stomp? Or, or, or… ahhh hell, you get what I’m saying here. Every single cut slays, every single hook snags itself on your brain. You’ll come back for more, and more, and more. Are Chained Bliss your new favourite band? Well, gee, we’ve never met and I don’t know what you like and it’s not for me to say… but on the other hand, yes. Yes, they are. They’re heading straight for your heart and they ain’t budging.

[engl] Chatterbox is a French duet born from its passion for Flying Nuns and the Scottish C88 scene. Their debut LP was recorded at Kerwax by Christophe Chavanon and here comes a raw and minimalist pop magnified by a delicate and ethereal female voice reminding of the ghosts of Young Marble Giant, The Vaselines or Rowland S. Howard.

[engl] Cheap Whine sound like classic 70s punk always sounds in your head, but somehow never quite lives up to. Nagging powerpop melodies, frantic energy in abundance and enough snot to fill a swimming pool – mind you, that shouldn’t come as a surprise once you learn who’s involved. Steve Adamyk has been crafting nuggets of two-minute genius with his own band and Sedatives for the last decade, while Eric French makes sweet, sweet trash pop with Feral Trash. Add the powerhouse drumming of Crusades’ Jordy Bell and you’ve got a recipe for mind-blowing, heart-racing magic, which they serve up in deliciously moreish chunks. Marked Men/Chinese Telephones/Ringers fans, listen up. They sing like they just got turfed out of a bar for throwing peanuts at playboys, and they play like they’re skating through plate glass windows. The ideal amount of fucks are given. What’s more, in closing tracks Best Times and Letter to J, they might just have written the perfect one-two suckerpunch combo of powerpop classics. I’ll take two. Will Fitzpatrick.

[engl] This here's a cool set of unnisued studio and live radio studio recordings plus a batch of cuts from their rare-as-heck debut lp, "ON YOUR KNEES", ranging from 1977-era-style Crampsian thud to noisey freakouts to moody 60s teen garage ballads.

[engl] ETT is honored to bring another mindblowing debut LP on your turntable. All the way from Naarm (Melbourne, Australia) we have a unique debut album. Jordan from Pinch Points, Miranda from Dr Sure's Unusual Practice, Tom from Gonzo and Dragnet, Amada from Carpet Burn, Gutter Girls plus Chris and Erik from Hobsons Bay Coast Guard. What do you get when you put these people in one practice room? Yes - CHECKPOINT! This is a no-filler record; every song feels as though it’s been crafted carefully, and explored fully. There is so much to explore here and every listen will make you piece this puzzle even better. It’s pretty damn catchy, and old spiky punks might find themselves nodding along as they grumble. Front to back, DRIFT is like shotgunning a Red Bull. It never slows down, it has some solid punk grit and the speed and style works in the album’s favor. Each track has just enough variation to keep you hungry and the song topics at times will have you questioning if the world will make it! It’s always good to see this loose coalition of bands keep the spirit of 00's garage punk alive and supercharged into the now. I won’t throw around the usual references, but this is the type of attitude that first turned my ear to this style and it’s just getting better. It’s exhilarating, and already leaves me breathless for the next release. It’s music you can’t help but enjoy. I think you are under the impression that this is an album by the amazing band Checkpoint. After purchasing the record and enjoying it, you will be pleasantly surprised to learn that you were correct and you would do it again.

[engl] Finally here, second longplayer by these Portland garagepunk stalwarts! “For people who’ve invested a lot of time and energy mapping the vast, complicated genome of the local punk community, Portland’s Chemicals are something of a supergroup. Comprising members of Cyclops, Triggers, Sleepwalkers, RIP and Straitjacket—among countless others—the band plays loose-limbed garage punk, free of frills but not without surprises: Check out “No Reason to Stay,” from recently released second album For Real, For Life, Forever or Whatever, with its basically two songs, with two different tempos, ingeniously fused together by a ripping bass solo. It’s powerful stuff, sounding like the product of lifers who’ve been around the dirty, trash-strewn block a few times.” – Willamette Week

[engl] On their first four albums, most bands go by the Wagner handbook, roughly drafted according to the Ring des Nibelungen : birth, conquest, war, destruction. They usually give it all on their first record, keep on trucking at a higher speed on the second, start back from scratch on third effort -most preferably in a totally opposite way- and gamble it all on a fourth album, for a sad epitaph or a one-way ticket to Valhalla. Cheveu has now reached album #3 and since they totally fucked-up the first two steps, there’s nothing surprising in seeing them come back at full speed on a countryside road stuck in a beat-up van on fire, with BUM, their most incredible piece of work to date. After a quick introduction (the promising but sketchy Cheveu), the parisian trio blew up on the world’s face with their second LP, 1000, a record thrown at the bored masses in full ragged glory. Cheveu now enters 2014 heavy-hearted and red-eyed, just like those wrecks of humanity blinded by the lights at closing time, their misery, bad skin and unachieved schemes exposed before dawn. Cheveu built its third LP on the ashes of those unholy hours, around the majestic « Polonia », a track on which David Lemoine recites a few lines from Bertrand Blier’s Buffet Froid with the set expression of a man empowered by the fact he just shit his pants, while Etienne Nicolas and Olivier Demeaux slowly unwind the rapturous scenery of a theologian western. The song is beautiful, grotesque, heart-rending, just like a scene out of Jean Ray’s Malpertuis backed by a funeral choir of angelwitches, and is definitely one of the most amazing things you’ll hear this year. BUM, just like « Polonia », is an inner trip, an odyssey bordered by the walls of an antique mansion, full of baroque embroidery and padded club chairs, perfect aural counterpart for the paintings, of Rousseau, master of the exotic which –paradoxically- never ventured out of France. Cheveu’s third record is full-on excess and absurdity, but is also much more legible and effective than their previous efforts (see « Juan In A Million » or the sure-fire hit « Albinos », which lyrics are taken from a monologue in Harmony Korine’s Gummo), even traditional at times (« Pirate Bay » seems like the very first Cheveu song where guitars sound like guitars). This time, the band opted for a much more live-based, organic and fully-produced sound, replacing 1000’s messy cut-ups and Cheveu’s shitgaze blur by throbbing organs (played by Xavier Klaine and recorded at Saint Merri Church) and wall-of-sound choirs (arranged in Tel-Aviv by Maya Dunietz, already in charge of the lush string arrangements on 1000). The result : 10 tracks drier and sharper than anything Cheveu has done before, definitely out-of-this-world but elegantly mannered, veined with unaltered genius and ending with the spectacular « Johnny Hurry Up », an unreal track which owes Wall Of Voodoo and X as much as François de Roubaix and crowns Cheveu as the masters of a new world where love burns over piles of rotting meat and shit.