[engl] The world is in deep and dark disturbing times and Berlin’s AUS are the soundtrack to this apocalypse. This new three track EP has everything you loved from their second album from 2020 and more. It’s full of ice cold and stark future post punk gems.The drums drive the tracks with tom tom heavy rhythms next to a thunderous, melodic and locked in bass whilst the minimal synth and scatchy guitars add to the cold atmospherics. The vocals are the icing on top and move between Siouxsie and Anja from Xmal Deutschland with an added extra portion of boredom and disdain. If this was an obscure 7” from 1979 it would be on everyone’s wants list, but luckily for everyone it’s a 2024 release. ( Sean Forbes - Rough Trade )

[engl] Legendary Spanish synth–pop band AVIADOR DRO was formed in Madrid in the late ’70s, influenced by bands like DEVO, KRAFTWERK or CABARET VOLTAIRE as well as by Sci–Fi and movements like punk, futurism, anarchism, Dada... Dressed in matching space–age / futurist uniforms, the group created a particular synth–pop sound, which they defined as "tecno–pop". Signed to the major Movieplay label, where they released a couple of 45s, in 1982 the band decide to go the DIY way and they launch their own record label: DRO (Radioactive Records Organized) which will be the most important independent label in Spain during the 80s. That same year, Aviador Dro release their groundbreaking first album, "Alas Sobre El Mundo" ("Wings Over The World"), which is now widely considered as a real synth–pop / minimal wave classic, full of analogue synths, drum machines, Vocoder...Including some of their most known songs like "Ondina", "Selector de Frecuencias", "La TV es Nutritiva", etc.

[engl] AVIADOR DRO Y SUS OBREROS ESPECIALIZADOS formed in the Prosperidad Neighbourhood of Madrid in 1979. Influenced equally by Dadaism and Futurist ideas as by the contemporary sounds of bands such as DEVO, THROBBING GRISTLE or CABARET VOLTAIRE, they started creating their own brand of electronic music. Soon after the band won the third prize of a local Battle of The Bands show and were given a record deal as a prize that resulted in La Chica De Plexiglás 7” (Movieplay-1980) and La Vision 7” (Movieplay-1981) both of which were recorded at the same session with a third 7” recorded but not released at the time. Faced with the total lack of interest showed by the label and feeling alienated in a Music World which wasn’t the one they dreamed of, they decided to do what dozens of their peers were doing worldwide; They started their own label, Discos Radioactivos Organizados (DRO) following the steps of Factory or Industrial Records. Faced with the exit of three members who left the band to form a more radical band (ESPLENDOR GEOMETRICO), AVIADOR DRO entered Doublewtronix studios to record Nuclear Sí, marking the birth of the Independent Music Industry in Spain. The four tracks on the EP became instant classics with Nuclear Sí being the absolute standout track, while Varsovia en Llamas, Sintonia Del Refugio Atomico and Godzilla were perfect nuggets of Synth-punk who remain amongst the greatest Spanish Pop songs ever.

[engl] In 1983, Aviador Dro, the legendary Spanish synth–pop band, are living their best moment: their own record label (DRO) is working full time; they share management with famous Spanish New Wave bands like Alaska & Los Pegamoides, Los Nikis, Gabinete Caligari, etc; their songs are heavily played on the radio and they play numerous gigs all across Spain. That’s when the band decide to create their most ambitious project to date: a deluxe boxset titled "Síntesis: La Producción al Poder", released in 1983, including two LPs ("Tesis" and "Antítesis"), a 7" and a booklet. A few months later, "Tesis" is released separately with a slight change on the tracklist. This is the edition we’ve reissued here. Subtitled as "eight great stories of science and future", "Tesis" featured "the most recommended songs for the industrial dance". This is in fact another minimal wave / synth–pop classic, including anthems like "Baila la guerra", "Vortex", "Nestor el cyborg"... * Sound from the original masters * Original artwork * 8–page booklet with liner notes, photos and memorabilia

[engl] BALLOND'OR is a band from Tokyo that plays majestic and crazy indie punk/j-pop/noise/whatever you call it!

[engl] BASKING SHARKS are one of the unsung heroes of the original minimal / synth-pop / wave era. Formed in 1980 in the North of England, members Adrian Todd, Ged McPhail and Martyn Eames used an array of home-made electronic instruments plus customized second hand synths to provide unique sounds. On stage they always played “live” without the use of backing tracks. Their stage act included a slide show, films and computer visuals synced into the stage performance. Their music merged electronic pop with European influences and experimentation. During their existence, they toured extensively throughout the UK, did a session with John Peel and produced a single, an EP and an LP plus numerous videos, and live recordings. Here’s their first ever vinyl retrospective, including a selection of tracks from their sought-after album, “Shark Island” - originally released in 1983 – the complete “Diamond Age” / “Thrill Of The Game” singles plus fantastic previously unreleased recordings.

[engl] Seven long years have passed since Barcelona beauties Belgrado last bestowed a full length upon the citizens of Planet Earth, but the wait is over, and ‘Intra Apogeum’ is here to make your life worth living again. With a new bassist in tow, a couple of fresh-out-the-box synths, and drummer Jonathan Sirit switching from kit-bashing to button-pushing, you might be forgiven for thinking your favourite post-punkers have gone cuckoo and lost it. But fear not – more than a decade in the game and Belgrado still know What They Are Doing. Eight sleek-n-chic numbers that simultaneously burn white hot and ice cold. As with their previous record ‘Obraz’, Belgrado have taken the Xmal Banshees template and bled out in all directions, stylishly blending a classic post-punk intuition with elements of disco, dub and psychedelia, now with added textures of electronic lushness. Recorded in both Barcelona and singer Patrcyja Proniewska’s native Warsaw, ‘Intra Apogeum’ is testament to a band committed to pushing forward and investigating the new whilst clearly demonstrating they know who they are. Belgrado is back – viva Belgrado!

[engl] Obraz is a deconstruction of reality to its basic forms and most primitive elements. The starting point after maximum destruction. A reconstruction towards a new reality. The world of images and a thousand spectacles, fragmented, dismantled and reassembled. Dynamism, rhythm, energy and movement. Creative sense over technique. Reality is a construction that we ourselves create. Belgrado delivers a blend of post-punk that takes its influence from many different styles and combines them together into a new form and rhythm. Carefully constructed sound compositions driven by feeling and the senses. Geometrical figures set in motion. Inspired by the mechanical pulse of minimal synth, the hypnotic sounds of dub, the atmosphere of psychedelic and African music, French cold wave and the post-punk classics.

[engl] Barcelona's Belgrado return with their second album 'Siglo XXI' and first for La Vida Es Un Mus. The 11 track album melds dark and dreamy goth and post punk with a stunning and clear production. The bass leads and drives each track into the batcave whilst the vocals yearn and ache on top. This record has a clear 80's English influence (Killing Joke, Vex, A Touch of Hysteria, Blood and Roses etc) but it also very modern day Barcelona with the reverb as important as an instrument and totally DIY. 2011's excellent self titled LP has been bettered in sound, production and song.

[engl] On their second full-length, Bench Press have refined their sound by maintaining some the frantic aggression of their self-titled debut, but have also brought a tighter approach to both melodicism and structure. Almost every song clocks in at under three minutes as a testament to their 'don't bore us, get to the chorus' philosophy. Bench Press project the wirey minimalism of early Talking Heads and Devo through a lens of heavier late-80s contemporary post-punk in a distinct shade of Melbourne garage. What was once easily categorised as post-punk can just as accurately be described as 'really, really loud pop music' and it's really, really good. Recorded & mixed by Paul Maybury (Cable Ties, Loose Tooth, Rocket Science). Mastered by Mikey Young (Total Control/ Eddy Current). FOR FANS OF: Gang Of Four, IDLES, Fugazi

[engl] Riot grrrl, post-punk, darkwave, surf guitars—whatever you want to call it, it’s a delicious four-cheese blend that will drip gooey sass and pizza(zz) all over your turntable and into your ears. This threesome (with occasional help from a possessed trumpeter) comes from Prague, Czech Republic and achieves a softness and rage wrapped all together, best actualized on “Spin It,” which is tragic and droning and fucking amazing. BIKINI KILL anger mixed with CRIME OF PASSING iciness. If after this quick listen you’re looking for more, BIBIONE’s self-titled release from 2021 is also fantastic. Keep it coming.

[engl] A long playing collection of 'classic' Big Stick selections, along with three tracks taken from Big Stick's soon to be released new album, LP. Limited to 500 copies on clear vinyl. There's a total of 15 songs on MUCH OF THE BEST OF BIG STICK release

[engl] Big Stick's dynamic duo of John Gill and Yanna Trance are pleased to finally have a new LP's worth of material to share. This new album is simply titled LP. It's a long playing collection of Big Stick selections cultivated over several years. This release is a joint effort between Big Stick's new Drag Racing Underground record label and Forte Music Distribution. Gill and Trance performed most of the vocals and instrumentation on the album's fifteen tracks. Some of Big Stick's musician friends appear on select songs. Much of the recording was done at their own studio, using a vintage Otari MX-70 16-track analog tape machine. Big Stick are self-produced. Gill plays guitar and keyboard. Trance performs percussion, bass, and keyboards. Both of the duo write and compose. Big Stick's new LP includes a retrospective collage of Big Stick photographs and images, along with photos of Gill's and Trance's artwork as well as liner notes describing curious facts and trivia related to the duo and the featured songs.

[engl] Dying Breed is a collection of singles and unreleased songs that were recorded in a time and place where noise was king: early 90's Chicago. With a range of songs and sounds spanning from 1990-1995, this lil' collection of gems will not disappoint any fan of the band. Included are all of the songs from the early 7-inches, pulled from their original master tapes and remastered along with outtakes from those sessions and demo versions of album songs. Dying Breed will be released on AfricanTape Records 3.07.11. And if you missed the noise juggernaut the first time around, it's time to get on-fuckin'- board before big'n is, yet again, laid to rest at sea.

[engl] BISKAIDAN are back with a vengeance, and a very loud one to top it off !?The japanese all-star band is still playing its very own brand of music, perverting?the quirkiness of metal influenced idol tunes with a love for shrieking and?uncompromising sonic assaults. On this second offering, they deliver 7 brand?new renditions of their now typical idol-noise music with a fierce and?destructive energy.?But then, what else can you expect from HIJOKAIDAN and BiS members ?

[engl] From the same studio that brought us 48 Chairs (Gerry & The Holograms), The Fall and The Blue Orchids, while following the bona-fide bloodline between Danny And The Dressmakers, Toolshed and 808 State, the “difficult second album” by Biting Tongues (released on a minuscule cassette run by The Buzzcocks vanity label) has since become a near mythical artefact of Mancunian DIY. Cementing the path between the Absurd label’s kitchen sink synth assaults and Factory’s 99 informed downtown aspirations, Biting Tongues’ bass-driven, pounding-sounding, schizo-skronking, squat-pop put the emergence of punk-funk under a blinding interrogation bulb then hid round the corner evading secret police. Pouring three letter words like ESG, DAF, PIL and ACR into Ken Hollings Scrabble bag would result in a unique form of wordy dictaphone agit-rap and closed-circuit commentary to Graham Massey’s overqualified punk ensemble, laying foundations of future Manc activity using uncertified sand and gravel tactics, only to be safety checked every 38 years, or thereabout. Live It, the lost Biting Tongues album, still breathes. Including what the original members of this pioneering post-punk platoon unanimously consider their greatest work, Biting Tongues seldom-heard, second roll of the dice was presented to The Buzzcock’s own label New Hormones to coincide with full-length DIY debuts by Ludus, Dislocation Dance and a distinct tightening of pursestrings. Recorded on half-price studio time (in the midst of a multi-track repair session) and duped on to compact cassettes to keep pressing costs down, the album Live It even entirely bypassed the non-existent art-department before landing in the hands of a small readership of peculiar punk die-hards, instantly slipping into obscurity, evading official band future discographies and reaching an imaginary status in the history of unchartered Manc-manufactured messthetics. Now available, on vinyl, with two sleeve variations and extensive notes from Graham Massey and Ken Hollings, Live It is a welcome misplaced release and an essential addition to Finders Keepers’ Cache Cache catalog. Biting Tongues make wise heads!

[engl] Sydney rock outfit The Blamers are a modern band—two modern men, two modern women—with a revolutionary bent. Utilizing the latest cutting-edge stereophonic technology, the group—fuelled by an obsession with early garage greats—are at the fore of a sonic campaign to simplify rock back to its basic proto-punk form. With hooky riffs and a healthy dose of tambourine, the group are preparing to release their debut album early-2024 after a string of singles. The Blamers have shared the stage with Aussie heavy hitters The Chats, Bad Dreems, Pist idiots and blistered clubs around Australia with their no bullshit, beer-soaked sound. It’s a wonder that a band like The Blamers hasn’t come earlier! If you like the hard ass style of 60s punk with the wit of The B52’s, here it is.