[engl] Angela, Davide and Juan - Nunofyrbeeswax, write and play pop songs in a minimal setup - as raw as their heart beats. Their sound has been described as idiosyncratic blend of garage rock, post-punk, and proto-punk. Their music escapes easy associations , however, they have reminded audiences of bands such as Half Japanese, the Velvet Underground, The Ex, The Fall, B52's and The Cramps. limited to 300 copies

[engl] When a singer starts fooling with the drum kit in a rehearsal space, things turn from bad to worse, eardrums start bleeding, and the rest of the band runs away. Nine times out of ten. But not this time. In 2014, a three-piece band emerges with a mascara and lipstick singer and drummer, a dark mystery man on guitar and a strong bass player. It can be awkward, disjointed and perfectly perfect. Backed by some of the most preeminent collectives in France (Loubards Pédés, Potagers Natures, Ferme de La justice), their first album is released in 2016. 125 shows on the edge of melodic hymns and discordance, in between ease and assault, the Nantes-based band strikes with their uniqueness. Eagerly expected by those who know, ‘‘Eugenia’’ the band’s second album will be released on Kythibong records. Candor, wrath, vulnerability, serenity…all is downed, digested, in bleak distortion and tricky echoes. If it’s broke don’t fix it! Our memory flows with songs, spotting the melodic immediacy of Jay Retard, Robert Smith’s dark romanticism, Pixies’ energy, and Wire’s urgency. Accumulating hits that sweat ‘‘Alien For Me’’, ‘‘Tight’’, ‘‘Porn Life’’, ‘‘Skyline’’…coming out of an ethereal, almost unreal sound. Nursery plays sing-a-long hymns with eternal life in your hands… nothing less. But the tension is still here, a crack on the head is next door, in each riff, fists ready to clench or caress, changing every second. Nursery doesn’t want to run away, and fly in magic land far away, they want to tame the last bits of humanity that are left and not thrashed. The generous density is far from what you will hear this year. ‘‘Eugenia’’ ignores all standards. Don’t waste your time.

[engl] It is easy to forget (especially amidst the ringing of ears and aching of muscles after your typical Oh Sees show) that initially, OCS was a rather hushed affair. After the minimalistic brutality of Coachwhips, OCS was a diametric opposite corner of John’s musical world, quiet to the point of whispered in the wind, buffeted by the airy whirr of singing saw, soft and strange. Those early records especially had a rather contraband hush about them, as if the party has gone on all night and continues into the morning but everyone’s raspy from talking too much and gradually agrees to whisper and pantomime as they watch the sun come up over the hills. Since then of course, things got gradually louder, faster, crazier...the band evolved since then into the Oh Sees everyone knows. For the 20th Oh Sees release, 100th Castle Face title, and 20th year doing it, John re-examines the quieter roots of it all in particularly baroque and homesteadly fashion. Memory of a Cut Off Head was co-written with longtime collaborator and vocal counterpoint Brigid Dawson, recorded in total in John’s own Stu Stu Studio, and it’s lush, sumptuous in texture, but satisfyingly retains the gentle grace of the early stuff. There’s beautifully executed strings throughout, courtesy of Heather Lockie’s fine arrangements, horn arrangements courtesy of Mikal Cronin, and they even brought back the old saw - Patrick Mullins, that is - on saw and electronics. A return and a refinement of old forms, a few solemn meditations on life lived at high velocity, perhaps a respite from it…a softer side of JPD and distinguished company.

[engl] Hey there, human kids, Lift your face out of the feed trough and pluck that feculence from your ears. Hark! A sonar blip from beneath the pile of bodies. Boop, blip ughhh…. People churning like a boiling swamp. Man, this din is nauseating. The screen flickers for the first time this year with a transmission from two months in the future: “the internet has deemed guitar music dead and you are free to do whatever the fuck you like ….long live the new flesh!” This album is Soundcloud hip-hop reversed, a far flung nemesis of contemporary country and flaccid algorithmic pop-barf. No songs about money or love are floating in the ether. Just memories, echoes, foggy blurs Blip-blop goes the scope Heavy funk Dystopia-punk canons Lonnnnng jams Bloated solos dribbling down your caved-in chest. Human cattle like a beef avalanche, right on your burned out face hole. Spider legs fuzz crawling in your brain. Lots of curse words for your mom. You’ve gotten the over-population blues, so let’s have some art for art’s sake. What else are you gonna do? Stare at the sky? Please… 50 carbon copies of you look back at you as you walk the streets. Take a breath, you’re going to need it. Take drugs, you’re going to need those just to stand in line at the air and water reclamation center soon enough. There’s no fruit, buddy. You’re at the bleak-peak. They will squeeze you till you’re all squeezed out. For fans of fried prog burn out, squished old-school drool, double drums, lead weight bass, wizard keys (now with poison), old-ass guitar and horrible words with daft meanings. If you don’t like it then don’t listen, bub. Back to the comments section with you! Easy Over and out

[engl] The newly shorn Oh Sees waste no time in racing headlong into nightmarish battle with the mighty ORC, and wouldn’t ya know it, they’ve clawed even farther up the ghastly peak last year’s A Weird Exits stormed so satisfyingly. The band is in tour-greased, anvil on a balance beam, gut-pleasingly heavy form, nimbly braining with equal dashes of abandon and menace on this fresh batch of bruisers and brooders, hypnotically stirred into to the cauldron of chaos you’ve come to expect from, ahem, Oh Sees. Fresh blood Paul Quattrone joins Dan Rincon to form a phalanx of interlocking double drums, alternately propelling and fleet footing shifting ground to pinion Dwyer’s cliff-face guitars to the boogie. Tim Hellman keeps it swinging like a battle-axe to the eyebrows. The tunes veer towards the violence of their live shows, with a few tasty swerves into other lanes…heavy to lush, groovy to stately…throughout it remains sinister in its swaggering skulk, manic in its fuzz-fried fugues…they hit all the sweet spots the heads foggily remember, and there’s plenty to sweat over if you just hopped into the sauna. Ew. More evil….more complex…more narcotic…more screech….more roar….more whisper…there’s even more Brigid.

[engl] Crack the coffers, Oh Sees have spawned another frothy LP of head-destroying psych epics to grok and rock out to. You’ll notice the fresh dollop of organ and keyboard prowess courtesy of "Memory of a Cut Off Head” alum and noted key-stabber Tom Dolas...the Quattrone/Rincon drum-corps polyrhythmic pulse continues to astound and pound in equal measure, buttressed by the nimble fingered bottom end of Sir Tim Hellman the Brave and the shred-heaven fret frying of John Dwyer, whilst Lady Brigid Dawson again graces the wax with her harmonic gifts. Aside from the familiar psych-scorch familiar to soggy pit denizens the world over, there’s a fresh heavy-prog vibe that fits like a worn-in jean jacket comfortably among hairpin metal turns and the familiar but no less horns-worthy guitar fireworks Dwyer’s made his calling card. Perhaps the most notable thing about Smote Reverser is the artistic restlessness underpinning its flights of fancy. Dwyer refuses to repeat himself and for someone with such a hectic release schedule, that stretching of aesthetic borders and omnivorous appetite seems all the more superhuman. Hope you’re hungry as these platters are piled high.

[engl] This duo from Metz explores a french coldwave/post-punk sound , with desolate lyrics. A perfect balance between nostalgia and anger. Tip!

[engl] Expanding on the magnetic, minimalist post-punk frontier first chartered on their 2020 Goner debut, Optic Sink return with their second album, 'Glass Blocks'. Hot on the heels of their recent EP on Spacecase Records, the Memphis trio of Natalie Hoffmann, Ben Bauermeister, and Keith Cooper ventured out to Lawrence, Kansas to record at the home studio of Caufield Schnug (Sweeping Promises). The resulting seven originals and a rendition of LiLiPUT's "A Silver Key Can Open An Iron Lock, Somewhere" define Optic Sink and their remarkable style with a clarity and power seldom realized in a studio setting. Hoffmann and Bauermeister command the high end of the mix with a gamut of perfectly dialed synth and percussive tones while Cooper's bass serves as rhythmic anchor. There's far more to dive into, whether it's the cold, driving beat of "Modelesque" or the minimal, percussive brilliance heard on "Glass Blocks". Perhaps the best part of the formula is the sheer amount of natural energy that gleams through the mix. Like a warm refraction of musical chemistry and originality, Optic Sink have struck gold with 'Glass Blocks'.

[engl] A 7-inch released to accompany the 2014 album 'Rotorotor', a split release between the Swiss Moi J'Connais Records and the Dutch Red Wig label. It features the track 'Lentillères' and a new recording of 'Elephants'.

[engl] Just like the artist in whose honor the band is named, Orchestre Tout Puissant Marcel Duchamp (OTPMD) likes to mess with the conventions of pop just as much as the Dadaist Duchamp liked to mess with the conventions of art. This Geneva-based, six-piece band (consisting of former members of Dog Faced Hermans, Spaceheads, Headache, CreveCoeur) crafts pop tunes, but not without tearing them apart through vocalist Liz’s shriekings, erratic drum bangings, uncommon instruments, noise erruptions, … They fuse the wild and free attitude of post punk with tropical and afrobeat vibes. Blasting trombones, skillfully played marimba, screaming vocals, roaring guitars. The sensibility of Orchestre Tout Puissant Marcel Duchamp is post-punk, and the instrumentation is appropriately bizarre – trombone, marimba, fiddle, guitar, drums and double-bass. This Swiss band is surreal in the true sense: more than art, it’s a way of life; of living on the edge of your senses. The players perform with a conviction that, in other circumstances, would be dedicated to fringe religion. Very romantic. Very subversive. Very Gallic.

[engl] Shut Out and Noe, two tracks form a session before the recording of ‘We’re OK.’. 500 copies made.

[engl] Swiss dada-ist/No wave orchestra that brings out the best in wo/man.

[engl] Five new Ostseetraum songs can be heard on Mondmenschen EP. This time you can also hear a real drum kit, a bass guitar. A guitar is also included. In one of the songs you can also hear synths and a drum machine. In the first song you are not seen and in the second song you are trapped. In the third song you are a moon man and there is no more pain. In the fourth song you are empty and the little people are spreading in the last song. Die Mondmenschen EP as 7"!!!

[engl] Ostseetraum is a small minimal wave band, which, together with bass, guitar, synths, drum machines and vocals, performs scrambled and annoying music for you. Reminds of early Zick Zack releases .. ltd to 300 copies

[engl] Ostseetraum’s continuously working machines strike back with the next release. 11 tracks that combine dubby baselines, quirky synths, driving rhythms, touching melodies, abstract texting on low fi recording.

[engl] It is a pleasure to present Oslo-based trio Outer Limit Lotus's first recorded material. 'Cruising The Old World' consists of six ice-cold, dreamlike rock compositions. Drowned in reverb, constant dual vocals sketch paranoid, nightmare-ish hallucinations from a world on its way down. Cold spaghetti guitars are accompanied by an controlled, off-kilter rhythm section. This, packed into an noisy, almost psychedelic soundscape, is the essence of Outer Limit Lotus. Cruising The Old World is a sonic glacier, melodic and catchy, but the lasting echo of the dark underground we know from the band members' other project, Haust, still lingers. It is fever-dream rock played with punk energy. In a short year, the band has established a solid live reputation, with trance-like, ritual performances of their unique music. Outer Limit Lotus is for those who think that rock is at its best when it's dead.

[engl] Here it is! Post punk, death rock, goth rock hybrid Outer Limit Lotus' first full length album. 'Lotus Eaters' is 8 tracks showing the bands ritualistic and trance-like trademark in full bloom and in all its variations. After two years of building up an impressive live reputation, releasing their non-compromising tracks and remixes and playing constantly around Scandinavia on smaller rock venues, festivals, art exhibitions and supporting acts like Tuxedomoon, Sheer Mag and Marching Church. Outer Limit Lotus brings us a completely new and different take on the Norwegian darkness known from bands like Årabrot, Okkultokrati and Haust (from where they emerged from).

[engl] Debut 12" by this post punk outfit from Portugal feat. Members of Adorno. Papaya play noisey guitar driven indie punk. reminds me of teenage cool kids, drive like jehu etc. Catchy and spastic at the same time. the 12" is ltd to 500 copies on papaya colored vinyl w/ a screen printed B-Side w/ artwork by Braulio