[engl] This is the last album of Papaye. Literally. After Para Bailar, it will be over, no more Papaye. So let's one more time enjoy this playful harsh pop, have fun, desguise ourselves in fruits. This good bye tastes like multivitamins juice. The good stuff, 100% fresh, whith fucking chia seeds in it. Babaye.

[engl] 5 years after they started from scratch, PAPIER TIGRE have built a name for themselves with two albums « PAPIER TIGRE » (2007) and « THE BEGINNING AND END OF NOW » (2008) and 350 shows in more than 20 countries over 3 continents, with the three- piece appearing at ATP among other festivals around the globe. Their music is firmly entrenched in the tradition of inventive, challen- ging punk but combines elements of experimental pop compositions and aggressive math-rock. The band understands that a song being intelligent and complex need not exclude it from having a raw, danceable energy. For their new album « RECREATION », the band teamed up with John Congleton (Explosions in the Sky, the Roots, Bill Callahan, The pAper chAse...) to produce their most significant work yet. Pushing the limits of their unusual line-up (drums, 2 guitars, percussion, vocals), the band has matured into a devastatingly efficient unit, with instruments, ideas and personalities bouncing off each other in an audible culture of creativity. The 10 songs are an impressive account of the band's ability to balance different atmospheres, underlined by original rhythmic patterns, minimalist melodic lines and distinctive vocal hooks, the whole blossoming under Congelton’s sonic prowess. If you have heard them before, the band you will come back to is now a cacophonous tour de force: louder, wilder, avidly literate; fiercely melodic, yet eagerly restrained. If you haven't heard them, they probably are the best thing you've never heard, and if you've never heard them, you probably should, and here's your chance!

[engl] The God has given us 2 new PAPIER TIGRE tracks. Playing with the end of the world, he decided to concentrate on what was truly important : this 7-inch. The A-side, "Personal Belongings" strikes immediately like an instant classic, a powerful pulse keeps the blood flowing, with the guitar’s interplay giving the directions, the vocal providing the heartbeat. The band’s sound is immediately recognizable and the craftsmanship is here mastered, giving soul, energy and intelligence to a track you want to listen to again and again... The AA-side, "The difficult age" is a rollercoaster ride. Starting off with harsh layers of guitars, the song quickly moves on to moving atmosphere. Tension is lingering until it bursts out in the choruses. Demons are in the details, so they say. There are a couple here and there and everywhere on this song. PAPIER TIGRE’s first release on Chicago’s own Sick Room records will be supported with a 19-day North American tour. EU release by Africantape. Life’s good when you want to.

[engl] Here we have it. Patois Counselors and their debut album Proper Release. Eleven slashes, eleven perfectly nervous trips to the well. And this North Carolinian band has landed in a welcoming hangar -- New York City’s always-adventurous Ever/Never Records. It is readily apparent from lead-off cut “Disconnect Notice” that Patois Counselors bends towards the arch of Pere Ubu’s storied catalog, but instead of tripping on cracked street waves, they are on their front porch watching the sunset with a lukewarm beer clutched tight and wondering, “What next?” No Cleveland junk sunset for Patois Counselors, there’s a different kind of graveyard haunting these woods. Patois Counselors have given us an embarrassment of riches for a confederacy of dunces. The album title comes off as ironic maybe even a hint of the erotic, but to interpret any manner of cynical bluff into PC’s full frontal attack is to admit a lack of imagination on the listener. Don’t let Patois Counselors’ easy Southern charm distract you from the detailed, focused intensity of its sound. Guitars buzz and clang in queasy unison, synths channel inherently melodic cicada hum, many of the songs containing noisy interludes streaked with melody. “Last Heat” vacillates menacingly, as “Get Excitement” slinks around with the pent-up humid sway of deep summer. “Repeat Offender” smacks you back awake with rapidfire Devo moves and yet another chorus to write home about. “Making Appts” takes those sideways electronics steps that Parquet Courts occasionally indulges in and teaches it the proper dance protocols. A track like “The Modern Station” is as up-to-now as you can be in this media blitz age -- right-angle riffs rub up against double-tracked vocals, breaking down the future-modern dichotomy. But the craziest trick Patois Counselors pulls off is closing out the album with possibly its finest track, achieving a true zenith. “Target Not A Comrade” retains all the previous ten songs’ post-punk tension while seamlessly welding it to what could be the effortless pop shimmer of Psychedelic Furs. -e/n

[engl] Patti – punk mom's name AND the name of your new favorite new band. Immediately catchy coneheads-core punk goofy enough to disguise what the members of Patti truly are: shredders. Because it jumps, has a sense of urgency and more than a little humor. PATTI are three people from Oakland, California who write rambunctious dance music with a post punk tool kit and an insightful yet short attention span. Their songs typically clock in around two minutes long and are a wild head-rush and another addition to our "DEVO-CORE" rooster here at ETT. (Ok, our "egg punk" rooster.) The EP has the same tightly wound, Devo-esque energy and razor sharp songwriting as their tapes before. There are a lot of great moments on this EP that only come around once, and you just have to listen to the record again if you want to hear it again, which I must admit is hardly a chore. This is the type of band that makes you angry they're so good. Bouncing between dissonant punk, inept proto hardcore and psycho noise-pop whilst dealing with issues as relevant as having fun, what a debut EP.

[engl] Debut LP from this band out of Oakland now based in New York, though I'd forgive you for thinking they’re from Minneapolis as they sound strikingly similar to Uranium Club. Like society as a whole, punk rock seems to go through eras of conservatism and progressivism, and despite (or maybe because of?) the fact that the right-wingers seem to be ascendant in the United States’ and Europes' wilder culture, we seem to be experiencing a moment in the punk scene when nothing is cooler than letting your freak flag fly. Rhythmically, Patti have more of a Minutemen / Suburban Lawns-type white funk swing to them, but the deadpan vocals and Krautrock-ish way of riding simple, repetitive riffs will do any Uranium Club fan right. The bass lines, guitar lines, and vocal patterns are uniformly interesting, but one place Patti excel is in writing cool bridge parts. Most of the songs on Good Big have a middle section about 3/4 of the way through where the song goes to some strange, unexpected place. The transitions are fluid, so you find yourself thinking, “wait, is this the same song?” until they drop back into one of the familiar parts from earlier in the song. Having that sense of movement and development to the song takes what would have been an interesting collection of riffs and makes them into something more than that, a set of musical stories that unfold in front of you. This is top-notch egg punk, so even if you only mess with the hits like Uranium Club and Coneheads this is worth checking out.

[engl] Moses Brown of Texas punk bands Institute and Glue released his first cassette under the name Peace de Résistance - a solo project where he plays all the instruments - in October 2020. That cassette found Brown bouncing his growing songwriting chops off the fuzz-drenched Zamrock sound of Paul Ngozi, Witch, and Amanaz. However, Bits and Pieces - Peace de Résistance’s first full-length and first vinyl release - has a wider vista. Brown describes the sound as “demented glam rock,” and while you can hear remnants of the Zamrock influence in the sinuously melodic fuzz guitar, the more pertinent frames of reference are Diamond Dogs -era Bowie, 70s Lou Reed, and Iggy’s The Idiot and Lust for Life. Bits and Pieces recalls those records’ potent combination of artistic ambition, street-level rock and roll swagger, and pop charm, but filtered through the DIY punk aesthetics of Brown’s previous work. Lyrically, the album documents life on the fringes in a hyper-surveilled 2020s America, with songs like “Don’t 1099 Me,” “We Got the Right to Be Healthy,” and “Exploitation” wrenching plainspoken poetry from an existence that will be all too familiar to anyone at odds with capitalism. After nine timeless art-rock songs, Bits and Pieces lets us down gently with “Sitting in Disguise.” This motorik-inspired instrumental offers a rickety, dilapidated update of Neu!’s seamless futurism, implying that the only appropriate response to our predicament is to keep moving forward. -Sorry State

[engl] Perilymph started a few years ago as a one man project led by Fabien de Menou, a french man living in Berlin. The first album was composed and recorded as such, Fabien recorded everything in his studio, except for the drums, which he asked his friend Fabian to record. As other friends joined in, the band was able to turn these songs into a live show. It's around this time that Fabien composed the songs for “Deux". Here, the process was a little different, and he was able to bounce ideas off everyone, and to try riffs and ideas as a band. The recording process was very similar to the first time though, with once again Fabian recording drums and Fabien taking care of the rest, as well as the production. This album is a step forward in the story of the band: moving from Fabien's bedroom songs into a band of friends.

[engl] Anthem of Hearts is the first single released anticipating Peter Kernel’s new album White Death & Black Heart (African Tape / On the Camper Records, October 2011). After 3 years performing on stages across Europe and experimenting through long improvvisations, Peter Kernel are back with a new single that simply stays in your head. It's about staying up late. Feeling the need to do something simple in a simple way. You'll sing. Like a drunk, but you'll sing. Through Anthem of hearts Peter Kernel suggest you make love. A lot.

[engl] You know when you do something that you know you shouldn’t do but you do anyways? And it turns out a mess so you say to yourself “I won’t do it again”; but after a while you do it again and again and again? This is “Thrill Addict”. The new Peter Kernel album is about taking risks in order to figure out how to shape one’s life. Mistakes, bad moves and consequences. It’s an album about speaking to one’s deepest being, the one we often hide inside. It’s about looking in the mirror; asking questions, giving suggestions and figuring out how to take care of the person you have in front of you and the people you have beside you. “Thrill Addict” is about the space between humans, and all the complications involved.

[engl] Peter Kernel is a Swiss Canadian art-punk trio including Aris Bassetti (guitar, voice, graphic designer), Barbara Lehnhoff (bass, voice, filmmaker) and Ema Matis (drums, drummer). Inspired by a love story PK are engagingly intimate and in a primitive and sexy manner reinterpret pop music. The band initially got together in 2005 to write the soundtrack for the experi- mental musical Like A Giant In A Towel (Locarno International Film Festival 2006), directed by bass player Barbara. In 2008 PK releases their first album How To Perform A Funeral followed by The Ticket Ep on 10’ vinyl in 2009, both for their own label On the Camper Records. Suddenly PK are invited by Spencer Krug from the canadian band Wolf Parade (Sub Pop) to open for their European tour in September 2010. They soon share stages in venues such as the Hmv Forum (London), Thekla (Bristol), Point Ephèmere (Paris)... Throughout 2009/2010, to blow off steam PK explore the theme of improvisa- tion and in February 2011 in collaboration with a number of friend artists, they release the audiovisual experiment Il Pomeriggio Non Si Sa Mai Bene Cosa Fare (12’ vinyl + the video Man & Nature, On the Camper Records). During the 2010 christmas holidays PK record twelve new songs for their second album. The new record White Death & Black Heart will be released on October 3rd 2011 under the French label Africantape. Throughout the years Peter Kernel shared stages with inspiring bands such as Mogwai, Cat Power, Enon, Shannon Wright, Wolf Parade, Why?, The Notwist, Sunset Rubdown, Gregor Samsa and many more...and performed at clubs and festivals such as Hmv Forum (London), Thekla (Bristol), Glee (Birmingham) 59 :1 (Munich) Point Ephèmere (Paris), Soundlabs Fes- tival (Abruzzo), Paleo Festival (Nyon), Bad Bonn Kilbi (Düdingen), Cully Jazz Festival (Cully) and many more.

[engl] Debut album from 1982 by former Lounge Lizards bass player & founding member STEVE PICCOLO, featuring bandmate EVAN LURIE plus G. LINDAHL. A hidden gem of minimalist beauty, mixing a post–punk/DIY/lo–fi aesthetic with art–rock & spoken poetry. Steve Piccolo has been in active since the mid–1970s in music, theater, performance art, sound installations, video and film soundtracks. In 1979 he started with the Lurie brothers the "fake jazz" / No Wave band the Lounge Lizards. "Domestic Exile" was recorded one year after the seminal Lounge Lizards debut, at a time when Steve was living a kinda schizophrenic existence: working at Wall Street by day and going to clubs and art spaces almost every evening (he was one of the artists filmed for the No Wave documentary "135 Grand Street New York 1979"). Early on, he was influenced by Mose Allison, Tom Lehrer, Randy Newman and "people who put thoughtful witty lyrics onto rather standard pop music". In just two weeks, Steve wrote the collection of songs which would form "Domestic Exile". Somebody described them as "Neurotic City Folklore" – as the lyrics dealt with living in NYC, urban angst, isolation, yuppies, nuclear paranoia...Titles like "Young and Ambitious", "Modern Man", "Businessman’s Lament", "Bleecker Street", "Superior Genes"...The idea was to use these songs for a sort of "side project", originally conceived more like a soundtrack for performance art and less like a band. The recording took place at the ZBS Foundation in New York, engineered by Bob Bielecki (a collaborator of Laurie Anderson and La Monte Young). Steve sang, played electric guitar, bass / double bass and percussion. He was joined by Lounge Lizards bandmate Evan Lurie on Farfisa keyboard (the same one he used on the first Lounge Lizards album) and G. Lindahl on synth. The trio even played live a few times, including a benefit concert for Public Access Synthesizer Studio at CBGB. After "Domestic Exile" was finished, Steve played the tapes to some record labels in New York and although one of the tracks, the catchy "I Don’t Want To Join A Cult", was an underground hit in Manhattan – even Debbie Harry (Blondie) wanted to do a cover version – no one expressed interest in releasing the album. Soon after, Steve went to Italy and "Domestic Exile" was finally released on a local label, housed in a cover very similar to the first Lounge Lizards album. The result was a minimalist art–rock masterpiece which could be described as a lo–fi version of John Cale’s "Music For A New Society". Sadly, the quality of the original pressing was not very good (cheap, noisy vinyl) and there was a mistake with a couple of song titles / running order on Side 1. These issues have been fixed for this new reissue. "I was always fascinated by society’s total dropouts, and by the idea of surviving completely outside the system, without an identity, papers, money, job, family. But not without friends... that would be unthinkable, unnecessary cruelty." – Steve Piccolo

[engl] It’s already 3 years Berlin-based band Pigeon released their self-titled debut LP and shortly after the Bug EP but also hard to believe they found the time to get together with all the involvement in other projects like Liiek, Ostseetraum, Benzin or or or. The 10 new songs on Deny All Knowledge Of Complicity are dry, restive and full of guitar feedback. Pigeon are a contemporary version of post-punk heroes Wire and New Zealand’s noiserock band The Gordons.

[engl] two new post-punk Banger Songs by Pigeon now available on 7"

[engl] The hotly-anticipated new Pinch Points album Process was recorded with Anna Laverty (Courtney Barnett, Nick Cave, The Peep Tempel) and is a momentous leap forward into full-force post-punk empowerment, with 10 songs engaging with the fractures in so-called ‘Australia’ -- from catastrophic bushfires, gendered violence, mental health struggles to First Nations incarceration and deaths in custody -- with clear-eyed directness, along with an uncommon nuance and empathy. As the album title suggests, Process is a commentary on structural collapse; the systemic failures and baked-in inequalities that are ravaging ecosystems, the mental health system, the gig economy workforce and all aspects of our lives. The title Process also recognises the emotions processed and channelled in the songs, as a collective expression of empathy and shared grief. A true collaboration, finding consensus from the experiences of four individual humans, Pinch Points embody music-making as an act of friendship and community, upholding the band’s shared belief in the music scene as a real-life platform for connection, strength and solidarity. Nothing is normal -- but PINCH POINTS are here.

[engl] What the hell is happening in Prague and Vienna these days? What combination of events transpired to create such a crackling musical euphoroia? It’s near impossible to put a finger on exactly what PITVA sounds like but it lands somewhere between militaristic Eastern Bloc post punk with brittle early black metal production and Einstürzende Neubauten’s approach to “music” with all the appropriate banging and noisewash. Add in a couple Peter Murphy style howls and you’re starting to get there. Maybe… All that is happening and this beast still drives like a hardcore punk record. Makes sense since this is people from Heavy Metal, Rosa Nebel, Privat, Sick Horse, Parasite Dreams, Smute?ní Slavnost, Bobby Would etc. Do not sleep on this! ( Jensen Ward / Iron Lung Records )

[engl] Second pressing 100 copies on GOLD vinyl. Cleveland's PLEASURE LEFTISTS return with "The Gate", a new ten song album of cathartic, riveting post-punk excellence. The long-running group, comprised of veteran players in the Clevo scene, have turned in what is arguably their best recorded output - and the first since 2015's "The Woods of Heaven". For "The Gate", PL ventured out to Portland, OR in March 2019 to record on tape with Stan Wright (Arctic Flowers) - and the results are massive. Those familiar with previous PL material will immediately feel reacquainted with the group's masterful arrangements and cool, confident execution - a style that draws from the early British post-punk classics on labels like 4AD and Factory Records, but retains an organic, original sound that few contemporary acts harness. While "The Gate" undoubtedly benefits from the best studio sound of any PL release to date, the musicianship is what makes this album feel like an absolutely classic piece of work. The tones are perfect - almost as though Greg Sage dialed them in for a Wipers record. You'll immediately be taken by Haley Morris's vocal range and projection, which shines across the entire album and is absolute next level work. The sheer artistic quality of the songwriting is propelled along in perfect rhythm, as the guitar and bass play off of each other wonderfully, beginning the album with "In Dreams", which sets the tense and urgent nature of the tracks that follow. "The Return" dials the pace back slightly, allowing room for one of Morris's most memorable vocal patterns. As "Phenomenon" emerges from cold drone to begin the second half of the album, it quickly becomes apparent that PL have crafted a master work here. "Dancing in the Dark" could be a lost Homostupids track adapted to PL's sensibilities, followed along by the charging title track, and the gripping closer, "The Sign". Pleasure Leftists leave us with a phenomenal batch of tracks on "The Gate" - a gleaming, timeless piece of work.

[engl] Like poisonous clouds over destroyed and deserted cities, reverberating guitars sweeps through the music and broadens the sound to cover whole deserts of radioactive ash. The melodies are monumental and ominous and have a significant role side by side with Anton Spetzes self-confident lead vocals. Pleroma works in the same tradition as other post apocalyptic rock bands like early Gun Club and to some extent Killing Joke. The sound is influenced as much by the bands above as with the current unsafe state of the western world, a time where the decline seem to have already begun. Pleroma plays loud and heavily electrified for you from the other side of the abyss, from beyond the nuclear world war and the inevitable apocalypse Likt giftmoln över ödelagda städer, sveper gitarrer dränkta i reverb genom musiken och breddar ljudbilden till att täcka hela öknar av radioaktiv aska. Melodierna är monumentala och ödesmättade och får en viktig roll i ljudbilden tillsammans med Anton Spetzes självsäkra sång. Pleroma verkar i samma tradition av postapokalyptisk punkrock som Tidiga Gun Club och i viss utsträckning även Killing Joke. Bandets sound präglas dock lika mycket av banden ovan som av samtidens otrygghet, en tid där förfallet redan verkar ha börjat. Pleroma spelar högt och kraftigt elektrifierade till lyssnaren från andra sidan avgrunden, från andra sidan kärnvapenkriget och apokalypsen.

[engl] POW! is rechromed and ready to soundtrack your dystopian near future. Harsh neon synths keep battle with zipline guitars for space above a dark and teeming cityscape. Your guide is always in the shadows, you can’t make out his face but you hear his crazed diatribe as he wards off all affronts. The songs are at their core razor sharp punk, but are fleshed out with inventive and catchy synth work - and the floating bits of atmospheric expansion between tracks only serve to heighten the paranoid atmosphere. These tunes have a sci-fi depth, a moody bite, and a startling clarity sharpened to a point by the wizard hand of Chris Woodhouse, who helmed the magnetization. Recommended listening for future-punk teens and grown adults alike.

[engl] Just when we thought we knew what to expect from POW! they surprise us with a vigorous and rabid LPs worth of moody cybernetic punk that’s frankly their best yet. Their 4th is oil-dipped in a rainbowed slick of dread, yet the songs are buoyed by tight tunes that seem to have a lot of fun among the ruins of the future, dare I say with an eye to a less gloomy horizon? Melissa Blue’s sharp elbowed synths jostle with Byron Blum’s zap gun guitar in an ominous fog of oscillations, and yet somehow my toe is a-tapping. POW! got darker and more catchy at the same time, for which some credit is due to the excellent drumming of Cameron Allen and the fantastically future savvy production by Byron Blum & Tomas Dolas. Lots of sticky punk heart resin-layered in a futuristic-scanning bionic bop. For fans of Solid Space, Tubeway Army, The Units, The Screamers, and glittery black nail polish.