[engl] "All Of Them Naturals” is a fully realized, inclusive world of faux-corporation sponsored surrealist new wave punk music rife with satire and discordance. Robotically tight. Delightfully warped. Ideas as vast as Nebraska’s GMO cornfields and as lethal as the pesticides they spray on them. Did the Sunbelt Chemicals Corporation invent DDT? Maybe. Did they invent man? They think so. Did they invent the wheel? No, that was URANIUM CLUB. Truly, our generation’s DEVO. An important group.

[engl] Originally released as a cassette, the debut from Minneapolis' Uranium Club is now widely available as an LP. Uranium Club play a kind of minimalist, agitated, catchy punk rock that reminds us of Wire before they released 'Pink Flag', but with an extra snotty attitude and bundles of energy. For a more recent comparison try early Total Control or the Shitty Limits. Each of the seven tracks on here explode from the vinyl, with each track more energetic than the one before, and they'll all be stuck in your head for weeks afterwards

[engl] The Minneapolis Uranium Club Band, along with Static Shock Records, are proud to present “Infants Under the Bulb”; The Uranium Club’s fourth album and first full length since 2018’s "The Cosmo Cleaners". Recorded in Minneapolis over the course of 2023 by long time collaborator Grant Richardson and just as rampant and agitated as ever, The Uranium Club once again win their dear listeners over with eccentrically wild guitar parts, revolving voices, elastic-tight drums and the addition of their very own Saints-styled horn section. Lyrically, Under the Bulb opens up the history books of unsolved mysteries - unidentified, unsolved, unanswered subjects of suspicious acts or individuals across the last century. Who, what, when and where… but mostly, why? Ignorant humanity of earth orbits the sun once again. The Somerton Man, Bergmann, Bauby, Denton, phone phreakers, and just what is lurking behind the cosmic organ of The Wall? As always, the artwork was handled in-house by the Club and ambitious as ever. The spectacular cover shot captures a carefully coordinated event orchestrated by the Club to photograph a crowd of the local volunteers wearing ponchos standing together in an open field to make the shape of a giant spiral. The spiral pictured is 120 feet (36.5 meters) wide, photographed by drone, and was plotted out on the ground using a protractor specially fabricated for the occasion by the band with a pivoting centre and 60ft long adjustable arm.

[engl] You're being urgently, naughtily rushed up the tallest, steepest stairs you've ever climbed. Smile cautiously as the Uranium Club welcomes you into their stinky apartment. You've been here before, right? Oh, that must have been some one else. Do you have a brother or sister? One of the members mumbles some deceptively eloquent bullshit as he hands you a drink. His lips are dark red and chapped; he looks really bad. But the drink is wet, and those stairs had been tall. Sit down, lean back, sip it. There's salt in it, some pulp, some pebbles. It rolls around your tongue, hides between your teeth, a perfectly TV-worthy combination of pleasure and mischief. Swallow it. But spit it out... Spit it out now! It's supposed to go into your ears! How crazy is that? Such a sensation of taste, transmogrified for the realm of sound? Is it Sprite, or is it... music? Careful, engaging, and dare-I-say theatrical vocals over hyper bass-and-drums while other boingy-boingy instruments puke all over it, all over the whole show. That's called synesthesia. Gentle lectures, dangerous storytime, eerie fast-and-slow nightmare riffs, and a taut, bound-and-gagged rhythm section. Boingily-boingily, that's phantasmagoria. That's the Uranium Club's latest album, "The Cosmo Cleaners." So swish around some mouthwash and plug in your AirPods, kid, it's time to drop that needle!

[engl] "Uranium Club return with a brand new single on Static Shock / Lumpy Records and a taster for their second album. Who Made the Man? is like a gang of aliens landing on planet earth, finding an extensive back catalogue of Wire and Devo and deciding they want to form a band. The track builds and builds with peaks, odd noises, different parts that come out of nowhere and an instant vocal. It's five minutes plus because there are so many ideas in one song. It comes in sleeves hand stamped and embossed. This 7" features an alternate take of Who Made the Man? and an exclusive b side Small Fry."

[engl] Radical No Wave pioneers UT to reissue their critically acclaimed In Gut's House album Their second studio album originally released in 1988 on Blast First Records now fully remastered with original cover artwork, song lyrics and band photos. OUT RECORDS announce the next UT release in the remastered reissue series of UT's back catalog. The critically acclaimed Originally released in 1988 on Blast First Records, it made the year’s NME ‘Top 50 Albums’. The 2020 remastered reissue of IN GUT’S HOUSE will feature the original cover artwork, as well as song lyrics and photos of the band. The vinyl release will be in the same original two 45rpm EP format (with metallic ink). To celebrate the release of IN GUT’S HOUSE, UT will be performing at Café OTO on 18 February, 2020. More dates in the UK, Europe and US are yet to be announced. Ut is a radical rock group founded by Nina Canal, Jacqui Ham and Sally Young in Dec ’78. Originating in the downtown NYC No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, Ut exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer/director. Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Partyand released music on its own label Out Records, including Live at The Venue in 1982, the Ut EP in 1984, the Confidential 12” in 1985 and their first studio LP Conviction in 1986. Ut became a favourite of BBC's John Peel and recorded sessions for his show in 1984, 1985 and 1987. Joining forces with Blast First in 1987, they released a compilation of live performances called Early Live Life that same year and the highly critically acclaimed In Gut's House in 1988, which made the year’s NME ‘Top 50 Albums’. The album Griller followed in 1989, engineered by label mate Steve Albini, who shared Ut's raw aesthetic and captured the band’s intensity. Ut disbanded in 1990, but began performing again in 2010.

[engl] EARLY LIVE LIFE will be released November 9 , 2018 on LP Vinyl and CD. “There really was nothing like the storm and squall they summoned at their most powerful… Breathtaking and bold.” Early Live Life – No. 24 in ‘Rock’s 50 Most Extreme Albums’, Uncut, March 2018 Early Live Life is a compilation of some of UT's best live performances from 1979–1985, spanning their origins in New York City to their migration to London in late 1981. The CD also includes the addition of a 1981 gig at The Venue in London, originally released as the cassette Ut Live at The Venue in early 1982 and reissued on vinyl for Record Store Day in April 2018. The UT reissue campaign began on November 17, 2017 with the release of the UT EP and the Confidential 12", on Vinyl and CD. Upcoming reissues in 2019 include their studio albums Conviction, In Gut’s House and Griller. Remastered at Wolf Studios by Dominique Brethes, vinyl cut by Noel Summerville. The live tracks jump out of the vinyl with some verve, as visceral now as they were Live back in the 80s. This is searing no-wave power in the live setting, originally released in 1987 by BLAST FIRST records.

[engl] Originally recorded/ released in 1989. Steve Albini recorded this album, and captured UT at the peak of their creative powers. Long out of print, the album has been remastered for this release. and the RSD pressing comes with a bonus 2 track 7", featuring Fuel / Griller X . "For Ut's last record, Steve Albini was a smart choice for engineer, both being an Ut fan and having a way with dissonant, anti-rock kinds of groups. The guitars are beefier on Griller, and again, the songs sound more polished and rehearsed, but none of this detracts from the gleeful mania contained within these grooves. Not the first Ut purchase you should make but if you're already humming along to these skewed tunes, you owe it to yourself to seek this long-lost record out.

[engl] Radical No Wave pioneers UT to reissue their critically acclaimed In Gut's House album Their second studio album originally released in 1988 on Blast First Records now fully remastered with original cover artwork, song lyrics and band photos. OUT RECORDS announce the next UT release in the remastered reissue series of UT's back catalog. The critically acclaimed Originally released in 1988 on Blast First Records, it made the year’s NME ‘Top 50 Albums’. The 2020 remastered reissue of IN GUT’S HOUSE will feature the original cover artwork, as well as song lyrics and photos of the band. The vinyl release will be in the same original two 45rpm EP format (with metallic ink). To celebrate the release of IN GUT’S HOUSE, UT will be performing at Café OTO on 18 February, 2020. More dates in the UK, Europe and US are yet to be announced. Ut is a radical rock group founded by Nina Canal, Jacqui Ham and Sally Young in Dec ’78. Originating in the downtown NYC No Wave scene and inheritors of the collision between rock, free jazz and the avant-garde, Ut exploded the rigidity of conventional rock, constructing songs through collective improvisation, swapping instruments and rotating the role of singer/director. Migrating to London in 1981, Ut played with bands like The Fall and The Birthday Partyand released music on its own label Out Records, including Live at The Venue in 1982, the Ut EP in 1984, the Confidential 12” in 1985 and their first studio LP Conviction in 1986. Ut became a favourite of BBC's John Peel and recorded sessions for his show in 1984, 1985 and 1987. Joining forces with Blast First in 1987, they released a compilation of live performances called Early Live Life that same year and the highly critically acclaimed In Gut's House in 1988, which made the year’s NME ‘Top 50 Albums’. The album Griller followed in 1989, engineered by label mate Steve Albini, who shared Ut's raw aesthetic and captured the band’s intensity. Ut disbanded in 1990, but began performing again in 2010.

[engl] First time on vinyl . Part of the ongoing UT remaster/reissue series. Originally released in 1982 as a Cassette only release. Features five tracks recorded in November 1981 at the Venue.

[engl] """The first time I visited their house (some artist space dump), V showed me some of their music. What I first expected to be a random demo, was a discography of over ten full albums. We listened to one after another, each filled with incredible melodies, beats and lyrics about genuine love, pain and hate. With no time for showers, teeth-brushing or keeping a tidy room, V is one of the most productive musicians I’ve ever met.” - David Hantelius (Cuntroaches, Urin) - V’s long-time friend and former bandmate in Batalj and Transylvania. Despite being Hellbent on becoming the popstar that they are, V (perhaps to our good-fortune) was coerced into the punk domain. V’s music is dark, raw and uncomplicated. In 2012, V collaborated with Adrienne Teicher (Tusk, HYENAZ) and together they transformed V’s early demos into an ornate electronic, goth and darkwave infused production, with added beats and radiant arrangements. Our Berlin-based foundation - Le Petit Signal - is celebrating the 10-year anniversary of V’s demos with a baby blue cover, the third in a undeclared series of primary color pressings. LPS is honored to release this honest, pure, festive and minimal triumph from our dear friend and adored artist V, which we have entitled ‘No Return.’

[engl] 20 Shades of Province Around 1981, provincial Germany was an excellent breeding ground for abstruse concepts such as those of Autofick (an offshoot of the group Zimt), whose training cassette Pogo: Ein Praktischer Leitfaden included sound examples such as the song "Eiscafé”, which contains a compact analysis of youth in Tübingen and is the third best German punk song. Carambolage, on the other hand, made music in Ton Steine Scherben’s North Frisian band commune that didn’t sound like Neue Deutsche Welle (NDW - meaning New German Wave), but more like obscure British DIY bands, for whom punk simply meant the downward redistribution of pop culture. At the same time, a handful of musicians in Limburg an der Lahn founded a couple of bands, which Alfred Hilsberg brought to the people as “Limburger Pest", a record package consisting of singles by The Wirtschaftswunder and Die Radierer and the flexidisc "Wo ist der Dom?" by Siluetes 61, a project by Tom Dokupil (who was also in all the other bands), which (like "Bauernlife" by The Wirtschaftswunder) processed life in the cathedral city with its invisible cathedral into a lively anti-art song. Hanover, on the other hand, was large enough to have a proper punk scene, which gradually transformed teenage rebellion into an eternal stag party against an end-time backdrop, which Hans-A-Plast could not miss recording for posterity as early as 1981. The fact that the only queer hits in the otherwise largely heteronormative scene - "Tagebuch" by Bärchen und Die Milchbubis and "Samen im Darm" by the Cretins - emerged in Hanover of all places is one of those likeable contradictions that characterize the early phase of punk. Ziggy XY nevertheless turned his back on the city, and the unwieldy strangeness of his project Kosmonautentraum can certainly be understood as an objection to the unambiguousness of the dawning “Deutschpunk”. The second LP (with the anti-hit "Abschied") at latest caught up with Holger Hiller, who in turn pushed NDW avant-garde to the point of high cultural maturity on his own records and as the singer of Palais Schaumburg. In one way or another, his records could have been created at the other end of a modernity that had not been interrupted by the Nazis. Thanks to their classical vocal training, the brothers Udo and Gerd Scheuerpflug, alias Die Zwei from Neuendettelsau in Franconia, ventured into similar realms. Their a cappella single was played by John Peel and was released on the label of the pioneering Berlin record shop Zensor, which also had a hand in the self-released single by Konstantin, with which Max Goldt and Gerd Pasemann bridged the time while they were not allowed to use the name Foyer Des Arts for contractual reasons. Düsseldorf has been studied so thoroughly that I will limit myself here to Family 5 and Male, but I don't want to withhold them because "Tagein - Tagaus" is the best lyric Peter Hein has written to date, and Male was the first "first German punk band" to produce real punk hits. Rassemenschen helfen armen Menschen stole the second best band name of the NDW from the poster of a Viennese cat-breeding exhibition (for charitable purposes) and their singles, which are quite rightly no longer to be found, are far too far out to be left out here. In Marburg (an der Lahn), Ludger Andreas alias Exo Neutrino tried to recreate Limburg conditions by recording cassettes single-handedly under crazy, changing names. His only single (as Lustige Mutanten) was actually produced in Limburg by Tom Dokupil. Just like "Tagesschau" by Freiwillige Selbstkontrolle (or F.S.K.), which tried to reinvent the deadly serious media criticism popular among German left-wingers as cheerful pop criticism. Neues Deutschland from Kassel left behind only a concept album about the German-German division, on which "Muskulatur" is a little out of the ordinary, because thematically it is actually more of an F.S.K. song. And while Neue Deutsche Welle was already disappearing from the scene elsewhere, in Hamburg-Bergedorf various children got together under the guidance of Felix Kubin to play NDW underground, which led to quite fascinating misunderstandings that were distributed among friends under group names such as Die Egozentrischen 2. In the centre of Hamburg, Die Zimmermänner were already exploring the question of whether it was even possible to sing pop in German after all. The fact that the "German Pop Music" that emerged always kept its quotation marks for the sake of decency distinguishes it favorably from the dreadful German pop music that everyone feels called upon to make today.

[engl] This compilation features songs chosen from the sadest list of british post-punk, dark- punk, death-rock and early goth bands. Twelve tracks released between 1982 and 1985. This selection aims to describe a crucial period in english musical history. It is taking place in the early 80s, it deals with those years when punk bands slowly darkened their sounds and imageries to give birth to what would become a major music movement : Gothic Rock ! For its 30th release, Restless Empire is proud to collaborate with french artists Førtifem for the design of the gorgeous cover art. Førtifem are well known for their records and merch artworks for many bands in diferent kind of dark music (Carpenter Brut, Alcest, Gost, Emperor, Igorrr, Perturbator, Regarde les Hommes Tomber, Sylvaine...) High quality vinyl repress housed in black inner sleeve, thick outer sleeve and including insert sheet with infos and pictures. First orders get limited smokey / marble colored vinyl !!

[engl] The Soundtrack

[engl] This compilation represents an initial – and long overdue – foray into the years 1980 - 82, when KLAR! 80 was a cassette label, paired with a shop of the same name in Düsseldorf. Founded by Rainer Rabowski, KLAR!80 released 18 cassettes of varying length and a box set containing three 12” vinyl Eps which fetch handsome prices among collectors nowadays. The KLAR!80 - Ein Kassettenlabel aus Düsseldorf 1980-1982 collection reaches even further back in time than the SAMMLUNG - Düsseldorfer Kassettenmusik 1982-1989 (BB236/2017) collection, similarly curated by Stefan Schneider, which focused on the mid-1980s Düsseldorf cassette scene. It captures the brief period between the end of punk and the looming capitalisation and digitalisation of so many aspects of life. A report for the future. Spontaneity and understatement characterised the brief creative period of KLAR! 80, which lasted from April 1980 until October 1982. Experimentation was the driving force behind the label’s output, released exclusively on home-made cassettes. Whatever happens to be accessible was swiftly transformed into artwork for flyers, posters and cassette inlays with the aid of scissors, a typewriter and felt pens, then photocopied. ? Art, perceived as such, is no longer created in the studio, but in the copy shop or local café. In 1981, the compact cassette was the medium of the moment. Cheap, readily accessible and quickly copied, a democratic means of production and an end product that was easy to distribute. Everyone’s a musician! Anyone can do it! Do it yourself! The DIY ethos of punk saw the emergence of a new type of producer: an instrumentalist, arranger, author, publisher, manufacturer and retailer all in one. Cassettes pre-empted the influence of personal computers to the extent that they enabled a single person to cover multiple steps in the production process which had hitherto been the remit of specialists. The musicians who release their works on KLAR! 80 are, at once, distinctly individual spirits and yet related, familiar and yet unfamiliar, like-minded and yet, and yet not... the personal is mixed with adjacent art. New forms of collaboration are explored, sometimes lasting only as long as a single recording session: from a band to a project. So it was that KLAR!80 introduced the early experiments of Christo Haas and Beate Bartel, performing here as CHBB, to the world. Before long, they would enter the international dance charts with their pulsating sequencer sounds as Liaisons Dangereuses. Eva Gössling imported no wave from New York to Düsseldorf, grafting electronic and motoric elements into the sound. Strafe für Rebellion, who opened the record with a sculptural sonic collage, would later release numerous albums on the prestigious Touch label in London. Today, the Aachener Strasse shop in the Bilk district of Düsseldorf survives in a few Polaroid pictures and video recordings made by Agi Yuzuru and Mamoru Shibuya, two journalists visiting from Osaka. The label shut down in October 1982 and, in the years that followed, the original cassettes, master tapes and artwork were either given away or misplaced. The recordings you can listen to here have been gleaned from private collections of well-preserved cassettes, painstakingly restored and digitalised. Rainer Rabowski: “At the very moment when the label and shop needed to reinvent themselves, I would have had to come up with a new business model, something I had never wanted to do.” The end came about quite innocuously, with no explanation. Rainer Rabowski and Stefan Schneider, Düsseldorf March 2023

[engl] Having spent exactly ten years living off the small change and 45 adapters of each others pockets, Finders Keepers/Cache Cache Records co-founders Andy Votel and Doug Shipton spread their wings and pool their DJ bags for a new series of sporadic various artists compilations focussing on the global punk and makeshift electro records that have kept their beer soaked dance floors and distorted sound systems moving in recent years. Meet the younger sarcastic sisters of some of the classic Finders Keepers family and their spotty friends then watch what happens when jazz punk underdogs cock their legs to their overqualified elder brothers.Plastic Dance presents ten unacquainted and elusive slices of synthetic squat pop, angular funk, teapot kosmische and fraudulent disco from self-propelled imprints and global co-ops. Named after Günter Bernas obscure DIY anti-band this ongoing series combines rare, unknown and untravelled wax nuggets of night club punk, art school Zeuhl and quasi-political pop united by soldering irons, C-60s and sarcastic synth tones. Featuring a cross section of unobtainable unreleased unknown and unwanted reluctant punk and snide synth pop with sleeve-notes by respected DJ/Haç hack/Situationist addict John McCready and artwork by airbrush legend Terry Pastor (Ziggy Stardust/Soft Machine/Arthur C. Clarke) Plastic Dance becomes flexible under heat.

[engl] Greetings sisters and brothers. Let’s talk about reductionist revolution and the kicking in of doors. Let’s talk of iconoclasts and culture bombs. Let’s talk about moral panic and censorship. Let’s talk about punk rock.

[engl] I could tell you about the beginnings, about this email from Keith from the late Scratch record store that allowed, very concretely, to launch everything. But I really don't know where to start to talk about the 20 years - sorry 21 years - of the label. It's a joyful jumble of fanzines, concerts, meetings and a total absence of plans. There is simply a desire, parallel to that of trying to write about music - something that always seemed impossible to me - to push some bands or artists that move me. The idea is not to make each release a surprise nuclear inspection but to contribute, on a small scale, to prolong the existence of initiatives that come more from the guts than from the symbols, more from the basement of a bar than from the official places carried by a music industry that should have died a long time ago as it doesn't support the artists anymore. The guiding thread, if there is one, is to find density in lightness, to tirelessly dig into any form of curiosity, to listen again and again and to try to open new horizons for the bands I defend. I dream of a label with bright red flashes, melting in a thick layer of milky golden clouds or running in the middle of the cold night in an old industrial area where nature has regained its rights. Cultivating dilettantism, savoring latencies, provoking coincidences, tracking down melodies from the depths of the bones, pushing the sublime fins hidden in the ashes of passion....yes, I know it's a lot, but there's a little bit of all that. And a lot of laughs too. Each record...is potentially a life base. After "Flottante tension d'éclipse" for the 10th anniversary, there was the desire to mark the occasion with a new compilation, this time entitled "Spasmes du hasard". We find there ten rare or unreleased tracks. It's a punchy piece of Pierre & Bastien that opens the record followed by a psychedelic flight signed by the valiant Vince Posadzki, present since the beginnings of the label and who makes his return here with his Lost Delegation. Then follows the equally twisted and captivating "Anna Karina" by the newcomers Leopardo - who just released their third album on SDZ - and the fascinating Australians of EXEK and their experimental post-punk/dub. Let's not forget the very strong "Drill Homage" from The Rebel, also a long time companion. On the B side, Rose Mercie unveils the heady and too rare "Marie-Toi-De-Moi" - classic of their live set - immediately followed by the newcomers of Marie Mathématique with the charming "Holopherne" and our favorite troubadour, Nathan Roche, with the track "Opium". Finally, out of the ranking for ever, the brilliant Èlg and his friend Mim and then the super-talented Ricardo Dias Gomes who closes the record. I hope you will enjoy listening to this compilation as much as I did preparing it! Max Dembo

[engl] Once again, at the crossroads of our wanderings there is a dark, bottomless well. From this the true horrors of the world arises over and over. It is also the source of our fantasies, either dreams or nightmares, and the world of imagination in which we all grew up. That darkness reveals our common humanity, that speaks of our very creation and finitude. Today, tenderness is our only guide through the unfamiliar night now thick with multiple states of unconsciousness that extend beyond our vital need and into the unknown. Thus we are all insiders and investigators to understand what is reality and what is beyond us. In line with its previous compilations - but this time on vinyl - the Crudités label, affiliated with SDZ Records, today presents "Tendres Ténèbres", fifteen variations on the themes of lullabies and sleep.Within a song, complex landscapes are built in the shadows of our waking life. The songs are sometimes delicate (Gabrielle Maes of Shake Shake Bolino, Charlene Repetition of Rose Mercie, Renka of Kartei or Space Blue and Mulan Serrico whose albums were released on Crudités), sometimes cosmic explosions (Jolie Boue, a new band formed by Èlg & Catherine Hershey, Hess of Feeling of Love), sometimes intense nocturnal insights (Ray Yours & The F, new project of 11ieme étage; Kaput) sometimes displays of furious insomnia (Nicolalala, ex Bobpopkillers, Maria Violenza ex Capputtini I Lignu) or deep tranced melancholic meditations (Elatu Nessa, Discombobulatrix). The listener enters a world inspired by lullabies and formulates the visual dreams that would usually follow. In doing so, they gain a new perspective and experience carrying them back into the real world. "the sleeping man, his regard extinguished, dead to himself, seizes the light in the night" (Heraclitus)

[engl] Sometimes making music is just a cheap excuse to spend some time with your friends. And so the three of us went touring last winter in South-Denmark or how you would call it: Germany. Whatsoever, here's a tour-split one year too late, but who gives a fuck. If you like danceable music but hate clubs, if you like punks doing non-punk and if you think it's a waste of time to read this, as much as I think it was a waste of time to write this, then maybe you should just give this record a try.