[engl] Debut album (13 tracks) by Haru Nemuri from Yokohama/Japan.Her incredible music is a fantastic mix of Avant-Pop, Punk, Alternative Rock, Hip-Hop, and of course J-Pop. Graced with a similar vision as previous Japanese artists like the BOREDOMS or MELT-BANANA, her album is equally as beautiful and catchy, as raw and in-your-face. Totally awesome! Limited edition of 500 copies on clear/turquoise-mixed 180g-vinyl.

[engl] new album! Mega Cooler Indiepunk from Japan.

[engl] new album! Mega Cooler Indiepunk from Japan.

[engl] HEAVY METAL's 2019 magnus opus up until this point has only been released as a cassette but that is all about to change. 60+ minutes of HEAVY METAL spread over four sides and housed in a gatefold jacket. This is by far Total Punk's most lavish project but as worshippers at the alter of all things HEAVY METAL we are more than happy to fork over the dough.

[engl] It’s not surprising that Hekát? chose their name after the ancient Greek goddess Hekate, the deity of the underworld, witchcraft, nighttime and crossroads. Hekát? are four women coming from different paths, all of which converged in the Spring of 2018, and met at the great crossroad of Athens’ eternal night. Their music is multi-referential, an explosive mix of their magic potions. The heavy, melodic bass establishes the base of their post-punk sound. The drums derail it where necessary. The synths, more electric than electronic, can be heard distinctly, at times leaning towards a smarter New Wave but also giving a wink at garage rock. The vocals sound like an enraged, rhythmic recital tightroping along the melody. As a result, their eight tracks move along a scale, starting with melancholic, urban hymns and ending in anxious, frenzied chases, all tied together with a ceremonial atmosphere. The record title, Days of Wrath, is a translation of the Medieval hymn “Dies Irae,” which warns of God’s wrath, which will come down on the people during the Second Coming. Through their lyrics, Hekát? turn their wrath towards God, the people who created Him and the constricting world those people sustain. It starts out like a cry for help and climaxes into a war cry. Hekát?’s war cry is the voice of a generation of emancipated women in motion. With few similar examples across the Greek scene, it comes as the result of their own liberation and of the many who came before them, paving the way. As political beings, Hekát? cannot but reflect their own gender identity in their music. An identity that—whether on stage or on record, or out there in the high-speed jungle of Greek society—expresses emotions from discomfort to aggression, as it is by definition obstructed by outdated and invisible privileges. For those who don’t wish to understand, they explain it, cut and dry, with their track-manifesto “Soapbox,” reminding them: “You think you see me? Well, you see shit!” However, do not be disheartened. Days of Wrath is not some wooden, incomprehensible declaration of ideas. It is a deeply poetic, atmospheric record, doused in cloudy melodies that know when to hit the gas to carry the listener to the other side

[engl] Castle Face favorites from the Berkeley bedroom-pop weirdos of a decade past, The Herms. A little rawer around the edges than their previous releases, this LP captures the best of a band has been overlooked for too long. Colored vinyl is half opaque magenta, half translucent electric blue, and comes with a flexi of the exclusive track Zombie Divine.

[engl] Their third, and darkest record yet.

[engl] GAMES OF POWER lives inside a crystal clear recording by long time friend and Edmonton wizard Nik Kozub, bringing Home Front’s follow up to “Think of The Lie” to euphoric heights and gritty lows. Produced again by Jonah Falco remotely and between sub zero 10 kilometer runs in Edmonton in late February with co-production by Nik Kozub, Home Front have put their best mirror shined boot forward.” (Jonah Falco)

[engl] Home Front are here to offer relief – you loved Games of Power and you loved “Nation” so here it is on 12?s of the deepest widest grooves imaginable. Blast this out of every open window you have access to and make sure they hear you screaming in the commons. Backed by “Slice of Paradise” – an unthinkably catchy neo-diy new wave ballad that could win Eurovision and shine your boots at the same time, and “Jupiter” – a synth grooved, Tangerine Dream tinged lost soundtrack to Rock Em Sock Em 10. Bang the walls, bang your head, cry yourself to sleep, and Scream at a Nation. -Jonah Right in time to kick off Home Front’s UK/EU Tour we decided to release a tour only 12? with an extended mix of Nation and two beef’ed up outtakes from the Games Of Power session. Come out and snag one!!!

[engl] Created on the western edges of the infinite plains and prairies of coldest Canada, Edmonton, Alberta's HOME FRONT dance freely and madly along the edges of time and create their own moment amongst the revered and long frozen reserves of THE CURE, SUICIDE, ECHO AND THE BUNNYMEN, "Second Empire Justice" era BLITZ, and NEW ORDER. A record bubbling over with analog synth, guitar loops, slammed 808 drums, and anthemic vocal pushes tugging at the great moment in-between the “death” of punk and the “birth” of new wave, pulling fresh sounds into their punk roots and shoving a studded leather jacket around a silk robe. Justice, violence, doubt and uncertainty a la Gary Numan narrating a Warren Miller Extreme Ski Special on the set of TO LIVE AND DIE IN LA: this is HOME FRONT.

[engl] New 7" of Honey for Petzi on Africantape. This is a limited edition (500 copies) including one of the best track of the band (Night Guru) and the track 'Power Loss' from their last album 'General Thoughts and Tastes'.

[engl] Emerging from the seemingly sleepy suburbs of Adelaide, Horror My Friend's approach to noisey, indie-rock is youthful and idiosyncratic. Tapping into the spirit of 90's college-rock and shoe-gaze the trio (Josh Battersby, Tom Gordon & Sam Kolesnik) break new ground with their raw yet melodic auteurist songwriting, bolstered by frenetic, energetic live performances.? Now these prime purveyors of noise, fuzz and ragged melody are back with album #2! Drawing inspiration from their hectic on-the-road-lives as touring musicians, the trio's second long player examines the push and pull of maintaining relationships, jobs and ultimately normality. "Home Life documents the emotions and feelings that often arose from the conflict of constantly being away from home, yet still trying to live a `normal' life. `Wedding' is a track that exemplifies this perfectly. It's soaked in fuzz, upbeat and noisy, but lyrically is an introspective rumination on the guilt of relationships being stretched to their limits when doing what you love, and when considering which sacrifice to make" explains drummer Sam Kolesnik.

[engl] Three years after their second album "Return Of The Empire", the italian Vampire punx combo returns with their new full length „New Wave of Fear’’. The tunes got darker and less punk than their previous releases but, all in all, the formula hasn't changed too much, and, hell yeah, this is a concept album about life and death. The A side has been named "This Side" and deals with things that belong to the world we're living (immigration, the rise of the extreme right wing parties, terror, life in general etc.). The B side has been named "Other Side" and it's all dedicated about death. It's a more intense record and definitely better than their old ones, and you can also hear the crusty roots of some of the members in their last song where Amebix and Fields Of The Nephilim meet in a no men's land to face the end of it all. Horror Vacui will tour in August/September along with their PDX dark merchant fellows Bellicose Minds.

[engl] Punk in the age of infinite duplication. Endless algorithms -- strands of digital DNA wrapping like loose cords around the arteries of daily life. We find ourselves mannequin-ed -- gazing longingly at the constant churn of street life; a simulacrum of stimulation. All the dense paranoias of the 20th century have shadow-walked their way right up to our 21st century doorstep and they are quietly picking the lock while we fritter away the hours in the room with the screens. What to do about this concealed drudgery? Where to turn in these bleak hours? How can we break the chains of routine, the labor of labour? Perhaps at this late date, it would be naive to state: “We can listen to Housewives.” What decade is this? How can music still inspire concentrated thought while satisfying its inherent physical demands? Rock music is intended to be functional. Postpunk music is music for doing. Housewives are a band that does; and the content is not mere window-dressing. Housewives are: Industrious music for industrious people. A few years ago, London, England’s Housewives, in the finest of postpunk traditions, began making an intensely focused racket. Their debut took the form of a five-song limited-edition cassette put out by Faux Discx. This self-titled EP had a startling power and hypnotic force that is all too rare in this era of practiced disaffection. Instead of pretending to be bored by this evershifting world, Housewives' approach revealed a microscopic attention to detail. Despite their using the traditional instruments of rock n’ roll, Housewives invert these powerful totems to their own ends. This is music that earns its praise from such high priests of refusal as Charles Hayward (This Heat, Camberwell Now). Like an Adam Curtis documentary, Housewives is music that takes on social constructs, looking for a way to disassemble these ridiculous structures. With it biting lyrics lampooning a lad who is “racist when it’s funny,” bracing opener “Poppy” seems to anticipate Brexit. As the bass throb surges through your system like a blood rush, perhaps you need to rethink your stance on what is and what is not important in the current supercut of media and politics. “In Camera” traffics in impossible clockwork rhythms -- they grind against each other, gathering momentum until the band sounds like an overworked machine on the verge of exploding. “Medicine Bottle” is the closest thing Housewives will serve you to a hit. The no wave guitar spasms -- like a coil snapped by sudden pressure -- collide with the rhythm section in the middle of a congested city. The claustrophobia summoned by the track is hardly offset by the snaking interjections of a saxophone. If anything, this presence of breath reinforces the sensation of necessary and cathartic exertion. Courtesy of New York City’s Ever/Never Records, the unjustly-ignored debut by one of the top operating postpunk bands worldwide, has found a home on wax. Finally, this previously extremely-limited cassette is given the format it deserves. Delivered at a volume-enhancing 45 rpms, Housewives’ 12” EP is a diamond-hard gem of postpunk. “Almost Anything” shows just how locked-in to factory mode this band can get. Few modern bands are playing with such sounds and intentions. “62426” is a series of mutating nodes -- like the communications in THX-1138 made manifest in song-form. At times, Housewives recall the best of the UK’s postpunk gloom n’ doom glory days. The rub is -- we are in the future that those bands warned us about. Housewives are the last band standing, forcing our eyes open and demanding that we address the monolithic edifice of modern life.