Katalog

Suchergebnisse

  • cover

    ON + BRR

    s/t

    LTD 500 STück unsere 3.......WAHNSINN das TEIL! Hier eine Besprechung aus der Süddeutschen Allgemeinen! Letzte Nacht hatte der Autor dieses Texts einen Traum. Ein Schwarm Hornissen flog in sein Ohr. Da es ein Traum war, kam es ihm ganz angenehm vor, als hätte er schon immer davon geträumt. Im Kopf dröhnen sie umher, fluchend, schimpfend, wummernd. Alle Köpfe sind überdimensional - sonst passen keine Hornissen hinein. Sonst passt kein on+brrr hinein. Alles an diesem - wir nennen es Duo - kommt aus der erweiterten Vorstellungskraft. Der Russe, Rodion, ist eine vernarbte, operettenhafte Gestalt unter schwarzem Haar. Dahinter ein Imker. An blinkenden Geräten. Nur weiss man nicht, ob er die Geräte bedient, oder sie ihn. Denn er hornissenschwärmt einen scheinbar unkontrollierbaren Klang, ein Maximum an Fülle. Nicht eine Spur von Rast. Von Honigbrot ganz zu schweigen. >sebooty> und die kleinste deutsche Wochenzeitschrift RAUM brrrrrrrrr ooooooonnnnnnn schneller, härter, lauter biddde! SONDERPREIS 2010! Denn der Russe schwadroniert und agitiert am Mikrofon, erbricht die Wahrheit. Oder was er in diesem Moment dafür hält: Eine Poesie, welche die Welt aus den Angeln hebt. Es bleiben zwei Wahrheiten: on+brr gibt es wirklich. Und: Es gibt sie kein zweites Mal.
    Format
    LP lim
    Release-Datum
    30.11.2011
     
  • Andromeda
    Automatic Air
    Problem Addict
    Several Bullets In My Head
    Freaks
    Mr. G
    Deleted Scenes
    Airplane
    The End And The Beginning
    cover

    ONCE & FUTURE BAND

    Our Feeling of Natural High

    [engl] "The space-age songsmiths of Once & Future Band have been ting-tinging away on the truly heavy anvil of hominid perspective and emotion again to bring you this singing scape of songs. Annealing for over a year now, until it was cool enough to hold in your ears, nested in the pinnae, the time has finally come. Dew drops pop and hiss as they settle on the gliding guitarmonies. Once & Future Band have outdone themselves this time around, in my opinion. If songs could stop heated exchanges by mere presence, these are the ones, and more needed than ever. As I tuned in to each new transmission, each step closer to this perfect platter, I had to stop and do nothing else, and merely absorb how wonderful this album is. Each tune exists in the company it was born to live with. There are haunting chorale escorts here...long trains of room warmth...the belting of the machine heart...lofty guitar and bass melange...and just beautifully laid to magnetic tape with a sure hand by the throbbing brains that are Once & Future Band for fans of Roy Wood, Idle Race, ELO, Roxy Music, Head Hunters, Stevie Wonder, Paul McCartney, The Lord Bowie, The Band, and the soundtrack from every movie that ever pierced your cold, cold heart” - John Dwyer
    Format
    LPcol
    Release-Datum
    10.04.2020
     
  • 01. How Does It Make You Feel?
    02. I'll Be Fine
    03. Hide & Seek
    04. Rolando
    05. Tell Me Those Are Tears Of Joy
    06. Magnetic Memory
    07. Standing In The Wake Of Violence
    cover

    ONCE & FUTURE BAND

    s/t

    [engl] In the vapor trail of “How Does It Make You Feel” you can smell the burnt ozone of a seventies-full-orchestra-nebula-pop-odyssey, the flakes floating down and landing on you like snow and giving you the grave-chills…the ash of a masterpiece pop song. Once and Future Band: this incredibly accomplished cabal of total prog wizards has circled the earth, but then, these are the accomplished gentlemen of many former pursuits (the formidable Drunk Horse among them) and all of them comets themselves. The very mid 70s vibe at work here surpasses pastiche, and crests that lovely anachronistic conceptual peak: a fully realized and meticulously arranged psych record, meant to be listened to from top to bottom, with the lights down low and in a comfy chair perhaps, or while gazing out the window of your life pod. A Dark Side of the Moon feel, with shades of early Yes’s technicality, a dash of Steely Dan’s vocal prowess and effortless sheen, and some seriously outsized hooks that call to mind the mighty ELO, Le Orme and yes, even the unsinkable Queen powered on Brian May’s tape echo jet fuel and sequined power cells…this is a head record in the classic sense but we swear to The Dark One that you will be trapped and infected by the pop-parasite. That it is largely self-produced (with tracking/engineering on three of the songs by Phil Manley at El Studio) makes it all the more jaw dropping. We didn’t realize how much we needed Once and Future Band in our life, but now that they’re here we can’t get them out of our brains or off of our stereo. Making prog cool again, again, and then slightly more complicatedly, again.
    Format
    LPcol
    Release-Datum
    27.01.2017
     
  • 01. my blackest song
    02. searching for a ghost
    03. service station south wales
    04. the night we spent dumpster diving
    05. anthem to my idols 06. brother of sleep
    cover

    ONCE TASTED LIFE

    Fallow Fields Of Hope

    "Traurige Musik mit hörbaren Wurzeln im Punkrock, politische Gedanken und Assistenz von Violine und Frauenstimmen. Als großen Bruder haben sich OTL den kanadischen John K. Samsons ausgesucht." OX Fanzine
    Format
    MCD
    Release-Datum
    26.06.2003
     
  • 01. Slide
    02. Close and different
    03. The Sheep That Said Moo
    04. These Books Weren't Made For Burning
    05. Cranes Fly
    06. Tra La La
    07. Apo
    08. It Looked Shorter On The Map
    09. Come On In
    10. Homs
    cover

    ORCHESTRE TOUT PUISSANT MARCEL DUCHAMP

    Rotorotor

    Drittes Album der dada-avantgardistischen Impro-Truppe aus Genf. Die Band mit dem nahezu unaussprechlichen Namen, der frei übersetzt so viel bedeutet wie "Das allmächtige Orchester Marcel Duchamps", wagt die musikalische Reinkarnation der berühmten Konzeptkunst-Koryphäe. Darüber hinaus verbirgt sich hinter der triumphalen Zeile eine Hommage an einige der berühmtesten westafrikanischen Bands (Orchestretout Puissant Konono No1, rchestretout Puissant Polyrythmo etc. etc.). Fast noch länger als der Bandname kommt die musikalische Selbstbeschreibung des Sextetts daher - Afropunkpopexperimenataljazz - das sich eigentlich so widerspenstig jedwedem Genre-Schubladendenken widersetzt, wie einst das Pissoir, das Duchamp zu Kunst erklärte. Wie auch immer, auf ihrem Drittling (eine Hommage an die Rotorreliefs Duchamps und ein wunderschönes Palindrom), hochkarätig produziert von John Parish und aufgenommen von Ali Chant im Toybox Studio in Bristol, entfalten die aus der freien Impro-Szene stammenden vier Musiker und zwei Musikerinnen (zuvor Dog Faced Hermans, Spaceheads, Headache oder Crevecoeur) ihre hypnotisierende Pracht von Anfang an: Die bezaubernd-feinsinnig über die Zeile "ITried To Drink The West Coast Dry" gleitende Glockenstimme von Sängerin Liz Moscarola wird zu einem magisch-fesselnden Strudel, der die nächsten neun Songs lang nicht abreißt und bietet eine Vorausschau auf die feine Poesie der Platte. An der akustischen Sinneserweiterung beteiligt sind weiterhin Vincent Bertholet, Aida Diop, Mael Saletesm, Mathias Forge und Wilf Plum, verteilt auf u.a. Bass, Gitarre, Violine, Drums, Marimba, Percussions und Trombone. Rotorotor ist ein Manifest für experimentelle, wildwüchsige und freigeistige Popsongs, die die Sprengkraft des Punk, das ABC des Rock’n’Roll, die Rhythmik von Weltmusik und die Fantasie intellektueller Musik und was nicht sonst noch alles, auf sich vereinen und trotz allem Crossover zu stringenten Glanzstücken verkurbeln. Ein subversives Kunststück!
    Format
    LP 180gr
    Release-Datum
    25.04.2014
     
  • cover

    ORDINATION OF AARON

    Discography

    Nach den Indian Summer (ebenfalls Vendetta) und Policy of 3 (Ebullition) Discographien taucht ein weiterer Meilenstein des Frühneunziger Emo-Hardcore wieder aus der Versenkung auf. Mehr braucht man dazu eigentlich auch nicht zu sagen, wer o.g. Bands (oder auch Heroin, Portraits of Past, ...) liebt, braucht natürlich auch Ordination of Aaron.
    Format
    DoLP
    Release-Datum
    30.03.2009
     
  • 01. Aslnda Alkol Hala Damarmda
    02. Harika
    03. Kalehan
    04. Gün Dogdu
    05. Kar Yagmst
    06. Yakalm Alsveris Merkezlerini
    07. Jazz Jackrabbit
    08. Orman
    cover

    PALMIYELER

    Ben-Hür

    [engl] Palmiyeler (Izmir born, Istanbul grown surf-pop-indie-dance-rock quartet) invites you for a drink by wavy beaches where you can enjoy their fun-psychsurf-pop sounds with serious lyrics darken by Istanbul’s genuine chaos. Founded as an Istanbul based garage rock trio comprised of lead vocalist/ guitarist Mertcan Mertbilek, bassist Tar?k Töre, and drummer Rana Uluda?. They recorded their debut 'Palmiyeler EP' in 2013 and released it on vinyl and all digital platforms in 2015. After the release guitarist/keyboardist Bar?? Konyal? has joined the band. They spent time touring, making videos, and recording their debut album ‘II (Venus)’ with the singles 'Senden Haber Yok' and 'Karbeyaz'. 'II (Venus)' was released by Tantana Records in 2017 as a limited-edition LP and through all digital formats. Palmiyeler released their 2nd studio album ‘Akdeniz’ including lead singles 'Derine' and 'Kalbim Seni Arar' on May 25, 2018 as a digital file. Green Cookie Record released 'Akdeniz' as a limited-edition vinyl on May 25, 2020. ‘Ben-Hür’ is their 3rd studio album so far. A singles compilation which contains songs from 2019 and 2020, as well as two new songs.
    Format
    LP
    Release-Datum
    25.02.2021
     
  • 01. Dogan Gunes Bizi Yakar
    02. Seytan Odama Geldi
    03. Gel Yanima
    04. Masum Bir Kedi
    05. Aslinda, Galiba
    06. Kopekler
    07. Bize Sorma
    08. Sonucta Farkli Kafalar
    09. Perdeyi Arala
    cover

    PALMIYELER

    Seytan Odama Geldi

    [engl] Palmiyeler stands for soothing melodies, cinematic landscapes and groovy beats! Unlike the majority of neo-psych bands, Palmiyeler are the proprietors of a distinct style, so familiar and at the same time so original, that makes it hard to categorize: blending garage-rock classicism with some Morricone cool, the Turkish quartet explore dark themes under a breezy Mediterranean sunny feel, the end result sounding hauntingly smooth, like Steely Dan writing for The Jesus & Mary Chain!
    Format
    LP
    Release-Datum
    08.01.2022
    EAN
    EAN 5902249003871
    Format
    LP white
    Release-Datum
    08.01.2022
    EAN
    EAN 6902249003871
     
  • 01. Music Box
    02. Did you Wake
    03. Daisies
    04. William
    05. I Dreamt You More Than Ever
    06. Black Oak Tree
    07. Golden Ships
    08. The Town
    09. Icestorm
    10. Moon
    cover

    PAPER DOLLHOUSE

    A Box Painted Black

    [engl] Paper Dollhouse is the work of Astrud Steehouder; dark minimal gothic folk which comprises haunting vocals, acoustic guitar, effects pedals, found sounds, slide projector and minimal electronic atmospherics. Her debut album ‘A Box Painted Black’ is set for release this winter on Bird Records, the femme-folk off shoot of the Finders Keepers family. Inspired by early 60s electronic pioneers Delia Derbyshire and Eliane Radique, bleak British television soundtracks, minimal dark electronica, Scott Walker, Arthur Russell, Christine Harwood and France Galle, the music combines simple folk songs with environmental and electronic tex- tural sounds and visuals to create a pared down, beautiful experience. Named after the 1988 cult horror film Paperhouse “I watched the film when I was about 10 and was really drawn in by it. Something about the quality and tone of it, the psychology and aesthetic of that struck a chord and been with me ever since. I'm into actual dollhouses and models of things as well. I used to make these little viewfinder boxes containing lit- tle scenes in them as a child for fun, I found them magical.” Steehouder has created a new kind of (black) magic on her debut release. ‘A Box Painted Black’ was recorded entirely in the kitchen and garden of her London home amongst the incidental sounds of trains passing, children playing, door slams and running water. The songs retain the ambience of the place they were recorded. Often first takes and recorded as soon as the songs had been penned, they combine an immediacy and raw quality which fills the work with a naivety and emotive dark tonality. Dense in simplicity and thick with silence the songs are restrained, intense, lingering and decorated with white noise. Steehouder names “bewildering post nuclear landscapes, bleak fields, forests, thunderstorms and archaic industrial objects in the middle of nowhere” as influences, rather than the listing the much and over cited normal singer-songwriter fare. The songs possess a folk pop sensibility rich in mysterious hooks that creep up on you from around a dark alleyway, following you on the all the way home at night. Steehouder has recently been working with photographer and writer Nina Bosnic in a live capacity using a variety of sonic and visual techniques including an old slide projector, a dictaphone and prismatic imagery, to create a live show which is as haunting as it is bare. There is a raw completeness to the work, the body of which is clearly a deep and evolving spectrum. Hypnotic, meditative and a midnight look through the keyhole of Paper Dollhouse’s secret garden “the album’s like a Pandora's box of messages. It was kind of a dark solace for me, the slight way the album happened. Almost hidden.”
    Format
    LP
    Release-Datum
    05.12.2011
    EAN
    EAN 5060099503603
     
  • 01. For A Ride
    02. Lift Off!
    03. Lighthouse Beacon
    04. Sprouts
    05. Too Late
    06. Rip It Off
    07. Soft Spot
    08. Lullaby
    09. My Window
    10. Seafarer
    11. Trip The Light Fantastic
    cover

    PARSNIP

    When The Tree Bears Fruit

    [engl] When the Tree Bears Fruit is the debut album from Melbourne four-piece Parsnip. Following on from two 7-inches in the last two years, Parsnip’s first full-length is playful, poetic, propulsive punk. An album perpetually in motion, When the Tree Bears Fruit is just over half an hour of absurd, understated energy. There’s an immediacy to the sheer joy, velocity and whimsy of Parsnip’s delivery. Bass player and most-of-the-time lyricist Paris Richens is the first to admit that she finds inspiration in children’s verse and the sonics of nursery rhymes – “Sprouts” is an ode to plants in their first form, and “Trip the Light” is about the sheer joy of dancing. That said, Richens’ bandmates – drummer Carolyn Hawkins, guitarist Stella Rennex and keys player Rebecca Liston – are quick to remind her that nursery rhymes are almost always pretty twisted. No one is being baked into a pie in a Parsnip song, but they deal in themes of loneliness, longing, the unknown and the mundane, almost as much as they dream of travel and make a romantic spectacle of the everyday. Across the album, transport and movement recur as an image, mostly alluding to a dreamy sense of possibility: lead single “Lift Off” is a plea for a quick flight away, “Seafarer” is a voyage against nature’s adversity, and “Lighthouse Beacon” sees a hope in the distance. Ultimately, this is an album that invites its listener to join in its celebration: the record’s title, inspired by the ideas of guru and poet Sri Chinmoy, refers to the idea that a tree will grow fruit and it will be offered for anyone and everyone to share in. The band see this principle as it applies to their work – to sharing their joy and nonsense with the world, and hoping people will enjoy it.
    Format
    LP
    Release-Datum
    30.08.2019
     
  • 01. Around Here
    02. The King And The Good Hangman
    03. Amazon
    04. Got A Light
    05. Sheepskin Girl
    06. Barrack Street
    07. Ballad Of Franz Reichelt
    08. Curry & TV
    09. Valour Valour
    10. Disco Volante
    11. Circles
    cover

    PASTIS

    Circles

    Format
    LP
    Release-Datum
    08.02.2019
    Format
    CD
    Release-Datum
    08.02.2019
     
  • 01. Drop D
    02. Fertig ist der Lack
    03. Newton
    04. Alle Alle
    05. Pferderennen
    06. Tausend Höhenmeter
    08. Destroyer
    09. Galaktika
    10. Auf Hoher See
    cover

    PEER

    Galaktika

    PEER sind wieder da. Auf der Bühne, beim Plattenhändler und in den Herzen all derer, die nicht aufhören können, das Schlechte zu erkennen und an das Gute zu glauben. Über drei Jahre nach dem so liebevollen wie kämpferischen Debüt-Album „Wir sind Peer“ mit dem viralen Hit „Schutzraum“ veröffentlicht die 5-köpfige Berliner Band mit „Galaktika“ nun ihr zweites Album. Zehn fantastische Songs, kleinteilig und hochdynamisch produziert von dem befreundeten Sven van Thom. Textlich beschreiben PEER die Verstrickungen des gar nicht so eigenen Lebens mit der (Arbeits-)Welt, so präzise wie poetisch wie kaum eine andere Band. Schon zum ersten Album schrieb die taz: „PEER spielen da nicht nur ein paar Hits runter, sie haben auch die Parolen, die eine Zeit auf einen einzelnen Satz bringen.”
    Format
    LP
    Release-Datum
    02.05.2014
    EAN
    EAN 4260016925087
     
  • 01. Get Saved
    02. Metropolitans
    03. The Product
    04. Hey Carrier
    05. Sorry Names
    06. Barrio Superstario
    07. No-Blooded
    08. Hot Circuitry
    09. Downstate
    10. Dry Ice & Strobe Lights
    11. Sound Recovery
    12. 68 (Jawbox cover)
    cover

    PILOT TO GUNNER

    Get Saved

    [engl] Originally out in 2004 as a CD-only album, PILOT TO GUNNER’s Get Saved finally sees the light of day in a proper analog release. This album was pressed in order to support and celebrate their long-awaited 2014 european tour.?  Forget about your crappy indie looking hipsters with synthetizers and clean guitar sounds, for PILOT TO GUNNER is the raw and real deal. They inspired me back in 2000 to grab a guitar and write my own songs when their first album came out. Because they know what a good tune is. It’s all about the melody, the beat and the chorus. It’s all about the riffing conversation. It’s all about the guts and the blood you spill while you play in that sweaty basement in front of 20 people. PILOT TO GUNNER is a band that will stay forever because they’ve got the heart and the spirit.
    Format
    LP
    Release-Datum
    08.03.2014
     
  • 01. J'attends la bombe
    02. Dernier homme
    03. #1
    04. Venera 16
    05. La jungle
    06. The Pleasure Principle
    07. Mariposa
    08. A l'ombre du Coolangata géant
    09. #2
    10. The Fur
    11. Videolife
    12. Les Adieux au plaisir
    13. The Drowning (Bonus)

    PLEASURE PRINCIPLE

    s/t

    [engl] I’m going to say “I” because I think I can’t write about my music other than in the first person. I’ve been playing drums since I was fifteen years old and I’ve always had bands since. Even if I always contribute artistically, to different degrees, my latitude of action, from a creative point of view, has always been limited by the fact that I am a drummer. Like many people, I learned to play very approximately the guitar and keyboard, and I spent years going over obsessions and recurring patterns, in my room and in my head, without doing any of that, and knowing that even though I was and still am extremely involved in my past and present bands (Skategang, La Secte du Futur, Marietta to a lesser extent, and ), the music we were making was only partially representative of me. I’ve always listened to a lot of reggae, dancehall, music from Ghana, Nigeria, Congo, and overall music that is based more on repetition and intention than composition, and that’s something I could never really develop in there. In 2015 my brother and friend Benjamin Dupont, the human behind Bryan’s Magic Tears, moved into my flat share / Noah’s Ark at 35 rue Clignancourt, in the 18th arrondissement, and it was him who unlocked everything by showing me how to record music by myself ; and one September morning, lying on my back, I saw the light. It’s really a new world that’s opened up to me, I started recording at a pretty intensive pace, just letting myself be carried away by what I’ve had in my head and fingers for years; I’ve accumulated a lot of material, including a lot of unfinished pieces, and I’ve tried – I’m still trying – to understand for myself what my point really is and to learn how to systematize and channel my obsessions to make it something personal. Recording a lot, without any constraints of format, group or expectations, by letting myself be totally carried away by what was coming out in the moment, it allowed me to give myself a certain insight into myself; I am not one of the people who compose music by having an idea of where they want to go, but by repeating the exercise, something coherent ends up taking shape. I would say that it oscillates, for the music, between synthetic krautrock, dancehall lo-fi, Manchester sound recorded with toys, rock à la Velvet and Memphis rap for children; and between Les Négresses Vertes and Julien Gracq for the texts. I still write the basis of my lyrics without music, and I attach a lot of importance to it; French has become obvious because I want to say something true and I would not be able to do it otherwise – even if the text of “The Fur” is in English, but it was to seduce a girl (it didn’t work), and it won’t happen again. This is my friend Paula from J.C. Satan and Succhiamo, who sings on “Mariposa” and “Venera 16”, because I had no idea what to do about it; I sent her the songs and she sang on her phone, it was great so we recorded it. This first album is a kind of best-of from 2015 to 2018, the songs that held up best, the ones I had lyrics on, the best finished drafts, basically. I owe its existence to my friends at the Megattera micro-label who, after hearing my songs at home at night, decided to release them confidentially on tape first; without them, they would still be on my hard drive. Under the spell, Born Bad Records then entrusted Olivier Demeaux de Cheveu/ Heimat with the mission of mixing the “best” tracks to give them the lustre they deserve and make these few crazy and scattered tracks a full-fledged album. I asked Adam Karakos, from Villejuif Underground, Guillaume Rottier, from Rendez-Vous, Nikolaj Boursniev, from Quetzal Snakes, and Milia Colombani, who plays in half the bands in Paris, to play live with me. Pleasure Principle is located somewhere within a triangle formed by Francis Bebey, Add (n) To X and Ludwig Von 88; it is a solitary race to the outside, an ode to the forward flight, a way to escape in the peaceful expectation of the great liberating flash. I often find myself dancing like a monkey who forgets the world when I record at night in my room, and I hope to provoke the same reaction in people. Paul Speedy Ramon
    Format
    LP
    Release-Datum
    25.11.2019
    EAN
    EAN 3521381557985
    Format
    CD
    Release-Datum
    26.11.2019
    EAN
    EAN 3521383457979
     
  • cover

    POLITE SLEEPER

    Lake effect

    Drittes Album des Trios aus Brooklyn, das in 5 Tagen während eines Schneesturms eingespielt wurde. Sie haben ihren Sound weiter verfeinert, und dabei den Range erhöht, ähnlich wie die Entwicklung bei Xiu Xiu, denen sie nach wie vor nahe stehen. Sehr sauber, sehr konkret und sehr britisch. Immer noch mit dem DIY/Punk-Background, aber zunehmend poppiger (der Opener z.B. klingt total nach Jay Reatard) oder vertrackter/abgedrehter. Neun Tracks, produziert von Aaron Prellwitz (u.a. DCFC, Mountain Goats).
    Format
    LP
    Release-Datum
    03.10.2009
    EAN
    EAN 4260016929481
     
  • cover

    POLITE SLEEPER

    s/t

    Neues Seitenprojekt der Yellow Press-Members Jason (Gitarre) und Tim (Drums) mit crazy (Folk-)Postpunk, der einigerma?en simpel gehalten ist, dafür aber umso mitrei?ender, dafür aber natürlich deutlich experimenteller als Yellow Press. Der DIY-Ethos der beiden beinhaltet das Aufnehmen ausschlie?lich zuhause, dementsprechend findet man charming Nebengeräusche und Deadnotes. Eine witzige Mischung aus Xiu Xiu, Yellow Press, Rumbleseat und Mountain Goats.
    Format
    MCD
    Release-Datum
    10.12.2007
    Format
    Release-Datum
    10.04.2009
     
  • cover

    POLITE SLEEPER

    Seens

    Nach dem super Mini-Album direkt der Longplayer.
    Format
    LP
    Release-Datum
    10.04.2009
    Format
    CD
    Release-Datum
    10.04.2009
     
  • cover

    PREENING

    Dragged Through The Garden

    [engl] Four years into Preening’s existence and the Bay Area trio hasn’t shown any signs of stagnation–they remain committed to the urge to move forward, to push themselves and their audience. Thus, the restless and relentless motion of Preening’s new 12” EP on Ever/Never Records, who also released 2018’s excellent Greasetrap Frisbee 7”. Preening sounds more than ever like no one but themselves–Max and Alejandra’s duel (sic) vocals and sax/bass interplay is masterfully augmented and driven by Sam’s all-hands-on- deck drumming. “Twinning” exemplifies all of these aspects, achieving a head-spinning velocity occasionally interrupted by sections that mimic drips and chimes amidst the cacophony. This is dance music for sleep-deprived geniuses and those who love them. “Rapt Fashions” demands to know “Whose body is this anyway?” And then, to drive the theme of dislocation home, the EP ends with a wigged-out “Extortion” dub mix by Andy Human (of The World/Naked Roommate/ Reptoids) & Brett Eastman (Reptoids). Dragged Through The Garden proves that Preening and Ever/ Never continue to deliver the goods, and then some.
    Format
    12''
    Release-Datum
    05.02.2021
     
  • 01. Another Day
    02. Memory
    03. Program
    04. Tailwind Blues
    05. Motorbike
    06. Unexpected Plans
    07. Enquiries
    08. They Know
    09. Show Me
    cover

    PROGRAM

    Show Me

    [engl] Rory Heane and Jonno Ross-Brewin have been best mates since their first year of primary school in Melbourne's south-east, and have been playing music together since forming two-piece SeeSaw when they were 18 years old (Rory has also kept busy with the likes of The Blinds and The Stroppies). The seeds for Program were sown in the duo's sharehouse in 2016 when they began writing songs together on guitar for the first time, and the band sprouted in earnest the following year when old friends James Kane (The Faculty, Meter Men) and James Tyrell (Meter Men) were roped in on bass and drums respectively. Since then, the group has graduated from jams and house shows to regular gigs around Melbourne, adding keyboardist Jessie Fernandez (DARTS) along the way. October 2018 saw Program record with Anti Fade mogul Billy Gardner in his Geelong studio. The lightning sessions yielded the band's debut LP, Show Me. Also mixed and soon to be released by Gardner through Anti Fade, the LP will be the band's first release of any sort. The nine tracks on Show Me channel the deeply personal and often unfathomable nature of modern being through snarling, tangled riffs and power chords into a fresh brand of unhinged, modern Australiana - just as easy to dance to as is it to cry to. "It's personal heartache, disappointment, broader social panic, everyday confusion and a general acceptance of it all" says Jonno of the record's themes. The lead single "Motorbike", penned by Rory, showcases the band's knack for tight guitar harmonies, effortless noodling and endless charm. It's the electric twang of Neil Young with the cool swagger of Pavement. The Go-Betweens burning the Midnight Oil. Rory describes it as an anthem of frustration and self-doubt: "The protagonist sits static in traffic while a woman on a motorcycle whizzes past. It's a metaphor for your position in society: feeling stuck and watching haplessly as someone else zooms ahead".
    Format
    LP
    Release-Datum
    18.10.2019
     
  • 01. Uptown
    02. Invitations
    03. Coke machines
    04. Parties
    05. Hate
    06. Haunt my trash
    07. Teenage Death
    08. Moonlight
    09. Skeletons
    10. Nature calls
    11. Downtown
    cover

    PUBERTY

    s/t

    [engl] Puberty (the band, the lifestyle, the etc.) though, belongs entirely to Susanna Welbourneand Lars Finberg. The band was hatched during a pocket of uncertainty, a time when signals seemed to point toward the half-promised oblivion of this duo’s day-job in The Intelligence, a favorite Whip-Wave unit and guardians of The Underground’s coveted Golden Drink Tickets. During these uncertain 2010 evenings, the tag team launchedTrainwreck, a monthly musical happening held at Seattle’s deepest, dankest karaoke dive, The Orient Express. Dance, dress-up (drag?) and debauchery were of principal concern, with a soundtrack tailored to exalt such values. Guess there’s really something to all of that revolting gonad-signaling after all. The by-now-trad’ Art-Punk that most would associate with These Intelligence Kids negated their mere insertion as house-band at Trainwreck, so The Intelligence’s assumed influences were swiftly replaced in Puberty by (as confirmed by Finberg) Trainwreck playlist regulars like U-Roy, Tones On Tail, Fun Boy Three, prime sleaze Roxy Music and other grandiose splatterings. This was to be the inverse of what the duo had been doing musically in terms of mood and motivation. The Intelligence’s air-tight guitar jerking delivered with (ahem) casual professionalism was to be largely displaced by big-band arrangements with wildly unexpected turns, delivered via eccentric theatrics and playing upon classically sexual, sultry and moody Rock’N’Roll with odd atmospherics. Plus pink outfits.
    Format
    LP
    Release-Datum
    19.04.2016
    EAN
    EAN 3521381535952
    Format
    CD
    Release-Datum
    19.04.2016
    EAN
    EAN 3521383435946
     
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    PYGMY LUSH

    Mount hope

    auf 500 limitierter Zweitling der Ex members of PG.99, Majority Rule, City of Caterpillar und mehr .... Und machen sie einen grossen (Ent-)Wurf. Es klingt wie ine Mixtape, aufgenommen in einem Studio; furioser, versierter Screamo HC kommt neben warmen, melancholischen Kammer-Orchester Post Rock, neben schwer-rockenden NoiseRock, neben folkigen semi-akustischen Sad-Rock. Wobei die ruhigen Nummern überwiegen. Black Heart Procession meets o.g. Bands meets Old Haunts.
    Format
    LP
    Release-Datum
    01.07.2008
     
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    PYGMY LUSH

    Old friends

    Produziert von Kurt Ballou (Converge) in den God City Studios! Mittlerweile sollte bekannt sein, dass Pygmy Lush mit Hardcore schon lange nichts mehr am Hut haben, ihnen gelüstet es seit diverser Zeit nach melancholischem Slow-Core mit herzerwärmender Note. Ein Weg, den viele Punkrocker mittlerweile zu gehen scheinen. Nach Jahren des exzessiven Lebens/Tourens/Kraches scheint die Sehnsucht nach Ruhe, Raum und Zeit den Lebensmittelpunkt einzunehmen. ... An Leidenschaft und Ausdruckskraft haben Pygmy Lush allerdings nicht verloren, im Gegensatz, ihre ruhigen, intim vorgetragenen IndieFolk-Perlen wirken wie Balsam für die Seele, dafür sorgen alleine die wunderschönen Gesangsharmonien, die harmonisierenden Gitarrenakkorde in Moll, (Spuren von Folk Noir und Hex Mex Mariachi), der unterschwellig schwingende Ambient-Noise sowie das dezent im Hintergrund schweifende Piano. ... Als ob Elliott Smith mit Bon Iver über Codeine und Slint philosophieren würde. Betörender kann Musik kaum wirken!
    Format
    LP
    Release-Datum
    10.05.2011
     
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    QUIETUS

    Volume Four

    [engl] For nearly ten years, songwriter and sound-sculptor Geoffrey Bankowski has been digging secret tunnels through recorded sound with his project, Quietus. Like all the best home-recording artists, Bankowski seizes the limitations of his medium and shapes them into brand-new spaces with a physics and logic all their own. Bankowski's songs are deceptively simple, relying on no more than two or three chords, without bridges or choruses, building tension and momentum from subtle dynamic shifts and bursts of noise that serve as settings for his idiosyncratic narratives and plaintive singing. It passes for rock 'n' roll but comes closer to a sort of ambient-country music, populated by ghostly woodwinds, electronics, and voices that huddle around the bar band at the end of world. Each Quietus record lights the music from a different angle. This fourth untitled volume lets a touch of light in through the shades. A couple of the songs scrape the periphery of pop music, emphasizing vocals (Geoff's, but also Alejandra Foerg's, who lends an eerie touch to "House Finch" redolent of Gene Clark's "Silver Raven"), jauntier rhythms, gorgeous clarinet passages by Steve Goldstein, and Joseph Harms's quarrelsome lead guitar, which, implausibly, recalls both John Morton in the Electric Eels and Robbie Blunt on The Principle of Moments: the secrets in the attic, the return of the repressed. Recommended to listeners of Pink Reason, Leonard Cohen, U.S. Saucer, Cowboy Junkies. -e/n!
    Format
    LP
    Release-Datum
    14.09.2018
     
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    QUIT YOUR DAYJOB

    Sweden we got a problem

    Die verrückten Elektro Punks aus Schweden melden sich mit ihrem Debüt Album zurück und knüpfen nahtlos an die mcd von letztem Jahr an: Tanzbarer Nu Wave a la B52s oder Devo trifft auf weirden Synth Punk, überdreht / bizarren Electric 6 Go-Go Rock und deutliche Surf bis Garage Einflüsse. Eigentlich mü?ten das ja Japaner sein, derma?en durchgeknallt und übertrieben wirken Songs wie ''Pissing on a panda'' und ''She-male Godzilla'', aber in Schweden scheint das Trio ähnliche Inspiration für ihren Sci-Fi Elektro Surf Punk zu finden...
    Format
    LP
    Release-Datum
    01.04.2008
    EAN
    EAN 4260016929092