[engl] "Reading Tolkein´s LORD OF THE RINGS saga was one of the greatest experiences of my life ... his amazing talent for words was mindboggling ... and the great topics he touched upon remain forever as the most important topics of life ... they are still most valid today .. and will be for all eternity. Everything he described through his magical words came to life before my eyes ! So it was most natural that he would inspire music within me ... music that I can not describe in words how it relates to the Saga .. but deep inside me, it all shines clear as a lamp-post on a dark street ... and it shines into my soul in many, many dimensions....." .... and on a technical note, this piece marked the first time I created Arpegge Melodies within Continuous Music !" In the ”Song of Galadriel” Lubomyr Melnyk has created one of the great epics of piano music in our century, a work of visionary character, filled with haunting and delicate melodies that evoke the mystical world of Tolkein's ”Lord Of The Rings”. Arthur Rankin Original Release: 1983 Limited All Analog Remastering Recording 29 min, per side

[engl] It's all over town. In 2021 it's time again for a new The Monsters (official) album and thus also for a new Sounds of Subterrania Special Edition. It's time to rewrite the history of the record cover. 2021 is about nothing more and nothing less than giving back Punk the Do It Yourself. Are you ready for the greatest adventure of your life? Are you ready to face the most difficult task of your record collecting life and to turn a phrase into a creed, stitch by stitch? Your set consists "You're Class, I'm Trash" as an English and a Swiss version, canvas, 5,500 cm of thread and a needle. Everything is wrapped in an XL poster with a velvet sleeve and peppered with the irrefutable certainty that you will have to fight this battle alone. It's up to you to bring the artwork to perfection and to prove what only a true fan is capable of. The sets (Janosh, Swan-Lee or the Beat-Man himself) are strictly limited and only available directly from Sounds of Subterrania.

[engl] The band started in 1997 (I think) from the ashes of the legendary garagepunkpopband The Basement Brats.Guitarist Nils tempo and drummer Mads Husvik (Bratman) decided to play music that were closer to there hearts- 60`s garage psychedelia and powerpop, so they mixed the two genres and The Nuggets were born. Listen the 8 new nuggets of gold!

[engl] Cancer’ is a rough, melodic rock album emanating the member’s background in hardcore and metal while the band treads new paths towards a more vulnerable expression. An approach that is a natural consequence of the dissolvement, illness and struggle that have marked the band these last years - a struggle which has now resulted in a strong and honest record about survival ‘Cancer’ is produced by Jacob Bredahl and Riverhead, recorded by Tommy Hansen, Tue Madsen and Jacob Bredahl, mastered by Brad Boatright with artwork by Liz Curso. ‘Cancer’ is released on LP/CS/Digital via Sounds of Subterrania April 28th 2023.

[engl] Special Version handmade limited on 50 copies!

[engl] It's still out there, the spirit of the working class. Maybe not necessarily where Marx had placed him. Today, the saturated middle class with their own home, double garage and annual vacation in Thailand stands on the assembly lines of Ford or BMW. The new working class delivers food under precarious conditions in the service of turbo-capitalism, drives bus night shifts, does the dirty work of a professor on a temporary assistant contract or wipes the butts of dementia sufferers for a little applause from the balconies of the higher earners. So new times, which of course are still the same as they always were. There are “those up there”. And there are the people who keep the store running, who straighten their backs and grit their teeth. And who urgently need a beer in the evening. Because the best place is still at the bar. Somewhere between Birth, School, Work, Death there are blues, sweat and beer. Fits pub rock. Pubrock is the grassroots movement of rock'n'roll. Born in the late 1960s and early 1970s, it brought music back from the oversized stages to the basement clubs and pubs, especially in the English industrial districts, where “workers” were actually still crowding around. Where people drank, laughed and argued. Where the motto was “pub fights, pub gets along” and huge keyboard towers, Mussorgsky adaptations and delicately blown fairy hair were laughed at in never politically correct expressions. Against the then omnipresent mantra of higher!, more complex!, more delicate! Pub rockers used the simplicity of the blues, gut feeling rhythm rumbling, cleaver riffs, brutally fast hooklines and clenched fists raised in the air. If you want, you can interpret pub rock as the anti-thesis to capitalism. Because although essentially “apolitical”, the lack of ambition for “bigger things” alone means the refusal of permanent growth. And what was forced by the oil crisis in the 1970s - the practical end of the suddenly unaffordable touring throughout the country - also meant, conversely, a return to one's own strengths and resources. “Act local” also meant “in the local pub in your neighborhood”. (A rogue who draws parallels to the current crisis of rock musicians, who are losing their tours in droves and who can hardly call themselves professionals anymore, because that would mean that they could somehow make a living from their music.) Back then, pub rock triggered the reboot of rock music, was the necessary initial spark and the stepping stone for punk and everything that came after. Sometimes later eaten by one's own children or swept under the carpet of history and largely forgotten - Kursaal Flyers, Dr. Feelgood, Eddie & The Hotrods, Brinsley Schwarz - but sometimes also matured into a central actor or mentor - Nick Lowe, Joe Strummer, Ian Dury, Elvis Costello. And despite the limited resources, pub rock was anything but provincial, it unhesitatingly usurped and "appropriated" what works in every pub in the world, whether in Connewitz/Saxony or Bozeman/Montana: country casualness, heavy rock depth , tinkling honky-tonk pianos, the fearless musical freedom of a Wurlitzer speaker. Since then, the only thing that has been important is that it has to work. And the people there, on this mini stage with their mini equipment, have to fit. To dirty toilets full of stickers and stupid graffiti, to puddles of beer, unwashed hair, worn out clothes. Even with Schneckenkönich everything seems a bit dirty and greasy; Hair, denim jackets, and anyway the music, which revolves around a few blues patterns and would inevitably be denounced as "authentic", "honest" and "handmade" in the three-part announcements that might be left in the local press. A friend of the band once called it “the finest working-class hippie shit” and that pretty much says it all. The rest is available at the counter in the evening.

[engl] The Sha-La-Lee’s are a belgian/dutch Proto punk/ Garage rock and roll band with former members of El Guapo Stuntteam, the Sore Losers, the Kik and Powervice. Way beyond their teens, close to being deaf, backpains and receding hairlines they are still too dumb to quit... A new album will be released end of May '23 containing 13 songs about the usual shit , love, frustation ,tragedy and lies. Link Wray, The Sonics, Oblivians, Roky Erickson, The Deadly Snakes,Chuck Berry MC5 and Reigning Sound are some of the bands the Sha-La-Lee’s have stolen from. Everything would be said in a nutshell if there wasn't more to it than that. The Sha- La-Lee’s is the logical step after 30 years of experience in the music business. Everyone knows these kitsch films, man/woman from the village goes out into the big world, does business, feels empty, comes back and finds happiness. Even if this image conveyed is wrong, there is an important narrative in it. Happiness needs direct contact. And that's how it is in rock 'n' roll. Big stages help the ego, but they never convey the real idea of rock 'n' roll. Perhaps this thought was the inspiration behind the founding of the Sha-La-Lee’s. The smell of cigarette smoke at the concert, a beer bottle to your lips instead of a half-crushed plastic cup. Conversations after the show with like-minded people instead of the same small business talks in the locked backstage area. It's a guess, but one that's suggested by the sound of the album. This rough form of writing songs, paired with 30 years of band, stage and whatever experience, makes old garage punk hearts swarm. "Garbage Dreams" has something timeless about it, a sound that doesn't pander to anyone, that's what it is - garage punk the way I love it.