[engl] CHICKEN SNAKES sound is likened to old rusty train wheels, screeching down a lonesome track at midnight... Or a Gris-Gris charm made of dirty swamp water, a pinch of graveyard dirt, a few bottles of Whisky & Gin, The Devil and Sin, stirred with a handful of rooster feathers- until mixed well... Do you remember The Druids of The Gué Charette? The Electric Nettles share one side of a split record with them Pretty sure you also enjoyed “All the Darkness Looks Alive” (Druids of The Gué Charette, Beast Records, BR250). So who the fuck are The Electric Nettles? Easy: they’re also the Druids of The Gué Charette… Are you ready for a heavy fuzz psych garage trip?

[engl] Just one year after the release of their album "Bird of Prey", a rich year of touring, it is the release in Europe and the USA of their 3rd album "The Biggest Sound". We are proud to present ESCOBAR. It is a duet formed by Rémi (of Weird'Omen / Anomalys) and Charly (of the mythical band of the 90s The Bushmen / Daria). ESCOBAR rings the era of the return of Lo-Fi, the Grunge !!! "Wild and frenetic on stage, swing a punk electrified grunge garage and songs that remain in the head". In any case, experts in the field, Heatwave, Mowno or even Still In Rock agree that the band has experience of its influences and rewards to the minimalist, minimalist, a Rock'n'Roll Without concession and without plagiarism!

[engl] Once the intro to opener “Human” gives way to its fully-realized sonic purpose, it’s obvious that Harlan T. Bobo’s fourth proper album, A History of Violence, is quite different from his previous body of work. The classic historical emotional heft of a songwriter trying to make sense of life’s chaos, think mid-70s Lou Reed, especially Coney Island Baby, is a thread that can be heard running through the album’s mid-tempo tracks like “Human” and the miniature literary tragedy that is “Nadine”. The punchier tracks on the album, like “Spiders”, might conjure very early Green On Red, what X’s mid-80s output could have been, or even the roots-rock tendencies of overlooked genius, Cass McCombs. A History of Violence still highlights Bobo’s whiskey-and-cigarette-informed vocal style, and on the more intimate tracks, it’s a distorted ear candy that warbles into increasingly sunken, uncomfortable places, like that of the songwriter with which comparisons have followed Bobo throughout his career: the late Leonard Cohen. But there is a richer canvas on which to work this time out, not to mention a decidedly heavier and darker one. The album was recorded in Memphis with Doug Easley, who has previously worked with Cat Power, Pavement, Wilco, Sonic Youth, Jon Spencer, and Jeff Buckley. Bobo also brought in Steve Selvidge (The Hold Steady, Bash & Pop) on bass and Jeff “Bunny” Dutton (Action Family) on guitar, along with regular contributors Jeff Bouck (Polyphonic Spree) and Brendan Spangler (Viva l’American Death Ray). The result is a naturally dynamic album that seems equally at home with howling guitars and heavy bass lines as it does with haunting piano and humble pleas. A History of Violence is Bobo’s most complex -- and complete -- album to date.

[engl] Too enigmatic, too laconic, and too careless about the music biz to gain fame outside of his adopted homes in Tennessee and France, Harlan T Bobo is a rare bird – a soulful, comedic, yet vicious and wholly underrated singer-songwriter, a divorced single father who seems happiest when he’s most dissolute. Porch Songs, the long-awaited next chapter in Bobo’s discography, will be released on Goner Records on August 5, 2022. Everything, and nothing, has changed: Bobo’s painfully sharp lyrics and graveled delivery are omnipresent. He still deals in unvarnished, uncomfortable truths about love. His wearied worldview, revered by his listeners, has further ossified on Porch Songs, which abounds with sad titles, worn out lyrics, and tunes about departed friends, such as “Fan,” which unravels Bobo’s memories of the late Shawn Cripps. Despite the sparse melancholy that clouds most of the album’s 13 tracks, Porch Songs is no downer. Instead, it bristles with energy, sounding like a beyond-the-grave gift bestowed on Bobo from the ghosts of Waylon Jennings, Lou Reed, and Leonard Cohen. Bobo laughs when offered the comparison. “They may be mildly derivative of those people, but they’re not that good.” Listeners will disagree. Take “Worry,” the opening song: it unwinds like Jennings’ early outlaw country tune “The Taker,” with a similar wry sentimentality that underwrites the folly of failed love. Bobo’s commiseration on the song sounds close-up and confidential, as if he’s telling his story to the stranger on the next barstool. “Satisfaction,” “Prey,” and “Fan,” on the other hand, evoke the celestial melodies that comprise Cohen’s Songs of Love and Hate–with every lyric, it seems, Bobo addresses his muse from the point-of-view of a rearview mirror. Unlike Reed, Bobo will never have his “Perfect Day.” As he croons on the final verse of “Satisfaction,” “what a shame.” “I recorded these songs just to get them out of my head,” says Bobo. He cut 11 of the tracks that ultimately wound up on Porch Songs in a single day onto eight-track tape at Watt House, a rehearsal space in Perpignan, France. Perpignan has been home for more than a decade now, after rambling from Ohio to San Francisco to Memphis, with myriad layovers in between. And while they may have, as Bobo claims, “languished under his bed for years” – these 13 songs rank among the best he’s written. It’s also worth taking a cinematic approach to Porch Songs. Not counting Bobo’s holiday album, Merry Christmas Spaceman, Porch Songs is his fifth full-length record, following Too Much Love, I’m Your Man, Sucker, and A History of Violence. Taken as an entirety, the album sequence is similar to François Truffaut’s semi-autobiographical Antoine Doinel Cycle, which began with The 400 Blows and ended with Love on the Run. On Porch Songs, Bobo may be, like Doinel, bloodied and bowed, but, as he sings on “Desert,” he has finally “made a home in the desert sun.” Then the raucous “Rock Star” turns back to Jennings’ outlaw story-song style, as does “Tom” and the singalong “Must Be in Memphis,” which portrays the nightlife Bobo left behind in the Bluff City. “I’m feeling my best and acting my worst/I must be in Memphis tonight,” he sings, describing decadent pool parties, late night gay bars, and the general detritis of a musician’s life. For “Let Mama Sleep,” Bobo downshifts into a merciless lullaby, then closes with a full band (guitarist Valentin Estel, drummer Sébastian Girard, and bassist Phil Argeles) on “Free,” a sunnier song that harkens back to the lovesick emotions that pervaded Too Much Love and I’m Your Man. “There are silly songs on the album,” Bobo acknowledges, “but the heaviest hitters are about the dissolution of a relationship. None of the music I’m listening to myself is this confessional. Artists I like can keep my interest going without talking about their own lives, but I can’t seem to do that. Whenever I sit down by myself, with a guitar, I’m consoling myself. I write to console myself. When I’m happy, I’ve got better things to do.”

[engl] Hipbone Slim and The Kneetremblers are a most prolific and versatile musical combination. Prolific in that they have previously recorded and released ten albums of highly regarded, critically acclaimed, greatly sought-after and collectable music. Versatil in that they are able to perform music in many style, such as rocknroll, surf, beat, rockabilly, zydeco and of course both blues and rhythm and blues.Whatever the musical genre in which the Kneetremblers choose to play, at the heart of their music is always rocknroll!

[engl] Hipbone Slim and The Kneetremblers are a most prolific and versatile musical combination. Prolific in that they have previously recorded and released ten albums of highly regarded, critically acclaimed, greatly sought-after and collectable music. Versatil in that they are able to perform music in many style, such as rock’n’roll, surf, beat, rockabilly, zydeco and of course both blues and rhythm and blues. Whatever the musical genre in which the Kneetremblers choose to play, at the heart of their music is always the blues!

[engl] Hoa Queen is a flower that comes from abroad. Bold and white, it breaks through the night before dying in the pale morning light. A beauty just given and already gone. Its petals will never taste the dew. Hoa Queen is one, all, or several women. The one screaming her pain, the one spitting her anger, the one that daydreams on a cell bench. An army of wounded bodies and wandering souls marching with grace through a scarlet night. A parade of damaged silhouettes dancing along with the intensity of despair. Marjorie, awaiting for death in a row, Lucia, giving away her flesh and self for money, Aileen taking her preys to the edges of a wood. Lizzie, Willow, Betty… Hoa Queen tells their stories, writes them on skins and strings. 5 musicians who have already been playing here and there, together and apart. 5 musicians carried by the whispers of those broken women, tuned to emotions, walking on a tightrope to create music coming from a deep place that smells like cotton, mud, sun and night, tears and blood.

[engl] Hummingbird is back with its 3rd release on Beast!

[engl] What a goddamned mouthful. What a bloody earful. Punk rock'n'roll without the spit shine. Jackson Reid Briggs, after a year or two playing solo & exiled from his home, adrift in the worlds most liveable city needed a backing band. Sandwiched somewhere between his hometowns The Saints and Neil Young at his most ragged, playing in a dirty old pub on the outskirts patronised by locals only.

[engl] James McCann’s latest album with the New Vindictives, Gotta Lotta Move - Boom!, released on vinyl on French label Beast Records and on CD on Off the Hip, sees McCann return to the punk rock roots that inspired him as a teenager. Featuring a co-write with Penny Ikinger (I Can Control Your Mind) and a cover of Spencer P Jones’ Life in Jail, Gotta Love Move - Boom! is nine doses of punk-spiked rock’n’roll guaranteed to kick you into excitement. This is a record awash with the punk attitude of the Sex Pistols, the rhythmic brutality of Feedtime and the leather-clad rock’n’roll passion of Motörhead.

[engl] JJ McCann Transmission – aka James McCann – has a long history in Australian rock circles (in Perth, Sydney and Melbourne) and has had a bunch of releases out in France and Spain. James’ new album – his first under the new JJ McCann Transmission moniker – is called Hit With Love and it was produced by Rob Younger of Radio Birdman and the New Christs who produced every second great Australian rock record in the 80s and 90s (Died Pretty, Hard-Ons, Lime Spiders, Celibate Rifles, Hoodoo Gurus etc) and who more recently produced Civic’s Taken By Force. It is a scorcher. Songs like ‘Forces at Work’, ‘Don’t Bother Me’, ‘She’s Repatriated’ and ‘Blindsided’ would be at home in the booze stained venues and shagpile carpet sharehouses of Australian inner-city music scenes of yore. ‘Amphibious Skin’ and ‘New Machine’ pack an angular post-punk punch, while ‘Sentimental Crap’ takes a booze and blues-stained axe to misconceived nostalgia. This is an album that drips with reverence for the past and bursts with passion for the future of rock’n’roll. Get it now and feel the love.

[engl] The new Johnny Casino album ´Trade Winds´ recorded and produced in North Fremantle Western Australia by Kenny´killer´Watt and Johnny Casino, featuring Warren Hall (Datura 4, Ex Volcanics, Ex Drones) Martyn P Casey (Nick Cave and The Bad Seeds, Grinderman, The Triffids), Dom Mariani (DM3, The Stems), Greg Hitchcock (The Bamboos, Ex You Am I), Johnny Phatouros (The Volcanics), Richard Lane (The Stems), Carrie and Jodi Phillis (Boobytraps-The Clouds)

[engl] Kaviar Special is not the name of the new operation mounted by Vladimir Putin to eliminate its competitors. Kaviar Special is rather the name of a band coming from Rennes, France, that has been swinging on the dirty garage scene since 2012. After a first album released in 2013 and a second one, # 2, released in 2016 via Howlin Banana and Beast Records, here comes the 3rd one, Vortex! This album is scrutinized by all rock'n'roll lovers, a bit like Codex Seraphinanus passionate about the Illuminati of extraterrestrial life. More pop than the previous ones, it contains some psychedelic jams Nuggets like as well as some Bubblegum to shame Britney Spears' cheewing gum. Take out your roller skates from the garage, Kaviar Special's boom begins!

[engl] Melbourne’s soul-surf garage party animals La Bastard return with their long awaited third studio album, Trouble. Recorded at Soundpark Studios in Melbourne with Andrew “Idge” Hehir (Swedish Magazines, Dave Graney, Darling Downs) and mixed by Sam Lowe (Eaten By Dogs), Trouble is La Bastard’s most realised work to date. A more personal, soul influenced affair, the band adds richness to their tight four-piece sound with complex arrangements and guest performances from a range of Melbourne’s most talented musicians. Featuring guest performances from Chris Russell (Chris Russell’s Chicken Walk), Joe Cope (Big Smoke), Zoe K, Kate Alexander (Junk Horses, Ute Root), Rich Davies and many more!

[engl] Lady Jane is a French band based in Rennes city, Brittany. “In Pieno!” is their second album through Beast Records and their music is still a kind of weird dirty psychedelic blues rock lost somewhere between the early Rolling Stones and the Gun Club. This album is rawest than their first release “The Youngest Was The Least Loved” and is still something like a fuzzy throbbing vicious psychedelic rock’n’roll blues.

[engl] Too enigmatic, too laconic, and too careless about the music biz to gain fame outside of his adopted homes in Tennessee and France, Harlan T Bobo is a rare bird – a soulful, comedic, yet vicious and wholly underrated singer-songwriter, a divorced single father who seems happiest when he’s most dissolute. Porch Songs, the long-awaited next chapter in Bobo’s discography, will be released on Goner Records on August 5, 2022. Everything, and nothing, has changed: Bobo’s painfully sharp lyrics and graveled delivery are omnipresent. He still deals in unvarnished, uncomfortable truths about love. His wearied worldview, revered by his listeners, has further ossified on Porch Songs, which abounds with sad titles, worn out lyrics, and tunes about departed friends, such as “Fan,” which unravels Bobo’s memories of the late Shawn Cripps. Despite the sparse melancholy that clouds most of the album’s 13 tracks, Porch Songs is no downer. Instead, it bristles with energy, sounding like a beyond-the-grave gift bestowed on Bobo from the ghosts of Waylon Jennings, Lou Reed, and Leonard Cohen. Bobo laughs when offered the comparison. “They may be mildly derivative of those people, but they’re not that good.” Listeners will disagree. Take “Worry,” the opening song: it unwinds like Jennings’ early outlaw country tune “The Taker,” with a similar wry sentimentality that underwrites the folly of failed love. Bobo’s commiseration on the song sounds close-up and confidential, as if he’s telling his story to the stranger on the next barstool. “Satisfaction,” “Prey,” and “Fan,” on the other hand, evoke the celestial melodies that comprise Cohen’s Songs of Love and Hate–with every lyric, it seems, Bobo addresses his muse from the point-of-view of a rearview mirror. Unlike Reed, Bobo will never have his “Perfect Day.” As he croons on the final verse of “Satisfaction,” “what a shame.” “I recorded these songs just to get them out of my head,” says Bobo. He cut 11 of the tracks that ultimately wound up on Porch Songs in a single day onto eight-track tape at Watt House, a rehearsal space in Perpignan, France. Perpignan has been home for more than a decade now, after rambling from Ohio to San Francisco to Memphis, with myriad layovers in between. And while they may have, as Bobo claims, “languished under his bed for years” – these 13 songs rank among the best he’s written. It’s also worth taking a cinematic approach to Porch Songs. Not counting Bobo’s holiday album, Merry Christmas Spaceman, Porch Songs is his fifth full-length record, following Too Much Love, I’m Your Man, Sucker, and A History of Violence. Taken as an entirety, the album sequence is similar to François Truffaut’s semi-autobiographical Antoine Doinel Cycle, which began with The 400 Blows and ended with Love on the Run. On Porch Songs, Bobo may be, like Doinel, bloodied and bowed, but, as he sings on “Desert,” he has finally “made a home in the desert sun.” Then the raucous “Rock Star” turns back to Jennings’ outlaw story-song style, as does “Tom” and the singalong “Must Be in Memphis,” which portrays the nightlife Bobo left behind in the Bluff City. “I’m feeling my best and acting my worst/I must be in Memphis tonight,” he sings, describing decadent pool parties, late night gay bars, and the general detritis of a musician’s life. For “Let Mama Sleep,” Bobo downshifts into a merciless lullaby, then closes with a full band (guitarist Valentin Estel, drummer Sébastian Girard, and bassist Phil Argeles) on “Free,” a sunnier song that harkens back to the lovesick emotions that pervaded Too Much Love and I’m Your Man. “There are silly songs on the album,” Bobo acknowledges, “but the heaviest hitters are about the dissolution of a relationship. None of the music I’m listening to myself is this confessional. Artists I like can keep my interest going without talking about their own lives, but I can’t seem to do that. Whenever I sit down by myself, with a guitar, I’m consoling myself. I write to console myself. When I’m happy, I’ve got better things to do.”

[engl] Long Hours is a solo project by Julian Medor. Long hours has been coined as being lofi, nowave, synth punk croon-core, gothdoowop with a relentless live show inspired by frontmen such as David Yow (the Jesus lizard) JG Thirlwell (Foetus) Alan Vega (Suicide). Long Hours has performed up & down the east coast of Australia countless times and has toured japan twice. He has also released 27 albums in the space of 3 years. "Never Enough" is his first LP available on Beast Records.

[engl] Revolving around singer/songwriters Johanna Brockman and her partner Dimitri Kucharzewski, Midnight Scavengers are a unique and compelling presence. Situated between sinister violent beauty and volatile fragmented shyness, Johanna Brockman, once a member of James McCann’s Dirty Skirt Band, and The Brian Hooper Band (who opened for Nick Cave And The Bad Seeds on their 2009 Tour) met up with now partner in songs Dimitri Kucharzewski (Nikki Sudden’s Last Bandits, The Hollowmen) in Berlin in 2011 to create the core of what would become Midnight Scavengers. After relocating to Melbourne in 2012, they grew to a five piece with the addition of Jeff Hooker (Brian Hooper’ s band, Kim Salmon, The Darling Downs) on bass, Tim O’Shannassy (MJ Halloran, Paradise Motel, Penny Ikinger) on drums, and Andrew Watson (The Man Who Wasn’t There, Charlie Marshall) on violin and guitar. Midnight Scavengers have become an extremely well respected and recognized band, playing alongside legendary figures such as Spencer P. Jones, Kim Salmon, Hugo Race and Ron S. Peno among others.

[engl] The eagerly anticipated debut long player from Naarm/ Melbourne trio MOODY BEACHES! Limited edition Acid Green colour vinyl - comes with download code. Following the release of their thundering lead single 'Crowded World' and the latest cut ounting Reasons', Naarm/ Melbourne trio Moody Beaches have announced their hotly anticipated debut long player 'Acid Ocean'; a 10-track serve of harmony-driven and brooding fuzzed-out songs, raw and scathing, channelling the loud-quiet-loud dynamic and introspection that made 80s-90s music so visceral. Emerging from Melbourne's punk-rock underbelly in 2017, Moody Beaches have since cemented themselves as a must-watch live act and staple of the Australian indie punk scene, who have shared stages with the likes of Magic Dirt, Screamfeeder, Dead Kennedy's and Spiderbait.