[engl] Perilymph started a few years ago as a one man project led by Fabien de Menou, a french man living in Berlin. The first album was composed and recorded as such, Fabien recorded everything in his studio, except for the drums, which he asked his friend Fabian to record. As other friends joined in, the band was able to turn these songs into a live show. It's around this time that Fabien composed the songs for “Deux". Here, the process was a little different, and he was able to bounce ideas off everyone, and to try riffs and ideas as a band. The recording process was very similar to the first time though, with once again Fabian recording drums and Fabien taking care of the rest, as well as the production. This album is a step forward in the story of the band: moving from Fabien's bedroom songs into a band of friends.

[engl] "Over the course of their four year existence, Perilymph have painted themselves into a whimsical and sometimes frightening universe of their own. It is a strange yet somehow familiar place, where musical motifs wax and wane like reoccurring dreams that never seem to shake. Maybe they like it there...Or maybe it's just too late for them to get out... This particular series of sonic excursions sees the band venturing deeper into the loungey moods of ‘70s soundtracks and library music. Making for a psychedelic sound cinema that transports the listener from pastoral oases to sophisticated cityspaces and all the way back to the outer limits of the cosmos where we were born. Sung entirely in the French language, the introspective grooves and Moogy movements that make up “Tout En Haut'' chug infinite like chiming cogs in some fantastic musical machine. This is the sound of the ever changing world of Perilymph - a place where the record may end but the music never stops."

[engl] PINCH POINTS present the first-ever vinyl pressing of their 2018 debut EP MECHANICAL INJURY, celebrating the 5th anniversary of the release and featuring new bonus track ‘PAVE ME’. This EP was originally released on cassette in 2018 through Roolette Records. 100 red cassettes were initially printed in ‘Australia’ alongside 100 yellow EU tapes through Six Tonnes de Chair, followed by a repress of 100 black/white cassettes in Aus. MECHANICAL INJURY was self-recorded in the band’s Coburg house over 3 hours, just months after forming. Listening today, this EP represents the start of the evolution of PINCH POINTS’ songwriting. There’s a carefree slant to these songs. PP went down the riff rabbit hole until sections seemed to reach their natural conclusions, feeling fun and comfortable. This EP was notably featured in Bandcamp’s top 100 releases of 2018. Editorial director J. Edward Keyes famously said: “…What comes across on Injury more than anything is a pure, unfiltered sense of joy; make no mistake: the machine that’s causing the titular injuries is capitalism, and the band is far from thrilled about it. But they’ve found a way to merge protest music with party music—think “Rock Lobster,” if it were about overthrowing the government. Pinch Points put the “riot” back in “riotous.” The digital and vinyl versions of this EP reissue feature a 7th track ‘PAVE ME’ which was written alongside the other songs but never properly finalised or recorded until now. It was self-recorded in the same room in Coburg, almost 5 years later. 200 copies

[engl] The moment has finally arrived, The new album from the Belgian rockers Pink Room is out. The album is called ‘Putain Royale’ and is out on ZOE ZOE RECORDS, ROCKERILL RECORDS & SIX TONNES DE CHAIR RECORDS. A while ago we got the first video and single from the track ‘Losing’ which was a gorgeous kick in the face and the first track after the intro (by Nathan Roche) and it is a perfect start on ‘Putain Royale’, heavy garageriffs and some wild psychedelic solo work at the end of the track. On ‘Losing’ Cis Deman (Stake) and Bart Baele (Tubelight, Speedozer) are guests. For ‘Stay White’ they change to a higher gear and go faster and wilder, a track filled with fast paced energy. By now everybody already understands that this album will be one intese chunk of energy. ‘Hail Satan’ may be the most accesible track, if you could call anything accesible on this album, the riff on ‘Hail Satan’ is catchy and the vocals screech their way into my brain. Tijl Van De Casteele from Whorses en Jonas Calu from Little Trouble Kids doig guest percussion on ‘Hail Satan’. Their is a clip coming for ‘Hail Satan’ and their will be a lot of fire in it which is cool because fire is cool. There is no time for a breather (on the whole album) or a break to drink a hot cup of cacao because ‘Live Laugh Love’ is again fast, loud, and like almost all of their tracks it is adrenaline boosting (is that a word? it is now?). ‘All Breaks No Gas’ I heard the first time when I was on my bike and I was so pumped I almost drove in to a canal. As I am an excellent reviewer it is also time to talk about the drums so that the drummer did not think I forgot about him, on the whole album Jelle does some excellent drumming and with all his hittin and smashin he takes care of the relentless tempo and on the next track ‘Colin’ he brings some nice vibe with his woody drumsticks. ‘Skin’ (with guest vocals from Sam De Clercq van Brorlab) and ‘The Most Underrated Piece of Art is Power’ are catchy rocknroll tracks (but then very heavy) . The last track ‘Stay Black’ is with guest vocals by Ruben from Vonnis and may be the most brutal track on the album, a track filled with punk and hardcore. The reason this album absolutely rules is because it is really fucking loud and heavy but at the same time it is catchy and fun. There is a perfect balance between noiserock and garagerock. I hate it when bands are superdark and really serious and Pink Room is the other way around, it is all about having a blast and that is what you hear throughout the whole album. Al the guest musicians on this album just make the whole shabang better, they give it an extra kick. This album feels like a destructive party, a party that ends in the gutter, broken and hurt but really happy.

[engl] limited

[engl] PLATINUM BOYS are from the Rust Belt town of Milwaukee, WI, USA. At first they seem like they can’t possibly be serious about this whole “Rock n’ Roll” thing – that PLATINUM BOYS must be some kind of stoned inside joke taken to the unfortunate extreme of actually appearing in public. The first impression is that they exist for sick self-amusement or that they all lost some gross bet. But when they start playing and the full force of their brutish sound is cracked open, PLATINUM BOYS deliver a musical punch that’s no joke. Their paint-huffing, sweat-soaked garage matrimony of Thin Lizzy and the Buzzcocks summons the spirit of the past 50 years of Rock n’ Roll in a uniquely 21st Century American way. Their songs are tight, aggressively sped-out and they boil up from a sneering, self-aware sense of humor. PLATINUM BOYS might just be geniuses, but if they are, it’s the type of genius that leaves you brain damaged. (Rev.Norb)

[engl] From the cradle to a 9-5 job, buried in unread emails and PMQ youtube alerts, tackling issues such as Question Time Bias and Workplace Etiquette. Public Body formed late 2018 with a clear aim to write the perfect soundtrack to whatever you do whilst procrastinating at your day job. 'Ask Me Later' “Labour-oppressive wellness initiatives; machinic lubricants. Half a century of unprocessed bitterness, constricted by social norms as corporate structures. The Program fails through successive firmware updates while, in the background, slideshow graphics show that rage tends towards infinity. The face of a destabilised workforce in a society that secretes symbolic concessions as a defence reflex against meaningful change. Your positive attitude is keeping us all in line.” Emil Mniszko ‘Table Manners’ "You are sitting in the lobby, a ghostly jingle drifts through the airwaves while a mute screen shows familiar suited men seated around a large circular table. The calendar says 2020, but that can’t be right. Memories of an information age fall away as the spectres of a forgotten future pass into you." Emil Mniszko

[engl] Public Body’s brand new EP is a five track counting work of chaotic post punk. Flavour of Labour’ was released digitally as well as on 12” vinyl via Six Tonnes De Chair Records! Its title gives away what inspired the Brighton-based post punk group to write their latest release, ‘Flavour of Labour’ talks about different themes such as terrible jobs, financial struggles, and describes social observations. It is the to the point lyricism that had me hooked to Public Body’s sound and style, add some guitar licks, swinging synths and pounding drums and you’ve got a mix of punk, garage and math rock that is vigorous and thrilling! Their EP was recorded at Echo Zoo studios and opens with the eccentric ‘Formica’, we can hear the influences of bands such as FEET (who producer and guitarist Theo Verney previously worked with), Squid and Sports Team. Those influences are reflected in the spoken vocals and fast paced soundscapes consisting of weird elements and rambling guitars! Their sound is an organised mess, a chaotic blend of effects and noise, yet catchy and repetitive like a mantra which makes their songs, such as ‘Flavour of Labour’, so easy to get addicted to! When working forty-odd hours in shitty call centre jobs, it’s barely possible to feel good when you arrive home after work, which is what inspired vocalist and guitarist Seb Gilmore to write a song… Or ten. Previously released singles ‘Hard To Concentrate’ and ‘Reset My Password’ are a breath of fresh air, a spacious sound that is fast paced and listens like a double shot of caffeine without having the jitters afterwards. These guitar-driven punk rock tracks are exactly what we need after a long day of work, feeling heard and understood and no longer so alone in leading a shitty work life. The agitation comes to life in their carefully crafted sounds and soundscapes, about the inspiration behind ‘Reset My Password’ and the situation at the height of COVID Gilmore said: “Everyone was clapping for NHS staff and key workers, and that got me thinking what my place is in all this mess. I then logged onto my work computer and was advised by a popup that it was time to reset my password. So I wrote a song about how pointless and useless my job is to the world when everything felt like it was breaking and seemed apocalyptic.” The EP’s closing statement is single ‘Sunburnt’, a screeching and ferocious track most melodic of all and politically charged like none of the others. It is relentless, energetic and potentially my favourite of the EP. A great slice of Public Body, as well as all other singles on the EP which has clearly been created with the end product in mind. All five tracks work hand in hand and bring a complete picture of what goes on in Public Body’s personal, professional, and musical mind! Words by Laura Rosierse

[engl] limited

[engl] limited

[engl] The Great Depression, the latest release from Geneva art punks the Staches, fits a lot of action into an economical two tracks. The band has flirted with raucous garage rock primitivism on their past releases, but here they pare down their sound and go all in for minimal post-punk that nods to krautrock via mechanical riffs and the addition of ambient synths. It’s a good fit for a band who have grown to be formidable songwriters with musicianship to back up their genre-melding ideas. The title track is built on a stomping garage beat with a buzzy guitar line that’s almost prog-like in its construction. B-side “You Are Still a Stranger” is a deconstructed pop song with stream of consciousness lyrics that collapses into a cloudy, off-kilter chorus led by an echoing synth line and layered vocals.

[engl] „This Lake Is Pointless“ a statement made by Mr. Anton Garber boywonder of the Modern Talking of our time - PUFF , regarding a puddle in the countryside of Bourgogne / France during the beautiful festival of Cour Denis. The title of this third studio album, which The Staches recorded on their own with a Tascam - 4track and a computer, in their chosen home of Leipzig / Germany also refers to their original home - the city of Géneve, it’s beautiful lake and pathetic fountain. The fact that they left these comforting, clean streets of their wealthy home to fully dedicate their carcasses to play and record a very own brand of emotionally challenging synth guitar „Rockmusic“ also leads me to alternatively (and more accurately) name this record: „ Tales Of Exile And Isolation“. I mean you can really hear them going out of their minds zoning stoned during a nasty winternight recording just to see the sun arise to an equally dark and grey day. Sounds depressing? Yes! But this record is everything but depressing because it has a very forgiving, conciliatory quality that I am looking for in a lot of music. Speaking of depression - the opener The Great Depression is just as bold as a Pernod on ice splashed right into your face (by your fav. bartender), the first words „The great depression - EmotionaI competition“ (followed by a german „Eins Zwei Drei Vier“ that in it’s bored dumbness reflects perfectly how annoyed you can get by the language that you are supposed to learn after living for some time in your new home ) sung with that not hidden at all french accent always kills me right away. Followed by the laid back, groovy Burger King - drive - thru hymn Fake Stomach Ache, which features deliciously dry drums a thick leading bassline accompanied by a toyish sounding synth and a nice flat sounding Marchand ( yes that is someone of the band ) signature guitar. Again great lyrics and multiple voices adding up to the general theme of desperation and winter loneliness. A single great line sums up the whole phenomenon of Neo -Hippie - Techno - MDMA bullshit that you can refer to immediately if you have ever been at a club, an afterhour or just happen to live in a big ,hip ( german ) city „Living in the work zone, feeling low, living the same day, every day, the same day after a night of drugs and no idea of who or what to blame“. I could read a big deal of criticizing modern society and yourself as part of it in all of this, but it’s never delivered in a dogmatic way and not too hidden as well, which is not easy to achieve. Thank God For Mc Donald’s is a very good title and a very good song indeed. Surprised to learn that these fellow Switzerlanders never got introduced properly to Sonic Youth I still tend to find a lot of their momentum in the Staches’ compositions. Especially in the closing instrumental intro of Hummus, a stoic and acceptingly told story of a date that almost didn’t happen „ Sitting at the table and I know she won’t arrive - The dish is cold and I am almost out of fries“ sung with a little accent that I’d file under fake - british - punk, but doesn’t annoy. As you may have already realized you made it till the namedropping part of this review and I cannot let you get through it before mentioning Parquet Courts and Mastodon, decide for yourself. But you can def. hear how they are influenced by a lot of australian stuff as the likes of Hierophants or UV Race ( there is even a song called VW race, and the last record was mastered by Mickey Young - ok, yes this guy is mastering EVERYTHING, but this is still cool! ) and equally electronically enhanced 80s german Wave, No Wave or New Wave music. The band is probably almost as annoyed by these comparisons as by being referred and thereby reduced to a female act, girl punk or feminist outfit ( I will officially refer to them as Male Punk here so this probably won’t make it to the final version). Especially enjoyable are all the little things going on before after or inbetween the songs and the ironic touch towards handling the own persona - see Money In My Veins dealing with the curse and blessing of coming from one of the richest countries in the world. This record for sure doesn’t wear off fast, it rather grows and doesn’t get boring, especially the depths of dealing with undealt emotions and the obligatory heartbreak make this really interesting and referable especially after a couple of times listening to it. „Allrighty dudskies, en voiture Simone and to Victory Middlesbrough!“

[engl] The Staches, two girls, two guys from Geneva, Switzerland. Together for ages, almost brothers and sisters, they are bent on mixing garage, female punk from the 80’s and lo-fi pop. Driven by the fire of their youth, they criss-cross Eu-rope, a little bit of USA, and they did more than a hundred of gigs. On stage, The Staches are full of energy and love. Their first LP « MACHINE » (Burning Sound Records, CH) was released in May 2014 and their first single « There’s Something in Between » (La Suisse Primitive Records, CH) came out in October 2014. A second single « Como Se Dice » (Frantic City (F) / Azbin Records (B)) went out in February 2015 and the maxi 45 « EP III » (Six Tonnes de Chair (F) in September 2015.

[engl] This 7” and all of Sunfruits music is made, recorded and produced on the Wurundjeri people of the Kulin nations land. We pay our respects and gratitude to elders past, present and future and recognise that sovereignty has never been ceded and no treaty has been signed. Respect The Earth.

[engl] "It’s 9:35 pm on a Saturday in Chico and it’s pouring rain. It’s three days into our NW tour and things keep going wrong. We forgot half the merch at home, we had to turn around an hour out of Sacramento after I tried to leave my lucky leather jacket behind, and sadly, the shows have been pretty slow thus far. Thankfully, the room at The Naked Lounge in Chico is filling up, and things are looking pretty good for once. Whilst happily chatting about our upcoming recording session in Portland on Monday, imagine our horror at discovering that in fact the session was booked for Sunday, a mere 15 hours away. Twin panic attacks and some frantic google searches later we hatched a plan to push through the deluge and drive as far as Yreka after the show, crash for a few hours, and make the remaining 6 hours of the drive as early as we can in the morning. 490 miles later we pulled up to Page Street Studios in Portland as shattered shells of humans, but Frankie and Leon greeted us with stellar vibes and poured us into their freshly finished and stunningly beautiful studio space. We gamely blasted through these three songs in four hours before their next session, including our cover of the Rick James and Eddy Murphy’s stone-cold electro-funk classic, 'Party All the Time.' For everything that went wrong preceding (and following) the session, those 4 hours went amazingly right, and this record is the result. While we left to play more shows and forget things in new and exotic places, Frankie polished up the tunes to a candy apple sheen. When he heard the tracks, Mark Kaiser from Mt.St.Mtn. suggested a one sided LP, and after a recommendation from our tour manager Jonas, Laurent from Six Tonnes de Chair was keen to release a special edition in France, too. We enlisted Green/Blue's Jim Blaha to make us a collage for the cover, and happily called on our girl Carmen Maher, sign painter and lettering connoisseur, to do the logo to match. We also decided you can call us SysEx now, if you want... if there’s already an abbrev, might as well?"

[engl] L.A. songwriter Tracy Bryant released his third studio album just about a year ago and the first follow-up comes in the form of a limited single split between RSTB faves Six Tonnes de Chair (France) and Third Eye Stimuli (Aus). “Between Us” was cut during the sessions for Hush but Bryant notes that it didn’t fit with the album, and I’d agree. The melancholy tone of Hush isn’t as present in the sun-streaked pop bounce of “Between Us.” Instead there’s a sense of motion and crisp air. The song’s not jubilant, but its trading wistful for winking which seems like a natural fit for Bryant. Despite its studio sheen, the simple setup feels like it shares a bit of DNA with Cronin and Segall around their humble Trouble In Mind days. Bryant hangs the song on the strength of a hummable acoustic hook, sweater-hugged harmonies, and a the kind of natural saunter that endears a song almost immediately. With a lyrical smirk at someone’s know-it-all hijinks, the song is pretty relatable too.

[engl] Teaming up again with the beautiful people of Australian great label Third Eye Stimuli Records, Six Tonnes De Chair bring you « Super Giant & World Music Oddities », the first ever pressing of the Uplifting Bell Ends adored « Super Giant » album (originally released in 2015), specially remastered by Mr. Owen Penglis and first time on vinyl ! To satisfy the die-hard fans, we’ve added bonus hits from earlier album « World Music ». Over the years Super Giant has become a cult-favourite for many. It takes us on a sonic journey through space, nostalgia, dystopian futures, people, love and who knows where else? The pressing comes in 100 black vinyl copies and 200 special transparent yellow realm vinyl. Wonderful new artwork by Luke Player, hand screen printed sleeves of course.

[engl] The Belgian/French rockers of VISION 3D have released their new album Hypnose, featuring eleven savage songs that are somewhere between garage-trash and post-punk. These are musicians who are well attuned to each other, and who have managed to capture their live energy wonderfully. The tempo is very high, but it’s amazing how much musical variation the tracks – sung in French – hold. The vocals are intense and sincere, the guitars sharp and persuasive, the drums and bass deliver great rhythms. This is an overwhelming LP, and its title – translated: Hypnosis – isn’t an over-promise.

[engl] Vision 3D is a 3-dimensional Franco-Belgian band, exploring the boundaries of the guitar-bass-drums combination with a clear focus on melodies and energy. Lulu and Ced were previously active in the garage band Thee Marvin Gays, while Calamiti used to drum in the noise-punk trio Maria Goretti Quartet. They decided to join forces to create a new band, with a stripped punk sound, supporting Lulu’s powerful female vocals, sung entirely in French. Expect influences as varied as the Buzzcocks and the Slits, with raw guitar riffs that will definitely make you want to “pogo-pogo” like there's no tomorrow. Their first record, containing 9 songs illustrating their trademark sound.

[engl] These wolves in leather clothing keep it close to the skin, grooving in a radically blessed style. Stomping right on out from the Wahyas den in Greensboro, North Carolina, Josh and Lindsey were weaned on old rock n roll and southern-fried enchiladas, having done time in classic bashers like Paint Fumes, Pinche Gringo and Daddy Issues, while finding time to back gooey dudes like Bloodshot Bill and the Tandoori Knights. Right now, these punks are standing up and delivering psychedelic sermons, shaking ya loose with sex jams and homemade sin, careening down the back roads of your brain. On side A you'll find powerful primal beat meditation intent on opening your "Third Eye" b/w "Polarized Vision", a paean to paranoia, peyote and pining for the darkness Get it before you rot!

[engl] WEEED is an American biocosmic rock n roll band from Portland, Oregon, formed in 2009. The band consists of Gabriel Seaver (guitar, bass, vocals, keyboards), Mitchy Fosnaugh (guitar, vocals, flute), John Goodhue (drums), Evan Franz (drums), and Ian Hartley (percussion). They are known for their cathartic, rhythm heavy live shows and for blending progressive compositions with improvisation and trance. Do You Fall? will be their seventh full length release. Music trance, letting go, relinquishment, releasing, catharsis... these themes are represented in the title. Falling can be seen as a foundational experience of being human and learning to walk on this Earth. It is associated with grief and loss, as well as new love. This theme of falling is deeply tied to the context in which this music came to be. Sometimes songs may serve as the catalyst and the medicine for emotional transformation.

[engl] he sound is a logical progression from 2021’s Do You Fall? album, which featured the band shifting over from heavy acid rock to more acoustic-based tracks. On this album, the band dips into trance-inducing wooden drone pieces (“Harmonium”), spiritual Popol Vuh-esque folk rock (“Song for the Homies”) and even some violin-heavy cosmic jams (“What Was Lost”), the latter of which brings to mind heady Swedish prog bands like Kebnekajse. The release even ends with an uncharacteristically pastoral nylon string guitar and harmonium duet that sounds like something that might appear on a Tara Jane O’Neil record.