Re-release of the second album by the Japanese garage punk gods originally released in 2005. First time on vinyl.

Re-release of the first album by the Japanese garage punk gods originally released in 2005. First time on vinyl.

If you think carefully about why Turbonegro, Guitar Wolf, The Dirtbombs, or even the entire Crypt Band catalog are of such authoritative relevance, it can all be traced back to two simple facts. Fact one. They understood their style of playing rock’n’roll. This realization sounds succinct at first, after all, any band would claim this. Only in reality most of them fail miserably. First copying others and then copying themselves is no innovation and just adds another copy to the meter records, no “most authentic” or original equipment helps, because it fails because of the songs. Fact two, and maybe this is the most underestimated factor, is the lack of humor. Without humor, you can’t play good rock’n’roll. Why am I writing this? I have seen the light, THE 50 KAITENZ from Osaka play 60s Punk as I wish it and that in a perfection that makes me dizzy. Alone the transitions from the chorus to the verse are so cleverly placed that you slap your thighs with joy, without being able to speak a single word of Japanese, you catch yourself intoning the songs loudly at an inappropriate room volume and even start to play the obligatory air guitar with pleasure. THE 50 KAITENZ, of course, don’t play pure 60s punk. Similar to Turbonegro, they have devoured 70 years of rock’n’roll history and, not to use the more appropriate word, use it shamelessly for their purposes. Punk, country, garage or beat – everything is scrutinized, distilled, stirred, shaken and stirred again to be unleashed on your auditory canals in irreverent perfection. I’m thrilled by all the tongue-in-cheek quotes, because what comes out of it is probably the most independent thing I’ve heard in the last few years in this hard-working field.

WARNING! Rust is an iron oxide, usually red oxide, formed by the redox reaction of iron and oxygen in the presence of water or air moisture. Surface rust is flaky and friable, and provides no protection to the underlying iron. Please keep this vinyl inside the plastic sleeve to protect it from scratches and soiling! Sounds of Subterrania is not responsible for any damage resulting from improper storage.

The AddisababaBand is a 13 piece orchestra from Aarhus that has been rocking dance floors for over a decade with their mix of afrobeat, funk, jazz, a little psychedelic rock and fusion. Of course, they take inspiration from African masters like Ebo Taylor, Fela Kuti and Mulatu Astatke, but as improvisation is the driving force behind the band, they create a whole new world of Ethio jazz. limited on 150 copies.

The AddisababaBand is a 13 piece orchestra from Aarhus that has been rocking dance floors for over a decade with their mix of afrobeat, funk, jazz, a little psychedelic rock and fusion. Of course, they take inspiration from African masters like Ebo Taylor, Fela Kuti and Mulatu Astatke, but as improvisation is the driving force behind the band, they create a whole new world of Ethio jazz. Remastered version limited on 150 copies.

African Connection was founded in 2016 by musicians from Ghana, America and Denmark and the result of their collaboration is unmistakably unique. Their sound is inspired by Fela Kuti, pioneer of the Afrobeat and not just a legend in Nigeria. Their drummer, Frank "CC YoYo" Ankrah, played with Fela in the 80s and was a student of Tony Allen. The mother tongue lyrics of African Connection come from all three Ghanaian members of the band and cover a wide range of social topics. In addition to the songs, the title of the album "Queens and Kings" thematizes the role of women and their oppression. Musically, African Connection combine Highlife, Funk, Afrobeat, Rock'n'Roll and West African traditions, providing significant and modern interpretation and expansion of the genre.

Vorab-Single zum Afropsychedelic Knaller des Jahres. Aufgenommen in Ghana und limitiert auf 500 Stück.

The Imperator of Pop is back. Following a successful debut album and a tour that hit international clubs like a bomb in 2007, here comes what already knew how to convince as a live set. "AMOS Clubmixes" is a new edition of 8 songs, that appear so powerful you fear your midriff gets torn. The records demonstrates the quality and changeableness of all tracks and turns the 80s muff into high-gloss. Ranging from a cowbell inferno in "I Can't Stop My Feet" that reminds of Miami Soundsystems better years over the two fisted saw synth in "Bla Bla", a pumping bassline in "Party People" that only germans entertainment wunderkinder Deichkind could take on, the contemporary minimal groove of "Tonite I Feel Like Dancing" to the syrup sweet yet omnipresent pads in the Alan Braxic "Let's Do It Tonite" - the mixture is ever homogeneous, ultrafat and confirms Amos exceptional status between pop and underground impressively. Impressed is what Leander Haußmann (german moviemaker "Sonnenallee", "Warum Männer nicht zuhören und Frauen nicht einparken können") showed, who staged the key scene of his new blockbuster "Robert Zimmermann wundert sich über die Liebe" starring Tom Schilling on an Amos concert, where the artist performs "I Can't Stop My Feet" from the new Clubmixes album. There's even more film to come in the course of the albums single "Bla Bla", that comes along with an exciting video featuring the german movie star Julia Dietze. All tracks are produced by Bartellow and Amos. Available as download or limited vinyl edition (oversized poster and mp3s included) on Sounds of Subterrania.

On this double a-side single you will find three smash hits definitely tearing the soles off your shoes. AMOS combines sugar sweet vocal harmonies with an almost classical pop arrangement that for a long time noone has performed on this level, without ever sounding too greasy. Besides, the cover artwork will improve your interiour. It is a definite must have.

AMOS is a singer, songwriter, multi-instrumentalist, producer and entertainer. On his debut album "Imperator Of Pop" - as the name implies - you find 12 songs at the highest stage, a disco cocktail made of contemporary sound patterns and the essences of 80ies pop, coming with a souvereignity that makes you think you know AMOS eversince. At the same time this all appears so diversified and refreshingly real that you can be sure you're far-off the usual popcultural pabulum. AMOS moves ably within his precise arrangements, between guitar riffs, sirup-sweet vocal choirs and a crispy brass, doing without any razzmatazz, evocative of Quincy Jones work for the early Michael Jackson. The packaging, too, is one of a kind. AMOS - Imperator Of Pop is available via Sounds Of Subterrania! on June, the 1st 2007 as CD or Double LP, each with a stunning and lovely crafted megaposter cover. This album is truly unique.

In seiner Weihnachtssingle „XXXmas“ (The „Last Christmas“ for the next generation) ist AMOS so unbedarft zweideutig, daß es Spaß macht, mitzusingen und sich heimlich in den aufgeklebten Bart zu lachen. Ein Ohrwurm, der schon bald nicht mehr aus dem alljährlichen Weihnachtsprogramm wegzudenken sein wird. Und statt nur zu pointieren lässt AMOS auch Taten sprechen. Der Gewinn aus dem Verkauf der Platte geht an "Futuro Si!" - Initiative für Kinder in Lateinamerika e.V.

To call BBQ just a one-man band would be like calling his influences just rock'n roll. BBQ is the perfect mix of the most primitive blues, rock'n roll, R&B, and rockabilly sounds lightly assaulted with garage, soul and a punk aesthetic. BBQ, the one-man band, is actually 'Mark', ex-singer of the legendary Spaceshits and singer/drummer for the world-renown Sexareenos. 180gr.

2te Platte der holländischen MC5's.

They had their challenge to do the same thing that happened in the 70's. The same thing that they always did...give music a kick ass fuel injection, save Rock'n'Roll. Hell yeah...Raw Power Rock'n'Roll. And there it is: The first DETROIT RHINE DELTA ROCK & ROLL Band.

Somewhere in a remote place called Hawkfield, not far from the city of Stockholm, Sweden, music, dreams, visions, goblins & robots, come to life. There are stories to tell, signs and paths to follow, towards the horizon and beyond. Beyond Louie (Love Jonasson) is a singer and an artist who creates tunes and melodies on synths and guitars. On this recording he’s joined by Frank E. Male (Henry Fiats Open Sore), guitar and bass, Staffan Zeroboy Fagerberg (Vidro), drums and Li Jonasson, backing vocals, the daughter of the artist. Beyond Louie has been an active musician since the 90s as a singer in the Stockholm based garage band Sons of Cyrus, the Berlin band Ray Omega and different music projects like Last Crusade. Beyond Louie is the artists new solo project. This single is the first release, two songs that show two sides of music.

Tour Only Special Mini Album with 2 unreleased and new extralarge songs. Limited on 289 copies

Bibi Ahmed, head and bandleader of Group Inerane, is from Agadez, Niger, which is one of the most volatile, unbridled and dangerous parts of the world. Bibi was soon confronted with the oppression and marginalization of the Tuareg by the national governments of Mali and Niger. Just as early awakened his love for music. As a child, Bibi Ahmed taught himself to play the guitar before receiving his education from the great master and father of the Tuareg blues, Abdallah ag Oumbadougou. Marked by the experiences in the Libyan refugee camps during the Tuareg uprising, Bibi Ahmed and his band Group Inerane gave the rebellion its own musical voice, while at the same time making the rich tradition of Tamachek guitar singing accessible to a new generation of listeners. In February 2019 and in collaboration with Sounds of Subterrania and Lotte Lindenberg Studio, Bibi recorded his first solo album on which he played all of the instruments himself. This reduction opened up a whole new view on this quite extraordinary mix of Tuareg blues, electrified Tamachek folk and psychedelic Sahara rock. The listener literally feels the shimmer of the heat and, once one embarks on the path of listening, the differences between spiritual trance and hypnotic psychedelic blues become indistinct.

Die australischen Blutsauger rocken hier alles in Grund und Boden. Mischung aus Poison Idea und Antiseen, mindestens so gut wie Zeke und New Bomb Turks zusammen, von den Hardrock-Posern aus Skandinavien ganz zu schweigen. Kurze wilde R´n´R-Punk-Smasher mit rauhem, dreckigem Gesang, die Refrains hymnenartig zum Mitsingen. Voll das Brett

The Blue Screen of Death play electronic-8bit-Punk. Because they can handle a computer better than a guitar. In 2008 the band was founded in Göttingen. Since then, its members are met with hostility or get beat up on the streets of the city - by "real" punks, whose parochial conception of the world they don't fit in. At the same time, they got everything what it takes to be a real punk band: dirt, volume, movement, energy and a hint of unpredictability. Sometimes the drumsticks fly off accidentally, another time the bass player runs against the trusses with his head and falls into the audience - similar to a baby giraffe, leaving the birth canal. Their first real record was a long time in the coming because some prick has stolen the laptop with the finished recordings on it. But now it's here! Should you need a musical connection point, there surely is the "Göttinger Schule" for starters. It's a breed of German-language, intelligent Hardcore which developed a particular sound and attitude in the mid 90s. The attitude stayed the same, but the sound was extended through electronoise. That's it! Well, not quite... The record sleeve was created by Gregor "the godfather of special packaging in conjunction with a vinyl record" Samsa and it's a giant floppy disk. So, there's only one thing left to say: Don't copy this floppy!

The undisputed master of the Glampop is back with two extraordinary songs. Hollow Men: 80s, Bobby and his friends smoked clove cigarettes, listened to Bauhaus and Gary Numan and read dark poetry, which they didn't really understand. Bobby was enthusiastic about T.S. Eliot's "The Hollow Men" - cool, completely gloomy, depressing and apocalyptic. Now Bobby is a bit older and according to his own statement: a gloomy teenager of his own - and still does not really understand T. S. Eliot. "But what stands is the desire to dance. It's the revolt. The claim to end the life with a bang, rather than with a whimpering. And so, Bobby and Monica began to sing vowels about vowels and created this diva version of "Hollow Men". At the Bijou: ... is Bobby's tribute to the first American gay porn movie theater - opened in Chicago in 1970. The Bijou, whose heyday was in the 70s and 80s, was one of the first places with "playrooms" for casual gay sex. The owner went to jail twice because of fornication, and so stands for another, a free America. Now it's easier to be openly gay, porn is part of everyday life and "theater" visits have been uninteresting. Grindr and Internetpornography did their best. And so it came as it had to come. The neighborhood eventually became too expensive to keep it as a theater, so it closed a few years ago and was sold. limited on 300 copies

Diese Special Edition entstand in Zusammenarbeit mit Bobbys langjährigen Freund und Schmuckdesigner Jonathan Johnson (Deichkind, Bela B., Rocko Schamoni, Chilly Gonzales, Absolute Beginner). Für den Song hat Jonathan Johnson einen limitierten 7“-Adapter aus Messing entworfen - eine umgedrehten Dollarpyramide, deren Spitze ins Pentagon rast, umrandet von zwei Statuen der ägyptischen Göttin Isis, einem Schwan, einem Schlittschuh und einer Eisenstange. Frei nach Guy Debord's „Die Gesellschaft des Spektakels" oder um es mit den Worten Bobby Conn´s zu sagen: More than you need!

Die Boonaraaas sind Europas All Girl Garage Punk Rock-Band schlechthin. Entscheidend für die Unwiderstehlichkeit der Boonaraaas, ist neben ihrem Charme, vor allem die Qualität ihrer Songs! Und dieses bestätigt sich vollends auf ihrem 3ten Album, namens ??5 Steps Ahead??, welches den Sound des unschuldigen France Gall / Shangri-Las / Monkees-Pop der 60er Jahre mit der ungestümen Kraft des 70er-Punks Marke Undertones und Real Kids und der neuen Generation von LoFi-Garage-Punk-Bands wie Hara-Kee-Rees und den Headcoatees verbindet. War der Vorgänger noch ein richtig kickendes Powerpop-Punk-Album wildert sich ??5 Steps Ahead?? durch sich durch den gro?en Dschungel des Sixties-Garage-Pop und das mit einer solchen Unbeschwertheit, das man denken könnte die Damen würden erst seit kurzem auf der Bühne stehen und nicht seit über 12 Jahren. Eingängige Melodien, knackige Songs und der immer richtige Griff in die richtige Ecke der Garage und zeigen uns damit den sehr kleinen aber feinen Unterschied zwischen kopieren und zitieren, der eben die Klasse von Bands wie den Boonaraaas ausmacht.