quête:h punk

Fasst genau zehn Jahre nach dem letzten Studioalbum veröffentlicht die Band 2024 ihr bislang letztes Album "Zeitgeist", insgesamt das fünfte und das erste auf eigenem Label Vier Promille! 4 PROMILLE DRESCHEN WIEDER IN DIE SAITEN, SPUCKEN INS MIKRO, RUPFEN DEN BASS UND VERMÖBELN DIE FELLE! SEID IHR "BEREIT" FÜR ZEITGEIST-PUNKROCK?! 12 neue Tracks haben es auf die Platte geschafft und schon beim "Intro" wird klar, dass es hier ordentlich zur Sache geht, die Vorab-Single "Bereit", der Titeltrack selbst sowie "Lied Vom Rhein" und "Blackout" zeigen eine erstaunlich Bandbreite und Hitdichte. Dem reinen rumpeligen Oi! und räudigen Streetpunk haben 4 Promille schon spätestens mit Alte Schule 2006 abgeschworen, dennoch finden sich in ihrer Version von Punkrock, Deutschpunk oder einfach Punk immer noch derer Spuren. Die Promillos freuen sich höchstprozentig, dass es für sie unabhängig, DIY-mäßig und selbstgestaltet weitergeht! 4 PROMILLE auf Zeitgeist sind: Jason Kubke-Schlagzeug, Gesang - Martin Bayer-Gitarre, Gesang - Ralf (Basspromillo) Schmidt-Bass - Thomas (Pommes) Müller-Gesang, Gitarre Diese nun erhältliche Vinylversion heißt Rote Weiß Marbled LP, ist eher hellrot, aber wer ganz genau hinschaut, findet den Mamoreffekt. Rot Weiß weil Fortuna Düsseldorf. In Gedenken an Jason Kubke.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took usfrom the industrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 1.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from theindustrial and post-punk sounds of the late 70s, through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 2.

Starting in 2021 the critically acclaimed Next Wave Acid Punx series has seen Luca Venezia, aka Curses, celebrate the music that has shaped both his life and career. Across the first two compilations Luca took us from the industrial and post-punk sounds of the late 70s,through the emergence of EBM, new beat and freestyle in the 1980s and onto the music he both makes and plays himself in clubs today. Bringing the series to a close Next Wave Acid Punx TROIS sees the Berlin-based musician and DJ return full circle, this time exploring the sounds that first initiated him into Brooklyn's rave scene and the music that, in some way, continues to embody its eclectic spirit today.

Spread across three 2LPs and 3CDs Next Wave Acid Punx TROIS captures a moment whose influence can still be heard reverberating around clubland today. With the nascent rave scene obliterating boundaries, this was a moment where the darker, harder industrial electronic sounds of the mid 1980s were crashing headfirst into the ecstatic wave that was washing over clubland creating thrilling juxtapositions. Whether in the clubs and warehouses of New York, London, Frankfurt, Valencia and beyond, electronic music would never be the same again as countless new genres we take for granted today were born from the chaos and energy that had been unleashed.

Featuring 46 hard-to-find, new and exclusive tracks, Next Wave Acid Punx TROIS both documents that fertile period and shows how, despite rumours to the contrary, that early anarchic spirit can still be found today. From the Detroit Techno of Model 500 to Nitzer Ebb's EBM and the proto-Trance of Age of Love and onto brand new tracks from some of today's best producers such as Zaatar, Italo Deviance and Leona Jacewska, this compilation closes out a series that has to date revelled in exploring the darker corners of clubland in uplifting style.

This is Chapter 3.







f B2. Javi Redondo - HALT [Process]

There is a particular kind of strangeness that arrives on long drives across Europe. Flat light, service stations and fields stretching endlessly past the window. It might look mundane at first glance, but becomes faintly surreal when the tiredness of touring blurs the edges of everything.

That feeling became the quiet engine behind Driving Through Belgium, the debut solo album from Anton Pearson, best known as one of the guitarists in respected post-punk outfit Squid. The title grew from a track that felt like the record’s centrepiece, which itself came from the recurring image of extensive periods on the road across the continent. It is a record shaped in the margins of touring, and finessed in the in-between hours.

Across six pieces, Pearson leans into atmosphere, texture and space. It is ambient in spirit, adjacent to contemporary classical in feeling, but composed less with notes in mind than with sound itself. The compositions rarely began with harmony or melody, with Pearson instead responding to his environment and sounds in real time, placing trust in his instinct.

Although initial inspiration came from the road, the album was recorded in a studio he shares in Brighton, and marks his first fully solo project made in that setting. It gave him access to not only new tools and techniques, but a hitherto un-experienced freedom. Much of the process began experimentally, feeding instruments into unfamiliar chains, pitching loops into unexpected registers and playing with previously unused synthesizers simply to see what they might reveal. Many of the sounds were created out of pure curiosity, wanting to understand a piece of equipment or technology, and then following wherever it led.

The album was built with this experimentation at its core, as Pearson would layer then extract, processing stacks of sound until things blur and confuse. Guitars dissolve into drones, a Pianet Clavinet dances against muddier textures whilst a Korg PS-1000 occasionally cuts through with its glittering top end. On ‘Driving Past the Muscular Cows in Belgium’, a flat, still drone is pushed through valve amps until it growls and tightens with tension, before receding again. Even the trumpet, which Pearson freely admits he is not technically proficient at, is embraced in its naivety, its squeaks left intact rather than corrected. The twin ‘Tintinnabulation’ pieces frame the record with looping, pitched bell like tones, accidental discoveries that became structural anchors. Meanwhile, ‘Teeth to Cut the Grass’ deliberately introduces abrasion, some of the harshest textures on the record, a refusal to become passive background music.


That embrace of imperfection is central. In contrast to the hyper-analytical precision of his band, Pearson was keen to honour first takes. If something felt good, it would stay. The end result is an album that favours looseness, instinct and the energy of creation itself. If Squid thrives on propulsion and tension, Anton Pearson finds his energy in suspension on Driving Through Belgium. It is curious rather than declarative, creating a space where experimentation feels playful again.

OH! is the powerhouse production duo of Massimo Paramour and Gianluca Pighi. Their
debut album, We Come In Peace (Huldigung Records), is a 19-track odyssey that fuses
the grit of post-punk with the neon hooks of classic Synth-Pop. Recorded entirely on
analog hardware at Italy’s Elfo Studio, the record features a global cast of vocalists
including Local Suicide, Sarah P, and iDA fLO. It is a love letter to the era of Tangerine
Dream and The Human League, reimagined for the modern dancefloor.
We Come In Peace is a masterclass in analog synthesis. Eschewing VSTs and samples for
the tactile power of the Moog Subharmonicon and Sequential Prophet Rev 2, OH! has
crafted a record that is musically audacious yet undeniably radio-friendly. From the dark
disco pulse of "Crush" to the shimmering pop of "Falling," this is a project built on
production flair and collaborative magic.

Between Bodies als Geheimtipp der europäischen Punk/Indie-Szene zu bezeichnen, ist mittlerweile ein großes Understatement. Nach ihrem Debütalbum, "Electric Sleep" von 2022, war die Band in aller Munde derer, die ein Herz für melodischen, treibenden, emotionalen Punkrock mit DIY Spirit haben. Spätestens über das Jahr 2025, als die Band aus Köln, Toronto und Paderborn, etablierte Acts wie Touché Amore, The Get Up Kids, The Hotelier oder Captain Planet in ausverkauften Clubs supportet hat, auf zahlreichen Szene-Festivals zu sehen war und seine Hörer*innenschaft noch einmal deutlich erweitern konnte, sind Between Bodies zu einer der spannendsten up-and-coming Punk-Bands hierzulande geworden. Die Songs und Texte der Ende 2019 gegründeten Band haben - wird oft behauptet, hier stimmt es einmal - internationales Format und erinnern an Lieblinge wie Joyce Manor, The Menzingers oder Tigers Jaw. Ihr Sound lässt ebenso an 90er Jahre Emo-Punk Klassiker denken, zeigt sich beeinflusst von 00er Jahre Post-Punk/Indie und verfügt dabei über reichlich Charakter und ein Ideenreichtum, der Between Bodies schlicht zu einer außergewöhnlichen Band macht.

Brånd is one weird/post black metal act from the Upper Austrian town of Linz.

Started off in 2015 as a solo act by Vritra (also in Kringa and Weathered Crest) with the need for a form of expression free from perfection or boundaries, over the past ten years the ever-evolving project ventured into various soundscapes, from crude black metal to lo-fi ambient and from ferocious post-punk to psych downer rock, all while splitting releases with extreme underground torchbearers like Absolute Key, Calvary and Rosa Nebel.

Joined by musicians to evolve old and new ideas, Brånd debut full-length album grew from 4-track demos gathered over the last decade to become an album of richly arranged songs from all over the fields of interest, breaking from their lo-fi tradition to new horizons.

To describe thoroughly “Tåg & Nåcht” is possibly the hardest task to do, given all the influences that are skilfully intertwined and perfectly balanced. In this witches’ brew the most schooled listeners will hear some angular post-punk à la Gang Of Four sustaining pagan declamations in the vein of Fenriz folk metal excursus Isengard. Straight forward dark anarcho punk assaults are mitigated by almost new age juxtapositions. Traces of 70’s German krautrock like La Düsseldorf are melted into a heavy metal cast, while wind instrument raids that are equally James Chance and Death In June seem to drop when least expected.

The sound is crunchy and surprisingly warm, contrary to what one might expect of a band emerging from a black metal background. But right now, Brånd is so much more than this: they can master a wide range of sounds that span from 70’s space rock, passing through 80’s post-punk and UK82, reaching 90’s black metal and 2000’s blackgaze, all in one incredibly coherent album. If this sounds too good to be true, suit yourself and press Play.
Split released with Tour De Garde in US/CA.

Chins For Lefty is the debut album and first recording by Gichard, a new duo chronicling the absurdities of end-stage capitalism and mouldering social rituals from their vantage point in Glasgow, Scotland. Recorded primarily in the band’s home studio straight to tape, Chins For Lefty combines gorgeous, ramshackle melody, DIY kosmische punk, drum machine + synth and, in vocalist/lyricist Lisa Jones, an absurdist commentator on the human condition as it navigates the anxieties of the modern world. Instrumentalist Chas Lalli’s swirling music accompaniment stitches an evocative mix of musical styles, the ragged wind beneath the lyrics’ wings.

Although the duo first collaborated in their previous group Dragged Up, their disparate musical and artistic backgrounds make for an alluring mix in Gichard. Lalli has spent the last 20 years in the Glasgow underground, most notably in the noise rock group VOM, while Lisa Jones’s practice was in poetry and spoken word. Beginning as co vocalist in her previous band, in Gichard her lyrics are centre stage; the vision concocted alongside Lalli amounts to a total world-build.

Chins For Lefty scans almost like a novel, with each track elucidating a skewed universe that bears only some resemblance to the one you and I partake in. Like all works of fiction Gichard’s songs are rooted in reality and the lived experiences of its authors, but here characters are exaggerated, social mores and habits are pulled apart to reveal their inherent alienness. Universal emotions are laid bare, the bright light of anxious examination searching out every hairline fracture in our relationships. Distorted and cracked, the mirror that Gichard hold up to our world is also pretty damn funny.

Opener Cholesterol Test launches an expansive, cosmic guitar and synth intro that belies the Tascam-tape recorder it was recorded onto, like a Chromatics cut substituting anxiety for overt sexuality. Here Jones intones an apology to a non-responsive recipient, in the medium of a long voice note forensically deconstructing an interaction from the night before. Over punk guitars and shuffling, lo-fi drum machine splutters, the narrator in Asking The Apes “prefers things to people” before being taken hostage in the city zoo to confess an obsession which consumes the protagonist, ending with the immortal two liner “I sleep in a cocoon of old newspapers at the end of your street / And I think I have been fired from my job,” On album standout Posthumous Hologram, the narrator is faced with a human simulacra, in this case an undead pop star; the face of the encroaching technological singularity. Yes, it does requests, it can do My Way in 200 different language options. But what are the implications? While you’re left pondering, the alternating deadpan verse delivery and undeniably catchy chorus keep you company.

By the time Break Up With Johnny Dogbirth rattles into view, the band are satirising a suburban inanity blown up to cartoon proportions, soundtracked with a drawled musicality that recalls Rowland S. Howard’s post-Birthday Party balladeering. This approach is furthered on Human Resources: over an angular guitar+bass track, Jones’s short story recalls Dry Cleaning’s erudite lyrical post punk. On Soft Face, Lalli’s guitar and drum machine are swathed in echo and delay, as Jones dissects dating rituals with a west of Scotland drollness. Hamming It Up brings a porcine perspective in a short story that begins with the line “I was breastfeeding discreetly in the service station. She didn’t mind.” What follows is a passage punctured with canned laughter and a narrative involving tribute acts, modern farming techniques.

Brilliant first single Your Private Hell closes the album, the closest the group get to earnest perhaps, filtered through a surreal central Scottishness. While Your Private Hell might seem like a sardonic take down of romance, perhaps it’s the very distillation of love in all its awkwardness, selflessness and weirdness. Here there’s a distinctive Glasgow-ness to this doomed romance: the protagonist falls for an outsider, offers them cheap jarred hot dogs and carbolic soap (the infamous, excoriating soap dished out in schools and government buildings throughout Scotland), offers to cover up a murder, stalks them in the all-night Spar. It’s a short story of intrigue, murder and the irresistible pull of self-sacrifice to share in someone else’s suffering. If that’s not love, what is it? You can see this vision mapped out in black and white on their video for 'Your Private Hell'.

ounded in 1992 by the larger than life, Scottish punk-rock poet laureate, Mr Paul McKenzie, this merry band of miscreants has spent more than three decades circumnavigating the globe to bring the McKenzies gospel to an ever-expanding throng of rebels, scallywags and ne'er do wells. There's not many bands that can boast of a 30+ year career as staggeringly adventurous, wildly tempestuous and utterly death-defying as The Real McKenzies. It would be a serious mistake to write them off as just another Celtic punk band (they’ve been around longer than the Dropkick Murphys after all). They are an unstoppable juggernaut of touring mayhem. A ferocious troupe of insanely talented minstrels, storytellers and entertainers melding traditional acoustic and electric instruments to create a sound like no other. Their list of accolades is long. From sharing the stage with the likes of NOFX, Rancid, Flogging Molly, Metallica and Shane McGowan to appearing in film, books and video games to early releases with the almighty Fat Wreck Chords, their legendary status only continues to grow. On Yer Bike is an absolute beast of an album. A newly revitalized and laser-focused Paul McKenzie has never sounded better and his longtime bandmates have never been tighter. Boasting thirteen epic tracks, including the Sawney Bean trilogy (a trio of songs about Scotland's most infamous cannibal highwayman), the songs rage across topics including but not limited to love, literacy, historical sagas, eating sardines with your mother and, of course, cannibalism. Soaring bagpipes, heart pounding percussion and ultra melodic shoutalong Celtic punk rock are the orders of the day and are delivered piping hot from one of the most respected and adored pioneers of the genre.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Kaum zu fassen - Gimp Fist sind nun schon seit 21 Jahren eine feste Größen der britischen Oi!-Szene. Das Trio hat sich als eine der angesehensten Street-Punk-Bands Großbritanniens etabliert, mit einem einzigartigen Songwriting-Stil fernab der üblichen Klischees, treffsicherem Gespür für mitreißende Songs und eigenem Sound, in Europa ebenso beliebt wie in Großbritannien. Und ihre Street-Punk-Hymnen füllen jedes Jahr den Empress Ballroom mit einer Kapazität von 3.000 Plätzen beim Rebellion Festival in Blackpool. Die Band stammt ursprünglich aus Bishop Auckland, County Durham, und hat seit ihren Anfängen im Jahr 2005 elf Alben, ein halbes Dutzend Singles und drei EPs veröffentlicht. Auch wenn es nicht immer leicht ist auch Anerkennung bei der größtenteils auf London fokussierten Musikpresse zu finden, haben sie doch eine treue Anhängerschaft in UK und ganz Europa gewonnen und sind vor allem dem Publikum des Rebellion Festivals bekannt, wo sie seit 2008 jedes Jahr auftreten. Zwei Jahre nach dem letzten Album "Losing Streak" erscheint nun das 12. Album "Take the Power Back", produziert von Jamie Wilson, mit insgesamt 15 brandneuen Titeln. "Wir haben das Gefühl, dass wir auf diesem Album viele unserer Einflüsse und Stile miteinander verschmolzen haben, ohne dabei das typische Gimp-Fist-Feeling zu verlieren", sagt Sänger und Gitarrist Jonny. Von der Auseinandersetzung mit der aktuellen Wirtschaftslage und den Kämpfen der Arbeiterklasse in Songs wie "Give Me A Reason" bis hin zu den angstgeladenen, an die frühen Rancid erinnernden Tiraden gegen Faschisten und Tyrannen in "Waiting For The Punchline". Mit einer Mischung aus Street-Punk, Ska und Dirty Reggae wird "Take The Power Back" alle alten Fans begeistern und ohne Frage neue Anhänger gewinnen. Als Digipak CD, LP klassisch schwarze (limitiert) oder zweifarbiges "Atomic" Vinyl erhältlich.

Crystal Clear Vinyl. Incendiary Device (I.D.) was born from the ever-burgeoning hardcore and punk scene in New York City. Founded by NYHC journeyman, documentarian, and filmmaker Drew Stone (vocals), and Tristan D'Graves (bass), Incendiary Device's music is steeped in early hardcore and classic punk while inescapably maintaining the edge and grit of their New York roots. Produced once again by the band and Neal "Zum" Ostberg (Fryette and Sound City amplification) and mixed by Dan Korneff (My Chemical Romance, Lamb of God, The Devil Wears Prada).

A kickstart without brakes – straight into the heart of the German-speaking rock scene with performances at Rock am Ring, Rock im Park, Lollapalooza, and more. And all of this completely independently – without a label, without a booking agency, without a producer. Because wasting time was never on the agenda for the punk & alternative trio from Frankfurt since their very first performance in May 2023 at the Warsteiner Band Contest, which they won right away. If we ended the band description at this point, everything would sound perfect. But if you take a closer look at the dozen singles that Friends Don't Lie have released in just 18 months, you'll discover a second layer: vulnerable lyrics about self-doubt, fears, and big emotions. At the same time, it becomes clear that the band also takes a political stance. It's about discontent – against racism, resentment, selfishness – against all forms of hatred. Friends Don't Lie are thus becoming the voice of a generation, as we last saw with acts like Kraftklub and Casper. In May 2026, Uncle M Music will release their long-awaited debut album, Zenit der Dramaturgie. Ten German-language rock/punk songs that set the bar extremely high and bridge the gap between Donots and Kraftklub.

The Bug Club sind mit einem neuen Album zurück. Seit ihrem letzten Album sind ganze sieben Monate vergangen. Wo waren sie denn? Every Single Muscle, das fünfte Album der Band, ist das dritte, das von Sub Pop, dem angesehenen Label des walisischen Duos aus Seattle, veröffentlicht wird. Seit Very Human Features, das im Juni 2025 rauskam, sind die Lieblinge von BBC 6 Music und KEXP auf ihrer Nonstop-Tour quer über den Atlantik geflitzt, wie sie es früher auf der Severn Bridge gemacht haben. Verschiedene Festivalauftritte im Sommer haben sie davon abgehalten, Urlaub zu machen - wer braucht schon Urlaub, wenn man in Wales lebt? - bis es Zeit war, wieder ins Songwriting-Studio zu gehen. Das ist wahrscheinlich immer noch ein Schlafzimmer in Caldicott, das von einem Windhund namens Ted frequentiert wird (aufgepasst - er taucht in einem der Songs auf). Die Songwriter Sam (Gitarre, Gesang) und Tilly (Bass, Gesang) sind immer bescheiden und behaupten sogar, dass sie während des Songs ,It's Our Manager David" nur ,herumsassen und nichts taten". Das ist eindeutig eine Lüge. Every Single Muscle startet mit ,Miss Wales 2012" voll durch und bezieht sich dabei auf einen Wettbewerb, den sowohl Tilly als auch Sam tatsächlich gewonnen haben. Es ist der erste von vielen Tracks auf dem Album, die weniger als zwei Minuten lang sind, und gibt den Ton für das bisher punkigste Album von The Bug Club an, das sowohl an die kurzen, knackigen Snaps ihrer allerersten Singles als auch an das Grunzen ihrer jüngsten Veröffentlichungen erinnert. Das Album ist so vollgepackt mit Riffs und eingängigen Hooks, dass Sam tatsächlich um Erlaubnis bittet, im zweiten Track ,A Good Day For Dying" ein Solo einbauen zu dürfen. Er bekommt zwei Sekunden Zeit. Glücklicherweise fragt Sam später noch einmal und bekommt mehr Zeit. Auf achtzehn Songs gibt's genug klassisches Gitarrenspiel von Sam und Tilly, um selbst die lautstärksten Bug Club-Fans zufrieden zu stellen und die Behauptung der Band, sie seien ,nur technisch versiert auf ihren Instrumenten", klar zu widerlegen. Dieses Album ist ein Beispiel für effizienten Maximalismus - so wie wenn dein Vater das Auto für den Urlaub vollpackt. Bring mit, was du willst; der Platz ist knapp, aber sie kriegen es irgendwie rein. Zu den Texten: Während ,Very Human Features" hervorragend alltägliche Dinge aufzeigte und ihre Absurdität hervorhob, schauen The Bug Club auf ,Every Single Muscle" genauer auf sich selbst. Allerdings nicht so sehr auf introspektive Weise, sondern eher so, wie ein Außerirdischer ein gefangenes Exemplar auf einer intergalaktischen Trage untersuchen würde. Horrorfilme haben ihr ,Body"-Subgenre, jetzt bekommen auch Garage-Rock-Alben ihres. In einem völlig neuen Sinne des Wortes selbstbezogen, wird die menschliche Form und Verfassung im Laufe des Albums aus jedem Blickwinkel beleuchtet und untersucht. Wir spüren eine surreale Distanz zum Selbst, die den allgegenwärtigen, von Langeweile geprägten Humor hervorbringt; im letzten Song verkündet Sam, dass er ,es satt hat, ein Mensch zu sein". The Bug Club scheinen dem Konzept, ein Mensch zu sein, fast misstrauisch gegenüberzustehen - als wären sie in einem Kostüm aufgewacht, das sie nicht anziehen wollten und nicht ausziehen können. Ist drei die magische Zahl? Wahrscheinlich nicht. Aber Every Single Muscle - das dritte Sub-Pop-Album von The Bug Club - kommt dieser Vorstellung nahe genug, um den durchschnittlichen seltsamen Menschen davon zu überzeugen, dass es so sein könnte.

Wenn Sie Joey Quiñones fragen würden, woher er die Inspiration für seine Musik bezieht, müssten Sie nicht weit von dem Ort suchen, an dem der Sohn aus East LA aufgewachsen ist. Wenn man seine Werke hört, fühlt man sich in einen Umkreis von zwei Blocks seines Viertels versetzt - vom Spirituosengeschäft zum Plattenladen ,Sign of Music" am Whittier Boulevard und zurück zum Haus eines Freundes. In diesen zwei Blocks hört man Cumbia aus den Geschäften dröhnen, Punk-Proben aus einer Garage, Oldies aus dem Garten eines Nachbarn - eine Reizüberflutung, die Sie bis nach Hause begleitet, all diese Genres, die gleichzeitig in Ihrem Kopf erklingen. Für langjährige Fans von Quiñones' Musik ist das keine Überraschung. Er hat sich als einer der führenden Interpreten seiner Generation etabliert und seine Karriere der Vermittlung seiner einzigartigen Perspektive auf das Chicano-Soul-Songbook gewidmet. Doch vor Thee Sinseers, vor den üppigen Orchestrierungen und den perfekten Harmonien, die zu seinem Markenzeichen wurden, sammelte Quiñones erste Erfahrungen als Leiter verschiedener Begleitbands für jamaikanische Ska- und Dancehall-Acts, die durch Südkalifornien tourten. Er beschreibt diese Jahre als Reggae-College, in dem er von jedem jamaikanischen Künstler, der eine Platte herausgebracht hatte, angeschrien wurde. Diese Jahre der Ausbildung in Rocksteady und Roots-Reggae prägten alles, was danach kam - und auf seinem neuen Soloalbum ,Inna Soul Steady Situation" stellt Quiñones diese Einflüsse endlich in den Vordergrund.

Die hochgeschätzten Euro-Metal-Pioniere Oz wurden ursprünglich 1977 in der kleinen finnischen Stadt Nakilla gegründet. Die Band bestand aus Mark Ruffneck (bürgerlicher Name Pekka Mark) am Schlagzeug, Sänger Ape De Martini (Eero Hämäläinen), Bassist Tauno Vajavaara sowie Kario Elo an der Gitarre.

Fünf Jahre nach ihrer Gründung legten Oz ihr Debütalbum vor. Mit Krachern wie “Saturday Night”, “Capricorn Man” oder dem schlüpfrigen “Second-Hand Lady” avancierten Oz schnell zur HM-Band Nummer eins in Skandinavien.

In der Folge zog man nach Stockholm um, wo 1983 der gefeierte Zweitling »Fire In The Brain« entstand. Die Platte enthielt höchst energetische Heavy-Metal-Hymnen wie “Fortune”, “Megalomaniac” oder “Gambler”. Der kanadische Journalist Martin Popoff verteilte in seinem »Collector’s Guide To Heavy Metal« 9 von 10 Punkten und schrieb: »Fire In The Brain« ist eine düstere, fast depressiv wirkende Platte, die den Hörer wie ein Güterzug trifft. Es ist ein sehr europäisch klingendes Werk – vom apokalyptisch anmutenden ‘Searchlights’ über das zähflüssige ‘Black Candles’ bis hin zum gewaltigen Titelsong werden absolut keine Gefangenen genommen.“

High Roller Records, silver vinyl, ltd 450, 425gsm heavy cardboard cover with 5mm spine, lyric sheet, 12 page booklet, poster

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

What"s new for the first time in over a decade? Squirrel Bait"s self-titled 12" EP and Skag Heaven in the black. In "85-"87, their screamin" teenage psycho dilemmas stood way out in the emerging field of metal damaged hardcore punk. "Kid Dynamite" would ring in your head like a #1 single that had just unseated "Sun God" from the vaunted top spot. Every week. Anthems for the freaks! It happened fast. After a couple of records, guitarists David Grubbs and Brian McMahan split for Bastro and Slint (and Gastr del Sol and The For Carnation, respectively) With Grubbs went bassist Clark Johnson, original Bait batterie mate Britt Walford joined McMahan in Slint. Leaving only the stuff of legend: records eternally exploding with youthful feels through all the endless winters and summers of hearts and minds. Repressed, Squirrel Bait can now continue to dialogue with the young in the creation of new useful and unforgettable experiences. For the children of tomorrow as well as your own damn selves, get copies now.

Legendary California Gore Metal Freaks Exhumed team up against Richmond, Virginia's Crossover Hardcore Punks Iron Reagan (members of Municipal Waste) on this stellar edition of the Tankcrimes Split 12" Series. Exhumed bring 2 hook-laden, high speed death grinding originals plus Gore soaked covers of Hardcore classics from Minor Threat and Negative Approach. Iron Reagan come in with 4 original tracks of manic punk-metal thrash fury. All tracks exclusive to this vinyl only release. Digital download card included.

Non-sensical, un-user friendly, at times half finished. Camper Van Beethoven"s second album II & III saw the folk-punk of the band"s debut LP morphing into an even wider melting pot of stylistic influences and (un)ironic contradictions, all rolled up into a coherently incoherent collection of some of the band"s most defining songs. Originally released in 1986, the follow up to Telephone Free Landslide Victory did much to develop an already iconoclastic Camper Van Beethoven idiom. II & III ranges from alt-country ballads ("Sad Lovers" Waltz") to call-backs to the European folk instrumentals of the debut ("No Krugerrands For David", "4 Year Plan"). Also featured is the band"s bluegrass-Americana take on Sonic Youth"s "I Love Her All the Time", feeding their appetite for cover songs. This deluxe double CD set brings together the original II & III album with a 17 track live album of material from Camper Van Beethoven shows supporting REM on their Life"s Rich Pageant tour. This audio was mostly recorded at the Lincoln, Nebraska show from October 10th, 1986, but is supplemented with audio from other shows of the tour. The Teal Vinyl re-issue features a newly revisited collage version of the artwork, plus a reproduced 11"x11" insert, designed by Victor Krummenacher using original photos, lithograph prints, lyrics and leaflets.

Multi-instrumentalist Sarah Lipstate brings her innovative music to life under the name Noveller. Forming unexpected sonic routes, her songs are vivid and cinematic. Following several years spent collaborating with Iggy Pop, and touring the world as his guitarist, Lipstate returns with a new album of her own. I Am The Weather further expands her inventive explorations, creating what Pop once described to Jim Jarmusch as “symphonies for people that don’t have a lot of time.”

Sarah’s work as a composer, notably for the HBO Docuseries Breath Of Fire, as well as the Anthony Bourdain documentary Roadrunner, has greatly influenced her new constructions, incorporating piano, percussion and a new studio filled with excitement into her signature guitar sculpting. It is the baby grand at the center of her studio that welcomes you to the record on “Sunday in Copenhagen” before ceding to a celestial six string swell. The percussive rhythms of “Divining Dance” awaken a new morning in "The Way of Our Flood” and walk towards the bowed grace of “Otherside of Mountainside." Surging into the sky, “Portmerion” allows “Beyond the Fells” to glide back down to Earth, revealing the album’s biggest surprise - a vocal track!

It seems fitting given their past, that the first vocals on a Noveller record would be delivered by the legendary Iggy Pop. Written specifically for The Godfather of Punk, a noir-ish tale of a man over-matched by a femme fatale, “The Girl Who Was Death” builds with tension and release. Following their collaboration on the title track to Iggy’s album Free, (also used in a global campaign for PETA) and their interpretation of Dylan Thomas’ “Do Not Go Gently Into The Night”, Iggy was eagerly awaiting the opportunity to add vocals to another Lipstate composition. A scene set as if on opposite ends of a corner booth at the Double R Diner in Twin Peaks, he delivers each line with the weight of a thousand lives lived. The result is a song so vivid that you can see it projected ten feet tall on the walls all around you.

I Am The Weather is the first new release for the Experimentia label, which will soon be the home for the entire Noveller catalogue.

Bursting out of the Scottish underground with a bellyfull of hype, full page press coverage in Scottish nationals, and a sold-out launch show at Glasgow Art School, the Scottish electronic post-punk duo have fast become known for their abrasive sound, biting Glaswegian lyricism, and explosive live shows This brand new EP (with bonus former EP 'Bootlickers' and single 'The Mullets Are Moving In' on the B Side), blends sharp social commentary with distorted bass, fractured electronics, and heavy rhythms... Doss have built a thrilling reputation through relentless DIY touring and uncompromising performances, with support slots ticked off alongside the likes of Deadletter and Fat Dog in recent times.

For Love of Grace & the Hereafter is the sixth studio album from beloved Danish quintet Iceage. Across the sprawling, twelve song arc of the album, love variously retaliates and retreats in an eternal tango, Elias Rønnenfelt's lyrics burn with apocalyptic intimacy while the band manically maneuvers around their shape-shifting brand of feral post-punk. Produced by Iceage and longtime collaborator Nis Bysted, the album threatens to bite back if bitten, thriving in the haunted shadows with streetwise, saintly splendor.

STINGRAY returns three years after Fortress Britain. Back with a new line up and an ever more savage sound, massive sounding on a 5 track 12” EP.
ENEMY is London on a plate. Stench-tinged hardcore punk born of the ever reaching infinity of Britain’s complex and confusing capital. Nihilistic acid burns in the style of NEUROOT, DEATH SIDE and DOOM, under a few minutes per piece, peppered with prosciutto-dipped VAN HALEN style solos Ala later WRETCHED or SHOTGUN SOLUTION. Vocal visitations by Ciara Savage bring frightening melodic elements into the occasional foray into truly irresistible mosh, not far from the barbed wire trailblazing of GASTUNK, SOD, and SACRILEGE before flying back into fast paced passages of “Scandinavian Jawbreaker” worthy velocity.
Recorded at Fuzzbrain by Jonah Falco. Mixed and mastered by Chris Corry at the Paincave. Draped in a Tin Savage sleeve, and released on the ever eternal home of musical suffering, La Vida Es Un Mus Discos.

In der Heimat der Wettbüros wird zurzeit ein Name groß gehandelt: SHAME. Die Band lebt von Konfrontation. Sei es die brodelnde Intensität, die auf ihrem Debüt ,Songs of Praise" knistert, oder das Adrenalin-pumpende Chaos, das sich bei ihren aufregenden von großen Emotionen angetriebenen Shows entfaltet. Bestehend aus dem Sänger Charlie Steen, den Gitarristen Sean Coyle-Smith und Eddie Green, dem Bassisten John Finerty und dem Schlagzeuger Charlie Forbes, begann das in London lebende Quintett bereits im Schuljungenalter. Mit einem gesunden DIY-Ethos als Grundlage und mit The Fall und Wire als musikalische Einflüsse schafften sich SHAME eine Nische in der Musikszene Südlondons und entwickelten furchtlos ihren aufrichtigen, eckigen, peitschenden Post-Punk. Die zehn Songs von ,Songs of Praise" lassen keine Fragen offen. Ob "Gold Hole", ein augenzwinkernder Takedown von Rock-Narzissmus, oder die Single "Concrete", die den überwältigenden Moment der Erkenntnis einer zum Scheitern verurteilten Beziehung beschreibt, oder das frustrierte "Tasteless", das die Monotonie des Alltags beschreibt. ,Songs of Praise" bietet keine Atempause.

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

When Hot Mulligan took to social media to declare themselves #1 Hot New Band, it would have been easy to write off the terminally online emo quartet’s proclamation as yet another irreverent entry into their bag of tricks.

But it turns out Hot Mulligan have a way of manifesting things into existence, whether it’s name-dropping Michelle Branch and Mark Hoppus in song titles and netting responses from both (only one got the joke) or, true to their word, becoming synonymous with the newest waves of pop-punk and emo – err, post-emo, the genre Hot Mully have claimed responsibility for inventing. (Go ahead and fact-check it; they’ll wait.)

“Dressed In Black” was curated and annotated by Cathi Unsworth, author of the book Season Of The Witch: The Book of Goth – a woman who considers herself fortunate to have had Siouxsie Sioux, Lydia Lunch and Diamanda Galàs for role models while she was growing up. For further illumination in Cathi’s own words, read on.

“The music gathered here is an aural manifestation of turbulent times, made by women possessed of supernatural abilities. The music I fell in love with emerged from the dark end of the 1970s: The Winter of Discontent of 1978-79, when intractable industrial action left the dead unburied and mountains of rubbish in the streets. All the promise of punk came to a brutal end with the deaths of Sid and Nancy in New York; IRA bombs exploded in central London and a seemingly uncatchable ripper roamed West Yorkshire with 13 murders under his belt. Ill omens that augured badly for the events of 3 May 1979, when Margaret Thatcher became our first woman prime minister. Dressed in blue and ready to whip the country to her heel.

“But at night, malcontent youth were united by forces of opposition, whose dissenting voices were aired across the land on John Peel’s Radio 1 show, set to the sound of slasher guitars, swirling fairground keyboards, loping basslines and percussion that recalled the echo of jackhammers or the march of insect feet. Here, punk’s unruly offspring distilled the dissonance of the times into a new kind of music. Flirting with the fetishist and taboo, drawing upon horror and science fiction imagery, they were the outlaw leaders of the greatest style tribe of the decade: the goths. Dressed in black, these kohl-eyed women voiced the alienation of their generation during the decade of the Cold War, the Miners’ Strike, privatisation and AIDS.

“To make sense of the absurd is genius enough. But to then cast the glamour of sublime music around those insights – I come back to my point about supernatural abilities. I hope you will find illumination within. You know the dress code.”

Mit "Angriff auf"s Schlaraffenland" veröffentlicht Tapete Records eine umfassende, musikalisch kuratierte Reise durch 50 Jahre deutschsprachigen Punk - von den frühen Experimenten der späten 1970er bis zu modernen Positionen der Gegenwart. Die Compilation begleitet die Jubiläums-Veröffentlichungen des Ventil Verlags, der über 200 Autor:innen zu ihren prägendsten Punk-Songs versammelt und damit das Vermächtnis sowie die Relevanz des Genres würdigt. Wie ein gutes Mixtape verzichtet die Sammlung bewusst auf Chronologie und setzt auf rein musikalische Kriterien: rohe Energie, politische Haltung, Humor, Widerspruchsgeist und stilistische Vielfalt. Vertreten sind u. a. Die Radierer, Hans-A-Plast, Palais Schaumburg, Egotronic, Bärchen und die Milchbubis, Toxoplasma, Slime, Schnipo Schranke, Stereo Total, Die Nerven - Bands, die Punk mit Pop, Dada, Elektronik, Chanson oder Noise neu definiert haben. "Angriff auf"s Schlaraffenland" ist damit ein unverzichtbares Dokument für alle, die Punk nicht als Nostalgie, sondern als lebendige, widersprüchliche und weiterhin unbequeme Kulturform verstehen.

GER NOFX waren sauer (sind es möglicherweise immer noch) und wollten uns das wissen lassen! Ursprünglich 1999 veröffentlicht, war "The Decline" ein mutiges Werk und markierte einen großen Wendepunkt für NOFX. Der Song, der weithin als eines ihrer Meisterwerke gilt, ist ein 18-minütiges Punkrock-Spektakel, das die Entertainmentqualitäten, den lyrischen Witz und die Musikalität der besten Punkrockband aller Zeiten richtig zur Geltung bringt. Der Song, der den Zustand Amerikas satirisch darstellt und die gleichgültigen Massen und Politiker gleichermaßen aufs Korn nimmt, ist auch im Jahr 2026 natürlich leider noch aktuell und kritisiert somit weiterhin die Mächtigen auf eine Weise, zu der nur wenige Künstler den Mut haben. Die Vinyl-Single enthält auf der B-Seite die erste Version von "Clams Have Feelings Too" (das später auf dem Album "Pump Up The Valuum" wieder auftauchte) und ist ein Muss für jeden NOFX-Fan. Erneut auf schwarzem Vinyl wieder da und und limitiert in neuem farbigem Vinyl. Inklusive Beilage mit Texten und Bildern. NOFX were pissed off (possibly still are) and they wanted to let us know! Originally released in 1999,The Decline, was a brave release and marked a huge turning point for NOFX. Widely regarded as their magnum opus, the song is an 18-minute punk rock spectacle that showcases the showmanship, lyrical wit, and musicality of the best punk rock band of all time. Satirizing the state of America and skewering the indifferent masses & politicians alike, the song is eerily relevant in 2026 and continues to critique the powers that be in a way few artists have the courage to do. The vinyl adds first version of "Clams Have Feelings Too" (later resurfacing on the Pump Up The Valuum album) on the flip, the 12" is an essential release for any NOFX fan. Back on black and colored vinyl (ltd), includes insert with lyrics and pics.

Sie machen keine großen Worte, hampeln nicht 24/7 auf allen Social-Media-Kanälen herum, verzichten auf Werbung und große Worte jeglicher Art und spielen nicht wahllos an jeder Steckdose. Eigentlich ein Unding in der heutigen Zeit. Geschäftsschädigung in eigener Sache, quasi. Und dennoch ist die im Jahr 2009 gegründete Formation aus Tübingen mit jedem ihrer immer stoisch und schlicht mit dem Bandnamen betitelten Alben stets aufs Neue in vieler Munde, genießt mindestens Respekt, bei etlichen Fans gar unantastbaren Kultstatus - und das nicht nur innerhalb der Punk(Rock)-Basis, sondern auch bis tief in die Alterna- und Metalszene hinein. Große Riffs - mal episch, mal punkruppig, mal schmissig, und so gut wie immer nackenbrechend - und der zuweilen zweistimmige Gesang sind die Kerntrademarks des Vierers, dazu spartanische, aufs Bitternötigste reduzierte englische Lyrics sowie ein magnetisierender Groove, für den unzählige andere Musiker töten würden: HYSTERESE at it's very best. Auch mit Album Nummer fünf pflügen HYSTERESE durch eure Herzen. Wie nicht anders zu erwarten, walzt das Quartett seinen schwermütigen Punk-Rock in die nächste Metamorphose. Die riesigen Melodien sind getragen von krachigen Breitwand-Gitarren, mal Shoegaze, mal 80s Rockismus, zeitlos und integer. Und hat da jemand tatsächlich Manilla Road gesagt?

Seit fast zwei Jahrzehnten verbreiten der King und seine Cumberland Three ihren Rhythm & Punk-Spaß in der ganzen Welt und bringen jede Menge ausgelassene Energie, Albernheiten, gute Laune und Schweiß mit! Mit diesem Quartett ist jede Show eine Party! Anlässlich ihres 20-jährigen Jubiläums, in dem sie unermüdlich weltweit auftraten und Dutzende von Platten veröffentlichten, haben King Salami & The Cumberland Three tief in ihrem umfangreichen Katalog gegraben, um 16 ihrer besten Tracks auszuwählen. Das Ergebnis ist diese energiegeladene Zusammenstellung, ein Album voller Spaß, das verrückte Klassiker wie ,The Pulpo Dance", ,Pineapple Mama", ,Shake it Wild" und ,Do the Wurst" enthält, neben ihrem weniger bekannten Instrumentalstück ,Itch!", das kürzlich in der Dreamies-Katzenfutter-Fernsehwerbung zu hören war. ENG For nearly two decades, the King and his Cumberland Three have been spreading the Rhythm & Punk grease all around this big old world, bringing along with them buckets of fun, raucous energy, silliness, smiles and sweat! With this quartet, every show is a party!! To mark their 20 years anniversary of relentlessly playing shows around the globe and releasing dozens of records, King Salami & the Cumberland Three have dug deep into their extensive catalogue to select 16 of their most killer tracks. It makes for a fun-packed album which contains wacky classics such as `The Pulpo Dance', `Pineapple Mama', `Shake it Wild' and `Do the Wurst, alongside their lesser-known instrumental `Itch!' that recently featured on the Dreamies cat food TV ad.

San Francisco hardcore stalwarts Western Addiction return with Psychedelic Munitions, a high-octane successor to Frail Bray that captures the explosive fervor and technical precision of their Bay Area roots. Recorded and mixed by Scott Evans at Sharkbite Studios and Antisleep Audio, then mastered by Brad Boatright at Audiosiege, the album delivers a massive, "live-in-the-room" sound that avoids modern polish in favor of visceral, room-shaking grit. Despite the time between releases, the band bridges the gap with a collection of songs that feel both seasoned and dangerously urgent. Psychedelic Munitions stands as a definitive masterclass in authentic California punk, honoring the legacy of the Gilman Street scene while pushing the boundaries of the genre's aggressive potential. Since forming in 2003, WA has defied easy categorization, the band crafting songs that comfortably draw from a wide swath of rock 'n' roll while retaining punk's ferocity with a hardcore feel. Fat Mike often lists WAs "Cognicide" (2005) as one of the greatest releases on the label, also calling it one of the best hardcore albums he's ever heard. Joey Cape from Lagwagon has also stated that it's his favorite album released on Fat Wreck Chords.

At last, Tokyo’s RAW DISTRACTIONS release their debut LP after a couple of demos and four singles on Hardcore Survives and Pogo 77. RAW DISTRACTIONS have been raised onthe catalogue of Beat the System, Clay Records and Riot City. They play lean and hard hitting UK82 punk with some raging guitar work and a gutteral vocalist who spits and snarls but never forgetting the hook. It’s instant, raw and unhinged and would sit perfectly next to Charged GBH, One Way System and The Exploited but with that Japanese magic dust. This is raw punk but hard and melodic rather than overblown.

Wie jemand, der ein Signal aus Störgeräuschen herausfiltert, entdeckt Cosey Mueller immer wieder innovative Variationen von Punk und experimenteller Elektronik und entwickelt daraus in ihrer beeindruckenden Diskografie einen unverwechselbaren Stil - der mit „Embodiment of Denial" nun einen neuen Höhepunkt erreicht. Eine zunehmend treibende Tanzbarkeit bildet dabei die Kulisse für eine verstärkte Konzentration auf Muellers Stimme.

Die acht Tracks des Albums sind voller eingängiger Hooks, während sie, weit entfernt von den leeren Parolen, die in „Der Politiker" parodiert werden, die deklarative Aussage für die Kräfte des Guten zurückerobert.