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Nach ihrem Debütalbum "Geistesgift" legen die Jungs von TODSÜNDE mit ihrem neuen Longplayer "Herzjagd" die Messlatte 3 Regale weiter nach oben. Das facettenreiche Album ist vollgepackt mit Songs die brachialer klingen denn je.

Deutschsprachiger Metal trifft auf Moshpit garantierte Live-Show! Das ist TODSÜNDE! Und JA, die fünf Jungs aus Nordrhein-Westfalen sind wirklich jede Sünde wert! Nach ihrem Debutalbum „Geistesgift“ erscheint nun am 16.06.2023 ihr zweites Studioalbum HERZJAGD, bei dem sie sich erstmalig den Ausnahmeproduzenten Jonas Rabensteiner mit ins Boot holten. Das neue Team hat es geschafft, den Songs eine komplett neue musikalische Note zu verpassen und wird dadurch mit Sicherheit viele neue Fans begeistern. Dennoch wurden die starken Metal- und Hardcore Parts natürlich beibehalten. Hierdurch wurde ein eindeutig gradliniger Todsünde-Sound geschaffen, der sofort ins Ohr geht und auch dortbleibt! Mit ihren fantastischen Live-Auftritten, dem unverkennbaren Bühnenoutfit und einer grandiosen Bühnenshow wird eines sofort klar - so vielseitig und abwechslungsreich wurde euch noch nie in den buchstäblichen Arsch getreten!

Weekend Recovery are back with a brand-new album ‘Esoteric’. Mixing equal measures of in-yer-face vox, overdriven guitars and straight-talking lyrics, it’s this mix that’s seeing the Sheffield indie-pop trio into editorial playlists on Apple, Deezer and YouTube alongside shows at Kendal Calling, Bingley Weekender and sell out dates including Corporation Sheffield. The first cuts from the record ‘Chemtrails’ and ‘No Guts All The Glory’ hit the airwaves with a bang, amassing plays on BBC Radio 1 Introducing (Gemma Bradley, Nels Hylton), BBC 6 Music (Steve Lamacq, Chris Hawkins, Fresh on the Net), Radio X (John Kennedy), Kerrang! Radio (Johnny Doom), Amazing Radio (Charlie Ashcroft, Shell Zenner, Frankie Francis), Absolute Radio (Frank Skinner), Planet Rock (Wyatt Wendels), BBC Sheffield (Christian Carlisle, Ellie Colton), BBC York (Jericho Keys), RTE 2 Ireland and as far as KEXP, Seattle and national USA station Sirius XM (Rodney Bingenheimer). The latest single ‘No Saint’ features Joel Arthur from local bandmates Hydeout and represents the harder edge in their third studio album.

The Other Maria represents the character trait each of us has inside within ourselves. The silent part of us that we try to regulate, keep restrained from others and managed just beyond reach from the rest of the World. It represents the compartmentalized potential to do, say and respond with great chaotic harm, despite all unfortunate consequences. It is a full release feeling that we sometimes quietly envy as we witness with disgust and disapproval.

Widely considered a character flaw to many, yet, some would relish in the opportunity that could summon such an unpredictable internal animal. Every life has two parallel parts. The one for "them", the version of yourself that abides by all the acceptable and expected rules of engagement - often a side that is given credit on face value. The side that achieves progress through peaceful and less confrontational means. The one you use to survive.

And the other side, the one for you. An uncompromising, unthinkably ruthless version that knows no limit. That knows no fear. The side of yourself that tells you yes, when you know that "no" is the better answer.

The Other Maria isn't about comfort. It is about hard truth, but also recognizing raw emotions that stem from feeling undeniably free.

And what could one do with such a dark, yet wonderworking ability - when the absence of fear and consequence presides over the judicious process leading to an enviable fate - convinced that all actions are pure, justified, direct, but conniving. The feeling of relieved of all guilt and accountability?


But as diabolical as it can be and appear. Along with the negative static, there can be progress. As true imposes are exposed, so does the transparency of reality. A precious truth that's needed to fully understand the severity of the situation.
And with this, comes a valuable knowledge from a low level in which one once descended. Dreadfulness is softened to predictability.

- Jeff Mills, April, 2023

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Lucky For You is Bully's most close-to-the-bone album yet. It's an album that's searing and unmistakably marked by its creator's experiences, while still retaining the massive sound that Alicia Bognanno has become known for over the last decade. Her fourth album draws from personal pain and the universal struggle that is existing, learning, and moving on-and it's all soundtracked by Bognanno's rock-solid melodic sensibilities and a widescreen sound that's impossible to pin down when it comes to the textures explored. These ten songs are simply the most irresistible Bognanno's put to tape yet, making Lucky For You her greatest triumph to date in a career already packed with them. Work on Lucky For You began last year, when Bognanno brought some in-progress demos to producer J.T. Daly in his Nashville studio to see if they could strike creative kismet. "Authenticity is always on my mind, without even knowing it," she explains while discussing their recording process together. "It was great with J.T., because I could tell he was a genuine fan who wanted to emphasize what's actually good about my writing instead of changing it. I could tell how much he cared about the project, and it meant alot to me." The album came together over the course of seven months, the longest gestation process for a Bully record to date, but that time allowed inspiration to emerge in new ways. The result is a kaleidoscopic rock record spanning punk's grit, the crunchy bliss of shoegaze, explosive Britpop, and the type of classic anthems Bully has been known for. Lucky For You's thematic focus zooms in on grief and loss: The record is largely inspired by Bognanno's dog and best friend Mezzi passing away, at a time when her life already felt as if in metamorphosis. The oceanic first single "Days Move Slow" was written shortly after Mezzi's passing, reflecting the persistence of Bognanno's incisive wit in the face of adversity. "There was nothing I could do except sit down and write it, and it felt so good." And then there's the passionate opening track "All I Do," which kicks in the door with huge riffs atop her lyrical reflections on three years of sobriety. "Once I stopped drinking, I felt like I was still haunted by mistakes and things that had happened when I was drinking, and it's still taking me a long time to forget about that while existing in this house. How do I shed the skin from a path I've moved on from?" In that vein, Lucky For You is a document of perseverance in the face of the big and the small stuff. "I'm so overly emotional and sensitive, it's a blessing and a curse" she says with a laugh, but there's no downside to her expressions of vulnerability on this record; it's the latest bit of evidence that nothing can hold Bognanno back.

Richard Pryor contained multitudes, each fully inhabited character funnier and more
insightful than the last, so it’s no wonder when he took the stage at The Comedy Store in
Hollywood in 1973, it’d be a full 15 minutes before he spoke to the adoring audience as
himself. No, he needed to start where he started, on the streetcorner, with all the wit,
wisdom, and general jackassery of Wino & Junkie. Throughout a set full of hard jokes and
detailed character sketches (including the men of the Saturday night police lineup in his
hometown of Preoria, Illinois—the first and riskiest stage he knew), the audience has the
chance to get caught up in the silliness so inherent to Pryor while never losing sight of the
issues America had yet to face (and hasn’t still). There are sex jokes that hit so hard the
women in the audience take an audible refractory period, drug advice that has you weighing
the relative trip-laden merits of dope and acid, and a call-and-response on sandwiches that
proves the irresistibility of zealous Black midwestern preachers; there’s a litany of celebrities
whose names and projects have blurred in Pryor’s mind, but whose faces and friendship so
clearly light him up; there’s even fighting advice (don’t fight Italians, their mothers get
involved, and try to avoid a paternal cowboy whuppin’, because no one wants to get hit with
a chair). And then you get hit with the hardest punch: Pryor reaching out from 50 years past
to make the truth plain. You never hear about civilians accidentally killing cops, so why is it
that cops are always “accidentally” killing Black men? As it turns out, 1973 and 2023 aren’t so
far apart that the legendary Richard Pryor can’t bridge the gap.

Abracadaboum is the third studio album for Bérurier Noir.

While the group went on a concert strike in the summer of 1987, they remained active and took advantage of the opportunity to record a new album with a sharp eye on world events.

Les Bérus, always in the vanguard of an alternative youth that challenges taboos and norms, release 10 new hymns to insurrection and try to explode the borders set up by intolerance.

The future is not violence but solidarity!

-

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.
From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.
The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Sasu Ripatti presents the third volume in his "Dancefloor Classics" series with five 10" releases coming throughout 2023. Music for imaginary dancefloors, released on Ripatti's own label "Rajaton".

--
”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

--

2023 Repress

Dax J returns to Monnom Black with an EP of uncompromising warehouse tracks, drifting through Acid, UK and Jungle influences to create an iconic onslaught of ominous Techno cuts.

Photo Credit - Lincoln Clarkes, 1996, Heroines
Original image captured by award-winning photographer, Lincoln Clarkes in Vancouver 1996, from the highly praised, hard-hitting photo-book series, "Heroines," portraying social injustice and the stark contrasting realities faced in the forgotten areas of modern day sub culture.

In November 1985, Bérurier Noir and his band of agitated*e*s returned to the studio, in the middle of a social strike. The surprise strikes that plunged the country into a "Joyeux Merdier" were the ideal setting for this new Christmas prank and tinged with rage but also with fun, 4 new tracks and not the least. It is THE record that contains "Salut à toi" and opens the door to the first radio broadcasts of the group, before becoming the eternal anthem of a youth always in solidarity with the peoples of the world zone.

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake, one evening in February 1983, Bérurier Noir quickly found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, in the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues in particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

This track is a huge Detroit synth- / strings affair in the fashion of Los Hermanos. The kick drum is very hard. With the bassline, you sometimes have three melodies at once. Very groovy and funky track, highly danceable. Perfect for outdoor events because of its rather buoyant character.

The talent on this Repressing is monumental Optic Nerve, Strand, Posatronix and Marty Bonds. This is a must have repressing that has been requested to be repressed by the most popular dj’s in the business. Dedicated to Juan Atkins and the spirit of Metroplex Records. This ep was originally called the Metroplex Social Club.

After a creative break of more than 10 years finally the comeback: In line with the long-awaited new album called "An Excellent Spiritual Serviceman" a limited colored vinyl reissue of the classic Contemporary Noise Ensemble debut record "Pig Inside The Genleman" from 2006.

"Jazz music without jazz, film music without movie but something splendid instead! Despite the band's name suggesting noisy music for the chosen ones, Contemporary Noise Ensemble appears to be a revelation for everyone. Beautiful, hard, romantic piano tunes in the dialogue with brass section. Simple and extraordinary emotional compositions leading to the climax which makes the flesh creeps while listening. Hair bristle on the heads of those who remember the musical past of the The Contemporary Noise Ensemble members..."

"The Contemporary Noise Ensemble impresses with maturity and class. There's elegance as well as punk energy. The compositions are unbelievably spacious but on the other hand all fulfilled with instruments - from the superb rhythm combo to the greatly equipped brass section. The roots of the most of The Contemporary Noise Ensemble musicians reach harder music, sometimes even heavy metal what bears excellent interest. The compositions are vigorous and expressive. The name of the band must be remembered because it undoubtedly is Polish export commodity."

"There’s no doubt that the Contemporary Noise Ensemble is one of the most fascinating musical projects from Poland which catches the attention of both pure jazz fans and people who are interested in experimental instrumental music in general. For fans of Cinematic Orchestra & jazz influenced film sounds."

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

Alison Goldfrapp has set a towering bar for British synth-pop in the 21st century and she’s only just getting started. The magnetic London-born singer, songwriter and producer’s seven albums with Goldfrapp were fuelled by an unfailing modernity and a sixth sense for sounds that were more timeless than any trend. With the release of her debut solo album The Love Invention—an electrifying dance-pop suite—her multi-faceted musicianship reaches a new peak.

The Love Invention marks Alison’s reawakening as a dancefloor priestess, in an intoxicating showcase of the disco and house influences that have always been at the heart of her musical DNA. “So Hard So Hot” bottles the ephemeral joy of a dancefloor with its anthemic house beat, disco handclaps, and an exquisitely alluring vocal from Alison. The sense of uninhibited liberation courses through album highlights like “In Electric Blue,” a yearning synth-pop confection with a chorus as blissful as love’s first butterflies. On “Never Stop,” she is flooded with the rush of an all-encompassing love over a buoyant, rubberised beat; the sublime synth-pop of “Fever” is an ode to the intoxicating majesty of the dancefloor, with a chorus that explodes as if setting off a glitter cannon.

Malice continues its run of ridiculously hard, in your face, old skool styled modern gabber. Relentless and remorseless, Macerator brings the hard to hardcore, with devastating drums, huge riffs and the manic pace expected from any true gabber release!

Frech, wild und ohne Kompromisse: THE HELLFREAKS verbinden modernen Metal mit rotzigem PunkEinschlag!
THE HELLFREKS, Ungarns rebellischster Punk/Metal Export, veröffentlichen am 14. April 2023 das neue Album, Pitch Black Sunset, über Napalm Records. Darauf liefert das Quartett aus Budapest eine packende Mischung aus Modern Metal und Post-Hardcore mit einschlägigen Skate Punk Elementen. Die 2009 gegründete Band kann bereits auf eine spannende Diskografie zurückblicken, die unter anderem Highlights wie den Psychobilly-Punk-Hit „Boogie Man“ enthält. THE HELLFREAKS sind in zahlreichen europäischen Ländern aufgetreten und eroberten die US-amerikanischen Bühnen auf ihrer Tournee im Jahr 2015.

Nun setzen sie mit ihrem fünften Album Pitch Black Sunset einen neuen Meilenstein mit ihrer einzigartigen Mischung aus Metal, Post Hardcore und Punk.

Bereits der Album-Opener „Old Tomorrows” ist ein gelungener Kick Off und erstklassiger Repräsentant, der mit groovigen Metalbeats und den intensiven, frechen Screams von Zsuzsa „Shakey Sue” Radnóti unmittelbar ein Ausrufezeichen setzt und die In-Your-Face-Attitüde der Band hervorhebt. THE HELLFREAKS demonstrieren zudem gekonnt ihre Qualität als individuelle Musiker, während sie mühelos schwere Riffs mit starken Beats und aggressiven Shouts verschmelzen lassen. Dabei liefern bittersüße Gesangslinien den perfekten Kontrast. So beweisen THE HELLFREAKS mit Pitch Black Sunset eindeutig, dass sie bereit sind, ihr nächstes Kapitel aufzuschlagen!

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

New year, new energy, new music...

We’re all waiting for that tune to land in our lap, reach up and slap us simultaneously in the ears, feels, souls and feet. That big sonic blast of emotion and inspiration that sets the tone and gets us excited about a new season of shows.

Hard Times Records present ‘All I Need’, a powerful, slab of house music positivity that smacks of ‘first anthem of the year’ vibes and comes courtesy of one of house music’s biggest pioneers AND a certified UK House music institution that permanently changed the face of global club culture over 30 years ago... Steve ‘Silk’ Hurley and Hard Times.

Neither Hurley or Hard Times need any introductions, but both have histories that deserve so much more than this hype-fuelled promo blurb. Steve ‘Silk’ Hurley is a certified legend. As one of the pioneering House music artists to emerge from Chicago’s primordial 80s phenomenon and the first ever to score a UK number one Hit with ‘Jack Your Body’, the multiple Grammy nominated artist has been a powerful source of energy and inspiration ever since as one of the most consistent forefathers of this scene.

Hard Times have played an equally influential role and are arguably responsible for some of the most defining moments in uk House Music. One of the first club nights to import the US titans to UK dancefloors, the Yorkshire brand were instrumental in creating a blueprint in international DJ culture as they invited the biggest pioneers and legends to their events that began in the sleepy town of Mirfield, but eventually sprawled across the UK with line-ups that ranged from Todd Terry to Masters at Work to Deep Dish and every titan in between. A dominant force throughout the 90s, Hard Times wound down in the 2000s as its founder Steve Raine took a break from the industry to become a sheep farmer, which he still does to this day... Safe in the knowledge that he helped to create an ethos for uncompromising underground House Music that remains steadfast to this Day.

The Hard Times label originated back in 1994 And ran alongside the club night, boasting a small but elite catalogue. It’s about to thrive on a whole new level as Hard Times returns as a label with its first new material for over 20 years with ‘All I Need’.

Timeless yet forward-thinking, loaded to the brim with precision groovemanship, glazed with a strong Latin twist and sprinkled with the gorgeous vocals of Sara Garvey, who many will instantly recognise from her Nightmares On Wax collaborations, ‘All I Need’ is a pedigree house anthem-in-waiting. Universal in vibe and spirit, fully transcending trend or flavour-of-the-month fickleness, this taps into the source and has full potential to be the first big boundary-breaking house hit of 2023... 36 years after Steve ‘Silk’ Hurley topped the charts with ‘Jack Your Body’!

It comes complete with a rainbow of remixes from some equally eye-opening heavyweights: Alex Arnout, Eddie Leader, Terry Farley & Kevin Swain and DJ Skip (who runs S&S Records with ‘Hurley) all provide different perspectives on ‘All I Need’, giving it even more scope and depth to slap us simultaneously.

Orange Vinyl
Kero & Steph’s landmark collaboration Syndrome now sees a sumptuous release on vinyl and evocative music video, spinning data into densely layered visual treats.

Steph’s coolly ethereal voice and poignant writing drift in harmonies atop the sliced-up, glitched, hard-hitting precision of Kero’s productions. The unforgettable directness of her compositional sense is here, as her long resume of scores and placements would suggest. It finds an urban-technological counterpart in Kero’s frenetic sounds. The DU label boss is in full force straight from the chilling post-pop of the opening titular cut. “Walk in the park” is a production masterwork, punchy organic percussion against grinding bass. “Who am I to complain” is at once arresting and vulnerable with vocals, but still packs an emotional gut-punch in the accompanying instrumental. “Count down from 7” is more stripped down and urgent, melodic hooks propelled by lo-fi rhythmic mechanism’s menace.

For the remixes, Oberman Knocks unleashes utter digital destruction - computer memory banks dropped through a wormhole. That thoroughly deconstructs Mtch into composite textures -- and opens “Walk in the Park” to near-unrecognizable, yet somehow danceable mayhem.

The new physical and motion elements find a visual language for these sonic strata of imagination and digital construction. From designer Christoph Grünberger, known for his tome The Age of Data: Embracing Algorithms in Art & Design, we get the packed outer sleeve and 2D design. These enshroud a calm-looking Steph in a Shibuya Crossing-style trip inside Defasten’s geometries, opposite a catalog of branching visualizations and glyphs.

Defasten, known for his live AV work fusing virtual reality and performance, here explodes faceted 3D cubes, in the cover and further in the music video. These pulsing crystalline hyper-geometries delve into data as expressive medium, shifting and vibrating with the glowing tones and crisp percussive hits of Kero and Steph’s composition. It’s a rare music video that matches the music in intricacy and form - a world that can only exist in virtual space, but that feels as immersively dreamy as the sound score.

“Sugar coated fabric … in braided covers” and “silver linings” were never so tempting.

2023 Repress

Altamira caves, Santander 34.000 B.C. One of the oldest archeological sites on planet earth, just 30 mins away by car was born and raised P.E.A.R.L. Following the primitivism of those who preceded him, Poor Lord is an act of pure Neanderthal techno, stomping, explosive and classic hardcore flavor, can't wait to elevate Herrensauna peak time pressure with this.

And as if this was Rotterdam records. Dimi forgives that front left 2-step raver facing down with, a small break and a sublime kitsch hardcore line, expertly driving by the solo project of one half of AnD.

After the massive remix for Peder on KAOS04 OnScreenActor comes back with his first solo production. I talk to him via an intermediate and I still have no clue who is the responsible of this music, although I do not care. For me TACHI is the greatest production ever released in KAOS. Finest murky hyperdisko.

u.r.trax was born in this millenium, met her when she was working as artist care of Possession last year, not sure even she had the legal age to go in but her classy and freaky bangers should be definitely sounding in the mighty Paris rave. Folge Mir is just a small showcase of her big talent. Follow her.

This may be the toughest KAOS till date, take it or not. Fear enough.

A studio album recorded by Gilberto with arrangements by for Verve in 1967, Astrud Eumir Deodato and Don Sebesky, Beach
Samba successfully showcases the singer’s soft, soothing, playful, ethereal voice. The program consists of laid-back beach bossa nova tunes. The opening track, “Stay”, is a true highlight, while
“Beach Samba” is a wordless delight and “Canoeiro” rolls the Portuguese lyrics into a snaking rhythm. A real standout is “You Didn’t Have to Be So Nice,” a duet with her then-six-yearold son. Gilberto’s vocals are backed by a sumptuous Brazil pop-cum-U.S.
orchestration feel (Ron Carter and Toots Thielemans are among the sidemen, as well as Brazilian stars Marcos Valle and Claudio Slon). Some of the more pop choices are also remarkable, particularly
Tim Hardin’s gorgeous “Misty Roses.” Beach Samba was included in the book 1001 Albums You Must Hear Before You Die.

Remixes of the massive Man With The Red Face from Hardwell / ATFC & Rene Amesz.

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Das zweite Album 'Evig Pint' (2002) war rockiger und dunkler, erreichte auf Anhieb die norwegische #1 und später Platinstatus, das Titelsong-Video setzte sich als 'bestes norwegisches Musikvideo aller Zeiten' gehen A-ha 'Take On Me' durch und erhielt einen norwegischen Grammy.

Kaizers Orchestra bringen ihre Alben auf 180g Gatefold-Vinyl neu heraus. Remastered von den Originalproduzenten, explodiert ihr facettenreicher Balkan-Punk-Sound, klingt offener & lauter, hat mehr Punch & Dynamik und atmet Live-Energie & Schwung ihrer Kultkonzerte. Das zweite Album 'Evig Pint' (2002) war rockiger und dunkler, erreichte auf Anhieb die norwegische #1 und später Platinstatus, das Titelsong-Video setzte sich als 'bestes norwegisches Musikvideo aller Zeiten' gehen A-ha 'Take On Me' durch und erhielt einen norwegischen Grammy.

Talla 2XLC is celebrating his forthcoming birthday with the annual
spectacular Technoclub event along with faithful friends such as DJ
Dag, Woody van Eyden, Andreas_Kraemer, Sven Wittekind, Ulli
Brenner ,LXD and Bluefire amongst others. While during his career
has faced many obstacles and unfortunate situations, he manage to
stay ahead of his game by gaining the respect and admiration of his
fans and DJ colleagues. His career is a bright example of an artist
that fight against all odds and work ultra-hard to be always at the top
of download shops charts with his single releases and at the top of
the physical sales charts with his long lasting Mixed CD compilation
Technoclub that in 2023 celebrates its 25th year anniversary. Well
known for his ability to provide brilliant remakes of huge trance
classics on his label Technoclub Retro while on That’s Trance service
original solo tracks or collaborations with brilliant singers such as
Christina Novelli and fellow DJs like Ronski Speed or Ralphie B. Last
year he established his psy-trance label Dreamscape with remixes
by his psy-trance alter ego Zyrus 7. Talla 2XLC is not just a pioneer
in techno and trance music scene but also a frequently booked DJ
performing on the most iconic festivals and club events such as Nature One, Mayday, Airbeat One and many more as he knows excellently to entertain his crowds with memorable DJ sets . Talla 2XLC embraces social media with active accounts in the most of them with hundreds of followers.

During the pandemic lockdowns he conquered twitch with
his very successful live DJ sets receiving donations and support from
his global fan base. What is more Talla 2XLC is taking part in wide
variety of documentaries narrating his contribution in the development and growth of electronic music culture. He is co-founder of MOMEM - Museum Of Modern Electronic Music in Frankfurt that any electronic music follower should visit to learn about the history of our culture.

For his 2023 Birthday he has a huge surprise to all his vinyl lovers.
He is going to release his BDay Bash EP that will include two massive
tracks already released digitally under his techno moniker RRAW on
Technoclub Pure. The two massive mainstage techno friendly anthems Wonderful Dayz and The Promised Land. Both tracks have been fans favorites and have been road-tested extensively by Talla 2XLC and many other well-known artists worldwide. Banging mainstage techno basslines, slamming kicks, haunting dark moody atmospheres, acid touches and strong euphoric breakdowns followed by massive hands in the air dark climaxes, turn both tracks into must have for any vinyl lover who wishes to embrace Talla 2XLC techno moniker RRAW. Wish Talla 2XLC happy birthday by purchasing his Bday Bash EP with hi latest techno alias RRAW out on ZYX Music.

Marroon coloured vinyl.

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Tape

1st pressing on Maroon coloured vinyl. Manzanita is the common name for a kind of small evergreen tree endemic to California which has strong medicinal properties. It's also the name of the brand new full length by visual artist, writer, songwriter, and musician Shana Cleveland. Subtle, powerful, and unafraid. We can't actually tell you how much we love this record because you'd never believe us, so we'll just say that it is her strongest and most personal album to date. These songs are as strong as the bricks in the Brill building, and seem destined to be covered by others in years to come. Where her previous record, 2019's Night of the Worm Moon (Hardly Art) functions as a collection of speculative fictions equally inspired by Afro-futurist pioneers Herman "Sun Ra" Blount and Octavia Butler, Manzanita concerns the love that loves to love. "This is a supernatural love album set in the California wilderness," Cleveland explains. The combinations of words and song structure are so strong throughout that one hardly notices Cleveland's nimble fingerpicking on first listen, or how much is packed into the arrangements. The lyrics are satisfyingly direct, with the buoyantly whimsical descriptions typical of the 1960s New York School of poetry. It's peppered with the kind of unexpected turns that make the words more modern, and in their spookiness they are more West Coast, as in "Mystic Mine," with its "Mystic Mine Lane, cars rotting away/ I feel so relieved to be/ Back in the country." So much of the pop music we love is propelled by those first blushes of infatuation and lust, but Manzanita concerns the kind of love that one can only experience with time, work, and devotion. Cleveland says: "The songs were all written while I was pregnant (side A) or shortly after my son's birth in that weird everything-has-quietly-but-monumentally-shifted state (side B)," she says. Moving to the country, starting a family, laughing for real at the same joke the thirteenth time you've heard it, surviving heavy shit (this is the first release since Cleveland's successful treatment for a diagnosis of breast cancer at the start of 2022). This is a love album that's somehow populated with the insect world, ghosts, and evil spirits. Sonically, Manzanita sits in a meadow similar to her previous solo records, set back and away from the genre-recombinant garage pop of her band La Luz. This is part due to the fact that there's a different sonic palette in use here. While Cleveland continues to play guitar and vocals; Johnny Goss, who has recorded all of Shana's solo material and early La Luz recordings, and Abbey Blackwell (Alvvays, La Luz) play the bass; Olie Eshleman is on pedal steel; and Will Sprott plays the keyboards, dulcimer, glockenspiel, and harpsichord-little of which would have been out of place on her previous two solo records-Sprott also adds layers of synthesizer infused with the sounds of the natural world.

Futurismo present their new anthology series: Altered Vision, beginning with SUBURBAN ANNIHILATION The California Hardcore Explosion / From The City To The Beach: 1978-1983.

This aggressive collection draws from California’s rich history of punk, more specifically hardcore: a new sound that eschewed melody for intensity, a sound that took punk harder and faster, a sound intrinsically American. Whilst hardcore was also burning over on the East Coast, it was in California that it had ignited and sprawled, a sonic punch in the face that raged socio-political disdain and total abandonment for commercialism, fuelled by a crumbling American Dream and the collapse of family values.

Suburban Annihilation takes you from the major cities, to the coastal towns, to the SoCal suburbs, showcasing some the most important bands of the West Coast. Blasting off with the Adolescents ‘I Hate Children’, it heads from the year zero of Middle Class’s ‘Out Of Vogue’ to the surf punk of Agent Orange’s ‘Bloodstains’, from the blues tinged outlaw of The Gun Club’s ‘She’s Like Heroin to Me’ to the classic anti-anthems: ‘Live Fast Die Young’ by the Circle Jerks, lifted from their seminal Group Sex album, and the hardcore staple ‘California ÜberAlles’ by the Dead Kennedys. Also present are so many other bands integral to the era: T.S.O.L, Wasted Youth, Germs, Social Distortion, Suicidal Tendencies, Negative Trend, Flipper and many more.

Though the music was designed to repel, this historical document has been lovingly designed to remind us that this genre created some of the most immediate and acutely-realised music ever produced. Making this collection of choice cuts essential for long-time fans of hardcore and punk, just as those new and inquisitive about one of the most angry and pissed off genres to have given birth in America.

This 2xLP comes in a choice of limited edition coloured vinyl, it has a tracklist co-curated by Henry Rollins, it contains liner notes by Lisa Fancher of Frontier, a bio by award winning author Benjamin Myers, and contains a booklet featuring an array of images by the legendary punk photographer Edward Colver.

West Midlands five piece MACHIAVELLIAN ART follow up their self released and self titled cassette only album with their first release proper, ‘Indoctrination Sounds’ released February 24th via Riot Season Records, with an eye popping promo video to go with it.
A Maximalist blowout of Sax-honking Noise Rock, Doom Metal, Hardcore Punk, and Shoegaze, with Industrial Noise, Howls, Paranoid Rambles, and pure Disdain for oneself and the rest of you layered on top.
Indoctrination Sounds was conceived in various practice spaces in Digbeth throughout 2020 and 2021 and recorded at Ian Boult's Stuck On A Name Studios in Nottingham in the Summer of 2021, despite the best efforts of a global pandemic. Will Killingsworth mastered the record at Dead Air Studios.
Serotonin Problem opens the record with a huge sludge bass riff before the rest of the band pile in on top to create an all-encompassing and oppressive low mood that continues for the rest of the album. Next, we spiral down into the more open and atmospheric post punk of Faceless Voices - the collective bad feelings of a nation in decline reach boiling point. Indoctrination Sounds, for which the record is named, is a hardcore punk song regarding the clear and easily understood ways that humanity in the Western World is indoctrinated into the death-cult of capitalism under fear of violence, soaked in misinformation and conspiracy. Revolution is a call to action as guitars shift and glide uncertainly around, in a menacing inversion of shoegaze's dreamy safety. Side A is finished - a brief respite.
Side B opens with the more introspective Let Down, as the band play out a pounding homage to Iggy and the Stooges with Fenriz taking a turn on the drums. The drum intro to We're Not Gonna Take It gives way to a Rusted Shut bassline as the band turns their disdainful gaze to the violent pornography that is the 24-hour news cycle and reality TV in Watch Them Crawl. The album closes with Digbeth B5, an improvised piece on the gentrification of Digbeth. During the pandemic one of the band's practice spaces was turned into an overpriced ping pong bar for yuppies. As our culture is softened and cleaned up to make profit, so are our communities and cities.
Machiavellian Art are : Amy Murphy - Bass Guitar Benjamin Thomas - Vocals and Saxophone Joe Parkes - Guitar and Noise John Andrews - Guitar and Vocals Sam Hunt – Drums

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” *click, click, click.

He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?

He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.

”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”

New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.

She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”

”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” *click, click.

2023 Repress

Two years ago Credit 00 was lucky enough to find a flat with a winter garden in the midst of the city's concrete vastness. Setting up his studio there, surrounded by plants, facing the backyard oasis with its trees, bushes and birds singing all day was quite the opposite of his usual work environment. The contrast of being in nature whilst surrounded by an urban neighbourhood is explored on Credit 00's latest outing on Uncanny Valley. Two different settings represented on either side of the vinyl record. The street side of the building is Credit 00's typical habitat: rough drums, face melting acid and ghetto style track arrangement. R U READY 2 JACK pays tribute to Belgium New Beat and wants to sound like Hardcore that is coming from the heart. TRUE 2 THE GEHM is an ode to one of the true German Acid innovators, Andreas Gehm (R.I.P.), originally written in 2016 for a compilation, which raised money to help him cover expenses incurred due to his severe health issues. The backyard side reveals the influence of flora and fauna on Credit 00's work. On both THE GARDEN and DEEP IN THE JUNGLE, you can hear his synthetic interpretation of mother nature's repertoire. Birds chirping, acid frogs croaking and the wind blowing through the trees to the sound of jungle drums. Despite all the differences between the concrete and the green jungle, there are also a lot of similarities. As the artwork (hand-drawn by Credit 00 himself) illustrates, graffiti spreads all over buildings like wild vine grows on rocks: chaos reigns everywhere, whether in natural or man-made environments!

With a moving album cover paying homage to fallen comrades King Von and Nuski, Lil Durk and Only The Family release their fourth OTF label compilation album, Loyal Bros. Alternating between hard-hitting street anthems and emotional ballads, the 23-track tape sees new music from Lil Durk, posthumous appearances from King Von, and contributions from OTF signees Booka600, Memo600, Timo, Doodie Lo, JusBlow600, THF Zoo, and C3. In addition to OTF’s stacked roster, the project features several high profile collaborators, such as Lil Uzi Vert, Tee Grizzley, Foogiano, Big30, EST Gee, Slimelife Shawty, & more. On the heels of an already impressive year, Only The Family makes a strong statement that they're here to stay for years to come.

After releasing their highly anticipated singles "This Is Going South" , "Dive Deep Down" , "The Problem"and "Bad" earlier this year,Stockholm based unit DULL.The Album contains everything the die-hard fans of early 00"s alt rock could ask for - the down strokes, theguitar melodies, the sing-along chorus and an intensity that only keeps on increasing throughout the relativelyshort track.Canan Rosén, guitar and vocals, on their new single:"This track deals with that feeling you get once you see someone for who they really are and realize what a loserthis person is and always has been. There"s too many people who claim to be something they"re not or claim todo something they can"t. Time to come down off your high horse and face reality!"The members of DULL are no strangers to the Swedish rock and punk community. Hailing from acts such as Dead Vibrations, Twin Pigs, Tiger Bell, Mary"s Kids and Boris and The Jeltsins DULL are certain not to be dull at all. DULL consists of: Canan Rosén - Guitar/vocals Max Lindén - Bass Louise Erdman - Guitar/vocals Elias Jonsson - Drums DULL manages to take an uneven combination of alternative combination of alternative rock, punk, and Indie and turn it into something that works. Works pretty damn well. Don"t be dull, enjoy music!

Under the alias The Rodeo, French artist Dorothée has been curating her discography since 2010. An exercise in self-exploration that her fourth album, Arlequine, refines and reveals with the confidence of someone who has cast doubt aside. With these nine baroque, complex and catchy French pop tracks, the singer-songwriter reveals her many faces. Truly multi-faceted, she is as much a performer on stage as she is an artist in real life. She toys with appearances instead of falling victim to them. Backed by a group of loyal virtuoso musicians, Arlequine marries melancholy and melodic clarity, anger and orchestral density, loss and pop idealism, in ambivalent songs with powerful choruses that paint a portrait of "a battle-hardened woman with a smile (...), a woman warrior with makeup" ("Arlequine"): resilient, resolute, reborn. The Rodeo has played all over the world (Europe, USA, Canada, Brazil, South Korea, Taïwan) and shared the stage with many artists (Salif Keita, Stereophonics, Villagers, Nada Surf, The Do, Kazu...). She"s involved in the European program Keychange for increased parity in the music industry.

Originally Released in 1999, this much sought after package is back with new art and a suave ass gatefold jacket! Beginning their career as a Midwestern garage band, the Dwarves made an abrupt change once they moved to San Francisco, maintaining their recklessness, but getting faster and faster. Free Cocaine traces the arc of that development, collecting singles, demo tracks, and other sessions from that time period, beginning with the Lucifer's Crank EP, and progressing onward. Most early tracks betray tremendous musical inadequacies -- at this point, the Dwarves were hardly the polished pop-punkers they would become by the time they signed to Epitaph. Nonetheless, even this raw material has plenty of catchiness, playing ability issues aside. The album also collects compilation cuts like "Lesbian Nun" from the Amrep compilation Dope, Guns, and Fucking in the Streets and singles all the way up through the late '90s on Man's Ruin. Though known primarily for their hard-living, and reckless violence at shows, with most sets clocking in under 20 minutes, the Dwarves, at this juncture, were the best in the underground rock world at what they did: cooking up fast-as-hell, catchy, raunchy hardcore punk. (allmusic). Mixing Lucifer's Crank, Toolin' For a Warm Teabag and other early Dwarves singles, EPs and unreleased tracks this is the noise rock Dwarves at their most untamed. Zero production value, maximum profanity. Hits include Eat You To Survive, Fucking Life and Dead Brides in White.

Nada is Bérurier Noir's first 45t EP, released in 1983, originally on vinyl, shared with the band Guernica. 6 punk-psychiatric, aggressive and cold tracks. All in a black and white sleeve, with a terribly disturbing illustration signed by François (singer).

"A delirious rhythm box, relentless guitars, impeccable lyrics, voices from hell, all in a sordid and unhealthy climate, puking as you wish. They walk in the forest, for sure, but their forest is made of concrete, psychiatric hospitals and torture rooms. They're getting uglier and uglier, it's true, but their ugliness is like their music, cold, dark and totally derisory. At last, a dirty record in which one can wallow with pleasure.

In Cauda Venenum n°7 - 1983



The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Concerto Pour Détraqués" was ranked 52nd best French rock album by Rolling Stones magazine in 2010.

Eleven tracks like so many vitriolic pictures of a sick society: rape, extreme right-wing, psychiatric confinement, security paranoia, alcoholism and all the other crap that the future seems to hold. Loran and François express more than ever their rage and their refusal of the adult world in a recital with three chords: more aggressive guitars, more incisive lyrics and voices while an armada of chorus members and a saxophone come to heckle or underline this darkness.

"Concerto Pour Détraqués" is the band's reference album, with a string of hymns to insubordination and freedom: Petit Agité, Vivre Libre ou Mourir, Les Rebelles, Porcherie, Hélène et le Sang...

The band's name alone evokes the epic of alternative rock: rebellious and committed.

Born by mistake on a February evening in 1983, Bérurier Noir soon found itself the driving force behind a vast "Youth Movement", determined to take control of its life in the face of a society that was ultra conservative at the time. Times have hardly changed.

From the first self-produced records distributed by hand to the creation of self-managed labels, from concerts in squats and wild appearances in demonstrations, on the street or in the metro to endless tours, from interviews given to fanzines and free radio stations to unclassifiable appearances in the mainstream media, Bérurier Noir has waged the most exciting war of independence in the history of French rock, with only a microphone, a guitar, a drum machine, a few red noses and patched-up theatre masks.

The last finger of honour of this turbulent and irrecoverable raia, François, Loran and their "Troupeau d'Rock" commit hara-kiri, at the peak of their glory, during three last concerts in the heart of Paris in November 1989.

Forty years after its birth, Bérurier Noir's work still resonates, whether in demonstrations or free parties, nourishing the hopes of those who wish to overthrow this world to build a truly libertarian, united and fraternal society.

The label Archives de la Zone Mondiale reminds those who missed this unprecedented adventure, 8 discographic parts of the group Bérurier Noir in the form of reissues on particularly original colour vinyls (crown finish), in a limited series and distributed throughout the year.

Doomsday Outlaw return with their third studio album Damaged Goods, set for release on 3rd February 2023 via Republic of Music.

As Doomsday Outlaw began work on this album, they knew they wanted to step up to the next level and deliver on the promise of their previous albums, keeping the heaviness and the soulful vocals, and turbo-charging it all with some retro rock feelgood vibes.

Channelling Skynyrd, Aerosmith and The Faces through their signature heavy blues stomp, the band worked to expand their signature sound.

Working with Chris D’Adda at Vale Studios (Temples, Deaf Havana) and Dave Draper (The Wildhearts), to put them through their paces, the band have pulled together their best work yet.

Lyrically, the album is a very personal insight into vocalist Phil Poole’s life and motivations. Speaking about Damaged Goods, vocalist Phil Poole said: "This album is a continuation of the stories of my life – played out for all to see, filled with heartbreak and redemption. My own version of therapy, Damaged Goods is the latest chapter in my life."

Bassist Indy added: “It’s been a hard slog these last couple of years with Covid cutting short our European adventures, and generally waiting for live music to see the light at the end of the pandemic tunnel, but these new tunes have kept us going. The excellent response we’ve had to playing the songs live has been great to see, and we can’t wait to get everything out there for people to hear.”