Cerca:no one

Das 2020er Album von Tiger Lilly Marleen und ihren Bonsai Kitten! ,Love and let die" vereint den Spirit von Woodstock und Wacken mit all der subkulturellen Attitüde, die man an dieser großartigen Band so liebt!!! Ein energiegeladener Punk, Riot Rock, Metal,Blues & Billy Meltdown über Liebe, Tod & Hoffnung 11 starke Songs inkl. Singles ,Now or never" und ,Limit to your love"! BONSAI KITTEN feiern mit ihrem neuen Album "LOVE AND LET DIE" eine musikalische Wiederauferstehung und zeigt völlig neue Facetten der Band. Wenn Tiger Lilly Marleens charismatische Stimme auf Marc Reigns (Morgoth / Destruction) hemmungsloses Metal-Schlagzeug und Wallys (Psychopunch) raue Blues-Rockgitarre trifft, abgerundet durch Spoxx'(Feeling B) Bass Sound. Die Songs glänzen durch Spontanität und Härte, aber auch durch Intimität und eine extrem spannende Vielseitigkeit, während sie die Liebe, den Tod und die Hoffnung behandeln. Dieses Album ist pure Leidenschaft, zieht in seinen Bann und sprengt musikalische Grenzen. Ein "Limit (to your love)" - das vorab ausgekoppeltes Video - gibt es für BONSAI KITTEN dabei nicht ohne das Wesentliche aus den Augen zu verlieren: Jeder Song ist ein packender Treffer.mal ins Herz, mal in die Seele, mal "direct in your face"! Purpurfarbenes Vinyl!

Repress!

Leif Vollebekk, the Montreal singer songwriter and multi instrumentalist had hit a wall. In the midst of endless touring Leif found himself retreating to his lonely hotel rooms after shows and listening to Nick Drake's 'Pink Moon' alone in the dark. His own songs didn't sound right and he felt the bright spots in his sets were the covers he'd end with: songs by Ray Charles or Townes Van Zandt. In this deep blue mood he booked a secret show at a Montreal dive bar, only playing covers with a band that rehearsed once.  The experience led Leif to change his approach to songwriting: explore the ideas that came spontaneously to him, and let the songs shape themselves. Soon the songs came pouring out of him. This approach is what created the lush, freewheeling and often devastating 'Twin Solitude,' out February 24 on Secret City Records.

"By the time the last notes die away, all that's left should be you," Leif says. "And I'll be somewhere else. And that's Twin Solitude.' 

Leif's third album, features 10 delicate and expansive original songs, with lyrics that pour out of this singer songwriter that are often compared to Jeff Buckley.  Leif's words lay on a bed of elastic instrumentation full of piano, synthesizer, guitar, rich electric bass and strings.

Several songs on the album came to Leif and were written in one sitting. 'Into the Ether' came to be while he was exploring a Moog synthesizer. 'Elegy' is a bedside soliloquy, of love slipping through fingers and came to Leif while he was riding his bike through Montreal.  The meditative 'Michigan' was written on a half-tuned guitar and fully written as he was about to go to sleep.  Other songs on the album capture the countless hours Leif has spent on the road, crisscrossing North America. 'Big Sky Country' recalls a trip to Vancouver with his family when he was young, never forgetting the expanse of Montana and listening to Ian Tyson's song 'The Gift' in the car over and over again.
'Twin Solitude' features Olivier Fairfield from Timber Timbre (drums), Sarah Page from the Barr Brothers (harp) on 'Rest' Shahzad Ismaily of Marc Ribot's Ceramic Dog and SecretCheifs3 (bass) on several tracks and the string duo Chargaux throughout the album as well.  It was engineered by Dave Smith and recorded at his Breakglass Studios in Canada.  Produced by Leif Vollebekk.

Vollebekk made his album debut in 2010 - and since then has performed at the Newport Folk Festival, and shared stages with Daniel Lanois, Beth Orton, Sinéad O'Connor, Patrick Watson, Coeur de Pirate, William Fitzsimmons and Sam Amidon. His debut 'Inland' was described as  beautiful, memorable and moving' by NPR and  timeless and monumental'  by The Independent.

In 2013, a New Zealand teenager named Daniel Johann Lines quietly uploaded his debut album, melanchole, to Bandcamp under the moniker salvia palth. The LP was a homespun collection full of vulnerable, self-recorded songs about the overwhelming messiness that comes from growing up and figuring out who you are. Despite modest intentions, the record resonated profoundly with millions on platforms like Tumblr and Youtube, maintaining momentum through the TikTok and streaming era. menchole remains a wildly influential lo-fi release, a moving portrait of youth in turmoil. Over a decade later, Lines returns to the project with a new full-length titled “last chance to see”. Out February 16 via Danger Collective Records, the now 27-year-old musician offers his most fully formed and ambitious effort yet. last chance to see is not only a complete artistic reinvention but one that gracefully closes the chapter on a formative period of the songwriter’s life. His decision to revisit the salvia palth moniker is intentional and integral to the album.

Die US Death Metal-Ikonen NILE kehren mit ihrem mit lang ersehnten, zehnten Studioalbum The Underworld Awaits Us All zurück, das via Napalm Records erscheint.

Wieder einmal verbinden sie technische Präzision mit unbarmherziger Brutalität zu einer markerschütternden Death Metal-Attacke. Dabei beweisen ausnahmslos alle Bandmitglieder – von Gründungsmitglied und Gitarrist Karl Sanders, Schlagzeuger George Kollias, bis hin zu Sänger und Gitarristen Brian Kingsland Zach Jeter, sowie Bassist Dan Vadim Von – enormes musikalisches Können an ihren Instrumenten.
Das neue Album wurde erneut in Sanders' eigenem Serpent Headed Studios in Greenville, South Carolina produziert und aufgenommen. Für das Mixing und Mastering arbeitete die Band mit dem Produzenten Mark Lewis (Dying Fetus, Whitechapel, The Black Dahlia Murder) zusammen, der auch schon am Vorgängeralbum Vile Nilotic Rites beteiligt war und die gewaltige Bildwelt des Covers wurde von Micha "Xaay" Loranc gestaltet, der sich vom Jüngsten Gericht inspirieren ließ.

The principles of pleasure radiate a knowing, carnal heat throughout the genre-fluid sound of LSDXOXO. His decade of dedication to the sensibility of underground club culture has brought forth club classics interwoven with pop music hooks and subversive, tongue-in-cheek lyrics.

After four years of what LSDXOXO, real name RJ Glasgow, calls a period of “healing and self-discovery,” he is consolidating his multiplicitous sound with one compelling masterstroke: the debut album DOGMA, to be released on his own imprint F.A.G. DOGMA marks a complete paradigmatic shift: it is a poetic and fantastical performance, a route for deep escapism through an expanded musical palette including piano and guitar, and a deeply personal confessional through a fresh approach to songcrafting.

Within DOGMA, RJ meditates on the interlinked qualities of fame, infamy, lust and submission, as he rediscovers a pure, unadulterated approach to music-making, all the while adopting a futurist approach to pop music appreciation. RJ’s unmistakable signatures—the smutty dancefloor caller, the maker of irresistible bangers, the latter-day electroclash and DnB nostalgist—take on even more shades and intricacies. Despite his widespread acclaim as a collaborator with and songwriter for other artists, RJ strips DOGMA down almost exclusively to himself, carving out intentional space as a chameleonic vocalist and performer. He breathes life into the album with private thoughts, external fears and a red thread through personal themes that crystallise the album’s narrative from front to back.

The album’s promo single “Bloodlust” offers angsty, intimate indie-tronica, and musings on the intoxicating nature of love and infatuation. The lead single “Ghost” reaches beyond RJ’s Philadelphia origins to find itself in the deep south, in a sultry fever dream of coquettish R&B featuring backing vocals from close collaborator Kelela. Elsewhere on the album futuristic love, pensive pop earworms, evocative vintage dance styles and sleazy club tracks intermingle. While the DOGMA era will eventually explore remixes and reworks, the album is RJ’s purest embrace of himself and his artistry.

RJ first garnered attention as LSDXOXO in New York City with his on-the-pulse Soundcloud edits and then as part of the cult GHE20GOTH1K collective. His DJ sets and productions quickly earned him acclaim across globally-linked underground scenes. His decision to shift from sampled vocals to picking up the pen and microphone pushed his reach out to the stratosphere; his association with XL Recordings via the Dedicated 2 Disrespect EP in 2021 was a turning point for the burgeoning superstar.

This multiplicity of the LSDXOXO sound has led to enviable co-signs. These include being selected as the opening DJ for Beyoncé’s German Renaissance tour dates, remixing Lady Gaga, Pink Pantheress and Shygirl and producing five tracks for Kelela's highly acclaimed 2023 album for Warp Records, Raven. His fully-realised live show has also taken to the stage, serving fierce charisma to huge audiences at festivals including Primavera, Nuits Sonores and Rewire.

Santanas mit neun Grammys und mehreren Platin-Auszeichnungen gekröntes Album "Supernatural" wurde zum 25-jährigen Jubiläum auf transparentem blauen Vinyl neu aufgelegt. "Supernatural" eroberte in 11 Ländern den ersten Platz und zieht mit Hits wie "Smooth (ft. Rob Thomas)" und "Maria Maria (ft. The Product G&B)" weiterhin neue Fans an.
Supernatural is the eighteenth studio album by Latin rock band Santana, released on June 15, 1999 on Arista Records. After the group found themselves without a label in the mid-1990s, founding member and guitarist Carlos Santana began talks with Arista president Clive Davis, who first signed the group in 1969, which led to a new record deal. The pair collaborated with A&R man Pete Ganbarg on the production of Supernatural as Santana wanted to focus his musical direction towards pop and radio friendly material and proceeded to do so by collaborating with various contemporary guest artists, including Eric Clapton, Rob Thomas, Eagle-Eye Cherry, Lauryn Hill, Dave Matthews, Maná, KC Porter and Cee-Lo Green. Supernatural became a significant commercial success worldwide. It reached # 1 in eleven countries, including the US for 12 non-consecutive weeks where it is certified 15× Platinum. The first of six singles from the album, "Smooth" featuring Matchbox Twenty singer Rob Thomas, was a number one success worldwide and topped the Billboard Hot 100 chart for 12 weeks.

Eclipse kehren zurück mit ihrem neunten Album "Megalomanium". Nach ihrem bisher erfolgreichsten Album "Paradigm" (das die massive Single "Viva La Victoria" enthält, die allein bisher über 26 Millionen Streams auf Spotify hat)) veröffentlichten die schwedischen Hard Rocker ihr letztes Album "Wired" Ende 2020 (Platz 23 der deutschen Charts). Trotz der fehlenden Tourneen gelang es ihnen, weiter zu wachsen. Das neue Album bietet den fröhlichen, hooklastigen und gitarrenorientierten Sound von Eclipse in seiner reinsten Form, 80er beeinflusster Melodic Hard Rock. Die Band ruht sich jedoch nicht auf Lorbeeren aus und bietet einige neue Elemente für einen Sound, der vor allem in Europa bereits Massen von Fans gewonnen hat. Während die erste Single "The Hardest Part is Losing You" einfach zeigt, dass die Inspiration intakt ist - eine der besten Hymnen von Eclipse überhaupt! - Songs wie "Got It!" oder das von Victor Crusner gesungene "High Road" zeigen, dass die Band sich nicht scheut, neue Wege zu gehen. Trotzdem können sie im hymnischen "Children of the Night" mit einem Riff, das die Erinnerungen an den besten Dio/Sabbath-Sound weckt, sehr hart rocken. Weitere Highlights sind das sofort erkennbare "Hearts Collide" und das treffend betitelte "Anthem", das die Fans, die die Shows der Band genießen, in Brand setzen wird. Megalomanium hat absolut alles, was man von den Jungs aus Stockholm erwarten würde, und noch mehr. Erik Martensson (auch W.E.T.) zeigt einmal mehr, warum er einer der gefragtesten Autoren und Produzenten der Szene ist. Sein Geschmack für Melodien, Songwriting und Harmonien ist absolut herausragend und wenn er sich mit Magnus Henrikssons Gitarren duelliert, ist absolute Magie da. Große Europa Tournee von Juni bis November.

Brighton based three-piece Jopy, led by songwriter Jo Parnell, release their debut EP on Goo Records. Featuring six tracks including recent singles Head Hunters Pub & Grub and Graveyard Romance, the Planet Zombie EP showcases the band's B52s/Cramps influenced glam punk sound chocker with incendiary punk riffs and frantically infectious choruses.

Full of macabre joy, the EP sees Parnell celebrate her queerness through fantastical camp-horror fictions via Marc Bolan-esque vocals rolled into one blood-curdlingly gleeful package. Tracing these songs' deeply personal origins, Parnell says: “I want to write songs that people can relate to and feel seen by without having to relive the more difficult aspects of their journeys. This is why I chose to convey my experiences in the form of fun, campy horror stories.”

First re-press since the initial 2019 release of critically acclaimed album featuring Yeah Yeah Yeahs' lead vocalist Karen O, and Danger Mouse, one of the most influential artist/producers of the 21st Century.

Debuting in March 2019, Lux Prima was hailed by Pitchfork as a “dreamy and poignant collaboration.” It featured the single “Woman,” which was accompanied by a memorable Spike Jonze-directed live performance on The Late Show with Stephen Colbert. The single was also nominated for the Best Rock Performance Grammy.

The new package includes the original artwork plus a 16 page booklet highlighting their interactive exhibition “An Encounter with Lux Prima”, held at Los Angeles’ Marciano Arts Foundation featuring a 360 degree soundscape of the album mixed at famed Skywalker Ranch.

Swiss intergalactic 3 piece experimentalists lean on a Dadaist theme for their late-night, jam-inspired, and smokey beat laden trip to the cosmos.

Distilling surf rock, jazz and ambience, energised and patched together with spoken word samples, wind instruments and, blunted hip hop beats, ali dada’s album SUM is their invitation to dadaversum’ - their eccentric universe of sound and emotion.

Featuring Orlando Ludens (guitar & ambient soundscapes), Rulla (beats & field recordings) and Max Licht (brass & trombone), experimentation is the trio’s constant and SUM is the result of jams and associative distillation’ always with a fluid sense of genre.

Whilst SUM clearly takes new and furtive steps, ali dada’s sound is wholly their own. Nothing feels rigid here and rules don’t apply. Improvisation lingers in the air, even after the last note fades. A series of sound sketches, dense in detail, stylistically rich, SUM gives licence to couch-melt, sungaze or for those used to wintry climes, add another log on the fire.

“The songs often emerge from imperfect elements or mistakes, like from a loop or glitch. or something I played that wasn’t quite clean and building on that becomes the challenge ” recalls Orlando. Rulla adds “I play a lot of instruments, very, very badly and in music production, I’m trained to craft something awesome out of wonky sounds. That’s how songs emerge from unusual sounds”.

As for who played the double bass, no one remembers. Who belongs to the band and who doesn’t is open to interpretation. Though a core group exists the spotlight remains on experimentation through jam sessions. ali dada is a construct, a dadaverse.

Highlights include the album’s opener 'abolish the police', a mix of guitars, weirded-out wind instruments and Häuserfrau’s ever chilled vocal presence. 'tone print' is the band’s first single from the album, which combines sliding guitar, the infamous psychedelic Tim as a narrator, some early CPU game sound-splats and a meteoric dope beat, providing the head nodding groove. 'ohnedi'’s ambient charm features some gorgeous manipulated choir moments and some fidgety electronic synths.

Monument is one of Portico Quartet’s most accessible, direct records to date. If Terrain addressed the darker side of how Duncan Bellamy and Jack Wyllie made sense of the pandemic, then Monument resonates as an ode to better times. If not quite a dance record, it nonetheless pulses with an energy, radiance and a scalpel sharp focus. Jack Wyllie explains: “It’s possibly our most direct album to date. It’s melodic, structured and there’s an economy to it that is very efficient. There’s not much searching or wastage within the music itself, it is all finalised ideas, precisely sculpted and presented as a polished artefact.” Bellamy expands “Monument sits somewhere between our albums Portico Quartet and Art in the Age of Automation. It has perhaps a more overtly electronic edge to its sound – there are more synthesisers and electronic elements than we have used before and the music is often streamlined and rhythmic”.

Limited Edition of 1000 Opaque Pink 180 Gram Vinyl LP. Kiss Each Other Clean, Iron & Wine's fourth full length record was originally released in 2011 and came three years after his biggest selling record up to that point, The Shepherd's Dog. The bands two earlier albums had been sparse, intimate solo affairs that offered no hint of the direction he would take with records three and four. Like The Shepherd's Dog, Kiss Each Other Clean is layered with textures, poly-rhythmic sounds and a more is more approach. His lyrics sprung to life in ways initially unimaginable to early fans and critics helping each song tell its story and build to climaxes thru various sounds and editing techniques. However what remained at the core of KEOC, and what fans of the band had come to love, was the song writing and singing of principle songwriter Sam Beam. Beam's ability to invite you in with his hushed singing tone and knack for a melody remained front and center even in his drive to replicate something in the vein of Waits' Swordfishtormbones Principle recording for KEOC was at home in Dripping Springs, Texas where Beam resided at the time. After laying down the bulk of the record Beam moved recording to Chicago to work with Brian Deck. A cast of musicians helped Beam find his sound and see his vision for KEOC including Joe Adamik (Califone), Jim Becker (Califone), Thomas Bartlett (Doveman), Stuart Bogie (Antibalas), Rob Burger (Tin Hat Trio), Benny Massarella (Red Red Meat/Califone), Chad Taylor (Chicago Underground Duo) and Matt Lux (Isotope 217). With KEOC Beam and company brought in soft rock smoothness, dub reggae textures, and instruments that hadn't been featured on previous records. The vintage synths on 'Monkeys Uptown', the Stevie Wonder funk on 'Big Burned Hand,', the strum and drang of 'Walking Far From Home' all give the otherwise very organic-sounding arrangements a welcome cheesy kick. The record also produced the biggest radio single of the bands career with the vintage AM friendly vibes of 'Tree by the River.' It was an adventurous period in the career in Iron & Wine and one in which Beam was defying categorization.

Mara MacDonald is a musician and performer from Melbourne, Australia. She released her debut album 'I'm just One Person' as Marara on JPEG Artefacts in January 2023. She has also self-released two EP's, has received the Signal Sound Commission grant for young artists, and is known for her chaotic, confessional live performances. Brad Rose of Foxy Digitales said of her debut: "it feels like I've uncovered some kind of hidden treasure… each word, each sound echoes into forever."

August and June will be available on streaming platforms and limited-edition cassette tape on 27/09/24. Guests include pillar of the Australian noise scene, Uboa, and prolific Portland producer, Kaho Matsui. For fans of: Claire Rousay, More Eaze, Katie Dey, Felicia Atkinson, Elaine Radigue.

The Dandy Warhols etablierten 1997 mit ihrem zweiten Album '...The Dandy Warhols Come Down' ihren Durchbruch, indem sie einen unverwechselbaren Mix aus Psychedelic Rock und Alternative Pop mit eingängigen, von 60er-Jahre-Pop inspirierten Melodien und einem Hauch von Subversion präsentierten.

- Ltd. Col. 2LP: (Yellow Vinyl)

The legend Dave Angstrom is back with Luna Sol's third album and you can't really ask for more. This is stoner rock and tight heavy blues at it's very best and Ripple Music are ecstatic to welcome the band to the family!

Saint Julian had established Julian Cope as something of an establishment anti-hero and audiences, who'd been reacquainted with him were expecting more of the same. Instead, Cope changed his band line-up and attempted to mix funk and Krautrock on his new material; Chris Blackwell paired him with veteran US producer Ron Fair. The album produced three singles including "Charlotte Anne" which was a minor hit in the US. Album opener, "5 O'Clock World", a cover of a 1965 Vogues song, is light and poppy and the seven-minute title track, complete with strings and a harmonica solo, is one of the greatest (and perhaps only) attempts to merge go-go beats with post punk. There is a great deal to enjoy on My Nation Underground, underlining as it does Julian Cope's desire to continually push the envelope. My Nation Underground is an album ripe for rediscovery - This re-issue faithfully replicates the original 1988 Mercury Records UK release and is pressed onto high quality 180g vinyl.

From Quinteros’ early rockabilly singles to his San Fran folk rock with the Au-Go Go’s, this collection highlights his Brent singles along with unissued material, acetates, demos & outtakes! Includes a booklet with liner notes & an interview with Eddie!

Eddie Quinteros was one precocious kid. Before he was old enough to drive, he was singing on live TV and flying to Hawai’i to rock out at stadium gigs. When his contemporaries were still in high school, he was hitting the charts with a tune he wrote himself, playing on an Alan Freed package tour, and making multiple appearances on American Bandstand. And before the San Francisco singer/guitarist was out of his teens, he’d already been screwed over by a shifty manager and sworn off the music business.

Along the way, Quinteros cut a handful of jumping singles showing that if he’d had the right breaks, he could have altered history. Ritchie Valens wouldn’t have been the era’s only Chicano rock ‘n’ roll hero. Quinteros’ Southern rockabilly influences are audible in his early singles, but they’re filtered through the more citified point of view of a San Francisco teen. And in the mid ‘60s, he reinvented himself as the frontman for the Au Go-Go’s, turning out a chiming, folk-rock flavored sound more in line with labelmates and fellow S.F.’ers the Beau Brummels.

All of Ed’s recorded output only amounted to a handful of 45s, but this collection sets things straight for posterity, featuring demos, unreleased tracks, live recordings, and acetates.

Fire Like This is our second album, released in 2010 and it's been out of print for a decade until now! At long last we've arranged a reissue and we've made just 500 copies, with a full lyric insert just like the original pressing. Only this time we've made them on beautiful blue vinyl.

German Powerhouse Labels Public Possession and Running Back Team up to bring you a nostalgic tribute to 80s Disco-Synth-Pop and Balkan Self-Pity. In a blend of cultural nostalgia and contemporary resonance, be-friended artists Krystal Klear and La Raf are set to release their first collaborative record titled "Boli Boli" (It hurts, it hurts) this autumn. The record is a steamy homage to the 80s disco-synth-pop. La Raf’s vocals equipped with Krystal Klear’s sound remind us of the bittersweet memories of the bygone yet still beloved music-era from former Yugoslavia.
The song came to life during a spontaneous creative outburst when Krystal and Raf reunited in a studio in London last year. Singer La Raf, a Croatian native based in Berlin, channeled the raw emotions of a not so recent break-up regret into the lyrics of "Boli Boli."
Infused with Balkan self-pity, the song delivers a very personal experience of pain and regret, not as mere sorrow but as a confident, joyful indulgence in one's own grief. This emotional depth finds a perfect counterpart in Krystal Klear’s talent for crafting melodies
that evoke both happiness and melancholia. Together, they have created a track that is as introspective as it is danceable, offering its listeners a glimpse into a world where sadness is embraced with a sense of pride and joy, capturing the cultural tapestry of the Balkan region.

MENSCHENFRESSER" heißt das aktuelle Album von RAWSIDE, mit dem die Band es sogar auf die #81 in den deutschen Albumcharts geschafft hat. Deshalb muss nun auch eine Nachpressung sein. Ink Spot Vinyl bedeuted knallroter Kern und außenrum schwarz-rot gemischt. Fünf Jahre nach dem wahrscheinlich persönlichsten Album "Your Life Gets Crushed" gibt es neue Songs der Hardcore-Punks aus Coburg. Songs, die wieder politischer, wütender und angriffslustiger sind. Menschefresser meint hier emotionalen Kannibalismus, psychischer Druck, der ausgeübt wird, wie Menschen sich verhalten, Ellbogen auspacken wenn sie nur versuchen, sich ihren eigenen Vorteil zu verschaffen. Oder Menschen, die denken, sie wären der Mittelpunkt der Welt. RAWSIDE werden nicht müde, den Finger in die Wunde zu legen und sich mit korrupten Wirtschaftsbossen, selbsternannten Verschwörungstheoretikern, rechten Politikern oder stumpfen Wutbürgern anzulegen. Die 13 neuen Songs von RAWSIDE sind eine volle Breitseite, musikalisch kommt es laut und fordernd zwischen Hardcore, Metal und Punk daher. Die Wucht der Songs hat seit dem letzten Album ein neues Level erreicht. Das liegt vielleicht auch an der Frischzellenkur in der Besetzung. Sänger/Shouter Henne ist das einzig verbliebene Gründungsmitglied nach mehr als 30 Jahren Bandgeschichte. Seit Sohn Justin am Schlagzeug ist gerade mal 23 Jahre alt. "RAWSIDE ist zum Glück keine One-Man-Show", sagt Henne. "Das waren wir nie und wollen wir auch nicht sein. 2024 hat die Band beim LOIKAEMIE-Label Fettfleck angeheuert. "Für uns war es ein Schritt in Richtung Selbstverantwortung", erklärt Henne. Bei Fettfleck sind wir in alle Prozesse eingebunden. Und das ist doch die Idee, die hinter dem ganzen Punk- und Hardcore- Gedanken steckt. So bleiben RAWSIDE auch nach über 30 Jahren Bandgeschichte ein Grundpfeiler der deutschen HC/Punkszene. "Menschenfresser" ist ein Biest von einem Album, dass die Vorfreude auf die Open Air-Saison nochmal steigert. Wir lassen schon mal das Dosenbier zischen. - Wolfram Hanke (Ox, Zündfunk, Der kosmische Penis)