[engl] It’s always kind of the same: the guy gets on stage – provided that there is one – looking like a lanky jackal, with a sweater or two on, and without notice he starts hitting on a jumble of cymbals stacked on tattered guitars, wedged between two ancient synths. After a few minutes, he ends up shirtless and everything disappears, crumbled and pulverized: the show, the music, the people around you, the stage – if there was one – and you find yourself in a hand-to-hand combat: the struggle of Man against the machine, the New Age of Metal, the big final crash. What matters then is not what this guy is doing, but the faith he’s putting in it. And what he puts in it is nothing less than his whole life, messily arranged in a large pile of hypnogenic patterns, primitive words, barking, anti-theft alarms, control losses, infernal nights. Then everyone’s free to pull the string that suits them in this huge panic – punk, indus, soundtrack to a urban crime film of the year 3000: as if being so harsh, fierce, and vital was not enough, Usé’s music also leaves you the choice – an incredible luxury at a time when anything’s spoon-shed to the point of having storytelling and opinions delivered turnkey, 100% validated and ready to consume. In fact, the music of Nicolas Belvalette (the man behind Usé, who can also be seen in Headwar, Les Morts Vont Bien, Sultan Solitude, Roberto Succo and about 125 other simultaneous projects) could have contented itself with live performance, where it seems to be reaching its full potential. In view of such firepower, what more could we expect from a record, other than an inevitable disappointment? Well, in fact it’s just the opposite: his first album Chien d’la casse had proven it, and Selflic definitely confirms it. Martial pianos, mongoloid harpsichords, rural techno, social horror: this new record contains all it takes to writhe, sweat, shudder, pant, stagger, pick yourself up, crawl, howl, faint, get up and pick yourself up again – in short, to have fun. We’ll spare you the truisms about “stepping out of his comfort zone”, about the “darkened atmosphere” or a “chiaroscuro self-portrait”: Selflic is a perfect digest of what Usé was, is, and will probably be for a long time: a terrific machine to crush time and bullshit, to invoke the essential precepts of fire and fury. And that’s all you need to know. The rest is just noise.

[engl] The double LP discography from Adelaide's finest Punk/Hardcore contains all their recordings from 7" later on as 12" pressed, the "How to Teach Your Budgie to Talk" LP, and several tracks from the "A Positive Alternative To torture" Tape. The first LP includes the material from their "How to Teach Your Budgie to Talk" LP recorded in june 1985, the 12 tracks sounds like a bit catchy brit punk style. The 2nd LP has the tracks from the tracks from the "A Positive Alternative To torture" Tape which is recorded in 1983, the songs from the "Intoxicated" 7" EP recorded in 1984 and first time the tracks from the "A Positive Alternative To torture" Tape recorded in '83 on vinyl. This Discography contains also the tracks from their split LP with Vicious Circle which comes out for their US tour in 1985. The tracks from the split LP are marked. The double LP contains a 16 page full color booklet with massive picture, lyrics posters and liner notes. The first pressing comes in transparent yellow vinyl!!

[engl] Since its discovery in the late 90s, Dave Bixby’s legendary $2000 private press album from 1969 is considered by all serious record collectors as the king in the loner/downer folk genre. After being involved in 60s Michigan folk and garage–rock bands such as The Shillelaghs and Peter & The Prophets, Bixby started playing acoustic guitar and experimenting with LSD. After a year of drug abuse he felt broken. Starting a soul–searching, spiritual journey, he wrote "Ode to Quetzalcoatl" and most of the material for his second album, Harbinger’s "Second Coming" in just one month and a half. Assisted by fellow musician Brian MacInness, who played some guitar parts on the album, Dave recorded "Quetzalcoatl" using a echo–laden four track machine in a flat’s living room. The sound is lo–fi and sparse: just acoustic guitars and some occasional harmonica & flute, added to Bixby’s haunting, emotional vocals, spiritual lyrics and solid songwriting. The opening cut, the eerie and painful "Drug Song" sets the mood perfectly for the rest of the album which contains more tormented titles like "666" , "Lonely faces", Open Doors", "Secret forest"...Never an acoustic folk album sounded so intense as this. Carefully remastered sound from vinyl (no master tapes exists) done at Shadoks Music Studios, insert with extensive and detailed liner notes by Matvei Procak – the guy who found Bixby in 2006 – plus some rare pictures.

[engl] First ever legit vinyl reissue of this obscure Cosmic Disco / Balearic / Afro gem from Mexico, originally released as a private pressing in 1978 and featuring famous drummer Jesús Muñoz "Tilico", a giant musician who appeared on countless recordings and accompanied famous figures like Paul Mauriat and Carl Tjader among many others. Four superb long tracks including the Cosmic underground club classic "Ritual Song". Hot Pepper was a studio project created by Mexican drummer / producer /arranger Jesús Muñoz "Tilico" who in the late 70s decided to record an album in a disco–funk vein, helped by some of his friends who were top session musicians. "Spanglish Movement" was the result, written and produced by "Tilico", released in 1978 as a tiny private edition housed in a fabulous Afro cover. Being "Tilico" an enormous drummer, you can expect here lots of heavy drums, congas and percussion, surrounded by crazy space synths, male–female vocals, Latin horns, Afro touches and occasional fuzz guitar.

[engl] Meet Jasmin Kaset and Makenzie Green, two nice girls who met at Middle Tennessee State University in Murfreesboro, that's about an hour east from Nashville, Tennessee. They started a country duo that maybe not your usual slick production Nashville sound that gained mainstream popularity all over the world. Birdcloud is also not really something you can call Outlaw country although they play with elements like satire and tackle tough topics with a toungue-in-cheek kind of way. They've been featured in magazines like Rolling Stone and Vice, and because their music and appearance is not quite country but also not really punk, its kinda hard to define a genre that would fit to the explicit lyrics in their songs… wanna hear some of their songtitles from the double album called Singles Only, with they bare backs on the front sleeve? Here we go… “Fuck you Cop” “Saving myself for Jesus” “I like black guys” “Washin' my big ol' pussy” “I cant stand up (I'm fine)” Okay, I think you get the picture. We saw them late 2017 when they opened for New York Rockers DIRTY FENCES, and we were so blown away that we spent the rest of the evening humming their tunes whilst sipping whiskey at the bar… Now, here we are in the lucky position to present their new (and first!!!) real vinyl single, a classic two song 45 limited to only 500 copies. The band will have these up for sale at their merch both soon, when they travel through the bars and venues of Europe this July.

[engl] Debut single by this all star band from Berlin, Germany, with members of various garage/punk bands like Bikes, Primitive Hands, Modern Pets just to name a few. Recorded in November 2017, engineered by Toby Lill Hazelwood and mastered by Tim Warren. Two cuts that make you think of the Stones on a trip to Garageville, cool as ice rock and roll with moloko +.

[engl] ABORTED TORTOISE’s debut album, An Beach, is just about everything you’d hope for from a Western Australian punk record: 15 tracks, half-hour run time, lots of sun-struck goon-flecked thrashing and a salty scintilla of uncynical surf rock. ... With the lo-fi immediacy of The Sonics, the faux-dumbass sensibilities of the Ramones and the sly musical inventiveness of Dead Kennedys, Aborted Tortoise definitely recall a lot of crucial punk touchstones. Meanwhile I’m also reminded of Melbourne brat-boys Ausmuteants, and more specifically, ‘90s Perth band The Feends - bonkers treble-heavy riffing with post-Ventures noodling and snotty sandgroper vocals. Plus, tongues balanced delicately in cheeks.... Aborted Tortoise might make most sense in the live setting: the visceral impact of a band going ballistic is most logically received there-and-then, with the sweat beads landing in your eyeballs. But like that recent winning album from Boat Show, An Beach does a stellar job of bottling the mayhem. Take it home, uncork it, let it breathe and then scull it like the filthy little demon you are.

[engl] The Sueves blast forth with a blizzard of treble-soaked noise, and once Joe's spidery guitar, along with Rob's vicious bass lines, and Andy's shambolicly acute drumming really kick in together, they just explode, and they've clearly got that elusive “tension” so many bands just can't get right. We're extremely excited to get this debut 7' out into the world, so don't sleep on this raw and trashy debut single from one of Chicago's top bands, busting right out of the gate and right into your dreams and nightmares.

[engl] In the bands short years so far PATSY'S RATS have been very productive when it comes to putting out singles on various labels all over this globe. You should of course track down all of them, collect them and play them when you are DJing at your favorite club, someone's birthday party or when you are day drunk on weekends. Singles are great! I know that – and you know that. But SINGLES COMPILATIONS are great too! Expecially if the singles have a constant high level like those released from PATSY'S RATS – and you don't have to stop dancing to flip the sides or put on another 45! “Rock n Roll Friend” and “Hard Time Karen” appear on their first record, released in summer 2016 on La-Ti-Da Records. “It’s Gonna Hurt” was intended to be on the single as well but there was not enough space on the vinyl... “Burning Honey” and “Nowhere Close” appear on the second single, which was released on Dig! Records in fall 2016. “Empty Bottle” and “Let's Stay Up All Night” were recorded in the same session and appeared on a limited square hand cut record released by Super Fan 99 Records. All above songs also appeared on a cassette on Burger Records. “More Than This” is a Roxy Music cover, it appeared on a digital only compilation on Super Fan 99 Records in summer 2017, it's a collection of covers that derive from Sofia Coppola films. “Rounding Up” and “Little Rat Charm” were released on Dirtnap Records, “It's Alright?” and “Givin' Up” were released on Wink and Spit Records, both in the summer of 2017. This is not only a collection of singles, this is infact a perfect powerpop album you’ve been waiting since the FASTBACKS and BUSY SIGNALS All songs written by Patsy Gelb and Christian Blunda.

[engl] If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement, Jean Dubuffet would be a prime candidate. Originally released as an impossibly rare six record box set containing Dubuffet’s first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960’s recordings show a lesser-known side of this important artist’s personality and stand up as a vital document in both fields of contemporary art and experimental music. Finally released to a wider audience and presented complete with Dubuffet’s signature style artwork this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu, and showcase what the two leading lights of modern art consider to be the best moments of this historic session. On this limited vinyl pressing Dubuffet succeeds in translating his unique spontaneous creativity and active support of Low Art into musical forms, a process with which he would also collaborate in his dual compositions with Danish avant-gardener Asger Jorn (for a separate series called Musique Phénoménale). Utilising a wide range of orthodox acoustic instruments ranging from violin and open piano to duck whistles and not musical apparatus this set of eight pieces (culled from a potential twenty tracks made under the Expériences Musicales banner) sees the work of the artist approaching music from the perspective of “a man of 50000 years ago”. Recorded at Galleria del Cavallino in Venice Italy during the first months of 1961, these primary experiments with music followed over twenty years of Dubuffet developing his own unconventional artistic persona as an instantly recognisable pioneer of post-war artistic abstraction. His visual art alone, which would go on to inspire and genuinely motivate artists to feed on there rawest spontaneous instincts (hence the translation of Art Brut, meaning Raw Art), would also have huge influences on writers, performers and musicians (from punk to jazz) to this very day. It is surprising, however, how the fruits of Dubuffet’s short-lived anti-career as a non-musician have never fully filtered down to some of his greatest champions. From an original gallery promoted artifact (which can now command fees of up to 5000 euros complete with its original art-prints intact) this highlighted version of Expériences Musicales is now available again on authentic vinyl to the wider public. The recordings you will find within the grooves of this LP were created without any reference and in the artist own words “without any discipline, without anything that would present the artist from expressing himself freely and for his own good pleasure.” Almost sixty years have passed since this sonic objet d’art was first realised, and with all the technology and the advanced science-of-sound, decades of so-called experimental musicians are still struggling to find that Brut energy within their creative endeavours making this early example one of vital existence.

[engl] From the pumping heart of The Magnetic System comes the “dirtiest” Da-Da-dancefloor anti-jams with this lost 1979 blueprint of Italian conceptual cosmic disco played by the cream of the Goblin studio band. Ultra rare and unscrubbed, Finders Keepers finally snip the trip from the cash machine to the trash machine. Pay dirt just got dirtier. Carving its own grubby niche as an early prototype of cosmic disco cum Italo space funk whilst simultaneously harbouring Dada hat stand satire with a junkshop glam aesthetic this ecological illogical political crab cabaret clearly broke the mould before way before the jelly had set. Fans of “other” obtuse outernational agit-camp might find a fantasy fusion between France’s J. P. Massiera and Sweden’s enviroMENTAL marvel Kaptain Zoom while trying to unravel the Madfilth tangle – but rest assured there were method men behind this madness and a portal to Italian funk royalty still festers at the bottom of the psych rap scrapheap. Originally drip fed out of Cesare Andrea Bixio’s Cinevox stable as one of a tight grip of non-soundtrack LPs, made to test the label’s commercial potential, Madfilth would follow the band Goblin (and their non-cinematic Roller) as well as the hens’ teeth eponymous long player by the group The Motowns in what was perhaps the last-ditch attempt at custom built popsploitation – combining the skills of overqualified composers with undercooked conceptual mind farts! Naturally, after almost 40 years in the barrel, this micro-brewed oddity finally quenches the acquired taste of a new breed of shambolic psychotropic guzzlers proving that 1979 was obviously good year for fool’s gold. The Madfilth medicine has finally come to cure your psychic ills so open wide and don’t bite the spoon. As both doctors and diggers will agree, always read the label. It is beneath the flamboyant rhythm rants and vari-speed osric slop of alt-comedic sarcy-satirist Alberto Macaro (a genetic beneficiary of a vaudevillian comic bloodline) that we find The Magnetic System maestros Franco Bixio and Vince Tempera as the sonic driving force behind this unmarked treasure trove of B-musical diamanté discoids. It will also come as little surprise that Cinevox/Dario Argento favourites Goblin were not too distant from the whiff of this curates egg with the men who many consider to be the group’s greatest assets in bass player Fabio Pignatelli alongside sports rock drummer Agostino Marangolo. It was this unison that remained consistent throughout Goblin’s career, weathering the temporary departure of Claudio Simonetti and maintaining the stylistic heartbeat of the group. Madfilth’s inclusion of Goblin synth Maverick Maurizio Guarini and the band’s mid-period guitarist Carlo Penessi (founder of the band Etna) pinpoints the jobbing Goblin session group during the time they recorded the soundtracks for the films Buio Amiga and Squadra Antigagsters. This lesser celebrated late 70’s era also witnessed the mutating Goblin rhythm section providing discoid backbeats for records such as Giorgio Farinas Discocross LP, Simonetti’s own Capricorn alter-ego and the homoerotic nightclub spin-off Easy Going – all of which, alongside Madfilth, provide a strong mutual stylistic support system for their claim to cosmic discos deep red bloodline.