[engl] PM Warson grew up in an English town, in a post 9/11 world, drifting into financial crisis, against the staple suburban musical landscape of heavy rock, the ghost of the New Wave, and the fading star of the Indie Boom of the Noughties. He found his own fit in the form of Rhythm & Blues from half-a-century before, drawn in by records in the family collection, engaging at a visceral level, abstract from any subcultural connotations. While an outlier stylistically, he found camaraderie and direction among musically inclined peers, saving up two summers straight for a Rickenbacker guitar, getting the taste for playing live with an archetypal teenage power trio. After a move to London to study, he was without a band for a while. The Rickenbacker was sold for an archtop, and he delved deeper into his musical vocabulary - delta blues, Americana, early jazz and Rock'n'Roll. Meanwhile, via the capital's blues clubs and soul nights, he discovered a new setting for the music that had enticed him the first place, existing, not in a vacuum, but alive and in the moment. A chance audition thrust him into full-time work as a touring musician. He found himself, blissfully under-qualified, serving an apprenticeship alongside conservatoire-trained jazz musicians and session pros. Meanwhile, the inevitable downtime in new cities on the road allowed for significant crate-digging between coffee spots and sound checks, while feeding off the knowledge of the players around him. Becoming more and more interested in production, ever-drawn to the Golden Era of record-making, he befriended the proprietors of Soup Studio, then an all-analogue facility based on Cable Street. He started moonlighting on production projects and learning the inner workings of a studio environment. A network was building, and when it was time to break out on his own, everything was in place. Shedding the construct of a 'band' or a 'singer-songwriter', and perhaps the monoculture of contemporary music-making, he started cutting sides with a band of friends and acquaintances found along the way. Without any wider ambition, it was as much about the process as the outcome, evoking the R'n'B records of the '50s and '60s in practice rather than emulation. His first effort, the ramshackle "You Gotta Tell Me" became a de facto single, and after being urged to press a few copies to vinyl by a friend, it began to cause a few ripples on the local DJ scene. Meanwhile, a wild, off-the-cuff cover of 'Hit The Road Jack' caught the attention of a London music agency, giving his lineup an outlet for playing out. This included house-band sets at London establishments such as the Blues Kitchen, Old Street Records and notably at the opening of the Mary Quant Fashion Exhibition at the V&A Museum.

[engl] An extract from the novel “Bovver Birds Rool” (…continued) “That must hurt”, said Dave. He hovered over Sue as she shakily tried to return to her feet. “Well help me, then”, barked Sue with a pained expression, “don’t just flippin’ stand there”. “I think this fell off”, said Dave as he handed Sue back her bloodied Marc Bolan rosette. “Great”, snapped Sue, “Steve’s only just given me that… Which way did they go?” “Don’t be daft”, said Dave, “you’re in no fit state.” At Tuesday night’s Stall Street Disco, Dawn and Jane were busy victory dancing to their anthem, Hector’s “Wired Up”, darting hard-faced Knuckle Girl glares at any boy daring enough to comment on their togetherness with an ill-advised wink and a nudge to his immediate neighbour. Meanwhile, Sue had invested her last 2p in a phone call to her best mate “Sand”, short for Sandra. “Sand” was the self-elected leader of the Bovver Birds, the female contingent of The Larkhall Legion, who were beginning to assemble around the entrance to the disco. “Tired of living?” were the last words Dawn heard as her face hit the floor. “You cow!,” Dawn screamed, as she pulled out the remnants of her own front tooth and threw it in the face her towering tormentor. “The Knuckle Girls buckle and the Bovver Birds win. Again!,” announced Sand in a loud but deadpan voice over the continuing Hector music. “We’ll leave you alone now to bury your dead. … “Birds” is still the word, and you’ve should been shat on from a great height. Next time, bitches!” A bow-tied bouncer strong-armed “Sand” from the hall, dragging her by the arms as she still tried to pitch a globule of carefully-harvested spittle over her agitator. “And there’s a greeny for you,” she shrieked with delight as it landed successfully. (to be continued…)

[engl] from the swamps of Haifa-Tel Aviv's underground filth, this is the finest punk / hardcore / d-beat of contemporary israeli punk music

[engl] split of 2 rocknroll driven garage / psychadelic rock bands Balagan from Berlin and Suck form Kassel

[engl] “Imposition Man’s newest extended player takes the unique blend of desperation and cynicism littered throughout their sporadically released demos and EPs and transforms it into an official statement. 8 tracks of isolated music for isolated people, this is impeccably executed dystopian post punk. Menacing basslines that bounce and wriggle through the barbed wire, urged mercilessly forward all the while by that relentless Alesis snare as, marched forward like all of us, against our will, into the roaring twenties. Vocals echo detachment while a chorused guitar still somehow emits hope of a silver lining. Tough times are ahead but at least Imposition Man provide the vessel to express whatever the fuck it is we’re all going through. Out now on Zoom." (Onton / Diät, Clock of Time

[engl] Angela, Davide and Juan - Nunofyrbeeswax, write and play pop songs in a minimal setup - as raw as their heart beats. Their sound has been described as idiosyncratic blend of garage rock, post-punk, and proto-punk. Their music escapes easy associations , however, they have reminded audiences of bands such as Half Japanese, the Velvet Underground, The Ex, The Fall, B52's and The Cramps. limited to 300 copies

[engl] FIRST EVER PICTURE DISC REISSUE LIMITED TO 500 HAND-NUMBERED COPIES Technically his 2nd LP after a collection of singles, this benchmark record from 1974 taught Istanbul’s musicians & pop fans how to put Turkish folk songs from the 17th century together with meaty, thundering guitar solos. With a crack bass player by his side (Ahmet Güvenç from Bunalim & Baris Manco’s Kurtalan Ekspres) & an electrified baglama in his hands, Erkin Koray lets his gloomy baritone voice float over wiry double-reed melodies, bulging riffs, & hammer-ons that go on for-friggin-ever. Savagery begins at home people, so make sure you get a physical copy of the best record by the Turkish Hendrix into your house.

[engl] FIRST EVER PICTURE DISC REISSUE LIMITED TO 500 HAND-NUMBERED COPIES One of the leading Turkish rock musicians ever and one of the most influent, along with Erkin Koray, Edip Akbayram and Cem Karaca. This is his first longplayer, released in 1971 by Sayan Productions. It's a compilation of tracks taken from previously released 45s, plus the track "Lory" that only appeared on this album. Killer psych rock with strong Turkish flavour, this features Baris' all-time classics like "Derule" or "Daglar Daglar", as well as the brutal wah-wah flooded "Küçük bir gece müzigi" with its infectious drumming that drives mad anyone searching for sampling stuff. Not to be confused with two different releases with the same name that actually have different tracklist and artwork, this is the real album as it was originally released, reissued for the first time as a cool picture disc.

[engl] FIRST EVER PICTURE DISC REISSUE LIMITED TO 500 HAND-NUMBERED COPIES From 1975, this is Baris Manços masterpiece. Stunning cosmic, psychedelic, groovy conceptual album with fantastic electronics use and a strong Turkish folk flavour as usual. Legit deluxe release. Comes with the original gatefold cover, reproduction of the full colour booklet, and insert with extensive linernotes. 350g carton cover, 180g vinyl.

[engl] First album by Selda Bagcan, originally released in 1976. A collection of well-known poems and folk-songs, recorded in cooperation with the most progressive Turkish musicians / arrangers of the 70s: Mogollar, Dadaslar, Zafer Dilek & Arif Sag. Combining traditional instrumentation from Anatolia with Western psychedelic grooves: fuzz-wah guitars, electric saz, funk drums and above all, Selda's passionate vocals.

[engl] copies of the long deleted vinyl reissue of this superb Asian psych classic have been found. South Korean reissue of 1973 LP. Limited to 500 copies.

[engl] Decamped deep in the forest outside of Berlin, one of rock and roll’s most under the radar yet omnipresent figures has put the finishing touches on his latest solo record, but in fact traces of Mark Sultan can be found around the world. Previously released by celebrated labels such as In The Red, Last Gang, Crypt, Fat Possum, Dirtnap, Goner, Sub Pop, Vice, Bomp!, Norton, Sympathy For The Record Industry, and Wick (Daptone Records), you’re bound to have come across something with Sultan’s name on it, where over the course of multiple decades he’s compiled an insane discography built from the strength of multiple albums, side projects and top-shelf solo efforts, always with a strong deposition towards taking classic garage rock sounds and contorting them in experimental and twisted new ways. For this most recent effort, written, recorded and produced in his own ‘Sound Imperfection’ studio in Germany, Sultan once again ups the ante, working to implement a full band and fully fleshed out instrumentation. Still encompassing the ethos of individuality and charisma that has lent him a sound that has transcended any era by which you might try to nail him down, it may be his most cohesive statement yet. Sultan has been quietly making moves for decades, earning the respect of legends like Jon Spencer and Deerhunter’s Bradford Cox, who have covered his songs and sang his accolades. Touring the world incessantly with his collaborative efforts with King Khan as King Khan & BBQ show, and with Bloodshot Bill as the Ding Dongs, his constant state of proliferation also led to involvement in Black Lips’ supergroup the Almighty Defenders, where the much mythologized band of brothers wrote, recorded and mixed eleven tracks in the span of two days. Part gospel, part soul, the resulting accomplishment was a testimony of hook-filled rhythm and blues as only Sultan could forge, a boundary-pushing fusion of genres that still defies expectation. For new record ‘Let Me Out’, Sultan lets his own voice shine more effusively than ever before. Through thirteen tracks filled with his signature moody, 60s inspired garage rock and roll, Sultan “doesn't simply revive old sounds and old excitements; he ingests them, digests them, and regurgitates them as something new and personal” (Pitchfork). His unmistakeable vocals, instantly transportive to rock’s most vintage moments, breath new life and bridge periods of time to convey the kind of music that stays with you long after its over. After all these years, ‘Let Me Out’ further cements Sultan’s ingenuity and enterprise as someone who has no chance of slowing down, but this time the world might finally be catching up.

[engl] Being a feral child lost in an era of uninspiring music, the frontman of The Staggers, Wild Evel, decided to team up with members of former teenbeaters the Roadrunners to form a supergroup, with the intention of providing serious garage punk at its best. Take some of Billy Childish’s trashy guitar solos, some of the Miracle Workers’ and The Stomachmouths’ catchy melodies, add some “three-finger organ”, combine them with invisible monsters and cavemen, in the spirit of the late great Screaming Lord Sutch, and you’ll have the gist of what these guys are up to. The Trashbones have their roots in 1960s US garage punk, a time when teenagers started playing their own music, delivering their own ideas and ideals through tight and catchy lyrics telling the conservative society, “Here we are!” The sound that those ’60s proto-punks created is the same sound the four Austrian freaks play – succinct fuzz-guitars, farfisa organ, furious drumming, and wild, howling vocals that represent a one hundred per cent high-voltage rock’n’roll attitude. Apart from the actual sound that they create, Wild Evel & the Trashbones stand out with their untamed live performance, for which each member pushes his plan through. On hearing the drums you might be tempted to look for the reincarnation of Keith Moon seated at the drum stool! The overdriven fuzz guitars will blaring. And the recent addition of Fernando Terror taking over keyboard duties will fully unleash Evel to higher levels of on-stage insanity.

[engl] Dirty Fences offer a satisfying and youthful obsession with early KISS and Motley Crüe, then discovering the fortunate truth of The Dictators and Ramones. Dirty Fences is comprised of Jack Daves (vocals/guitar), Max Roseglass (guitar), Max Comaskey (bass), and Max Hiersteiner (drums) – yes, three Maxes and a Jack – who all met in high school growing up in Boston. One day in woodshop class Hiersteiner sliced the tip of his finger off. While the blood was still oozing out, Daves volunteered to escort him to the hospital. During that little adventure they talked about music and discovered their shared love for rebellious tunes – and they’ve been playing music together ever since. “You know in Back To The Future where Marty McFly goes on stage and he picks up the guitar and does the Chuck Berry thing for the first time and all the girls go crazy and the guys freak out – we’re like that,” singer Jack says about their live sets. Reviews describe their live show as a “phenomenon”. Vanyaland blog, for example, tells us that “the band was ever-moving across the stage…lifting guitars overhead, bowing in unison and performing semi-choreographed stage moves. Even the drummer was standing at certain points of the set". Last year saw the release of their second studio album, Full Tramp (Slovenly Recordings) along with an extensive European tour covering six countries – in which the band was robbed of all of its gear and merchandise, during a stop in Rome after playing the Coropuna venue in the Italian capital city. They relayed the news through social media and set up a GoFundMe page, which generated almost $16,000 in just 24 hours! After a short break they were back on the road in the fall with Festival appearances at Meltasia in upstate New York, at Good Vibrations in Austin, Texas and a special seventh anniversary party for Straight To Hell Apparel in Chicago, where they received free jackets, gloves and hats and even modelled them for their website. They played exclusive local shows during this time including a sold out double header with The Mummies at Music Hall of Williamsburg, a sold out New Year’s Eve performance at Berlin NYC, and sold out performance tonight with Shannon and the Clams at Baby's All Right. Around this time, the band got into discussions with Dirty Water Records about releasing two new tracks on wax, '2X2' and 'Sell Your Truth' that ultimately ended up as extra tracks on the reissue of their brilliant debut EP (originally released in 2012).

[engl] Archie and the Bunkers is Emmet (drums/vocals) and Cullen (organ/vocals). Formed in Cleveland, Ohio, in 2013, the teenaged brothers began recording music in their basement, self-producing their first two EPs with a raw garage-punk sound that draws heavily from their diverse musical influences, ranging from jazz organ greats like Jimmy Smith, and Richard ‘Groove’ Holmes, to punk icons Dead Boys (they opened for original member Cheetah Chrome earlier this year), The Stooges, The Screamers, and more. On stage, the siblings attack their songs with a frenetic energy that whips the audience into a frenzy. The unique growl of fouteen year old Cullen’s whirring, overdriven organ and the driving beat of sixteen year old Emmett’s four-piece drum kit leave gig-goers in shock at the sonic assault levied by a group made up of just two boys. As a local reviewer wrote, the boys “sometimes draw initial attention from a crowd because of their tender years. But their ages belie the talent and powerhouse show they put on every time they hit a stage.” The 12 songs on this, their debut album, were recorded at the famed Ghetto Recorders in Detroit, with legendary producer/engineer Jim Diamond capturing that unique Archie sound that’s been dubbed ‘Hi-Fi Organ Punk.’ Fourteen-year-old Emmett, however, prefers to describe their sound as, ‘rock’n’roll that’s been peeled back to its raw foundation’. Having played a number of high profile gigs in recent months, including support to The Sonics at the Beachland Ballroom in their home town this summer, these kids are scorching hot and ready to break out, not just out of Cleveland, but internationally. ‘The novelty of their ages drops away the minute they begin to play,’ says Matt Fields, manager at the Beachland. ‘These guys are frickin’ stars, man. They are total pros. The first time I saw them my jaw hit the floor. Every time they play, within two songs everybody at the bar has left their seats to go stand in front of the stage to watch and listen to them. I haven't felt this strongly about a new band in a long time. They have no pretention, no inhibition. They are just having so much fun with the music. They are mind-blowing players. And such nice kids."

[engl] HIPBONE SLIM & THE KNEETREMBLERS is a band that plays proper rock’n’roll! They take all the influences of original rock’n’roll, rhythm’n’blues, whatever you want to call it, and give it their own unique stamp and energy, with a garage band attitude and enthusiasm. They have somehow captured the true essence of rock’n’roll in a way that very few have been able to do in a very long time. The band is led by the ubiquitous Sir Bald Diddley (aka Hipbone Slim), on guitar and lead vocals, a man who has been described as ‘Britain’s string king’ in reference to his wild and fiery guitar style, influenced by Bo Diddley, Link Wray, Chuck Berry, Dick Dale and the like. He’s also been described as ‘Ricky Nelson gone very wrong’ (with regards to his singing!) which he, and we too, are happy to take as a compliment. Also known for his very precarious stage antics, including the infamous ‘Pea Bug’, which involves much rolling around on the floor during guitar solos! Also a part of this rock’n’roll trio is Bruce ‘Bash’ Brand, one of Britain’s, if not the world’s, finest rock’n’roll drummers. A veteran of such bands as the Milkshakes and Headcoats (as sidekick and comedic foil to Billy Childish), as well as Holly Golightly’s band, the Masonics, and more, he has also worked with the Pretty Things, Downliners Sect, Wreckless Eric, Mungo Jerry and made two albums with Link Wray along the way. Then there’s Gastus Receedus (bass/harmonica), who has played in many a band (Big Wigs, Arousers, Playboys, etc) and worked with many a rock’n’roll legend – Billy Lee Riley, Sonny Burgess, Dale Hawkins, and Don & Dewey to name but a few! Hipbone Slim & The Kneetremblers have become something of a cult sensation thanks to their previous four albums of accomplished rock’n’roll fundamentalism and regular appearances on Mark Lamarr’s radio shows over the years. (Their collaboration with Mama Rosin received rave reviews in both The Guardian and The Independent.) Harsh critics may single out their unwillingness to deviate from the primitive rhythm’n’blues blueprint as their downfall, but this would be a failure to understand the objective of the group. To put it simply, as already stated, Hipbone Slim & the Kneetremblers play rock’n’roll music. And they do it better than pretty much anyone else in the UK right now, if not the entire damn world.

[engl] Iconic California psychedelic punk legends The Chocolate Watchband are touring to celebrate the release of their new album (released by Dirty Water Records), led by founding and current members, vocalist David Aguilar and guitarist Tim Abbott, plus Gary Andrijasevich on drums. Second generation fans, guitarist Derek See and bassist Alec Palao (Grammy-nominated producer/ historian ), bring their enthusiasm and love for the music to the table to help weave THE sound which both faithfully recreates the sonic energy and tone of the original recordings, as well as giving a rare edge to ?new material that is a logical progression to the bands legacy. Documented as influencing legendary bands far and wide within the psych, garage, and punk scene for the past 50 years, their live performances sizzle with the same outrageous audacity of the late 60s scene they helped usher into the San Francisco Bay area ballroom scene. The group was also seen as featured bands in the 1967 cult films Riot on the Sunset Strip and The Love-Ins, and their powerful stage presence continues to the present day in a timeless stage show which is oozing electric cool-aid energy. While the bands' music was a cherished secret of record collectors for many years, the music is now available to be heard by everyone, which has ushered in a new fourth generation of fans around the world, who hear the Watchband sound as it has reverberated into the psyche of the class of 2018 psychedelic bands. Their newest songs resonate with genuine political rebellion in our current times, which can be heard in the lyrics of the new song ‘Judgment Day'."I wrote 'Judgment Day' as the country was still in recovery," says lead vocalist and founding member David Aguilar of the days following the 2008 market crash. "Families were living in their cars. It was a terrible time for the American dream. It resulted in the anger that put the current president into the White House. The Who were wrong, Americans can get fooled again!"

[engl] Something of a garage-rock’n’roll supergroup, The Masonics are a winning combination – featuring musicians who have done time in such legendary groups as the Milkshakes, Pop Rivets, Wildebeests, Kaisers, Headcoats, Del Monas, and more (not bad, seeing as there’s only three of ’em – namely, Mickey Hampshire, Bruce Brand and John Gibbs.) Masters of the Medway beat made famous by Mr Billy Childish, this is the group that should be the more famous one – with their better songs and better musicianship. Bruce played alongside Childish in the Pop Rivets back in the late 1970s and he and Mickey were both in the Milkshakes (in fact, it was actually Mickey & the Milkshakes originally!). Anyone who has even a passing interest in garage and beat music of the last 25 years will have come across the names of the bands in which the three members of the devilishly stylish Masonics have spent time. And, combining their previous bands’ sixties beat, US garage and instrumental stylings with a punk rock attitude, this is a group that pays attention to detail, with a talent for songwriting coming to the fore. Singer/guitarist Micky Hampshire possesses a merciless instinct for touch ing, simple, timeless rock’n’roll melodies and lyrics. The band performs with verve and precision, on record and on stage, always giving their followers their money’s worth. Bruce Brand pounds the traps like it could save your life – and sometimes I believe it very well could! John Gibbs twangs the bass strings with a gut instinct, taking you into a groove with grit and gumption. Eight albums down the line The Masonics remain more hard-hitting and vital than any group of teenage hopefuls on the scene – of that there’s no doubt.

[engl] To cite Faster & Louder: "The sound here is raw and ferocious, with songs alternating between the wild, blown-out rock and roll of tracks like "You're My Wild One" and "I Wanna Break Away" and the snot-drenched rage of "She's So Overrated". This is exactly the way lo-fi garage punk ought to be: cheaply-recorded, brimming with untamed energy, and stripped to the essence of three-chord simplicity. Songs for the most part clock in under two minutes - and even at seventeen tracks, the album leaves me wanting more. Crank up the volume and make like the '90s never ended!" Andresa plays everything on his own - working with a guitar plugged into an overdrive pedal and a 15-watt amp, a floor tom-snare drum set, tambourine, and no bass. The band story sounds like a budget rock fairytale, young fanboy Andresa touring with prior band Japan, going to a bar after a show to meet his idol Fifi of TEENGENERATE! Showing drawings and pledge for song lyrics, Fifi is overwhelmed and happy to share the same instincts for rocknroll and power pop. Like a long lost ninja son, he suggest the band name for his new indonesian friend and BATTLEBEATS are born. He got his first 45 "You Stabbed Me In The Back" out on Post Party Deppression in the US in late 2020. You may have heard the chords before, but this Rock and Roll rawness is turning you inside out and you feel the TEENTRASH kid in you just going wild. It´s like having a beer and wondering why it tastes so good as you never had a beer before! Next time your uncle habitually grabs his stained PERSUADERS records, you can easily send him off the rocking chair. "Search & Destroy" got additional KILLER analog vinyl mastering by A-HULEHULE and BARRATO in Berlin and you won´t believe the outcome. Limited first edition to 300 copies, 200 black, 100 in clear vinyl with black swirls on ALIEN SNATCH! budget rock sisterhood division.

[engl] We´re haunted, on a `Reaper hyperloop since early 2020 and there is no terrestrial exit to this. We´re ready to be shot to the the moon with the SWEET REAPER über-anthems hit machine! Join the ride of this tomb-skating surfpunk addiction! Four new & exclusive songs The microdose effectiveness is proofed in double-blind, placebo-controlled ALIEN SNATCH! rock and roll trials! On the one side of the planet they play "Coward" and the scorching "Liar", both are from the "Closer Still" album sessions. On the cold side of the moon they play "Drink The Poison" and "Like the way". It doesnt matter where you spend the dark night, power-pop-psychosis will get you! Killer artwork again by Seth.

[engl] his new full-length, produced by the legendary Jim Diamond (White Stripes, The Fleshtones, The Sonics) features a royal 14 songs, allowing the group to explore deep all of their favorite rock sub genres. There’s the Power Pop punch of “Cupid’s Not A Friend of Mine”, '70s AM gold sounds on “Too Soon To Fall In Love”, a bit of Psychedelia in the form of “Strange Waves”, gritty garage-punk (“I’m Your Man”) and a return to their Merseybeat roots with “Don’t Start Running Away” Boston's International ambassadors of garage rock 'n' roll, Muck and the Mires, have been described as a blend of the Hamburg era Beatles and the CBGBs era Ramones. Their songs are reminiscent of the 1960's British Invasion, all two minutes long and ALL POTENTIAL HITS! Their live show is a high energy blast of fast-paced, post-punk gritty garage rock and roll. They have built a worldwide following through relentless touring, radio and satellite airplay and a string of recordings, produced by Kim Fowley and Jim Diamond, considered by many to be cult classics. In 2004 the band gained worldwide recognition when they were featured on MTV as the winners of Little Steven Van Zandt's (E-Street Band/Underground Garage) national battle of the garage bands contest. The band has performed coast-to-coast in the USA, UK, EU, South America, Canada & Japan. Sharing bills with many of their heroes including The Sonics, NY Dolls, Ray Davies (THE KINKS), Flamin' Groovies, The Stooges, The Supersuckers, Southern Culture On The Skids, , The Fadeaways (Japan), Paul Collins Beat, The Fleshtones, The Remains, and even Beatle Pete Best. The palace gates are open and all our invited in for a smashing time. Long live Rock and Roll and Greetings From Muckingham Palace!

[engl] From the cradle to a 9-5 job, buried in unread emails and PMQ youtube alerts, tackling issues such as Question Time Bias and Workplace Etiquette. Public Body formed late 2018 with a clear aim to write the perfect soundtrack to whatever you do whilst procrastinating at your day job. 'Ask Me Later' “Labour-oppressive wellness initiatives; machinic lubricants. Half a century of unprocessed bitterness, constricted by social norms as corporate structures. The Program fails through successive firmware updates while, in the background, slideshow graphics show that rage tends towards infinity. The face of a destabilised workforce in a society that secretes symbolic concessions as a defence reflex against meaningful change. Your positive attitude is keeping us all in line.” Emil Mniszko ‘Table Manners’ "You are sitting in the lobby, a ghostly jingle drifts through the airwaves while a mute screen shows familiar suited men seated around a large circular table. The calendar says 2020, but that can’t be right. Memories of an information age fall away as the spectres of a forgotten future pass into you." Emil Mniszko

[engl] The release of debut album ‘Ask The Questions’ feels like Dealing With Damage have finally hit their stride and there’s an urgency and an energy around them now that feels really good. 2019 saw the group get to share stages with musicians that have influenced the members of Dealing With Damage greatly over the years (these include The Messthetics, Soulside, Moving Targets and Ruts DC), along with regular gigs on the UK’s fantastically healthy DIY punk circuit.