[engl] Releasedate 12.08.2022! Brain stem cracking scum-punk recorded tersely in the basement of my home. After a notoriously frustrating eon the knee-jerk song path was aggressive and hooky. This is an homage to the punk bands we grew up on. The weirdos and art freaks that piqued our interests and pointed us on the trail head to here/now. Bad times make for strong music is something I agree with. I would say that is evident by the past few years of output from the underground. Transmissions have been all over the map. scanning… searching… sweeping out in the darkness looking for a foot hold. A Foul From represents some of our most savage & primal instincts. Fight or flight. And the importance of a sense of humor in the darkest hour. Nothing wrong with keeping it snappy in the meantime. For fans of Rudimentary Peni, Crass, Bad Brains, Black Flag, Screamers, Abwarts, Stooges and all things aggressively tilted towards your face. You can lean back but don’t flinch…it’s a brief foray into the exhausting pogo pit so stiffen your back and jerk with your knees.

[engl] The musician Kurt Dahlke is not only a member of the bands Der Plan and Fehlfarben, founding member of the group DAF and co-founder of the label Ata Tak, he has also released a stellar line of solo works under the name Pyrolator for which he enjoys great critical acclaim. What began in 1979 with the first release "Inland" continues it's lineal thread with new work "Niemandsland" – the sixth album within the Land series. It was 1979, some 43 years ago, when Pyrolator released Inland, an instrumental protest album, as he liked to think of it. Autumnal protests against nuclear weapon stations, against the entire structures of the war generation, but without the pathos of the rebellious songs which soundtracked the 1968 movement. Apart from a few samples, there were no words at all. Now, more than four decades later, Kurt Dahlke alias Pyrolator returns to his origins. But not, this time, in protest: “The clock already stands at ten past midnight and we have arrived in no man’s land. Neither the student movement nor the rejectionist stance of punk changed anything. Avarice has emerged victorious and no future is nothing more than an empty cliché. This is what global reality looks like. The principle of cause and effect.” This is also a back to the roots story for Pyrolator in the musical sense. Niemandsland was created exclusively with modular synthesizers, the computer merely a recording device. All of the tracks were played live and direct – neither storable nor replicable. The sixth album in Pyrolator’s Land series is more than just a bridge to the past and the music to be found there. It has a formal language all of its own, meandering between the beauty of crystal clear melodies and restrained ambient moments on the one hand and rugged, dystopian brittleness on the other. A cycle revolving between the hope of a revolution for humanity and arrival in no man’s land.

[engl] Dieter Moebius is one of the most important protagonists of avant-garde electronic music in Germany. Alongside his bands Kluster/Cluster and Harmonia, he participated in numerous collaborations (with the likes of Brian Eno and Mani Neumeier/Guru Guru). Seven years after Moebius passed away in July 2015, Asmus Tietchens, one of his musical companions, compiled this collection for Bureau B – he concentrated on his solo works "as they offer the clearest insight into his personality and inventive potential". Together, Dieter Moebius and Hans-Joachim Roedelius were CLUSTER. Their influence on the development of electronic music in Germany since the early 1970s has been considerable. If we were to represent the two of them as woodcuts reflecting their musical characteristics, Roedelius would be the baroque version of CLUSTER and Moebius the motorik minimalist. Their solo releases make this all the more obvious, but the serendipitous combination of such divergent components is what makes the music of CLUSTER so wondrously magical. Aside from his many collaborations with a wide variety of musicians, there are just seven Moebius solo albums, one of which (“Metropolis”) was released posthumously in 2015. Moebius always wanted to create pop music and he actually thought of Cluster as pop. On the sleeve of the Cluster album “Zuckerzeit” he can be seen sporting a colourful Hawaiian shirt whilst sitting on Roedelius’s knee. He found more than enough to astonish him in the here and now, so esoteric, transcendent, fantastical notions were alien to him. The names he gave to the tracks which populated his LPs and CDs categorically rejected any form of overindulgence. He may have thought he was making pop music, but his interest in the material, aural substance aligns him more closely with contemporary classical composers. The repetitive patterns he favoured had less to do with baroque ornamentation and everything to do with minimal shifts in sound and rhythm, their rigour enhanced, time and again, by strange “little” electronic noises and reverberating layers. On second listening, the exotic nature of his music truly comes alive. Moebius rarely deviates from linear rhythms or tonal harmonies, yet is able to create a world of sound within this rhythmic/harmonic framework which is unmistakeably his own. Never big on messages or statements, his focus has always been on feeling good about - and in - his music, a sensation he sought to share with his listeners. As far as I know, his listeners absolutely feel good in the presence of his music. For this collection, , my fascination with his music as strong as ever, I have deliberately zeroed in on Moebius’s solo works, as they offer the clearest insight into his personality and inventive potential. Another quality of this outstanding musician is revealed in the wealth of artistic collaborations mentioned earlier: modesty. Moebius never attempts to dominate his fellow players, never seeks to stamp his mark on a production. Without hiding his light under a bushel, he always manages to craft something new from the most diverse of inputs – including his own. It is a sign of his class that all contributors are on equal footing, a damned unusual state of affairs! Moebius always wanted to make pop music, but he never wanted to be a pop star.

[engl] The author Max Goldt is well known to the general public. Not so the musician Max Goldt, who came across the guitarist and songwriter Gerd Pasemann through a classified ad in 1978. Their joint collaboration in the 1980s resulted in the musically contrasting project Foyer des Arts: "Melancholic, sometimes resigned tracks alternated as a matter of course with comic and surreal ones," wrote Max Goldt in the booklet to his CD box set "Draußen die herrliche Sonne". John Peel liked Foyer des Arts so much that he not only played all the songs from the album "Die Unfähigkeit zu Frühstücken" several times on his show, he also invited the duo to record a session and were one of only a few few German-speaking bands to do so. In 1986, after a two-year delay, Foyer des Arts released their sophomore album Die Unfähigkeit zu Frühstücken. BBC Radio DJ John Peel liked it so much, he featured one track after another on his show. Gerd Pasemann and Max Goldt were ultimately invited to record a (John) Peel Session, a rare and distinguished honour for a German-speaking band. The Berlin duo made their way to London in October 1986, where they were joined by three members of The Higsons, an energetic combo with plenty of experience as session musicians. Indeed, they only needed one rehearsal to learn the four songs that Foyer des Arts brought with them, two from the aforementioned album and two brand new tunes : “Könnten Bienen fliegen” and “Frauen in Frieden und Freiheit”. Recording took place the following afternoon in the legendary Maida Vale Studio 4, the regular home for the Peel Sessions. “The musicians were excellent and the atmosphere was really relaxed,” Max Goldt recalls, “and afterwards we met John Peel in his favourite pub, The Vine Bar.” In the year 2000 Goldt asked the BBC what had happened to the session tapes, only to learn that they had probably been wiped. This was not a huge surprise, as the BBC archives were notoriously unreliable. Entire Dusty Springfield shows disappeared, apparently deleted. Twenty years later, the Cologne-based sound engineer Tom Morgenstern, with the help of a colleague from the BBC, managed to unearth the lost tapes. And here they are, 35 years on, as fresh as the day they were made.

[engl] Toronto's Punk's, Among Legends new album, "Take Good Care" is up for pre - order.

[engl] Everyone has to swallow the world’s shit, but Cleveland’s Woodstock 99 regurgitates it in technicolor. Their nihilistic and antagonistic take on hardcore punk can recall the Kings of Punk in their prime, but this band is too fucked up to focus on their rage… sometimes they’d rather wander away after a psychedelic riff or poke around in the trash for scraps of 90s pop culture. On Super Gremlin, Woodstock 99 examines the void from all angles, and while it might look frightening or intimidating from some vantage points, from other angles all you can do is laugh. One pill turns you into Jerry A (“La Casa De Fuck You”), and one pill lands you at the denouement of a French noir film (“Budget Inn”), and another one summons DJ Lethal to lay down some sick scratches (“Beatboxing in Viet… Nam!!”). Down them all, chase them with a couple shots of cheap whiskey, and follow Woodstock 99 down the rabbit hole.

[engl] Invalid’s cassette-only debut, Do Not Resuscitate, came out on their hometown label Cruel Noise Records early in 2020 and, for me, it was love at first listen. Invalid plays hardcore in the tradition of Black Flag’s Damaged, deploying sophistication and craft not to show off, but as tools that allow them to go further and deeper as they exorcise their demons. Invalid’s bulldozer intensity is the first thing that grabs you, but the great riffs and songs keep you coming back, every track containing an improbable hook like the martial chant of “Wake up / eat / shit” in “This Life,” the primal howl of “wasting away” in the chorus to “Escape,” or the instant-classic intro riff to “Stupid Pills.” Fans of records like Direct Control’s first 7”, C.O.C.’s Eye for an Eye, and Unseen Force’s In Search of the Truth are perhaps best primed to appreciate Invalid’s punishing yet catchy and energetic style of hardcore. This self-titled LP contains all eight tracks from Do Not Resuscitate plus six new ones cast from the same mold.

[engl] Both of Hüstler’s cassette releases for Sorry State Records sold out almost instantly, so compiling those two cassettes for Hüstler’s first vinyl record was a no-brainer. Hüstler burst through the gate on their first tape with one of the most distinctive voices in the contemporary underground, smashing together elements of punk, death rock, and metal into a sound that is both anthemic and intense. Their second tape only upped the ante, widening their stylistic scope while leaning into the crowd-pleasing choruses and mosh parts. We’re very proud to present Hüstler’s early years on the format that matters.

[engl] Moses Brown of Texas punk bands Institute and Glue released his first cassette under the name Peace de Résistance - a solo project where he plays all the instruments - in October 2020. That cassette found Brown bouncing his growing songwriting chops off the fuzz-drenched Zamrock sound of Paul Ngozi, Witch, and Amanaz. However, Bits and Pieces - Peace de Résistance’s first full-length and first vinyl release - has a wider vista. Brown describes the sound as “demented glam rock,” and while you can hear remnants of the Zamrock influence in the sinuously melodic fuzz guitar, the more pertinent frames of reference are Diamond Dogs -era Bowie, 70s Lou Reed, and Iggy’s The Idiot and Lust for Life. Bits and Pieces recalls those records’ potent combination of artistic ambition, street-level rock and roll swagger, and pop charm, but filtered through the DIY punk aesthetics of Brown’s previous work. Lyrically, the album documents life on the fringes in a hyper-surveilled 2020s America, with songs like “Don’t 1099 Me,” “We Got the Right to Be Healthy,” and “Exploitation” wrenching plainspoken poetry from an existence that will be all too familiar to anyone at odds with capitalism. After nine timeless art-rock songs, Bits and Pieces lets us down gently with “Sitting in Disguise.” This motorik-inspired instrumental offers a rickety, dilapidated update of Neu!’s seamless futurism, implying that the only appropriate response to our predicament is to keep moving forward. -Sorry State

[engl] "Sick and bored!" By no means...The London death squad has on the fifth longplayer no time for boredom and, contrary to the Colombian name donor, the blood boil hot, but not splash. This is ensured by a brilliant best of...reference list, the road of the best can be used as a blueprint: 77 razor melodies of the BUZZCOCKS, including melancholic note, meet the alcoholized Badass sleaze / punk'n'roll of the HUMPERS, including demonic strumming piano. Firewater! Flying furniture! The intro of "Blur the lines" kicks the brilliantly dry RAMONES beat (Tommy!), "I remember you" quotes THE NERVES in sugary sweet harmonies. Bang! Bang! Bang! Three for the price of one: sharp-catchy 77s Punk rock, sweaty Punk'n'roll, charmin' Powerpop, LOS PEPES know the answer to your desires. 12 songs. 12 promises kept.

[engl] ‘Raise Hell’, the third album from London DIY punks Fresh out 1st July on Specialist Subject Records. Fresh have been an unwavering fixture within the UK punk scene since their first record in 2017. A joy to behold live, Woods honed her craft not only fronting Fresh but as a member of several heralded indie and punk bands, including cheerbleederz and ME REX alongside Fresh bandmate Myles McCabe. Their new album radiates with their signature mischievous British charm and flourishes of brilliant pop punk flair – though underestimate Fresh at your peril. ‘Raise Hell’ dares to dive deeper than most, delivering Woods’ darker moments and contemplative thought processes through the sharply focussed lens of upbeat indie punk. Since their inception the band have been working tirelessly recording and touring. They released their last EP 'The Summer I Got Good at Guitar' in Spring 2021, to praise from Upset, Stereogum, Brooklyn Vegan, BBC6 Music, Radio X and have toured with the likes of Jeff Rosenstock, The Beths, PUP, Adult Mom. For a band that have existed for a relatively short period of time, the four-piece have already released a hefty catalogue of work – prolific, ever evolving and always fresh (in every sense of the word).

[engl] "New 7” from Durham indie, pop, punks Martha! ‘Please Don't Take Me Back’ is a song about refusing to let rose-tinted glasses distort your visions of the past. The b-side features a rough and ready cover of 'My Heart is a Drummer' by beloved Australian/English indie-pop legends Allo Darlin, who Martha supported at their first ever London gig back in 2012. One time pressing mixed grey vinyl limited to 1000 copies."

[engl] In Germany, there is a word called Gram, which is not so common anymore and describes a persistent, gnawing sorrow. In my quest to put into words the music of "Undreams," the second album from the Stockholm-based three-piece band, this word kept coming to mind. Fascinatingly frozen by the fragile beauty in which the songs are written, the minimalist, unfiltered rawness captivates me and yet always reflects the sound of this brokenness on one's own being like a mirror. "Undreams" comes seven years after the debut album "Cradle of Snake". These seven years have done the band more than good. The dark sound of their songs has nothing in common with the adolescent melancholy of some contemporaries. It is not egocentric or even narcissistic, but and forgive me this word, because it is equally uncommon in this context, caring. He wraps you gently like your favorite blanket on a gray autumn day, gives you soft, flickering light on a nightly walk, he comforts quietly, knowing full well that danger is not banished by a hum, he says the world is not a good place, but we have it in our hands, as long as we stick together, to change that. It may sound presumptuous, but "Undreams" showcases all the skills Mia, Tess and Frankie have acquired over the years in their bands and solo projects. It is an album drawn by life experience, dark, but also powerful, thunderous, energetic. "Undreams" is an album of three women who face life in all its facets. It was recorded, like the previous one, by Stefan Brändström at The Dustward Studio in Stockholm. Snake wanted to get as close as possible to the atmosphere of the rehearsal room and make the album a reflection of what the band heard and felt during rehearsals. "With the power of 'Me Too' in our hearts, we've been working through the album process since the wave in 2017. We think it's a darker album, but also with a glimmer of hope. We've found that we can be strong together, share difficult experiences and use them to make ourselves heard. We address teenage angst, the fear of getting older, love, grief, and the struggle to put the shame and guilt where it belongs."

[engl] First things first - you don’t need me to tell you about the significance of Australia in the history of punk. I mean, what am I, Jon Savage? Google it yourself, FFS. Instead, let’s just agree that the speedy, feral racket thrown together by the likes of The Saints, Radio Birdman and The Scientists in the mid-late ‘70s is AT LEAST as deliriously entertaining as anything concocted by their UK/US counterparts, sowing the seeds for seemingly endless garage-inflected noisemakers in the land down under. No one likes using words like ‘tradition’ or ‘heritage’ here - the punk rock clusterbomb is far too messy for any of that business - but also emerging from Australian rock’s primordial soup is the addictive sneer of Stiff Richards. Like their predecessors, the band are a gleefully wracked mess of full throttle energy and barrelling power chords, with songs like ‘Kids Out On The Grass’ and ‘Point of You’ proving at least the equal of ‘(I’m) Stranded’ or ‘Aloha Steve And Danno’. Nine tracks in less than 30 minutes, all winners and all determined to leave you flipping over couches and smashing your TV set. And let’s face it, you may as well; there’s nothing good on. It all builds towards frantic closer ‘Fill In The Blanks’, which rattles around your speakers like the UK Subs trying to play Ed Kuepper riffs at the centre of an earthquake, before grinding to a halt as a voice says, “That’s the one.” Does it sound self-satisfied? Hey, it’s got good reason to - this is the best no-frills garage rock party since Gino & The Goons’ ‘Do The Get Around’, and the only appropriate response is to declare yourself betrothed to Stiff Richards because you can’t imagine your life without ‘em. Don’t believe me? Sort out your ears and get ‘State Of Mind’ in ‘em. Rock’n’roll as it’s supposed to be played.

[engl] Crank up the volume for the ultimate soundtrack for surfing, skating, and sweeping up the streets of Black Widow Island! It's poisoned power pop, contaminated surf core mixed with sticky basement punk pills. While SPITS and HEX DISPENSERS are still in the mushroom mix of the SWEET REAPER venomized experience, we throw in some WIPERS & M.O.T.O for that good trip, along with the always very original sounds of SWEET REAPER. From the depths of space all the way to your turntable, its World Contact day! The trilogy is now completed. After 'Closer Still' and 'Sidekick', comes 'Street Sweeper' and it's kicking the streets! We´re proud to issue the SWEET REAPER debut on vinyl for the first time. It´s on 180g vinyl and comes with double-sided colored insert. 100 copies on clear vinyl with aquamarine swirls, mail order only. Don't forget to pick up the Microdose EP for additional 4 original bangers.

[engl] The International Love Corporation is a project formed by former Out of My Hair front man and songwriter Comfort aka Simon Eugene. A roaming collective of musicians that gather together wherever they find an opportunity to do so, the ILC concept started originally as a club in London that itself had its roots in an art led project ‘Western Power Trip’. The ILC has a fundamental philosophy at its roots as the search to find meaning in the common concepts of what love really is and how we relate the understandings in our treatment of each other as people of this world. The International Love Corporation is a band and at the same time an ethos. It is as the name suggests, a gathering of people, with a few core members, but anyone can be a part of this. A reaction to all the crap that goes on in the world, that is constant, just with ever changing players. Trying to find the light within the dark. The ILC has moved between countries. Its founder, Simon Eugene aka Comfort, has journeyed across the world with it. Setting up in different continents to create moments of celebration around the concept. The Experimental Shape of Happiness is an album is about love, of wanting to reach something higher. But if you’re going to preach that message then you have to question first what is love? And then you have to question yourself, about where you are at as a person, because you can’t start singing about these virtuous things without looking at who you are in all of that. So the ILC is about a personal journey and also creating this immensely positive atmosphere of celebration whilst understanding the conflicts within that, recognizing the dark within The light. This is what the Experimental Shape of Happiness is about. And the song Shelter captures that more than any other. To create that atmosphere, in its recording, everything had to be done live, old style, the band all set up in one room, everything bleeding into everything else, and just going with it. Nothing fake, nothing programmed. Just the moment of happening. Trust in each other. I think we all believe that each time we get together magic happens, just by the ‘declaration’ of it. The name inspires us to be that, in the moment, just this fantastic bond that exists between anyone who is part of it.

[engl] After two 45s, finally the album! The Irish lay out 10 oi!-punk titles, sometimes melancholic, sometimes more energetic thanks to the bewitching voice of Clodagh. We feel a certain influence of recent French groups (Syndrome 81, Traitre…) with texts on street harassment, austerity policies, gentrification, youth…

[engl] Fellow humans, Bureau B invite you on an expedition to Silberland, a singular span of spacetime created by Germany’s sonic futurists of the seventies and eighties. Embracing the early electronics and tape experiments of the sixties’ avant-garde, these artists aimed to boldly go, eschewing small steps for giant leaps into a nebulous and novel sound.

[engl] Finally the best titles recorded in addition to the 45T by one of the pioneer groups of the oi! French! Rare titles, unreleased tracks, different versions, before and after the legendary 45 rpm.

[engl] The second album of 2010. Halfway, both for the lyrics and the music, between Bad Bad Reggae and Working Class Reggae, the reissue on LP only of this long out of print album, allows you to rediscover many of the group's hits, such as “Jibbers”, “ORF”, “Too strong”.

[engl] PISSE - new band w/ members of Rouge, Nowaves, Universum and John, Paul, George, Ringo & Richard.

[engl] A year after their single, the Nantais Collision are doing it again with a 10-track album full of nuances. Always a base of punk hits and oi! melodic to sing along but also a lot of darker musical explorations, which will delight the most curious of you.

[engl] Does French oi! have a typical sound, an unique attitude? Today it is difficult to say when you see so many different bands in this scene. But everybody would agree: Bromure have the french oi! sound and attitude. And this first album will soon be a reference in the style.