• 01. Sef-Afrikia
    02. Tel Kal Tidit
    03. Tamiditin Aicha
    04. La Luma
    05. Marhaba
    06. La La La
    07. I Fitalan
    08. Tamiditin Janette
    09. Lubia Taura



    Bibi Ahmed, Kopf und Bandleader von Group Inerane, stammt aus Agadez (Niger), eine der unbändigsten, unbeständigsten und gefährlichsten Gegenden dieser Erde. Früh wurde Bibi mit der Unterdrückung und Ausgrenzung der Tuareg durch die nationalen Regierungen von Mali und Niger konfrontiert. Ebenso früh erwachte seine Liebe zur Musik. Als Kind brachte sich Bibi Ahmed das Gitarre spielen selbst bei, bevor er seine Ausbildung von dem großen Meister und Vater des Tuareg-Blues, Abdallah Ag Oumbadougou, erhielt. Geprägt durch die Erlebnisse in den lybischen Flüchlingscamps während des Tuareg Aufstandes, verlieh Bibi Ahmed, während viele andere Künstler das Land in Richtung Amerika und Europa verließen, mit seiner Band Group Inerane der Rebellion eine eigene, musikalische Stimme und öffnete gleichzeitig die reiche Tradition der Tamachek-Gitarrensänge einer neue Generation Zuhörern. In Zusammenarbeit mit Sounds of Subterrania und den Lotte Lindenberg Studio entstand Februar 2019 sein erstes Soloalbum, bei welchem er alle Instrumente selbst einspielte. Diese Reduktion eröffnen einen völlig neuen Blick auf diesen sehr spezielle Mix aus Tuareg Blues, elektrifizierte Tamachek Folk und Psychedelic Sahara-Rock. Man spürt förmlich das Flirren der Hitze und begibt man sich auf den Pfad des Hörens , verschwimmen die Unterschiede zwischen spirituellen Trance und hypnotischem Psychedelic-Blues.
    EAN 4260016921935
    EAN 4260016921942
  • 01. Insane
    02. Pulse
    03. Slave Markets feat Jason Williamson
    04. When does a banknote starts to burn
    05. Brume
    06. Some friends
    07. Lil' white sister
    08. Pepper spray
    09. Le grand soir


    So cold streams

    [engl] During the 1990s, wherever you lived in France, you could see certain groups between 5 and 10 times a year - sometimes even without really wanting to. Guys who played so much, all the time, everywhere, that it was impossible to spend more than three months without being at one of their concerts. Right down to the depths of the Var or Jura, they pushed tons of kids to start their own band or fanzine, to access something different. It was more than just music. It was a spirit, an idea. A way of looking at the world. Rules are no longer the same. Music no longer has the same weight, the bands we come across between 5 and 10 times a year - sometimes even without really wanting to - are rarely the right ones, and the kids from the far reaches of the Var or the Jura have something else to do than formig bands or fanzines. But the spirit and the idea are still there. And in the last 10 years, in France, no group has played them better than Frustration. Like all these groups, Frustration we have seen them 5, 10, 100 times - sometimes without really wanting to. And because we're not quite the same either - more informed, more busy, more jaded, less easily impressionable - we always said to ourselves that we've gone around it, that their whole comedy is getting old. But with each new concert, each new record, we go back to the roots. Because the fire is still burning, because the passion is still intact, because they are not trying to pass for what they are not. Because somewhere in the heart of the Var or Jura, some kids still need to see the world differently. However, we were not expecting a record like So Cold Streams. At this stage of the championship, Frustration could have been satisfied with releasing a record that was essentially identical to the previous one, intense, abrasive, honest but without risk, and could have continued to fill the rooms without anyone having to complain about it by slowly moving towards an exit as dignified as it was inevitable. But from the first bars of "Insane", an insane electro-punk pounding that you'd think you'd just come out of a 1988 EBM EP, you realize that the scenario isn't going to go as planned. Instead of setting up a comfortable routine, Frustration recorded his fifth album as if it were the first, like a band formed 6 months ago that would have nothing to lose and a serious desire to fight it. If the post-punk cavalry is still present (martial drums, elastic bass, hit-and-run guitars), So Cold Streams surprises with its energy, the virulence of certain lyrics and the many risk-taking, "Brume", a nightmare with industrial sounds screamed in French, to the very pop "Lil' White Sister" which looks surprisingly at the Smiths and Echo & The Bunnymen, as well as the sinuous and melancholic "Slave Markets" on which the band invited Jason Williamson, the singer of Sleaford Mods - a band that played a lot in Frustration's new youth. "Sleaford Mods is a band that, musically and humanly, gave us a real boost," explains Fabrice Gilbert (vocals). It gave us a real sense of freedom, it allowed me to really say everything I wanted to say in my words, to talk about extremely intimate subjects as well as much more general things, whether it be political or social. So Cold Streams is, paradoxically perhaps, our most disillusioned, energetic and free record. This observation is perfectly summarized by the cover of the disc, signed like all the others by the painter Baldo, and which represents a machine tarring a road through a field of wheat. A painting made more than 15 years ago and which was originally intended to be the cover of Full Of Sorrow, Frustration's first album. For such a renaissance, the best choice could not be better. Especially since the image alone contains the whole disc: space, strength, light, rage and disgust too. The desire to destroy everything. To make a clean slate. To propose something different. A little more than music. A spirit, an idea. A way of looking at the world.
    EAN 3521381557749
    EAN 3521383457733
  • 01. Black Cat
    02. Boo Song


    Black Cat

    [engl] Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag. Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with ?rfan Sumer, O?uz Durukan and U?ur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing. In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Bar?? Manço and Mo?ollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Karda?lar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda. Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervi?an – Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973). Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later… The cat’s got the cream.
    EAN 5060099507137
  • 01. A cocas
    02. I midi wall


    A cocas / I midi wall

    [engl] Tour Only Special Mini Album. Limited on 289 copies
  • 01. Silver Machine
    02. Was Warst Du
    03. Baby Alone In Babylone/Japanese Double Suicide
    04. Delirium



    [engl] Abstract Nympho is a dream-noise outfit from Berlin consisting of Rahel Preisser (Vocals/Trumpet/Noise-interventions) and Ghazi Barakat aka Pharoah Chromium (Rauschpfeif /Electric Wind Instrument). Abstract Nympho was formed spontaneously on the occasion of a Pharoah Chromium gig at the Haperende Mens festival in Rotterdam in January 2018. At first using a poem by the Berlin poet Scardanelli (who also happens to be Rahel’s father) over improvised layers of noise and psychedelia, the pair’s sound quickly evolved into unusual live interpretations of songs by Jane Birkin and Hawkwind and free form improvisations on electronics, trumpet, rauschpfeife and vocals. After playing a series of shows in small underground venues in Berlin and a legendary performance in Jean Tinguely’s Cyclop sculpture in the woods of Milly-la-Forêt they decided to shape and record their live performances into a more structured song format. The result was heard by Christian Iffland, owner of the record store Static Record and its adjacent label Static Age, who offered to release the four tracks as an EP. Using wind instruments, synths, feedbacks, an electronic tempura and the skills of Gordon W. on tablas to achieve their vision of an almost beat-free, at times dreamy, at others somber mixture of experimental pop and spoken word.
  • 01. manifest   
    02. jetzt
    03. dr. s
    04. stehaufmännchen
    05. reflection
    06. lass los
    07. backdoor boogie
    08. new life
    09. der letzte kuss
    10. again
    11. r.i.t.a.l.i.n.
    12. the end
    13. vielen dank & auf wiedersehn


    the truth about dr.s & mr.p one man synthony in E-minor

    spielt Synth & Guitar & Drums & eine 80s Beatmachine & singt durch ein abgefucktes Megafon...GLEICHZEITIG! „Dr.S & Mr.P" - a One Man Electro Trash Synthony in E minor Das erste One Man Band Konzept Album der Musikgeschichte?! Geburt - Schmerz – Pubertät – Lust – Verführung – Hoffnung – Hass - Leidenschaft - Versuchung – Vergebung – Exzess – Laster - Frustration - Wut – Abstinenz – Widerstand - Resignation – Liebe – Tod Hier ist die Geschichte: Mr. P(rimitive), hyperaktiv, apathisch, egomanisch, Sex- und Drogenabhängig wird von seiner inneren Stimme Dr. S(ensitive) in den Tod getrieben. Natürlich ist Mrs. L(ove) involviert in Mr. P's Höllenritt ins Verderben.Urban Junior ist zurück mit seinem zweiten Voodoo Rhythm Release.. Dr.S & Mr.P...13 Songs, ein Mann, eine Geschichte, eine Botschaft...EINE OFFENBARUNG!! „What if what you see is not what you'll get, what if what you'll get is not what you want?" Urban Junior ist ein irrwitziger Entertainner, der seine verschiedenen Persönlichkeiten auf die Bühne bringt. Sensationell! Verwegen! Überraschend! Der Mix ist einzigartig und 111% Ohrenkrebs! The Screamers meets Hasil Adkins! THEE Minimal Electro Trash Garage Boogie Death Disco Synth Punk One Man Band!
    LP + CD
    EAN 764014890470
  • 01. black moose
    02. there's always someone that you owe
    03. dark night
    04. good luck
    05. i'm so lonesome i could cry
    06. black train
    07. st dymphna
    08. la mauvaise réputation
    09. heart of stone
    10. femme fatale
    11. so wars, so ists und so wirds bleiben
    12. ship of fools
    13. appenzeller tanz


    Black Moose

    Nach der Gründung 1989 und dem Kommerziellen Durchbruch mit 'WUNDERKAMMER' (2006) und der Neuerfindung ihres Seins (5th SIN-PHONIE) 2010 zusammen mit dem wohl Dunkelsten und Tödlichstem Streicher Orchester die Welt je gesehen hat, versammelten sich die Toten Brüder um den Meister Des Chaos und Nr1 Schweiz-Armenischem Enfant Terrible Alain Croubalian und machen einen erneuten Grossen Schritt in Eine Exotisch von Dunkler Country Musik Blues und Schweizer Folklore mit Dudelsack und Rock'n'roll geprägter Musik in Richtung Niemands Land wo der BLACK MOOSE ( Schwarzer Elch) haust, einer mysischen Figur die noch vor Morgengrauen der menschheit da war, die der zusammenbruch der zivilisation mit erlebt hat und sich in den dunkelsten Winkel des menschlichen bewusstsein aufhält. Das Album Black Moose ist ein Romantisches Album, Romantisch im Dunkelstem Sinne des Wortes mit einem Tödlichen Ende es Verbindet den Amerikanischen mit dem Afrikanischen Blues lässt Schweizer Volksmusik zusammen mit Dudelsäcken in tiefste Ambründe Stürzen und bringt dich dort hin wo sich Friedrich Nietzsche mit den Revolutionären Führern der Central Amerikanern Revolution in einer Hafen Bar zu einem Pisco Sour mit Kerosin an einem Tisch mit dem Teufel Trifft
    EAN 7640148980449
  • 01. Guter Junge / Böser Junge
    02. So soll es sein
    03. Verheimlichung
    04. Tier
    05. Pawlow
    06. Szene Einer Ehe
    07. Limiter
    08. Kein Mensch
    09. Pandora
    10. So geht die Geschichte
    11. Wir sind sicher



    Compilation mit allen Songs! Streng limitiert!
  • 01. El Aguajal
    02. Tu Boda
    03. Esperanza De Amor
    04. Volveras Mi Niño
    05. Mal Amigo
    06. En La Selva
    07. Borrachito Borrachon
    08. Mi Tallercito
    09. Angelita
    10. Como Un Errante
    11. Si No Regresa
    12. Perdidos


    Los Auténticos Shapis

    [engl] Los Shapis, a legendary group of tropical Peruvian music, will be relaunching their first LP ’Los auténticos’ (1981) on the 23rd of December. The revival of this album, which was one of the pioneers of Andean Cumbia, will commemorate the 36th anniversary of the band led by Julio Simeón ("Chapulín el Dulce") and Jaime Moreyra and will include emblematic songs such as ’El Aguajal’ and ’Como un errante’. The relaunching of ’Los auténticos’ forms part of a project to rescue and revive Discos Horóscopo, a record label founded 40 years ago by Juan Campos Muñoz, and which boasts one of the most important catalogues of chicha music from the 70s and 80s. The label was created and can be recognized as the main driving force of Andean cumbia in Lima, as it took on producing albums of artists that gambled on not only creating a new sound, but also molding a new type of aesthetic, led by Chacalón y La Nueva Crema, Los Shapis, Pintura Roja and Los Ovnis. Formed in the city of Huancayo on February 14, 1981, Los Shapis – whose name was inspired by a traditional dance, "Los Shapis de Chupaca" – were hailed as ambassadors of chicha when they toured throughout different countries, which gave birth to the internationalization of Peruvian cumbia in the early 1980s By 1983, the band was based out of Lima. Its members composed iconic songs about the provincial and profound identity of Peru, in a time marked by racism and classism from the most privileged sectors. A rhythmic tradition that would accompany the two most conflictive phenomena of the era: terrorism and economic debacle, reasons that motivated the massive migration from the countryside to the city. "It is a culture that alludes to disorder and popular excess, drunkenness and chaos, but also a way of appropriating while simultaneously mocking the west, " says researcher Alfredo Villar, collaborator of the project to revalorize Peruvian cumbia.
  • 01. Mi Dolor
    02. Porque Te Amo
    03. Llanto De Un Niño
    04. María Teresa
    05. Será Mejor
    06. Por Ella, La Botella
    07. Tú Y La Noche
    08. Quiéreme
    09. Mala Mujer
    10. Nadie Conoce El Mundo
    11. Sin Hogar
    12. Chana


    Chacalon y la Nueva Crema

    [engl] Lorenzo Palacios Quispe "Chacalón" is a myth. More than a musical star, he is both a religious and secular phenomenon for the masses. Every year on his birthday, his tomb becomes a place of fevered pilgrimage where devotees pray, make wishes and ask for miracles, all done over songs, cases of beer, dancing and toasting. In Peru, his figure and music erases the distance between the holy and the profane, the hero and the lumpen. Chacalón is, for many Peruvians, the people’s angel, the messiah of the poor, the marginalized ’Inkarri’. "When Chacalón sings, the hills come down", was one of his favorite phrases and with it he referred to the migrant masses that invaded the hills and beaches that surround Lima like a "ring of fire" (José María Arguedas dixit). It was the early 80s and while bombs and a dirty war exploded in the Andes, in Lima, the new and ever–growing population of migrants "climbed down" from their precarious homes and filled venues to dance "chicha" music and to celebrate who they saw as their redeemer. Despite being a model messianic figure, Lorenzo Palacios had very humble origins. The son of a music dancer from Huancayo and a singer of huayno music (Andean folk) from Ayacucho, Chacalon was born in Lima in 1950. As a teen, he had his debut on stage as the singer of huayno band "The Indios Quechuas". The main requirement to sing that genre of music was to have a powerful ribcage and young Lorenzo seemed to have the needed lung capacity for "guapeos", thunderous voice blows that the genre required. Chicha music is neither a replica or a copy, despite using Western instruments, such as the electric guitar, bass, drums and organs, and mixing them with cymbals, congas and tropical Guiros. Chicha music has indomestizo elements (like Huayno music) tucked deep in his blood. Listen to the powerful cries of Chacalon and you will hear the heartfelt music of Huancayo; listen to his delicate voice breaks and you will hear the sweet music of Ayacucho. The mix of delicacy and strength and rural and cosmopolitan elements, is part of the secret of seduction that chicha music has had over the masses. Aside from use of electric instruments, rock music has influenced chicha music in other ways. Chacalón’s band was called New Cream as a tribute to the British band Cream. Their use of powerful fuzz tones and wah wah pedals for acid riffs and catchy solos, are the echoes of a rebellious music that wanted to silence the noises of a marginalized and exploitative city atmosphere debased by the most savage capitalism. "I seek a new life in this city / where everything is money and there is evil, " reads "Provinciano", Chacalon’s most famous songs. It’s because lyrics like these that people saw Chacalón as a messianic figure who sang about the promise of a new life. He sang about pain, alcohol and betrayal, but also about solidarity, love and hope. Chacalon sang to the most marginalized part of society, the lumpenproletariat, and not the middle class or the wealthy. Lorenzo Palacios did not see differences between those who complied with the law or those who transgressed it, because in marginality, survival is the only rule and the boundaries between good and evil become very subtle. "Eat first, then morals, " said Chacalon.
    EAN 4040824087111
  • 01. Dog Food Five - Gotta Get Outta Here
    02. Pisse - Alt Sein
    03. Lo Fat Orchestra - What Am I Doin Here
    04. Hara Kee Rees - When You Come Home
    05. Renaud Picard - Walking With Udo
    06. Sick Hyenas - Moskito
    07. Ryker's - Young Heart
    08. Alte Sau - Der Kreis Ist Leer
    09. William Honda - The Dirt
    10. JaKo?ingJa - Das Schwein Hat Hände
    11. Fizzis - Cab Driver
    12. Cellophane Suckers - Save My Soul
    13. Einkauf Aktuell - Requiem
    14. Counts On Crack - Reruns
    15. King Khan & The Shrines - Empoisonneuse
    16. Gee Strings - Punk Rock Heart
    17. Sick Teeth - Gummi Overkill
    18. Aui & Zween - Kaese
    19. IIIiTanten - Ehrenamt Udo
    20. Catch As Catch Can - Blurred Lines
    21. Egotronic - Gewalt
    22. The Crimes - Get Up An Be There
    23. The Hipriests - Need You
    24. Klaus Johann Grobe - Rote Sonne
    25. Old Seed - Hopes And Dreams
    26. Dead Moon - A Miss Of You

    limitiert auf 1000 Stück // Songs teilweise unveröffentlicht


    Ja, weiter geht's im Programm!

    Es gibt Platten, über die möchte man eigentlich keine Texte schreiben, weil jedes Wort schmerzt und Wunden aufreißt. Eine dieser Platten ist "Ja, weiter geht’s im Programm”, denn diese Platte ist eine Danksagung an Udo Schulze, leidenschaftlicher Konzertveranstalter, Kneipier, DJ, Schlenderer und Freund. Erschienen auf Udo’s Label Kunta Kinte Records, zusammengetragen von Weggefährten, Künstlern und Musikern. Müsste man ein Wahrzeichen neben dem Herkules für Kassel benennen, wäre es wohl die “Mutter”, stand in einem subkulturellen Begleitheft zur documenta. Und keine Person prägte diese Spelunke so wie Udo. Ausgangs- und Endpunkt für einen kulturellen Mikrokosmos der sich nicht nur auf die Kasseler Nordstadt beschränkte, aber hier ein Biotop vorfand, welches einzigartig in Deutschland, vielleicht auf der ganzen Welt war und ist. Udo war einer der Personen, der dieses Biotop mit seiner eigenen Art hegte, pflegte und prägte, Leute für neue Musik begeisterte und jetzt nach seinem viel zu frühen Tod schmerzlich vermisst wird. Vielleicht hilft diese Platte, denen die trauern Trost zu spenden und vielleicht denen, die Udo nicht kannten, zu verstehen, wir groß und wichtig Subkultur und kulturelle Vielfalt ist. In tiefer Liebe an einen besonderen Menschen. Wir danken dir für alles, Udo. Mach es gut, alter Freund. Nachtrag: Mit dem Gewinn dieser Platte werden in Udo's Sinne kulturellen Projekte in Kassel unterstützt.
    DoLP + Book
    EAN 4260016924264
  • 01. Roman
    02. Vamos Farrear
    03. Todo Pasa - Para Chachita
    04. Rulers Style
    05. Rumpelstillskin
    06. Black Dragon
    07. Big Chief
    08. Stack-A-Lee
    09. Dark Eyes
    10. Mussieu O Tet A Poisson La
    11. Jet - Jet Biguine
    12. Smiling
    13. PlayaBandera



    [engl] Okawa 78 is a skilled saxophonist also knows as one of a very few DJs specialised in 1920-50’s world roots music who only plays out on 78 RPM records. Under his wing a whole bunch of Japanese musicians gathered to form The Rulers, experimenting with the authentic music from Africa, South America and blending into ska and soul funk creating a new groove of their own. Musicians include members from The Netandars, Sly Mongoose, Oi-Skall Mates, Rub-A-Dub Market, The 69 Yobsters, and Soil & Pimp Sessions.
  • 01. I Like Woman
    02. Afro Super-Feelings In Disco


    I like woman

    [engl] Soul Patrol Records present a reissue of I Like Woman. This is an album comprised of two super-rare Afro-beat disco/funk tracks from Lagos by the band Afro Super-Feelings, led the by artist/musician Segun Okeji. Segun Okeji was the tenor sax player in Fela Kuti's Koola Lobitos band in Nigeria in the late 1960s before changing their name to Africa 70, and this record, originally released in the late 1970s, uses that first-hand experience and influence to maximum effect with a pair of devastating sidelong saxophone-led jams. Up-tempo, chugging drums and a crack horn section, bass, guitar, organ, and backing vocals coordinate to achieve the hypnotic call/refrain/chant crescendo that was Fela's hallmark in his peak years. Players include Tunde Daudu on drums (The Benders), E. Ngomalloh on organ (Fela Kuti), Tutu Shoronmu on guitar (Fela Kuti), and others that played on releases by the C.S. Crew, Sonny Okosun, Orlando Julius, and Tony Allen. Edition of 500.
  • 01. Graveyard
    02. D.O.A.
    03. The Way It Is
    04. These Times With You
    05. Over The Edge
    06. Fire In The Western World
    07. Out In The Blue
    08. It's O.K.
    09. Day After Day
    10. Black September
    11. A Miss Of You
    12. Jane
    13. Dagger Moon
    14. Down The Road
    15. Dead Moon Night
    16. Clouds Of Dawn
    17. I'm Out Nine
    18. Running Out Of Time
    19. Walking On My Grave
    20. Cast Will Change
    21. Claim To Fame
    22. Don't Burn The Fires
    23. Can't Do That
    24. Demona
    26. Johnny's Got A Gun
    27. 54/40 Or Fight
    28. Somewhere Far Away
    29. Unknown Passage


    Dead Moon - the book

    [engl] Dead Moon were a DIY band, active for 19 years. Singer and guitarist Fred Cole was playing music since the early 1960's , beginning his career as Deep Soul Cole the white Stevie Wonder?, then joining the psychedelic garage rock band the Lollipop Shoppe / The Weeds. In the 70#s and early 80#s Fred and Toody Cole played in various punk, country and hard rock bands. In the late 1980#s, they formed Dead Moon with Andrew Loomis. This band went on to become mythic and legendary. They lived by a DIY code built around superstitions and avoidance of conventional music industry pitfalls. Their story is completely unique amongst the pantheon on rock bands a group who never sold out, never gave in and built a legacy of art and community piece by piece in a sustainable way almost unheard of. The book is a tribute to their unique aesthetic, unbelievable twisted path of a story, and roll as pioneers of the Portland music scene. The book tells the entire Dead Moon saga in the words of the band itself. Just the voices of Fred, Toody and Andrew. It includes a complete illustrated discography of everything Fred, Toody and Andrew have released, song lyrics, and TONS of band photos, flyers, and weird ephemeral stuff. Lots of it has never been seen by the greater public. The package also includes 2 LP's of the best of Dead Moon lovingly remastered from the original tapes. Double LP plus book. This is the second pressing (1500 copies) now in standard glossy book covers!
    DoLP + Book
  • 01. Der Unbekannte
    02. Telefonlied
    03. Dreizehn
    04. Haarschnitt
    05. Dauerlauf
    06. Licht Und Dunkelheit
    07. Mitternacht
    08. Gib Mir Den Tod
    09. Farblich Gesehen
    10. Heute
    11. Vergesslichkeit
    12. Flucht
    13. Unmodern
    14. 30 Grad - 30 Grad +
    15. Das Disco-Lied


    80 Tage auf See

    1980 erschien das klassische Debut-Album der hannoverschen Punk/Post Punk/New Wave-Band „Der Moderne Man“ auf No Fun Records. John Peel spielte den Song „Gib mir den Tod“ von der ersten Single in neun (!) aufeinanderfolgenden Sendungen, die lokale und nationale Presse begeisterte sich für die Band. Eine gewisse musikalische Nähe zu Joy Division und Gang Of Four ist hörbar, trotzdem ist der Moderne Man mit den deutschen Texten und dem eigenwilligen Gesangsstil von Ziggy XY absolut eigenständig – Der Moderne Man klingt auch heute noch modern. Anlässlich des 40-jährigen Bandjubiläums wird die LP nun in Hannover von Rockers Records wiederveröffentlicht, die Songs der ersten Single „Umsturz im Kinderzimmer“ sind als Bonus-Tracks mit enthalten.
    EAN 4260016924257
    LP red
  • 01. Keep It To Yourself
    02. Football Needs Politics
    03. Next One
    04. Tell Me What You Know
    05. Take Me Away
    06. No Chance
    07. Don't You See
    08. Save Your Streets
    09. Right And Wrong
    10. Far Away
    11. Spartanic Sound


    … It Sounds Spartanic

    Eine Zeit voller Wut, Angst und Dummheit. Eine Zeit, in der einem klar wird, dass die Gesellschaft nach rechts rutscht und rassistische, homophobe, sexistische und islamophobe Äußerungen zum „guten Ton“ gehören. In dieser Zeit ist es umso wichtiger, keine halben oder verschwommen Geschichten zu erzählen, sondern die Dinge auf den Punkt zu bringen. Genau das tun die drei Leipziger Skins. Die musikalischen Einflüsse liegen in der 77er Punk-Ära sowie im klassischen Oi!.
  • 01. RASH
    02. Bootboys
    03. No Time
    04. Sexpol
    05. Police Stomp
    06. Pervert
    07. Oi! Of The Tiger
    08. Red Flag
    09. Weekend



    Klassischer Oi! der Achtziger mit klarer R.A.S.H.-Kante gegen Rechtsoffenheit, Homophobie und Polizeigewalt - neun Singalong-Hymnen, die nicht mehr aus dem Ohr gehen. Das Debut-Album der hannoverschen Band (dabei ehemalige Franz Wittich- und Teenagefrust-Mitglieder) kommt auf rotem Vinyl, mit Textblatt und dem kompletten Album auf Bonus-CD.
  • 01. One Of Us
    02. Making History
    03. A.F.A. Skinhead Crew
    04. Traitor
    05. Fire On The Streets


    One Of Us

    Single mit fünf unveröffentlichten Songs der hannoverschen RASH-Oi!-Band. Der Titeltrack ist den vielen Opfern der faschistischen Übergriffe der letzten Jahre gewidmet, dazu kommen die Antifascist Action-Hymne "A.F.A. Skinhead Crew" sowie "Making History", "Traitor" und "Fire In The Streets". Musikalisch wird weiterhin harter klassischer Oi! zum Mitsingen gespielt. Auf 500 Stück limitierte Erstauflage in orangem Vinyl.
  • 01. Win And Go
    02. She's Dynamite
    03. If Boogie Is A Sin, You Gotta Sell Your Soul
    04. Sorcery
    05. River Mud
    06. Sweet Whiskey
    07. Heavy Load
    08. Red River


    The Big Swamp

    Der Südosten der Vereinigten Staaten. Wiege des Blues. Man trägt Trucker Hats, karierte Flanellhemden und verschlissene Boots mit Stolz, die moskitogeschwängerte Luft flirrt. Genau diese Luft atmet The Big Swamp. Slide-Gitarre, Blues-Harp, Bass schaffen einen unverwechselbaren Stil. Delta Blues. Southern Rock. Swamp Rock. Erdig, pulsierend, ursprünglich. Ehrlich und authentisch.
  • 01. Pirlo
    02. At the heart of Seoul
    03. A boy can dream
    04. Surf green (feat. KATTHEM)
    05. Television will not be revolutionized
    06. A letter to the king
    07. Will there ever be a rainbow? 
    08. Good boys don’t stop the music
    09. Shanghai nights
    10. The Right way, the wrong way and the way we do it
    11. Shu bop
    12. Where I turn
    13. Bullets


    Sorry to disappoint all music lovers

    Es ist immer wieder faszinierend, welche großartigen Popsongs sich doch im Gewand des Garagepunk verstecken können. Dream Boogie schaffen es mit ihrem Singalong-Garage-Pop-Punk-Powerpop einfach, daß ab Sekunde 2 das erste Bein und ab Sekunde 3,5 das zweite Bein mitwippt , sodaß, sollte man stehen, man sich ab Sekunde 5 tanzend im heimischen Zimmer oder wahlweise an der Kopfhörerstation des bevorzugten Plattenladen wiederfindet. Man kann es Magie nennen, was diese mittlerweile zum Vierer gewachsene Band aus Göteborg betreibt oder einfach nur erfreut sein, über all diese kleinen Perlen zwischen dem Pop von M.O.T.O. und dem Sunshine-Psychedelic der mittleren Black Lips, die sich auf ihrem ersten Album "Sorry to disappoint all music lovers" verstecken und auch bei Runde hundert auf dem Plattenspieler nicht langweilig werden. Ich würde mich festlegen, „Sorry to disappoint all music lovers“ rettet jede Party. So und jetzt zurück zur Anlage und Musik wieder lauter gedreht.
    LP [incl.DC]
    EAN 4260016921881
    EAN 426001692189

    The Early Years

    [engl] These special editions are only available in presale - Only the preordered copies will be manufactured! Presale starts NOW and ENDS on 31st MAY 2019 – Release date end of June – order now. In late June 2019 Everland Music will release a mindblowing, strictly limited and hand numbered boxset with Osamu Kitajima's first 5 highly acclaimed and superrare albums. All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. All LPs come in embossed, coated and hotfoil printed superheavy 1200g/m2 carton covers. The 5 LPs will be housed in a beautiful box with magnetic lock, the box will also contain all inserts of the original LPs. About OSAMU KITAJIMA and his first 5 albums: Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin's band "The Launchers" with his brother, before graduating from university. Osamu's cousin, Y?z? Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on merged Western Progressive and Electronic music with Japanese Folk sounds. Shinchugoku (1972) - This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow, yet intense approach. Benzaiten (1976) - This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind. Osamu (1977) - His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far. Masterless Samurai (1980) - Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still combines with these totally exotical sounding Japanese Folk elements. Dragon King (1981) - The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s time.

    Resume des Episodes Precedents

    [engl] • First ever anthology of Les Primitifs du Futur with new exclusive cover artwork by legendary comic book author Robert Crumb Nicknamed the Primdufs, they are neither Smurfs nor cave dwellers, just a happy collective of musicians who always have their instruments at the ready. They all have an inexplicable passion for a musical genre that some could consider obsolete, outdated and antique: the French ‘valse musette’ (a kind of popular swing waltz music, ndlt). But let’s be clear, this has nothing in common with the smutty chords of popular balls and singalongs in little town halls, nor with the trills of another generation linked to names like Horner or Verchuren in afternoon tea dances. No, this is ‘bal musette’ with balls, genuine, virile, authentic, and athletic, which used to get the blokes and the birds jivingin the no-man’s land of demolished forts around what the Parisians call Paname. Seen like that it is easy to imagine that the Primitifs du Futur, for that is their name, enjoy carefully recreating in minute detail museum pieces from the pungent remains of past festivals. It is more than that. Because though these noble savages like rummaging around in 1920s Paris, they don’t shy away from including rhythms from all over the planet, rhumba from Zaireto, gypsy jazz, Hindu waltzes or Argentine tango, blues, ‘paso doble’ or ‘chanson réaliste’. It all began in 1986, when Dominique Cravic, ‘’ukukeke’’ champion and a renowned guitarist who learned from jazzmen like Lee Konitz or Larry Coryell and also played with Georges Moustaki and Henri Salvador, met a certain Robert Crumb. Yes, the legendary comic book author from the great days of the US psychedelic underground in the 70s, the creator of Fritz the Cat and Mr Natural in person, the same man who also created the cover for ‘’Cheap Thrills’’ by Janis Joplin. Crumb plays banjo and mandolin, collects 78 sof blues, jazz and… musette. The two cronies then composed their own made-to-measure orchestra, alongside many famous names including accordionist Daniel Colin, clarinettist Bertrand Auger, saxophonist Daniel Huck, bassist Jean-Philippe Viret or singer Claire Elzière (sorry, it’s impossible to name them all). This great group has recorded four albums since 1986 (all with sleeves drawn by Crumb), some including guest stars such as Pierre Barouh, Jean-Jacques Milteau, AllainLeprest, Sanseverino or Olivia Ruiz. For thirty years, the Primitifs du Futur have carried the torch of musette to the four corners of the earth, from fiestas to festivals, and today release a double vinyl, entitled ‘Résumé des épisodes précédents’ which brings together the best of their adventures. It is a refreshing and heartening cocktail of ‘’world tribal musette’’, as they call it, which, in these electro digital times, has a rejuvenating effect, amagic swing potion. Les Primitifs du Futur take us back to the future. ‘’THE PRIMITIFS DU FUTUR travel on sound waves back in time to the early twentieth century and make the world seem like a far better place than it ever actually was. I cant get the band's music off my turntable or out of my head. Accordion, mandolin, harmonica, saxophone, musical saw, and beautiful haunting melodies—what’s not to love? Even their sad songs make me happy.’’ Art Spiegelman. • 2xLP with 20 page booklet with all Crumb previous artworks for the band’s albums plus unseen photos 1500 copies - No Repress
    EAN 3491570057827
  • 01. Das Lied Für Fritz
    02. Musik & Geld
    03. Jesus Liebt Dich
    04. Kunst
    05. Gewalt


    Lied Für Fritz

    Offizielle Nachpressung! Erscheint im Original Fold-out Cover! Honkas war eine 1980 gegründete Punk-Band die aus Wolfsburg und Berlin-Schöneberg stammte.
  • 01. Manchmal Habe Ich's Satt
    02. Stadtguerilla
    03. Bundeswehr
    04. Schwarz & Weiß



    [engl] Official repress! Comes in the original artwork! West-German Punk-band from the city of Freiburg, active from 1980 until 1983. Unfortunately the bands only release! Here's the official repress!