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  • 01. She does those things to me
    02. Don’t need your love
    03. She’s lost
    04. Why should I?
    05. Slave to her lies
    06. Sick and Tired
    07. Cut me down
    08. Make it mine
    09. Movin’ on
    10. Can’t stand this place
    11. Always the same
    12. Let me in
    13. It’s not my world
    14. Distemper
    15. I’m free (For Billy)

    AR-KAICS, THE

    The Ar-Kives Vol.1 LP

    [engl] "What can be said or done about 2020? Here at Bachelor Records we're sticking to what we know and diggin' in, while making every effort to stop and smell the roses, play more records, and take a moment for hindsight – like the year's numeric value suggests – with this trip down memory lane, on The Ar-Kaics' Ar-Kives: Volume 1 LP. Sidelined from touring (they were scheduled for another European endeavor) and recording their third full length because of a worldwide pandemic you might have heard of, The Ar-Kaics are staying home and finally getting around to doing the laundry. It's all here, and fresh as a summer daisy; all of the out-of-print, pre-Wick Records 45s, an early demo standout, and an inexplicably unreleased song from their self-titled album sessions are all on offer. Remastered loud for maximum rock'n'roll, but unlike the late and great rag of the same name, these songs are here to stay, in print! For those not yet indoctrinated, this fine selection of songs brings listeners up to speed on The Ar-Kaics' off-brand of spot-on 60s garage punk originals, something they've been channeling back from the grave and making their own for the better part of the last decade. Now, after no less than ten releases, it's high time to rollout a compilation album of the band’s singles, so you can enjoy these prime cuts without having to go to the record player and flip the platter or pull out the next single from the sleeve. In times like these it’s just nice to kick back and listen to these Virginia garage punk unknowns." Elmar / Bachelor Records
    Format
    LP
    Release-Datum
    03.07.2020
     
  • 01. Coffee
    02. Boots
    03. Lucerito de la Man?ana
    04. Juego Chicha
    05. Chacruna
    06. Sali?
    07. Tattoo
    08. Asolear
    09. Danza de la Lluvia
    10. Secreto de la Noche
    11. Salvaje

    JUNGLELYD

    s/t

    Cumbia ist ein traditionelles lateinamerikanisches Musikgenre, welches ursprünglich aus Kolumbien stammt und sich seitdem auf dem gesamten spanischsprachigen Subkontinent verbreitet hat. Es vereint Elemente indigener südamerikanischer Melodien, afrikanischer Rhythmen und europäischer Kompositionen zur Entwicklung von Harmonien und Progressionen. Um den tristen Tanzflächen der westlichen Hemisphäre neues Leben einzuhauchen, verwenden heutzutage viele junge Künstler Cumbia als Grundidee und verbindendes Glied, um eine elektronische Variante dieses Genres zu entwickeln. Unter diesen befindet sich ebenfalls der dänische DJ Kenneth Rasmussen und seine 2015 gegründete Band JUNGLELYD, welche die klanglichen Sphären moderner südamerikanischer elektronischer Musik erforschen. Digital Cumbia, Tropical Bass, Zouk, Moombathon, moderne Sounds, die auf traditioneller lateinamerikanischer Tanzmusik basieren, hatten Einfluss auf die Kreativität von JUNGLELYD. Die Band kombiniert digitale und analoge Instrumente in ihrer Musik. Das zarte Flötenspiel von Lasse Enøe verleiht der hypnotischen Mischung einen Hauch von Souljazz. Alle Rhythmen sind eine perfekte Mischung aus elektronischen Beats und Live-Percussion, während Gitarren, Bassgitarre, sowie Blasinstrumente eine lebendige melodische Umarmung bilden. Nach zwei EPs im Jahr 2017 wird die Band ihr Debütalbum im Jahr 2020 auf SOUNDS OF SUBTERRANIA veröffentlichen. Das Album beginnt mit einer Hymne an das größte Lebenselixier der Welt - Kaffee. Natürlich eingebettet in eine entspannte Cumbia-Melodie. Die leichten Gitarrenharmonien entwickeln sich, schweben auf raumumschließenden Synthesizerwellen und folgen rhythmischen Mustern, die in euren Bewegungsapparat eindringen und dort fortlaufende Tanzbewegungen verursachen. Etwas komplexer in seiner rhythmischen Struktur, dabei aber immer noch extrem groovig ist „Boots“. Man merkt, die Tanzbewegungen werden heftiger und man ertappt sich dabei, wie man vor den Lautsprechern auf und ab springt. Tropische Inselbilder kommen einem in den Sinn – Kitsch. Nur eben, dass dieser durch die elektronischen Elemente und fantastischen Melodien verhindern wird, und so eben nicht dieses Lied nur ein weiteres, typisches, x-beliebiges lateinamerikanisches Musikstück wird. JUNGLELYD fügen der eindringlichen Musik aus den Anden die psychedelische Idee von Spacerock hinzu. Spuk ist das beste Wort, um den dritten Song „Lucerito de la Manana“ zu beschreiben, in dem die Sängerin Luna Ersahin mit Lead-Vocals und mystischen südamerikanischen Flöten den gewissen Unterschied kreiert, um am Ende mit einem Hauch von psychedelischem Jazz zu schließen. Dub, Psybient, Cumbia schließen sich für die nächsten Tracks zusammen und in opaleszierenden Farben spielen JUNGLELYD ihre meist instrumentale Musik vor ihrem Publikum, das aus psychedelischen Fanatikern, Cumbia-Liebhabern und Liebhabern elektronischer Musik besteht. In diesem futuristischen Exotikstil kann man eine ganz neue spirituelle Welt finden. Der Dschungel, in den er den Hörer mitnimmt, existiert auf riesigen Computerbildschirmen rund um den Hörer. Man kann die Tanzflächen in den heutigen Clubs dampfen und kochen sehen, während tanzhungrige Seelen durch die Nacht schweben. Die Musikalität dieses Kollektivs ist außerordentlich hoch, die Blasinstrumente zeigen eine ungewöhnliche Hingabe und Entschlossenheit für zusätzliche Farbeffekte bei gegensätzlichen elektronischen Klangkreationen. Und die süßen Twang-Gitarren hier und da erinnern an Zeiten, in denen die ideale Welt auch in verträumten Klängen ihren Ausdruck fand. Dieses Album ist ein fortwährender Traum und man kann es sich zueigen machen, wenn du es wagst den von JUNGLELYD geschaffenen digitalen Dschungel zu erkunden. Bleibt noch zu erwa?hnen das JUNGLELYD Debüt ist das perfekte Sommeralbum.
    Format
    LP
    Release-Datum
    01.05.2020
    EAN
    EAN 4260016921959
     
  • 01. Second hand suit
    02. Old elvis
    03. Sail boots
    04. Dead industrial atmosphere
    05. I cant help..
    06. Ship song

    FRANKIE STUBBS

    s/t

    Sechs Songs, vom Leatherface Frontmann, die in dieser Form noch mehr an Tom Waits erinnern und Stubbs rauhe Stimme wunderbar zur Geltung bringen.
    Format
    10''
    Release-Datum
    ---
    Format
    10''
    Release-Datum
    18.05.2020
    EAN
    EAN 4260016920099
     
  • 01. Wohnrakete
    02. Schicksalsbeule
    03. Aschekuchen
    04. Kranke Bunker
    05. Was Wagen
    06. Brigaden
    07. 6/8
    08. Brems Ab Das Karussell
    09. Der Spiegel
    10. Satellitenhirten
    11. Bezahlt
    12. Liebesbombenkrater
    13. Schwesternmilch
    14. Zack

    KOMMANDO SONNE-NMILCH

    You pay i fuck

    Das brandneue Album "You Pay I Fuck" ist bereits das 6. Album der Arche Sonnenmilch, das unter dem Kommando des Hamburger Godfathers of Punkrock Jens Rachut gesteuert wird. Stilistisch niemals festgelegt, hat keine andere Rachutband eine solche Beständigkeit erreicht. Dadurch blieb das Hamburger Quartett überraschend wandlungsfähig wie ein Chamäleon. 2013 und damit gut drei Jahre nach dem Vorgänger "Pfingsten" führt die Reise ohne Verschnaufpausen in schiefergraue und sturmaufgewühlte Punkrockgewässer. Das gab es in dieser Direktheit zuletzt auf der "Jamaica", bei OMA HANS und DACKELBLUT zu hören. Unerreichbar für seine Epigonen dominieren 14 Songs lang die von Andreas Ness genial ausgeklügelten und wipersgeschwängerten Gitarrenparts. Wie ein nicht bestellter Wolkenbruch schreit Jens Rachut sich die Seele aus dem Leib. Ronnie Henseler webt am Bass den Teppich und Florian Brandel hält mit dem Schlagzeug die Herde im Takt. Damit wird eine lupenreine Punkrockscheiblette mit Tinitus zum Nachtisch serviert. Den Feinschliff geben die obligatorischen Frauenchöre. Das Cover der Vinyledition kommt als 4-farbige edle 350 Gramm Deluxeverpackung. Die Texte sind auf einem 4-farbig bedruckten LP-Einleger zu finden und dazu gibt es einen MP3-Downloadcode.
    Format
    LP [incl.DC]
    Release-Datum
    10.05.2013
    EAN
    EAN 4250137203812
    Format
    CD
    Release-Datum
    10.05.2013
    EAN
    EAN 4250137203829
     
  • 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

    Adghah

    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.
    Format
    LP
    Release-Datum
    30.08.2019
    EAN
    EAN 4260016921935
    Format
    CD
    Release-Datum
    30.08.2019
    EAN
    EAN 4260016921942
     
  • 01. Gilda And Gunshots
    02. Jeunes Filles Impudiques
    03. An Intimate Relationship
    04. Jewel Thieves
    05. Schoolgirl Hitchhikers

    PIERRE RAPH

    Jeunes Filles Impudiques

    [engl] This long lost Parisian skin flick Jeunes Filles Impudiques (aka Schoolgirl Hitchhikers) marks a particularly vulnerable period in the career of one of the most underrated and misunderstood directors to emerge from the rising smoke of the 1968 Parisian social explosion. From a director with early links with the Paris underground, The Letterists, The surrealists, improv theatre and the free-press comes the reclaimed audio tracks from one of his rarest celluloid moments – but lets not confuse this for high-art. Finders Keepers make no bones, this is Jean Rollin’s maiden voyage into adult entertainment, dIrected under the pseudonym of Miche Gentil with a flimsy plot, questionable acting skills and an awesome little schizophrenic soundtrack. The Brutus Drums percussion workout, the acidic folk pastoral movements, the Cul-De-Sac-esque jazz theme and the UK library sound-alike tile-tune all make up this 5 track veritable banquet of Gallic sleaze and second-class sound providing fans of cult cinema and b-music with an unexpected glimpse into the No-No generation at its most candid. The interests of good taste have ensured that this long-lost movie has been buried for some 40 odd years with a musical score bursting to jump out of the can and down your tone arm which has now been made possible by a recently renovated negative print and new source material. These original Pierre Raph (of Requiem For A Vampire infamy) compositions from the publishing Library of Paris’ Musicale Editions Dellamarre (of Acanthus/Unity fame) come straight from Rollin himself as an introduction to Finders Keepers’ long-running Rollinade series documenting some of the finest musical moments of the director’s career as an avant-gardener, counter-culture vulture and Gallic vamp-tramp all housed in their original hand-painted promotional artwork.
    Format
    7''
    Release-Datum
    09.09.2019
     
  • 01. Dig
    02. Bad Disease
    03. Taste
    04. Ostentatious
    05. Pea
    06. Do It Right Now
    07. No Fun On The Beaches
    08. Intro

    STIFF RICHARDS

    Dig

    [engl] STIFF RICHARDS are 5 blokes from Melbourne playing tunes "straight from the shed straight to your head...". Those blokes are called Lochie, Mawson, Raf, Gaz and Wolfie and they're just the latest in a growing number of Aussie punk bands to feature on here. If you're a fan of balls out rock n roll then Oz is where you should cast your gaze. Melbourne scuzzy punk rock band who have created a buzz about town with this admittedly EXCELLENT slice of raw rock & roll which doesn't let up for a second over its all-too-brief duration. Totally A-grade Aussie punk rock. There's nothing fancy going on here: just raw, savage rock n' roll that kicks you straight in the teeth and comes back for more. These gentlemen have definitely absorbed the lessons of the Detroit and Aussie rock of yore, and they manage to invigorate that sonic tradition with an energy that's off the charts. You've got guitars firing at full fury, a punishing rhythm section, and a madman howler on lead vocals who probably literally spits fire. "Do It Right Now" may be as blatant of a Stooges homage as you'll ever hear, but it's also one of the best. Play it at max volume, and you will feel indestructible! And while Stiff Richards are especially satisfying in short, fire-hot doses ("Bad Disease", "Ostentatious"), they sound no less thumping in full-on heavy rock mode. "Dig", which delivers monster riffs and transcendent maniacal screaming from deep within Wolfy's loins, opens the album with a proverbial bang. "PEA", with its call to arms of "Power! Energy! Action!", might as well be Stiff Richards' theme song. It's always a cliche to credit a band with capturing a "live" energy in the studio. But if Dig sounded any more live, you would be able to smell the sweat and spilled beer. These guys play every note like they're trying to blow the roof off of the joint. Something tells me they've succeeded on more than one occasion. A ripper. Short, sharp, intense and fun this LP is in heavy rotation- like a moon around jupiter.
    Format
    LP
    Release-Datum
    08.05.2020
    EAN
    EAN 4260016924547
     
  • 01. Hey Mr. Dogman
    02. Snake Eyes
    03. True Love
    04. Dungen
    05. Classic Evil
    06. Exit Castle
    07. In White
    08. Get In The Trunk
    09. Take My Money!
    10. People In The Sun
    11. In The Garden
    12. Warm Skin

    POWERPLANT

    People In The Sun

    [engl] Sometimes I am bored of "new bands", sometimes I think will there ever be a band so exciting to bring me to the point of "I have to release this record asap" and sometimes there is just one answer - YES! One of the best synth punk albums that I've listened to in a while (like a long time). London's lo-fi synth punk, 2nd album and what a ripper! I think this record is eggcellent?! For all the eggpunks out there, we did it again! Haven't been this molested by good music in a while the whole album is killer and need to be played loud so everybody can hear it. The London one-man synth and garagepunk project is launching its first proper full-length release after some of its already very delicious singles and EPs. I have to say that Theo Zhykharyev just topped the recent short players with this album. The record is actually just one thing - one complete highlight. Something between Screamers meets early Numan/Tubeway Army and a health dose of DC hardcore. Awesome stuff! Energetic and slightly insane - it's hard not to love it. I think this will end up being one of the albums you whip out when someone claims no one makes great music anymore.
    Format
    LP
    Release-Datum
    08.05.2020
    EAN
    EAN 4260016924554
     
  • 01. Une île
    02.Sumo
    03. Eldorado
    04. Tucuman
    05. Hana
    06. Le Marcheur
    07.Le Naufrage

    UNDER THE REEFS ORCHESTRA

    s/t

    [engl] A sonic-minded power trio of obsessive, biting riffs and mists of asymmetrical sonic cycles. Inspired as much by French chamber music of the 19th century as by Jim O’Rourke or Moondog, Under The Reefs Orchestra’s hypnotic music unleashes a cosmic energy and leads the listener to a trance among underwater volcanos. Guitarist Clement Nourry’s gentlemanly demeanor masks the great fiery passion of a true musical virtuoso. “I focus on one thing, and one thing entirely” says Nourry. For him, that one thing is the guitar. Combining the deep theoretically understanding of a skilled mathematician (which he actually is) with a true musician’s soulful instinct, Nourry is as comfortable with John Fahey as he is with experimental jazz. To put it simply: he shreds. This trip through the timeless realms of sound can be heard as a soundtrack of the ecological apocalypse we live in. Post jazz , Post Rock, Experimental. For those who like : Moondog, Comet is coming, Yonatan Gat, ADHD, Kamasi Washington, E. Morricone, Talk Talk (Spirit of Eden), Ryuishi Sakamoto, …
    Format
    LP
    Release-Datum
    06.06.2020
    EAN
    EAN 5412690055898
    Format
    CD
    Release-Datum
    06.06.2020
    EAN
    EAN 5412690055898
     
  • 01. Dallas
    02. Vampir
    03. Sei lieb
    04. Triebtäter
    05. Normal
    06. Sonntag
    07. Keine Krise mich schocken
    08. Mabel
    09. Meerschweinchen
    10. Randale und Bier
    11. In the Mood
    12. Vampir (single Version)
    13. Meerschweinchen (single Version)
    14. Das quietschende Bett
    15. Sechzehn
    16. Sexueller Notstand
    17. Plastikwelt
    18. S-Bahn
    19. Ich halt mich raus
    20. Idi Otto
    21. Zu cool
    22. Sexueller Notstand (1. Version)
    23. Triebtäter (1. Version)
    24. Too cool

    Östro 430

    Keine Krise kann mich schocken

    Die Düsseldorfer Frauen-Punkband Östro 430 wurde Ende 1979 gegründet. Östro 430 spielte erstmals im Mai 1980 auf dem Festival des Punkfanzines SCHMIER in Neuss, wo sie von der Band Fehlfarben entdeckt und als Vorgruppe für deren Deutschland-Tournee engagiert wurden. Auf einem dieser Konzerte war auch Lothar Rieger, der das Schallmauer-Label gründete und im Herbst 1980 drei Songs auf dem Schallmauer-Sampler veröffentlichte. 1981 folgte dann die erste EP Durch dick & dünn mit insgesamt 8 Songs, darunter u.a. ihr wohl bekanntester Titel Sexueller Notstand. Überhaupt waren Sex, überholte Ansichten (besonders gegen Frauen) und Spießigkeit oft vertretene Themen in den Songs von Östro 430. Auffällig war auch die Instrumentierung, die aus Gesang, Bass, Schlagzeug, E-Piano und Saxophon bestand – E-Gitarren hingegen wurden gänzlich vernachlässigt bzw. einfach nicht benötigt. Im Frühjahr 1983 erschien das erste „richtige“ Album „Weiber wie wir“, weitere Veröffentlichungen kamen jedoch nicht mehr zustande. Im Mai 1984 gab Östro 430 noch ein Abschiedskonzert in Düsseldorf und löste sich auf.
    Format
    DoLP
    Release-Datum
    08.05.2020
     
  • 01. Recovery
    02. Disposable Future
    03. Good Old Days
    04. No Grownups
    05. Brother
    06. On The Nose
    07. Bijou
    08. Disaster
    09. It's a Young Man's Game
    10. Always Alread

    BOBBY CONN

    Recovery

    [engl] What's the point of recovery if we were never really healthy to begin with? I started working on this record about four years ago, thinking of the American obsession with self-help, self-care and self-empowerment as a cruel and cheap substitute for helping each other. It's a concept that rewards those that have the money to help themselves, and blames those that don't for not trying hard enough. Then there were some elections. Now there is a narrative of "recovering" our stronger, bolder, racially pure, cultural and economic glory days. And then some of my friends started getting sick, or dying, or committed suicide. So it got real. But don't worry – the record doesn't sound depressing!
    Format
    LP
    Release-Datum
    08.05.2020
     
  • 01. Strange Things
    02. I'll Never Stop
    03. A Place In Your Heart
    04. Night Of Action
    05. You Don't Know Me
    06. Look Out Johnny
    07. I Can Only Dream
    08. Forever
    09. Don't Ring Me Up
    10. Smile And Say Goodbye
    11. Private Lives
    12. Strange Obsessions

    PROTEX

    Strange Obsessions

    [engl] Reissue of the 2010 release on Sing Sing Records, NYC, USA. This is the first album of PROTEX, recorded in 1979-1980 for a release on Polydor records, but the record never came out because the label was interested in the next big thing, after punk rock.... The guys from Sing Sing Records unearthed this masterpiece and put it out in 2010, it was sold out and OOP soon afterwards. So nearly 10 years after you have the possibility to buy this classic for a normal price. The Bachelor Records release of "Strange Obsessions" is not only a simple repress, we managed to improve the sound and speed, thanks to Eric Brady, PLUS the artwork was changed a bit too!
    Format
    LP
    Release-Datum
    03.12.2019
    EAN
    EAN 4260016924585
     
  • 01. Les Masques - Il faut tenir (1969)
    02. Isabelle Aubret - Casa Forte (1971)
    03. Christianne Legrand - HLM et Ciné Roman (1972)
    04. Jean Constantin - Pas tant d'chichi ponpon (1972)
    05. Billy Nencioli & Baden Powell - Si rien ne va (1969)
    06. Marpessa Dawn - Le petit Cuica (1963)
    07. Jean-Pierre Sabar - Vai Vai (1974)
    08. Sophia Loren - De jour en jour (1963)
    09. Isabelle - Jusqu’à la tombée du jour (1969)
    10. Sylvia Fels - Corto Maltesse (1974)
    11. Frank gérard - Comme une samba (1972)
    12. Ann Sorel - La poupée des Favellas (1971)
    13. Charles Level - Un enfant café au lait (1971)
    14. Andrea Parisy - Les mains qui font du bien (1970)
    15. Audrey Arno - Quand Jean-Paul rentrera (1969)
    16. Aldo Frank - T’as vu ce printemps (1970)
    17. Christianne Legrand - Cent mille poissons dans ton filet (1972)
    18. Clarinha - Lemenja (1970)
    19. Hit Parade des Enfants - Aquarela (1976)
    20. Jean-Pierre Lang - Tendresse (1965)
    21. Magalie Noël - Une énorme Samba (1970)
    22. Françoise Legrand - La Lune

    V/A

    TCHIC TCHIC - French Bossa Nova - 1963/1974

    [engl] Ever since the late 1950s bossa-nova revolution, Brazil’s influence on French music has been undeniable. Pierre Barouh, Georges Moustaki and a vast array of lesser known artists, all made the Musica Popular Brasileira (MPB) an axis of promotion at the service of a cool and metaphysical, modern and mixed Brazilian lifestyle. Some were seduced by the poetic languors of the bossa, some were looking for fun, and others just loved the American hybridization of jazz-bossa, jazz-samba. What is bossa nova? One of its creators, Joao Gilberto said: "Its style, cadence, everything is samba. At the very start, we didn't call it bossa nova, we sang a little samba made up of a single note - Samba de uma nota so .... The discussion around the origins of bossa nova is therefore useless”. It is nevertheless useful to remember that these magnificent Brazilian songs, which the guitarist describes as samba, were shifted and balanced around improbable chords. "I like things that lean, the in-betweens that limp with grace," said Pierre Barrouh, quoting Jean Cocteau. With emotion, arrangements for violin and supple guitar licks, bossa nova rapidly changed. A transformation that can be heard in the Tchic, tchic, French Bossa Nova 1963-1974 compilation, the result of a cultural reappropriation, which traveled through the United States and supplemented itself in France. A musical revolution that has remained significant, bossa nova was born in Rio. From 1956 to 1961, Brazil lived through its golden years. In five years, the country had invented its modernist style. Elected president in 1956, Juscelino Kubitschek de Oliveira, an elegant man with a broad forehead, brandished a promising slogan: "Fifty years of progress in five years". He quickly got to work. Not worried about increasing debt, he launched the project for a new federal capital, Brasilia, designed by the communist architect Oscar Niemeyer. Volkswagen opened state-of-the-art factories and created the “fusquinha”, the Beetle. In Rio, the Vespa made its first appearance. The Arpoador Surf Club crew run into the “girl” from Ipanema, Helô Pinheiro - the tanned garota ("chick"), between a flower and mermaid, who at 17 walked by the Veloso bar, where the fiery author and composer, Tom Jobim and Vinicius de Moraes, were getting drunk on whiskey. From then on, bossa symbolized cool. In 1958, Joao Gilberto recorded Chega de Saudade, which the directors of Philips denied, calling it "music for fagots". The marketing director, who believed in it, secretly pressed 3000 78-inch vinyls and distributed them at schools around Rio, creating a tidal wave. American jazzmen then took over. In particular, trumpeter Dizzy Gillespie and guitarist Charlie Byrd. In November 1962, the Brazilian Ministry of Foreign Affairs funded a "Bossa-Nova" concert at Carnegie Hall in New York, inviting the genre’s pioneers. Unprepared, the show soon turned to disaster. But the troupe was invited to the White House by Jackie Kennedy. The first lady loved "the new beat" and in particular Maria Ninguem, a song by Carlos Lyra, later covered by Brigitte Bardot. In Brazil, the 1964 military coup quickly ended this euphoria. The destructive atmosphere that ensued pushed many Brazilian musicians to leave, if not to exile. Thus, Tom Jobim, Sergio Mendes and Joao Gilberto arrived to the United States. In New York, Joao Gilberto met saxophonist Stan Getz. At the time, he was married to the Bahianese Astrud Weinert Gilberto, who had a German father. She had never sung before, but she knew how to speak English. Getz therefore asked her to replace her husband on The Girl From Ipanema. The Getz/Gilberto record with Tom Jobim on piano, was released in March 1964. Phil Ramone, the "pope of pop" was in charge of sound. Bossa nova arrived in Paris through the classic “guitar-voice” channel (Pierre Barouh, Baden Powell, Moustaki…) But France loved jazz and Paris had already welcomed its American contributors. All these good people were to pass through Saint-Germain-des-Prés. The cabaret l'Escale became the Mecca of Latin American sound where one could find Pierre Barrouh and his friends, such as the Camara Trio, samba-jazz aces, whose only record was published by the Saravah label. With a band strangely called Les Masques (a band that included Nicole Croisille and Pierre Vassiliu, among others), the Camara Trio recorded an interesting Brazilian Sound, including the track Il faut tenir which is present on this tasty compilation of rarities. Other enlightened musicians can also be found on the compilation, such as Jean-Pierre Sabar (songwriter for Hardy, Auffray, Leforestier ...) and the French pop rock organist Balthazar. In 1975, Sabar recorded Aurinkoinen Musiikkimatka on a Finnish label, which featured the crazy Vai, Vai, included on this record. We are now following the footsteps of Brazilian electronic musicians such as Sergio Mendes, Eumir Deodato or Marcos Valle who created funk and disco sounds on their keyboards and synthesizers. A style that influenced Véronique Sanson when she wrote Jusqu’à la Tombée de la nuit in 1969 for Isabelle de Funès, the niece of Louis and a great friend of Michel Berger - Sanson did end up singing this track on her 1992 Sans Regret record. The pinnacle of exoticism and travel, Sylvia Fels’ Corto Maltese includes bongos, sea mist and ocean sounds. The title was taken from Jacky Chalard’s concept album written in 1974, Je suis vivant, mais j’ai peur (I am alive, but I am scared), based on Gilbert Deflez’s science fiction novel. However, bossa nova extended the scope of popularity. "In the 1970s, I was a fan of Sergio Mendes, Getz / Gilberto. I fell in love with this music that I knew because I had been an orchestral singer, " explained Isabelle Aubret, who in 1971 delivered a composite record of covers by the very funky Jorge Ben, Orfeu Negro, Tom Jobim, Vinicius de Morais and Jean Ferrat. "I recorded this album for Meys Records in Paris, far from Brazil, with wonderful musicians, François Raubert, Roland Vincent, Alain Goraguer...". The latter wrote the arrangements for Casa Forte, a very percussive title borrowed from Edu Lobo, one of the initiators of the bossa who spent time in California. "Jazz and bossa came together and produced very rhythmic music. I love singing, it allows me to dream, to have fun, to feel a high on stage, and these songs brought me joy, made me swing, my singing felt like a dance.” The world tours of French singers and their desire for the tropics, often brought them to Rio with its hills, forests, caipirinhas and tanned bodies. There are surprises though, like this Iemenja (Iemenja is the goddess of the sea in the Afro-Brazilian candomblé religion). Not unlike the composer and musician Jean-Pierre Lang, based in Sao Paulo, Claire Chevalier taught Brazil to Brazil. In 1970, the singer and painter published a 45-inch vinyl, Mon mari et mes amants (My husband and my lovers), under the improbable pseudonym of Clarinha (little Claire). She was then living in Rio, with her husband, Joël Leibovitz, who founded a band called Azimuth, and who owned a record label specialized in "sambas enredos" songs for samba school parades. For its B side, she asked Pierre Perret to come up with lyrics for a song composed by Carlos Imperial: "Oh goddess of the sea, o goddess Iemenja, I bring a white rose to adorn your long hair ..." . "Perret came to see us, and we had fun, remembers Joël Leibovitz. We wrote Lemenja for fun, we recorded it at the Havaí studio, behind the Central do Brasil [ the central station]. Erlon Chaves, the arranger who worked with Elis Regina, joined us" adding his share of Afro-Brazilian percussions and funky brass to the mix. There is a common misunderstanding in Franco-Brazilian history: that bossa, admittedly hedonistic, is perceived as funny, even though the poets who wrote the texts are often philosophizing on the human condition. Its French interpreters pull it towards a carnival inspired universe, far removed from its fundamental essence. Thus, Jean Constantin covered the famous Samba da minha terra, an ode to the art of samba written by the classic Bahian composer Dorival Caymmi, renaming it with the enticing title of Pas tant de tchi tchi pompon: "On your pier there is no tchi tchi / when you arch your back, you know everything is alright ”(lyrics by Gérard Calvi). This expedited bossa aims for the absurd, but retains a certain elegance. Indeed, Jean Constantin was not an idiot, the rather large man had a huge mustache and liked fantasy, (Les pantoufles à papa, Le pacha, inspired by cha-cha-cha-cha, salsa and jazz) but he was also the lyricist of Mon manège à moi interpreted by Edith Piaf, the composer of Mon Truc en plume by Zizi Jeanmaire and the soundtrack of François Truffaut’s 400 Blows. Le Poulpe, published in 1970, from which this bossa is extract, was arranged by Jean-Claude Vannier, an accomplice of Serge Gainsbourg’s Melody Nelson. In short: "There is enough of samba / By looking at the parasol / Because my poor cabeza / Is going to die in the sun". Even the American actress Marpessa Down, who was at the heart of the bossa nova revolution with her role as Euridyce in Marcel Camus’ film Orfeu Negro, winner of the 1959 Cannes Palme d'or, fed the clichée with Je voudrais parler au petit cuica - "Tell me how you manage to always make people want to dance / It's true, I must admit that I cannot resist your magic" - in consequence, once can hear the cuica, a little drum inherited from the Bantu. But bossa nova had many angles. Societal, of course, pushing actresses who were symbols of women's liberation like Brigitte Bardot, Jeanne Moreau, or Sophia Loren to engage in the exercise of accelerated bossa. In February of 1963, Sophia Loren made a record in French in Rome, Je ne t'aime plus, featuring the song De jour en jour, a bossa written by two Italians, Armando Trovajoli and Tino Fornai, which was released a little later by Barclay. Bossa accompanied the 1960s, a decade of moral liberation. Ann Sorel, who interpreted La Poupée des favellas, caused a sensation with L’amour à plusieurs, a provocative song written by Frédéric Bottom and Jean-Claude Vannier. As for the actress Andrea Parisy, she displayed her bourgeois cheekiness in Marcel Carné's Les Tricheurs before interpreting Les mains qui font du bien. And Magalie Noël, the friend of Boris Vian, who sung Johnny fais-moi mal, was hired to sing Une énorme Samba, composed by Alain Goraguer (arranger to Gainsbourg, Bobby Lapointe and Jean Ferrat) with lyrics by Frédéric Botton. But in the end, of what wood is bossa nova made of? The answer is given by Christianne Legrand, daughter of Raymond the conductor, and sister to Michel the composer: "With me, with jà" - jà means "immediately" in Portuguese. In 1972, the singer, an expert in vocal jazz and a member of the Double Six, published Le Brésil de Christianne Legrand. Two songs included on the Tchic Tchic compilation that demonstrate how bossa, jazz, funk, rock, etc. work like a swiss army knife: the music is used to denounce broken systems, or miracles, HLM et ciné roman, Cent mille poissons dans ton filet, two songs from the O Cafona soundtrack, a successful telenovela broadcast, at the time in black and white, on TV Globo. The first was adapted in French by the fighter and friend of the Legrand tribe, Agnès Varda. The second is content with a play on words, jostling them into a summer fun.
    Format
    LP
    Release-Datum
    17.07.2020
    EAN
    EAN 3521381559965
    Format
    CD
    Release-Datum
    14.04.2020
    EAN
    EAN 3521383459959
     
  • 01. Harold Berty - Django
    02. Ti L'Afrique - Pop Soul Sega
    03. Claudio Veeraragoo - Qui fine arrivé
    04. Paul Labonne – Ti Malgache Ti Madras
    05. Georges Gabriel – Pop Séga
    06. The Features Of Life – Soul Sabattah
    07. Roland Fatime – S.I.L.V.I.E
    08. Jean Claude Gaspard - Machin Sex
    09. Jos Henri - Apolo pop 76
    10. Coulouce – Beau-Père
    11. John Kenneth Nelson – Change to Manière / Missié Coutou No2
    12. Lelou Menwar - Capito
    13. Daniel Delord - Maria

    V/A

    MORIS ZEKLER - Fuzz & Soul Sega from 70's Mauritius

    [engl] A tax haven and dream destination for wealthy travelers, the Republic of Mauritius is a multi-ethnic country that is currently experiencing full economic and social ascension. Banking, textile, tech, tourism industries… in this fast-paced melting pot, business is strong. But not too far from the heavenly beaches and luxurious hotels are quasi-shantytowns, reminding us that a large part of the population, often Creole (of Afro-Malagasy origin) are still excluded from the "economic miracle of Mauritius." These Creoles are mostly descendants of slaves who were deported in mass in the eighteenth and nineteenth centuries from Madagascar and the East African coast for the cultivation of spices and coffee and later sugar cane. On the margins of these hellish plantations was secretly created a music called tchiega, chéga or tsiega, a distant cousin of the blues. The music from Mauritius in the 70s found on this compilation naturally evolved from this original sega. Created at the crossroads of Afro-Malagasy, Western and Indian cultures, pop, soul and funk arrangements, syncopated ternary polyrhythms, saturated guitars, psychedelic organs and Creole vocals, this musical phenomenon is as incredible as a tropical flower in bloom. The Mascarene Archipelago, located in the South Western part of the Indian Ocean includes the islands of Reunion, Mauritius and Rodrigues. Unsullied of human settlement up until 500 years ago, these islands are home to a unique flora and fauna, including the famous dodo, emblem of Mauritius, giant tortoises and the flying fox, a large bat that thrives mostly on raw fruits. Dutch, French and English settlers started trading slaves in Mauritius leading to French King Louis XIV’s terrible ‘code noir’ which was finally abolished in 1835. Followed by the era of commitment, often described as disguised slavery during which hundreds of thousands of contract workers immigrated from India and South-East Asia to provide much needed labor in the plantation system for the widespread cultivation of sugar cane. Although the origins of sega remain quite unknown, we do know that it contains vocal and percussive practices that originated from Madagascar, Mozambique and East Africa. A social escape and a space for improvisation, satire and verbal jousting, it transcended everyday life and made room for the expression of conflicts and the transgression of taboos. Inseparable from dance, sega is thus exposed as part of a pair: bodies brush against each other, stare at each other, get excited but never touch each other. The main instrument of sega is the ravanne, a large tambourine-like drum made of a large wooden frame and goat skin. It is accompanied by the maravanne, a rectangular rattle filled with seeds, and also often by a triangle, a bottle, a machete or any metal object that can be hit with a stick. The practice of sega also exists in a ritual and mystical form, forgotten in Mauritius, but still present in Reunion where it creates impressive trances during the "servis malgas”, cults dedicated to ancestors. Songs of sailors, romances from ancient France, Breton folk traditions, and of course the many rhythmic and melodic contributions from India have certainly influenced sega. The fashionable European ballroom dances (quadrille, scottish, waltz, polka, mazurka) were introduced by the bourgeois circles, then appropriated by the Creole populations who used the repertoires and instruments (violins, mandolins, pianos) to create a first fusion of the genre called "sega salon". Jean Alphonse Ravatton also called "Ti Frère" (little brother) is considered to be the "missing link" between the original sega and modernity. Born in Quartier Militaire (Military Quarter) in 1900, he learns sega from his father, a singer and organizer of "bobèche balls" lit by oil lamps and "rann zariko balls" where a bean hidden in a cake determines who will organize the next party. A fabulous improviser, "Ti Frère" sung about impossible loves, marital quarrels, social misery, alcoholism and violence with his hoarse voice. He was the inspiration for future generations of segatiers. His song "Tamassa", pressed on a 78-inch vinyl in rudimentary conditions by the Damoo pressing plant, a pioneer of phonographic production in Mauritius, was his first local recording. Fanfan the sega storyteller, "Captain" Michel Legris, the Cassambo family or the fisherman and healer Nelzir Ventre de Poudre d'Or (golden powder belly) are all singular figures of the “typical” sega who preserved the Afro-Malagasy cultural heritage and influenced modern sega. Now celebrated as an emblem of Mauritius, sega long remained disdained and banned in its early days by the colonial administration who feared revolts and slave gatherings. The high society then despised this music of "dark tcholos", calling it grotesque, rowdy and repetitive, while the Catholic missionaries denounced the sega dance, considering it to be licentious and depraved. It is only from the 50s onward that the style came out of the shadows. The Mauritian soldiers who fought alongside the English in the Second World War brought along guitars, banjos and accordions. The first orchestral ensembles such as the Typhoon Band, the Police Orchestra or the Pepitos took over fairs and movie theaters. A generation of popular singers emerged with Roger Augustin, Jacques Cantin, France Jemon, Francis Salomon and the famous Serge Lebrasse, who had much to do with the democratization of sega thanks to the enormous success of his first song "Madame Eugene" in 1959. The single was produced by John Venpin on "Dragons", a small label that put a mark on the 60s and 70s with its continuous production of 45-inch vinyls, following in the footsteps of Michel Foo Fat’s ‘Neptune’ and Henri Ah Koon’s ‘Do Re Mi’, other pressing houses run by Chinese merchants. The emerging tourism industry approached sega as an added value and a guarantee of authenticity. The orchestras started playing their segas in hotels among all kinds of other musical varieties and international hits. This was also around the time of the creation of Mauritian TV and sega programs such as the "Star Show" presented by the excellent keyboard player Gerard Cimiotti, who launched many singers’ careers. Cimiotti is part of a handful of genius arrangers who, over the course of two decades, propelled sega. The most prolific and surprising of them is undoubtedly Marclaine Antoine, a talented self-taught guitarist and multi-instrumentalist, producer and arranger who composed hundreds of singles for a number of singers: "They would come see me with a song composed of two or three chords on the ravanne" he remembers "I would offer arrangements that we would record with my orchestra, often just voice, bass, rhythm guitar and drums because we only had a 4-track recorder at the time. I would then go to Reunion to re-record the tracks with percussion, chorus, guitar solos, keyboards etc... The records were then pressed in Madagascar at De Comarmond". In 1959, Raoul De Comarmond and his son Jean-François had set up the first 78-inch pressing plant in the Indian Ocean in wild conditions. In addition to funding many labels and pressing most of the singles from Reunion, Mauritius, and Madagascar in the 60s , they went on to produce nearly 5000 references over 20 years. The singer Claudio Veeraragoo, after debuting in the styles of variety and bollywood, became the first Indian-born segatier but also one of the pioneers of rock sounds and saturated guitars in Mauritius. A fan of Santana, Jimmy Hendrix and the Shadows, he recorded the incredible "Qui Fine Arrivé" in 1971, a sorrowful love song melded with a canvas of sharp riffs played by James Furcy. The band was called "les Copains" before becoming "Satanik" or the "Satanik Group". Claudio made a strong impact with his segas inspired by Bollywood and Qawwali, then with his hit "Ambalaba" covered by Le Forestier, which made him internationally known as one of the biggest stars in Mauritius. In his famous session from 1971, Harold Berty, another singer of Indian origin, recorded his first 45" from which came the song "Django", an ode to the famous pistolero from the eponymous western spaghetti. "Mo'nn tir sa kou revolver ek mo labouss" he recalls: the effect of the pistol and the whistling bullet is simulated by his own voice. Another iconic figure, the segatier from Rose-Hill, Jean-Claude Gaspard son of Roger Augustin started out playing guitar for the Yankees, Serge Lebrasse’s orchestra, before becoming one of the most famous singers from the Indian Ocean with a local and international career that spanned over 40 years. A prolific composer and a talented chronicler of everyday life, he is known for his humorous two-sided sega. Puns, irony and sexual allusions are all an integral part of the style. A specialist of this aspect, the singer Coulouce (Jean Pierre Mohabeer) was censored by the Mauritian radio before sinking into alcoholism and dying, like many artists of his generation, in misery and indifference. A few months after the independence of 1968, a gang war began in Port Louis, drifting into violent racial riots. Followed by the birth of the MMM (Mouvement Militant Mauricien) which, inspired by Frantz Fanon and May 68, offered to replace race struggle by class struggle. This marks the beginning of the years of embers, 10 years of strikes, police repression, student revolts and states of emergency. This was a decade of profound cultural change revealing the turbulent multiethnic Mauritian identity. The emblematic movement of the "santeé engazé", which mixed Indian music, sega and progressive militancy, appeared with Siven Chinien, Grup Latanier and the Soley Ruz band which brought together Bam Cuttayen, Rosemay Nelson, Micheline Virahsawmy, Nitish and Ram Joganah, Lélou Menwar and Eric Nelson. The latter, a solo guitarist and arranger, set up the "Features Of Life" which, in the mid 70's, gave birth to a new sound. Fuzzy distorted guitars and funky beats invite each other to play over the unbridled ternary beats created by fabulous drummer Raoul Lacariate, brother of singers Micheline Virahsawmy and Rosemay Nelson, a cursed genius who tragically vanished way to early. The band accompanied a new wave of singers, including the atypical Joseph Roland Fatime aka Ti L’Afrique, a hyperbolic and hyperactive character, a fan of blues and James Brown who launched an explosive raw, and funky style of sega. Originally from Plaine Verte, an Arab neighborhood of Port Louis and born in a family of kawwal singers, he became a segatier, political activist, masseur in hotels, host at Club Med, and even a pastor and sports coach! During the 70's, his bad boy reputation preceded him. Now a repentant, he leads peaceful days in the suburbs of Port Louis. In his wake is Joss Henri, who played guitar in the Caméléons alongside Alain Peters, Daniel Delord ambassador of Seychellois music in Mauritius and the excellent Georges Gabriel. Eric Nelson's brother, John Kenneth, stands out as one of the island's most original voices, with his energetic and abrasive style. His song Missieé Coutou, unsuccessfully covered by French singer Carlos, was a hit in the Indian Ocean. Although less known, his first single reissued on this comp is equally brilliant. With the arrival of cassette tapes, the 80s marked the death of vinyl: many record companies went bankrupt when faced by cassette copies that flooded the market. The role of arrangers who directed bands and supervised recordings disappeared. Speaker systems and DJs replaced the bands that provided entertainment for balls and weddings, confining them to hotels and official ceremonies. Sega underwent a stylistic and melodic impoverishment, accentuated with the advent of computers and the standardization of productions. The style of seggae, a mix of reggae and sega emerged with Joseph Reginald Topize aka Kaya, whose death in jail in troubling circumstances in February 1999 caused historic riots and several deaths. The percussionist and singer Stéphano Honoré, better known as Lélou Ménwar, started out alongside Marclaine Antoine one of the major creators of seggae, then went on to develop his own style, the sagaï, influenced by sega typik, maloya from Reunion, blues and funk. To this day, he remains one of the most surprising artists of the 90s and 2000s. One of the few who has managed to transform the sega saga into an ever more personal and original direction.
    Format
    LP
    Release-Datum
    14.04.2020
    EAN
    EAN 3521381560152
    Format
    CD
    Release-Datum
    14.04.2020
    EAN
    EAN 3521383460146
     
  • 01. Vis-a-Vis
    02. Listening
    03. Exposure
    04. What Is Compassion
    05. Aujourd'hui
    06. Bayonet
    07. It's Mutual
    08. How Many Duchesses
    09. I Came Alive
    10. We've Been Disappearing

    SAVAK

    Rotting Teeth in the Horse's Mouth

    [engl] Savak are back with their fourth album, "Rotting Teeth in the Horse’s Mouth". The band recorded the album at their Gowanus studio and the record features appearances by Scott McCloud (Girls Against Boys, Soulside, Paramount Styles), Michael Hampton (The Faith, Embrace, S.O.A., One Last Wish, Fake Names), and Anthony Roman (Radio 4). The band was formed in 2015 by members of The Obits, Holy Fuck, Edsel, Nation of Ulysses, and The Cops. Their influences range from '60s Texas psychedelia to British pub rock to early-'80s American hardcore. Savak is Sohrab Habibion, Michael Jaworski and Matt Schulz. It comes on solid white vinyl. This is a co-release with Ernest Jenning Record Co. from Brooklyn, NY.
    Format
    LP
    Release-Datum
    10.04.2020
    EAN
    EAN 600064797610
     
  • 01. There Is No Year
    02. Dispossession
    03. Hour Of The Furnaces
    04. Losing Is Yours
    05. Unoccupied
    06. Chaka
    07. Wait For The Sound
    08. Repeating Night
    09. We Can't Be Found
    10. Nothing Bloomed

    ALGIERS

    There Is No Year

    Punk meets Soul: Algiers übertreffen sich auf dem 3. Album selbst. Die aus Atlanta stammende Industrial-Soul-Urgewalt Algiers veröffentlicht am 17.01.20 ihr drittes Album "There Is No Year". Die Band, die mittlerweile nicht nur gesangstechnisch zu einer starken Stimme geworden ist, hatte bereits im September mit dem Non-Album-Track "Can The Sub Bass Speak?" ein viel diskutiertes und meinungsstarkes Slam-Poetry Stück aufhören lassen , dem nun ein nicht minder pointierter Nachfolger folgt.àDas zweite Album "The Underside Of Power" von 2017 hatte der Band bei Publikum wie Kritikern zum endgültigen Durchbruch verholfen. Fast zwei Jahre tourten Franklin James Fisher, Lee Tesche, Ryan Mahan und Matt Tong (Ex-Bloc Party) um den kompletten Erdball und spielten u.a. als Support von Depeche Mode in ausverkauften Stadien. Der dringliche Sound von Algiers klingt auf dem neuen Album noch etwas fiebriger als auf den Vorgängern. Während Sänger und Multiinstrumentalist Franklin James Fisher seine geschliffenen Lyrics von der Kanzel herab predigt, ist der wummernde Synthesizer der nervöse Puls, um den herum der unverwechselbare Klang der Band kreist - angetrieben von der Rhythmussektion um Matt Tong und Ryan Mahan.àZiel war es mit dem dritten Album ein neues Level zu erreichen. Dafür holte man sich die Produzenten Randall Dunn (Sunn O))) und Ben Greenberg ins Studio, um dem futuristischen Post-Punk-R&B eine neue Textur verpassen. Industrial-Sound geladene Klangwelten, die an Scott Walker in seiner 4AD-Ära oder Iggy Pops und Bowies Berlin Phase erinnern, treffen auf eine Synthese aus Marvin Gaye und Fever Ray.
    Format
    LP
    Release-Datum
    17.01.2020
    EAN
    EAN 744861143901
     
  • 01. Yanigawa Blues (12 Inch Version)
    02. My Little Suede Shoes
    03. Draw The Line (12 Inch Version)
    04. Kanchana
    05. El Camino
    06. Cat And Dogs
    07. Oh Babies
    08. Ocean Liner
    09. Whisky And Soda

    SKA FLAMES

    Turn-up

    [engl] 1985 in Tokyo, the Japanese ska scene saw the dawn of a new era when Ska Flames run into the circuit. Back then there wasn't even a club scene, although the city had some ska hot dances where live music was happening and DJs were playing out their gems. In fact that was the only place in Japan where you can buy or even listen to the Jamaican ska music. Those ska musicians and DJs were seen as cool and hip players causing this movement by drowning themselves into the Skatalites records. That's when an English gentleman, goes under the name of Gaz Mayall, who discovered the Ska Flames while his visit in Japan. The band released their first album "Ska Fever" for Gaz Rockin' Blues in 1989, successfully debuting the London gig the same year spreading their name across the globe. What's interesting is their song titles, "Samurai", "Kurosawa" and even "Hot Sake". They are all seemingly named by Gaz who perhaps felt the Japanese romance to their music. The Ska Flames indeed is a band that deserves it all. The Ska Flames music is unconventional - like if they only play what they felt the best ska at times. It's manly, but rich in variety and humorous at the same time. Their first single "Tokyo Shot" sounds miraculously refined like Showa pops. When you talk about the live shows of the Ska Flames, it's like a Japanese local festival. Full of atmosphere and good vibes. Every band member stands on the stage like bosses, confidence would be the only word that can explain their presence. Legendary, it is also known that their gigs sell more booze than anyone else's. In 1989, when the Skatalies and Prince Buster toured Japan, the Ska Flames represented the Japanese ska scene receiving applause from every punter. Since then, they played the same roll supporting other Jamaican legends at numeros occasions, acting as a bridge between the two countries. It's been over thirty years since the beginning, meanwhile the Japanese ska scene has strongly been established and is as bold as ever. We cannot measure how much contribution the founding members such as Kenji Miyazaki, Koji Ise, Akihito Nakasu, Seiichi Nagai, Toru Shibagaki and Kei Miyanaga, as well as the next generation Michihisa Ishii, Kei Mizorogi, Jin Shimura and Naoki Tanaka have rendered to the Japanese music. The Ska Flames have been and will always be leading the Japanese ska music spreading the good vibes all around. Right about now, I would like to present this stunning album to all the great musicians of Jamaica and no other than Prince Buster. Naoki Ienaga (Dub Store Records)
    Format
    LP
    Release-Datum
    01.10.2016
     
  • 01. Piscies Crisies
    02. Industry Sleaze
    03. Women's Work
    04. Bad Mood
    05. Cinematic Fashion
    06. Squirm
    07. Beach Photography
    08. ZZ Top Hat
    09. Manic Mechanic
    10. Crawlers

    COLD MEAT

    Hot and Flustered

    [engl] “Agh! A fresh chop from the large dusty burning murder island: Cold is the Meat to beat. Perth’s finest flesh purveyors have upped their naughty game here across ten tracks of gleefully haughty punk. Hot and Flustered is somehow at once extremely camp and deadly serious. Ashley’s vengeful, elastic rasp smears menses down the screwfaces of vacuous tastemakers, climate change deniers, perennial street perverts, and of course, ZZ top fans. There’s some surprisingly poignant forays into melody (Beach Photography) and a good grip of sudden tempo fuckery to keep us well and truly hooked. Their signature chubby and defiant riffs under snarky bouncing toms formula extends well to the album form, creating a timely reminder that hate and fear are more than reasonable responses to our hell predicament. Let’s take comfort in collective ridicule. When it’s too hot to pogo because the sky is on fire, Cold Meat will let us writhe around in the dirt like the little piggies we are.” (Bryony Beynon) Well, after a slew of 7” offerings, Perth’s Cold Meat have finally hit us with a full length record. Much like their last few releases they’ve taken an amped up approach to 70s PUNK but this time round they offer ever so slightly more diversity. Ten tracks clocking in at just over 23 minutes and cut at 45rpm for maximum volume. Get hot and flustered.
    Format
    LP
    Release-Datum
    20.03.2020
    EAN
    EAN 5060446124031
     
  • 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

    V/A

    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.
    Format
    DoLP + Book
    Release-Datum
    14.06.2019
    EAN
    EAN 4260016924264
     
  • 01. Limiter
    02. Verheimlichung

    GEWALT

    Limiter // Verheimlichung 1te Vers.

    Man kann es drehen und wenden wie man will. Gewalt haben es geschafft, 2017 mit der Weiterentwicklung von Noiserock eine der innovativsten, deutschen Bands zu sein. Sound, Sprache, Live-Performance, Reflexion, es entsteht alles aus einer Eruption und vermittelt aus diesem Grund auch eine Ganzheitlichkeit die man ansonsten selten findet. Vielleicht auch deswegen die Bandentscheidung, einen Teil des Weges mit Sounds of Subterrania zu gehen. Das Thema der fünften Gewalt Single beschäftigt sich mit der Verdichtung der Unmöglichkeit und Unentrinnbarkeit unserer Existenz. Genau zwei Stichpunkte gibt Gewalt zum Verständnis. Punkt eins betrifft Verheimlichung: „Können wir unsere Einsamkeit überwinden? Wenn ja, scheint der Preis dafür der zu sein, sich füreinander zurechtzustutzen. Wir sind nicht in der Lage, uns zu sehen und wir sind nicht in der Lage, unsere utopische Version von uns wahrzunehmen. Wir lieben auf unterstem Niveau.“ Punkt zwei Limiter: „Wir kommen als Genies auf die Welt und verlassen sie als Idioten (Holger Czukay)“ Für die Ritzung des Artworks und die Vervielfältigung mittels Siebdruck gebührt Philip von Janta Island ein großer Dank.
    Format
    7" lim
    Release-Datum
    01.12.2017
    EAN
    EAN 4260016921669
     
  • 01. Limiter
    02. Verheimlichung

    GEWALT

    Limiter // Verheimlichung 2te Vers.

    Man kann es drehen und wenden wie man will. Gewalt haben es geschafft, 2017 mit der Weiterentwicklung von Noiserock eine der innovativsten, deutschen Bands zu sein. Sound, Sprache, Live-Performance, Reflexion, es entsteht alles aus einer Eruption und vermittelt aus diesem Grund auch eine Ganzheitlichkeit die man ansonsten selten findet. Vielleicht auch deswegen die Bandentscheidung, einen Teil des Weges mit Sounds of Subterrania zu gehen. Das Thema der fünften Gewalt Single beschäftigt sich mit der Verdichtung der Unmöglichkeit und Unentrinnbarkeit unserer Existenz. Genau zwei Stichpunkte gibt Gewalt zum Verständnis. Punkt eins betrifft Verheimlichung: „Können wir unsere Einsamkeit überwinden? Wenn ja, scheint der Preis dafür der zu sein, sich füreinander zurechtzustutzen. Wir sind nicht in der Lage, uns zu sehen und wir sind nicht in der Lage, unsere utopische Version von uns wahrzunehmen. Wir lieben auf unterstem Niveau.“ Punkt zwei Limiter: „Wir kommen als Genies auf die Welt und verlassen sie als Idioten (Holger Czukay)“ Für die Ritzung des Artworks und die Vervielfältigung mittels Siebdruck gebührt Philip von Janta Island ein großer Dank.
    Format
    7" lim
    Release-Datum
    01.12.2017
    EAN
    EAN 4260016921669
     
  • 01. Limiter
    02. Verheimlichung

    GEWALT

    Limiter // Verheimlichung 3te Vers.

    Man kann es drehen und wenden wie man will. Gewalt haben es geschafft, 2017 mit der Weiterentwicklung von Noiserock eine der innovativsten, deutschen Bands zu sein. Sound, Sprache, Live-Performance, Reflexion, es entsteht alles aus einer Eruption und vermittelt aus diesem Grund auch eine Ganzheitlichkeit die man ansonsten selten findet. Vielleicht auch deswegen die Bandentscheidung, einen Teil des Weges mit Sounds of Subterrania zu gehen. Das Thema der fünften Gewalt Single beschäftigt sich mit der Verdichtung der Unmöglichkeit und Unentrinnbarkeit unserer Existenz. Genau zwei Stichpunkte gibt Gewalt zum Verständnis. Punkt eins betrifft Verheimlichung: „Können wir unsere Einsamkeit überwinden? Wenn ja, scheint der Preis dafür der zu sein, sich füreinander zurechtzustutzen. Wir sind nicht in der Lage, uns zu sehen und wir sind nicht in der Lage, unsere utopische Version von uns wahrzunehmen. Wir lieben auf unterstem Niveau.“ Punkt zwei Limiter: „Wir kommen als Genies auf die Welt und verlassen sie als Idioten (Holger Czukay)“ Für die Ritzung des Artworks und die Vervielfältigung mittels Siebdruck gebührt Philip von Janta Island ein großer Dank.
    Format
    7" lim
    Release-Datum
    01.12.2017
    EAN
    EAN 4260016921669
     
  • 01. Limiter
    02. Verheimlichung

    GEWALT

    Limiter // Verheimlichung 4te Vers.

    Man kann es drehen und wenden wie man will. Gewalt haben es geschafft, 2017 mit der Weiterentwicklung von Noiserock eine der innovativsten, deutschen Bands zu sein. Sound, Sprache, Live-Performance, Reflexion, es entsteht alles aus einer Eruption und vermittelt aus diesem Grund auch eine Ganzheitlichkeit die man ansonsten selten findet. Vielleicht auch deswegen die Bandentscheidung, einen Teil des Weges mit Sounds of Subterrania zu gehen. Das Thema der fünften Gewalt Single beschäftigt sich mit der Verdichtung der Unmöglichkeit und Unentrinnbarkeit unserer Existenz. Genau zwei Stichpunkte gibt Gewalt zum Verständnis. Punkt eins betrifft Verheimlichung: „Können wir unsere Einsamkeit überwinden? Wenn ja, scheint der Preis dafür der zu sein, sich füreinander zurechtzustutzen. Wir sind nicht in der Lage, uns zu sehen und wir sind nicht in der Lage, unsere utopische Version von uns wahrzunehmen. Wir lieben auf unterstem Niveau.“ Punkt zwei Limiter: „Wir kommen als Genies auf die Welt und verlassen sie als Idioten (Holger Czukay)“ Für die Ritzung des Artworks und die Vervielfältigung mittels Siebdruck gebührt Philip von Janta Island ein großer Dank.
    Format
    7" lim
    Release-Datum
    01.12.2017
    EAN
    EAN 4260016921669
     
  • Sophisticated Vinyl Association

    Gutschein

    Format
    Release-Datum
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