[engl] The third of four EP's being released for the upcoming full-length record "Being Empty : Being Filled" Two brand new Listener songs. Limited edition (500 copies) 7' green vinyl record.

[engl] Apocalypse Pop, waiting for the apocalypse to...drop... Suspect Parts is the brainchild of two exiled Americans, one Brit and a German who managed to tame their inner demons with buzzsaw punk/powerpop, a cotton candy-meets-razorblade concoction that goes down surprisingly smooth. Ex and current members of bands like The Briefs, Clorox Girls, Maniac, Ripchord, Radio Dead Ones and Red Dons – they are Suspect, they come from Suspect Parts. Combining 60's pop and bubblegum with late 70's California beach punk and powerpop, Suspect Parts have something brewing that can't be ignored. The Seeds, the Kinks, the Knack and the Buzzcocks can be heard, as well as a little Nuggets, a little Star Spangles or Rezillos, a little Protex or Undertones, but with a modern touch. Backward-looking but forward-thinking 60s pop with a punk edge. Now, their self-titled full-length debut album is finally here. Recorded straight to analog tape in the negative 15 degree cold of a January in east Berlin. Ten songs, 24 minutes, a relentlessly catchy uppercut to the senses. Apocalypse Pop. When oil runs out a major line is going to be drawn. Which side are you on? Which tribe are you willing to die for? ... Pop's chosen warriors will rule the apocalypse .... Drop, waiting for the apocalypse to...pop...

[engl] Neon again ? Yes, Neon again, this time as an american press "licence press" co-released with Water Wing Records. Thick cardboard Pocket Sleeve with different Artwork and different innersleeve. Info : We, Astrid Spirig (vocals/later LILIPUT), Dagmar Heinrich (guitar), Loredana Zandonella (bass), and Gitta Gsell (drums), met in May 1978 in Zurich and formed NEON. None of us had ever played an instrument before! But, we were all animated by the spontaneous, creative, and rebellious spirit of Punk... Then, in December, a performance on Swiss television took place for a program about "women in show business." The TV appearance did not make us happy at all. The recordings for our songs were done in a music studio and we had to fight hard for them. In 2016, Dagmar found an old cassette at her home with the recordings of the two songs "Neon" and "Nazi Schatzi." We are especially keen about NEON being released on Water Wing Records - this nearly 40 years afterwards and then also on vinyl!

[engl] Adult-disoriented-rock-love/hate-core three-piece from Zagreb, Croatia comes of age as a quartet, embracing new synthesiser sounds to follow up on their acclaimed debut Vacation Freeze. For fans of classics like Daddys Teddybears, Glaxxxo Glance, Fruits of the Gloom and Midnight Blood!

[engl] For Macedonian world music group Luboyna, creating boundary-breaking music is a way of life. Over the course of 15 years, it has wilfully broken boundaries and conventions within its entertaining song structures. In doing so, Luboyna has been successfully navigating the musical opposites of composition and improvisation both in the studio and live and has expanded what is generally known as Balkan Music. While its heart and soul are deeply and firmly rooted in Macedonia and its music traditions, the band’s musical worldview has always been evidently eclectic. Mac music is the foundation and Luboyna successfully brings a lot of various musics into that foundation. Influences from across the pop, jazz, improv, electronica, and soul realm abound, all held together with unbounded enthusiasm, addictive melodies, and hooks. The band’s album Radio Luboyna which marks the Luboyna’s 15th anniversary reflects all of that and much more.

[engl] The FRANOLIC & CULAP & JOVANOVIC trio performs original compositions inspired by Arabian, Turkish, Balkan and Indian music, as well as blues and jazz. The sound they create is directly influenced by their native region, the Balkans. Their main starting point was the Balkan sentiment and local folk music. They then went on to complete their expression with individual interests of each musician - jazz, blues and ethno. The meditative oud and the warmth and melancholy of the harmonica are seamlessly imbued with the exotic percussion’s rhythm.

[engl] Nord is a band from Rijeka, Croatia. Their sound is a great blend of dark textural ambiance, massive guitar riffs and emotional lyrics with a very personal feeling. Play Restart is their debut album and it echoes the work of influential artists such as Faith No More, Tool, Soundgarden, but also Massive Attack, Depeche Mode or David Bowie.

[engl] Fifth album by the masters of stoner / sludge metal from Belgrade, Serbia, spiced with a dash of ambiance darkness and mystique, and enriched with Aaron Harris' mixing (Isis, Palms) and James Plotkin's (Khanate, OLD) mastering and craftsmanship. Influenced by Neurosis, Opeth, Pink Floyd and The Cure.

[engl] new band from germany mixing great melodic KBD punk-rock with some power-pop tunes. not only great melodies, but also pretty snotty and great energy. amazing!!!

[engl] After releasing a great Demo-Tape in 2014, WEICHE from Frankfurt are back with their Vinyl debut. 11 songs in about 35 minutes - dark, brutal and pissed Hardcore-Punk with Mathcore- and Metal-influences. Dirty Midtempo sound - raw, angry and full of negativity. Dark music for dark times!

[engl] DIAGNOSIS? BASTARD! features members of VICTIMS and NITAD and bring you 12 bombers of hateful, distörted Swedish hardcore punk that tend to drift into d-beat territory from time to time. Does this sound like your cup of tea?

[engl] Highly recommended debut LP by these german youngsters called REIZ. Formed out of LIBERTY MADNESS / MODERN PETS members and local classifieds these guys deliver ten deutschpunk / garage / 70s punk smashers that make you think about bands like THE SHOCKS, BUTTOCKS MARIONETZ or THE BRIEFS. Grab it by the pony while its hot. REIZ-Time!

[engl] After the great 7" from 2013 here's finally the 1st longplayer from the german band KICK IT. Yet again you'll get beautiful melodic punk-rock, which moves skillfully between hardcore, garage-punk and '77 punk. All harsh and at high speed, but always remaining nice and catchy like on the 7". Vinyl is housed in a nice diy-silk-screened cover and includes a digitial download card.

[engl] Suddenly, as soon as the first piano notes are heard, a hysterical frenzy transcends the venue: musicians waddle onto the stage, dancers rush on the dancefloor, their patent shoes gliding on the lacquered wood flooring, and everyone sings along to the rhythm of “Haaa… bi-bi!”. Each performance brings the same madness, and night clubs all over New York are shaking. Joe Cuba’s sextet skyrockets to fame with their new song, cunningly named « Bang Bang ». Many similar deflagrations would soon shake ballrooms across the Big Apple. Over the year 1966, a new pulse spreads like wildfire on the sidewalks of Spanish Harlem and local radio waves. “This is boogaloo”, you could hear. Like no music genre ever before, it brought together African Americans and Latinos. The two communities had been attending the same parties for a while, but they wouldn’t boogie to the same tracks: as Black people waited for the rhythm n blues and soul tunes, Latinos saved their energy for the cha-cha-cha and pachanga. As the ultimate musical syncretism of popular genres in the Barrio, boogaloo is often described at « the first Nuyorican music ». Purists claim that you can hear the premises of the genre in the cover of “Watermelon Man” by Mongo Santamaria, or in Ray Barretto’s “El Watusi” in 1963. But it is in 1966 that it established itself as the most vibrant incarnation of its time, both musically and politically. A revolutionary hurricane was then blowing on Amerika: in the trail of the Black Panthers and the Young Lords Organization, minorities were gathering in the streets to reclaim their rights from the establishment. The apparent naivety of the lyrics of the hit “I Like It Like That”, recorded by Pete Rodriguez’s orchestra for Alegre Records in 1996, is misleading: it must be interpreted as the most direct and dazzling affirmation of an identity. Blacks and Hispanics were now embracing their skin colors and origins, while asserting their American identity. Boogaloo made it way on the soundtrack of a social revolution overtaking the country, and lend it its tempo until the end of the decade, before it got overshadowed by salsa. « Boogaloo is youths trying to make it, it’s immigrant influence, it’s musical development.”, says Johnny Colon in the must-see documentary We Like It Like That. Boogaloo’s energy seduced young people from different backgrounds, well beyond the borders of the U.S.A., and especially in the Caribbean cradle land: in Cuba, Puerto Rico, Dominica, and all the way to the French West Indies. From Fort-de-France to Pointe-à-Pitre, old biguines and mazurkas from West Indian orchestras strong of a bloodline of virtuosos, from father to son in the likes of Siobud, Stellio, Fanfant or Coppet, became outdated by those modern beats. When boogaloo overtook the West Indies, at the same time as other music genres with amplified keyboards and electrified guitars, this new wave knocked out hierarchy and habits. The necessity to learn how to read music to call yourself a musician became obsolete, as you only needed a good pair of ears and to be tuned on the new sounds from the international radios. “I was a student in Paris in the early 60s”, recalls Fred Aucagos, Guadeloupe’s first rock musician. But I didn’t go much in class, I was hanging out with Golf Drouot, with Eddy Mitchell, Johnny Halliday, Dick Rivers… When I went back home in January 1966, I brought back on the island the first reverb amplifier and the first electric guitar. I was yé-yé, I wanted to play this music home.” Aucagos started by revisiting the standards of French and Yankee rock, but the musicians in his band, the Vikings of Guadeloupe, persuaded him to sing in Creole, to add some ka drums, hire some Latin brass… On Fred Aucagos’ “Ti Man’zelle”, we can hear a subtle mix of imports from the mainland, the U.S.A and the neighboring islands. With only one desire in the end: fire up the West Indies balls. On the dancefloors of the most prestigious nightclubs, such as La Bananeraie in Martinique or La Cocoteraie in Guadeloupe, musicians dabbled with boogaloo coming up with rather unorthodox interpretations, and this is precisely what gives this compilation its singularity and panache. It incorporates influences from the African continent thanks to the Rico Jazz (an adaptation of “Si Tu Bois Beaucoup” of the Congolese rumba orchestra O.K Jazz). It rubs elbows with the “Jerk Vidé” of a David Martial before he turned in a doudouiste cliché. With the cheeky humor of the Guyanese Dany Play (“Mais Tu Sais”), the perkiness of Joby Valente (“Disk La Rayé” with Camille Soprann’ on sax), we (re)discover forgotten classics published half a century ago on the two historical labels in Guadeloupe: Aux Ondes of producer Raymond Célini, and Disque Debs whose boss Henri Debs can be heard behind the mic on “Ou Pas Z’ami En Moins”. In another style, “Ou Que Di Moin” from Monsieur X is a Creole funk pamphlet, neither Latin, nor festive, and not strictly boogaloo for that matter. The Nuyorican rhythm is a tiny fraction of what the West Indies orchestras were playing, and they would often incorporate biguine and Haitian kopi elements. This compilation allows some deviations, for the fun of it, presenting tracks where boogaloo is more of an influence. Assisted by Jean-Baptiste Guillot of the Born Bad label, Julien Achard spent more than three years digging some records to compile the best of the Creole boogaloo. The charm of the restored sound of these old 7” vinyl records is only matched by the ardor of the interpretations. “Sauvagement sexy”, wildly sexy, as Gabby Siarras sings.

[engl] 100% uncut psychedelia and garagey, jangly folk–rock from 1968 Originally from Portland, the New Tweedy Brothers were formed by brothers Fred and Danny Lackaff plus Dennis Fagaly and Steve Ekman. In 1966, they relocated to San Francisco, where they were part of the exploding, nascent psychedelic Ballroom scene, influencing none other than Jerry Garcia and sharing stage with bands like The Warlocks (pre–Grateful Dead), Quicksilver and Big Brother among others. Upon returning to Oregon, they self–released in 1968 their only album, housed in a striking hexagonal, over–sized silver foil cover, now a holy grail between psychedelic collectors. Innocent vocal harmonies, fuzzy bass, jangly guitars, raga sounds...