• 01. MINI-YOUR DRESS IS TOO SHORT / Madame Nellie Robinson
    02. THE BATTLE OF JERICHO / The Pilgrim Travelers
    03. I CAN SEE SO MUCH / Reverend Cleophus Robinson
    04. SOMETHING / Mighty Golden Bells feat William Sanders
    05. GODS GOT IT / Rev. Charlie Jackson the gospel guitar and singer of Baton Rouge Louisiana
    06. YOU CANT MAKE ME DOUBT / The Gospelaires
    07. TAKE ME BY MY HAND / Ray Crume and the Zion Tones
    08. WHO ROLLED THE STONE AWAY / Marie Knight
    09. IM ON MY WAY / Mahalia Jackson
    10. IM GETTING RICHER / The Famous Ward Singers
    11. GLORY IS COMING / Sunset Travelers
    12. ITS BEEN A CHANGE / The Staple Singers
    13. GOD IS COMING / C B S Trumpeteers
    14. MORNING TRAIN / Rev. Charlie Jackson the gospel guitar and singer of Baton Rouge Louisiana


    La Noire Vol. 4, Glory Is Coming

    [engl] C. S. Lewis once said that he believed in a God as he believed that the Sun had risen. Not only because he had seen the literal light, but because of it, he was able to see everything else. Seeing is believing, and so is hearing, “Glory is Coming!” Brothers and Sisters no matter what your faith or belief is, Dog House and Bone Records in France has issued another rare LP pressing of original 45rpm records from the vast archives of Bayourod. Chicago again plays a prominent role in musical history, as the foundation of organized gospel music is born here under the tutelage of Thomas Andrew Dorsey. Dorsey is widely known as the Father of gospel music, as he composed and performed many of our most celebrated gospel songs including, “(There’ll be) Peace in the Valley (for me).” Arriving in Chicago in 1919, in the midst of the great migration of Southern Blacks, Dorsey coined the phrase “gospel songs” in the early 1920’s. He assembled the first gospel choir at Ebenezer Baptist Church on South Indiana Ave in 1931 which still stands to this day. Bo Diddley and many others learned music here. Again, Black Americans give us a uniquely American style of religious song, with its roots in the tradition of Folk music and early blues and jazz. So many of our great singers started in the Church before turning to secular music, learning to play and sing beautifully in the only venue that mattered to so many; the house of God. For those of you who may not have had experienced the absolute harmony and joy of a full gospel Church, you may walk out with your faith and or belief in a God somewhere- regardless of how you walked in. Believe me, you will be moved to tears by a choir of voices like you may never hear at any professional concert. You will hear multiple instrumentalists on piano, Hammond B3, organ and drums. You will hear joy. You will hear love. You will be told by a stranger that, yes, everything will be alright. By the grace of the other worshipers you will be hugged and feel the joy of being with your fellow man. You will brush away pain, sorrow and doubt in this moment. You will indeed believe that love and music really is the answer. In this instant you will not worry about anything. You will not worry about anyone. You are free with body and soul. You are free to thank Jesus. You are free to believe. Music heals broken hearts. Hearing it can make you want to live. Whatever it is, God’s got it. Two of the sides on this uplifting compilation come from the Reverend Charlie Jackson. Born in McComb, Mississippi Jackson preached his brand of guitar evangelism, a genre born in the late 1920’s. Others spreading the Lords word with the guitar at the time were Arkansas born Sister Rosetta Tharpe and New Orleans own Elder Utah Smith. Smith’s style of preaching, singing, and guitar playing is widely influential and incredibly moving. Reverend Jackson was a protégé of Smiths. Smiths’ spectacle of playing and preaching was so influential in fact, that young players like Guitar Slim and Ernie K-Doe emulated it. Both those amazing pioneers of the blues and rock and roll saw Smith perform in tent revivals across the South. Smith inspired Reverend Jackson to “sit down on the guitar,” playing it above his head and with his teeth at times. They frequently traveled, preached, and performed together giving sermons in rural churches, many with no electricity having to power the voice of God, their guitars, with a portable generator. Also, in addition to sides by the Sunset Travelers formed on the streets of Memphis in 1950 featuring O.V. Right, and the Gospelaires from Dayton, Ohio who preached the word with rollicking harmonies, we present a side by what may be Chicago’s most famous and “God’s greatest hit makers,” the Staple Singers. This record was recorded for Epic records in 1967, “It’s Been a Change,” features Pops Staples profound guitar playing on this “protest” record. The Staple Singers cut a slew of these kinds of message songs in the late 1960’s. Pops Staples was born in 1915 in Winona, Mississippi and was playing the blues at an early age. By 1937 he was featured in the spiritual group the Golden Trumpets. In 1941 Pops and his wife moved to Chicago, started a family and by 1953 cut their first side, “These are They,” for his own Royal Record Company. Another single led to a recording contract with Vee-Jay records which lasted from 1956 to 1962. “Uncloudy Day,” released on Vee-Jay would be the Staple Singers breakthrough. Mavis Staples is still very much a force as a singer and is still performing live. Gospel music and this collection can be best summed up by Pops Staples himself who said, “This music was born from soulful voices, social activism, religious conviction and carries a message that moves you.”
  • 01. Dancing in the Cage of a Soul
    02. How We See Things (feat. Shabaka Hutchings)
    03. Goodbye Johnny Staccato
    04. Fall Down Seven Times...
    05. Get Up Eight (feat. Shabaka Hutchings)
    06. No Sleep My King?


    Rise And Rise Again

    [engl] SHAKE STEW is Austria‘s jazz band of the hour. After playing more than 25 gigs during the first months since premiering at Jazzfestival Saalfelden 2016 and selling out their first record „The Golden Fang“ within half a year, the unique septet is conquering the music world with a hypnotic mixture of afrobeat and jazz grooves shaken up by the intense and mysterious soundscapes created with a combination of two drummers and two double bass players! With „Rise And Rise Again“ Shake Stew are releasing their highly anticipated second album in May 2018, which also features Shabaka Hutchings on 2 of the tracks. Everywhere they went so far, the press has been more than enthusiastic, often trying to create new terms and genre-labels to put their live experiences into words and this new release will only further establish their status as one of Europe's most upcoming Jazzbands. Shake Stew brings together seven unconventional musicians, all of them interesting characters of the young Austrian and German jazz scene. They are united with bandleader Kranzelbinder (1988) by the pursuit of new, enhanced sound possibilities and by concepts beyond boundaries of genre, which are by now already considered a guarantee with Kranzelbinder. His own distinct combination of virtuosity, entertainment and uncompromising energy comes out in many of his projects and has meanwhile become a kind of trademark of the hard working musician, composer, and arranger. As the youngest musician so far in the history of the prestigious Jazzfestival Saalfelden, he was chosen to put together a new project for the festivals opening concert in 2016, which is also connected with a 4 day residency. He put together a septet and prepared the festival show for a whole year, before not only recording the debut album “The Golden Fang” within a day of the residency but also playing a concert to remember: Der Standard from Vienna describes the septet’s performance as a „magical opening hour“, to the Kurier Shake Stew sounds „like an intergalactic road movie for the ears.“ The Süddeutsche Zeitung calls the bassist and composer Kranzelbinder a whizz kid and the OÖN added: „The 28-year-old writes fantastic pieces, which optimally feature the exciting instrumentation with its three-part horn section and two basses and drummers“.
    EAN 4015698015614
  • 01. Noise Addiction
    02. Hard Action
    03. Lame Brain
    04. I Feel Bad
    05. Wild One
    06. Rot In the Doghouse
    07. No Rules
    08. Thrillers Of Oz
    09. Spoiled Sport
    10. Courageous Cat
    11. These Boots Are Made For Walking
    12. American
    13. The Girl With The Hungry Eyes
    14. I Want Your Body
    15. Future


    Rise And Rise Again

    [engl] Beat Generation presents a reissue of Pure Hell sole full-length album, recorded in 1978 but not released until 2006. In 1974, on the streets of Philadelphia, a band unlike any other was formed. They called themselves Pretty Poison. They had a sound so ahead of its time that the music industry was not yet ready for it. They coupled the punk sound of the New York bands of the time with a harder, faster heavy metal edge unheard before. Their unique sound was a result of Kenny Gordon's berserk choreography and Preston Morris's needling guitar riffs, while Steel and Spider added synchronized barrage with no nonsense execution to the arsenal. Inspired by the famous fuel-altered dragster, they changed their name to Pure Hell in 1975. Soon after, they moved to New York City where they played with bands like the New York Dolls, Sid Vicious, Wayne County and the Electric Chairs, The Dead Boys, The Stimulators, Richard Hell, The Germs, The Nuns, The Cramps and more. In 1978 Pure Hell headlined a tour of the UK, with bands like the UK Subs, Wilko Johnson, Vermilion & the Aces and more opening for them. While in the UK, their only original record was released. It was a single released by their manager Curtis Knight on his label, Golden Sphinx Records. The songs on the single were "These Boots Were Made for Walking" and "No Rules." The single charted in the top 40 charts in the UK. During the same year, a full length album was recorded but was never released. It did not surface again for 28 years.
    EAN 8435008884697
  • 01. Did You Hear What They Said
    02. Better Days Ahead
    03. Household Name (Interlude)
    04. Your Daddy Loves You
    05. Changing Yourself (Interlude)
    06. Pieces Of A Man
    07. Enjoying Yourself (Outro)
    08. Alien (Hold Onto Your Dreams)
    09. Before I Hit The Bottom (Interlude)
    10. 95 South (All Of The Places We've Been)
    11. The Other Side
    12. The On/Off Switch (Interlude)
    13. Blue Collar
    14. On Bobby Blue Bland (Outro)


    Nothing New

    [engl] Gil Scott-Heron never had a pop hit single; he was more important than that. With ‘Johannesburg’, ‘Home is Where The Hatred Is’ and ‘The Revolution Will Not Be Televised’ he wrote songs that resonated beyond the world of disposable chart-toppers. That’s not to say he didn’t have success, and 1974 was a very good year for him. The album “Winter In America”, released on Strata-East, spawned the radio hit ‘The Bottle’ and several cover versions. Former Columbia Records boss Clive Davis was impressed and made Gil, Brian Jackson and the Midnight Band the first signing to his Arista label later in the year. The streak continued into 1975 when their first Arista album, “Midnight Band: The First Minute Of A New Day”, made the jazz, R&B and pop charts. Gil was certainly making a name for himself. Towards the end of 1974, Gil’s former label, Flying Dutchman, put out a compilation of tracks from his first three albums. “The Revolution Will Not Be Televised” was no hastily put together cash-in. Instead it became the primer for what many would describe as Gil’s best work. From its striking Charles Stewart cover shot and lavish packaging, it was clear time and effort had been made to get the album right. From the incendiary polemicism of the title track through heart-wrenching contemplations on modern life such as ‘Pieces Of A Man’ and ‘Did You Hear What They Said?’, and back to the anger of ‘Whitey On The Moon’, it captured perfectly what his first three albums were about, revealing not just a performer but a writer every bit as poetic as Bob Dylan. The skill of his collaborators, most notably co-writer Brian Jackson and producer Bob Thiele, and musicians of the calibre of Hubert Laws, Bernard Purdie and Ron Carter, all helped to showcase his songs to their full splendour.
    EAN 0634904057503
  • 01. Ambassadors
    02. Storytellers
    03. 8 Ubers (Tribute to DJ Jaivane)
    04. Conka
    05. Smooth Criminal (Main Mix)
    06. Lerato La Bass
    07. Trip to Vlakas (Main Mix)
    08. Chants of Africa


    Amapiano Selections

    [engl] The past five years have seen amapiano, South Africa’s electronic music movement born in the townships of the country’s Gauteng province, evolve from an underground sound to a nationwide mainstream staple. Even with its commercial success though, amapiano’s DIY ethos has continued to disrupt music creation and distribution in the country. Most amapiano commercial successes today began their careers on cracked versions of production software like FL Studio, distributed their work through file sharing platforms like datafilehost and marketed it using social media pages they controlled and influenced. Amapiano is partly a tasting menu of South Africa’s musical history, a lineage that has been as much a backdrop to the times as it has been a catalyst for change in the country. South African jazz has thrived pre and post-democracy, contributing international stalwarts of the genre, notably Miriam Makeba, Abdullah Ibrahim and Hugh Masekela. Kwaito music—which itself borrowed from other genres like marabi, kwela, mbaqanga, maskandi, bubblegum and others—was created and proliferated in the 90s partly because of the newly accessible House music imported into the country. In the early 2000s, Deep and Afro House dominated, to be followed by the rise of diBacardi, a percussion—heavy electronic music genre most popular in the city of Pretoria and its surrounding townships. Amapiano Selections, the debut album by DJ and producer Teno Afrika, gives listeners outside the movement’s online release economy an insight into the high-burn nature of amapiano that has spawned a distinct typology under its larger umbrella. 21-year-old Lutendo Raduvha has spent the bulk of his life moving between different townships on the outskirts of Johannesburg and Pretoria in the Gauteng province. The palette of amapiano styles on the album reflect these influences. But at first, South Africa’s youngest electronic music movement lived underground with a small, loyal following. “Amapiano is a genre that I chose because I have a passion for it,” says Teno “I started following amapiano in 2016 because I wanted to explore how it’s produced. It was not taken seriously in our country.” The record’s opening track, poignantly named “Ambassadors,” is the sound de jour in this current moment of amapiano’s evolution. Here organ solos riff over demure drums, bass and percussion for a sophisticated sound that is palatable to both seasoned and uninitiated ears. Teno Afrika does something similar on Conka, but this time referencing the Kwaito-influenced Amapiano popularised by DJ Sumbody and Cassper Nyovest’s collaborations and Focalistic’s lyrical dribbling which earned him the nickname Pitori Maradona (Maradona of Pretoria). The next two tracks, “Storytellers” and “8 Ubers" as well as tracks 6 and 7 (“Lerato La Bass” and “Trip to Vlakas”) are Teno Afrika’s hat tip to the sound evolving in the townships on the outskirts of Pretoria (Pitori to the hip) known locally as gong gong amapiano. From the home of diBicardi, the percussion and groove of the latter two especially are distinct for their almost off-tempo stride, an identifying feature of diBacardi. The high-pitched keyboard builds to a delayed break; once there, the drum is almost turned inside out to create a bass-line that becomes the driving force behind the track. As a counterpoint to the unrefined, chest rattling coarseness, fifth in the line-up “Smooth Criminal” is carried by the melody, given ample breathing space and balances the heavy bass on its back. Teno Afrika is referencing Harvard amapiano, named after the Ivy League US university for its supposedly more educated approach to production. Interestingly, Teno Afrika only gives vocals prominence on the closing track “Chants of Africa.” As a way of making their music recognizable and relatable for broadcast, amapiano producers have sometimes overly relied on vocals in the form of singing, catch-phrases and party refrains for the purpose. “It was my decision not to use vocals on this project,” says Teno “The reason is I wanted people to feel my instrumentals and style because this is my first album.” On his closing track the young producer gives a glimpse of the considered approach to music which buoys anticipation for greater things from his future releases.
    EAN 0843563132166
  • 01. gimme germs
    02. smell my tongue
    03. carpool Lane
    04. dead
    05. stranger to me
    06. blasphemy
    07. yellow snow drink
    08. electro bike asshole
    09. get drunk on you
    10. i love you
    11. devil baby
    12. my down is your up
    13. dead (mortem batkovic)


    You're Class, I'm Trash

    [engl] It's all over town. In 2021 it's time again for a new The Monsters (official) album and thus also for a new Sounds of Subterrania Special Edition. It's time to rewrite the history of the record cover. 2021 is about nothing more and nothing less than giving back Punk the Do It Yourself. Are you ready for the greatest adventure of your life? Are you ready to face the most difficult task of your record collecting life and to turn a phrase into a creed, stitch by stitch? Your set consists "You're Class, I'm Trash" as an English and a Swiss version, canvas, 5,500 cm of thread and a needle. Everything is wrapped in an XL poster with a velvet sleeve and peppered with the irrefutable certainty that you will have to fight this battle alone. It's up to you to bring the artwork to perfection and to prove what only a true fan is capable of. The sets (Janosh, Swan-Lee or the Beat-Man himself) are strictly limited and only available directly from Sounds of Subterrania.
    DoLP Beat-Man
    DoLP Janosh
    DoLP Swan-Lee
  • 01. Ay Adam
    02. Afro Turko
    03. Nese
    04. Atim Arap
    05. Mustang
    06. Temir Aga
    07. Ayvaz
    08. Yildiz
    09. Fidayda


    Tropical Anatolia

    Ipek Yolu ist der türkische Name für die Seidenstraße, die Asien und mit Europa verbindet. Die Karawane Ipek Yolu beschäftigt sich nun nicht mit dem Transport von Seide, sondern sammelt vielmehr die Aromen, Düfte und Klänge aus den unterschiedlichsten Teilen der Welt und verbindet sie. Sie vereint basslastige Electro-Cumbia-Grooves, Saz-Riffs und Surfgitarren zu einem multikulturellen Schmelztiegel aus südamerikanischen Rhythmen, anatolischer Volksmusik und psychedelischem Rock der 60er Jahre. Es entsteht ein einzigartiges Klanguniversum, eine kaleidoskopischen Mischung aus Musik, die den tropischen Dschungel und die staubigen Wüsten verbindet. Ipek Yolu hat 2020 genutzt, um ihr Debütalbum Tropical Anatolia zu schreiben und sind mehr als bereit, die Bühnen der Clubs und Festivals zu besuchen. Die Mitglieder von Ipek Yolu trafen sich zum ersten Mal während des Aarhus Roots & Hybrid Festivals im Jahr 2018 zu einer improvisierten Jam-Session. Die Show war als einmaliger Auftritt von Mitgliedern der Bands Hudna und Junglelyd geplant. Die Chemie stimmte und angefeuert durch das Publikum dauerte das Konzert fast drei Stunden. Schnell stand fest, etwas Besonders war entstanden - die Essenz aus zwei Bands, die für groovende Partys bekannt sind und zu der sich musikalische Neugier und Improvisation gesellt. Die drei Mitglieder von Ipek Yolu sind seit mehreren Jahren Teil der dänischen Musikszene. Bandleader Orhan Özgür Turan ist ein bekannter und angesehener Saz-Spieler nicht nur in Dänemark und hat wegweisend den Sound der anatolischen Folk-Band Hudna geprägt. 2018 gewann er bei den Danish World Music Awards die Auszeichnung als Global Roots Artist des Jahres. Olaf Brinch und Lasse Aagaard spielen seit vielen Jahren in den unterschiedlichsten Bands zusammen und sind ständig auf der Suche nach dem unterschiedlichen Tönen dieser Welt. Und so entwickelten sie ausgehend vom Cumbia bei Junglelyd über den Afrobeat bei African Connection ihren eigenen Sound. Beide tourten durch Ghana, spielten und lernten von CC Yoyo, dem ehemaligen Schlagzeuger von Fela Kuti und sind noch an unzähligen weiteren Projekten beteiligt. Alle diese Erfahrungen wurden nun vereint, um mit Ipek Yolu den weiten Genre der Weltmusic den Bereich Tropical Anatolia hinzuzufügen.
    EAN 4260016922055
    EAN 4260016922062
  • 01. Why Not?
    02. Not Good Enough
    03. For Practical Purposes (I Love You)
    04. Livin' Rough
    05. It's A Hard, Hard Job (Keeping Everybody High)
    06. Detroit Music
    07. Detroit Music Pt II
    08. Music's Not For Everyone
    09. Can't Get Away
    10. (I've Got) Privilege
    11. Youth Is Wasted On The Young
    12. Not Good Enough (Dub)
    13. Bill For The Use Of A Body
    14. Why Not? Pt III


    Music's Not For Everyone

    [engl] Released in 2011, Chain & The Gang's second album, like its predecessor, was once again produced by Calvin Johnson at Dub Narcotic Studio. The lineup is also mostly the same, with the small difference that there are now five background singers who answer (in different songs) the calls of Ian Svenonius: Tara Jane O'Neil, Veronica Ortuño, Susanna Patten, Sarah Pedal and Katy Davidson. "Why Not" challenges everyday common sense and the established rules to an energetic blues shuffle. "Detroit Music" sounds like dirty jabs and the Dirtbombs, "Detroit Music II" plays the ball on, towards a heavy monster jam. Brilliant! The title track is then again in a class of its own: to psychedelic laments familiar from the Stooges' "We Will Fail," Svenonius mocks the tastes of the naïve "I actually listen to everything" consumer: "I know you wanna share. But don't!" he spits contemptuously at their feet. In the era of Spotify & Co., Svenonius accepts the accusation of snobbery: "Does a moth know a flame, just because it's drawn to it? "Svenonius sells it all with conviction and a devilish twinkle in his eye. He means what he says, and also knows how absurd it all is. These 12 tracks serve as a bombastic backdrop for Svenonius' treatises on living the life of an anti-capitalist svengali; they're a guerrilla garage rock manifesto imbued with fever, fervour and soul." - The Quietus
  • 01. Chain Gang Theme (I See Progress)
    02. Cemetery Map
    03. Trash Talk
    04. Reparations
    05. What Is A Dollar?
    06. Interview With The Chain Gang
    07. Deathbed Confession
    08. Room 19
    09. (Lookin' For A) Cave Girl
    10. Unpronounceable Name


    Down With Liberty... Up With Chains!

    [engl] The 2009 debut album from the chain gang led by Ian Svenonius (Nation of Ulysses, The Make-Up, Weird War) is a masterpiece of primitivism. From dazzling set pieces of R&B and rock'n'roll, the band forms highly melodic songs full of call-and-response chants ("What Is A Dollar"), or invites you to take a walk through the cemetery ("Cemetry Map"), which sounds so spooky as if voodoo master Dr. John had thought it up. Sometimes Svenonius just grabs a wooden guitar to make fun of conspiracy theories like in "Deathbed Confessions": "I faked the moon landing, I saved Hitler's brain. Yeah, it's in Argentina but it controls the USA." Calvin Johnson produced the album at his Dub Narcotic studio and also did a bit of background vocals. The beat lurches and sways as confidently and surely as an old sea dog's gait in a breeze of doppelkorn. The somewhat odd album title is explained by the always conceptually thinking singer as follows: "Everywhere freedom goes, it leaves a path of destruction. Fast food, bad architecture, materialism, unbridled greed, destroyed environment, imperial conquests, class struggle; combined, these phenomena are seemingly synonymous with freedom." When big words often hide only capitalist greed and imperialist war, Svenonius & Co. prefer to slip into the role of dissidents. "Ian Svenonius is an inadvertent pioneer. His career has been a studied attempt to advance the history of punk rock, using influences as tools to build with rather than styles to flaunt and discard." - The Wire
    EAN 4260016922000
  • 01. Tired Of This Time
    02. Nobody But Me
    03. Monkey Business
    04. Down Town
    05. Sons Of Cyrus
    06. The Fast Can't Lose
    07. Going Down
    08. Didn't Know
    09. The Warriors
    10. Sonic Riot
    11. I Need You Baby
    12. Street Fighting Man
    13. A Lonesome Boy
    14. Devil With A Blue Dress On / Good Golly Miss Molly
    15. Zardoz
    16. Nothing Matters Anymore
    17. What To Do
    18. Begging Me For More
    19. Switzerland
    20. Fate


    Can you Dig It

    Die Geschichte des Rock’n’Roll ist auch eine Geschichte der Missverständnisse. Eine dieser falschen Auslegungen betrifft das Wort Sex (verewigt in der beru?hmtesten aller Phrasen). Ich bin der festen U?berzeugung, daß im Rock’n’Roll Hauptanziehungsgrund und Attraktivität nicht die Vorstellung an die schno?de Vereinigung korpulierender Körper, sondern vielmehr die sinnliche Ausstrahlung der Kunst und seiner Interpreten an sich ausmachen. Ein in diesem Zusammenhang meiner Meinung nach oft bewußt falsch eingesetztes Argument ist die überbordende Maskulinität. Bei genauer Betrachtung sind Muskelmänner allerdings eher die Ausnahme. Warum ich diese Einleitung wähle? Vor 25 Jahren, zum Beginn der Hochzeit des skandinavischen Rocks, gründet sich in Stockholm eine Band, deren Musik und Songs ich bis heute ohne zu Zögern mit den Worten sexy, lustvoll, anziehend, verführerisch oder auch erotisch bezeichnen würde. Diese Band, gestartet von vier schma?chtigen Jungs, machte all das, was für mich diese Großartigkeit dieses Genres verkörperte. Der Rock, den ich mag, war immer der Rock der Straße und nicht der Stadien, der Rock der Underdogs und nicht der cleveren Unternehmer. Es war der Rock, der seine Funktionalita?t eben nicht aus meterhohen Verstärkertürmen, sondern eben aus der Sexyness der souligen Songs zog. Die Rede ist von Sons of Cyrus, vielleicht eine der am meisten unterbewertetsten Bands dieser Gattung. Gegru?ndet 1996 von Erik, Love, Mackie und Topi, spa?ter dann, nachdem Erik die Band verließ, weitergefu?hrt mit Max und Torgny an der Harmonika, spielen sie 3 Alben und 7 Singles ein. Alle Songs zeichnet eine wohltuende Schnoddrigkeit aus, sie wirken wie die durch die Zahnlücke gedrückten Pfiffe einer Bande Straßenjungs. Frech, anmaßend und unverschämt. Sie wollen nicht wissen, was die Welt kostet, denn diese gehört ihnen bereits. Diese DoppelLP vereint verschiedenen Singles und Samplerbeiträge und ist für mich ein Dankeschön an all die tollen Erinnerungen, die ich mit ihnen und durch sie hatte und für dich eine nette Gelegenheit, endlich mal wieder toll geilen Garagenpunk zu kaufen.
  • 01. Hunting For Love
    02. Certain Kinds Of Trash
    03. Free Will
    04. 'Nuff Said
    05. Surprise Party
    06. I'm Not Interested (In Being Interested) Pt. I
    07. I'm Not Interested (In Being Interested) Pt. II
    08. Where Does All The Time Go?
    09. (Living In The) Panther's Cage
    10. Heavy Breathing
    11. You Better Find Something To Do
    12. If I Only Had A Brain
    13. In Cool Blood


    In Cool Blood

    Das dritte, 2012 erschienene Album von Chain & The Gang besitzt einen attraktiven Joker: Katie Alice Greer – die charismatische Sängerin der Priests übernimmt in allen Songs die zweite Stimme. Und egal ob sie nur ein spitzes „Yeah!“ herausstößt, oder wie in „Free Will“ den Song komplett übernimmt – ihre Präsenz steht spürbar im Raum. „In Cool Blood“ ist so eine Art Bonnie-&-Clyde-, oder Nancy-&-Lee-Album geworden: abenteuerlich, sexy und ziemlich von sich selbst überzeugt. Die Balance zwischen den beiden unterschiedlichen Stimmen ist perfekt austariert, die Songs sind lässig, aber auf den Punkt. Es geht diesmal weniger gegen den Kapitalismus und mehr um das Ausleben persönlicher Freiheit. „Heavy Breathing“, feiert die Freuden des nächtlichen Telefon-Sex; „Free Will“ singt Greer so rotzig selbstbewusst, als habe sie einem übergriffigen Typen soeben einen schmerzhaften Tritt in die Weichteile verpasst: „I don‘t believe in free will. I just do what I feel, that is the deal, I don‘t believe in free will“. Kenner hören da sicher auch Anklänge an die Delmonas oder Holly Golightly. Es ist schwer, diese Mischung aus lauerndem Garagen-Rock und ironischen Posen und Bekenntnissen nicht zu mögen. Chain & The Gang haben sich hiermit ihre eigene Welt erschaffen, eine heftig brodelnde Petrischale voller Songs und Storys, die Vergangenheit und Zukunft des Rock‘n‘Roll zusammenführt. "Not for the weak of heart or the slow of brain, „In Cool Blood“ is for the hot of blood, the quick of temper, and the hard of sleeping. Recorded in a spontaneous, ad lib session of dream led automatic writing/rocking, „In Cool Blood“ was made at a Surrealist stomp session in the bowls of Olympia." – CHAIN & THE GANG manager Johnny Sincere


    [engl] all 3 records for a special price. Anyone who has already pre-ordered a record can also fall back on the offer. Just send an email.
  • 01. Glasfaser
    02. Mischmaschine
    03. Hochzeit
    04. Ku?hltransporter
    05. Lebenslauf
    06. No Money / Car Song B2
    07. 100 Grad
    08. Uhr Kaputt
    09. Forgotten Keys



    [engl] Debut record of this post punk band from Vienna, Austria. Tracks taken from the self-released tape, recorded on 4-track, mastered to perfection by Eric Brady. Limited to 500 copies. Post-Punk to dance to, touching the body at the very right places, mostly german lyrics you will know by heart soon even if you are from…
    LP lim
  • 01. All Made Up
    02. Every time I


    All Made Up

    [engl] Los Angeles, CA based PowerPop combo with two new cuts on 45rpm. This double A side banger is another testament of their unique upbeat Undertones & Buzzcocks tinged teenage frustration rock n roll in 2 and a half minutes. More exciting news from the Reflectors will follow soon…. day by day, week by week… stay tuned!
    7" lim
  • 01. Waves of sleep
    02. Missile Youth
    03. Don't Pray For Mojo or The Ability To Feel
    04. Whirlwind
    05. Death To The Salesmen
    06. Fuck Death!
    07. Dying Daze
    08. Flood
    09. Sour Lies
    10. Somatotropin Blues
    11. Wild Animals
    12. Kalt


    Fuck Death

    [engl] From the first few riffs of “Fuck Death!”, you can tell that you are in for a special treat. This is not your typical 3-chord punk rock wasteland - this is a very well written post hardcore/punk album. And it took those 4 guys only 6 years to record it... These 12 songs show that When There Is None perfected their sound & songwriting over the past years. The album has more melodies than power chords and more sing-alongs than boredom. Sounding like a hybrid somewhere between the Sainte Catherines, Leatherface and Hot Water Music - this album keeps on growing with every spin. Also, finally a concept we all can agree on. Fuck Death!
    EAN 3481575414763
  • 01. Maniac
    02. Blouson Noir
    03. Gagoule Rose
    04. Schlag
    05. Cut Cut
    06. Skilfek
    07. Immature
    08. Luxure Objectif
    09. Degage
    10. Les Restes de la Veille
    11. Ton Cuir Noire de Merde (La Flingue)



    [engl] After "Demo Demo Demo" and "Single Single", this is finally the first full length album by one-man-wonder Doug out of Lorient. You may know the man behind the mask from his other exquisite projects SORDID SHIP or COUPE GORGE, in which, above all, he extensively expresses his preference for Oi! On the debut LP, as on the previous singles, he rather shows his passion for synthpunk and then simply combines both preferences into a pretty great and awesome style of Punk. Super melodic synth parts mix with angry Oi Punk and Roll sound. Voilà: CUIR. This LP comes on beautiful rose marbled vinyl!
    EAN 3481575466229
  • 01. Parents + FBI = Cahoots
    02. Fuck It, We’re Gonna Get Paid
    03. I Think the Sirens are Coming for Me
    04. I’ve Gone Savage
    05. Transfixed by a Zombie
    06. Get Us Out of Here!
    07. The Situation is Grim
    08. Just Shoot Me When You’re Ready
    09. A Feral Clone’s Revenge
    10. Dialogue Between a Vampire & Bloodless Aliens
    11. * Hidden Bonus Track!


    Parents + FBI = Cahoots!

    [engl] With the debut album "Parents + FBI = Cahoots", Shrinkwrap Killers out of Oakland bring a load of paranoia and conspiracies to the picnic table. The sun may be shining, but the melodies in the guise of 80s Dark Wave / Synth Punk are eerily beautiful enough to darken the sky. Yes, you can dance to this, cry, drink and smash the goddamn State to this. All at the same time. A perfect mixture of The Spits, Wipers & Brat Farrar. "Just because you're paranoid doesn't mean they're not after you!"
    EAN 3481575415326

    Collectors box

    Indigenious Hiphop Sound aus Uganda vom Nilotika Cultural Ensemble! Die Nilotika Collectors Box kombiniert feinsten Sound und handgefertigte Kunst zu Gunsten eines sozialen Projekts. Und zwar nicht irgendeinem: Wir supporten das Nilotika Cultural Ensemble aus Uganda! Die Crew um Jajja Kalanda organisiert Sozial- und Kulturarbeit in den benachteiligten Vierteln in Kampala. Sie geben Anleitung in Workshops; bringen den Jugendlichen Schneidern und die Technik des traditionellen Niyabingi-Drumming bei. Power! Das Kollektiv ist auch selber musikalisch aktiv und hat einen Song zum Release beigesteuert. Der Track verbindet traditionelle Niyabingi Percussion mit melodischen Rap-Vocals von Spyda MC. Gerappt wird sowohl auf Englisch als auch auf Luganda, der Landessprache. Die Kölner Produzenten Ancient Astronauts haben für die B-Seite einen Remix von diesem Track abgeliefert, der stark in die Hüfte geht. Die Ancient Astronauts sind seit mehr als 20 Jahren am Musik produzieren und haben schon mit den Jungle Brothers, The Pharcyde, Shawn Lee oder Azeem zusammen gearbeitet. Neben der 7“ Vinyl-Scheibe enthält die Sammlerbox einen exklusiven, signierten Druck der Münchener Graffiti Legende Loomit, der sich für die gute Sache eine Wand geschnappt hat. Und damit noch nicht genug! Wir haben einen Kunstdruck von Patrick Thomas – Professor an der ABK-Stuttgart, weltbekannt für seine Siebdruckposter und Workshops, mit reingepackt! Ein Sammlerstück mit Tiefgang, signiert und rar, wat willste mehr? Außerdem gibt es ein handgenähtes Afro Bag vom Nilotika Culture Ensemble selbst. Unsere nigelnagelneue Box ist wieder auf 100 Stück limitiert. Das aufwändig illustrierte Gatefold-Cover wurde von Julian Rentzsch gestaltet. Und das Beste an der ganzen Nummer: Die Erlöse aus dem Verkauf der Box fließen in den direkten Support des Nilotika Kollektivs.
    7" lim
  • 01. Vi ska vara kejsaren
    02. På trottoarer


    Vi ska vara kejsaren

    Killer Garagepunk aus Schweden ala Dead Moon! limitiert auf 130 Stück!!!
    7" lim
  • 01. The Art of EMCEE
    02. Keep My Name Out Your Mouth
    03. Respect the Vinyl (Skit)
    04. Dutch (You All Caught Up)
    05. All On Me
    06. Take Your Lumps
    07. Changing Culture with Revolvers
    08. Once Again
    09. Forefathers (I Owe It to You)
    10. That Ol' One-Two
    11. Just a Mess
    12. A Friendly Reminder
    13. No Admission
    14. Barely At My Peak


    Changing Culture with Revolvers

    [engl] IconAclass is a passion project from MC/producer Will Brooks. Best known as MC dälek, the front person and co-producer in experimental Hip Hop group Dälek. He has explored the left of center/ wall of noise world ala My Bloody Valentine meets Public Enemy on 8 studio albums and numerous collaborations. Their sophomore full length album Changing Culture with Revolvers features MC dälek back on production and Emcee duties, and recruits long time deadverse massive & Labteksmember, Dev-One on vocals as well. The contrast in voice and rhyme style provides the album with a brand new take on hard hitting gritty East Coast Hip Hop. As always, cuts are provided by Mixmaster Motiv. Changing Culture with Revolvers is poised to open eyes and in?ltrate eardrums. Pure hip-hop, hypnotic, heavy beats serve as more than just a backdrop. They focus a spotlight squarely on the lyrics, and iconAclass has a lot on their mind! 12 tracks with a heady blend of lyrics and grimy East Coast Boom-Bap beats skewed through the Deadverse prism.
  • 01. NINA MARTIN - I'm aggressive (Germany 1976)
    02. NORAH - The Battle For My Love (Spain 1974)
    03. PHILADELPHIA - School's back (USA?? 1977)
    04. PAULA LINCOLN - It's the monster again (Netherlands 1975)
    05. VERMILION - I Like Motorcycles (UK 1979)
    06. BOBBIE McGEE - Upside down (UK 1974)
    07. NQB - Long long weekend (Sweden 1973)
    08. THE ALISON MARKLEW BAND - Midnight rider (UK 1975)
    09. LORENZA JOHNSON - Mr. Teaser (UK 1973)
    10. RADAR - Nobody knows (Netherlands 1977)
    11. ROCK FOLLIES - Good Behaviour (UK 1976)
    12. THE (NEW) SETTLERS - Lifelight (UK 1974)
    13. PUNCHIN' JUDY - Settle down (UK 1974)
    14. JUDITH CROWNE - Steam hammer (UK 1973)


    Knuckle Girls Vol. 2 (14 pugilistic platters from the only glitter girls that matter )

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


    Dual Visions

    [engl] Somewhere in a remote place called Hawkfield, not far from the city of Stockholm, Sweden, music, dreams, visions, goblins & robots, come to life. There are stories to tell, signs and paths to follow, towards the horizon and beyond. Beyond Louie (Love Jonasson) is a singer and an artist who creates tunes and melodies on synths and guitars. On this recording he’s joined by Frank E. Male (Henry Fiats Open Sore), guitar and bass, Staffan Zeroboy Fagerberg (Vidro), drums and Li Jonasson, backing vocals, the daughter of the artist. Beyond Louie has been an active musician since the 90s as a singer in the Stockholm based garage band Sons of Cyrus, the Berlin band Ray Omega and different music projects like Last Crusade. Beyond Louie is the artists new solo project. This single is the first release, two songs that show two sides of music.
    7" lim
    EAN 4260016922048
  • 01. Shakin All Over
    02. What Do You Want Me To Do?
    03. Hey Little Anne
    04. Please Be True
    05. My Vision of Love
    06. Dream About Judy
    07. I Don't Wanna Know
    08. Throw It Away
    09. How Could You?
    10. On the Boulevard
    11. She
    12. Seventeen
    13. Now I Know
    14. Please Come Home


    Another Whiff

    [engl] Can you smell what The Whiffs are cookin? Hint: it’s not Phish, Meatloaf or a String Cheese Incident. Nope – Kansas City’s prodigal sons of power pop are sticking to what they know on Another Whiff, their debut full-length for Dig! Records. Since 2017’s Take A Whiff EP, the band has been busy allowing their auditory aromas to ripen with the addition of Joey Rubbish (of The Rubs) for a fuller, more robust sonic bouquet. While the band can still get it up for Stiff Records – their pop-centric punk remains in full force – the album takes detours down lonelier roads in broken-hearted ballads from the heartland. No rocks left unturned on a journey forged by pioneers like Chilton and later Westerberg, the looming legacy of Petty and the cosmic country harmonies of The Byrds before them. In a year’s span, The Whiffs took their time recording, on and off, in their makeshift basement practice space: Electric Babyland. This pace and environs allowed the new lineup to coalesce, and get tour-tight on the road with La Luz, Bad Sports and Patsy’s Rats. The result is a unique album that is at once sprawling in direction and precise in execution, with all the sonic stank you’d expect from sweaty beer plied basement sessions. Out of the gate, “Shakin All Over” will register to all of the senses, like you’re squatting in the corner of the basement, imbibing with the band and absorbing every hit from Jake’s C&C kit (note the frivolous plug for Jake’s drum company). After untold nights into the wee hours of the morning, 14 tracks emerged as Another Whiff. Expertly recorded by Joey, mixed by Vince Lawhon and mastered by Jordan Richardson; the final package sounds like the sum of its parts, and all the beers in between. Another Whiff shirks a sell-by date and trends de jour, in favor of honest guitar driven, vocally infectious love songs for the ages. Timeless tunes and the triple-threat of Rory, Zach and Joey’s vocals set The Whiffs apart from their peers. Three distinct songwriters with their own personal flavors, delivering three-part harmonies for a unique rotation of upbeat punk belters (“Now I Know”), achy ballads (“She”) and triumphant tearjerkers (“How Could You”) that our troubled troubadours dispense like a Greatest Hits Factory for the last half-century of all of our all-time favorites.
    LP lim
  • 01. I'm Not Giving Up
    02. Teenage Punk


    I'm Not Giving Up / Teenage Punk

    [engl] Haters be damned, and punishers beware; Dancer don’t suffer no fools! Here with an anthemic scorcher of an A-Side: “I’m Not Giving Up”, channels equal parts Cheap Trick & Thin Lizzy, delivering the ROCK GOD goods so convincingly its time to THROW your Kiss records out! Flip it over for “Teenage Punk”, a swirling synth punk slice of misfit solace with words to live by (“all our friends, we don’t have friends”). Six singles in, and Dancer proves there are sick new moves comin’ from the crew responsible for Apache, Glitz, and Slick! Recorded by Greg Ashley in a one and done press featuring awesome album art by the Human Lawnmower’s inimitable Avi Spivak.