[engl] Vision 3D is a 3-dimensional Franco-Belgian band, exploring the boundaries of the guitar-bass-drums combination with a clear focus on melodies and energy. Lulu and Ced were previously active in the garage band Thee Marvin Gays, while Calamiti used to drum in the noise-punk trio Maria Goretti Quartet. They decided to join forces to create a new band, with a stripped punk sound, supporting Lulu’s powerful female vocals, sung entirely in French. Expect influences as varied as the Buzzcocks and the Slits, with raw guitar riffs that will definitely make you want to “pogo-pogo” like there's no tomorrow. Their first record, containing 9 songs illustrating their trademark sound.

[engl] Second album by croatian trio VLASTA POPI? brings more of their beloved signature indie-punk-noise-nowave-pop expression, but this time with a darker, more sinister edge to it. The record sounds more ambitious, thought-out and coherent compared to the earlier release, and it does so by utilizing much dirtier, distorted and noisier playing and production. The combined female/male singalongs and shouts add true energy to occasionally melodic, oftentimes jangly atmosphere created by the underlying instrumental psychedelia. As far as similarities and influences go, “Kvadrat” may be related to quite a few artists such as Repetitor, Fugazi, Shellac, Nikki Louder, etc.

[engl] Formed in Sydney in 1976, VOIGT/465 was a truly unique band from the exciting days of the Australian post–punk scene. Heavily influenced by such luminaries as the Velvets, Stooges, Syd Barrett, Pere Ubu, Can, Faust, Henry Cow, Slapp Happy and Eno’s Roxy Music, they created an abrasive sound in which Krautrock, DIY, avant–garage, post–punk, psych, art–rock and free improv–noise combined to form a sound unlike any other. In 1978 Voigt/465 released one of the first DIY 45s from Australia, "State" / "A Secret West", which showed their "pop–psych" side and was played by John Peel in the UK. The following year, their bass player Lindsay O’Meara decided to leave the band and join Crime & The City Solution in Melboune. Before parting ways, Voigt/465 decided to record one last album as a testament. "Slights Spoken", saw the light in 1979 and it’s without doubt one of the most fascinating albums from the post–punk /DIY era. Here it is including the two tracks from their first 45 as bonus tracks. It comes with free download coupon, featuring the complete album plus five studio / live bonus tracks from ’78–79, including killer covers of Faust, Can and Roxy Music.

[engl] “There seemed a strange stillness over everything; but as I listened I heard as if from down below in the valley the howling of many wolves. The Count’s eyes gleamed, and he said: ‘Listen to them—the children of the night. What music they make!’” Dracula. Bram Stocker. 1897. “It’s just a big trash can. And the trash can has been full for so long, That there’s no more room for our own waste. That’s Paris.” Paris. Taxi Girl. 1984. Abandon all hope, ye who enter here. This is the inscription seen on Dante’s Gates of Hell; but these are also the opening words of Bret Easton Ellis’ American Psycho – scrawled in red-blood lettering on the side of a building full of yuppies dressed in Armani. All the themes are there: pop occultism, the Passion of the Christ, and a synthetic view of the world, here’s what this Vox Low record is about. An outline of Vox Low’s history: some Parisian disco and punk fans who took their shot as Think Twice during that hysterical period of Parisian ‘French Touch’ in the early 2000s. This movement, then marketed as an unprecedented musical revolution in the country of baguettes and saucissons, turned out to be no more than a bling swindle worthy of Christophe Rocancourt : whatever you do, the bourgeoisie will always get by fine in the end. In spite of its sound credentials, Think Twice’s music did not find any resonance at the time. 2018, times have changed: who feels like having fun yet? Jacques Chirac is losing his marbles, bedridden in a mansion in the 6th arrondissement of Paris behind heavy velvet curtains; Daft Punk are hiding baldness under motorcycle helmets, and everybody now listens to music on their Bluetooth devices by way of monthly digital subscriptions. Enough with right-wing hedonist disco, let’s put our Donna Summer records away – not in the mood anymore – and dig out Éliphas Lévi’s big black book: Can, The Fall, or Peter Gabriel-era Genesis. This is a time for punk urgency, for depressed minimal Krautrock, for the great shamanic hypnosis. This bunch of greasers from the Porte de St Ouen area now perform as Vox Low, with Jean-Christophe Couderc (vocals and synth) and Benoît Raymond (legendary bass guitar, guitar, synth), later joined by Mathieu Autin (infernal drums and voodoo percussions) and Guillaume Léglise (savage SG guitar, synths as well) for setting up live performances. Indeed for Vox Low, stage performance is a founding act. It even has to do with pure ceremony, which quickly brought the band its cult aura. Seeing the combo on stage is an act of faith, a celebration of dark forces. Far from lazy live performances on Ableton, Vox Low is like an acid-house version of the Jesus & Mary Chain on stage. After having been the heartthrobs of Andrew Weatherall (whom they’ve remixed), after being remixed by the black angel Ivan Smagghe, after releasing maxi-singles on Jennifer Cardini’s techno label and on the brilliant Evrlst, Vox Low is now turning up on an insolently rock’n’roll label. Which is just logical, being one of the few bands able to stylishly surf between 60s rockabilly influences and cold, minimal techno from around Cologne or Berlin’s Zoologischer Garten Station. Vox Low stands straight under a freezing acid rain, facing adversity, and from the outset of this first LP the message is clear; time for an OK Corral showdown with the opening title “Now, We’re Ready to Spend”: “It costs so much, but now we’re ready to spend.” These children of the night gatecrash the court of the Crimson King, climb onto the tables and piss on the silverware. A superb black mass for a bunch of hippies high on mandrax and dressed in rags and sheepskins. Vox Low manages to set a ‘Sauerkraut’ Morricone-Rock atmosphere of its own, hypnotic and druggy. Krautrock – never boring, always exciting – with an inimitable 60s bass sound, a trippy discarnate voice combined with some Moe Tucker-style drumming. Rock’n’roll attitude in the body of exhausted 90s ravers. Vox Low removed the bland and indecent house from acid-house, only to keep the dark acid side, like the Holy Chalice of Zaragoza. Later in the album comes the song You Are a Slave: “You are a slave/but you don’t remember” – a punk, nihilist topic for a straightforward cold-as-a-razor-blade title. There are hits as well, such as Something Is Wrong, their anthem for a jilted generation coming down from MDMA, for those who hate dancing, in the back. A song like Some Word of Faith places the record under the seal of the Gospels, the Holy Scriptures, and Depeche Mode’s “Songs Of Faith and Devotion” album. Half muggy industrial, half leather rockabilly: like Frankie Goes to Hollywood covering Led Zeppelin – nothing less. Because, more than the filtered-disco years, the matter here is eternal oh-so-exciting new wave, from which TRUTH emerges when the spotlights from Top Of the Pops go out and you find yourself alone in front of the mirror of your sordid dressing room: in front of you, make-up, New Romantics, cocaine. Fade to Grey. In Rides Alone, Vox Low conjures up the suicided body of INXS’ Michael Hutchence, found dead in room 424 of Sidney’s Ritz-Carlton – naked, lying on the carpet among empty champagne bottles, a black studded leather belt around his neck. With Trapped in the Moon and It’s Rejuvenation, the Parisians deliver a certain idea of modernity: a cardboard western feel à la Morricone, as goth as the Sisters of Mercy, and VHS retro-futurism. Vox Low delivers the record nobody expected anymore, one that captures the spirit of the world in motion, for the attention of a crowd of social rejects who have one knee in the gutter but refuse to surrender to the prevailing cynicism. A dark, poisonous, nihilist and erudite piece of work for those who worship Primal Scream’s “Screamadelica” and Gary Numan, who stand in line at the Berghaim with their pockets empty but their heads full of ideals.

[engl] Debut LP from the Serbian duo from Belgrad, Serbia - that throughout the last few years became already an integral band of the Twintoe family. With pleasure and warmth, we are glad to present the first full length which draws out brilliant wall of sounds, bright voices and wide ambiances with a punchy good ol' punk rock attitude. 3rd Release of VVHILE so far, though the first one to reveal MORE

[engl] Announcing W-X, a new double LP by Tim Presley “I look across the table at the man cuban coffee in hand, cigarette stuck to lip glasses nearly opaque grey blue you can see his sleepy eyes but only just barely and i think “this man has been up all night in the song-lab writing while the masses sleep” Like Poe, eyes screwed up from working by candle light Nicely high but not for pleasure…for the boundless job Not that these songs are to be listened to strictly at night while lit up, but it seems they lean that way Blown and bent like trees on a white noise swept plain Surreal like a wet city street after hours Winding like a nocturnal drive through the backstreets End upon beginning like a borderless landmass Each song or structure tail bleeding onto the fingertips of the next Barely holding onto the fur of cohesion I think of this record as kind of a “Tim Presley reads his book on tape” The story of life in Los Angeles flowing like the low moisture river that it is The start is uphill, long and slow, and you ponder when you will be spat out onto the straight away By the time “Clean It Glen” kicks in, your hands are sweating and then you are there and it is glassy and wonderfully repetitive, repetitive, repetitive Lights are flashing Cars are passing There is synthesized wild life here Blips that are winged Crackles that are slithering through the digital grass Echo ripples across a chrome topped body of water You catch a glimpse of yourself in a store-that-sells-something window Beats are the staccato lines on the road being eaten by the undercarriage of the vehicle that whips Through this world Guitars are trash and debris Acid A headphone record at its primal best Far out and geographically odd Every time i play this someone asks, “what the hell is this?” I say W-X Dig in Best to listen to it in its entirety A vast 20 course experience served on twin platters A carnival A far cry from White Fence and yet still the scent lingers on the fingers He told me I would hate this repeatedly and I replied that it is my favorite masterpiece of his (of which there are many) This record looks through to the matrix of Tim’s songsmith genius, don’t forget to blink For fans of early Soft Machine, The Fall, The Tronics , general clutter, disarray and Faust” - John Dwyer

[engl] Warm Bodies is a crazy free jazz weirdo punk band featuring multiple familiar faces of the Kansas City scene. The band is led by singer Olivia Gibb who is known well locally for her art and graphic design. She is backed by Ian Teeple on guitar, Jordan Carr on bass, and Gabe Coppage on drums. This Kansas City punk phenomenon has quickly become one of my very favorite punk bands in the world. Are Warm Bodies my favorite current hardcore punk band? If they don’t hold the title outright they are very near the top of the heap. Something about what they do just appeals perfectly to my sensibilities! Warm Bodies play a deranged flavor of punk rock n’ roll, with a heavy-handed emphasis on rock... It’s consistently disoriented, rarely adhering to a song structure or style that’s easy to follow, and instead centering itself on the decisively reverbed female vocals, and dynamic bass and guitar work that provide a captivating listening experience no matter which instrument you chose to focus on. The distinct chromaticism, strangling, and noodling from the guitarist’s chords contrasts the incredibly controlled basslines, and creates this sort of necessary balance: for music that generally sounds as if it’s falling apart, there’s such an undeniable aura of deliberateness that displays how talented the group is to achieve that sort of a calculated texture. Despite their unpredictable nature, there’s still plenty of punk qualities present that makes their music easy to appreciate. Combine that with the anxious temper and tightly-wound drum work, and you’ve got a LP full of compositions that are bound to electrify your senses through and through. They are undeniably a hardcore band, but when you look in their music for all of the things that hardcore bands typically do you’ll find very, very few of those things. In that respect, Warm Bodies recall a subspecies of “weird hardcore” that doesn’t get much attention these days. I’m thinking of spastic, borderline funky bands like Th’Inbred, the early Meat Puppets, and (to a lesser extent) Rhythm Pigs and NoMeansNo. By and large, the aforementioned bands’ records haven’t aged particularly well, and I’d honestly be surprised if anyone in Warm Bodies had even heard of those bands (much less tried to emulate them), but at the same time Warm Bodies seem to be tapping into this tradition of musically ambitious freak punk that I never even really put together as a genre in my head before. Warm Bodies sound unrestrained and wild, like a lot of the Lumpy Records and Total Punk-type bands that they’re typically associated with. In other words, Warm Bodies are a treat for both the brain and the gut in equal measure, and the ability to balance those two things so things so expertly is as rare a quality as you’re going to find in punk rock. Buy everything this band has ever done (and probably will do!), including this LP. If your musical tastes resemble mine at all, you won’t be disappointed. I can’t just emulate Tim Yohannan’s review of the first Die Kreuzen LP where he just writes “This is fucking great!” over and over again, even if that would probably be the most appropriate response to this little bottle of lightning. So just ignore whatever I just wrote and buy this thing. Highest possible recommendation.

[engl] In the heart of the heartland, a mere ten miles from where the airplane carrying Buddy Holly crashed into a frozen cornfield, lies Mason City, Iowa. A town so small that it's pre-pandemic punk scene (with 20+ bands) went almost entirely unnoticed. That is, until the music of WHY BOTHER? and the "Punk on the Plains" compilations (curated by WB? drummer Paul), were made available by Tremendo Garaje - one of YouTube's most obsessive gateways into contemporary underground punk music. WHY BOTHER? is Terry on vocals + synth, Speck on guitar, Pamela on bass, and Paul on drums. Their sound takes the classic Midwestern punk approach of The Zero Boys and Toxic Reasons, adding in warm layers of synth and sci-fi thematics ala The Spits and darker post-punk moments in the vein of early Joy Division. Yet there's so much more to this band that defies comparison, for WHY BOTHER? are truly a singular experience. "A Year of Mutations" collects tracks from the first four WHY BOTHER? EPs, all of which were released in limited cassette and 7" lathe cut runs in 2020 and 2021. These have all been remastered, paired with several new tracks exclusive to this release, and repackaged in a fresh layout with artwork from D.H. Strother. WHY BOTHER? have no plans or intentions to perform live, but their basement 8-track recording setup shows no signs of slowing down. Expect more in 2022 & beyond!

[engl] Would it be October without a new WHY BOTHER? album? "Calling All Goons" is WB?'s fourth album in three years - a lexicon for the freaks, a beacon of hope amidst the digital deluge, or just a true artist's piece depending on how you see it. And that's the beauty of WHY BOTHER? They are the enigma. A band that extends from the roots of Midwestern punk while adding something new to the conversation. This is the kind of rare phenomenon that is outwardly difficult to describe...so step into the world of WHY BOTHER? and let these new 13 tracks dilute your mind forever!

[engl] Bleak, hard-driven 3rd LP (1983) offers GREG SAGE at his most chased & breathless, lashing out w/ sharp staccato notes as if melody were his only defense. The jagged, effortless guitar lines, the paranoid lyrics & raw-throated vocals, & the taut, unified rhythms that define their sound bleed together most clearly on this LP. Audiophile grade vinyl, packaged in a deluxe tip-on sleeve.

[engl] The final Wipers recordings - made back in 1998, with all tracks recorded through vacuum tubes. "Guitar leeds that dazzle, frighten, & prick the senses, like Jimi Hendrix sans the showy bits & hyper-blues base. This remarkable talent's work as a guitarist is without peer." - Jack Rabid (All Music Guide). "Wipers are God" - Bruce Pavitt (Sub Pop owner)

[engl] For an album that hits with an instant rush of fuzz-fuelled energy, the gestation time for Witching Waves’ Streams and Waterways has been somewhat more protracted. A blistering advancement of the knife-sharp hooks and urgently efficient post-punk structures that they’ve spent over a decade refining since their formation in 2011, the band’s fourth album – and second on Specialist Subject - emerges from a period of flux for the band’s chief songwriting partnership of Emma Wigham (drums/vocals) and Mark Jasper (guitar/vocals). First came a move north to Yorkshire from their native London. “We had decorated a tiny, rented house in Mytholmroyd” Jasper explains. “We setup a practice room in the top of a mill nearby and tried to write music, which we did amid stress about money, and a fear of having made the wrong decision. We had left our jobs, friends and a nice but absolutely tiny flat in London behind, and moved to a small village in West Yorkshire.” Although they found the location to be beautiful, the transition from city life to rural turned out to be an odd fit – too much so, it turned out. From this relatively short stay in West Yorkshire, however, came a more permanent change as the couple welcomed their first child Ivy into the family. Although, they’re hesitant to put too much of Streams and Waterways influence on the shoulders of their young daughter – she arrived a year and a half into the album’s conception – there’s no denying that its themes of loss, birth, and being part of this eternal, momentary life were brought into sharp focus following their new arrival. “Streams and Waterways is about the struggle of looking at the clock, realising it’s actually going pretty damn fast and knowing that really you have no control over anything” Jasper confirms. Perhaps that explains the way that opener The Valley doesn’t even introduce itself before careering into a full-throttled, three-minute scuzzy rager that would approach the descriptor anthemic had it not been kicked and scuffed along the way; it’s maybe why the wiry, ferocious Choice You Make feels like a charge into a storm despite the uncertainty of what you might find. It’s perhaps why even when Witching Waves allow themselves respite on the pared down Open A Hole, there’s a churning anxiety that lies below the acoustic guitar and harmonising vocals: in many ways musically and thematically Witching Waves are relinquishing the control that’s always been a fixture of their music – with all the thrilling and nervous fallout that comes from that. Although the pair have since returned south (having relocated to Exeter), Streams and Waterways also serves as a document of their foray northwards. The surviving artefact from Jasper’s never-to-be-finished studio that he’d began to build in Yorkshire – following the ending of his London-based Sound Savers studio – the record is also the first to feature current bassist Will Fitzpatrick, who joined initially live on their support tour with Australian punks Camp Cope. Fitzpatrick – a key component of Liverpool’s DIY scene for two decades – quickly became a key part of the writing process. Recording sessions were done during periods of lockdown that allowed congregation, Jasper recalling a still unborn Ivy kicking hard during an early mix playback of It’s A Shame’s layered noise rock assault. “The song was about my past, a much harder time. But my future was egging me on” he says. It’s a neat summation of Streams and Waterways and its representation of the discomfort of life amidst the compulsion to ride on its journey regardless. It’s a record that finds Witching Waves looking into the future more than ever before, but still bristles with the rush of being in the moment – because ultimately, despite what may have happened or may yet come, the band’s strongest trait remains being able to keep you feeling in the present.

[engl] Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs. X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memo- rable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members them- selves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this inter- changeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7" square flags reading El Gato, L'Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another seba- ceous underground of magnetic tape that flows swiftly (like Magma) await- ing Pirates and liberators alike. X marks the spot! Peeping out of a warren of unexplored passages their seminal self-distrib- uted debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a genera- tion and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were dis- tributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith's Psyclones and The Beastie Boys championed the band as a likeminded inspiration.

[engl] Femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. Compiled from the mastertapes of the original 1980s privately pressed vinyl LPs and minuscule cassette runs. X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, telltale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memo- rable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members them- selves, have the knowledge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this inter- changeable, unarrangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7" square flags reading El Gato, L'Eurasienne, Alcool and Fuzzy Christmas are merely alluring landmarks pointing to another seba- ceous underground of magnetic tape that flows swiftly (like Magma) await- ing Pirates and liberators alike. X marks the spot! Peeping out of a warren of unexplored passages their seminal self-distrib- uted debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a genera- tion and influenced many more to follow. But beneath the trademark fluo- rescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reissue some of the bands most underexposed sonic snapshots, many of which were dis- tributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith's Psyclones and The Beastie Boys championed the band as a likeminded inspiration.

[engl] Dance floor friendly drum heavy horror pop from femme fronted pocket punk and domestic-synth pop from French DIY workaholics X Ray Pop. X Ray Pop are a group of whom are easy to scratch the surface, but almost impossible to get the bottom of. With an iconic moniker, tell- tale graphic style and demanding ‘buy me’ Day-Glo colour coding policy the French vinyl output of X Ray Pop as a specialist subject is, at first glance, memorable and achievable. Cocksure fans of Euro wave pop often proclaim X Ray expertise from behind many a record shop counter or blog page but the truth of the matter is that no-one, not even the band members them- selves, have the knowl- edge or mental capacity to truly understand the splatter range of the god speed anti-tactics that have turned this inter- changeable, unar- rangable and thirty-year sustainable auto-pop combo into one of uber-legendary status. For those that tread the chemins of 80s Gallic record racks, from agit pop to Zeuhl-school (bridging synth pop to Celluloid) these 7" square flags reading El Gato, L'Eurasienne, Alcool and Fuzzy Christmas are merely alluring land- marks pointing to another sebaceous underground of magnetic tape that flows swiftly (like Magma) awaiting Pirates and liberators alike. X marks the spot! Peeping out of a warren of unexplored passages their seminal self- distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluorescent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elusive back catalogues of all their cut ‘n’ paste French funk contem- poraries.

[engl] Micro kosmic domestic synth pop, pocket punk, French funk ultra rarity. Originally released in 1985 as a limited edition of 100 black cassette tapes. As one of the most prolific and viciously self-sufficient exponents of the early 80s French DIY/domestic synth pop scene X Ray Pop are a group who are easy to scratch the surface but almost impossible to get the bottom of. Peeping out of a warren of unexplored passages their seminal self-distributed debut singles and appearances on the genre defining alternative funk Alternative Funk Folie Distinguée compilation in 1984 made them an omnipresent fixture for the French tape wave scene that shaped a generation and influenced many more to follow. But beneath the trademark fluores- cent sleeves stands the highly stacked foundations of endless cassette only releases that give this pocket punk husband and wife duo one of the most impressive and elu- sive back catalogues of all their cut ‘n’ paste French funk contemporaries. Plundering the depths of a self-estimated 400 recorded songs, X Ray Pop founder Didier Pilot has joined up with Finders Keepers sister label Cache Cache to reassess, rescue and reis- sue some of the bands most underexposed sonic snapshots, many of which were dis- tributed in issues of less than 50 up to 500 for exclusive global releases in France, Spain, Portugal, Japan and America (where bands like Brian Ladd and Julie Frith's Psyclones and The Beastie Boys championed the band as a likeminded inspiration.) From the earliest, lower levels of the X vault Cache Cache and Pilot resurrect one of the bands finest untravelled moments in the form of the rare tape only one-sider Pirate! - a spontaneous long player comprised of raw, rhythm heavy electronic versions of exclusive tracks alongside heavier and darker industrial versions of tracks that would later creep into the bands unhinged official pop discography. Wearing their unabashed and generally incompatible influences of Can/Devo/Brigitte Bardot/Cramps/The Residents/Kraftwerk/Captain Beefheart/PIL/Brian Eno/Robert Wyattt/Gainsbourg/MAGMA proudly on their sleeves, this long lost tape captures a one day recording session which was originally released as 100 cassettes in 1985 at a time where various outside influences and competing labels were trying to snare the band into a slower more manageable pop entity. This is the sound of France’s two most highly charged battery operated cabaret cosmonauts at there hardest, loosest and uninhibited celebrating the dual-unison that can also be identified in similar two-head- ed freak funk outfits such as Moderne Mathermatiques, Stereolab, Ellie and Jacno and most notably (and perhaps unconsciously) Silver Apples to whom this release bears a welcome and femininised close comparison. Catch this limited vinyl and digipacked CD for an early glimpse of an outer-national punk funk Neo-dadaist phenomenon that may well have eluded you until now and wit- ness X Ray Pop at their most powerful. Pirate! labeled by Didier himself as The Dark Side OF The X provides a pre-curser to a forthcoming wider anthology of the groups work alternating erratic pulsating cosmic rock with dreamy metronomic private pop via their über legendary Casio-to-cassette production line. Otherwise, good luck finding an original copy, you deserve it!

[engl] Once again this consistency, this "step forward" attitude of that swiss Noise-Industrial-Postpunk-Wave-hybrid und what a huge step this release is this time. Impelling hard, off-kilter end of time-familiar, dark & brutal in core and really leaving nobody abandoning. The (preliminary and) through and through logical culmination of the previous releases in a 4-track 7inch, covered in an ebony 450g cardboard with a matte-silverfoil embossing.

[engl] The debut four track 7” from Yfory feels like an instant jewel in the crown of modern punk. Sounding like a classic unknown gem from the golden era of post-punk 79-83, it has style, humour and demands, with vocals delivered mostly in the Welsh language. When Yfory are locked in and in full repetition mode their stuttering and jagged instrumentation and half spoken-half sung vocals sound like Life Without Buildings mixed with Malaria, while their faster numbers recall Wire or Kleenex / Liliput with an edge. ‘Pwy Chwaer?’ (‘Whose Sister?) tells of a union struggle exposing fault lines of feminist hypocrisy, Ailgylchu’ is a song about taking out the recycling that name checks global oil, self-driving cars, and private islands, while longest track Baled Y Dolmen is a search for salvation at the motorway services and Wales’ many standing stones, paying deliberate homage to cult Welsh band Datblygu. Made up of friends from four countries who’ve been active across international punk (in Diät, Good Throb, Barcelona, Idiota Civilizato and many besides) this is a distinct project made in Berlin that will after a single listen become one of your new daily pleasures. Yfory means tomorrow. ( Sean Forbes, Rough Trade )

[engl] Classic 1997 album back on vinyl. Lim. Ed. 500 copies with printed inner sleeve 1997 masterpiece album featuring anthem "Modern Love" that blew swedish indie clubs in the end of the 90´s. Finally remastred and back on vinyl.

[engl] Classic 1995 debut album Finally on vinyl. Lim. Ed. 500 copies with printed innersleeve Swedish cold wave postpunk classic in the veins of Joy Division incl. underground anthems like "Wires" and "Systematic". Finally remastred and back on vinyl.

[engl] “Honesty is special,” sing ZEN on their debut album ‘I onda je sve pocelo’. Since day one, the Croatian feminist LGBTQ+ post-rock/indie/dream pop Amazons have been creating music that relies on sincerity, vulnerability and authenticity. To celebrate the band’s 10th anniversary as well as the 7th anniversary of their first release, with the support of Moonlee Records, Unrecords and Vox Project, ZEN have pressed their debut full-length on the most authentic of music formats – vinyl. ‘I onda je sve pocelo’ immediately caught the attention of both regional critics and music aficionados. “One of the most enjoyable, if not best albums of the year,” wrote TPortal. Or as they put it at With Love, the Underground, “Eva, Sara and Ivona really do their own thing.” ZEN’s multi-layered musical expression, combining filigree guitar licks, spacey synth parts and ethereal shoegaze vocals, sometimes feels like looking at water ripples on the lake’s surface. Othertimes, when distortion gets thicker and the drums start to roar, it is like being washed away by a tsunami. The album’s dreamy and heart-warming vibe, a mix between melancholy, longing and hope, is encapsulated in the evocative title ‘Suma, macka, Gospoa i prozor’ (Forest, cat, Lady and window), a psychedelic ode to nature, animals and sensitive human beings. It is minimalist experimental pop for fans of Tortoise, Stereolab, Warpaint and the likes. Since 2013, ZEN have released their sophomore album ‘Jantar’ (2015), joined the Moonlee Records family and soon followed with the superb ‘Sunc?ani ljudi’ (2017). In the last few years, they played countless shows all across Europe, gaining support from respected music buffs like Anthony Fantano (The Needle Drop) and Kevin Cole (KEXP) and becoming one of the most sought after alternative guitar bands from the Balkan region.

[engl] 'Suncani ljudi' (english: 'Sunny people') comes as the gist of all Zen's releases with some moderate upgrades. It sounds like a manifest of their passion for meticulously intertwined genre tropes – from hypnotic repetitions of post rock to atmospheric guitar layering in the vein of shoegaze, all characterized by a genuine openness to experimentation and infused with a heartfelt vocal delivery typical of 90s alt rock. The girls have conserved the psychedelic and dreamy nature of their musical expression, which resembles the output of bands as Warpaint, Vinyl Williams, Lush or Pinkshinyultrablast. The record's sonic character with its texturally lush guitar arrangements and vocal harmonies coquettes with the golden age of guitar music and shoe-gazing, notably with epochal releases like 'Loveless' (My Bloody Valentine) or 'Souvlaki' (Slowdive). As you may assume by looking at the cover, tracks are permeated by an air of sweet melancholy that evokes images of natural motifs associated with fluctuation, oscillation and flotation. Images of summits, breaking waves and currents… images of the island of Bra?, the Promised Land mentioned in the overture 'A gdje su staze?'. 'Sun?ani ljudi' is like a sonic mirror-image of a long trip on the D8, the picturesque route that runs 640 km along Croatia's Adriatic coastline, evoking awe of the sublime and reminding us of humanity’s insignificance in respect to the Universe.