[engl] The first F.E.I.D.L. full length! And just like the 7", everything just fits here again! Viennese dialect, brass band music, this guitar made of glass-cutting sugar and one or two stories from life in the 20s, with the experimental alternating with the non-experimental in the songs. This is the soundtrack in the Walkman of the provincial rebel who is still looking for access to his anger and for all those who mistakenly think they have seen and heard everything. For those who supposedly sort themselves in the middle, the record is definitely a stroke of luck! Half of the records are located in Falco City and are sold there in the tram. So better hurry up!

[engl] F.U.T.U.R.OS.C.O.P.E is, above all, a very relaxing french trio. They will be happy to play for your local "looking through minerals and finding your inner rainbow" events. They can also be of some support if you are searching a way out of the cosmos. Don't listen to Utilisation Non Autorisée at full moon, or facing east. Avoid drinking water for half an hour after the experience.

[engl]  Slow cooked gloomy post punk from the outer realms of the midwestern United States. Nine shuffling stabs of icy bleakness about the fog of existence, psychic waste and drifting aimless in the vein of DIÄT or some of the more brooding TOTAL CONTROL stuff carefully assembled over the last 4 years. We are pleased to welcome FALSE BROTHER to the only format that matters. 300 copies of 150gr black vinyl housed in a heavy duty 24pt jacket with hand made zine, poster and download card included. Recorded and mastered by False Brother. All art by False Brother. Dedicated to Mark Fisher - long live KPunk.

[engl] Fatamorgana is the Universe, and Ahora Aquí, Todavía No the journey that will take you through it. Patrycja and Louis will be your guides, and with their Bass Station, RX11, JP-8000 and ethereal voices acting as a synth-pop spaceship, all the marvels and mysteries they have seen will be revealed, because they “want to fly and swim at once, forever, in another density”. The Barcelona-based duo continue to hone their brand of electronic post-punk, dishing out beats, hooks and atmospherics in generous servings, and whilst it retains much of the stark minimalism of their first LP (2019’s Terra Alta), Ahora Aquí, Todavía No somehow feels deeper, more lush and considered. Clearly influenced by music from the 1980s – synth-pop, new wave, post-punk – Fatamorgana manage to create a sound that avoids standard retro manouevering, landing instead on something distinctly their own – an album made from cold sounds, that in their union become warm. A record that could just as easily soundtrack an afternoon’s solitary contemplation as a night on the dancefloor.

[engl] Three youngsters originally from Russia banging super loud and primitive lo-fi no-wave punk in the spirit of eary 80s New York stuff

[engl] New Age Record, the debut vinyl from North Carolina’s Fitness Womxn. Adding a synth player since their earlier cassette-only release, Macho City (Acid Etch Records), New Age Record finds one of North Carolina’s most enigmatic and exciting bands delivering on the promise of their three contributions to the American Idylls compilation earlier this year. While Fitness Womxn’s grooving post-punk / no wave-informed music might remind you of any number of historical antecedents, they don’t have the studied air of historical reenactors. Instead, their music is of the moment, not only addressing the complications, tragedies, and absurdities of post-modern life in their lyrics, but also sounding like a fleeting lightning-strike of energy, imagination, and possibility. Like the Raincoats or early Public Image, Ltd, Fitness Womxn’s songs sound like dangerous alchemical reactions, influences and emotions and ideas sometimes swirling around one another hypnotically, sometimes exploding like droplets of water hitting hot oil. For all of its ambition, though, New Age Record is as exhilarating as it is challenging, with more than enough moments of catchiness and danceability to keep you flipping it over and over.

[engl]  "It’s not often that fuzzed-out C86 jangle and brash queercore find common musical ground, Flesh World's inception focused less on their other bands (Limp Wrist, Needles and Brilliant Colors), and more on their mutual love for drag shows and punk gigs, as their vision took form in the under dwellings of San Francisco’s DIY scene." -Max Mohenu/Pitchfork. The Wild Animals In My Life is the first full album and second 12" sized record for this incredible reverb swarm. Knowing and growing from the past unto now, power is the underlying draw here. Lulled by the fist/pummeled by the euphoria. Hearty black vinyl in a heavyweight full color jacket with a poster insert even.

[engl] Debut EP from Oslo shoegazers FOAMMM.

[engl] debut album

[engl] The debut full-length from Berlin trio Fotokiller is lush, dark punk, featuring understated instrumentation and a strong sense of melody. Compared with the band’s unfiltered 2020 debut, Eerie Nostalgia is a smoother, much more polished offering—as evinced by the updated version of dreamy album closer “Echoes.” Vocalist Sofy exudes an air of quiet despondence akin to the subdued moodiness of Soft Kill. “Asleep,” with its wafting synth and steady bass, brings to mind the sad minimalism of The Softies—the line between dark punk and twee is thinner than one might expect—while “Lovers Undercover” has a deft structure. “Jaded” and “Dead End” have a bit more teeth than the other tracks; they’re delivered with more urgency, the latter erupting into a heartfelt jam.

[engl] Track 1 to 4 from the first maxi 45 Frustration on Blind Records 2004, recorded and mixed by Brieuc Bourgeois and Virgil Cohen at the Secret School. Front picture by Lanso Track 6 to 9 from the "Wait" EP on S-S Records 2006 recorded and mixed by Nicus at Jam Studios (8 tracks reel to reel). Artwork by Cat the Cat Track 5 from the CD release "Frustration" on Manic Depression 2005 recorded and mixed by Nicus at Jam Studios Track 10 recorded and mixed at home by Nicus (8 tracks reel to reel) All songs mastered by Mikey Young

[engl] Introducing them for the umpteenth time would be disrespectful. But reminding everyone of why they’re essential can’t hurt. They’re closely intertwined with Born Bad’s rise to fame, being their first ever release, they’re seen as the caring big brothers of the French indie scene. Their pathway in itself is symbolic: hailing from the garage closed circuit from the 90s, they gave up the tattoos and brilliantine rock to try something different –at the crossroads of punk and cold wave, of Métal Urbain, Killing Joke and Joy Division, while we were all rediscovering France’s synth-wave heritage with theBIPPP and Des Jeunes gens mödernes compilations. And five fellows not particularly renowned for their technical skills found themselves invested with a peculiar grace, becoming avant-gardist just as they were entering their forties, and showing the way to a whole generation of bands that suddenly became aware that it was possible, even here, in our star-crossed France. Critical acclaim, high sells, delighted crowd: the rest is history. Ever since, nostalgia has kind of lost its appeal. We grew fed up of reading in the rock museum press that nothing valuable had been recorded since 1967, and we figured out that all things considered, we probably had better things to do than picking the patterns on our wallpapers or our Italian ties. It was time to get back into the pit, not looking back, and getting numb on something that is ours. The excitement of listening to the latest garage hit boys has well faded (the next band trying to emulate Thee Oh See’s repertory can already consider itself dismissed), but it is intact when it comes to lend an ear to Empire of Shames, the third album by Frustration. It is “only” their third album in over 15 years of existence, the defining sign of bands that don’t ride any wave but would rather dig their very own hole in the wall of legends, and hang there their plaque of best craftsmen in the industry. They crushed mountain chains on Relax (2008), uncovered new continents and rainforests withUncivilised (2012), so it’s only logical they now project to terraform Mars planet with this album that celebrates their return to a cold hostility that echoes the one of punks going by the name of a Polish capital city. “Dreams, Law, Rights and Duties”, “Just Wanna Hide” and “Excess” are punches in the knees as signs of welcome from Fabrice, whose voice wanders from a Curtis-like spleen to a cockney spit. If “Arrows Of Love” sounds like the album’s break, this mesmerising Smiths-like ballad that turns into a proletarian anthem is one of the peak in the album. “Mother Earth in Rags” will undoubtedly be a hit, given its harangue as baroque and dramatic as a speech from Lenin you would hear in an opera about communism; “Cause You Runaway” shows that our lads have also listened to James Murphy; and “No Place” (a last minute addition) is a synth-punk-noise gem that will generate one hell of a pogo at the end of their next concert. Frustration is now this fully grown-up lion that has no intention of ending up as a bedside rug. The grouches that you only hear when the press hands them a megaphone, and that would be disarmed if their MacBook were taken away from them are still talking about the good old days. The king of the jungle is back to restore its order, reminding tourists that coming here as a casual observer is not an option, because this is no ordinary regional park. The great history of rock can take a hike because our softened nerves are yearning to be tense one last time, our voices get lost, and we want more of those poor attempts at stagediving if only we can see Frustration one more electrify a crowd like they did at the latest Villette Sonique, with their social-class comrades of Sleaford Mods. And this, is the only reason why we agree to give in to music, this intrusive thing that never asks for our advice. The rest is just a background noise of conceited babbling saturating the feed of our souls. Bollocks, basically.

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

[engl] Why don't you do yourself a favor and get this through your moldy rind ASAP: Future Punx are punk. Punker than the Tragedy tattoo you got in 2006 and try to forget about. Punker than your "transgressive" Soundcloud-noise-wankery and the fascist imagery you childishly borrowed for the logo. Punker than your dangly earring and your stupid switchblade that you will literally never use, and yes dear reader, punker than YOU. The members of Future Punx have all taken the traditional punk trajectory; playing in crust, garage, weird-punk, hardcore punk bands, and by virtue of thinking for themselves becoming what they were always meant to be: FUTURE PUNX. For far too long the Punx have been a well-kept New York secret. The band, formed in the aftermath of FERGUS & GERONIMO, have become a well-oiled live machine over the last three years. Near-constant gigging at New York institutions like Baby’s Alright, Palisades and Silent Barn have found them fiercer than ever, evidenced in 'This Is Post-Wave', their first full length LP. On the self-produced album, Future Punx solidify their vision of a genreless approach to musical creation, finding a focused, diverse and open-hearted approach to exploring the astral planes of punk. Both sonically and conceptually, 'This Is Post-Wave' takes the group to new places. It shouldn't be surprising that the title reads like that of a manifesto, as the opening, titular track is just that. Telling both the bands' cosmic origin-story and ideological agenda, the song ends with an exciting refrain: “Liberate at any rate, don't hesitate, THIS IS POST-WAVE”

[engl] Well–documented as one of Frank Zappa’s favourite ever groups and instantly recognisable as the BLUEprint of 80’s Mancunian electro pop, the inflated alter–egos of Gerry & The Holograms (and their unrivalled brand of conceptual sarcastic synth pop) successfully remodelled, ridiculed and redefined plugged–in punk before hitting the self–destruct button and burying the evidence under a pile of hand–mutilated microgrooves for over 35 wet summers. Having risen from the electronic embers of Manchester’s first genuine psychedelic band, via Vertigo commissioned prog and experimental theatre, then refined through the musical mind behind the most inspired vinyl moments of Martin Hannett, John Cooper Clarke and Jilted John – the onliest discography of the GATH anti–band remains unrivalled as the most idiosyncratic and enigmatic pivotal post–punk artefact from the first electronic entrenchment of pop. A consistent inclusion on record collector want-lists, transcending both decades and musical genres, the first-and-only listenable 2 track record by this masked art-rock studio duo, entitled Meet The Dissidents originally appeared in record racks in 1979, selling-out instantly only to be sequelised by a totally unplayable situationist-inspired follow-up which was glued into its own sleeve destroying the grooves in the process (rivalling that of Peter Saville and Durutti Column’s Debordist sandpaper re-hash by at least 3 years). With a life-span shorter than the hours on their studio bill, the band would find bedfellows amongst other incognito groups like Naffi Sandwich, The Mothmen and Blah Blah Blah within the Absurd Records stable – a daring Mancunian imprint that sat awkwardly between older and younger half-sister labels Rabid and Relentless. With a 11 release library of mostly non-returning faceless atonal electronic punk/DIY industrial bands Absurd would spearhead and pre-empt the subsequent decades of Mancunian independent record labels that followed in the footsteps of the more commercially successful Factory Records (while also drawing comparisons with Spiral Scratch, Test Pressings, Object Music and Throbbing Gristles’ Industrial Records). Despite just one official title to their name however, the true identity behind Gerry And The Holograms would unify those sister-labels and collectively play an important supporting role in Manchester’s independent music history with a story which goes back as far as most rain soaked memories can attempt to forget.

[engl] Following a steady stream of ultra-limited 7" singles, that were collated together in 2019 for the 'Pre/Post: A Collection 2016-2018' on Louder Than War, the bands highly-anticipated debut album, by those that know, arrives. Since forming in late 2016, Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic, the group take their cues from the early DIY punk and post-punk pioneers to keep everything in-house; artwork, videos, performances and recordings are created entirely by the group and their handful of trusted collaborators, under a bedrock of heavy, bludgeoning, dark, post-punk. 'Now Here's An Echo From Your Future' is their first release for fabled experimental punk label Harbinger Sound and finds the band advancing their sound, making subtle but experimental shifts in texture and tone, helping to break free from the shackled straight-jacket of punk rock that, to be fair, never really held them down in the first place. Across the album's ten songs, Girls In Synthesis explore a wide range of sensations and sounds as the album detonates into life with opening track 'Arterial Movements' in a screeching flurry of over-driven guitar and hammering drums. The contrast between the slow, mesmerising look into aging and dying in 'Human Frailty' ('The realisation that you cannot halt their impending death'), to the aggressive attack on the rise of the right-wing in 'They're Not Listening' ('The time-old tradition of the right wing accosting desperate working class people has returned') shows a wide range of subjects and reactions aggressively tackled. Mental health in a fast-moving, unforgiving world, media control, the divide widening between the have and the have nots, the class divide, the blaming of the poor, NHAEFYF bristles with an unforgiving frustration and temper. The recording of NHAEFYF started at Rockit Studio, Hull in April 2019 during days off on the UK tour to promote the 'Pre/Post' compilation album. The Hull sessions were engineered by studio owner and local musician Sean Tomlinson. The remainder of the album was recorded and engineered by the band throughout summer 2019 in a large rehearsal room at Gun Factory studios, Homerton. Production and finishing touches were completed at GIS bassist John's S.I.C.K Studio in Hither Green. The album was mixed by long-time band collaborator and engineer, Max Walker. In their few years of existence, fans and critics alike have been stunned by the bands pure visceral and punishing wall of sound, as well as applauding the groups way of making a GIS show an all-inclusive experience; playing from within the crowd to create a unique and awe-inspiring spectacle. Being hand-picked to support acts as diverse as Damo Suzuki, Slaves, Bad Breeding, Warmduscher and Wolf Alice has seen a widening of the groups fan base. Sold out headline shows across the UK have led to frantic and chaotic performances, and packed, sweaty venues, the word is getting out and spreading rapidly.

[engl] This collection of scarce and sought-after recordings was originally released by Louder Than War and sold out pretty much straight away. Girls In Synthesis have quickly forged a fearsome reputation as one of the most exciting and volatile live acts in London. In equal parts frantic, considered, ear-splitting and melodic. "Pre/Post" LP sees Girls In Synthesis compile their 3 previous E.P releases and also sees inclusion of their debut single 'The Mound'/'Disappear', never released before on vinyl. Experimentation has seen them transgress the punk bracket into something more original and unique while stage shows present a complete and controlled spectacle, with the group moving from playing on stage to dragging equipment into the audience, desperately trying to remove the group/audience barrier. Their explosive shows have seen them hand picked for support slots with bands as disparate as Bad Breeding, Slaves, Pigs Pigs Pigs Pigs Pigs Pigs Pigs, Wolf Alice, Warmduscher and Damo Suzuki. The lopsided, fuzz groove of 'Disappear' rubs shoulders with the bass-driven, future crowd favourite 'The Mound' to add up to a frantic and stripped back, stunning calling card. Follow up E.P 'Suburban Hell' saw the group develop the sonic aspects of their music, with the harshness ramped up and subtle but powerful production aspects pushing songs like 'Suburban Hell' and 'Phases' into harsh, noise-punk territory. Second E.P, 'We Might Not Make Tomorrow', added a slight melodic edge to the previous aural bludgeon, whilst the lyrics to songs like the title track, 'Sentient' and 'Tainted' explore deeper issues such as the threat of nuclear war, animal cruelty and the outcome of the USA presidential election. The third E.P 'Fan The Flames' further presses into deeper lyrical territory, with songs focusing on government neglect, anxiety and mental health issues. The production receives even further toughening up and also features the group's first foray into spoken word in 'Howling', albeit with a glitchy, unmusical, harsh noise backdrop.

[engl] Following up TIMMY VULGAR and QUINTRON with a MIND MELD threefer. The collective brains of GREG KING, RYAN BELL, and JOSH FEIGERT gives us GLITTERING INSECTS. An Atlanta "Ego Summit" written and recorded over the course of four weekend sessions. These three turned in the quickly thrown together EVOKER Tape as a companion piece for GG KING- Remain Intact LP back in 2020. I was so moved by it I asked if they would be interested in putting together a Mind Meld LP. "Glittering Insects and their self-titleddebut album takes the concept a bit further, exploring a trio of minds, bringing together Atlanta’s Greg King (GG King, Carbonas), Ryan Bell (GG King, Predator), and Josh Feigert (Wymyns Prysyn, GG King) for a collaborative effort. While all three members play together in GG King, Glittering Insects is assuredly something different, and it’s pretty astonishing. Written and recorded over a series of weekends spent in the studio, the album is made off-the-cuff, but you’d never believe it upon hearing it. The record trades in garage punk and beer soaked power-pop for something far more dense, sinister, and vastly expansive. Glittering Insects are entrenched in the weeds, tangling themselves ever deeper through an array of post-hardcore menace and death rock with touches of krautrock, black metal, and shoegaze adding impossible amounts of texture. The thing is though, it doesn’t really sound like any of those genres as the trio really only pull bits and pieces together to make something amorphous.