[engl] Before going on their Spanish mini-tour with the Dutch hard-core band BGK in November 1984, Anti/Dogmatikss made a first stop at the Marathon Studios in Barcelona, recording 11 songs that would turn into their first self-published cassette to be sold on that same tour. The demo was titled “Rompan filas!!!” (Break Ranks!!!). Musically, the recording shows the evolution of the band towards a more hard- core sound, accelerated and furious, closer to the style of the Italians Wretched. It included tracks like the now classic (Fire at the Moncloa), (Get Lost), (a song by the band Epidemia with a guest chorus by Quoque from Kangrena), , . The tape came with an insert (a folded paper) with collages, song lyrics (some written by Joni D. and Cristian Dios from the band Dios), photos of the band and a manifesto (that we will include in this re- issue). The demo was also sold outside Spain; this also helped to get their songs on a few international compilations. Tim Yohannan from the North American magazine Maximum Rocknroll, in the 1985 august number, graded the album as a ‘pretty terrific debut’. As an extra we’ve included 13 songs on the B side of the vinyl, recorded at Kangrenas’ studio and at their Studio at Les Mosques road, most of them unedited recordings with different line ups.

[engl] The bands third album after “Quién Nace Para Morir Ahorcado Nunca Morirá Ahogado” (straight forward and visceral) and “Boogalizer” (Sexy and incandescent) bring together everything that has made this band big (incomparable rhythmic section, complex and funky at the same time –Marcos Junquera (drums and percussions) and Pablo Peiró (Base)-; Marcos Junqueras urgent and sarcastic way of singing (also responsible of the groovy and rough guitars), with those titles and lyrics that are so Betunizer; compositions that burn and explode when you least expect appear in the most complex and elaborated way, less crazy (even though you can still find moments where the roof sets on fire and the most primary loss of self control takes place). Like when Talking Heads went through their ‘Fear of Music’ stage, but without losing viscerality: It would be absurd to say that Betunizer have matured and are doing more brainy songs, but it is true that “Gran Veta” is a more balanced album and definitely has some of their best songs.

[engl] “Obrint portes, abriendo puertas, opening doors”. Everything's ready for take of. It's been three decades since the needles of fringe caring kids landed on the tracks of their Barcelona Blues EP, and Brighton 64' new album starts up with an elevators off-voice telling us that NOW is the time. Esta vez va en serio, (This time it's for real) the Gil brothers and their accomplices Fontich and Peralbo warn us in the title, in the first song we find explosions of fetishes and words, names of things we can touch and enjoy. The flame of their followers is still burning, somebody has kept the fire untouched all these years with details we can trace in “Solo hasta el final” (“On your own till the end”): Red shoes, my peculiar haircut, friends, Chuck Berry, snooker. The boys from the bomb house surf through all these references where we find small anti-aircraft refuges to keep us safe from all things falling. They are the Sísifos of punk and Mod Revival and for as much as they change, grow up and show us, even when on different stages and at different times, their talent for composing, they will never say no to the lights on the runway, where they will carry on spinning and spinning. Esta vez va en serio is a manifesto of all that is important in life, but always conscious that even a tailored suit can stop fitting you when time goes by, but that doesn't mean you have to start wearing a track suit, you just have to get something new, in times of noise with no melodies, we have to look for essential things that never fail (yes, “Los Besos sin Final” (“Never-ending Kisses”) or “Soy un tanto antiguo (…pero creo en el amor)” (“I'm a bit old-fashioned (…but i believe in love)”), but we must also take a look at the calendar and realize that some years just won't come back. “Los Amantes del Compás” (“The Compass Lovers”) for example, “Dime donde están los amigos, los amantes del compás, los chicos borrachos de ritmo y de noches sin final” (“Tell me where your friends are, the compass lovers, the rhythm drunk kids and the never ending nights”), is the perfect nostalgic song. And you have to be able to look for serenity in the rhythm of “La Magia de la Calle” (“Magic of the night”): “No quiero que me hables de lo que fui….la casa de la bomba nunca la vi” (“Don't talk to me about what I once was… I never got to see the bomb house”). Brighton 64 are back to open doors, they are back to kick us with old shoes looking newer then a pair bought today. And then…gas, cos if a person doesn't use what they have, what ever it is that makes them do what they do, they are in serious trouble of their motors not starting at all. This time it's for real, Brighton 64 are hitting the best target yet again, the one that has the best pop melodies embedded with fire. Miqui Otero

[engl] This band could be your life and for many kids in the eighties they were. Brighton 64 was the best band to come out of the mod trenches: inspiring, energetic, vibrant, and fierce. They had the best songs and the most colourful clothes; the most unforgettable lyrics and the most elevated vision: They take from the PAST and create something NEW. In Barcelona you won’t find anyone like them, and, lucky enough for us, they have just released Fotos de Ayer (1982-1987), the ultimate compilation album by Brighton 64, coordinated by Kiko Amat (a fan since he was fourteen) with the help of BCore and the Gil brothers Albert and Ricky. The band had released compilations before, but not like this one: This album has the best cover, the best selection (they have recovered songs that were under EMIs hold and have never been on previous compilations, all from the 12” La Casa de la Bomba and their second album ‘El Problema es la Edad’, with an inserted fanzine with different texts by famous fans (Álex Cooper, Miqui Otero, Carlos Zanón, Miqui Puig, Felipe and many others) and a deluxe inside sleeve. It’s the total B64 document, no more, no less. In Fotos de Ayer your find superlative hits from the bands different periods. From La Casa de la Bomba and El Problema es la Edad they have chosen “La casa de la bomba”. Pure “Summer fun” and anti-adult diatribe, without doubt their most emblematic song; but also –amongst others- unbeatable brass section (“La canción del trabajo”, with Tommy Hunt arrangements), real soul stompers with blue eyes (“El mejor cocktail”, a tribute to soul music with an immortal chorus line: “Otis, Jackie Wilson and Sam Cooke”) and lyrical touches of R&B (“Llueve en mi corazón”), or great pop hits (the spectacular “(Club Negro) La calle 46”, where Makin’ Time meets The Bangles. From Haz el amor (Twins, 1985) they include “La próxima vez”, a song that sounds both like Vapors and the Jam (“A bomb in Wardour Street”) or Dinarama, Parálisis Permanente and Pistones (“Las siete menos cuarto”). In the exciting “Conflicto con tu ayer” blows a Motown breeze, but more Dexys / “Town called malice”, not at all retro. There are no hymns full of pop art missing (“Explosión Juvenil #17”) or ties to similar bands (“Fotos de ayer” by Los Negativos). And from the beginning of the beginnings they have taken the magnificent and mod revival hymn “Barcelona blues” from 1983 and “No volverán” (Side B of the second single “Deja de tocar a mi chica” also from 1983), an early and emotional cry for the friends they had lost. And of course the favourite “En mi ciudad” that until today had only been recorded on a demo. And there’s even more! Fotos de ayer talks of excellence, the young years, extreme passion and pride, all that Brighton 64 ever meant to their teenage fans. And of course, with the greatest songs. No one ever falls in love like that again.

[engl] 500 numbered copies. Cover printed on Letter Print.

[engl] In Guissona’s town square in Lerida, where the sun doesn’t warm, but smothers, a shade calls at the door of a large XVII century home. As you enter, the sound of an acoustic guitar, that almost sounds like a double bass, approaches those visit- ing, and when your eyes, previously blinded by sunlight, adjust to the darkness and distinguish the many tones and forms, you finally find Anna Andreu and Eduard Page?s, with their guitars, stringing the first chords of the song that gives name to their second album and debut at BCore, ‘Tones and Shapes’. Lerida is something like a Catalan Far West, but it isn’t that that has taken the Catalan folk duet Ca?lido Home there, but Joan Pons, El Petit de Cal Eril. Pons has turned the families theatre –part of their family home also known as Cal Eril- in to a recording studio, where he has recorded he’s latest albums and those of Mates Mates and Germa? Aire. Now its Ca?lido Homes turn. Entering the theatre is to follow Pons’ rules, like for example not being able to record a song more than five times (just like you can’t make love properly after three times running). The Guissona born producer found it hard to convince Andreu and Page?s that ‘Tones and Shapes’ had to be recorded live. Aware that they do gain considerably when performing live, the duet understood that to record the album in separate stems was contradictory. But that didn’t scare them any less. Or the fact that they could only record five takes. But the confidence they saw in Pons’ eyes was contagious. And they made the best choice. Ca?lido Home would once call their music ‘motherfolker’, almost like an insult, and that was how robust the folk songs in their debut album ‘Vulpes Vulpes’ (Desert pearl Union, 2013) were, but Eril asked them to turn it down a bit, to play softer, and from this restraint flowed new details, fragility and subtleness. They have learnt that when the song is already going upwards, there’s no need to push it. They also discovered silence, inexistent in their songs until now. When Pons sug- gested they not play together at every moment they were first taken back and did- n’t understand. But they listened, and in ‘Tones and Shapes’ silence becomes an active element in the music, the songs breath. And if a small sound like the squeak of a chair should find its way into a moment of silence, it was welcomed: the fact that everything is not always in place can mean, if done well, a more lively and real sound. It has a soul. Eduard’s guitar is a round trip from the US West Coast to Africa; it search’s for plea- sure when playing; if he doesn’t feel that pleasure when performing a song he will never play it again. Anna’s voice, less imposed then before and quieter when the melody gets harder, reminds Joan Pons of Karen Dalton. The Cal Eril producer feels that with ‘Tones and Shapes’, Ca?lido Home have finally found themselves. And this time, it wasn’t hard to convince them that he was right.

[engl] A captivating album, filled with Cosmical Pop and Rock, plenty of wonderful vocals and chorus, stuffed with good ideas and good taste. A record built on a base of excellent songwriting and armed with an accurate production by Santi Garcia, where the Charades show their inheritance from glorious bands like Love or American Spring and also Beachwood Sparks or the most acid Breeders.

[engl] This new album features again the values of the '60s music: imagination, freedom, beauty, love and experimentation. But we are in the 21st century, and even though their influences and taste is crystal clear, you won't find here any revival, nor pop, rock or folk mimesis. "Revolución Solar" is a psychedelic pop album, tribal, deep and beautiful, where they have taken a bit of all of their influences to build a wonderful album from the begginning until the end.

[engl] We insist: Joan Colomo is a star. Not happy with having injected a revitalizing dose of freshness into The Unfinished Sympathy, or with captaining La Célula Durmiente, the most free-thinking and free-playing band in the state, or even continuing to rehearse with the influential and classical band Zeidun, Colomo gets out of his sleeve a solo album which is one of the most interesting and refreshing surprises of the season. With his well known cultural ambidexterity between his familiar roots in Navarra and his settlement over the hills of Montnegre, Colomo gives a revolutionary twist to the Spanish and Catalan songwritting, with a lyricism unseen in him so far, we discover a master of the protest song, with a political nihilism and a love for human relations as an alternative to the mundane dirt. Colomo confronts aggressive content with a touching naivete. The musical eclecticism that has always characterized him is also present here, although away from the canons of rock to dig deep into acoustic instruments, orchestral arrangements, sometimes circus-cabaret winks, everything always combined with the good taste and the musical skills of a master of melodies, harmonies and arrangements. Allied with his partner from The Unfinshed Sympathy, Iban Puigfel, exercising the role of producer in his Estudios Nautilus at Arenys de Mar, and backed by old friends like Narcis Prat (drummer in La Célula Durmiente), Xavi García (Zeidun’s bass player and drummer in Els Surfin’ Sirles) and Inés Mtz. de Albornoz (musical partner in La Célula and also in the real life), Dani Navarrera (Luna Roja, Panorámica) and Marçal Calvet (Orquestra Sant Celoni, Mumusic Circus), Joan Colomo has found a new vehicle of expression, probably the most personal and intimate of many that has driven in his prolific musical career, certainly ranking him as one of the most authentic, brilliant and innovative singer-songwritters of our music scene.

[engl] Crim have an important and difficult challenge after publishing in 2014, the best punk rock album in Spain, well, Spain and part of the world. A solid and round album from star to end, full of generational hymns and intelligent lyrics (in catalan) that we have all learnt of by heart so we can sing at their concerts, excited and satisfied, with our fists in the air. It seemed impossible to create another album at the same level, but the bastards have done it. Thrilled, like a teen on his first date, I sat down and put the CD in the player, but with the first chord of ‘Benvingut Enemic’, a bloody hit by the way, I knew the album was grand. Very grand. Goosebumps grand. And that was it, since then I have been chanting to their songs everyday, like with their first album, with the CD in the car and full volume and me singing as loud as I can like a possessed demon. The new LP by these Tarragona born artists is a clear example of what a PUNK ROCK (yes, in capitol letters) band should sound like. Solid and concise guitars, husky vocals, clear and arrogant, a powerful rhythmic section that makes the sound trap and drown you in a sea of sounds that will, evidently, take you to the feet and physical brutality of punk rocks most sacred monsters. It’s like a perfect cocktail mix of the sing-along hymns of the first Cock Sparrer, the paraphrases of the gran Leatherface and the harmonies of Social Distortions best songs. Cutting a long story short, if this album doesn’t wake something up in you… if tracks like “Vaixells de paper”, “Doncs brindem”, “Guionistes d’aquest mon” or “Avui fa bon dia”, don’t make you heart beat like mad or light a spark of intelligence and bad temper in your eyes, if “No hi serem” doesn’t give you wings, then don’t even bother cutting your veins, you were dead long ago. Bilardo (the one from ‘Pisalo’) once said that Buenos Aires had no more good football players and that the kids now came from the regions. The same has happened here, fresh, natural spontaneity and vitality comes from the regions. No balls no glory! Don’t be fooled by false clichés and melodramatic attitudes, there’s good stuff here, honest people, all you have to do is put in on and enjoy. Your brain will thank you for it.

[engl] The return of this Barcelonan power trio Cuzo is like travelling back in time, a seventies orgy where the band infects us with their passion for different musical references a lot more diverse than you would believe at first sight. A superficial description of their music would reduce it to psychedelic hard rock, but that wouldn't be enough 'cos all the members of Cuzo have eaten mushrooms found in the most unsuspected orchards. The bands leader Jaume Pantaleón and his musical wisdom is legendary and in this project the ex-member of 12Twelve (also a current member of Atleta) lets most of his musical obsessions fly free. The result, a kaleidoscopic and psychedelic album that surprise us with landscapes that flirt openly with scores and soundtracks - something that already happened with 12Twelve-. Music from films like “Suspira” by Darío Argento, “The Beyond” by Lucio Fulcir or “Phantasma” by Don Coscarelli - always with the Italian band Goblin high up on the pedestal- Has a strong high within Cuzo's music. Another cornerstone to understand the bands sound would be German krautrock bands like Can or Faust, already present in previous albums (not in vain the band collaborated with Damo Suzuki - vocalist of Can in such emblematic albums as “Tago Mago” or “Future days”- in the joint album “Puedo ver tu mente” (Alone Records/Kromatik Musik, 2009) - and this event has a strong presence in “Alquimia Para Principiantes” (Bcore, 2012). This LP -third by the band and first for the Barcelonan label- was recorded between the months of March and April of 2011 with the help of Marco Morgione. Coming from a beginning of being strongly marked by Goblin and the seventies rock bands like Blue Cheer or Black Sabbath, the band - with more than 100 concerts on their backs- has evolved bit by bit towards a more personal and imaginative speech, that doesn't at all lose sight of their references. In “Alquimia Para Principiantes” the trio formed by Pantaleón (guitars and keyboards), Pep Caravante (drums) and Fermín Manchado (bass) embark on eight instrumental adventures that suggest a refreshing revision of progressive hard rock and 70' psychedelic, with moments for nostalgia and festive leisure (with mind blowing Hendrixians like “Mundo Subatómico”), but also for personal exploration. A true musical trip, that massages all your senses, and makes us fly towards the sun.

[engl] "Encono”, recorded by David Acevedo Esteve in Alicante (2013) is one of those albums that capture the short distances in the rehearsal studio perfectly (you can almost feel the bands sweat as they play) and make you want to see the band play live, something that will happen soon hopefully. The Washington DC/Dischord sound is an important part of the BCore legacy and the adoption of a band like Encono means excellent news for the followers of the label and the sound that marked a generation of listeners and musicians.

[engl] onsidered a reference recording for European punk, "Anti Todo" (1985) has been out of print for years due to legal issues between the band and their old record company, finally we've been able to recover the original masters, that have been re-worked by Xavi Navarro. Also the original artworkand liner notes by Pablo Cabeza, with lyrics and pictures. One of the main pillars to understand Spanish punk along with Spanish society at that time.

[engl] A piano, a guitar, a voice. Nothing else. Evoking the minimalism of Steve Reich and the nightly darkness of Tom Waits, Bernat Sánchez (piano) practically turns into the main character of this recording. After a full campaign of concerts as Eric Fuentes & El Mal Menor, the pair formed by Bernat and Eric have covered the country from top to bottom performing songs from Eric’s last 3 albums (“Descarrilant”(1997), “Bahía Paraíso” (2008) and “Eric Fuentes & El Mal” (2011), and from he’s earlier 5 albums as The Unfinished Sympathy. The revision of theses songs bought them to the creation of new ones, and this is how Eric and Bernat came to closing themselves in the recording studio to record 10 new songs with a clear vocation, to limit themselves instrument wise: to make an album without percussion, restricted, from the melodic and harmonic possibilities, to the rhythmic possibilities of the piano, guitar and vocals, of this duet, that has so nicely formed between these two musical adventurers. This new collection of songs (including a cover version of “It was a good year” made popular by Frank Sinatra), surprises not only for its austere performance, but for it’s shuddering intensity, that different from so many other minimally orchestrated albums, this album provokes. The key? To use the left hand of the piano to create the rhythmic base, interacting with the harmonic right hand and the rhythmic of the electric guitar. This, together with their sinuous vocal melodies, creates a groovy, atmospheric and emotional ensemble, that drinks from the likes of John Cage, Prefab Sprout or Robert Wyatt. So, after the well accepted “Eric Fuentes & El Mal” (that completely wiped out fears that the ex - The Unfinished Sympathy’s energy would disappear with the dissolution of the band) Eric goes ahead and bets for a completely new musical speech, even though you can still recognize the strong personality from he’s growing discography. Turning into a mix between a crooner and a hard-core Singer, at the live performances Eric will count with Bernat at the piano and with the recently integrated Joan Thelorious (member of Tokyo Sex Destruction) at the guitar. The band will present the album all through 2013 with a warm and close staging, where craftsmanship mixes up with real passion.

[engl] Futuro Terror joins the renowned label BCore for the release of their second album, what the British call the “sophomore album”, a more than amazing sequel of their superb and powerful debut with which the Alicante born outfit set the standards high even for themselves, but it has only managed to spur the always worthy trio, who seem to have found that rare master formula so many crave for, a formula that combines quality, good work and an outstand- ing capacity for creating songs that enchant, seduce and create, an almost instant addiction. “Su Nombre Real es Otro”, is the hieroglyphic title chosen for this collection of 13 songs. The band knew from the start that, without losing the concen- trated and well found recipe that has taken them down the right path from the beginning, they had to take step further, using the main ingredients that they have always exquisitely mixed with their particular skill of precise combina- tions and creating in consequence a unique and contagious style, based one half, on fast paced rhythms that take them to create short and straight-for- ward songs (nothing is lacking or in excess), and on the other half, a persis- tent melodic base that they easily blend in, despite the energy and blunt res- olution of all their songs. On this occasion they wanted (and successfully managed) to be even more straight forward, more precise, more raw, they wanted to go straight to the point, they wanted to keep that empowering attitude and punk aptitude, even though this album is more pop than ever. They have created songs that are knockdowns and at the same time approachable and brilliant. They new they had to feel at home to do so and so the album has yet again been recorded at Miradoor Studios (Alhama de Murcia) with Marcos Velasco, the perfect place for the songs to find their natural habitat and be recorded live, all at once, so they could capture the rawness straight on vinyl, without hiding behind the noise and emphasising the melody. The cover design is by Adrian Bago. Using the bands impressive name and the peculiar album title, he has created a fantastic story that creates the exact effect the band wanted, something that goes further than just unsub- stantial image. This album has been thought through in detail, proving that Futuro Terror are more than ever, and in record time, one of the most impor- tant and powerful bands from the always well tuned east coast of Spain.