[engl] The Band you've been looking for for a long time, with sounds of dissimilar genres that don't usually cross combined, is out when you least expect it to be. This fully fledged outfit of sheer old-school twisted intensity is a must-listen, no sweat! DEVIL MASTER return with four new tracks of devilish hardcore punk in the vein of GAI or LSD packed in a deathrock vibe. The Japanese hardcore influence is prevalent but there is so much more! That is punk, metal and goth inspired hardcore punk with demonic vocals and hard as nail beats which is extremely hard to shake once you hear it. The torturous maelstrom sounds of bone breaks and thuggish isolationism. Howling feedback underscores the massive swirling riffs and relentless battery of drums. Foul, tumultuous vocals made entirely of the final exhalations of humanity really send this opus to the apex. A perfect band. The four distorted tracks on this EP mix perfectly the low end reverb soaked deathrock influences with the best of the International Hardcore Punk of the early 80's. Making it a masterpiece of timeless punk. This EP is a perfectly wild and superbly crafted sheet of brutal noise with a pounding goth backbone all jacked up on blackened metal freakout space jams. And you know that Satan smiled when he heard this!

[engl] On their debut E.P. DISCOVERY, out of the bay area, bring you seven discordant cuts of raw and explosive hardcore! If you were lucky enough to remember bands line NIGHTSTICK JUSTICE, YADOKAI or RECIDE you have an idea of what to expect: fast and biting hardcore that combines a range of influences and elements from early boston and california hc to japanese hardcore. With this E.P., DISCOVERY honed their sound even tighter and cranked up the power and intensity ten times, like your standard harcore punk band, pummeling you with a nonstop barrage of sonic insanity. Seven tracks of Paranoia, Isolation, Ousted faith in humanity, and demented rejection interpreted by some Bay Area punks, that take you through a neck-snapping, brain-bruising car-jack of dynamic hardcore and internal rage. Painful and pure cognitive dissonance pressed on wax swinging between blistering ragers and straight-up stompers.Drawing influence from slashing riffs, crashing open chords and a splash of bit crushed distortion for emphasis this EP is an all out burner dedicated to living at maximum intensity until your last breath, putting fear in the hearts of those who would oppress the human spirit. Seven tracks of blazing hardcore punk influenced by Japanese hardcore punk bands with elements of early US hardcore thrown in for good measure. An ugly assault. This record is full of incredibly rough and nasty hardcore.

[engl] In loving memory of Darrell - you will be missed. "On Wednesday the 15th of June we lost our best friend, our Bobby. Words can’t describe how shocked and heartbroken we are. The joy, or what he would call ‘hot sauce’, that he brought to our lives has left a massive hole in our hearts. This is a photo taken at our last show on Saturday night. After we finished our set, he said “that was fucken sick, I think that was the best show we have ever played.” Darrell, we will love you forever." Love always, Greg & Steph x Eora/Sydney 3-piece Display Homes are back with new music! The asymmetric guitars, bass grooves and dynamic drums we’ve come to love on their previous two EPs are all there brighter than ever on forthcoming debut album What If You’re Right & They’re Wrong?. It’s raw but sharp, minimalist and danceable. Their pop sensibilities make it accessible while their post-punk leanings make it exciting. We’re calling it now as one of our favourite albums of the year! When I put this on I listen all the way through. The other day two times in a row. Unbelievably catchy. I will love this even years and years from now, for sure. Can’t pick a favorite song. This sounds like it could have been released in any of the last 5-6 decades. Solid, tight songs that warm the soul. I’m picking up on a wide diversity of sounds, from The Pixies to Blondie. Really glad to have stumbled across these guys! Extremely catchy, every song is a bop.

[engl] Melbourne new-wave art-punks Dr Sure’s Unusual Practice emerged from the Oz underground as a potent force and clarion voice with their 2019 debut The West, followed by 2020’s fiery (pun intended) EPs, Scomo Goes to Hawaii and While Aus Burns. Their powerful new album, Remember the Future? is a 31-minute whammy of 10 propulsive robo-punk anthems which document the dystopian absurdity of our times, informed by an innate hopefulness and staunch belief in a better future. Led by Dougal Shaw (also known as Marthouse label founder and guitarist for Cash Savage and the Last Drinks), Dr Sure’s Unusual Practice is a post-modern, post-punk, post-cynicism embodiment of Woody Guthrie’s folk polemic of “singing the news” -- expounded by Bob Dylan, Public Enemy and countless successors, but rooted in the oldest musical traditions of recounting and pamphleteering historical events. As Dougal explains, his songwriting is lyrically “reacting to whatever’s dominating the news feed, it’s all catastrophes and conspiracies. I’m trying to make some sense out of it, or at least document it.” A potent act of “laughtivism”, the satirical edge of Dr Sure’s Unusual Practice cuts through Murdoch media manipulation, Canberra corruption, capitalist collapse and fossil fuel fuckery. Bizzaro post-punk outfit Dr Sure’s Unusual Practice caps off a frenzied run of activity with its new LP Remember The Future? Vol. 1. + 2. Packed with off-beat instrumentation and on-point observational commentary, the record arrives at a time where the picture of our future has never been muddier. Receiving bad news from the doctor is one of my biggest fears. The foreboding dread of awaiting test results is a kind of terror that I prefer not to think about, but in the case of the LP from Melbourne’s Dr Sure’s Unusual Practice, this is news I’m keen to hear – even if it’s a dire diagnosis. Just under a year ago the talented four-piece (comprised of Miranda Holt on drums, Jake Suriano on bass, Jack Mccullagh on guitar, and Dr Sure himself – Dougal Shaw – on guitar and lead vocals) blessed the world with their debut LP The West, which wonderfully encapsulated the group’s style of off-the-wall dystopian robo-punk – a little bit absurd and a little bit surreal, but also a whole lot of fun. The group’s got a knack for theatrics that serve to heighten the listening experience, with Dr Sure positioning himself at the centre of a buzzing maelstrom of nervy activity (wiry guitar noodling, abrasive buzz and experimental sonic flourishes), leaning fully into the oddball outsider aesthetic the Unusual Practice peddles. This is dystopian punk for a society predicted to reach the grim precipice of collapse. Whether or not we tumble into the abyss, Dr Sure’s can’t say for sure – but you don’t need a doctorate to know that changes need to be made in order to survive. Dr Sure’s Unusual Practice is positioning itself as the “loose screw in this well-oiled machine”, rattling around to let us know that there’s a problem that needs investigating. Hopefully someone does before the idyllic future we all envision for ourselves becomes a fond memory of a time when hope existed.

[engl] Total Reality is the sound of a group in constant forward motion, finding new sounds and new ways to express their joy and catharsis in making music together. On album opener 'Slug' the band sing ‘I’m feeling like a slug so I gotta visit the doctor’, and though reliably tongue-in-cheek you get the feeling they mean it - the members using Dr Sure’s Unusual Practice as a vessel to lift each other up while unpacking the collective fatigue of life in late-capitalist society. “A mood like that, you're apt to stay in it, not dial your way out. Despair like that, about total reality, is self-perpetuating." - Philip K Dick On their third LP Total Reality - a title ripped from the classic sci-fi novel ‘Do Androids Dream of Electric Sheep?’ - Dr Sure's Unusual Practice tackle lofty issues through a hopeful lense, avoiding the often cynical pastiche of modern punk music. Total Reality touches on varied influences - proto-punk to post-punk, new wave to no wave, krautrock to trip-hop - to concieve something fresh and inspired. Beginning in 2018 as a solo project, here Dougal Shaw is joined by an ever-expanding collective. In addition to a core band (Jake Suriano, Miranda Holt, Tali Harding-Hone, Mathias Dowle) the new record features contributions from Jack McCullagh (Cracodile), Stu Patterson (The Empty Threats/Placement), Alannah Sawyer (Babyccino/Mouseatouille), as well as Shaw’s partner Alivia Lester, and baby Blue - who also adorns the album cover. An almost polar approach to the band’s acclaimed second LP ‘Remember The Future? Vol. 2 & 1’, which was tracked live in a recording studio, Shaw refers to Total Reality as a ‘collage album’. There are pieces of pandemic-era demo’s; drum machines coexisting with a live-tracked rhythm section; fresh collaborations; layers of guitars, synths, horns and percussion; collected field recordings and samples - all cut and glued in Shaw’s home studio to realise an expansive and colourful record.

[engl] A punk project involving analogue synths, a guitar, a bass, pedals, vocals, a drum-machine, nagging, gossip and drama- telling brought to you by 3 mortals trying to survive in a world of snake-eating bats, ex boyfriends, extreme weather conditions, self-improvement freaks and low wages. A fresh combination of synth-punk and post -punk / experimental music. Taking the drum machine beat arrangements and synth-heavy patterns of wave/ post-punk, but using those as the base coat in a sound that's much more informed by experimental and avant-garde music. This record is so much more than a genre exercise or a deft melding of influences. It’s an unadjusted highly experimental and totally addictive synth wave album with hints of minimal post punk. The music ranges from dirgelike chants to ethereal pop to haunting ballads. It’s pure melancholic beauty from start to finish. Even a retro, toxic synth pop that balances on a thin line between punk rock and cold-wave electronics. DRAMACHINE offer us a challenging sound, combining both electronics and instrumentation for a truly stunning musical hybrid. Just when you think you have this band figured out you get blasted with a coldwave influence! Edgy and recklessly punky with a dash of synthpop dropped in for good measure. It’s a wild ride, but somehow it hangs together and sounds like music rather than just aimless noise-making. If you crave music that both surprises and charms, I can’t recommend DRAMACHINE highly enough. So, if you want to enjoy this, don't concentrate on the any reference points, concentrate on how they push against and defy any expectations, and you'll see what a genuinely, thrillingly exciting band DRAMACHINE is.

[engl] This is Dumspell, a post-punk band coming from Hattiesburg, Mississippi. I was pretty quickly swooned by the somber, fuzzy and reverb-heavy tunes, and oddly lethargic-yet-melodic songs. Tracks like "Cowboy" or "Spin" drone on with tantalizing monotony, drilling it's fantastic riffs, uninterested vocals, and refreshing bass n' drums into your earholes. I don't know what this Hattiesburg post-punk group has been up to since the release of their debut tape way back in 2015, but if the eleven songs they dropped on this 12" this year are any sort of clue, I'd say it's probably great, GREAT things. An LP full of songs that will make you feel instantly comfortable - you might have seen this movie, you've just never seen it acted quite this well, and the production this time around is sheer perfection. You are welcome to dismiss this as some more of that melodic punk that you are too cool to admit that you like, but you would be a fool. I can only hope that they've got more stuff coming down the pipeline, because they've only heightened my opinion of their work by releasing new songs that are just as memorable as their steller demo -- and that's saying a LOT. Cool punk for sad people, check it.

[engl] ENDLESS COLUMN started in 2010 when Doug Burns (OBSERVERS,RED DONS) moved to Chicago and started writing music with David Wolf (DAYLIGHT ROBBERY). The project quickly evolved into a band with the additions of Eric Watts, Jimmy Hollywood (TYRADES) and later Kevin Goggin (BUSY SIGNALS) who replaced Hollywood in the line-up. They deliver rocking lo-fi garagerock with surfy undertones. These ten songs are like all songs Doug Burns is involved in, unique catchy and memorable as possible. There are bands that are content to sit within a pigeonhole and there are bands that diligently push against the edges, rebelling against expectations to find a sound all their own. The tune, at its core a smart bit of minor chord pop, is rife with echoes of time past and present—a bit of lofi garage punk here, some surf there, darkness, and the ubiquitous, insistent thud in the drums—rearranged and repurposed so that all are present but none overwhelms another. The remaining tunes follow along the same lines, each familiar yet retaining its own sound. The whole? A gritty-yet-tasty selection from a band that continues to wow with each successive release. Endless Column deliver ten songs of surfy, dark, crude and moody lofi garage punk on their debut LP. And if you have any sense about great music, you will not drop this LP from your turntable until you can sing every word along!

[engl] Your favorite mid-tempo manglers are back and you should hold on to your fucking shit because this noisy hardcore punk outfit will make you want to fight someone. GAG is from Olympia WA and bring deranged, distorted and noisy hardcore with strength and anger. This record is a continuous attack on your senses. And I mean that in the best possible way! Ferocious dissonant hardcore focused in intensity and all-out rage. Experimental hardcore, an album of feedback and reverb drenched punk. A storming sea full of noise, with delayed waves! Our friends at sorry state said: I've loved this band pretty much from the beginning, but "Locker Room" just blows away their previous records with heavy, spot-on production and a complete sense of recklessness that very, very few bands are capable of capturing on record. Much like Gay Kiss and Avon Ladies, Gag at their best have this way of combining the meathead brutality of Hoax with something more dissonant, uncomfortable and exciting. Basically, what that means is that the bass player is playing a total pit-clearing riff while the guitar player(s?) just wail out with sheets of noise over the top. A simple formula, perhaps, but one that is executed to perfection here. This is the type of band you expect to see people emerging from the pit bruised and bloody after watching them. Their earlier releases perhaps left a bit to be desired fidelity-wise, but this 12" hits with maximum impact. The sound is raw, fucked, and wild hardcore with a heavy delay on the vocals and weird changes throughout. If you like bands like GISM, Church Whip, or United Mutation not just for their aggression but also for their weirdness as well, you'll flip for GAG. You want any references? I don't have a clear one! Listen to this beast and judge for yourself! The only thing I can say, the flagship of the NEW WAVE OF INDUSTRIAL HARDCORE IS BACK! This is music for freaks! Play it loud, get weird and spread the noise with the upside down smile!

[engl] Erste Theke Tonträger Records is excited to introduce Geo's debut LP, a musical journey that promises to captivate listeners. As a label dedicated to nurturing emerging talent, we are proud to collaborate with Geo and showcase their unique sound and artistic vision. Geo's music blends indie rock and post-punk influences, transcending genres to deliver a refreshing and exhilarating sonic experience. Each track on the album reflects the band's exceptional songwriting skills and ability to craft memorable hooks and captivating arrangements. Geo's ability to seamlessly blend introspective themes with infectious melodies is truly impressive. This LP is a testament to their creativity, dedication, and passion for their craft. Erste Theke Tonträger Records is privileged to be part of Geo's musical journey and believes in their immense potential. The collaboration has produced an album that not only showcases Geo's talent but also underscores our commitment to supporting emerging artists and sharing their music with a wider audience. Geo's debut LP is now available on Erste Theke Tonträger Records, inviting listeners to immerse themselves in the band's world and experience a musical journey that is sure to make a lasting impact. Join us in celebrating the rise of this exceptional band and the beginning of a promising musical adventure.

[engl] Can something come from olympia and not be good? And without moving to Olympia WA, we get this tremendous slap of hyper-accelerated Spits-esque ultra-foli trash-garage-punk to lose your mind completely and never come back! Great buzzy punk rock that’s catchy as fuck. In the meantime based in Sydney/Australia THE GOBS made their name in those modern punk times. So ETT is honored to bring you 1-2-3-4 the first 4 demos combined to one great 12" ( and yes we will put the 5-6-7-8 demos on 12" too!). The energy, hooks, and rawness elevate this above other bands, so if you’re a fan of honest, pure, the bastard child of Ramones' music gefühl, The Jabbers' no fucks given-attitude and a snarky, spiteful bunch of beer-chugging ex-punks growing fat and bitter in the Bible-belt, this is for you. It's hard not to identify with this banger! This is pure punk euphoria so don’t even start to think you’ve heard it all yet. This is for all moaning that punk is dead, nope it is not dead. Your taste and interest is! We don't think this record needs any kind of more explanation, just remind that according to NASA: "The Gobs are the most significant proof that extraterrestrial entities are coexisting among us, a fact that is totally evident, since listening to this unique hyper-accelerated no-fy noisy-trash-galore hardcore-synth-punk You all realize that these Olympia-based slug brains have always given a shit about hiding it!

[engl] The Gotobeds' members come from Pittsburgh, Penn., a place notorious for keeping great local bands to itself. But the racket these guys kick up on their first album, Poor People Are Revolting, might be too strong for the city to contain. Guitarists Eli Kasan and Tom Payne spent the last few years as part of the local hardcore band Kim Phuc. Joined by bassist Gavin Jensen and drummer Cary Belbeck, they bring that energy to The Gotobeds, a rowdy, ramshackle party house of a band, built on the intersecting bedrock of post-punk and indie rock. On Poor People Are Revolting, there's something crazy going on in every room, the front porch and the backyard: a party that never dies down or seems to stop, even as the neighbors complain and the cops drive past. Working from the spirit and fundamentals of a small handful of influences — the design sense and intellectual rowdiness of The Fall; the constant evolution and masterful poker faces of Wire, from whose drummer these guys borrowed their name; the sturdy, heroic melodic sense and layered tape-loop production of Mission of Burma — The Gotobeds' members paint a dirty, driven, vulgar portrait of Rust Belt restlessness. Poor People rockets out of the gate with "Fast Trash," a great intro to The Gotobeds' boundless energy. Two-parter "Wasted on Youth/Melted Candle" starts out with a tuneful riff that ratchets past pandemonium. Every song here is an honest-to-goodness anthem, ready to sweep you up in the throttling, last-call anxiety that permeates the band's work — even through all 10 minutes of the single repetitive riff that makes up "Secs Tape." Were these guys from New York City, they'd probably be too tired and broke to play with this level of fevered, feral inspiration. With no fear of being priced out, they launch one of the greatest arguments against Big Apple living with their single "NY's Alright." Like the album's title, the song is a double-edged sword, couching the relative excitement of New York (and hearing all about it from everyone who's moved there) against the reality of people staring into their cellphones on crowded sidewalks, constantly trying to maintain a standard of living that The Gotobeds can enjoy for next to nothing. The sentiment is hammered home in the video for the track, as the band drops a Parquet Courts LP out of its sleeve, only to see it shatter on the floor. One of the strongest American rock debuts in years, Poor People Are Revolting is an obscene gesture hoisted toward anyone who'd claim that the genre is dead.

[engl] If you are looking for a new and outstanding band from Europe, here you got it. My mind was blown after the first time of listening to these songs that are so depressive, cold, pissed and snotty. One thing was sure: I just had to repress this EP because 200 copies are far too little for this killer 7“. What you get is pure Danish unrelenting punk rock damage! Take the smarmy music oft The Urinals, speed it up to 150 % and crank the volume up to the max and you hear what the Happy Hookers For Jesus are all about. This 7“ is a little bastard of punk that‘s stuck in your head with the first listen. A nihilistic feedback orgy in four acts, packed with merciless insanity, screeching guitars, distorted echo-voice and a totally wasted I-don't-give-a-flying-fuck-attitude, all thrown together in a stinky garage. So, get it or get lost!

[engl] You know what to expect if ETT brings you a hardcore punk record! If not, have a listen to our newest edition to the ETT hardcore punk rooster. From the ashes of SANG this in Trento based hardcore clusterbomb delivers 4 feedback drenched hardcore songs in the best way you could have in 2017! After outstanding releases by bands like BLOTTER, GAG, SIN MOTIVO, MIRROR, BIB, or DAUDYFLIN this italian maniacs continue with the weird style of hardcore we like the most at the ETT HQ. This EP is absolutely SAVAGE. It's a crushing assault on the ears and mind. The recording is a perfect mixture of clarity and rawness. The growling distorted bass drives the sound on top of relentless drumming and fuzzed out and feedback drenched guitar work that's part classic Italian hardcore and part 'weird 2017' era HARDCORE. IMPULSO are noisy, chaotic and explosive and each track rages with anger and intensity. Guitar layers of repetition create a bed of noise when the delay infected vocals lay painfully. The recording here is just perfect, with rich, full bass and a big, expansive sound that's still a bit raw. Listening to this over and over I've really come to appreciate how great IMPULSO are at playing at different tempos. Each side of this EP has a faster song and one with a more mid-paced track. All are of equal quality and interest, which makes me realize that's not the case with a lot of bands. If punk bands vary their tempo at all, it's often that they implicitly privilege either slow or fast tempos, the lesser one providing little more than a necessary counterpoint to the band's dominant mode. Such is not the case with IMPULSO. Though they're loud, fast, and 100% hardcore punk, the songs and particularly the playing feels fleshed out and lived in in a way that most hardcore bands can only aspire to. A standout debut EP by a outstandingh band. Get weird!

[engl] Here we go again, ETT - 048. And we bring you one of the most unique and exciting punk bands in the world. ISS born in North Carolina a super group consisting of Edwin J Schneider y cuidado Ricardo Poison Ivey of the Whatever Brain Flannel family tree. If you heard the first record, you know whats up. This one expounds on the ground they already laid out. Second full-length from this North Carolina punk duo. In case you haven’t paid attention to our raving about ISS in the past, here’s the story: Eddie from Brain F? and Rich from Whatever Brains work together to construct songs out of samples from classic punk records, making entirely new songs. ISS’s songs tend to be really different from one another, but the general vibe is an extremely unique combination of dance music and punk that sounds utterly unlike anything that I’ve ever heard before. However, rather than being trance-y, ISS are very song-oriented, relying on Rich’s ability to pen a pop tune and deliver a big vocal hook, a skill which works particularly well in tandem with his bitingly sarcastic lyrics. Going along with the intertextuality of the music, the lyrics are also dense with punk references, my favorite of which smash together bits of popular culture in really evocative and unexpected ways, like the release’s title (which seems to refer to both G.I.S.M. and the Brian Eno / Robert Fripp album No Pussyfooting), or the song “Infinite Jast Last,” which gives me hope that I’m not the only person in the universe who both owns an original L.S.D. flexi and also loves David Foster Wallace. Another thing I love about ISS is the fact that they’re unapologetically funny, but unlike a lot of bands who use humor, the songs actually grow on you with repeated listens. I mean, the first time you hear “Part Time All the Time” you’ll giggle at its send-up of trendy punk fashions, but once you get past that you’ll live for the epic beat drop that sounds like it’s straight off the floor of a European dance club. In case you can’t tell from all of this description, ISS are one of the most profoundly original and exciting punk bands in the world right now, particularly because they’re one of the only “bands” that is actually responding in an interesting way to the profusion of pop- and sub-cultural content that the internet has brought us… whereas most artists I’ve heard either wring their hands about the overwhelming nature of “content” in the digital age (like Parquet Courts) or just shamelessly rip off what has come before (95% of punk bands of the past several years), ISS scrape up the half-digested vomit of information that the internet has brought us and fashion it into something that truly could not have existed before.

[engl] MARBLED EYE is the latest addition to our POST PUNK / ANARCHO PUNK BAY AREA roster. And, what can I say; the bay area never disappoints us here at the ETT hq. The four guys are keenly aware of historical continuities and, from them, draw their own logical conclusions, reducing their influences down to their essential constituent elements and reassembling them into now-music for now-people. Flouting Rockist conventions with equal doses of stark minimalism and plodding fury, these post-punks resolutely refuse the "post" prefix. MARBLED EYE slithers effortlessly across genre boundaries, drawing upon myriad eras and localities. The Units, Neu!, Wire, Television, CRISIS, and contemporary sounds from the Australian garage rock subterrain like TOTAL CONTROL or INSTITUTE and DIÄT all come to mind. If you are familiar with the MARBLED EYE demo, you will be fanatic about this new EP. They lean towards the punk side of post-punk. They recall Crisis & Coitus Int. with a mix of anarcho bands thrown in there, too, and create a fascinating tension, a palpable struggle between their inner selves and their music that demands to be heard. As sharp as the band's earlier work, but you can hear that they climbed the next step with this new EP. Expertly tight and catchy drumming, cold as ice, monotone, pitch perfect post-punk vocals and a rhythm section that would make anyone jealous. This band will do great things, starting right now. A bursting, melancholic post-punk EP and the best start for us in 2017. They do the future-primitive punk thing so effortlessly well that they would have been a perfect addition to Subterranean’s roster some thirty years earlier. I could not be happier to offer you this perfect execution. Enjoy it!

[engl] Debut LP from this Bay Area, California band whose EP we raved and released about a while back, and now that they’re on vinyl full lenght, we still love them. To me, Marbled Eye sound like the perfect mix of Total Control and Parquet Courts. Like both of those bands, Marbled Eye have a way of combining a Krautrock-style groove with angular, Wire-esque post-punk style riffing and wrapping the whole thing up in great pop songwriting. While their hooks aren’t quite as big as the most memorable moments of the bands I just compared them to, I feel like that’s by design. Even though this is a LP, it’s so grooved out that it feels like a record you put on and get lost in the atmosphere of rather than putting on to pump your fist and sing along. This band is absolutely killer, and I feel like it’s only a matter of time before they’re as big as the two bands I just compared them to, so grab this LP and get in on the ground floor. The Austin band Institute pairs numbing and rigid post-punk with a Krautrock vibe, and the pairing turns out to be perversely appealing. Flouting Rockist conventions with equal doses of stark minimalism and plodding fury, these post-punks resolutely refuse the "post" prefix. MARBLED EYE slithers effortlessly across genre boundaries, drawing upon myriad eras and localities. The Units, Neu!, Wire, Television, CRISIS, and contemporary sounds from the Australian garage rock subterrain like TOTAL CONTROL or INSTITUTE and DIÄT all come to mind. If you are familiar with the MARBLED EYE demo, you will be fanatic about this new LP. They lean towards the punk side of post-punk. They recall Crisis & Coitus Int. with a mix of anarcho bands thrown in there, too, and create a fascinating tension, a palpable struggle between their inner selves and their music that demands to be heard. As sharp as the band's earlier work, but you can hear that they climbed the next step with this new EP. Expertly tight and catchy drumming, cold as ice, monotone, pitch perfect post-punk vocals and a rhythm section that would make anyone jealous. This is just a captivating listen the whole way through, the kind of record I can put on and just watch the turntable spinning, getting lost in its intricacies.

[engl] Byron Bay’s greatest and grittiest garage rock band, Mini Skirt, have just dropped their debut record. So proud of these boys, couldn’t think of a better debut album .This album is literally a BOMB! Raw, melodic, powerful from the beginning till the last song. Laid back and in your face - this is a brilliant album! Aussies mate. The music scene out there is untouchable. A Top tier album. It took us long enough. But everything about that floating penal rock calls for punk music. It’s hot, it’s dry (and still savage). The poison still flows beneath the ground there, something I can’t say about many other places. Where punk all began is another thing that is still debated today. I say it started in blue collar America. It was then sent across the pond by cannon fodder, and took its truest form there. What made punk so ludicrous was when it was adopted by the English accent. It fit it so well. Something about the grit and deficit of what once was sophisticated being translated into quick bursts of new English rule solidified the genre. That was before we heard Australia take a kraken at it. Sure, there’s been Australian punk before now, but it was always under the guise of what was popular in the brother world and never of what was right around them. You would have never known bands like Scientists or The Saints were from Australia because there was no pride and (anti)nationalism to it. Most importantly, there was no accent. Now, and thankfully I might add, Australia has grabbed the globe by the balls, and by their own terms too. We lap it up like dogs, say thank you and may we have another, from early King Gizzard, The Chats and Amyl and the Sniffers to the blokes from Byron in question: Mini Skirt. I first heard these guys on their debut EP Taste which was a rat-tailed beauty of Aussie gain-punted smut. I admired its lust for life and its barley breath right in your ear at all times. The debut album, near four years later, is an only-slightly-more-polished version of this. The TV eye is clearer than ever on “With Your Hands,” and the union jack-off sails at full mast on the hot single “Brigantine St.” Mini Skirt is responsible for some of the hardest hitting outback music out there. The grit is real. It’s all in the lead singer’s heavily accented delivery. It’ll put a cat scratch in yer throat. It’s not all rabid politik – there’s also the tale of daily Aussie life that we know not but love all the same. After hearing the latest of the Aussie punk sound with Casino, the Commonwealth is a place I’d like to see someday. But if I never do, I can always stick my head in the sand and think punk thoughts. Four years have passed since Mini Skirt’s first demo ‘Mate’ and it’s been three years since their breakout hit ‘Dying Majority’ shot them into local pub stardom. Now the Mini Skirt fellas are back with those distinctive riffs, raspy Aussie-accented vocals and lyrics that serve as gritty blue-collar poetry. In line with Mini Skirt’s back catalogue of raw and real pub songs, ‘Casino’ digs through the modern Australian experience, spanning subject matter such as British colonisation, cultural and political polarisation and working with your hands. ‘Casino’ refers not to a glitzy gambling facility but to the regional Northern NSW town where the band took a trip to write some songs. The album was recorded at The Music Farm in Coorabell, on Bundjalung Land. Mini Skirt would like to acknowledge the Arakwal Bumberlin people of the Bundjalung Nation who are the Traditional Custodians of the land on which this record was written and recorded. We respect their living culture, connection to land, waters and community. We extend our respect to Elders past, present and future.

[engl] People - is there a better combination? This record just makes sense and ETT is proud to bringt this split EP on your turntable. C.O.F.F.I.N and Mini Skirt from Gadigal and Cavanbah, Bundjalung respectively are two NSW bands with swelling reputations and followings for their individual takes on hard Australian rock’n’roll music and energetic approach to live performances. 2020 saw them both releasing full length albums during the deep midst of social lock-downs, in a harsh climate of closed venues and cancelled tours. Both albums were massive independent successes, selling out multiple pressings locally and followed by releases in Europe and USA. Raw, melodic, powerful from the beginning till the last song. Aussies mate. The music scene out there is untouchable. Original and raw. C.O.F.F.I.N and Mini Skirt would like to acknowledge the Gadigal People of the Eora Nation who are the Traditional Custodians of the land on which this recording was made. We pay our respects to their continuing living culture, connection to land, waters, and community. We extend our respects to Elders past, present, and emerging. Sovereignty was never ceded. ALWAYS WAS, AND ALWAYS WILL BE ABORIGINAL LAND.

[engl] Space Punk! VAASKA, IMPALERS, WICCANS, INSTITUTE, BLOTTER and countless other bands fame. We have Texas at it's best... That's what my boy DANIEL LUPTON from SORRY STATE has to say about em! "Mirror from Austin, Texas issue their debut vinyl, and this blistering EP clearly establishes them, along with Impalers, Vaaska, Glue, Strutter, Kurraka, et al, as one of the very best current punk bands populating that fertile scene. Like Strutter, there’s a psychedelic element to Mirror’s pogo- and noise-punk-infused sound; while the rhythm section smashes and bashes with the best of them, the guitars swirl around over top of the chaos, creating a woozy, hallucinogenic effect that is uniquely Mirror’s own. If you’re into S.H.I.T., Blazing Eye, Strutter, or Dawn of Humans it’s a fair bet that you’ll love this Mirror EP, not because it sounds just like any of those, but rather because you have exactly the kind of adventurous ear for hardcore that this band is likely to catch.

[engl] Oops, they did it again! A CÜLO and a NANCY guy in a band together? Are you serious? It's gonna be a weirdo for sure – one more time! Debut full-length from this great, underrated ETT band and I have to say I'm completely blown away. I generally have a pretty low tolerance for bubblegum-punk, rock ‘n‘ roll, but THE MUFF DIVERS, just like their brother band NANCY do it absolutely perfectly. As on their earlier releases, they still sound a lot like the Jabbers thanks to their straightforward punk arrangements and rather high-pitched vocals, though MUFF DIVERS are even sillier and more over the top than the Jabbers (this is like over the top NANCY-level silliness I'm talking about here!). At its core, this is simple, Ramones-influenced punk with a big Rock’n’roll dose, and at the end of the day could be compared with 90s bands like the Queers or 00s bands like the Spits as anything else, and while that is a very crowded tradition, MUFF DIVERS separate themselves from the pack with truly great songs. You may not want to like this, but once it's on your turntable I guarantee you'll have a very, very difficult time removing it. Drum machine-fueled punk-pop with some of the most juvenile lyrics I've ever heard, but something about the songwriting here just knocks it out of the park for me. I think the reason is that everything is so centered on the vocals. I mean, the riffs are interesting and the drum machine is actually pretty cool, but Muff Divers put those simple, catchy vocal melodies right up front in a way that reminds me of classics like Jay Reatard, the Dickies, and maybe even the Ramones. I feel like 90% of the music that I recommend here is riff-based; in other words, the songs tend to hang around guitar parts with the other instruments acting more as texture or accents, but Muff Divers are all about singing along. I also love the whole idiotic aesthetic here, and if you flipped out about that NANCY stuff we did before (or if you have soft spots for both KBD and 90s underground punk) I have a feeling you'll love what this band is putting down as well. Highly recommended for everyone!

[engl] Oh, shit. A CÜLO and a NANCY guy in a band together? Are you serious? It's gonna be a weirdo for sure... This two-man project features AJ Durso of GAS RAG, BIRTH DEFORMITIES, CÜLO, etc... and Joe Muffin of NANCY fame , already that info should be enough for an outstanding combination! So the MUFF DIVERS play a sweet mash up of punk, rock, & 70's glam. Our boy from SORRY STATE RECORDS Daniel found the correct words for this EP: Drum machine-fueled punk-pop with some of the most juvenile lyrics I've ever heard, but something about the songwriting here just knocks it out of the park for me. I think the reason is that everything is so centered on the vocals. I mean, the riffs are interesting and the drum machine is actually pretty cool, but MUFF DIVERS put those simple, catchy vocal melodies right up front in a way that reminds me of classics like JAY REATARD, THE DICKIES, and maybe even THE RAMONES. I feel like 90% of the music that I recommend here is riff-based; in other words, the songs tend to hang around guitar parts with the other instruments acting more as texture or accents, but MUFF DIVERS are all about singing along. I also love the whole idiotic aesthetic here, and if you flipped out about that DESTROY ALL ART compilation (or if you have soft spots for both KBD and 90s underground punk) I have a feeling you'll love what this band is putting down as well. Highly recommended. So we have a beefy drum-machine-fueled punk with hooks, could it be the new CONEHEADS? The new DICKIES? The new JAY REATARD? WE SHALL SEE! You only have to know that it rules and is the kinda stuff that will stick in your head for days! GET IT!

[engl] If you’re looking for a good time, NANCY is your salvation. These New York punk prophets have that uncanny ability to craft songs like desert-born incantations: packed with scorching hot riffs so catchy that they’ll possess you to do unspeakable things (or at least dance a lot). With simply two songs, this 7" will get the party going at your pad. A lot of people have compared them to the RAMONES which is lazy, but also totally true. Both nancy boys contribute their great voices to the microphone, so get ready for ultimate melody. This debut 7" is soaked in sticky-sweet vocals, galloping stints of foot-stomping beats, and those irresistible, glistening punk rawk hooks. Now I know what you’re thinking: “hooks” means “trite”. WRONG – check out those loopy, gnarly key changes in the middle of the title track. And that’s really the best thing about this no-bullshit crew: the tunes are familiar enough to get you raucous and weird enough to keep you interested. “(Why Am I) Crying?” has all that in spades. Twistable grooves? Check. Ear-searing guitar tone? Of course. Croon factor? A resounding 10. If you've been looking for a new song to hum at your shit job, it'll take no time to get hooked on these kickers. There’s no excuse for ignoring this band.