Human Abfall bestehen seit Herbst 2011 aus Menschen, die an unwirtlichen Orten wie Stuttgart und Berlin leben müssen – den Städten der Verachteten, wo wirklich niemand auch nur mal für eine halbe Stunde tot über dem Nachbarszaun hängen möchte. Trotz oder gerade wegen des unumstößlichen Molochs ihres Lebensraumes sind alle Augen und das Interesse der Öffentlichkeit auf die zurzeit, sagen wir, eigenständigste Punkband des Erdballs gerichtet. Das anziehende Soundgerüst besteht aus einem noisigen Gitarrensound mit knarzigen, dem Wave zugewandten Bassläufen und einem zielsetzend, minimalistisch scheppernden Schlagzeugbeat. Die Musik der Gruppe Human Abfall äußert sich in technikschwerem Rhythmus und ist mehr dystopische Stimmungsmalerei als einfach nur eindringliche Melodie. In den Texten werden Gefühle, Alltagsgegenstände, Zustände widergespiegelt und auf ein eindringliches Minimum reduziert. Keine Betroffenheit - denn über dieses Stadium sind Human Abfall längst schon hinaus. Der Sänger mit verirrt finsterer Miene verpackt den sperrigen Postpunk (nicht unähnlich Grauzone oder Campingsex) in Früh-80er-Deutschpunk (à la Mittagspause und S.Y.P.H.) mit verbraucht doppelbödigen Texten und schafft es trotz wutentbrannten, manisch wiederholten Dada-Parolen stets, dem Hörer eigene Bezüge zu persönlichen Realitäten zu entlocken. Individuen abstoßende, kafkaeske Erzählart verwoben mit den existenzialistischen Wirren des modernen Lebens in der Kampfzone des digitalen Kapitalismus wird wieder und wieder auf das Wesentliche verknappt. Von Stück zu Stück der Schallplatte entsteht der klaustrophobische Eindruck, ein Kurt Schwitters habe seine Schere an den literarischen Werken Jean-Paul Sartres, Simone de Beauvoirs, Albert Camus’ und Gabriel Marcels angesetzt, um die Collage der immer wiederkehrenden Textbausteine mit Hammer und Nagel dem Zeitgeist anzuheften. Eine ganz eigene Erzählart entsteht, weder literarisch noch musikalisch – mehr wie Armdrücken gegen die Wand. Man spürt die Stadt, den Beton, den Dreck. Man spürt den Teil der Gesellschaft über den niemand gerne redet. Vielleicht könnte man verkürzt sagen: Was Dürrenmatt für die Literatur, sind Human Abfall für die Musik. Passend zur Musik besteht das Artwork aus gebundenen, durch Buchdruck veredelten, Leinen. Alles in 100% Handarbeit hergestellt

A new 7inch from this Anatolian Soul Combo. More funky turkish tunes. limited on 250 copies.

Second part of this small series. More funky turkish tunes. limited on 250 copies.

Ipek Yolu is the Turkish name for the Silk Road which connected the East and the West. This band does not deal in silk but they connect flavors, smells and sounds from different corners of the globe, connecting the world. The band merges bass-heavy electro-tinged cumbia grooves, saz riffs and surf guitar into a multicultural melting pot of South American rhythms, Anatolian folk music and 60s psychedelic rock. A unique universe of sound that bridges the tropical jungles and the dusty deserts in a kaleidoscopic blend of music. Ipek Yolu has used 2020 to write their debut album Tropical Anatolia and are ready to hit the venues and festivals. The members of Ipek Yolu first got together for an improvised jam session during the Aarhus Roots & Hybrid Festival in 2018. The show was set up as a special one-time-only show merging members from the bands Hudna & Junglelyd. The show ended up lasting for almost three hours. It didn’t take them long to discover they were onto something special. If you know any of these bands mentioned you know you’re in for a body-shaking party, characterised by musical curiosity and improvisation. The three members of Ipek Yolu have all been part of the Danish music scene for several years. The band leader, Orhan Özgür Turan, is a well-known and respected saz player all over Denmark, and has made a name for himself through his efforts in the Anatolian Folk band Hudna. In 2018 he won an award as Global Roots Artist of the year at The Danish World Music Awards. Olaf Brinch and Lasse Aagaard have worked together for many years making high energy cumbia with their band Junglelyd and Afrobeat with their band African Connection. Olaf is also an integral part of the Danish band AddisAbabaBand. In addition, Olaf and Lasse have toured and recorded with great musicians such as CC Yoyo, former drummer of Fela Kuti, in both Ghana and Denmark. All of the past experiences collided to create Ipek Yolu.

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time.

Jaqee's last album with the promising title "Fly High" leads the inclined listener into a sometimes idiosyncratic fermentation of street-ready R'n'B, pop aesthetics, jazz intellect, world music earthiness, chanting Afro soul and sensitivity and softness of classical music and orchestral warmth, which is defined by Jaqee's voice throughout all tracks, but never overridden. Thilo "Teka" Jacks, who produced "Fly High", is looking for musical salvation and the courage to change things up in order to illustrate unity, also in busy, heated, African sub-currents like High Life, but also in European dancefloor stereotypes and even traces of soca and merengue, all of course always only thought of, because the real main actor is and remains Jaqee's sustained singing, her unique intonation and her voice, which sometimes sounds clear and angry, other times fragile and sensitive - that's the way it should be. Despite or precisely because of this immensely expressive character of the album, it is advisable to listen to the work several times: Jaqee makes music with sophistication and expression and a look that also allows for sheer black music entertainment, "Fly High" proves this with lasting effect. "Fly High" is now available on vinyl for the first time. This is a limited advance art edition.Screenprinted by Philipp Janta.

Love, Love, Love, Love will make you walk a thousandcmiles to be with her. She is the wisdomcyou long to have, the courage you nevercthought you had. Love is peace, she is patient, she is Kind. Love will heal that infected wound that you long gave up on to heal, more powerful than any weapon of mass destruction. Cuddled up in her grasp, her tears will roll down your face. She’s the real deal. She will fight for you, she will carry the sword for you, She will walk a thousand miles for you. She is sweet, very sweet. Welcome to Jaqee 6th and final album, a closure of a chapter in my artistry so far. This is not the end, it’s just a crossroad that is proudly and lovingly directing me into an unpredictable future. I felt a strong need for healing on this album, so I made way for Vulnerability. I have opened doors that are to be obediently followed as I dig deeper in the understanding of the one thing that we humans yearn so much for. Love is King.

Jaqee – is rhythm and life ”Places becoming journeys in themselves… Different places where I have lived and learned, places that have made my heart beat, the emotional realms that I have experienced. This is where it all starts, every time. Where I am is where it happens, because I am, there. Here.” She sings. She laughs! And she cries, too. Jaqee cannot tell when music and singing became her life, it has ”just always been there, in my head” she says. Now with the fourth album she has taken a closer look at herself, from every possible angle. No hiding. Different phases, different sides of her personality and musical creativity are all there. All as one. ”I am a diaspora kid, I fell in love with all kinds of music, I let myself embrace it all, because good music, is good music. All the way from Uganda at age 13 to the new home and culture in Sweden, then leaving Sweden as an adult for Berlin – has made me the Jaqee that I am”, says the Ugandan /Swedish artist who also received a Swedish Grammy nomination for her past work. Being on the move is without a doubt an important part of her life. “For me travelling is about being exposed to different perceptions, situations, cultures and extreme emotions, it has always made me grow. How many times have I not thought that: I wouldn’t have experienced this or that, if hadn’t been here. I love that feeling!” Jaqee’s music reflects this constant movement and progress. The album is inspired by places like Berlin, South Africa and Jamaica. The trip to Jamaica resulted in the only collaboration track on “Yes I am” recorded in Kingston with reggae artist Anthony B. Teka, the “Kokoo Girl” and “Yes I am” Producer says: ”This time around, like on the last album, we have worked with our colleagues in different countries. Musicians we love and musicians that are inspiring like Martin Hederos (The Soundtrack of our lives) who arranged the strings on the album. We also had New York drummer Daru Jones of Rusic Records play on some tracks. All these talents enhance the idea and expression that we wanted for “Yes I am”. With the album done, it is again time to hit the road and tour for Jaqee. “Getting out there and meeting the crowd is a high. We laugh, we dance and we get loud together. This is the best part of working with music – having a good time together. Music is a universal language.” On composing music, she admits that this time, more than ever, the words matter. Newly found motherhood has made this album in particular a significant legacy. Every song has a life punctuation of its own she has not limited herself by thinking in genres. Making the tone very straightforward. “The melodies and lyrics are closely intertwined, how I sing a word makes all the difference. Even though I love word play, it has to be very clear. Since I am not educated in reading music, I instead visualize and hear it, it seems to be the way my system works. It is all about rhythm and life, it is “YES I AM“.

Johnny Notebook is back. In tow the 28th Century Mates. Having emerged from the remnants of the bands Dean Dirg, Toyotas, Metric Eyes and Tetallica, the synth-punk duo Johnny Notebook, rooted in Düsseldorf, Wuppertal and Madrid, releases all their pent-up energy onto society after almost three years. The result is the energetic, driving sound of the new long player Johnny Notebook and the 28th Century Mates. It is played with the proven mixture of the danceable beats of the Roland TR505 drum composer, the catchy cadences of the PolyKorg800 synthesizer, recurring hooklines and a ruthlessly nasal, but no less melodious voice. Influences from genre gods like Devo, Screamers and Aviador Dro are still the unmistakable foundation of Johnny Notebook. 28th Century Mates is also enriched by repeated Italo-Disco elements, for example in the form of overlaying synthesizer melodies through to shorter keyboard solos, which makes the sound a bit more positive and light-lived than on previous Johnny Notebook releases. Lyrically, many of the songs address the sometimes absurd interactions between digital and analog reality and oscillate between nostalgia, sarcasm and fatalism, without sounding even remotely melancholy

JUNGLELYD

JUNGLELYD is the new discovery of Sounds Of Subterrania. The guys from Denmark compound cumbia, tropical bass, surf rock, psychedelic electronic sound and take the listeners on an intoxicating adventure. Hypnotic beats are accentuated by melodic elements of tribal and ritual sounds from the foggy jungles of South America. On stage, the five-headed Danish band combines electronic with instruments such as saxophone, flutes, guitars, bass and percussion to create a fusion of digital and analogue music. This unique sound not only carries away the listeners like a tidal wave but also seduces him the true meaning of the word cumbia, "cum" for drum and "ia" for shake, to indulge. Not only is Junglelyd and her Liveshows in Denmark already more than just an insider tip. "Gringo Funk", was chosen as one of World Music Denmark's Best Tracks of 2016. The band was invited to be the house orchestra at the prestigious Danish Music Awards World. Follow the sound! Let Junglelyd take you deep into the magic of the jungle. Or you can also shortcut it, Cumbia is the sound of the hour and Junglelyd play it.

Beide Maxi's auf einer CD

Cumbia is a Latin Americana traditional music form that originates from Colombia and has ever since spread across the whole Spanish speaking sub continent. It blends elements of indigenous South American melodies, African rhythms and European ways of developing harmonies and progress chords. With that style in mind as model nowadays many young artists from the Western hemispheres begin to develop an electronic variant that brings new life to the dancefloors of the old ghost town. Among these Danish electronic artist and DJ Kenneth Rasmussen and his band JUNGLELYD formed in 2015 explore the pathways of modern South American electronic music. Digital cumbia, Tropical bass, Zouk, Moombathon, modern sounds based on traditional Latin music for dancing purposes, all that had a slight impact on the creativity of JUNGLELYD which combine digital devices and analogue instruments in their music. The delicate flute playing adds a touch of souljazz to the hypnotical mix. All rhythms are a perfect blend of electronic beats and live percussion, while guitars, bass, brass and wood wind instruments build a rather vivid melodic superstructure. After two EPs in 2017 the band will release their debut album in 2020 on SOUNDS OF SUBTERRANIA, a label that explores the adventurous paths in music. The album begins with a relaxed cumbia styled tune that is an anthem to the greatest life elixir I personally know. Coffee. The lightweight guitar harmonies develop, float upon spacey synthesizer waves and follow rhythmical patterns that just intrude your locomotor system where they cause ongoing dance moves. Slightly more complex in its rhythmical structure, still as groovy as a cool piece could be „Boots“ comes jumping up and down from your speakers. Tropical island images enter your mind but still the electronic elements and fantastic melodies keep this song from being just a typical Latin music tune. They add the psychedelic expression of spacerock to the haunting music from the Andes. And haunting is the best adjunct to descripe the third tune „Lucerito de la Manana“ which prominently features singer Luna Ersahin on lead vocals and mystical South American pan flutes. I am not certain if that keeps the guinea pig invasion away, to point at my favorite episode of South Park, but anyway, this song with even comes up with a touch of psychedelic jazz at the end due to freaky saxophone lines. Dub, psybient, cumbia join together for the next tracks and in opalescent colours JUNGLELYD play their mostly instrumental music to their audience, which consists of psychedelic fanatics, cumbia lovers and electronic music aficionadoes. One can find a whole new spiritual world in this futuristic exotica style. The jungle to which it drags the listener exists only on giant computer screens all around the listener’s mind. I can see the dancefloors in todays clubs steam and boil while dance hungry souls float through the night. The musicianship of this collective is extraordinarily high, the wind instruments showcase an unusual dedication and determination for additional colour effects on mainly electronic sound creations. And the sweet twangy guitars here and there bring back memories of times when the ideal world also found its expression in dreamy sounds. This album is an ongoing dream and you can make it yours if you dare to explore the digital jungle created by JUNGLELYD.

With Tropical Depression, Kaleb Stewart has created a singer-songwriter album for the hardcore kids of the 90s. The memories are present and yet, the world has changed, it is burning on all corners. Reasons that once led you to form a band and scream your displeasure into the world we still have many of them, even more than before, and yet the rebellion in paradise stagnates. And with her, its art. Lethargy spreads and spreads to depression. And that's where Tropical Depression begins. The album is about so much more than the transfiguration of the early years, it is about the reflection of the actual state, about articulations, the desire of change and the simultaneous persistence in the golden cage. Kaleb's medium of musical description is pop. One aspect of this is that the door of the cage is wide open and yet not passed through. The fact that the lyrics are supposed to encourage people to think about it and perhaps to dare to take the step out is another aspect and one could call this punk again in the historical conclusion But maybe that's not important anymore, because the world has moved on.

The Kamikaze Queens are a saucy, tough and tantalizing female fronted rock’n’roll performance band from Berlin self defined as "Berlin Punk Cabaret." Soon to debut their second full length album, Automatic Life, the Queens take their original one-of-a-kind show on the road with 14 new tracks—once again showing their many colors and musical influences in an explosive package of Punkrock, Garage, Swing, Burlesque, tales of night life, sea creatures, and good times gone bad. Don't let the upright-bass fool you, ‘cause this ain't no Rockabilly ... Kamikaze Queens are a wild mis-behavin’ mix; kickin’, screamin’ and rockin’ out of this world! Automatic Life embodies the breadth of style that the Kamikaze Queens deliver, from a 24 hour Southern stomper at the Tastee 29 to the dark and mysterious call of Night Life. Snagged on My Stiletto is a cocktail of switchblade cool and punk-rock attitude. Strap in for a night of breaking hearts and raging Rock'n'Roll—Hell hath no fury like a strong woman in stilettos with a cat o’ nine tails! Good Times is the hit that’s engine don’t run on gasoline. It’s got all the lust, glamour, broken glass, bloody knees, booze and heartache that leaves you torn and frayed … but comin’ back for more. The story twists and dives deep into the sea with Sweet Geraldine and I Was a Teenage Mermaid. They tell the tale of the mermaid Geraldine who has to leave everything she knows to follow her nagging curiosity and her rebellious spirit. Though her family might kill her, she’s drawn to the rough and tumble, whores and trannies, punks and freaks that await her on land. Add to that a little John Waters-esque absurdity with a 60's dance-craze number, Do The Crab—which is actually the first song Tex Morton ever wrote the music AND lyrics to—and you’re hooked, line and sinker! Joined by special guests on horns, singing saw and cello, as well as guest vocals, kazoos, whistles, The Kamikaze Queens take a whole new approach to Rock'n'Roll.

Die Fakten: 7 kg, limitiert auf 20 Stück, Gehäuse Holz in der Farbe schwarz. Innenleben: LP, Gürtelschnalle mit Logo oder wahlweise euren favorisierten Bandmitglied.

Die Berliner All-Star Band mit ihrer ersten 7''. Aus der Asche der SIN CITY CIRCUS LADIES hervorgegangen und verstärkt dúrch Tex Morten ( MAD SIN) spielen die KAMIKAZE QUEENS einen fantastischen Cocktail aus Rockabilly, Punk & Cabaret. Ihre Form aus Varietepunk ist einzigartig und bescherte ihnen bereits ohne das Vorhandensein jeglicher Releases, eine Tour mit QUEENS OF THE STONEAGE& EAGLES OF DEATHMETAL. Single kommt im netten Siebdruckcover von Bonguot und als besonderer Leckerbissen mit einem Orginal Strumpfband. Limitiert auf 500 Stück.

Endlich! Das erste Album der verückten Berliner und glaubt mir im Moment spielt keiner einen so verückten, wilden Mix aus Hillybilly, Punkrock, Garagensoul und Barjazz wie dieser Fünfer!

Die mit Abstand beste Rachut-Platte. Mag es daran liegen das sie so vielseitig ist oder am Alsterwasser. Im Gegensatz zum Vorgänger ist diese Kommando Sonne-nmilch wesentlich zugänglicher & auch leichter konsumierbar, auch wenn die 17 Songs auf "Der Specht baut keine Häuser mehr" beim besten Willen kein "easy listening" sind! Mit einer illustren Hamburger Gästeschar (Leute von Slime, Die Sterne, Goldene Zitronen) und teilweise einem Frauenchor, vertonen Kommando Sonnenmilch alltägliches bis absurdes, mal experimentell und mit Hörspielcharakter, mal richtig eingängig und mit Pop Potenzial, dann wieder schräg-noisig oder relaxt / laid back. Definitiv keine Platte für "mal eben nebenbei", sondern Musik, die einen fordert und oft auch erst nach mehrmaligem Hören zugänglich wird, aber wann hat man das heutzutage noch???

Superaufwendige 7" mit Klappcover, dickem Beiheft und 2!!! Pop-up-figuren. Das letzte Vermächtniss unseres Superhelden, bevor er als Reverend zurückgekehrt ist.

“The most terrifying fact about the universe is not that it is hostile but that it is indifferent, but if we can come to terms with this indifference, then our existence as a species can have genuine meaning. However vast the darkness, we must supply our own light.” Stanley Kubrick It was with great luck that I was able to discover Listener in the Hamburg-based venue Hafenklang a few years ago. I saw three men on stage, playing the very music I missed so much since the "break up" of Hot Water Music. There weren`t a lot of people in the audience, but I got the impression that I was not the only one with goose bumps in the room. The band's three previous records were completely sold out, so I did something I'd never done in my label history so far: I asked for a re- release. We agreed and I developed the lasered Special Editions. On the day of the release, my server collapsed, because I received too many orders and by then I also recognized for the first time how many fans Listener have worldwide, because the orders really came in from all over the world. This is even more impressiv, if you know that Listener publish either on their own or on very small labels. These fans they earn themselves with their almost 150 shows a year and the good old mouth- to-mouth propaganda. I think this echo for their music is coming, or at least that's how it works with me, through another form of poetry in their lyrics. Dan, the singer, calls it talkmusic, I would describe it as a form of storytelling, as it is common in more original forms of music. Away from the idiom, the idle gesture, the staging, to the story, which must be told. And this is exactly where the genius of this band shows itself. Because these stories could also be made by Kubrick, Gus van Sant or Wes Anderson. They are small-scale and self-consistent, they make a big whole and yet are like a fragmented mirror in front of you and let only guess what world you can expect. Now, Being Empty: Being Filled is the first release I have been able to join from the start, and I hope this album will do many rounds on your turntables. Gregor Samsa If you want to make it easy, the basic theme of the new, fourth album "Being Empty: Being Filled" could be the reference to all the outstanding personalities being presented on it. But it's not that easy, of course. Listener have become louder, the guitars more rocking, sometimes more angry. Kris hits the drums as if there is no tomorrow. But this is just the musical side. The other is poetry and Dan sings, or should we say, talks, about life, with its edges, with the big moments, the many questions and the many failures, like no other singer in this world. No pathos, no false theatricality obscures the view of the content of the narrative. This way Dan recounts his stories, which may be our stories, makes Listener by a long way one of the most interesting bands of today. It is these analogies that best describe our time and let us understand them. This pointing out the contradictions without lifting your finger. This warmth, which in the end still gives hope, makes their music unique.

The third of four EP's being released for the upcoming full-length record "Being Empty : Being Filled" Two brand new Listener songs. Limited edition (500 copies) 7' green vinyl record.