Bis Aufs Messer July news

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Bis Aufs Messer July news

Messagepar ADAGIO830 » 05 Juil 2019, 20:56

hi. Welcome to the first newsletter for July. A bunch of killer records arrived. A bunch of Killer
Punk re issues from Ugly Pop, Articles Of Faith re issues, new Profound Lore releases , Bikini Kill restocks,
COLD SHOWERS - Love And Regret LP re issue, BILL CALLAHAN - Shepherd In A Sheepskin Vest DLP, Tape und CD,
DROWSE - Light Mirror LP, FETID - Steeping Corporeal Mess LP, new Golden Pelicans LP, INDEX - Originals Vol. 2 (1969) LP re issue,
New J Robbins LP, ZIG ZAGS restock, new LTD (LOUDER THAN DEATH) - Stop Und Fick Dich LP , LINEA ASPERA - Preservation Bias LP,
THE RATS - In A Desperate Red LP, OM - OM Live LP, new HOZAC re issues, PELICAN - Nighttime Stories DLP,
THEE OH SEES - Grave Blockers LP, TOMB MOLD restock, NIVHEK - After Its Own Death / Walking In A Spiral Towards The House CD (VINYL VERSION
Comes soon as well), SIX ORGANS OF ADMITTANCE - For Octavio Paz LP, new SUPERSTITION LP and restock and much more

besides records you can also get lots of tickets from us for Puschen, Direct Booking etc etc
Thank you
Robert & Norman

7 Inch

THE ANEMIC BOYFRIENDS - Fake I.D. / Bad Girls In Love 7" (Hozac - "We
never really thought it could happen, but here we are with the official
reissue of the incredible, unforgettable, and oh so elusively un-comped
ANEMIC BOYFRIENDS, one of the only punk movements of such perversion and
grace from the fair state of Alaska that can come to any stretch of the
mind. Lead by the inimitable Louise Disease, The Anemic Boyfriends’
uber-punk classic 'Fake I.D.' is one of the most riveting, jarring, and
arresting TEEN PUNK blasts you will EVER hear, and you will NOT forget
it. As the title track from their second 7” single released in 1981 on
Red Sweater Records, 'Fake I.D.' is not just one of the most perfect
teenage rebellion anthems of the 20th century, it ranks right up there
with 'My Generation' and 'Cherry Bomb' as one of the most shockingly
memorable tracks your ears will EVER hear. And with your help in
perpetuation, it will be the THE most inescapable teenage anthem of the
1980s. And although The Anemic Boyfriends qualify as one of the best
fake punk outfits of their time (and definitely their region), they
managed to produce another classic track 'Bad Girls In Love' from their
debut single in 1980, which will make their other forgettable B-sides
sound like mincemeat."— ) 10.00

ARTICLES OF FAITH - Wait 7" (Alonas Dream - Alona’s Dream Records and
Alternative Tentacles Records present the first ever official reissue of
Articles of Faith’s second 7” EP: Wait. Wait was released during the
first wave of American hardcore punk in 1983. It found the band
exploring new sonic territory beyond the hardcore tempos of their debut
7”. Original pressings of this record, still held in high esteem by punk
fans today, command high prices in the used record market. Alona’s Dream
has teamed up with legendary punk label Alternative Tentacles to make
faithful official reproductions of this essential 7” available for the
first time ever. These are the original mixes of the EP, transferred and
mastered by Jason Livermore at The Blasting Room in 2018 and are pressed
in black vinyl with careful reproductions of the original jackets and
inserts. One time only release of 666 copies.) 17.00

ARTICLES OF FAITH - What We Want Is Free 7" (Alonas Dream - Alona’s
Dream Records and Alternative Tentacles Records present the first ever
official reissue of Articles of Faith’s debut 7” EP: What We Want Is
Free. What We Want Is Free was released during the first wave of
American hardcore punk in 1982. Original pressings of this record, still
held in high esteem by punk fans today, command high prices in the used
record market. Alona’s Dream has teamed up with legendary punk label
Alternative Tentacles to make faithful official reproductions of this
essential 7” available for the first time ever. These are the original
mixes of the EP, transferred and mastered by Jason Livermore at The
Blasting Room in 2018 and are pressed in black vinyl with careful
reproductions of the original jackets and inserts. This limited edition
of 666, one time only release will comprise 222 red jackets, 222 white
jackets and 222 blue jackets, to reflect the three different colors of
jackets on the original pressings.) 17.00

MATT GIMMICK - Detroit Renaissance '79 7" (Hozac - "Behold, another
classic gem from the Detroit punk underbelly of the late 1970s, the
elusive MATT GIMMICK ‘Detroit Renaissance ’79’ EP, which rose to
notoriety in its second wind via the Year of the Rats LP compilation,
one of the first ‘raw & rare KBD-style’ comps released just a few years
ahead of the Killed By Death and Bloodstains compilations series. It’s
slash and burn at it’s core, but anchored heavily into a punked up
Stooges template, and as much as the EP rules on it’s own merit, with
one slow-burn “Gimme Danger”-style original throbber, and the smoking
hot title track oozing with enough factory grime to choke any Asheton on
sight, this EP has come to stand as a bit of historical anomaly in the
Detroit punk timeline. Two of the four tracks included here are/were
actual unreleased Stooges songs the band learned from a late 1970
performance they had witnessed and recorded onto cassette. A few years
earlier, the Matt Gimmick band was known as THE PUNKS, another
heavily-Stooges influenced band that never had any releases during their
time, yet made their name around town and luckily stayed busy in the
studio (checkout their 1974-era LP on Rave Up) despite the lack of label
action. Both “Rag” and “Ya Don’t Want My Name” were the unreleased
Stooges originals, performed during the band’s 1971 post-Funhouse era
with both Ron Asheton and James Williamson on guitar, and Jimmy Recca on
bass. It wouldn’t be until 2010 that the Stooges original rough live
versions would surface on their The Electric Circus live LP, albeit much
lower in fidelity than the oily & slithering Matt Gimmick studio
versions from 1979. All in all, a rare piece of Detroit punk history is
finally accessible again, and a filthy reminder of seedier times and
harder crimes that our ancestors took all in stride.") 10.00

PHAST PHREDDIE & THEE PRECISIONS - Hungry Freaks Daddy 7" (Spacecase -
Forty years ago, rock scribe PHAST PHREDDIE PATTERSON of Back Door Man
well-received, but relatively obscure records followed on the Martian
imprint. The two previously unreleased tracks on this 45 were recorded
in 1979 and 1985—the bookends of Thee Precisions’ lifespan. Phreddie was
known for putting LA supergroups together for Thee Precisions
recordings; “What a Friend I have in Whiskey” features Jeffrey Lee
Pierce on guitar—his earliest appearance on vinyl—THE SCREAMERS K.K.
BARRETT on drums, Phreddie on vocals and Precisions mainstay and fellow
rock writer DON SNOWDEN on bass. Limited to 300 copies with liner notes
by Phast Phreddie. For fans of Jeffrey Lee Pierce and The Plimsouls. ) 10.00


ABYSSAL - A Beacon In The Husk DLP (Profound Lore - Otherworldly
mysterious UK dark ambient death metal entity Abyssal have completed
work on their fourth opus A Beacon In The Husk. Standing as the band’s
most colossal and ambitious offering yet, this latest stretches the
Abyssal sound into even darker, more abstract, noiser, and progressive
realms than anything within their previous repertoire. Four years
following the acclaimed Antikatastaseis observation, an album that took
a slightly more structured approach to their enveloping horror, and one
that escalated the band into one of the most prominent death metal
artists emerging from the UK, A Beacon In The Husk brings the audial
terror to a whole new suffocating and insanely complex level, making it
their most outré album to date.) 34.00

GAME - No One Wins LP (Beach Imp - "At long last, the follow up to
2017’s 'Who Will Play?' flexi has materialised in the form of No One
Wins on the LP format. With influences and membership that span the
world of hardcore punk, both stylistically and geographically, this
platter sports 10 tracks of pummeling hardcore punk that incorporates
metallic elements drawn from the near and far reaches of mid '80s
international hardcore and thrash to the simplicity of domestic HC
pestilence. Blended with a great finesse that is both tasteful and
potent—which seems to be a rare feat to attain this day and age—and
buttressed by a top notch mastering job by the great ARTHUR RIZK, which
only feeds the fire that is the base of these already enormous tracks.
GAME is the conduit. Relatively new but sending sickening sounds into
the New Wave of British Hardcore collective, decimating any and all
willing to be destroyed. Seek further advice on Game's sound via the
precedent set by Gastunk, Celtic Frost, Sacrilege, Death Side, and the
VIOLENT REACTION and SUBDUED. Each record comes in a UV gloss jacket
adorned with a stunning collaborative art effort by NICKY RAT, JACK
SABBAT and TAKETO IKEGAMI along with a risograph insert.") 20.00

BIKINI KILL - reject all american LP (Bikini Kill - REISSUED!!! BIKINI
KILL's final studio album originally released in 1996 on Kill Rock
Stars. With three years since their last album, Pussy Whipped, and only
a few 7-inch singles in the meantime, Bikini Kill had loads of time to
become a band that stands on its own merits. Reject All American, their
1996 sophomore release, reveals a refined punk band with increased
clarity, verified competence, and expanded range. While the band's heart
still lies in the sneering brat punk of the Sex Pistols or X-Ray
Spex--heard here on thrilling two-minute slices of attitude like "Capri
Pants" and "Statement of Vindication"--the band also gives a go at airy
alt rock (bassist Kathi Wilcox's jangly "False Start"), classic new wave
pop (the title track's Go-Go's chorus), and even drops a trumpet and
xylophone into the mix. Still, it's Kathleen Hanna's words and vocals
that have matured most and remain the band's primary strength. It's
enough to make you proud: Just look at how our little grrrl has grown.
--Roni Sarig) 18.00

BIKINI KILL - Pussy Whipped LP (Bikini Kill - REISSUED!!! The debut
full-length from BIKINI KILL originally released in 1993 on Kill Rock
Stars. Includes the track "Rebel Girl," listed # 27 on Rolling Stone's
"Most Excellent Songs of Every Year Since 1967" list. Bikini Kill was a
feminist punk band that was based in Olympia, WA and Washington, DC,
forming in 1990 and breaking up in 1997. KATHLEEN HANNA sang, TOBI VAIL
played drums, BILLY KARREN (aka BILLY BOREDOM) played guitar and KATHI
WILCOX played bass. Bikini Kill is credited with instigating the Riot
Grrrl movement in the early ’90s via their political lyrics, zines, and
confrontational live performances.) 18.00

BILL CALLAHAN - Shepherd In A Sheepskin Vest DLP (Drag City - As you
listen to Shepherd In a Sheepskin Vest, a feeling of totality, of
completeness, steals over you, like a thief in broad daylight. Of course
it does —you’re listening to a new BILL CALLAHAN record! The first one
in almost six years! What more do you need to complete you? Or perhaps,
after all the time, the obvious needs to be made just a little more
explicit? First, it’s a different kind of record. Bill’s now writing
from somewhere beyond his Eagle-Apocalypse-River headspace, and Shepherd
In a Sheepskin Vest is very much its own beast. The songs are, by and
large, shorter, and there are more of them. It took almost all of the
previous three albums to add up to that many. Plus, twenty’s a lot of
songs! But again, it goes a lot deeper than that. Moving gradually from
reflections upon the old days in “Ballad of The Hulk” and “Young Icarus”
to the immediacy of the present moment in “Watching Me Get Married” and
“Son of the Sea”, Bill traces the different life lines, casually
unwinding knotty contradictions and ambiguities with an arresting
stillness. The sense of a life thunderstruck by change infuses Shepherd
In a Sheepskin Vest—the songs wander from expressions of newfound joy
and great contentment to other snapshots, considerations of the not-joy
that we all know. Unsettling dream-images and mythic recollections are
patiently received; the undertow of the past is resisted, pulling
against it instead into the present, accepting revolutions of time and
the unconscious as a natural flow.) 30.00

BILL CONVERSE - Hallways DLP (Dark Entries - We are pleased to present
‘Hallways’ the third full length from Austin, Texas analogue hardware
enthusiast Bill Converse. Immersed in the early days of the 90s midwest
rave scene, Bill began DJing at a young age in Lansing, Michigan.
Luminaries such as Claude Young, Traxx, and Derrick May were key early
influences. Techno, noise, ambient and tape processing are all part of
his uncanny sound palette. ‘Hallways’ is an 80 minute journey spread
across 12 tracks and 2 slabs of vinyl. All tracks were recorded directly
to tape with no overdubs, made at Converse's home studio over the past 2
years. Bill says, “One idea for this album is 'through bardos’, the gap
or moment of transition between two things according to Buddhism. Like
an experience in meditation and attempting to find realization/s on the
way through the illusory and interdependent nature of good old fashioned
REALITY.” Built around crunchy synthesizers, harsh drum machines and
jarring acid lines, the tracks share a darker tone than Bill’s previous
albums and one song features guest vocals by music gourmet Carlos
Souffront, a true DJ's DJ from Detroit. All songs have been mastered by
George Horn at Fantasy Studios in Berkeley. Each 2xLP is housed in a
jacket designed by Eloise Leigh with rich purple and smokey turquoise
kaleidoscopic pattern.) 26.00

BRAINBOMBS - Urge To Kill LP (Armageddon - The long-awaited reissue of
the BRAINBOMBS 1999 album Urge To Kill. Nobody knows what a Brainbomb
is, but with the sounds of this record strapped close to your skull you
will not need your fancy pants college thesaurus to figure out exactly
what the meaning is. This record is maximum, in-the-red and dealing with
more issues than a year of after school specials. Sounds like a fried
out speaker blowing a mix of Detroit fueled orgy fun and evil
bad-assery. Driving around in your car, being tired, picking up
hitchhikers and killing them with hammers and screwdrivers—just some of
the raunchy matter touched on in the 36-minute squirt of brain-burned
bile. This shit is better than Burning Hell, their middle finger classic
of 1992. A Brainbomb is the hit to your head and the sound your head
makes when it hits tarmac. I understand if you don’t want to listen to a
record that rocks dangerously. I also know where you live and when you
get off work… You’ve heard of the Hellacopters, Turbonegro, Gluecifer,
and Union Carbide Productions. The North Countries know how to churn out
the rock…hard. Brainbombs decimate all these bands with their brutal
thug rock. This isn’t heavy metal, there is no boogie rock on this, and
they are not punk rock. Brainbombs go for your jugular. Isn’t rock music
an outlaw sound? Its not funny, its like hitting yourself with a hammer.
Bands like Drunks with Guns and Whitehouse aren’t funny either.
Originally released on vinyl by our friends at Load Records, now kindly
reissued with their blessing.) 25.00

COLD SHOWERS - Love And Regret LP (clear vinyl) (Dais - Official repress
of Love & Regret, the long out-of-print 2012 debut album from LA-based
post punk outfit Cold Showers. Cold Showers, a unit formed in Los
Angeles, CA in 2010, fuses the brash power of their shoegaze
predecessors with the smoky compulsions of accessible synth pop
standards. Cold Showers fits comfortably within the dusty catalog of
Factory Records, if only for their modern interpretation of the romantic
isolation that signified that long past era. Piston-precision rhythms
and angular guitar patterns that drive along songs such as “Alight” and
“BC” sit comfortably alongside the opposing raucous-tinged tracks such
as “I Don’t Mind” and “Seminary”. This is the pervasive pop mode against
which Cold Showers cast themselves. Versatile, memorable and
romantically wistful are all common themes that listeners relate to when
diving into Love & Regret. Looking back on the past seven years and the
album’s ultimate impact, Love and Regret created and solidified the
band’s stark identity in a single, well crafted release. While their
early singles on Art Fag & Mexican Summer introduced listeners to Cold
Showers simply as a band, Love & Regret debuted the group as something
to be taken more seriously. Songs that are intended to be personally
unpacked with the listener’s pleasure and heartbreak as personal
reminders of more innocent times.) 24.00

THE COMET IS COMING - Trust In The Lifeforce Of The Deep Mystery LP
(Impulse - On Trust In The Life Force Of The Deep Mystery, the Mercury
Music Prize-shortlisted futurist jazz voyagers The Comet Is Coming are
making music for these crisis times of chaos and mass meltdown. The
title of the album, the band say, concerns “finding meaning in that
which you cannot grasp”, it considers “truth in the existence of a
primordial energy”. It asks “What does it mean to be human? The music on
the trio’s second record, out on impulse!, fluctuates between pulsating,
danceable, electronic groove-centric pieces and quieter, melodic
jazz-infused compositions. The Comet Is Coming are: Danalogue
(keyboards/electronics), Betamax (drums) and King Shabaka (saxophone).)

CONDOR - Singles 2017 - 2018 LP (Beach Imp - "MAXIME SMADJIA has held
many positions of note in some of the more exceptional French
underground groups of recent years. For instance, you might know him as
the beastly beat keeper behind Paris Oi band RIXE or the song writer
behind the ever so catchy BOSS but for those who have yet to be
initiated this is CONDOR—a one man band and love letter of sorts to his
homeland and the particular strain of Oi / Punk music that it started
yielding well over three decades ago. Previously only available on a
pair of scarcely pressed and circulated cassingles, Beach Impediment
Records is ecstatic to further the circulation of these six songs on the
vinyl format. Channeling the brightest moments of the classic
compilation series Chaos En France (and really, anything else on the
Chaos Productions label that's worth a damn) combined with an execution
so precise and well crafted that it carries that undeniable trademark of
Smadja's many other contributions to the genre of punk over his time in
it due to it's attention to detail and adoration of quality. And as a
special bonus this slab features an additional track that is exclusive
to this release—a cover of 'Vengeance' by the '80s Parisian Oi outfit
D.E.M. Each record comes in a jacket featuring the stellar art of BEAU
RICHIE depicting what I'd assume must be a typical day in one of the
abundant alleyways that weave through out the City of Lights, plus a
killer 18" x 24" fold out poster insert. Be sure to catch CONDOR on tour
this spring through out North America!") 20.00

DROWSE - Light Mirror LP (Flenser - In April of 2018, Drowse’s Kyle
Bates left his home in Portland, OR, for an artist residency in barren
northern Iceland. Much of Bates’ time there was spent in self-imposed
isolation, giving him ample space to ponder the nature of solitude, and
what it means to be “closed” or “open” to the world. Upon returning
home, Bates worked obsessively. Maya Stoner, his longtime creative
partner, sometimes came to sing, but recordings were mostly done alone.
The dichotomy of his Icelandic musings materialized in a very real way
as he neglected his personal relationships in favor of his art. While he
was confronting his life-long fear of intimacy, and reconciling himself
to a diagnosis of Bipolar 1, Bates found that the means he employed to
conquer these obstacles—self reflection through art—carried with them an
equal measure of misery. Light Mirror, Drowse’s second album for The
Flenser, is a subtle exploration of these contradictory attitudes and
their consequences that can be heard as an artifact of sonic
self-sabotage. Light Mirror falls within a lineage of overcast Pacific
Northwest albums (think Grouper’s Dragging A Dead Deer Up A Hill), but
finds Drowse pushing past its slowcore roots. The album’s prismatic
sound reflects experimental electronic, noise pop, black metal,
krautrock, and more through Kyle’s distinct song-worlds. The lyrics are
ruminations on the idea of multiple-selves, identity, paranoia, fear of
the body, alcohol abuse, social media, the power of memory, the truths
that are revealed when one is alone, and the significance of human
contact. They were influenced by filmmaker Andrei Tarkovsky and poet
Louise Glück, who both address self-contradiction. Mastered by Nicholas
Wilbur (Mount Eerie, Planning for Burial) at the Unknown, the album
showcases a striking maturation in sound. Light Mirror is Drowse’s most
intimate and desolate work to date.) 21.00

EARTHEN SEA - Grass And Trees LP (Kranky - Jacob Long’s reductionist
rhythmic ambient vessel, Earthen Sea, ebbs towards a more purely
elemental state on his second excursion for Kranky, Grass And Trees. He
describes the creative process as one of “simplifying things as much as
possible,” designing uncluttered spaces traced in nothing but breath,
field recordings, and “sounds that could be played by hand but weren’t.”
The results feel decentralized but dynamic, low-lit evocations of
ambiguous nocturnal environments—dub techno disassembled into stray
pulses and spare parts. It’s a music both interior and infinite,
languorous yet transformative, made in the outer boroughs of a
metropolis but existing in its own liminal wilderness. Long’s vision is
a grounding one, rooted in the physical body but attuned to larger
currents: “In response to living in a fairly hectic city, and at a very
hectic time for the world at large, creating something more drawn back
and restrained felt appropriate.”) 21.00

ELKHORN - Sun Cycle / Elk Jam DLP (Feeding Tube - "Two mind-bending
slabs of acoustic and electric guitars, wandering into corners of
acid-logic only accessible to bravest explorers. ELKHORN is a duo—JESSE
SHEPPARD and DREW GARDNER—from NYC. Elkhorn's music, which we had
suspected might be in a fairly traditional American Primitive vein, was
anything but. And these two LPs (released individually, but recorded
more or less simultaneously) explore a whole warren of new style
caverns. Sun Cycle was recorded at JASON MEAGHER's Black Dirt Studio and
is closer to their pure duo sound (although guitarist WILLIE LANE and
percussionist RYAN JEWELL are along for the ride). There are elements of
the American Primitive thread present, but these touch mostly on the
outer reaches of the form, like Gene Estibou & Jean-Claude Pickens'
Intensifications, or the crazy distentions of MV and PG Six. On Elk Jam,
Willie Lane and Ryan Jewell function more as members of a psychedelic
folk-rock quartet, and the troupe takes things even deeper in a Bay
Area-styled trip zone. Recalling the classic ruminations of Mountain
Bus, the full four man Elkhorn is exactly what the doctor prescribed for
a generation of sack-butts who imagine John Mayer's pudgy phallus-riffs
have shit to do with transcendental psych exploration. Elkhorn are the
true sonic dealio. Instrumental music doesn't get much better than this.
As Capt. Beefheart once said, 'If you got ears/You gotta listen!' We
couldn't agree more." — Byron Coley, 2019.) 46.00

FETID - Steeping Corporeal Mess LP (20 Buck Spin - While home to fertile
forests, soaring peaks and copius precipitation, the Pacific Northwest
lately has also become a breeding ground for something more nefarious,
more grotesque, more… Fetid. Since 2016 Fetid has steadily swelled like
a venereal boil upon death metal’s infected anatomy. The band’s Sentient
Pile Of Amorphous Rot demo introduced the mustiest corners of the globe
to their abhorrent peculiarities. Now, having sliced into the furthest
reaches of some unfortunate’s intestinal mucosa, they’ve ripped out a
Steeping Corporeal Mess of festering death metal barbarity. All one
needs to know is that from the opening of “Reeking Within” to the
closing moments of “Draped In What Was”, Fetid consume from the inside
out, tearing through flesh, liquifying and engulfing the entire host
body into formless horror. “Feel it breath, feel your fear, the time is
now, they are here…”) 23.00

GOLDEN PELICANS - Grinding For Gruel LP (12xu - Over the course of the
last 8 years, Orlando’s GOLDEN PELICANS have made a compelling case for
themselves as one of the planet’s most relentlessly malevolent
ensembles, both live and on record. Thankfully, however, this is not an
episode of “Hot Bench” and rather than finger-pointing and tearful
recriminations, I’ll offer as evidence their succession of titles for
the Total Punk and Goner labels with which the quartet of vocalist ERIK
GRINCEWICZ, guitarist SCOTT BARNES, bassist SAMMY MENESES and drummer
RICH EVANS have made reached American punk’s apex in the 2 thousand
teens more than once (like goalposts, the thing moves around a bit). On
the band’s 2019 entry, Grinding For Gruel, recorded by RYAN BELL of GG
King / Predator, Grinewicz’ fatalism and Barnes’
not-nearly-heralded-enough virtuosity are captured with the sort of
chromatic sheen that would’ve at one time been considered unthinkable
(well, before electricity was invented, anyway). Is this the finest,
most fully-realized Golden Pelicans release to date?) 21.00

HATCHIE - Keepsake LP (DDW - Keepsake is the debut full length from
Australia’s HATCHIE. After releasing the critically acclaimed Sugar &
Spice EP in 2018, Hatchie toured extensively internationally, opening
dates for household names such as Alvvays, Snail Mail, Beach House,
among others, with upcoming dates supporting Kylie Minogue in Australia,
and Girlpool in the US. With her full-length debut Keepsake, the
Australian singer/songwriter tries on countless new textures, exploring
everything from industrial to new wave to dance-pop, handling each with
understated elegance and pure, powerful feeling. LP pressed on milky
white vinyl.) 21.00

IMMORTAL BIRD - Thrive On Neglect LP (20 Buck Spin - Bands mixing
sub-genres in underground metal often do so with mixed and inconsistent
results. Not so with Chicago’s Immortal Bird who wield their eclectic
savagery with meticulous cohesion and sharpened ferocity. Returning with
Thrive On Neglect, the band’s second album, and first for 20 Buck Spin,
the band takes the perilous road of musical diversity and command it
with a bloodthirsty rage. With a multi-layered sound running the gamut
from pummeling grind and death metal to dissonant blackened metal,
angular noise and complex hardcore, Immortal Bird defy simple
categorization. The band’s compositions fuse into strikingly savage
songs, vast in their scope and more than the sum of their disparate
parts, merging the progressive and destructive into a maelstrom of
raging fire. Rae Amitay’s seething vocal exorcisms and targeted lyrical
aggression provide the connective tissue holding this stylized violence
together. Aided and abetted by the incomparable Dave Otero (Archspire,
Cobalt, Khemmis) Thrive On Neglect features a punishingly heavy
production ideally suited for the band’s tumultuous arrangements and
orchestrated chaos. Nearly four years in the making, this album is a
blistering statement of intent from a band ascending into full bloom.) 23.00

IMPRECATION - Damnatio Ad Bestias LP (Dark Descent - Imprecation rises
again from the blasted lands of Texas with their darkest spell ever,
Damnatio Ad Bestias. This album expands upon the themes of their 2013
debut Satanae Tenebris Infinita with deadly results. An aura of true
Satanic majesty is unleashed in tracks like “Temple of the Foul Spirit”,
“Morbid Crucifixion”, and “Baptized in Satan’s Blood”. Bludgeoning
guitars, battering drums, and haunting keys create an experience that
will terrify the unbelievers and convert the uninitiated. Formed in
1991, Imprecation has become a vaunted institution in the underground,
with their now-classic Theurgia Goetia Summa compilation cited by bands
across the globe. They have no need for trendy tags like “old school
death metal”, for theirs is simply death metal as it it was
intended—evil, dangerous, and crushing.) 24.00

INDEX - Originals Vol. 2 (1969) LP (Lion - In February of 2009, Jim
Valice of Index discovered three reels in a cardboard box stuffed in a
closet of his parents home in Michigan. These songs from 1969 were on
those reels. Fourteen original compositions by Index, seven making their
vinyl debut, the other seven released for the first time ever, all
transferred from the original tapes! Index was once again a pure power
trio by 1969. There was massive demand for Index personal performances.
Index was not interested. It was becoming more difficult for guitarist
John Ford to travel back from Yale University to Detroit on a weekly
basis. Index wanted to push the bounds of their own creativity. They
chose to use their limited time together to write and record. Index were
the epitome of a DIY band. They made great use of the newly developed
sound on sound (SOS) technology. It allowed Index to record basic tracks
(guitars, drums and lead vocals); with SOS they then could add
keyboards, additional guitar tracks and vocals. A musical revolution in
miniature!) 30.00

J. ROBBINS - Un-Becoming LP (Dischord - J. ROBBINS has been the
guitarist/singer and primary songwriter (or pushiest collaborator) in
several bands since the early ’90s, including JAWBOX, BURNING AIRLINES,
CHANNELS and OFFICE OF FUTURE PLANS. He has also played bass for
For the bulk of that time, he has also been active as a recording
engineer/producer, working with musicians from around the world at his
Baltimore-based studio, the Magpie Cage. J. started performing as a solo
artist around 2010, making occasional low-key releases on Bandcamp and
contributing to two benefit compilations that were released on Germany’s
Arctic Rodeo Records. Un-Becoming—which came together in short bursts of
activity spread out over the long stretch between 2016 and 2019—is his
first full-length solo record. On 11 of the LP’s 12 songs, J. is joined
cello and guitar.) 18.00

JEAN BOSCO MWENDA - s/t LP (Mississippi - The pioneering Congolese
guitarist best known for the song "Masanga," this is the first
compilation ever dedicated to JEAN-BOSCO MWENDA. Perhaps the greatest
influence on central and eastern African guitarists, Jean-Bosco created
a totally unique approach to the acoustic guitar in the 1950s, which
caught like wildfire across the continent. Featuring 12 rare songs of
beautiful, complex fingerstyle guitar & Mwenda's warm voice, and 2
beloved classics - all restored from original 78 RPM discs. Includes an
insert with full lyric translations!) 20.00

JULIAN LEAL - s/t LP (Hozac - "JULIAN LEAL behold the Romoeville Ripper!
His name is always heard around pop cognoscenti circles due to his
irresistible and impossible to find 1985 debut LP and a handful if
blisteringly good singles, all self-released homemade power pop magic
from the near Chicago south suburbs. With a self-taught confidence and a
knack for sophisticated synth-soaked bubblegum hooks, Leal gigged around
the local band circuit and pitched his material to anyone that would
listen, but ended up forming his own imprint and tackling the record
pressing head on, as well as handling almost ALL of the instrumentation
on his own. Wading through all the skinny ties and goofy New Wave
haircuts of the mid '80s landscape, somehow his independent releases
found their way to a few crucial ears. Most notably, was some continued
encouragement from Bomp! founder Greg Shaw, as well as even landing a
rating session on beloved teen TV show American Bandstand. Leal’s
furiously infectious synthesizer-charged power pop wasn’t really like
most of his peers, and really zoned in on a focused “teenage crush”
vibe, the perfect vehicle for the unprofessed king of ‘Roller Skate
Rock.’ There’s just something so purely Midwest, so 80s teenage, you can
even smell the scented lip gloss if you close your eyes, and the way
Leal’s searing guitar solos wrap it all together, it’s the perfect time
capsule, …and it’s here just in time for Summer."— ) 20.00

LINEA ASPERA - Preservation Bias LP (Dark Entries - Dark Entries
continues celebrating our 10 year anniversary with ‘Preservation Bias’,
a compilation of lost songs and rarities from Linea Aspera out June
28th. The group formed in London in November 2011 by Ryan Ambridge
(Synths/Programming) and Alison Lewis (Vocals/Synths). Within the duo,
Alison writes and performs all vocal elements, while Ryan is responsible
for producing, recording and mixing the electronics. We released their
debut self titled album in June 2012 that was followed by a posthumous
vinyl reissue of their tour cassette “II” on Weyrd Son Records in 2013.
For all recordings Ryan utilizes an analog synthesizer set up: Roland
SH-09, Roland Juno 6, Vermona DRM MKiii, Korg Poly 800 and Analogue
Solutions Semblance. Linea Aspera's sound includes clear influences from
1980s electronic body music, synth-pop, industrial and noise. Lyrically
the band incorporates the sciences of osteology, neuroscience, and
anthropology weaving a new medical language around themes of desire,
despair and renewal. Linea Aspera is the muscle attachment on the back
of the femur and translates to 'rough line' in Latin. ‘Preservation
Bias’ features all three songs from the limited ‘II’ tour cassette EP,
four songs from the 2012 self-titled limited cassette EP and one song
from the Desire Records 2013 compilation ‘And You Will Find Them In The
Basement’. All songs have been mastered by George Horn at Fantasy
Studios in Berkeley. Each LP is housed in jacket designed by Niall
Greaves and includes a double-sided insert with lyrics.) 23.00

LINGUA IGNOTA - Caligula DLP (clear vinyl) (Profounf Lore - Caligula,
the new album from Lingua Ignota, takes the vision of Kristin Hayter’s
vessel to a new level of grandeur, her purging and vengeful audial
vision going beyond anything preceding it and reaching a new
unparalleled sonic plane within her oeuvre. Succeeding her self-released
2017 All Bitches Die opus, this new one sees Hayter design her most
ambitious work to date, displaying the full force of her talent as a
vocalist, composer, and storyteller. Vast in scope and multivalent in
its influences, with delivery nothing short of demonic, this is an
outsider’s opera; magnificent, hideous, and raw. Eschewing and
disavowing genre altogether, Hayter builds her own world. Here she fully
embodies the moniker Lingua Ignota, from the German mystic Hildegard of
Bingen, meaning “unknown language” —this music has no home, any
precedent or comparison could only be uneasily given, and there is
nothing else like it in the contemporary realm. Working closely with
Seth Manchester at Machines With Magnets studio, Hayter strips away much
of the industrial and electronic elements of her previous work,
approaching instead the corporeal intensity and intimate menace of her
notorious live performances, achieved with unconventional recording
techniques and sound sources, as well as a full arsenal of live
instrumentation and collaborators including harsh noise master Sam
McKinlay (The Rita), visceral drummer Lee Buford (The Body) and frenetic
percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals
from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa
Kaplan (Visibilities). Caligula is a massive work, a multi-layered epic
that gives voice and space to that which has been silenced and cut out.)

LTD (LOUDER THAN DEATH) - Stop Und Fick Dich LP (In The Red - King Khan
has scoured the earth to find the most rocking freaks of nature this
side of the planet to form what he calls “an all-star cream of the crop
rock ’n’ roll lifers association” aka Louder Than Death aka LTD—Looch
Vibrato and Aggy Sonora (of the legendary Magnetix) on guitar and drums,
and Fredovitch, the mighty organ surfer of the Shrines, throws out the
keys and picks up the bass. King Khan assumes the position of frontman /
lead shouter / effeminate cult leader (by choice). What is born is a
maelstrom of pure unadulterated, unhinged, unbelievable rock ’n’ roll
baptized in the salty sea water of Bordeaux, France, waterboarded with
the finest wines, choked with the smelliest cheeses, dipped into a vat
of oysters, octopus and shrimp. This is not just a band, its an orgy of
the damned! King Khan summons the punk rock demons buried in his bodacious brown
back side, lathers up the listeners in his mystical oils and leaves the
audience thirsty, horny, riled up, ready to dance upon the apocalypse
and punch it in the face all in one mighty fell swoop. King Khan on the
other players: “I once saw Looch Vibrato take a pair of glasses off
someone’s face and stick them in his mouth and crunch them into dust,
all because he warned him not to drink a warm can of beer filled with
his own piss. Aggy Sonora, is the love child of Peggy from the Gories
and Anaïs Nin. She beats her drums as senselessly as sensually. The
sound of lust and labour rammed into one mystical inauguration of the
pleasure dome. Fredovitch (aka Freddie Rococco) was once mistaken for
the son of Roky Erickson by Japanese music magazines. He is in fact a
son of a gun and the greatest bass player since sliced brie. When he
isn’t playing bass he is conducting orchestras in his mind and preparing
to take over the world of classical music. His motto is : you slap my
bass, I’ll slap yo’ face... and fuck your mom.” Tired of the smoke and
mirrors of the modern music world? Then trust in this Union of Lifers.
They chose the path to enlighten lives with simple, pure, decadent
ordering of chaos. They found the beat in the slow death of the human
race, and they have come to save your uncool niece. ) 18.00

LVCIFYRE - Sacrament LP (Dark Descent - After the leveling aural
decimation of 2014’s Svn Eater, the UK’s Lvcifyre have re-emerged with
Sacrament, a twenty-three minute extended-play offering of cacophonous
and wretched death metal savagery. Where relentless and violent death
metal riffing meets chaotic and claustrophobic atmosphere, this is a
delve into the corner of death metal fringe that many fear to explore.
Features a faithful and blistering cover of Kat’s (Poland) “Morderca” in
addition to four original tracks. Vinyl version is a single-sided
12-inch with an etched b-side featuring art from Timo Ketola.) 24.00

MICRO EDGE - 1983 Demo LP (Ugly Pop - In the works for a couple decades
now, this holy grail of early Toronto hardcore finally sees wax. Culling
the best takes from three ‘83 studio sessions, this is pure ‘80s HC in
the vein of SS Decontrol, Abused, The Fix, Negative Approach, YDI, Urban
Waste and early Agnostic Front. An essential piece of punk history, 17
tracks cut loud at 45 with 16-page 8.5" x 11" zine. One-time pressing of
500 only.) 26.00
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Re: Bis Aufs Messer July news

Messagepar ADAGIO830 » 14 Juil 2019, 12:10

hi. Welcome to the 2nd newsletter for July. Two days late - but on time before Sunday Dinner.
A Bunch of new stuff arrived as usual like the THE COMET IS COMING - Trust In The Lifeforce Of The Deep Mystery LP on Impulse,
LP, the fantastic ELISA WAUT - s/t LP re issue, the killer DRAB MAJESTY - Modern Mirror DLP via DAIS, KALI MALONE - The Sacrificial Code DLP,
New TORCHE - Admission LP, This Charming Man restocks

And for ADAGIO830 the SPORT - discography 3xLP + 7“ (incl. all three albums plus the demo 7“) … right on time for their final tour
And the FINAL show in Berlin in July 27th with GRAF ORLOCK and BAYONE. Don’t miss this

besides records you can also get lots of tickets from us for Puschen, Direct Booking etc etc
Thank you
Robert & Norman


70 CM³ OF YOUR CHEST - When I Was A Dinosaur LP (TCM - 70cm3 of Your Chest is the volumina of blood an average adult heart pumps with one beat. It is also a crushing threepiece outfit from Vilnius, Lithuania (now living in Berlin) which plays heartfelt atmospheric music in the
veign of Tidal Sleep, Touche Amore and alikes. This is what they say `bout themselves: Some of us had emotionally hard times while writing ‘when I was a dinosaur’ – it was written in cooperation with pain, loss, childhood traumas and grief. In some sense it’s a tribute to the past and a lesson of letting go. Since it is pretty personal album and we are sure that many others can relate to the stories we tell, we are very happy we had a possibility to collaborate with Fabian from Sunsetter Recording Studio who did everything to make our vision happen. We had thefac best recording experience and we’re thankful that he kept it not
only very professional but friendly and understanding as well. FFO: Tidal Sleep, Touche Amore, Viva Belgrado) 14.00

ATTARAZAT ADDAHABIA & FARADJALLAH - Al Hadaoui LP (Habibi Funk - Attarazat Addahabia & Faradjallah's album came to us as quite a mystery. Our friends from Ra- dio Martiko got access to the studio archive of the Boussiphone label and a reel labeled “Fara- djallah” was among the items
they had found there. After listening to the selection of reels they borrowed, Radio Martiko felt it was not a fit for their label and helped us licensing it from Mr. Boussiphone instead. We knew nothing about the band. We just had the reel with the music but very little information.
What we knew was that the music was incredible and very unique. Gna- wa sounds were combined with funky electronic guitars, very dense layers of percussions and female backing vocals more reminiscent of musical styles
further south than Morocco. During the 1950s Faradjallah was booked as a singer for surprise parties with friends. He started to write his first songs including "L’gnawi" in
1967 and wanted to make people discover Gnawa culture, or maybe rather his take on the culture to be more exact. Faradjallah recalls his first in- teraction with the genre in the streets of the Dern neighbourhood, where he used to go to elemen- tary school. Gnawa is one of the essential musical genres of Morocco. It combines ritual poetry with
traditional dances and music linked with a spiritual foundation. Musically a lot of influences originated from West Africa as well as Sudan. Gnawa is usually played by a selection of specific instruments such as the qaraqab (large iron castanets centrally associated with the
music), the hajhouj (a three string lute), guembri loudaâ (a three stringed bass instrument) and the tbel (large drums). People would put shells on their clothes and instruments and use incense at their parties. "Sidi darbo lalla - lala derbo khadem..." came from Gnawa verses Faradjallah used to sing when he was 14. ) 23.00

CHARLES MINGUS - The Rarest On Debut LP (Doxy - Created in 1952 by bassist Charles Mingus and drummer Max Roach, Debut label was a first attempt by Jazz musicians to get their music recorded and released under
their own control. A short lived experiment (1952-1957) that produced some memorable works. The vibrant spirit of Mingus lives through this great selection of rare Debut recordings with himself as leader of two different line up (quintet / octet) and as bassist of the Hank Jones
trio and the Thad Jones quintet.) 18.00

THE COMET IS COMING - Trust In The Lifeforce Of The Deep Mystery LP (Impulse - On Trust In The Life Force Of The Deep Mystery, the Mercury Music Prize-shortlisted futurist jazz voyagers The Comet Is Coming are
making music for these crisis times of chaos and mass meltdown. The title of the album, the band say, concerns “finding meaning in that which you cannot grasp”, it considers “truth in the existence of a primordial energy”. It asks “What does it mean to be human? The music on
the trio’s second record, out on impulse!, fluctuates between pulsating, danceable, electronic groove-centric pieces and quieter, melodic jazz-infused compositions. The Comet Is Coming are: Danalogue (keyboards/electronics), Betamax (drums) and King Shabaka (saxophone).)

DEAN HURLEY - Anthology Resource Vol. II: Philosophy of Beyond LP (Sacred Bones - Philosophy of Beyond, the second volume in the Anthology Resource series, continues Dean Hurley’s experimental soundscape work
into more ethereal and celestial territory. 12 tracks weave together a rich sonic tapestry built in part from comb-filtering experiments, tape loops, and sampled field excursions into unique acoustical environments. A bulk of the LP is assembled from Hurley’s sonic contributions to the recent feature film Perfect (2018, dir. Eddie Alcazar) as well as material made in residency for Art Gallery of New South Wales’ event Masters of Modern Sound…all of which are threaded together into a singular, cohesive dissertation on the afterlife. Outlining a landscape beyond physical reality, the record serves as a soundtrack to the mysterious and immortal voyage of the soul into depths beyond the known
and back again. What lies beyond physical reality? Beyond intellect and the system of the five senses? What do accounts of near death experiences, alien encounters, psychedelic drugs, astral projection, even strokes all have to do with this and why do each seem to share a
core architecture of description? A long time David Lynch collaborator, Hurley operated and managed Lynch’s Asymmetrical Studio from 2005-2018 where he worked closely with Lynch on the sound and music for his
feature films, commercial work and albums; most recently providing material for the third season of Twin Peaks (Showtime). Hurley inaugurated the Anthology Resource series with a compilation of his licensed material from the show in 2017. Due to a release restriction,
Anthology Resource Vol. I remains a digital-only release and cannot receive physical distribution. What is Anthology Resource? Anthology Resource is an ongoing compendium curated both from and for film and television in the library / production music tradition. A flagship source for outré sonic material, it was conceived to service the unique gap that straddles atmospheric score and sound design. Each release organizes thematic audio material fully licensable, non-exclusive and designed for motion picture based work and listeners alike.) 24.00

DRAB MAJESTY - Modern Mirror DLP (Dais - Since the 2015 release of Drab Majesty’s debut “Careless”, and the release of the acclaimed sophomore album “The Demonstration” the following year, artist Deb Demure and collaborator Mona D. have firmly established themselves amongst the pantheon of dark synth-pop greats, establishing a devoted fan base worldwide with their singular hypnotic sound and mysterious,
constantly-evolving presence. Following intense and extensive touring in support of the first two albums, Drab Majesty escaped to the inspirational landscapes of Athens, Greece to channel the songs for their most ambitious album creation yet: Modern Mirror. Blowing the dust off the antiquarian myth of Ovid’s “Narcissus”, Drab Majesty uses its premise as groundwork for a modern reinterpretation. Each song tells a piece of the story, in which the listener’s own self-identity has become warped and dissociated through rapidly expanding technology, losing
touch with the origins of their own personalities. Setting the stage as a romantic saga of antiquity, “A Dialogue” asks the listener if they are truly in love amid a building wash of guitars and reverb. Elements of classic tragedy weigh heavily in the reflection of Modern Mirror in
songs like “The Other Side”, possessing a fundamental sound that is energetic, luminous and hopeful. Fusing the sonic aesthetics of predecessors like New Order and The Cure within the cautious instruction of Greek mythology and modern science fiction, Drab Majesty has birthed
a hybrid of dreamy malaise, captured for a future moment.The first single, “Ellipsis”, romantically plays up the distorted concept of courting through modern technology in a world that has yet to adapt, while on “Long Division”, Deb’s resounding guitar cascades around the
chorus shared with No Joy frontwoman Jasamine White-Gluz, wistfully warning us against our vanity and self-obsession. Even when hope for everlasting love peeks through in “Oxytocin”, a sparkling and stoic
track sung by Mona D., we are firmly reminded our fleeting existence. Modern Mirror is a journey of self-reflection, nostalgia, love, beauty, and heartbreak told across eight addictive and emotional synth pop anthems – a seemingly classic tale delivered unblinkingly through the frame of the modern world. Produced by Josh Eustis (Telefon Tel Aviv) and mastered by Dave Cooley, with appearances by Jasamine White-Gluz (No Joy) and Justin Meldal-Johnson (NIN, Beck, M83, Air). Packaging and design by Juan Mendez of Jealous God/Silent Servant.) 24.00

ELISA WAUT - s/t LP (Numero - Originally issued as a hand-dubbed demo tape in 1982, Elisa Waut’s icy debut gets its first vinyl issue. The Flemish trio of Chery Derycke and siblings Elsje and Hans Helewaut took new wave to its natural conclusion; trading Europe’s organic post-punk
approach for the new cold war order of synth and rhythm box. Soviet paranoia, isolation, suicidal musings, and other miscellaneous bouts of young adult depression are covered in both French and English. A 28-minute minimal wave masterpiece.) 24.00

JACOB KIRKEGAARD - Black Metal Square LP (Important - Ltd. edition of 100. Hand numbered, black sleeve with a screen printed sheet affixed to the cover. Three freely hanging black metal plates: 50x50x005cm, 75x75x005cm & 100x100x005cm Piezo sensor and contact speaker attached on rear side of plate, amplifying and mirroring its subtle and naturally occurring vibrations, evoking its characteristic resonant frequencies .) 38.00

JON MUELLER - Canto LP (Sige - Jon Mueller is a multi-faceted percussionist, presenting his latest body of work in Canto for gongs, voice, and percussion. In his solo work that spans two decades, Mueller has embarked on a lengthy exploration of the timbres, the dissonance, and the physicality of repetition from his array of percussive
instruments. Gongs had long been a part of his repertoire, but here on Canto he addresses their specific sonic attributes in conjunction with extended vocal techniques bolstered through his studies with the legendary NYC minimalists LaMonte Young and Marian Zazeela. In ruminating upon this shift in focus for ‘Canto,’ Mueller explains that “The driving energy of drums is replaced by deep contemplation and wonder, questions, confusion, darkness and ultimately, calm.” The three tracks to Canto - entitled “Oil,” “Wick,” and “Flame” - have their names taken from a Sufi text, representing parts that create a whole, just as a canto is a part of a longer poem. “Oil” is an expansive piece that builds upon frameworks that build gradual crescendos from his gongs through volume and complexity of frequency. This unfurls into an eerie
yet beautifully rendered sound bath of metallic resonance and reverberation girded by slowly paced vocal melodies. “Wick” stems from Mueller’s lessons with Young and Zazeela. While his goal was not to an Indian classical singer, he adopts those techniques in this vigorous concentration of sustained vocal tones for a piece that is as
trenchant as it is meditative. “Flame” reprises the combination of gong overtones that amass out of a deep somatic chant. Canto stands as a bold, expressive album that follows a long line of avant-garde percussionists that include Eddie Prevost, Jason Kahn, Daniel Schmidt, and Christopher Tree’s Spontaneous Sound.) 23.00

KALI MALONE - The Sacrificial Code DLP (Ideal - Kali Malone presents a quietly subversive new album featuring almost two hours of concentrated, creeping organ pieces governed by a strict acoustic and compositional
code. It’s a major new work with ultimately profound emotional resonance. ‘The Sacrificial Code’ takes a more detailed approach to ideas first sketched out on last year’s ‘Organ Dirges’, which featuredcanon exercises spontaneously captured without much prior technical
planning. By contrast, the recording of ‘The Sacrificial Code’ involved the more careful micing up of several organs in such a way as to eliminate acoustic impurities as far as possible - essentially removing the large hall reverb so inextricably linked to the instrument. The pieces were then performed free of gestural adornments and without
expressive impulse - an approach that flows against the grain of the prevailing musical hegemony, where sound is so often manipulated, and composition often steeped in self indulgence. The question posed; can this strict methodology still speak to the listener in meaningful terms?
The answer is both obvious and entirely surprising; with its slow, purified and seemingly austere qualities ‘The Sacrificial Code’ guides us through an almost trance-inducing process where we become vulnerable
receptors for every slight movement, where every miniature shift in sound becomes magnified through stillness. As such, it’s a uniquely satisfying exercise in transcendence through self restraint - a stunningrealisation of ideas borne out of academic and conceptual rigour which gradually reveals startling personal dimensions. It has a perception-altering quality that encourages self exploration free of signposts and without a preordained endpoint - the antithesis to the language of colourless musical platitudes weíve become so accustome to.) 29.00

KRANK - Mausetot EP LP (TCM - 5 neue Songs der Hamburger Punx – trauriger Weise wird hier ein Abschied zelebriert: Mausi und Stütze verlassen die Band und geben Euch hiermit ihr Vermächtnis in die Hände. Aber keine Angst – es gibt keine lauwarmen Aufguss um schnell nochmal die C-Ware unters Volk zu bringen & es wird auch nicht noch schnell im „haste mal ne Mark“-Style die Aufmerksamkeit erschnorrt. Fünf starke Song, getränkt im typischen Krank-Pessimismus, irgendwo zwischen LoFi-Garagepunk und 80er- und Nullerjahre D-Punk. Farewell Buddies, Krank machen weiter – keine Sorge!
Onesided col. 12“ (white ) – 350 Gramm Cover with Poster!) 13.00

METZ - Automat LP + 7" (Sub Pop - METZ, our own widely-adored and delightfully noisy 3-piece punk band from Toronto (ON, CANADA), have been laying waste to stages around the globe for over 10 years. During that tumultuous chunk of time METZ, comprised of Alex Edkins, Hayden Menzies, and Chris Slorach, have cemented their reputation as one of the planet's most exhilarating live acts and trusted providers of bombastic outsider rock. Along the way, they’ve earned enthusiastic support from The New Yorker, Mojo, NPR, The New York Times, KEXP, The Guardian, Pitchfork, Stereogum, NME, The AV Club, Q, Uncut, Exclaim, DIY and a whole bunch of others . Referring to the trio's tireless tour regime and unquenchable thirst to bring their music to the people, John Reis (HotSnakes, RFTC, Drive Like Jehu) once said, “your ambition is really
unflattering, chill out.” They did not listen. Instead, their love of the road and passion to create uncompromising and challenging music remains unwavering and has only grown over time. Their recorded output to date, a cornucopia of pop-inflected noise punk and damaged fuzz anthems, includes 3 critically-acclaimed LPs with Sub Pop, as well as a plethora of limited-edition releases, collaborations, covers, and rarities. Which brings us to Automat… Automat is a collection of METZ non-album singles, B-sides, and rarities dating back to 2009, available on LP for the first time, and including the band's long out-of-print early (pre-Sub Pop) recordings. And Automat is a chronological trip
through the lesser known material of METZ. Included here are the band’s first three 7” singles, recorded 2009-2010 and originally released by We Are Busy Bodies Records; a demo version of “Wet Blanket,” the explosive single from 2012’s METZ; two tracks from the limited-edition bonus
single that accompanied preorders of METZ; “Can’t Understand,” originally released in 2013 by [adult swim]; and both tracks from the band’s 2015 single on Three One G. Consumers of the vinyl format of Automat will be rewarded with a bonus single that includes three additional tracks: a cover of Sparklehorse’s “Pig,” from a very limited
2012 Record Store Day split single originally released by Toronto’s Sonic Boom record shop; “I’m a Bug,” a cover of The Urinals’ art-punk classic, originally released on YouTube (not an actual record label) in 2014; and METZ’s previously unreleased rendition of Gary Numan’s “M.E.”
All tracks on Automat have been lovingly remastered for maximum soundiness by Matthew Barnhart at Chicago Mastering Service. METZ are currently hard at work on their 4th full-length LP which will bereleased on Sub Pop when we are all damn good and ready.) 20.00

SPORT - 2010 - 2019 3LP + 7" (Adagio830 - Right on time for their last tour comes the limited Sport 3LP + 7" discography. All what they've recorded. Demo 2011 Colors 2012 Bon Voyage 2014 Slow 2016. It's all about friendship!) 28.00

TORCHE - Admission LP (Relapse - 15 years into their career, TORCHE have established themselves as a cornerstone of American heavy rock. Their highly anticipated new album, Admission, sees the band expanding on the themes and songwriting prowess that have always reverberated with music fans throughout their critically acclaimed discography. Everything about
Admission feels like an elevation. TORCHE's guitar work is loaded with powerful, refreshing riffing and an array of profound textures, proving to be more versatile and crushing than ever before. The band's unforgettable vocal harmonies are met with hook-driven, pop sensibilities that propel the music to new heights. Track such as
"Slide", "Times Missing", and the monumental title track see TORCHE hone in on these very elements to create one of 2019's most captivating albums. Admission is a triumph, as it launches TORCHE forward into the
next chapter of their already inimitable career.) 25.00


Torche - Admission CD (Relapse) 18.00


WIRE - # 426 August 2019 8.0
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