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Mikabomb wurde 1997 gegründet, nachdem Frontfrau Mika ihren langweiligen Bürojob in Japan gekündigt hatte und nach London abgehauen war, um eine Band zu gründen und sich dem Rock'n`Roll hinzugeben. Nur wenige Wochen nach ihrer Ankunft in England traf Mika auf eine 16-jährige Punk-Göre namens Agi, die aus ähnlichen Gründen wie Mika ihre Heimatstadt Peking verlassen hatte. Es dauerte natürlich nicht lange, bis Mika und Agi anfingen, ihre eigenen trashigen Pop-Punk-Songs zu schreiben. Mit Ergi, Mika Bass und Tomoko, die die Band vervollständigten, fingen sie an, regelmäßig aufzutreten und sich durch ihre immer ausgelassenen Live-Shows einen furchteinflößenden Ruf aufzubauen. Sie begeisterten nicht nur Konzertbesucher im ganzen Land, sondern wurden auch vom NME als ,die neuen Ramones" bezeichnet, vom Melody Maker als ,fantastisch" beschrieben und von Steve Lamacq von Radio One als ,die beste Band, die Japan je hervorgebracht hat" bezeichnet. So wurden auch viele Plattenfirmen auf Mikabomb aufmerksam, darunter Grand Royal, das Label der Beastie Boys, das im Jahr 2000 zwei limitierte Singles mit den Titeln ,Super Sexy Razor Happy Girls" und ,Heart Attack" veröffentlichte. Ihr fantastisches Debütalbum ,The Fake Fake Sound of Mikabomb" mit 15 Titeln kam ursprünglich am 2. Juli 2001 raus. Da es auf Vinyl schon lange vergriffen ist, bringen wir es jetzt wieder raus, weil Mikabomb wieder aktiv ist und in UK gibt.

Miranda Zipse is a force of nature. And were we not in the midst of a paralyzing pandemic touting a flagrant lack of reasons to party, you’d be flocking to the nearest dance floor to watusi your ass off to these brand new tunes. Demonstrably influenced by soul, yé-yé, surf, and the bands they shared bills with in their early West coast days (Tomb Weavers, Mystery Lights, Shoobies) and undeniably groovy, she and her band - Miranda and the Beat - managed to record a new single before shelter-in-place orders were issued this Spring.

In “Such A Fool,” Zipse's commanding rasp is timeless, her delivery effortless, and her growls and wails masterfully employed. The song traps its narrator in the throws of regret, taunted and tortured. Woozy organ obligato yields to a lilting guitar solo and a confessional spoken third verse. B-side “Chillantro” is a casserole of cool — put it on repeat and eat those leftovers all week.
**NB: 7”S NON RETURNABLE/TO ORDER ONLY

* Debut LP from NYC Garage Rockers * Produced by Nick Zinner from Yeah Yeah Yeahs! Miranda and The Beat are a Rock and Roll band, with all that the term might entail. Drawing from the traditional rock music, as performed by the likes of The Dirt Bombs, The B-52's, MC5, and Ronnie Spector, Miranda and The Beat operate from a clear eyed appreciation of the greats and a healthy, barn-burning disregard for tropes or traditionalist limitations. Garage, soul, punk, classic rock_ pick your poison; the band has plenty to spare. Arriving in New York City in 2018, the band have, through songwriting and performance, proved themselves to be both an essential spark and spearhead to a scene of new blood rockers bringing a much needed renewal of energy to the New York City (garage, rock, whatever) scene. Originally a duo of 21 year old guitarist/vocalist Miranda Zipse and 21 year old drummer Kim "The Beat" Sollecito, the pair quickly added a full band of Kate Gutwald on bass and Dylan Fernadez on organ and soon became known for their tireless, wheel-on-fire live sets driven by Miranda's captivating stage presence, vocal prowess, and her pyrotechnic (but never indulgent!), melodically slashing guitar work. Their live reputation (and a reputation for being neither pushovers nor scumbags) led to collaborations with such childhood idols as The Mystery Lights and Nick Zinner of the Yeah Yeah Yeahs. Soon there was the release of their 7" single Such A Fool, on Jack White's Third Man Records and an extensive North American tour supporting The King Khan and BBQ show. One pandemic later, between days/nights spent sweating out piss, vinegar, and trackloads of tears in the studio, and a rigorous, borderline ridiculous, rehearsal schedule, Miranda and The Beat are, at this juncture, practically monstrous in both sound and vision, and ready to meet the world.

Módulo 1000 were not messing around when they made 'Não Fale Com Paredes’. It holds its own, not just as a raw, heavy, experimental “Brazilian” psychedelic rock album, but as a raw, heavy, experimental psychedelic rock album, full-stop!

Formed in Rio de Janeiro in 1969, Módulo 1000 honed their craft as the house band in clubs and resorts in São Paulo where they predominantly covered American artists such as Jimmy Hendrix as well as British giants, Led Zeppelin. After acquiring a taste for fame following the performance of one of their tracks at the Rio International Song Festival, the band focussed their attention on composing original material. Their manager, Marinaldo Guimarães, encouraged the band to explore their experimental and creative sides. This, in parallel with the explosion of experimental music in Brazil, resulted in the band performing alongside heavyweights such as O Têrço; there was a happening in the air.

Módulo 1000 recorded just one album. Released on Top Tape records in 1972, it featured Eduardo Leal on bass, Candido Faria on drums, Daniel Cardone on guitar, violin and vocals, and Luiz Paulo Simas on organ, piano, and vocals. 'Não Fale Com Paredes' was produced by the popular DJ, Ademir Lemos, and came housed in a fold-out cover featuring tripped-out artwork and design by Wander Borges. However, due the uncompromising nature of its wild, heavy psychedelic rock sound, the album was destined not to be played on the radio in Brazil. Rumours suggest that the label didn't understand the album, and as a result, it wasn't promoted or marketed. Thus, like many other underground cult classics, it was lost in the ether, only later to be rediscovered by a new audience at a different time.

One thing is certain, you definitely know when you've heard Módulo 1000. The sound is raw, heavy and at points quite aggressive, more Black Sabbath than Os Mutantes. It floats between psychedelic rock, prog rock, early metal, and dare we say, displays elements of proto-math-rock.

The band’s discography includes a 7" single, as well as their music being featured on several compilations for Odeon Records, additionally they released a 7" single under their alias 'Love Machine' for Top Tape Records. These compositions are included as bonus tracks on the CD version of our reissue.

Debut album from Berlin-based band crafting music with a 60's and 70's aesthetic. Jangly, seemingly simple mid-tempo pop structures, building symphonies with magisterial guitars, four-piece drumkits, and lots and lots of reverb. Tunes that share their sonic roots between the British neo-psychedelic harmonic and thundering guitars and a sweetened, yet acid, folk taste of Paisley Underground-meets-the Laurel Canyon scene.

"We all know what teenagers are like. Bratty little gobshites. Moody shits. Forever toeing the line between cocky arrogance and whiny self-doubt, and to hell with anyone who gets caught in the crossfire. And this old fucker should know; he was really good at all of the above (still keeping on top of the ‘gobshite’ part, you’ll notice). For some reason, the entirety of rock’n’roll is predicated on music made for and about these states of mind - well, I guess if you mix ‘em all together, they can make for one helluva sense of reckless abandon. So it shouldn’t come as a surprise that Melbourne quartet Mr Teenage sound exactly like their name suggests: chaotic, raw, emotionally volatile… and of course they bind all this together with their own brand of heroically melodic garage rock. Produced by Billy Gardener (of Ausmuteants, Smarts, Cereal Killer and god knows how many other vital Aus-punx), this debut EP snarls, spits and swaggers with all the glorious self-belief of a drunken 4am stumble to the petrol station to buy a pack of skins. And the songs are fucking great too. Title track ‘Automatic Love’ expertly showcases the combined sounds of their cited influences (Thin Lizzy, Dictators, Martha Reeves, etc), with frontman Nic Imfeld’s voice at times edging close to the sandpaper soul of their countryman Shogun (ex-Royal Headache). Meanwhile ‘Waste Of Time’ sees him blending their garage licks with Joey Ramone bubblegum, just as ‘The Loser’ fashions a delightfully adolescent chorus of ‘the loser says what?’ from an airy melody that either The Shangri-Las or Del Shannon would be proud of. They wrap things up with another slab of pure punk/pub rock genius called ‘Kids’ that’ll get the hairs on the back of your neck standing on end, as you fight the urge to crank-call your former school teachers and blame the kid who used to take your lunch money. Of course, singing about ‘kids these days’ marks Mr Teenage out as being older than their name suggests, and sure enough their name comes from an old wrestler rather than identifying with an age bracket they’ve outgrown. But with tunes like this… honestly, who gives a fuck what they’re called? This record is perfect." Will Fitzpatrick.

Naphta was born in 1978 but differently from the most of other bands from Bologna at that time, they came up with a very peculiar Jazz-Rock formula mixed up with elements from the almost "out of time" Progressive genre.The result was unsettling! Their music was mostly improvised with no apparent distinctions between rhythm section and soloists, in fact everybody in the group could have taken a solo at any time but in close relation with the others. All members in the group were classically trained musicians who were in full control of their actions, all except the singer Marco “Cigaro” Cigarini whose vocal work and his nonsense lyrics were the most far out aspect and possibly the most fascinating element in the mix. Such music was probably too demanding for the general audience's attitude of the time and the band disappeared not so long after the release of their excellent tape. If compared to the original cassette, the present LP reissue includes two extra tracks, “La femme Fatale” and “Tac”, a couple of unearthed pieces which complete the picture of one of the most unconventional creatures in the history of Italian underground music.

Another insane and fuzzy Italian Library release from 1971 - Nello Ciangherotti aka Nenty & Silvano Chimenti "SONORITA' NEL LAVORO", originally out of the vaults of Globe Records. A top-notch set of sleazy Psych, dope Progressive riffs and Experimental Rock themed music produced to score some obscure documentaries about world of work. Mad section of evil Psychedelic guitars and fuzzy Wah Wah by the great guitarist Silvano Chimenti (the man behind 'Droga' and further Library grails) and studio arrangements by maestro and orchestra director Nello Ciangherotti. Stunning edgy vibes with loads of hand-made sonorities that recall sounds of industry, mechanical instruments and smoking chimneys for a dope Psychedelic winner.

Stalwarts of the underground music scene Nervous Twitch have joined the Reckless Yes roster ahead of the release of their self-titled fourth LP on vinyl, CD and digital on 12TH February 2021. A band adept at catchy surf-rock and synth-punk melodies Louder Than War describes the Leeds-based three-piece as, “paying homage to the Ramones and their favourite 60s girl-groups via the medium of punky pop songs”. The self-titled album follows on from 2015’s debut Get Back In Line, 2016’s Don’t Take My TV, and 2017’s I Won’t Hide, all of which are sold out on physical formats. Press and radio coverage for Nervous Twitch “paying homage to the Ramones and their favourite 60s girl-groups via the medium of punky pop songs” - Louder Than War "They have this knack for offering sugary punk ditties that are undeniably fun" - Austin Town Hall “Oozing vibrant ’50s-inspired melodies alongside wacky, whirring synth-pop hooks and a fuzz-filled colourful energy, it’s an instantly catchy offering, propelled by a frenzied joyous spirit" - Get In Her Ears
“With synth-stabs the track blends retrofuturism rock ‘n’ roll with ’60s Girl Group vocals underpinned with New Wave punk fuzz" – Popoptica Radio play from 6Music, Radio X, Amazing Radio and independent radio shows including Postcards from the Underground, and Basement Scene. Single release campaign A full campaign across print, online, and radio is set to be delivered through Reckless Yes. It builds on the release of two singles from the album (Keeping Faith In Something – October 2020, Tongue Tied - November 2020) and includes on further digital single release (Alright Lads, January 2021).

Dieser junge Herr kommt aus Alicante/Barcelona im Süden Spaniens und ist wohl die schrägste, tollste und wildeste Flamenco-Trash-One-Man-Band seit Menschengedenken. Geboren 1993 in eine musizierende Fernfahrerfamilie, kam er schon früh mit englischen und holländischen Touristen in Kontakt und brachte deren Musik mit nach Hause. Dort kreierte er diese kuriose Mischung aus Flamenco und Trash und erschuf sein eigenes Ein-Mann-Orchester.Er tourte fleißig durch ganz Spanien und Europa, unter anderem als Gastmusiker von Suicide Generation. Er steckt tief im Sumpf des wilden Trash-Rock'n'Roll und ist definitiv die spanische Wiederauferstehung von Hasil Adkins, dem Gott aller One-Man-Bands. Seine Liebe zur Flamenco-Musik erbte er von seinen Eltern, sein Zwillingssohn hingegen musste einen ,richtigen" Beruf erlernen. Doch Nestter blieb das schwarze Schaf der Familie.Auf der Bühne ist er am Ende des Konzerts meistens nackt und ausgeschwitzt, spielt mit seinen Genitalien die Maracas und quält seine Flamenco-Trash-Gitarre wie kein anderer. Er ist ein primitiver Wilder, der auf ein jungfräuliches Prinzessinnenpublikum trifft, und der einzige Donut, der sich Nestter nennen darf.Bitte heißen Sie ihn willkommen - Spaniens nuttiest one around - und lassen Sie sich von Nestter Donuts in die Welt des wilden, wilden Rock'n'Roll-Flamenco-Trash verführen.

OH TELEPHONE haben ihren Ursprung in den tiefen Tälern des Glarnerlands, wo sie dank dem Veka Club bestens sozialisiert und resistent gemacht wurden gegen jegliche Mainstreameinflüsse. Bookingagenturen schiessen nur so um sich mit Bands mit Psych in der Bezeichnung welche gerne die nächsten Oh-Sees wären und dabei ihren Sound grausig radiotauglich modellieren. OH TELEPHONE hingegen sind "the real shit", Garage-Psych wie er momentan von keiner Band besser gespielt wird. Ihre Schreie wirken nie berechnet sondern wie ein spontaner Ausbruch der Leidenschaft, ihre Gitarren durchlöchern jedes Trommelfell und wenn am Boden so einige Effektgeräte rumstehen wird nicht Shoegaze sondern Steptanz betrieben. Nun haben die beiden Masterminds hinter ihren früheren Bands SHOUTIN' MOE und THE OUTTA MIND ihren Wohnwagen nach Bern gebracht und dort die perfekte Mischung ihrer beiden früheren Bands gezüchtet, zusammen mit Gael am druckvollen Post-Punk Bass und dem kalifornischen Import Timothy U. am effizienten Schlagzeug. Für diese Aufnahmen auf dem Album sind sie ins Tiefe Süd Frankreich gefahren um mitLo Spider in sein Swamp lands Studio (the Monsters, the Spits, Scanners, the Lullies etc) dieses album einzuspielen den schluss fix hatt dann noch Jim Diamond dazu gegeben (The Dirtbombs, Electric Six, The White Stripes, The Sonics, The Devils) Aufgepasst! Abfeiern! (wicked wiggler)

The third full-length from Olivia Jean, Raving Ghost, is an album populated by mysterious characters in various states of danger: cursed lovers, doomed souls, women deliriously haunted by unseen forces. Over the course of its 12 spellbinding tracks, the Detroit-born singer/songwriter/multi-instrumentalist amplifies that drama with her wildly melodic take on garage-rock, handling each riff with the power and precision she’s previously shown as a member of the Black Belles (and as an in-demand session/touring musician who’s played with legends like Wanda Jackson). A stunning evolution of the retro-surf sound of her past solo work, Raving Ghost ultimately makes for the most magnificently heavy and mesmerizing output yet from an endlessly fascinating artist.

Hello and welcome to Cult Value, the new album from Manchester-based band Oort Clod, released by Safe Suburban Home in the UK and Repeating Cloud in the US this April. We are very excited to introduce this mercurial and unique collection of songs. The album includes garage stompers such as “#7”, off-kilter indie whining like the title track “Cult Value”, perfect indie pop songs like ‘Car Talk’ and much more. Featuring members of Unpaid Intern, the Hipshakes, Jeuce and the Early Mornings, Oort Clod was originally conceived by songwriter Patrick Glen as a fluid project with shifting members. Over the course of pandemic-era practices above the empty Peer Hat pub (the epicentre of DIY music making in Manchester) the current line-up solidified. In 2021 Oort Clod released a split E.P. with fellow Manchester band Priceless Bodies, pursuing a darker and more experimental sound. The EP received international airplay including BBC6 Music and KSFX. After playing gigs with bands like Porridge Radio, Jeffrey Lewis, and Garden Centre and even more practices above the Peer Hat, Oort Clod have mounted up once more to make Cult Value. The album’s sound is hard to pin down but it is Oort Clod’s most accessible and complete work so far. The band finds common ground in the alternative rock bands of the 1980s and 1990s, the post-punk and indie bands on Flying Nun Records and trashy compilations of post-British Invasion 60s garage gems like Nuggets. All of which come through, warped by Oort Clod’s particular sensibility, on this record made at Delicious Clam studios in Sheffield under the watchful eye of Ed Crisp. You’ll even get their cover of ? &the Mysterians “96 Tears”—rated the best ever cover of the song by the Blanketing Covers podcast, beating Jonathan Richman, Aretha Franklin, the Stranglers and Suicide (this actually exists, honestly). So there you have it the short and sweet lowdown on the new album Cult Value by Oort Clod. We hope you enjoy listening to it as much as they did making it and spread the good word as you see fit. Good luck in your endeavours and take care.

Ltd (300 ww) clear w/ blue & green splatter exclusive version. It seems that every time you turn around, there's another Oh Sees slab. Long ago we lost all capacity to be surprised that this sturdy unit keeps putting out records and that they're really good. You can now add the Metamorphosed 12" to your ever deeper shelf sagging row of John Dwyer & Co.'s seemingly no sleep release schedule. The five tracks were taken from the sessions that formed 2019's Face Stabber album, a 17 track/80+ minute jammified four-sider. Metamorphosed would have been the perfect third LP to fit in with the other two. The very existence of Metamorphosed asks any number of questions. Speculation is for pundits and amateurs. Let's go to John Dwyer and see if he'll kick loose some information. As to the Metamorphosed coming out so long after Face Stabber: This is just how the release landed. We are trying to stagger the releases a bit this year and we have a salvo coming down the pipe, so that's how the cookie crumbled. Metamorphosed would've been out sooner but with the virus restrictions, shipping of LPs has obviously slowed down and so has manufacturing, so here we are. It's worthwhile to note the Face Stabber sessions also resulted in The 12" Synth, a two track deal released in November of 2019. So, what was happening in the studio that rendered almost three hours of finished music? Just the usual run with ideas. Usually this takes place at the end of the planned recording. We have extra time and tape to lay down some deep cuts and long jams, etc., the fun part, really. It's a test to keep up with Dwyer and his extraordinarily able bandmates. It seems like there's always something on the way to the pressing plant. When and how did Metamorphosed come together? Basically, I found myself with a 12"'s worth of material in the new year and things were starting to grind to a halt, so it was the perfect time to sew it all up. People need some tunes right now and I think the artist's community is making a good run of it. So much great shit is seeing light right now. John and Matt Jones run the Castle Face label with full autonomy, so it would make sense that Metamorphosed, like The 12" Synth, would have been a CF release. Yet, it's on the very cool Rock Is Hell Records label, which has put out some great Dwyer related jams in the past. The OCS Live In San Francisco album was not only great musically but all the vinyl and sleeve variants made the collectors break out in a fan sweat they're probably still recovering from. Being able to do all this yourself, it's obviously cool to still work with Jochen and Rock Is Hell. Yes. I've worked with Jochen a few times over the past decade or more (so he is grandfathered in. :) It's pretty rare these days that I work outside my own label but his stuff is so well done and usually its own work of art. Last question. The fan cannot resist! At any time, were you thinking of making Face Stabber a 3LP set? Hell no. But now maybe I am. Metamorphosed isn't just some barrel scrape for those who can't get enough. All of the five tracks stand up to anything on Face Stabber. The record's 23+ minute I Got A Lot is one of the coolest songs the band has ever done. As it is with a full on Rock Is Hell roll out, there's a lot of details. Metamorphosed is no exception. This is what the release schedule looks like: In October, there will be a silkscreened cover limited to 300 copies with four sleeve variants. A larger press run will follow in January with four or five color variants. Whew! Something to look forward to! Henry Rollins

Originally planned as a single, the psychedelic Techno track “Pyramidion” was recorded instead as the sister release to the studio album ‘The Hidden Step’ and was such a success that it remained in the band’s live set.

The song was released as an EP with four live tracks recorded impromptu with high-quality equipment at Sheffield’s The Boardwalk, which was something fans had been requesting for almost a decade; the last live release being the

Ozrics’ 1992 ‘Live Underslunky’. This first-ever LP edition of ‘Pyramidion’ is presented in a single sleeve. For over 30 years, the Ozrics have experienced the vicissitudes of the rock and

roll life. The band has flourished through several line-up changes, spawned several side projects, created their own record label, scored a hit record and sold over a million albums worldwide. And yet, the basic motivation behind the

band’s existence has never wavered. Their signature blend of hippy aesthetics and raver electronics with spiralling guitars, textured waves of keyboard and midi samplers, and super-groovy bass

and drum rhythms continues to delight fans across the world to this day.

Papivores, which could be literally translated as “Paper Eaters”, is the new project that has blossomed from the minds of French violinist Agathe Max and British musician and producer Tom Relleen - half of the duo Tomaga and member of The CAN project.

Their debut release ‘Death And Spring’ is based around an intriguing experimental compositional approach, taking their inspiration from a novel by Catalan writer Mercè Rodoreda. The text functions both as a fantastical, magic-realist reverie and as an address to oppressive, authoritarian government. Natural images are juxtaposed with a series of increasingly violent human rituals which ultimately weave together into a self-imploding folk tale about life and death.

Taking different aspects of the varying symbolism as starting points, the two musicians conjure expansive sound worlds that veer between evocations of the natural world and dark psychological states. Their individual voices exist in subjection to the themes of the novel and the feelings inspired by it. The result is a remarkably profound and refreshing conceptual album.

Peanut Rubble was a power trio from Buckinhamshire, a rural area a few miles northwest of London. This Radio Luxembourg Studios recordings were made back in 1968, being an early sample of british heavy music one year before Led Zeppelin released their first album.

They used to play in college/university circuit, airbases and youth clubs with 100w Marshall stacks, being too loud for some of those clubs. They supported bands such as Status Quo, The Pretty Things, Arthur Brown or Pink Floyd.

The single contains three remastered songs of pure loud heavy blues, with a smooth drum playing and a thick fuzzy sound, being now released for the first time. It includes an insert with the story of the band.

VHF presents the first time on vinyl for Pearls From The River, the all acoustic epics album from the “classic” Pelt trio lineup of Jack Rose, Mike Gangloff, and Patrick Best. Recorded in a single March 2003 session in Virginia by Mikel Dimmick, this was a superb distillation of their interests at the time (both alone and together—Rose’s first solo records, the emergence of the Black Twigs as a busy working band, etc). “Up the North Fork” is a trio for banjo, baritone banjo, and cello—after the snakey bowed introduction, the fast thwacking of the banjos and forcefully strummed cello take over and whip up a storm. The other two tracks are lengthy ragas (one in C, one in D) with the virtuoso modal guitar of Rose front and center. The title track features Rose on twelve-string, dueling with Mike Gangloff on esraj. Best’s thick, sonorous double-bass bowing anchors the duet between the lightning thrumming / plucking of Rose’s guitar and Gangloff’s arcing, sharply bowed half-time melody. “Road To Catawba” has Rose on six-string, with Gangloff moving to tamboura. Best’s bass is again the foundation, with whistling overtones rising from his bow over the low drone. Liner notes by Byron Coley.

“Join Pelt in celebrating the ecstatic joy that results from refusing to accept the alleged primacy of shit-culture. It does not exist if we will not believe in it. And we must refuse it on all levels always. The proof of its surrender is at hand. Yr hand. Right now, motherfucker!” - Byron Coley

There are two versions of Perennial: the adventurous art-punk modernists, layering British Invasion pop, 60s soul, 90s Dischord post-hardcore, electronic music, and free-jazz, and the live three-piece whose bombastic 20 minute sets have become a “must-see” in the New England music scene. What started in 2015 as an all-encompassing art project has since grown into an honest-to-goodness word-of-mouth phenomenon, with over 300 shows played in the last six years (including shows with Guerilla Toss, Bully, Calvin Johnson, Jon Spencer, Sheer Mag, Teenage Halloween, and Downtown Boys) and multiple pressings of both of their full-length records. Perennial formed the band they always wanted to hear, and when they play, they're the band they always wanted to see. Perennial’s breakthrough 2022 LP, In The Midnight Hour, was their first time working with producer Chris Teti (The World Is A Beautiful Place & I Am No Longer Afraid To Die), a collaboration that garnered rave reviews from BrooklynVegan, Under The Radar, Post-Trash, Pop Matters, NPR Music and more, and marked a new creative benchmark. Feeling inspired, the band once again worked with Teti on 2023’s 7” EP The Leaves Of Autumn Symmetry, which earned more high praise from Stereogum, Paste, Consequence, Alternative Press, and Bandcamp Daily. Their latest release is the adventurous, experimental mod punk LP Art History, available June 7 via Ernest Jenning Record Co. and Safe Suburban Home.

Zeit und Freiheit sorgen für Innovationen. Ohne Kompromisse einzugehen konnte das für den GRAMMY® nominierte Quintett Periphery - Misha Mansoor [Gitarre, Programming], Jake Bowen [Gitarre, Programming], Matt Halpern [Drums], Spencer Sotelo [Vocals], and Mark Holcomb [Gitarre] - ihren ureigenen Progressive Alternative Metalsound auf dem 2019er Album Periphery IV: Hail Stan [3DOT Recordings] um neue Facetten ausweiten.

Zum ersten Mal in ihrer 13jährigen Karriere konnte die Band den neun Tracks des Albums ein komplettes Jahr widmen. Sie agieren komplett unabhängig und veröffentlichen das erste Periphery Release auf ihrem eigenen Label 3DOT Recordings. Der 16minütige Opener »Reptile« beweist bereits ihre Vorliebe für das Progressive mit überraschenden Wendungen zwischen unbarmherzigen Grooves, verzwickten Fret-Feuerwerken und melodischen Atempausen, alles eingebettet in einen laut Mark »satten, aggressiveren und düsteren Ton als auf den letzten Alben«. Das frenetische »CHVRCH BVRNER« beschreibt er als den »spastischsten Song, den wir bisher geschrieben haben«. Für das abschließende, 10minütige »Satellites« setzten sich alle Bandmitglieder mit ihren Proberaumamps in einen Raum – eine Art und Weise aufzunehmen, die sie bereits mit »Lune« von Periphery III: Select Difficulty praktiziert haben. Die erste Single »Blood Eagle« gibt den Ton an – »es ist der unbarmherzigste, kompromissloseste, härteste und zornigste Song auf diesem Album«, grinst Mark. »Ein ›Blood Eagle‹ war eine Form der Folter bei den Wikingern.«

Indem sie sich die notwenige Zeit gönnten, erreichten Periphery mit Periphery IV: Hail Stan ein neues Level. »Einige der Songs sind sicher nicht das, was man von uns erwartet«, erklärt Mark. »Es wäre großartig, wenn wir für ein gewisses Maß an Unberechenbarkeit bekannt werden würden. All unsere Lieblingskünstler schreiben Freiheit groß und folgen ihren eigenen Musen. Man merkt, wenn eine Band diese Qualität verkörpert. Ich hoffe, wir tun es auch.«

Pierced Arrow's first record! Fred And Toody Cole's post Dead Moon band with Legendary rocker Kelly Haliburton on drums. Most musicians get softer with age, but Fred and Toody brought a harder edge to Pierced Arrow's than their earlier bands. A legendary record back in print for the first time since it initially came out in 2008. A killer!

“Musical hybrid, rooted in multiple territories, Pixvae was born in 2015 from the intention to confront the traditional musics from the Pacific coast of Colombia, with the European jazz stream and its rock and noise sonorities. After the release of a first album in 2016, and two years of intensive touring through Europe (Glastonbury, Les Vieilles Charrues, Milhoes de Festa, Womex...), the band is embarking on the creation of a new opus. Wishing to continue their reinterpretation of Colombian music, and interact with those who live and incarnate these traditions, they will go and record their new album in Colombia, in the city of Cali, counting on the participation of various local musical figures.

The album will be released in april 2019, on Buda Musique & Bongo Joe Records. On this occasion, the band will be touring in Europe from april to beginning of may, joined by Israel Quinones (voice) and Juan Carlos Arrechea (percussions).”

Heading up the new crop of Toronto outfits, these ignoroids blaze through ten tracks of rough buzzsaw scorch with speed and hooks to spare— think ‘77 (Dils, Weirdos) meets ‘82 (Angry Samoans, Zero Boys) with a healthy side Lazy Cowgirls and early Humpers. Members of Career Suicide and Flesh Rag, so you know what’s up. Cut loud at 45 for maximum impact, one-time pressing of 500. This record is utterly KILLER.

Don't You Turn On Me ist das zweite Album der Poison Boys. Gestarted mit "Out Of My Head" in 2019, ist das 2. Ablbum ein großer Schritt in Richtung Punk und der Fähigkeit, knallharten Punk der späten 1970er Jahre zu schreiben mit einer großen Portion Rock 'n' Roll. Es reicht von sleazy Hits der frühen bis Mitte der 70er Jahre bis hin zu glühenden Punk-Tracks, von Instant-Punk-Klassikern bis hin zu Johnny Thunders Garage Rock. Ganz anders als viele andere Bands, die zu viele moderne Einflüsse in ihrem Streben nach Punk hinzufügen, bringen dich die Poison Boys mit diesem neuen Album zurück ins Jahr 1977 und versetzen dich in eine Zeit und an einen Ort, an dem du vielleicht noch nicht einmal existiert hast, aber auf jeden Fall wünschtest, du wärst da gewesen. Gegründet im Jahr 2014 von Matt Dudzik und Mike Lippmann, der tragischerweise an einer Überdosis verstarb, bleibt die Band den Klängen der späten 1960er / frühen 1970er Jahre Protopunk-Bands wie den Stooges, den New York Dolls und den Flamin 'Groovies treu und mischt sie mit New Yorker und britischen Punkbands der späten 1970er Jahre wie The Heartbreakers, Dead Boys, Vibrators und Slaughter and The Dogs, hinzu kommt noch ein Dosis Hanoi Rocks Glam. In der aktuellen Besetzung der Poison Boys spielen Sänger und Gitarrist Matt Dudzik, Gitarrist Steve Elfinger, Bassist Nico Bones und Schlagzeuger Matt Chaney. Poison Boys tragen die Rock'n'Roll Fackel glorreich weiter.

Das schwedische All-Rock-Trio »Port Noir« verbindet Old-School-Rock mit modernem Pop, R&B und Hip-Hop zu einem kreativen und minimalistischen Sound. Das Trio ließ sich von Bands wie Rage Against the Machine, Death from Above 1979, The Weeknd, Daft Punk, Queens of the Stone Age inspirieren und bildet so eine neuen und interessanten Zuwachs für die Rock-Szene.
Energiegeladene, intensive Klangwelten ziehen den Zuhörer fest in ihren Bann und so lässt »The New Routine« keine Wünsche offen.

»Wir haben uns mit der Musik beschäftigt, mit der wir groß geworden sind und so versucht heraus zu finden, was uns dazu gebracht hat, eine Band zu gründen. Zusammen mit diesen Erkentnissen und der Musik, die uns heutzutage beeinflusst haben wir dann unser neues Album geschaffen. Es ist bis jetzt das beste, was wir jeh veröffentlicht haben. Das ist ›The New Routine‹.«

Last year’s Pools having taken up a sizable chunk of Castle Face’s cold dark hearts, the label was delighted to hear that LA post-industrial trio Prettiest Eyes have a new gang of crowd-stirrers. None too early, either; once one’s become accustomed to their clanging synthetic orbit, it’s hard to find other tunes that truly scratch the same itch. Volume 3 bursts at the seams with chrome-dipped timbres and surprise sharp edges, alien klaxon-calls and wailing dissonance offsetting the ziplock’d grease of their insistent drum and bass grooves. Prettiest Eyes are one of the most exciting live bands going on right now, and Volume 3 catches them in fine fettle.

**ON RANDOM COLOUR VINYL** PRIMITIVE RING consists of Bert Hoover (bass/vocals), Charles Moothart (guitar/vocals), and Jon Modaff (drums). The Los Angeles power trio formed in September 2024 when Hoover and Moothart came together seeking a new creative outlet. In 2025, the band released four 7"s on four different labels (Greenway, In the Red, Reverberation Appreciation Society, and Fuzz Club UK). They hauled amps and drums into bars to hone the sound of the newfound brotherhood that is Primitive Ring. Rock and roll is in its essence a primal experience, and the name reflects that. Three individuals collide and egos rattle, shedding layers and growing new limbs. Archetypes flash to the rhythm of a freight train and the crown is passed hand to hand like a good luck charm, symbolic and communal. Rock and roll is for the people and Primitive Ring is for the taking. At least it will be when the band's debut LP is hurled into the future via In the Red Recordings. Primitive Ring is 11 tracks coming in just under 42 minutes. It was recorded by Mark Rains in December of 2025 at The Station House in Echo Park. The album is the genesis story of a lightning bolt flashing in the eternal drama of creation and destruction. The album showcases the distinct writing styles of each member, but the overall aesthetic is a woven tapestry demarcating the timeless meridian. The record is the spawning of a collective vision. This is something we all share, and we must remind one another how electric humanity can be.

Thundering over the horizon out of Perth, Australia, the psyche-rock capital of the Universe,Psychedelic Porn Crumpets are taking the World by the

horns. Having spent 2018 slaying sold-out audiences in US, UK and Australia with their blistering live shows, the band have thrown down the

gauntlet with their new album, ‘And Now For The Whatchamacallit’.

The new album marks an exciting new chapter for Psychedelic Porn Crumpets. Recorded between frontman Jack McEwan’s bedroom and Tone City Studios in Perth,

mixed by Michael Jelinek (Gunns)and mastered by John Davis (Gorillaz, The Killers), And Now For The Whatchamacallit is representative of the development in the band’s huge sound,

and their most anticipated release yet. “The original concept was to take a 1930’s carnival that had been re-imagined for future generations, a collage of Punch and Judy, Carousels and coconut

shy’s that progresses in musical concepts and travels with the listener. Then as we started traveling I was swept off into my own kind of circus, the odyssey of

touring life. Large nights out, larger characters, drunken recollections of foreign cities and rabbit hole-ing into insanity.” The 10-track record is punctuated by the singles

‘Social Candy’, ‘Keen For Kick Ons?’ and ‘Bill’s Mandolin’, all perfect slices of manic Psychedelic Porn Crumpets fury. This new album positions them more than ever as a band ready

to explode with exciting energy and is a continuation of the musicianship fans have seen bolden over live shows and recent releases.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

Psychedelic Speed Freaks is a new power trio led by Munehiro Narita, founding member of Japan's legendary High Rise and easily one of the wildest, most original guitarists in rock history. Blazing in total hyper-saturated glory, Psychedelic Speed Freaks centers on the raw, unrelenting attack of Narita's "motorcycle fuzztone guitar" and a rhythm section driven by a pair of untamed LA acid punks. Recorded deep in-the-red and punched into overdrive, Psychedelic Speed Freaks is a full-throttle adrenaline shot into the 21st Century.

An unissued 1985 studio recording of a WILD-ASS cover of the filthy-lyric 1981 country novelty by Showdown, plus an unissued 1987 rehearsal room blasting raver original. Comes with a 4-page 6.7” x 6.7” booklet tribute to singer/lyricist Michael Chandler, who passed away on April 23 2018.

the MUSIC? ripping, absolutely ripping ROCK and ROLL music. and, i must say, RODEO SONG is simply the most JOYOUS, most goddamned FUN fucking song of 2019.



NYC, Feb 1983: Chandler and guitarist Michael Tchang started their duo Tchang & Chandler. In 1983 Chandler was roped in to a 2nd gig as lead howler for ’66 garage cover band The Outta Place, recording a mini-LP for Midnight Records. On February 4 1984 Tchang ‘N’ Chandler, with two extra cats, Vince Brnicevic on drums and George Sulley on bass, became the RAUNCH HANDS and burst onto the “stage” at NoSeNo. Mike Mariconda then joined up on guit for his first RH gig on St Patrick’s Day, March 1984. The Raunch Hands had their vinyl debut, ”Tiger Guitars”, included on “Back From The Grave 3” in June 1984 and soon after their first two 7” singles (the 3-cut “Stomp It” 1984 EP on Egon Records, the self-released 1984 “Ford/Stroll” 7”). In late 1984 they recorded 6 cuts that got them signed to rather large indie Relativity as 1985’s mini-LP “El Rauncho Grande”. “El Rauncho” and 1986 LP “Learn To Whap-A-Dang” on Relativity allowed the band to really start hitting the road, playing 185 shows across the USA and Canada in 1985-1986, including, bizarrely enough, 10 shows opening for Siouxsie & The Banshees, as Siouxsie’s stage crew were huge fans of the filthy lyrics and raw sounds. In late 1986 they faced the misfortune of losing Tchang and Vince and their manager/booker and getting dumped by Relativity. The Hands took on a new drummer and guit/sax man and continued playing, rehearsing and writing new songs and joined up with Crypt in July 1988. Crypt asked the RHs if they wanted to do an alb, and “Payday” was recorded in October at Coyote Studios in Williamsburg and released in Jan 1989. In May 1989 the Raunch Hands flew over to Madrid to self-book 27 gigs in 60 days of bare-bones struggle thru Spain-France-Germany-Holland-Italy-Switzerland-Austria. Crypt moved to Hamburg in January 1990 and began booking a slew of three more European RH tours (22 gigs in 1990, 35 gigs in 1991, 42 gigs in 1992) and a Japanese tour in 1991 - and the releases of “Have A Swig” LP (1990, Crypt), a live-in-Barcelona LP “Fiesta!” (1990 on Spanish magazine Ruta 66),“Million Dollar Movie” EP (1991, Crypt) and “Fuck Me Stupid” (1992, Crypt).

A particularly succinct 1985 quote by Byron Coley sums the RHs up: “The Raunch Hands are an American band. On that you can rely. Their recorded legacy is as American as a mattress damp with Iggy’s night-piss steamin’ in the trailer park. What can ya do in the presence o’ this sorta mojo-genius but fall on your bruised knees and ask how the hex such a great band never happened in just this way before? What’s required t’get genius movement o’ this sort going is a few guys who know a lot more about records than most people, decidin’ they’ve GOTTA have a band, right NOW. They take every trash lick you’ve ever like, throw it in a whinin’ blender and serve it as the official drink o’ some state you’d sure as hell love t’live in. Part Punk, Part Surf, Part Soul, Part Country, Part ‘Billy, it can be all these at once. All without falling into any tagable “bag” you could hang on your wall. Truly this’s the heart of the transcendent white trash experience, laid NEKKID for all the world to see. Some of the rockin’est best, hard-ginchin’ spew that New York City’s ever hocked up. They fuckin’ rule.”

Reigning Sound’s Memphis in June is a document of Greg Cartwright and the original Memphis lineup of his garage/soul group in the pocket and on their home turf. Live from the Harbor Town Amphitheater, right on the river, they forcefully knock out a dozen songs across the band’s catalog with their friends, many of whom appeared on 2021’s A Little More Time with Reigning Sound. The live album is pressed on neon orange vinyl, exclusively for Record Store Day 2022.

Zwei Garagen-Generationen treffen aufeinander! Reverend Beat-Man, das Schweizer Ein-Mann-Orchester und der König des Blues Trash, trifft auf Milan Slick, eine echt dunkle Seele und vielleicht Reinkarnation von Nick Cave (ach, noch zugegen)/Johnny Thunders, um Rock'n'Roll zu spielen, der so frisch und lebendig, wild und düster ist wie nie zuvor. Reverend Beat-Man und Milan Slick lernten sich 2020 inmitten der Pandemie kennen, als sie einen Soundtrack für den Vampirfilm "A Girl Walks Home Alone at Night" von Ana Lily Amirpour schrieben. Zusammen spielten sie Gigs bei Super Sonic Records oder im legendären SO36 in Berlin, um dann gemeinsam mit Beatrice Graf und Benjamin Glaus ein Album unter dem Namen "Reverend Beat-Man & The Underground" zu produzieren (im Rahmen des Rocklette PALP Festivals), eine makabre Tanzparty zum Untergang der Menschheit. Als Nächstes nahmen der superprimitive Rock 'n` Roll-Trash-Hi-Energy-Lo-Fi Reverend Beat-Man und der raffinierte, clevere, verspielte und düstere Milan Slick ihr erstes gemeinsames Album im ehemaligen Züri West Studio mit Sebastian Zwahlen und dem einzigartigen Robert Butler von Miracle Workers auf. Reverend Beat-Man ist eigentlich eine Ein-Mann-Band mit einer Mission: Blues-Trash und wilden Rock'n'Roll. Geboren 1967 in Bern, Schweiz, im Sommer der Liebe und des Hasses, ist er seit 1992 auf Tour, zuerst als Lightning Beat-Man, dann als Reverend Beat-Man One-Man-Band und mit seiner Band The Monsters. Er spielte in ganz Europa, Nord- und Südamerika, Japan, Vietnam, Neuseeland, Australien, Afrika, CBGBs, Montreux Jazz, Muddy Roots usw. Er ist der Gründer von Voodoo Rhythm Records (1992). Wäre er Politiker, würden ihn sogar seine Feinde respektieren (die Regierung). Er wurde 2014 für den Schweizer Musikpreis nominiert, gewann den lokalen Musikpreis als einflussreichster Musiker in Bern (Hauptstadt der Schweiz) und betreibt dort einen Platten- und Souvenirladen. Der Singer-Songwriter Milan Slick (Jahrgang 2004) steht noch ganz am Anfang seiner Karriere, hat aber bereits mit namhaften Künstlern wie Mario Batkovic oder Birdman Jäggi oder seiner eigenen Band Fatigues zusammengearbeitet. In seiner Musik sind Einflüsse von u.a. Nick Cave bis David Bowie zu hören, aber auch, dass sich eine eigenwillige junge Stimme herauskristallisiert, von der wir in Zukunft hoffentlich noch viel hören werden. Als Classic Black or limitiertes Glow In The Dark Vinyl, jeweils mit vierseitigem A4-Insert & DLC, Digisleeve-CD, Kassette sowie Tonband mit Extras erhältlich!

Wiederveröffentlichte 2024er Pressung dieses unglaublichen Garagenrockwerkes! "The Ultimate Gospel Blues Trash experience recorded in 2001 London on the EMI Redd 17 desk (Abbey Road Studios) by Liam Watson this is pure Dirty ,your parents would not like it' Primitive Rock'n'Roll swearing and blood spiting preaching Raw Garage punk mixed up LO-FI Trash out of control Blues Trash at its best" - RBM, VVR Nach der Trennung vom Wrestling Rock'n'Roll Project Lightning Beat-Man musste der Beat-Man ins Krankenhaus und sah mit eigenen Augen den Tod. Jetzt, Jahre später, ist er zurück mit neuen Kumpels und einer neuen Mission: der Gospel Blues & Trash Mission. 1983 begann er als Ein-Mann-Band, für dieses Album heuerte er die Un-Believers an (Gery Mohr und Robert Butler von den Miracle Workers, Janosh von den Monsters und Gringo Starr, der auch bei den Never Heard Of'Ems, Lightning Beat-Mans Backing Band, spielte) und ging zusammen mit Liam Watson (Bristols, Masonics, Headoats_) in Londons berühmtes Toe Rag Studio, um diesen speziellen Swamp-Blues-Sound auf die Platte zu bekommen. Predigtlieder, Lieder über das Töten von Nachbarn, Predigten über das Abschneiden von Fingern, Lieder über den Gang ins Gefängnis, den Gang aus dem Gefängnis und sogar über das Verlieben und den Gang in die Hölle. Mach dich bereit für eine Menge Slide-Gitarren-Action und Mundharmonikagedröhne, Blues im Stil von Howling Wolf und Gun Club-ähnlichen Trash-Rock'n'Roll. Schwarze LP, Insert, Download Code

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.

Die polnischen Rock Meister Riverside melden sich mit längst überfälligen Vinyl-Neuauflagen ihrer Alben Nummer zwei, drei und vier zurück: »Second Life Syndrome« (2005, 2-LP), »Rapid Eye Movement« (2007, 2-LP + Bonustracks) und »Anno Domini High Definition« (2009, 1-LP) sind jetzt erhältlich mit dem Standard-Album als Bonus-CD.