Junglelyd: Dia De Muertos, 12" Maxi Single (Vinyl)
Junglelyd: Dia De Muertos, 12" Maxi Single (Vinyl)
Net price (incl. 19% VAT) excl. shipping costs
Dia De Muertos
  • 12" Maxi Single (Vinyl)
  • European Union
3-track 12" single
  • Sounds Of Subterrania
  • (SoS157)
  • 3 Tracks
  • no barcode
  • M / EX
  • virgin
  • sealed, dent on corner of cover


The Courettes: We Are The Courettes
The Courettes
We Are The Courettes
LP (Vinyl)
"Here are The Courettes " - The first sign of life from The Courettes struck like a bomb in 2014. The first edition was sold out within a month and had to be reprinted three times, so far. Their music led the brazilian-danish duo to tour throughout Europe. Invitations to all major Sixtiespunk festivals followed. The numerous shows prove the obvious - the two are made for the stage. Naming two of their legendary shows: for once their real loud and illegal balcony show during Reeperbahn Festival (including a roadblock by the police) or on the other hand - their performance less than 24 hours after their son Lennon was born. You just cannot deny, The Courettes are a born live band. Even greater, that they have taken their time recording the second album "We are the Courettes". Together with producer Kim Kix (known for his band Powersolo) they have thrown such a big bang into the pit that you have no choice but to get your Chelsea boots out of the closet and swing your legs in style. The Courettes have redefined their musical spectrum with some sixties Girl Pop and Soul, without losing their typical dirty fuzz sound. "We are the Courettes" wades so deep in the sixties sound, that even the Brazilian horror movie legend Coffin Joe cast a few spells for this album. As if that is not enough, on 17.03. with "Voodoo Doll", the first single from the album, will be a real sensation, rather a revolution. More on that later, so keep your eyes open.
Freddy Fischer And His Cosmic Rocktime Band: Dreimal Um Die Sonne
Freddy Fischer And His Cosmic Rocktime Band
Dreimal Um Die Sonne
LP (Vinyl)
Who isn‘t familiar with Freddy Fischer and his Cosmic Rocktime Band, might need some words of introduction and guidance. Well, you hear Jazzrock which gets dragged on the dance-floor straightaway. You hear Disco. You hear that kind of casual elegance that you can also find in Manfred Krug’s songs of the seventies, when he presented the GDR with some Swing – at least for a brief moment. You just got to put all that into a fancy smoking and you have Freddy Fischer standing there. But unfortunately the recipe is not that easy. Otherwise you would hear such a snappy music on virtually every street corner with a whole choir of Fischer look- and soundalikes, not just the one Freddy. Anyway, the music has a certain groove. On the new record Freddy grinds the organ with such passion that Keith Emerson could only sorely look away. And Brian Auger would approvingly raise his eyebrows because he heard that he couldn’t teach Freddy how to get better on the keys. And the music is tight – Soul and mirror ball. The music glitters and plays – unlike Keith Emerson – only as much notes as needed to get the people on the dance floor. And then Freddy Fischer sings about love all the time and you got to have the courage to write a line like “Du bist meine Liebe, und ich lieb’ dich so” (“You’re my love and I love you so”). But Fischer just does it. You may want to call it Jazzrockdisco but it’s like the movies of the uncommunicative Finn Aki Kaurismäki: he’s the only one who could make such a movie; sentimental, warm and true. When someone else would try to do it, it would only be sentimental and become kitsch. But this comparison possibly is too far-reached and Freddy Fischer’s songs don’t want to be larger than they are. Because all of this can be – and with good reason – the plague: Jazzrock, Schlager and even Disco when it ruffles its feathers, becomes touchy-feely and pretentious. But this has got to be Freddy Fischer’s secret. And at the next show with him and his Cosmic Rocktime Band you’ll sing along to “Du bist meine Liebe, und ich lieb’ dich so”. It’s simply good, entertaining music from Berlin.
Dream Boogie: Sorry To Disappoint All Music Lovers
Dream Boogie
Sorry To Disappoint All Music Lovers
LP (Vinyl)
It's always fascinating to see what great pop songs can hide in the garb of garagepunk. Dream Boogie, with their singalong-garage-pop-punk-powerpop simply manage that. After two seconds your first leg starts moving, after three and a half second the other leg is moving and after five seconds you’ll find yourself dancing in your room or optionally at the headphone station of the preferred record store. You can call it magic what this foursome Gothenburg based band is doing or just be delighted to be talking about all those little pearls that lays between the pop of M.O.T.O. to the sunshine psychedelic of The Black Lips. All this hides on their debut album and you’ll not get bored even when you’ve flipped the record for the hundredth time on the turntable. I would say "Sorry to disappoint all music lovers" saves every party. So now, go back to your system and turn the music up, even louder this time.
Lubomyr Melnyk: Illirion
Lubomyr Melnyk
2×LP (Vinyl)
Lubomyr Melnyk is a Ukrainian pianist and composer. Through his pioneering work in the 1970’s, he developed the technique of “Continuous Music” for piano, and with it a stunning new language for the instrument, based on its actual sound. By way of this new technique, he set several world- records on the piano, notably in Sweden in 1985 where he was recorded playing at over 19.5 notes per second – a speed that has never yet been matched, making him the fastest pianist in the world. Since the mid-1970’s, he has performed concerts with his music world-wide as well as radio recordings. Most of his works are for piano solo and duo, although there exist several works for orchestra and various ensembles. While his revolutionary piano playing was mostly ignored by the classical institutions in its early years, his music is gaining an ever-wider international awareness. This album features five recent works, that display the beauty and magic and virtuosity of his playing.
Human Abfall: Tanztee Von Unten
Human Abfall
Tanztee Von Unten
LP (Vinyl)
Human Abfall bestehen seit Herbst 2011 aus Menschen, die an unwirtlichen Orten wie Stuttgart und Berlin leben müssen – den Städten der Verachteten, wo wirklich niemand auch nur mal für eine halbe Stunde tot über dem Nachbarszaun hängen möchte. Trotz oder gerade wegen des unumstößlichen Molochs ihres Lebensraumes sind alle Augen und das Interesse der Öffentlichkeit auf die zurzeit, sagen wir, eigenständigste Punkband des Erdballs gerichtet. Das anziehende Soundgerüst besteht aus einem noisigen Gitarrensound mit knarzigen, dem Wave zugewandten Bassläufen und einem zielsetzend, minimalistisch scheppernden Schlagzeugbeat. Die Musik der Gruppe Human Abfall äußert sich in technikschwerem Rhythmus und ist mehr dystopische Stimmungsmalerei als einfach nur eindringliche Melodie. In den Texten werden Gefühle, Alltagsgegenstände, Zustände widergespiegelt und auf ein eindringliches Minimum reduziert. Keine Betroffenheit - denn über dieses Stadium sind Human Abfall längst schon hinaus. Der Sänger mit verirrt finsterer Miene verpackt den sperrigen Postpunk (nicht unähnlich Grauzone oder Campingsex) in Früh-80er-Deutschpunk (à la Mittagspause und S.Y.P.H.) mit verbraucht doppelbödigen Texten und schafft es trotz wutentbrannten, manisch wiederholten Dada-Parolen stets, dem Hörer eigene Bezüge zu persönlichen Realitäten zu entlocken. Individuen abstoßende, kafkaeske Erzählart verwoben mit den existenzialistischen Wirren des modernen Lebens in der Kampfzone des digitalen Kapitalismus wird wieder und wieder auf das Wesentliche verknappt. Von Stück zu Stück der Schallplatte entsteht der klaustrophobische Eindruck, ein Kurt Schwitters habe seine Schere an den literarischen Werken Jean-Paul Sartres, Simone de Beauvoirs, Albert Camus’ und Gabriel Marcels angesetzt, um die Collage der immer wiederkehrenden Textbausteine mit Hammer und Nagel dem Zeitgeist anzuheften. Eine ganz eigene Erzählart entsteht, weder literarisch noch musikalisch – mehr wie Armdrücken gegen die Wand. Man spürt die Stadt, den Beton, den Dreck. Man spürt den Teil der Gesellschaft über den niemand gerne redet. Vielleicht könnte man verkürzt sagen: Was Dürrenmatt für die Literatur, sind Human Abfall für die Musik.