European Tour Booking for Punk, Rock and Indie Artists



The Restarts, formed in 1995, are a tight three piece, multi-genre punk outfit based in East London. They play thrashy, anarcho, power chord punk laced with Ska breaks and pogo inducing basslines earning them a loyal following of punk lovers of all ages.

The Restarts have been hammering their way through the squats of Europe and DIY house shows across North America with reckless abandon. They lend amplification to unheard voices, playing benefit gigs for various social causes and keeping the DIY spirit of punk rock alive and well.

Their years of hard graft is recognised by them being requested to play along side such heavy weights as Steve Ignorant’s Crass, Jello Biafra & GSM, Millions of Dead Cops, The Casualties, Star Fucking Hipsters and The Subhumans.

Their 6th studio album “A Sickness of Mind” was released in June 2013 on their own No Label Records. In just three short months they have managed to sell out of the limited (500) edition vinyl pressing. It has been widely cited as their best release to date!


Die RESTARTS spielen vor einem total vollen Saal. Kieran, der Sänger schreit seine wütenden Punktexte in die Menge. Die RESTARTS machen Punk mit klarer politischer Ansage weil: ‘there are a lot of assholes out there’. Sie spielen immer noch so zornig, wie Anfang der 90er in den besetzten Häusern.”
– Useless Fanzine, Live Review, Rebellion Festival 2012

Gewürzt mit einer ordentlichen Prise Streetpunk strotzen die Songs vor Rebellion und Aggression. Der Sound ist rau, grob, melodisch und sehr eingängig. RESTARTS sind weder müde noch leiser geworden… Diese Hoffnung ist Antrieb. RESTARTS geben mit diesem Album Mut, den eigenen Weg weiter zu gehen, und das ist mehr, als viele Bands heutzutage schaffen.”
– Wahrschauer

“The Restarts first crawled out of the North London Squat scene nearly a decade ago. Serial dole scroungers the lot of them, they named their band after the dreaded ‘back to work’ interviews and set about touting their stroppy four-chord punk to spiky-haired audiences around the world. Yelling out barbed diatribes against the state over chunky metal guitars, they’ve slowly but surely clawed their way to the top of the underground pile.”
– Terrorizer

“This is dance in the basement, spanner in the works, back porch drinking, bomb in the police station punk!!! I never knew Steve Ignorant had pregnancy-inducing sex with all of POISON IDEA, but this is some cute baby they had. Oh, also good people. They played at a house in West Oakland last month, and rocked us with energy and astounded us with their good manners!”
– Maximum Rock’n’Roll

“Abrasive yet catchy UK punk with raw vocals and plenty of chorus sing a longs. The razor blade throated lead vocalist give this plenty of raw edge while through most of it the music has a much more uplifting energy to it… Oddly enough, it seems rare to come across the bands that play straight forward old-style punk rock and so this is a refreshing cause they’ve been at it for like a decade. Cheers guys. Good catchy shit.”
– Slug and lettuce

“I’ve seen them play many times in London and always rated them pretty highly as a live band but never really got to hear their stuff on record yet. Things have changed now as I got a copy of their latest album. It seems I’ve been missing out on something very big. This album is the dogs bollocks! This goes right into my top 20 albums of all time I reckon. 12 songs of punk rock how it should be played.”
– London

“I caught the mighty RESTARTS at Brum punx picnic & they rocked the house down w/ their abrasive punk rock… Raging punk rock w/ honest social commentary shows that THE RESTARTS are one class act!… As usual THE RESTARTS win another battle of the bands.”
– Punk shocker, Newcastle Fanzine

“With ex members of Coitus, Armed and Hammered, and Assrash UK, it was no surprise that the RESTARTS kick-ass!! All three members share the vocals and each deliver them powerfully… These guys plan to tour the US this summer!…I can’t wait.”
– Profane Existence


Don’t formed in Portland in 2009 when Jenny Don’t (lead vocals, guitar) was introduced to drummer Sam Henry (The Wipers, Napalm Beach, The Rats). They created a genre-blurring blend that opened a Pandora’s box of musical touchstones.

Recently bassist Kelly Halliburton (Pierced Arrows, Problems, Defiance) and guitarist Eric “Vegetable” Olson (Poison Idea) were roped in which makes Don’t the ultimate Portland Punk-All-Star band.

A live presence to be reckoned with from their very first show, the band quickly built an enthusiastic and loyal following across the US and Europe.

Their powerful songs defy easy classification, sometimes dark and eerie, sometimes punk and surfy, but always melodic. Rooted in the same blues that are the foundation for almost all rock and roll, Don’t contorts that basic concept into something dark and mysterious.

After their first album “Away Away”, several single releases and extended US and Europe tours, Don’t published their new album “Fever Dreams” in the US (Doomtown Sounds) and Germany (Rockstar Records) in 2016.

Twisted Chords (Germany) will publish their new 7″ “Enough is Enough” in spring 2017, before the next Don’t-tour in May and June.


‘Don’t’ are a surf-tinged punk group from Seattle featuring members of Napalm Beach and the Wipers and fantastic singer Jenny Don’t, whose voice has the same throaty, dark quality as a young, hungry Siouxie Sioux. The group are touring around a forthcoming full-length, and if their songwriting is as strong across the album as on the few preview tracks on their website, it should be a hell of a show.”
– l’étoile magazine

“Before Portland earned its reputation as a playground for young adults, it was (and continues to be) home to individuals who devoted themselves to lifelong efforts at creative endeavors. Thankfully this side of the city endures amid escalating stereotypes and is on display with the musical project Don’t. Formed in 2009 the band combines the talents of legendary local musicians Sam Henry (drummer of the Wipers, member of the Oregon Music Hall of Fame, and tonight’s birthday boy) and Dave Minick (bassist for Napalm Beach and more), with the pioneering spirits of guitarist Dan Lowinger (the Love Lasers) and vivacious frontwoman Jenny Don’t. The result is music that sounds effortlessly timeless while pulsating with that new and earnest energy we call rock and roll…”
– Portland Mercury

“DON’T is a band that is best described as being of the garage persuasion with hints of surf and punk thrown in. Fronted by the striking Jenny Don’t the band also includes Sam Henry on drums, a man who has been inducted into the Oregon Music Hall of Fame, partially due to the fact that he was the drummer for The Wipers, one of the most well-known bands from that region. Musically the songs on this new release are laid back with Jenny DON’T providing a luxurious vocal performance that has a soothing quality to it, just right for kicking back and relaxing, as you drink whatever poison is needed to reset the levels of normalcy after the tedium of work.”

“Portland’s got no shortage of throwback punk-garage outfits, but few nail the low-fi, devil-may-cry sound as seamlessly as quartet Don’t. Credit that to a lineup that includes members of groups like the Love Lasers, Audios Amigos, the Wipers and Napalm Beach. Traversing a robust musical plane of garage rock, country, spaghetti Western instrumental work and other seemingly divergent styles, the band’s sound mixes the rollicking rowdiness of old-school punk with a touch of Ventures-style surf rock. It’s all held together by guitarist-vocalist Jenny Don’t, whose voice combines the cadence of a lost Ramones sister and Metric’s Emily Haines, punctuating every slick riff with bravado. The group, formed three years ago, is steadily gaining a following by keeping one foot in the past and putting the other one forward.”
– Willamette Week

“Bis auf die junge Frau an der Gitarre und am Mikro alles gestandene Menschen mit langjähriger Banderfahrung (unter anderem bei WIPERS und NAPALM BEACH), die dürfen dann eben auch mal GUN CLUB oder eben die WIPERS höchstselbst covern, ohne dass es aufgesetzt wirkt. Eine wunderbare Band, die zur richtigen Zeit am richtigen Ort einen Laden in Flammen setzen kann. DON’T muss ich wieder sehen!”
– Ox fanzine

“Jennys zuckersüßes Stimmchen verursacht Wohlfühl-Gänsehaut, während die Herren um sie herum das machen, was sie offenbar schon seit Ewigkeiten am besten können: gängige Melodien zu einem Surf-Postpunk-Rock’n’Roll-da-steckt-jede-Menge-Wipers-drin-Cocktail zu mixen. Noch einen bitte!”
– Plastic Bomb fanzine

“For those who are into gut-punching rock ‘n’ roll, this is some satisfying shit.”
– Willamette Week, about “Fever Dreams”


Subhumans were, between 1980-85, one of the most prolific and original of the evolving UK punk scene.

Musical influences were a mix of Sex Pistols, Damned, and similar punk originators and prepunk bands like King Crimson and Frank Zappa, which led to a style of punk more intricate in its structure than their contemporaries, without losing the base energy and dynamics of punk.

Dick’s lyrics, at once socially aware and heavily critical of social norms, placed them in the anarcho-punk area, alongside Crass, Antisect, Conflict, and Flux of Pink Indians, who released the band’s first 3 EPs and their first LP “The Day The Country Died”, which became an instant classic.

In ’83 they formed their own label, Bluurg Records, and over the next two years released “From the Cradle to the Grave” LP, which was released after splitting up in ’85. By then they’d played 262 gigs including several European tours and 2 in the USA (which was in the 80’s a rare achievement for a non-commercially minded band).

Dick went on to join seminal ska-punk-reggae band Culture Shock, and met up with Phil and Trotsky again in Citizen Fish, who have so far recorded 7 LPs of their politipunk-ska songs and clocked up over 1000 gigs across the planet. Then in ’98 these 3 ex-Subhumans roped Bruce back in to reform Subhumans, to ‘see what it felt like’, and, it feeling rather excellent, have kept going with occasional touring and a limited release CD of old unused songs, “Unfinished Business”.

Since then, Subhumans have released a new album, “Internal Riot”, and toured in Europe, the USA and Australia.

Queens of the Stone Age recorded and released their version of a Subs song ‘Wake Up Screaming’, and the film director Asia Argento has asked to use Subs music in her adaptation of “The Heart is Deceitful Above All Things”.


“Frontman Dick Lucas is totally engaging. There is a fierce intelligence here in his lyrics, his delivery and his between song banter where his passion for the old school punk political hits home. They play fast and there is a wild, feral energy to what they do. They have this punk rock thing so honed down, so perfect – the fluidity of the rhythm section, mind boggling brilliant bass lines from Phil to let yourself go to and Trotsky’s stop start drums that never settle for a boring 4/4 when something more exciting will do are so effective. Bruce’s rasping punk rock guitar completes the perfect backdrop for Dick’s passionate delivery – he works himself up into a sweatshod frenzy as the band hit the stage in top gear and never leave that level of intensity. If you still need any proof of the intelligence and anti establishment smarts in punk rock then the Subhumans are still out there, still meaning something and still making sense in a senseless world.”

“Considering how long this band have been going it’s incredible how much energy they still display when they play live. Frontman and lyricist Dick Lucas is still an absolute inspiration. Somehow he doesn’t seem to have aged a bit proving that the anarcho punk lifestyle is obviously good for your health. Incredible band.”

“Even some 13 years since their previous release, the Subhumans manage to pull an incredible crowd, that is more than willing to join in with many of the songs: affirming the true test of whether a band’s appeal is more than just contemporary. Original fans may feel a little cheated to see 25 past songs included but it serves as a reminder of the quality of music in the not so distant past and will certainly introduce a younger generation to the punk that inspired a whole new musical scene. It seems quite incredible that the Subhumans have managed to produce a record so encompassing of their musical careers, yet take that music to even higher levels. This 5th Fat Wreck Chords ‘Live In A Dive’ release has to rate as one of the best so far. Quite simply: we need more of this around!”

“Die beiden ersten Alben der englischen Subhumans sind für mich absolute Meilenstücke des britischen Punkrocks.”
– Ox Fanzine

“Wie unglaublich gut SUBHUMANS sind! Dieser extrem bissige, politische Hardcore der Achtziger, gemischt mit Offbeats – eine Killer-Kombination, ein absoluter Höhepunkt für mich. Und Dick ist der Meister der auf den Punkt gebrachten, unpeinlichen politischen Ansage.”
– Ox Fanzine, Live Review Rebellion Festival 2016

“Nun waren sie also endlich auch beim Sommerfest-Open Air präsent. Und wie. Vom ersten Song an gaben die Briten dem inzwischen zahlreich versammelten Publikum richtig Zunder. Bei Stücken wie „Waste of Breath“, „This Year’s War“ oder „Apathy“ (siehe den Clip weiter unten) gab’s dann sowohl für die Musiker als auch für die Fans kein Halten mehr. Dick sprang, hüpfte und tänzelte auf der Bühne ohne Unterlass -immer in Bewegung, der Mann (und eine Herausforderung für alle, die versuchten, ihn zu fotografieren). Dabei schrie er voller Leidenschaft seine pointierten, die Gesellschaft und Politik aufs Korn nehmenden Texte heraus, das Publikum moshte im Zuschauerraum, die Mutigeren (oder durch Alkohol Schmerzbefreiten) versuchten sich im Stagediving. Für mich war die Show Fest für Ohr und Auge zugleich: Einen Performer wie Dick sieht man nicht alle Tage.”
–, Live Review 2012

“Wer hätte gedacht, dass uns die SUBHUMANS noch mal ein Album bescheren? Denn Gerüchten zufolge taten sie sich nur wieder zusammen, um live zu spielen… Erst vor kurzem haben sie ihre Europa-Tournee beendet, und sie klingen immer noch so wie in den Achtzigern. Das gilt für ihre Gigs und auch für das neue Album. In den über 25 Jahren hat Sänger Dick kein bisschen an Energie und Ausstrahlung verloren. Auf jeden Fall hört sich „International riot“ nicht anders an, als die Klassiker vergangener Zeiten und steht ihnen in nichts nach. Also Anarcho-Punk vom Allerfeinsten mit vielen eingängigen und melodischen Parts. Vom politischen Engagement her wurden sie gerne in einem Atemzug mit Bands wie CRASS und CONFILCT genannt. Nur, dass die SUBHUMANS um einiges geradliniger vom Sound her waren. Ihre politische Einstellung und ihre soziale Ader zeigte sich auch den Fans gegenüber, so waren Konzertkarten immer erschwinglich und auf ihren Platten stand „pay no more than 3,5 pounds“. Doch dieses Verhalten sorgte nicht nur für glückliche Fans, die SUBHUMANS waren nie so erfolgreich wie zum Beispiel die SEX PISTOLS oder THE CLASH. Sie sind sich eben immer treu geblieben und haben sich nie verkauft. Ach ja, so geht es auch. Ich bin jedenfalls sehr begeistert vom aktuellen Machwerk der SUBHUMANS, das in einem schönen Digipack daherkommt.”

“Die Subhumans sind für mich nach Crass die zweitwichtigsten Vertreter des UK-Punk. Genau wie Crass gehören sie zu der Gruppe von gesellschaftskritischen- anarchistischen Bands , die sich strikt dem Kommerz verweigern. Kritik an der Gesellschaft ist ihr Hauptthema, die Texte und die Songs sind eigentlich unterbewertet, gemessen an Ihrer Aussagekraft und Genius.”
– Dinnerfornoone

“Die Jungs, pardon, mittlerweile doch etwas in die Jahre gekommenen Gentlemen verstehen einfach ihr Handwerk und vom ersten Ton an tanzte der Mob im gut gefüllten Club ausgelassen Pogo. Und wer bei solchen Klassikern wie „No“, „Mickey Mouse is Dead“, „Evolution“, „Society“, „Apathy“, „Waste of Breath“ oder den jüngeren Hits wie „Too Fat, too Thin“ oder „Point of View“ nicht mittanzen oder zumindest mit dem Kopf mitnicken muss, der hat auf einem Punkkonzert nichts verloren. Da wurden Fäuste nach oben Subhumansgereckt und der Schweiß lief in Strömen – im Publikum und auf der Bühne.”
–, Live Review 2015


If you went up to anyone who happened to be knowledgeable the US punk scene in the 1970’s and asked who were the key guitar players of the era, chances are that Cheetah Chrome’s name will be one of the first to roll off their tongue.

His explosive songwriting and raw tone influenced an entire generation of players and has been reflected in some most revered and popular bands including The Hellacopters (Stockholm, Sweden), The Darkness (Suffolk, England), Powder Monkeys (Melbourne, Australia), Supersuckers (Seattle, Washington) and Guns n’ Roses (Los Angeles, CA) name drop a few.

From cutting his chops and being an architect for the US punk rock sound in Cleveland, Ohio with Rocket from The Tombs to relocating to New York City as a founding member of one of the most prolific punk rock bands of the genre, The Dead Boys. With The Dead Boys, both Cheetah and iconic front man Stiv Bators showcased intense and memorable performances across the city and boroughs, including the famed CBGB’s and Max’s Kansas City and released one of the most influential albums in all the punk rock genre, “Young Loud And Snotty”.

The new millennium has brought new opportunities to Cheetah which has included his first solo release, a critically acclaimed book and multiple tours in the United States alongside the likes of Sylvain Sylvain (New York Dolls), Ronnie Spector, James Williamson (The Stooges) and The Blackhearts.

In Fall 2016, he will be returning to Europe to embark on a tour across mainland Europe. Cheetah has recruited a quality cast of band mates who have aligned themselves with his style and have brought his influence to their country. Making up The Knobs are a handful of Dutchmen who are world traveled punk/hardcore specialists and veterans who go by Tony Leewenburgh aka “Tony Slug” (BGK, Nitwitz, The Hydromatics, Loveslug, The Spades), Theo Brouwer (Lords Of Altamont, The Nitwitz, The Hydromatics) and Ries Doms (The Kik, The Hydromatics, Powervice, The Spades).

This quartet is not to be undermined in any way shape or form, they live for the rock and they bring the rock WHEREVER they can plug in, dig it!

Press links

Cheetah Chrome, guitarist with Cleveland punk legends the Dead Boys and Rocket from the Tombs, to release ‘Solo’ EP to coincide with ‘CBGB’ movie. –
Cleveland Plain Dealer

Debut: Cheetah Chrome’s ‘East Side Story’ / The former Dead Boys guitarist is going “Solo” with new EP. –
USA Today

Attention Rocket From The Tombs and Dead Boys fans: Here’s the first single from Cheetah Chrome’s new solo EP. –
The Onion AV Club

Cheetah Chrome (of Dead Boys) releasing first-ever solo EP, playing CBGB Fest shows; ‘Nightclubbing’ archives opening –
Brooklyn Vegan

Rupert Grint Enjoyed Playing Cheetah Chrome In ‘CBGB’ (video interview footage) –
Huffington Post


Formed in 2005 by teenagers from Lyon, the Decibelles have developed a strong identity somewhere between noise, punk and edgy pop music. Sharp vocal harmonies, aggressive and noisy guitars, a brutal bass – add here a honey pop touch grazing the nervous breakdown.

Their musical style and their power resembles Le Tigre or Bikini Kill, but Sabrina, Fanny and Julia definitely have their own style, so it’s impossible to stick a definitive label to their sound.

With the release of their mini album “Sleep Sleep” in 2015 and their fierce and convincing live performances, they already took over Germany, Austria, Czech Republic, Poland etc.

Their new album “Tight” was published in April 2017 through the German label Kidnap Music.


“Now in their mid-to-late twenties and several albums into making music together, the experience is evident. In their new album, Tight, the trio—now comprised of Sabrina Duval, Fanny Bouland, and newest member Lamson Nguyen—Decibelles shows off their style of pop and punk with a dynamism and bravado that speaks to a sense of ease.”

“A barbed wire powerhouse with a sound ranging from ‘in your face’ razor-sharp post punk outbursts to robust ‘listen up’ pop electricity. The intensity and passion are amazing! I just love their biting and opinionated approach and their appetite for lots of decibels. Think ‘Bikini Kill’ and ‘Babes In Toyland‘ jamming together with knifes between their teeth and use the boiling adrenaline that comes out of it to kick some macho asses afterwards!”

“Dieses Trio aus Lyon mag es laut und kantig. Seit über zehn Jahren sind Decibelles bereits aktiv und zeigen mit »Tight«, dass sie ihre eigene druckvoll beschallte Nische gefunden haben. Dieser Punkrock schleppt sich beizeiten wie eine Dampfwalze über löchrig betonierte Umleitungen, ein wummernder Bass unterfüttert dabei scharfkantige Gitarren. Breeders, Melvins und Pissed Jeans sind Namen, die einem schnell einfallen. Dank aufrüttelnder Ansagen zu Geschlechterfragen (»Girls are not your mummy/ girls are not your puppy«) darf man zudem eine Riot Grrrl -Sozialisation vermuten. Das kurzweilige Album erscheint in verschiedenen Farbvarianten beim Pascow-Label Kidnap Music.”
– Intro

“Decibelles aus Lyon! Butterweiche Melodien, Rhythmen wie Kanonenschläge und ein packend-tanzbares Punkrock-Inferno. Der Live-Tipp des Jahres!”
– Ox Fanzine

“Decibelles ist ein Noise-Punk Album gelungen, welches die Fühler stark in Richtung Indie und Pop ausstreckt. Diese Ausrichtung verkommt aber nie zur Anbiederung an den Mainstream – dafür ist auch der dargebotene Pop stets zu edgy. Wer einen musikalischen Vergleich möchte: BIKINI KILL – einerseits mit mehr Verve und Druck, andererseits mit mehr Gelassenheit und Ruhe. Und das muss man auch erstmal hinkriegen!”
– Bierschinken Fanzine

“Und obwohl sie oft wütend & aufgeregt klingen… haben sie doch überzeugende Rhythmen und saugen sich packend beim Hörer fest. Jeder Song ist für sich ein kleiner tanzbarer französischer Teufel.
Allez Allez Decibelles.”

“Il y a quelque chose d’incroyablement attachant chez Decibelles, notamment ce contraste omniprésent que ces trois lyonnaises ne cessent de cultiver, dans leur musique comme dans leur image. A les entendre de loin, on croirait un groupe du coin comme il y en a des milliers, composé de trois pisseuses toujours prêtes à dégainer un high kick dans les parties intimes du macho lourdingue aux airs supérieurs. A les voir en photo, élégantes, coquettes façon Dum Dum Girls et presque naïves, les trois ne rechignent pourtant jamais à bouffer le bitume de France et d’ailleurs pour s’en aller se mesurer aux autres, et défendre des morceaux toujours en équilibre entre punk rock, post punk et new wave, avec cette particularité de partager le chant entre anglais et français.”


“The members of this group are or have been in Defiance, Dead Moon, Resist, Detestation, Pierced Arrows, Severed Head Of State… and about every band to ever come from Portland, but you shouldn’t pick up this rad little two-song picture disc because of what these folks have done in the past. P.R.O.B.L.E.M.S. stands on it’s own merits. The band plays well crafted hardcore punk with a fast and dirty rock’n’roll swagger.”
– Maximum Rock’n’Roll

The P.R.O.B.L.E.M.S. from Portland, Oregon are a 5 piece Rock’n’Roll/Punkasfuck/Hardcore Monster which consists of several punkrock veterans out of Portland. Members have managed to do some mischief in bands like Pierced Arrows, Defiance, Detestation, or current bands like Don’t and Hellshock. That should give you a general idea of what this band is all about. Powerful Punk’n’Roll with sleazy guitars, a tight rhythm section and a frantic singer with just the right amount of snottines.

After several tours in the US, Europe and Mexico and a handful of vinyl and cd releases, they made a name for themselves as a prominent presence not only in Portland’s thriving Punk/Garage Rock/Underground music scene.

After nearly 80 European shows in 2015 and 2016 the P.R.O.B.L.E.M.S. will come back to Europe in fall 2017 with a new singer, their new single “Enemy Spy” and a brand new LP!


“Featuring Kelly Halliburton – drummer of the post *DEAD MOON* PIERCED ARROWS -on bass and original POISON IDEA drummer Dean Johnson, this is a powerful blast of Rock’n’Roll fury that few bands actually achieve… If, to paraphrase THE JACK SAINTS, Rock’n’Roll saved your life but is now trying to kill you, or if you just simply love the jet-fuel-infused sounds of THE NEW BOMB TURKS, THE HELLACOPTERS, or Ass-Cobra-era TURBONEGRO, not to mention the aforementioned CANDY SNATCHERS, JACK SAINTS and MOTORHEAD, you’re gonna need this 7″ right now, this second, chop chop, what are you waiting for?… PS – I’ve just played this 7″ over and over about 20 times while writing this and I’m not sick of it yet. That’s good music.”
– The Big Takeover Magazine

“So the members of this group have been in PIERCED ARROWS, POISON IDEA, RESIST, DEFIANCE, DETESTATION, SEVERED HEAD OF STATE, and about every band to ever come from Portland, but you shouldn’t pick up this rad little two-song picture disc because of what these folks have done in the past. P.R.O.B.L.E.M.S. stands on it’s own merits. The band plays well crafted hardcore punk with a fast and dirty rock’n’roll swagger. I’m pretty sure this band has only released two other EP’s of the same format in limited quantities, so you may have to fight some collector douche bag for a copy, but it is worth it.”
– Maximum Rock’n’Roll

“This is P.R.O.B.L.E.M.S.’ fourth EP. It is non-stop barreling punk like the shit that the bands that they played in prior did. Punk oozes out of this single in that fast dirty rock’n’roll sound that bands like the HELLACOPTERS perfected. But the subject matter comes from lived experience: ‘Why do I sit around in the cold, cold rain?’ has to be about Portland. These are the things I know is pretty obvious. NEW BOMB TURKS meets TURBONEGRO. And limited pressing, self-released, clear see-through vinyl and you have a record that is going to be a collectors’ item by next month.”
– Equalizing Distort

“If the standard for overdrive is: MANOWAR plays on 10, MOTORHEAD kills yer lawn when they move in next door, and SPINAL TAP plays on 11, then this record was recorded at 30 or 40. I think Stan Wright’s Buzz Or Howl studio was probably reduced to a smoking pile of rubble in the ground, declared ‘toxic’ by uniformed federal employees after P.R.O.B.L.E.M.S.’s Apr 2011 session for this album… There’s just 9 songs, but there only NEEDS to be 9 songs on this record. This is a set I’d like to see this band do, in this order.”
– Sonic Recollections Records

“Wundervoll: Diese 7″ kommt so retro daher, dass mir das beinahe Tränen in die Augen treibt: Plastiktüte, darin ein mittig gefaltetes, kopiertes Stück Papier, darin die Single. So werden Punkrock-Singles seit 2000 Jahren gemacht, so muss das sein – wer braucht da irgendwelchen Digitalschrott? Limitiert auf 300 Stück, und fuck, das ist das Traurige an der heutigen Zeit: Früher hatten solche kleinen Meisterwerke die zehnfache Auflage – und heute finden sich weltweit gerade noch 300 Leute, die so einen exzellenten Geschmack teilen? So was macht mir Angst … Tombstone, das ist das DEAD MOON-Label, entsprechend sind die Aufnahmen hier auch ‘nur’ mono, gemastert hat Fred Cole selbst, und die fünf Männer, die sich P.R.O.B.L.E.M.S. nennen, spielten auch schon bei solch Portland-Autoritäten wie POISON IDEA, PIERCED ARROWS, BURNING LEATHER und RESIST. Entsprechend klingt es dann auch: dreckiger Hardcore-Punk mit der Intensität eines aufgescheuchten Wespennestes, dem man seine Gene klar anhört.”
– Ox fanzine

“Geboten wurde schneller, rauer Punk-Rock, der allerdings über jenes gewisse Etwas verfügte, das auch Bands wie ZEKE, ELECTRIC FRANKENSTEIN, die frühen NEW BOMB TURKS oder NINE POUND HAMMER ausmacht und keinen der Besucher unberührt ließ.”

“WOW!! Mal wieder eine All-Star Band aus Portland und vor allem endlich mal eine, die die großen Namen nicht braucht, sondern durch Qualität überzeugt! Nach einigen beachtenswerten EP´s ist das hier die erste LP der Problems. Deren Mitglieder sind bzw. waren unter anderem bei ‘Pierced Arrows’, ‘Poison Idea’, ‘Resist’, ‘Defiance’, ‘Detestation’ und ‘Severed Head of state’ aktiv, unter anderem ist hier Tausendsassa Kelly am Start. Ganz wunderbarer Sound an der Schnittstelle zwischen Punkrock und Hardcore, Killermelodien, super Schlagzeug, sehr geiler und packender Gesang, hier stimmt einfach alles und die Platte ist eine Granate!”
– Twisted Chords

“Laut aufgedreht ein echtes Fest… Offensichtlich auf dem DEAD MOON-eigenen Label erschienen, limitiert auf 300 Exemplare.”
– Plastic Bomb, (Gotta Get Away From You 7“)


Wow! The Veggers are a Hardcore / Punkrock band from Soul, South Korea, and the four guys definitely listened a lot to Dead Kennedys and early Discharge. You will even find garage punk parts in some songs which makes The Veggers very special and unique.

Like most Korean punk bands (there are not so many) they sing in Korean, but they also have a few songs in English about politics and other things that matter to them and make them angry.

Apart from club shows the The Veggers played at several festivals in Korea and Japan like the Il-danrock Festival (2011), Vivid Rock Festival (2013), the Korea-Japan Punk Rock Festival (2013), the Zandari Festa (2013, 2014, 2015), the Uzu-Rock Festival (2014,2015) and the V-ROX festival in Vladivostok,Russia (2015).

They will come to Europe in 2016 together with Reddot from Seoul.


“Welcome to South Korea! THE VEGGERS spielen einen verschwitzten, wilden Garagen-Punk mit Rotz und Destroy-Feeling. Kurze, heftige Pogosmasher und chaotisches Rot’n’Roll-Programm, das mit Tempo, Witz und Nihilismus bestückt ist… Zwischen Bubblegum und Handgranate gibt es Hits, Hits, Hits. THE VEGGERS besitzen eine schier unermüdliche willkürliche Verschmelzungskraft von Punk, HC und Rock and Roll, die in schwindeleregender Spielweise hämische Gesten davonträgt und mit zunehmender Spielzeit alles in Schutt und Asche legt, weil sich Rhythmik und Struktur immer wieder neu konfiguriert. Der kurzweilige Jazz Master ist pickepacke voll mit Überraschungen an Willkürlichkeit, Provokation und moderner Skeptizismus im Retro-Sound, dass die Äderchen platzen. Leckt mich! … Crazy fuckin’ weirdoz!”
– Underdog fanzine

“Britisch invasionierter Panzerhaubitzen-Hauruck der Achtziger Jahre à la GBH oder DISCHARGE aus Seoul, Südkorea trifft sich ohne Leather, Bristles, Studs, mit überwundener Akne und hyperaktiv ritalinverweigernder TEENGENERATE-Bolzfreude bei „Fresh Fruit For Rotting Vegetables“ zum Lynchen des Landlords in unter einer Minute Spielzeit in den Mabuhay Gardens, beherrscht es aber ebenso gediegen, auf das 1977-Gentleman’s Agreement japanischer Nachbarn wie STRUMMERS oder COBRA einzugehen, bevorzugt textlich jedoch klar politische Texte, überwiegend in der Heimatsprache, statt rührseliger Angry-YoungPunks-Nostalgie. Davon, einen etwaigen Exotenbonus als Empfehlungsgrundlage bemühen zu müssen, der in den Zeiten der Punkrock-Globalisierung ohnehin längst hinfällig sein sollte, sind die Herren VEGGERS übrigens zu jeder Zeit meilenweit entfernt und
werden mögliche Restzweifel bei der im April hierzulande anstehenden Tour mit absoluter Sicherheit atomisieren.”
– Ox fanzine

“Jazz Master by The Veggers is a daunting album. For punk and hardcore fans, you get an insane amount of music with 28 songs. For people simply interested in Korean music, The Veggers will probably blow your mind… The Veggers display punk and hardcore in its perfection.”
– Korean Indie


It all began as “Ankry Simons” back in 1989. With their first record though, they changed to “Steakknife”.

20 years, 6 albums, a few singles, compilations and many tours later they still rule over the German punkrock scene, managing to maintain their ideals, their verve and fun. Especially on stage, Steakknife are as fresh and powerful as in those early days. Always focused on what they can best: Punkrock!

This is no copy, Steakknife are genuine enough. It’s all about style, attitude but also posing at its best. And in the middle of it all: Lee Hollis. A man, who never got forgotten despite never having been on any talkshow. Known as a charismatic bandleader (also in the legendary Spermbirds and 2Bad), a gifted column writer, author or spoken-word-performer, Lee Hollis knows how to feed his reputation.

Let him speak for himself: “We‘ve been doing this forever. 22 years I think. At least long enough to put an eight year distance between ‘One Eyed Bomb’ and our last record ‘Parallel Universe of the Dead’. So yeah, forever.

Steakknife has always felt like ‘the right thing to do’. Even on the worst day of the shittiest tour in the middle of winter and ‘Fuck everyone in and OUTSIDE of this BUS!’ we were all in that bus because it was ‘the right thing TO DO.’ Because the music we make is the music we listen to. I wrote that about fifteen years ago and it‘s still true today.” – Lee Hollis


“Die alten Herren von STEAKKNIFE dann in gut durchtrainierter Form. Viele glückliche Gesichter beim Tanz vor der Bühne (oh ja!), das zu einem, sagen wir mal „sehr ambitionierten Set“ ein gutes Stehvermögen brauchte. Trotz der Anzahl von nicht weniger als 27 Stücken fehlten mir noch ‘Better than you’ und ‘Bill Gates money’, andererseits auch schwierig, dafür einen der vielen anderen Nur-Hits aus dem Set zu streichen. Großartiger Auftritt, den man einigen gleich alten Bandmitbewerbern als Blaupause auf den Tisch legen sollte, zusammen mit einem Auflösungsvertrag und einem Revolver.”
– Ox fanzine, live review 2016

“Der Henry Rollins von der Saar (ursprünglich Alabama; er ist außerdem Autor und Frontmann der sogar noch legendäreren Spermbirds) hat nach acht Jahren Pause seine Band Steakknife wieder hinter sich, und die klingt auch mit ein Loch weiter geschnalltem Nietengürtel noch gut. Musikalisch ist man schlank geblieben, Punkrock ohne eklige Ambitionsvortäuschung eben. Die Texte sind eine andere Sache: irre lustig, ohne widerlichen Fun-Punk auch nur zu streifen. Ist das Kunst oder kann das weg? Beides: »One Eyed Bomb« rast mit Affenzahn an einem vorbei, so ein Lied hält kaum zwei Minuten durch. So was aber auch: Da wartet man jahrelang, und dann hat Mr. Hollis überhaupt keine Zeit.”
– Intro magazine

“Sie sind das gute Gewissen des Punkrocks! Was unter dem Namen „Ankry Simons“ schon 1989 begonnen hatte, und seit dem ersten Album als „STEAKKNIFE“ die Herzen der Fans erobern konnte, ist immer noch ein Highlight der Szene und ein Garant fuer grossartige Live-Shows.”
– Noisolution magazine

“…Und sie klingen, als ob sie nie weg gewesen wären. Fans der vorausgegangenen Alben „Parallel Universe Of The Dead“ (2007) oder „Plugged Into The Amp Of God“ (2000) sind auch bei „One Eyed Bomb“ goldrichtig. 16 zackige Punkrock-Nummern in etwas mehr als einer halben Stunde. Kurze, schnelle Kracher ohne Atempausen. Kaum einer über zwei Minuten lang. Natürlich hört man die stilprägenden ANGRY SAMOANS raus, genau so wie den fiebrigen Sound der DEAD KENNEDYS… STEAKKNIFE machen Punkrock für Menschen, die mit Monty Python, DEAD KENNEDYS und Hans Meyer groß geworden sind. Gehen Sie davon aus, dass Sie in der halben Stunde mit „One Eyed Bomb“ keine Langeweile empfinden werden.””
– Ox fanzine

“Die Fans aus der neuen Wahlheimat Saarbrücken können sich auf jeden Fall auf die anstehenden Konzerte auch in ihrer Nähe freuen, denn die neuen Songs sind eigentlich ausnahmslos Live-Granaten, die wiederum zusammen mit den alten Klassikern ein großartiges Live-Erlebnis versprechen. Auch wenn man schon fast die Hoffnung aufgegeben hatte – das Warten hat sich definitiv gelohnt, und STEAKKNIFE haben in dieser Wartezeit nichts verlernt, sondern eher noch draufgepackt. Absolute Empfehlung meinerseits!”
– Neckbreaker magazine

“Lee Hollis lärmt wieder! Das ist ein Grund zur Freude, denn er ist ein echtes Original in der nationalen Punkszene. Für die Jüngeren: Hollis war langjähriger Sänger der Kultpunker Spermbirds, bei denen er für deren letzte beiden Platten durch Ken Haus ersetzt wurde, während er selbst die sehr eigenwilligen 2 Bad gründete (die meines Wissens bisher nur eine Scheibe veröffentlicht haben) und mit denselben Leuten plus zweiten Gitarristen das Punkprojekt Steakknife, die mittlerweile das dritte Eisen im Feuer haben. Musikalisch bleibt alles wie gehabt, Punkrock weitab von den einschlägigen glattpolierten kalifornischen Melodycorelern, fernab von den schwedischen Burning-Heart-Bands, sondern in den Adern von Steakknife fließt vielmehr das flüssige Vinyl eingeschmolzener Dead-Kennedys-Schallplatten. Laut, lärmig und räudig.”
– Metal Inside magazine


The Austin-based duo reminds many of The White Stripes, but perhaps only in energy, gender and eccentricity. Their charming-mysterious style is uniquely their own, musically and visually. They are clearly influenced by The Cramps or The Jon Spencer Blues Explosion. With nothing but a four-piece drum kit and an electric guitar, Carley and Jonny create huge sound.

The Ghost Wolves are all canine fangs, wailing guitars and smash ’em up drums. The band’s name mirrors the ferocious, primal sounds the Texas duo conjure from drums and guitar and acknowledges Carley’s upbringing among hybrid wolves on her family’s ranch. The duo take inspiration from a variety of American styles – blues, rock n’ roll, swamp-boogie à la Bo Diddley – and spin it into a hybrid they’ve dubbed “stomp n’roll.”

The Ghost Wolves are known for their infectious on-stage chemistry and raw energy, presenting “face-melting riffs and unfettered noisy productions” (Austin Independent Music) to live crowds around the world. The band tours relentlessly and is always creating new music videos, art and custom stage wear. The played over 900 shows to date, in 11 countries including Ireland, Japan, the USA and western Europe. Japanese fashion line, Hysteric Glamour, brought them to Tokyo to play their 30th Anniversary event. In 2014 alone the band played SXSW, Austin Psych Fest, Ireland’s Electric Picnic, plus their first 27 European tour dates. Japanese fashion line, Hysteric Glamour, brought them to Tokyo to play their 30th Anniversary event.

The band formed in 2011 and released their first EP titled, “In Ya Neck!”, followed by the seven‐inch, “Getchya Hip Thrust”, before signing to Nashville’s Plowboy Records in 2014 and releasing the album, “Man,Woman, Beast”. The album was recorded at Austin’s famed Arlyn Studios (where Ray Charles, Willie Nelson, Stevie Ray Vaughan have taped) and was mastered by Howie Weinberg (Nirvana, The Ramones, The Clash).
The Ghost Wolves have collaborated in the studio and on stage with Bushwick Bill (Geto Boys), Alejandro Escovedo, Johnny Vidacovich (New Orleans’ drumming legend) and BP Fallon (Led Zeppelin, John Lennon, T-Rex, Thin Lizzy).

“Shotgun Pistol Grip”, recorded on Carley’s vintage one‐string Teisco guitar and one of several live during which Jonny plays drums with his feet and left hand ‐ while playing an analog synthesizer with his right ‐ has been featured on the hit TV series Shameless. “Dangerous Moves” was used in Oxygen’s Bad Girl’s Club and in the over‐the‐top trailer for Japanese martial arts film Why Don’t You Play in Hell? “Attack Attack Attack” was heard on MTV’s Real World: Explosion, Oxygen used “Itch” on Funny Girls, and Oxygen’s Best Ink used “Gonna Live” and “Baby Fang Thang”.
In 2015, the band continued touring in the USA and Europe, playing to packed clubs across both continents.

The band recorded 15 new tracks with Austin based producer Mike McCarthy (Trail Of Dead, Spoon, OBN III’s). Their new album “Texas Platinum” was released in 2017 in the US and in Germany on Hound Gawd Records.


“They play stomping blues-garage-punk possessed by who knows what kind of demon… their music has just the right overdose of voodoo punk…”
-Rolling Stone Italia

“The pair tour relentlessly, showing a joy in the turn-it-up that evokes the visceral virtues of rock at its most raw and elemental.”
– Lenny Kaye for

“Bodacious garage rock with a sneer”
– MountainX, Asheville NC

“A primal musical jewel in wolf’s clothing…”
– BP Fallon’s Wang Dang Doodle

“Primal, grungy, lo-fi, disruptive, exhilarating…”
– Blurt! Online

“Vertreter dieser reinen – Pardon – schmutzigen Lehre sind etwa: Hazil Atkins, die Cramps, Jon Spencer Blues Explosion, Flat Duo Jets und wieder Elvis, der Glanz und Elend im Rock ‘n’ Roll verkörperte wie sonst niemand. Und da wären noch die Ghost Wolves aus Austin, Texas. Carley Wolf und Jonathan Konya sind das netteste Paar, das man sich vorstellen kann – privat. Anders die Lyrics und der Sound des Duos. Da werden keine Gefangenen genommen, da fliegen die Fetzen, da splittern die Knochen.”
– Deutschlandradio Kultur

“…for the real experience, catch them on stage where their intensity and magnetism are amplified to such levels that you might just put on a mask and let Carley call you ‘Grandma’.”
– Deli Magazine

“…they opened the evening with a roar both from the stage and, by set’s end, from the audience, too. They played so well with such obvious delight that it was impossible not to get on board.”
– Nippertown, Albany, NY

“This duo — female singer/guitarist and male drummer — provides raw, energetic rock that sounds more like it came from the Voodoo-soaked streets of New Orleans or back alleys of New York City than the farmlands of Texas. Punk sensibility, blues style, crashing drums, scattershot harmonies and moments of folk simplicity define the band’s six-song EP, In Ya Neck!.”
– Jeff Hahne, Creative Loafing

“When the Austin band finally let us off the hook and left the stage, the only thing I could think of was the fact that I wanted more. I was ready to take the tunes well into Friday morning, not well short of midnight.”
– Loopster Live

“The Ghost wolves made a mighty punk-rock noise in a powerful opener…their spunky energy engaged the crowd so well they whipped up a noisy singalong.”
– Albany Daily Gazette

“Their live show is a bit of a spectacle, with Wolf, dressed all in white with a matching Warhol-esque wig, jumping around the stage as she plays. Konya is chatty between songs, making jokes and pushing the record. It’s not your typical Austin act…”
– Peter Mongillo, The Austin American Statesman

“Their music is influenced by shamans, wolf dogs, and blues legend RL Burnside – that the Ghost Wolves makes it one of the most exciting newcomer band from Austin.”
– On3, Germany

“The Ghost Wolves might be a mere duo (Carley plays a vintage hollow body guitar, Jonny thrashes the drums and they both sing) but they play hard enough for a full band. Playing second in a four-band showcase (including the Krektones, Alligator Indian and ER Airplane) at Jack of the Wood last Friday, the Ghost Wolves had the crowd on its feet.”
– Mountain Xpress, Asheville, NC

“This new Texas based duo blend gritty backwoods blues with hints of Pyschobilly and folk that are conjuring up garage ghosts from the 60’s and demons from the Delta. Known around the city for their energetic live show and infectious on-stage chemistry, The Ghost Wolves have been relentlessly touring their debut album, In Ya Neck!, bringing the raw and rabid rock and roll sound from their digitally unscathed record to dive bars across the plains.”
– Band Soup

“The two-piece band Ghost Wolves, one of several acts on the lineup from Austin, offered a twist on the White Stripes formula when drummer Jonny Wolf switched places with guitarist Carley Wolf for a song.”
– USA Today

“From the opening, bluegrass twang of ‘Gonna Live’, to the gorgeous live recording of ‘First Love’, it is clear that the duo’s relentless gigging – as well as their strong musical heritage – has produced a collection of tracks that is both exhilarating and infectious.”
– Chybucca Sounds U.K

“”While they each have their own impressive musical resumes, together they are an otherworldly presence.”
– KUT- Austin


The Dead Class were formed Feb 2006 in a psychedelic studio in Speakerland. Since then, they have been travelling around the UK, Ireland, Europe & the U.S.

The three piece from Liverpool released two albums on Cuatroku Music, “Boo” (2006) and “It’ll Damn near kill you” (2008) and then later “Stick” (2010) on Antipop Records.

Since their last outing in Liverpool with Nomeansno in 2013, The Dead Class decided to take a chill pill and focus more on curing the world from climate change and baking, but now they are back in this glorious 2015th year with the new singles “Horrorshow” and “Attack”.

Back mixing molested pop songs with punk rock, folk, ska, crack cocaine and calpol which is what has always given The Dead Class it’s unique and disturbingly sweet and sour tasty flavour!

For those of you who like to pretend you have amnesia and don’t remember, they do quirky songs about cannibalism, consumerism, deranged psychopaths, magic cows and more serious topics like honesty, trust, friendship, relationships, pirateships, scary girls and… blah blah blah…

Look out for The Dead Class in the future or the past and come down to see them when they play your town, city, planet… nice one!


“The Dead Class sind zu jeder Minute frisch und überraschend.”
– Plastic Bomb

“The Dead Class are one of the most exciting live bands to emerge from the Liverpool underground in many years, so maybe we all need to be a bit more Teutonic and welcome them into our hearts.”
–, Live-Review

“Bei dieser Scheibe bleibt mir gar nicht viel mehr zu sagen, als dass man sie einfach gehört haben sollte, denn jeder, der auch nur im entferntesten eine Affinität zu klassischem Punkrock hat oder auch einfach nur den häufig produzierten Einheitsbrei satt hat und einmal wieder eine richtig gute, abwechslungsreiche, innovative, charismatische und doch klassische (Diese Kombination geht gar nicht? Dann lasst euch von ‘The Dead Class’ eines besseren belehren) Platte hören möchte, ist hier definitiv an der richtigen Stelle. ”
– PitXplorer

“Das hier ist klasse! THE DEAD CLASS machen Musik, die funktioniert, die nach vorne geht, die Spaß macht.”
– Ox

“Ja, mit ‘Boo’ ist Villy (Singer/Guitar), Kuba (Bass) und The Ten Foot Toads (Drums) ein wahres Meisterwerk gelungen. Unbedingt hören – es könnte auch dein Leben verändern!”
– skug – Journal für Musik, Österreich

“It’s difficult to categorise the band, which is great and refreshing but you could argue there are elements of Killing Joke and Jello Biafra in what they do, without being neither. Villy’s vocals are a cut above the generic punk trends and the uncomfortable delivery will continue to split listeners but if you want a genuine alternative to punk trends give The Dead Class a chance.”
– Distorted Magazine, UK

“If you cut them in half they would have PUNK written through the middle of them.… Hitting the crowd in the face with an explosive energy it is hard to catch your breath once the guys hit the stage – it is fast and it is hard. And they are so good – admittedly, I’m jealous.. However, that is what we had here tonight, musicians playing from their hearts as opposed to any money–making commercialized agenda. More power to the Anti- Pop label and its band of merry Punks.”
– Click Liverpool, Live-Review


The debut album of this all girl post-punk, noise pop trio from Croatia was voted as the best debut album of the past 10 years in their home country. Playing regularly to rave reviews around Eastern Europe, the band is now ready to take the rest of Europe by storm with their explosive, loud and emotional live shows.

Punčke doesn’t know yet which genre they belong to, but in their songs you might hear influences of Sonic Youth, Nirvana, Joy Division, Television and sometimes even Patti Smith.

The young three piece already played more than 300 live shows including festivals like Sziget in Budapest, EXIT in Novi Sad, Terraneo, InMusic or Eurosonic and also opened for the Queens of the Stone Age in Ljubljana and Zagreb.

Lucija (guitar and vocals), Ruby (drums) and Anja (bass guitar) will knock you out with their impressive performance when they finally come to Germany in 2016!

Pete Bentham & The Dinner Ladies are a four piece from Liverpool. Pete on Guitar, Paella Fitzgerald on Bass, Sonny Rollingpin on Saxophone and Tony Calzone on Drums. Plus The Dinnerettes. They are at the vanguard of current Liverpool music scene

The band was formed in 2006. Pete wanted to form a band that was a pure rock & roll band with modern lyrics about real life. They have clever, witty songs about working class life that feature Night Club Bouncers, Lorry Drivers, Cats & Dogs, always telling the truth and they speak out against things they oppose like consumerism and racism.

The music is raw punk rock and roll reminiscent of the The Cramps, The Fall and the Velvet Underground.

They have so far released three albums, toured the UK and Europe and have played many festivals including Rebellion Festival, the largest punk festival in the world alongside bands such as The Damned, The Beat and the New York Dolls.

A band who actually sing about things they know and believe in and always with sense of humour. This is Kitchencore!


“It’s an utterly joyous spectacle. The songs are defiant yet fun odes to rebellion, with the likes of ‘Do the Don’t providing a suitably fun two-fingered salute to conformity. There’s a tune about being a ‘Hip Potater’ and a blistering, Billy Childish-esque tribute to their hero ‘Marcel Duchamp’. The set ends with the two dinner ladies having a mock fight on the floor and in the middle of the audience. If we weren’t already standing I’m pretty sure the band would have got a standing ovation.”
– Soundblab magazine

“Check it out. Its easy to see why they are a great band to have at any festival, as they bring with them energy, up beat rock songs to have any crowd dancing about.”
– little indie night

“Classic Liverpool Rock & Roll. Songs about things you’ve observed and experienced. Fun and upbeat.”
– Sound City

“Third album from Pete & The Dinner Ladies, the Liverpool based ‘kitchencore’ outfit who with this offering have produced their most accomplished release to date… somehow The Dinner Ladies have not just pulled this off, this is a triumph – played with due respect but also with that ‘fuck you’ punk attitude that certainly Syd Barrett expressed; I get the feeling Barrett would chuckle if he had heard The Dinner Ladies, instantly responding to their free-spirit DIY take on rock ‘n’ roll.”
– Louder Than War Magazine

“It’s a shame John Peel is not with us any more as Pete & The Dinner Ladies would certainly have been taken to the great mans heart and been regular favourites of the twilight airwaves. This album has pretty much been on constant repeat for the last month and protest has never sounded so great. This should feature highly in the end of year best of albums that we so love to compile and read about.”
– Never Loved The Shovel Blog

“Best performance of the year thus far due to nothing more than the aforementioned points and the downright commitment to the cause. A fitting exclamation mark to a fine day that provoked much thought and much pleasure.”
– Fungalpunk fanzine

“We were starting to flag at this stage but Pete Bentham and the Dinner Ladies rev it up with an entertaining set back at the Art Academy and prove punks not dead, it just wears a shiny 80’s suit and is surrounded by Dinner ladies, it also proves that you can write a decent protest song without being a po-faced navel gazer, or tortured poet with a shit beard. “Do The Don’t” “Part Time Punk” and ” Hip Potater” are all crowd pleasers, but if you listen and pay attention you’ll find that behind the “fun” façade Mr Bentham’s got plenty to say and raises some very salient points.”
– The VPME, Live Review

“To have spent many a gig in the company of Pete Bentham and the Dinner Ladies is not going to prepare you for just how good they sound, just how wickedly delicious and note-worthy they are tasty a band when allowed the freedom to wax lyrically in an anarchistic scrumptious style… The idea of David Bowie performing it with David Gilmour is one to feel goose bumps appear, to hear Pete Bentham and The Dinner Ladies play it is to almost understand the gender blurring of fun, slight majestic sleaze and sex appeal that runs through each line. You can only imagine the curly haired music genius who shone too brightly would have raised a smile towards the band, for it is a piece of art.”
– Liverpool Sound and Vision

“Their infectious fusion of ska, folk and, er, circus music (that’s the only way to describe it, honest) seems a good enough reason to work off Pete’s (legendary) free Veggie Scouse via the medium of boogie… Pete begins by inviting everyone to pray for more good weather ‘so we can riot in shorts and t-shirts’. Comedy is as much a part of Pete’s act as the music; he enthusiastically explains the meaning behind songs, such as ‘Nature’, which was inspired by a conversation with a self-righteous hippy…
By the second encore, it’s turned into a right old organic cider-fuelled knees-up; everyone obeys Pete’s command to kneel on the floor before leaping back up for one chorus. Despite a lone stage invader almost spoiling proceedings, the show is a triumph.”
– Purple Revolver, Live Review

“When all of the band kick in, the sound is tremendous; Pete thrashing away on his guitar trying to wear out the scratch plate (and his elbow); Gabrielle bashing the hell out of the drums. Marigoldy thunderously playing the bassiest bass possible and John ‘The Caretaker’ Lewis going cross-eyed trying to inflate either the sax or clarinet. The crowd loved them… Those diehards resisting the kitchen assault were all to be reigned in with the totally interactive ‘Hip Potater’. Here, Pete had the crowd in the palm of his hand, ordering them to shout back the words ‘Hip Potater, Hip Potater’ at his command. A truly marvellous spectacle… You must give this band a listen, preferably live.”
– Roomthirteen, Live review

“Wow, ich bin echt begeistert und habe mir das Album zum Besprechen sicher 10x angehört.”
– Kink Records

“Bentham und Co. schaffen es, sich von allen Genrekonventionen zu lösen und Pubrock mit der Tanzmusik von Holly Golightly zu verbinden, Chuck Berry und Punkrock zu kombinieren, Saxophon und Klarinette einzubinden, eine entschärfte Version von THE FALL in Richtung KINGS OF NUTHIN’ zu lenken, mit einem kleinen Schlenker Richtung TOY DOLLS, und dabei dann doch nie wie eine der hier erwähnten Bands/Musiker zu klingen…”
– Ox fanzine

“Ihre Scheibe ‘Hip Potater’ läuft bei mir schon den ganzen Sommer lang… Trotz der frühen Uhrzeit ist sehr viel Publikum anwesend. Live sind sie eine Spur härter und schneller. Ein richtig guter Auftritt.”
– Useless fanzine, Live Review


Jenny Don’t and the Spurs are Portland’s hottest new roots-country four piece. Featuring Jenny Don’t, Kelly Halliburton (P.R.O.B.L.E.M.S., Pierced Arrows), Christopher March and Sam Henry (Wipers), Jenny Don’t and the Spurs bring a variety of musical styles and a formidable wealth of experience to the stage. Drawing from a long background of playing in some of Portlands best and most well known independent bands.

While the sound of the Spurs is original and draws from deep wells of personal experience, the band pays stylistic homage to the greats of the genre – Patsy Cline, Ernest Tubb, Hank Williams Sr., Loretta Lynne, and all the rest of the real players from the 1940s and 50s – an era where the lines between Rock’n’Roll and Country were blurred, where the likes of Elvis Presley, Johnny Cash, and Carl Perkins could tour together and nobody would bat an eye.

Jenny Don’t and the Spurs have released a limited-edition 7″ vinyl 45 on Fred Cole’s label Tombstone Records and their debut album on Doomtown Sounds before. After nearly 300 live appearances around their native northwest, up and down the west coast, and on two successful European tours, the band returned to the studio to record their sophomore album, the aptly titled “Call of the Road”.

Jenny Don’t was nominated for “Outlaw Female” for Dale Watson’s Ameripolitan Awards based in Austin, Texas. The album “Call Of The Road” charted at #32 In the Americana Music Charts. The Spurs also just signed on with Leafy Green Booking for the US and with Fluff and Gravy Records for their next album.


“‘I like everything but country.’ It’s the eternal refrain of high schoolers and idiots nationwide (don’t even get me started on high-school idiots). But there’s hope for the kids yet. Enter Jenny Don’t and the Spurs. Backed by notable Portland musicians—Kelly Halliburton (Pierced Arrows), Sam Henry (Wipers, the Rats) and JT Halmfilst (a jillion bands)—Ms. Don’t, who previously played with Henry in the band bearing her surname, has released an album of 10 punky country hits that will blow the minds of those who only know the genre through Auto-Tuned CMT fare. The songs run the gamut from the lilting waltz of “Carry Me Home” to the garagey lurch of “Hot as a Desert,” but are all grounded by a similar theme.”
– Willamette Week

“A band that boasts the ranks of Portland musical royalty (the Wipers’ Sam Henry and Pierced Arrows’ Kelly Halliburton) issuing its debut full-length would be noteworthy enough as is. But Jenny Don’t and the Spurs, whose self-titled album sees its release at tonight’s show, will win you over even before you flip the jacket to look at the musician credits. Playing vintage country and western straight out of the lonesomest corners of mid-20th century America, Don’t and her cohorts sound nothing like a museum piece; rather, there’s grit, sadness, and an edge of danger to these rumbling-boxcar country songs. ”
– The Portland Mercury

“Jenny Don’t and The Spurs are a fantastic independent country and western quartet who sing heart wrenching songs about emotional turmoil wit passion and honesty. The quartet’s debut self titled CD will make classic country western music fans extremely proud.”
– Jersey Beat

“The Spurs are as on-point as a backing band can be, with a furious rhythm section and a tastefully eloquent slide guitar. While Jenny’s voice would be at home with many of the indie bands in their native Portland, there’s only one type of song it’s meant for: cracking open that first PBR at the honky tonk. The band never slips into irony here: Jenny’s heartbreaks and triumph are pure, filtered through the requisite veneer of propriety and sincerity of a 60s country singer flirting with a possible step over the line into outlaw music. Remarkably, it works. Jenny Don’t and the Spurs proves that country is only as dead as we let it be.”


Reddot from Seoul will accompany the Veggers on tour in 2016.

The young three piece is part of the quite small Korean punk scene which hold its ground against the omnipresent K-pop trend.

Reddot play very danceable punkrock songs. Although they only just published their first EP, they deliver an intoxicating show.

Beside lots of local punk shows they played several festivals like the Hwa-sung Marine Festival or the HBC festival 2015.

Join the sect!

A better life awaits us all. Only those who know will experience it. Join us and be a part of the wise elite that will bloom in this world and the other.

We shall enlighten the world with the radiance of the guru’s knowledges: an end to wars, diseases, sadness, and all things that hindered the greatness of humanity. May this world join the other in a joyful and eternal union.

The Guru and his apostles The Hairy, The Skinny, The Fat and The Tall created Sects Tape as a musical branch of the sect. The result is a mix of surf and garage rock riffs, with a punchier rhythmical section and of course the message and habits of the sect.

In summer 2015 Halshugga Records is releasing a 1-side EP with three new chants from the sect.


“Alter! SECTS TAPE! Henry Fiats Open Sore in Surf! Was für geile Asis! Kommen unter Nebel einzeln in den gefühlten 12-Quadratmeter-Raum und weihen jeden einzelnen Gast zur Begrüßung. Dann folgen 25 Minuten Feuerwerk.”
– Bierschinken fanzine, Live review Crossbonefest

“Over to March 10th with an opener from Tournai, SECTS TAPE, a real weird combo.
They had these cool Agent Orange-like surf guitars, there were good parts of garage trash, classic covers by Devo (“Mongoloid”) and Black Flag (“Nervous Breakdown”) that you didn’t expect to hear here, all played by dudes in huge pink KKK-hats.
A hilarious sight and not easy bunch to pinpoint, but this for sure was enjoyable!”
– Up yours! fanzine, Live review


Since 1989 Citizen Fish has been touring the world: turning gatherings, benefits, and social gigs into an international never-ending weekend. These four dudes from the UK have created a blend of punk, ska, and straight up rock’n’roll that appeals to the sing-a-long music fans and even the “muso” musician types that typically dismiss punks as not being able to play their instruments.

But it’s not so much the fact that these dudes are the most talented musicians in England, it’s what they say and how they say it. In a fun loving, all inclusive way, Citizen Fish (and their previous outfits Culture Shock and the legendary Subhumans) have brought working class radical politics to generations of questioning minds. Leaving aside the typical screaming rants of boring political punk bands, the Fish offer a hopeful, danceable alternative.

Whereas other bands have fans, admirers, and flavor-of-the-month teenyboppers hoarding to their concerts, Citizen Fish have established an open and always growing family. The idealistic unifying tone of Dick’s lyrics, coupled with the catchy driving riffs of the band, allow the Fish to appeal to a wide variety of folks.

Familiar dancing faces in every town, beers and vegetarian meals, and local activists filling the gig halls with information, ideas, and inspiration for positive change is what Citizen Fish are all about.


“Its scary how much a sound this rare and aged can suddenly be dragged kicking and screaming into modern relevance.
CITIZEN FISH are a wonder of nature, they should not be able to inspire these feelings, being as they are ‘just a punk band…'”

“There is nothing diluted about Citizen Fish’s musically delivery – As expected of a band with such an extensive history they have got better with age; the Fish now deliver some of the finest ska-punk around, each separate ingredient would in its own right be regarded as exemplary – the blending of full on hardcore with jaunty brass-fuelled ska is joyous; the brass is warm, subtle even, it doesn’t, like many other ska releases overpower the music – this at times is even soulful!”

“Referenzklasse in diesem Sektor sind und bleiben OPERATION IVY und CITIZEN FISH, und die simple Regel ist: Mach es mit deiner Band so gut wie die – oder lass es bleiben… ‘Goods’ ist das achte Album der 1989/90 gegründeten Band, deren markanten Frontmann Dick Lucas man vorher schon bei SUBHUMANS und CULTURE SHOCK singen hören konnte. Die klassische Schlagzeug-Gitarre-Bass-Besetzung wird um Posaune und Trompete ergänzt, der Offbeat ist immer wieder, aber nicht konstant zu hören, die Wechsel zu treibenden Punk-Parts sind sehr geschmeidig, und die Bläserparts sitzen perfekt… Die große Stärke von allen Bands, denen Dick Lucas seine Stimme verlieh, waren schon immer die Texte, und das ist hier nicht anders. Keine wohlfeilen Plattitüden, sondern smarte, politische Analysen, das zielgerichtete Hinterfragen von (Fehl-)Entwicklungen in der Szene wie der Gesellschaft allgemein”
– Ox fanzine

“As a whole, this album fucking rules. I didn’t expect anything less from these dudes, as most things they’ve released have been SKAtastically entertaining.”

“Their set was energetic, skilfully imposing with its Ska rhythms, jabbing beat and suitably refreshing lyrics. Led by Dick Lucas, the band turned back time, beyond their early 1990 humble beginnings, to the late 1970’s, early 80’s message of non-conformity and free thinking acceptance. The post-punk phase may be all but consigned to certain bands, which regretfully don’t get the air play they deserve, however this fusion of Ska/punk/rock was very well received and immensely enjoyable… The tracks were pulsating and intense and Dick Lucas bounced and weaved throughout it all. Songs such as Habit, Back to Square One, the brilliantly observed HD Riot and Human Conditioner were simply excellent.”
– Liverpool Sound and Vision

“As with his other band the Subhumans, Lucas adds political rants and social commentary into Citizen Fish at every opportunity – often blaming the introduction of television as the result in the decline of human development, however whereby the awesome Subhumans are a straight to the point punk outfit Citizen Fish are more uplifting with their horn section and ska-influences making you feel the need to dance along as they blasted through songs drawn heavily from their 2011 release “Goods” as well as earlier recordings. The venue at around one hundred capacity was rammed and although it was stupidly hot the condensation dripping off the walls added to the atmosphere, after all this was good old fashioned ska-punk at its finest and Citizen Fish had the crowd literally bouncing as you felt the floor vibrate underneath.”
– Mr Teeth Reviews


Dead Buttons are a Seoul-based rock’n’roll duo comprised of Korean guitarist and singer Jihyun Hong and Paraguayan/Korean drummer and singer Kanghee Lee.

A veteran of Seoul’s indie scene, Hong previously played guitar for hardcore and punk bands like Combative Post and Sweet Guerillaz along with the psych- and pop-tinged garage rock act The Infamous Orchestra.

In December 2013, less than two months after their live debut, Dead Buttons traveled to Tokyo to perform at the Japan-Korea Punk Festival.

In May 2015 Dead Buttons published their first EP “Whoever You Are”. Whereas the band’s early material had more of a garage punk feel, “Whoever You Are” boasts a wider array mixing garage rock, blues, country, punk, and psychedelic music. Subsequently Dead Buttons performed several gigs in the UK, Germany, Switzerland and France including the Liverpool Sound City festival and the Primavera festival in Barcelona.

Dead Buttons signed with U.K. record label Baltic Records and released their first studio album titled “Some Kind Of Youth” produced by iconic rocker Kim In Su of Crying Nut.


“…fast, catchy, energetic, reckless and tongue-in-cheek straightforward garage rock, rockabilly and country blues in a terrific mix… great melodies and raw, rocking riffs… Definitely a band that is worth checking out for any rock fan.”
– Mikkel Falk Moller,

“Dead Buttons hooked their crowd in unlike anyone else I’d seen at the festival. Dead Buttons are accessible to all, taking a more international approach to the rock scene, and singing in English. It is maybe this more international styling that has audiences so hooked by them, they are a shining example of what the Korean Indie scene has to offer.”
–, Live review

“It introduces a city sluggish with Beatles nostalgia to the likes of Dead Buttons with their Black Keys-esque dirty riffs and angsty blues-shot vocals.”
– Silentradio UK, Live review Liverpool Sound City

“The sound is really garage-y, bit gritty, sometimes punk – a sound I have loved for as long as I can remember. So far, I have loved turning this up loud in the car and just singing along with it, but it also gets me through busy work days. I’d say the charm in this really is the sound: it’s very real and very solid work. The vocals match the instrumentation and the album is consistent, not all over the place chasing different styles. In all, I think it’s just really fun and totally worth listening to.”
– Beats and sheets Blog


“Slick Little Girl”, the first full length album from Long Beach CA’s Feral Kizzy expands the hardedged new wave sound of their previous selftitled EP (2013) into epic dark pop. At once catchy and haunting, it captures the intensity of their live shows, while focusing the energy directly into the listener’s ears and soul.

The five members of Feral Kizzy bring a variety of influences to their music, from Patti Smith punk to garage, grunge or classic rock, but blend them into a seamless, unique sound. There are hints of Concrete Blonde, the B-52’s, the Yeah Yeah Yeahs, glam Bowie and Disintegration-era Cure, but the end result is purely their own.


“Feral Kizzy “exude a kind of cool that’s both approachable and intimidating, complemented with an enthusiasm that can easily make them the unquestioned leaders of the music pack. The fire and skill they bring to the stage will melt down your mind and build something better from the goo that remains, and afterwards I promise you will never be the same.””
– Music in Press

“Feral Kizzy is superb at uniting slim and often repetitive textures with thick tapestries of ingeniously woven enterprise, the last song epitomising that craft and success which flows across the whole of Slick Little Girl. The album is a thrilling adventure; one bred across the years in many ways but solely of the now, and Feral Kizzy a band surely looking at big things ahead.”
– The RingMaster Review

“Sängerin Kizzy Kirk und die Musiker Brenda Carsey, Johnny Lim, Mike Meza und Kevin Gonzalez entwickelten in den Lim’s Studios ein sehr ansprechendes und starkes Dark Pop Album. Kantige Töne und eine fesselnde Stimme von Sängerin Kizzy machen diese CD zu einem: „Muss man gehört haben“! Es ist noch nicht die weibliche Stimme von „Ian Curtis“ aber einige Passaden erinnern an alte Joy Division Töne.”

“From time to time music reaches my ears I find myself enraptured by and inevitably, as you know, that is likely to be anything I genre define as new-wave and Feral Kizzy produce music that makes my heart pulse harder with absolute pleasure.”
– Emerging Indie Bands

“Kizzy Kirk is a rock star, plain and simple. She is unbridled, unpredictable, and her energy is contagious as she writhes across the monitors, strikes Ziggy Stardust poses, and charges through the crowd with mic-in-hand belting out her poetic verses. Kizzy Kirk is Patti Smith, Janis Joplin and Joan Jett rolled into one seductive, hot mess… While Kizzy rips the mic, the hypnotic keys and angelic harmonies of Brenda Carsey blend in seamlessly behind her adding a synth sugar that offsets that thrash spice. This unique combination of good and evil is an exhilarating balancing act that keeps the listener on their toes as Feral Kizzy is raw and aggressive while still remaining fun and danceable. Being at a Feral Kizzy show is like being softly kissed and openhanded slapped at the same time. Like the cherry on top of the already burgeoning Long Beach local music sundae, Feral Kizzy is a garage/femme/funk/thrash blast for the ears and eyes and should not be missed.”
– Love/Hate Magazine


Detroit 442, an old Blondie song, a car engine, a football (soccer) formation and the number of fires during the Detroit 1967 riot.

Detroit is an industrial city hit brutally by the decline of the heavy industry that had sustained it for decades. It struggles with poverty, some of the highest crime and unemployment rates in the United States, poor schools and a general sense of hopelessness.

Apart from the name this band has “Detroit” written all over it. Their “very quotable” songs and their attitude express working class boredom and lower class frustration, but they don’t take themselves too seriously.

Singer Lacy’s is “one of the biggest mainstays in Detroit punk rock”. His “over-exaggerated Johnny Rotten snarl gives the band character”. Detroit 442‘s sound is described by many as a cross between The Dead Boys, Hugo Ball, The Damned and an amp turned up all the way. Punk, punk, and more punk.

Ox fanzine interview (German):


“Playing carnage-fueled mayhem from the mean streets of Detroit, like a collision of The MC5, The Damned, and The Dead Boys.”
-Vive Le Rock

“Coming from part The DAMNED, a touch of FUNCTIONAL BLACKOUTS and funny enough, a bit of the ol’ UK SUBS… Punk as a bag of glue–throwing more attitude than a gorilla with a machete.”
– Maximum Rock’n’Roll

“‘Boredom City’ is quite possibly the most Detroit album I’ve ever heard. What I mean, of course, is that this album, fifteen songs of ‘Boredom City Punx’, is unequivocally produced, crafted and marketed in Detroit. It spits of working class boredom and lower class frustration. While note traditionally fast, pummeling hardcore like a good amount of Detroit bands, this album is, without a doubt, punk rock from Detroit with a serious fucking groove. Every song on this album is a well-crafted piece of punk. Many songs have very quotable lyrics, and I believe this is the work of singer Lacy one of the biggest mainstays in Detroit punk rock (he was around during the Negative Approach era with Son of Sam, during the Cold As Life/second wave of Detroit punk with the Hillside Stranglers, and now with Detroit 442)… This is one of the better albums I’ve heard lately. Buy this album. Now.”
– Aunty Social – Criminal Behavior Fanzine

“This punk band clearly and proudly hails from Detroit (just check out their anthem ‘Another Night in Detroit’), but it’s easy to mistake them for a British band, given singer Lacy 442’s over-exaggerated Johnny Rotten snarl. He definitely gives the band character, setting them apart from loads of other samey-sounding punk bands… The whole album is super fun and creative, and it doesn’t take itself too seriously yet it says some interesting and pertinent things.”
– WCBN radio, “The Answer Is In The Beat” show

“Das ‘Detroit’ im Namen ist also Programm: kaputter STOOGES-meets-MC5-Sound, wütend-noisiges Lärmen von beinahe schon obszöner Rauheit und Direktheit… Eine Platte wie ein zwar fies abgehender, aber nur mäßig gepflegter Oldsmobile.”
– Ox-Fanzine

“Like a brick through your mother’s window, this doesn’t disappoint. DEAD BOYS, DAMNED, MC5, BLIGHT, MCDONALDS. It’s all here.”
– Maximum rock n roll


Tom Allan (auch bekannt als Thomas Allan) macht seinen britischen Wurzeln alle Ehre. Bei BBC-Radio hat man ihn als “modernen Billy Bragg” beschrieben, womit dieser offensichtlich mehr als einverstanden war. Billy Bragg hat Thomas’ Song “Sensation” gleich über seine eigene Facebook-Seite verbreitet.

Auch Vom Ritchie von den Toten Hosen ist begeistert und hat bei Toms Auftritten in Köln und Düsseldorf Schlagzeug gespielt.

Tom Allan macht schon sein Leben lang Musik. Er spielt rockigen Indie, wütend genug für einen Punk Einschlag, alleine mit Gitarre oder als Trio mit Schlagzeug und Bass dazu.

Für seine Alben “Commercial B-Sides” und „Walks Like Chaplin“ spielte Tom fast alle Instrumente selbst ein und konnte sich so seinen authentischen Sound bewahren.


Zusammen mit seinen zwei Mitmusikern eröffnete der 23 Jährige den Abend und präsentierte uns eine perfekt durchgestylte Band. Facettenreiche Songs, mal laut und schnell, mal ruhig und intim. Die Bandbreite der Kompositionen ist ganz erstaunlich und die Präsentation mitreißend. 45 Minuten lang spielten sie vor dem immer größer werdenden Publikum. Auf und vor der Bühne je nachdem wie intim der Song daherkommen kommen sollte. „Thomas Allan“ hat auf jeden Fall eine großartige Visitenkarte hinterlassen. Hört mal rein, ihr werdet nicht enttäuscht sein.
– Kevin Winiker Szeneblog, Live review

“Thomas spielt eine eigenwillige Melange aus Britpop und Punk. NOEL GALLAGHER meets BILLY BRAGG. Nur ohne die Arroganz des erstgenannten und das missionarische Eifern des guten Billy… Eine runde Sache der Auftritt von THOMAS ALLAN… Wieder ein genialer Abend im Anyway.”
– Useless Fanzine, Live review

” Denn der stilvolle Herr aus Erkelenz bei Mönchengladbach rockt auf ,Commercial B-Sides‘ echt britisch ab, was an Oasis, Paul Weller oder The Who erinnert und gelegentlich auch Punk-Einflüsse zeigt. Und wenn er die Harp auspackt, kommt auch noch ein bisschen Bob Dylan durch, aber mit viel Rock-‘n‘-Roll-Energie und Ausdruck. Thomas ist kein Schönspieler, er hat was zu sagen und spielt packende Musik.”
– Gitarre und Bass Magazin

“Musically, Allan’s sound is heavily guitar-based as he uses his guitar to create a rock sound with a noticeable indie feel. With a balance of loud electric rock and a softer melodic sound, Allan produces some impressive guitar work throughout the album. The album is also filled with catchy melodies – tracks like ‘Tell The Boys’ and ‘Talking’ will easily get heads nodding and feet tapping. These melodies are, however, most obvious on album highlight, ‘Sensation’. This was the track recommended to the masses by Billy Bragg and is a great example of Allan’s talent – showcasing his impressive vocal talent, zeal, and ability to create a great guitar riff. While the songs on Commercial B-Sides do sound similar, each are still able to maintain their own unique feel.”
– The AU review

“Was er dort fabriziert hat, ist handgemachter, einnehmender Brit-Rock und lässt sich verdammt gut hören.”
– JMC Magazin

“Ein weiteres Heimspiel und seinen zweiten Live-Auftritt überhaupt feierte Thomas Allan, Gladbacher mit britischen Wurzeln. Der 19-jährige Sänger eröffnete das Festival am Samstag auf der großen ‘Da vorne’-Bühne und unterhielt bestens mit Brit-Rock à la Babyshamples… Als er mit seiner Begleitcombo den The Who-Klassiker ‘My Generation’ anstimmte, lösten sich nicht nur kurz die Wolken auf, sondern verschwammen die Musikgrenzen zwischen Gegenwart und Vergangenheit.”
– Westdeutsche Zeitung, Thomas Allan live auf dem Horst Festival


Antifascist punk band from the Brazilian megacity São Paulo with Jef and Arthur from Agrotóxico playing bass and guitar.

The Flicts stand in a long tradition of protest – the first Brazilian punk bands such as Cólera, Olho Seco and Ratos de Porão were already founded during the military dictatorship of the late 70s and early 80s. The Flicts combine protest culture with their love for football. The play infectious hymns à la Sham 69 oder Cockney Rejects with Brazilian lyrics.

In 2015 Red Star Records (Brasil) and Break the Silence Records (Germany) published the new Flicts 10″ “Sonhos Corrompidos”. Break the Silence Records will publish a repress of the “Cancoes de Batalha” LP in a limited Stock in 2017.


“FLICTS kommen aus Brasilien und spielen grandiosen Oi/Streetpunk mit einem sehr hohen Wiedererkennungswert. Mitgröhlkompatibel, obwohl natürlich in portugisisch gesungen wird, textlich geht´s um Fussball, Saufen und Freunde, Streetpolitics sozusagen, und das passt wie die Faust auf´s Auge und wer jetzt an eine weitere ‘unpolitische’ Scheiss-CD denkt, wird spätestens bei ‘Autogestáo’ eines besseren belehrt!!!”

“Erste Sahne Streetpunk aus Sao Paulo, Brasilien. Schön, toll aufgemachtes Booklet, und die Musik ist auch super… Textlich geht’s um Fußball und Bier (da lassen das Artwork, ‘Oléoléoléolé’-Chöre und zwischen den Lieder eingestreute Radio-Spielkommentare schon keine Fragen offen). Und der Plattentitel bedeutet übersetzt auch noch ‘Kampflieder’.”
– Ox Fanzine, Canções De Batalha CD

“THE FLICTS überzeugten eigentlich auf Anhieb. Melodiöser Streetpunk mit ordentlich Power. Das brasilianische Trio spielte schön eng zusammen und hatte sehr eingängige Refrains am Start. Besonders gelungen der dreistimmige Gesang! Oft sang einer der drei die Strophen, worauf man sich mit zwei Stimmen in den Bridges steigerte um dann schließlich in den Refrains zu dritt Gas zu geben. Der Drummer schmetterte dabei oft ‘Ahhhaha’-Backings, zu denen man auch als Nicht-Portugiesisch-Sprechender amtlich mitgrölen konnte, während Jef und der Gitarrist sich eifrig an den offenbar angepissten Texten/Refrains zu schaffen machten. Das war überhaupt ein willkommener Unterschied zu den gewohnten Steetpunk-Themen übers Am-Auto-Rumschrauben, denn THE FLICTS widmeten jeden Song allen ‘freedom fighters & anarchists’. Als dann noch der olle Gassenhauer „You’ll Never Walk Alone“ intoniert wurde, hatten die Sao Paoloer endgültig gewonnen. Kleine Randnotiz: Ein Song war musikalisch identisch mit RASTA KNASTs ‘Reich Geworden’, so dass ich mich fragte, wer denn da nun wen gecovert hat. Und tatsächlich stammt das Original laut Jef von THE FLICTS!”, Flicts live in der Alten Meierei in Kiel

“Das neue Album der brasilianischen Streetpunk-Band Flicts, Hammer! Der Sound ist noch fetter, direkter, mit noch mehr Power, als ohnehin schon auf dem ersten Album und auf der Split-CD (mit Agrotóxico, auf Dirty Faces)! 11 neue Songs, alle in Portugiesisch, und schon das stilsichere Cover zeigt, das sie deutlich politischer geworden sind. Melodischer Anarcho-Oi!, antifaschistischer Streetpunk, kämpferisch bis zum Anschlag (!). Genau das richtige Album zu den Anti-WM-Protesten in Brasilien! Wann kommt das Ding bei uns irgendwo raus?! (Na, zum Glück gibt´s ja Internet.)”
– Plastic Bomb


Bonn und seine Umgebung sind bekannt für Punkrock-Institutionen wie Canalterror, Hammerhead oder Molotow Soda – jetzt kommt eine neue Band, die schon mit ihrem Namen ein Fass aufmacht und diesem Anspruch auch musikalisch perfekt gerecht wird.

Sängerin Beckx besticht mit ihrer markant-fordernden Stimme und authentischen Texten auf Englisch und Deutsch, die keinen Zweifel an ihrer Ausrichtung lassen. Neben den Originalmitgliedern Chris, Gabo und Daniel ergänzt seit neuestem Punkrock-Urgestein Dominik (Canalterror, Molotow Soda, The Puke etc.) die Band.

F*cking Angry sind die perfekte Symbiose aus lässiger Punkrock-Rebellion und hysterischer Hardcore-Wucht. Ihre Songs sind mehr und weniger melodisch, alle sind natürlich fucking angry, aber auch nicht immer bier-ernst gemeint.

Ihre aktuelle LP “Dancing in the Streets” F*cking Angry ist 2015 bei RilRec erschienen.


“Dem handgemachten geilen Artwork steht der tatsächlich sehr wütende und schnelle Hardcore/Punk in nichts nach und ist dabei auch noch sauwitzig. Ab auf’s Konzert.”
– Trust Fanzine

“Wenn ich mir die 12 wütenden Songs anhöre, bin ich begeistert. Das ist das Beste, was politischer Punk in Deutschland zur Zeit zu bieten hat! ”
– Plastic Bomb Fanzine

“F*CKING ANGRY sind mit vollen Herzen und totaler Leidenschaft bei der Sache, was man den gesamten Platten anmerkt. Eine Band die ihr ‘Maul aufmacht’ und eine ganz klare Linie vertritt. ‚DANCING IN THE STREETS‘ ist wohl eines der besten deutschen Hardcore-Punk Alben der letzten Jahre und wird die nächsten Monate sicher einiges an Aufmerksamkeit nach sich ziehen.”
– AwayFromLife Fanzine

“Das erste musikalische Ausrufezeichen des diesjährigen Festivals setzte gleich der Opener F*CKING ANGRY. Der Punkband aus Bonn gelang es nach dem kurzen Ausruf „Au-Fest, kommt mal ran!“ eine für die frühe Stagetime von 17 F*cking AngryUhr recht ansehnliche Menschenmenge vor der Bühne zu versammeln und machte dann vom Start weg ordentlich Alarm. Kurze, knackige Songs, kaum einer länger als zwei Minuten, vorgetragen mit räudig-rotziger Attitüde und aufgrund des hohen Tempos höchstem Energielevel, bei dem auch die zahlreichen Sprünge des Bassisten Chris (stilecht im CIRCLE JERKS-Shirt) und seiner Kollegen an den Gitarren zu gefallen wussten. Da schonte sich trotz Hitze und aufs Podest knallender Sonne niemand – die mit schöner Reibeisen-Stimme ausgestattete Sängerin Beckx musste hier und da ganz schön pumpen, um das Tempo konditionell mitzugehen. Zum Ende des Gigs stieg sie noch vom Podest hinunter, um das letzte Stück auf Augenhöhe mit dem Publikum zu singen.”

“Punk, der direkt in die Fresse schlägt und kraterähnliche Löcher aufreißt, weil der stampfende Beat bleibende Schäden hinterlässt. […] FUCKING ANGRY steht für Chaos, Revolte, Nihilismus und Radikalität.”
– Underdog Fanzine

“Technisch top, abwechslungsreich und mit netten Melodien zwischen dem ganzen Gebretter. Absolut überzeugendes Demo.”
– Ox Fanzine

“Endlich ein Longplayer von F*cking Angry und dieser kann sich wirklich sehen lassen. Kein einziges schlechtes Lied, nur Knaller-Songs.”
– Bierschinken Fanzine

“Mich können F*CKING ANGRY mit ihrem fetten Retro-80er-Jahre-HC-Deutschpunk jedenfalls überzeugen. Da ist wirklich Pfeffer im Arsch, wobei man nicht vergisst, die ein oder andere Melodie oder eingängige Passage mit einzuflechten, so dass man die Eintönigkeit gekonnt umgeht. Sollte man also auf jeden Fall mal rein hören!”
– Uglypunk Punkrock Zine

“Derber HC-Punk mit einprägsamen Melodien: F*cking Angry legen mit „Dancing in the Streets“ ein starkes Debüt-Album vor.”
– Trashrock Mag

“Unbedingt mal antesten, es lohnt sich, den die Bonner haben hier so gut wie alles richtig gemacht!”
– Punkrock Fanzine

“Auf jeden Fall mal live antesten die Damen und Herren von F*cking Angry wenn sie bei Euch in der Nähe sind und ihr Lust auf unverbrauchten Punk habt”
– Moloko Plus Fanzine

“Derart geradlinig und leidenschaftlich hat man das hierzulande lange nicht gehört. Kurz vor dem Ende holen F*cking Angry dann noch eine Orgel raus, was ihrer Musik aber auch ganz hervorragend steht. Ein unheimlich energiegeladenes Debüt, das – Verachtung hin, Zorn her – richtig Spaß macht. Full speed ahead.”
– Löhrzeichen Blog


1982 haben eine Mission: Sie retten den Deutschpunk! Sie spielen die Hits der ersten deutschen Punkrockgeneration unzensiert und musikalisch authentischer als die Polizei erlaubt: Slime, Canal Terror, Toxoplasma, Chaos Z, Razzia und alles andere – und zwar so wie damals.

Dabei versetzen sie die Besucher in die Zeit zurück, als Punk in der BRD noch gefährlich, aufregend und unberechenbar war. 1982 sind eine Zeitmaschine, die Pogo-Orgien auslöst und immer funktioniert.

Das haben sie bereits auf unzähligen Konzerten in ganz Deutschland und sogar Frankreich bewiesen, unter anderem beim Punk im Pott 2010, beim Force Attack 2003, Punx Picnic 2001 oder als Headliner beim Au-Fest 2008 und vielen anderen Festivals.

1982 besteht aus drei Generationen Punx, die ihre gemeinsamen Roots abfeiern. Drummer Dominik S. war Gitarrist bei Canal Terror. Klassiker wie “Staatsfeind”, “Zu Spät”, “Multis” etc. stammen aus seiner Feder.

Sonstige Bands, in denen die 1982er aktiv sind oder waren, sind Molotow Soda, Wild Gift, The Puke, Estrella Negra, The Gee Strings, die Back Chats, F.F.F. etc.

Alter Punk mit jugendlicher Hingabe! 1982 ist heute und besser!


“Solltest du die Möglichkeit haben, dir die 5 mal live anzugucken, solltest du diese Gelegenheit auf keinen Fall verpassen, da ihre Coverversionen den Originalen sehr, sehr nahe kommen und jeder Gig einer famosen Party gleicht.
– Human Parasit Fanzine, Live review

“1982 waren dann die perfekte Wahl für den Abend! Eine fitte Coverband, die sich frühen deutschen Punkklassikern widmete. Die Stücke wurden völlig authentisch gezockt, wild, frisch, voller Wut. Geiler auf jeden Fall als die Schunkelversionen, die z.B. RUBBERSLIME aus den alten SLIME-Songs gemacht haben! Es wurde ein Klassiker nach dem anderen rausgerotzt. Vielen Leuten stand bei jedem Wiedererkennen die Freude ins Gesicht geschrieben und spätestens nach drei Stücken bebte der Boden… In den Pausen wurden 1982 ständig Bandnamen entgegen gebrüllt – VORKRIEGSJUGEND! SCHLEIM KEIM! TOXOPLASMA! Und das geilste war, dass fast alle “Wünsche” erfüllt wurden! Besonders hab ich mich über NEUROTIC ARSEHOLES gefreut, geil war auch “Wir sind die Ratten”, “Computerstaat” oder die ganzen SLIME-Songs (“A.C.A.B.”, “Etikette tötet”, “Yankees raus!”, “Alptraum”, “Zu kalt”, “Gerechtigkeit” und als Abschluss na logen “Deutschland”). Zeitlos geil, mit Feuereifer von der Band runtergehämmert – und eben einfach alles Stücke, mit denen nun wirklich fast jede/r vertraut war. Heiser, durchgeschwitzt und glücklich war ich danach!”
–, Live review

“1982 waren richtig gut und sie coverten einen Deutschpunkklassiker nach dem anderen. Sehr gefreut hatten wir uns auf Pogo in der Straßenbahn. Richtig gute Band, die kamen total gut an.”
– Die Punkrockmafia, Live review


After some very long Crusades the Trash Templars are back home with fully loaded bags to bring the holy grail of fuzz to the cheerin’ audience. They found it in the backyard of an ugly beat-garage where it was laying over decades and now the Templars hand the grail around for all the thirsty disbelivers. Drink from our stomping teenage shutdown nectar and have a refreshing taste from the holy Beat-Punk-Water to reach the Fuzz-Paradise .

Once a myth, now a wild and raw rockin’ primitive reality. Not so much a bloodline of Jesus but more a throbbing vein of the purest trash. Stomping garage crazed songs by these defenders of the holy grail of garage punk. Finally the Trash Templars step out of a world of obscurity and are ready to claim their major influence and fame on events world wide naturally starting at the bottom.


“Die Flausen, die THE TRASH TEMPLARS im Kopf haben, erinnern an jene, die in den Neunzigern Estrus und Rip Off zur großen Budget-Rock-Bonanza angestiftet haben. Behelmt mit umgedrehten Blecheimern wirkt die derangierte Kostümierung der Ramschritter ausgesprochen albern, der krude, lärmende ’66-Euro-Beat dafür umso authentischer. Das ist genau jener überanstrengte Fuzzsound, der die Festland-Epigonen der PRETTY THINGS oder THEM oftmals geiler klingen ließ als die Originale, nämlich immer dann, wenn Exzess und Krach mangelnde musikalische Raffinesse kompensieren sollten. Lowery hätte seine wahre Freude an dieser Prachtscheibe!”
– Ox Fanzine


The german youngstersReiz just published their highly recommended debut LP on Spastic Fantastic Records. Formed out of Liberty Madness, Modern Pets members and local classifieds these guys deliver deutschpunk / garage / 70s punk smashers that make you think about bands like Shocks, The Buttocks, Marionetz or The Briefs. Grab it by the pony while its hot. REIZ-Time!


“Here’s a challenge. Write a ten-song (plus) LP that retains the same energy, enthusiasm and catchiness from beginning to end. Easier said than done – but REIZ dit it! They hail from Mannheim, Germany and I’m hearing elements of garage and Oi! (in energy and directness) along with possible influences from JAY REATARD, the LOVE TRIANGLE, and MARKED MEN. They carry that same urgency and on-the-verge-of-running-off-the-rails songwriting style. All the lyrics are in German with lots of group choruses. It’s catchy as fuck and demands many repeated spins”
– Maximum Rock’n’Roll

“It´s time for the Nudist Colony Bingo-Hop, the latest craze from the secret land of pubic hair where jelly roll grabbing is explicitly permitted and invigorating harmony is the rule of the game. You don´t have to be ashamed of your body mass index here! If the dancing Heidis on the frontcover got high on orange blossom oil and rocked their collective labrium to CREEDENCE CLEARWATER REVIVAL is beyond my knowledge though. One way or the other, it´s the inner appearance that counts and the one of REIZ is the definite antithesis to kermess society, church visits and incestuous boy/girl (from the same ten inhabitants one-horse town) gender meetings at the washing bays of Germany´s gas stations. It´s a grumbly smoker´s cough / minger hybrid of Düsseldorf MALE binge drinking and “Paranoia In Der Straßenbahn” madhouse meeting. Risikofaktor 1:X with a NAPALM quiff from degenerated randy BUTTOCKS / SS ULTRABRUTAL creatures out of Mannheim who still highly appreciate the importance of a nonchalantly dashed off “Deutsche Raus Aus Deutschland” essay. Wheter it´s Eddies´s Salon or Jürgen Englers Party, REIZ are checkmating their combatants with a targeted headbutt and get in everywhere they want to. It´s Punk, Rock´N´Roll and modernly unmodern music that would have kicked the KFC from the “In Die Zukunft” lineup list before Konnekschen Records would have been able to even count to ten.”
– Ox Fanzine

“‘Infantiler Zappelpunk mit ordentlicher Garage- und poppiger 70er Kante.’ So steht es im Bandinfo und so unterschreibe ich das. Beim ersten Hören denke ich sofort an die Shocks, und auch das wird im Infoschreiben ebenfalls bestätigt. Beim Hören der Scheibe komme ich leicht ins Philosophieren: Wie viele geile Bands gibt es eigentlich, die man nicht auf dem Schirm hat?… Ich bin Fan! Endlich mal wieder eine erfrischende Punk-Platte, die weder zu intellektuell, zu stumpf, zu hardcorig oder zu was auch immer ist. Da kann man die imaginäre Höchstpunktzahl zücken. Zusammenfassend: Siehe erster Satz!”
– Bierschinken Fanzine

“Auch wenn das alles sehr garagig daher kommt, klingt das so frisch, kreativ und klischeefrei. Genau darauf habe ich gewartet. Von dieser Band werden wir noch viel hören. Vermutlich die Platte des Jahres…Hits! Hits! Hits!”
– Panik Magazin

“Sie haben ein nettes, rotziges Retroflair. Irgendwie wie eine deutsche Version von THE HIVES, nur etwas punkiger. Aha. Leute von LIBERTY MADNESS und MODERN PETS mit dabei.
Ich finde das Album supergut. Und das liegt nicht an den Nackedeis auf dem Cover. Großartige Platte. Ich schwör! Und um es mit den Worten der Band abzuschließen: ‘Zu viel mieser Deutschpunk in letzter Zeit – fick dich, wir sind Reiz’.”

“Reiz sind eine neue Band und legen ein klasse Debütalbum vor, das Freunden des 77er-Punks Freudentränen in die Augen treiben dürfte… Reiz sollen der neuste heiße Scheiß sein… Hauptsache es schmeckt. Und Reiz und ihr Debütalbum schmecken ausgezeichnet. Fast schon Premiumqualität würde ich sagen. Ich hätte nichts dagegen, mir davon künftig mehr zu genehmigen.”
– Polytox Zine

“Geradeaus, auf die Fresse, ohne großen Schnickschnack, leicht lo-fi, aus dem Proberaum. Viel britisch im Sound, viel Rotz in der Attitüde, viel vorwärts, viel Deutschpunk.”
– Plattengeschwafel Blog

“Denn auch ohne Namedropping schrammeln die 10 Songs so einige Schürfwunden in die zappeligen Beine. Garagen-Punk-Pop, Garagenbaujahr Ende der 70iger, Putz am Bröckeln, Metal rostig, Tor am Quitschen. Klingt an einigen Ecken aber auch mal renoviert und nach NDW-Anstrich, aber nie moderner. Überraschend gute Platte, die ihr unbedingt antesten solltet.”
– Ugly Punk Fanzine

“Spätestens wenn Facebook dein Album aufgrund des Albumcovers nicht bewerben will, weißt du, dass du als Punk-Band alles richtig gemacht hast. D.I.Y statt Popakademie …, wie hieß es 2016 beim Pfingstfest im JUZ Mannheim, auf dem REIZ ihr erstes Konzert gespielt haben, so schön: Hate Popakademie, Love D.I.Y. – word. Und während auf der Mannheimer Popakademie über Popmusik und darüber, wie man auf facebook die meisten Menschen erreicht, philosophiert wird, befassen sich REIZ lieber mit komplexeren, wichtigeren Themen: Konfetti, Sex, der eigenen Coolness und dem Autopiloten. Referenzen? THE SHOCKS, THE BRIEFS, LIBERTY MADNESS, MODERN PETS,… kann sich sehen lassen. 20 Minuten gute Laune, 20 Minuten Garage-Punk, 20 Minuten REIZ. 10 Songs die sich nur so darum streiten, welcher der beste ist. Aber eigentlich sagen REIZ mit „Cool“ ja schon alles selber,… ‘wir sind cool // übelst cool // brutal naiß // wir kommen jetzt in dein life’ . Deutschpunkplatte des Jahres? Könnte was werden…”
– Allschools

“Dem guten alten Punkrock frönend, irgendwie irgendwo irgendwas zwischen den UK Subs und den Jungs von The Hives… aber alles auf Deutsch, was ich persönlich nicht immer bei jedem Song direkt erkannt habe. Macht aber nichts, trotzdem – oder gerade deshalb – kommen die REIZenden Menschen trotz ihrer Anlehnung an den 70iger Punkrock so schön frisch, jung und unverbraucht rüber… ist halt mal wieder was anderes!”
– Handwritten Mag

“Aber immerhin ist das echt cool und manchmal auch ausgeflippt, dass punk Konfetti schmeißen möchte. Einfach so…das schockt. Probier’s mal aus! ”
– Underdog Fanzine