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.

After several tours over Europe, the US, Canada, Australia and South Asia and over 9 releases the Restarts have found themselves playing a small part in a large world wide network of DIY Punk Rock. They are punks first, musicians second. They feel the social importance of Punk Rock takes priority over the “marketability” of a rehashed trend.

In 2019 they published a split 7″ with the Subhumans and their new album “Uprising”.


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 released the “From the Cradle to the Grave” LP 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 regularly 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


“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 the brand new LP “Doomtown Shakes”!


“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“)


Formed in 2011 and hardly taking time to sit since then, The Ghost Wolves create, record and tour at a dizzying clip. Blending rock’n’roll, punk rock, garage and blues with electronic elements, the duo has earned a reputation as one of the hardest working bands in the modern rock’n’roll underground, touring internationally for almost 8 years straight, with nearly 1000 shows between them in 23+ countries including most of western Europe, the USA, UK and Japan.

No two of their shows are alike, and the audience is as much a participatory body as they are paying guests of the band. Carley Wolf is constantly engaging them, urging them to sing and dance, turning her up amps louder, while Jonny hits the drums harder and harder, until all present enter a feverous trance and the walls of the club seem to be ready to come apart. “If we don’t walk off stage drenched to our underwear in sweat, it was a bad gig.” Jonny says “That’s how we gauge if we sucked or we did well. By our sweat levels.”

The Ghost Wolves’ name comes from a family history on Carley’s side. “I was raised with a pack of wolf hybrid and northern dogs on my parents ranch in central Texas.”

The duo has released two LP’s and an EP so far on labels from Austin, Berlin and Nashville. The Ghost Wolves‘ recorded music has been featured in film and TV by HBO, ABC, CBS, Disney, Netflix, MTV, Showtime and Alamo Drafthouse. The duo’s ongoing clothing collaboration with Tokyo fashion brand Hysteric Glamour, now entering it’s 6th season, is currently available at the company’s brand stores throughout Asia and online.

Third Man Records (cult label from Jack White / White Stripes) just released their newest songs on 7″ vinyl and digitally.


“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

“They are wild, they are screechy, they are banging and down right feral, they are The Ghost Wolves.”
–, Live review, London 2017

“C’est le duo de The Ghost Wolves qui avait la périlleuse mission d’ouvrir le bal. Juste un batteur et une chanteuse bien énervée, une guitare (parfois même une seule corde !) mais surtout une énergie assez dingue, reconnaissons-le. Notre pauvre Nicolas en a eu du mal à croquer sereinement…”
– Croque and Roll, live review Paris 2017

“The thrilling guitar fuzz and shrill teamed with adrenaline pumping drums gets the crowd warmed up screaming for more in no time. ”Do You Like Cry Babies?” Carley shouts at the crowd “nobody likes crybabies” is the fiesty introduction to the neck snapping ‘Crybabies Go Home’. The crowd roar the “whoohoohoo” lyrics back to her as she jumps about the stage. Elaborate guitar poses and all it’s purely captivating. Swagger is a tame word for these guys, they are wild and absolutely mental but it makes for a fascinating live set and the crowd were lapping it up. When you think it couldn’t get better she introduces the one string wonder “because all you need is one god damn string” that’s right a guitar with one string that plays just as mighty and meaty as a six string makes you wonder why anyone plays guitar normally. This duo are cool and feisty and boy do they put on a live show.”
–, live review Dublin 2017

“Carley “Carazy” Wolf (guitar & vocals, looking like Calamity Jane as imagined by Rob Zombie) and Jonathan “Little Hammer” Wolf (drums & vocals, total greaser – probably had a BSA parked outside ready for a ton-up run to the Ace Café) battered the hell out of their instruments creating an unholy yet unavoidably foot tapping head-banging blend of rockabilly blues. Imagine if Lux Interior and Poison Ivy had raided the bargain bins for old country blues instead of obscure rockabilly numbers. And had to play them at Download… Wolf, C worked the crowd throughout with the fervour of someone simultaneously selling snake oil, Jebus and the Golden Gate Bridge, bossing the crowd and making her presence felt: a hyperactive blur of helium voiced motion. It’s not often a support gets a full throated singalong but this gal had the crowd singing along to half the set, and to be frank the band went down a storm.”
– Bristol 25/7, live review 2017

“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


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.”


The Dizzy Brains are a garage rock band, inspired by The Sonics, as there are many around the world, except for Madagascar, one of the poorest and most corrupt countries in the world and the birthplace of the quartet. Founded by two brothers, Eddy on vocals and Mahefa on bass, the group fights injustice, lack of possibilities and freedom restriction in the everyday life of the islanders.

Their influences come from bands from their fathers’ generation (The Kings, The Stooges, The Vines etc.). That’s where they found their love for unbridled rock’n’roll (choosing Little Richard over Presley), garage style and psyched atmosphere. They even covered Jacques Dutronc’s “Les Cactus” in a version full of thorns. And it’s more than music. They are sharing a piece of themselves including their bravery and vulnerability.

They are the face of the opposition in their country, Madagascar’s youth trying to survive while going against the political system. This is their passion for life that shines off during their concerts.

The Dizzy Brains are regular guests in French TV and have toured in Germany, the Netherlands, France, the UK, South Korea etc. In 2019, they will bring their brand new second album “Tany Razana” to Europe, like the first one published by the French label X-Ray Production.


“Garage rock by its nature is simple to play – its the entry point for nearly every guitar mangler on the planet and consequently can be a hit or miss afafair but when it is played with this much fire, intensity and imagination it can sound like one of the most thrilling types of music on the planet. Try and magazine watching the Stooges at their feral pre fame best complete witha skinny Madagascan hanging from the mic with his shirt stripped off like a youthful Iggy, or try to imagine the garage end of the Dead Kennedys cranked through the superfuzz of Mudhoney and that thrilling rush of early Nirvana and you are in the ballpark witha band who pique your curiosity with their home country but transcend it with their unrelenting power and twitching energy. With each song being a lesson in tension and dynamics The Dizzy Brains could actually be the best garage rock band in the world, they are that good…”
– Louder Than War, May 2017, Live Review

“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. A young rock group from Madagascar The Dizzy Brains is capturing the imagination and attention of the music scene in Europe. The band’s unique style is a blend of punk and garage rock and their provocative lyrics tell stories about politics, power and protest in Madagascar. Since their songs challenge authority, the band was shunned from most concert venues and radio stations in Madagascar, but the band developed quite a following underground on social media and outside the country… The Dizzy Brains grabbed audiences in France after their appearance on the popular French television show ‘Le Petit Journal’ on April 14, 2016. During the show, one member of the band sparked a buzz on Malagasy social networks and blogs because he openly challenged Madagascar’s new prime minister, urging him on to do more for the country: ‘just do your job, man!’ This bold and spontaneous plea was the talk of the town in Madagascar for a while and fitted quite well with the group’s musical identity based on protest and civic engagement… The group continues to tour Europe and the young musicians continue to educate the world on their home country of Madagascar.”

“These kids absolutely rock. They are going to make the fire, I’m sure of it. Because rock, in the end, is the vehicle of rebellion, and that’s without a doubt a little lost in the West. While in Madagascar, what they’re singing has meaning. This is coming from the streets.”
– Jean-Louis Brossard, director of the Trans-Musicales festival in Rennes

Schöne Frau mit Geld ist ein Ideal-Nachspiel mit den Charakteren Charly Humpe (Gesang und Tasten), F.J. Gechter (Gitarre und Gesang), E.U. Braun (Bass und Gesang) und Hansi Soestmeyer (Schlagzeug und Gesang).

Es begab sich in der Zeit zwischen Nato-Doppelbeschluss und Markteinführung von Chicken McNuggets: Der letzte Golf 1 war noch nicht vom Werksband gerollt, als Dieter Thomas Heck in der ZDF-Hitparade im März 1983 die Auflösung der Berliner Kult-Band Ideal bekannt gab. Annette Humpe und ihre drei Bandkollegen konnten zu diesem Zeitpunkt bereits auf drei Studio-Alben und fünf Singles zurückblicken. Als ihr 1980 erschienenes Debüt-Album Ideal 1981 vergoldet wurde, war dies das erste Mal, dass sich ein deutsches Indie-Label eine Goldene Schallplatte an die Wand hängen konnte.

Drei Jahrzehnte später begab sich Schlagzeuger Hansi Soestmeyer auf die Suche nach geeigneten Mitmusikern, um mit einer Ideal Nachspiel-Kapelle den damaligen Nervenkitzel reproduzieren zu können. Im Jahr 2016 stand dann die Besetzung wie im Original, und weil Sängerin Charlotte eben nicht nur singt, sondern auch diese crazy Orgel-Sounds beisteuert, heißt sie bei Schöne Frau mit Geld auch direkt Charly Humpe…


“2013 gegründet, schafft es das Quartett aus Osnabrück, Attitüde der Achtziger inklusive der Musik von ‘Ideal’ sehr gut nachzuzeichnen. Die junge Sängerin und Keyboarderin ‘Charly Humpe’ wirkt nicht so kühl und abgebrüht wie das Original Annette Humpe, aber bringt in Songs wie ‘Eiszeit’, ‘Wir zerstören unser Glück’ und ‘Monotonie’ die unterschwellige Wut, die zurückgestauten Emotionen, also die echten Gefühle, sehr gut rüber… Nach dem unterhaltsamen Konzert und vor der 80er-Jahre-Disco wirkt allerdings die Erkenntnis schwerer, daß es in der Nachkriegsgeschichte nur in einem ganz kurzen Zeitfenster gelang, mit ungewöhnlichen Sound- und Textinhalten den deutschen Schlagerkonsens aus Klatschmarsch und Dauergrinsen aufzubrechen, bevor dieser originelle und originäre Strang von der Schallplattenindustrie mit den echten Clowns und Klonen von Fräulein Menke bis Hubert Kah selbst torpediert wurde.”
– Live review, Neue Westfälische


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


Agrotóxico is one of the most popular and active punk bands ever to emerge from Brazil. They formed in São Paulo in 1993.

Agrotóxico’s is a Hardcore Punk band with lyrics about anarchism, DIY actions and also about repression, fascism, 3rd world violence, ecological problems and all of this shit around the world. Live, this band turns every venue into a kettle of hot and steaming pogo punk with their relentless energy.

The bands history has 6 albums and a DVD documentation released in Brazil by Redstar Recs. All the albums were also released in Europe by Dirty Faces Records and Ruin Nation Records. That helped the band with 6 tours with more than 150 concerts around Europe, also having part in several compilations in lots of different countries.

In summer 2018 they will bring their new album (Break the Silence Records, Germany).


“Heilige Mutter Gottes! So muss Hardcore-Punk klingen. Zwanzig Jahre gibt es die Band aus São Paulo/Brasilien jetzt schon und wenn sie irgendetwas nicht machen, dann ist es vom eingeschlagenen Weg abzuweichen. Stark UK-beeinflusster Hardcore-Punk, mit leichten Metal-Anleihen à la BROKEN BONES, nur ohne nervende Hardrock-Gitarrensoli. Ich weiß gar nicht genau, wann ich das letzte Mal so straight und energiereichen Punk schon beim ersten Hören so abgefeiert habe.”
– Ox fanzine

“Auch nach 20 Jahren sind AGROTOXICO aus Brasilien das Nonplusultra in Sachen Power-Hardcore. Gestern erst hab ich mich auf ihrem Konzert in Bochum zum wiederholten Mal von ihnen an die Wand nageln lassen… Die Texte sind politisch wie immer und in portugisischer Sprache. Vieles in der Welt befindet sich im Wandel. Aber manche Dinge werden sich nie ändern. Zumindest kann ich mir nicht vorstellen, dass AGROTOXICO auf Platte jemals enttäuschen und auf Konzerten nicht 100% Vollgas geben werden.”
– Plastic Bomb fanzine

“Agrotoxico dürften vielen von ihren genialen Slime- und Canalterror-Covern bekannt sein. Aggressiv scheppernder HC/Punk aus Sao Paulo, der den täglichen Wahnsinn der Mega City und die sozialen Missstände dieser Welt thematisiert. Erinnert etwas an die legendären Olho Seco, bei denen mittlerweile ja auch Leute von Agrotoxico mitmischen. Die Kerls bringen vor allem live die geballte Ladung Energie und Wut auf die Bühne, auf der sie alles geben. Wenn dieses Heft rauskommt, sind sie grad auf ihrer dritten Europa-Tour gewesen. Ihr solltet unbedingt hingegangen sein. Ansonsten halt das nächste Mal. ”

“Etwas über 100 Leute fanden sich an diesem Donnerstagabend in der Meierei ein, was doch gar nicht schlecht ist. Die “Hauptbühne” im Saal wollte man heute ungenutzt lassen, nicht zuletzt wegen der doch sehr kurzfristigen Anbahnung dieses Konzis… Von Song zu Song merkte ich, wie ich zunehmend unwillkürlich zu zucken begann und das DISCHARGE-Cover „Hear Nothing, See Nothing, Say Nothing“ riss mich endgültig vor die Bühne. Den CHAOS CONTROL-Jungs neben mir ging es ebenso, hatten sie den Song doch auch kürzlich an selber Stelle (na gut, ein paar Meter weiter…) zum besten gegeben.”


Autogramm is a synth-driven power-pop trio from Vancouver. Their uptempo, vintage new wave sound grew out of bassist’s C.C.Voltage, guitarist’s Jiffy Marx and drummer The Silo’s shared love of proto-punk and power pop. Guitarist Marx also plays the keyboard, while bass and drums set the rhythm of the song.

If you’re a fan of The Cars, The Go Go’s, Gary Numan or Devo, you might like what they’re doing.

The three had been connected through the Vancouver music scene, sharing stages, friends and even band members in seminal bands like Black Mountain, Destroyer, Lightning Dust, Blood Meridian, The Spitfires, Black Halos and Hard Drugs.

Within a year of forming, they released their first single, made a trip to California which garnered them interest from two different labels and did a west coast tour with Seattle’s Bread & Butter.

Currently the band is celebrating the release of their first full-length “What R U Waiting 4?” on Nevado Music, with several more road trips including a recent tour with Atlanta’s Gringo Star and a handful of upcoming dates with Vancouver’s Needles//Pins.

Autogramm plan to publish a new record and tour the US, Mexico and Europe in 2019.


“Autogramm is not afraid to show their influence and their influence is that exact point where Punk and New Wave merged in 1978. Taking the minimalist hooks from the Cars and the slightly sinister buzz of Tubeway Army, Autogramm crank out a catchy number that not only would fit right at home on an I love the ‘80s soundtrack, but would also put about half of the songs on that tape to shame.”
– John Gentile, Punknews, NYC

“The members of Autogramm never abandoned the acts they loved as kids, even during their punk-rock years, when a lot of everything that’s not fast, loud, and snotty gets thrown overboard. Binding the three musicians together was a sincere interest in paying tribute to a fabled late-’70s/early-’80s period in music that they love. The era-specific spectres of lipstick-smeared new wave, grey-hued postpunk, and freak-flag synth-pop hang joyfully over ‘What R U Waiting 4?’.”
– Mike Usinger, Georgia Straight, Vancouver

“The band’s first full-length ‘What R U Waiting 4?’ is a polished power-pop record, brimming with sunny, synthy rock songs sporting a smooth 80s sensibility that draws from the Cars and Gary Numan.”
– Adam White, Some Party, Niagara Falls

“If you are looking for a kickass new band to pay some attention to, look no further than Autogramm. The band possesses a retro vibe with a decidedly international flavor. From perfectly-crafted radio friendly power-punk songs to indie and new-wave, with many other stops in between, the new album is sure to make instant fans out of anyone that listens.”
– Northwest Music Scene, Tacoma

“The two songs on this here 7” are synth heavy, mid-tempo New Wave-y tunes that remind me of something that could have been on the Cars Panorama  LP. If you miss the days when bands like Split Enz and Ultravox roamed the earth in top form, then Autogramm have come to answer you desperate pleas.”
– Audio Ammunition, Los Angeles

“CC Voltage lived in Berlin and played in the vintage hardcore band Dysnea Boys before coming back to Vancouver. In German, an autogramm is an autograph. Goes well with the kind of German new wave vibe of songs such as Peter Pan. It sort of reminds me of After the Fire’s Der Kommissar.”
– Stuart Derdeyn, Vancouver Sun, Vancouver

“If you’ve been hankering after some old school Tubeway army style alt-punk, then get an ear full of this: it’s the Cars driving Numan around listening to some real ‘80s radio before checking out Duncan Reid – it’s that catchy.”
– Uber Rock, U.K.

“These guys hail from Vancouver and have turned in two synth laced, new wave pop songs that sound like they’re straight out of 1979. Like The Cars, Autogramm have a strong pop structure at the root of both songs.”
– I Buy Too Many Records, New Jersey

“Is there a new wave of new wave? Let’s hope so, because this new Autogramm  single is killer! If your love of new wave is the combination of power pop injected with synths, bands like The Cars, 20/20, The Motors, and the like, then Vancouver’s Autogramm hits a home run here.”
– 50 Third and 3rd, Manhattan

“In style and substance they bring to mind The Cars. A lot of people may not like that comparison—hell the band may not even like it—but I do mean it as a high compliment. The chorus is on repeat in my brain and I don’t have a problem with that.”
– Razorcake, Los Angeles

Since bursting on the scene in 2016 with their debut EP “Vanity Loves Me” IDestroy have seen their infectious brand of punk rock grow from sweaty DIY hometown shows in Bristol, to packed out venues across the UK and Europe.

Their first show outside of their hometown was at Anfi Rock Sound Festival, Spain. They were invited back a year later to perform on the main stage.

Their latest EP release “Pure Joy of Life” has seen them receive bucket loads of support from the likes of Kerrang! & BBC Introducing. Their music video for lead single “Lemons” premiered at Team Rock, whilst Louder Than War claimed “’Lemons’ would be a Top Ten chart-smash in a parallel universe where the Internet Never Happened.”

The trio recently played a two week UK tour as main support for steam punk legends “The Men That Will not Be Blamed For Nothing” before heading off to Germany for a two week headline tour of their own.

It’s no secret that IDestroy love to play live and throw every last drop of energy into doing so. In their short time together they have nearly 200 gigs under their belt. From big stages such as Bristol Pride and Rebellion Festival to acoustic sessions for BBC introducing, Sofar Sounds and Glastonbury Festival, proving there’s not a single thing that can faze them.

IDestroy are now working on their debut album, set for release in 2019. It guarantees to be a hell of a lot of fun and most importantly, loud!


“IDestroy really have delivered the goods with their second EP, an explosion of riotous energy that makes you want to get up and throw something, or possibly yourself, across the room.”
– Kerrang! Magazine

“Pure Joy of Life should propel them into the next level – radio, TV, festivals and stardom.”
– Louder Than War

“They’re fun, and angry, and angry, and fun, and loud and raucous.”
– Freq Magazine

“Punk has never been delivered in quite the way IDestroy do it, it’s great to hear old influences and inspirations being taken to fresh new places. I thoroughly enjoyed this party with their punk.”
– MetalTalk

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 EP titled “Some Kind Of Youth” produced by iconic rocker Kim In Su of Crying Nut followed by their second full length album “Rabbit” in 2017.


“…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


Drawn to the raw and engaging indie rock scene emerging from the UK, Swedish Jen Ahlkvist and Fanny Broberg packed up themselves and their guitars to came to London intent on carving out a new vital sound. After crossing paths with bassist Zoe Biggs and drummer Lexi Clark, The Franklys were formed with a determination for creating energetic and powerful garage rock.

Wasting no time, the band threw themselves into relentless touring, extending their reach across the UK, Europe and America. After performances at Isle of Wight and Download festivals, they completed the circuit of O2 venues in the UK opening up for Airbourne. The Franklys went on to feature in an Apple Music advert, exclusively aired during The Brit Awards 2017, and released their debut album ‘Are You Listening?’ later that same year. The release of their single ‘Castaway’ from the album was described as ‘the best thing they’ve done to date’ by Steve Lamacq of BBC 6 Music.

The band have built a reputation in London and beyond as a ‘must see’ live band, combining dark and heavy riffs with frenetic and dynamic on stage performances. 2018 saw The Franklys complete four European tours alongside various UK dates, and in 2019 they published their new EP „Framed“.


“The half-Swedish, half-English quartet debuted with the beautiful, raw garage sound of ‘Are You Listening’ in 2017 and are back this month with a hot fresh EP ‘Framed’, launching tonight. The room quickly fills and we can’t take our eyes off of sequined-up glamorous Jennifer Ahklvist centre stage with the first thrums of guitar. The Franklys have an instant magnetic presence – it’s all in from that moment, we’re all in, fully engaged… Flying high on their ferocious energy, the gig ends with enthusiastic applause and all of us chanting for more. The Franklys prove they’re not to be missed with a live show that gets all of our heart beats pumping with DIY love. Needless to say, my mate runs to the merch stall seconds after The Franklys go off stage to get the t-shirt. We’ll sure be back when they are.”
– Joyzine, live review

“Fun filled garage rock with a pop twist, The Franklys have a feminine edge which sets them apart from their more laddish contemporaries”
– Clash

“From the opening track ‘Castaway’ on The Frankly’s debut album ‘Are You Listening’ you are instantly captured by the all girl band. The sound is pure garage and has a great pop feel to it. The 4 members, half Swedish half British, have a hint of The Runaways and certainly provide a raw edge that is present throughout the album. The mix of strong heavy riffs with the straight talking lyrics is captivating to listen to and it’s all held together with the steady bass provided by Zoe Biggs and Clark’s drums which creates something that is rare to hear in music at the moment. It is an album I haven’t stopped listening to since I first turned it on and I’ll certainly be trying to catch them on their UK tour this month! ‘Are You Listening?’ is an unequivocal triumph. So, are you?”

“Think The Hives but with better hair and make-up”
– Radio X

“The Franklys come on with a smattering of Hives gusto”

Since 1989 Citizen Fish has been touring the world: turning gatherings, benefits, and social gigs into an international never-ending weekend. They 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


We are Fucking Angry!
Hardcore Punk Band from Bonn, Germany. Since 2013.

F*cking Angry are the perfect symbiosis of laid-back punk rock rebellion and hysteric hardcore vehemence. Their more or less melodic songs are of course fucking angry but not to be taken too seriously.

Singer Beckx impresses with her striking snotty voice and authentic lyrics in German and English. Since recently punk rock veteran Dominik (Canalterror, Molotow Soda etc.) completes the band.

Their first LP “Dancing in the Streets” F*cking Angry was published 2015 at RilRec.


“Their energy was sheerly hitting in my back and stomach and my legs started to move uncontrollable. Gabo, the drummer had to work a lot, I can see the hard parts of the songs in his face, but this gave a rather stronger energy to the already existing wall of guitar, the grumbling bass and the deep and straight voice of Beckx… the place to dance was now huge and the guys could pogo and jump as hell. They all knew the band very well and could sing their lyrics.”

“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

“Ein mehr als gelungener Auftritt der Bonner, die sich nach eigener Aussage freuten, das Festival „mal nicht vor, sondern auf der Bühne“ zu erleben. Für mich zusammen mit THE KIDS der beste Gig des Au-Sommerfestes 2017.”
–, live review

“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


Defiance formed in 1993 from the ashes of three of Portland’s seminal Anarcho-punk bands, Deprived, Resist, and Unamused. The band quickly made a name for themselves with their uncompromising no-frills punk rock, straight forward political lyrics, and imagery that could have been lifted from UK ‘82. It wasn’t long, either, before the band’s chaotic nature, penchant for alcohol and other indulgences, and a bad habit of attracting unwanted attention from the law gained them a reputation as, well, a little unpredictable…

Defiance has weathered the changes and the chaos of the past years, having released four full-length Lps, numerous singles and Eps, and multiple tours of the USA, Europe, Mexico, Japan and Canada.

Defiance are back with a vengeance, once again hitting the road with the lineup of Mike, Gibby (Dog Soldier), Matt (Poison Idea, Dog Soldier) and Niff.


“Portland spiky-haired, studded-leather-clad punks not to be confused with the thrash metal act of the early ’90s with the same moniker are on album number three (not including numerous splits, EPs, and compilation appearances), and the band is still unapologetically churning out exactly what you expect: unrelenting punk rock that sounds like G.B.H. if they wanted to be an Oi! band, with leftist dogma that is far more seeped in turn-of-the-millennium American concerns than old-school U.K. sensibilities, à la Anti-Flag.”

“Diese Scheibe gilt zu Recht als Blaupause des modernen Streetpunks und genau deshalb thront das DEFIANCE-Logo auch auf so vielen Lederjacken weltweit. Hier gibt es melodischen, überaus politischen Streetpunk, der, ähnlich wie bei ANTI-FLAG, durch Wechsel- bzw. Sprechgesang und äußerst eingängige Chorusse vorangepeitscht wird. Der Basssound dieses Albums verdient besondere Erwähnung: klar, unverzehrt, vordergründig ohne zu nerven und vor allem gespielt als sogenannter „walking bass“ verleiht er der Platte einen ganz beosnderen Charme. Und er wird von keinem geringeren als Kelly Halliburton gezockt, der schon so etwas wie eine lebende Legende des PDX-Punks ist, spielt(e) er doch bei so illustren Kapellen wie:PIERCED ARROWS (Drums), SEVERED HEAD OF STATE, MURDER DISCO X, RESIST, DETESTATION, MASSKONTROLL, CLUSTER BOMB UNIT, um nur einige seiner Stationen zu nennen. Aktuell ist Kelly wieder bei DEFIANCE dabei.
Inhaltlich geht es bei DEFIANCE um Politik und sie standen in dieser Tradition immer mehr dem englischen Anarcho-Punk bzw. dem Profane Existence-Umfeld nah, als Bands, die einfach nur ganz stumpfe Dagegensein-Texte formulierten. Obwohl schon 20 Jahre auf dem Buckel, haben viel der damaligen DEFIANCE-Texte nichts an Aktualität und Relevanz eingebüßt. Gehört in jeden Plattenschrank. Schön, dass es die Platte wieder gibt.”
– Plastic Bomb Fanzine

“Is it possible that Defiance’s second album is even more visceral, scathing, and angry than their classic 1995 debut ‘No Future No Hope’? Well, listening to Punk Core’s reissue of this 2000 beauty and examining the biting, socio-politically aware lyrics, definitely is grounds for this surmise… No doubt these guys have some of the most incendiary messages around. And that’s to say nothing about the equally riotous music, which is sheer, raving, urgent streetpunk bliss.”


Hip Hop Jazz trio, Sax Machine is a return back to the future of “Great Black Music” : hard bop, afro beat, funk or hip hop collide into a new and unstoppable alloy.

Sax Machine is an alchemical formula imagined by talented saxophonist Guillaume Sené (Like Jam, Pillac) and Pierre Dandin (trombonist of Sergent Garcia, Malted Milk and Mix City) that transforms the art of improvisation into a mesmerizing brass colored groove mixed and merged with loopers and machines.

RacecaR, lyricist par excellence, brings a Native Tongue flavored style to the mix. With a career of over 20 years, RacecaR has plenty of collaborations under his belt, most known for his work in the Chicago duo Modill. Having toured with Slim Kid Tre of The Pharcyde, Speech of Arrested Development, and shared the stage with many, more Hip-Hop notables, he is well prepared to show his veteran intelligence, positivity and class to the world.

RacecaR has recently begun works with Blanka (of La Fine Equipe and A State of Mind), Creestal Atoms (of CM Jones), SoulSquare ( a group of seasoned producers which includes DJ Atom of C2C and Beat Torrent fame), DJ Suspect (formerly of the The Funk League), and Alakazam (Zulu Nation Paris), amongst many other very relevant artists in the French Hip-Hop scene. He continues to extend his network and garner praise while showing his quality, energy-fillled performance, to a number of crowds around France.

The new Sax Machine album “Bubbling” was released in March 2017 and the Japanese label Soul Garden Records released the 7″ “45 Tours” in October 2017.


“La formule est simple mais d’une efficacité imparable : des riffs de sax et trombone
pour la trame funk, des breakbeats rudimentaires élaborés en direct et un
rappeur d’exception – RacecaR – pour entrainer tout le monde dans la plus cool des
party. En concert, Sax Machine fonctionne à pleins tubes et ne laisse personne repartir
sans lui avoir donné une idée plus souriante de la vie. Dans Bubbling, le trio
hausse encore le niveau, fidèle à l’ascèse funk, mais avec davantage de punch que
dans son 1er album, des feats judiscieux et une production qui a gagné en muscle.”
– Les Inrocks magazine

“Il faut avoir un pantalon bien garni pour oser convoquer le Godfather, comme
ça, en tronquant son surnom afin de modeler le sien. Le jeu de mot assumé (et
plutôt bien trouvé, avouons-le), les choses sérieuses peuvent commencer. Sax
Machine, donc. Un trio. Deux guetteurs (Guillaume Sené au saxophone et beatmaking
et Pierre Dandin au trombone), un rappeur, RacecaR, en provenance de
Chicago mais installé depuis plusieurs années en France. Ce qui les différencie des
nombreux groupes de hip-hop-jazz ? Une idée : l’utilisation des boucles de cuivres
comme assise rythmique, laissant le flow glisser librement, et les mélodie s’éntendre,
s’étendre, sans se méprendre. Car c’est l’âge d’or du hip-hop qui est pris ici
comme marqueur et référence évidente dans les 11 pistes de «Bubbling», alliage à
mémoire de formes également deep-funk et hard-bop. Une réjouissante réécriture
d’un son urbain et mouvant, sans compromis. Promis.”
– Soul Bag magazine

“Leur musique sonne furieusement comme un brass band de Nola trempé dans le
groove du hip hop old school, pourtant Sax Machine est né à Rennes en 2008 sous
l’impulsion du saxophoniste et beatmaker Guillaume Sené et de son alter-ego le
tromboniste volcanique Pierre Dandin. Rejoints par le rappeur de Chicago RacecaR,
les complices sortent Speed Of Life en 2014 et enflamment les Trans Musicales
de Rennes avec leur groove étourdissant mis en boucle par les loopers et
machines. Le trio est de retour le 3 mars avec un deuxième album, Bubbling, et
dévoile en avant-première pour FIP le clip du titre We Are Here, dans la pure tradition
des Brass Band Second Line, ces parades déambulatoires des fanfares de La
– Fip magazine

“S’il y a bien un nom qui sonne bien c’est celui-là : Sax Machine ! Ca sonne immédiatement,
et évidemment on pense à James Brown et à son ‘Sex Machine’ […]
On peut voir sur la toile le clip We Are here… c’est vachement bien foutu en fait, un
long plan séquence…”
– Interview Canal+, Sakifo Festival 2017


Stacy Crowne kommen aus Köln und machen High Energy Rock’n’Roll. Die vier sind eindeutig inspiriert vom Sound der skandinavischen Rockwelle um Bands wie The Hellacopters, Turbonegro und Gluecifer, trotzdem werden hier keine Klischees bedient – auch Hardrock- und Punkliebhaber kommen auf ihre Kosten.

Die 2014 selbst herausgebrachte Debüt EP findet in der Szene großen Anklang. Nach zwei Touren und zahlreichen Shows, u.a. im Vorprogramm von The New Christs, The Casanovas und Electric Eel Shock erscheint 2019 die erste LP „We Sound Electric“ über Savage Magic Records (USA). Als Produzent wurde Ola Ersfjord ins Boot geholt, der zuvor u.a. mit Imperial State Electric, Lucifer und Dead Lord zusammengearbeitet hat.

Vertreten sind die Jungs außerdem auch auf der Neuauflage der legendären “A Fistful of Rock & Roll” – Serie des Electric Frankenstein-Gitarristen Sal Canzonieri, die ebenfalls 2019 veröffentlicht wird.


“Langsam macht es den Eindruck, dass das Virus, welches die skandinavische Rockwelle um Hellacopters, Gluecifer oder Turbonegro Ende der Neunziger durch Europa und die Welt getragen hat, erst jetzt seine Wirkung entfaltet, denn so richtig gute Epigonen tauchen, zumindest in Deutschland, erst in den vergangenen Jahren auf – und Stacy Crowne aus Köln gehören definitiv zu den besseren.”
– Ox Fanzine

“Stacy Crowne kombiniert Ausdauer, Schweiß und high voltage and high frequency capacitors” […] ‘Soul in Stone’, ‘Black Widow’, ‘I’m in’ und die Zuckungen im ganzen Körper werden schlimmer. ‘Set me free!’ Was dann folgt ist der Zustand totaler Erschöpfung und die Gewissheit, alles gegeben zu haben, bei jedem Akkord hellwach zu sein und beim vollen Körpereinsatz immer noch eine Menge Spaß zu haben. Wo AC/DC altersschwach werden, keimt bei Stacy Crowne die Hoffnung auf, dass Rhyhtm&Blues immer noch neue Türen aufstößt, um das Bestmögliche zu erreichen und keine Zweifel aufkommen, dass zwischen Risiko und Nutzen immer das Bauchgefühl siegt. Schweinegeil!”
– Underdog Fanzine

“Nicht zuletzt das macht die von Heiko Lohmann großartig produzierte Scheibe zu einem Hörgenuss für alle, die Rock’n’Roll krachig mögen, aber nicht auf überlebensgroße Melodien verzichten möchten.”
– Kölner Stadtanzeiger

Sheepy from Liverpool play pop punk with mega catchy songs, tight hooks and lovely harmonies. Since 2012 the band toured across the UK, Ireland and Europe.

Songwriter Luke Jones recorded 12 self-produced albums before teaming up with Blang Records. “Predator EP” was the first release, followed by the singles “Glum” and the 7″ “Another Day”. These songs received national radio airplay on the likes of BBC Radio Two, 6 Music, XFM, plus some national TV play on Soccer AM.

The debut self-titled album was released in January 2014, featuring the well acclaimed singles “These Clothes” and “Don’t Know Much”. “Wild” EP was released in June 2015, and the single “Wild” was played on XFM and BBC Introducing.


“…effortlessly melodic and insatiably moreish… lo-fi, powerpop and post-punk with a massive pop heart beating at the centre.”
– Sounds XP

“…a voice tailored by superior beings… brilliant… a pop classic.”
– Unpeeled

“Undertones aura with merest whiff of Nirvana, crumbs of Costello and a few milligrams of Monkees…”
– Mudkiss

“Sheepy, the Liverpool based 3pc who demonstrate that pop music does not have to be the bland, genre void pap that clogs up the charts. With ‘Alarm Bells’ they have abandoned the blueprint, and crafted an album of dark-pop with a luxuriously unsettling edge… Sheepy have a created an energetic short, sharp joyously off kilter belter that should be worthy of your attention.”
– Louder than War

“The third single ‘Another Day’ was played thirteen times on BBC 6music, including seven spins from Steve Lamacq alone… having listened to this a good few times trying to find reference points, similarities and the like I have come up with a hotchpotch of names, some dating back to the 60’s, others more recent – I noted down The Kinks, Buzzcocks, The Undertones, The La’s/Brit/Indie pop, perhaps TFC, hints of psychedelia and even The Ramones… The entire album is a kaleidoscopic mix of pops finest reference points, blended with humour and self-depravation; Sheepy are clearly enjoying themselves… Sheepy have crafted a melodic, hook laden classic – a slice of real independence, so adverse and unconcerned as to what is current, to what is gracing the pages of the NME.”
– Louder than War

“Earworm pop hooks with a vaguely sinister and cynical lyrical edge, Sheepy are reminiscent of classic guitar groups such as The Replacements, Super Furry Animals and Pixies. Once a solo project now bedecked by a fully-functioning three-piece line up, Sheepy prove themselves impossible to ignore and bounce along to.”
– Getintothis

Alien Fight Club aus Bonn machen rotzigen Punk mit Noise-Einschlag und Melodien. Ihre Songs verbinden den Drive und die Coolness von Garage-Punk mit der Angepisstheit von 80er Hardcore. Dabei scheuen sie sich nicht davor, ausgelatschte Pfade auch mal zu verlassen.

Auf die Fresse mit Gefühl ist Sängerin Annekes (Ex-Guts Pie Earshot) Spezialität. Die Kombination mit der ungebremsten Spielfreude von Gitarrist Kolja, Bassist Chris und Schlagzeuger Stefan (1982) macht Alien Fight Club unwiderstehlich.

Nach ihrer ersten 4-Song-EP erscheint 2019 der erste Longplayer auf Campary-Records.


“Ausgefeilter Hardcore-Punk, der an LIFE … BUT HOW TO LIVE IT? erinnert, mit einer hyperaktiven Sängerin und einer gelungenen Cover-Auswahl. Es ist Jahrzehnte her, dass ich zu SPIZZ ENERGY gepogt habe – und heute Abend habe ich die Gelegenheit dazu. Der Gig macht Appetit auf mehr und so freue ich mich auf die angekündigte LP und weitere Konzerte…”
– Ox Fanzine, Live Review

“Alien Fight Club ringen dem aber noch das Quäntchen Eigenständigkeit ab, das bei vielen andern fehlt und klingen dabei erfrischend ungeschliffen. Bitte mehr davon.”
– Plastic Bomb

“Kurzweilige Scheibe, die vier Mal klassischen Punkrock mit emotionsgeladenem weiblichen Gesang abliefert. Kann man sich auf jeden Fall ganz gut reinziehen!”
– UglyPunk Zine

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


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


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


Take three beatmakers from Nantes known for their love of neatly used samples and sharp arrangement, add 2 turntable goldsmiths, including five-time world champion and platinum disc maker with his crew C2C, shake up the whole thing and you’ll get the latest Jazzy-Hip-Hop sensation: Soul Square! Coming from Nantes, home of the French soulful scene’s rebirth, Atom, Jay Crate, PermOne, Arshitect & Guan Jay quickly drew attention to themselves thanks to their forceful melodic instrumentals.

Hip Hop Soul and Jazz, Soul Square pays tribute to black American music with a confidence which invites you straight away to revisit their effort. We noticed them behind the stoves of Micronologie’s or Fisto’s recent albums, or as inspired remixers for Wax Tailor, Hocus Pocus and even The Jazz Liberatorz; the four chefs do know how to concoct the most flavorful combinations that make authentic and truly “soulful music”.

Their first album, “Live & Uncut” released in 2010 on KIF Records, won unanimous support from the critic and the public, and was considered one of the best albums of the year.

After 2 EPs, the five members of Soul Square and the American rapper RacecaR maintains the mystery with a new opus titled “Hidden Truth”. An album that might sound like an ode to the conspiracies but actually sounds like a comeback to the golden age of hip-hop.

After more than 10 years of existence, Soul Square remains faithful to its musicality combining nostalgia and new influences. No illuminatis or “chemtrails”, the eleven tracks of the project, with groovy and jazzy sounds, bring us back to the best of the boom-bap with this unique soul supplement: a goldsmith’s work in the service of percussive melodies.

Get ready! Soul Square will hit your turntables hard!


“If Soul Square had a euro for every time I played their song ‘Take It Back’, they’d be on a yacht right now. Well, maybe a rental… Coming from an extended family with turntablist crew C2C and French jazz hop outfit Hocus Pocus, Soul Square adopts an highly overused term, but it almost can’t be more fitting than for describing them: fresh.”
– The Find Mag


Skassapunka play brilliant and intoxicating Ska-Punk mixed with 2-Tone and a pinch of Pachanga. Exuberant energy on stage and lyrics from life are the ingredients of this young and hot band from Milan.

Since then Skassapunka tour frequently across Europe, play lots of international festivals and already published four albums and several 7″s on Dedolor and KOB Records. They also shared the stage with bands like The Locos, The Real McKenzies, The Bombpops and others.

Their latest album “Adelante” confirmed their status as one of the best Italian ska bands of the last 10 years.

TIn 2019, the band started a collaboration with the Eko Music Group for Ernie Ball products.


“Stay rude, stay rebel: The revolution is danceable”
– Underdog Fanzine

“… great Ska-(Street)Punk, with political texts against fascism, state and capital, in the tradition of TALCO, LOS FASTIDIOS, NH3 and RED SKA. On ‘Rudes Against’ SKASSAPUNKA do not need to hide behind these bands. The 14 tracks, enriched with 2Tone excursions, makes your legs move.”
– Ox Fanzine

“On ‘Rudes Against’ Skassapunka reminds a bit of a ‘cocktail’ from their colleagues Talco, Los Fastidios and the US ‘Gypsy-Punks’ Gogol Bordello… The songs reach your ears and especially your legs. Skank danger, good mood music and party accelerators!”

“This is fun and can only be recommended to everyone… Very good!”

“Against the background of the creeping, political shift to the right in Europe, most of their lyrics sound more modern and up-to-date than ever…”

With more than 350 concerts in 15 different countries, four European tours, participations in several festivals such as Hellfest, three Eps and two full-length albums, Stinky are one of the most hardworking and irreverent hardcore bands in the French underground scene.

Their music is a perfect blend of melodic punk/hardcore with a metal edge. The band capably fuses melody with an affinity for violence, making the music’s quintet a combustible mix of energy and aggression.

Influenced by bands like Comeback Kid and Nine Eleven among others, the Nantes-based group was formed in 2010 and was initially called Stinky Bollocks. Following a few line-up chances, the group finally stabilizes in 2014 with the arrival of new vocalist Claire, whose voice gives a whole different personality to the band’s sound and clearly distinguishes them from the male-dominating hardcore scene.


“I recommend you to listen again and again Stinky, one of the best revelation this year, and a band on which we can count on the french hardcore musical landscape, especialy with this excelent album..”
– ChairYourSound

“Their music is rich, sober, uninhibited. Something of magic happening and we can ask who can be able to stop them, and how they get hold of energy.”
– Rock U

“There is no doubt, with this accomplished album, Stinky take its place in the french hardcore scene.”
– Daily Rock France

“With ‘From Dead-EndStreet’, Stinky becomes a must of the punk/hardcore hexagonal scene.”
– SpiritOfMetal

“However, when they keep the energy high, Stinky make you feel like you can head but through a brick wal, which is a benchmark for quality for any hardcore album.”
– Midlands metalheads

“It is what it is, and that’s twenty-five minutes of unapologetic, unbridled, musical aggression, brilliantly executed by five talented musicians. For that purpose, it’s near perfect.”
– Mind Noise

“Stinky spielen wütenden Hardcore, der sich gewaschen hat… Der perfekte Soundtrack zum moshen!”
– Away From Life

“Das Quintett aus Clisson bei Nantes in Frankreich ist geradlinig und macht dabei keine Kompromisse. Weg da, hier kommen wir. Laut, brachial und gewaltig: ‘Alone you go faster, together you go further. Go!'”
– True Trash

“Das heißt, hier gibt es einmal mehr ordentlich Geballer, massig Dicke-Hose-Moshparts und eine Sängerin, die ihr Organ Song für Song dermaßen krass malträtiert, dass man permanent das Gefühl hat, ihr würden jeden Moment die Stimmbänder explodieren. Und auch wenn das Teil sicherlich etwas mehr Abwechslung vertragen hätte, macht es unterm Strich definitiv ziemlich Bock.”