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


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


Jenny Don’t and the Spurs are internationally known western rebel cowboy punks from the legendary and influential rock and roll underground of Portland, Oregon.

After the tragic death of drummer Sam Henry (Wipers), the band consists of vocalist Jenny Don’t (Don’t, Ladies Of The Night), Kelly Haliburton (P.R.O.B.L.E.M.S., Pierced Arrows, Defiance etc.), Christopher March and Buddy Weeks.

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.

The Spurs’ first single was released on Fred Cole’s (Dead Moon) label Tombstone Records, their three albums on Doomtown Sounds and Mississippi Records.

Even with a new lineup, after countless shows in the U.S., Europe and Australia, and three albums, the intensity and energy of their live set is a must for anyone who likes spirited, garage-inspired country music played with sincerity and conviction.


“‘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.”


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


Liverpool artpunks Pete Bentham & The Dinner Ladies are at the vanguard of the current UK DIY underground scene and have built a strong following across the UK and Europe.

They fuse the raw rock and roll of The Cramps with the invention of The Fall and the pop sensibilities of X Ray Spex to produce their own “Kitchencore” sound.

Their songs are witty and quirky tales of northern working class life, featuring goth postmen, sensitive lorry drivers and their heroes such as Yuri Gagarin and Marcel Duchamp. Always original, funny and poignant.

They have played hundreds of shows and festivals such as Rebellion Festival, Sound City and Great British Alternative Music Festival, toured the UK and Europe and have released five albums and two EP’s. Their latest album “What’s On The Inside Has to Come Out” on 9×9 Records was released in November 2022 to rave reviews.

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 a Brazilian Hardcore Punk band formed in the suburbs of São Paulo back in 1993. Since then they have never taken a break from touring. They’ve hit up plenty of places in Brazil and Europe playing gigs in the underground scene and at major festivals such as Rebellion (UK), Obscene Extreme (CZ), Force Attack (DE), Vive Le Punk (FR) Ieper Fest (BE) etc.

As a result, they’ve become one of the most recognized Brazilian bands in the world, particularly in Europe where all their albums have been released in Germany, England and France.

Agrotóxico have released 7 albums and a documentary DVD and have been featured on several compilations around the world.

Their lyrics address various social themes, such as violence in big cities, war, ecology, politics, and more, always from a libertarian and anti-fascist left perspective.

2023 Agrotóxico will re-record their first album “Caos 1998” as well as new songs that will be released later this year by European labels. Additionally, the band is preparing to release their first “best of” album, which will also be released in Europe where they will tour in October/November.


“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 toured the US, Mexico and Europe in 2019, published their fantastic new album “No Rules” in spring 2021 and will tour Europe again in summer 2022.


“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 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 2017 punk rock veteran Dominik (Canalterror, Molotow Soda etc.) completes the band.

In May 2024, their new longplayer will be released on Rilrec / Rookie Records, which will be promoted in advance with four singles and videos.


“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.”


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

Alien Fight Club schreiben eingängige Songs, gut ausbalanciert zwischen Punkrock, Hardcore und der speziellen Erfahrungen aller Bandmitglieder.

Sängerin Anneke, Gitarrist Kolja und Schlagzeuger Stefan treiben in der Szene schon lange ihr Unwesen. Sie spielen/ten unter anderem in Bands wie Guts Pie Earshot, 1982, Spark Unit, Genepool und Beatrevolver. Alien Fight Club vereint diese unterschiedlichen Einflüsse mit einem treibenden, krachigen und doch tanzbaren Sound.

Die Texte sind wütend, empathisch und manchmal sehr persönlich. Der erhobene Mittelfinger gegen alle rassistischen Ignoranten, die unsere Gesellschaft vergiften, wechselt sich mit Geschichten über Höhen und Tiefen eines Punkrock-Lebens ab. Bei ihren mitreißenden Live-Shows schonen Alien Fight Club weder sich noch das Publikum.


“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

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, F*cking Angry, Canal Terror, Alien Fight Club, Wild Gift, The Puke, Estrella Negra, The Gee Strings, 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


“A mixture of MC5 and Leadbelly, the Stooges meet T-Bone Walker. It’s primal, it’s fast, it’s vicious. A must see” – The Last Stop Sounds

Dead Raze is a new two-piece punk/blues outfit based in Liverpool. Fronted by Irish rambler Matthew Cawe and features Ollie Fontaine on drums. The band takes influence from swamp blues and old school punk rock, playing slide guitar through a mudslide of distortion.

Dead Raze have already recorded an album in Iceland, gigged in the UK, Czech Republic and Germany. Expect foot stomping, pulse raising, high energy rock’n’roll.


“Villy Raze is a must see and especially as he’s unveiling his newest project the aptly named Dead Raze. Its still embryonic but the songs and the style are there and Villy feels confident enough to take them to the stage at the Black Cat Bar and Bottle Shop. What we get is an amped and psyched up garage blues. A mixture of MC5 and Leadbelly, the Stooges meets T-Bone Walker. Its primal, it’s fast, it’s vicious and the duo make short shrift of their set and keep the attention of the audience throughout.”
– Last Stop Sounds

Sie sind zu zweit und sie haben eine Orgel! Ist das schlimm? Nicht unbedingt! Die Kabarettistin und Liedermacherin Dagmar Schönleber hat sich Verstärkung geholt und lässt alte und neue Lieder in ganz anderem Glanz erstrahlen: Im Schatten der Orgel verwaltet Christian Hostert Tasten, Regler und Knöpfe und zusammen driften sie von LoFi Garagenpop zu Reggae über Techno und Balladen.

Dazu gibt’s Texte mit Hand aufs Herz und Arsch auf Eimer – von Büdchenhymnen und Dummschwätzern, von Internetstress und tröstlichen Tagen. Dagmar und der Organismus zeigen, wer und wie die neuen Macker sind und sind dabei so bunt wie ein melancholisches Chamäleon auf LSD.

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


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