Giuda – Nachdem sie über 10.000 Platten ihres genialen Debutalbums “Racey Roller“ verkauft haben, starteten Giuda aus Rom weltweit durch. Die Band sieht ihre Einflüsse in den frühen 1970er bei Rockgrößen wie Slade, The Sweet und T-REX, aber auch Hector and Jook, Vanda & Young’s pre- AC/DC Aussie rock und Slaughter And The Dogs und Eddie & The Hot Rods’ pub rock/punk. Und doch sind sie einzigartig auf ihrem Gebiet und eine der originellsten Bands im Moment.
Giuda’s Vision sind Plateauschuhe, Fussball, Rollerskates und eine gesunde Dosis Bay City Rollers. Giuda haben nicht den Wunsch, euch mit erhobenem Zeigefinger die Welt zu erklären oder euch Antworten zu liefern, aber sie haben die volle Energie und den RocknRoll im Blut.

Guitar Gangsters sind inspiriert von Bands der ersten UK Punk Welle, wie The Clash, THE BOYS, GenerationX, und The Jam. Bei einer Gangsters – Show wirst du keine abgedroschenen politischen Parolen hören. Was dich erwartet, sind in Zwei-Minuten Power-Punk Krachern verpackte Querschnitte aus dem ‘urban life’, Stories über ‘bad attitude’, Sex, Ambitionen, Erfolg und Misserfolg. Guitar Gangsters werden nicht die Welt verändern. Wenn du sie jedoch einmal live erlebt hast, wirst du das Gefühl mitnehmen, selbst die Welt verändern zu können.

Lustfinger – Eine der ältesten Punkbands Deutschlands – Besteht seit 1981, Charthits wie “Bitte lieber Staatsanwalt”, Touren durch Europa und USA, gespielt mit Ramones, The Toy Dolls – Official, The Exploited, 999, uvm…..

“Their songs are mostly combinations of three or four killer riffs and a juggernautlike groove” Rolling Stone

“the great ’90s post-hardcore thud-masters” Stereogum

“A pathbreaking hard-rock opus that plays like one long money shot” SPIN #5 Top album of the Year.

GIRLS AGAINST BOYS

HOUSE OF GVSB ALBUM CELEBRATING 25 YEARS

Seminal post-hardcore band Girls Against Boys are celebrating the 25th anniversary of the release of their critically acclaimed album House of GVSB. Girls Against Boys (GVSB) first recorded in 1988 as a studio project before evolving into a full-time band in the early ’90s. All four members (Scott McCloud, guitars/lead vocals; Eli Janney, keyboards/bass/backing vocals; Johnny Temple, bass; and Alexis Fleisig, drums) were participants in Washington, DC’s punk music scene. From the start, GVSB utilized an unusual mixture of instrumentation for a band with punk roots, including keyboards, samples, as well as two bass players on many songs.

After an EP (featuring fellow DC musicians Brendan Canty and Amy Pickering) and a full-length LP on Jeff Nelson’s Adult Swim label, the band fully relocated to New York City and soon joined the roster of Touch and Go Records, with a handshake agreement to do three albums together. Upon the release of their critically acclaimed Venus Luxure No. 1 Baby album in 1993, GVSB embarked on seemingly endless rounds of touring in the US and Europe, sharing stages with the likes of Fugazi, Helmet, The Jesus Lizard, and Jawbox.

The following year Touch and Go Records released Cruise Yourself, and the band once again found themselves touring the world. This time the audiences also consisted of representatives of every major record label, all trying to sign the band. “It started to be one of the main things we’d talk about in the van: do we really consider signing to a major label or not?” McCloud remembers. “Finally it became clear that although we had a lot of trepidation, it was something we were probably going to do.” McCloud called Corey Rusk from Touch and Go Records from a truck-stop payphone to discuss the situation. GVSB then decided to honor the handshake agreement and release its next album on TG before releasing anything with one of the major labels.

House of GVSB was that final record for the label. (The next album was on Geffen/Universal, who won the bidding war.) Recorded in 1995 at Water Music in Hoboken, NJ, with producer Ted Niceley at the helm, House of GVSB captures the four-piece at the zenith of its musical prowess. Among other dynamics, the album has a simmering anxiety throughout, a kind of vertigo, a taste of what the band was actually experiencing at the time.

About the LP and the lead track, “Super-fire,” SPIN said: “A fast metal-chime guitar riff (like a snippet of Big Black or Killing Joke) repeats four times, then heavy drums surge in along with two thick bass lines, the guitar switches to a sticky wah-wah drip, and Scott McCloud adds his flat speak/sing (like Mark E Smith of the Fall, but under light lyrical control), mouthing “nothing satisfies” with enough pump and angle that the sentiment isn’t hackneyed—just another needle under your skin. The 40 minutes that follow these 40 seconds feature multiple surges just as utterly convincing, it’s the biggest, most contemporary-sounding, and physically enticing hard rock anyone is offering right now.”

Additional lyrics on “Super-fire” include French idioms about losing one’s mind: “nothing in the lemon” (rien dans les citrons) and “spiders on the ceiling” (araignées au plafond). These phrases—which McCloud stumbled upon while on tour in France—contribute to the sense of alienation, bewilderment, and fascination on the album. “The Kinda Mzk You Like,” with its funky drums and two basses, describes a fictional meeting of nightlife revelers on an imaginary dance floor. “Disco 666” and “Vera Cruz” up the ante on electronic instrumentation: dance music played by live guitars, basses, keyboards, and drums. The album closer, “Zodiac Love Team,” provides a flickering soundtrack to an imaginary film, taut with menace, implied violence, fear, and yes, a certain touch of beauty.

Girls Against Boys released Freakonica (Geffen,1998) and You Can’t Fight What You Can’t See (Jade Tree, 2002) before calling a hiatus from recording in 2003. GVSB has periodically re-emerged for touring stints (most notably for an EP in 2013 The Ghost List) and all of the band members remain active in musical and artistic pursuits: Johnny Temple founded his publishing company Akashic Books, Eli Janney currently plays keyboards in the 8G Band on “Late Night with Seth Myers”, Alexis Fleisig has taken his photographing skills to new levels, as well as drumming for the likes of Obits and Bellini, and also plays in Paramount Styles, together with Scott McCloud, who now lives in Vienna, Austria.

House of GVSB remains probably their most favorite album.

Bandcamp https://girlsagainstboys.bandcamp.com/album/house-of-gvsb-25th-anniversary-edition

Another FAT WRECK Punk-Night in Munich… nach dem großen Erfolg der ersten #FATWRECK-Night gibt es nun eine neue Auflage…. wieder mit #GETDEAD und #THELASTGANG, anstatt der Bombpops sind diesmal #THECOPYRIGHTS mit am Start.

3 Punkbands aus der Schmiede von NOFX’ Fat Mike und seinen FAT WRECK CHORDS:

GET DEAD aus San Francisco/CA, THE COPYRIGHTS aus Carbondale/Illinois und THE LAST GANG aus Los Angeles/CA

GET DEAD: https://youtu.be/gR4VM1mYFKo

THE COPYRIGHTS: https://youtu.be/cr__5NGLo-Q

THE LAST GANG: https://youtu.be/CJQtR87c3_A

“WITH HER HAUNTED, THEATRICAL DELIVERY, FOSTER CUTS AN ARRESTING FIGURE.” PITCHFORK

“JOSEPHINE FOSTER’S HAUNTING VOCAL QUAVER AND SLOW-MOVING SONGS RECALL SEVERAL ERAS OF AMERICAN FOLK MUSIC WHILE OCCUPYING A MYSTERIOUS SPACE ALL THEIR OWN.” ALLMUSIC

North American artist Josephine Foster (b. 1974): singer, multi-instrumentalist, song composer. Known to breathe new life into archaic forms, embodying the cultural archaeology of Harry Smith’s old weird America, she has lent her warbling mezzo-soprano and interpretive wit to nearly two decades of self-produced recordings.

As Jarry said, anachronism, the crossing of different times, produces eternity, and anachronic is an apt arch-adjective to describe Foster’s singular songbook, one that began in the Mountain West (where at age 15 she had her first gig delivering hymns at a log cabin church). Her uncanny timbre imparts a paradoxically rustic glamour, despite a certain stage shyness. 

In her 20’s, submerged into Chicago’s fringe rock and free jazz periphery, frayed vestiges of her abandoned operatic aspirations wore away; she then crossed the Atlantic for over a decade, grounding herself in the earthen glaze of rural Spain. A glitter of Nashville recording residencies helped shape her prolific output, solo and band album releases, leading a variety of ensembles on the road around the world and in the studio.

Foster draws from spiritual wells beyond limits of space and time, her performances mesmeric. An oneiric voice which entwines with her own swelling guitar, piano, harp and autoharp gestures, folk-art songs spun in surprising musical design, are often playfully unravelled. And while she favors the piano or organ, she will probably play whatever guitar is handed to her.

Music:

https://josephinefostermusic.bandcamp.com/

CROOKED MILE TOURS is equally stoked and bummed to announce the first farewell european tours of San Francisco´s noise rock legends FLIPPER.

Yeah you got it right. After over 4 decades on the road, several line up changes and a consistent number of releases on different labels over the years, Bay Area´s noise rock legends FLIPPER have decided to call it a day andcelebrate the end of their career with 2 european tours, one in august and one in november and bringing different opening acts each time. 

Originally started by members of NO TREND & THE SLEEPERS in the spring of 1979 and with only 2 original members left today – Stephen De Pace (on drums) and Ted Falconi (on guitar) – Bay Area´s “punk rock” legends FLIPPER need no introduction. Heavily influenced by The Birthday Party, The Velvet Underground, Chrome, PIL, Joy Division and The Stooges to name a few, they have, throughtout their 40+ year spanning career, inspired a large number of bands with their unique slowed-down, bass-driven, heavily distorted and repetitive style of “punk”.

Some of the bands that mention them as a major influence and have both covered their songs and collaborated on different projects, are The Melvins, Terminal Cheesecake, REM, Mudhoney, Unsane, Jane´s Addiction, Unwound and last but not least Seattle´s Nirvana, whose bass player Krist Novoselic played and toured with the band in the 2000s. In “GET IN THE VAN“, his memoir of the early 1980s punk rock scene, Henry Rollins from Black Flag/Rollins Band described the Flipperexperience this way : 

“They were just heavy. Heavier than you. Heavier than anything. When they played they were amazing! In order to go out with a bang, they´ve recruited San Pedro´s rock legend and royalty MIKE WATT (Minutemen, Firehose, Iggy & The Stooges etc..) to pull double duty. The man himself will – in fact – handle the low end and scream his lungs out. They will therefore perform as a 3 piece for the very first time! 

On top of that, as the icing on the cake, San Diego´s underground veterans 16 (who recently put out their latest full length “Dream Squasher” on Relapse Records) will be greasing up the stage with their abrasive mix of west coast sludge metal and claustrophobic southern swamp rock. 

Bandcamp  https://16theband.bandcamp.com/music

Video  https://www.youtube.com/watch?v=X5yTzzQkD6M

Soundcloud https://soundcloud.com/flipper-official

Nitzer Ebb (USA/UK – Mute Records)
+ Special Guest: TBA

Bon Harris, David Gooday und Leadsänger Douglas McCarthy waren noch Teenager als sie im englischen Chelmsford in der Grafschaft Essex begannen zu Musik machen. “Wir waren Schulfreunde und liebten Postpunk-Bands wie Killing Joke, Theatre Of Hate, Bauhaus, The Banshees, Cabaret Voltaire, Virgin Prunes, The Birthday Party, Abwärts und Malaria. Nachdem wir diese Bands live gesehen hatten, dachten wir das können wir auch, erinnert sich Douglas McCarthy. Um einen Namen zu finden, der möglichst deutsch klang, ohne aber wirklich Sinn zu machen, warfen sie Zettel mit Silben in einen Hut und herauskam “Nitzer Ebb”. Für das Artwork ließen sich die Jungs von russischem Konstruktivismus inspirieren und ihr martialisches Auftreten mit Reithosen und Stiefeln rundeten das Bild ab. Beeinflusst von DAF lehnten sie von ihrem Demo und der darauffolgenden Single “Funny how your Body Works”, die noch auf ihrem eigenen Label Power of Voice Communications, Gitarren ab, arbeiten rein elektronisch und wurden so zu den Urvätern der EBM-Szene. Die Schockwellen, die sie aufs Parkett schickten, strahlten bis ins ferne Detroit und beeindruckten mit ihrer rohen Energie nachhaltig auch den jungen Derrick May.

Obwohl die Band Mutter immer wieder betont eine normale Rockband zu sein, entzieht sie sich seit inzwischen über 30 Jahren und 13 Alben erfolgreich jeder Festlegung. Die taz bezeichnet sie als ein „Mysterium deutscher Rockgeschichte“, Diedrich Diederichsen unterstellt ihnen eine “extrem entwickelte Konzeptualität”, andere sprechen von missverstandenem Diskurspop, Collagenkrach oder benennen ihre Kneipe nach der Band (Mutter). Die Texte von Max Müller sind kleine, manchmal lakonische, aber immer präzise beobachtete Alltagsgeschichten, die gerade wegen ihrer schroffen Unmittelbarkeit sprachliche Kunst sind. Die Band ist dabei selten explizit politisch, vielmehr ist es ihr dringlicher Vortragsstil und ihre musikalische Kompromisslosigkeit und ihr DIY Ethos, in der sich ein lautes Nicht-Einverstandensein mit den Verhältnissen ausdrückt.

Einlass 19 Uhr | Beginn 20 Uhr