“OCCULT DETECTIVE CLUB – ALRIGHT GENTLEMENT 7″
Nervous powerpop from Denton by people who have brought you bands like Maaster Gaiden, Stymie, and A.N.S. This new 7″ follows two LPs (one on Alive and one on Red Lounge) and a split 10″ with Something Fierce (Dirtnap). Fucking great stuff!”
Taken from the Dirt Cult Records Website
“NAPALM a Punk Rock Band from Hamburg, Germany. They started in 1979 and packed it in 1982/1983 after recording only two 7”.
LUI (Lorenzo Castillo-Sohre) – vocals – speaks Klingon fluently and sang for several other Hamburg based bands as there are: Punkenstein, The Razors (after original singer K. Danker left), the Ramones-Revivalband (later renamed Ramonez’ 77), Jam Today (playing bass, too), Phantastix (1. LP bass, 3. LP vocals), The Bronx Boys , a Misfits-Coverband und several other projects, often existing only for one gig.
MARTIN WITTE – guitar – played with Gutter Snipes, Screamer, Punkenstein, The Razors (melody guitar on Maxisingle “Banned Punx”), Torpedo Moskau, Noise Annoys, Ramonez 77, Bronx Boys, Witte XP. Nowadays he is running a recording studio together with Alfred Grund of the legendary BigBalls&TheGreatWhiteIdiot in Schwissel,Germany.
KAI REDER – drums – his first band was called Gutter Snipes. He started Ramonez’ 77 together with Witte, Lui and the glorious Mr. Zabel, played a short while with Jam Today and Bierspieler, even jumped in for RAZZIA on one ocasion. He joined british hardcore punkband GBH for some years before recording a couple of great 45´s with the Hamburg Punkoutfit Motormuschi. Not to forget a recording session with Moro from Human Punx, which ended up on vinyl called. “Nietzsches Schreibmaschiene”. Latest activities include Thee Hundred Club and brand new project THE LETYOUDOWNS.
ARNE WAGNER – bass – played with Torpedo Moskau, C3I, Square The Circle und Noise Annoys. Currently he is the singer of reactivated Hamburg punkband Bierspieler”
Taken from the Band’s Myspace Page / German Wikipeadia
1980: “Tolle” (7″ EP, Moderne Musik 005)
1982: “It’s a warning” (7″ EP, Konnekschen s10)
1990: “Graffity”, “Tolle”, “Ill weeds grow apace (Kölle alaaf!)” posthum on the Sampler “Paranoia in der Straßenbahn – Punk in Hamburg 1977-1983” (Weird System WS037Y4)
“NAPALM a Punk Rock Band from Hamburg, Germany. They started in 1979 and packed it in 1982/1983 after recording only two 7”.
LUI (Lorenzo Castillo-Sohre) – vocals – speaks Klingon fluently and sang for several other Hamburg based bands as there are: Punkenstein, The Razors (after original singer K. Danker left), the Ramones-Revivalband (later renamed Ramonez’ 77), Jam Today (playing bass, too), Phantastix (1. LP bass, 3. LP vocals), The Bronx Boys , a Misfits-Coverband und several other projects, often existing only for one gig.
MARTIN WITTE – guitar – played with Gutter Snipes, Screamer, Punkenstein, The Razors (melody guitar on Maxisingle “Banned Punx”), Torpedo Moskau, Noise Annoys, Ramonez 77, Bronx Boys, Witte XP. Nowadays he is running a recording studio together with Alfred Grund of the legendary BigBalls&TheGreatWhiteIdiot in Schwissel,Germany.
KAI REDER – drums – his first band was called Gutter Snipes. He started Ramonez’ 77 together with Witte, Lui and the glorious Mr. Zabel, played a short while with Jam Today and Bierspieler, even jumped in for RAZZIA on one ocasion. He joined british hardcore punkband GBH for some years before recording a couple of great 45´s with the Hamburg Punkoutfit Motormuschi. Not to forget a recording session with Moro from Human Punx, which ended up on vinyl called. “Nietzsches Schreibmaschiene”. Latest activities include Thee Hundred Club and brand new project THE LETYOUDOWNS.
ARNE WAGNER – bass – played with Torpedo Moskau, C3I, Square The Circle und Noise Annoys. Currently he is the singer of reactivated Hamburg punkband Bierspieler”
Taken from the Band’s Myspace Page / German Wikipeadia
1980: “Tolle” (7″ EP, Moderne Musik 005)
1982: “It’s a warning” (7″ EP, Konnekschen s10)
1990: “Graffity”, “Tolle”, “Ill weeds grow apace (Kölle alaaf!)” posthum on the Sampler “Paranoia in der Straßenbahn – Punk in Hamburg 1977-1983” (Weird System WS037Y4)
Trephination Unmastered
Trephination Mastered
The video was made by the very talented Melanie Malherbe.
TV Screen is available to own on 7″ white vinyl. Get it here!
““Nothing’s going to kill you faster than rock ‘n roll!”
Don’t those words ring true? Sorry And The Sinatras certainly know all about life in the fast lane – as their dirt bomb explosive debut album ‘Highball Roller’ shows so well!
You see, Sorry And The Sinatras specialise in high octane kick-ass punk rock – high on flare, punishing, driving riffs and spit ‘n’ sawdust professionalism. Formed 18
Recorded during the Summer of 2008 over 10 days in Barnsley with Jason Sanderson (Rolo Tomassi, The Plight, The Mirimar Disaster, GU Medicine) it will be released in May 09 through Undergroove (The Ghost Of A Thousand, Hexes, Minus The Bear, Johnny Truant).
Are you ready to get ‘High?
– Darren Sadler”
“In 2010, David and Christine Wolf had to replace the equipment that was stolen when their Chicago house was broken into. They wound up building a home studio, where their band Daylight Robbery recorded their gritty second album, Ecstatic Vision, on a Tascam 38 tape recorder. The album’s lyrics come from people balancing adult responsibilities with playing in a DIY band; rebuilding while sorting out memories and trying not to dwell in the past; asking questions like, “What’s the point?” and “Where do we go from here?” While the lyrics are taking stock, the music pushes forward, vibrant, faster, urgent, with David and Christine both sounding more confident and engaged on the mic. Like their first album, Through the Confusion, Ecstatic Vision has ten songs, but it’s five minutes shorter, wrappin g up after twenty-eight minutes with the choppy, jolting “Grassroots,” one of the few new songs that hasn’t jettisoned the band’s new wave influence for spacious, propulsive Australian garage like Radio Birdman or Eddy Current Suppression Ring. It’s not that Daylight Robbery sound like a different band, it’s that they’ve avoided the “same thing, not as exciting” sophomore trap by putting out a record that is rawer and punker, the live-to-tape closeness (and muffled drums) making it easy to mistake for the lost demos of some awesome L.A. by way of Australia band, circa 1979. A retooled dynamic compensates for the downgrade in fidelity. In this claustrophobic recording, the guitar parts have a stronger delineation between riffs and leads, and the band creates the signature space between David’s dark, desert/surf leads and the counting-trees-flying-by-on-the-highway momentum of Christine’s bass and Jeff’s drums by minimizing overdubs. If Confusion was the sound of running down the midd le of a dark street, trying to gauge the closeness of your pursuer’s footsteps over the pounding of your heart, Vision is peeking out of a gangway, panting, knife pulled, hoping that the person chasing you runs past. Keep fighting, Daylight Robbery. –CT Terry”
