DOORS – 20:00
BLUSH COFFIN – 21:30
VV & THE VOID – 22:30
PROGRAMMED FOR PLEASURE – 23:30
aftershow till closing:
DOORS – 20:00
BLUSH COFFIN – 21:30
VV & THE VOID – 22:30
PROGRAMMED FOR PLEASURE – 23:30
aftershow till closing:
: Live :
“Ursprung” [a+w lp012] release show
: DJs :
Grinding riffs, obliterating beats, and pure vocal carnage.
LA foursome 3̤̱͕͢ ̱̣͕̜̀͟͜T̹̜̗͈̠̼̀Ę̶̻E̵̢̤̩T̢̡
BLUSH_RESPONSE‘s analogue electronics range from the full-on pounding of industrial rock and dark techno to icy-cold EBM and minimal. We’ve never seen him play without a host of black-clad bodies raging in front—a host of which you’ll soon be a part of.
In between and after, U n R e a L DJs Black Black Gold and xorzyzt will be playing blackened post-punk, techno, and generally heavy electronics including lots of rare and unreleased weirdness to keep your bodies jacked. Grab your Docs and prepare for a night of fog-drenched raging!
Tickets: http://puschen.tickets.de / KOKA36 / BIS AUFS MESSER Recordstore
Surf Curse is the indie rock recording project of Los Angeles based songwriters Nick Rattigan and Jacob Rubeck. The pair met as teenagers while growing up outside of Las Vegas, and immediately bonded over underground music, cult films, and a desire to leave their vacuous home town. After moving to Reno for college, Rattigan and Rubeck discovered the city’s local DIY scene and similar blossoming music communities across the country that were becoming connected through the internet. In the fall of 2010 the two formalized their on-going musical collaboration with a new two piece called Surf Curse and played their first show at a Halloween Party. Surf Curse’s initial songs were frantic punk anthems about adolescent heartbreak and alienation, and the band quickly developed an audience of young people who resonated with Rattigan and Rubeck’s anecdotal writing.
Early on Surf Curse frequently performed at landmark all ages venues like The Holland Project, The Smell, and Pehrspace. On one of their first trips to Los Angeles, Rattigan and Rubeck befriended a community of musicians including the likes of Palm Reader, Girlpool, Michael Vidal, and Heller Keller, and recorded their first two releases with Andrew McKelvie at The Smell. Surf Curse developed a cult following almost over night in Los Angeles, but abruptly disappeared for a two year hiatus after Rattigan relocated to New York City.
While living on separate sides of the country, Rattigan and Rubeck devoted most of their attention to their respective solo projects, Current Joys (FKA Tele/Visions) and Casino Hearts. Surf Curse reunited in 2015 and began demoing their second full length, Nothing Yet, which they released with Danger Collective Records in 2017. Over the past five years, seeing Surf Curse live has become a right of passage for disaffected youth in the South-West while Rattigan and Rubeck have spent their formative years between Las Vegas, Reno, and Los Angeles.
Their new record, Heaven Surrounds You, is a coming of age epic, inspired by the many cult films they’ve cherished throughout their young adulthood that are referenced across the album’s track-list. Rattigan and Rubeck worked with veteran indie producer Jarvis Taveniere, carefully crafting a their most lush and vulnerable record to date.
Subscribe to the Puschen BERLIN NEWSLETTER to receive regular email updates (3-5 per month) and chances to win free tickets: http://eepurl.com/dvBmBD
Listen to the Puschen SPOTIFY PLAYLIST on https://sptfy.com/d2NZ
Pixx ist dabei das musikalische Alter Ego von Hannah Rogers aus Chipstead – einem Ort im Süden Londons, an der Grenze zwischen Vorort und ländlicher Idylle. In eine Musik-liebende Familie geboren und inspiriert von der riesigen Plattensammlung ihres Vaters, wurde sie schon in jungen Jahren ermutigt ihre kreative Ader auszuleben und ihr Talent blieb nicht unentdeckt. Schon im Alter von 16 Jahren schrieb sie sich mit den ersten eigenen Songs an der renommierten The BRIT School ein, an der schon Künstler wie Adele, Amy Winehouse und King Krule zuvor die Schulbank gedrückt hatten. Erst nach dem Abschluss begann Hannah darüber nachzudenken ihre Musik auch zu veröffentlichen. Inspiriert von Künstlern wie Bob Dylan, Joni Mitchell und Aphex Twin, arbeitet Hannah alleine an ihren Stücken, die sie unter dem Spitznamen ihrer Großmutter, Pixx, veröffentlicht.
Nachdem sie mit 4AD ein Label-Zuhause fand, veröffentlichte Pixx mit 19 ihre erste EP „Fall In“. Bestehend aus vier Folk-Songs, durchsetzt von Rodgers ganz eigenem, sehr persönlichem Songwriting über Herzschmerz und Selbstbeobachtung wurde die EP von Kritikern wie der Sunday Times („One oft he most arresting debuts oft he year“) gefeiert und brachte Pixx Slots auf dem Glastonbury und dem Latitude Festival ein, sowie im Vorprogramm von Acts wie Daughter, Glass Animals oder Lush!
Während sich die Welt um sie herum im Aufruhr befindet, sucht Rodgers in sich selbst nach Inspiration. Ihre Albträume aus der Kindheit, sowie spätere nervenzerrende Träume, schienen ihr perfekt als Metaphern zu den aktuellen Themen, um etwas Halt und Kontrolle zu finden, in einer anscheinend aus den Fugen geratenen Zeit. Anstatt über einfachen persönlichen Verlust zu schreiben, schreibt sie daher aus der Perspektive eines sozialen Kommentators, der sowohl in seinen Träumen, wie in der Wirklichkeit von immer mehr Unbehagen heimgesucht wird.
Im Juni 2019 kehrt die 23-jährige Britin zurück mit ihrem neuen Album “Small Mercies”.
obnoxious ouroboros presents
⊙ BIG ‡ BRAVE ⊙
Southern Lord Records
In existence since 2012 with members Robin Wattie, Mathieu Ball and Louis-Alexandre Beauregard spread across two guitars and drums respectively, BIG|BRAVE sound many magnitudes bigger than one would suspect a trio is capable of. Anticipation gracefully helps to build up every salvo launched by the band, assaulting the eardrum with incredible precision. Their compositions increasingly more refined, juxtaposing sparse minimalism with thunderous feedback, BIG|BRAVE strives to continue pushing the limits of what heavy experimental rock can sound like while maintaining a strong interest in reaching bliss.
Somewhere between the margins of a minimal rock band, experimental outfit and drone aficionados, BIG|BRAVE strives to never belong to anyone given classification. Utilising standard “band” tools such vocals, electric guitars, drums, feedback and amplifiers, B|B explores the possibilities of what a band can sound like while constantly resisting and deconstructing the archetypal characterisations of song structure and form.
Building spectacular, inverted rock constructions that sound many magnitudes bigger than one would suspect a trio was capable of, Montreal’s BIG|BRAVE has been in existence since 2012, with members spread across two guitars and drums respectively. Unhurried and untouchable, BIG|BRAVEpossess that same valued independent spirit which pervades their local contemporaries, and is at the root of their intense and exploratory musical offerings. Their sound lulls and lurches between passages of rhythmic noise pollution and vocal led awe, using considered juxtapositions of force and restraint to warp the senses. Remarkably quiet at times, their ambiance is not one of minimalism, but of dawning, foreboding power with the need to be vented, and when the hot flushes of blighted percussion and monochromatic guitar scrapes arrive, they arrive with triumphant force.
⊙ MY DISCO ⊙
Temporary Residence / Downwards Records
MY DISCO is an Australian music group that was formed between long term 2018 collaborators, Rohan Rebeiro, Benjamin Andrews, and Liam Andrews in 2003.
In 2003, MY DISCO performed their first shows in unconventional all-ages venues in Melbourne.
Late 2003 saw the release of their debut 7″ and marked their first Australian tour. The band soon became renowned for their arduous tour ethic, demonstrated in extensive tours to often far to reach destinations that included remote areas of Australia, Southeast Asia and Mexico.
The release of their debut album ‘Cancer’ in late 2006 marked a new level of emphasis on minimalism. More international and national tours were undertaken, including additional tours to the United States, New Zealand and the United Kingdom.
Their second album ‘Paradise’ was recorded in Chicago, Illinois in 2007 with Steve Albini at his studio Electrical Audio. The album is noted as the band’s most refined and minimalist release, capturing their stentorian live sound, with several songs consisting of one note, repetitive single-sentence vocals and long- sustained guitar chords. Drum patterns, although minimal, still offer dance-like, disjointed beats.
2010 saw the release of a new single called “Young”, a limited edition 12″ released through Mistletone Records and re-issue through Blast First Petite, as a lead up to their third and forthcoming album.
2010 Saw the release of the band’s third and most diverse album, ‘Little Joy.’ Their first signing to NYC acclaimed label, Temporary Residence Limited.
2012 MY DISCO released another limited 12″, this time World Wide through Temporary Residence Ltd, entitled “Wrapped Coast.” The record features two extensive racks, with remixes by London’s Factory Floor, and Birmingham based noise-maker Justin Broadrick.
On International Record Store Day in 2013, the band put out a single on one of the World’s most acclaimed independent labels, Sub Pop records. It featured as the label’s 1000th release.
2014/15 saw the band put the finishing touches on their fourth studio album, entitled “Severe” and once again working with Producer and friend Cornel Wilzcek at Electric Dreams Studios in South Melbourne.
⊙ NONN ⊙
Fuzz Club Records
The debut from NONN was a stark collection of minimalistic post-punk that marked him as one of the most exciting outputs in the dark Scandinavian scene. After touring the record across Europe and recruiting a full band, the project is back with its second album, XVII, due for release December 7th on Fuzz Club.
Now more of a collaborative effort, with Hannes Nyling and Christian’s brother Alexander joining the fold, the new record deals in a fuller more refined sound and packs a far heftier punch. Where the self-titled debut was a restrained, minimalist affair, XVII opts for slabs of industrial electronics and hard-hitting percussion. The gloomy 80s sensibilities are still there – see the occasional Cure-esque guitars and morose gothic vocals – but on XVII, NONN turn their eyes more towards the electronic affliction of EBM and synth-punk than the polished, more-digestible post-punk that came reverberating out of the decade.
This shift in the band’s sound all boils down to having to reinvent the songs when taking them on the road following the release of their debut, which saw them tour the UK and mainland Europe and play at a number of festivals; from Liverpool Psych Fest and Fuzz Club Eindhoven to, more recently, Endless Daze in South Africa. “Since the last record we’ve been doing a lot of shows which gave us a lot of inspiration. We reworked the old songs to sound a bit fuller and more fun to play live. Having to reinvent all the sounds and instruments from the first album really inspired the direction on XVII,” Christian remarks.
It’s clear that taking the project on the road with a full-band has had a notable effect. Tracks like ‘Clear’, ‘Home’ and ‘Beyond’ see NONN shift their bleak, darkwave-inflected post-punk into something far richer. It’s still got that minimalistic feel and the ear-worm melodies are still there, but it’s more sinister and fleshed out. Though, what truly sets this album apart from the debut is where the band have delved deeper into their electronic side. The industrial stomp of album-opener ‘Pray’ declares the LP’s merciless intent without a guitar in sight; it’s a destructive cut of throbbing synths and desolate drum machine, underpinned by Christian’s monotonous vocals. Partner that with the sparse, haunting electronics of ‘Believe’ and the mechanical synth-punk of ‘Hide’ and it’s clear that NONN are at their best when truly embracing their deeply-cherished Moog Sub Phatty, using it to exorcise the many demons lurking beneath the noise.
presale (in 3 simple steps):
1. send 15€ per person to email@example.com via paypal (AS FRIENDS!)
2. include the date of the show and the full name of each ticket purchaser as written on the ID and print the paypal transaction
3. you can then enter the show by just showing the printed paypal transaction and your ID at the door
18€ at the door
presale ends thursday may 16th 6pm.
limited to 250 spots!
18€ at the door
spread the gospel, invite your grannies & join the madness
⊙ smash racism, sexism, genderism, homophobia, nationalism, fascism, drugism, religionism, lookism, borders (on the maps & in the minds), genres, scenes, image, trend, hype & any other brainwashit ⊙