TWINS (That Which Is Not Said), Atlanta -> listen
Leroy Se Meurt, Paris -> listen
Zagrebleu, Leipzig -> listen
DJ:s Enfant Terrible, Neugeborene Nachtmusik and åtåmåtån
TWINS/That Which Is Not Said is Matt Weiner who is also known for his Featureless Ghost project and of course as the head of the DKA Records label. His project TWINS is not limited to one specific style but the dominant characteristic is the synth driven sound. Other influences are various styles of dance music and a healthy dose of arty post-punk.
Leroy Se Meurt from France is a duo with a background in electronics and in punk music and this is very evident in their sound. Old school EBM is fused with fierce elektro. A true punk attitude and energy is always there, sort of in the tradition of Ich Bin. They stay away from the contemporary EBM sound with techno influences. Leroy Se Meurt choose their own stylistic path but with the same impact for the dance floor, or maybe even more impact.
Zagrebleu is a synthpunk duo from Leipzig throwing Wave, EBM, Acid, New Beat in a blender and spice it up with a pinch of Industrial and Hi-NRG.
++++ SOUND OF MACHINES, VOCAL CHORDS AND INSTRUMENTS PLAYED BY HUMANS •̀.̫•́✧ ++++
INFANT SANCHOS (Berlin)
Drum computers and synthesizers. Dull bass, unemployment screams, undemanding but effective tone sequences. From the bottom of the creative milieu, two Renegades, from Neukölln, from boredom.
BRACCO (Le Turc Mecanique, Paris)
Listen 🔪 https://bit.ly/2KY6yOc
Two guys, a rock and a noise madness power. Synthesizer, guitar, plus percussion instruments operated by both musicians. Repetitive, trance music, rightly reminding the reviewers of the achievements of the classics from Suicide. Dark post punk, industrial and noise in the vapors of acidic psychedelia. Strong, but also spatial and atmospheric.
Les Animaux Sauvages (Sofia, Bulgaria)
Listen 🔪 https://bit.ly/3431sb1
Les Animaux Sauvages are three louche artistic soulmates who came together in 2014 as one electro, minimal wave, post-punk entity. It feels like that 1960s hedonism that people rant on about as if it was the second coming of Christ; that level of debauchery that was somehow judged as being socially acceptable, intelligent and cultured. Sex, drugs, alcohol and rock and roll are there, but it’s remarkably relaxed and switched on towards creating, rather than self destruction.
ANTHROPIC COLLAPSE (Berlin) – RELEASE SHOW
Anthropic collapse is the perfect abyss to dive in, where colors slowly sink into darker shades, where the moment itself shows us the way to the bitter side. Every second, every instrument speaks its own language and fills the void, note after note.
Direct Concerts, Swamp Booking & ASK HELMUT present:
+ Support: Live Skull & Martin Bisi
DirectTicket: bit.ly/2ZkB4e7 (print@home & Mobile Ticket)
Presale: 16€ (plus fees) • Box Office: 20€
Doors: 8PM • Start: 8:30PM
New York’s critically acclaimed WHITE HILLS has garnered a reputation as one of the most prolific bands of their generation, composing numerous studio albums along with EPS, singles, tour only releases and collaborations since their inception.
Blending genres and styles, WHITE HILLS has been described as Krautrock, Industrial, Psychedelic, Goth, Post-Punk. Ambient and more. The band describes themselves as Motorik Fuzz Art-Rock. Comprised of core members Ego Sensation and Dave W, WHITE HILLS has toured extensively throughout Europe and North America and appears in Jim Jarmusch’s film Only Lovers Left Alive.
Iguana Death Cult
Special Guests: Tanning Bats
14.11.2019 | Berlin – Urban Spree
Doors: 8:00 p.m. Start: 9:00 p.m.
… presented by DIFFUS Magazine
The Rotterdam five-piece Iguana Death Cult first made a name for themselves with a twisted and hard-core garage punk including a hint of psychedelia, then the quintet grew into a band that incorporates post-punk, Krautrock, New Wave, soul and disco. Their second album “Nude Casino” will be released on October 25th on the label Innovative Leisure from LA. It shows the more top-heavy side of her songwriting and her sense for the absurd.
The frenzy of the early years can still be felt today: the band is a barely controllable force of nature. They have made their way from dark doldrums to the SXSW, and they prove that defiant dilettantism and real ability can be perfectly combined and lead to success. Opschoor used to play nimble flamenco ornaments on guitar, but would have broken his fingers on blues riffs. With Reek it was exactly the other way round: From wonderfully primitive punk rock he worked his way up to sophisticated retro soul, psychedelic rock and acid jazz à la Art Blakey. And so they meet in the middle, where Boer’s brawny bass competes against Van Opstal’s jazz-influenced licks.
Because the music scene in the Netherlands is very small and familiar, the rise of Iguana Death Cult to a legendary live act took place at an incredible pace. There is no difference for the band
between occupation and hobby, also because of that she was able to gain a big fanbase quickly. Her debut album “The First Stirring of Hideous Insect Life” was released in 2017.
In comparison, the successor “Nude Casino” sounds rather brittle and unembellished – a sceptical sound that also questions their own former hedonism. Jeroen Reek lets his neuroses run wild and oscillates between wild waking dreams and the narrow limits of reality. His lyrical abilities come to the fore on “Tuesday’s Lament”, the heart of the album: The song is a monologue in five parts, which self-confidently and in a good mood deals with such difficult topics as mortality and faith. The occasional seriousness that blends into the sound and lyrics doesn’t harm the daring of Iguana Death Cult, like the band that has grown into a quintet through Jimmy de Kok on keyboard.
from the first note on.
“Nude Casino” evokes claustrophobic and absurd moods and is dedicated to themes like sleep paralysis (“Half Frisian”) and lost innocence (“Castle in the Sky”). These songs are based on earthly fears like neuroses and conflicts. That’s why the album is permanently jerking with nervous energy, which also comes from the wilder songs dominated by heavy hooks like “Carnal Beat Machine” with its dry disco pulse. Iguana Death Cult celebrate the art of rocking the shit and turning everything on 11. They dig their claws into the music and don’t let go. And they also have fun.
+ support: Hello Pity
21.06.2019 Berlin Urban Spree
Doors: 20h, Show: 21h
EXCESS, SURPLUS, TOO MUCH, OVERKILL, OVERLOAD: THEY ARE ALL SYNONYMOUS OF „THE GLUTS“. A POWERFUL OVERLOADED PSYCHEDELIC NOISE-PUNK. PLAY TO BELIEVE. BUT PLAY IT LOUD!
The Milan based post-punk band, without doubt, one of the loudest and most extreme of the Italian scene, is going to release their new album “Estasi” on May 5th for the London-based label “Fuzz Club Records”, an international cornerstone of the noise-punk/psychedelic music scene.
ESTASI – An album that pulls punches without excitation, straight to the face. Multi-faceted, powerful, rough, intense, intrinsically defining the essence of the quartet: the urgency of excess.
Bristling with the same tension of the previous album “Warsaw”, published in 2014 for the German label “Nasoni Records”, but with a new more defined shape.
Heralded as the loudest band of the Italian panorama – The Gluts storm back with eleven post-punk anthems. Forty minutes of music to be heard at full volume.
08.06.2019 – Berlin Urban Spree
Einlass: 20:00 Uhr, Beginn: 21:00 Uhr
VOWWS ist ein, in Los Angeles lebendes, Death-Pop-Duo aus Australien. Ihr Debütalbum „The Great Sun“ erschien 2015 und wurde vom Freund und Mentor der Band Kevin S. McMahon in seinem New Yorker Atelier, einer alten umgebauten Scheune, produziert. „The Great Sun“ ist das Ergebnis einer intensiven und symbiotischen Verbindung zwischen McMahon und der Band. Eine Sammlung von düsteren und dunklen Death-Pop-Songs u.a. mit Feature der Elektro-Legende Gary Numan.
Mit ihrem zweiten Album „Under the World“ erschaffen VOWWS ein filmisches, stilvolles Gesamtkunstwerk mit unterschiedlichsten Einflüsse z.b. klassischer Western-, Electro-, Surf-Rock-, Metal- und Filmmusik.
Auch für „Under the World“ holten sich VOWWS Unterstützung von McMahon, jedoch spielte die Band selbst eine weitaus größere Rolle beim Produzieren und Mischen der Platte. Der zeitlose Einfluss von McMahon ist zwar immer noch vorhanden, jedoch verzichten VOWWS bewusst auf derbe Post-Punk Parts und lassen stattdessen Platz für stilvolle Hooks und klare Vocals. Das wird die Band endlich auch in Berlin auf der Bühne präsentieren – am 08.06. live im Urban Spree!