Beyond far away stars and distant galaxies, out where no human has ever gone before;
the crew of the IXZHILION 1 is preparing for the ascent into an unknown world.

Formed in 2022, Minivan has toured across central europe, sharing the stage with acclaimed acts like Geese. Minivan’s sound is a blend of raw energy, catchy melodies and psychedelic effects. The band is helmed by singer Elijah David Nix, accompanied by bassist Zach Gould, guitarist Erwan Entringer, keytar player Max Glass and drummer Marcus Ganado.

Tickets: https://vvk.link/30zr9o0

Noise-/hard-/alternative rock band MAGGOT HEART takes their acclaimed third album "HUNGER" on the road for a few selected European shows & festivals in May. Frontwoman Linnea Olsson was recently described as "one of the most distinctive voices in heavy music" by Bandcamp Daily (who compared "HUNGER" to Patti Smith, Motörhead and The Birthday Party alike). Presenting their unique take on rock music through poetry, rawness, dissonance and skilled songwriting - the trio creates an intimate type of aggression not to be missed.

Skapunk from UK vs Skacore from NRW
Enjoy the dance!

Borgzinner (Skacore, NRW)

Nachdem die Band von 2008 – 2021 unter ihrem alten Namen “La Familia” aktiv war und bereits durch mehr als 20 verschiedene Länder getourt ist, gründete sich während der Pandemie eine rechtsoffene, Coronaleugner:innen Gruppierung und bezog den gleichen Namen für sich. Mit einer dezidiert antifaschistischen Haltung, wurde der 13 Jahre alte Bandname kurzer Hand und konsequent abgelegt. Thematisch und musikalisch bewegen sich “Borgzinner” fernab von guter Laune und Party-Ska. Es ist viel mehr Wut, Verzweiflung und das Empowern für den Kampf um individuelle Identitäten und Grundeinstellungen, die bei durchschnittlich 220 BPM verarbeitet werden

 

 

Stinking Lizaveta (doom-jazz/us)

Yanni Papadopoulos (guitar) and his brother Alexi (upright electric bass) grew up to the liberating, teeth gnashing, do-it-yourself sounds of the DC scene in the 1980s. Cheshire Agusta (drums) was raised in West Virginia on hard mountain music, classical piano, and Stravinski. The confluence of their stories is Stinking Lizaveta.

Born in 1994 in the basements of West Philadelphia and tempered by seventeen years of American and European tours, sharing stages with bands such as Clutch, Corrosion of Conformity, Rollins Band, Fugazi, Zeni Geva, Today Is The Day, Weedeater, Hidden Hand, Don Vito, Antikaroshi, End of Level Boss, and Beehoover, Stinking Liz has built a reputation as one of progressive metal’s most unique and devastating live acts and stands as one of America’s most durable and powerful rock bands. Stinking Lizaveta is the instrumental trio specializing in what one reviewer calls, “insane improvisations, relentless rhythms, and volumes of groove.”

Stinking Liz do restore your faith in rock and roll.

https://stinkinglizavetaofficial.bandcamp.com/music

dq, little league shows & m:soundtrack prsnt:

ASTREL K (indie/lofi-pop, ulrika spacek members, swe)

&  ALIEN GRACE  (prog rock, bln)

at Schokoladen. doors 19 uhr, concert starts 20 uhr. tickets at the doors and in pre-sale --> vvk.link/33s98kw 

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ASTREL K blends sonically adventurous sources (film music, post-rock, indie electronica) with intimate vocals and melodies to craft a sound that's both comforting and challenging at once. The solo project of Rhys Edwards enjoyed the patronage of Stereolab, whose revived Duophonic Super 45s label issued the project's debut album, Flickering i, in 2022.

The Foreign Department is the second album by Astrel K, Those already familiar with Edwards’ work will likely know him for fronting the cultishly great Ulrika Spacek, and given he operates as the principal songwriter in both projects, much of the same hallmarks of his cathartic, elliptical songwriting are present in Astrel K. Nonetheless, The Foreign Department feels like a rubicon moment of sorts, and the album that Edwards has unconsciously been working towards his entire creative life.


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Berlin-based ALIEN GRACE finds firm footing in the unfamiliar, always agile and one the move, whether with explosive riffs or soaring vocals. Comprising members originating from all of Scandinavia, Bulgaria, Lithuania, Malta and Bolivia, the six-piece band looks to the West for their meat and to the East for their spice – specifically, soulful rock peppered with Balkan folk. Hailing from Bulgaria, Lithuania, Bolivia, Malta, and all of Scandinavia, ALIEN GRACE is where all contrasts meet, unlikely friends are made, and unexpected sounds are blended together.

Alien Grace flourishes equally on the stage and in the studio, where the relative newcomers have worked with acclaimed producers Pete Smith (Sting, Joe Cocker) and Mario Breuer (Spinetta, Charly Garcia).

puschen & little league shows prsnt:

zzzahara / indie-rock noise-pop, us
zzzahara.bandcamp.com / instagram.com/zzzahara.wav

+ tba.

at Schokoladen. doors 19 uhr, concert starts 20 uhr. pre-sale tickets available --> vvk.link/31qjrw0 

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For most of their life, Zzzahara has been looking backward. Raised in LA’s Highland Park neighborhood, their debut album, Liminal Spaces, confronted the changes the community has endured since Zzzahara’s childhood. That sense of loss, coupled with the persistent memories of a painful coming-of-age, led to many late night parties and an avoidant relationship with self-reflection. Liminal Spaces chronicled that ache, but these days, Zzzahara isn’t looking backward much – they’re not even looking forward. They’re just trying to be here, in the moment, as present as possible: “I realized I needed a bigger lens through which to see the world, I didn’t want to be bitter anymore.”

 

Zzzahara’s sophomore album, Tender, will be released TK via Lex Records, and it documents a period of transition following a devastating breakup. Instead of crumbling, Zzzahara began to look inward by meditating and practicing mindfulness. “I realized that drinking like, 30-40 drinks a week wasn’t making me happy, and that some of the people I hung around with weren’t real friends,” they say. “I still party, but I limit myself. When I spend time with people, I want it to feel intentional.” Touring Liminal Spaces offered Zzzahara an opportunity for further growth. They were on the road constantly following the album’s release, and Zzzahara found themselves fully responsible for the band’s wellbeing. Upon returning to Los Angeles, that sense of responsibility stuck. “If I had to describe what my life is like now, I’d say ‘consistent.’ I’m trying to be consistent with everything I do.”

 

Consistency requires tenderness, a willingness to cradle the soft parts of yourself that often go unnoticed. “After my breakup, I spent a lot of time sitting in the park journaling and crying,” Zzzahara says, laughing. Some of those pages led to the songs on Tender, whose lyrics Zzzahara describes as honest reflections on the present moment. Lead single “Kensington” narrates a walk down the block where Zzzahara’s new love lives. The ebullient, guitar-driven pop song recalls the Cure in both its instrumental aesthetics and ambiguously saccharine lyrics undercut by a scuzzy, devil-may-care delivery. “I get lost in your eyes/ Puppy smile/ Breath of wine/ Kensington/ Out of air/ Nicotine and despair,” Zzzahara drawls on the opening verse. In just two minutes, they capture the ecstatic experience of falling in love, but later, on “IDK How to Luv,” the anxiety of finding newfound love, and keeping it, takes hold. 

 

Zzzahara’s work ethic changed in the making of this album, too. “I’m not one of those musicians who can slack off and then make a perfect record in, like, a week,” they say. “I need to be consistently playing, consistently trying to learn new techniques.” To make Tender, they locked themselves in their studio and subsisted on cold brew for nine to ten hours a day. To most, this sounds nightmarish, but the monastic experience gave Zzzahara a sense of total control over the output. “I think that’s what made the record what it is.” While Liminal Spaces was recorded at Stone’s Throw and Zzzahara had access to a range of instruments to make it, Tender thrives on the intimacy created in a home studio. Though Zzzahara produced the bulk of the record, they brought in friend and fellow producer Jannick Frampton to complete it. “I learned so much making my first record and I wanted this one to prove that,” Zzzahara says. They were also inspired by their fans. “Going on tour and watching what songs people really respond to and want to dance to, that made me want to write fast songs.”

 

The immediacy of these pop songs doesn’t detract from the sincerity of Zzzahara’s lyrics. The dazzling guitar part heard on “Girls on SSRIs Don’t Cry” might hide the song’s pathos momentarily, but the chorus is an open-hearted plea to an ex. “I feel so lost without you,” Zzzahara admits. The album’s opener, “Dust,” was written and recorded during that same period of yearning. It’s a laconic song reminiscent of a mournful 1950s waltz. While Tender can largely be considered a guitar rock album, the instrument is buried in the mix on “Dust,” foregrounding programmed drums and Zzzahara’s raw vocal delivery.

 

As its title purports, Tender is a sincere album, but that doesn’t stop Zzzahara, as they put it, letting their “asshole side loose.” The determinedly bratty “I’d Like You to Leave” was written after a slew of boring dates, the kind that make you want to hide in your house and never meet anyone again. “It’s my favorite on the album,” they say. “It has the narrative perspective of being kinda drunk at a party and just watching people interact with one another. You get this sixth sense about people – you really see them.” 

It’s easy to recognize the faults in others, less so in yourself. On Tender, Zzzahara is unafraid of the world seeing theirs.

Tickets: https://vvk.link/35khwr4

NAPE NECK
Trio from Leeds (UK) playing post-punk that’s simultaneously tangled and taut, danceable and destructed, all while resisting any attempts to be easily situated as the latest addition to a specific geographic and genre-based continuum that stretches back to Gang of Four and
Delta 5.

Nape Neck’s knotted rhythms and the intersecting/overlapping vocal shouts from all three band members bring to mind Scissor Girls or Erase Errata, who also drew inspiration from the spiky tension of first wave UK post-punk and translated it through the more wild and free tendencies of DNA-descended downtown art-noise. Clipped morse code rhythms and sharply punctuated lyrical declarations join forces with delirious, snaking guitar and duelling vocals which push against steady bass throb and stark, calculated beats as Nape Neck walks the tightrope between chaos and calm.
Nape Neck is Claire Adams on bass guitar, Bobby Glew on guitar and Kathy Gray on drums.
Through extensive touring of Europe in other bands (Beards/Guttersnipe) the members of Nape Neck also bring a deep love for DIY sounds and connection, which shows in their organisation (both compositionally and operationally).

ATOL ATOL ATOL
Island post-punk from the south of Poland. The tour includes: unlimited cellar snorkeling, coffee on Enewetak and Bikini atolls, free time in the central depression. The cruise crew includes: Łukasz Plata (Ukryte Zalety Systemu, Przepych), Artur Soszynski (Ukryte Zalety Systemu) and Hubert Kostkiewicz (Kurws), powered by vocalist Agata Horwat. The whole is tied together with a dub brace by master of the console Szymon Szwarc (Jesień, Rozwód). „Koniec sosu tysiąca wysp” (The End of the Thousand Island Sauce) is an angular, overstimulated, rhythmically organized yet freedom-hungry punkoid in the vein of no wave or Minutemen, with a face that resembles absolutely no one.

BLASKE sind Punk! - Punk mit Melodie, Herz und einem offenen Ohr für all das, was niemand als Punk bezeichnen würde. Sie reflektieren sich, die Welt und die Fremde im Menschen und schaffen mit Erlebtem, Gelebtem und Zerlebtem Melodien für das Herz und Texte für die Seele oder die überfällige Weltrevolution.

Der Käpt'n kommt mit einem fetten Angebot aus allen nationalen und internationalen Künstlern!
Der Abend hat schon lange Kultcharakter und ist zum Kreischen fröhlich, generations- und sozialübergreifend und warmherzig...!
Eine der schönsten Bühnen Berlins & ein perfekter Monitor- und Raumsound besorgen den Rest!
Singen macht halt glücklich und dabei zuschauen auch!
holt euch die Käpt'n Karaoke App auf's Smartphone!
... wei sie wirklich toll ist!
https://play.google.com/store/apps/details...
Oder klickt den Link für seine Songliste…
http://derkaeptn.de/songliste.html

M:Soundtrack presents: RAD (FR/USA) poetic drone weird blues-punk with support from F/LOR (FR/ prohibited records) Ambient electronica

RAD: project founded in 2022 by singer/writer Brisa Roché and producer/musician Nicolas Laureau.

RAD: haunting duo creating collaborative slap-you-in-the-face landscapes between blues/elvin singing and drone/guitar exhalations.

RAD: quasi-Tantric dialogue between alarmingly raw improv, electronica, story-telling and heart-of-guitar.

RAD: reduction of « radical », a term used for cool/awesome in the California of the 1980s.

RAD: according to Brisa and Nicolas « A punk lullaby, an inner dialogue turned outer, breathing guitar, NY meets CA meets France with transformation transgender, FX, nature/mountains plus urban plus dreamscapes. FIRE and ICE. »

Brisa Roché und Nicolas Laureau debütieren als RAD
Veröffentlicht am 21. November 2023  von  admin
Auf dem französischen Ouvré-Label erscheint gerade das 10″-EP-Debüt des Duos RAD, hinter dem die Autorin und Sängerin Brisa Roché und der Produzent und Musiker Nicolas Laureau (Don Nino/Niño) stecken, die ihr gemeinsames Projekt nach der Abkürzung für “radical” benannten, was im kalifornischen Slang der 80er wohl so viel wie cool oder fantastisch bedeutete. Das nach seinen drei Tracks “Magenta. Cyan. White” betitelte Werk kombiniert blueslastigen Gesang und Spoken Words mit gitarrendominierter Dröhnung, flimmerndem Rauschen und rockigen Strukturen, die mehr als bloße Zitate sind, zu mitreißenden, ohrwurmartigen Soundscapes.

- African Paper 21.11.23

 

Paris based artist F/LOR (Fabrice Laureau) has chosen to record this album in a full free approach during a short session using a minimal 100% analog set-up and two non-synchronized simple electronic instruments, two effects, two channels, no overdubs.

Recently, he's also been developing a work around environmental sounds and photography during a 3 months residency in the north of France for two exhibitions (at Gare Numerique, Jeumont, and at Galerie Idem+Arts, Maubeuge) presenting sound installations and photo work. "Edges" refers to the action of time and natural processes but also to all the points where switches can happen.