M:Soundtrack Birthday Party with Feminist Jazz, Cinematic Funk & Sonic Resistance

On November 8 ·  M:Soundtrack x Little League Shows prsnt:

SEOI NAGE (cinematic kraut funk, mmbrs of Messer) + SO SORRY (indie-jazz, bln) + DJs tba.

at Schokoladen! doors 19 uhr, concert starts 20 uhr. presale tickets available at --> https://vvk.link/3xljcsw 

---

On the occasion of M:Soundtrack’s birthday, curator and cultural connector Melissa Perales joins forces with Rob from Little League Shows to celebrate live music that pulses with soul, resistance, and narrative power.

This special edition features two genre-blurring bands that reflect Melissa’s long-standing commitment to soundtracks, feminism, and radical community-building:

SO SORRY  is an emerging Berlin-based band making heartfelt music at the intersection of UK-jazz and alt-pop. Since forming in 2023, SO SORRY has performed extensively in Berlin, including at the city’s premier jazz festival, XJAZZ Berlin. Across a range of other projects, the band’s members have performed internationally and in support of international touring artists. In 2024, SO SORRY was the recipient of a prestigious Music Board Scholarship to record its debut EP, which is scheduled for release on November 28, 2025. With consummate musicianship and heartfelt songwriting at its core, SO SORRY is not an apology but a statement of reclaiming space and embracing boldness.  instagram.com/wearesosorryofficial / youtube.com/watch?v=h-mfw25Kg3E

SEOI NAGE – Cinematic kraut-funk from Münster.
Named after a classic judo throw and formed by musicians with martial arts backgrounds, Seoi Nage is an instrumental four-piece—delivering a genre-hopping tour de force. Think: martial arts cinema meets Italian giallo, sleazy car chases, and psychedelic noir. Their debut feels like the soundtrack to a cult film that never existed—full of swagger, funk, and suspense. instagram.com/seoinage_supersound / seoinage.bandcamp.com

* Expect a night of narrative beats, sonic storytelling, and music as action. Curated by Melissa Perales, whose work sits at the intersection of cinema, sound, and social impact, and co-presented with Little League Shows—champions of Berlin’s underground.

---

SEARCH RESULTS / indie-rock, dublin
instagram.com/searchresultsband / searchresultsdub.bandcamp.com

live at Schokoladen! doors 19 uhr, concert starts 20 uhr. presale tickets available at --> https://vvk.link/40ddqy8

---

SEARCH RESULTS

GO MUTANT

Building on the energetic swirl of 2023’s Information Blip and their well-received EPs, Search Results’ follow-up Go Mutant takes its title seriously, bringing idiosyncrasies to the fore, and at under just 35 minutes, it manages to sound both frantic and precise. Over the course of 13 songs, they have created an immersive, bold piece of work, a fitting musical statement for a band with such interesting influences.

In terms of songwriting, Fionn Brennan and Jack Condon are equally comfortable with not knowing where each other’s songs emerge from. This ambiguity is well-evidenced on Go Mutant - sometimes the vocals are muffled, as on the scuzzy Mountaintop, sometimes they are clear and almost guttural on something like Be Laurel with its driving guitars, and sometimes they sound like they have been recorded down a well, as on the wonky, skittering Steeplejacks.

Exploring the possibilities of the voice is important, as Brennan explains, “Around the time songs for LP2 started forming, I attended a course run by the Roy Harte Theatre whose work is centred around voice. This opened me up to writing more demanding vocal parts for the second record. Something to break down some shyness that I had fallen into maybe.”

A sense of mystery is also key, with Brennan’s intrigue piqued by David Lynch’s Blue Velvet, “that was a game changer for sure. There’s one point in the movie where there’s a guy who’s been shot in the head, and he’s still standing up despite being very dead. A second later his arm twitches and knocks over a lamp that’s next to him. I would say this is the kind of mysteriousness I like, and Frank Booth staring up through the handrails in the stairwell when he’s chasing Jeffrey. Can’t beat it. Dennis Hopper is a big one for me too. Shoutout Rivers Edge - terrible movie that I love.” 

Condon expands, “We used to try have a big sense of mystery around the band, using the Belle & Sebastian method of not appearing in press shots, and not releasing music anywhere other than Bandcamp. We eventually grew out of that but still like to retain a bit of mystery in the lyrics. I like that people can make up their own version of what they think we’re saying. I’ve read a couple of people’s interpretations of the lyrics of John In A Raincoat in particular and always find it really interesting to see what people think we’re saying.”

Optimism is another root of the record, harnessing a tradition from Pavement to YoLa Tengo on something like the jangly Nellypot, or the rag-taggle world of Wrinkle, with its nice swinging drums, the light guitars of Carricks, and the classic indie of Amaray, Condon agrees, “Yo La Tengo and Animal Collective are so inspiring musically. The creativity that both bands have is really necessary with the limited band members. I am always amazed at how much Yo La Tengo can do with just three people, and how much fun it looks like they're having after all this time.”

But the musical DNA of the band reaches back further, to someone like Lou Reed, “lyrically and musically he is as much of a touchstone as Bob Dylan. Myself and Fionn really bonded over his work when we first met, and we will always be listening to something he's done. With his expansive catalogue, it's hard not to have something by him on the mind at all times. I think about him every day, especially when creating music. I also always tend to go back to the Beatles. My friend just sent me a PDF of a book that breaks down every recording method for every song. That's about to answer a bunch of nerdy questions I've had for years, and unlock a bunch of ideas for new recordings. Every time I go back I find more to dig into, especially with the more popular songs that I would have always glossed over in the past. I also love to explore the discography of Thinking Fellers Union Local 282. They've completely invented their own rules to making rock music. It's like they have fully realised that they can put the chorus where they like, so to speak. Through all their albums there's a sense of not only not caring about what people think, but not even realising that anyone's listening.”

These kinds of references and approaches are balanced with a love for off-kilter humour, with Condon referencing Flannery O’Connor’s Wise Blood, “there are things in there that are so nebulous yet somehow relatable and often hilarious. Even though the characters in the book all have their own unique way of thinking, talking and behaving, it all seems like someone you've encountered before but you're not sure when or where. I think about her writing a lot”, while Brennan references Mike Leigh’s Abigail’s Party, “It’s kind of horrifying to watch, but there’s something so inherently sad about it that every time I think about it or talk with someone about it I just have to laugh hysterically. Alison Steadman is scarily good at playing that strange auntie or neighbour or friends mum who’s stuck in her ways. This is something I love about Leigh’s movies. His characters are always people you have in your life.” 

This sense of humour also informs their stage presence, with Brennan noting, “people often mention the smiling we do on stage. It started out of a nervousness and has grown into just how we do it. It’s always the game of how can I make the other guy laugh? I think the end objective is to make someone mess up their part. I’ve recently gotten into a band called ‘Being Dead’ and they have been massively helpful in terms of writing and just life in general. They are probably the smiliest band of all! When I’m watching videos of them playing or listening to their records I feel true joy. It’s the same feeling I get whenever we play a good show. I think music is at its best when there’s a transfer of energy in this way.”

That energy will surely translate live, especially through the fizzing I Was a Teenage Girlfriend, the frenetic brilliance of Too Much Time and the building drama of I Come Out at Night. But they are also mining the restrained part of the sonic palette on the song-speak of On My Planet which complements the earthy drums of the tender Noon’d, and album closer Hidden Hand, which is a distilling of Search Results’ vision, rich in eclectic references and musical mutations, with a sophisticated impulse. 

Condon continues, “I've never felt that any of our recordings or live performances are the definitive version, they always change and grow. But I don't think it will ever work for us if we intentionally try to make a recording that captures the live sound, or inversely if we try to recreate the studio magic in a live scenario. I think some songs on the new album like I Come Out At Night and On My Planet have unintentionally come pretty close to the live sound. We've tried to recreate some songs live to sound like the studio version, such as Steeplejacks, Post and Visiting Years but it's quite hard to do. We've worked around this by playing a completely different sounding version of Post when we've wanted to, but we've luckily never felt compulsions to play any song in particular so there's no need to try too hard if something is just not working. It's always just been a better idea to move on and play a different song.”

This sense of movement and freedom underpins Search Results richest musical document to date, taking us somewhere both nostalgic and fresh – with the band channelling rule-breakers and world-builders, whether Kurt Vonnegut or the series On Cinema at the Cinema with Tim Heidecker and Gregg Turkington - on Go MutantSearch Results have joined that rank of the singular and compelling. 

In under two years, SKORTS went from conception to one of the most talked about and in demand local bands in New York. Their sound has been described as many things including psych-glam, post-alt and darkwave disco. Their live shows have become a crown jewel of the NYC & Brooklyn music scene, winning them 'Our Wicked Lady's 2024 Winter Madness' and also earning them the number one spot on the 'Ohmyrockness Hardest Working Bands List of 2024'. They have received coverage from Paste, PAPER magazine and many more! The band has played just about every club in Manhattan and Brooklyn, some of which include Webster Hall, Brooklyn Bowl, a sold out Bowery Ballroom and a sold out Racket (Chelsea). With a jaw dropping live show and undeniable song writing, SKORTS continues to grab the attention of music fans from all genres and generations.

FLASYD is a punk band from New York known for their raw energy and tackling sharp social issues. Their music is fast, aggressive, and intense. Their debut LP, Always Fast, Hardly Accurate (2024), produced by Johnny T. Yerington and engineered by Grammy-winner Gus Oberg, is a 27-minute blast of riotous energy. Known for their raw and authentic live shows, FLASYD takes aim at toxic masculinity and industry norms, turning sexuality into a weapon and rebellion into anthems.

reverberation fest & little league shows are happy to welcome back both GLUE TRIP and BHUKHURAH on schokoladens stage! more infos very soon, presale tickets already available at --> https://vvk.link/3vfhfe8 

gluetrip.bandcamp.com / bhukhurah.bandcamp.com 

---

GLUE TRIP is a musical project led by Brazilian musician Lucas Santa Cruz. Formed in 2013 as an experimental recording project, it was quickly invited to perform live for the first time at the Prata da Casa project (SESC Pompeia). With three albums released and viral hits like "Elbow Pain" and "La Edad del Futuro" Glue Trip has become a reference for contemporary Brazilian psychedelic music in Brazil and around the world.  Showing maturity with their album "Nada Tropical" released in July 2022, the band has been solidifying their career for a decade, increasingly incorporating their Brazilian roots into their compositions. Produced by Zé Nigro, this album features collaborations with great names in Brazilian music, including maestro Arthur Verocai, São Paulo singer YMA, and musicians Otto and Felipe S from Pernambuco.With several international tours under their belt, including sold-out shows in London and Paris on their last tour, Glue Trip is building a solid background and a steady rise. They stand out as one of the most interesting and innovative musical projects of today.

BHUKHURAH (-boo-koo-ra) is an emerging artist from Athens, Greece. His sound is an intoxicating fusion of modern and vintage aesthetics, hypnotic grooves, adhesive basslines, thunderous 808s, and psychedelic melodies that linger in the mind long after the music fades. Drawing inspiration from an eclectic range of artists—including Tame Impala’s dreamy psych-rock, Mk. gee’s genre-bending experiments, and the boundary- pushing innovation of Travis Scott and Tyler, the Creator—Bhukhurah creates a sonic universe that feels at once familiar and entirely new.On stage, he delivers an electrifying performance that transcends mere entertainment, pulling audiences into a kaleidoscopic experience of sound and emotion. With a unique ability to blend high-energy beats and raw vulnerability, his shows evoke an emotional spectrum that leaves listeners exhilarated and deeply connected. Whether it’s through immersive soundscapes or hard-hitting rhythms, he crafts a world where nostalgia meets innovation, and every moment feels like an unforgettable journey.Prepare to be transported as Bhukhurah brings his bold, genre-defying artistry to the festival stage—a sonic adventure you won’t want to miss.

The queer vegan shitpunks, Joe & The Shitboys, formed with the intention of calling out shitty behaviour in the conservative Faroe Islands, where the rock scene is filled with boneless homophobes and meat-eating misogynists - and continue to take their aim at general vibe killers everywhere.  

The live shows are full of energy, with a barrage of songs often under a minute long, like “Save The Planet You Dumb Shit”, "Life Is Great You Suck" and “If You Believe in Eating Meat Start With Your Dog”, being broken up by the flamboyant frontman roasting the audience relentlessly.  The band (Joe, Ziggy Shit, Johnny Shit and Ollie Shit) have played every type of venue there is; roof tops, public toilets, opening ceremonies for North Atlantic sub sea tunnels, museums and skateparks, and have also appeared on their fair share of major festival line ups around Europe and North America.

// ANGELIKA EXPRESS //
Indie-Punk aus Köln seit 2002
Punkrock, Pop und kaputte Poesie - fürs 10. Album KÖLN IST KAPUTT tigern die Indie-Punk-
Styler*innen durch die Abgründe ihrer Heimatstadt. Hier finden sie den Rohstoff für ihre
euphorischen Gassenhauer: Wut und Hoffnung, verpackt in krisenkillende Slogans voll
diskursiver Frische.
Robert, Annick und Tscherno nehmen uns mit auf eine hart rockende Revue durch Punk und
PowerPop und Indie. Zitat von Toter Hose Campino: "Hohes Tempo, gewaltige Energie, schöne
Melodien und jede Menge Texte zum Mitsingen."
Freuen wir uns auf begeisternde Bühnenpräsenz voll schrägem Enthusiasmus und schönster
Aggression. Auf dreckige Sex Pistols Gitarren, Slogans voll diskursiver Frische, stampfende
Pogo-Power. Freudestrahlende Gesichter quer durchs Publikum sind garantiert.

The Guilt | Malmö, Schweden
("Like Roxette with knives")
Naked Rat Dance ist ein furchtloser Mix aus aufgedrehtem Riot-Grrrl-Punk, exquisit dämlichen Synthesizern und hämmernden Gitarren. Diese Musik kratzt an jeder Oberfläche – und an jedem Nerv. Dancefloor-Aggressions-Bewältigung für glitzerbedeckte- und genre-flexible Menschen.
„Live zu spielen ist unsere einzige wirklich funktionierende Hexerei. Gemeinsam eine Liveshow zu feiern ist magisch. Aber wir leben auch in einer Zeit, in der wir uns alle engagieren müssen – Shows organisieren - auftauchen, engagiert bleiben. Auch das ist Zauberei.“
Nach dem schweißtreibenden Erfolg ihrer Kassetten-EP „Note to Tape“ aus dem Jahr 2023 (mit Remixen von GHLOW, ABU NEIN und 100BLUMEN) und der beliebten Queer-Hymne „Our Feline House“ aus dem Jahr 2025 – dem offiziellen Song des Malmö Pride 2025 – sind The Guilt bereit 2026 zu ihrem bisher lautesten Jahr zu machen. Das kommende Album, das über Icons Creating Evil Art erscheint, bietet Garage-Gothic-Balladen, Power-Punk-Knaller, Queer-Hymnen und Songs für „ziemlich normale Hexen“.
The Guilt sind keine Unbekannten auf deutschen Bühnen und in deutschen Supermärkten:
„Eine unserer Hauptbeschäftigungen in Deutschland ist Lebensmitteleinkauf. Für Curry-Ketchup, Mate und veganes Cevapcici geben wir unsere Gagen aus. Wir haben ernsthaft darüber gesprochen, den Tourbus aufzurüsten, damit mehr Snacks reinpassen. So sind wir eben.“
„Wir haben auch gehört, dass es irgendwo in Deutschland eine Waschbär-Invasion gibt. Wir wissen, dass das problematisch sein kann, aber mal ehrlich? Wenn wir einem Waschbären begegnen würden, wäre das wahrscheinlich der schönste Tag unseres Lebens. Bis auf den Tag, als wir mit den Robben auf Helgoland spielen durften. Der bleibt unschlagbar.“
https://theguiltswe.bandcamp.com/album/the-guilt
+
Fessa
DIY Synth & Feminist Fire

Wer ist Batbait, und wie machen sie Musik, die so intensiv und seltsam schön ist? (Denn wenn wir die Rockmusik endlich für sich selbst sprechen liessen, würde sie mit grosser Bestimmtheit sagen, dass sie sich wünscht, von Batbait gespielt zu werden.)Ein Klang, der weit mehr ist als verzerrte Gitarren und treibende Rhythmen. Hier entfaltet sich Sound, der nicht nur an der Oberfläche kratzt, sondern tiefere Schichten offenlegt. Glitzern im Krach. Against the Glotz. Wenn das Patriarchat ins Stocken gerät, klingt Batbait nach. Zugänglichkeit wird neu verhandelt, wenn sie ihre Songs shredden. DIY ist hier kein Stil, sondern gelebte Realität. Die vier Musikerinnen entwickeln kompromisslos ihre eigene musikalische Sprache weiter, frei von konventionellen Grenzen: Distortion, Hallschwaden und klickende Rhythmen verweben sich zu einem komplexen, vielschichtigen Erlebnis. Musik, Text, visuelle Kunst und Ästhetik formen ihr Werk, in dem Selbstbestimmung und Unabhängigkeit in den Mittelpunkt gestellt wird. Batbait zeigen, wie Rockmusik nicht einfach nur viel Platz braucht, sondern laut und wütend und gleichzeitig aber auch reflektiert, freudvoll und sensibel sein kann.

In der Verbindung von Klang und Inhalten entsteht ein Sound, der sich allen Rock-Sub-Genregrenzen entzieht und seinen eigenen Weg geht – radikal und eigenständig.Zwischen Kraft, Nonchalance und Understatement: Nach ihrem ersten Album ‘Dirty ClothesÄ (Irascible Records, 2022) folgt bald ein Zweites. Derweil kocht bei Batbait Pasta sogar in kaltem Wasser.

Wieso drei Ticket-Kategorien? Künstler:innen sollen fair bezahlt werden, trotzdem wollen wir niemanden von den Konzerten ausschließen, die sich die Karten nicht leisten können.  

Jetzt kommt Ihr ins Spiel. Die 'Normaltickets' sind der Kompromiss einer fairen Gage und dem Decken der laufenden Personalkosten vom Schokoladen. Was unterstützt Ihr als Supporter:innen? Wir können dadurch unser Kontingent 'Socialticket' anbieten (10%), es muss kein Nachweis erbracht werden, um es zu kaufen. Durch Eure Unterstützung helft Ihr den Künstler:innen Ihre Ausgaben zu decken und dem Schokoladen die Preise so niedrig wie möglich zu halten.

The Sensitives sind eine rauhaarige Mischlings-Bande aus Punk, RocknRoll, Ska und Folk – rastlos, laut und unmöglich zu bändigen. Nach über 400 Shows in ganz Europa sind sie wieder unterwegs, um ihre brandneue EP „Ride It Like You Stole It“ zu feiern. Freut euch auf jede Menge rohe Energie, Mitsing-
Songs und ausgestreckte Mittelfinger gegenüber Rassismus, Sexismus und allen, die euch davon abhalten wollen, ihr selbst zu sein!
Packt eure schlechtesten Dance-Moves ein, denn The Sensitives kommen in die Stadt!