Menü
MORGEN

The Molochs [USA] / Indolent [D]

Garage / Folk Rock / Garage Rock

First, let’s meet back up with the Molochs—you remember them, right? Their America’s Velvet Glory was the earliest burst of light and energy to hit in 2017, an album of electrified rock ‘n’ roll like Dylan and Lou Reed by a band named after the Ginsberg-ian glutton god who demanded the sacrifice of all things good and pure. But now it’s 2018 and Moloch himself is fatter and happier than ever, so the Molochs couldn’t just make another record. After Glory showed the world who they were, they needed to make an album that showed what they could do. So Flowers In The Spring is where the Molochs worked harder, thought harder and fought harder to be the kind of band that the times demand: “I like to think the world just needs some good solid songs out there,” founder Lucas Fitzsimons says. “It’s simple. It’s not easy … but it’s simple.”

America’s Velvet Glory, their first-ever record for L.A.’s Innovative Leisure label, had sparked their first-ever U.S and European tours, first-ever festival sets, first-ever international press and more. (Top music mag Mojo even said they’d made one of the year’s best albums—“Any year!”) Follow-up Flowers bloomed almost exactly a year later at Long Beach’s Jazzcats studio between December of 2017 and January of 2018, where Fitzsimons and longtime band member Ryan Foster had recorded Glory. By the time they’d returned, they had a slate of songs that had come to Fitzsimons in flash moments, written on nerve-wracking transcontinental flights or on isolated nights in an L.A. apartment, captured at once in bursts of insight or rescued from almost-abandonment in discarded notebooks.

As on Glory, inspiration from Syd Barrett, Dylan, Nikki Sudden and kindred spirit Peter Perrett of the Only Ones was at work, but the Molochsare endlessly (appropriately?) ravenous when it comes to things to read and listen to and learn from. On Flowers they’d refine and recombine their sound, working in that long tradition of poets who cover (or discover) themselves in pop songs. “To Kick In A Lover’s Door” blows Flowers open with the wit and precision of the Go-Betweens, and “I Wanna Say To You” draws more from some of Creation Records’ dreamiest dreamers than it does from any esoteric 60s howlers. “Flowers In The Spring” and “Pages Of Your Journal” could be two lost Kinks singles from two different Kinks eras—that Ray Davies-ian venom stays the same, of course—and the charming/disarming “Too Lost In Love” makes feeling down sound like cheering up, just like the Clean did.

Yes, they do have their first-ever string section here, and that could confuse some people. (“People go, ‘Wow, it sounds more mature.’” says Fitzsimons. “What kind of boring shit is that?”) But Flowers isn’t a grown-up album or a show-off album or a break-up album or a just-had-to-make-another-album album because the Molochs don’t pick targets that tiny. Love and disgrace and life and death blur and bleed into each other, but at the core of Flowers is a story about standing against the inhuman by being more human, however messily honest that needs to be. (Or like Fitzsimons sings at the end of the record: beware that “determination by a whole / to destroy the human soul.” Funny how that comes in a song where he claims he can’t explain everything that happens to him, because he sort of just did.) So consider their new Flowers In The Spring a meticulously plotted counterattack against all things Moloch-ian, with clear, concise, immediate, undeniable, simple, direct pop songs, says Fitzsimons, each sharpened enough to cut through anything it touched. That’s what he needed to do, he says, because that’s what felt most true. Maybe it really was that simple, even if it wasn’t easy. Like he’d explain in a song with just seven words: “There’s something I wanna say to you.”

 

Indolent aus Köln und Bonn besteht aus genau zwei Leuten - ist allerdings dafür umso rabiater auf der Bühne: Nur mit Gitarre, Gesang und Schlagzeug springen die beiden im Dreieck des Rock zwischen Garage, Punk und Indie und orientieren sich nicht nur an den großen Duos des Rock wie den White Stripes, Death From Above 1979, Blood Red Shoes und vielen anderen, sondern einfach an allem, was zornig ist und schnell auf den Punkt kommt.
Seit vielen Jahren lotet die Band mit etlichen EPs die Grenzen von fetzigem und rotzigem Garage Rock aus. Ganze neun Scheiben sind es bisher, die nächste ist auch schon in Arbeit - Gemütlichkeit kann dem Duo also niemand vorwerfen, sowohl bei der Musik, als auch auf der Bühne.

 

Einlass: 20h; Beginn: 21h; Eintritt 8€



Links:
The Molochs
Indolent



#

The Molochs

#

Indolent

Mittwoch, 22. Mai

La Minor (RUS)

Street Chanson, Gangster Swing

There is something like the La Minor sound: warm and authentic with live acoustic instruments; no overdubs or mini disc fibbing. This band you recognise instantly and they create their own atmosphere. They are real. And they have charm.

Founded in St. Petersburg in 2000, La Minor has been on tour in Europe several times and has played in many small clubs and bars as well as in bigger halls and on festivals since. They have since gathered a devoted fan base.
La Minor’s music invites you to a glass of wine as well as to dance. The Bayan (the Russian button accordion) pushes, the saxophone flatters and singer Slava Shalygin tells his lyrical gangster stories: backyard songs about bad boys, love, passion, alcohol and prison.

La Minor comes from St. Petersburg, but do have a partiality for Odessa. Indeed the alleys and bars of these two cities are a bit similar with their European charm. La Minor plays so-called street chanson, Russian folk, jazz and klezmer (Odessa style). They resurrect part of the atmosphere of the Odessa of the 20’s to 40’s. Their songs sound like musical detective stories about little rascals and tragic loves - joyful and melancholic at the same time. Thieves and police men, whores and undercover agents crowd the urban underworld of La Minor songs. The gentle-tender maternal nature of the Russian language makes the tough stories touching and timeless.

La Minor’s singer and lyricist Slava Shalygin’s hero is the Soviet underground singer Arkadi Severny. His style, not quite appropriately named Russian chanson, stems from the Soviet subculture of the 70’s. You could only officially get this music after the implosion of the Soviet Union. Before, this was the privilege of the few happy owners of mysterious samizdat tapes and cassettes which were copied in the underground. La Minor now develops Severny’s ideas further into their own repertoire with sophisticated arrangements and deadpan delivery. Russki Chanson has become an annoying genre in Russia and pounds out of every taxi there these days. Refusing to wear golden chains and add corniness to their music, La Minor are the black and thus likeable sheep of the Russian prison and camp chanson. Therefore the band performs rather in rock clubs and doesn’t get aired on Radio Chanson in Moscow. They call their music ‘underground chanson with a human face’. Deliberately, La Minor chooses for their interpretations mostly no standards, but rather not so well-known pearls of folk poetry. These old gangster and jail songs – so-called Blatnyak – had also been present in Soviet times. Officially banned, these songs were the real folklore, as sung by the people at private parties or played on guitar in the parks. Especially in Odessa, the colourful port city and melting pot for many nationalities, with its long Jewish tradition, these songs were sung in pubs as well as amongst intellectuals and artists. The proud tragedies and wild adventures of the sailors and thefts, combined with the infamous Odessa humour, are the material La Minor carves their world from: a world of dodgy port bars where smug gangster Casanovas dance tango with their ladies and drink wine and play cards with their pals.

Folk music rarely ever sounded so tight and cool. You might call it Dirty Folk. This makes La Minor popular not only with a rock and indie audience, but also amongst the folk fans and intellectuals. And when the musicians of La Minor, dressed in vests and flat caps, enter the stage of your club, you know that tonight it’s time to dance and indulge. Those little criminal chansons get you with a lot of soul and feeling, but also with a wink – sometimes pleasantly jazzy, sometimes with speedy polka. La Minor means high spirits and melancholy at the same time.
 
Einlass: 20h; Beginn: 21h; Eintritt 9€



Links:
La Minor




#

La Minor

Freitag, 24. Mai

Angelika Express [D] / Der Dumme August [D]

Indie/ Punk-Pop/ Punkrock

Sie nennen uns „Tante Angelika“
Wir sind Fünf und lieben den Krach, das Soundgewitter und die schönsten Melodien.
Aus Köln kommend schrammeln wir mit unseren Gitarren für euch das Blaue vom Himmel. Gefangene werden dabei grundsätzlich keine gemacht. Gnadenlos predigen wir den Angelika Way of Live, geben dafür alles und haben keine Hemmungen eure Lieblingsclubs in Schutt und Asche zu legen.

Ein guter Angelika-Song ist wie ein freundschaftlicher Schlag ins Gesicht. Privat sind wir aber sehr nett. Unsere Band ist ein gottverdammtes Gesamtkunstwerk, ein riesiger zackiger Zeigefinger aus purer Rockenergie.

 
Der dumme August" Fünf Sturmerprobte aus Köln, die es längst nicht mehr nötig haben, den harten Macker zu spielen. Wut auf den Staat und Bock auf Gewalt setzen wir eh voraus, von daher wenden wir uns den anderen uns bedeutsamen Dingen zu: Tristesse, poppigem Punk über Liebe, wie sie ist und wie sie sein könnte. Wir nehmen uns dabei nicht allzu wichtig.
Mitgliedschaften bei Knochenfabrik, Angelika Express, Lili, Supernichts und Kommando Petermann sollten wir erwähnen, spielen für Der dumme August aber keine große Rolle.
 
Einlass: 20h; Beginn: 21.30h, Eintritt: 9€



Links:
Angelika Express
Der Dumme August



#

Angelika Express

#

Der Dumme August

Samstag, 25. Mai

The Jancee Pornick Casino [D]

Surf meets Rockabilly meets Garage

Das JANCEE PORNICK CASINO ist die Band um JANCEE WARNICK, deutsch-amerikanischer Gitarrist und Gelegenheitsverbrecher mit einem Faible für Rockabilly, Schmuddelfilme und Wodka. 1999 trifft dieser auf 2 russische Wirtschaftsflüchtlinge. Diese multi-nationale Bande wird seitdem nicht müde, hochdosiertes Adrenalin in eine musikalische Form zu giessen. Nach unglaublichen 3000 Konzerten in Europa und Russland und 8 produzierten Schallplatten, brachten sie 2015 ihr aktuelles Album SOLO ADULTOS zustande.
 
Nach 3 Jahren Arbeit im hermetisch abgeriegelten Studio war Jancee's Freundin und Beraterin der erste Mensch, der die bis dahin geheimen Songs hören konnte. Ihre spontane Reaktion war: "Denkst Du eigentlich irgendwann auch mal an was Anderes als an Sex?" Jancee wusste daraufhin nicht viel zu sagen, ausser "Sex ist nicht alles, aber ohne Sex ist alles nichts."
 
Das PORNICK CASINO mixt einen unwiderstehlichen Molotow-Cocktail aus Surfmusik, Rockabilly und 60's Garage Punk, aufgefüllt mit russischer Seele, Adrenalin und Selbstironie. Jancee‘s furioses Gitarrenspiel kreuzt dabei die Virtuosität von BRIAN SETZER mit der Energie von ANGUS YOUNG und wird dabei angetrieben von Slava‘s Bass-Balalaika und Chris‘ Drum-Feuerwerk mit der Stärke eines sibirischen Orkans.

Einlass: 20h; Beginn: 21.30h, Eintritt: 10€



Links:
The Jancee Pornick Casino




#

The Jancee Pornick Casino

Sonntag, 26. Mai

Cyanide Pills [USA] / The Quasimodo [D]

Punkrock

The Cyanide Pills started life after a few mates, who’d been in bands around the Leeds area decided to pool their resources and form the band they all really wanted to be in, this was mid 2008. They contacted Carl ‘Razorblade’ Rosamond and went into The Billiard Room studios in Leeds and a few months later demos were sent out to a few labels, including Damaged Goods Records in London, who liked what they heard and in early 2009 their debut single ‘Break It Up’ came out.
 
To sum it up they are a bunch of dysfunctional misfits, outsiders, people with ‘baggage’ and untrustworthy losers. But they make a great sound, so forget this biog crap and go listen to them. It’s the only thing they do well!!
 
After another couple of European tours they headed into The Billiard Room again and started recording their second album. ‘Up Against The Wall’ came out as a single in December 2011 and this was followed by a German 7” with another track that later appeared on the second album called ‘Johnny Thunders lived in Leeds’.
 
To tie in with the Cyanide Pills first appearance at the ‘Rebellion Festival’, which is held every year in Blackpool, UK another 7” came out, called ‘Where Did It Go?’ backed with the original version of ‘Lock Me Up’. 2013 saw another UK & European tour and the April release of their second album ‘Still Bored’, another 17 tracks of kick-ass, Punk Rock, New Wave, Power Pop goodies.

 

The Quasimodo kommen aus Wermelskirchen und machen Punkrock seit 1991.

 

Einlass: 20h; Beginn: 21h, Eintritt: 10€



Links:
Cyanide Pills
The Quasimodo



#

Cyanide Pills

#

The Quasimodo

Montag, 27. Mai

The Fleshtones [USA]

Garage Rock

The Fleshtones sind eine der aktivsten US-amerikanischen Garage-Rock-Bands aus New York, die ihre musikalischen Wurzeln im Rock’n’ Roll der 1950er und 1960er Jahre hat. Sie selbst nennen ihre Musik Superrock und sie werden nach nun bereits 41 Jahren Bühnenpräsenz zurecht als die Könige des Garagerock bezeichnet.
1976 gründeten Sänger und Keyboarder Peter Zaremba, Gitarrist Keith Streng, Bassist Jan Marek Pakulski und Schlagzeuger Bill Milhizer die Fleshtones im New Yorker Stadtteil Queens. Mit dem Song American Beat erlangten sie erste Bekanntheit und kamen zu einem Plattenvertrag mit dem Label I.R.S. Records. Ihre erste EP Up-Front erschien 1980 und zwei Jahre später das Debütalbum Roman Gods. Damit schafften sie es auf Anhieb in die US-Albumcharts.
Es folgten drei weitere Alben für I.R.S., von denen Hexbreaker als ihr bestes gilt.
Seit 1987 veröffentlicht die Band weiter regelmäßig Alben bei wechselnden Labels und tourte unermüdlich durch die Welt. Nach einigen Line Up Wechseln am Bass sind die Fleshtones seit 1990 stabil aufgestellt, neben Zaremba, Streng und Milhizer steigt Bassist Ken Fox mit ein.
Ihre Fans verehren die Fleshtones kultartig, was wohl auch ihren phänomenalen Live-Performances geschuldet ist. Und die Fleshtones haben ihr bereits 21. Album „The band drinks for free“ Anfang September 2016 auf YEPROC (LP, CD, mp3) veröffentlicht. Im Oktober 2017 veröffentlichte Yep Roc eine Compilation mit raren B-Sides und zwei neuen Songs. „Budget Buster“ ist ihr 22.Album.
 

Einlass: 20h; Beginn: 21h, Eintritt: 13€



Links:
The Fleshtones




#

The Fleshtones